First editions and fine papers of poetry collections, lyrical works, poems in verse and prose, calligrams

First edition.
Rich iconography.
Handsome copy complete with dust jacket and protective wrapper.

Autograph letter signed by Georges Polti probably addressed to Jean Ott, written in black ink (11 lines) expressing enthusiasm for the complicity binding them : "... Ami, je lis vos admirables volontés. Que d'enthousiasmes entre nous ! Mais que vous les vivez, que vous les exprimez bien ! Merci, merci ! " ["... Friend, I read your admirable intentions. What enthusiasm between us! But how you live them, how well you express them! Thank you, thank you!"]
Central fold mark inherent to envelope insertion, small creases to right margin of the letter not touching text.

Original humorous comic strip created with black felt-tip pen illustrating Monsieur Virgule burning the books from his library and throwing his brain into the ashes in order to have a light mind to read the adventures of Rocambole.
Central fold.
Monsieur Virgule is the creation of Carlo Rim for "Les nouvelles littéraires" in the 1930s then for "Les Lettres françaises" after 1945.
Manuscript indications by Carlo Rim in red pencil on the verso of the strip.
Carlo Rim was a Provençal writer, author notably of "Ma belle Marseille", a caricaturist, a filmmaker and was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of Max Jacob and André Salmon whom he met in Sanary.

First edition, one of the rare copies printed on laid paper.
The issue consists of 4 pages and is illustrated with a comic strip by Uzès: "There is no drawing this week".
Literary contributions by Alphonse Allais "Modernisme", two poems by Albert Samain "Le chat noir" and "Biscuit", Louis Marsolleau "La mort de mon grand-père", Rodolphe Salis...
Handsome copy.
Le Chat noir is a weekly review created by Rodolphe Salis and Emile Goudeau, published from 1882 to 1897, with the aim of promoting the famous cabaret of the same name, of which it intended to be the record. It published texts recited during performances. It is, moreover, an important literary and artistic testimony of the end of the 19th century, centered around bohemia and the Parisian effervescence that was characteristic of it.

First edition, one of the rare copies printed on laid paper.
The issue consists of 4 pages and is illustrated with a comic strip by Théophile Alexandre Steinlen: "La rose".
Literary contributions by Charles Cros "Un drame interastral", Caran d'Ache "Carnet de la semaine", Albert Tinchant, Rodolphe Salis "Comment fut parachevée l'église saint-Pierre de Poictiers" dedicated to Guy de Maupassant...
Handsome copy despite minor worming.
Le Chat noir is a weekly magazine created by Rodolphe Salis and Emile Goudeau, published from 1882 to 1897, with the aim of promoting the famous cabaret of the same name, of which it serves as the memory. It publishes the texts recited during the performances. It is, furthermore, an important literary and artistic testimony of the late 19th century, around bohemian life and the Parisian effervescence that characterizes it.

First edition, one of the rare copies printed on laid paper.
The issue consists of 4 pages and is illustrated with a comic strip by Théophile Alexandre Steinlen dedicated to Alphonse Allais.
Literary contributions by Alphonse Allais "Idylle", Rodolphe Salis, Georges Auriol, Pierre Mille ...
Handsome copy.
Le Chat noir is a weekly magazine created by Rodolphe Salis and Emile Goudeau, published from 1882 to 1897, with the aim of promoting the famous cabaret of the same name, serving as its memory. It published texts recited during the shows. It is, moreover, an important literary and artistic testimony of the end of the 19th century, around bohemian life and the Parisian effervescence that characterized it.

First edition printed for the benefit of the monument dedicated to Tristan Corbière, one of the rare copies on Holland paper of which no mention is made.
Some interior foxing, a full-margined copy.
Work illustrated, as frontispiece, with a photographic portrait of Tristan Corbière.

First edition illustrated with drawings by André Verdet.
Handsome copy.
Dated autograph inscription signed by André Verdet to artist Philippe Collage: "Pour Philippe Collage, à l'ami sensible, mon salut étoilé" ["For Philippe Collage, to my sensitive friend, my stellar greeting"] enhanced with an original drawing representing Halley's comet passing near Earth.

First edition, a Service de Presse (advance) copy.
Precious and handsome signed autograph inscription by Sylvain Bonmariage: "A Monsieur Paul Eluard dont j'admire les vers... et la fille, qui est l'un de ses plus beaux poêmes !" ["To Monsieur Paul Eluard whose verses I admire... and whose daughter is one of his most beautiful poems!"]

Edition illustrated with 4 original drypoints and a vignette on the title page by Tavy Notton, one of 185 numbered copies on Rives laid paper, the only printing with 5 Japan and 10 special paper copies.
Slipcase lightly and marginally soiled without consequence.
Rare and handsome copy complete with its chemise and slipcase.

First edition printed in a small number of copies of this offprint from the Mémoires de la Société des Sciences morales, des Lettres et des Arts de Seine-et-Oise.
Rare pamphlet presented under plain blue temporary covers with boards marginally and lightly soiled, handsome interior condition.
Autograph inscription signed by Jacques Chardon to his brother-in-law named Georges.

First edition, one of 180 numbered copies on Arches.

Housed in a custom chemise and slipcase, chemise in half raspberry-red morocco, flat spine with title gilt-stamped lengthwise, author gilt-stamped at head and illustrator stamped horizontally at foot, modern marbled paper boards, slipcase edged with raspberry morocco at head and foot, modern marbled paper boards and spine, chemise and slipcase signed by Boichot.
A very fine copy.
Illustrated with 9 original full-page lithographs in black and colors by Marc Chagall including one on the cover.
Signed by Léopold Sédar Senghor and Marc Chagall at the colophon.

Autograph letter signed by Georges Polti addressed to Jean Ott, written in black ink (24 lines) praising the latter's qualities as a literary critic: "... Quelle joie d'apprendre que l'Ephèbe vous a plu que vous l'allez lire, en les termes que vous savez trouver, vous dont la sympathie d'esprit m'est un tel réconfort..." ["... What joy to learn that the Ephebe pleased you and that you will read it, in the terms you know how to find, you whose sympathy of spirit is such a comfort to me..."] and inviting him to join the poetic gatherings he attends monthly at the Closerie des Lilas: "... je rejoins régulièrement, chaque premier mardi de mois, un groupe d'amis en la fameuse et fumeuse Closerie des Lilas. Si jamais vous passez par là ce jour entre six heures et minuit, poussez donc la porte... je serai si heureux de vous voir ! " ["... I regularly join, every first Tuesday of the month, a group of friends at the famous and smoky Closerie des Lilas. If you ever pass by there on that day between six o'clock and midnight, do push the door open... I would be so happy to see you!"]
Central fold mark inherent to the mailing.

Autograph postcard signed by Georges Polti addressed to Jean Ott, written in black ink (8 lines) on the verso of the photographic reproduction of a painting by Nicolas Lancret entitled "L'été".
Georges Polti wishes a prompt recovery as well as an excellent year 1913 to his fellow poet Jean Ott: "... Je vous envoie toujours un peu de soleil : cela ne peut nuire. Belle et saine et triomphale année ! " ["... I always send you a little sunshine: it cannot harm. A beautiful and healthy and triumphant year!"]
A black ink stain in the upper left corner of the postcard.

Lyrical autograph letter signed by Georges Polti addressed to Jean Ott, written in black ink (35 lines) in which he does not hide his enthusiasm for the community of spirit they share and the quasi-mediumistic clairvoyance of his correspondent regarding his work: "... Et je suis de plus en plus effaré par cette parenté inexplicable de nos esprits, qui vous fait lire le mien jusqu'au fond. J'en serais presque révolté d'effroi sans cette sympathie qui y apporte avec la lumière la plus éclatante la chaleur la plus vivifiante et la plus douce..." ["... And I am more and more astounded by this inexplicable kinship of our minds, which enables you to read mine to its depths. I would almost be revolted with terror were it not for this sympathy which brings with the most brilliant light the most vivifying and sweetest warmth..."], "... Vous me donnez le sentiment que, si je mourrais, rien de moi ne mourrait, tout continuerait à se développer en vous, avec vous. Il se produirait que vous auriez deux âmes, et voilà tout." ["... You give me the feeling that, if I were to die, nothing of me would die, everything would continue to develop in you, with you. It would happen that you would have two souls, and that is all."]
Finally, Georges Polti praises his friend's soul: "... la plus belle, la plus vaillante, la plus divinatrice..." ["... the most beautiful, the most valiant, the most prophetic..."] and greets him by invoking the spirits of their illustrious predecessors: "Je vous serre les mains, ô ami fantastique, avec une émotion que seuls un Nerval, un Novalis ou un Edgard (sic) Poe auraient pu comprendre..." ["I clasp your hands, O fantastic friend, with an emotion that only a Nerval, a Novalis or an Edgar Poe could have understood..."]
Central fold mark inherent to the mailing.
Remarkable letter imbued with a poetic lyricism bordering on esotericism.

First edition in French for which no deluxe copies were printed.
Boards very slightly and marginally soiled.
Rare autograph inscription dated and signed by Seamus Heaney, written from Paris, to a man named Jean-Claude.
Seamus Heaney, born in Ulster in County Derry and who died in Dublin, is one of the most important English-speaking poets of the 20th century and became, in 1995, the fourth Irish author to receive the Nobel Prize for Literature after William Butler Yeats, George Bernard Shaw and Samuel Beckett.

The rare first edition.
Half black shagreen binding, spine with five raised bands showing rubbing at head and foot, marbled paper boards, front board scratched at lower right margin, marbled endpapers and pastedowns, leading edges rubbed.
Copy slightly warped, some foxing.
Autograph inscription dated and signed by Henri Durville to piano composer Antonin d'Argenton at the head of the half-title page.

First bilingual edition, the text in Romanian with, facing, the English translation.
Publisher's binding in full flexible tan boards, smooth spine.
Autograph inscription dated and signed by Cezar Ivanescu to Charles Dobzynski.

First edition, one of 8 numbered copies on Japan paper, deluxe copy.
Handsome copy despite two stains at the center of the first cover.
Autograph inscription signed by the publisher, Edouard Champion, to Maurice Queille.

First edition printed in a small number of copies on laid paper of this offprint from the Bulletin de l'Académie delphinale.
A small lack to lower right corner of first cover, some foxing to margins of final leaves, otherwise pleasant interior condition.
Rare and handsome copy.
This is the speech by Gustave Vellein delivered at the session of December 26, 1913 of the Académie delphinale, followed by M. de La Brosse's response.
Manuscript signature of Gustave Vellein on the half-title page below the printed stamp "hommage de l'auteur".

First edition printed in 100 numbered copies.
A small lack to the foot of the spine, otherwise a handsome copy.

First edition, of which there were no deluxe copies.
Handsome copy.
Full-page dated autograph inscription signed by Bernard-Henri Lévy to Madeleine Chapsal: "A vous chère, très chère Madeleine, ce signe de tendresse et d'amitié. A Madeleine Chapsal, ces derniers Jours de Charles Baudelaire où j'aimerais tant, à nouveau, la rencontrer." ["To you dear, very dear Madeleine, this sign of tenderness and friendship. To Madeleine Chapsal, these last Days of Charles Baudelaire where I would so much like to meet her again."]

Illustrated edition, with frontispiece to the first volume, of a portrait of Joan of Arc drawn by Gaucher as well as 21 figures drawn by Lebarbier, Marillier, Monnet, Monsiau, all engraved by Baquoy, Choffard, Delignon, Delvaux, Duhamel, Dupréel, Lemire, Lingée, Malbeste, Patas, Pauquet, Ponce and Romanet...
Half black shagreen bindings, smooth spines decorated with blind fillets, some rubbing to headcaps and joints, marbled paper boards, marbled endpapers and pastedowns.
Some minor foxing.

Original humorous comic strip executed in black felt-tip pen and heightened with white correction fluid, illustrating Monsieur Virgule pursuing a writer strolling among the bouquinistes of the Seine quays in order to obtain an autograph from him, a dedication which he hastens to show to his friends.
Central fold.
Monsieur Virgule is the creation of Carlo Rim for "Les nouvelles littéraires" in the 1930s then for "Les Lettres françaises" after 1945.
Manuscript annotations by Carlo Rim in black felt-tip pen and red pencil on the verso of the strip.
Carlo Rim was a Provençal writer, author notably of "Ma belle Marseille", a caricaturist, a filmmaker and was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of Max Jacob and André Salmon whom he met in Sanary.

First edition.
A small crease mark at the upper right corner of the front cover, two light dampstains at the head of the verso of the covers.
Rare autograph inscription signed by Edward Lucie-Smith, in French, on the half-title page: "... si vous commencez votre connaissance de la poésie anglaise chez moi, j'ai peur que ça sera la fin en même temps que le commencement ! " ["... if you begin your knowledge of English poetry with me, I fear that it will be the end at the same time as the beginning!"].
Manuscript signature of Edward Lucie-Smith on the title page.

Illustrated edition with copperplate engravings by Jean-Gabriel Daragnès, one of 200 numbered copies on Arches paper, the only issue after 25 on Japan paper.
Some light worming of no consequence, otherwise a handsome copy.
Autograph inscription signed by Paul Valéry: "Cet exemplaire de la Jeune Parque appartient à mon neveu Jean Valéry. Paul Valéry." ["This copy of La Jeune Parque belongs to my nephew Jean Valéry. Paul Valéry."]

First edition published in 2900 copies, ours being one of the copies on Alfa paper.
Handsome copy despite some light foxing on the edges.
Literary contributions by Federico Garcia Lorca: "Le martyre de sainte Eulalie", Valery Larbaud: "Une nonnain", Liam O'Flaherty: "L'aviron, traduction de Valery Larbaud", Marcel Jouhandeau "La Bosco", Rudolf Kassner: "La chimère"...
Commerce, a literary review founded by Marguerite Caetani, took the form of twenty-nine "quarterly issues published under the supervision of Valéry, Fargue and Larbaud" between 1924 and 1932. Its publication formed part of the competitive tradition of French reviews of the 1920s and did not merely promote the most prominent authors of French literature: it played the role of "discoverer" of young talents and unearthed forgotten seminal texts.

First edition published in 2900 copies, ours being one of the copies on Alfa paper.
Handsome copy despite some light foxing on the edges.
Literary contributions by Paul Claudel: "Les cinq premières plaies de l'Egypte", Jacques Prévert: "Tentative de description d'un dîner de têtes à Paris-France", Georges Ribemont-Dessaignes: "Faust", Robert Desnos "Siramour", Rudolf Kassner: "L'individu ert l'homme collectif"...
Commerce, a literary review founded by Marguerite Caetani, took the form of twenty-nine "quarterly issues published under the supervision of Valéry, Fargue and Larbaud" between 1924 and 1932. Its publication formed part of the competitive tradition of French reviews of the 1920s and did not merely promote the most prominent authors of French literature: it played the role of "discoverer" of young talents and unearthed forgotten seminal texts.

First edition published in 2900 copies, ours being one of the copies on Alfa paper.
Handsome copy.
Literary contributions by Paul Valéry: "Réponse", Valery Larbaud: "Le vaisseau de Thésée", Thomas Stearns Eliot: "Difficulté d'un homme d'état, traduction de Georges limbour", Georges Garampon "Réveil du début de l'été", Henri Michaux: "Nous autres", Georges Roditi: "L'abdication du matin", William Falkner "Une rose pour Emily, traduction de Maurice-Edgar Coindreau", Bernard Groethuysen...
Commerce, a literary review founded by Marguerite Caetani, appeared in the form of twenty-nine "quarterly notebooks published under the supervision of Valéry, Fargue and Larbaud" between 1924 and 1932. Its publication forms part of the competitive tradition of French reviews of the 1920s and does not merely showcase the most prominent authors of French literature: it plays the role of "discoverer" of young talents and unearths forgotten seminal texts.

Humorous original comic strip executed in black felt-tip pen illustrating Monsieur Virgule intrigued before a mirror reflecting back a cubist image of himself, then indulging in capers to finally be replaced in reality by his reflection.
Central fold.
Monsieur Virgule is the creation of Carlo Rim for "Les nouvelles littéraires" in the 1930s then for "Les lettres françaises" after 1945.
Manuscript notes by Carlo Rim in pencil and red pencil on the verso of the strip.
Carlo Rim was a Provençal writer, author of "Ma belle Marseille", a caricaturist, a filmmaker and was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of Max Jacob and André Salmon whom he met in Sanary.

Humorous original comic strip drawn in black felt-tip pen illustrating Monsieur Virgule visiting a prostitute so that she might read him some works by Jean-Paul Sartre, Monsieur Virgule then rushing to the urologist suffering from a venereal disease despite these chaste readings.
Central fold.
Monsieur Virgule was Carlo Rim's creation for "Les nouvelles littéraires" in the 1930s and later for "Les Lettres françaises" after 1945.
Manuscript notes by Carlo Rim in pencil and red pencil on the verso of the strip.
Carlo Rim was a Provençal writer, author of "Ma belle Marseille", a caricaturist, a filmmaker and was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of Max Jacob and André Salmon whom he met in Sanary.

First edition on ordinary paper.
Fine copy.
Autograph inscription signed by Yves Bonnefoy to his friend the painter Myklos Bokor and his wife Claude: "Pour Myklos et Claude, avec affection. Yves." ["For Myklos and Claude, with affection. Yves."]

First edition, one of 1000 numbered copies on laid paper, ours one of the hors commerce copies.
Work illustrated with 4 reproductions of works by Claude Garache.
Handsome copy.
Autograph inscription signed by Yves Bonnefoy to his friend the painter Myklos Bokor: "Pour Myklos Bokor, avec affection Yves" ["For Myklos Bokor, with affection Yves"] enhanced by the manuscript signature of Claude Garache in pencil.

Edition illustrated with 19 original etchings by Constant Dratz, one of 90 numbered copies on Arches paper, deluxe issue.
Our copy, as stipulated in the justification page, is complete with the portrait of the author signed in pencil by Constant Dratz as well as the duplicate suite of the 19 etchings (two of which are signed by Constant Dratz).
A handsome copy.

First collected edition, one of 10 numbered copies on Holland paper, the only deluxe copies.
Half brown morocco binding with corners, spine with five raised bands, date at foot, covers and spine preserved, top edge gilt retaining deckled edges, binding signed by Vermorel.
Very rare and handsome copy of this edition planned and conceived by Charles Péguy.

Illustrated edition with a black frontispiece and 23 bistre lithographs including full-page plates by Jos Bouuaert, one of 90 numbered copies on Japan paper with a black suite of the 11 full-page plates, deluxe copy.
Small foxing on the boards and spine slightly sunned.
Handsome copy complete with its chemise with flaps and slipcase.

Original humorous comic strip drawn in black felt-tip pen, heightened with white correction fluid, depicting Monsieur Virgule with a well-rounded belly after reading all the volumes forming "Les hommes de bonne volonté" by Jules Romains.
Monsieur Virgule is the creation of Carlo Rim for "Les nouvelles littéraires" in the 1930s and later for "Lettres françaises" after 1945.
Manuscript indications by Carlo Rim in blue pencil on the verso of the strip, one central fold.
Carlo Rim was a Provençal writer, author of "Ma belle Marseille", a caricaturist, a filmmaker and was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of Max Jacob and André Salmon whom he met in Sanary.

Original drawing in pencil heightened with black felt-tip pen depicting in profile his great friend the writer and poet André Salmon with the sleeves of his turtleneck sweater rolled up.
The drawing was made on tracing paper and mounted on a sheet, the drawing is captioned in red felt-tip pen: "André Salmon".
Carlo Rim was a Provençal writer, author of "Ma belle Marseille", a caricaturist, a filmmaker and was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of Max Jacob and André Salmon whom he met in Sanary.

Original drawing in pencil heightened with black felt-tip pen on watermarked paper by Carlo Rim depicting his great friend Max Jacob slightly in profile and sketching a discreet smile.
Carlo Rim was a Provençal writer, author of "Ma belle Marseille", a caricaturist, a filmmaker and was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of Max Jacob and André Salmon whom he met in Sanary.

First edition of this double-sided cardboard panel designed "to the glory of the immortal American Hero, as to the immense glory of the Aviation of all Peoples".
Portrait of the poet Auguste Boncors, in profile wearing an emperor's crown and text entitled "La résurrection triomphale de Clem-Sohn". On the verso, a poem "Requiem de Clem-Sohn", printed in red and gold, and dedicated to Franklin Roosevelt.
A native of Michigan, Clem Sohn made his very first parachute jump at the age of 18. A few years later, he manufactured his first set of wings on his mother's sewing machine and made his first jump thus equipped in March 1935 at Daytona Beach before 100,000 people. Enjoying immense popularity from then on, he performed at numerous air shows, notably in Europe. It was during the Vincennes Air Festival that he died on April 25, 1937. Before takeoff, he had said to a journalist: "I feel as safe as in your grandmother's kitchen.".

First edition, one of 20 numbered copies on pure linen paper, the only deluxe copies.
Fine copy.

First edition, one of the numbered copies on pure laid paper, ours being one of 100 hors commerce copies.
Handsome copy despite the spine and covers very slightly and marginally sunned.
Signed autograph inscription from Marcel Coulon to Fernand divoire.

New edition illustrated with an engraved portrait frontispiece.
Half brown glazed calf binding with corners, spine with four raised bands decorated with gilt garlands and black fleurons, a small scratch at foot of spine, gilt friezes at head and foot of spine, gilt fillets framing the marbled paper boards, marbled endpapers and pastedowns, contemporary Romantic binding.
a small tear to the upper corner of the first board, light surface wear to margins of boards.
Handsome copy attractively bound in contemporary Romantic binding.

First collected edition of the French translation by Javelin Pagnon.
Some foxing.
Texts preceded by a life of Chatterton by A. Callet.
Half black shagreen binding, spine with four raised bands decorated with double black compartments, traces of rubbing to spine, black paper boards, marbled endpapers and pastedowns, speckled edges.
Rare copy of the complete works of Thomas Chatterton, talented English mystifying poet who preferred to absorb arsenic rather than die of hunger, thus becoming, for the Romantics, the archetype of the misunderstood genius poet.

First edition.
Contributions by Marcel Martinet "Le vert grandit. Les peupliers", Daniel-Rops "Pluie", Maurice Fombeure "Nocturne", Jean Follain "Mélodrame", Fernand Marc "Chanson"...
Issue illustrated with drawings and wood engravings by Amedeo Modigliani, Auguste Clergé, Auguste Sandoz, Albert Rièra, Celso Lagar, Engel-Rozier.

First edition printed on ordinary paper.
Work illustrated with an out-of-text drawing by Fernand Léger.
Precious autograph inscription signed by Luc Bérimont: "Pour Colette de Jouvenel, avec l'affectueuse pensée du grand viager 1958." ["For Colette de Jouvenel, with the affectionate thoughts of the grand viager 1958."]

Collected edition with some parts in first edition, 10 poems appearing for the first time: Les Étrennes des orphelins, Patience, Jeune ménage, Mémoire, Est-elle almée, Fairy, Guerre, Génie, Jeunesse, Solde - the last 5 "attached" to the Illuminations.
Important original preface by Paul Verlaine.
Half red morocco binding, smooth spine decorated lengthwise with gilt floral motif, gilt date at foot, gilt fillet on marbled paper boards, marbled endpapers and pastedowns, original covers preserved, top edge gilt, contemporary binding signed by Bonleu.
Work illustrated with frontispiece featuring two drawings after Verlaine representing Arthur Rimbaud.
Very handsome copy perfectly executed in signed binding.

First edition, one of 90 numbered copies on Holland paper, the only deluxe copies.
Very fine copy.
Preface and notes by Jean Marais, iconography.
Autograph inscription signed by Jean Marais: "Pour Micheline, avec mes voeux de bonheur" ["For Micheline, with my wishes for happiness"].

First edition.
The issue is illustrated with a drawing by Théophile Alexandre Steinlen "Au clair de la lune (drame sombre)".
Other contributions by Jules Jouy, J. Chevalier, Léopold Stapleaux "Hugo ne mourra pas"...
One fold to right margin of the third and final pages.
Le Chat noir is a weekly magazine created by Rodolphe Salis and Emile Goudeau, published from 1882 to 1897, with the aim of promoting the famous cabaret of the same name, serving as its memory. It published texts recited during performances. It constitutes, moreover, an important literary and artistic testimony of the late nineteenth century, centered around bohemian life and the Parisian effervescence that characterized it.

First edition.
This issue consists of 4 pages and is illustrated with a comic strip by Adolphe Willette: "C'est demain vendredi saint".
Literary contributions by Emile Goudeau "Bulletin politique du Chat Noir", Jean Lorrain "Lunaire", Jean Moréas "Viandes de gargote"...
Handsome copy despite a small hole, not touching the text, at the level of the interior fold of the newspaper.
Le Chat noir is a weekly magazine created by Rodolphe Salis and Emile Goudeau, published from 1882 to 1897, with the aim of promoting the famous cabaret of the same name, of which it served as the memory. The texts recited during the shows were published there. It is, moreover, an important literary and artistic testimony of the end of the 19th century, around the bohemia and Parisian effervescence that characterized it.

First edition, a Service de Presse (advance) copy.
Two stains to foot of first cover.
Signed autograph inscription from Charles Maurras to Madame Lacrouts.

First edition.
This issue comprises 4 pages and is illustrated with a drawing by Adolphe Willette.
Literary contributions by Emile Goudeau "L'avenir est aux louches", Constant Chanouard "Grisel l'ouverrier", Charles Pitou, Léo Trezenik "Un ivrogne", Paul Arène "Mistral parisien", Edmond Haraucourt "Brune"...
Handsome copy.
Le Chat noir is a weekly review created by Rodolphe Salis and Emile Goudeau, published from 1882 to 1897, with the aim of promoting the famous cabaret of the same name, serving as its memory. It published texts recited during performances. It is, moreover, an important literary and artistic testimony of the late nineteenth century, centered around bohemian life and the Parisian effervescence that characterized it.

First edition, one of the rare copies printed on laid paper.
The issue consists of 4 pages and is illustrated with a comic strip by Théophile Alexandre Steinlen: "Les mésaventures d'Auguste".
Literary contributions by Alphonse Allais "L'avancement", Maurice Mac Nab "La vue de Naples", Eugène Godin "Ronds de cuir"...
Fine copy.
Le Chat noir is a weekly magazine created by Rodolphe Salis and Emile Goudeau, published from 1882 to 1897, with the aim of promoting the famous cabaret of the same name, of which it intended to be the record. It published texts declaimed during the performances. It is, moreover, an important literary and artistic testimony of the late nineteenth century, around the bohemia and the Parisian effervescence that was its own.

First edition.
This issue consists of 4 pages.
Literary contributions by Edmond Haraucourt, Félicien Champsaur, Vingtscholle, Emile Goudeau.
Some minor marginal tears of no consequence.
Le Chat noir is a weekly magazine created by Rodolphe Salis and Emile Goudeau, published from 1882 to 1897, with the aim of promoting the famous cabaret of the same name, serving as its memory. It published texts recited during performances. It is, moreover, an important literary and artistic testimony of the late 19th century, centered on bohemia and the Parisian effervescence that characterized it.

First edition, one of the rare copies on laid paper.
The issue consists of 4 pages and is illustrated with a double-page interior drawing by Adolphe Willette "C'est un conte blanc - C'est un conte noir".
Literary contributions by Georges Auriol, Rodolphe Salis, Xernand Fau, Adolphe Willette...
Handsome copy.
Le Chat noir is a weekly review created by Rodolphe Salis and Emile Goudeau, published from 1882 to 1897, with the aim of promoting the famous cabaret of the same name whose memory it sought to preserve. The texts declaimed during performances were published there. It constitutes, moreover, an important literary and artistic testimony of the late nineteenth century, centered around bohemian life and the Parisian effervescence that characterized it.

First edition, one of the rare copies on laid paper.
The issue consists of 4 pages and is illustrated with a comic strip by Adolphe Willette on an interior page: "Monstres de Paris. Les peintres incompris : M. Carolus Durand".
Literary contributions by Alphonse Allais "Moeurs de ce temps-ci", Georges d'Esparbès "Les juges", Jean Lorrain "Miss Miser", Camille de Sainte-Croix "La chanson de la mer de Victor Margueritte" under the semi-pseudonym of Xernand Fau "La guerre aux abus"...
Handsome copy.
Le Chat noir is a weekly review created by Rodolphe Salis and Emile Goudeau, published from 1882 to 1897, with the aim of promoting the famous cabaret of the same name whose memory it sought to preserve. The texts declaimed during performances were published there. It constitutes, moreover, an important literary and artistic testimony of the late nineteenth century, centered around bohemian life and the Parisian effervescence that characterized it.

First edition, one of the rare copies printed on laid paper.
The issue consists of 4 pages and is illustrated with a comic strip by Louis Blombed: "Un coup de roulis".
Literary contributions by Alphonse Allais "La mère", Rodolphe Salis, Victor Meusy, Albert Tinchant "Passe-temps"...
Handsome copy.
Le Chat noir is a weekly magazine created by Rodolphe Salis and Emile Goudeau, published from 1882 to 1897, with the purpose of promoting the famous cabaret of the same name, of which it serves as a record. It published the texts recited during the performances. It is, moreover, an important literary and artistic testimony of the end of the 19th century, centered around bohemia and the Parisian effervescence characteristic of that era.

First edition, one of the rare copies printed on laid paper.
The issue consists of 4 pages and is illustrated with a comic strip by Adolphe Willette: "John Bull au Congo".
Literary contributions by Albert Samain "Tsilla", Georges Auriol "Les neiges de Bretagne", Maurice Montégut "Les confidences de l'abîme"...
Handsome copy.
Le Chat noir is a weekly magazine created by Rodolphe Salis and Emile Goudeau, published from 1882 to 1897, with the purpose of promoting the famous cabaret of the same name, of which it serves as a record. It published the texts recited during the performances. It is, moreover, an important literary and artistic testimony of the end of the 19th century, centered around bohemia and the Parisian effervescence characteristic of that era.

First edition.
The issue consists of 4 pages and is illustrated with a drawing by Latude.
Literary contributions by Jules de Marthold, Amélie Villetard, Constant Chaouard, A. Kempis for the funeral eulogy of Rodolphe Salis who was still alive...
A few small marginal tears of no consequence.
Le Chat noir was a weekly review created by Rodolphe Salis and Emile Goudeau, published from 1882 to 1897, with the aim of promoting the famous cabaret of the same name, serving as its memory. It published texts recited during performances. It forms, moreover, an important literary and artistic testimony of the late 19th century, around bohemia and the Parisian effervescence that was characteristic of it.

First edition.
The issue consists of 4 pages and is illustrated with a drawing "Le Chat noir. Oui !! mort aux lapins !... qu'on voudrait lui poser !!!".
Literary contributions by Edmond Haraucourt, A' Kempis, Félix Decori...
Handsome copy.
Le Chat noir was a weekly review created by Rodolphe Salis and Emile Goudeau, published from 1882 to 1897, with the aim of promoting the famous cabaret of the same name, serving as its memory. It published texts recited during performances. It forms, moreover, an important literary and artistic testimony of the late 19th century, around bohemia and the Parisian effervescence that was characteristic of it.

Pléiade library edition printed on Bible paper.
Publisher's binding in full green grained sheep, blue top edge, smooth spine decorated with gilt fillets.
Handsome copy complete with its cellophane wrapper but lacking its slipcase and dust jacket.

First edition, one of the rare copies on laid paper.
The issue is illustrated with a drawing by Adolphe Willette "Il est né le divin enfant ! ".
Other contributions by Alphonse Allais "Le veau", Rodolphe Salis, Auguste Marin...
Handsome copy.
Le Chat noir is a weekly magazine created by Rodolphe Salis and Emile Goudeau, published from 1882 to 1897, with the aim of promoting the famous cabaret of the same name whose memory it sought to preserve. It published the texts declaimed during the shows. It is, moreover, an important literary and artistic testimony of the end of the 19th century, around the bohemian life and the Parisian effervescence that was its own.

First edition, one of the rare copies printed on laid paper.
The issue consists of 4 pages and is illustrated with a comic strip by Théophile Alexandre Steinlen "La rose".
Literary contributions by Charles Cros "Un drame interastral", Caran d'Ache "Carnet de la semaine", Albert Tinchant "Philanthropie"...
Handsome copy.
Le Chat noir is a weekly magazine created by Rodolphe Salis and Emile Goudeau, published from 1882 to 1897, with the aim of promoting the famous cabaret of the same name of which it considered itself the memory. It published texts recited during the shows. It is, moreover, an important literary and artistic testimony of the late nineteenth century, around the bohemia and the Parisian effervescence that was characteristic of it.

Invitation card to the ball celebrating the centennial of Victor Hugo's birth, held at the Salle des Ingénieurs civils, rue Blanche in the ninth arrondissement of Paris, on Saturday, February 22nd, 1902.
A handsome and rare copy despite a very small stain in the upper left corner of the card.
The ball was organized by the committee of the "Société littéraire Victor Hugo" presided over by P. Heuzey.

First edition.
This issue consists of 4 pages and is illustrated with a full-page comic strip by Théophile Alexandre Steinlen "Le chat et la grenouille" ["The cat and the frog"].
Literary contributions by Georges Auriol "Fleur d'orange" ["Orange blossom"], Rodolphe Salis, Léo Niversac "Bulletin du Chat Noir" ["Chat Noir bulletin"], Jules Jouy...
A few minor marginal tears of no consequence.
Le Chat noir was a weekly magazine created by Rodolphe Salis and Emile Goudeau, published from 1882 to 1897, with the aim of promoting the famous cabaret of the same name, of which it served as the memory. It published texts recited during the shows. It is, moreover, an important literary and artistic testimony of the end of the 19th century, centered around the bohemian lifestyle and the Parisian effervescence that characterized it.

Pléiade library edition printed on Bible paper.
Publisher's full red grained sheep binding, grey top edge, smooth spine decorated with gilt fillets.
Copy complete with its cellophane wrapper but lacking its soft slipcase.

First edition, one of 100 numbered copies on Arches vellum reserved for friends of the author.
Handsome copy illustrated with 3 illustrations by Raoul Ubac, Gustave Singier and Léon Gischia.
Autograph inscription signed by Jean Lescure to Georges Goldfayn: "... qui a des faiblesses pour mes bavardages, voici ceux de mes gnomides bien pires mais l'amitié est d'abord celle de Jean Lescure." ["... who has weaknesses for my chatter, here are those of my gnomides much worse but friendship is first that of Jean Lescure."]

First edition, one of the numbered copies on Rives laid paper, ours unnumbered but properly justified Rives, the only deluxe copies.
Handsome copy despite slight traces of sunning at head and foot of spine and to margins of boards.

First edition, one of 10 numbered copies on Japan paper, deluxe copy.
A poem by Renée Vivien at the beginning of the work.
Fine and very rare copy.
In memoriam...

Bibliothèque de La Pléiade edition printed on Bible paper.
Publisher's full red grained sheep bindings, grey top edges, smooth spines decorated with gilt fillets.
Handsome complete set retaining its cellophane wrappers but lacking its soft slipcases.

Original drawing in black ballpoint pen, monogrammed in black ballpoint pen "CR", and dated and captioned in pencil "André Salmon (twice) 1956" depicting in profile and with a pipe screwed to his lips, his great friend the writer and poet André Salmon.
The drawing was made on tracing paper and pasted onto a sheet.
Carlo Rim was a Provençal writer "Ma belle Marseille", a caricaturist, a filmmaker and was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of Max Jacob and André Salmon whom he met in Sanary.

Original ink drawing inscribed in pencil "Jules Supervielle" depicting Jules Supervielle in bust and profile with his right hand raised.
The drawing is signed Carlo Rim in the lower right corner.
Carlo Rim was a Provençal writer "Ma belle Marseille", a caricaturist, a filmmaker and was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of Max Jacob and André Salmon whom he met in Sanary.

Une saison en enfer [A Season in Hell]
Alliance typographique (M. J. Poot & C^ie) Bruxelles 1873 | 12,5 x 18,5 cm | full morocco and custom slipcase

First edition published in small numbers at the author's expense.
Binding in full black morocco elaborately decorated in blind, original wrappers preserved, half black morocco slipcase, outstanding binding signed Semet & Plumelle.
This very scarce first edition of Une saison en enfer is a major collector's piece on several counts: it remains the only work published by Rimbaud himself, then a young unknown 19-year-old poet. He eventually never honored his debt towards the printer. The latter therefore kept almost the entire print, subsequently forgotten in the workshop (Arthur Rimbaud obtained only a dozen copies offered to his friends). The stock was found in 1901 by a bibliophile who retrieved the well-preserved 425 copies and destroyed the rest damaged by humidity.
The curious composition of the work is also a surprising peculiarity of this precious edition: without a title page nor endpapers (the text begins ex abrupto after the cover and finishes the same way), the seventeen blank pages inserted far and wide in the book, as well as the misprints and spelling errors peppered through the text are also curiosities studied by scholars.
Sought-after and collected very early on by bibliophiles, copies of this mythical edition were bound by the greatest French binders namely Pierre Lucien Martin, Semet & Plumelle, Paul Bonet or Georges Leroux.
A very beautiful copy set in an outstanding blind tooled full morocco binding by Semet & Plumelle.

First edition.
Some light foxing.
Publisher's Bradel binding in red half-cloth with corners, smooth spine decorated with gilt fillets, burgundy cloth boards, two stains on the second cover, a small paper loss on the first cover, sky blue paper endpapers and pastedowns, one corner slightly bumped.
Pictorial contributions by painters of the Beuron school, Léon Frédéric, Joseph Janssens...
Numerous literary contributions including those by Jules Barbey d'Aurevilly, Paul Cuylits, Eugène Demolder, Ernest Hello, Joris-Karl Huysmans, Francis Jammes, Sébastien-Charles Lecomte, Georges Marlow, Georges Rodenbach, Emile Verhaeren...

First edition.
Some light foxing.
Publisher's Bradel binding in red half-cloth with corners, smooth spine decorated with gilt fillets, burgundy cloth boards, stains on the first cover, sky blue paper endpapers and pastedowns.
Pictorial contributions by Giotto, Franz Haels, Rembrandt, Van Eyck, Vermeer de Delft, Joseph Janssens, Albrecht De Vriendt, Alexandre Hannotiau...
Numerous literary contributions including those by Franz Ansel, Henri Carton de Wiart, Eugène Demolder, Gaston Della Faille de Leverghem, Maurice des Ombiaux, Edouard Ducoté, Henri Mazel, Maurice Olivaint, Edouard Schuré, Léopold Wallner...

First edition.
Some minor foxing.
Publisher's Bradel binding in half red boards with corners, smooth spine decorated with gilt fillets, burgundy boards, sky blue paper endpapers and pastedowns.
Pictorial contributions by Giotto, Giorgione, Perugino, painters from the Beuron school, Anton Van Welie...
Numerous literary contributions including those by Henry Bordeaux, Georges Brigode, Eugène Demolder, Gaston Della Faille de Leverghem, Charles de Sprimont, Iwan Gilkin, Edouard Ducoté, Louis le Cardonnel, Charles Lagasse de Locht, Joris-Karl Huysmans, Georges Ramaekers, Pierre Verhaegen...

First edition, of which there were no deluxe copies, a Service de Presse (advance) copy.
Spine very slightly sunned without consequence.
Signed autograph inscription from William Cliff to Christian Giudicelli: "A toi mon cher Christian, de tout coeur, William." ["To you my dear Christian, wholeheartedly, William."]

The first edition, of which there were no deluxe copies, a Service de Presse (advance) copy.
Spine very lightly sunned without consequence.
Signed autograph inscription from William Cliff to Christian Giudicelli: "Mon cher Christian, donne-toi donc un peu de temps pour lire un ou deux poèmes. Je t'embrasse. William." ["My dear Christian, do give yourself a little time to read one or two poems. I embrace you. William."]

The first edition, of which there were no deluxe copies.
Two light stains on the spine very slightly sunned without significance.
Autograph inscription signed by William Cliff to Christian Giudicelli: "Pour toi mon cher Christian cette longue et bizare errance, avec les sentiments de ton devoué. William." ["For you my dear Christian this long and strange wandering, with the feelings of your devoted. William."]

Inquisition et antisémitisme - Résumé de l'histoire juive [suivi de] Le Rêve par Louise Michel
Imprimerie GMarichal & Cie, Paris s.d(1898), 12 x 15 cm, stapled
Rare first edition of this “Résumé de l'histoire juive” bound for the working population: “Il m'a paru utile en ce moment où la campagne antisémite, entreprise depuis dix ans pas Drumont et ses complices, devient de plus en plus aiguë, passionne tout le corps social et peut, d'un moment à l'autre - ou dans un temps donné - sous la protection d'un gouvernement clérico-militaire - se traduire en actes terribles de persécution en France et en Algérie, de publier quelques notes historiques sur le peuple juif. Les camarades qui n'ont guère le temps de s'instruire aux bibliothèques pourront ainsi, confronter leur jugement des choses vécues avec les enseignements de l'histoire sur les griefs reprochés aux juifs par les antisémites qui prêchent leur extermination.” “It seemed useful to me at a time when the anti-Semitic campaign, undertaken for ten years by Drumont and his accomplices, which is becoming more and more acute, exciting the whole social body and which may, from one moment to another - or in any given time - under the protection of a clerical-military government - translate into terrible acts of persecution in France and Algeria, to publish some historical notes on the Jewish people. The comrades who have little time to learn in libraries will thus be able to confront their judgement of things experienced with the lessons of history on the grievances reproached to the Jews by the anti-Semites who preach their extermination.”
Some marginal folding and tears as well as small corner pieces missing.
“Après la chute de l'Empire, [Constant Martin] fut, en tant que délégué des vingt arrondissements, un des signataires de l'Affiche rouge du 6 janvier 1871, proclamation au peuple de Paris pour dénoncer «a trahison» du gouvernement du 4 septembre et pour mettre en avant trois mots d'ordre : Réquisition générale, rationnement gratuit, attaque en masse.” “After the fall of the Empire, [Constant Martin] was, as delegate of the twenty arrondissments, one of the signatories of the Affiche Rouge of 6 January 1871, a proclamation to the people of Paris to denounce a “betrayal” of the government on 4 September and to put forward three slogans: General requisition, free rationing, mass attack.” (Maintron) It is therefore not surprising to find at the end of this brochure an unpublished poem by Louise Michel mentioning the anti-Semitic riot in Algeria.

Pléiade library edition printed on Bible paper.
Publisher's bindings in full brown grained sheepskin, orange top edges, smooth spines decorated with gilt fillets.
Fine complete set retaining its protective cellophane covers but lacking its slipcases.

First edition on ordinary paper.
A handsome copy.
Autograph inscription dated and signed by Henri Thomas to Christian Giudicelli: "... amicale pensée, souvenir souvenir que me veux-tu ?" ["...friendly thoughts, memory memory what do you want from me?"]

Bibliothèque de La Pléiade edition printed on Bible paper.
Publisher's full brown grained sheep bindings, orange top edges, smooth spines decorated with gilt fillets.
Fine complete set with its protective covers but lacking dust jackets and slipcases.

First collected edition, of which there were no deluxe copies.
Publisher's full beige cloth binding, smooth spine, green paper endpapers and pastedowns.
Work illustrated with drawings by Alexandre-Alecos Fassianos.
Handsome copy.
Autograph inscription signed by Louis Aragon to Christian Giudicelli: "A Christian Giudicelli de la part de deux amis de l'Italie..." ["To Christian Giudicelli from two friends of Italy..."] enriched with the signature of Hamid Foulâdvind.

First edition.
Handsome copy.
Rich iconography.
Autograph inscription signed by Alain Borer to Christian Giudicelli: "Pour Christian, tout en avant, dans la lumière et dans la force - en toutes proximités. Alain" ["For Christian, all forward, in light and in strength - in all proximities. Alain"] enhanced with an ink stamp design reminiscent of an Egyptian hieroglyph.

New edition, with some parts in first edition as revised and corrected.
Spine lightly sunned without damage.
Autograph inscription dated and signed by Jacques Baron to Christian Giudicelli.

The first edition, of which there were no deluxe copies, a Service de Presse (advance) copy.
Spine very lightly sunned without damage.
Autograph inscription dated and signed by Henri Thomas to Christian Giudicelli: "... ces récitations qui vont du grave au doux, du plaisant au sévère..." ["... these recitations which go from grave to gentle, from pleasant to severe..."]