Circus, Magic & Illusion

First edition, complete in 23 instalments, of the second series of this magic periodical (cf. Fechner, p. 503).

Text in two columns; each instalment, richly illustrated, comprises between 12 and 16 pages (20 for the final one).

Contemporary half-sheep bindings: the first volume in brown, the second in tan, the spines with four raised bands tooled with gilt ornaments, moiré-patterned paper sides, marbled endpapers and pastedowns, sprinkled edges; one original wrapper preserved. Bindings from the period, though mismatched in tone between the two volumes.

Complete collection of the second series of this Swiss periodical, whose first publication appeared in 1941–42 as the “journal officiel du Cercle magique suisse”. A third and final series was issued from 1949 to 1963, though only 11 numbers were published.

The Geneva-born Charles-Émile Sauty, known as “Rex” (1900–1967), was a journalist and poet with a keen interest in cinema and magic, and a friend of Marcel Vassal and Ruegg. In 1928 he founded the Académie de magie.

Near-complete run of this scarce bi-monthly magic periodical.

Profusely illustrated (lacking only issues 1, 4 and 5 for the year 1947), Robelly having voluntarily ceased publication after issue 121.

Contemporary half sheep bindings in shades of fawn, brown or beige, spines with four raised bands gilt-tooled with floral ornaments, most spines faded or discoloured, a few minor rubs to some spines, marbled paper boards, endpapers and pastedowns, sprinkled edges; modest period bindings.

Robert Rouet, known as Robelly (1894–1975), was something of the historiographer of the "magician’s" profession, assembling a remarkable body of information and documentation.

At the beginning of the first volume appear issues 1, then 7–19 (January–February 1944, then November–December 1944 to November–December 1946) of the CRMT – Bulletin officiel de l’Amicale Robert-Houdin, Groupe régional des magiciens de la Touraine (8 pp., then pp. 57–254, including two special issues).

A pleasing and uncommon near-complete set of this illustrated magic periodical.

New edition illustrated with 2 photographic plates outside the text, with statement of print run.

Half cloth Bradel binding in burgundy, smooth spine, original illustrated and stained front cover preserved, marbled paper boards, modern binding.

Some marginal foxing.

The work is signed Chevalier X, the pseudonym of Captain Martin. Autograph inscription dated and signed by Captain Martin to Hardy (Jean Tardy, 1902–1987, the renowned illusionist): "A mon ami Hardy pour son grand succès du Casino du 12 mars 1929 Alger. Chevalier X alias Martin."

Autograph letter signed by Charles Baudelaire, addressed to Antoine Arondel, written in black ink on a single sheet of blue paper.
Folds typical of mailing; minor losses expertly restored without affecting the text; a small tear on the signature discreetly repaired. This letter is transcribed in Correspondance I of Baudelaire (Pléiade, p. 277) and dated by Claude Pichois to May 1854.
In it, Baudelaire sends theatre tickets to his art dealer Antoine Arondel — a notorious and unscrupulous character who exploited the poet’s boundless taste for fine arts and encouraged his collecting obsession.

Second illustrated edition, with 68 wood engravings within the text.

The first leaf bears, on its verso, a few lines of music (the recto is blank). On the final leaf, the same score reveals, when folded, lines of writing: "Les notes musicales qui servent de Frontispice à cet Ouvrage, ressemblent parfaitement au Discours & à la Musique ci-dessus. C'est la manière de plier le papier qui fait paraître l'un & disparaître l'autre" (cf. Fechner, p. 152).

Paris: Chez l'Auteur, Granger, Bailly, Lesclapart, Hardouin & Gattey, Varin, Lagrange [Printed by Veuve Hérissant], 1786. Octavo (in-8), 2 ff. n. ch., pp. [v] to xix, 328 pp., 1 folding unnumbered leaf in accordion format, 68 woodcuts in the text.

Bound in modern pastiche half brown calf with vellum tips, spine with gilt fillets and small tools, green morocco label, endpapers and pastedowns lightly shaded, red edges.

The first edition of this text appeared in 1785.

This volume constitutes the third part of Henri Decremps' renowned treatise on recreational science, the first volume of which, La Magie Blanche dévoilée, was printed in 1784; a supplement appeared in 1785, followed by this Testament, then a fourth and fifth part.

"Henri Decremps, born in Beduer-en-Quercy on April 15, 1746, died in 1826, jurist, mathematician and Doctor of Law, served as interpreter-secretary at the French Embassy to the Court of England" [Fechner].

A pleasant copy.

First edition (a reprint was issued in 1963) of one of the two major works by Marcel Sarrazin, known as Vassal, now considered one of the leading French-speaking 'mentalists'—a modern term borrowed from English (cf. Fechner, p. 554). Only 2 copies listed in the CCF (BnF and Sainte-Geneviève).

Small stains to the lower right corner of the title page, otherwise a well-preserved copy.

Contemporary half tawny sheep binding, spine with four raised bands and gilt fleurons, minor rubbing to spine, marbled paper boards, marbled endpapers and pastedowns, original front wrapper preserved, sprinkled edges, very slight rubbing to corners.

Illustrated with in-text figures after drawings by the author, 2 plates out of text (including a chart of 20 lamps, and a newspaper clipping).

Copy belonging to the illusionist Hervel (Benoît-Joseph Phillis, 1913–1992), with his inkstamp on the title page.

Autograph letter signed by the painter Eugène Delacroix to his friend Baron Félix Feuillet de Conches, master of protocol at the Ministry of Foreign Affairs under Charles X and Louis-Philippe. One page in black ink on a folded sheet, with the autograph address on the verso. Traces of seal and postal stamps dated October 7.

The painter writes to his friend Feuillet de Conches, a distinguished man of letters whose works were well received, and who also amassed an elegant collection of art and autographs in his apartment on the rue Neuve-des-Mathurins, the address of this very letter.

A charming and witty missive, in which Delacroix expresses his enchantment with country life, far removed from the bustle of Paris.

"From the summer of 1844, Eugène Delacroix settled at Champrosay, on the edge of the Sénart forest near Paris. There, he recorded in his journal the impressions inspired by his regular walks through the countryside. He produced numerous sketches, later reworked into his large compositions, as well as more ambitious landscapes that reveal how, in his mature and later years, the observation of nature — now contemplated for its own sake — had become central to his art." (MuMa)

"I reply to you late, dear Feuillet, but you will forgive me: I promise you a Gros, very happy to add it to the collection. I pity you for living far from the fields. If we were still in the time of Ovid’s Metamorphoses, I might believe myself in danger of one day being turned into a tree. I am mad about these innocent and beautiful trees, while human nature, on the other hand, loses each day in my esteem. I except, of course, friends like you and the few who retain a little reason.
I embrace you while awaiting this winter
Eug. Delacroix."

L'armoire volante is a film directed by Carlo Rim who was also its screenwriter and dialogue writer; the main roles were played by Fernandel, Berthe Bovy and Pauline Carton.
Set of 97 original photographs, silver gelatin prints of the period, in three different formats: 11x8.5, 18x13.5cm and 23.5x18.5cm depicting scenes from the filming of the movie.
The set is presented in a cardboard box from the Crumière establishments with manuscript notations by Carlo Rim on the first cover and one edge.

Set of 38 original photographs, silver gelatin prints of the period, in 24x30cm format depicting scenes from the filming of the movie.
Le mort en fuite is a film by André Berthomieu, assisted by André Zwobada with Carlo Rim as dialogue writer and adapter; the main roles were played by Michel Simon, Jules Berry and Marie Glory.

20 full-page lithographs in black by Gustave Doré, in second state.
Red half oblong Bradel-style cloth binding, smooth spine, black morocco title label, marbled paper boards, beige paper endpapers and flyleaves, corners slightly dulled.