The capital and its region: Parisian history, Île-de-France monuments, urban life and Francilian heritage

First quarto edition, complete with all volumes and plates, commonly referred to as the "Third Edition" of the Encyclopédie, and also known as the "Encyclopédie de Pellet" or "Encyclopédie de Lyon" or "Encyclopédie du Lac" by Simon-Nicolas-Henri Linguet. 

Full marbled and polished brown sheepskin contemporary bindings, spines with five raised band and four gilt compartments decorated with pomegranate gilt tools, two gilt decorative rolls at foot, title and volume lettering-pieces in red and green morocco, boards twice framed in blind, board edges gilt, all red edges, marbled pastedowns and endpapers. 

Discreet restorations to a small number of spine-ends and joints, a few minor and scattered scuffs to boards and corners, a scratch to the spine of four volumes; minor signs of wear, in no way affecting the exceptional condition of these 39 volumes in uniform contemporary bindings.

Occasional foxing and scattered stains, a few gatherings bound in duplicate, one complete gathering bound in reverse in volume 32 (pp. 743 to 738). Pagination errors which are usual to the Pellet edition, with no missing leaves (including the absence of a half-title in volume 15, page jumps in volume 34, and typeface variations on titles and half-titles, common to all copies of this edition). A few pencil annotations in volumes 11 (pp. 19 and 998), 12 (p. 453), and 33 (pp. 591-593) at the article on tolerance. 

Copy complete with all 593 plates illustrating the most democratic edition of the 'Encyclopédie': 220 in the first plate volume, 197 in the second, 171 in the third, 2 horological plates at the end of volume 36, and two portraits of Diderot and d’Alembert at the head of the first two volumes, drawn by Charles-Nicolas Cochin and engraved by Louis-Jacques Cathelin. Numerous plates, bands and culs-de-lampe engraved by Grimer, Robert Bénard and Antoine-Jacques Richomme. 

Seventh edition, expanded with new annotations and an appendix containing descriptive and historical details on all the monuments recently erected in the capital by J.-L. Belin, avocat.

Bound in contemporary half midnight-blue Russian morocco, flat spines gilt with romantic arabesques, gilt fillet framing the marbled-paper boards, marbled endpapers and pastedowns; one lower corner lightly rubbed, contemporary bindings.

Scattered foxing.

Illustrated with 58 plates (including 11 archaeological plates), together with 5 folding colour plans hors texte.

A handsomely preserved copy in a period romantic binding.

First edition, published anonymously by Delaporte,  secretary and prompter of the Comédie-Française.

Contemporary black cloth Bradel binding, smooth spine, red shagreen lettering-piece with some loss, marbled paper boards, upper corners slightly worn, 19th-century binding.

Copies recorded only at the BnF and in Rouen (CCFr).

Printed initials at the foot of the title page.

Rare summary, by the Comédie-Française secretary and prompter, of the grievances held by the Company against the actor Talma, focusing particularly on performances of Marie-Joseph Chénier’s play Charles IX.

The play, which achieved immense public success, drew criticism from the Gallican Church, leading to its ban after the 33rd performance.

On July 21, 1790, the play was performed again in defiance of the ban. The Comédie-Française troupe then split between the "revolutionaries" and the other shareholders, who refused to perform with Talma.

Letter written by a secretary and signed by Louis XVI, addressed to Cardinal Ludovico Calini, in ink over eleven lines. The signature of Charles Gravier, Comte de Vergennes, appearing at the foot of the bifolium, accompanies that of the King for these New Year wishes. The recipient's name is inscribed on the verso: "Mon Cousin le Cardinal Calino".

A few waterstains, a small hole at "qu'il vous ait".

"My Cousin, I have seen with pleasure from your letter of October 1st the token of the sincerity of the wishes you express for me at the beginning of this year. Your good intentions are as well known to me as you must be certain of my desire to give you proof of my esteem and affection. Whereupon I pray God that He may have you, My Cousin, in His holy and worthy keeping. Written at Versailles the 31st of January 1776." (our own translation). 

First edition of the French translation, for which no deluxe paper copies were issued.

A handsome copy, complete with its photographic dust jacket showing a tiny tear at the head of the spine, with illustrations.

Inscribed and signed by Julio Cortázar to the writer Christiane Baroche: "Pour toi, Chirstiane, avec toute mon amitié. Julio."

Autograph letter signed by Albert Camus to his housekeeper or caretaker, "Chère Madame Quentin." One page on a single leaf written in black ink, on NRF letterhead, accompanied by its envelope bearing the autograph address of the recipient. Horizontal crease inherent to the folding of the letter for mailing.

Given that his own mother had been a housekeeper, the writer does not merely concern himself with domestic matters when addressing his employee. He also inquires after the wellbeing of his "Chère Madame Quentin" following her vacation: "I shall be in Paris on Monday or Tuesday at the latest (thus the 31st or the 1st). Could you ask Madame [...] (Pintres?), upon receipt of this letter, to stop forwarding my mail. I hope you were able to rest a little during the month of August and I send you my most faithful regards." (our own translation). 

Accompanied by a telegram once again to Mme "Quentin 86 Rue de Varennes," dated "5-59."

Autograph letters signed by Albert Camus are highly sought after today. This one bears witness to the considerate language the writer uses towards Madame Quentin, his housekeeper, a trade he knows intimately through his mother.

First edition of the French translation prepared by Michel Vaucaire, who would later write the lyrics to the famous song Non, je ne regrette rien, singed by Édith Piaf. One of the rare named copies printed on japon. 

Vertical creasing to spine, minor corner losses to spine and boards, traces of erasure to first two leaves, as issued.

Illustrated with 9 black-and-white photographs, including one on the cover.

Rare first edition of the catalogue for Picasso’s final exhibition at the Galerie Paul Rosenberg in Paris, held from 17 January to 18 February 1939 at 21 rue La Boétie. The front wrapper is illustrated with a black-and-white photograph of the exhibition’s centrepiece: La sculpture nègre devant la fenêtre, now known as Buste de Minotaure devant une fenêtre (Private Collection; see Zervos, vol. VIII, p. 360). Painted on 19 April 1937, the work is widely regarded as a precursor to the bull of Guernica, executed only a few weeks later.

An excellent, well-preserved copy.

The plaquette lists the 33 works exhibited, arranged by year of execution- 1936, 1937, and 1938. The verso carries the notice of the next exhibition, “Centenary of Cézanne”, dated 20 February 1939. These two events were followed only by a final show devoted to Georges Braque, before the gallery closed and Paul Rosenberg left France for permanent exile in the United States.

First edition on ordinary paper.

Half black long-grain morocco binding, smooth spine tooled in palladium with author, title, and date, anthracite-grey paper boards, original wrappers and spine preserved (the latter with two small stains at head and foot), endpapers and pastedowns of anthracite-grey paper, binding signed Thomas Boichot.

Precious and exceptional signed presentation inscription by Louis-Ferdinand Céline: "A Mac Orlan son admirateur et ami fidèle. LFerd"

 Second issue of the first illustrated edition of Victor Hugo’s masterpiece, distinguished by the small bat vignette on the title-page.

Publisher’s neo-Gothic binding in full brown polychrome cloth, the smooth spine gilt-stamped with an allegory of Notre-Dame de Paris, the boards adorned with an extensive gilt and polychrome design (red, blue, and pink) depicting scenes from Notre-Dame de Paris, yellow endpapers and pastedowns, shaded white flyleaves, all edges gilt, a characteristic Romantic publisher’s cloth binding. Spine evenly faded. Minute split at the head of the upper joint. One leaf detached, two others working loose. Occasional marginal foxing.

Work embellished with illustrations by Charles François Daubigny, Valentin Foulquier, Thoedor Josef Hoffbauer, Tony Johannot, Aimé de Lemud, Ernest Meissonier, Célestin Nanteuil, Camille Roqueplan, Louis Henri de Rudder, and Louis Steinheil...

A handsome copy of Victor Hugo’s timeless masterpiece, preserved in its polychrome Romantic cloth binding.

Rare and luxurious invitation card for the exhibition organized by art critic André Warnod on "art nègre," a term he coined in 1910 in the journal Comœdia to originally designate African and Oceanic statuary. From January 20 to February 20, 1926, four painters were invited to exhibit at the art gallery of the Grande Maison de Blanc, Place de l'Opéra in Paris. These were most likely the French artists Marguerite Guy-Lemm (née Lemaire) and Luc-Albert Moreau, the Uruguayan Pedro Figari, and the Dutchman Kees van Dongen.

Fine condition, light gray debossed lettering on soft dark gray paper, crease marks at upper right corner.

First edition, one of 220 numbered copies printed on Vélin du Marais.

Rubbing to the slipcase and chemise, otherwise a clean and attractive copy.

Illustrated with 25 intaglio engravings by Elisabeth-Mary Burgin.

Original colour photograph depicting a smiling Jacques Chirac.

Attractive ensemble held together by a paperclip, which has left a discreet mark in the upper left margin of the photograph.

Enclosed are an official letter, its envelope, and a card on which Jacques Chirac, then Prime Minister, wrote in black felt-tip pen the following words: "vous remercie de votre aimable message de félicitations et vous adresse ses sentiments les meilleurs."

Signed by Jacques Chirac in blue ink at the foot of the photograph.

First edition, one of 85 copies on pur fil paper, from the deluxe issue after 26 on Hollande.

Spine and covers slightly sunned, marginal tears to the covers and at the foot of the spine.

Rare copy with full margins.

Entrance card (22.2 x 27.4cm), two tone recto print wood engraving on strong beige paper, central fold. One corner restored but a good copy.
Entrance ticket (n°1334 price 25) for the Grand Bal des Artistes organized at Bullier Hall, 31 rue de l'Observatoire in Paris on 23 February 1923 “for the benefit of the mutual aid fund of the Union of Russian Artists”.

Illustrated with a large, two tone wood engraving by Mikhail Larionov (1881-1964). On the back, the signature-stamp of S. Gourevitch, treasurer of the Union of Russian Artists.

Mikhail Larionov was a naturalized French, Russian painter and decorator, close to Kasimir Malevitch and Vladimir Tatline, husband of Nathalie Gontcharova. At the beginning of the 20th century, he was one of the pioneers of the Russian Avant-garde. In 1914, he moved to Paris and notably produced the sets for Serge Diaghilev's Russian Ballets.

First edition and first issue of the suite of 24 color lithographs.

Publisher’s original soft illustrated folder, flat red cloth spine without lettering (expertly restored), red cloth framing on the boards, showing some soiling; original cloth ties intact and present.

Some occasional foxing.

Illustrated edition featuring 15 original lithographs by Jean-Louis Boussingault, printed in 170 numbered copies on Arches paper.
Some light marginal foxing on a few leaves, otherwise a pleasant copy.

The slipcase is missing.

Facsimile edition limited to 1,000 numbered copies of the exceedingly rare 1931 first edition published by Jeanne Walter.

Introduction by Fernand Léger.

Splendid volume illustrated with 80 photographs by Moï Ver.

A rare and desirable copy, complete with its original grey full cloth chemise and slipcase.

Rich photographic album comprising the title page and 65 oval silver prints mounted on heavy paper, all on tabs.

Full bottle-green morocco binding, spine without lettering, raised bands framed with black fillets, double blind-ruled frame on covers, gilt roll tooling on the caps, gilt title stamped at the center of the upper cover, comb-marbled endpapers and pastedowns, wide gilt dentelle borders on pastedowns, all edges gilt, one upper corner slightly rubbed, gilt fillets on board edges, an elegant contemporary binding signed by Thouvenin fils.

Minor surface scuffing.

One of the most renowned works by the photographer Alophe (1811–1883). A commemorative album featuring photographic portraits of all the delegates, along with two images of the Union's assembly hall: I. France (Adolphe Cochery – 2 portraits –, A. Besnier, Th. Ansault, Elie Roy, Martial Housez). – II. Germany (Stephan, Günther, Sachse, Hubert). – III. Argentina (Carlos Calvo). – IV. Austria-Hungary (Guillaume Dewez, Michel Gervay, E. Fritsch). – V. Belgium (J. Vinchent, F. Gife). – VI. Brazil (Itajuba). – VII. Chile (Alberto Blest Gana). – VIII. Denmark (J. L. Schou, Petersen). – IX. Egypt (Caillard, Chioffi). – X. Spain (Gregorio Villaamil, Emilio de Navasqües). – XI. United States (James Tyner, Joseph H. Blackfan). – XII. Great Britain (Adams, Page, Alan MacLean, Hogg, Ham). – XIII. Greece (N.-P. Delyanni, Mansolas). – XIV. Haiti (Charles Noël). – XV. Hawaii (William Martin). – XVI. Italy (Tantesio). – XVII. Japan (Nanobou Sameshima, Samuel M. Bryan, Muralt). – XVIII. Liberia (Léopold Carrance). – XIX. Luxembourg (Victor de Roebe). – XX. Mexico (Gavino Barreda). – XXI. Norway (Hefty). – XXII. Netherlands (Hofstede, C. W. Sweerts de Landas-Wyborgh). – XXIII. Peru (Juan de Goyeneche). – XXIV. Portugal (Barros, Ferreira dos Santos). – XXV. Romania (Robesco). – XXVI. Russia (Velho, Poggenpohl). – XXVII. El Salvador (Torres Caïcedo). – XXVIII. Serbia (Mladen Radoykovitch). – XXIX. Sweden (Roos). – XXX. Switzerland (Kern, Edmond Höhn). – XXXI. Turkey (Bedros Couyoumgian). – XXXII. Uruguay (Juan Diaz). – XXXIII. Venezuela (Antonio Parra Bolivar). – XXXIV. International Bureau (Eugène Borel, Moret, Recoing, Duparcq). Founded on October 9, 1874 during the International Postal Conference in Bern, the General Postal Union became, with the significant increase in membership, the Universal Postal Union in 1878.

A fine copy, beautifully bound in full morocco by Thouvenin jeune.

First edition of this highly significant document on the state of Parisian hospitals at the end of Louis XVI's reign, written by Jacques Tenon (1724–1816), surgeon at the Salpêtrière, which remained an influential reference for French hospital policy through to the Third Republic.

The work is complete with its 17 folding plates (including 2 tables and 14 architectural plans and elevations of hospitals).

Some light foxing; the copy appears to have been rebound in this later binding.

Contemporary pastiche binding in half Havana sheep, flat spine with gilt fillets and the gilt cipher and arms of the Chodron de Courcel family, green paper-covered boards, marbled endpapers and pastedowns.

The composition of this text took place within the framework of a public debate on the future of the Hôtel-Dieu hospital in Paris.

In the 18th century, the Hôtel-Dieu was notoriously overcrowded, unsanitary, and prone to fires. It was used almost exclusively by the destitute who had no other care options, and it had gained a reputation as a "death trap" due to its dire conditions and high mortality rate. Two major fires had occurred in 1737 and 1772, the latter destroying much of the complex. In this context, the Baron de Breteuil, Secretary of the King’s Household, commissioned the Académie des sciences to investigate; Tenon's report was the outcome of that consultation. The text comprises five memoranda:

1. General overview of Parisian hospitals
2. Architecture, organization, and outcomes of the major hospitals in Paris
3. Location, surface area, and optimal sites
4. Description and organization of the Hôtel-Dieu in Paris
5. Architecture and organization of a hospital intended to replace the Hôtel-Dieu. Tenon counted 48 hospitals in Paris, excluding the smallest institutions: 22 hospitals for the sick, 20 for able-bodied paupers, and 6 for the indigent (sick or otherwise). He also mentions a hospital specifically for Protestants. Their legal status was complex: some were what we would now call public (under the authority of the King, the City Hall, the Archbishop...), others private (run by religious congregations or funded by lay donations for orphans and the needy). Tenon finally proposes the creation of a purpose-built hospital—what he calls a “healing machine”—a measurable structure subject to management and evaluation. It would be based on principles such as visibility (patients should be distributed so that they can be seen, distinguished, evaluated, and compared), and adequacy and appropriateness in terms of rest space, air circulation, and separation of patients and diseases (isolation of the contagious).

First edition, only one other copy recorded (BnF).

Full dark purple morocco binding, spine with five raised bands with gilt floral motifs, gilt date at foot, spine slightly faded, covers numerously framed in gilt, gilt-tooled corners each adorned with a blue onlaid morocco medallion stamped with a central gilt fleuron, marbled endpapers and pastedowns, pastedown bookplate of Ernest Stroehlin, inner gilt dentelle, spine-ends ruled in gilt, very light rubbing to corners, all edges gilt. A tiny restored lack of paper to the upper part of the title page, not affecting the text.

Very rare anti-Protestant satire in the form of a dialogue between the renowned Protestant minister Mestrezat and the warden of the Charenton temple where Mestrezat officiated.

First edition, one of the copies printed on pur fil paper, the only deluxe issue.

Illustrated.

A handsome copy.

First edition, very difficult to find complete, as the third volume was published eight years after the first two.

Bound in full mottled bronze-green calf, smooth spines richly decorated with gilt floral compartments, red morocco labels for title and volume number, gilt rolls on the caps, joints slightly rubbed, gilt roll-tooled borders on the covers entirely adorned with oblong geometric patterns in blind, marbled endpapers and pastedowns, gilt Greek-key borders framing the pastedowns, bookplate mounted on the pastedown of the first volume, gilt fillets on the edges, all edges gilt, contemporary bindings.

Contains anecdotes about Rousseau, Poivre, Turgot, Helvétius, Benjamin Franklin, Holbach, Cardinal de La Rochefoucauld, the Marquise de Pompadour, Calonne, Necker, Beaujon…

A handsome copy attractively bound in a period decorative binding.

First edition on ordinary paper, bearing the correct colophon dated August 25, 1978.

With a printed stamp to the upper right corner of the half-title page; publisher's price sticker affixed to the foot of the lower cover.
A handsome copy.

Autograph letter signed by Jean-Jacques Henner to his friend Castagnary, 18 lines in black ink on a bifolium.

The letter is almost entirely devoid of punctuation.

A date written in violet ink, likely indicating when the recipient received the letter.

"Mon cher ami,

votre très aimable invitation m'est arrivée malheureusement un peu en retard vous aviez l'adressé place Clichy au lieu de place Pigalle et à mon grand regret je ne suis pas libre j'en suis désolé vous savez tout le plaisir que j'ai a venir chez vous soyez donc mon interprète auprès de madame Castagnary et excusez moi. Votre tout  dévoué JJHenner."

First edition on ordinary paper.

Spine creased as often, otherwise a pleasant copy.

Illustrated.

Inscribed and signed by Jean Marais to Madame Romanini.

First edition of this rare and fragile promotional item for the Galeries Lafayette consisting of 47 cardboard pieces with an illustration in medallion drawn by Jack Roberts and a children's song of eight verses.

A handsome copy, complete with its original printed crystal paper envelope.
 

First edition, one of 70 numbered copies on alfa paper.
A very good copy.

First edition on ordinary paper, bearing the correct imprint date of 25 August 1978.

Spine yellowed and creased as usual, internally in pleasing condition.

Rare signed autograph inscription from Georges Pérec to Chantal Labre.

Second edition, partly original, notably augmented with several additional pieces, complete with the caricature  woodcut portrait of the widow Oudot as frontispiece, printed in green, as is the title. According to Barbier, the burlesque portrait was engraved by one of the authors, the comte de Caylus himself.

Contemporary full mottled brown calf, smooth spine richly gilt with fleurons, palms and scrollwork, brown-red morocco lettering-piece, triple gilt fillet bordering the boards with fleurons at corners, gilt fillet on board edges, all edges gilt, pastedowns and endpapers of small-comb pattern marbled paper.

Small losses to the headcaps, lower joint of the front board split over 1 in., light wear to the joints, some surface scratching to the board margins, front board slightly warped, corners bumped.

Marginal stain on p. 19.

First edition of this work published by the Société du Bout-du-Banc, the celebrated literary salon presided over by Mademoiselle Jeanne-Françoise Quinault and the Comte de Caylus. This intimate circle, originally comprising eight members, would gather on Mondays at dinner to exchange ideas and to write; at the close of each meal, every distinguished guest was required to set down a few lines — whether in the coarse poissard style or in a more refined vein — on paper. It was in this context that Les Fêtes roulantes, ou les regrets des petites rues came into being, in the wake of the celebrations held in Paris in honour of the Dauphin's second marriage, to Marie-Josèphe de Saxe.

Pastiche binding in plum half-shagreen, spine with five raised bands framed by gilt dotted fillets and six compartments decorated with gilt fillets and fleurons, marbled paper boards, gilt top edge, pastedowns and endpapers in shell-pattern marbled paper.

Some minor rubbing to the paper of the lower board, corners slightly bumped.

First illustrated edition, in the very first issue and complete in a single volume; a three-volume issue, more common and published later in the course of 1836, was subsequently produced. With a frontispiece title and 11 steel-engraved plates hors-texte on heavy wove paper, after Johannot, Boulanger, Raffet, Rogier & Rouargue, engraved by Finden, Staines… The work is attractively printed in an airy type with generous margins, closely following the original edition published in 1831. The plate entitled "De l'utilité des fenêtres" is present; according to Clouzot it is most often lacking, as it was printed later than the initial release of the work.
Contemporary full wine-coloured morocco binding, signed at the foot of the spine Ulmann-Herzog. Smooth spine decorated with two mirrored rocaille panels linked by fillets. Boards stamped in gilt with a large urn surrounded by flowers, birds and cherubs. Spine sunned, now uniformly light brown. Some rubbing. Tissue guards present. Scattered browning. Gilt edges. A few leaves slightly sprung. A good copy.
Like most major novels of the period, very rare in a full signed binding.

Booklet of the "Rabelaisian menu" offered on "diemenche 26 de oiteuvre 1952" [Sunday, 26 October 1952] on the menu of the Parisian restaurant Au Mouton de Panurge, gastronomic headquarters of the Amis de Rabelais et de La Devinière, whose walls were decorated by Albert Dubout, who is also the author of the illustrations featured here. On the final page appear several facsimile signatures of distinguished regulars of the establishment. Our booklet is enhanced by a gift inscription from one of these signatories, Albert Schweitzer: "to Andrée [Eekman, his goddaughter, also the niece of his close friend Tata (Adèle Herrenschmidt)] and her dear husband [the painter and engraver Nicolas Eekman] / Albert Schweitzer," as well as four further autograph signatures by Michel de Bry, publisher of the booklet, by a certain "Devilly," and finally by two unidentified names.

Faint vertical fold to the centre of the booklet.

(our own translation)

Illustrated edition with colour drawings by Chas Laborde, one of the numbered copies printed on wove paper.

A pleasing copy, despite a small tear to the upper right margin of the front free endpaper.

On the page following the title, a fine signed autograph inscription by Colette: "A monsieur F. Porlier. Nantes, février 1933. Colette. J'aime beaucoup "et autres" ! Colette.", Colette having ironically circled the words "et autres" appearing in a paragraph outlining her alleged collaboration with her former husband Willy in the writing of the work.

Illustrated edition with colour drawings by Chas Laborde, one of the numbered copies on wove paper.

A pleasing copy.

Autograph signed inscription by Colette: "A monsieur F. Porlier en souvenir d'une passante. Colette."

Autograph letter signed by Thomas Mann, in French and on the headed paper of the Hôtel Regina, 2 place des Pyramides, Paris, addressed to the journalist (Claude Morgan).

10 lines in blue ink on a single leaf, a stain affecting the "14" of 14 May 1951, creases consistent with having been folded for mailing.

"14 Mai 1951

Cher monsieur,

ayant prolongé mon séjour à Paris d'un jour, je vous donnerais avec plaisir une courte interview ce soir à six heures trente. Avec l'expression de mes meilleurs sentiments. Thomas Mann."

First edition printed in a small number of copies.
Half red morocco binding with corners, smooth spine decorated with a gilt panel and floral tools, enhanced with a grey mosaic morocco onlay, gilt date at foot, gilt fillet framing on the marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, gilt top edge, binding signed Charles Lanoë.
Illustrated with a fine frontispiece drawn and engraved by Félix Bracquemond.
An attractive copy, handsomely bound.

First edition, standard issue.

Spine lightly faded as usual; some leaves with brittle margins resulting in minor losses.

Signed autograph inscription from Raymond Queneau to Yvon Belaval.

Substantial compilation of these three texts setting forth the statutes of the Faculty of Medicine of Paris, together with the related legal instruments: royal declarations or edicts, rulings of the Parlement, and a judgment of the Châtelet of Paris. 

The second part sets out in detail the conditions governing the conferral of degrees, while the final section comprises several discourses on medicine.

Bound after the principal work are Hyacinthe Théodore Baron’s "Ritus usus et laudabiles Facultatis medicinae parisiensis consuetudines" and Gabriel Naudé’s "De Antiquitate et dignitate Scolae medicae parisiensis panegyris", published in  Paris by G.F. Quillau in 1751.

Contemporary full speckled fawn calf, spine in five raised bands gilt with decorative friezes and tooled in gilt compartments, headcap shaved, light rubbing to bands and spine, marbled endpapers and pastedowns, engraved bookplate mounted on the pastedown, gilt fillets to board edges, corners rubbed, red edges; contemporary binding.

Provenance: Jules Guérin (1801–1886), director of the Gazette médicale de Paris (stamp on title-page). – Doctor Félix Durosier (engraved bookplate).

Ink annotations to a flyleaf.

Autograph letter signed by Victor Hugo to his friend H. de Cambier, 20 lines written in black ink on a bifolium, autograph address on the verso of the final leaf.
Splendid and likely unpublished letter from Victor Hugo inviting his correspondent to the famed Romantic 'Cénacle' gatherings at the Bibliothèque de l'Arsenal, a veritable literary institution in the 1830's.

"This Saturday the 6th,
I noticed the other evening, Sir, that you expressed, with some regret, not having a ball to attend on Sunday (tomorrow).
Now, I have managed to arrange my guard duty so as to be free tomorrow from nine o'clock to midnight (alas, I could not obtain more than six hours), and I am taking advantage of it to take my wife to a small masquerade party at Nodier's. If you would like to come with us, we would be delighted — and Nodier too. To do so, you would need to be at my home at nine o'clock, the hour I myself will return. — Answer me this morning, and believe in all my friendship. Vr Hugo."

First edition of this rare and fragile advertising object for the Galeries Lafayette consisting of 47 cardboard pieces with a medallion illustration designed by Jack Roberts and a children's song of four verses.

Handsome copy complete with its original crystal paper envelope.
 

"It's war!" we shouted that night, over and over again. The terrible word brought us bad luck... It was 1913: the following year, we were packing our kits again. This time, for real. And not all the guests came back." p. 335

First edition, one of only 6 copies printed on Hollande, this being copy no. 1 of the deluxe issue.
Bound in navy blue morocco backed boards with corners, spine very lightly sunned with raised bands, gilt date at foot, marbled paper-covered boards and endpapers, edges untrimmed, top edge gilt, covers and spine preserved. Binding signed Lavaux.
A fine copy with wide margins, attractively bound.
Bookplate pasted to a flyleaf.
The author's own copy, profusely extra-illustrated, of this magnificent Montmartre chronicle. Tipped in is an original ink portrait of Roland Dorgelès by Gus Bofa, humorously captioned: "Monsieur Roland Dorgelès dans son uniforme de rédacteur à la petite semaine"

Alongside two original photographs, one depicting the famous Montmartre figure Francisque Poulbot in his Guignol theatre (Agence Rol, 1910), and the other a very rare photograph of the legendary “Fête des Dernières Cartouches” organised by Poulbot on 23 May 1913. We have located only one other known image of this event. The photograph shows the merry band of participants at Poulbot’s place on rue de l’Orient, dressed as soldiers from the Franco-Prussian War of 1870. The celebration, which created quite a stir, is recounted by Dorgelès in this book:

Ronéotype réalisé par Boris Vian de son manuscrit original, avec ajout autographe du titre : "Le penseur" et deux corrections autogrpahes, nouvelle initialement parue dans la revue Dans le train n°15, 1949, puis publiée dans le recueil posthume Le Loup-Garou en 1970.

Sans doute réalisé pour conserver une copie de sa nouvelle, avant l'envoi à la revue Dans le train, ce ronéotype du manuscrit originale signé a été conservé dans les archives de l'écrivain jusqu'à sa mort. les deux corrections autogrpahes et le titre au crayon semble indiquer que Boris Vian avait prévu une nouvelle publication.

Cette biogaphie express de la courte vie d'un philosophe de génie : Urodonal Carrier, était destinée à être lue le temps d'un trajet en transport en commun. Elle fait partie douze textes que Boris Vian publia entre 1948 et 1950 dans la revue humoristique Dans le train.

Provenance : Fondation Boris Vian.

Original autograph manuscript, 8 pages on 4 squared leaves, extensively revised and signed by Boris Vian. Subtle horizontal folds.
This short story, written on 7 June 1948 according to Noël Arnaud, was first published in issue no. 2 of the magazine Dans le train, and later included in the collection Le Loup Garou. The manuscript differs slightly from the printed versions.