Rarest Books (Untraceables)

First edition, one of 75 numbered copies on Ingres, only leading copies.
Nice and rare copy.
Handwritten signature of Georges Goldfayn to the colophon.


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ARP Hans & SCHULZE VELLINGHAUSEN Albert
illustration by POLIAKOFF Serge
Werke Poliakoffs. - Geh durch den Spiegel
Werkstätten Galerie Der Spiegel, Köln 1964, 26,5 x 38 cm, original wrappers
First edition of this brochure of the Serge Poliakoff exhibition, of which 300 copies were printed. The exhibition was held at the Der Spiegel gallery in Cologne in 1964.
Work illustrated with two separate original engravings by Serge Poliakoff, including one double-page spread.
Texts by Hans Arp and Albert Schulze Vellinghausen.
Wrappers and spine slightly discolored at the margins, otherwise an attractive copy.
Provenance: from the library of the art publisher and collector Alex Grall, with his stamp printed as an ex-libris.
$ 2 250

First edition for each of the volumes.
The first work is illustrated with 47 figures in the text, the second contains 1 in-text figure.
Bradel binding in half mouse-grey cloth, smooth spine, brown shagreen title-label running lengthwise with scratches, gilt date and double fillet at foot, marbled paper boards, original wrappers preserved for each volume, upper corners slightly bumped.
Printed stamps of Doctor Joseph Roussel on the half-title pages.
A name inscribed in pen at the head of an endpaper as bookplate; below, the title of the second work, bound following, has been inscribed in turquoise ink.
Pleasant interior condition.
Important gathering of these two rare works.

First edition, one of the few artist copies on Ingres d'Arches paper, only leading copies with 75 numbered copies on Ingres d'Arches paper.
Back very slightly insolated without gravity.
Illustrated book of two original lithographs by Olivier O. Olivier.
Our copy, like the first 15 copies on Ingres d'Arches paper, includes a suite of two lithographs, unnumbered but justified by Olivier O. Olivier and signed.
Signed autograph of Olivier O. Olivier in Nanie and Jörg (Ortner).

First edition, one of 75 numbered copies on Arches paper, only leading copies.
Very beautiful and unique copy.
Like the 75 numbered copies on Arches paper, the cover of ours is painted by Marc Feld and handwritten by Zeno Bianu, each cover being different from the other 74, which makes it an original work.
Book decorated with illustrations by Marc Feld.
Our copy, like all copies of the head print on Arches paper, includes an original engraving, ours in blue nuance, Marc Feld he signed and justified.
The book also includes the Dvd Jean-Jacques Nguyen placed at the end of the volume.
Autographed and signed autograph by Marc Feld to Charles (Dobzynski): "For dear Charles, in the keenest of presence, with my friendship."
Handwritten signatures of Zeno Bianu and Marc Feld at the colophon.

First edition illustrated with 2 original dry tips Alexis de Kervoal, one of 14 numbered copies on Royal Lana, only draw after 6 other Lana Royal.
Binding of the editor in full cardboard covered with kraft paper and perforated inside to reveal, on the left an original drawing and on the right to place the text in leaves.
Our copy, like the 14 copies on Lana Royal, is enriched with an original drawing signed by Alexis de Kermoal representative.
Handwritten signatures of Fernando Arrabal and Alexis de Kermoal in pencil at the beginning of the volume.

First edition, one of 4 lettered copies on Holland paper.
Rare and handsome copy.

first edition for which there is no mention of leading copies.
Book decorated with illustrations by Jean Beauduin.
Small bites on the margin of the first board, a slight angular miss on the second, some foxing on the guards.
Rare.
Signed autograph of Anatole Belval-Delahaye to Pierre Gilbert: "... homage of a literary trainee ..."

First Edition printed with 244 numbered copies on Holland paper.
Autograph signed by Adrien Mithouard to his Desire Ferry May.
Pleasant copy despite slight bites on the boards.

First Edition printed 160 copies numbered and justified by Henry Charpentier on vellum .
Signed autograph dedication of Henry Charpentier: "To my dear friend Louis de Gonzague-Frick / who the Muses seduced by the lyre and the triq '... To amuse him, Henry Charpentier."
Book decorated with 15 illustrations of Alfred Codina.
Two tears in the head and foot of the back.
Rare and nice copy.

The first edition, of which there were no deluxe copies.
Lyrical tale set to music by Pierre de Breville.
Unlettered spine with a small tear at head, foxing on second cover.
Rare.

First edition, one of 130 numbered copies on "pur-fil" paper, only leading copies.
Handwritten signature of Jean Bertheroy above the justification of the draw.
Small bites on some sheets at the witnesses.
Rare and pleasant copy at all margins.

First edition printed 400 copies on laid.
Autograph dedication signed by René Druart to Mr. Boisseau.
Preface by Paul Fort.
Mute back insolated, small bites on the boards.
Rare.

First edition, one of 30 numbered copies on alfa paper, the only deluxe copies.
A rare and handsome copy.

First edition, one of 26 numbered copies on Madagascar paper, the tirage de tête.
Illustrated with a frontispiece by Pablo Picasso, preface by André Salmon.
Rare and nice copy despite a small tear in the margin of lower cover.

First edition.
Binding half shagreen green fir, back with five nerves adorned with gilt fleurons, marbled paper plates, guards and contreplats of handmade paper, gilded head, Contemporary binding.
Autograph signed by W. Moreau to his friend Auguste Ferrand.
Rare and nice copy.

First edition, one of 20 numbered copies on Holland paper, the only deluxe copies.
Bradel binding in half brick red percaline with corners, smooth spine decorated with a gilt floral motif, gilt date and double fillet at foot, black shagreen title-label, marbled paper boards, covers and spine preserved, contemporary binding signed by Champs.
Rare and handsome copy.

The first edition, of which there were no deluxe copies.
Unlettered spine lightly sunned with lacks, worming and slight corner lacks to boards, a more significant lack at head of rear board.
Rare.

First edition of this anti-Drumont pamphlet.
Two lacks at head and foot of spine, small lacks and marginal tears to boards.

First edition.
Two tiny lacks at foot of spine, two others to board margins.
Rare copy.

First edition, one of 250 numbered copies, the only printing.
Illustrated work with an original engraving by Anne Slacik as frontispiece.
Rare and handsome copy retaining its original crystal.

First edition, one of 70 numbered copies on Lafuma de Voiron and re-imposed in Tellière quarto, the only grand papier (deluxe) copies.
Half morocco, covers and spine preserved, top edge gilt, binding probably signed by Ducluzeau.
Ex-libris pasted on a pastedown.
A nice copy.

Edition largely original, one of 150 numbered copies on vergé, the only printing with 25 Japon.
Bradel binding in half morocco, covers preserved.
Ex-libris pasted on a pastedown.
Endpapers very slightly with small stains, otherwise very rare and nice copy.

Illustrated with 16 original copper engravings by Kees Van Dongen, one of 900 numbered copies on Vergé du Marais paper.
Publisher's full marbled fawn sheep binding, smooth spine with some rubbing, top headcap worn down, marbled endpapers and pastedowns, corners slightly bumped, bookplate pasted on a pastedown, speckled edges.
Handsome interior condition.

first edition.
Autographed autograph dedication of the author from Eugène de Montlaur to the Baron de Vaux at the head of the first board.
Rousseurs, a stain of black ink on the margins of the sheets.
Rare.

The first edition, of which there were no deluxe copies.

A rare and handsome copy.

First edition of this famous literary pamphlet published under a pseudonym and savaging the greatest names of French Romanticism.
Bradel binding in green half-cloth, smooth spine, date and place gilt at foot, hazelnut shagreen title-label with minor scratches, marbled paper boards, original wrappers preserved, binding signed by Petitot.
Small stains at foot of first cover and first leaves.
The first cover bears a scathing judgment on this work, a previous owner also specified the true name of the author hiding behind the pseudonym Van Engelgom.
Rare.
Provenance: from the library of Paul Lacombe with his handsome engraved bookplate illustrating the Pont-Neuf seen from the bouquinistes of Quai Conti.

The very rare first edition.

Full glazed red calf bindings, smooth spines ornately decorated with gilt vegetal motifs, black calf title labels, gilt tooling on the headcaps, frames of quadruple black and gilt fillets enhanced with gilt fleurons at the corners on marbled paper boards, pink paper endpapers and pastedowns slightly soiled at margins, all edges gilt, gilt fillets at head and tail of leading edges, contemporary bindings.

Some light rubbing to boards, some minor foxing.

A handsome and rare copy of this work dedicated to his friend Béranger bound in an elegant contemporary Romantic binding. 

First edition, one of 101 numbered copies on Ingres paper, the only copies after 1 Chiffon and 21 pur fil.
Work illustrated with drawings by Colette Deblé.
Handsome copy complete with its crystal reproducing the author's identity photograph.

first edition printed with 200 numbered copies on vellum of this catalog of the exhibition devoted to Jean Clareboudt at the Galerie 7 ..
Book illustrated with an original lithograph by Jean Clareboudt on the cover.
Text by Gilbert Lascault.
autograph dedication of the author an autograph signed by Gilbert Lascault to Françoise and Pierre D (umayet) in paper pencil.
Pleasant and rare illustrated copy of reproductions of works of Jean Clareboudt.

First edition.
Spine with two tears at head and foot as well as a dampstain, a pale marginal dampstain on the first leaves.
Rare.

First edition of the French translation.
Autograph inscription signed by Hartwig Derenbourg to Monsieur and Madame Olagnier.
Spine faded and repaired, angular lacks on the covers, internally good.
Rare.

first edition on current paper, second edition mention, press service punch at the foot of the first cover.
Bindery in half fir tree green fir, smooth back discolored and illuminated, back decorated with nets and golden fleurons, piece of title of shagreen red, plates marbled paper, guards and counterplates of paper to the vat, copuvertures illustrated conserved, binding of l 'time.
Autographed by Jules Bois to Charles Bernard.

The first edition, of which there were no deluxe copies, a Service de Presse (advance) copy.
Signed autograph inscription from Emmanuel Bove to René Doumic.
Spine with restoration at head and light dampstaining.
Rare.

First edition and first printing of the 142 illustrations by Lucien Métivet, one of 20 numbered copies on Japan paper printed specially for the A. Melet bookshop, the only deluxe copies.
Handsome copy

First edition, very rare. Colophon (f. m7): Impressarum in impiali opido Hagenau finit feliciter anno salutis nostre millesimo quingentesimo octavo Xij die mensis julii. Epistle on the verso of the title page addressed to the bookseller Andreas Grindelhart by Pallas Spangel, responsible for the edition. Not in Brunet. One copy at the Bibliothèque Nationale de France, one at the Mazarine Library.
Half vellum binding from the late 19th century. Smooth spine. Red morocco title label. Marbled paper boards. 2 brown stains on title page affecting the last 4 lines of text, 2 perforations in margin.
French Dominican friar of the 13th century (1190-1277), Humbert de Romans (or sometimes de Bourgogne) made his mark through his writings, teaching and preaching, he was appointed head of the Dominicans in France and worked to unify the liturgy. Besides classical sermons, one will find sermons addressed to students of medicine, grammar, to the poor, to the infirm in hospitals, to the sick... The sermons are followed by selected correspondence from Humbert.

First edition, very rare. Three states can be distinguished: the first, ours, is distinguished by the title page entitled Oeuvres posthumes, as is the half-title. The second state substitutes a new title page entitled Album d'un pessimiste, with the half-title still indicating Oeuvres posthumes (this is the state known and described by Clouzot). The third state has a new title page dated 1836, again entitled Album d'un pessimiste, with the half-title oeuvres posthumes (this is the most common state); however, the mention of a notice by L'Héritier has disappeared to make way for the mention of a biographical notice (extracted from Michaud's Biographie universelle). L'Heritier's notice was removed from the first state, as the publisher preferred not to include it for fear of offending certain contemporaries mentioned.

Rabbe's works are preceded by Victor Hugo's poem: A Alphonse Rabbe, which would later appear in Les chants du Crépuscule, published in 1836.

These posthumous works were collected and published by the writer's nephew Charles Rabbe, who received a subsidy from the Ministry of Public Instruction for this purpose.
Contemporary half black shagreen bindings. Spine with false raised bands decorated with blind thick fillets. Gilt title and volume numbers. Owner's name at foot: Gauger. Minor rubbing to headcaps. 2 corners slightly bumped. Very light scattered foxing. A handsome copy.

A dark and sombre writer, marked by failure and the futility of things, who died in 1829 from opium excess (it is unknown whether his death was suicide or an unfortunate dosage of opium), Rabbe would enchant Baudelaire, receive the touching solicitude of Victor Hugo, and André Breton would not forget him in his anthology. All of Rabbe's pages are filled with a sickly and feverish romanticism, haunted by pessimism and despair, of which his principal work that would make his reputation: Philosophie du désespoir, is emblematic of his profound melancholy and his cult of death. Essays, commentary and maxims, prose poems punctuate these posthumous works, a model of dark romanticism.
Of greatest interest is the exceptional rarity of this very first state of Alphonse Rabbe's major work, unknown to Clouzot and to most bibliographers. The Bibliothèque Nationale de France possesses only the second state, and French catalogues contain only copies dated 1836.

first edition, one of the 96 numbered copies on "pur-fil" paper, the only print after 2 Japan.
Claude Aveline's signature autograph shipment to a friend: "This donkey story is so beautiful that it is for my Anne-Isabelle." AI de Hi-han (same author himself century)."
Pleasant and rare copy.

First edition illustrated with 3 folding plates at the end containing 93 figures.

Half chocolate brown shagreen binding, spine with five raised bands decorated with gilt fleurons, marbled paper boards, marbled endpapers and pastedowns, speckled edges.

Rare and handsome copy.



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Rare and highly sought-after first edition (...) of which only a portion of the copies contains a preface (cf. Clouzot). The important account of the lawsuit concerning The Lily of the Valley that precedes the novel was not retained in subsequent editions and is often lacking in a number of the copies published by Werdet.

Copy complete with both the preface and the account of the lawsuit that opposed Balzac to the publisher François Buloz. Contemporary half green sheepskin bindings, smooth spines decorated with gilt romantic typographical motifs, gilt fillets at heads and tails, marbled paper boards, paste paper endpapers and pastedowns, marbled edges, contemporary romantic bindings. Some minor foxing, bookseller's descriptive label pasted at head of front pastedown of the first volume.

Exceptional copy in an elegant contemporary binding.

First edition, one of 15 numbered copies on Holland paper, the only deluxe copies after 3 Japan copies.
Half mustard yellow morocco binding with corners, smooth spine decorated with gilt cartouche and black typographic motifs, gilt fillet frame on marbled paper boards, marbled endpapers and pastedowns, top edge gilt retaining deckled edges, covers and spine preserved, contemporary binding signed by Capelle.
Some foxing affecting the deckled edges of certain leaves and the endpapers.

first edition for which it was not taken from large papers.
autograph dedication of the author autograph signed and dated from Jean-Louis Rambour to Alain Bosquet: "... this little biography of a Edward G. who no longer speaks ..."
Small angular folds on slightly discolored boards in their margins.

first edition entirely out of trade and printed with 25 numbered copies.
Signed autograph signed by Violette Leduc: "... in remembrance of Italy and Spain too." With my friendship, January 24, 1956. Violette Leduc, the name of the dedicatee was cleanly scratched.
Our copy is enriched with an engraved portrait of Violette Leduc embellished with a handwritten precision of Jacques Guérin.
Very rare work consisting of the facsimile of the autograph manuscript and presented under a shirt in floral and lace-patterned wallpaper, title tag sticking on the first flat.
Pleasant copy.

First edition, one of 5 numbered copies on Holland paper, the only deluxe copies.
Half mouse-grey morocco binding with corners, smooth spine decorated with a gilt cartouche adorned with typographical motifs stamped in blind and gilt fillets, brown morocco title label, frame of gilt fillets on marbled paper boards, marbled endpapers and pastedowns, top edge gilt retaining deckled edges, covers and spine preserved, contemporary binding signed by Capelle.
Worming on the first board, occasional light foxing affecting the deckled edges of some leaves.

First edition, one of 5 numbered copies on Holland paper, the only deluxe copies.
Half brown morocco with corners, smooth spine decorated with a gilt cartouche embellished with blind typographical motifs and a brown morocco mosaic band, gilt fillets framing the marbled paper boards, black discoloration stains on the margins of the boards, marbled endpapers and pastedowns, top edge gilt retaining its deckled edges, original wrappers and spine preserved, contemporary binding signed by Capelle.
Some foxing mainly affecting the margins of certain leaves.
Rare.

First edition, one of 5 numbered copies on Holland paper, the only deluxe copies after 1 on Japan paper.
Half marbled havana sheep binding with corners, smooth spine decorated with richly decorated gilt compartments as well as gilt allegories, red morocco title label, gilt fillet frame on marbled paper boards, marbled endpapers and pastedowns, top edge gilt retaining deckled edges, covers and spine preserved, contemporary binding signed by Capelle.
Some foxing affecting mainly the margins of certain leaves.
Rare.

First edition, one of 5 numbered copies on Japan paper, the only deluxe copies before 10 on China paper.
Half brown morocco binding with corners, smooth spine decorated with a gilt cartouche enhanced with typographic motifs and gilt fillets, gilt fillet frame on marbled paper boards, marbled endpapers and pastedowns, top edge gilt retaining deckled edges, covers and spine preserved, contemporary binding.
Work illustrated with drawings by the author.
Rare.

first edition, one of the 10 numbered copies on "pur-fil" paper excluding commerce and reserved to the author, only large papers.
A moving autograph dated and signed by Pierre Bourgeade to the lawyer Thierry Lévy on a leaf torn from a diary and pierced by a twig at the end of which remains a dried leaf: "For Thierry Levy, all that remains of the devoured forests page 123, the day after the extradition of Klaus growing, a dark day. "
Pleasant and touching copy.
Beautiful copy.
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First edition published anonymously.
Half wine-colored shagreen binding with corners, spine slightly faded and lightened with five raised bands, gilt fillets framing the marbled paper boards, marbled endpapers and pastedowns, one upper corner slightly bumped, top edge red.
Work illustrated with an engraved frontispiece.
Gift inscription in pen serving as bookplate on the title page.
Rare and handsome copy.

First edition, one of 13 numbered copies on Or Turner paper, large paper copy, the fewest copies.

Rare and nice copy with double cover.

First edition of the French translation by Auguste Dietrich, one of the rare copies on Holland paper of which no mention is made.
of which there were no deluxe copies.
Half brown morocco binding with corners, spine with four raised bands, green olive and turquoise morocco title-label and translator's name-label, gilt date at foot, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt retaining deckled edges.
Minor scuffs of no consequence at foot of first board.
Rare copy handsomely bound.

Edition on ordinary paper.
Rare and nice copy.

First edition, one of 60 numbered copies on vélin d'Arche papers, the only grand papier (deluxe) copies with a few hors commerce also on vergé d'Arches.
Illustrated with 6 original lithographs by Antoni Tapies.
HAndwritten signatures of Antoni Tapies and Georges Raillard to colophon.
A very nice copy.

first edition.
Binding half black shagreen, spine slightly thinned to four nerves decorated with black boxes, flat black cardboard, guards and contreplats paper to the tank top corners bumped, small rips on the cuts, sprinkled edges, contemporary binding.
Rare autograph signed by Delphine Gay: "To his dear Delphine" topped the first volume of the title page.
Nice copy.

First edition of which no deluxe copies were announced.
Half blue morocco binding with corners, spine with five raised bands set with gilt dots and decorated with gilt double compartments, date gilt erroneously indicated 1887 at foot, gilt fillets framing marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt, elegant unsigned binding.
Printed bibliophile stamps to head of one endpaper and front wrapper which also bears a pen-and-ink gift inscription.
Rare and handsome copy.

First edition printed 2000 copies signed by Patrick Gratien Marino.
This book consists of a portfolio containing 20 photographs of Patrick Gratien Marino.
Some clear dirt on the front cover of the shirt, sullied second flat head, two small tears on the back.
Rare.

First edition, of which there were no large paper copies.
Early 20th century pastiche half brown calf over marbled paper boards, blindtooled fleurons and double gilt fillets to spine, marbled paper endpapers and pastedowns, covers preserved.
A very rare autograph inscription signed by Gérard de Nerval to Monsieur Ferdinand Langlé, the founder of the Pompes Funèbre in 1828, but also involved in literature, theatre and journalism under the pseudonyms of Ferdinand, Eusèbe and Charles Odry.
A little spotting.
Autograph inscriptions by Gérard de Nerval are of the utmost rarity.

First edition printed on vergé.
Half morocco, spine slightly discolored, covers stained preserved, top edge gilt.
Foxing on the endpapers and in the margins of some leaves.

The first edition, of which there were no deluxe copies.
Restored spine with reglued tears, small lacks and corner creases to boards.
Colportage stamp on title page.
Rare.

Collected edition, first in parts, published in a small number of copies and for which there were no large paper copies.
Contemporary half blue cloth Bradel binding over marbled paper boards, central gilt fleuron to spine, date and double gilt fillet to foot, brown shagreen title-piece (slightly rubbed), covers preserved, corners bumped.
A little light insignificant spotting, mostly to endpapers.
Rare.

First edition, one of 15 numbered copies on Arches paper, deluxe copies after 6 Japan.
Half brown shagreen binding with corners, spine with five raised bands slightly faded, marbled paper boards, endpapers and pastedowns, covers and spine preserved, top edge gilt.
Endpapers entirely shaded.
Beautiful cover illustrated by Lobel-Riche.
Handsome copy nicely bound of this sequel to Jésus-la-Caille.

first edition printed in small number of the reprint of the bulletin of the Linnean Society of Normandy.
Signed autograph of Paul Bizet, head of the first flat, Mr. Governor.
Slight discoloration spots on boards, rare and small inner minor foxing.
Rare and nice brochure copy.

[Madness and Civilization: A History of Insanity in the Age of Reason]
Plon, Paris 1961, 5 1/2 x 8 1/16 ”, original wrappers.
First edition, of which there were no grand papier (deluxe)copies, an advance (service de presse) copy. A second, revised, edition appeared in 1972.
Spine slightly bowed, retaining dj, dj with a few tears and lacks to plastic film cover.
Handsome autograph inscription signed by Michel Foucault, at the time a young teacher, on his first important work, taken from his doctorate.
A very rare advance copy, which could be said to have taken the place of the grand papier (deluxe) copies.

(Maurice BLANCHOT)
Extraordinary collection of Maurice Blanchot's original photographs taken in the family setting, the only printings
C. 1907-2003 | 272 photographs | various format
“Blanchot challenged photographers and caricaturists of the literary press for a long-time. His 'portraits', over so many years, are minimalist and rare: in 1962 in L'Express, a hand holds up a book, at the bottom of the page; in 1979, in Libération, a blank square is in the middle of the page, with only Maurice Blanchot's name and a quote from the Entretien infini as a caption: ‘an empty universe: nothing that was visible, nothing that was invisible'” (C. Bident, Maurice Blanchot).
In 1986, at the time of an exhibition of writers' portraits, he requested that his photo be replaced by a text showing his desire to “appear as little as possible, not to glorify [his] books, but to avoid the presence of an author who was entitled to an independent existence.”
A photo taken without him knowing by a paparazzi in a supermarket carpark was used as the writer's portrait for a long time before his friend Emmanuel Levinas revealed a few rare photographs of their youth.
The fact that Maurice Blanchot did not oppose this release and the fact that this was his closest friend's deed, could be explained by what Bident calls “the spacing of worry,” as the revealed portraits were not up-to-date, similar to the postponed publications of his books L'Idylle, Le Dernier Mot, L'Arrêt de mort....
Only a few photographs gathered on the central pages of the Cahiers de l'Herne issue dedicated to Maurice Blanchot and published in 2014 supplement these unique shots of the 20th-century's most secret writer.
In his chapter “The indisposition of the secret” Christophe Bident devotes several pages to the almost total absence of images of this invisible partner, questioning the intellectual and psychological motivation of the writer who was aware of the inevitable future revelation of his appearance:
“Everything must become public. The secret must be told. The darkness must emerge. That which cannot be said must, however, be heard. Quidquid latet apparebit, all that is hidden, is that which must appear...” Maurice Blanchot, L'Espace littéraire)
In general, Maurice Blanchot refused to be photographed even in private life as confirmed by the family of his sister-in-law Anna, who, revealed in a letter to her nephew that she had not taken any photographs of the writer, thus respecting his wishes.
However, the photographs taken with his close family show us a perfectly willing Blanchot, and one even playing very elegantly with the image of himself that he projects to the photographer, generally his brother. As such, we discover an elegant man posing proudly on a boat pontoon or on the banks of the Seine, or more mysteriously, playing with lighting effects in the corner of an empty room. Here we see a real photographic staging, and a symbolic reappropriation of image, particularly in a surprising seated portrait of the writer holding the “Inconnue de la Seine” death mask in his arms, the well-known plaster head of a young woman supposedly drowned who adorned artists' studios after 1900. A true romantic legend, this sculpture with a mysterious post-mortem smile is at the heart of Aragon's novel, Aurélien, and haunts the work of artists at the beginning of the century, including Rainer Maria Rilke, Vladimir Nabokov, Claire Goll, Jules Supervielle, Louis-Ferdinand Céline, Giacometti and Man Ray who produced a worrying photographic portrait of the mask at Aragon's request.
Maurice Blanchot described the unknown woman as “an adolescent girl with her eyes closed, but full of life with a smile so slender, so rich, [...] that we could believe that she was drowned in a moment of extreme happiness.”
This photograph of an impervious Blanchot cradling the white mask of the “Mona Lisa of suicide” asserts itself as a true deconstruction of representation. It becomes an illustration, as perfect as it is enigmatic, of his literary work and of the “silence of its own.”
Numerous photographs bear witness to the same concern for the misuse of representation in favor of an aporetic symbolism, such as this full-length portrait of the writer dressed in black, blending into the receding perspective of buildings, but whose forehead only is encircled with a halo of harsh light that seems to spring from his skull and erase the roofs' contours. Or this other photograph where the light encircles half of an empty room with a halo and divides the pictures into two equal parts: a dark space where Maurice Blanchot holds his hands behind his back at the very edge, and a lit space, entirely empty with the exception of one of the writer's feet which dares to cross over.
These photographs taken with his brother show a perfect mastery of image and of his artistic codes.
Other photographs, with more classic compositions, bring a precious and unique testimony on Maurice Blanchot's life and on his family relationships, being the writer's hidden side and his one true anchor to physical life. Maurice Blanchot, with whom his closest friends only usually had telephone contact, lived most of his life with his family. First of all in the family home in Quain, then hosted by his brother René and his sister-in-law Anna, where he stayed even after René and subsequently Anna's death. Maurice also had the most significant correspondence with his mother and his sister Marguerite (more than 1400 letters) throughout their lives, sharing with them all aspects of his intellectual, social and political life. Finally, his niece Annick, daughter-in-law of his brother Georges, and his young nephew Philippe were almost the only people authorised to enter René, Anna and Maurice's apartment, where the writer lived as a hermit. It is incidentally this niece and her son – a photographer – who collected and preserved the precious photographic documents portraying the writer.
Here we discover the slender figure of a man whose fragile constitution contributed to his dependence on his family, with whom he led a simple and happy life, posing naturally next to his mother, walking his nephew by the hand, sharing a family meal in the garden or talking in the living room. Blanchot's postures are those of a quiet man, not running from the lens and posing sometimes on the contrary with a certain, very assumed, dandyism. On several other photographs, Blanchot poses in the foreground in the same solemnly elegant pose, perfectly out of kilter with the landscape and the other people in the background. This repetition of the same pose in different settings gives Maurice Blanchot a ghostly, or at least unreal, presence.
However, these photographs also give as much as they can some information about Maurice Blanchot's private life, his travels, his relationships, his everyday world with his family and the different periods of his life. The photographs collected here start with family portraits on bistre albumin prints, even showing Maurice Blanchot as a few months old infant, and finish with color analogue photographs on Kodak paper, in which the writer is seated very seriously on his velvet sofa weighing up the camera in a low-angle shot, or, mischievous in a green garden, is shown hiding his face behind a cat lovingly held in his arms. Finally, as if to close this unique album of the only writer who managed to make himself invisible to the world during his life, a head and shoulders photograph wearing a deep black sweater shows us the writer's radiant face that seems to laugh at the great trick he played on his contemporaries.
With the exception of some identity shots and travel memories he took at the end of his life, this unique and complete content is the only photographic source of Maurice Blanchot, of his living environment and his family, this private circle voluntarily hidden from the gaze and interest of the public and his friends, yet at the root of the writer's contentious relationship with the outside world.
The photographs in this collection are much more than a mundane documentation from the side-lines of Maurice Blanchot's work; they bear witness to the real mastery of the image, its perspective and its power of reflexivity.
Like a final gift from the author of Thomas l'Obscur, these unique signs of his passage make the person who formerly disappeared behind his work suddenly reappear, bringing the miracle of his “Toma” (twin) to life: to be and not to be.

Edition for which he was not drawn large paper, review copy.
Signed autograph of André Gorz to a close friend.
Rare.

The first edition, of which there were no deluxe copies.
Rare and handsome copy.

first edition of the first book of the author, there is no mention of leading copies.
Signed autograph of Jacques Audiberti Mauritius Christmas.
A restored and reattached joints, lack in foot of the back.

First edition.
Half midnight blue sheep binding, spine with four raised bands decorated with gilt fleurons, marbled paper boards with scratches, marbled endpapers and pastedowns, contemporary bindings.
Work illustrated with 70 figures in the text, 14 phototype portraits as well as 2 folding plans and 6 color graphic plates at the end of the volume.
Preface by Alexandre Lacassagne.
Some foxing affecting mainly the edges.
Rare.

The true first edition, hors commerce, of the complete version of 138-[6] pages, which preceded the 1954 edition by Editions de Minuit.
Previously, only parts had been published (between 1949 and 1951), and only in a few copies.
Additionally, a new “Belgian” edition, similar to this first edition, came out in 1958 comprising no more than 80 pages and dated “de 1958” on the cover.
The author had André Gide's (the dedicatee of the first part of the work in 1949) review especially printed: "L'intense et bizarre joie que j'éprouve à la lecture (et relecture) de ces pages remarquables entre toutes. André Gide [There is an intense and bizarre joy I experience when reading (and re-reading) these remarkable pages among all others. André Gide]."

first edition printed in small numbers.
Precious autograph signed by Pierre Alexandre Boujut Vialatte.
A folding track Length of the second flat.
Rare.

First edition printed in a small number of copies.
Autograph inscription from Louis Guibert to head of upper cover.
A rare copy.

First edition printed in a small number of copies on vergé paper.
Small spots to the margins of the covers slightly sunned.
A rare and good copy.

First edition.
Bradel binding in half bottle green Russia morocco, smooth spine decorated with gilt cartouches and fleurons, gilt date at foot, headcap very lightly rubbed, marbled paper boards, upper corners very slightly bumped, bookplate pasted on one pastedown, binding signed by Pouillet.
Rare and handsome copy.

First edition.
Binding in half blue Russia morocco, smooth spine richly decorated with gilt cartouches, fleurons and arabesques, marbled paper boards, marbled endpapers and pastedowns, bookplate pasted on one pastedown.
Rare and handsome copy despite some light foxing.

First edition reissued under new covers and relay title.
This rare collection was initially published in December 1833 under the title: L'amulette. Étrennes à nos jeunes amis.
Half dark green Russia morocco binding, smooth spine decorated with gilt arabesques, gilt date at foot, gilt fillet on marbled paper boards, three scratches on first cover, marbled endpapers and pastedowns, bookplate pasted on pastedown, covers and spine preserved, elegant pastiche binding signed by Pouillet.
Work illustrated with a title vignette and 8 plates.
Some foxing of no great consequence.

First edition, one of some copies hors commerce, the only large paper copies with 20 other numbered copies
A good copy.

First edition, one of 25 numbered copies on alfa, the only large paper copies.
A fine copy.

First edition.
Half burgundy Russia morocco binding with corners, smooth spine decorated with a cartouche, arabesques and gilt fillets, gilt date at foot, very light traces of rubbing without significance to joints, gilt fillet frames on marbled paper boards, marbled endpapers and pastedowns, top edge gilt, bookplate pasted on pastedown, elegant romantic pastiche binding signed by Pagnant.
Work illustrated with an engraving as frontispiece representing Maximilien de Robespierre.
Rare and handsome copy attractively bound in a signed binding by Pagnant.

First edition, very rare, illustrated with a frontispiece and 27 portraits. The first of the author's studies on Provence, he would later publish L'Histoire des troubles de Provence in 1679, then Additions et illustrations sur les deux tomes de L'Histoire des troubles de Provence in 1680. One virtually never finds all the volumes bound uniformly, even just to bring together L'Histoire des troubles and the Additions although published by the same publisher a year apart.
Contemporary full red morocco bindings. Raised band spines with ornaments. Boards decorated in the Du Seuil style with central rectangle formed by triple fillets, cornerpieces and triple fillet border. Gilt edges. One loss to both volumes at head and four corners slightly bumped. The last 5 leaves of volume I are affected by water stains and dampness, same for pp. 523 to 556 of volume 2; the last 2 leaves of volume II having been backed with Japan paper (small losses to letters). As a precaution the damp stains have been stopped by proven chemical process. The last two endleaves have been renewed in both volumes with Japan paper.
We note some differences between the copies we have been able to consult: the one held by St. Andrew University in Great Britain contains 26 portraits (against 27 for ours) and 2 frontispieces including a portrait of the author in volume II; the copy in the Munich library contains only the author's portrait as frontispiece (and not ours with the arms of the families of Provence) and only 22 portraits. Two undescribed copies at the Bibliothèque Nationale de France and two copies in Great Britain including one at the British Library not described.
History of Provence since Roman domination, description of the province, its great families, principal cities... The second volume is devoted to Provençal ecclesiastical history.

first edition printed in small numbers on Holland paper.
Signed autograph of the great bibliophile Pierre Bellanger Louis Barthou.
Rare copy and pleasant.

First edition printed in a small number of copies.
Faint dampstain affecting all the book.
Rare.

First edition printed in a small number of copies.
Small tears, not serious, to edges of covers.
A rare copy.

First edition printed in 300 copies on vergé paper.
Spots to lower cover, internally good.
A rare copy, sold as is.

First edition.
Rare in its softcover, as issued.

First edition, one of 20 numbered copies on Holland paper, the deluxe issue.
Pen gift inscription on first endpaper indicating library shelf arrangement.
Some worming to boards, otherwise a rare and handsome full-margined copy.

SHEBBEARE John
Le Peuple instruit; ou Les Alliances dans lesquelles les Ministres de la Grande-Bretagne ont engagé la Nation, & l’emploi qu’ils ont fait de ses Escadres & de ses Armées, depuis le commencement des troubles sur l’Ohio, jusqu’à la perte de Minorque, considérés dans une Quatrième Lettre au Peuple d’Angleterre
N. n., n. p. 1756, 9 x 16,3 cm, (2) xxiv, 212 pp., contemporary calf
First edition, rare.
Contemporary light brown polished calf. Spine in decorated compartments. Red morocco title-piece. Upper joint with narrow crack to head. A very good and fresh copy.
An important document on the history of Canada and the United States. The work begins by looking at the causes of the conflict between Great Britain and France over the territory of Ohio. In essence, 1756 marked the beginning of the Seven Years’ War or French and Indian War, a war of conquest to establish the legitimate occupation of the territories. This war overran the territory from Virginia and Nova Scotia to the region of the Canadian lakes, with some American Indians fighting on the side of the British, and some on the side of the French. Shebbeare reviews the British defeats, mistaken policy and the generals in Canada, the intervention of American militias and Washington. The author frankly accuses the British government (Kings and Ministers) of having failed to protect the British colonies in America and predicts the downfall of Britain, giving examples of jealousy and misguided policy in Canada. As well as this accusation, the author examines the situation of Britain in Europe, the treaty with Russia, the difficulties of the House of Hanover and France and once again accuses his country of ruining itself with disastrous political decisions.

First edition printed in a small number of copies of this offprint from the January 1969 issue of Masses ouvrières.
Introduction by Paul Barrau.
Printed bibliophile stamp serving as bookplate at head of introduction.
Rare and handsome copy.

First edition.
Half cherry red calf binding, faded spine with five raised bands set with gilt fillets, some minor rubbing, gilt dots at head and foot, marbled paper boards, marbled endpapers and pastedowns.
Some light foxing, bookseller's label pasted at head of one pastedown.