Freemasonry and Secret Societies

First edition, one of 315 numbered copies on Arches wove paper, the deluxe issue.

A fine copy with full margins.

First edition, one of 25 lettered copies on pure laid paper, the only deluxe copies.
Work illustrated with a portrait of Rasputin as frontispiece, press cutting attached and pasted at head of one endpaper.
A fine and rare copy.

Rare first edition.
Copy presented in plain temporary wrappers with some lacks and corner tears.
First and last pages shaded.

First edition on ordinary paper.
Spine somewhat sunned, boards lightly soiled.
Autograph inscription signed by André Salmon to Jean-Henri Guillaumet.

Autograph letter dated and signed by Raymond Abellio addressed to Robert Huet, from his Parisian home on rue des Bauches, 21 lines in black ink. Envelope included.
Traces of folding inherent to mailing.
Raymond Abellio responds to his correspondent and informs him about the unavailability of his work La Bible, document chiffré and the difficulty of obtaining it: "... j'ai demandé à l'éditeur de ne pas le rééditer dans sa forme initiale, que j'estime (par endroits) insuffisamment élaborée. Je ne dispose malheureusement que d'un seul exemplaire sur lequel je travaille en ce moment car une édition refondue et augmentée doit paraître d'ici 18 mois à 2 ans, dans le nouveau titre Théorie des nombres bibliques." (... I asked the publisher not to reissue it in its initial form, which I consider (in places) insufficiently developed. Unfortunately I only have one copy on which I am currently working as a revised and expanded edition is to appear within 18 months to 2 years, under the new title Biblical Number Theory.)
In order to keep Robert Huet patient, Raymond Abellio offers him this advice: "Toutefois vous trouverez un résumé des thèmes et des principaux de la Bible, doucment chiffré, dans mon récent ouvrage paru chez Flammarion en 1974 dans le titre "La fin de l'ésotérisme" (However you will find a summary of the themes and main points of the Bible, document encoded, in my recent work published by Flammarion in 1974 under the title "La fin de l'ésotérisme")

New edition.
Half navy blue morocco binding, spine with four raised bands set with gilt fillets and decorated with triple gilt compartments, hazelnut morocco title-label and author's name, marbled paper boards, combed paper endpapers and pastedowns, top edge gilt, original wrappers preserved, contemporary binding.
Handsome copy beautifully bound of one of the rarest and most sought-after titles by Théophile Gautier.

The rare French first edition, following the first published in London, in Latin, in 1758.
Contemporary full blonde calf binding, marbled and glazed, smooth spine decorated with grotesque ornaments, red morocco title label, upper joint cracked at head for 8 cm, lower joint cracked at head and foot.
Although this work is the most famous by its author, due to its title which several churches have taken as their symbolic name, it is not the first of its kind and is actually a condensed version of the Arcana Coelestia, but whereas the Arcana is an exegesis of Genesis, The New Jerusalem is one of verses from the Apocalypse of Saint John, in which Swedenborg, as in his other works, delivers an ultra-rational vision of metaphysics and spirituality. A renowned scientist, Swedenborg experienced a mystical crisis at the age of 55. God spoke to him and allowed him to communicate with angels: "I am the Lord, Creator and Redeemer; I have chosen you to make known to men the inner and spiritual meaning of the Holy Scriptures. I will dictate to you everything you must write." The author would thus experience several visions which he transcribed in his books. Swedenborg did not break at all with the doctrines of Luther from which he came, but he founded the relationship with God on love, and he gave great importance to angels who are the foundation of the existence of good and evil, and to the soul which is an emanation of divinity. He was quickly considered a universal genius, as evidenced by the considerable influence he had, notably in France on the writers of the Romantic generation, Balzac, who quotes him abundantly and who drew from him nourishment for his theory of desire, Baudelaire, Cazotte and elsewhere in William Blake, Jung... and even in Japan, in the book: The Buddha of the North.
Bookplate. Ernest Chausson stamp. Great composer and autodidact, who died at 40 and left imperishable works particularly in the field of chamber music, in the wake of a French Wagnerism, imbued with profound sorrow and melancholy.

The first edition, of which there were no deluxe copies.
Vertical crease mark due to the fact that the booklet had to be sent by post, rust marks around the staples, detached covers.
Rare but in this condition.

Autograph letter signed by Joséphin Peladan addressed to a fellow writer (13 lines in black ink), on a double sheet of yellow paper.
Fold marks inherent to postal handling.
"Mon cher ami,
je serai, à Marseille, de nouveau, à l'hôtel Noailles, vendredi ou samedi, & vous verrez dès possible. J'ai lu l'Hennequin, traduction & étude, toutefois je vous les garde jusqu'à écriture de l'introduction. Devan tlivrer un plan avant peu & votre édition n'attendant pas. Bien à vous & aux vôtres. Peladan." ("My dear friend, I will be in Marseille again, at the Hotel Noailles, Friday or Saturday, & you will see as soon as possible. I have read the Hennequin, translation & study, however I am keeping them until writing the introduction. Having to deliver a plan soon & your edition not waiting. Best to you & yours. Peladan.")

First edition, of which there were no deluxe copies.
Two small lacks to head and foot of spine, spine and boards marginally and lightly sunned.
Handsome autograph inscription signed by André Lebey: "... pour lui montrer aussi que l'idéalisme n'est pas toujours où on le croit et que le plus désintéressé est le plus noble. Blen sincèrement. AL." (to show him also that idealism is not always where one believes it to be and that the most disinterested is the noblest. Very sincerely. AL.)

First edition on ordinary paper.
Spine and covers marginally browned, handsome interior condition.
Rare autograph inscription signed by Edouard Schuré to the writer and poet Auguste Dorchain and his wife: "... au poète exquis, à la charmante diseuse qui forment un couple parfait. Leur admirateur Edouard Schuré." (to the exquisite poet, to the charming reciter who form a perfect couple. Their admirer Edouard Schuré.)

Autograph letter signed by Joséphin Peladan addressed to a fellow writer (15 lines in black ink).
Fold marks inherent to posting.
The Sâr Péladan is unwell and has shown himself to be rather uncommunicative of late: "... je suis malade, je vous dis cela d'abord pour excuser mon laconisme... Je tiens comme je peux." ["I am ill, I tell you this first to excuse my laconicism... I hold on as I can."]

Autograph letter signed by Joséphin Peladan addressed to Marius Richard, the father of Carlo Rim (46 lines in black ink, 2 pages on a recto-verso sheet) concerning the upcoming creation of a theatrical play, which will be Sémiramis, in the ancient amphitheatre of Nîmes which Marius Richard is organizing.
Light foxing in the margins of the letter, fold marks inherent to the folding for mailing.
"10, rue de la Vierge
Nîmes.
Mon cher confrère,
hier on m'a dit chez vous que vous ne reviendrez pas de la campagne avant un mois & je pars dans quelques jours. J'aurais bien voulu avancer le beau projet que vous avez conçu. Si, comme vous en avez eu la première idée, Nîmes veut monter aux arènes une oeuvre de moi ; il y a un intérêt extrême à ce que je m'y prenne très à l'avance pour apporter à cette représentation les soins spéciaux, différents des soins d'auteur. Des études spéciales me permettent de restituer dans ses détails lyriques la tragédie du temps de Périclès & ces restitutions constituent un spectacle d'un éclat nouveau. Veuillez lire la Prométhéide ; en tenant compte qu'elle sera réduite & d'une mythologie simplifiée. Béziers a donné une caricature du mythe titanique, Nîmes donnerait la trilogie du grand Eschyle. Je ne crois que les frais d'acteur aillent jusqu'à dix mille francs. Point de musique, que figurative (flûtes, crotales). J'ai calculé que le décor de Nîmes servirait en jetant des toiles peintes sur ce qui existe, en supprimant les temples du bas par des peintures de rochers. Il faudrait que nous nous voyons avant mon départ. Si vous ne pouvez venir, je viendrai. Avec ma reconnaissante sympathie, Péladan. Inutile de vous dire combien je vous suis redevable de vos articles pour une oeuvre qui fut trahie comme Oedipe, par les hommes & les choses." ["My dear colleague, yesterday I was told at your place that you will not return from the countryside for a month & I leave in a few days. I would very much have liked to advance the beautiful project you have conceived. If, as you first thought, Nîmes wants to stage a work of mine in the arena; there is extreme interest in my taking this very much in advance to bring to this performance the special care, different from the author's care. Special studies allow me to restore in its lyrical details the tragedy of the time of Pericles & these restorations constitute a spectacle of new brilliance. Please read the Prométhéide; bearing in mind that it will be reduced & with simplified mythology. Béziers gave a caricature of the titanic myth, Nîmes would give the trilogy of great Aeschylus. I don't believe the actor's fees would go up to ten thousand francs. No music, except figurative (flutes, crotales). I calculated that the Nîmes setting would serve by throwing painted canvases over what exists, by removing the lower temples with rock paintings. We would need to see each other before my departure. If you cannot come, I will come. With my grateful sympathy, Péladan. Needless to say how much I owe you for your articles for a work that was betrayed like Oedipus, by men & things."]

Draft autograph signed letter from Joséphin Peladan addressed to Marius Richard, the father of Carlo Rim (63 lines in black ink, 3 pages on two sheets, one recto-verso) regarding the upcoming creation of a theatrical play, which will be Sémiramis, in the ancient amphitheater of Nîmes which Marius Richard is handling.
Light foxing in letter margins, fold marks inherent to postal handling. Some passages have been crossed out in blue pencil but remain entirely legible.
"24. Rue A. de Neuville
Paris XVII
Mon cher confrère,
mille mercis des détails très précis que vous me donnez. Laissez-moi vous d'abord rectifier un point que j'ai dû mal exprimer. Je n'ai pas voulu dire que j'attribuais neuf mille francs aux interprètes mais à la totalité des frais. Pour les cinq acteurs, je vois mille francs pour Segond, & selon les prix d'Orange, six cents pour chacun des quatre autres, soit Albert Lambert Ferroux (Keth Aour & Zakir Iddin) & les deux mages X X. s'ils sont de la Comédie Française & permettent de dire & d'imprimer que la représentation est donnée par la dite Comédie, sinon les prix baissent de moitié : cela ne ferait donc au maximum que 3400 de cachet. Je tremble en pensant à ce que va faire M. Chambon. Il se peut pour des raisons locales qu'il soit inévitable mais il faut que son plan m'arrive & que je l'étudie & le fasse étudier, car cet homme est cher & ignore la plantation du décor. Mon idée est de faire économiquement, mais d'un autre côté, il y a le côté spectacle que vous m'avez signalé justement comme indispensable. Ce sont les figurants, leurs casques cuirasses & lances qui représentent une assez forte dépense. Incidemment, je vous indique trois détails : 1er emprunter les coulisses de verdure au théâtre municipal. 2e obtenir des clairons de la lyre & des trompettes de l'artillerie qui resteront dans la coulisse, donneraient des sonneries spéciales que je ferai composer. 3e une musique militaire réduite aux bois & également invisible. Enfin, si cela était possible, (je ne le crois pas) des soldats pour figurants guerriers & des enfants d'une école pour les cortèges. Je ne commencerai à négocier les choses c'est à dire à parler ouvertement que lorsque vous me ferez signe. Quand vous viendrez à Paris, faites moi le plaisir de venir dîner ou déjeuner, dîner vaut mieux pour causer, & en toute intimité. J'aurai plaisir à vous présenter à ma femme. il suffit que vous m'avertissiez la veille pour que fussions libres. J'espère que la neuralgie vous a déjà quittée. J'admire le beau début de l'entreprise & je crois que notre effort étroitement commun aboutira à une noble chose. Bien votre Péladan."

Autograph letter signed by Joséphin Peladan addressed to Marius Richard, Carlo Rim's father (62 lines in blue ink, 4 pages on a recto-verso sheet). The Sâr recommends to his friend Marius Richard, in charge of programming at the amphitheatre of Nîmes, the Adonis created by the niece of one of his best friends:
Light foxing in the margins of the letter, fold marks inherent to being placed in an envelope.
"Villenoy par Meaux
Seine & Marne
Mon cher ami,
J'ai vu que vous alliez donner une oeuvre à l'amphithéâtre : vous ne doutez point qu'elle m'intéresse & je vous prie d'abord de m'envoyer la brochure puisque je ne pourrai pas vous applaudir. Je compte donc, au moins, vous lire : faites moi envoyer quelque compte rendu qui me donne la physionomie du spectacle & croyez que l'auteur de Semiramis sera avec vous, de coeur reconnaissant, le soir fatidique. Bien votre Peladan. Je rouvre ma lettre : ayant vu que vous faisez appel aux pièces en un acte de jeunes. On va jouer, à la Roseraie d'Haÿe, un Adonis en un acte d'une jeune fille du monde, mademoiselle Blanche de Villery. Son oncle est mon intime ami & je trouve très décorative & propre au grand cadre nimois cette mort d'Adonis qui va du reste se jouer parmi les huit mille variétés de roses de M. Groveraux. Je vais dire de vous envoyer cet acte : je l'ai entendu à la première répitition & j'en ai aimé les hymnes & les accents lyriques. Je ne crois pas qu'on vous offre mieux & je serais personnellement heureux de vous voir partager mon sentiment. En tout cas, je suis sûr que ma recommandation ne sera pas vaine & que vous lirez l'acte avec un peu de la partialité favorable que je souhaite. A vous.P. C'est Roch de la Comédie qui fera Adonis & pour des odéoniques que vous auriez à bon prix à moins que vous n'utilisiez votre troupe." ["Villenoy par Meaux Seine & Marne My dear friend, I have seen that you are going to present a work at the amphitheatre: you do not doubt that it interests me & I first ask you to send me the brochure since I will not be able to applaud you. I count therefore, at least, on reading you: have some review sent to me that gives me the character of the spectacle & believe that the author of Semiramis will be with you, with grateful heart, on that fateful evening. Truly yours Peladan. I reopen my letter: having seen that you are calling for one-act plays by young people. They are going to perform, at the Rose Garden of Haÿe, an Adonis in one act by a young lady of society, Mademoiselle Blanche de Villery. Her uncle is my intimate friend & I find this death of Adonis very decorative & suitable for the great setting of Nîmes, which will moreover be performed among the eight thousand varieties of roses of M. Groveraux. I am going to arrange for this act to be sent to you: I heard it at the first rehearsal & I loved its hymns & lyrical accents. I do not believe you will be offered better & I would be personally happy to see you share my sentiment. In any case, I am sure that my recommendation will not be in vain & that you will read the act with some of the favorable partiality that I wish. Yours. P. It is Roch from the Comédie who will play Adonis & for Odéon actors whom you would have at a good price unless you use your own troupe."]

Autograph letter signed by Joséphin Peladan addressed to Marius Richard, Carlo Rim's father (41 lines in black ink, 2 pages on a recto-verso sheet). The Sâr gives his final instructions for the creation of his Sémiramis in the ancient amphitheatre of Nîmes directed by Marius Richard.
Light foxing in the margins of the letter, fold marks inherent to being placed in an envelope.
"Mon cher confrère,
Je vous remercie de me rassurer enfin, sur la scène. Je vous écrivais ce matin encor à ce sujet. Voici l'indication pour les quatre spectacles le Sacrifice, la Fête de Tammuz, La Pyrrhique & l'Aruspice à intercaler dans la tragédie. Cela suffit au comité pour comprendre qu'il est le maître de cette partie & j'emploierai les moyens qu'on me donnera. Non, au II, Sémiramis arrive en blanc, après la fête de Tammuz & s'assied sur un banc qu'on empruntera au théâtre municipal. Je suis très heureux du choix des adjoints ; particulièrement de la présence de Placide. Vous voulez plus de figurants qu'à Orange ? Ce n'est pas à moi de le fixer. Dès que vous m'aurez dit le nombre je m'occuperai des costumes. J'entends bien qu'il faut faire bon marché & sans fignolage ; mais comme je dois les exercer avec leurs armes cela augmentera le prix. Comptez dix répétitions de figuration avant les trois d'ensemble avec les interprètes. Je calcule ma mise en scène sur les 20 mètres de décor en hauteur pour utiliser ce décor & ferai jouer partout , ce sera décoratif. D'après la maquette la scène aurait 37 mètres d'ouverture, celle d'Athènes n'en a que vingt cinq. J'aurai besoin d'une photographie du décor en place en hâte pour vous répondre par courrier. Tout votre Péladan." ["My dear colleague, I thank you for finally reassuring me about the stage. I was still writing to you this morning on this subject. Here are the instructions for the four spectacles the Sacrifice, the Festival of Tammuz, The Pyrrhic & the Haruspex to be inserted into the tragedy. This is sufficient for the committee to understand that it is the master of this part & I will employ the means given to me. No, in Act II, Sémiramis arrives in white, after the festival of Tammuz & sits on a bench that will be borrowed from the municipal theatre. I am very happy with the choice of assistants; particularly the presence of Placide. You want more extras than at Orange? It is not for me to decide. As soon as you have told me the number I will take care of the costumes. I understand that it must be done cheaply & without refinement; but as I must train them with their weapons this will increase the cost. Count on ten rehearsals for the extras before the three ensemble ones with the performers. I calculate my staging on the 20 metres of scenery in height to use this set & will have action everywhere, it will be decorative. According to the model the stage would have 37 metres of opening, that of Athens has only twenty-five. I will need a photograph of the set in place urgently to reply to you by post. All yours Péladan."]

Autograph letter signed by Joséphin Peladan addressed to Marius Richard, Carlo Rim's father (29 lines in blue ink) asking him to publicize Paul Mounet, the Sâr's favorite actor whom he feels is not sufficiently recognized at his true worth.
Fold marks inherent to mailing, small marginal foxing.

Autograph letter signed by Joséphin Peladan addressed to Marius Richard, Carlo Rim's father (44 lines in blue ink on a recto-verso sheet). The Sâr is indignant about the pretensions, notably financial, of Paul Mounet and his brother, he also suggests to his correspondent the distribution of roles for the theatrical play on which he is collaborating.
Fold marks inherent to being placed in an envelope.
"Mon cher confrère,
J'ai vu par mes amis Placide que vous aviez été fort affairé, ces temps-ci, par les soins politiques. Et sans doute, vous attendiez d'avoir des choses précises pour m'écrire. Je voudrais non pas vous mettre en garde, mais que vous mettiez les membres du comité en garde contre les déclamations des Mounet. Paul de passage à Nîmes a déclaré que ni lui, ni son frère ne consentiraient à jouer aux Arènes, si on ne les coupait par le milieu & il a proposé un arrangement très coûteux & très absurde car ce grand acteur ne connait rien à l'économie du théâtre antique. C'est une matière où il ne faut pas innover, mais seulement suivre les anciens textes et monuments. Je prévois derrière tout cela la demande de gros cachets, les cachets d'Orange & en conséquence l'effroi du comité. Pour parer à tout cela, voulez-vous lire ma tragédie en quatre actes Semiramis. Tout peut se passer dans les jardins suspendus, c'est à dire dans votre fameux décor. Madame Segond Weber accepte de jouer Semiramis, & pour les cinq autres rôles, j'aurais des gens de la Comédie Française. Cela coûterait moitié moins que la Prométhéide. Certes rien ne la vaut, comme importance. Mais pratiquement, Semiramis donnerait un bénéfice certain à la caisse d'initiative. Si vous pouvez leur faire accepter Prométhée, j'en serai très heureux. Mais à défait, proposez leur Semiramis. j'espère avoir bientôt le plaisir de vous lire. Croyez moi tout votre Peladan. 24. rue A. de Neuville." ["My dear colleague,
I saw through my friends Placide that you had been very busy, recently, with political matters. And no doubt, you were waiting to have precise things to write to me about. I would like not to warn you, but for you to warn the committee members against the Mounet brothers' declarations. Paul, passing through Nîmes, declared that neither he nor his brother would consent to perform at the Arena, if they were not cut in half & he proposed a very costly & very absurd arrangement because this great actor knows nothing about the economy of ancient theater. It is a matter where one must not innovate, but only follow the ancient texts and monuments. I foresee behind all this the demand for large fees, the fees of Orange & consequently the committee's fright. To counter all this, would you read my four-act tragedy Semiramis. Everything can take place in the hanging gardens, that is to say in your famous set. Madame Segond Weber agrees to play Semiramis, & for the five other roles, I would have people from the Comédie Française. This would cost half as much as Prométhéide. Certainly nothing equals it, in importance. But practically, Semiramis would give a certain profit to the initiative fund. If you can make them accept Prométhée, I will be very happy. But failing that, propose Semiramis to them. I hope to soon have the pleasure of reading you. Believe me entirely yours Peladan. 24. rue A. de Neuville."]

Autograph letter signed by Joséphin Peladan addressed to Marius Richard, Carlo Rim's father (14 lines in black ink).
Fold marks inherent to postal handling, small marginal foxing.
From his Parisian residence, the Sâr Péladan thanks his correspondent for the energy he put into seeing Sémiramis mounted and performed, probably in the city of Nîmes: "... je vous rends grâce, comme je dois ; car sans savoir les épisodes et les péripéties, je suis sûr qu'il vous a fallu déployer cette volonté qui est votre originalité & sur laquelle je m'appuyerai encor..." ["... I give you thanks, as I must; for without knowing the episodes and turns of events, I am certain that you had to deploy that will which is your originality & on which I shall rely again..."]

The rare first edition.
Boards partially soiled and sunned, handsome interior condition.

The first edition, of which there were no deluxe copies.
Tears with lacks at head and foot of spine, marginal creases to covers.
Work illustrated with 62 portraits not bound in the text.

First edition.
Minor losses to warped spine, handsome interior condition.

First edition in French.
Tears and small lacks to spine and boards, paper yellowed.
Rare.

First edition printed on ordinary paper.
Spine slightly sunned with a central tear, adhesive paper marks on endpapers.
Signed autograph inscription from Jean de La Varende to his friend Georges Poupet.

Rare first edition published anonymously.
Lacks to spine, small lacks with tears to board margins, some foxing.

Autograph letter signed by Joséphin Peladan addressed to Marius Richard, Carlo Rim's father (12 lines in black ink). Fold marks inherent to mailing. Tiny lacks to lower right corner of the sheet, marginal foxing.
Interesting letter in which the occultist writer expresses his wish to meet Jean Jaurès, fervent admirer of Sâr Peladan's writings, through Marius Richard, Jean Jaurès's faithful companion.
"Dear confrère of the soul, you have excited my desire to see Jaurès. Would you, if there is still time, obtain an appointment with him for me. In haste & will write to you one of these days. Your Péladan. 24 Rue A. de Neuville"

The first edition, of which there were no deluxe copies.
Handsome copy.
Signed autograph inscription from Jean Saunier to Alfred Fabre-Luce.

First edition of which no deluxe copies were printed, an advance copy from the service de presse.
Handsome copy complete with its publisher's slip.
Signed autograph inscription from Pierre de Latil to Jacques Panijel.

First edition of this issue of the review consisting of two folded sheets.
Minor marginal tears of no consequence to the sheets.
On the first, a color woodcut depicting Edouard Dujardin by Louis Anquetin.
On the following, text by Théodore de Wyzewa in first edition titled "Edouard Dujardin".

First edition, one of 12 numbered copies on Japan paper, deluxe copy.
Spine slightly sunned and wrinkled.
Rare and handsome full-margined copy.

First edition of this issue of the esoteric review founded by Aziz Aia.
Lacks and tears to spine and board margins, handsome interior condition.
In this issue: "La philosophie védique d'après d'anciens cantiques oraux", "Etudes classiques", "Idylle", "Bibliographie", "L'Aurisée", "Les visions du royal initié".

First edition of this issue of the esoteric journal founded by Aziz Aia.
Lacks to spine, boards loose, handsome interior condition.
Contents include: "Vedic philosophy according to ancient oral canticles", "A vision", "The visions of the Royal initiate", "Eternal youth", "Visions of amen", "Let us cultivate beauty", "L'Aurisée".

First edition of this issue of the esoteric journal founded by Aziz Aia.
Minor lacks to spine and board margins, handsome interior condition.
Contents include: "Vedic philosophy according to ancient oral canticles", "The visions of the Royal initiate", "Peace", "Yama and Yami", "L'Aurisée", "A letter from Madame Curie", "Question".

First edition of this issue of the esoteric journal founded by Aziz Aia.
A small lack and tear to foot of spine, a corner lack and stain to rear cover, handsome interior condition.
In this issue: "Vedic philosophy according to ancient oral canticles", "Plasticity", "Visions of the Royal initiate", "The legend of the crow", "Fragments", "L'Aurisée", "Bibliography".

First edition of this issue of the esoteric journal founded by Aziz Aia.
Lacks and tears to spine, handsome interior condition.
In this issue: "Vedic philosophy according to ancient oral canticles", "Visions of the Royal initiate", "A step forward", "A vision", "Contemplation", "L'Aurisée", "Varieties", "Questions".

Set of four letters from Napoleon-Jerome Bonaparte to the painter Geniole, two are dated August 21 and December 12 [1842], 6 pages in brown ink, recipient address on the back of the sheets, two seals of the sender in part preserved.
Folds inherent in envelopes.
Some tiny tasks without affecting the text.

First edition.
Unlettered spine with two tears, small tears and tiny marginal lacks to boards, some occasional light foxing.
Copy with signatures tending to come loose.

First edition of Numa (1786) and of Estelle (1784), published at the same time as the 12mo edition. Statement of third edition for Galatée, and first 8vo edition. Estelle bears the imprint: De l'imprimerie de Monsieur. 1788. One frontispiece by Queverdo for Numa Pompilius. The illustrations by Moreau le Jeune announced on the verso of the title page never appeared, but Queverdo's illustrations would be found in the second edition. Printed on Vellum.
Contemporary full glazed blonde calf bindings signed Bozerian at foot of the Numa volume. Smooth spine decorated with the cipher repeated 4 times of Prince Gabriel Petrovitch Gagarine, fillets and rolls. 2 title-labels for each volume in black morocco. Greek key border frame on boards. Roll on edges and interior. Traces of rubbing to headcaps, borders, joints and corners. Very handsome copies bound by Bozérian with the cipher of one of the most illustrious and ancient Russian families.
Prince Gavrila Petrovitch Gagarine (1745 - 1808) resided two years in Paris with Prince A.B. Kourakine and Count N.P. Chérémetev, upon his return to Russia, he was successively appointed Procurator to the Senate, Chamberlain, then Privy Counsellor and Senator. He was also Minister of Commerce, and member of the Council of the Empire. A great scholar and francophile, Prince Gabriel Gagarine is also known for his involvement in Freemasonry of which he presided over forty Lodges, and for which he wrote several works. Also a knowledgeable Theologian, Gabriel was the friend of the famous Metropolitan of Moscow, Platon. His son, Prince Pavel (Paul) Gavrilovitch Gagarine (1777 - 1850) Commander of the Order of Malta, married Princess Anne Petrovna Lopoukhine (°1777 + 1805), favorite of Emperor Paul I. (cf. Mille ans d'Histoire de la famille des Princes Gagarine, by Miguël Cardon de Lichtbuer)

Numa is a novel inspired by the life of the second legendary king of Rome, Numa Pompilius is written in an epic style reminiscent of certain 18th-century translations of Homer. Galatée is a paraphrase of Cervantes' eponymous novel; the work contains a preface on Cervantes' works. Estelle attempts to bring back into fashion the 17th-century pastoral novel. The three works show a Florian well-versed in 17th-century literature, who imitates its style and spirit, Florian constantly blending a poetic style with a narrative style.
Handsome and rare copy with the cipher of Prince and Freemason Gavrila Pétrovitch Gagarine.

[FREEMASONS]
Règlement de la loge de la Concorde
Dijon n.d. [1810], 12 x 19 cm, stitched in temporary binding.
First edition.
Blue temporary binding with a few dampstains, otherwise a very good and very fresh copy. With it, on two loose leaves, a Cantique sur l'air de la Fête des Bonnes Gens printed in Metz, chez la Veuve Verronnais.
This publication gives precise details of the rules of the Lodge, its makeup and the rights and duties of each member, in function of their status. This is followed by general and specific dispositions of the Lodge (conditions of admission and voting, affiliation).
A very good and rare copy.

Hubert & Brun | Paris 1820 | 12.5 x 20.5 cm | contemporary sheep
New edition with 32 plates hors texte.
Contemporary Masonic light brown sheep, the spine with gilt tools and friezes, gilt roulettes to head- and tail-pieces, gilt dentelle frame to boards, with Masonic symbols and devices in centre, marbled endpapers and pastedowns, gilt border on edges of covers, marbled edges.
Repaired tear to p. 417.
A very good copy in a spectacular Masonic binding.