Gift ideas between 400 and 500 €

First edition printed with a small number of copies.
A poem by Renée Vivien at the top of the work.
A beautiful and very rare copy.
In memoriam...

Original photographic montage of Jaime Sabartés and Picasso
s.ls.d(ca 1973), 39.4 x 29.3 cm, other
Unique original photographic montage produced from a large photograph showing Jean-Pascal Lorriaux and Jaime Sabartés, on the right-hand margin an original stamp is glued on which there is a portrait of Sabartés by Pablo Picasso, in the lower margin there are other collages of printed paper forming the title “Sabartés welcoming recevant J-P Lorriaux - 45 années de vie avec Picasso” “Sabartés welcoming receiving J-P Lorriaux - 45 years of life with Picasso”.
Jean-Pascal Lorriaux was a passionate collector who had the idea of publishing a collection of lithographs presenting the hands of the great artists of his time. Thus Chagall, Picasso, Fautrier (of whom his was the assistant and close friend during the last years of his life), Foujita, Cocteau, Lurcat and Mathieu will visit his studio to engrave their hand on lithographic stone. Lorriaux will not have the time to finalise his project and only a few attempts will be carried out.

First edition, abundantly illustrated with 68 plates including 7 in colors hand-colored and gum arabic highlights (costumes in picturesque scenes), all on tinted paper.
Contemporary half light green glazed calf binding. Smooth spine decorated with rocaille tools throughout and panels. Gilt title and volume number in medallions. Small leather loss at head of volume 1, headcap present. Traces of rubbing. One corner bumped, the others slightly turned. Relatively fresh set, with pale scattered foxing mainly in margins. Good copy.
The descriptions proceed by province (Hainaut, Liège, Brabant...). In addition, current state of literature and sciences in Belgium.

Photographic postcard depicting the great tragedienne Sarah Bernhardt creating the role of Elizabeth I of England.
Handsome copy.
Manuscript signature of Sarah Bernhardt dated 1909 to the right of her portrait.

First edition consisting of an album of 10 original etchings by Adolphe Lalauze and a sanguine frontispiece around the theme of childhood.
Publisher's full red cardboard binding, smooth spine without lettering, some scratches on the headcaps, title and illustrator's name stamped in gold on the first cover, blind-ruled frame on covers, covers slightly faded at foot, marbled endpapers and pastedowns.
Pleasant interior condition, three of the ten etchings being signed in the plate.
Presentation by Eugène Montrosier.
Provenance: from the library of Ludovic Halévy with his bookplate pasted on a pastedown.

First illustrated edition with 50 vignettes by Charles Jacque. Chronological table at end.
Half red straight-grained morocco binding, late 19th or early 20th century. Raised-band spine decorated with 4 fleurons and roll-tooling on bands and headcaps. Top edge gilt. Original wrappers preserved. Front wrapper with restorations. Uncut throughout, full-margined, of superb freshness.
Very handsome copy. Rare in this condition.
Popular and entertaining history of Napoleon. In narrative form, the narrator tells how as a child, he witnessed the arrival of two soldiers who, by means of a magic lantern, recounted Napoleon's story to him. The vignettes thus correspond to the magic lantern projections. Soulié's narrative was later included in a compilation in 1854 under the title: Droll Stories of Napoleon. In Soulié's narrative, the romantic myth of Napoleon unfolds vividly, along with the ideal he represented for the romantic generation.

First posthumous edition.
Contemporary half red shagreen binding. Raised-band spine decorated with 5 fleurons. Initials G. B. at tail. Some rubbing. Fresh overall. Good copy.
The posthumous collection, Turgenev having died in 1883, comprises 4 unpublished stories: Monsieur François, The Song of Triumphant Love (with a dedication to Gustave Flaubert), After Death (Clara Militch), A Fire at Sea; it opens with a chapter on Turgenev's life and work by Viscount E-M de Vogué, and concludes with Renan's speech delivered at the author's grave. The last story in the collection, A Fire at Sea, was dictated to Pauline Viardot by an ailing Turgenev shortly before his death.

First edition.
Contemporary half red shagreen binding. Spine with raised bands decorated with 5 fleurons. Initials G. B. at foot. Light rubbing. Good copy, very fresh.
Collection composed of 2 stories: La caille and Mémoires d'un nihiliste, 2 collections of short stories: Souvenirs d'enfance and 30 petits poèmes en prose (short stories in the manner of Baudelaire's petits poèmes en prose), and a play: Trop menu, le fil cassé.

First edition of this very first dictionary devoted to dance.
Later (19th century) half blonde russia morocco binding with corners, smooth spine decorated with gilt tools and fillets, pebbled paper boards. Some rubbing, otherwise handsome copy.
Interesting work in which Compan names and describes all ancient and modern dances as well as the rules and movements that govern them.
Provenance: from the library of Léon Duchesne de la Sicotière - politician and polygrapher - with his bookplate pasted to front pastedown.

First edition published under the pseudonym of Loyson-Bridet, one of the copies from the first printing bearing, on the justification page, Schwob's personal vignette: a goose holding a quill in its beak.
Half black shagreen binding, smooth spine decorated with gilt floral and typographical motifs, light rubbing to spine, scratches to marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, corners slightly bumped, contemporary binding.
A small stain at foot of title page and on the facing page.
Signed autograph inscription from Marcel Schwob, under his pseudonym of Loyson-Bridet: "A Emile Despax, son ami. Loyson Bridet."

Illustrated edition with original etchings by Léon Lebègue, one of 30 numbered copies on grand Japan paper, deluxe issue.
Our copy, as stipulated in the justification page, is complete with the triple state of the engravings.
Handsome copy.

Autograph letter signed by Lucien Daudet addressed to Lucien Descaves; six pages written in black ink on a double sheet and a single sheet. Creases inherent to the mailing.
Fine and long unpublished letter addressed to Lucien Descaves, to whom Daudet had not given news for two years. He outlines broadly the tragic events that occurred since: "Since that time, I remained in Paris, I witnessed the days of June 40 [...] I undertook, to forget my life, to write a life of my father [...] Then in August, I understood that I was very ill [...] I was operated on, reoperated on, in November I was dying, I knew nothing anymore, then a phlebitis. [...] A month later I learned of my brother's death."
All these sad misadventures do not prevent him from thinking about the Goncourt Academy which he evokes at length in this missive. Indeed, his brother Léon Daudet having died a few months earlier, the academicians are seeking a successor and Lucien's name figures among the favorites: "As soon as the newspapers mentioned my name for the Goncourt Academy, I was very embarrassed." He nevertheless states the reasons why he does not wish to join the ten: "Because I could not appear, my brother being dead, to say 'my turn' [...] And finally, it is difficult to write when one is the son of Alphonse Daudet, but when in addition one is the brother of Léon Daudet [...] the game was lost in advance for me." It is finally La Varende who will be elected on the recommendation of René Benjamin and Sacha Guitry and despite his certainties ("I would present myself one day or another to the Academy") Lucien Daudet will never join the prestigious jury.
Lucien has attached to his first letter another sheet in which he comments on Germaine Beaumont's latest novel: "One must not have the slightest idea of what a novel is, a true novel, to not have understood that for years no one had written a novel of such density." This literary consideration is the occasion for Daudet to address the Céline case, who - still in France at this time - has just published his third pamphlet Les Beaux Draps: "You, I, a few others loved Céline when he had great talent. And then all the imbeciles discovered him when he imitated himself and it was no longer anything but the waffle iron..."

Black and white photographic portrait of Marcel Aymé by Thérèse Le Prat in a period silver gelatin print on baryta paper. Manuscript signature by Thérèse Le Prat in white ink at the bottom left of the photograph.Photographer's stamp on verso and pencil annotation.
Fine copy despite a fold to the upper right corner.
We have been able to locate only one other example of this photograph at the Médiathèque de l'Architecture et du Patrimoine in Charenton-le-Pont.

Second edition, published the same year as the first, printed by the royal printing house in 500 copies.
Two leaves browned.
Bradel binding in full marbled paper, smooth spine decorated with a black morocco label, title lengthwise, binding signed Thomas Boichot.

Original drawing signed by Paul Valéry, executed in pencil and depicting a full-length female figure.
Traces of kraft paper tape on the verso.
Connected to the Manet and Rouart families and the author of several texts on the fine arts, Valéry himself practiced drawing throughout his life, notably adorning the margins of his celebrated Cahiers.

Eight period albumen photographs depicting an amateur tennis team.
Blue paper album sewn with red cord, title and date in silver ink on the first cover.
Very fine condition.

Autograph letter signed by Violette Leduc addressed to Adriana Salem, written in three stages in blue ink on two sheets detached from a schoolchild's notebook.
The three stages of this letter concern the regretted purchase of a record player that Violette Leduc wishes to exchange for a transistor radio.

First edition illustrated with 12 original compositions outside the text by Pierre Fonteinas colored by stencil, one of 839 numbered copies on B.F.K. de Rives paper.
Half blue morocco binding with corners, spine lightly darkened with four raised bands decorated with a red mosaic morocco piece representing a wave emerging from gilt wavelets rising up to gilt stars, gilt fillets on the marbled paper boards, endpapers and pastedowns of another marbled paper, covers and spine preserved, top edge gilt, binding signed P. Nichon.
The work is also illustrated with 8 initial letters and 1 tailpiece by Pierre Fonteinas.
Handsome copy.

Original lithograph printed on BFK de Rives paper. "Artist's proof" notation written in pencil at lower left. Artist's signature in pencil at lower right of the plate.
Margins soiled with small creasing marks.
Mysterious landscape with luxuriant vegetation, fire at center, depicts the titan against a background of hills in green and orange tones.

First illustrated edition with 101 drawings by Benett including a frontispiece engraved by Meaulle and 2 full-page maps. Catalogue AI for the year 1881.
Red publisher's binding with the two elephants, back cover of Lenègre b type, with blind-stamped medallion, conforming to Jauzac's description.
Volume very slightly warped, a small black mark at the level of the lower cut of the back cover
Adventure and science fiction novel set in India. The steam house is a sort of train whose locomotive is a steam elephant, the machine runs without rails and can even be amphibious.

First edition, a Service de Presse (advance) copy.
Foxing on covers, a light dampstain on spine.
Printed bookplate representing the lion of Saint Mark at head of an endpaper.
Touching and precious signed autograph inscription from Raymond Queneau: "A Serge Reggiani comédien, chanteur et poète. Queneau."

First edition large octavo illustrated with 68 drawings by George Roux as well as 2 maps.
Publisher's Hetzel binding signed Engel known as "au globe doré" type 3, lighthouse spine, second cover type Engel "h" according to Jauzac, all edges gilt. Publisher's BH catalogue at end.
Volume very slightly warped, spine lightly stained, some small losses of gilt on the plate. Original blue endpapers very marginally lightened as usual. Plate from page 249 detached, some foxing.
Seconde patrie is a robinsonade. A great admirer of the novel Le Robinson suisse written in 1812 by the Swiss-German pastor Johann David Wyss, Jules Verne imagines a sequel to the adventures of the Zermatt family.

Autograph letter signed by Colette addressed to her friend, the man of letters and lawyer Adrien Peytel, nine lines written in black ink.
Some folding marks inherent to the mailing of the letter.
"And then damn it, enough already. Here La Cigale is calling me for tomorrow evening, and I haven't stolen it, since I accepted, and even asked, to do the café-concert criticism on the same level as the other."

"Vade mecum" edition illustrated with 55 engravings drawn by Forest.
Full brown Russia morocco binding, spine with four raised bands set with black garlands decorated with gilt double compartments and gilt typographical motifs, gilt date and place at foot, gilt roulettes on headcaps, quintuple gilt fillet frame with gilt fleurons at corners on boards, marbled endpapers and pastedowns, gilt dentelle frame on pastedowns, all edges gilt, double gilt fillets on edges, two corners slightly bumped, covers and spine preserved, superb binding signed Mercier successor to Cuzin.
Fine copy perfectly executed in a full morocco binding by Mercier.

Second edition statement, revised and corrected by the author. Abundant illustrations, notably 93 particularly interesting photographs featuring gold prospectors throughout the world and especially in California and Alaska. Numerous engravings after photographs, maps, graphics, photogravures of art objects...
Publisher's green and gilt binding with scenes of gold prospectors, a planisphere showing places in the world where gold is found... (plate signed Paul Souze) Spine with various ornaments.
Superb front cover. Spine very good, with traces of rubbing at headcaps and slightly on joints. Lower corners slightly turned. Back cover perfect.
Very handsome copy.
Contents: Gold in the laboratory, gold in nature, gold extraction, ore treatment, gold metallurgy, chemical treatment, What is gold used for? Industrial uses of gold, gold currency.

Edition illustrated with 45 original watercolors in colors by Pierre Brissaud reproduced by pochoir, one of 403 numbered copies on Holland paper.
Bradel binding in half navy blue morocco with corners, smooth spine decorated with two compartments of red mosaicked morocco, date and place gilt at foot, marbled paper boards, endpapers and pastedowns of moiré effect paper, covers and spine preserved, top edge gilt, slipcase edged with navy blue morocco, boards covered with two different marbled papers marked by a red morocco division, elegant unsigned binding.
Handsome copy pleasantly established.

New edition with illustrations by Luigi Rossi and Felician Myrbach, one of 50 copies on Japan paper, deluxe copy.
Half tawny morocco binding with corners, spine with five raised bands set with gilt dots decorated with double gilt compartments enhanced with gilt typographical motifs, gilt date at foot, gilt fillet on pebbled paper boards, combed paper endpapers and pastedowns, top edge gilt retaining deckled edges, covers and spine preserved, contemporary binding signed Kraft.
A description label from an English bookseller pasted on an endpaper, light scratches of no consequence to headcaps, occasional worming.
Provenance: from the Robert Hoe library with his bookplate pasted on a pastedown.

Edition illustrated with 8 original etchings by André Dignimont, one of 25 numbered copies on Holland paper, deluxe issue after 8 different Japan papers.
Bound in full red morocco shagreen, spine with five raised bands set with gilt fillets decorated with double gilt compartments ornamented at their centers with gilt floral motifs, triple gilt fillet frame on boards, moiré-effect paper endpapers and pastedowns, gilt dentelle frame on pastedowns, covers and spine preserved, top edge gilt on deckled edges, binding signed Barth fils.
Our copy contains the complete suite in black of the illustrations as stipulated in the justification page.
Handsome copy attractively bound.

Edition illustrated with 27 in-text monochrome decorations by Eugène Courboin and a double frontispiece, including one of Daniel Vierge interpreted as an etching by Frédéric Massé, one of 660 numbered copies on satin velin from Scotland, only print with 40 royal Japan.
Binding in half pale blue morocco, spine decorated with typographic motifs with a piece of black and flesh coloured mosaic morocco in the centre representing a faun playing the flute, title piece in navy blue morocco, frame of gilt fillets on the marbled paper boards, caillouté marbled endpapers, covers and spine preserved, top edge gilt, contemporary binding signed Randeynes.
Small traces of foxing on the first board.
Pleasant, perfectly set copy.

Rare original color lithograph, executed by Jeanne Granès for L'Estampe Moderne, series number 23 published in March 1899.
One of 50 deluxe proofs printed on Japan paper with wide margins, artist's signature and date in the plate, publisher's dry stamp depicting a child's profile in the lower margin, numbered luxury edition stamp on the reverse; engraving preceded by a tissue guard captioned with the artist's name, title, and text.
Lithograph inspired by an extract from a work by Jean Kervadec, reproduced on the print's tissue guard.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specifically by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each issue of four prints was printed in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe edition: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on the most prestigious of papers: Japan paper. Thick, silky, satiny and pearlescent, it contributes to making each page a complete work in itself. Its quality of ink absorption and its affinity with colors also make it the ideal medium for these very fine lithographs.
French collectors' interest in artistic posters intensified at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and pasted in the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the illustrated luxury book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
A handsome copy.

First edition. Limited to 1000 numbered copies on Velin du Marais paper, no. 89. A hand-watercolored frontispiece with gold highlights, 37 superb engravings, most in mezzotint as plates, but some in text (frames, coats of arms...), under inscribed tissue guards. One double-page engraving and two in sepia printing. The plates, superbly executed, are before letters and printed on strong vellum.
Contemporary half pink morocco binding with corners. Spine with raised bands decorated with fillets. Gilt titles. Light spotting on the first compartment, on one corner. Some rare worming.
Very handsome copy.
Famous monograph by Pierre de Nolhac, admirably illustrated.

Cover of L'Estampe Moderne n°224 April 1899

L'Estampe Moderne, Imprimerie Champenois pour CH. Masson & H.Piazza, Paris April 1899, 41 x 56 cm, one leaf

Original large margin print in black and white serving as the cover of the famous monthly publication Estampe Moderne. Entirely printed in black and white, our print is the cover of the rare collection in a large-margin luxury print of the first year of publication. Artist's signature on the board and number of the luxury print added in pencil.
A magnificent monthly French publication published between May 1897 and April 1899, L'Estampe moderne comprised unpublished chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as is stipulated on the protective tissue, were specially made for the magazine by each artist. There are thus 100 prints that appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, the Pre-Raphaelites, Orientalism and the Belle Epoque. Each delivery of four prints was printed with 2000 copies and sold for 3.50F, with 100 on Japan offered for 10F. Henri Piazza also planned a high-luxury confidential print: 50 copies with wide margins on Japan and 50 in black and white at the considerable price of 30F.
French collector's interest in artistic posters grew from the beginning of the 1890s. Octave Uzanne invented the term “affichomanie” (“poster-mania”) for this growing interest. The poster, originally common-place and plastered across the streets of the capital, then became an object of art and its ephemeral medium precious and dedicated to conservation.
Piazza decided to remove the poster from its advertising role and elevate it to the rank of a work of art in its own right, in the same way as the luxury illustrated book. Thus, he composed a prestigious collection of entirely original works, by the most well-known European artists of the time: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.

The publisher also included in his project a Czech artist, newly arrived in Paris, Alfons Mucha “qui s'est révélé depuis peu en France et qui a conquis d'emblée une si grande place dans la faveur du public. Comme dans ses affiches, que tout le monde connaît et recherche, il nous montre ici les ressources variées de son talent multiple et sûr de dessinateur, de décorateur et de coloriste.” “who has recently emerged in France and who has straightaway conquered a significant place in the public's favour. As in his posters, that everyone knows and desires, he shows us here the varied resources of his multiple and sure talent as an artist, decorator and colourist.” (caption printed on the Salomé protective tissue). Incidentally, it is also to him that the first premium of the magazine will be entrusted, offered “à tous les souscripteurs des douze livraisons annuelles de L'Estampe moderne” “to all the subscriber of the twelve annual deliveries of L'Estampe moderne” as well as the famous illustration of the covers.

A very beautiful copy.

Rare original lithograph, executed by Guillaume Dubufe for L'Estampe Moderne, series number 24 published in April 1899.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature in the plate, publisher's dry stamp representing a child's profile in lower margin, mounted on a sheet of laid paper with the numbered stamp of the deluxe edition on verso, some foxing and small corner defect.
Lithograph inspired by an extract from La maison d'exil by Guillaume Pilon.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe Moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each delivery of four prints was issued in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print in a handsome format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too insubstantial, owes its reputation not to its own beauty, but indeed to its particular affinities with printing ink. Its texture, smooth and soft together, is more apt than any other to receive a fine printing. This property makes China paper sought after for printing engravings..." (Anatole France).
The interest of French collectors in artistic posters intensified at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "postomania". The poster, originally popular and pasted on the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy.

Rare original lithograph, executed by Adolphe Giraldon for L'Estampe Moderne, series number 14 published in June 1898.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature and date in the plate, publisher's dry stamp depicting a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered stamp of the deluxe printing on the verso, some foxing, traces of angular creases.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of unpublished chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appear in total, covering the major artistic movements of the late nineteenth century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each delivery of four prints is published in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also provides a confidential printing of very high luxury: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too inconsistent, owes its reputation, not to its own beauty, but indeed to its particular affinities with printing ink. Its texture, smooth and soft together, is more apt than any other to receive a fine printing. This property makes China paper sought after for printing engravings..." (Anatole France).
The interest of French collectors in artistic posters amplifies at the beginning of the 1890s. Octave Uzanne, to qualify this fever, invents the term "affichomanie". The poster, originally popular and posted in the streets of the capital, then becomes an art object and its ephemeral support becomes precious and devoted to conservation.
Piazza decides to remove the poster from its advertising vocation and to elevate it to the rank of a complete work of art on the same level as the luxury illustrated book. He thus composes a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy.

First edition printed in 500 numbered copies.
Publisher's full grey cloth binding, smooth spine, retaining the illustrated dust jacket with small foxing to the rear panel and slight marginal tears.
Some discoloration to the margin of the front panel of the photographic jacket, occasional interior foxing.
Work illustrated with 48 photographs by Thérèse Le Prat.
Text by Philippe Stern and Thérèse Le Prat.
Autograph inscription signed by Thérèse Le Prat to photographer Jean-Louis Nou who was her protégé and whom she introduced to photography: "A Jean Louis Nou qfin qu'il persévère... Thérèse Le Prat."
Our copy exceptionally contains an autograph letter signed and dated July 21, 1964 from Thérèse Le Prat to Jean Louis Nou informing him of the dates of her exhibition entitled "En ses métamorphoses, un seul et même visage", envelope included.

Cover of L'Estampe Moderne n°22 February 1899

L'Estampe Moderne, Imprimerie Champenois pour CH. Masson & H.Piazza, Paris February 1899, 41 x 56 cm, one leaf

Original large margin print in black and white serving as the cover of the famous monthly publication Estampe Moderne. Entirely printed in black and white, our print is the cover of the rare collection in a large-margin luxury print of the first year of publication. Artist's signature on the board and number of the luxury print added in pencil.

A magnificent monthly French publication published between May 1897 and April 1899, L'Estampe moderne comprised unpublished chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as is stipulated on the protective tissue, were specially made for the magazine by each artist. There are thus 100 prints that appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, the Pre-Raphaelites, Orientalism and the Belle Epoque. Each delivery of four prints was printed with 2000 copies and sold for 3.50F, with 100 on Japan offered for 10F. Henri Piazza also planned a high-luxury confidential print: 50 copies with wide margins on Japan and 50 in black and white at the considerable price of 30F.
French collector's interest in artistic posters grew from the beginning of the 1890s. Octave Uzanne invented the term “affichomanie” (“poster-mania”) for this growing interest. The poster, originally common-place and plastered across the streets of the capital, then became an object of art and its ephemeral medium precious and dedicated to conservation.
Piazza decided to remove the poster from its advertising role and elevate it to the rank of a work of art in its own right, in the same way as the luxury illustrated book. Thus, he composed a prestigious collection of entirely original works, by the most well-known European artists of the time: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.

The publisher also included in his project a Czech artist, newly arrived in Paris, Alfons Mucha “qui s'est révélé depuis peu en France et qui a conquis d'emblée une si grande place dans la faveur du public. Comme dans ses affiches, que tout le monde connaît et recherche, il nous montre ici les ressources variées de son talent multiple et sûr de dessinateur, de décorateur et de coloriste.” “who has recently emerged in France and who has straightaway conquered a significant place in the public's favour. As in his posters, that everyone knows and desires, he shows us here the varied resources of his multiple and sure talent as an artist, decorator and colourist.” (caption printed on the Salomé protective tissue). Incidentally, it is also to him that the first premium of the magazine will be entrusted, offered “à tous les souscripteurs des douze livraisons annuelles de L'Estampe moderne” “to all the subscriber of the twelve annual deliveries of L'Estampe moderne” as well as the famous illustration of the covers.

A very beautiful copy.

Rare original lithograph, executed by A. Yank for L'Estampe Moderne, series number 19 published in November 1898.
One of 50 deluxe proofs printed on China with wide margins, artist's monogram in the plate, publisher's dry stamp representing a child's profile in lower margin, mounted on a sheet of laid paper with on the back the numbered stamp of the deluxe edition, pale marginal foxing; print preceded by a tissue guard captioned with the artist's name, title, and an extract from a work.
Lithograph inspired by an extract from the travel account in Brittany, Par les Champs et par les Grèves, by Gustave Flaubert, reproduced on the print's tissue guard.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe Moderne consists of unpublished chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created especially by each artist for the magazine. Thus 100 prints appear in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each delivery of four prints is printed in 2000 copies sold at 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also provides a confidential deluxe printing: 50 copies on Japan with wide margins and 50 in black on China at the considerable price of 30F.
This print of handsome format is superbly printed on one of the most prestigious papers: China. "Despite all its qualities, China paper, too inconsistent, owes its reputation not to its own beauty, but indeed to its particular affinities with printing ink. Its texture, smooth and soft together, is more apt than any other to receive fine printing. This property makes China paper sought after for printing engravings..." (Anatole France).
French collectors' interest in artistic posters intensified at the beginning of the 1890s. Octave Uzanne, to qualify this fever, invented the term "affichomanie." The poster, originally popular and pasted on the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a work of art in its own right, like the illustrated deluxe book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy.

Rare original lithograph, executed by Henri Guinier for L'Estampe Moderne, series number 21 published in January 1899.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature in the plate, publisher's dry stamp representing a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered stamp of the deluxe edition on the verso, some foxing.
Lithograph inspired by a song from Chansons de Bretagne by Anatole Le Braz.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created especially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the end of the 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each delivery of four prints was issued in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe edition: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print in a handsome format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too inconsistent, owes its reputation not to its own beauty, but indeed to its particular affinities with printing ink. Its texture, smooth and soft together, is more apt than any other to receive a beautiful printing. This property makes China paper sought after for printing engravings..." (Anatole France).
French collectors' interest in artistic posters intensified in the early 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie". The poster, originally popular and displayed in the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy.

Rare original lithograph, executed by Paul Renouard for L'Estampe Moderne, series number 17 published in September 1898.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature in the plate, publisher's dry stamp representing a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered stamp of the deluxe printing on the reverse, pale marginal foxing.
Lithograph inspired by an extract from La Danse et les Ballets by J. Reading.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specifically by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each delivery of four prints was issued in 2,000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too inconsistent, owes its reputation not to its own beauty, but to its particular affinities with printing ink. Its texture, smooth and soft at once, is more apt than any other to receive a beautiful printing. This property makes China paper sought after for printing engravings..." (Anatole France).
The interest of French collectors in artistic posters intensified at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral support became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
A handsome copy.

Rare original lithograph, executed by Henri Martin for L'Estampe Moderne, series number 15 published in July 1898.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature in the plate, publisher's dry stamp representing a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered luxury edition stamp on the verso, pale marginal foxing.
Lithograph inspired by an extract from Dante's Divine Comedy.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe Moderne consists of unpublished chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were specially created by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each delivery of four prints was issued in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential very deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too inconsistent, owes its reputation not to its own beauty, but rather to its particular affinities with printing ink. Its texture, smooth and soft at once, is more apt than any other to receive a beautiful printing. This property makes China paper sought after for printing engravings..." (Anatole France).
French collectors' interest in artistic posters intensified at the beginning of the 1890s. Octave Uzanne, to qualify this fever, invented the term "affichomanie." The poster, originally popular and posted on the streets of the capital, then became an art object and its ephemeral medium became precious and devoted to conservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art on the same level as the luxury illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the symbolist style.

Rare original lithograph, executed by Henry Detouche for L'Estampe Moderne, series number 12 published in April 1898.
One of 50 deluxe proofs printed on China paper with large margins, artist's signature in the plate, publisher's dry stamp representing a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered stamp of the deluxe edition on verso, pale marginal foxing, small dark dampstain in corner, slight trace of the stamp from the previous engraving on recto.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other journals such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the journal. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each delivery of four prints was issued in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with large margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on one of the most prestigious papers: China. "Despite all its qualities, China paper, too insubstantial, owes its reputation not to its own beauty, but to its particular affinities with printing ink. Its texture, smooth and soft at once, is more apt than any other to receive a beautiful printing. This property makes China paper sought after for printing engravings..." (Anatole France).
French collectors' interest in artistic posters grew at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and pasted on the streets of the capital, then became an art object and its ephemeral support became precious and devoted to preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in Art Nouveau style.

Rare original lithograph, executed by Gaston Bussière for L'Estampe Moderne, series number 13 published in May 1898.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature in the plate, publisher's dry stamp representing a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered stamp of the deluxe printing on the verso, pale marginal foxing.
Lithograph inspired by some verses entitled La Valkyrie, extracted from L'Anneau du Nibelung by Richard Wagner, translated by A. Ernst.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each delivery of four prints was issued in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too insubstantial, owes its reputation not to its own beauty, but to its particular affinities with printing ink. Its texture, smooth and soft at the same time, is more apt than any other to receive a fine printing. This property makes China paper sought after for printing engravings..." (Anatole France).
The interest of French collectors in artistic posters amplified at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the Art Nouveau style.

Four typescripts, one of which is mounted on flexible cardboard, each of 39 lines of Boris Vian's song "Trompette d'occasion" initially entitled "Le jazz hot".
For three of them, Boris Vian crossed out "Le jazz hot" to modify the title by hand and rename the song "Trompette d'occasion".
Boris Vian wrote the text in 1957, Henri Salvador composed the music and performed it on numerous occasions, notably for advertising.
Provenance: Fondation Boris Vian.

Rare original lithograph, executed by Auguste Donnay for L'Estampe Moderne, series number 10 published in February 1898.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature and date in the plate, publisher's dry stamp representing a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered stamp of the deluxe edition on the verso, pale marginal foxing.
Lithograph inspired by a poem by José Maria de Heredia.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe Moderne consists of original chromolithographs which, unlike other periodicals such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the review. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each issue of four prints was printed in 2000 copies sold at 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe edition: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too insubstantial, owes its reputation, not to its own beauty, but to its particular affinities with printing ink. Its texture, smooth and soft together, is more apt than any other to receive a beautiful impression. This property makes China paper sought after for printing engravings..." (Anatole France).
French collectors' interest in artistic posters intensified in the early 1890s. Octave Uzanne, to characterize this fever, invented the term "postomania." The poster, originally popular and displayed in the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the Art Nouveau style.

Rare original lithograph printed in the manner of three crayons, executed by René-Xavier Prinet for L'Estampe Moderne, series number 10 published in February 1898.
One of 50 deluxe proofs printed on Japan paper with wide margins, laid paper mounted on Japan paper, signed by the artist and dated in the plate, publisher's dry stamp representing a child's profile in the lower margin, numbered luxury edition stamp on the verso; engraving preceded by a tissue guard captioned with the artist's name, the title and an extract from a work; blank tissue guard.
Lithograph inspired by a text by Edmond & Jules de Goncourt, La Femme au XVIIIe siècle, an extract of which is reproduced on the print's tissue guard.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specifically by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each delivery of four prints was issued in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on the most prestigious of papers: Japan paper. Thick, silky, satiny and pearlescent, it contributes to making each page a work in its own right. Its quality of ink absorption and its affinity with colors also make it the ideal medium for these very beautiful lithographs.
French collectors' interest in artistic posters intensified at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie". The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy.

First edition, one of 65 numbered copies on Holland paper, deluxe copies after 23 on Madagascar.
Bradel binding in full abstract-patterned grey and cherry red paper, smooth spine, mouse-grey morocco title label, original wrappers and spine preserved, binding signed by Thomas Boichot.
Handsome copy.

Edition consisting of a facsimile reproduction of the Jehan Dupré edition printed in the 15th century (1493), one of 250 numbered copies on laid paper, the only print run with 80 other deluxe copies (20 on extra-strong laid paper, 10 on Rose paper and 50 on China paper).
Publisher's full cardboard binding in imitation vellum in the manner of medieval bindings, smooth spine, first cover illustrated with a reproduction of a woodcut, one lower corner slightly bumped.
Work illustrated with reproductions of woodcuts and engraved initials.
Three margin restorations to three leaves using adhesive pieces, stains and two blue ballpoint pen reading marks in margins of one leaf.
Rare and handsome facsimile beautifully illustrated with woodcuts and engraved initials in the manner of incunabula from the end of the 15th century.

Rare original lithograph, executed by Jacques Wely for L'Estampe Moderne, series number 8 published in December 1897.
One of 50 deluxe proofs printed on Chine with wide margins, artist's signature and date in the plate, dry stamp of the publisher depicting a child's profile in lower margin, mounted on a sheet of laid paper with on verso the numbered stamp of the deluxe issue, pale marginal foxing.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other periodicals such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the periodical. Thus 100 prints appeared in total, covering the major artistic currents of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each delivery of four prints was issued in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe issue: 50 copies on Japan with wide margins and 50 in black on Chine at the considerable price of 30F.
This print of handsome format is superbly printed on one of the most prestigious papers: Chine. "Despite all its qualities, China paper, too insubstantial, owes its reputation, not to its own beauty, but indeed to its particular affinities with printing ink. Its texture, smooth and soft at once, is more apt than any other to receive a beautiful printing. This property makes China paper sought after for printing engravings..." (Anatole France).
French collectors' interest in artistic posters intensified at the beginning of the 1890s. Octave Uzanne, to qualify this fever, invented the term "postomania." The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a work of art in its own right on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the symbolist style.

Rare original color lithograph, executed by Henri Boutet for L'Estampe Moderne, series number 8 published in December 1897.
One of 50 deluxe proofs printed on Japan paper with wide margins, laid paper mounted on Japan paper, artist's signature in the plate, publisher's dry stamp representing a child's profile in the lower margin, numbered stamp of the deluxe edition on verso; print preceded by a tissue guard inscribed with the artist's name, title and an extract from a work; blank tissue guard.
Lithograph inspired by an extract from a work by Ludovic Halévy which is reproduced on the tissue guard of the print.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each delivery of four prints was printed in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a very limited deluxe edition: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on the most prestigious of papers: Japan. Thick, silky, satiny and pearlescent, it contributes to making each page a work of art in its own right. Its quality of ink absorption and its affinity with colors also make it the ideal support for these very beautiful lithographs.
French collectors' interest in artistic posters intensified in the early 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and pasted on the streets of the capital, then became an art object and its ephemeral support became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a work of art in its own right, equal to the illustrated deluxe book. He thus composed a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy.

Rare original color lithograph, executed by Charles Léandre for L'Estampe Moderne, series number 4 published in August 1897.
One of the 50 deluxe proofs printed on Japan paper with wide margins, artist's signature and date in the plate, publisher's dry stamp representing a child's profile in the lower margin, numbered stamp from the deluxe edition on verso; print preceded by a tissue guard bearing the artist's name, title and introductory text; and another blank tissue guard.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other journals such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the journal. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each issue of four prints was produced in 2,000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed in colors on the most prestigious of papers: Japan. Thick, silky, satiny and pearlescent, it helps make each page a work in its own right. Its ink-absorbing quality and affinity with colors also make it the ideal support for these very beautiful lithographs.
French collectors' interest in artistic posters increased in the early 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and displayed on the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the style of Les Maîtres de l'Affiche.

Rare original lithograph executed by Charles Doudelet for L'Estampe Moderne, series number 6 published in October 1897.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature and date in the plate, publisher's dry stamp representing a child's profile in lower margin, mounted on a sheet of laid paper with on the verso the numbered stamp of the deluxe edition, pale marginal foxing.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specifically by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late nineteenth century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each issue of four prints was printed in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential very deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too insubstantial, owes its reputation not to its own beauty, but to its particular affinities with printing ink. Its texture, smooth and soft at the same time, is more apt than any other to receive fine printing. This property makes China paper sought after for printing engravings..." (Anatole France).
French collectors' interest in artistic posters grew in the early 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy.

Rare original lithograph executed by Gaston de Latenay for L'Estampe Moderne, series number 3 published in July 1897.
One of 50 deluxe proofs printed on China paper with large margins, artist's signature and date in the plate, publisher's dry stamp representing a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered stamp of the deluxe edition on verso, rare marginal foxing, blank tissue guard.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were specially created by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each delivery of four prints was issued in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a very limited deluxe printing: 50 copies on Japan paper with large margins and 50 in black on China paper at the considerable price of 30F.
This print in a handsome format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too inconsistent, owes its reputation not to its own beauty, but to its particular affinities with printing ink. Its texture, smooth and soft at once, is more apt than any other to receive a beautiful impression. This property makes China paper sought after for printing engravings..." (Anatole France).
French collectors' interest in artistic posters intensified in the early 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral support became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the artist's symbolist style.

First edition illustrated with a frontispiece and 24 etchings on chine collé by Félicien Rops and Emile Thérond (the frontispiece and 18 of the vignettes are indeed by Rops).
Contemporary half brown shagreen binding. Spine with raised bands decorated with fillets. Some rubbing. 2 corners slightly bumped.
One of Auguste Poulet-Malassis's first productions in Brussels, the F. Rops frontispiece is a heliogravure reworked with etching and drypoint.
Monograph of all Parisian balls, a fashion particularly followed by all social classes at the time.

Original color lithograph printed on fine laid paper. Printer's embossed stamp at bottom right of the plate. The poster depicts a pierrot from behind, reading in front of Notre-Dame de Paris.
Superb French monthly publication, Maîtres de l'Affiche, published between 1895 and 1900 at the initiative of Jules Chéret.
Each issue of the magazine includes four posters reproduced in bell format and chromolithography, each bearing an embossed authentication stamp.
Very handsome copy.
NB: The poster is presented framed; for any shipment it will need to be sent without the frame.

Edition containing 47 illustrations by L. Benett, 12 large chromotypographies, numerous photographic views and a map.
Publisher's Hetzel binding signed Engel known as "au globe" type 4, lighthouse spine, second cover type Engel "i" according to Jauzac, all edges gilt.
Copy slightly warped, second cover showing some soiling and scattered foxing, otherwise handsome copy.
Henry Markel, a former sea captain turned pirate, wishes to rob young West Indian schoolboys in transit to London and about to receive a scholarship from an important benefactor.

First edition on ordinary paper.
Fine copy.
Amusing autograph inscription dated and signed by Jacques Prévert to Doctor Jullien: "Avec plaisir choses et autres chaises et êtres... etc pour le docteur Jullien..." ["With pleasure things and other chairs and beings... etc for Doctor Jullien..."]

First edition, of which there were no deluxe copies.
Very precious signed autograph inscription from André Hodeir to Boris Vian: "Bien amicalement à toi mon cher Boris. André Hodeir." ["With warm friendship to you my dear Boris. André Hodeir."]
What a provenance!

First edition of this issue devoted to the Douanier Rousseau.
Contributions by Guillaume Apollinaire including "Le Douanier", René Dalize, Adolphe Basler, 3 poems and letters by the Douanier Rousseau...
Issue illustrated with 7 reproductions of works by the Douanier Rousseau.
Rare and handsome copy despite slight marginal tears of no consequence to the covers.

The first edition, of which there were no deluxe copies, a Service de Presse (advance) copy.
A small dampstain at foot of spine and light sunning at foot of rear board, complete with publisher's (advertising) slip.
Very precious autograph inscription dated and signed by Bernard Heuvelmans on the front endpaper: "A Boris Vian avec l'espoir qu'il aimera ce petit livre d'un jazz nourri de mystère, d'érotisme et d'humour. En toute sympathie" ["To Boris Vian with the hope that he will love this little book of jazz nourished by mystery, eroticism and humor. With all sympathy"].

The first edition, of which there were no deluxe copies.
Spine creased and lightly sunned, paper yellowed.
Iconography.
Very precious signed autograph inscription from Gérard Legrand on the half-title page: "A Boris Vian, poète authentique et méconnu, qui voulut bien naguère se prêter au supplice d'une interview... où transparaissait Duke Ellington. Amical hommage" ["To Boris Vian, authentic and unrecognized poet, who was kind enough to submit to the ordeal of an interview... where Duke Ellington shone through. Friendly tribute"].

Edition published with notes and an introduction by chevalier Alfred d'Arneth and A. Geffroy.
Half black shagreen bindings, browned spines with five raised bands decorated with double compartments and black fillets showing traces of rubbing, gilt dates at foot, black paper boards, marbled endpapers and pastedowns, top edges gilt, armorial bookplates pasted on pastedowns.
Spine of bindings showing rubbing, handsome interior condition.
Work illustrated with two facsimiles at beginning of volumes.
Rare complete correspondence in three volumes.

First edition large octavo illustrated by George Roux.
Publisher's Hetzel binding signed Engel known as "au globe" type 4, spine with lighthouse, second cover type Engel "i" according to Jauzac, all edges gilt.
Red slightly foxed on the first cover and spine, otherwise good copy with fresh interior despite the slight and usual discoloration of the original endpapers.
Sequel to Robur the Conqueror, Master of the World tells of Robur's return to civilization aboard an amphibious vehicle.
A Drama in Livonia is a detective novel featuring an innocent man accused of a murder he did not commit in Livonia.

Cazin edition composed with the first edition printed by Philippe-Denis Pierre, with a half-title and a relay title bearing Cazin's address and dated 1786.
Full brown morocco binding, spine with five raised bands set with gilt fillets decorated with double gilt compartments richly adorned with gilt floral motifs, gilt date at foot, gilt roulettes on headcaps, frame of sextuple gilt fillets on boards decorated at corners with gilt fleurons, marbled endpapers and pastedowns, frame of gilt dentelle on pastedowns, gilt fillets on leading edges, all edges gilt, elegant nineteenth-century binding.
A handsome copy with very wide margins and perfectly established.

First separate edition, illustrated by Gavarni with 20 plates and 40 vignettes. The text had originally appeared in Le diable à Paris, a collective volume to which Balzac contributed several texts.
First edition of Louis Huart's work illustrated with 50 vignettes by Cham, published without date in 1846.
Contemporary half red shagreen binding. Spine with false raised bands handsomely decorated. Head and tail rolls. Corners slightly rubbed, one turned in. Some pale foxing on half-titles and indexes. Tinted paper for Paris marié, white for Paris au bal. Good copy.
Satirical and humorous writings in the style of physiologies.

First edition illustrated with 2 portraits of the Cléry brothers as frontispiece, lithographed by Morin. Complete title: Mémoires de P. L. Hanet Cléry, ancien valet de chambre de Madame Royale, aujourd'hui Dauphine, et frère de Cléry, dernier valet de chambre de Louis XVI; Munitionnaire général des armées, agent général des hôpitaux militaires à Saint-Domingue, conservateur des forêts dans l'ile de Corse, etc., Chevalier de la Légion-d'Honneur.
Contemporary half brown binding. Smooth spine decorated with fillets. Gilt titles and volume numbers. Minor crack to upper joint at head of volume 1 extending a few mm. Traces of rubbing, notably to corners. Leather used for volume 2 lighter than that of volume 1. Brown stains to lower margins p. 125 and following 2 pages, in volume 1. Scattered pale browning, mainly in margins, essentially in the first volume. Good copy.
Famous memoirs of the valet de chambre to the Duchess of Angoulême, daughter of Louis XVI, during the Revolution; Cléry left the Tuileries on August 10th and shortly after took refuge in Belgium. In appendix, Table of losses and sums owed by the government to Cléry.

Photoglypty from the Galerie contemporaine. Portrait of Edmond Goncourt.
Mounted sheet on which a photoglypty of 19x24cm has been laid down. Caption at the bottom of the mount: Galerie Contemporaine, 126 boulevard de Magenta. Phot. Goupil et Cie. Cliché Nadar, 51, rue d'Anjou-St-Honoré. Superb condition.
Handsome portrait of the writer seated, with a fixed and fierce gaze, a cigarette in his right hand, his elbow resting on attributes that represent him.
Close to a carbon print by its warm and deep tones, photoglypty is a complex photomechanical process of photographic reproduction which the publishing industry used for about 20 years, from 1875 to 1895. Seeking an ideal and aesthetic image of famous men, the plates were always retouched and repainted, to erase an unsightly wrinkle or too troublesome defect, to polish the hair, etc. Thus photography and printmaking converge in a new representation.
The Galerie Contemporaine became a publishing house that sold images of contemporary men, these images were assembled into 8 folio volumes by Paul de Lacroix but continued to be sold separately at the headquarters of the Galerie Contemporaine.

First edition, illustrated with a frontispiece, a map (route from Paris to Versailles) and numerous wood engravings in the text by Trimolet, Daubigny, Français, etc. in the romantic manner (text frames, tailpieces, headers, in-text illustrations...). On pages 316, 317, 341 and 412 are empty frames for engravings that were never published. Bibliographers make no distinction between the same work published by Everat printing house in 1839 and this printing by Schneider and Langrand.
Full old red shagreen binding. Spine with false raised bands decorated in gilt compartments. Large ornamental cold-stamped plate on boards with rich frame. Edges gilt. White watered silk endpapers with some stains. Rubbing to upper joint with tiny crack at tail extending 0.5cm. Very fresh throughout with very rare foxing.
Very handsome copy.
Red morocco armorial bookplate of Victor Arthur Des Acres de L'aigle, Marquis de l'Aigle 1809-1893 (Three eagles displayed, marquis crown).
This beautiful publication, perfectly executed, describes and narrates everything that was then known about Versailles, both from the perspective of fine arts and architecture and the lives of those who lived there.

Long autograph letter signed by the archaeologist and curator of antiquities at the Louvre Museum, Adrien de Longpérier, to a journalist, 4 pages on a folded sheet.
In this fascinating letter about Eugène Delacroix, the curator of Egyptian antiquities Longpérier castigates a journalist, author of a harsh critique of the painter's ceiling at the Galerie d'Apollon in the Louvre: "mais quand il s'agit seulement d'un plafond, fait pour une galerie roccoco, quand du reste j'ai reconnu que cet ouvrage produit un excellent effet décoratif que le ton général est parfaitement adapté à la place et qu'outre cela le tableau contient un certain noombre de détails traités avec un véritable talent, je ne vois pas la nécessité d'aller attaquer très vivement très rudement non seulement l'oeuvre mais encore la personne de l'artiste" ["but when it concerns merely a ceiling, made for a rococo gallery, when moreover I have recognized that this work produces an excellent decorative effect that the general tone is perfectly adapted to the place and that besides this the painting contains a certain number of details treated with real talent, I do not see the necessity of going to attack very vigorously very harshly not only the work but also the person of the artist"]. Delacroix had created a composition entitled Apollon terrassant Python for the gallery built under Louis XIV and newly restored under the Second Republic. In the midst of the Romantics' quarrel, Longpérier also mentions Jean-Auguste Dominique Ingres, himself the author of a ceiling at the Louvre (L'apothéose d'Homère): "Comme vous avez l'imprudence de mettre le plafond d'Homère en parallèle avec celui d'Apollon, vous n'eussiez pas pu empêcher que, dans la discussion, on ne s'en prit à votre vénérable ami. Croyez vous que si Ingres, qui aime si peu la discussion, vous eu su un bien grand gré de ces horizons que vous lui eussiez procurés ? [...] Imaginez-vous que vous ayez fait le sacrifice d'une somme assez considérable pour fonder un journal, et que je vous apporte un article violent contre M. Ingres ? (Je dis : imaginez, car je suis, moi, un admirateur de M. Ingres et n'ai en aucune manière envie de le critiquer) [...] Iriez-vous donner aide à celui qui voudrait le combattre ?" ["Since you have the imprudence to put Homer's ceiling in parallel with that of Apollo, you could not have prevented that, in the discussion, people would attack your venerable friend. Do you believe that if Ingres, who so dislikes discussion, would have been very grateful to you for these horizons that you would have provided him? [...] Imagine that you had made the sacrifice of a considerable sum to found a journal, and that I bring you a violent article against M. Ingres? (I say: imagine, for I am myself an admirer of M. Ingres and have no desire whatsoever to criticize him) [...] Would you go to aid the one who would want to fight him?"]. Ingres, the painter representing the classical school, had his preference, unlike Delacroix the Romantic, whose style he did not appreciate but whose human qualities he nevertheless recognized: "J'ai reconnu que c'est un homme très doux, très poli, fort instruit et fort modeste [...] Je parle de l'homme ; quant à ses oeuvres, elles sont plus ou moins bonnes. Il y en a même de fort mauvaises" ["I have recognized that he is a very gentle man, very polite, well educated and very modest [...] I speak of the man; as for his works, they are more or less good. There are even some very bad ones"]. Longpérier speaks at length about the restoration work at the Louvre led by the architect Félix Duban, who supervised the renovation of the Galerie d'Apollon and other major projects: "Je verrais avec grand plaisir que vous fissiez sentir le mérite de la restauration de la galerie d'Apollon, de la façade du jardin de l'infante, de la façade d'Henri IV sur le quai et du plafond de la Salle des sept cheminées décoré, avec tout de goût, de figures peintes. Le public, dirigé par des journalistes peu instruits, a critiqué bien à tort l'emploi de ces grandes figures si harmonieusement colorées" ["I would see with great pleasure that you would make felt the merit of the restoration of the Galerie d'Apollon, of the façade of the Infanta's garden, of Henri IV's façade on the quay and of the ceiling of the Room of Seven Chimneys decorated, with such taste, with painted figures. The public, led by poorly informed journalists, has wrongly criticized the use of these large figures so harmoniously colored"].

First edition, of which there were no deluxe copies.
Half navy blue morocco bindings, spines with five raised bands showing some minor rubbing, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edges gilt, contemporary bindings signed Petitot.
Autograph inscription signed by Anatole France to Madame Félix Roussel on the first volume.

First edition, one of the 90 numbered copies on pur fil Lafuma, deluxe copies ("tirage de tête").
Signed handwritten inscription by Jean Anouilh to Robert Delaroche-Vernet.
Nice copy.

first edition printed in 50 numbered and justified copies on Arches paper by Bonaventure Fieullien, ours printed for André Bocquetin with his bookplate pasted on a guard.
Pleasant copy.
This calligraphed album, engraved and printed on his hand presses by Bonaventure Fieullien (Franciscan monk who studied at the Academy of Brussels under the direction of the Belgian painter Oswald Poreau and who worked in sculpture, stained glass and painting, but who was especially recognized for his remarkable and spectacular illustrated books with amazing idiosyncratic lettering) was illuminated by Madeleine Smets-Lefrancq.
Signatures of Bonaventure Fieullien and Madeleine Smets-Lefrancq below the justification for the draw.

First edition.
Contemporary full dark green shagreen binding, spine with four raised bands decorated with gilt fleurons and blind fillets, covers richly decorated with blind lozenges containing gilt tools, triple blind fillet framing the covers, combed paper endpapers and pastedowns, all edges gilt. Some rubbing at the joints, otherwise handsome copy.
Armainvilliers library label pasted on the front pastedown.
Our copy contains an autograph letter signed by the author dated June 1863.

The Konjaku is a compilation of tales and stories that aim to present, in a Buddhist vision, the history of the world. It was formerly attributed to Minamoto no Takakuni (1004-1077), court counselor and great scholar. In its complete version, it was composed of tales about India, China and Japan, this compilation only including those representing Japan. The translation could be: Collection of stories belonging to the past. The stories feature exemplary behaviors that should serve as models or codes for conduct. They are written in Sino-Japanese language.
47 woodcut engravings, 2 to 3 per volume, by an unidentified artist.
Japanese-style sewn wrappers. Printed on mulberry paper. Title labels missing from covers. Most volumes loose and partially unstitched. Paper on covers with scattered flowers, and medallions with foliage and flowers, in red on white ground. The endpapers are mostly separated from the covers.

New edition, illustrated with 10 etchings by Léopold Flameng and engraved by André Salmon. A handsome edition, carefully printed on Dutch laid paper. Title pages in red and black.

Contemporary half-shagreen binding with corners. Spine with raised bands decorated with gilt compartments and inlaid with a central black fleuron. Gilt titles and date at foot. Separating fillets on boards. Top edge gilt. Uncut copy.

A very fine copy in superb condition.

First edition, one of 50 numbered copies on Holland paper for each volume, the only deluxe copies after 20 Japan.
Preface by Maurice Barrès, work illustrated with three portraits of Stendhal as frontispieces.
Handsome copy complete with the frontispiece in duplicate state for each volume as stipulated for copies on Holland paper.

First French edition illustrated with 7 folding plates, including 2 maps of Switzerland and Mont Blanc, and a panorama of the Alps.
Half beige cloth 19th-century bindings. Spines with red morocco title labels. Green paper boards. Spines soiled. Corners heavily bumped. Light scattered pale foxing. The last 4 pages of volume 2 with a tear to upper margin with loss not touching text. The very large plate of Switzerland with 2 restorations following tears. A light tear to margin of the Mont Blanc map. Tear with loss p. 77 of volume 1, to lower margin, with loss of a few letters.
Undoubtedly one of the finest works on Switzerland. The author made 4 journeys there which allowed him to traverse the country. Beyond a classical travel account, the author's qualities as a historian are found throughout the work, dwelling on historical events, but also on fauna and flora, commerce... One can distinguish the account of the first ascent of Mont Blanc. The appendix contains the stages of Coxe's 4 journeys. The final volume contains the "Faunula helvetica" or catalogue of quadrupeds, birds, amphibians, fish and testaceans of Switzerland, arranged and presented according to Linnaeus's system.

First octavo edition and first under this new title. The work had been published under the title Voyage aux eaux des Pyrénées in 1855, in a small format and with 64 wood engravings by Gustave Doré; in this edition, 9 of the woodcuts published in 1855 are not included, so there are 332 new woodcuts (Louis Dézé).
Contemporary binding in half midnight blue shagreen, spine with four raised bands decorated with gilt compartments, fillets and stippling, paper boards in cardboard style, endpapers and pastedowns of watered paper, all edges gilt.
Some rubbing to head and foot of spine, two corners slightly rubbed, endpapers and pastedowns somewhat darkened.
Two bookplates pasted on front pastedown.
Handsome copy entirely free from foxing.

First bilingual French-English edition.
Rich iconography.
Publisher's full grey cloth binding, smooth spine, retaining the illustrated dust jacket which has a tear at the foot of the spine.
Handsome copy.

Rare first edition of the first issue of the artistic review L'omnibus de Corinthe, one of the copies printed on ordinary paper.
Traces of folds having caused tears.
The cover is by Edouard Couturier.
L'Omnibus de Corinthe (subtitled "illustrated vehicle of general ideas") is an illustrated supplement to the review La Critique created by the Nabi painter Marc Mouclier. In total, twelve fascicles executed in lithographic pencil and printed in zincography by Eugène de Solenière were published every three months starting from October 1896. They are today extremely rare and the Bibliothèque Nationale de France - which possesses a complete collection on Japan paper - has digitized only half of them in very poor resolution. The enigmatic title of this publication draws from a Greco-Latin proverb "Non licet omnibus adire Corinthum" (It is not permitted for everyone to enter Corinth) and each issue is a "journey" inviting the reader to board this eccentric vehicle. The illustrations are principally by Edmond Couturier, Ibels, Henri Gustave Jossot, Marc Mouclier and Louis Valtat - the texts are the work of Willy, Georges Bans, Alcanter de Brahm, Charles Fuinel, Émile Straus (under the pseudonyms of Papyrus and Martine), Jean de Caldain and Marc Mouclier.

Original drawing of the painter and draftsman Georges Tournon, in charcoal enhanced with gouache, signed "G. Tournon Feast of the Throne Paris 1932".
"Georges Tournon was to be a Parisian artist who had acquired a certain dexterity in the art of chewing the street people, he had a real predilection to identify and draw from the nature of characters misery among the two wars: tramps curled up by the cold and hunger, couples of old people sitting on a bench, stray wanderers ... he associated with those excluded "at the end of the roll", sellers of "almost nothing", which, against a few cents, yielded to the passers-by flowers, mimosa, feather duster ... or played the portable barbaric organ with a sound so heart-rending that one does not forget it once it has been heard. " (Elisabeth Poulain)

First edition, one of the advance copies ("service de presse").
Nice copy.

First edition, one of the 100 numbered copies on luxury paper, the only deluxe copies ("grands papiers").
Spine and sides of the chemise slightly sunned, pleasant copy.

First edition, one of 50 numbered copies on Arches paper, deluxe copies.
Nice copy.

First edition, one of 50 numbered copies on Arches paper, deluxe copies.
Nice copy.

New revised and recast edition, illustrated with 16 plates and 2 figures enhanced and hand-colored on heavy paper, totaling 32 figures (the drawing is charming, often animated with several characters). Third edition statement, the first having appeared in 1838.
Bound in full black romantic shagreen. Smooth spines richly decorated with rocaille tooling. Covers decorated with a rocaille frame and double fillet border. Interior frieze. White moiré endpapers. All edges gilt. Relatively fresh, with foxing at the tissue guards and the plates more brown; some scattered browning. Multiple pagination, each part having its own pagination. 3 corners slightly bumped.
Very handsome copy, rare in this condition.

New edition, rare, of which the first edition appears to have been published in 1715. 2 frontispieces and 4 figures for volume I, 2 for the second, all unsigned. Title pages in red and black.
Contemporary full glazed brown sheep binding. Spine with raised bands, decorated. Red morocco title label. Split headcaps. Lacks to title label. Upper joint split at tail.
In 1609 appeared Homicidio de la fidelidad y la defensa del honor, which brought together for the first time in France under an invented Spanish title, various texts and stories extracted from Don Quixote in French in Nicolas Baudoin's translation. These first extracts were assembled over 125 pages, they were expanded in 1715 with a second part formed of new stories. Cervantes's text, but also the names have been changed for the French public then fond of pastorals, and certain passages have been completely forged. Let us recall that the first edition of the Quixote took place in 1605 and its first French translation in 1614. This work therefore directly testifies to an adaptation of the Quixote for the French public, and to a recreation of the original; the work presented in the form of novellas is moreover perfectly coherent. The edition was published again after the success achieved by Filleau de Saint-Martin's new translation at the end of the 17th century, as new adventures, of which this publication bears witness. An indispensable curiosity for all lovers of the knight of the woeful countenance and his reception in France.

NB: This work is available at the bookshop on request within 48 hours.

First edition.
Literary contributions by Jean Lorrain, Henri de Régnier, Charles Perrault, René Boylesve, Gabriel de Lautrec, Tristan Klingsor, Jacques des Gachons, Maurice Magre, Georges Rodenbach, Henry Bordeaux, Yvanhoé Rambosson, Stuart Merril...
Pictorial contributions by André des Gachons, Paul Berthon, Noé Legrand, Léon Lebègue, Paul Bocquet, Léonce de Joncières, P. M. Rut... as well as 13 color plates (including frontispieces) by Des Gaschons, Paul Berthon, P. M. Ruty, Elie Clavel, Henri Gentil, Paul Bocquet.
Includes the general printed cover for the year 1895.
Our complete 1895 volume is presented in the publisher's laced chemise, vellum-style cardboard spine, marbled paper boards.
Issue No. 12 is in duplicate.
Handsome set despite minor worming of no consequence, one lace from the publisher's binding is missing.

New edition expanded with a commentary by Jean-Augustin Amar du Rivier, and illustrated with a portrait of the author as frontispiece engraved by Ligon after Rigaud and 6 figures hors-texte engraved by Pierre Adam, Chollet, Burdet, Larcher and Lorichon after Desenne.
Half green Russia leather bindings with corners, spines with five raised bands decorated with fleurons and roulettes stamped in blind, with gilt compartments and roulettes, headcap of the second volume slightly cracked, joints lightly rubbed, marbled paper boards, second board of the third and fourth volumes very lightly rubbed, some corners slightly bumped, endpapers and pastedowns of red speckled marbled paper, armorial bookplate of the Martineau des Chesnez family pasted on the front pastedown of the first volume. Contemporary binding signed Simier.
Handsome copy in a half Russia leather binding signed Simier.