Gift Ideas – Rare Editions

The definitive edition, first in parts, one of 25 numbered copies on vélin d'Arches paper, the only large paper copies.
Illustrated.
One small insignificant lack to foot of spine, a few small wormholes principally to endpapers, two tiny marginal tears without lack to lower cover, internally good.
Rare.

First edition, of which there were no large paper copies
Half light brown calf over marbled paper boards, double gilt fillets to spine, covers mounted on guards and preserved, top edge speckled; an unsigned modern pastiche binding by Goy & Vilaine
Very rare autograph inscription from Jules Verne to [Achille] Tournier, prefect of the Somme at the time
With original illustrations by Georges Roux
A very good copy handsomely bound.

The first edition, of which there were no deluxe copies.
Half hazelnut calf binding, smooth spine decorated with double gilt fillets, marbled paper boards, original covers mounted on guards and preserved, speckled top edge, modern pastiche binding unsigned by Goy & Vilaine.
Work decorated with original illustrations by L. Benett.
Very rare signed autograph inscription from Jules Verne to [Achille] Tournier, then Prefect of the Somme.
Jules Verne settled in Amiens, his wife's birthplace, in 1871: "At my wife's wish I settled in Amiens, a wise city, polished, of even temper, where society is cordial and learned. One is close to Paris, close enough to have its reflection, without the unbearable noise and sterile agitation. And to say everything, my Saint-Michel remains moored at Le Crotoy." His affection for the region would continue to grow and he would never leave the Picard capital, actively participating in local political life. Appointed director of the Academy of Sciences, Letters and Arts, in 1875 he delivered on this occasion a speech that remained famous: "An Ideal City: Amiens in the Year 2000." In 1888 he was elected to the municipal council of Amiens where he served until 1903. It was the prefect of the Somme who presented him with his decoration when he was promoted to officer of the Legion of Honor in 1892. "People often ask me why I reside in Amiens, I who am so completely Parisian by instinct. Well, because, as I told you, I have Breton blood, and I love tranquility, and I could not be happier than in a cloister. A calm life of study and work brings me joy." (June 1893, in Mac Clure's magazine).
Work decorated with original illustrations by L. Benett.
Fine copy.

First edition, one of 19 numbered copies on Hollande, the only deluxe paper issue.
A fine copy with full margins.

First edition.
Half saffron calf Bradel binding, smooth spine decorated with gilt fillets at head and foot, gilt border on the covers, marbled paper pastedowns and endpapers, gilt edges; contemporary binding.
Very rare and valuable autograph inscription in Cyrillic signed by Maxime Gorky to Grigory Alexey Alexinsky, deputy of the Duma and man of letters: "à G.A. Alexinsky, au camarade, avec toute la sympathie et le respect, l'auteur."

First edition, one of 100 numbered copies on vélin de Rives, the only large paper copies.
A rare and good copy with edges preserved.

First edition
Handsome autograph insciption from Léon Bloy to the painter Georges Rouault: "Rien pour son art - Il n'y a pas de caricature".
Spine reinforced with some filled in lacks, a tear repaired to the half title page,the one with the inscription.
This copy has a chemise an slipcase of full black morocco over marbled paper boards, lined with sheep.

Rouault fait la connaissance de Léon Bloy en 1904 par l'intermédiaire d'une de ses oeuvres: « On m'apprend que le peintre Georges Rouault, élève de Gustave Moreau, s'est passionné pour moi. Ayant trouvé chez son maître "La Femme pauvre"..., ce livre l'a mordu au coeur, blessé incurablement » (Journal de L. Bloy, 16 mars 1904). Naît alors une indéfectible amitié entre les deux artistes. Cependant lorsqu'en 1905 Rouault expose au Salon d'Automne "Monsieur et Madame Poulot" inspiré du roman de Bloy, la réaction de celui-ci est violente: « ... Cet artiste qu'on croyait capable de peindre des séraphins, semble ne plus concevoir que d'atroces et vengeresses caricatures. L'infamie bourgeoise opère en lui une si violente répercussion d'horreur que son art paraît blessé à mort. Il a voulu faire mes Poulot personnages de "La Femme Pauvre". À aucun prix je ne veux de cette illustration. Il s'agissait de faire ce qu'il y a de plus tragique : deux bourgeois, mâle et femelle, complets : candides, pacifiques, miséricordieux et sages à mettre l'écume de la peur à la bouche des chevaux des constellations. Il a fait deux assassins de petite banlieue. » Nul mieux que Raïssa Maritain ne sut décrire l'amitié complexe qui unit le jeune peintre et le vieil écrivain, analysant à la fois "la raison profonde de leur dissentiment" en citant une lettre de Bloy à Rouault de 1907 : « Vous êtes attiré par le laid exclusivement. " comme leur "admiration" qu'elle explique par "la vive foi de l'un et de l'autre, (...) l'élévation et la rigueur de leur conscience d'artistes". "Combien de fois - écrit-elle - dans les années qui ont suivi, n'avons-nous pas vu Rouault chez Bloy, debout, appuyé contre le mur, un léger sourire sur ses lèvres closes, le regard au loin, le visage apparemment impassible, mais d'une pâleur qui allait s'accentuant lorsque la question de la peinture moderne était abordée. Rouault pâlissait, mais gardait jusqu'au bout un silence héroïque. Et toujours, malgré cette irréductible opposition sur la question même de son art, il est resté fidèle à Léon Bloy. On eût dit qu'il venait chercher chez Bloy les accusations mêmes qui tourmentaient en lui ce qu'il avait de plus cher, - non pour les soumettre à une discussion quelconque, mais pour éprouver contre elles la force de l'instinct qui l'entraînait vers l'inconnu et qui devait triompher de tout obstacle." ("A l'aube de nouvelles amitiés" in La Nouvelle Relève, octobre 1941)C'est le même Léon Bloy, respectueux mais immuablement critique à l'égard de son jeune ami, qui lui dédicace ce portrait d'une sainte, cette élégie de la beauté qu'il ne saura jamais percevoir dans l'oeuvre de Rouault.

First edition, one of 40 numbered copies on pur fil, tirage de tête.
A very good copy.

First edition, one of 230 numbered copies on Alfa paper. Handwritten inscription signed by the author. A tiny marginal tear on the front cover, ex-libris pasted on the first blank endpaper.

First edition, one of 19 numbered copies on Hollande, the only large paper copies.
Elegant light brown morocco Jansenist binding by Devauchelle, spine in six compartments, date at foot of spine, gilt roulettes to head- and tail-pieces, green morocco endpapers, pastedowns of green calf, gilt fillet to edges of covers, covers and spine (spine slightly sunned) preserved, all edges gilt ; chemise (with flaps) of light brown half morocco, lined with light brown suede ; slipcase trimmed with light brown morocco, lined with light brown suede.
Handsome autograph inscription from Louis Pergaud to Alfred Machard : "...au romancier nerveux, sobre et puissant que j'admire et que j'aime. Fraternellement. Louis Pergaud."
A superb copy in a remarkable lined binding Roger Devauchelle.

First edition, one of 75 numbered copies on Rives paper, the only printing with 10 others also on Rives signed by Adrian Wilson and 3 hors commerce copies.
Cream-colored cloth, complete with slipcase.
With numerous original woodcuts by Adrian Wilson.
This copy retains its chemise, which holds 50 or so characteristic examples of the work of the printer Adrian Wilson.
A fine and rare copy.

A male nude from the back
Pencil on paper | Late 19th – Early 20th century| 21 x 27 cm (31 x 47 cm with mount) | one drawing
Original pencil drawing, mounted on guards.
Artist's signature stamp and monogram stamp in the lower right corner of the work; artist studio's stamp on the back. Handwritten note on the back, in pencil, of the paper, the title and the date: 1895.
Light signs of foxing on the left border without affecting the drawing, otherwise in very good condition.
Provenance: artist's workshop, referenced in the Atelier Louis Anquetin catalogue (Thierry de Maigret, 28/11/08).