First Editions

First edition on ordinary paper.
Very fine copy

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

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

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

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

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

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

The first edition, of which there were no deluxe copies.
Publisher's full sand-colored cardboard binding, smooth spine, complete with dust jacket which has very slight marginal tears of no consequence.
A very handsome copy.
Preface by Orson Welles, iconography.

First edition of the French translation, of which there were no deluxe copies.
A handsome copy.
Iconography.

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

First edition illustrated with numerous photographic reproductions by Edmund Engelman. Long and interesting preface in which the photographer relates his photographic experience and his encounter with the founder of psychoanalysis.
Autograph inscription signed by the author "Pour Nadine Nimier Très cordialement Edmund Engelman." ["For Nadine Nimier Very cordially Edmund Engelman."] Nadine Nimier receives Engelman on her show "Les Après-midi de France Culture" on January 23, 1980 while he is visiting Paris for the exhibition of his photographs at the Erval gallery.
Includes:
- The exhibition invitation card annotated by Nadine Nimier
- A signed autograph greeting card from Engelman addressed to Nadine Nimier
- A business card from Engelman
- Three original photographs showing Engelman
- Two newspaper clippings about the exhibition
- The mimeographed document describing the format of the "Les Après-midi de France Culture" show in which Engelman was invited
Covers somewhat damaged by the journalist who probably used the work to prepare her review.

First edition of this invitation card to the opening of painter Jens Nielsen's exhibition at Galerie Furstenberg (Paris), November 6, 1956.
Fine copy.

Invitation card to the private viewing of the exhibition of Jean Dubuffet's work produced from 1942 to 1954 at the Galerie René Drouin
Galerie René Drouin, Paris 17 April 1954, 21 x 27.5 cm, one leaf
Invitation card to the private viewing of Jean Dubuffet's retrospective exhibition at the Cercle Volney, organised at the René Drouin Gallery from 17 March to 17 April 1954.
On the recto, a superb and large original photolithograph in black and white of Jean Dubuffet, printed by Mourlot. (Webel 389).
We attached the exhibition catalogue illustrated with reproductions of Jean Dubuffet's works.
Rare and large photolithograph that is unusual as it has not been folded.

First edition of this invitation card for the exhibition "Watercolors by Lucie Cousturier" at the E. Druet gallery.
Card very slightly lightened in margins, otherwise handsome copy.

First edition.
Publisher's full cardboard binding, smooth spine, illustrated front cover.
Handsome copy.
Signed autograph inscription by Enki Bilal to a couple enhanced with an original pencil drawing depicting the head of a puma with open jaws.

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

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

First edition.
Fine complete copy in two volumes.
On the first volume, the sale prices are inscribed in margins in pencil, some markers in blue or red colored pencils in margins of certain references.

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

First edition.
Iconography.
Light dampstains to spine and board margins, handsome interior condition.
Autograph inscription signed by Léon Poirier to Madame Charles Gaumont: "... dont le souvenir est inséparable des miens..." ["...whose memory is inseparable from my own..."]

Photographic postcard depicting the great tragedienne Sarah Bernhardt creating the role of Elizabeth I of England.
Handsome copy.
Manuscript signature of Sarah Bernhardt dated 1909 to the right of her portrait.

First edition, one of the numbered copies, the only deluxe copies.
Publisher's full sand cloth binding, smooth spine.
Preface by Michel Droit.
Work illustrated with reproductions of works by Robert Dago.
Very handsome copy to which is added an invitation card to an exhibition of Robert Dago's works.
Autograph inscription dated and signed by Robert Dago to a friend named Gordana enriched with an original drawing in blue felt-tip pen depicting a painter painting a canvas mounted on an easel.

Edition printed in 300 copies numbered and justified by Claudine Loquen with her dry stamp, the only deluxe copies.
Publisher's full burgundy cloth binding, smooth spine, copy complete with its slipcase and its mauve silk ties at the margins of the covers.
Work illustrated with reproductions of works by Claudine Loquen.
Very handsome copy.
Preface and selected texts by Jean-Marie Le Goff
Autograph inscription dated and signed by Jean-Marie Le Goff to a friend named Dorothée.

First edition of the catalogue of works by Bernard Luginbühl presented from March 29 to May 14, 1972 in Zurich and from June 21 to August 14 of the same year in Berlin.
Publisher's full metal binding, smooth spine.
Work illustrated with numerous reproductions of works by Bernard Luginbühl.
Handsome copy despite foxing on one endpaper and on the last page.

First edition.
Work illustrated with illustrations.
Handsome copy despite the missing slipcase and some inevitable lacks to the plastic film covering the boards.
Autograph inscription signed by Francis Ponge to Max-Philippe Delatte.

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

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, one of 300 numbered copies on alfa paper reserved for the press service.
Spine creased, otherwise handsome copy.
Preface by Henri Jeanson, iconography.
Signed autograph inscription from Fernand Rivers to Marcel Achard.

Photographic postcard depicting the actress and tragedienne Elvire Popesco.
Three small spots of no significance in the margins of the photograph.
Manuscript signature of Elvire Popesco below her portrait.

First edition.
Publisher's full grey cloth, smooth spine, complete with its illustrated dust jacket and slipcase.
Work illustrated with reproductions of works by Roger Somville.
Handsome copy.
Very fine full-page autograph inscription signed by Roger Somville to the poet Charles Dobzynski and his wife Eliane which reads like a manifesto of Roger Somville's painting: "To Charles Dobzynski, to Eliane, to a true artist, to a poet, to a man sensitive to the things of real life... this book... "a whole life" of battles for the realist attitude, for a public art, for assumed convictions, for a cultural "politics" of confrontation and not exclusion... and admiration for Géricault, Caravaggio, Siqueiros... and all the others... the love of painting / painting... and of a meaning which is that for which we have fought since our youth... with friendship to you both. Roger Somville March 1988."

First edition illustrated with reproductions of works by Louis Toffoli.
Full blue cloth binding, smooth spine, blue-grey full cloth slipcase.
Fine copy complete with its illustrated dust jacket.
Autograph inscription dated and signed by Louis Toffoli to Bernard Gauche.

First edition of this monograph on the caricaturist Cham with a preface by Alexandre Dumas Fils illustrated with sixteen compositions and facsimiles hors-texte (two in color).
Autograph inscription signed by the author: "Offerte à la tombola par l'auteur Félix Ribeyre" ["Offered to the raffle by the author Félix Ribeyre"].
Contemporary half brown morocco binding, spine with five raised bands, compartments decorated with gilt tools depicting quills and pencil holders, gilt date at foot, marbled paper boards, combed paper endpapers and pastedowns, covers preserved, top edge gilt on deckled edges. Some light rubbing to upper joint.
Scattered foxing, more pronounced in places.
Our copy is expanded with an autograph letter signed by Cham.

First bilingual edition published under the direction of André Magnin on the occasion of the exhibition of paintings by Chéri Samba, important painter from the Democratic Republic of Congo, at the Cartier Foundation in 2004.
Publisher's binding, blue cardboard boards, smooth yellow cardboard spine, illustrated front board in relief.
Work illustrated with reproductions of works by Chéri Samba.
Fine autograph inscription dated and signed by Chéri Samba to Jean Pierre Maury, last of the great molder-figurine artists: "Pour un grand Jean Pierre Maury et pour nos grands rires!!! Chaque fois que l'on se rencontre, on s'éclate tjs sans trop savoir pourquoi. Je t'aime fort grand Maury. Chéri Samba. 21 Mai 2004" ["For a great Jean Pierre Maury and for our great laughs!!! Every time we meet, we always have a blast without really knowing why. I love you dearly great Maury. Chéri Samba. 21 May 2004"]

First edition.
Publisher's full black cloth binding, smooth spine, complete with its illustrated Mondrian-style dust jacket, black paper endpapers and pastedowns, bookplate pasted on an endpaper.
Handsome copy illustrated with reproductions of works by Piet Mondrian.
Autograph inscription dated and signed by Bernard-Henry Lévy to Régine Kerlorc'h.

First edition.
Publisher's full black cloth binding, smooth spine, complete with illustrated dust jacket, black paper endpapers and pastedowns, bookplate pasted to one endpaper.
Handsome copy illustrated with reproductions of works by Piero della Francesca.
Dated and signed autograph inscription from Bernard-Henry Lévy to Alain Kerlorc'h.

First edition.
Publisher's binding in full boards, smooth spine, illustrated front cover, lower corners very slightly bumped.
Work illustrated with reproductions of works by Roger Somville.
Handsome copy.
Signed autograph inscription from Roger Somville to poet Charles Dobzynski and his wife Eliane.

First edition, one of 700 copies on colour paper, ours numbered in pencil.
Copy complete of its folded rainbow dust jacket which has small angular pieces missing including on the flaps, good internal condition.
Text by Michel Tapié.
Work illustrated with 32 images by Jean Dubuffet.
Handwritten presentation dated and signed by Jean Dubuffet to the writer, journalist and theatre historian Paul-Louis Mignon.

First edition illustrated with reproductions of sculptures by Ludmila Tcherina.
Full black paper boards, smooth spine, illustrated front cover, corners and headcaps slightly bumped.
Autograph inscription dated and signed by Ludmila Tcherina: "Au proffesseur (sic) Jean Malaurie c'était le soir du grand jour "panthéonien" où le feu même gela ! Comme vous voyez... je ne vous oublie pas." ["To Professor Jean Malaurie it was the evening of the great 'Pantheon' day when even fire froze! As you can see... I haven't forgotten you."]

First edition illustrated with reproductions of works by Louis Toffoli.
Full mouse-grey paper boards, smooth spine, grey cloth slipcase.
Autograph inscription dated and signed by Louis Toffoli to Bernard Gauche, wishing him a happy new year for 1983.

First edition, one of 20 numbered copies on deluxe paper, the only deluxe copies.
Handsome copy complete with its cloth slipcase, publisher's full cream cloth binding, smooth spine, complete with its illustrated dust jacket.
Work illustrated with reproductions of works by Yves Brayer, text by Pierre Mazars.
Manuscript signature of Yves Brayer below the justification page at the end of the volume.
Our copy, like the 20 deluxe copies, is complete with its large original watercolor by Yves Brayer, framed and signed by him, ours, reproduced in this work is entitled: "L'Arrivée à l'Ile de Rhodes, 1975".

First edition of this selection of texts collected by Dominique Fourcade.
Spine creased, complete with publisher's mimeographed slip.
Precious autograph inscription signed by Dominique Fourcade to André Masson.

First edition illustrated with reproductions of works by Corneille.
Handsome copy.
Autograph inscription signed by Corneille to Madame Stotoff.

The first edition, of which there were no deluxe copies.
Photographic cover, iconography.
Handsome copy.
Fine autograph inscription dated and signed by Jacques François to Claude Roy and his wife, actress Loleh Bellon, with whom Jacques François acted: "11 September 1992. To Loleh and to Claude, these "reminders" of my affection, my profound admiration and my respect. Jacques François. For my Loleh, as a bonus, the tender memory of the little "moment of weakness!" in Louis Dacquin's film."

First edition, one of 480 numbered copies on bouffant alfa paper, the only deluxe copies after 20 on pur fil.
Work illustrated with a facsimile, 7 photographs, 2 itineraries and a map drawn by Jacques Bidault.
Handsome copy complete with its illustrated dust jacket which has three small marginal tears.
Autograph inscription signed by Jacques Bidault to Françoise Bencher: "... qui aime et comprend le Sahara..." ["... who loves and understands the Sahara..."]

First edition, one of 500 numbered copies, the only issue with 50 copies numbered in Roman numerals and accompanied by an engraving by Jeanne Champillou.
Publisher's Bradel binding in full light brown cloth, smooth spine.
Illustrated, handsome copy.

First edition, one of 30 numbered copies on Japan paper, deluxe issue.
Work illustrated with 14 original lithographs by Adolphe Fantin-Latour printed on China paper as well as 12 portraits of Hector Berlioz, 3 plates hors-texte and 122 engravings, facsimiles of autographs, caricatures...
Binding in full red morocco, spine with five raised bands, gilt rolls on headcaps, endpapers and pastedowns of combed paper, fine engraved bookplate mounted on one pastedown, gilt dentelle border on pastedowns, covers preserved, all edges gilt, double gilt fillets on edges, perfect contemporary binding signed Cuzin.
Our copy is enhanced with an autograph note signed by Hector Berlioz mounted on an endpaper: "Jeudi 21 / Monsieur, soyez assez bon pour accorder quelques lignes à l'annonce de notre concert de mardi prochain. Vous obligerez beaucoup votre tout dévoué H. Berlioz." ["Thursday 21st / Sir, please be so kind as to grant a few lines to the announcement of our concert next Tuesday. You would greatly oblige your most devoted H. Berlioz."]
Fine copy perfectly established and enhanced with an autograph note signed by Hector Berlioz.

First edition on ordinary paper.
Handsome copy.
Autograph inscription dated and signed in pencil by Pierre Alechinsky to François and Catherine Trèves.

First edition, one of 1000 numbered copies on vellum, ours one of the few hors commerce copies.
Spine and boards lightly and marginally sunned, handsome copy.
Iconography.
André Rolland de Réneville's copy with autograph inscriptions addressed to him by the numerous contributors to the work: Maurice Toesca, Jean Guéritte, Yvette Darsonval, Robert Margerit, Jacques Chastel, Martine Cadieu, Nina Vyborouva.
Manuscript signature by Serge Lifar facing the page bearing the autograph inscriptions.

First edition illustrated with vignettes by Gavarni.
Half red glacé long-grained morocco binding signed on endpaper by Durvand. Yellow printed wrappers preserved. Smooth spine decorated with a tool at head and 2 mirrored tools. Gilt title. Date at tail. Uncut copy, perfectly fresh, very clean. Top edge gilt. Discreet restorations to front wrapper. Very handsome copy.
Satirical writing on the world of the Paris Opera, its singers, its dancers, its audience, its administration, its stagehands, etc.

First edition composed of 15 sepia lithographs, illustrating the different figures of the Cotillon.

Publisher's cream and gold boards, covered with glazed moiré paper. Top headcap pushed in. Soiling. Corners slightly bumped. Good copy.

A ballroom dance created around 1820 which became wildly popular at the end of balls, the main venues for fashionable entertainment of the era, the cotillon mixed parlor games and dances; composed of several figures (the flowers, the handkerchief chase, the ribbon, the cavaliers, etc.) and accessories, it could last up to two hours and more depending on the cotillon leader. 19 pages of text in the work explain the figures of the cotillon. For example, the hat: The leading cavalier gives his lady a hat and forms a circle around her with several cavaliers, turning rapidly. The lady places the hat on the head of the waltzer she chooses.

Most of the dances were based on the polka or the waltz. Due to the proximity of the dancers, the cotillon was an excellent means of discreet flirtation.

First edition of this illustrated agenda with drawings by Sonia Rykiel.
Publisher's soft black paper boards.
Handsome copy despite damage to the spiral binding at head.
Precious autograph inscription signed by Sonia Rykiel to Régine Deforges: "Pour toi Régine ma douce. Sonia." ["For you Régine my sweet. Sonia."]
Provenance: from the library of Régine Deforges.

First edition, of which no deluxe copies were printed, a Service de Presse (advance) copy.
Handsome copy.
Name and address of the dedicatee inscribed in red pencil at head of the endpaper.
Signed autograph inscription from Vahé Katcha to Alain Bernheim on the half-title page enriched with a small drawing representing a ship sailing on the waves.

First edition, of which there were no deluxe copies.
Fine copy.
Signed and inscribed by Pierre Perret to Europe 1 journalist Jacques Ourévitch.

First edition of which no deluxe copies were printed, an advance copy from the service de presse.
Handsome copy complete with its publisher's slip.
Signed autograph inscription from Pierre de Latil to Jacques Panijel.

The first edition, of which there were no deluxe copies.
A handsome copy despite light scratches on the back cover.
Introduction in English and German by Karsten Zang.
Publisher's full cardboard binding, smooth spine, illustrated covers, black paper endpapers and pastedowns.
Rich iconography, each of the 85 photographers presenting 3, 4, 5 or 6 photographs.

The first edition, of which there were no deluxe copies.
Signed and inscribed by Jérome Mesnager to a friend named Jean-Pascal, with an original drawing depicting the famous skeleton silhouette with arms stretched toward the sky that has conquered urban landscapes.

First edition of this invitation card to the Balthus exhibition at Gazette des Beaux-Arts which took place from February 29 to March 17, 1956.
One corner slightly folded in the lower right margin.

First edition of this invitation card to the Balthus exhibition at Galerie Henriette Gomès which took place from June 2 to July 8, 1977.
Very handsome copy.

First edition of this collective work produced under the direction of L. Brion-Guerry.
Three volumes illustrated in the text and 55 plates Important academic publication with numerous contributions from specialists worldwide. A masterful work both theoretical and historical, on modernity in all forms of art.

Ot Sezanna do Suprematizma Kriticheskii otcherk
[From Cézanne to Suprematism. A critical essay]
Extremely rare first edition.
Small split at the foot of the spine, purple stamp with the price on the second board and a small mark on the first board of the stamp of another copy.
A very beautiful copy.
Published two years after his masterpiece White on White, this manifesto composed from his previous theoretical treatise On new systems on Art in 1919 is one of Malevitch's major writings. Written at the height of his artistic research, this summary of Malevitch's creative thought lays the theoretical foundations of Suprematism, understood not as a break with the past but, on the contrary, as the result of a history of Art freed from the “illusions of the sensitive world”. Thus, Malevitch establishes an intellectual genealogy taking its roots in the work of Cézanne, Van Gogh and Monet, crossing Cubism and Futurism to result in Suprematism, this “statement of the total sovereignty of painting as it is , of the triumph of colour which in its very materiality, in its resonances, its intrinsic energy, discloses the abyssal reality in which objects merge until they disappear.” (Jean-Claude Marcadé, postscript in De Cézanne au suprématisme, 1993).
Known for his pictorial work, Malevitch was also a genius theorist. However, unlike others, his artistic reflection does not precede his work, it accomplishes it. He also abandoned creation between 1919 and 1920 to devote himself to this theoretical work, which would remain abstruse for many of his contemporaries. The Marxist journal Petchat' i révolyoutsiya will view From Cézanne to Suprematism only as “a collection of inept sentences”.
However, it is correct that this short treatise, enhancing Suprematist ambition, contains noticeable omissions, perhaps attributable to official censorship. But these reservations could also be down to Malevitch himself. Indeed, published by the “Commissariat du peuple à l'Éducation”, directed by his friend and great defender of the arts, Anatoli Lounatcharski, this booklet is much more than a simple summary of Malevitch's theoretical work.
As Jean-Claude Marcadé highlights, this “brochure printed in Moscow was destined to have greater distribution in artistic circles than [...] the small artisan copies of the Ecole de Vitebsk where Malevitch tried to impose his aesthetics, his pedagogy and his methodology under the label of the Affirmation du Nouveau Art (OUNOVIS). His fundamental dispute with official materialism, and especially figurative art, gives way [here] to an analysis of the origins of total non-figurative art (Cézanne, Cubism, Futurism) which aims to demonstrate to the adversaries of abstract art, the seriousness, the scientific character, the unwavering logic and the legitimacy [...] of the evolution of the visual arts. [...] From Cézanne to Suprematism is less an offensive work than a demonstration of the inevitable character of the Suprematist “deduction”.
The brevity of this booklet thus contributes to raising it to the rank of Manifesto, in the service of a revolutionary desire for collective metamorphosis of “human demonstrations”.
This auctorial intention is served by the reduced size of the volume and the Suprematist composition of the white cover with the eloquent title printed in quincunx, which poses Russian modernity as heir to the European pictorial revolution and white as a “deduction” from colour.
This title summarising Malevitch's thinking will, precisely, be chosen by his biographers for the complete publication of his writings in 1993.
Extremely rare and in good condition, this fragile brochure, the result of Suprematist theory, brings to a close the search for perfection by the painter-philosopher who will then return to symbolic and figurative painting.
“The place occupied by the text in Malevitch's work is immense, at the same time as an education, as a personal reflection on painting and art in general, and on a strategic basis. [...] We discover the intellectual development of the artist and what led him to Suprematism. Far from being only an aesthetic theory, Suprematism is a political philosophy and commitment, aimed at the freedom of the individual.

First edition, of which there were no deluxe copies.
Some occasional light foxing.
Preface by Jean Anouilh.
Handsome copy of the memoirs of the creator of advertising films shown in movie theaters.
Autograph inscription signed by Jean Mineur: "Hommage de l'auteur, un ancien confrère, qui espère vous apporter avec ce livre quelques moments de détente et d'entracte..." ["Tribute from the author, a former colleague, who hopes to bring you with this book some moments of relaxation and intermission..."]

The first edition, of which there were no deluxe copies.
Handsome copy.
Signed autograph inscriptions from Victor Vasarely and Michel Ragon to Madeleine Kaupmann.

First edition of the French translation.
Handsome copy.
Publisher's full cardboard binding, smooth spine, one tear at foot of spine, complete with its illustrated dust jacket.
Iconography.
Fine signed autograph inscription, in red felt pen, from Ladislas Kijno to his friend the poet Charles Dobzynski enriched with an original drawing representing the eyes and nose of a woman: "Merci mon cher Charles pour ton intense analyse de ma spéléologie mentale (page 84) qui m'interroge, que j'interroge par l'intermédiaire du "merveilleux" photographe André Villers. Merci aussi pour ton texte sur St Petersbourg dans "Aujourd'hui Poème". Tout cela nous rapproche de plus en plus ! Bonne année à vous deux de nous deux + un coeur dessiné..." ["Thank you my dear Charles for your intense analysis of my mental speleology (page 84) which questions me, which I question through the intermediary of the "marvelous" photographer André Villers. Thank you also for your text on St Petersburg in "Today Poem". All this brings us closer and closer! Happy New Year to both of you from both of us + a drawn heart..."]

Illustrated edition with drawings by Piem.
Publisher's full white cardboard binding, smooth spine, illustrated front cover.
Handsome copy.
Amusing signed autograph inscription by Piem enriched with a drawing showing Piem watching a television whose screen is replaced by the two figures to whom this copy is dedicated: "Georges et Gilles, ça me change un peu. Amicalement. Piem." ["Georges and Gilles, this is a nice change for me. With friendship. Piem."]

First edition.
Publisher's full navy blue boards, smooth spine, blue edges.
Handsome copy.

First edition, one of 250 numbered copies on Holland paper, deluxe copies.
Iconography.

First edition.
Abundant iconography.
Fine copy of this guide for collectors of illustrated books printed in Belgium before the 18th century.

First edition, one of 1010 numbered copies on Johannot paper, the only printing with 140 on Japan paper.
Work illustrated with heliotype plates.
Minor scuffs to the joints of the board chemise, a shadow on the endpaper, otherwise handsome interior condition.

First edition, published without the author's name, and illustrated with a frontispiece by Guérard and 26 folding plates by the same artist. The second work is also in its first edition and is illustrated with a frontispiece and 4 plates by Guérard.
Contemporary full brown calf binding. Richly decorated spine with raised bands. Red morocco title-label. Headcaps worn. Upper joint cracked at head and foot. Lower joint cracked at head. Corners bumped and trimmed. Overall rubbed.
A great classic on bridge construction and regulation. The second work is a technical analysis of bridge construction and the knowledge and calculations necessary for their realization. It includes measurement tables.

First edition with the French text and its English translation on facing pages.
Work illustrated with reproductions of works by Jacques Monory.
Handsome copy.

The first edition, of which there were no deluxe copies.
Handsome copy.
Autograph inscription signed by Waldemar George to art historian Guy Weelen: "... en souvenir de son article sur Bernard Dufour..." ["... in memory of his article on Bernard Dufour..."]

First edition, one of 50 numbered copies on Japan paper, the only deluxe copies.
Work illustrated with 103 reproductions, 36 of which are hors-texte.
Bradel binding in half red morocco with corners, smooth spine slightly darkened, gilt date at foot, marbled paper boards, endpapers and pastedowns, covers and spine preserved, top edge gilt, one upper corner slightly bumped, binding signed Feuillet.
A handsome copy in perfect condition.

First edition printed in a very small number on B.F.K. de Rives paper.
Work illustrated with 6 original paintings heightened with gouache and chalk by Jean Capdeville.
Title, date, place of publication handwritten by Ludovic Massé and manuscript signatures of Ludovic Massé and Jean Capdeville at end of volume.
Rare and handsome copy.

First edition, illustrated with numerous engraved plates of salons, furniture and paintings, on heavy paper. Portrait of Rembrandt in double state.
Armorial copy, possibly from the Amaudric du Chaffaut or Bouffard de l'Espinay family. Purpure a dove holding a golden branch, in chief three silver leaves on gold, the whole surmounted by a count's coronet and flanked by two unicorns, with the motto Fidelitas.
Contemporary full camel morocco binding signed on the pastedown L. Petit. Raised-band spine decorated with blind-tooled compartments, arms at foot. Brown morocco title-label. Double blind fillet frame on covers, large arms stamped at centers. Wide and rich inner dentelle. All edges gilt. At top of upper cover, strip slightly lighter.
Baron Léopold Double's collection was sold from May 30 to June 4, 1881, on rue Louis Le Grand. It was one of the most celebrated of its time for its quality and scope, and constituted the first great collection of decorative arts, objects or furniture of prestigious provenance (particularly Marie-Antoinette who was a true obsession for the collector). Lucien Double, the Baron's son, gave in this work a glimpse of his father's magnificent collections which included at least a dozen salons of various periods, all furnished in the diverse styles of the time, including an eighteenth-century salon that had no equal except the salon des Singes, attributed to Watteau, at Chantilly. These salons were reconstituted during the sale and the author gives a precise description of them. Alongside the description of paintings, objects or furniture, the gray pencil price of the adjudication, also under each of the plates, with the sale number. The sale brought in 2,600,000 Francs, as attested by a slip of paper pasted before the title page.

Original composition, on laid paper, executed in pencil and heightened in watercolor by Albert Rafols-Casamada, signed and addressed to his friend Georges Raillard as a greeting card for the year 1982.
This greeting card enhanced with an original work is accompanied by these few words from the Catalan painter to his friend, the art critic Georges Raillard, specialist in the works of Joan Miro and Antoni Tapies:
"Cher amis, merci pour votre félicitation. Nous désirons aussi pour vous les meilleures choses pour 1982 ! Albert" ["Dear friends, thank you for your congratulations. We also wish the best things for you in 1982! Albert"]
His wife Maria having added : "Bonne année 1982 ! Abrazos. Maria." ["Happy New Year 1982! Hugs. Maria."]
Accompanying handwritten envelope sent from Barcelona.

Postcard depicting the fountain of Montjuich addressed to his friends Georges and Alice Raillard from Barcelona.
Albert Rafols-Casamada rejoices at having been able to see his friends Alice and Georges during his recent trip to Paris and at having gone, in their company, to the Biennale: "... les voyages à Paris sont toujours stimulants." ["... trips to Paris are always stimulating."]
He also evokes their prospects for collaboration: "... maintenant nous avons beaucoup de projets pour notre travail." ["... now we have many projects for our work."]
Finally Maria, the painter's wife, signed with her first name while Albert Rafols-Casamada added "kitsch, popo, camp ?" next to the printed mention "fuentes de Montjuich" at the top of the postcard.

First edition of this collection of 75 plates including 4 engraved titles: Manière d'accoupler les colonnes et pilastres de l'ordre dorique (one title and 11 plates - the catalogue at the end announces 6 plates); Parallele de grands entablements et de charpentes à l'italienne (one title and 8 plates - the catalogue at the end announces 9); Suite de croisée des plus beaux palais de Rome (one title and 8 plates); Les Eglises des stations de Rome (one title and 10 plates); Suite de ruines d'architecture (33 plates, the catalogue announces 24).
The different copies held in public collections or in trade records are all different and do not contain the same parts, and sometimes not the same number of plates per section. Dumont offered at his residence several collections whose entirety is proposed at the end of the volume, being 230 plates contained in 14 collections. Collectors therefore chose certain titles and rejected others, thus forming their own volume. Furthermore, certain titles in this volume are not present in the catalogue.
The Suite de ruine d'architecture contains in this copy 33 plates while the table announces 24. Ultimately this section also contains Vases et fontaines de feu M. Challes with 3 plates, this feature is shared with the copy at the Bibliothèque nationale. The additional plates come from other titles in the catalogue, and if one considers several different copies one notes that the plates were sold with a certain disorder.
This copy contains a section with a frontispiece and 10 plates whose title is not present in the catalogue and whose author is no longer Dumont himself but Israel Henriet, entitled: Les Eglises des stations de Rome. One cannot know whether this collection was sold by Dumont or whether the collector already possessed it when integrating it with Dumont's titles.
Contemporary full brown sheep binding. Decorated spine with raised bands. Red morocco title label. Lacks to joints at head. Lower joint split at foot. Rubbing. Scratches on boards. A large dark stain on each board. 2 corners slightly bumped. Dry stamp on the first 2 title pages: G. Lageat. Architecte à Lannion. Some collections, notably the first ones, have the plates in landscape format, the others in standard format.
The entire set of plates consists of etchings and engravings on copper, engraved by Dumont, Charpentier and Germain, the plates of Les Eglises des stations de Rome by Israel Henriet. Numerous plates bear the date 1765. The etchings in the Ruines d'architecture section are particularly beautiful and very close in spirit to Piranesi's plates.

First edition.
Texts by Marc Desmazières, photographs by Kozo Yano.
Publisher's full white cloth binding, smooth spine, complete with its fragile tracing paper dust cover which has three marginal tears.
Handsome copy.
Autograph inscription dated and signed by Kozo Yano to a friend named Juan Luis.

First edition of this issue whose cover was designed by Eduardo Chillida.
Covers lightly and marginally soiled, handsome interior condition.
Abundant iconography reproducing works notably by Niki de Saint-Phalle.
Contributions by Patrick Waldberg "Joseph Sima ou l'Orient de l'oeil", Alain Jouffroy "Philip Martin et l'illumination", Pierre Descargues "Niki de Saint-Phalle. Nanas", C. Giedion-Welcker "Chillida"...

First edition of the exhibition catalogue "Les livres de Jacques Clauzel" at the Louis Feuillade space in Lunel from October 11 to November 2, 1997.
Handsome copy.
Autograph inscription signed by Jacques Clauzel to poet Charles Dobzynski.

Manuscript with original drawings and made up of two parts, “Chinese Porcelain” and “Chinese Bronze”Manuscript entitled “Chinese Porcelain”, with numerous original drawings in and hors texte, in black and white and color, some full-page on delicate bits of China paper and stuck in to illustrate text or on occasional leaves of thick paper.

The text is also enriched with a plate from Racinet's Costume historique (1888), as well as a printed page from the same text. This is a made-up volume from several texts: Octave de Sartel, La Porcelaine de Chine (1881), Stanislas Julien, Histoire et fabrication de la porcelaine chinoise (1856), Maurice Paléologue, L'Art chinois (1887) and Louis Figuier, Les Merveilles de l'industrie (1873). One final part on Chinese bronze comes from Paléologue's L'Art chinois. All the drawings are after the illustrations in the above mentioned works, and are often heightened in watercolors.
The entire manuscript is in black ink on squared paper, in a fine and careful hand.
Contemporary half brown shagreen over paper boards, richly decorated spine in six compartments, multiple blind-ruled fillets to covers, marbled endpapers and pastedowns, top edge gilt. Corners bumped and a little rubbed.
Table of contents at end.

A very rare and important manuscript combining studies of Chinese art at the end of the 19th century, carefully executed and plentifully illustrated by a talented amateur.

First edition printed in a small number of copies on laid paper of this auction catalogue listing the works comprising René-Charles Guilbert de Pixerécourt's library.
Vignette depicting Pixérécourt's engraved bookplate on the title page.
Spine cracked with lacks, boards detached, handsome interior condition.

First edition illustrated with 36 hand-painted color plates with gold highlights
Half black morocco binding with long grain from the late 19th century. Spine with raised bands richly decorated with 3 stamps and Restoration-style ornaments. One corner rubbed. Paper uncut.
Very handsome copy, fresh
Henry Houssaye bookplate.
Remarkable illustration of theatrical costumes. At the head of the work are placed full-length portraits of the "greatest poet and greatest actor of the era," Voltaire and Lekain, shown rehearsing a scene from Mahomet. All illustrations are by Foech. "Engraved after gouaches of the smallest proportion, they are nonetheless of the most singular resemblance. Wirsker, author of these gouaches, reproduced with the most spirited exactitude the physiognomy, bearing, and character of his originals, in the roles where they excelled, and in the situations where they excited the most enthusiasm. My engravings are a faithful copy." Letter from Foech.

First edition, one of 500 copies numbered, justified and signed by Kozo Yano.
Publisher's Bradel binding in full boards, smooth spine, complete with its fragile dust cover in tracing paper.
Rich iconography of Kozo Yano's work.
Handsome copy.

First edition in French.
Handsome copy.
Publisher's grey paper boards, black cloth spine slightly faded, illustrated front cover.
Rich iconography.