First edition, with no deluxe copies printed.
Pleasant copy, which is uncommon given the fragility of this book, often handled without care.
Inscribed and signed by Serge Gainsbourg to a recipient named Georges.
First edition of the author's third book, with no copies printed on deluxe paper, here a review copy.
Spine very lightly sunned, without seriousness, faint spotting to the board edges.
Rare and desirable presentation copy signed by Patrick Modiano to the woman of letters Christiane Baroche: "Pour Christiane ces boulevards de ceinture avec lesquels elle est bien indulgente. Avec l'amitié de Patrick."
First edition on standard paper.
A handsome copy, complete with its publisher’s wraparound band.
Fine presentation inscription signed by Milan Kundera: "Paris 1998. Pour Michel Tournier avec l'amitié fidèle de Milan Kundera."
First edition, one of 70 numbered copies on Arches wove paper.
Our copy is enriched with the autograph signatures of Jacques Prévert — who signed as Jacques Rêve-vert (with the word “vert” highlighted in green) — and of André Pozner, each accompanied by two small drawings: a little cat for Jacques Prévert and a camel’s hump for André Pozner.
A fine copy, complete with its slipcase.
New edition and the first printing of Jacques Tardi’s illustrations.
Publisher’s white boards, smooth spine.
A handsome copy.
Presentation inscription, dated and signed by Jacques Tardi to Joëlle Passani, with an original black-felt drawing depicting a sorrowful-faced Bardamu in a small vignette.
First edition of this rare work, offering the very first description in French of this small canton, still nominally under Ottoman rule—though in fact largely autonomous—and which appeared as exotic to early 19th-century Westerners as the most remote corners of China.
Illustrated with 13 hand-coloured plates, including a large folding map, two botanical plates, two depicting celebrations, three views of churches, and five costume plates. (cf. Atabey 1286. Lipperheide 1443. Not in Blackmer or Colas.)
Contemporary half calf binding, smooth spines decorated with gilt fillets, garlands, and floral tools, red morocco lettering-piece, black morocco numbering-piece, marbled paper boards, marbled endpapers and pastedowns, sprinkled edges.
Joints fragile, hinges rubbed and split, scattered foxing.
Jacques-Louis-Claude Vialla, known as de Sommières after his birthplace in the Gard (1764–1849), served as governor of Cattaro (in the then French Illyrian provinces) from April 1811 to April 1812. In this capacity, he was officially commissioned in October to approach Vladika (Prince-Bishop) Petar I of Montenegro (reigned 1781–1830), ancestor of the Petrović-Njegoš dynasty, in an attempt to win him over to the cause of the Empire.
This was the first time an official Western embassy had reached these remote, largely self-sufficient regions. Written at a time when the author, placed on half-pay after the Restoration, needed to earn a living, his account abounds in fascinating detail.
First edition of the French translation, issued without any large-paper copies.
A handsome copy, complete with its original promotional band: "Calvino et la préhistoire-fiction."
Inscribed, dated, and signed by Italo Calvino to Pascal Pia.
First edition, complete in 23 instalments, of the second series of this magic periodical (cf. Fechner, p. 503).
Text in two columns; each instalment, richly illustrated, comprises between 12 and 16 pages (20 for the final one).
Contemporary half-sheep bindings: the first volume in brown, the second in tan, the spines with four raised bands tooled with gilt ornaments, moiré-patterned paper sides, marbled endpapers and pastedowns, sprinkled edges; one original wrapper preserved. Bindings from the period, though mismatched in tone between the two volumes.
Complete collection of the second series of this Swiss periodical, whose first publication appeared in 1941–42 as the “journal officiel du Cercle magique suisse”. A third and final series was issued from 1949 to 1963, though only 11 numbers were published.
The Geneva-born Charles-Émile Sauty, known as “Rex” (1900–1967), was a journalist and poet with a keen interest in cinema and magic, and a friend of Marcel Vassal and Ruegg. In 1928 he founded the Académie de magie.
New edition, revised, corrected, and considerably enlarged.
Contemporary bindings in half mottled fawn calf over corners, smooth spines gilt with fillets, morocco title and volume labels, brown paper-covered boards, sprinkled edges.
Some minor rubbing to the spines, a few corners slightly bumped.
L'Esprit des lois occupies volumes I to IV; La Défense de l'Esprit des lois volume V (with a general index); Lettres persanes volume VI; volume VII gathers the Considérations and related pieces; volume VIII contains the posthumous works.
This collected edition of Montesquieu's works offers no particular bibliographical peculiarities in its contents but constitutes a very rare Zweibrücken printing bearing the false Saarbrücken imprint: Deux-Ponts was in fact an autonomous and conveniently located printing centre (by virtue of its proximity) for introducing into France titles that could not otherwise evade censorship.
Rare first edition.
Only two copies recorded in the CCFr (BnF and Lyon).
Modern full grey paper Bradel binding, smooth spine, long paper spine label, sprinkled edges.
At the time of publication, this pamphlet stood far ahead of contemporary thinking and anticipated the formation of the Second French Colonial Empire in Africa: assuming that France would retain and expand its recent conquest of Algiers, the author advances the notion of a French civilising mission among the Black populations of Africa, whom he considers with notable intelligence and openness.
Jean-François-Aimé Peyré (1792–1868) served as a judge at the civil court of Villefranche-sur-Saône.
First edition, one of the numbered copies on alfa paper reserved for the press.
Spine very slightly sunned, otherwise a well-preserved copy.
Signed autograph inscription from Irène Némirovsky to Charles Laval.
Second edition of the French translation prepared by François-Victor Hugo.
Half red shagreen bindings, slightly faded spines with four raised bands numerously framed in gilt and central gilt tooled motif, marbled paper boards, marbled endpapers, speckled edges, contemporary bindings.
Some occasional foxing, minor black specks on a few spines, upper corners of volume 10 slightly damaged.
Our set, attractively bound uniformly in contemporary bindings, is complete in 18 volumes including the often lacking final three volumes of apocryphal writings.
First edition, one of 42 numbered copies on Japon paper, the leading copies after 8 hors commerce on Chine paper.
Elegant Bradel binding in half black calf over floral paper boards by P. Goy & C. Vilaine, covers preserved (lightly soiled at edges), top edge gilt.
With a frontispiece portrait of the author on Chine paper by Jean-Louis Forain.
One tiny foxing as well as a small, clear marginal dampstain touching frontispiece.
A very good copy nicely bound.
First edition, an advance (service de presse) copy.
Some lacks to foot of spine, clear stains and scratches to head and foot of upper cover, tiny foxing to the endpapers, the last endpaper is covered with notes in pencil made by the dedicatee.
Autograph inscription from Irène Némirovsky to Michel Corday.
Fine autograph letter signed by Colette to her friend Bolette Natanson. Two pages written in ink on blue paper. Horizontal folds inherent to the mailing of the letter.
As ever protective and maternal with her friend, Colette compliments her: "Comme tu es gentille, - comme tu es Bolette". Nineteen years her senior, she praises the youth of "[her] child": "Tu es ma 'provision d'hiver', la jeunesse dont j'aurai besoin, plus tard, bien plus encore qu'à présent. Soigne-toi bien ma jeunesse en grange".
Having grown up from early childhood in artistic circles—she was the daughter of Alexandre and the niece of Thadée Natanson, the founders of the celebrated Revue Blanche—Bolette Natanson (1892-1936) formed friendships with Jean Cocteau, Raymond Radiguet, Georges Auric, Jean Hugo, and Colette.
Passionate about dressmaking, she left Paris for the United States with Misia Sert, a close friend of Coco Chanel, and was employed at Goodman. With her husband Jean-Charles Moreux, they opened in 1929 the gallery Les Cadres on boulevard Saint-Honoré and moved in the company of numerous artists and intellectuals. Their success was immediate and they multiplied commissions: the fireplace for Winnaretta de Polignac, the decoration of the Château de Maulny, the arrangement of Baron de Rothschild’s townhouse, the creation of frames for the industrialist Bernard Reichenbach, and finally the design of the shopfront for Colette’s beauty institute in 1932. Bolette Natanson also framed the works of her distinguished painter friends: Bonnard, Braque, Picasso, Vuillard, Man Ray, André Dunoyer de Segonzac, and others. Despite this dazzling ascent, she took her own life in December 1936, a few months after the death of her father.
First edition, with no mention of deluxe paper copies.
Precious signed autograph inscription from Octave Mirbeau to his friend Jules Renard.
Blue pencil mark by Jules Renard on the front cover.
Our copy is further enriched with Jules Renard's celebrated ex-libris, designed and engraved by Henri de Toulouse-Lautrec.
First edition, cf Conlon 17:710. Quérard VII, 455 ("Cette Dissertation est très-estimée").
Full marbled blond calf, spine with five raised bands richly gilt in compartments decorated with gilt bees, red morocco lettering-piece, marbled endpapers and pastedowns, gilt fillet on board edges, mottled edges, contemporary binding.
Lower corner rubbed, endpapers partially browned.
Notable treatise on the two great English political parties, their history, development, and respective positions.
Edition illustrated with 16 original watercolours by Auguste Leroux, engraved on copper by Delzers and Feltesse, one of 90 numbered copies on Imperial Japan paper.
Bound in navy blue half morocco with corners, spine with four raised bands decorated with gilt pointillé and triple gilt panels with typographic motifs, gilt date at foot, gilt fillet borders on marbled paper boards, marbled endpapers and pastedowns, original wrappers and spine preserved, gilt edges, contemporary binding signed by Bernasconi.
As stated in the justification of the print run for the copies on Imperial Japan paper, our copy is complete with its two suites: one in colour with remarques and the other in colour.
In addition, our copy is exceptionally enriched with 2 original drawings by Auguste Leroux, one heightened with watercolour, signed with his initials and placed at the beginning of the volume, just after the justification of the print run.
A fine copy, perfectly bound and enriched with two original drawings.
First edition of the French translation based on the second English edition, with additions drawn from Robert Adams's narrative in Africa, 1810. (cf. Gay 2788.)
Illustrated with 10 plates, including a frontispiece portrait of Mungo Park and a map showing his route from Kayee on the Gambia to Boussa on the Niger.
Contemporary full marbled tan sheep, smooth spine decorated with gilt fillets, garlands and fleurons, cream title labels, gilt dentelle and fillet frames on boards, marbled endpapers and pastedowns, gilt fillets on board edges, speckled edges.
Some wear with minor losses at head and foot of one joint, a few scuffs to the covers, occasional foxing, otherwise a pleasant and sound copy.
This volume includes Mungo Park's journal up to 16 November 1805, as well as the narrative of Isaac, a Mandingo priest who accompanied him on his journey, which would be his last—Park having drowned near Boussa in the Niger River, which he had been one of the first Europeans to explore upstream.
Original photo - Christopher Street Liberation Day March, New York - "The Kiss, Judy Bowen and Philip Raia""On June 28, 1970, I attended the first New York Gay Pride March. The date marks the first anniversary of the Stonewall riots, which launched the LGBTQ+ liberation movement in the U.S. We left from Christopher Street, a gay cultural mecca in Greenwich Village, and walked up 6th Avenue to Central Park. To end the day, a kissing contest was held in the middle of the park! It was a great moment of joy, love and freedom. This couple, who kissed for hours under an umbrella, obviously didn't care about photographers" (Interview with Clément Thierry, 2021)
New edition. A steel-engraved portrait frontispiece, printed on China paper and mounted. Printed in very small type, arranged in two columns.
Full polished blond calf binding, signed by Thouvenin at foot of spine. Smooth spine with blind-stamped Gothic architectural elements heightened with gilt dots, gilt fillets and title. Covers blind-stamped with a large Gothic window surrounded by architectural ornaments. Multiple blind-ruled frames with corner fleurons and gilt fillets. Inner dentelles. All edges gilt. Joints discreetly cracked at head. Some foxing and occasional browning to a few pages. Minor rubbing. Spine slightly dulled. A handsome copy.
Original inscribed photograph showing Yves Montand dressed as a cowboy and pointing a revolver in his right hand.
Yves Montand is slightly facing forward. Vintage silver gelatin print.
On the verso, Yves Montand's name is misspelled twice.
Autograph inscription signed by Yves Montand at the bottom of the photograph: "Pour Michel amicalement Y.Montand."
Mon cher Buloz, voici la lettre à M. Lerminier n'y changez rien. Relisez-en vous même et vous seul l'épreuve. Corrigez les fautes de typographie. Veuillez à la ponctuation et aux guillemets. Il va sans dire que les blancs de mon manuscrits sont le résultat de coupures et de transcriptions que j'ai faites, et ne demandent que de simples alinéas.
Bonjour et amitié,
George ("My dear Buloz, here is the letter to M. Lerminier change nothing. Proofread it yourself and yourself alone. Correct the typographical errors. Mind the punctuation and quotation marks. It goes without saying that the blanks in my manuscript are the result of cuts and transcriptions I have made, and require only simple paragraphs.
Good day and friendship,
George")
This letter perfectly illustrates the stormy yet fruitful collaboration that united François Buloz and George Sand. The latter gave Sand for many years a platform and a means to live by her pen. She published in the Review a great number of masterpieces, including Lettres d'un voyageur (1834-1836), Mauprat (1837), Spiridion (1839), Gabriel (1839), Mademoiselle La Quintinie (1863), Césanne Dietrich (1870). Through his mediation, she also actively participated in the political debates of her time. In 1838, Buloz was the great orchestrator of an ideological duel when Sand "decided to take on the critic Lerminier, who had just made a very critical analysis of the Livre du peuple in the review. Buloz, out of desire for publicity, allowed his two collaborators to publicly exchange blows in the review. Through Lerminier and his superior tone, the review then revealed its rather misogynistic vision of literature and philosophy: 'the time has come for you to give your philosophical opinions more consistency and scope because you are entering a new phase of life and talent. Inspiration and fantasy have raised you to a height where they would not suffice to maintain you. Draw now, madam, new strength from reflection and science'" (Marie-Eve Thérenty, George Sand, François Buloz et la Revue des Deux Mondes).
Sand reacted immediately and sent her response article accompanied by this peremptory missive, ordering Buloz to publish her text as it stood. Lamennais was very touched by her gesture: "I shall always count among the happy circumstances of my life, where I don't count many, to have been defended by you. In publishing my last book, I knew well that it would shock almost everyone, legitimists, juste-milieu, Catholics, even republicans, those at least who want neither God nor liberty, and their number is great, and they have a terrible faith in themselves. I have hoped only in the people who do not make systems, and who, under the influence of primitive and imperishable human instincts, judge by the heart, and judge alone infallibly. Without them I don't know what would become of liberty on earth. M. Lerminier and many others imagine that I speak at random, according to whatever idea of the moment occurs to me. They are mistaken" (Yves Chastagnaret, George Sand, Lerminier et le Livre du Peuple de Félicité Lamennais).
« Chère amoi [sic]
Ton ami arrivé moulu brisé de deux nuits de voitures et de chemins de fer. Il t'attend demain soir mardi. Oh ce sera avec grand bonheur qu'il s'assurera que toutes choses sont dans l'état où il les a laissées
a toi »
Autograph letter signed by Charles de Gaulle, dated and addressed to his cook Augustine Bastide, who served him from 1940 to 1958, 13 lines in black ink on his headed paper.
Fold marks inherent to postal handling.
The de Gaulles had taken in the recipient of this letter, Augustine Bastide, upon their arrival in London. Of Provençal origin, she served the family from 1940 to 1958 first in Great Britain then in France. At the de Gaulle couple's table in an England severely affected by rationing, one could then find rabbits, winkles, and other frogs. The "outspoken Southerner" would remain in the general's service for nearly twenty years, sometimes causing hilarity in the stoic head of state:
« En 1946, alors qu'il venait de quitter le pouvoir volontairement, il lui a lancé : "Vous voyez Augustine, la politique c'est plus décevant que le travail aux fourneaux". Alors, les mains aux hanches, elle a rétorqué : "Mais général, pourquoi ne vous décidez-vous donc pas à rendre définitivement votre tablier ?" Mon père n'a pu se retenir de rire » ("In 1946, when he had just voluntarily left power, he said to her: 'You see Augustine, politics is more disappointing than working at the stove'. Then, hands on her hips, she retorted: 'But General, why don't you decide to hang up your apron for good?' My father couldn't help but laugh")
(Philippe de Gaulle, De Gaulle mon père)
Autograph letter dated and signed by Emile Zola, addressed to his friend the physician Maurice de Fleury, dated in his hand October 15, 1893. 1 page 1/4, 19 lines in black ink on a double sheet. Horinzontal and vertical folds due to mailing. Stain on verso, not affecting the text.
A most unusual invitation from the master of Naturalism, who wishes to organize a luncheon with two eminent specialists in nervous diseases: "Vous êtes bien aimable de m'inviter à déjeuner. Mais cela va vous faire perdre du temps et à moi aussi [...] pourquoi ne prendriez-vous pas un rendez-vous pour deux heures et demie par exemple, avec M. Gille de la Tourette, soit jeudi, soit vendredi. Nous irions chez lui, simplement [...]" ("You are very kind to invite me to lunch. But this will make you lose time and me as well [...] why wouldn't you make an appointment for two-thirty for example, with M. Gille de la Tourette, either Thursday or Friday. We would go to his place, simply [...]")
Zola relied on the expertise and scientific knowledge of Maurice de Fleury, a student of Charcot, to nourish his writing work on the Rougon-Macquart. De Fleury particularly shared publications from his library relating to heredity, a subject at the heart of Zola's great social series of novels - most particularly the generational transmission of nervous diseases, fits of violence and alcoholism.
Maurice de Fleury is also famous for having made, ten years after this letter, a medico-psychological study of Zola himself, through the prism of his working habits: "De dix heures à midi, Zola rédige encore - moins facilement et moins bien que pendant l'heure initiale - et c'est fini pour toute la journée, il ne sera plus bon qu'à écrire des lettres. C'est là la puissance du plus puissant cerveau dans le domaine littéraire, à la fin du siècle. Avec ce tout petit traintrain modeste, trois heures par jour en deux séances, cet homme dont l'attention est modique [...] trouve moyen de nous donner, tous les dix mois, un de ces livres où ne manquent ni la solidité de la charpente [...] ni rien de ce qui constitue la force créatrice, le génie, pour dire le mot"
("From ten o'clock to noon, Zola still writes - less easily and less well than during the initial hour - and it's finished for the whole day, he will only be good for writing letters. This is the power of the most powerful brain in the literary domain, at the end of the century. With this very modest little routine, three hours a day in two sessions, this man whose attention is modest [...] manages to give us, every ten months, one of those books which lack neither the solidity of the framework [...] nor anything that constitutes creative force, genius, to say the word").
"[Maurice de Fleury] maintained close relations with Émile Zola and Joris-Karl Huysmans, with whom he corresponded in the years 1880-1890. Fervent admirer of the author of the Rougon-Macquart, Fleury advised Zola for "Le Docteur Pascal" (1893) and confided his admiration in an article in Le Figaro, in 1896. Very 'fashionable' among the 'intellectuals' (according to Victor Segalen), the young physician also appears in the list of symbolist authors - alongside Paul Adam, Henri de Régnier and Gustave Kahn - in an essay by André Barre, in 1911" (Lola Kheyar Stibler)
Autograph letter dated and signed by Emile Zola, addressed to his friend the physician Maurice de Fleury, dated in his hand October 15, 1893. 1 page 1/4, 19 lines in black ink on a double sheet. Transverse folds inherent to mailing.
"[Maurice de Fleury] entretient des relations étroites avec Émile Zola et Joris-Karl Huysmans, avec lesquels il correspond dans les années 1880-1890. Fervent admirateur de l'auteur des Rougon-Macquart, Fleury conseille Zola pour Le Docteur Pascal (1893) et confie son admiration dans un article du Figaro, en 1896. Très « à la mode » parmi les « intellectuels » (selon le mot de Victor Segalen), le jeune médecin figure également dans la liste des auteurs symbolistes - aux côtés de Paul Adam, Henri de Régnier et Gustave Kahn - dans un essai d'André Barre, en 1911" ("[Maurice de Fleury] maintains close relations with Émile Zola and Joris-Karl Huysmans, with whom he corresponds in the years 1880-1890. Fervent admirer of the author of the Rougon-Macquart, Fleury advises Zola for Le Docteur Pascal (1893) and confides his admiration in an article in Le Figaro, in 1896. Very 'fashionable' among the 'intellectuals' (according to Victor Segalen), the young physician also appears in the list of symbolist authors - alongside Paul Adam, Henri de Régnier and Gustave Kahn - in an essay by André Barre, in 1911") (Lola Kheyar Stibler)
Manuscript note by Philippe Soupault, 22 lines in mauve ink on a sheet, headed with this inscription: "Les séances", devoted to the famous "sleep" sessions conducted in André Breton's studio consisting of oneiric writings or texts dictated by a dreamer.
The manuscript notes contain three deletions and corrections.
Philippe Soupault considers his attempts questionable and even labels them as imposture, distancing himself from any active participation in these practices: "Neither Aragon nor I participated actively in the experiments called sleep sessions, while Breton accepted with great interest Crevel's suggestion to engage in experiments he had discovered among friends. One had to fall asleep and recount what 'one saw'..."
He recalls the results that were not always convincing: "Crevel, Desnos and Péret 'fell asleep' and, despite his efforts, Breton could not manage to fall asleep. Listening to the accounts of these sessions, I could not help thinking that the 'sleepers' did not hesitate to simulate in order to make themselves interesting." to such an extent that the intransigent leader of surrealism interrupted them: "Breton realized the danger of one-upmanship and especially of Desnos's exaltation. He ceased attempting new sleep experiments."
Interesting recollections from the last living historical surrealist, often harsh toward his former or new companions.
First printing of the 109 colored wood miniatures by Henry Lemarié, one of the numbered copies on Rives laid paper for each of the volumes.
Small tear at foot of spine of the Bluebeard slipcase, very light rubbing without significance to the slipcases, two small tears at foot of second board of the silent wrapper encasing Cinderella.
We include the illustrated catalogue of Jean Porson editions as well as the catalogue, printed on Rives, announcing the collection of Charles Perrault tales illustrated by Henry Lemarié. This descriptive catalogue is decorated with the frontispiece of Sleeping Beauty in black, two vignettes and two in-text illustrations by Henry Lemarié.
Each slipcase features an illustration by Henry Lemarié on the first board.
Pleasant and rare set, complete with its illustrated slipcases, which was originally intended to comprise six tales but of which only three were published.
First French edition, one of 77 numbered copies on pur fil, only deluxe issue.
Preface by Albert Camus.
Nice copy housed under a chemise and slipcase by Devauchelle.
First edition, one of 106 numbered copies on vergé de Vizille, only deluxe issue.
Nice copy of this 1999 Goncourt Prize winner.
20 full-page lithographs in black by Gustave Doré, in second state.
Red half oblong Bradel-style cloth binding, smooth spine, black morocco title label, marbled paper boards, beige paper endpapers and flyleaves, corners slightly dulled.
Quand fleurit le marronnier du square
Autour de nous, le printemps se prépare
De ses doigts verts, il bat le jeu
Donnant aux deux amoureux
Un as de coeur, la carte du bonheur
La première fois, sur ton tailleur bleu
Un grand foulard vert !
Fausse note
["False note"]La seconde fois, j'ai baisé ta main
["The second time, I kissed your hand"]Tu sentais l'oignon
["You smelled of onion"]Fausse note
["False note"]Toi l'inconnu(e)
Ombre entrevue
Tendre mirage
Soleil de ma vie
Emporte mes soucis
Original photo from Christopher Street Liberation Day March, New York - "Perverts' Union for Gay Liberation""On June 28, 1970, I attended the first New York Gay Pride March. The date marks the first anniversary of the Stonewall riots, which launched the LGBTQ+ liberation movement in the U.S. We left from Christopher Street, a gay cultural mecca in Greenwich Village, and walked up 6th Avenue to Central Park. To end the day, a kissing contest was held in the middle of the park! It was a great moment of joy, love and freedom. This couple, who kissed for hours under an umbrella, obviously didn't care about photographers" (Interview with Clément Thierry, 2021)
