First edition, one of 40 numbered copies on alfa paper, our copy not specifically numbered, issued as the only deluxe paper copies.
A few small spots of foxing, mainly affecting the edges and the endpapers, which show two small traces of adhesive paper.
Deluxe first edition on Oikos paper, limited to 200 copies, this copy being one of 5 presentation copies signed by the publisher and enriched with unpublished documents relating to the discovery of the manuscript.
Swiss binding with exposed stitching, smooth cloth spine, illustrated boards and slipcase.
Original French translation of the last manuscript recovered from a deportee assigned to the Sonderkommandos.
Marcel Nadjary (1917-1971), a Greek Jew from Thessaloniki, deported to Auschwitz in the spring of 1944, was assigned to the Sonderkommando. He wrote a letter to dear friends to bid them farewell and describe the horrific work he was forced to carry out. He then buried his clandestine manuscript in the soil of Birkenau. This document was recovered thirty-six years later, on October 24, 1980.
This testimony, written at "the epicenter of the catastrophe," is published here for the first time in French translation, together with a second manuscript that Marcel Nadjary wrote in 1947 to preserve a record of his experience at the heart of the Birkenau inferno.
Texts by Serge Klarsfeld, Nelly Nadjary, Alberto Nadjary, Fragiski Ampatzopoulou, Georges Didi-Huberman, Tal Bruttmann, Loïc Marcou, and Andreas Kilian accompany and illuminate these two exceptional documents.
Translated from Greek by Loïc Marcou
Uncommon first edition.
An early controversy over the skin color of the first known anthropoids, marked by sharply divided opinions rooted as much in common preconceptions as in anthropological analysis.
All participants in the debate were recognized authorities in their respective fields: Pierre-Toussaint Marcel de Serres de Mesplès (1780–1862) in geology; Pierre Lacour (1778–1859) in art history and techniques; and Charles Des Moulins (1798–1875) in botany.
Minor tears and slight losses at the corners of the wrappers, without affecting integrity.
Manuscript ex-libris “La Neufville” at the head of the front cover.
First edition, one of 50 numbered copies on alfa, only deluxe copies. Some light foxing, mainly on the endpapers.
Rare signed presentation copy in French: “To my friend René Jasinski, in token of gratitude and friendship, these few scenes of Jewish life in New York. T. Twersky”, with a sentence in Hebrew translated by the author in French on a laid-in leaf: “Translation of the Hebrew inscription: sixth day of the week ‘Pekoudè’, year 5692 since the creation of the world, in the holy community of Paris”, (Friday, 4 March 1932 according to our calculation).
First edition, with no copies printed on deluxe paper.
Minor spots to the covers, not affecting the condition.
Inscribed and signed by Georges Didi-Huberman to a friend named Annick.
Rare first edition.
A pleasing copy.
Contemporary full black cloth, spine gilt-stamped with a floral tool, double gilt fillet at foot of spine, red shagreen lettering-piece, blue paper endpapers and pastedowns, sprinkled edges, slightly frayed corners, contemporary binding.
Very rare signed and inscribed copy by Georges Gilles de la Tourette: "A mon cher confrère et ami le Dr Diamantberger. Gilles de La Tourette."
Dr. Mayer Saül Diamantberger was assistant physician at the Rothschild Hospital in the 1890s and regarded as one of the pioneers of rheumatology in France.
Good edition, published by J.B. Carpzov, illustrated with a frontispiece and a copper-engraved map of Judea in the text (see Graesse IV, 209).
The work includes numerous passages printed in Hebrew.
See Röhricht, p. 240, for a separate edition of the geographical and topographical prefaces to each gospel ("chorographia").
Contemporary full stiff ivory vellum binding, smooth spine, large later-added brown morocco title label mounted on the back, bookplate pasted on the inside cover, red edges.
Some black stains on the boards.
This is the author's most important work; he also dedicated two other volumes to the Acts of the Apostles and the Epistles of Saint Paul.
In this volume, the four Gospels are examined through the lens of rabbinic philology: "Lightfoot y a voulu expliquer une foule de passages du Nouveau Testament au moyens des écrits talmudiques et rabbiniques qui dans leur formes de langage rappellent celles des évangélistes et de saint Paul, ou qui font connaître des usages ou des opinions répandus parmi les juifs et auxquels les écrivains sacrés font parfois allusion" [Hoefer]. The prefaces to the four parts of the work are of particular interest: they contain numerous and extensive notes on the geography and topography of Palestine, presented as a repertory.
This treatise was first published in English in 1644 and 1650. Graesse lists three Latin editions printed in Leipzig: 1675, 1677, and 1684. According to Hoefer, the Horae Hebraicae is the author's “most remarkable and most useful” work.
After studying classics and theology at Cambridge, John Lightfoot [1602–1675] "seconda le docteur Whitehead dans la direction de l'école de Rapton, et deux ans après devint chapelain du chevalier Roland Cotton, qu'il accompagna plus tard à Londres. C'est dans la maison de ce seigneur, qui était versé dans la connaissance de l'hébreu, qu'il se mit à l'étude de quelques-unes des langues sémitiques. Il allait passer sur le continent pour profiter des leçons des orientalistes de la Hollande, quand il fut nommé ministre de l'église de Stone, dans le comté de Stafford. Il occupa encore divers autres bénéfices, et fut nommé en 1643 recteur du collège de Sainte-Catherine de Cambridge, et en 1655 vice-chancelier de cette université. Lightfoot était un grand érudit (...) Ses ouvrages se rapportent à l'interprétation des livres saints et à l'explication des antiquités hébraïques" [Hoefer].
Provenance: Armorial bookplate of the Bavarian Sachs family on the front pastedown (circa 1700).
Manuscript ex-libris on the front free endpaper: “Ad Bibliothecam Buschianam” (1753), “Ad Bibliothecam Boissardianam” (1801), “Boissard père et fils” (1802 and 1832). Ink-stamped ex-libris of “Edmond Stapfer” (1873).
A handsome copy.
First collected edition. No deluxe paper copies issued.
Publisher’s binding in full green cloth, smooth spines, with their dust jackets designed by Adam Rusak, showing only minor and insignificant marginal tears.
Rare presentation copy dated May 1, 1992 and signed by Solzhenitsyn to USSR émigré journalist and writer Sam Yossman, on the title page of the first volume.
First edition, numbered copies on vélin pur fil, most limited deluxe issue.
A handsome copy complete with the publisher’s announcement slip.
Rare and important presentation copy inscribed by Irène Némirovsky: "A Benjamin Crémieux hommage de l'auteur. Irène Némirovsky". Némirovsky died in Auschwitz in 1942, and Crémieux in Buchenwald in 1944.
Crémieux had published a glowing review of Némirovsky’s first novel, David Golder. Its film adaptation by Julien Duvivier was among the earliest French talkies. On this short stories collection fittingly titled Films parlés (Talking Films) Némirovsky, the émigré writer, paid homage to Crémieux, a descendant of a long-assimilated Jewish family from southern France. Two years after the publication of this collection, Irène Némirovsky’s name would appear alongside Crémieux’s in an anonymous antisemitic pamphlet entitled Voici les vrais maîtres de la France [Here are the true masters of Frabce] listing over 800 names of writers (Mémorial de la Shoah, Olivier Philipponnat).
Neither would return from the death camps: “In Geneva, in February 1945, Olga Jungelson, an envoy from the Ministry of Refugees to the Red Cross, was unable to obtain any information about her, nor about the other deported writers she had been tasked with tracing: Benjamin Crémieux, Robert Desnos, Jean Cavaillès, Maurice Halbwachs” (La vie d'Irène Némirovsky, Patrick Lienhardt, Olivier Philipponnat).
First edition on ordinary paper, with the printed dedication to Marshal Pétain.
Discreet restorations to the spine.
Our copy is housed in a chemise and slipcase of navy blue half morocco, smooth spine lettered with author, title, and date in palladium, decorated paper boards, grey paper pastedowns, slipcase trimmed with matching navy morocco and decorated paper sides; binding signed by Boichot.
An exceptional copy inscribed by General de Gaulle to Colonel Émile Mayer, his “great friend [...] without whom this book could not have been conceived,” as stated in the author’s own inscription, which continues: “Receive, my Colonel, my deepest gratitude and my profound respect.”
A visionary soldier and theorist whom de Gaulle would later acknowledge as his strategic mentor, Émile Mayer corrected the very proofs of this work, which is here presented to him in these warm lines. Fifteen years before the First World War, Mayer had predicted the trench warfare to come. From the 1920s, de Gaulle frequented the salon of this great thinker of military art, whose Jewish origins and Dreyfusard sympathies had subjected him to calumnious antisemitic attacks and suspension from the army between 1899 and 1907. Both Mayer and de Gaulle opposed the immobile dogma of the French General Staff. Their military prophecies proved extraordinarily accurate concerning the mechanisation of the modern army: “For fifteen years, they confronted the same themes, not without disagreements, and each evolved while enriching the other” (Milo Lévy-Bruhl). At their weekly lunches they exchanged perspectives on the future of corps and tactics, both convinced of the futility of the Maginot Line. Mayer favoured a strategy of aerial and chemical warfare, while de Gaulle advocated the use of armoured divisions. Despite their differences, Mayer actively promoted the ideas of his protégé, and assisted in revising France and Her Army—having been won over, after the shock of the reoccupation of the Rhineland, to de Gaulle’s ambition of creating a professional armoured army. De Gaulle addressed these remarkable words of gratitude to his mentor just two weeks before Mayer’s death on November 28, 1938, which grieved him deeply.
An exceptional presentation copy from General de Gaulle of his essential and visionary work on military strategy—a significant testimonial linking two independent spirits who revolutionised the theoretical understanding of national defence.
First edition of the French translation, one of 44 numbered copies on pur fil, the only copies printed on deluxe paper.
Spine very slightly sunned without consequence, bookplate affixed to the verso of the front cover, a handsome copy.
Rare example of this propaganda leaflet published by the Nazi Occupier, which became the most iconic image of the Resistance. This smaller version of the famous Affiche Rouge features the poster on the recto and a paragraph on the verso castigating « l'Armée du crime contre la France » ("the Army of Crime against France"). It opens with accusations against the « rêve mondial du complot juif » ("the global dream of the Jewish conspiracy") and claims that « si des Français sabotent, pillent et tuent (...) ce sont toujours des juifs qui les inspirent » ("if Frenchmen sabotage, loot, and kill (...) it is always Jews who inspire them").
A discreet horizontal crease, otherwise superb condition for an ephemeral document.
Accompanied by the rare brochure entitled 'L'armée du crime' ('The army of crime') in the format of a newspaper illustrated with 14 pages of photographs.
A trace of horizontal fold. A fine copy.
Original inscribed photograph portrait of Emile Zola. Original albumen paper print on cardboard bearing the stamps of the Eugène Pirou studio, rue Royale, Paris.
Signed and inscribed by Emile Zola to Otto Eisenschitz: "à M. Otto Eisenschitz / cordialement / Emile Zola".
First collected edition of Paul Celan’s German translation of the poems of Ossip Mandelstam, whom he deeply admired.
Publisher’s original full white cloth, smooth spine, a copy complete with its dust jacket, which shows a few small tears at the head of the spine.
Valuable dated and signed autograph inscription from Paul Celan to his friend, the poet and translator of his works Lydia Kerr: "Für Lydia Kerr, herzlich, 12.2.1963. Paul Celan."
Later edition.
A pleasing copy, despite slight rubbing to the joints.
Rare dated and signed presentation inscription from Paul Celan to his friend, the poet and translator of his works Lydia Kerr.
First edition of this biblical poem later set to music by Mondonville (cf. Barbier II, 970; Cioranescu 63676).
Jean-Joseph Cassanéa de Mondonville (1711–1772), violinist, conductor and composer, wrote several operas, oratorios and pastorals, as well as works for harpsichord and sacred music.
He directed the Concert spirituel between 1755 and 1762.
Claude-Henri de Fusée de Voisenon (170–1775), a friend of Voltaire, a familiar figure in the salons and much in favour with Madame de Pompadour, was elected to the Académie française in 1762.
He left a body of dramatic works, novels and tales.
A date inscribed at the head of the title-page, which shows small spots at the foot; ink stains in the right-hand margin of the final leaf; a pleasing copy.
(A. A. Renouard, Annales de l'imprimerie des Estienne)“This little edition, said to be very accurate, is a true typographical jewel, and perhaps the most beautiful one ever printed in the Hebrew language.”
Original colour lithographed poster depicting Jean Jaurès as an elephant sitting on a chair and holding a bottle of “water from the Jordan”. Until then portrayed as a dog – caricaturists mocking his aggressiveness – Jean Jaurès is here, for the first time, represented as an elephant. It is a question here of highlighting his potbelly and his pachyderm silhouette, but we can, nevertheless, highlight the great dignity of this massive personality with a high gaze. The water from the Jordan is held on one of his hoofs and alludes to the rumour that he had his son baptised in the scared river, thus acting against his anticlerical policy. Despite the caricaturist's desire to ridicule Jean Jaurès, the choice of the elephant, a symbol of strength, prosperity and wisdom, is ultimately positive.
Transverse folds and tiny, minor, marginal tears.
Circulated between October 1899 and December 1900 in a France set ablaze by the Dreyfus Affair, these immense colour portraits are the work of Victor Lenepveu, who announced the publication of 150 and then 200 drawings, before finally producing only around fifty. Despite the 1881 law on the freedom of press allowing the dissemination of a politically subversive image, the publication of this nightmarish pantheon was interrupted by order of the Ministry of the Interior.
The fragility of the paper and the imposing size of these very violent posters, as well as their almost immediate seizure by the police, contributed to the disappearance of these caricatures which strongly left a mark on public opinion.
These horreurs were widely promoted by anti-Semitic newspapers that announced a fantasised print of 300,000 copies, thus insinuating the success of anti-Semitic ideas in the population.
On 1st October 1899, L'Intransigeant announced the publication of the Musée des horreurs in its columns: “Un dessinateur de beaucoup d'esprit, au coup de crayon d'un comique intense, M. V. Lenepveu, a eu l'heureuse idée d'inaugurer une série de portraits des vendus les plus célèbres de la tourbe dreyfusarde. Le titre de cette série « Musée des Horreurs » est suffisamment suggestif et indique bien ce qu'il promet. [...] C'est la maison Hayard qui mettra en vente, à partir d'aujourd'hui, le numéro 1 de cette désopilante série.” “An artist of great spirit, with an intense comical pencil stroke, M. V. Lenepveu, had the happy idea of inaugurating a series of portraits of the most famous sellouts of the Dreyfusard rabble. The title of this series “ Musée des Horreurs” is sufficiently suggestive and is a good indicator of what it promises. [...] It is Maison Hayard that will put up for sale, from today, issue number 1 of this hilarious series.” First a peddler then a bookseller-publisher, Napoléon Hayard (known as Léon Hayard) specialised in the marketing of anti-Dreyfusard and anti-Semitic ephemera and advertisements.
Today, however, copies in good condition of these pamphlet caricatures, which contributed to the social and political divide of France, are very rare. Published in the booming written press - at the same time as Émile Zola's famous “J'accuse !” - these propaganda materials had a significant impact on the younger generations and preceded the ideological violence of the 20th century.
Original lithographed color poster depicting Théophile Delcassé as a circus poodle.
Transverse folds and minor marginal tears without loss.
Distributed between October 1899 and December 1900 in a France inflamed by the Dreyfus Affair, these immense color caricature portraits are the work of Victor Lenepveu who announced the publication of 150 then 200 drawings and ultimately produced only about fifty. Despite the 1881 press freedom law allowing the distribution of politically subversive imagery, the publication of this nightmarish pantheon was interrupted by order of the Ministry of the Interior.
The fragility of the paper and the imposing format of these extremely violent posters, as well as their almost immediate seizure by the police, contributed to the disappearance of these caricatures which nevertheless strongly marked public opinion.
These horrors benefited from wide promotion by antisemitic newspapers which announced a fantasized print run of 300,000 copies, thus insinuating the success of antisemitic ideas among the population.
On October 1, 1899, L'Intransigeant announced the publication of the Musée des horreurs in its columns: "A very witty artist, whose pencil stroke is intensely comic, M. V. Lenepveu, had the happy idea of inaugurating a series of portraits of the most famous sellouts of the Dreyfusard rabble. The title of this series 'Musée des Horreurs' is sufficiently suggestive and clearly indicates what it promises. [...] It is the Hayard house that will put on sale, starting today, number 1 of this hilarious series." First a street vendor then a bookseller-publisher, Napoléon Hayard (known as Léon Hayard) specialized in the commercialization of anti-Dreyfusard and antisemitic ephemera and placards.
However, only very rare examples in fine condition of these pamphlet caricatures that participated in the social and political fracture of France survive today. Published during the full expansion of the written press - at the same time as Émile Zola's famous "J'accuse...!" - these propaganda documents had a significant impact particularly on young generations and prefigure the ideological violence of the 20th century.
Original color lithographed poster depicting Georges Leygues as a donkey.
Transverse folds and minute marginal tears without loss.
Distributed between October 1899 and December 1900 in a France inflamed by the Dreyfus Affair, these immense satirical color portraits are the work of Victor Lenepveu who announced the publication of 150 then 200 drawings and ultimately produced only about fifty. Despite the 1881 press freedom law allowing the distribution of politically subversive imagery, the publication of this nightmarish pantheon was interrupted by order of the Ministry of the Interior.
The fragility of the paper and the imposing format of these extremely violent posters, as well as their almost immediate seizure by the police, contributed to the disappearance of these caricatures which nevertheless strongly marked public opinion.
These horrors benefited from extensive promotion by antisemitic newspapers which announced a fantasized print run of 300,000 copies, thus insinuating the success of antisemitic ideas among the population.
On October 1st, 1899, L'Intransigeant announced the publication of the Musée des horreurs in its columns: "A draftsman of great wit, with a pencil stroke of intense comic effect, M. V. Lenepveu, has had the happy idea of inaugurating a series of portraits of the most famous sellouts from the Dreyfusard rabble. The title of this series 'Musée des Horreurs' is sufficiently suggestive and clearly indicates what it promises. [...] It is the Hayard house that will put on sale, starting today, number 1 of this hilarious series." First a street peddler then a bookseller-publisher, Napoléon Hayard (known as Léon Hayard) specialized in the commercialization of ephemera and anti-Dreyfusard and antisemitic posters.
However, only very rare copies in fine condition of these pamphleteering caricatures that participated in the social and political fracture of France survive today. Published during the boom of the written press - at the same time as Émile Zola's famous "J'accuse...!" - these propaganda documents had a significant impact particularly on younger generations and prefigured the ideological violence of the 20th century.
Original color lithographed poster depicting Louis Lucipia as a dog wearing a masonic sash.
Transverse folds and minute marginal tears without loss.
Distributed between October 1899 and December 1900 in a France inflamed by the Dreyfus Affair, these immense satirical color portraits are the work of Victor Lenepveu who announced the publication of 150 then 200 drawings and ultimately produced only about fifty. Despite the 1881 press freedom law allowing the distribution of politically subversive imagery, the publication of this nightmarish pantheon was interrupted by order of the Ministry of the Interior.
The fragility of the paper and the imposing format of these extremely violent posters, as well as their almost immediate seizure by the police, contributed to the disappearance of these caricatures which nevertheless strongly marked public opinion.
These horrors benefited from extensive promotion by antisemitic newspapers which announced a fantasized print run of 300,000 copies, thus insinuating the success of antisemitic ideas among the population.
On October 1st, 1899, L'Intransigeant announced the publication of the Musée des horreurs in its columns: "A draftsman of great wit, with a pencil stroke of intense comic effect, M. V. Lenepveu, has had the happy idea of inaugurating a series of portraits of the most famous sellouts from the Dreyfusard rabble. The title of this series 'Musée des Horreurs' is sufficiently suggestive and clearly indicates what it promises. [...] It is the Hayard house that will put on sale, starting today, number 1 of this hilarious series." First a street peddler then a bookseller-publisher, Napoléon Hayard (known as Léon Hayard) specialized in the commercialization of ephemera and anti-Dreyfusard and antisemitic posters.
However, only very rare copies in fine condition of these pamphleteering caricatures that participated in the social and political fracture of France survive today. Published during the boom of the written press - at the same time as Émile Zola's famous "J'accuse...!" - these propaganda documents had a significant impact particularly on younger generations and prefigured the ideological violence of the 20th century.
Original color lithographed poster depicting Joseph Reinach in the guise of a king slumped on his throne.
Transverse folds and minute marginal tears without loss.
Distributed between October 1899 and December 1900 in a France inflamed by the Dreyfus Affair, these immense satirical color portraits are the work of Victor Lenepveu who announced the publication of 150 then 200 drawings and ultimately produced only about fifty. Despite the 1881 press freedom law allowing the distribution of politically subversive imagery, the publication of this nightmarish pantheon was interrupted by order of the Ministry of the Interior.
The fragility of the paper and the imposing format of these highly violent posters, as well as their almost immediate seizure by the police, contributed to the disappearance of these caricatures which nevertheless strongly marked public opinion.
These horrors benefited from extensive promotion by antisemitic newspapers which announced a fantasy print run of 300,000 copies, thus insinuating the success of antisemitic ideas among the population.
On October 1, 1899, L'Intransigeant announced the publication of the Musée des horreurs in its columns: « A draughtsman of great wit, with a pencil stroke of intense comic effect, M. V. Lenepveu, had the happy idea of inaugurating a series of portraits of the most famous sellouts of the Dreyfusard rabble. The title of this series « Musée des Horreurs » is sufficiently suggestive and clearly indicates what it promises. [...] It is the Hayard house that will put on sale, starting today, number 1 of this hilarious series. » First a street vendor then a bookseller-publisher, Napoléon Hayard (known as Léon Hayard) indeed specialized in the marketing of ephemera and anti-Dreyfusard and antisemitic broadsides.
However, today only very rare copies in fine condition survive of these pamphlet-like caricatures which participated in the social and political fracture of France. Published during the height of the written press boom - at the same time as the famous « J'accuse...! » by Émile Zola - these propaganda documents had a significant impact particularly on younger generations and prefigure the ideological violence of the 20th century.
Original color lithographed poster depicting Jude Philipp in the guise of a vulture nailed to a wall.
Transverse folds and minute marginal tears without loss.
Distributed between October 1899 and December 1900 in a France inflamed by the Dreyfus Affair, these immense satirical color portraits are the work of Victor Lenepveu who announced the publication of 150 then 200 drawings and ultimately produced only about fifty. Despite the 1881 press freedom law allowing the distribution of politically subversive imagery, the publication of this nightmarish pantheon was interrupted by order of the Ministry of the Interior.
The fragility of the paper and the imposing format of these highly violent posters, as well as their almost immediate seizure by the police, contributed to the disappearance of these caricatures which nevertheless strongly marked public opinion.
These horrors benefited from extensive promotion by antisemitic newspapers which announced a fantasy print run of 300,000 copies, thus insinuating the success of antisemitic ideas among the population.
On October 1, 1899, L'Intransigeant announced the publication of the Musée des horreurs in its columns: « A draughtsman of great wit, with a pencil stroke of intense comic effect, M. V. Lenepveu, had the happy idea of inaugurating a series of portraits of the most famous sellouts of the Dreyfusard rabble. The title of this series « Musée des Horreurs » is sufficiently suggestive and clearly indicates what it promises. [...] It is the Hayard house that will put on sale, starting today, number 1 of this hilarious series. » First a street vendor then a bookseller-publisher, Napoléon Hayard (known as Léon Hayard) indeed specialized in the marketing of ephemera and anti-Dreyfusard and antisemitic broadsides.
However, today only very rare copies in fine condition survive of these pamphlet-like caricatures which participated in the social and political fracture of France. Published during the height of the written press boom - at the same time as the famous « J'accuse ! » by Émile Zola - these propaganda documents had a significant impact particularly on younger generations and prefigure the ideological violence of the 20th century.
First edition.
Contemporary full vellum binding. Raised bands to spine. Hebrew title handwritten in ink. Two small wormholes at foot. Two defects with loss to the band of the third compartment and to the upper joint of the fourth compartment.
Hebrew-Latin dictionary compiled by Zanolini, professor of Oriental languages at the seminary of Padua.
