Unquestionably the most beautiful of fine papers, Japon - like papier de Chine - radically differs from European papers as it is exclusively plant-based (mulberry bark or other Japanese shrubs). This thick, silky, satiny, pearly paper helps to make each page a work of art in its own right. It thus reveals all its nobility when it carries a poetic work.
In addition, its ink absorption ability and its affinity with colours make it the ideal support for artists' books and lithographs. Nearly tear-proof and almost impervious to foxing, its only flaw would be its lack of flexibility. This paper almost always requires a binding for better handling and to honour its aesthetic perfection.
First edition, one of 50 numbered copies on japon paper, the only deluxe issue.
Tawny half sheep binding with corners, spine in three compartments with gilt fillets, typographical motif stamped in blind at the centre of the spine (faded), author’s label and title label in red Russian morocco, minor repair at head of spine along one joint, marble-covered paper boards, combed-paper endpapers, original wrappers and spine preserved, one upper corner slightly rubbed, contemporary binding.
Illustrated with 18 plates, here in double state as in the other japon paper copies; text illustrations also present.
First edition illustrated with 48 color lithographs by the author, one of a few named copies on japon reserved for the principal collaborators of the publication, ours specially printed for the celebrated bibliophile Colonel Sickles, deluxe issue.
This copy is complete, as stipulated in the justification, with the duplicate set of lithographs in black and in color.
The work is also illustrated with 40 decorated initials designed by the prestigious bookbinder Paul Bonet.
This is Maurice de Vlaminck's most important illustrated book, which took him nearly ten years to complete.
A fine copy, complete with its slipcase and box.
First edition illustrated with 19 original lithographs by Alexandre Lunois, one of 140 numbered copies on Japan paper, the only printing with 60 other Japan copies containing separate proofs of the illustrations.
Two light halos on the first cover, small worming on the second cover.
Handsome copy.
First edition illustrated with 19 original lithographs by Alexandre Lunois, one of 140 numbered copies on Japan paper, the only printing with 60 other Japan copies containing the separate suite of illustrations.
Half salmon morocco binding with corners, smooth spine decorated with gilt cartouches, gilt double fillets framing the marbled paper boards, pebbled paper endpapers and pastedowns, original wrappers preserved, bookplate pasted to one pastedown, top edge gilt, elegant contemporary binding.
Handsome copy in perfect condition.
First edition printed in 500 numbered copies on Japan paper.
Work illustrated with drawings by Job after pencil sketches.
Handsome copy despite light worming of no consequence to the boards.
Manuscript signatures of Job and Stéphen Liégeard below the justification page.
First edition, one of 50 numbered copies reimposed on Japan Imperial paper, ours being one of the few hors commerce copies, deluxe edition after 1 unique copy on Japan Imperial and 19 old Japan.
Illustrated work, as frontispiece, with a portrait of Charles Maurras consisting of an original drypoint by Edouard Chimot and original lithographs by Wassily Schoukhaeff.
Half chocolate brown morocco binding with corners, spine with five raised bands, gilt date at foot, black roulettes on headcaps, black fillet frame on wood-effect paper boards, wood-effect paper endpapers and pastedowns, covers and spine preserved, top edge gilt, perfect unsigned binding.
Very handsome copy perfectly executed and complete, as stipulated in the justification page, with the double state of Edouard Chimot's drypoint with remarques, 1 proof of the cancelled plate and 1 suite of the lithographs on Japan.
Henri Floury, Paris 1904, 20x26cm, bound.
First edition, one of 50 numbered copies on Japon, the only deluxe issue, complete with the double set of full-page engravings.
Illustrated with 19 full-page engravings after Whistler par H. de J. W., Prunaire, Henry Wolf, H. Guérard, T. Beltrand, Thomas R. Way, Clot and numerous drawings within the text.
Half red morocco with binding, smooth spine, gilt date at foot, red marbled paper boards, endpapers and pastedowns, very discreet scratch to the second board, original soft covers preserved, gilt top edge, contemporary binding signed Pouillet.
A fine, perfectly bound copy.
Copy signed and inscribed by Théodore Duret to Monsieur A. Jung.
First edition, one of 50 copies printed anonymously on papier japon.
First edition, one of 50 copies printed anonymously on papier japon.
Illustrated with an erotic frontispiece by Félicien Rops on chine.
Custom chemise and slipcase in half morocco and paper boards signed Boichot, some discreet restorations to the spine and covers, some discreet restorations to the top margin of the frontispiece, not affecting the engraving.
“La Présidente”, honorary nickname given to Apollonie Sabatier (alias Aglaëe Savatier, her real name), was one of the most captivating Salon hostesses of the 19th century. She inspired an ethereal love in Baudelaire who composed his most mystical poems in Les Fleurs du Mal in her honor. The other artists who frequented the apartment on Rue Frochot, during her famous Sunday dinners, had more licentious feelings for this woman of surprising wit and beauty. The sculptor Clésinger portrayed her in his lascivious “woman stung by a snake”; Flaubert wrote sensual letters to her ending with “the very sincere affection of one who, alas, only kisses your hand”; she has long since been recognized as the model for Gustave Courbet's scandalous The Origin of the World.
Gautier sent her this letter in 1850. Sabatier made copies which she never published but privately distributed to her guests:
“In October 1850, Gautier sent her [this] very long letter, farcical and obscene, from Rome, commenting with Rabelaisian exaggeration what himself and his friend Cormenin had learned regarding sexuality during their travels. Gautier knew that his freedom of expression would not offend Madame Sabatier. He had long since accustomed her to it and he prided himself on his “smut” to brighten up the friendly social gatherings of the Rue Frochot.” (Dictionnaire des œuvres érotiques)
Honored indeed by this priapic attention, ‘La Présidente' gave copies to all her guests and the reading of Gautier's “indecent prose” became a popular event at Parisian soirées. However, the letter was ultimately published – luxuriously but confidentially – after the recipient's death in 1890.
After this first edition of 50 copies on papier japon, a second edition on papier vélin followed a few months later with a larger print run and without the Rops frontispiece.
A rare, beautiful and very sought after copy.
