Paris

First collected edition with some parts in first edition, one of 260 numbered copies on wove paper, deluxe copies after 28 on Holland paper.
Handsome copy.

The first edition, of which there were no deluxe copies.
Handsome copy despite three light stains on the lower edge without any damage to the text.
Autograph inscription signed by Bertrand Delanoë to a close collaborator named Cécile: "A toi, chère Cécile, au nom des valeurs et des combats partagés. De l'amour de la vie ; de la ville. Amicalement." ["To you, dear Cécile, in the name of shared values and struggles. For the love of life; of the city. With friendship."]

First edition and first printing of the engravings.
Contributions by Théophile Gautier, Laurent-Jan, Léon Gozlan, Auguste Lireux and Jules Hetzel under the pseudonym P.-J. Stahl among others.
Contemporary publisher's binding in full black shagreen. Smooth spine decorated with 3 ornate compartments, blind and gilt fillets. Large rocaille composition on boards, thick triple fillet frame. Interior frieze. White watered silk endpapers. All edges gilt. Perimeter of watered silk endpapers brown-stained. Tailcap of volume 2 with a loss. Traces of rubbing. Thin scratch on the upper board of volume 1, lower board of volume 2. Some very occasional foxing on clean white paper. The binder inverted volumes 1 and 2, and volumes 3 and 4 (the error stemming from the fact that the 4 series are not numbered by volume). Very handsome copy.
Work illustrated with a general frontispiece, 14 vignettes including one repeated and 320 plates, all wood-engraved.
References: Vicaire, III, 953-955; Brivois pp.168-171; Carteret, III-260-264: "Cet ouvrage est fort rare en belle condition."
Remarkable copy of superb freshness in full contemporary Romantic binding.

First edition, abundantly illustrated by Charles Jouas with a frontispiece and in-text compositions, engraved on wood by H. Paillard. Unique edition limited to 138 numbered copies on China paper, No. 77. This edition was produced by the celebrated bibliophile and bibliographer Henri Beraldi who launched Charles Jouas's career with this publication.
Bradel binding in half tender green morocco with mosaic corners signed Charles Meunier at the top of the first endpaper. Smooth spine decorated with an iris on stem with its buds (flowers and buds in orange and brown mosaic). Separating fillets on the boards. Spine having uniformly turned to brown. One corner slightly bumped. Traces of rubbing to corners and edges. Very handsome copy.
Bookplate of Jacques Crépineau, director of the Michodière theatre and entertainment historian, renowned bibliophile for his collection of Romantics.
The volume gathers the poems about Paris by the first hydropath and brilliant practical joker Émile Goudeau (1849-1906), the last one entitled Bibliophilie and naturally addressed to Béraldi.
On October 11, 1878, Emile Goudeau founded the Cercle des Hydropathes where the bohemians of the time gathered, Goudeau would pay his members with the help of the "Green Fairy", absinthe.

Original ink drawing signed and dated by Charles Robert, titled "Madame la Comtesse de Castiglione et Napoléon III ou Le bal aux Tuileries le mardi 29 janvier 1856".
This drawing immortalizes the historic meeting of the 19-year-old Countess de Castiglione with Emperor Napoleon III at a ball given by his cousin Princess Mathilde. Invested by Cavour with a delicate diplomatic mission, the Countess came to Paris with the aim of seducing the Emperor and making him sympathetic to the Piedmontese cause and thus convert him to the idea of a unified Italy. She had a famed affair with the Emperor, which strengthened ties between France and Italy before coming to an end, as Italian carbonari made an attempt on the Emperor's life the following year.
Aesthetic representation of the early days of this Italian Mata Hari as ambassador and spy to the French imperial court.

First edition.
Half brown morocco shagreen binding with corners, spine with five raised bands, date gilt at foot, marbled paper boards, endpapers and pastedowns of pebbled paper, covers and sunned spine preserved, top edge gilt, bookplate pasted on pastedown, binding signed René Aussourd.
Some minor foxing without significance.
Handsome copy beautifully bound.

First edition.
Full navy blue cloth Bradel binding, smooth spine decorated with gilt floral motif, date and double gilt fillets at foot, brown shagreen title-label, binding signed in blind by Pierson.
Some minor foxing of no consequence.

First edition.
Bound in tan sheep, spine with five raised bands, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, speckled edges, contemporary binding signed by P. Saillot, binder on rue de Verneuil in Paris
Work illustrated with reproductions of works by Maurice de Vlaminck including 10 in color.
Handsome copy.

First edition.
Fine illustrated cover by Jean Tild.
Tears at head and foot of spine with slight lacks without gravity.
Fine and bohemian autograph inscription dated and signed by Xavier Privas: "A mon ami Emile Bessière pêcheur de lunes et (je l'espère) de thunes en confraternel hommage. Xavier Privas 8 Février 1904." ["To my friend Emile Bessière, fisher of moons and (I hope) of cash in fraternal tribute. Xavier Privas 8 February 1904."]

First edition illustrated with drawings by André Hellé.
Boards slightly and marginally sunned, otherwise a handsome and rare copy.
Precious signed autograph inscription from George Auriol: "De tout coeur à Willette ancien gonfalonier de Rochechouart son vieil ami George Auriol." ["Wholeheartedly to Willette former standard-bearer of Rochechouart his old friend George Auriol."]

Autograph letter signed by Emile Goudeau addressed to his dear master (Francisque Sarcey, 16 lines in black ink) thanking him for his last letter which he reads with some delay and for his support in granting an award which he has just been honored with: "l'envoi de la lettre écrite par un Labadens exaspéré. Ce camarade (?) m'a fait passer un bon quart d'heure. Enfin cet infortuné lauréat ne me pardonne peut-être pas, d'être, lui tombé dans les hypothèques." ["the sending of the letter written by an exasperated Labadens. This comrade (?) made me spend a difficult quarter of an hour. Finally this unfortunate laureate perhaps does not forgive me for having fallen into mortgages."]
Central fold inherent to the mailing.

Original color print heightened with palladium, printed on laid paper, signed at the bottom right of the plate.
Original engraving created for the illustration of La Gazette du bon ton, one of the most beautiful and influential fashion magazines of the 20th century, celebrating the talent of French creators and artists at the height of the Art Deco movement.
Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton was published until 1925 with an interruption during the War from 1915 to 1920, due to the mobilization of its editor-in-chief. It consists of 69 issues printed in only 2,000 copies and is illustrated notably with 573 color plates and 148 sketches representing models by great couturiers. From their publication, these luxurious publications "addressed bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu "La Gazette du bon ton" in Dictionnaire de la mode, 2016). Printed on fine laid paper, they used a typeface specially created for the magazine by Georges Peignot, the Cochin character, adopted in 1946 by Christian Dior. The prints were created using the metal stencil technique, heightened in colors and some highlighted in gold or palladium.
The adventure began in 1912 when Lucien Vogel, a man of society and fashion - he had already participated in the magazine Femina - decided to found with his wife Cosette de Brunhoff (sister of Jean, the father of Babar) the Gazette du bon ton whose subtitle was then "Art, modes et frivolités." Georges Charensol reported the words of the editor-in-chief: "In 1910, he observed, there existed no fashion journal that was truly artistic and representative of the spirit of its time. I therefore thought of creating a luxury magazine with truly modern artists [...] I was certain of success because for fashion no country can rival France." ("Un grand éditeur d'art. Lucien Vogel" in Les Nouvelles littéraires, no. 133, May 1925). The magazine's success was immediate, not only in France, but also in the United States and South America.
Originally, Vogel thus assembled a group of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt; and finally his friends from the École des beaux-arts who were George Barbier, Bernard Boutet de Monvel, or Charles Martin. Other talents quickly joined the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Charles Martin, Maggie Salcedo. These artists, mostly unknown when Lucien Vogel called upon them, would later become emblematic and sought-after artistic figures. These same illustrators created the drawings for the Gazette's advertisements.
The plates highlighted and sublimated the dresses of seven creators of the time: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provided exclusive models for each issue. Nevertheless, some of the illustrations featured no real model, but only the illustrator's idea of the fashion of the day.
La Gazette du bon ton was a decisive step in the history of fashion. Combining aesthetic excellence and plastic unity, it brought together for the first time the great talents from the worlds of arts, letters and fashion and imposed, through this alchemy, a completely new image of women, slender, independent and bold, also carried by the new generation of couturiers Coco Chanel, Jean Patou, Marcel Rochas...
Taken over in 1920 by Condé Montrose Nast, the Gazette du bon ton would largely inspire the new composition and aesthetic choices of the "dying little journal" that Nast had purchased a few years earlier: Vogue magazine.

First edition illustrated with 15 original copperplate engravings, including 10 in color, by Maurice de Vlaminck, one of 250 numbered copies on Arches laid paper.

The work is also illustrated with 2 portraits by Amedeo Modigliani depicting Maurice de Vlaminck and his wife.

Full Empire green morocco binding, spine with two prominent raised bands extending as triangles in blind on the covers, spine decorated with three gilt lozenges with gilt title and separated by a transverse gilt bar, marbled paper endpapers and pastedowns, triple gilt fillets framing the pastedowns, covers and spine preserved, top edge gilt, Empire green morocco-edged slipcase, marbled paper boards, contemporary binding signed by the workshops of C. Muller, Nancy bookbinder.

Manuscript signature by Maurice de Vlaminck in pencil below his frontispiece portrait.

Spine slightly darkened, otherwise a handsome copy.

Illustrated edition with 34 original color compositions by Albert Robida engraved by Bertrand and printed in 115 numbered and nominative copies on vélin du Marais.
Full red morocco binding, spine with four raised bands studded with black dots and decorated with triple compartments (two gilt and one black), covers framed with triple gilt fillets and a black morocco fillet, marbled paper endpapers and pastedowns, pastedowns decorated at corners with stylized gilt floral motifs enhanced with brown mosaic morocco pieces forming their petals, covers and spine preserved, all edges gilt, red morocco-edged slipcase, marbled paper boards, white felt lining, elegant contemporary binding dated 1903 and signed Meunier.
A very handsome copy superbly executed.

Les Français peints par eux-mêmes. Encyclopédie morale du dix-neuvième siècle – Le Prisme [with] Les Anglais peints par eux-mêmes [The French painted by themselves – The English painted by themselves]
First edition, one of the grand papier (deluxe) copies with two states of the illustrations for the 8 volumes of Les Français peints par eux-mêmes: one in black on tinted paper, and one enhanced by hand using the so-called “coloris gommé” technique with watercolour and varnish on white paper. Les Anglais peints par eux-mêmes includes the engravings in black. No deluxe copies in colour have been made for this rare set of Les Français.

Bound in half brown morocco, spine in five compartments enhanced with stipple engraving and double gilt panels richly decorated with gilt floral motifs framing a mosaic medallion of green morocco with a gilt rose stamped in the center, cartouches at the top decorated with a gilt garland framing the place and publication date, some light minor rubbing on some compartments, gilt fillets on the marbled paper boards, comb-patterned endpapers, top edges gilt. Elegant late nineteenth century bindings signed Durvand-Thiret.

Complete with all engravings along with added engravings, i.e. 930 engravings including 415 in colour. Title pages dated 1841 for all volumes of Les Français except for volume 5 of Les Parisiens and volume 3 of La Province dated 1842. Les Français peints par eux-mêmes has 415 engravings in black (including that of Napoleon on horseback) instead of the 405 announced and 415 in colour including a double page map of France in volume III of the Province. The English volume illustrated by Kenny Meadous is complete with 100 plates in black.

This unique set contains in total almost a thousand black and coloured engravings and more than 1500 in-text illustrations.
Famous gallery of woodcut portraits depicting the social classes of the 19th century by the greatest artists of the time: Gavarni, Daumier, Delacroix, Grandville, Johannot, Bellangé, Charlet, Daubigny, etc... The portraits are all accompanied by original texts from the most famous Romantic authors, including: Balzac, Nodier, Gautier, Nerval, Gozlan, Janin, Karr, etc...
Scarce foxing affecting mainly the Prism and the Anglais.

The texts and illustrations of the book paint a lively picture of inhabitants and their trade in metropolitan France and its colonies. It sets the tone for panoramic literature – a new genre coined by Walter Benjamin in Charles Baudelaire. A lyric poet at the height of capitalism. In addition to these portraits of the Français, “the contribution of a whole areopagus of great and small authors and illustrators” (S. Le Men, “La 'littérature panoramique' dans la genèse de la Comédie Humaine: Balzac et Les Français peints par eux-mêmes”, L'Année balzacienne 2002/1 (No. 3) CAIRN) includes some of the most renowned authors and cartoonists of the time, each of whom made an original creation for the project.

This protean fresco was directed by editor Léon Curmer, already known for the publishing success of Paul et Virginie between 1836 and 1838. Curmer is represented here by an article, “L'éditeur” in volume IV written by Elias Regnault. The latter takes example in Louis-Sebastien Mercier's Tableau de Paris, published in 1781, whose vision is even further extended by the representation of French provinces in Les Français. Thanks to Curmer the work finds an even deeper meaning: “the editor has widened his frame, and instead of letting a few fleeting portraits get lost in the immense daily whirlwind that engulfs all things, he has sought to bring together the most salient physiognomies of that time.” (S. Le Men, Ibid.)
Curmer selected the authors and illustrators closest to the ones they depict: “It is therefore a question of calling upon authors and illustrators who are well selected according to the 'types' they will have to portray.” (S. Le Men, Ibid.).
Les Français was published in fascicules – a common format at the time, allowing for a greater investment by the public whose opinion and subscription would count for the orientation of future articles. Readers were called upon to contribute, as shown by the “Correspondance des Français” preserved in our copy of Prisme, where the editor responds to readers' suggestions for articles: “Le Coiffeur [hairdresser] de M. Paul Tén... is a most spiritual article. We regret that the Coiffeur type having already been published we cannot accept it.” (Prisme, Issue 84)

The book is lavishly illustrated in the text with vignettes and culs-de-lampe, but it is above all the full-page figure in a landscape opposite the page of the text (so-called “types”) which constitute a novelty in the history of the illustrated book.

These portrayals in traditional settings and various occupations are close to the science of physiology popular at the time. Studying social groups, it aims to determine a representation of an individual who would be the prime example of his group, inevitably leading to a form of caricature.
This “project of a moral encyclopaedia which summarises the whole of society” (Léon Curmer) is the accomplished testimony of an era. Curmer's contemporaries found in the work “a sort of collective self-portrait in which “Paris” and “the provinces” follow one another, and in which each group will be able to recognise itself in one issue or another. (Ségolène Le Men, Ibid.). From its conception its main objective was to capture a fleeting present that lives according to the Baudelairian fashion, in order to “make a portrait of contemporary manners, amusing for the present, instructive for the future.” (Ségolène Le Men, Ibid.)

An important and rare copy of a masterpiece of the romantic illustrated book. A deluxe edition with Le Prisme with the addition of Les Anglais peints par eux-mêmes set in perfect uniform and mosaic bindings signed Durvand Thivet.

First edition decorated with numerous illustrations in the text, with mention of second edition.
Bradel binding in half green cloth, smooth spine decorated with a central gilt floral motif, gilt date and double fillet at tail, brown shagreen title label with slight scratches, almond green marbled paper boards, original wrappers preserved, contemporary binding.
Precious signed autograph inscription by Gabriel Montoya, star performer of Rodolphe Salis's Chat Noir and later inept administrator of the Quat'z-arts which he took over in 1910: "A mon vieil ami Joseph Uzanne, en souvenir des bonnes soirées de La Plume, très cordialement j'offre ce volume." ["To my old friend Joseph Uzanne, in memory of the good evenings at La Plume, very cordially I offer this volume."]
Our copy is enhanced with a postcard, pasted on an endpaper, listing the works of Gabriel Montoya, and, on the following endpaper, an original photograph of the Montmartre performer which he signed at the bottom.
Finally, we also include, on a loose leaf, a handwritten quintain by Gabriel Montoya praising the merits of Vin Mariani: "Lorsque j'ai bu deux doigts de vin Mariani / Je puis allégrement jouer les Hernani, / Et sans peur de faiblir au seuil de ma tirade / Dégoiser de Ruy-Bas la fameuse algarade / C'est par hasard qu'hier je surpris ce propos / Près d'un closet : Mounet parlait à Galipaux." ["When I have drunk two fingers of Mariani wine / I can cheerfully play Hernani, / And without fear of weakening at the threshold of my tirade / Declaim Ruy Blas's famous altercation / It was by chance that yesterday I overheard this remark / Near a closet: Mounet was speaking to Galipaux."]
A whole atmosphere and era!

First edition, one of 50 numbered deluxe copies, the only deluxe copies.
Spine of the second chemise slightly sunned, worming to the boards of the slipcase.
Handsome copy presented in sheets, under double chemise and slipcase.
Iconography.

Edition illustrated with 20 original lithographs in 8 and 10 colours by Kees Van Dongen and printed with 110 copies, ours is one of the 10 hors-commerce without the series of lettered and named lithographs on Rives vellum.
We attach the presentation prospectus to the work.
Rubbings and tears in the margins of the slipcase and on the joints of the chemise.
A beautiful and rare copy.

First edition.
Half blue sheep binding, smooth spine decorated with gilt fillets and dots as well as black fillets, spine with some light rubbing, gilt initials at foot, marbled paper boards, pebbled paper endpapers and pastedowns, speckled edges, one corner slightly bumped, near-contemporary binding.
Handsome copy.
Precious signed autograph inscription from Ludovic Halévy to his friend Alexandre Dumas fils: "A mon cher maître et ami Alexandre Dumas. Ludovic Halévy" ["To my dear master and friend Alexandre Dumas. Ludovic Halévy"]

First edition, illustrated with 44 wood-engraved plates and numerous wood-engraved vignettes in the text (the title page announcing 300 drawings) after Nanteuil, Gavarni... A handsome Romantic illustrated work. 2 frontispieces, the first by Nanteuil, the second by Edouard de Beaumont.
Contemporary half dark green shagreen binding. Spine with flat false raised bands decorated with compartmentalized Romantic tools, gilt and blind fillets. Boards rubbed, corners turned over and bumped. Light scattered foxing. A good copy, with attractive decorative spines.
Historical texts on the streets of Paris by Jules Janin, Eugène Briffault, Louis Huart... under the direction of Lurine. The work traces the history of certain streets of Paris, squares, districts... the most famous of the capital.

First edition, one of the rare copies on laid paper of which no mention is made.
Full black morocco binding, spine with five raised bands, place and date gilt at foot, cold-stamped roulettes on headcaps, marbled paper endpapers and pastedowns, frame of double gilt fillets and gilt fleurons in corners of pastedowns, covers and spine preserved, small tear on second cover, top edge gilt, contemporary binding signed René Kieffer.
Preface by Edmond Frank, work illustrated with a portrait of the author as frontispiece drawn and engraved by H. Danger.
Our copy is enriched with a double portrait of Paul Marrot as frontispiece and bears an autograph inscription signed by H. Danger to the preface writer of the work, Edmond Frank.
Fine and rare deluxe copy established in a full morocco binding signed René Kieffer.

First edition, one of 50 numbered copies on Holland paper, the only deluxe copies after 3 on China paper and 5 on Japan paper.
Half black shagreen binding, spine with five raised bands, combed paper boards, marbled paper endpapers and pastedowns.
Handsome copy despite the top edge slightly shaded.

First edition, one of 50 numbered copies on Japan, the “tirage de tête”.
Half chocolate brown morocco binding, spine in five compartments set with gilt stippling and decorated with double gilt panels decorated with gilt typographic and floral motifs, frame of gilt fillets on the water-effect paper boards, marbled endpapers, fragile parchment covers (two marginal restorations to the backs of the boards) and spine preserved, top edge gilt on the rough, ex-libris glued to a paste down, contemporary binding signed by Pouillet. Literary contributions from Gaston Maspéro, René Doumic, Gaston Boissier, Gustave Schlumberger, Gaston Paris, Emile Gebhardt, Edmond Rostand, Jules Lemaître, Gustave Larroumet, Henry Houssaye, Arvède Barine, Paul Bourget.
Picture contributions from Hermann Vogel, Louis Strimpl, André Castaigne, François Flameng.
Occasional minor foxing mainly affecting the fragile parchment covers, slight rubbing on the corners.
An attractive copy beautifully set.

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.

Illustrated edition with 15 original watercolors by Chas Laborde, one of 450 numbered copies on vellum.
Half blue morocco binding with corners, spine very lightly darkened with four raised bands set with gilt fillets and decorated with quadruple gilt compartments and a fifth compartment enhanced with a red mosaicked morocco fillet, gilt date at foot, frame of gilt fillets on the moiré-effect paper boards, endpapers and pastedowns of the same paper, top edge gilt, covers and spine preserved, binding signed Paul Saschel
Handsome copy beautifully bound in a mosaicked binding.

Edition illustrated with 80 original woodcuts by Sylvain Sauvage, one of 1100 numbered copies on gothic laid paper.
Half morocco binding with corners, spine slightly sunned with five raised bands set with gilt fillets and decorated with double gilt compartments, marbled paper boards, marbled endpapers and pastedowns, covers and spine preserved, top edge gilt, binding signed Barbance successor to Yseux-Simier.
Handsome copy beautifully bound.

Edition illustrated with 41 original etchings by Auguste Lepère, including a frontispiece, 20 headpieces, 20 tailpieces as well as 20 historiated initials printed in two colors
The work is printed in 250 numbered copies on vélin du Marais justified by the publisher.
Half chocolate brown morocco binding with corners, spine with five raised bands, gilt date at foot, marbled paper boards, endpapers and pastedowns of pebbled paper, covers and spine preserved, top edge gilt retaining deckled edges, contemporary binding signed by Stroobants.
Some minor foxing affecting mainly the last leaves at head.
Handsome copy perfectly established.

Two complete autograph manuscripts, on five perforated leaves, of 46 lines for the first and 52 lines for the second, written in blue ink, of the song entitled "Place Blanche" which exists in two versions both entitled "Place Blanche" but with varying text: the first beginning with "J'étais allé dimanche me promener" and the second with "Les amoureux l'dimanche vont deux par deux".
Each manuscript in our possession corresponds to one of the two versions and is extensively corrected, crossed out and reworked while remaining consistent with the final state of the song.
We include, on two perforated leaves (one mounted on flexible cardboard), a complete typescript for each version of "Place Blanche".
Also included are the printed score of this song for each instrument, another score of the song as well as a typescript of the American adaptation of "Place Blanche" and these few handwritten words from the translator, written in red ink addressed to Boris Vian: "Serai Paris mardi. Qu'en penses-tu Bobo, moi ça me plait beaucoup. Dis-moi vite. Merci Nicole." ["Will be Paris Tuesday. What do you think Bobo, I like it very much. Tell me quickly. Thanks Nicole."]
Fine ensemble of this song which was written in 1956 and whose music was composed by Henri Salvador.
Provenance: Fondation Boris Vian.

Illustrated edition with 10 portraits of the most celebrated actresses of the time by Alexandre Lacauchie, printed outside the text.
Half red calf binding, spine with five raised bands decorated with garlands and double gilt compartments, some scuffs notably to the upper headcap, marbled paper boards, marbled endpapers and pastedowns, a small harmless nick to the top edge, contemporary binding.
Handsome interior condition without foxing.

New print of six engraved plates on laid by Duclos following the extremely rare series drawn and engraved on copper by Auguste de Saint-Aubin, initially published in 1770.
The 6 plates represent the different games played by young children in Paris at the end of the 18th century: la sabot (clog), la coupe-tête (leapfrog), la fossette or le jeu de noyaux (kernal game), la toupie (spinning top) or la corde (rope), the last plate illustrating the exit from school where we see children jumping, running and dancing.
Our series is presented in a laced chemise in full red shagreen comprising some rubbing on the boards, flattened corners, a library shelving label glued at the foot of the second board, printed collection stamp at the foot of the verso of the first board.
Rare.

Collection des guides Joanne series. Alphabetical list of Paris streets with also the list of omnibuses and their routes, fares, mobile carriages and other public transport.
Publisher's binding in full purple cloth. Smooth unlettered spine. Title and arms of Paris on the first cover.
Large folding map of Paris in colors. Several small tears. Handsome copy.
The Paris of Napoleon III and Haussmann. This map of Paris was published for the 1867 Paris Universal Exhibition. At the end of the chapter on public carriages, one reads: "A special service, from Place du Palais-Royal to Pont d'Iéna, will operate throughout the duration of the exhibition".

First edition on ordinary paper, with mention of second edition.
Spine sunned with a lack at foot, dampstain at foot of boards.
Precious signed autograph inscription from André Salmon: "A Jacques Copeau, son ami admirateur de son oeuvre, André Salmon. Paris, Juin 1920." ["To Jacques Copeau, his friend and admirer of his work, André Salmon. Paris, June 1920."]

First edition.
Photographic cover and photographs in the text.
Preface by Jacques Duclos.
Minor creases at foot of the first few leaves.

First edition, a Service de Presse (advance) copy.
Spine sunned with small tears.
Precious signed autograph inscription by Jules Romains: "A Jacques Copeau son admirateur et ami." ["To Jacques Copeau his admirer and friend."]

First edition.
Half red shagreen binding, spine with four raised bands decorated with gilt fillets and ornate triple gilt compartments with gilt stars at their centers, red paper boards marginally faded, speckled paper endpapers and pastedowns, contemporary binding.
Some foxing.
Very rare copy complete with its 46 engraved plates and 4 folding maps at the end of the volume.

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 albumen photograph representing Baron Haussmann, in carte-de-visite format, mounted on cardboard from the Mayer & Pierson studio, with the mark on the back.
Pencil annotation on the back of the print. Very fine print executed in a much more careful manner than photographers of the period. The cardboard is more rigid, the corners of the photograph are rounded.

Third edition.
Minor corner wear to spine and boards, printed bibliophile's stamp as bookplate on half-title page.

First edition.
Handsome copy despite the spine very slightly sunned.

The first edition printed in 350 numbered copies, ours one of the 300 numbered copies on laid paper.
Work illustrated with a vignette.
Covers slightly and marginally sunned without significance, otherwise a handsome copy.

First edition illustrated with 8 figures in the text.
Unlettered spine.
Rare and handsome copy.

New edition with some parts in first edition.
Bradel binding in full olive green cloth, smooth spines decorated with gilt floral motifs, double fillets, dates, places and publisher's name gilt at foot of spines, green morocco title labels, original wrappers preserved.
Some minor foxing of no consequence.
Handsome copy.

First edition.
Half bottle-green cloth binding, smooth spine decorated with gilt fleuron, red shagreen title-label with some rubbing, green paper boards, corners slightly bumped, covers preserved, contemporary binding.
Rare.
Interior in pleasant condition.

Edition under reissue covers from the Frédéric Henry bookshop.
A hole at the stitching attachment in the margin of the first cover, some light foxing.
Minor lacks without consequence to the fragile parchment covers.

First edition and first printing of the illustrations.
Publisher's full olive green cloth binding, smooth unlettered spine, front board decorated with an equestrian scene, blue paper endpapers and pastedowns, red edges.
Illustrations in text and full-page in black and color by Crafty.
Very occasional foxing.
Handsome copy despite the top headcap very slightly rubbed without any significance and a small nick at the foot of the front board.
We include the dust jacket of the work in poor condition.

First edition.
Two light angular tears at head and foot of front cover, which also has two small black ink stains at foot, otherwise a handsome copy.

The first edition, of which there were no deluxe copies.
Spine sunned with a tiny lack at foot, some foxing on the endpapers.
Rare.

Autograph letter signed by Charles Auguste Émile Durant known as Carolus-Duran, famous portraitist of high society during the Third Republic. One folded sheet.
The artist discusses the forthcoming engraving of a famous painting with very controversial attribution: the Apollo and Marsyas, acquired in 1850 by English collector Morris Moore who maintained, despite the opinion of numerous curators, its attribution to Raphael. Exhibited in London, Paris, Vienna, Venice and Milan, it was finally acquired in 1883 by the Louvre museum for the sum of 200,000 francs. Its attribution is now given to Perugino.
"Monsieur le directeur,
Vous vous souvenez sans doute du tableau de Raphaël appartenant à Mr Morris Moore et que nos grands peintres ainsi que les principaux journaux ont admirée avec tant d'enthousiasme à Paris.
Toute la Rome artistique connaît à présent ce chef-d'oeuvre, auquel on vient de rendre un éclatant témoignage d'admiration.
[...] La commission de la chalcographie pontificale [...] s'est rassemblée et a voté unanimement aux frais du gouvernement la gravure de cette merveille. J'ai pensé devoir vous faire part d'un événement qui a eu un si grand retentissement et qui intéresse tous les amis de l'art." ["Mr. Director, You doubtless remember the Raphael painting belonging to Mr Morris Moore which our great painters as well as the principal newspapers admired with such enthusiasm in Paris. All artistic Rome now knows this masterpiece, to which a brilliant testimony of admiration has just been rendered. [...] The commission of the pontifical chalcography [...] has assembled and unanimously voted at government expense for the engraving of this marvel. I thought I should inform you of an event which has had such great resonance and which interests all friends of art."]

Autograph letter signed by Charles Auguste Émile Durant known as Carolus-Duran, famous portraitist of high society during the Third Republic. One folded sheet.
The artist gives his authorization to the famous journal L'Illustration to reproduce one of the portraits ("le portrait en gris de Melle XXX") ["the grey portrait of Miss XXX"] that he presented at the first Salon du Champ de Mars, in 1890. This painting received good reviews, notably in the Revue des Deux mondes: "[...] M. Carolus Duran est pourtant un portraitiste rare et supérieur par la sincérité qu'il apporte à rendre, dans tout son éclat et toute sa variété, la première et saisissante apparence des êtres vivans, par l'aisance et par la verve avec lesquelles il les campe et les anime dans la vérité de leurs allures, de leur air, de leurs ajustemens. [...] la troisième, Mlle S..., une toute jeune fille, une brunette fraîche et rose, en toilette de ville, porte un délicieux costume gris, avec ceinture et jabot rosés" ["M. Carolus Duran is nevertheless a rare and superior portraitist through the sincerity he brings to rendering, in all its brilliance and variety, the first and striking appearance of living beings, through the ease and verve with which he positions and animates them in the truth of their bearing, their air, their attire. [...] the third, Miss S..., a very young girl, a fresh and rosy brunette, in town dress, wears a delightful grey costume, with pink belt and jabot"] (Georges Lafenestre, "Les Salons de 1890", 3rd period, volume 99, 1890).

Autograph letter signed by sculptor Francisque Duret to Adolphe Saint Vincent Duvivier, head of the secretariat of the École impériale des beaux-arts.
"J'ai retenu Paul Armand, modèle arabe pour ma quinzaine à l'école et je prie Monsieur Duvivier de lui donner les instructions nécessaires et de prendre son adresse [...]" ["I have retained Paul Armand, Arab model for my fortnight at the school and I ask Monsieur Duvivier to give him the necessary instructions and to take his address [...]"]

Autograph letter signed by sculptor Francisque Duret regarding the acquisition by the Louvre museum of a copy of his celebrated statue, the Vendangeur improvisant sur un sujet comique (souvenir de Naples), which he presented at the 1839 Salon. The Louvre copy (R.F. 172), cast after the 1839 model, was presented at the 1855 Universal Exhibition.
'Monsieur,
Le fondeur de la statue en bronze que j'ai mise cette année au Salon, désire pouvoir mettre mon ouvrage à l'industrie, sourtout avant le 15 du mois; dernier jour accordé aux exposants [...] croyez cependant Monsieur, que si vous daignez lui accorder asyle dans quelque musée ou jardin royal, faveur qu'elle ambitionne par dessus tout, elle s'empressera de se rendre à vos ordres [...]" ["Sir, The founder of the bronze statue that I exhibited this year at the Salon, wishes to be able to put my work to industry, especially before the 15th of the month; the last day granted to exhibitors [...] believe however Sir, that if you deign to grant it asylum in some museum or royal garden, a favor it aspires to above all, it will hasten to comply with your orders [...]"]

Autograph letter signed by the Orientalist painter Georges Clairin to a fellow painter, complaining about the harsh selection imposed by the Salon des artistes français, the official and obligatory gathering of French painting.
"[...] jusqu'au 20 mars il y a à Paris beaucoup de malheureux artistes, dont je fais partie, qui s'imposent le supplice d'envoyer un ou deux tableaux au palais des Champs Elysées, et que je suis assez bête pour envoyer deux tableaux cette année - je suis en retard et madame peinture ne me permet pas de me donner les plaisirs que m'offrent l'amitié. [...]" ["[...] until March 20th there are in Paris many unfortunate artists, of whom I am one, who impose upon themselves the torment of sending one or two paintings to the Palais des Champs Elysées, and I am foolish enough to send two paintings this year - I am running late and lady painting does not allow me to indulge in the pleasures that friendship offers me. [...]"]

Autograph letter signed by sculptor Jean Pierre Cortot to the director of the Palais-Royal theatre. The sculptor requests his theatre passes which he had enjoyed since donating a marble statue of Corneille, a version of which is now in Rouen's town hall.
"Monsieur le Directeur,
Depuis que j'ai fait don à votre théâtre de ma statue de Corneille, M. Frédéric, votre prédécesseur, s'engagea à m'y donner mes entrées. J'en ai constamment joui pendant sa gestion et j'ose espérer, Monsieur, conserver ce même droit puisqu'il est le prix convenu de la statue susdite. [...]" ["Since I donated my statue of Corneille to your theatre, M. Frédéric, your predecessor, committed to granting me my passes. I have constantly enjoyed them during his management and I dare hope, Monsieur, to preserve this same right since it is the agreed price for the aforementioned statue. [...]"]

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"].

Autograph letter signed by the painter and illustrator Edouard Detaille, one folded sheet.
"Thursday
My old country gentleman,
Do you know what should be done with these little panels that are lying around here and there, and that I see appearing from time to time? I'm going to tell you. You should simply sign them, next to my signature. That way the public will know what to expect; it will be an attraction for a collector, and I assure you that the sale will be guaranteed. This stroke of genius has just sprung up in my brain, and I throw this thought on paper, amazed myself by this late and original conception! Examples abound: the Lionnet brothers, Monréal and Blondeau, Alexandre Dumas and Gaillardet, Cogniard and Clairville, Castor and Pollux, Pinaud and Amour... etc.. etc..
To you my country gentleman my most sincere embrace" ["Jeudi
Mon vieux gentilhomme campagnard,
Sais-tu ce qu'il faudrait faire avec ces petits panneau [sic] qui traînent à droite à gauche, et que je vois apparaître de temps en temps ? Je vais te le dire. Tu devrais le signer tout simplement, à côté de ma signature. Comme ça le public saura à quoi s'en tenir ; ce sera un attrait pour un amateur, et je t'assure que la vente en sera assurée. Cette idée de génie vient de surgir à l'instant dans mon cerveau, et je jette cette pensée sur le papier, étonné moi-même de cette conception tardive et originale ! Les exemples abondent : les frères Lionnet, Monréal et Blondeau, Alexandre Dumas et Gaillardet , Cogniard et Clairville, Castor et Pollux, Pinaud et Amour... etc.. etc..
A toi mon gentilhomme campagnard ma plus franche accolade"]

Autograph letter signed by the military painter and illustrator Edouard Detaille to the Minister of War Adolphe Messimy, one folded sheet. The painter had been charged with renovating the French army uniform and delivers here a first version of the helmet, which would be reworked by Louis Adrian and used during the First World War.
The painter presents a prototype of his helmet and requests that a few hundred be made: "J'ai l'honneur de vous adresse le casque que j'ai fait fabriquer pour l'infanterie, et dont l'adoption dès maintenant avait été décidée pour la batterie à cheval de la garnison de Paris. Je tiens absolument à la propriété de ce modèle, que j'ai étudié avec grand soin, et qui ne saurait subir de modifications sous peine de perdre tout son caractère artistique et son côté pratique. Je me mets donc à votre disposition pour en assurer l'exécution. Il ne s'agit pas à proprement parler d'une fourniture : c'est un essai et il suffit de 200 à 250 casques environ. [...]" ["I have the honor of sending you the helmet that I had manufactured for the infantry, and whose adoption from now on had been decided for the horse battery of the Paris garrison. I am absolutely committed to the ownership of this model, which I have studied with great care, and which could not undergo modifications without losing all its artistic character and practical aspect. I therefore put myself at your disposal to ensure its execution. It is not strictly speaking a supply: it is a trial and only about 200 to 250 helmets are needed. [...]"]. This first version was presented to the public and described in an article in Gil Blas January 24, 1912: "Ce casque est acier bleui avec cimier bronzé surmontant le milieu de la bombe. La visière et son cache-nuque sont uniformes, ce qui permet de le porter des deux faces. Le casque n'a ni endroit, ni envers, et il est ornementé de deux têtes de lion en acier servant à fixer la jugulaire, également en acier bronzé. Le côté gauche est garni d'une cocarde tricolore rajoutée" ["This helmet is blued steel with a bronzed crest surmounting the middle of the bowl. The visor and its neck guard are uniform, which allows it to be worn on both sides. The helmet has neither front nor back, and it is ornamented with two steel lion heads used to attach the chin strap, also in bronzed steel. The left side is fitted with an added tricolor cockade"].

Long autograph letter signed by sculptor Charles Cordier to a painter friend regarding the sculptures of the Vaudeville Theatre, built at the corner of Boulevard des Capucines and Rue de la Chaussée d'Antin, from January 1867 to April 1, 1869, commissioned by the City of Paris.
The majority of the sculptures and bas-reliefs had been entrusted to Emile Hébert, whose Italian cherubs were not to the taste of Charles Cordier, a great defender of French style: "Vaudeville should be represented by an adolescent receiving from artistic tradition the attributes of comedy, and what instead? Tiresome sculpture instead of creating French sculpture for a theatre that is so French in spirit." Cordier created two caryatids for the Vaudeville for the balcony of one of the principal boxes. In a very interesting passage, Cordier speaks of his sculptor pupils and his sculptural style: "I always encourage the children not to abandon naivety in drawing, which leads to intimate feeling in portraiture. A rare thing!"
"Mon cher ami
[...]
Je crains fort de ne pouvoir partir le Vaudeville presse. J'ai le bas relief de milieu et [illisible] et classique. Le vaudeville doit être présenté par un adolescent recevant de la tradition artistique les attributs de la comédie et à quoi ? de la sculpture assommante au lieu de faire de la sculpture française pour un théâtre qui est si français par son esprit.
Notre élève va bien. J'ai vu un portrait ébauché [...] J'engage toujours les enfants à ne pas se départir de la naïveté dans le dessin ce qui amène au sentiment intime dans le portrait. Chose rare !. Et vous cher maître, faits dans dans les esquisses de la chapelle, j'irai vous voir un soir si je ne vous dérange pas, vous m'ouvrirez vers les 4h.
Mes excuses encore une fois [...]
Charles Cordier" ["My dear friend
[...]
I very much fear I may not be able to leave, the Vaudeville is pressing. I have the central bas-relief and [illegible] and classical. Vaudeville should be represented by an adolescent receiving from artistic tradition the attributes of comedy, and what instead? Tiresome sculpture instead of creating French sculpture for a theatre that is so French in spirit.
Our pupil is doing well. I saw a sketched portrait [...] I always encourage the children not to abandon naivety in drawing, which leads to intimate feeling in portraiture. A rare thing!. And you, dear master, working on the chapel sketches, I will come to see you one evening if I don't disturb you, you will receive me around 4 o'clock.
My apologies once again [...]
Charles Cordier"]

First edition printed on ordinary paper.
Handsome copy despite a small repaired tear at foot of spine.
Work illustrated with numerous drawings by Sapho.
Signed autograph inscription from Sapho to Anne-Marie Vaneau with an original drawing representing a woman from the front, perhaps the dedicatee.
Our copy is expanded with a large original drawing by Sapho, executed in black felt-tip pen in the manner of Pablo Picasso on a paper tablecloth from the brasserie La Coupole - famous gathering place of the Montparnos, representing the faces of a group of 9 friends and which was entitled by Sapho "Où est mon autocar de camarades?"
The drawing has been captioned at top left in blue felt-tip pen, probably by Anne-Marie Vaneau "La Coupole, 8 Mai 1985 24h30. Poncho - Benoit - Anne-Marie (dessin de Sapho).

first edition illustrated with photographs of Louis Monier.
Preface by Jean Dutourd, comments by Alain Paucard.
Pleasant copy.
autograph dedication of the author auotgraphe dated and signed by Louis Monier to Charles Dobzynski.

First edition.
Publisher's full board binding, smooth spine, complete with its illustrated dust jacket.
Text by Max-Pol Fouchet, photographic illustration by Robert Doisneau.
Handsome copy.

First edition, one of 500 numbered copies on tinted vellum, single edition with 25 Japan.
Bradel binding in full glazed Havana calfskin, smooth back decorated with a central monogram (A in the Q) and a golden floral pattern, tiny traces of friction without gravity, a black spot at the foot of a bit, date in the tail, golden casters on the caps, repetition of the same golden monogram at the head of the first board, small spots without gravity on the boards, golden nets on the cuts, double framing of golden lace on the guards and the paper counterplates in the tank , fragile double wrappers preserved and bound in, golden edges, ex-libris pasted on the back of the first cover, elegant Contemporary binding.
Autograph signed by Hugues Le Roux to his publisher A. Quantin on the false title page.
Illustrated book of 5 engravings by Paul Avril including 1 in frontispiece.
Shaded false title page, otherwise good interior condition.
Pleasant copy established in an elegant Contemporary binding.
Provenance: library of A. Quantin with his engraved ex-libris.

First edition, one of 230 numbered copies on white wove paper, ours one of 30 out of trade, only large papers.
Autograph signed by André Salmon to René Jouglet.
Book illustrated with a frontispiece and Savignac bands.
Beautiful copy.

First edition, one of the rare numbered copies on pure linen paper, the print run is not specified, there is no mention of other deluxe copies.
Covers very lightly and marginally sunned without consequence, handsome copy.

Illustrated edition of 11 original etchings by Eugène Béjot, one of 300 numbered copies on laid Arches paper, only one print after 25 imperial Japan, variously enriched.
Binding in half brown morocco with corners, back with five nerves, golden date at the tail, traces of friction on the joints, framing of golden nets on the boards of marbled paper, guards and counterplates of paper in the tank, slightly blunt corners, wrappers preserved and bound in, golden head, ex-libris glued on a counterplate.
Handwritten signatures of Maurice Guillemot and Eugène Béjot below the justification for the print.

Illustrated edition of 11 original etchings by Eugène Béjot, one of 300 numbered copies on laid Arches paper, only one print after 25 imperial Japan, variously enriched.
Bindings in fawn half sheepskin, smooth backs adorned with golden romantic arabesques, small losses and slight friction in the back tails, joints slightly split in heads and in tails, marbled paper boards, guards and counterplates of paper in the tank, speckled edges , bindings of the time.
Some foxinges.
Illustrated book of three frontispiece portraits and 6 autographed facsimiles.
Our copy is enriched with a handwritten autograph letter dated February 15 (1826) from ARP Allysan de Chazet in which he reminds his correspondent, a high official, who has not yet "this unhappy Madame d'Anthenay, his payment advice for the year 1826 ... "for which he is confused in praise:" ... I hasten to remind you that it is impossible to find a more interesting woman, in terms of misfortune, principles and character ... "

First edition and first printing of the 320 wood engravings. Publication of the 4 volumes from 1846 to 1848, which explains why they are found separately.
Contributions by Théophile Gautier, Laurent-Jan, Léon Gozlan, Auguste Lireux and Jules Hetzel under the pseudonym P.-J. Stahl among others.
Contemporary half black shagreen bindings. Flat false raised bands spine decorated with ornate compartments. Gilt titles and volume labels. Gilt edges. Blind ruling frame on boards. A. Gaillard at foot. Roulettes on bands. Very fine gold and grey decorative endpapers. Pale scattered foxing on very white paper.
Work illustrated with a general frontispiece, 14 vignettes including one repeated and 320 plates, all engraved on wood.
References: Vicaire, III, 953-955; Brivois pp.168-171; Carteret, III-260-264.
"Important work, presenting an original work drawn anew by the artist from his lithographs; the whole gives a good idea of Gavarni's talent and the customs of his time.
This work is very rare in fine condition." Carteret.

Edition illustrated with in-text illustrations in black by Louis Le Riverend and Paul Steck as well as three out-of-text watercolors in color by Edward Loevy.
Publisher's polychrome cardboard binding, smooth spine decorated with gilt and silver ornament, beveled boards, front board enhanced with a large illustration, all edges gilt.
Endpapers tending to slightly pull away.

First edition consisting of an album of 27 prints colored or in black in or inset, most numbered and justified by Adlen, one of the 243 numbered copies on offset Sirène du Marais.
Some small foxing mainly affecting the very first and last leaves.
Our copy is quite complete of the 27 prints it must contain, and not 25 as erroneously announced to the justification of the print.
Serge's text.
Signed autograph dedication of Adlen to Armand Lanoux below the justification of the draw.

First edition printed on laid paper.
Spine slightly faded, small tears at foot of front cover which also has three stains at head, handsome interior condition.
Work illustrated with 1 color plate, 52 plates, 18 figures and 3 plans.

For each of the two volumes, first edition illustrated with 32 lithographed plates in color (including the cover) by Draner.
Half red shagreen binding, spine with five raised bands set with gilt dots and decorated with double fillets and gilt fleurons, cold-tooled fillet frame on red paper boards, marbled endpapers and pastedowns, two corners very slightly bumped, illustrated covers preserved.
Some light foxing, two small corner losses to the first cover of the second volume, some leaves dog-eared at head.

First edition printed on laid paper.
Half chocolate brown morocco with corners, spine with five raised bands showing some rubbing, marbled paper boards, two scratches at head of second cover, marbled endpapers and pastedowns, scratches to corners, original wrappers and spine preserved, top edge gilt.
The appendix to session No. 36 has been bound following the subject of the 1841 session to the Chamber of Deputies presented by Adolphe Thiers.
Rare.
Provenance: from the library of Château de Prye with a bookplate pasted to one pastedown.

New edition, with mention of Second and third augmented edition. The illustration includes 3 repeated title vignettes and eight folding plates of Paris, depicting the state of the city at different periods since its foundation. Title pages in red and black. The first volume of the Treatise on Police originally appeared in 1707, volume 2 in 1710, volume 3 in 1719, and a fourth volume (On Roads), written by Delamare's secretary, appeared posthumously in 1738, the latter not included in this 4-volume edition which reproduces the 1719 Paris edition in three volumes.
Contemporary binding in full marbled calf. Raised spine decorated. Red morocco title-labels. Brown calf volume labels, heavily rubbed, with partially illegible numbering. Lacking at tail of volumes I and II. Tail-caps of volumes III and IV torn away. Head-caps of volumes III and IV worn down. Lacks to upper boards of volumes I and III, with small lacks to lower edges. Generally rubbed. Constellation of wormholes on first compartment of volume I, with some holes on third compartment, likewise on fifth compartment of volume III. Lower corners bumped, some worn bare. Scattered small worming.
The Treatise on Police, while secondarily being a history of regulations in Antiquity and the exercise of police power, contains all ordinances and rules in every domain, that is everything relating to public law (food, commerce, spectacles, prisons...) for the city of Paris. The first volume also treats the various police corps and their administration. It was in 1667 that Lamoignon, First President of the Parliament of Paris, suggested the idea to Nicolas Delamare of writing a work describing police methods in a great city; Colbert's archives and rich library were opened to him for this purpose. "This work is not," says the author, "a simple collection of ordinances, as I had first proposed; these are dissertations on all matters of police; it is a history of all laws and all regulations from the establishment of the most ancient republics to the present." From the first pages of his Treatise, Delamare gave a broad definition of police as an "art of procuring a comfortable and tranquil life." Delamare's original plan envisioned 12 books; only 6 appeared. The first book treats "Police in general and its magistrates and officers," the second "religion," the third "morals," the fourth "health," and the fifth "provisions."

Several editions appeared the same year in Paris, London, Berlin.
Full brown flamed sheep binding, late 19th century. Smooth spine richly decorated in Restoration style. Red morocco title label. Fine copy.
Armorial bookplate engraved, from a private library.
Satirical and cynical description of Parisian life and customs. The author discusses theaters, prisons, fashions, promenades, the Tuileries...

First edition, one of 12 numbered copies on Holland paper, the only deluxe copies.
A full-margined copy.
Spine creased, a small lack to head of second board, light tears to margins of certain leaves at the deckled edges.
Work illustrated with a frontispiece on Japan paper by Charles Léandre and drawings in and out of text by Henri Gaston Darien, Henri Charles Auguste Gounin, Jean-Louis Fernand Fau, Charles Léandre, Théophile Alexandre Steinlen, David Ossipovitch Widhopff and Adolphe Willette.

Jules LEVY & Jules JOUY
& CARPENTIER
Décadent's concert program from 27 April to 3 May 1894
Paris 27 April-3 May 1894| 26.5 x 17.6 cm | one leaf
Rare first edition of the Décadent's concert program held from 27 April to 3 May 1894 at 16 bis Rue Fontaine, in Paris.
On the reverse there is an elegant and humorous blue lithographed poster promoting Carpentier's “lively shadows.”
The leaflet has significant foxing, its lower left corner is cut, there are superficial sections of paper missing and the remains of some adhesive paper in the margin of the program.
Successor of the Café des Incohérents created by Jules Lévy, writer, actor and ex-Hydropath, the musical and artistic café on Rue Fontaine is renamed “concert des Décadents” in 1893, and placed under the artistic direction of chansonnier Jules Jouy and the signer Marguerite Dufay. Performers included, among others, Marcel Legay, Paul Delmet, Armand Masson, Georges Tiercy, et Paul Daubry.

Extremely rare and humoristic menu pamphlet from the “souper démocratique” “democratic supper” organised by the République de Montmartre, newly founded in 1921. The date shown is a parody of the republican calendar: "17 Neigeôse, An I".
A magnificent original wood engraving, representing the Communards on the Montmartre hill and bearing the monogram “Armand,” adorns the first board.
In the spirit of the Paris Commune, the République de Montmartre was created in the early 1920s by the Parisian artists Joé Bridge, Adolphe Willette, Jean-Louis Forain, Francisque Poulbot, Maurice Neumont, Louis Morin, Maurice Millière, Raoul Guérin and Jules Depaquit. Their parties and banquets, often organised in Montmartre's legendary venues (Moulin de la Galette, cirque Médrano, Moulin Rouge) were intended to unite the Montmartre community by mutual aid and sociability.
This menu is a rare testimony of the beginnings of this joyful and festive organisation, which is delivering here a very comical banquet where one serves “Fois d'aristocrates truffés de chez Julien” “Julian's truffled aristocrat livers,” “Salade d'Emigrés” “Salad of Expatriates” and “Fruits de la Révolution” “Fruits of the Revolution.” It ends with the motto “SALUT, FRATERNITE, et BON APPETIT !” “CHEERS, FRATERNITY, and BON APPETIT!”

Very rare prospectus for the banquet of the Republic of Montmartre, organized at the Moulin de la Galette on November 6, 1931.
In the upper part, there is a beautiful original print signed Francisque Poulbot representing the citizens of the Republic of Montmartre returning from vacation.
In the spirit of the Paris Commune, the Republic of Montmartre was created in 1921 by Parisian artists Joé Bridge, Adolphe Willette, Jean-Louis Forain, Francisque Poulbot, Maurice Neumont, Louis Morin, Maurice Milliere, Raoul Guerin and Jules Depaquit . His parties and banquets, often organized in the mythical places of Montmartre (Moulin de la Galette, Circus Medrano, Moulin Rouge) were intended to weld the Montmartre community by mutual aid and sociability.

Jules LEVY
Invitation to the preparatory meeting of the 41st anniversary of the foundation of the Hydropaths
19 December 1919 | 12.8 x 10.5 cm | one leaf
Rare invitation to the preparatory meeting organised by the Hydropaths Club, Sunday 28 December 1919, “to agree to the preparation for the forty-first anniversary ceremony of the foundation of our society.” The event took place «à la salle Berlitz (41, boulevard des Italiens) «at the Salle Berlitz (41, Boulevard des Italiens).»
A handwritten note on the lower part gives the name of the guest.
Horizontal fold in the middle of the document.

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)

Original drawing of the painter and draftsman Georges Tournon, in charcoal enhanced with gouache, signed "G. Tournon Jardin des plantes 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)

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)

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)

Edition illustrated with 10 original etchings by Edouard Chimot, one of 25 numbered copies on Japon imperial paper, deluxe copy.
The work is also illustrated with typographical ornaments by Paul de Pidoll.
Handsome full-margined copy.
The first gathering tends to come slightly loose.
Our copy, like all copies printed on Japon imperial paper, contains the complete suite of 10 original compositions by Edouard Chimot in triple state.

First edition of this promotional publication created for Quina-Laroche.
Handsome copy.
Full cardboard chemise, smooth spine, illustrated front cover, chemise complete with its two ties.
Work complete with its 10 color lithographs depicting actresses praising the benefits of Quina-Laroche.

Illustrated with 16 « réogrammes » by Fabian Loris and Roger Parry, one of 332 numbered copies on Hollande paper, the only printing after 30 Japon.
Bradel binding, covers and spine preserved.

First edition, one of 150 numbered copies on vergé, this one not included in the justification, the only printing after 1 Chine, 10 Japon and 20 Hollande paper.
Rare and nice copy.
Illustrated with 3 drawings by Benjamin Péret and, as frontispiece, an original engraving on Chine paper by Max Ernst, the only one engraved by the artist.
Handsome autograph inscription signed by Benjamin Péret to Jacques Viot : " A Jacques Viot qui sonne utile tous les jours en jetant des assiettes to la tête des agents."