Music

Photographic postcard inscribed by Maurice Chevalier to Alice Rim depicting his property "La Louque" at Marnes-la-Coquette:
"Chère Caro" ["Dear Caro"] (le pseudonyme de plume d'Alice Rim était Caro Canaille) ["the pen name of Alice Rim was Caro Canaille"] ,
vous savez que je suis surchargé de travail et qu'en plus je ne pas très bien le bonhomme des cocktails ou expositions ou autres signatures. Je n'y suis jamais à l'aise. Je suis très heureux de notre nouvelle sympathie et suis certain que la vie nous permettra de le confirmer." ["you know that I am overloaded with work and that furthermore I am not very good at being the fellow for cocktails or exhibitions or other signings. I am never comfortable there. I am very happy about our new friendship and am certain that life will allow us to confirm it."]

Edition adorned with original color illustrations by Edmond Malassis.
Handsome copy despite two small tears to the spine.

First edition of which no deluxe copies were printed.
Handsome copy despite two small marginal tears of no consequence.
Signed and inscribed by Mathias Malzieu to a man named Rémi, accompanied by a drawing of a smiling figure.

First edition, with statement of fifth edition.
Spine sunned with two small lacks at head and foot.
Signed autograph inscription from Hugues Panassié to Carlo Rim.
Carlo Rim, author of "Ma belle Marseille", was a Provençal writer, caricaturist and filmmaker and friend of Fernandel, Raimu and Marcel Pagnol but also of André Salmon and Max Jacob.

First edition of this "Miracle" in 3 acts by Jules Massenet on a poem by Maurice Léna. Half-title, epistle and title in gold and blue chromolithographs. Voice and piano score. 200 pages of score.
Contemporary half brown shagreen binding. Smooth spine decorated with mirror tools within a frame. Spine uniformly sunned, having become lighter. Handsome copy.

Original albumen print photograph, carte-de-visite format, mounted on card from the Disdéri studio, 8 boulevard des Italiens in Paris.
Manuscript annotations in pencil at bottom and on verso of the photograph.

Original albumen print photograph, carte-de-visite format, mounted on card from the Disdéri studio, 8 boulevard des Italiens in Paris.
Manuscript annotations in pencil on verso of the photograph. A small scratch to the upper margin of the card.

Second edition.
Publisher's orange paper boards, smooth spine, complete with dust jacket showing small marginal lacks.
Light spotting to edges, iconography.
Precious autograph inscription signed by Henri Temianka who inscribed his name on a musical staff: "For Artur and Nela Rubinstein with grateful memories of your warmhearded hospitality during the many hours i was privileged to make music with you. An unforgettable inspiration and meory. Nov. 8 1975."

Original albumen photograph, carte-de-visite format, mounted on a card from the Lozano studio, 45 rue Vivienne in Paris.
Manuscript annotations in pencil in the lower margin and on the verso of the card.

Original albumen photograph, carte-de-visite format, mounted on a card from the Constantin et Cie studio in Paris.
Manuscript annotations in pencil in the lower margin and on the verso of the card.

Original albumen print photograph, carte-de-visite format, mounted on card.
Manuscript annotation in pencil on the verso of the card.

Original albumen print photograph, carte-de-visite format, mounted on Reutlinger studio card.
Manuscript annotations in pencil on the photograph and on the verso of the card.

First edition for which no deluxe copies are mentioned.
Text by Roger Stengele.
Photographic illustrations by Robert Kayaert.
Light foxing on the interior flaps, small paper lack to back cover, press clippings included.
Signed autograph inscription from Maurice Béjart to Mr Pierre.

The first edition, of which there were no deluxe copies.
Handsome copy, iconography.
Amusing autograph inscription signed by Antoine, the famous singer-navigator, to a close friend: "Salut vieux camarade 250 pages pour te faire baver d'envie ! Antoine" ["Hello old comrade, 250 pages to make you drool with envy! Antoine"].

First edition illustrated with photographs.
Handsome copy.
Text by Christian Dior.
Program cover illustrated with a lithograph by Antoni Clavé.
We include three tickets for the balcony of the Théâtre de l'Empire dated October 11, 1953, with manuscript notation "11 octobre" in blue ink by the program's owner at the foot of the title page.

First edition of the French translation and presentation established by Marguerite Yourcenar.
Fine copy.
Publisher's binding in full boards.
Rich iconography.

Printed calling card of composer Georges Auric, then administrator of the Réunion des Théâtres Lyriques Nationaux, to which he added, in blue ballpoint pen, for his friend Carlo Rim: "Merci pour tes affectueuses félicitations que je trouve à mon retour à Paris et crois-moi bien fidèlement à toi" ["Thank you for your affectionate congratulations which I find upon my return to Paris and believe me faithfully yours"]
Handsome copy.
Provenance: from the library of the Provençal writer, filmmaker and caricaturist Carlo Rim who was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of André Salmon and Max Jacob.

First edition, a Service de Presse (advance) copy.
Spine cracked with slight lacks of no consequence, photographic cover.
Work containing three unpublished poems and a preface by Charles Trenet.
Autograph inscriptions signed by Marc Andry and Roger Gaillard, who directed the "Masques et visages" collection at Calmann Lévy, to the Provençal writer, filmmaker and caricaturist Carlo Rim who was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of André Salmon and Max Jacob: "... en confraternel hommage et en souhaitant que ce livre lui inspire un film..." ["...in fraternal homage and hoping that this book will inspire him to make a film..."]

Autograph picture postcard signed by Maurice Chevalier with 10 lines addressed to his friend Caro Canaille, wife of the Provencal writer, filmmaker and caricaturist Carlo Rim.
Handsome copy.
Maurice Chevalier is depicted facing forward and smiling, in a tuxedo with his famous hat in his right hand.
"Ah... oui. Chère Caro. J'irais bien vous visiter à Rome - en plus. Mais je n'ai pas même de vacances cet été. Maurice." ["Ah... yes. Dear Caro. I would very much like to visit you in Rome - moreover. But I don't even have holidays this summer. Maurice."]

Autograph signed photographic postcard with 9 lines by Maurice Chevalier addressed to his friend Caro Canaille, wife of the Provençal writer, filmmaker and caricaturist Carlo Rim.
Handsome copy.
The postcard represents Maurice Chevalier's property in the Paris region at Marles-la-Coquette, with a photograph of him in a medallion in the upper left corner of the card.
"Merci chère Caro Canaille. Votre lettre est belle affectueuse et touchante. Bien des années se sont passées sans devoir changer la sympathie qui nous avait rapprochés. Affectueusement. Maurice Chevalier 1971." ["Thank you dear Caro Canaille. Your letter is beautiful, affectionate and touching. Many years have passed without having to change the sympathy that brought us together. Affectionately. Maurice Chevalier 1971."]

Original caricature, on tracing paper, dated and captioned "Scotto Nov.1947" in black felt-tip pen in upper right corner, by Carlo Rim executed in blue felt-tip pen and heightened with blue and red pencils and graphite pencil depicting his friend the composer Vincent Scotto, slightly scowling and wrapped in a scarf.
Carlo Rim was a Provençal writer "Ma belle Marseille", a caricaturist, a filmmaker and was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of Max Jacob and André Salmon whom he met in Sanary.

Amusing autograph letter signed by composer Vincent Scotto, sent from his Parisian home, to his great friend the Provençal writer, caricaturist and filmmaker Carlo Rim who was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of André Salmon and Max Jacob (15 lines in blue ink) about his state of health and the upcoming pleasure of sharing a pastis with him once he is perfectly "vertical".
Folding traces inherent to postal handling.
"Mon cher vieux,
ta lettre m'a fait plaisir. J'ai été horizontal pendant quelques jours par la faute d'une saloperie de congestion mais tu me connais, je ne me suis pas laissé faire. Je suis maintenant un peu en biais et j'espère être bientôt vertical, j'en profiterai pour aller prendre un pastis avec toi. S'il te plait d'assister à l'une des premières de mon opérette à Mogador donne moi un coup de fil. Ton Vincent Scotto.
P.S. Bonne année pour 1949 car il est trop tard pour celle-ci." ["My dear old friend,
your letter pleased me. I was horizontal for a few days because of a damned congestion but you know me, I didn't let it get the better of me. I'm now a bit slanted and I hope to be vertical soon, I'll take the opportunity to go have a pastis with you. If you'd like to attend one of the premieres of my operetta at Mogador give me a call. Your Vincent Scotto.
P.S. Happy New Year for 1949 as it's too late for this one."]

First edition, one of 30 numbered copies on Japan paper, the only deluxe copies.
Half navy blue morocco binding, spine with five raised bands, gilt date at foot, marbled paper boards, pebbled paper endpapers and pastedowns, covers and spine preserved, top edge gilt, binding signed by Goy & Vilaine.

The first edition, of which there were no deluxe copies.
Rare and handsome copy.
Work illustrated with figures in text.

First edition, one of the numbered copies on Téka, the only issue after 1 Arches and 20 Marais.
Spine browned, small tears to joints.
Cover illustrated by Wifredo Lam.
Autograph inscription signed by François Valorbe on this text paying homage to literary and musical "Négritude" to the surrealist Georges Goldfayn: "... avec mes sentiments les plus mélano-surréalistes..." ["... with my most melano-surrealist sentiments..."]

The first edition, of which there were no deluxe copies.
Spine wrinkled and slightly sunned as usual.
Iconography.
Precious signed autograph inscription from Gérard Legrand to Robert Benayoun enriched with an original collage.

First edition on ordinary paper.
Dated and signed autograph inscription by Georges Coulonges to a friend named Jean-Louis, accompanied by a drawing of a musical staff.

First edition of this vocal and piano score illustrated on the front cover with a portrait of Marshal Ferdinand Foch.
Handsome copy despite a small stain on the score which does not impair readability.

First edition of this vocal and piano score with an illustration on the front cover by an unknown artist.
Cover almost entirely split but without loss.

First edition of this voice and piano score illustrated on the first cover by an unknown artist.
Cover fold slightly split, otherwise handsome copy.

First edition of this voice and piano score illustrated on the first cover by an unknown artist.
Handsome copy.

First edition of this score titled "Les Nouveaux Succès de Maurice Chevalier en plus grand", illustrated on the first page with a beautiful polychrome illustration consisting of a photo montage of the singer striding across the Seine - Eiffel Tower under his arm - reaching the Statue of Liberty and New York skyscrapers.
Very fine condition.

First edition of this vocal and piano score illustrated on the first cover with a color drawing by Roger de Valerio.
Although created by a French artist in an expressionist vein, the cover reproduces the stereotypical imagery of African Americans that had been conveyed since the Civil War through American racist caricature.
Yet in 1923, this violent, degrading and essentializing stigmatization based on the ideology of ethnic hierarchy was facetiously subverted by Black Americans, notably through Jazz and Blues culture and by several major artistic figures including Josephine Baker. Thus, in her Revue Nègre, she humorously and sensually reappropriated the degrading representation of which Black people were victims. It was then sometimes difficult in the representations of blackness during these roaring twenties to distinguish the boundary between racist caricature and its modern reinterpretation mocking racial myth.

However, this new fox trot by Frank Silver and Irving Cohn, which was then a huge hit in the United States and which Billboard magazine would place in 1948 on its list of Fifty Years of Song Hits, had no connection to blackness. It was inspired by a remark from a Greek grocer following the shortage due to banana blight.
Completely inadequate, Valerio's image was inspired by the simple evocation of the banana associated with Africa for the French public and thus with the fantasized "savagery" of the Black African. This colonialist reinterpretation of the racial cliché differs from American imagery, notably through the nakedness of the characters, the children's earrings and their disheveled hair. This same iconography would be found in Franco-Belgian comics, including Tintin in the Congo a few years later.

A very handsome copy of this original French score of one of the great Fox-Trot successes, of great graphic quality despite its racist theme.

First edition of this voice and piano score illustrated on the first cover with a color illustration by Roger de Valerio.
Very handsome copy.

First edition of this piano score, first cover illustrated by an unknown artist.
Very handsome copy.

First edition of this vocal and piano score, first cover illustrated by an anonymous artist. Apart from the title piece, this set comprises five other scores.
Fine copy despite some marginal creases.

First edition of this vocal and piano score, first cover illustrated by an anonymous artist.
Very fine copy of this score from the American musical comedy entitled "Life of the party".

First edition of this piano score, first cover illustrated in color by Roger de Valerio.
Very fine copy.

First edition of this piano score, first cover illustrated in color by Debeck.
Handsome copy despite some soiling and a small marginal tear.

First edition of this piano score, first cover illustrated in colors by Léon Pousthomis.
Handsome copy.

First edition of this vocal and piano score illustrated on the first cover by an unknown artist.
Handsome copy.

First edition of this vocal and piano score illustrated on the front cover in colors by Jean-Dominique Van Caulaert.
Handsome copy of this title performed by Georges Milton.

First edition of this vocal score (bilingual) and piano, with illustrated front cover, "The great success of the famous Cotton Club of New York in the revue 'Cotton Club Parade' presented by Edmond Sayag and which triumphs at the Ambassadeurs and the Moulin Rouge."
Very handsome copy.

First edition of this piano and vocal score, first cover illustrated with a photographic montage by Jan-Mich depicting Edith Piaf in profile looking at an airplane.
A very handsome copy.

First edition of this vocal score (bilingual) and piano illustrated on the front cover with a large color illustration by Roger de Valerio. La Madelon was created by Maurice Chevalier at the Casino de Paris.
Very handsome copy.

First edition of this album containing 25 piano sheet music pieces performed notably at the Casino de Paris, the Moulin Rouge, the Folies Bergères and interpreted by Mistinguett, Josephine Baker and Maurice Chevalier.
51 pages of sheet music in total, several advertisements at the end featuring photographic reproductions of stars of the era, notably Maurice Chevalier.
Cover illustrated with a color illustration by Jack Roberts.
Spine slightly split with some minor lacks. Pleasant interior condition except for a dampstain to the lower margin of a few leaves at the end.

First edition of this piano score illustrated on the first cover with a large illustration by V. Valery.
Handsome copy.

First edition of this piano score illustrated on the first cover with a color drawing by an anonymous artist. Tribute to Louis Reynaud, inventor of a whitening product for laundry...
Central fold without consequence, otherwise handsome copy.

The cover reproduces the essentializing imagery of blacks, derived from colonialist stereotypes but also inspired by the recent discovery of the African population after the requisition of sub-Saharan contingents for the 1914 war. These images convey a stigmatizing and terribly racist vision towards Africans but paradoxically betray a beginning of acceptance of difference and a gaze that aims to be affectionate though paternalistic towards blackness.
Very handsome copy of this original score, of great graphic quality despite its racist theme.

First edition of this voice and piano score illustrated on the first cover with an illustration by H. Rousseau.
Adaptation of a poem by François Delcourt, miner in Béthune.
Handsome copy.

First edition of this piano score illustrated on the first cover with a large color illustration by Clérice Frères.
Superb copy.

First edition of this vocal and piano score illustrated on the first cover with a color illustration by Würth.
Handsome copy despite minimal marginal tears.

First edition of this piano score illustrated on the first cover with a color illustration by Roger de Valerio.
Superb copy.

First edition of this vocal and piano score illustrated on the front cover with a color illustration by Roger de Valerio.
A very handsome copy despite some traces of creasing.

First edition of this voice (bilingual) and piano score illustrated on the front cover with a color illustration by Charles Roussel.
Superb copy.

First edition of this vocal (bilingual) and piano score, with illustrated first cover, "La nouvelle danse américine de la "Coloured Revue" Cotton Club Parade de New York présentée par Henri Varna dans la Revue du Casino de Paris "Paris en Joie" avec Maurice Chevalier."
A very handsome copy.

First edition of this vocal (bilingual) and piano score, first cover illustrated by Roger de Valerio.
A very handsome copy.

First edition of this piano score with a large color illustration by Clérice Frères on the front cover.
A very fine copy.

First edition of this voice and piano score illustrated on the first cover with a color illustration by Würth.
Handsome copy despite tiny marginal tears.

First edition of this piano score, first cover illustrated in colors by Léon Pousthomis.
Handsome copy.

The first edition, of which there were no deluxe copies.
Handsome copy, illustrated.
Autograph inscription signed by Hugues Panassié: "A M. Denis, 'satchmo-ingly yours' Hugues Panassié."

First edition.
Work illustrated with photographs.
Autograph inscription signed by Serge Lifar to Maryelle Krempff who completed her brilliant career as a dancer as principal dancer at the Opéra Comique before teaching dance at the National Regional Conservatory of Saint-Maur des Fossés from 1969 to 1989: "A Maryelle Krempff 'l'étoile de la danse' en souvenir de ce jour mémorable. Amicalement Serge Lifar." ["To Maryelle Krempff 'the star of dance' in memory of this memorable day. Cordially Serge Lifar."]

First edition illustrated with photographs, of which there were no deluxe copies.
Handsome copy.
Autograph inscription dated 1944 and signed by Serge Lifar to Maryelle Krempff, who completed her brilliant career as a dancer as principal dancer at the Opéra Comique before teaching dance at the Conservatoire National de région de Saint-Maur des Fossés from 1969 to 1989: "A mademoiselle Maryelle Krempff qui aime la Danse et la sert la grace (sic). Serge Lifar." ["To Miss Maryelle Krempff who loves Dance and serves it with grace. Serge Lifar."]

First edition on ordinary paper.
Light foxing to left margin of front cover, otherwise a handsome copy

First edition on ordinary paper, statement of one thousand copies.
Small tears at head and foot of spine.
Work illustrated with 24 photographic plates hors-texte as well as drawings and tailpieces by Serge Ivanoff.
Autograph inscription signed by Serge Lifar to Maryelle Krempff who completed her brilliant career as a dancer as principal dancer of the Opéra Comique before teaching dance at the National Regional Conservatory of Saint-Maur des Fossés from 1969 to 1989: "Pour la charmante mademoiselle Maryelle Krempff en souvenir amical de Serge Lifar" ["For the charming Miss Maryelle Krempff in friendly remembrance from Serge Lifar"].

First edition on ordinary paper.
Minor tears of no consequence at head and foot of the slightly ridged spine, one tear to the upper right corner of the back board.
Work illustrated with 8 photographic plates.
Fine autograph inscription signed by Léandre Vaillat to Maryelle Krempff who completed her brilliant dancing career as principal dancer at the Opéra Comique before teaching dance at the Conservatoire National de région de Saint-Maur des Fossés from 1969 to 1989: "A mademoiselle Maryelle Krempff qui a le grand privilège de savoir danser, cette vie d'une étoile de la danse et du ballet romantique, en sympathique souvenir de sa précieuse présence aux 'Samedis de la danse'" Léandre Vaillat." ["To Miss Maryelle Krempff who has the great privilege of knowing how to dance, this life of a star of dance and romantic ballet, in fond memory of her precious presence at the 'Dance Saturdays'" Léandre Vaillat.]

First edition printed on laid paper.
Handsome copy illustrated with a frontispiece and 4 out-of-text portraits etched.
Bradel binding in half safron percale, smooth spine decorated with gilt fillets, black shagreen title label, speckled paper boards, original wrappers preserved, corners slightly bumped, bookplate of the famous bibliophile Paul Lacombe pasted on a pastedown, contemporary binding signed in blind by Lemardeley.

The first edition, of which there were no deluxe copies.
A handsome copy.
Signed autograph inscription by Marcel Mouloudji to Jean Claval enhanced with a small drawn sun.

First edition on ordinary paper.
Handsome copy.
Autograph inscription dated and signed by Andreï Schaikevitch to Maryelle Krempff who completed her brilliant career as a dancer as principal dancer at the Opéra Comique before teaching dance at the Conservatoire National de région de Saint-Maur des Fossés from 1969 to 1989: "A mademoiselle Maryelle Krempff avec toute mon admiration pour son talent." ["To Miss Maryelle Krempff with all my admiration for her talent."]

First edition of the adaptation established by Lucien Jacques printed in 200 numbered copies on alfa paper.
Handsome copy.
Work illustrated with 20 linocuts by Lucien Jacques.

First edition on ordinary paper.
Very fine copy

First edition on ordinary paper.
Handsome copy.
Signed and inscribed copy from Marcel Mouloudji to Jean Claval.

First edition on ordinary paper.
Two small stains to corners of the back cover.
Work illustrated with 36 photographs in and out of text.
Autograph inscription dated 1944 and signed by Serge Lifar to Maryelle Krempff who completed her brilliant career as a dancer as principal dancer at the Opéra Comique before teaching dance at the National Regional Conservatory of Saint-Maur des Fossés from 1969 to 1989: "A la charmante Maryelle Krempff de l'Opéra. En témoignage de mon amitié." ["To the charming Maryelle Krempff of the Opera. In witness of my friendship."]

Second edition.
Publisher's full blue cloth binding, smooth spine, lacking dust jacket.
Handsome copy
Autograph inscription signed by Mezz Meezrow to Jean Claval: "... ardent jazz fan..."

First edition, a Service de Presse (advance) copy.
Spine slightly sunned.
Iconography.
Autograph inscription dated and signed by Andreï Schaïkevitch to Gustave Bret.

First edition, one of 473 numbered copies on Arches vellum.
Two small tears of no consequence to the slipcase.
Handsome copy.
Work illustrated with 6 gouaches by Dimitri Bouchêne.
Fine and premonitory autograph inscription signed by Léandre Vaillat to Maryelle Krempff, then a promising dancer as principal dancer at the Opera who would complete her career as prima ballerina at the Opéra Comique before teaching dance at the Conservatoire National de région de Saint-Maur des Fossés from 1969 to 1989: "A ma très jeune amie Maryelle Krempff qui regarde au firmament de la danse et qui finira bien par y décrocher une étoile avec ma respectueuse sympathie. Léandre Vaillat Janvier 1945." ["To my very young friend Maryelle Krempff who looks up to the firmament of dance and who will surely succeed in plucking a star from it with my respectful sympathy. Léandre Vaillat January 1945."]

First edition illustrated with 400 photographs including 16 hors-texte plates.
Spine and boards marginally browned as usual, otherwise handsome copy.
Autograph inscription signed by André Levinson to Frédéric Lefèvre: "... esthéticien fervent..."

First edition on ordinary paper.
Spine sunned, otherwise handsome copy.
Autograph inscription dated 1943 and signed by Serge Lifar to Maryelle Krempff, then a promising dancer as principal subject of the Opera who would complete her career as principal dancer at the Opéra Comique before teaching dance at the National Regional Conservatory of Saint-Maur des Fossés from 1969 to 1989.

First edition on ordinary paper.
Handsome copy, iconography.
Autograph inscription dated 1965 and signed by Serge Lifar to Maryelle Krempff who completed her brilliant career as a dancer as principal dancer at the Opéra Comique before teaching dance at the National Regional Conservatory of Saint-Maur des Fossés from 1969 to 1989: "Pour Maryelle Krempff, ma vie pour la danse. Très cordialement." ["For Maryelle Krempff, my life for dance. Very cordially."]

First edition on ordinary paper, with fourth edition statement.
Handsome copy.

First edition of Stendhal's very first book, published under the pseudonym of Louis-Alexandre-César Bombet.

Contemporary binding in half brown calf, spine decorated with gilt fillets and tooling as well as a red morocco title piece.

”Very rare” according to Clouzot

First edition of this program for a recital given by Italian soprano Mirella Freni on Thursday, May 29, 1980 at the Paris Opera.
Photographic cover.
Handsome copy.
Manuscript signature by Mirella Freni on the front cover.

First edition of this program from a recital that Italian soprano Katia Ricciarelli gave on Thursday, May 22, 1980 at the Paris Opera.
Photographic cover.
Fine copy.
Manuscript signature of Katia Ricciarelli on the first page.

First edition.
Work adorned with a beautiful illustrated cover and drawings by Léonce Burret.
Preface by Maurice Lefevre.
Handsome copy despite some foxing, notably on the front cover.

First edition of this sung tale by Jacques Le Lorrain set to music by Gaston Dubreuilh.
Publisher's binding in half steel-blue percaline, smooth spine unlettered, grey paper boards, illustrated front board, blue paper endpapers and pastedowns.
Handsome copy.
Work illustrated by Maurice de Lambert.
Rare copy of this sung tale created by Gabriel de Montoya at the shadow theatre of the Quat-z-Arts.

First edition.
Publisher's binding in full blue percaline, smooth unlettered spine, beveled boards, front cover illustrated with a large composition by Job on a plate made by Engel, blue paper endpapers and pastedowns.
One endpaper with a fold and very light adhesive paper residue, light discoloration to second cover
Handsome copy.
Work decorated with full-page illustrations by Job.

First edition illustrated with a cover and drawings by Théophile Alexandre Steinlen.
Bradel binding in half red shagreen, smooth spine, date in gilt at foot, pebbled paper boards, covers illustrated by Théophile Alexandre Steinlen and spine preserved in one piece.
Handsome copy despite a small restoration to the upper corner of page 93, a slight lack at foot of the second cover of the illustrated wrapper.

First edition illustrated with a cover and frontispiece by Emmanuel Brun.
Bradel binding in half brown cloth, smooth spine, date in gilt at foot, pebbled paper boards, illustrated cover by Emmanuel Brun and spine preserved.
Handsome copy of this collection of songs interpreted by Yvette Guilbert.

First edition illustrated with a cover and nearly 100 drawings by Lucien Métivet
Half brown shagreen binding, spine slightly faded with five raised bands decorated with gilt fleurons, marbled paper boards, combed paper endpapers and pastedowns, illustrated covers by Lucien Métivet preserved, top edge gilt, contemporary binding.
Some minor foxing, light rubbing to joints, one lack to upper corner of page 287.
Handsome copy of this collection of songs performed by Jacques Ferny at the "La roulotte" theatre from 1896 to 1899 and at the Carillon and Tréteau de Tabarin in Montmartre in 1899-1900.

First edition.
Work decorated with a beautiful illustrated cover and 150 drawings by Léonce Burret
Handsome copy.