First Editions

The first edition, of which there were no deluxe copies.
Minor stains of no consequence on the edges, handsome copy complete with its wraparound band.
Signed autograph inscription by Bernard Giraudeau to Nadine Nimier, wife and widow of Roger Nimier, with a drawing representing a bouquet of marsh plants.

Signed manuscript card of 21 lines by Alphonse Boudard to his great friend and companion of boozy lunches, the Brussels journalist André Tillieu, who was, like Alphonse Boudard, a great friend of Georges Brassens but also of Jean Giono.
An erroneous date (4.1.91) written in blue ballpoint pen on the card by André Tillieu whereas the date of 4.1.90 is indicated at the top of the envelope.
Envelope included.
"Dear André,
good wishes serve mainly not to forget friends too much. I wish you of course health, cash, clear sight, lively step... etc... I'm invited on March 14th to Brussels for a book fair. I'll keep you informed and we could probably grab a bite together on this occasion. Book? I'm undecided... I've said everything I could say. There are still things like Fermeture... I'm starting a collaboration with Détective from January 18th... if you fancy it, you'll be able to read. Louis is in Nice, his wife isn't doing very well... especially in the head, between us... See you soon. All my friendship. Ab."
André Tillieu the Brussels native, very close friend and biographer of Georges Brassens, maintained an epistolary correspondence with Alphonse Boudard for almost thirty years, from 1972 until the latter's death in 2000.
The cheeky Parisian writer very quickly showed him his friendship, considering him as one of the rare critics to understand him perfectly to the point of explaining clearly in his chronicles what he himself expressed only incompletely and sometimes confusedly in his books.
André Tillieu thus became part of the small circle of Alphonse Boudard's true friends on the same level as le Gros Georges (Georges Brassens), le Niçois (Louis Nucéra) and René Fallet with whom he loved to share copious well-watered meals and cycling excursions. As death gradually took away his best friends one by one, André Tillieu remained one of Alphonse's very last pals.

Signed manuscript letter on Bristol card of 15 lines by Alphonse Boudard, on letterhead from his Parisian address in Nouvelle Athènes in the 9th arrondissement, to his great friend and companion of well-watered lunches, the Brussels journalist André Tillieu who was, like Alphonse Boudard, a great friend of Georges Brassens but also of Jean Giono.
A date (4.2.99) written in blue ballpoint pen at the top of the envelope.
Envelope included.
"Merci, mon cher André, de ta magnifique lettre. J'ai parfois des doutes sur l'intérêt de ma production, eh bien tu me rassures. Je sais que j'ai en Belgique un lecteur attentif et qui pige mes moindres intentions, qui apprécie mes petits trucs de style. Je n'ai pas le temps de t'écrire plus longuement. J'espère te voir à Bruxelles en Avril ou Mai lorsque je ferai la promotion de Chère visiteuse le livre que je viens de finir et qui paraîtra dans deux mois. Voilà, vieux frère, ton amitié me fait chaud au coeur. ABoudard." ["Thank you, my dear André, for your magnificent letter. I sometimes have doubts about the interest of my production, well you reassure me. I know that I have in Belgium an attentive reader who understands my slightest intentions, who appreciates my little stylistic tricks. I don't have time to write to you at greater length. I hope to see you in Brussels in April or May when I promote Chère visiteuse, the book I have just finished and which will be published in two months. There you have it, old brother, your friendship warms my heart. ABoudard."]
André Tillieu from Brussels, very close friend and biographer of Georges Brassens, maintained an epistolary correspondence with Alphonse Boudard for almost thirty years, from 1972 until the latter's death in 2000.
The cheeky Parisian writer quickly showed him his friendship, considering him one of the rare critics to understand him perfectly to the point of clearly explaining in his chronicles what he himself expressed only incompletely and sometimes confusedly in his books.
André Tillieu thus became part of the small circle of Alphonse Boudard's true friends on the same level as le Gros Georges (Georges Brassens), le Niçois (Louis Nucéra) and René Fallet with whom he liked to share hearty well-watered meals and cycling expeditions. As death gradually took away his best friends one by one, André Tillieu would remain one of Alphonse's very last buddies.

Signed manuscript letter on Bristol card of 8 lines by Alphonse Boudard, on letterhead from his Parisian address in Nouvelle Athènes in the 9th arrondissement, to his great friend and companion of well-watered lunches, the Brussels journalist André Tillieu who was, like Alphonse Boudard, a great friend of Georges Brassens but also of Jean Giono.
Envelope included.
"Merci, vieux pote, de ta bonne lettre. Je sais que tru es un amateur éclairé... alors tout ce que tu me dis me touche dans le mille. J'espère bien aller te saluer un de ces quatre en Bruxellie. Mon amitié. Ab." ["Thank you, old friend, for your good letter. I know that you are an enlightened amateur... so everything you tell me hits the bull's eye. I really hope to go and greet you one of these days in Brussels. My friendship. Ab."]
André Tillieu from Brussels, very close friend and biographer of Georges Brassens, maintained an epistolary correspondence with Alphonse Boudard for almost thirty years, from 1972 until the latter's death in 2000.
The cheeky Parisian writer quickly showed him his friendship, considering him one of the rare critics to understand him perfectly to the point of clearly explaining in his chronicles what he himself expressed only incompletely and sometimes confusedly in his books.
André Tillieu thus became part of the small circle of Alphonse Boudard's true friends on the same level as le Gros Georges (Georges Brassens), le Niçois (Louis Nucéra) and René Fallet with whom he liked to share hearty well-watered meals and cycling expeditions. As death gradually took away his best friends one by one, André Tillieu would remain one of Alphonse's very last buddies.

Signed manuscript bristol of 22 lines by Alphonse Boudard, on letterhead of his Parisian address in Nouvelle Athènes in the 9th arrondissement, to his great friend and companion of well-watered lunches, the Brussels journalist André Tillieu who was, like Alphonse Boudard, a great friend of Georges Brassens but also of Jean Giono.
Envelope enclosed.
"Vieux frère, merci de tes deux dernières lettres, je suis un peu débordé (par le succès entre autres) et j'ai laissé le courrier s'accumuler. J'ai pas vu "Mémoire de la France" si j'y suis cité c'est déjà pas si mal, d'habitude dans ce genre de bouquin je n'existe pas. Ni pour la Cerise, l'Hôpital, le prix Renaudot, ni pour le Cinoche. Je ne me plains pas puisque je n'écris pas pour la postérité. Mon prochain sort en septembre aux éditions du Rocher. "Madame de Saint Sulpice". Je ne pense pas que la presse catholique m'encensera. En tout cas j'espère amuser le lecteur et que tu sauras l'apprécier comme les autres. Tu es un fin gourmet de la chose écrite. J'espère que tu vas bien depuis ta dernière lettre. Moin amitié Ab." ["Old brother, thanks for your last two letters, I'm a bit overwhelmed (by success among other things) and I've let the mail pile up. I haven't seen "Mémoire de la France" if I'm cited in it that's not too bad, usually in this kind of book I don't exist. Neither for la Cerise, l'Hôpital, the Renaudot prize, nor for le Cinoche. I don't complain since I don't write for posterity. My next one comes out in September at éditions du Rocher. "Madame de Saint Sulpice". I don't think the Catholic press will praise me. In any case I hope to amuse the reader and that you'll know how to appreciate it like the others. You are a fine gourmet of written things. I hope you're well since your last letter. My friendship Ab."]
André Tillieu from Brussels, very close friend and biographer of Georges Brassens, maintained correspondence with Alphonse Boudard for almost thirty years, from 1972 until the latter's death in 2000.
The Parisian satirical writer very quickly showed him his friendship, considering him as one of the rare critics to understand him perfectly to the point of clearly explaining in his reviews what he himself expressed only incompletely and sometimes confusedly in his books.
André Tillieu thus became part of the small circle of Alphonse Boudard's true friends alongside Gros Georges (Georges Brassens), le Niçois (Louis Nucéra) and René Fallet with whom he loved to share hearty well-watered meals and cycling trips. As death gradually took away his best friends one by one, André Tillieu remained one of Alphonse's very last buddies.

Signed manuscript bristol of 17 lines by Alphonse Boudard, on a visiting card, to his great friend and companion of well-watered lunches, the Brussels journalist André Tillieu who was, like Alphonse Boudard, a great friend of Georges Brassens but also of Jean Giono.
A date and the mention "les enfants de choeur" written in black ballpoint pen at the top of the bristol.
Envelope enclosed.
"Vieux,
comme toujours ton papier me va droit au coeur. Et tu dis juste... si c'était Beckett ! Hélas... le petit clan des snobs et de l'intelligentzia fait la loi, le bon goût et la réputation... Les vendredis soir Louis Nucera part à la campagne faire du vélo et travailler à son roman. Le mieux, pour l'instant, serait d'arranger q.q. chose avec Aline. Moi je peux me rendre libre et je serai content de te voir. à bientôt donc. ton pote. ABoudard." ["Old friend, as always your piece goes straight to my heart. And you're right... if it were Beckett! Alas... the little clan of snobs and intelligentsia makes the law, good taste and reputation... On Friday evenings Louis Nucera goes to the countryside to cycle and work on his novel. The best thing, for now, would be to arrange something with Aline. I can make myself free and I'll be happy to see you. See you soon then. Your buddy. ABoudard."]
André Tillieu from Brussels, very close friend and biographer of Georges Brassens, maintained correspondence with Alphonse Boudard for almost thirty years, from 1972 until the latter's death in 2000.
The Parisian satirical writer very quickly showed him his friendship, considering him as one of the rare critics to understand him perfectly to the point of clearly explaining in his reviews what he himself expressed only incompletely and sometimes confusedly in his books.
André Tillieu thus became part of the small circle of Alphonse Boudard's true friends alongside Gros Georges (Georges Brassens), le Niçois (Louis Nucéra) and René Fallet with whom he loved to share hearty well-watered meals and cycling trips. As death gradually took away his best friends one by one, André Tillieu remained one of Alphonse's very last buddies.

First edition in French, one of 100 numbered copies on American laid paper, the only deluxe copies.
Handsome copy.

First edition, one of 40 numbered copies on vellum, deluxe copies after 20 on China paper.
A small black stain at upper left corner of front cover.
Fine copy.

First edition printed in a small number of copies on laid paper.
Rare and handsome copy, with bookplate pasted at foot of verso of front cover.
Autograph inscription signed by François Bernouard to the poet Adolphe Lacuzon: "... A monsieur Lacuzon, en témoignage de ma double admiration, celle du poète et de l'homme..." ["... To Mr. Lacuzon, in testimony of my double admiration, that of the poet and of the man..."]

First edition of each volume, with print runs varying from 297 to 1,250 numbered copies on pur fil paper, the only deluxe copies along with the reimposed editions.
Spine of the fifth volume split, printed "nrf" mention scratched on the back cover of the first volume of the seventh part.
Rare and handsome complete set with publisher's slip.
Autograph inscription dated 1929 and signed by Roger Martin du Gard, on a loose leaf: tribute from the author, absent from Paris, to Robert de Saint-Jean.

First edition, one of 30 numbered copies on deluxe paper, ours unnumbered, the only deluxe copies.
Handsome copy.

First edition, one of 225 numbered copies on pur fil paper, deluxe issue.
A transverse fold at head of front cover, otherwise a handsome full-margined copy.
Contributions by Georges Bernanos: "Lettre à Frédéric Lefèvre", Max Jacob: "Renoncer à toute richesse" & "Jeunesse lacustre" & "Angoisses et autres", Henri Massis: "Charles Maurras et le sentiment de la mort" & "Paul Valéry et sa pensée", Nicolas Berdiaeff "Le destin de la culture", Jean Cocteau: "Daisy en France", Daisy Ashford: "Les jeunes visiteurs ou le plan de Mr Salteena", Julien Green: "La traversée inutile"...

First edition printed in 70 numbered copies on Normandy vellum, ours unnumbered and unsigned by Guy Lévis-Mano.
Work illustrated with an etching by Kurt Séligmann as frontispiece.
A handsome copy.

First edition illustrated with photographs, one of 200 numbered and named copies.
Publisher's full brown cloth binding, smooth spine, smooth spine.
Handsome copy complete with its folding map at the beginning of the volume.

The first edition, of which there were no deluxe copies.
Some traces of rubbing to the joints and to the back cover.
Iconography.
Autograph inscription signed by André Lajoinie to a woman named Annick.

First edition on ordinary paper.
Handsome copy.
Beautiful autograph inscription dated and signed by Pierre Béarn to Nadine Nimier, wife and widow of Roger Nimier: "Pour Nadine Nimier dont la gentillesse m'émeut - sans doute qu'elle a su garder en elle la lumineuse clarté de l'âme - en la remerciant" ["For Nadine Nimier whose kindness moves me - no doubt she has been able to keep within herself the luminous clarity of the soul - with thanks"]

The first edition, of which there were no deluxe copies.
Work illustrated with drawings by Georges Wolinski.
Nostalgic signed autograph inscription from Claude Confortès to a friend named Matilda: "... ce livre rare et épuisé des folles années. Grâce à toi je suis redevenu dingue. Vive l'EPROUVETTE ! Claude Confortès." ["... this rare and out-of-print book from the crazy years. Thanks to you I've gone crazy again. Long live L'EPROUVETTE! Claude Confortès."]

First edition on ordinary paper.
Handsome copy despite two small stains in the margin of the back cover and on an inner flap.
Fine autograph inscription dated and signed by Yves Peyré to Nadine Nimier, wife and widow of Roger Nimier.

First edition, one of 109 numbered copies on laid paper and reimposed in Tellière quarto format, deluxe copy.
Handsome copy despite some light rubbing to the joints and a light discoloration to the upper right corner of the front cover.
Half tawny morocco binding, smooth spine, boards covered with cream vellum-style cardboard, wood-grain paper endpapers and pastedowns, covers and spine preserved, top edge gilt, binding signed by Alain Lobstein.

First edition of the French translation, of which there were no deluxe copies.
A handsome copy despite the spine being slightly sunned.

First edition, one of 37 numbered copies on Vizille laid paper, the only deluxe copies.
A very handsome copy of this work which earned its author the Robert Walser Prize for first novel.

The first edition, of which there were no deluxe copies.
Publisher's full grey cloth binding, smooth spine, with the illustrated dust jacket which has some minor marginal tears and tiny corner chips of no consequence.
Signed autograph inscription from André Dhôtel to Monsieur Pittner.

First edition, one of 100 numbered copies on alfa paper, the only deluxe copies.
Handsome copy.

First edition, one of 125 numbered copies on Ingres paper, the only deluxe copies after 25 on Hollande paper.
A handsome copy.

First edition of this issue of the magazine consisting of two folded sheets.
Handsome copy.
On the first, a color woodcut depicting Alphonse Karr by Emile Cohl.
On the following, text by Pierre and Paul in first edition titled "Alphonse Karr".

First edition of this issue of the magazine founded by writer Félicien Champsaur and illustrator Alfred Le Petit, consisting of two folded sheets.
Handsome copy.
On the first, a color woodcut depicting Albert Robida by Alfred Le Petit.
On the following, text by Félicien Champsaur in first edition titled "Albert Robida".

First edition of this issue of the magazine consisting of two folded sheets.
Handsome copy.
On the first, a color lithograph representing Daubray by Emile Cohl.
On the following ones, text by Pierre et Paul in first edition entitled "Daubray".

First edition of this issue of the magazine consisting of two folded sheets.
Handsome copy despite some minor worming.
On the first, a color woodcut representing Paul Bourget by Emile Cohl.
On the following ones, text by Jules Laforgue in first edition entitled "Paul Bourget".

First edition, one of 88 numbered copies on pur fil paper, deluxe copies after 13 on Holland paper.
Rare and very handsome copy.

First edition, of which there were no deluxe copies.
Handsome copy.
Dated autograph inscription signed by Pierre Courtade to Jean Claval.

First edition on ordinary paper.
Boards soiled, important coffee stain on the second board and at the foot of the first leaves, foxing on the edges.
Precious autograph inscription signed by Kléber Haedens to Nadine Nimier, wife and widow of Roger Nimier, leader, with Antoine Blondin, of the Hussards, literary movement of which Kléber Haedens was a member: "Pour toi Nadine, je pense à toi et je t'embrasse. Kléber" ["For you Nadine, I think of you and I embrace you. Kléber"].
Moving provenance: from the library of Nadine Nimier, wife and widow of Roger Nimier.

First edition, one of 250 numbered copies on pure rag Lana laid paper, the only deluxe copies.
Very handsome copy.

First edition, one of 944 numbered copies on wove paper, the only deluxe copies after 111 reimposed.
Handsome copy.

First edition, one of 150 numbered copies on wove paper, deluxe copies after 50 on Holland paper.
Handsome copy.
Marcel Prévost's manuscript signature on the half-title page.

First edition, one of 300 numbered copies on alfa laid paper, the only deluxe copies after 5 on Holland paper.
Some foxing to boards.
Autograph inscription signed by Jean Dorsenne: "A mon ami le sergent Muzereau de la classe !!! Cé témoignage d'affection d'un simple pékin ! Jean Dorsennus." ["To my friend sergeant Muzereau of the class!!! This token of affection from a simple civilian! Jean Dorsennus."]

First edition of the French translation, one of 25 numbered copies on vélin dap-cau, the only deluxe copies.
Spine and boards lightly and marginally lightened as usual.

First edition on ordinary paper.
Handsome copy.

First edition, one of 10 numbered copies on Holland paper, deluxe issue.
Very handsome copy.

First edition printed on ordinary paper.
Handsome copy.
Dated and signed autograph inscription, in pencil, from Pierre Alechinsky to Jacques Bertin

First edition, one of 1300 numbered copies on sunburst white alfa.
Fine copy.

First edition of the French translation, one of 325 numbered copies on vélin d'Artois, the only deluxe copies.
Handsome copy.

First edition printed on alfa paper.
Small tears to the margins of the covers which is inevitable given the fragility of this work.

First edition, one of 15 numbered copies on Japan Imperial paper, deluxe issue.
Handsome full-margined copy despite the spine and covers being slightly and marginally lightened, a light stain in the margin of one deckled edge.
Work illustrated with drawings in the text.
Our copy is enriched with an autograph letter signed by Charles Léger about works he has already written on Balzac.

First edition.
Publisher's binding in full boards, smooth spine, complete with its translucent paper dust jacket with marginal yellowing.
Manuscript signature of Thomas Hechtte on the half-title page.
Provenance: from the library of Ulrike Bergweiler.

First edition printed on ordinary paper.
Handsome copy with illustrated cover.
Signed autograph inscription from Pierre Daix to Jean Claval.

First edition of the French translation, one of 10 numbered copies on Lana laid paper, the only deluxe copies after 5 on Rives laid paper.
Restoration to the slipcase split at foot along its entire length, otherwise handsome copy.

The first edition, of which there were no deluxe copies.
Some foxing on the covers, paper yellowed.
Work illustrated with two portraits of Louis Pergaud.
Beautiful and touching autograph inscription dated and signed by Edmond Rocher: "A Léon Bocquet l'ami et le premier éditeur de Louis Pergaud en affectueuse communion en la pensée du cher disparu. Edmond Rocher. Nbre 1923." ["To Léon Bocquet the friend and first publisher of Louis Pergaud in affectionate communion in memory of the dear departed. Edmond Rocher. November 1923."]

First edition of this unpublished text presented by Claude Debon, one of 50 numbered copies on laid paper, ours one of 26 lettered copies, deluxe printing.
Pleasant copy, bookplate pasted facing the title page.

First edition, one of 500 numbered copies on Holland paper, ours unnumbered, the only printing after 20 copies on antique paper and 5 hors commerce.
The first volume contains the commentary on Giovanni Battista Bracelli by Tristan Tzara, followed by "L'aventure d'un livre et notes bibliographiques" ["The adventure of a book and bibliographical notes"] by publisher Alain Brieux.
The second volume is a facsimile reproduction of Bracelli's book, "Bizzarie", illustrated with 50 engravings created in 1624.
The facsimile was printed from the only complete and known copy, that of American bibliophile Mr. Lessing Rosenwald.
This illustration volume is bound in full boards in imitation of medieval vellum with ties.
Slipcase and chemise in full brown boards, smooth spine unlettered, title label pasted on the slipcase.
Handsome copy.

First edition, of which there were no deluxe copies.
Handsome copy.
Autograph inscription signed by Claude Lévi-Strauss to Nadine Nimier: "Pour Nadine avec les amitiés de Lévi-Strauss." ["For Nadine with friendship from Lévi-Strauss."]

First edition, a Service de Presse (advance) copy.
Spine lightly yellowed, foxing to front cover.
Autograph inscription signed by Michel Tournier to Ulrike Bergweiler who was Antoine Gallimard's secretary: "Pour Ulrike Bergweiler. En toute amitié. Michel Tournier." ["For Ulrike Bergweiler. In friendship. Michel Tournier."]

First edition on ordinary paper.
Spine sunned, a pink stain on the front cover.
Autograph inscription signed by Félicien Marceau to Ulrike Bergweiler who was Antoine Gallimard's secretary: "Pour Ulrike de son ami Félicien. Le 17 mars 89." ["For Ulrike from her friend Félicien. March 17, 89."]

First edition, one of 120 numbered copies on pur fil paper, the only printing after 20 copies on san francisco paper.
Handsome copy.
Illustrated with 6 drawings by R. Berton and a photographic portrait of Tristan Derème by Mertens-Auradon.
Fine autograph inscription signed by Tristan Derème to Professor Lereboullet: "... et voici, dans ces feuillets, qu'on évoque le port et le refuge au milieu des tempêtes de la vie - et c'est le seuil fleuri de la vieille maison. On y rêve à Paris, dans le vacarme et la course de la vie quotidienne ! En très cordial hommage.Tristan Derème. 29 -XI - 30." ["... and here, in these pages, one evokes the harbor and refuge in the midst of life's storms - and it is the flowered threshold of the old house. One dreams of it in Paris, in the din and rush of daily life! With very cordial homage. Tristan Derème. 29 -XI - 30."]

The first edition, of which there were no deluxe copies.
Handsome copy complete with dust jacket.
Fine signed autograph inscription by Michel Albertini to a friend named Anne-Rose: "... ces merdicoles qui n'auraient jamais été si drôles et émouvants sans elle... Alors, avec un gros morceau de soleil de Marseille en plus, et que pour vous... chère Anne... ma première..." ["... these merdicoles which would never have been so funny and moving without her... So, with a big piece of Marseille sunshine in addition, and just for you... dear Anne... my first..."]

The first edition, of which there were no deluxe copies.
Handsome copy.
Dated and signed autograph inscription from Jean-Claude Renard to Nadine Nimier, wife and widow of Roger Nimier.

First edition, one of 112 numbered copies on laid paper, the only deluxe copies.
A handsome copy.

Edition with some parts in first edition, of which there were no deluxe copies.
Handsome copy.
Fine autograph inscription dated and signed by René Depestre to Jean Orizet: "... ces chants d'adieu à quelques chimères du siècle..." ["... these farewell songs to some chimeras of the century..."]

The first edition, of which there were no deluxe copies.
Handsome copy.
Autograph inscription dated and signed by Julia Kristeva to Ulrike (Bergweiler): "... qui fait partie de l'esprit des samouraïs..." ["... which is part of the spirit of the samurai..."]

First edition, of which there were no deluxe copies.
Handsome copy retaining publisher's wraparound band.
Signed and inscribed by Régis Debray to Ulrike Bergweiler.

First edition printed in a small number of copies on laid paper.
This work offers the particularity of being in a bilingual edition: in Breton and, below, the French translation.
Rare and handsome copy.

First edition, one of 312 numbered copies on alfa paper, the only deluxe copies after 28 on laid paper.
Handsome copy.
Iconography.

First edition, one of 120 numbered copies on Lana pure rag vellum for each volume, the only deluxe copies.
Very fine complete copy in two volumes of this third part of "Leçons de Ténèbres".

First edition, one of 30 numbered copies on pure rag Arches paper, deluxe copy.
Light foxing to first cover, otherwise a handsome copy.

First edition, of which there were no deluxe copies.
Photographic cover, iconography.
Handsome copy.
Autograph inscription signed by Hubert de Leusse to Roland Manescau.

First edition on ordinary paper.
Handsome copy.
Fine autograph inscription signed by Bertrand Poirot-Delpech: "A Claude Mauriac avec la joie de lui redire (p.296) mon estime. Amicalement." ["To Claude Mauriac with the joy of telling him again (p.296) my esteem. With friendship."]

First edition, one of 10 numbered copies on Japan paper, deluxe copies.
Handsome copy despite the spine and boards slightly and marginally discolored as usual.

First edition, one of 25 numbered copies on pure Lana rag vellum, ours one of 7 hors commerce copies, the only deluxe copies
A handsome copy.

First edition on ordinary paper.
Spine lightly sunned, otherwise handsome copy.
Work illustrated with 174 drawings by Steinlen.
Rare signed autograph inscription by Théophile Alexandre Steinlen.

First edition, very rare, like all first editions by the author.
Half morocco binding with black long-grain corners from the late 19th century signed by Pouillet. Smooth spine decorated with mirror tooling. Author, title and date gilt. Double fillet on boards. Lack to lower corner of half-title and title. P.7 small lack to upper right corner. Paper perfectly fresh.
Romantic drama set in Madrid, where Gautier expresses his passion for bullfighting.

First edition of this complete collection, each volume illustrated with a wood engraving frontispiece and some wood engravings in text.
All volumes as issued in the publisher's green wrappers. The first volume has been restored at head and foot with two paper strips.
Of the utmost rarity.

First edition illustrated with 200 plates and 120 vignettes by Grandville, engraved by Brévière. One plate missing from volume 2 ("Tous l'aimaient éperdument..." in the chapter entitled "Les peines de coeur d'une chatte française". In volume 1, the plates from pages 241 and 378 are incorrectly bound at pages 140 and 275. The frontispiece of the first volume is different in the first volume from most other copies, however the usual frontispiece has been placed further along.
Contemporary half red calf bindings, smooth spines decorated with large uniformly faded gilt tools, marbled paper boards with some minor rubbing as well as on the bindings overall, pebbled paper endpapers and pastedowns. A few very rare foxing spots.
Pleasant copy of this satire of society under the Second Empire.

First edition, admirably illustrated with 201 plates and 120 vignettes by Grandville. This first volume correctly has the first third of the work printed on tinted paper while the rest is on white paper, a characteristic of the first printing; most copies are from a second printing as the leaves are also white like the rest of the work. Moreover, Hetzel's publisher's preface, usually absent, is present here before the prologue. Most copies begin directly with the prologue. The frontispiece of volume 1 has been placed facing p. 32, the engraved half-title entitled Scène de moeurs serving as frontispiece; this half-title is often absent from most copies. The frontispiece and engraved title of volume 2, as well as an engraved half-title also entitled 2e partie have been preserved without the title page of the second volume which has not been bound in this copy. These 2 half-titles, in the first volume Scène de moeurs, in the second volume 2e partie are very often absent from copies.
Near-contemporary half red shagreen bindings with corners. Spines with raised bands with 3 decorated compartments, gilt title and volume number. Separation fillets on boards. Combed edges, echoing the pattern of the endpapers. Signs of rubbing. On the upper board of volume 1, a 2 cm area exposing the cardboard. Superb freshness of the paper, completely free from foxing.
Handsome copy.
This famous publication needs no introduction, a satire of contemporary Parisian society under the Second Empire, an enterprise due to Hetzel, who under the pseudonym Stahl signed several texts and commissioned texts from the most famous writers of the time: Balzac, Musset, Sand, La Bedollière... The last chapter recounts the imprisonment of the various writers who can be seen in enclosures at the Jardin des plantes, where we see Grandville from behind drawing them. One of Grandville's great works of imagination, full of verve and fantasy.

First edition limited to 200 copies, ours one of 150 on laid paper, illustrated with two photographic portraits hors-texte and two full-page facsimiles of autographs.
Near-contemporary binding in half brown morocco with corners, smooth spine with mosaic brown morocco pieces, rubbing and small lack at foot, marbled paper boards, marbled endpapers and pastedowns, red wrappers preserved, top edge gilt on deckled edges. Some very occasional worming.
Our copy is enhanced with an autograph letter signed by Henri de Régnier as well as an autograph leaf bearing a signed dedication from the same to Jean Moréas.

Rare first edition of this physiology by Edmond Tixier published under the pseudonym Sylvius.
Numerous wood engravings in text by Honoré Daumier, not mentioned in the catalogue raisonné.
Spine entirely restored.

The first edition, of which there were no deluxe copies.
Handsome copy complete with publisher's slip, press cutting included.
Autograph inscription signed by Claude Lévi-Strauss to Nadine Nimier: "Pour Nadine, en lui souhaitant que cette nouvelle année soit tout miel et rien cendres, amicalement Claude Lévi-Strauss." ["For Nadine, wishing her that this new year be all honey and no ashes, with friendship Claude Lévi-Strauss."]

First edition of the French translation, one of 68 numbered copies on pur fil paper, after only 13 Japan and 20 Holland.
Spine with two sun-faded areas at head and foot, endpapers lightly and partially shaded, a manuscript gift inscription at the head of the first endpaper.

First edition printed on ordinary paper.
Spine very lightly sunned without any gravity.
Handsome copy of this uncommon work.

New edition, of which there were no deluxe copies.
Handsome copy
Iconography.
Autograph inscription dated 1977 and signed by David Noakes to Nadine Nimier: "Pour la très chère Nadine en souvenir d'une journée ensoleillée par sa gentillesse. Très tendrement David. 4 Août 77." ["For very dear Nadine in memory of a day brightened by her kindness. Very tenderly David. August 4th 77."]
We include an affectionate autograph letter signed, one page, from David Noakes to his friend Nadine Nimier sent from Bayreuth and dated July 13th in which he attempts to comfort her after the burglary she recently suffered: "... figure-toi que de telles choses arrivent aussi à New-York : il paraît qu'on est entré par effraction à la Maison française le week-end après mon départ - serrures cassées, tout fouillé, mais rien de volé. Très mystérieux, inquiétant. Quel monde que le nôtre." ["... imagine that such things also happen in New York: it seems that someone broke into the Maison française the weekend after I left - locks broken, everything searched through, but nothing stolen. Very mysterious, worrying. What a world we live in."] while also narrating what the Wagner festival in Bayreuth has in store this year: "... je passe quelques jours ici, assiste à des répétitions du Ring avec Boulez et Chéreau..."
Envelope included addressed to: Madame Roger Nimier.
Provenance: from the library of Nadine Nimier, wife and widow of Roger Nimier. ["... I'm spending a few days here, attending Ring rehearsals with Boulez and Chéreau..."]

The rare first edition. 16 out-of-text engravings by Adrien Marie. Un hivernage dans les glaces is one of the first titles in Hetzel's famous white collection; the collection was launched with 9 titles including Un hivernage dans les glaces.
A primitive first version had previously appeared in the Musée des familles in 1855 spread over several issues of the magazine. This official version was rewritten by Verne, revised and modified, and is the same as found in the collective editions. The primitive version was naturally forgotten, until the Bulletin de la société Jules Verne republished the version in 2003, in a limited edition of 50 copies.
Publisher's binding type 1, "with oval vignette". This title features 5 different types of binding, but the first type is the only one corresponding to the typography of Hetzel bindings. Spine with stylized black and gold vegetal motif, a gilt cartouche for the title. Rich decoration on the upper board with angular red fleur-de-lis on black ground. Large oval vignette, illustrated scene printed on percaline. Second board with fleur-de-lis decoration. Plate signed Souze, binding by Lenègre.
Fine first plate. Corners good, barely turned for some. Spine good, headcaps rubbed. Second board good with slight shadowed areas. Some light brown stains on certain pages, but overall fresh, with paper remaining white.


A handsome copy.

First edition on ordinary paper.
Handsome copy.

First edition, a Service de Presse (advance) copy.
Spine and covers marginally yellowed, a shadow on the last endpaper left by a press clipping placed at the end of the volume.
Signed and inscribed by Michel Tournier to Ulrike Bergweiler who was Antoine Gallimard's secretary: "... en toute complicité de germanistes..." ["... in complete complicity as Germanists..."]

First edition, a Service de Presse (advance) copy.
Spine lightly yellowed.
Signed and inscribed by Michel Tournier to Ulrike Bergweiler who was Antoine Gallimard's secretary: "Pour Ulrike. Michel." ["For Ulrike. Michel."]

First printing of this important Romantic publication issued in 10 parts in 8 volumes.
Literary contributions by Ernst Theodor Amadeus Hoffmann "Le conseiller Krespel", Charles Dickens "Le baron de Grogzwig", Matthias Emmich "Geneviève de Brabant", Sâvitrî "Episode du Mahabharata", Homer "Le combat des rats et des grenouilles", Gottfried August Bürger "Lénore", Paul Gavarni "Madame Acker", Marie de France "Lai des deux amants" and "Lai du Bisclaveret", Ludwig Tieck "La réconciliation", Henri Blaze "Rosemonde" correctly containing 34 pages, which identifies the first printing as opposed to the second which contains only 24.
This collection is illustrated with 10 frontispieces drawn and etched by Penguilly, Jacque, Trimolet, Jeanron, Féart and Daubigny as well as 62 in-text engravings including 57 woodcuts and 5 etchings by Louis, Soyer, Lavieille, Guilbaut...
Our copy is complete with the plate, not listed in the table, for Sâvitrî and the vignettes for "Rosemonde" and "Madame Acker" which are sometimes lacking.
Handsome copy in green part wrappers, to which we add the general cover.
The whole is presented in a half blue long-grain morocco chemise, spine with four raised bands set with gilt garlands enriched with red mosaic morocco pieces, spine also decorated with gilt quadruple compartments embellished with red mosaic morocco pieces, gilt date at foot, marbled paper boards, pebbled paper endpapers and pastedowns, slipcase with blue morocco borders, marbled paper boards, pebbled paper interior, signed G. Mercier and dated 1923.
Three bookplates pasted on the pastedown including that of Maurice Robert.
One joint of the chemise and slipcase slightly rubbed at foot, small marginal tears on some green covers.
Rare and handsome copy of this work, one of the most important of the 19th century according to Carteret.

The first edition, of which there were no deluxe copies
Handsome copy despite a small discoloration stain on the first cover.
Autograph inscription signed by Pascal Quignard to Ulrike Bergweiler, then secretary to Antoine Gallimard: "Pour Ulrike, avec toute mon amitié. Pascal." ["For Ulrike, with all my friendship. Pascal."]

First edition on ordinary paper.
Spine and boards marginally and lightly sunned.
Fine dated autograph inscription signed by François Weyergans to his friend Ulrike Bergweiler, then secretary to Antoine Gallimard: "Chère Ulrike, merci d'écouter la musique de "Rire et Pleurer" (qui est la traduction de "lachen und weinen" poème de Rückert, musique de Schubert...) avec toute mon affection, pour toujours, ton François. 1990." ["Dear Ulrike, thank you for listening to the music of 'Rire et Pleurer' (which is the translation of 'lachen und weinen' poem by Rückert, music by Schubert...) with all my affection, forever, your François. 1990."]

First edition on ordinary paper.
Spine yellowed, otherwise a handsome copy.
Dated autograph inscription signed by Philippe Sollers to Ulrike Bergweiler who was Antoine Gallimard's secretary.

First edition in Czech, of which there were no deluxe copies.
Publisher's full gray cloth binding, smooth spine, with the illustrated dust jacket which has some marginal tears.
Provenance: from the library of Nadine Nimier, wife and widow of Roger Nimier.