First Editions

First edition printed on ordinary paper.
Bradel binding in half mouse-grey cloth, smooth spine decorated with a central gilt floral motif, gilt date and double fillet at foot, hazelnut shagreen title-label with traces of rubbing, marbled paper boards, lower corners slightly bumped, original wrappers preserved, contemporary binding signed by Paul Vié.
Our copy is enriched with an autograph note recto-verso by the author.
A small marginal tear skilfully repaired on the first page.

First edition, of which no deluxe copies are mentioned.
Bradel binding in half mouse-grey cloth, smooth spine decorated with a central gilt floral motif, gilt date and double fillet at foot, hazel shagreen title-label showing some rubbing, marbled paper boards, original wrappers preserved, contemporary binding signed by Paul Vié.
Inscribed by Maurice Donnay to Henri Lavedan.

First edition, one of 30 numbered copies on Holland paper, deluxe issue with 10 hors commerce copies on colored parchment reserved for the author.
Handsome copy.

First edition, one of 30 numbered copies on Lana paper, deluxe copy.
Spine sunned, small light marginal stains on boards, slight corner loss to front board, handsome interior condition despite minimal worming affecting some margins.

The first edition, of which there were no deluxe copies.
Signed autograph inscription by Pierre Jakez Hélias to a woman named Suzy.
Handsome copy retaining publisher's wraparound band.

First edition.
Bradel binding in half almond percale, smooth spine decorated with a gilt floral motif, double gilt fillet at foot, marbled paper boards, original wrappers preserved, binding signed in blind by Arné Asper, Genevan bookbinder.
Pleasant copy almost entirely free from foxing.

First edition, one of 70 numbered copies on pure B.F.K. de Rives paper containing a suite of engravings before letters also on B.F.K. de Rives, deluxe copy with 9 other Rives and 9 Japan Imperial.
Work illustrated with 18 original etchings by Valdo Barbey.
Very handsome copy complete with the suite of illustrations as stipulated in the justification page.

First edition.
Half pine-green shagreen binding, smooth spine decorated with triple blind-tooled compartments and three double gilt fillets at head and foot, pine-colored boards with minor scratches of no consequence, marbled endpapers and pastedowns, corners slightly bumped.
Occasional light foxing, gift inscription in ink on front endpaper.

First collected edition, illustrated with a frontispiece portrait (engraved by de Launay after Bérel) and 20 figures by Marillier engraved by Delvaux, de Ghendt, Croutelle, Patas, Langlois jeune, de Monchy, de Launay. Volumes 11 and 12 comprise the author's posthumous works and bear volume numbers 1 and 2 on the title page. A third volume of these posthumous works would appear in 1800.
Contemporary full speckled calf. Smooth spine decorated with urn tools and stars; roulettes. Framing frieze on boards. Morocco title and volume labels in black. Headcaps of volumes 1, 4, 5, 8, 11 and 12 worn or partially worn. Foot caps of volumes 1, 2, 4, 6, likewise. Title and volume labels of volume 4 largely missing. Half of the title label of volume 7 is also absent. Headcap of volume 11 partially torn.
The Count of Tressan did much, through his adaptations, for the rehabilitation of the Middle Ages and Renaissance literature (that inherited from the 15th century). It is clear that at the end of the 18th century, these works would have been unreadable to the public. This interest in the Middle Ages would fully emerge with Romanticism, the Empire having brought antiquity back into fashion.
Here is the content of the first 10 volumes, the last two being composed of various works (letters, essays...): vols. 1-2. Free translation of Amadis of Gaul, vols. 1-2 -- vol. 3. Free translation of Amadis of Gaul, vol. 3. Extract from Orlando Innamorato by Matheo-Maria Boyardo, Count of Scandiano -- vols. 4-6. Orlando Furioso, heroic poem by Ariosto. vols. 7-10. Body of extracts from chivalric romances: 7. Preliminary discourse. Tristan of Léonois. Artus of Brittany. Flores and Blanche-Fleur. Cléomades and Claremonde. Romance of the Rose. Pierre of Provence and beautiful Maguelone. 8. The flower of battles. Huon of Bordeaux. Guérin of Montglave. 9. Dom Ursino the Navarin. Little Jehan of Saintré. Gerard of Nevers. 10. Research on the origin of novels invented before the Christian era. History of Rigda and Regner Lodbrog. Zélie, or The ingenue

First edition, one of 50 numbered copies on Japan paper, ours unnumbered, the only deluxe copies.
Small tears without consequence to head and foot of spine.
Our copy is complete with the etching by Léopold Flameng here in double state as with all deluxe copies.
Rare and handsome full-margined copy.

First edition on ordinary paper.
Bradel binding in full blue boards, spine very slightly faded, navy shagreen title-label, covers and spine preserved (tiny marginal corner lacks restored on first cover and three lacks to spine).
Signed and inscribed copy from Pierre Louys to André Beaunier.

First edition, one of 105 numbered copies on pure thread paper, deluxe copies with 19 on Holland paper.
Two pale and very light traces of sunning in the middle of the spine and at the head of the first cover, handsome copy.

First collected edition. It is illustrated with a frontispiece, repeated in both volumes, a title vignette by Picart also repeated, and 10 unsigned figures, quite charming, showing the actors on stage.
Later full brown sheep binding (circa 1800). Spine with raised bands and fillets. Tan morocco title label. Headcaps worn.
Contemporaries saw in La Grange-Chancel the successor to Racine. He boasted of having the highest capacity for writing verse. His connections brought him to Louis XIV who asked Racine to read it, and the latter sponsored the author's first play. Many of his plays met with fine success, and the author represents, if not a great dramatist, the taste of an era for a certain kind of theater. Most of the subjects of his plays are drawn from the novels of Calprenède, whom he particularly favored.
The preface might more justly be called Memoirs of La Grange-Chancel, as he recounts his rise from childhood to the launch of his first play, Jugurtha.
19th-century engraved armorial bookplate: Le Proux.

First edition. Uncommon.
Half glacé calf with corners, 19th century, signed Petit succ de Simier. Raised spine decorated in compartments. Fillets on covers.
Etienne Barbazan (1694-1770) was a philologist specializing in medieval manuscripts, notably contributing to bringing forgotten texts back to memory and rehabilitating the Middle Ages in the field of research. L'ordene de chevalerie is a 13th-century text on the rules and ceremonies of chivalry, of which Barbazan would have had a manuscript in his hands. The work contains other 13th-century texts and a glossary.

First edition on ordinary paper.
Bradel binding in half flexible cardboard in vellum style, smooth spine faded and decorated with a floral motif, date at foot, marbled paper boards, marbled endpapers and pastedowns, original wrappers and spine preserved, red top edge, contemporary binding.
Inscribed by Romain Coolus to Gabriel Timmory.
Cover and illustrations in text by R. Préjélan.

First edition, one of the Service de Presse (advance) copies, no mention of deluxe copies.
Bradel binding in half flexible cardboard in vellum style, smooth spine faded and decorated with a gilt floral motif, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, red top edge, contemporary binding.
Inscribed by Romain Coolus to Gabriel Timmory.

First edition, one of the Service de Presse (advance) copies, with no mention of deluxe papers.
Bradel binding in half flexible cardboard with vellum-like finish, smooth spine decorated with a floral motif, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, red top edge, contemporary binding.
Our copy is enhanced with a pasted visiting card on which the author has added a few words for Gabriel Timmory.

First edition printed on ordinary paper, with only 5 Hollande deluxe paper copies printed.
Bradel binding in half flexible cardboard with vellum-like finish, smooth spine decorated with a floral motif, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, red top edge, contemporary binding.
Inscribed by Romain Coolus to Gabriel Timmory.
A light marginal dampstain at the foot throughout the entire text block, not affecting the text, diminishing through the pages.

First edition, an advance (service de presse) copy.
Half cherry-red morocco over marbled paper boards by Goy & Vilaine, spine in six compartments, marbled pastedowns and endpapers, covers (slightly wormed, spine sunned) preserved, top edge gilt. Endpapers and half-title faded, a few small marginal spots.
Important inscription from Colette to Viscountess Jeanne de Bellune: « Affectueux souvenir de sa vieille amie » (“affectionate remembrance from her old friend...”)

The Viscountess of Juromenha, this end of century darling, was the lover of several intellectual female figures in the early 20th century, such as Renée Vivien and Liane de Pougy, who described her as “little gnome”. There remains no image of this “most comical lesbian”(Jacques Ars) in public collections and the only portrait we know of is that sketched by Natalie Clifford Barney, that of a “drunkard with a red face and no beauty”.

A handsome copy in a nice binding with an exceptional provenance.

First edition, an advance (service de presse) copy.
An important inscription from Colette to her friend Louise Vallée "... à la chatte grise rayée et à madame Louise Vallée...[to the stripy grey cat and to Madame Louise Vallée]"
Spine faded, a small stain to upper cover, endpapers and half title sunned, otherwise internally good.

First edition in French, translated by Willy; no mention of large paper copies.
An important, superb inscription from Meg Villars, Willy's mistress while he was married to Colette, to Viscountess Jeanne de Bellune "... pour mon amie Jeannot de Bellune / en souvenirs de plaisirs (qu'on ose à peine qualifier de champêtres) partagés à Monte-Carlo...[for my friend Jeannot de Bellune / in memory of shared pleasures (that one would hardly dare call rural) in Monaco…].”
Cover illustrated in red by Garnier Salbreux.
A handsome copy with an exceptional provenance.

First edition printed in a small number on laid paper.
Publisher's binding in full cardboard covered with a chemise with flaps, spine faded.
Enigmatic inscription from G. de Montgomery to Madame in the form of a quatrain echoing the verses of the poem "Hommages" which appears in this collection, to herself.

First edition on ordinary paper.
Bradel binding in full blue cloth, smooth spine faded, navy shagreen title label, marbled paper boards, original wrappers preserved.
Precious autograph inscription signed by Théodore de Banville.
With frontispiece portrait of the author by G. Geoffroy.
Work preceded by a history of the ballad by Charles Asselineau.
Minor marginal worming without gravity where the inscription appears, otherwise handsome copy.

First edition, one of 200 numbered copies on Arches paper, the only deluxe copies.
Autograph inscription from Hughes Labrusse to a couple who were his friends.
Handsome copy.

First edition printed in 620 copies, ours one of 600 on ordinary paper.
Inscribed by the author to a couple of his friends.

First edition printed in a very small number of copies of this offprint.

Rare autograph inscription from Alfred Sauvy.

First edition, one of 700 numbered copies on alfa paper, the only deluxe copies along with 20 offset Lourmarin.
Signed and inscribed by Gérard Murail.
Work illustrated with drawings by Marc Hénard.
Spine and boards slightly and marginally faded, a small insignificant stain on the endpaper and its verso, handsome interior condition.

First edition, one of 47 numbered copies on pur fil paper, the only large paper copies.
Spine slightly warped, tiny traces of marginal tears to covers, with tiny lacks, not serious, rare spots mostly affecting endpapers.
A rare large paper copy.

First edition, one of 20 numbered copies on vélin d'Arches, the only large paper copies.
Spine and covers very slightly and marginally faded, not serious, otherwise a good copy.

First edition, one of 23 numbered copies on Arches vellum, the only deluxe copies.
Two light traces of sunning at head and foot of spine without consequence, endpapers very slightly and marginally aged without any concern, handsome copy.

First edition, one of 23 numbered copies on vélin d'Arches, the only large paper copies.
Two small traces of sunning, not serious, to head and to foot of spine, a good copy.

First edition, one of 22 numbered copies on vélin d'Arches, the only large paper copies.
Two small traces of sunning, not serious, to head and to foot of spine, a good copy.

First edition, one of 19 numbered copies on vélin d'Arches, the only large paper copies.
Two small traces of sunning, not serious, to head and to foot of spine, a good copy.

First edition, one of 22 numbered copies on vélin d'Arches, the only large paper copies.
Two small traces of sunning, not serious, to head and to foot of spine, a good copy.

First edition on ordinary paper, no deluxe copies were printed.
Autograph inscription from the author.
Complete with publisher's wraparound band.
Spine and covers very slightly faded without consequence, a tiny nick without loss at head of spine, handsome interior condition.

First edition, printed in very small numbers at the author's expense.
Inscribed by Marguerite Durand-Viel Rousseau.
Spine and boards very slightly and marginally faded, otherwise handsome copy.
We include with this copy an autograph letter of 2 pages recto-verso from the author providing explanations about the book's content and the poetic approach associated with it.
Rare ensemble.

First edition of the French translation on ordinary paper, with no mention of deluxe copies. A Service de Presse (advance) copy.
Inscribed by the translator, Pierre Roudy.
Handsome copy.

First edition. Illustrated with two folding maps in the second volume, showing the states of Roman tribes.
Full grained calf binding. Smooth spine decorated. Red morocco title label and volume labels. A small lack to the cover of volume I. Pale and light yellow dampstain at beginning of work. Handsome copy.
These works contain a memoir on the life of Boindin by Boindin himself, his theatrical pieces, volume II containing various studies and research by the author: on the sounds of language (phonetic studies), on Roman names, on Roman tribes, and finally on ancient theatre. Boindin was an essential figure in 18th-century intellectual life, one of the central figures at café Procope where he was one of the principal debaters. His comedies enjoyed some success (the first was written in collaboration with Houdar de la Motte); the various memoirs that compose volume II were presented by the author when he joined the Royal Academy of Inscriptions and Medals.

First edition of the French translation of which no deluxe copies were printed.
Rare French inscription from the author to Véronique and Georges Charaire enhanced with inscriptions from the translators Charles Dobzynski and Eugène Guillevic.
Publisher's full blue paper boards binding, complete with its dust jacket.

First edition, one of 60 numbered copies on pure thread paper, the only deluxe copies along with 45 Marais.
We include with our copy three autograph letters signed by the author regarding the theatrical performances of "Le Roi Pêcheur," one page each and dated respectively July 26, 1990, December 28, 1990, and August 2, 1991 (Saint Florent le Vieil).
The letters, addressed to the administration of the Théâtre des Célestins, concern the theatrical performance of Le Roi Pêcheur, Julien Gracq's sole and only play, written in 1942-1943. In the first letter, the author gives his agreement regarding the conditions set by the Theatre concerning his rights on the performances, but declares himself "hostile to the exclusive authorization for all of France requested by the Théâtre des Célestins until December 31, 1993."
In the second letter, he requests a copy of the contract he signed with M. Lucet, then director of the Théâtre des Célestins.
In the third, Julien Gracq requests a modification of this contract on the clause concerning the duration of exclusive authorization, and provides practical indications regarding the payment of his rights. Date stamps from the administration. Manuscript notes in another hand in the margins of the last two letters (secretary).
Important manuscript correspondence concerning the first theatrical performances of this play since the failure of its creation in 1949.
Exceptional ensemble.

First edition on ordinary paper.
Inscribed by the author.
Spine slightly sunned, annotations and reading marks by the dedicatee in ballpoint pen on some pages.

First edition, one of 1500 numbered copies on alfa mousse paper, the only deluxe copies together with 13 on pur fil.
Inscribed by the author to Véronique and Georges Charaire.
Handsome copy retaining publisher's wraparound band.

First edition, one of 240 numbered copies on antique laid paper, the only issue with 10 "Moyen-Age".
Autograph inscription by Jean Rousselot.
Spine and boards very slightly and marginally faded, tiny pinhole marks of no consequence on endpapers, handsome copy.

First collected edition, of which there were no deluxe copies.
Autograph inscription by the author.

First edition, of which there were no deluxe copies.
Author's inscription.
Iconography.
A small marginal crease mark to foot of front cover.

First edition, one of the numbered copies on bouffant paper, the only issue with 20 on Arches.
Author's inscription.
Minor foxing to spine, front cover and first endpaper, otherwise a handsome copy.

First French edition, of which there were no deluxe copies, a Service de Presse (advance) copy.
Inscribed by one of the translators.
Spine very lightly sunned, otherwise a handsome copy.

First edition, of which there were no deluxe copies.
Autograph inscription from the author enhanced with a manuscript correction in his hand regarding his already published works.

First edition, of which there were no deluxe copies.
Autograph inscription from the author.

First edition of which no deluxe copies were printed.
Full-page autograph inscription from the author.

First edition, one of the service de presse copies.
Inscribed by the author.
Two small stains at the foot of the spine, complete with publisher's slip.

First edition for which there were no large paper copies.
Affectionate autograph inscription from Claire Goll to a couple of his acquaintance.

First edition, one of 650 numbered copies on simili-Hollande paper, the only printing with 45 other deluxe copies.
Handsome copy.

First edition.
Contemporary half chocolate shagreen binding, spine with four raised bands showing minor rubbing, decorated with gilt dots and fleurons, gilt initials at foot, marbled paper boards, marbled endpapers and pastedowns.
Precious autograph inscription from the author to (Jules) Barbey d'Aurevilly.
Minor scattered foxing affecting mainly the first leaves.

First edition on ordinary paper.
Bradel binding in half lemon yellow shagreen with corners, smooth spine decorated with a mosaic decorative element in green, red, orange and brown morocco representing a cluster of fruit and leaves, date at foot, marbled paper boards, marbled endpapers and pastedowns, covers and spine preserved, contemporary binding signed in blind by Brisson.
Rare autograph inscription signed by Pierre Louys.
Handsome copy attractively bound.

First edition of which there were no deluxe copies.
Spine and covers marginally faded, paper yellowed, which is more than common given the very poor quality of this paper.
Rare.

First edition, of which there were no deluxe copies.
Autograph inscription signed by Léopold Sédar Senghor with an additional fine inscription by Geneviève Lebaud.
Some reading marks in black ink in the text, photographic cover.

First edition, one of 75 numbered copies on vergé pur fil, the only large paper copies sold.
A rare and good copy of Béraud's masterpiece.

First edition, one of 75 numbered copies on Hollande, the only large paper copies.
Endpapers shaded, otherwise a rare and good copy with edges preserved.

First edition, one of 57 numbered copies on pur fil, the only large paper copies.
Spine slightly sunned, otherwise a good copy.

First edition, one of 14 copies on Hollande, tirage de tête after 6 Japon.
Half navy blue morocco over marbled paper boards by P. Goy & C. Vilaine, spine in six compartments, endpapers and pastedowns of blue paper, covers and spine (faded), top edge gilt, by P. Goy & C. Vilaine.
Covers lined, a little spotting mostly to the edge.
A nicely bound copy.

First edition, of which there were no deluxe copies.
Bradel binding in half vellum-style boards, smooth spine decorated with gilt botanical motifs, gilt friezes at head and foot, marbled paper boards, orange top edge, contemporary binding.
Provenance: from the collection of French-speaking Swiss poets assembled by Albert Natural from the 1920s onwards.

First edition illustrated with 29 plates, 24 headpieces and 89 in-text vignettes, by Gavarni, Huart, Guerin, all wood-engraved.
Contemporary half green shagreen. Spine with raised bands and gilt compartments. Rubbing to head and raised bands. Pale scattered foxing, irregular, sometimes not affecting the white paper at all, other times speckling the margins; overall, fairly little foxing.
Following in the tradition of the famous Diable à Paris, but with less prestigious writers, a satire of foreigners in Paris.
Handsome romantic illustrated work.

First edition, illustrated with 26 English steel engravings (including the second title).
Half wine-red morocco binding. Romantic Boutigny plaque on spine. Very fine marbled paper on boards. Boutigny binder's label on endpaper. Spine uniformly sunned, without gravity, and ultimately aesthetic. Scattered foxing in margins, despite very white paper.
Literary contributions by Chateaubriand, Alexandre Dumas, Paul de Kock, Casimir Delavigne...

First edition, one of 10 numbered copies on Holland paper, from the deluxe edition.
Half burgundy Russian morocco binding with corners, smooth spine decorated with two double gilt compartments richly adorned with gilt decorative motifs, date at foot, gilt fillet frames on marbled paper boards, marbled endpapers and pastedowns, covers marginally faded and spine preserved, bookplate pasted on an endpaper, elegant pastiche binding signed Semet & Plumelle.
With a frontispiece portrait of the author.
A very fine and rare full-margined copy in perfect condition.
Provenance: from Albert Natural's collection of Swiss Romandy poets, which he assembled from the 1920s onwards.

First edition, one of 5 numbered copies on Japan paper, deluxe copy.
Half mint green morocco with corners, spine with five raised bands set with gilt fillets and decorated with triple gilt compartments, date at foot, gilt fillet frames on marbled paper boards, marbled endpapers and pastedowns, covers and spine preserved, bookplate pasted on endpaper, top edge gilt, elegant binding signed by Semet & Plumelle.
Rare and very handsome copy in perfect condition.
Provenance: from Albert Natural's collection of French Swiss poets which he assembled from the nineteen twenties.

First edition, of which there were no deluxe copies.
Half rust-colored morocco with corners, spine with five raised bands set with gilt fillets and decorated with triple gilt compartments, date at foot, gilt fillet frames on marbled paper boards, marbled endpapers and pastedowns, covers and spine with small lacks preserved, bookplate pasted on endpaper, top edge gilt, elegant binding signed by Semet & Plumelle.
Rare and very handsome copy in perfect condition.
Provenance: from Albert Natural's collection of French Swiss poets which he assembled from the nineteen twenties.

First edition of which there were no deluxe copies.
Half violet morocco binding with corners, spine with five raised bands set with gilt fillets and decorated with triple gilt compartments, date at foot, gilt fillet frames on marbled paper boards, marbled endpapers and pastedowns, covers and spine preserved, bookplate pasted on endpaper, top edge gilt, elegant binding signed by Semet & Plumelle.
Our copy is enriched with the author's autograph poem entitled "Invité de Longfellow" ["Guest of Longfellow"] of two pages which appears in this collection bound at the beginning of the volume, and bound at the end, with two manuscript pages by the author and an original pen portrait representing him.
Rare and very handsome set perfectly established.
Provenance: from the collection of Swiss Romand poets by Albert Natural which he formed from the nineteen twenties.

First edition not put into commerce, of which there were no deluxe copies.
Half mouse-colored morocco binding with corners, spine with five raised bands set with gilt fillets decorated with triple gilt compartments, date at foot, gilt fillet frames on marbled paper boards, marbled endpapers and pastedowns, covers and spine preserved, bookplate pasted on endpaper, top edge gilt, elegant binding signed by Semet & Plumelle.
Autograph signature of the author.
Rare and very handsome copy perfectly established.
Provenance: from the collection of Swiss Romand poets by Albert Natural which he formed from the nineteen twenties.

First edition, of which there were no deluxe copies.
Half sand morocco binding with corners, spine with five raised bands set with gilt fillets decorated with triple gilt compartments, date at foot, gilt fillet frames on marbled paper boards, marbled endpapers and pastedowns, covers and spine preserved, bookplate pasted on endpaper, top edge gilt, elegant binding signed Semet & Plumelle.
Rare and very handsome copy perfectly bound.
Provenance: from Albert Natural's collection of Swiss Romand poets which he assembled from the twenties onwards.

First edition, one of 10 numbered copies on Japan paper, deluxe copy.
Half chocolate morocco binding with corners, spine with five raised bands set with gilt fillets decorated with triple gilt compartments, gilt fillet frames on marbled paper boards, marbled endpapers and pastedowns, covers and spine preserved, top edge gilt, elegant binding signed Semet & Plumelle.
Rare and very handsome copy perfectly bound.
Provenance: from Albert Natural's collection of Swiss Romand poets which he assembled from the twenties onwards.

First edition, one of 300 numbered copies on Holland paper, the only deluxe copies along with 1 on vellum and 5 on Holland paper.
Half red morocco binding with corners, spine with five raised bands set with gilt fillets decorated with triple gilt compartments, gilt fillets framing the marbled paper boards, marbled endpapers and pastedowns, covers and spine preserved, top edge gilt, elegant binding signed by Semet & Plumelle.
Inscribed by Auguste Blondel to Frédéric Meyer.
Rare and very fine copy perfectly established.
Provenance: from the collection of Swiss Romandy poets assembled by Albert Natural starting in the twenties.

First edition, of which there were no deluxe copies.
Half khaki Russia morocco binding with corners, smooth spine slightly faded decorated with gilt romantic ornamental motifs, date at foot, gilt fillet frames on marbled paper boards, marbled endpapers and pastedowns, original wrappers and spine preserved, bookplate pasted on endpaper, top edge gilt, elegant romantic pastiche binding signed by Semet & Plumelle.
Rare and very handsome copy in perfect condition.
Provenance: from Albert Natural's collection of Swiss Romandy poets which he formed from the twenties onwards.

First edition, of which there were no deluxe copies.
Half burgundy Russia morocco binding with corners, smooth spine decorated with gilt romantic ornamental motifs, date at foot, gilt fillet frames on marbled paper boards, marbled endpapers and pastedowns, original wrappers and spine preserved, bookplate pasted on endpaper, top edge gilt, elegant romantic pastiche binding signed by Semet & Plumelle.
Rare and very handsome copy in perfect condition.
Provenance: from Albert Natural's collection of Swiss Romandy poets which he formed from the twenties onwards.

Illustrated edition published with the author's authorization.
Bradel binding in half chocolate cloth, smooth spine, marbled paper boards, original wrappers preserved.
Illustrations.
Ink gift inscription at head of front cover, copy free from any foxing.
Provenance: from Albert Natural's collection of French-speaking Swiss poets which he formed from the 1920s onwards.

First edition, one of 30 numbered copies on Holland paper, the only deluxe copies.
Spine sunned, endpapers marginally and partially shadowed, otherwise handsome copy.
Provenance: from Albert Natural's collection of French-Swiss poets, which he assembled from the 1920s onwards.

First collected edition. Title pages in red and black.
Contemporary full calf bindings with scale pattern. Decorated raised band spines. Red morocco title labels. Head caps slightly worn; same for 6 tail caps. Upper joints of volumes II, III, IV, V, VIII, IX and X partly cracked. Many corners bumped. Most half-titles were not bound into the volumes. Despite these defects, a set with good general appearance, decorative.
In addition to the poetic, dramatic, and critical works, and the fables, this edition contains various letters about De La Motte and his famous correspondence with the Duchess of Lambert at the end of his life. It should be noted that he was the author of L'Europe Galante and thereby introduced three innovations to opera: ballet, pastoral, and comedy-ballet. But more than for his fables or tragedies, although they enjoyed considerable success in their time, he should be remembered for his critical writings and the place the author occupied in the literary life of his time, notably in the Quarrel of the Ancients and Moderns, De La Motte having repeatedly defended the party of the Moderns, advocating the use of prose in theater and poetry, questioning any pre-established rule that might constrain creation.

First edition printed on ordinary paper.
Bradel binding in half indigo cloth, smooth spine very slightly faded decorated with a central gilt floral motif, chocolate shagreen title-label with traces of rubbing, marbled paper boards, contemporary binding.
Autograph inscription signed by Georges Ohnet.
Bookplate, some light foxing affecting mainly the edges.

First edition, one of the Service de Presse (advance) copies.
Precious and superb autograph inscription by the author to Moïse Kisling.
Frontispiece portrait of André Breton by Man Ray. Spine and covers slightly faded at margins, light spotting to head of front cover.

First edition, rare.
The second part bears the title: Analysis of some good philosophical works, preceded by Reflections on criticism.
Contemporary full glazed marbled blonde calf binding. Smooth decorated spine. Red morocco title label. Triple fillet frame on boards and large arms struck at centers. Very fine copy. The second part has its own title page, as well as its half-title.
With the arms of the Princess de Ligne, Henriette-Anne-Eugénie de Béthizy de Mézières, wife of Prince Ligne (Claude Lamoral Hyacinthe Ferdinand, Marquis de Moy et de Dormans). Olivier I, pl. 15: two conjoined shields: I, grand quarters of Lorraine; overall: party, 1st or a bend gules (Ligne); 2nd, Lorraine simple; II, azure fretty or of six pieces (Béthizy). It should be noted that feminine arms are usually much rarer than masculine ones.
Freron's literary journal (declared enemy of the philosophers' party and principal target of Voltaire) had enjoyed considerable success since its creation in 1754, it still appeared in sheet form, later to form volumes. LE PREVOST D'EXMES establishes a formal critique of the periodist Freron and of the Literary review. Freron not only vilified the philosophers but the literature of his time. The second part, more philosophical, defends the cause of the philosophers and the work of several authors such as Diderot and Rousseau. Behind the criticism of Freron's enterprise, an ethics of writing and criticism is revealed. The work is composed in the form of letters addressed to a lady in London.
A very useful table of contents makes it possible to find the themes and reflections addressed as well as the authors.

First edition, one of 60 numbered copies on papier "chandelle", this one not justified, tirage de tête with 30 Whatman and two copies hors commerce.
A very good and rare copy.

First edition, of which there were no deluxe copies.
Spine split with loss, some foxing.

First edition, false statement of second edition.
Inscribed by Aurel.
Spine sunned, small tear at foot.

First edition printed in 400 copies on laid paper.
Covers soiled, dampstain at head marginally affecting covers and some leaves.
Inscribed by the author to the illustrator Ciokolwsky.
A press cutting pasted on the half-title page.

First edition, one of 60 numbered copies on pure laid Johannot paper, the only deluxe copies with 5 Renage.
Work illustrated with a frontispiece photograph of B. Cendrars.
Light sunning to the top of the justification page and its verso, handsome copy.

MARINETTI Filippo Tommaso
La Conquête des étoiles
[The Conquest of the Stars]
Sansot, Paris 1909, 13,5 x 17,5 cm, half black morocco
First edition for which there is no mention of grand papier (deluxe) copies, falsely stated the third edition.
Half black morocco over marbled paper boards by P. Goy & C. Vilaine, spine in six compartments with gilt date at foot, marbled endpapers and pastedowns, wrappers and spine preserved, top edge gilt.
Autograph inscription from Filippo Tommaso Marinetti to a lady, adding his address in Milan.
Light foxing, principally to endpapers.
A nicely bound copy.
$ 1 800

First edition on ordinary paper.
Ecstatic autograph inscription signed full-page by the author to Robert Desnos : "Merde / Robert Desnos".
Spine faded repaired, first cover lined with small marginal repairs, lower cover missing.
A precious relic.

First edition, one of the numbered copies on laid paper.
Work illustrated with 4 etchings by J. Boullaire.
Handsome copy.