Poetry

First edition, one of 175 numbered copies on vellum, the only issue after 25 Normandy vellum.
The work illustrated with a frontispiece drawing by Espinoza.
Handsome copy with covers not discolored as is usually the case, a small tear to upper left corner of rear endpaper.

First edition, one of 200 numbered copies on vellum, the only issue after 8 hollande.
Handsome copy.

First edition, one of 100 numbered copies on tinted hélio, the only issue after 25 normandy vellum.
Work illustrated with a frontispiece drawing by Gregorio Prieto.
Handsome copy.

First edition, one of 155 numbered copies on pure paper, the only deluxe copies after 50 on Holland paper.
Fine copy.

First edition printed in 300 numbered copies on pure Lafuma paper.
Handsome copy.
Signed and inscribed by Vincent Muselli to N. Pascault.

First edition, one of 430 numbered copies on vellum, the only deluxe copies after 20 on Arches vellum
Handsome copy.
Work illustrated with 5 images by Lucien Coutaud.

New edition of the French translation and first edition of the French translation established by Guy Lévis Mano, one of 98 numbered copies on vellum, deluxe issue.
Handsome copy of this work with the original text in Castilian facing the French translation.

First edition, one of 40 numbered copies on vellum, the only printing after 1 pure rag lutétia cream and 10 Holland.
Handsome copy.

New edition, one of 55 numbered copies on pur fil, the only deluxe copies.
Handsome copy despite two small areas of sunning at head and foot of spine.

First edition, one of 190 numbered copies on Arches paper, the only printing after 10 on Japan paper.
Handsome copy.
Signed manuscript quote by Charles Maurras: "L'esprit de parti ne respectera rien" ["The spirit of faction will respect nothing"] taken from page 11.

Definitive edition, one of 10 numbered copies on Holland paper, deluxe issue.
A small tear at foot of spine, handsome copy.

First edition of this selection of texts, one of 16 numbered copies on pur fil paper, deluxe issue.
Rare and handsome copy.

Edition illustrated with 83 engravings after the originals by Charles Eisen, one of the numbered copies on tinted laid paper with deckled edges.
The work is also adorned with two frontispiece portraits and numerous head- and tailpieces by Paul Baudier after the original drawings by Charles Eisen illustrating the famous edition known as the "Fermiers généraux".
Our copy is exceptionally expanded with a duplicate suite on blue paper of the 83 engravings after the originals by Charles Eisen and the two frontispieces gathered in one volume.
Half red morocco bindings with corners, spines with four raised bands set with gilt dots and decorated with gilt compartments adorned with gilt typographical motifs, gilt fillets framing the marbled paper boards, combed paper endpapers and pastedowns, original wrappers and spine preserved, top edges gilt, bindings signed Lucie Weill.
Beautifully bound copy exceptionally expanded with a duplicate suite of the illustrations and frontispieces on blue paper.

First edition, one of the numbered copies from the first printing.
Paper slightly brittle at margins of some leaves as usually found, handsome copy.
Illustrated work with, as frontispiece, a portrait of Guillaume Apollinaire by Pablo Picasso.

Definitive edition, one of 882 numbered copies on pure linen paper reserved for the "Friends of Paul Fort".
Spine slightly sunned, otherwise handsome copy.
Fine autograph inscription signed by Paul Fort to André Allix: "... avec les distingués hommages et le très amical souvenir d'un vieux trouvère... Qu'est-ce que la poésie ? Une chanson qu'on parle..." ["...with distinguished homage and the very friendly remembrance of an old troubadour... What is poetry? A song that one speaks..."]

New edition with some parts in first edition, one of 56 numbered copies on pur fil paper, ours one of 10 hors commerce copies in Roman numerals reserved for the "Friends of Max Jacob," deluxe copy.
Fine copy.
Preface by Pierre-Albert Birot.
We include two autograph signed cards from (Jean) Denoël to Carlo Rim, great friend of Max Jacob, on Nrf letterhead, regarding the deluxe paper printing of this work and the request for a possible loan of a caricature of Max Jacob by Carlo Rim for an exhibition dedicated to the poet by the city of Orléans.

Definitive edition, one of 610 numbered copies on pure thread paper reserved for the "Friends of Paul Fort".
Spine slightly sunned, otherwise handsome copy.
Fine autograph inscription dated and signed by Paul Fort to Doctor François Leboeuf recalling one of his most famous verses: "... ces chants de France avec les distingués hommages et le très amical souvenir du vieux trouvère... On pourrait faire une ronde autour du monde, si tous les gens du monde voulaient se donner la main..." ["... these songs of France with distinguished homage and the very friendly remembrance of the old troubadour... We could dance in a circle around the world, if all the people of the world wanted to join hands..."]

Edition with some parts in first edition, one of 1100 numbered copies on pure thread paper.
Work illustrated with a portrait of the author by Pablo Picasso.
Spine with a very slight lack at foot.

First edition of this selection and the notices on the authors established by Gérard de Lacaze-Duthiers.
Handsome copy complete with its publisher's slip.
Signed autograph inscription from Gérard de Lacaze-Duthiers to journalist Henry Lafragette thanking him for his laudatory article concerning this work.
Our copy is enriched with an autograph letter signed by Gérard de Lacaze-Duthiers to the same, on letterhead of the library of the aristocracy, dated May 30, 1959.

Pléiade library edition printed on India paper.
Publisher's full brown grained sheep binding, orange top edge, smooth spine decorated with gilt fillets.
Fine copy complete with its glassine wrapper and dust jacket; the flexible slipcase is lacking.

First edition, one of 155 numbered copies on pur fil, the only deluxe copies after 50 on Holland paper.
Fine copy.

Bibliothèque de La Pléiade edition printed on Bible paper.
Publisher's binding in full green grained sheepskin, orange top edge, smooth spine decorated with gilt fillets.
Handsome copy complete with its glassine wrapper and dust jacket.

First edition illustrated with ornamentations by Théo van Rysselberghe.
Two tears reglued at head and foot of one joint, otherwise a handsome copy.

First collected edition, one of 950 numbered copies on alfa paper.
Handsome copy.
Signed autograph inscription from René Char to art critic and writer Charles Estienne.
Provenance: from the library of Georges Goldfayn with his blind stamp at head of an endpaper as bookplate.

First edition, one of 32 numbered copies on Hélio neige Libert paper, ours being one of the 12 hors commerce copies, deluxe issue.
Very handsome copy.

First edition, one of the numbered copies on Téka, the only issue after 1 Arches and 20 Marais.
Spine browned, small tears to joints.
Cover illustrated by Wifredo Lam.
Autograph inscription signed by François Valorbe on this text paying homage to literary and musical "Négritude" to the surrealist Georges Goldfayn: "... avec mes sentiments les plus mélano-surréalistes..." ["... with my most melano-surrealist sentiments..."]

First collected edition of the works of François-René de Chateaubriand, each volume decorated with a frontispiece engraved by Charles Thompson depicting a young woman seated on a stone engraved "Chateaubriand, Œuvres complètes" and contemplating the horizon. The author contributed largely to the publication of this edition through the organization of the whole and by writing new prefaces for all the texts. As he writes himself these prefaces are more pieces of autobiography than prefaces.
Binding in half brown calf strictly contemporary Restoration period. Spine with raised bands decorated with 2 blind stamps, roulettes at head and tail and on the bands. Brown calf title label and volume labels. Lack at tail of volume 4. Volume 5 bis, lacks to joints at head, surface wear at tail. Volume 5 ter, upper joint split at head, accident at head with lacks, tail headcap worn. Surface wear at tail of volumes 9 and 10. Volume 11, surface wear at tail with small lack. Volumes 18 and 19, surface wear at tail. Volumes 23, 24, 27 and 28, surface wear at tail. Head of volume 28 rubbed. Supplement to volume 22 rubbed. Apart from some rare worming, set superbly fresh on fine laid paper (but often foxing on endpapers).
Fine series with minimal defects of this important first collected edition of Chateaubriand's works.
The set breaks down as follows:
-Essai sur les révolutions, in 2 volumes. V1 and 2. 1826.
-Mélanges historiques, in 1 volume. V 3. 1827.
-Etudes historiques, in 4 volumes. V 5, 5 bis, 5 ter. 1831.
-Voyages en Amérique, in 2 volumes. V 6 and 7. (with second numbering 1 and 2). 1827.
-Itinéraire, in 3 volumes. V 8, 9 and 10 (with second numbering 1 to 3). 1826. Binder's error in volume 2, the second part begins at p. 17, and the beginning of this second part is bound later, at the end of this part.
-Génie du christianisme, in 5 volumes (second numbering from 1 to 5). 1826 - 1827.
-Atala, René and Le dernier Abencerage, in 1 volume. 1826.
-Les Martyrs, in 3 volumes (second numbering from 1 to 3). 1826.
-Les Natchez, in 2 volumes (this being the first edition of this early work by Chateaubriand). 1826.
-Mélanges littéraires, in 1 volume. 1826.
-Mélanges et poésies, in 1 volume. 1828.
-Discours et opinions, in 1 volume. 1826.
-Mélanges politiques, in 2 volumes (second numbering 1 to 2). 1826 and 1828.
-Polémique, in 1 volume. 1827.
-De la liberté de la presse, in 1 volume. 1828.
-Table, in 1 volume. 1831. (conjugate leaves)
- Appendix to 22nd volume, without volume numbering. Moïse. 1831.
Between the first deliveries by subscription and the last, a year passed, and depending on the date when the order for the works was placed it could take longer, it therefore goes almost without saying that the volumes do not always bear the same dates, the publisher drawing from his stocks and reprinting to honor orders, thus the dates extend from 1826 to 1831. For example, the two volumes constituting the Mélanges littéraires are the first from 1826 and the second from 1828...
19th-century armorial bookplate of a baron, 2 greyhounds flanking the shield

First edition.
Work illustrated with illustrations.
Handsome copy despite the missing slipcase, a small tear at the foot of the first cover.
Autograph inscription signed by Francis Ponge to Roger Caillois: "... c'est à dire pour et contre les imostures de la poésie..." ["... that is to say for and against the impostures of poetry..."]
Our copy is expanded with a manuscript correction by Francis Ponge on page 7.

First edition of this issue of the review edited by Lucien Jacques.
Boards marginally sunned.
Boards illustrated with two woodcuts by Lucien Jacques.
Other contributions by Suzanne Rochat, Giovanni Pascoli...

First edition on ordinary paper.
Spine warped, one tear reglued on a joint, some minor foxing, paper yellowed as usual.
Work illustrated with a photographic portrait of Henri de Régnier as frontispiece, a manuscript facsimile as well as typographical ornaments by Manuel Orazi.
Signed autograph inscription by Paul Léautaud: "A Henri Chatelain, cet exercice." ["To Henri Chatelain, this exercise."]

The first edition, of which there were no deluxe copies.
Unlettered spine lightly sunned.
Autograph inscriptions signed by Madeleine Ozeray and René Lacôte to the poet Charles Dobzynski.

New edition of the French translation, one of 200 numbered copies on Rives laid paper, deluxe copy.
Light sunning at foot of spine, handsome full-margined copy.
Work illustrated with wood engravings by Vassyl Khmeluk.

First edition, with printed service de presse statement at foot of title page.
Spine very lightly sunned.
Signed and inscribed by Francis Jammes to Robert de Flers.

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 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"]

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."]

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..."]

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 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.

First edition, one of 50 numbered copies on Arches paper, deluxe edition.
Covers lightly sunned, handsome interior condition.
Our copy includes, like the 50 copies of the deluxe edition, the original etching by Ghislian Quévy which he signed and numbered.

First edition, one of 50 numbered copies on Uru paper, deluxe copy.
Publisher's full red cardboard binding, smooth spine, a shadow having marginally and vertically lightened the front cover
Like all copies from the deluxe edition, our copy includes the original engraving by Rolf Szymanski which he signed and justified in pencil.

First edition of the adaptation established by Lucien Jacques printed in 200 numbered copies on alfa paper.
Handsome copy.
Work illustrated with 20 linocuts by Lucien Jacques.

New edition of the French translation, one of 200 numbered copies on Rives laid paper, deluxe copy.
Minor sunning to head and foot of spine, handsome full-margined copy.
Work illustrated with wood engravings by Georges Scharf.

First edition, one of 13 numbered copies on pur fil paper, the only deluxe copies.
Rare and handsome copy.
Louis Roché was a diplomat and resistance fighter close to Radio-Londres.

The first edition, of which there were no deluxe copies.
Pleasant copy.
Signed autograph inscription from Marc Alyn to Alain Bosquet: "... ce temps des autres de mes vingt ans couleur de feu avec ma fraternelle et fidèle amitié..." ["...this time of others from my twenty years fire-colored with my fraternal and faithful friendship..."]

.

Illustrated edition with original etchings by Jean Carton and printed in 200 copies on laid paper, ours one of the 170 named copies/

New edition, one of 300 numbered copies on Rives laid paper, deluxe copy.
Small stains to margins of front cover, light sunning to head and foot of spine.
Work illustrated with wood engravings by Geneviève Rostan.

New edition, one of 200 numbered copies on Rives laid paper, deluxe copy.
Light sunning to head and foot of spine, handsome copy with full margins.
Work illustrated with wood engravings by René Pottier.

First edition illustrated with 3 original drawings by Fernand Léger and printed in 150 numbered copies on Rives laid paper.
A rare and handsome copy.

First edition, one of 1025 numbered copies on ivory laid paper, ours one of the 25 hors commerce copies, the only printing after 32 vélin du Marais.
Handsome copy.
Precious signed autograph inscription by André Frénaud: "A Lili & Jean Dubuffet. Malamour peut-être mais l'amitié comme la poésie est soleil irréductible. A. Frénaud." ["To Lili & Jean Dubuffet. Malamour perhaps but friendship like poetry is irreducible sun. A. Frénaud."]

The first edition, of which there were no deluxe copies.
Handsome copy.
Autograph inscription from Charles Juliet to Jacqueline Piatier.
A small gri-gri as a correction by Charles Juliet in black ballpoint pen on the back cover.

Handwritten poem to Kérimé « Que la volupté est triste...!» [Paroles soupirées]Handwritten poem entitled « Que la volupté est triste... ! », dedicated and offered to Kérimé. Half a page written in black ink on a leaf of headed paper from the Constantinople Péra-Palace & Summer-Palace, a total of 15 alexandrine verses.
The poem was published under the title «Paroles soupirées» in Flambeaux éteints (Edward Sansot & C^ie, 1907). This first manuscript version has several variations from the printed text. Some verses have even been totally abandoned: “Pareille au chant brisé qui vient nous décevoir,/ Avec les cierges d'or allumés dans le soir”.
Quelle tristesse après le plaisir, mon amie,
Quand le dernier baiser, plus triste qu'un sanglot,
S'échappe en frémissant de ta bouche blêmie,
Et que, mélancolique et lente, sans un mot,
Tu t'éloignes à pas songeurs, ô mon amie!
Pareille à la douleur des adieux, dans le soir,
L'angoisse qui vient de la volupté lasse!
Pareille au chant brisé qui vient nous décevoir,
Pareille au noir cortège impérial qui passe
Avec les cierges d'or allumés dans le soir...
Et je te sens déçue et je me sens lointaine...
Nous demeurons, avec les yeux de l'exilé,
Suivant, tandis qu'un fil d'or frêle nous enchaîne,
Du même regard las notre rêve envolé...
Autre déjà, tu me souris, déjà lointaine...

Provenance: Kérimé Turkhan-Pacha.



The Sappho lover and her sofa muse

Considered as a literary work in its own right, Renée Vivien's correspondence with Kérimé Turkhan-Pacha is sprinkled with very rare poems that enhance the poet's romantic passion for her oriental muse.
In spring 1904, Vivien received an unexpected letter. A mysterious young Turkish woman, living in Constantinople and who signed Kérimé Turkhan-Pacha, enthusiastically told her about a book she had just read. [...] Intrigued and at the same time flattered, Vivien responded to the unknown woman [...] This letter was to be followed by more than a hundred others and dozens of postcards to Kérimé Turkhan-Pacha. [...] During the summer of 1905, when Vivien will make a pilgrimage to Lesbos with Natalie Barney, she will absolutely stop in Constantinople to get to know the fictional (as she imaged) Kérimé. She saw her again several times, always in Constantinople, and their correspondence continued until 1908. Born in 1876, Kérimé Turkhan-Pacha belonged to the Constantinople high society. Very cultured, raised French, she shone in the salons of the Ottoman capital. She was distinguished by her real beauty [...]. This seductive creature, whom Vivien had to imagine languishing on cushions in the shade of a Bosphorus harem, had married a Turk much older than her around 1900, Turkhan-Pacha. [...] Becoming a widow, Kérimé lived in Paris, where she had the opportunity to court Natalie Barney; she died in Athens in 1948. Worldly and very beautiful, [...] Kérimé belonged to the Turkish elite [..] whose women began to change their mentality. Just like Loti's Désenchantées [...] Kérimé found it troublesome to support the old customs of her country. «I was very young and I was cloistered away and aspired only to bite all the forbidden fruits», she told Le Dantec. [...] For Vivien, Kérimé represented the mirage of the East, which had already fascinated the entire 19th century: Chateaubriand, Delacroix, Nerval, Flaubert, Loti, Barrès... Turkish romanticism then permeated French literature. In 1898 Jean Lorrain had published La Dame turque (another pasha woman...) and in 1906 Loti would publish his famous novel Les Désenchantées." (J.-P. Goujon, Tes blessures sont plus douces que leurs caresses)

This superb elegy with its "Bosphorus sultana" takes up all the elements of this aesthetic mythology in a superb sapphic reappropriation of the languor and sensuality of the fantasized East.

Exceptionally rare, the manuscripts to the lovers of this icon of modern lesbianism are missing from most public collections, with the notable exception of the Jacques Doucet collection, which includes nine poems from Vivien to Natalie Clifford Barney.

Only these four manuscript poems to Kérimé are known to date.

Handwritten poem to Kérimé « Je cacherai ma flûte »
Handwritten poem entitled « Je cacherai ma flûte », dedicated and offered to Kérimé («Pour le petit faune »). One and a half pages written in purple ink on two leaves edged with border of violets, in total 32 alexandrine verses.
The poem was published under the same title in Flambeaux éteints (Edward Sansot & C^ie, 1907). This first manuscript version has some variations from the printed text.
Je m'écoute, avec des frissons ardents,
Moi, le petit faune au regard farouche...
L'âme des forêts vit entre mes dents
Et le Dieu du rythme habite ma bouche.
Dans ce bois, loin des aegipans rôdeurs
Mon cœur est plus doux qu'une rose ouverte;
Les rayons, chargés d'heureuses odeurs,
Dansent au son frais de ma flûte verte.
Mêlez vos cheveux et joignez vos bras
Sur l'herbe humide où le bélier s'ébroue,
Nymphes des halliers! – ne m'approchez pas,
Allez rire ailleurs pendant que je joue.
Car j'ai la pudeur de mon art sacré,
Et, pour honorer la muse hautaine
Je chercherai l'ombre et je cacherai
Mes pipeaux vibrants dans le creux d'un chêne.
Parmi la tiédeur, parmi les parfums,
Je jouerai le long du jour, jusqu'à l'heure
Des chœurs turbulents et des jeux communs
Et des seins offerts que la brise effleure.
Je tairai mon chant pieux et loyal
Aux amants de vin, aux chercheurs de proie
Seul le vent du soir apprendra mon mal
Et les arbres seuls apprendront ma joie.
Je défends ainsi mes instants meilleurs...
Vous qui m'épiez de vos yeux de chèvres,
Ô mes compagnons! allez rire ailleurs
Pendant que le chant fleurit sur mes lèvres.
Sinon, — je suis faune après tout, si beau
Que soit mon chant, — et, bouc qui se rebiffe,
Je me vengerai d'un coup de sabot
Et d'un coup de corne et d'un coup de griffe.

Provenance: Kérimé Turkhan-Pacha.



The Sappho lover and her sofa muse

Considered as a literary work in its own right, Renée Vivien's correspondence with Kérimé Turkhan-Pacha is sprinkled with very rare poems that enhance the poet's romantic passion for her oriental muse.
In spring 1904, Vivien received an unexpected letter. A mysterious young Turkish woman, living in Constantinople and who signed Kérimé Turkhan-Pacha, enthusiastically told her about a book she had just read. [...] Intrigued and at the same time flattered, Vivien responded to the unknown woman [...] This letter was to be followed by more than a hundred others and dozens of postcards to Kérimé Turkhan-Pacha. [...] During the summer of 1905, when Vivien will make a pilgrimage to Lesbos with Natalie Barney, she will absolutely stop in Constantinople to get to know the fictional (as she imaged) Kérimé. She saw her again several times, always in Constantinople, and their correspondence continued until 1908. Born in 1876, Kérimé Turkhan-Pacha belonged to the Constantinople high society. Very cultured, raised French, she shone in the salons of the Ottoman capital. She was distinguished by her real beauty [...]. This seductive creature, whom Vivien had to imagine languishing on cushions in the shade of a Bosphorus harem, had married a Turk much older than her around 1900, Turkhan-Pacha. [...] Becoming a widow, Kérimé lived in Paris, where she had the opportunity to court Natalie Barney; she died in Athens in 1948. Worldly and very beautiful, [...] Kérimé belonged to the Turkish elite [..] whose women began to change their mentality. Just like Loti's Désenchantées [...] Kérimé found it troublesome to support the old customs of her country. «I was very young and I was cloistered away and aspired only to bite all the forbidden fruits», she told Le Dantec. [...] For Vivien, Kérimé represented the mirage of the East, which had already fascinated the entire 19th century: Chateaubriand, Delacroix, Nerval, Flaubert, Loti, Barrès... Turkish romanticism then permeated French literature. In 1898 Jean Lorrain had published La Dame turque (another pasha woman...) and in 1906 Loti would publish his famous novel Les Désenchantées." (J.-P. Goujon, Tes blessures sont plus douces que leurs caresses)

This superb elegy with its "Bosphorus sultana" takes up all the elements of this aesthetic mythology in a superb sapphic reappropriation of the languor and sensuality of the fantasized East.

Exceptionally rare, the manuscripts to the lovers of this icon of modern lesbianism are missing from most public collections, with the notable exception of the Jacques Doucet collection, which includes nine poems from Vivien to Natalie Clifford Barney.

Only these four manuscript poems to Kérimé are known to date.

The first edition, of which there were no deluxe copies.
Publisher's full green cloth binding, smooth spine, green paper endpapers and pastedowns.
Handsome copy.
Autograph inscription dated and signed by René Depestre to Arnaud Spire.

First edition printed with a small number of copies.
A poem by Renée Vivien at the top of the work.
A beautiful and very rare copy.
In memoriam...

First edition, one of 1000 numbered copies on pur fil, the only deluxe copies after 5 japon and 50 hollande.
Fine copy handsomely bound.
Bradel binding in half red Russia morocco, smooth spine, wood-grain paper boards, covers and spine preserved, moiré-effect paper endpapers and pastedowns, top edge gilt, bookplate pasted to head of one pastedown, elegant unsigned contemporary binding.
Signed autograph inscription from Tristan Derème to P. Rousset: "... ce 14 juillet à l'entrée de l'année. En cordial hommage. Tristan Derème. 1er - I - 1926." ["this 14th of July at the start of the year. With cordial homage. Tristan Derème. 1st - I - 1926."]

First edition printed in 86 numbered copies on chamois Arches paper.
Work illustrated with an original drypoint by Pierre Charbonnier as frontispiece.
Handsome and rare copy.
Manuscript signatures of René Char and Pierre Charbonnier on the colophon.

First edition, one of 50 numbered copies on Holland paper, deluxe copies after 5 Japan.
Handsome copy.

First edition, one of 200 numbered copies on Arches, the only issue after 10 on Japan.
Spine lightly sunned, occasional worming.
Autograph inscription signed by Tristan Derème: "A monsieur le comte de Sachs. Et vive la rime ! Et vive Virgile !" ["To Monsieur le Comte de Sachs. And long live rhyme! And long live Virgil!"]

New edition, one of 50 numbered copies on Japan paper, deluxe issue.
Handsome copy.
Work illustrated with wood engravings as head- and tailpieces by Ivana Lemaître.

First edition on ordinary paper.
Full bright blue morocco binding with mosaic decoration signed at the bottom of the slipcase by Jadis. Marbled paper slipcase, matching the endpapers. Smooth Jansenist spine with author's name in full. Boards with mosaic decoration featuring a red fillet crossed by 3 rectangles in cream, grey and pink; title in black on the cream cartouche. Original pink wrappers preserved.
Inscription from Cocteau to Marc Dantzer: à Marc, coeur de sommeil, Jean.
Marc Dantzer was a French actor who pursued his career from 1929 to 1957, he ran the restaurant at the Elysée-Matignon where cinema personalities would gather. A friend of Cocteau, there was correspondence between the two men.
Superb copy, in perfect condition.
Marc Dantzer bookplate, stamp. Second bookplate, with the cipher of Jean Paraf.

First edition printed with 440 numbered copies.
Work illustrated with 7 wood engravings by Frans Masereel.
Pubslisher's binding in half wove-style paper boards with small corners, top edge gilt, ex-libris glued to a paste-down endpaper.
Rare handwritten presentation signed by Stefan Zweig to writer Max Spanier who disappeared during the hell of the Holocaust: “Im herzlicher Erkenntlichkeit” (“With sincere gratitude”).

Third edition of "Emaux et Camées", with some parts in first edition as it features 11 additional pieces compared to the second edition and contains the two unpublished works from 1853 (cf Clouzot).
Half chocolate brown Russia morocco binding, spine with five raised bands set with black fillets, minor rubbing traces without significance to one joint, combed paper boards, marbled stone endpapers and pastedowns, marbled edges, contemporary binding.
Occasional foxing.
Handsome copy attractively bound.

First edition, one of 150 Service de Presse copies on châtaignier blanc paper.
Pleasant copy despite a small black ink mark at the head of the first cover.
Autograph inscription signed by Georges Fourest to Roger Lannes.

The first edition, of which there were no deluxe copies.
Fine and rare copy of this collection of anti-Apartheid poems.
Preface by Oliver Tambo, president of the African National Congress of South Africa then in exile.
Rare autograph inscription dated and signed by Paul Dakeyo to Madeleine Lanzais: "... à la lutte de nos peuples..." ["...to the struggle of our peoples..."]

First edition. A frontispiece by Boulanger engraved by Lacoste. Copy extra-illustrated at the back of the half-title with an albumen photographic portrait (ca 1865), mounted and trimmed to margin.
Armorial copy of Charles de Mandre, D'or à la fasce d'azur et D'azur à une bande d'or, accompagnée de sept billettes du même, posées quatre en chef et trois en pointe. Charles Demandre had, in his youth, some literary and poetic inclinations and, throughout his life, welcomed the writers and artists of his time to La Chaudeau. His library was sold in Paris, Maison Silvestre, 28 rue des Bons-Enfants, salle n° 1, au premier, from January 31 to February 9, 1887. The catalogue was compiled by Lorédan Larchey: Catalogue des livres et autographes composant la bibliothèque de feu M. Ch. de Mandre (Paris, A. Claudin, 1887, in-12,

First edition, one of 40 numbered copies on Holland paper, the only deluxe copies after 1 vellum, 5 chine, 9 japan and 15 whatman according to Clouzot.
Half red long-grain morocco binding, smooth spine decorated with double gilt fillets, gilt date at foot, pebbled paper boards, marbled paper endpapers and pastedowns, original wrappers preserved, binding signed by Goy et Vilaine.
Handsome copy handsomely bound.

First edition of this sung tale by Jacques Le Lorrain set to music by Gaston Dubreuilh.
Publisher's binding in half steel-blue percaline, smooth spine unlettered, grey paper boards, illustrated front board, blue paper endpapers and pastedowns.
Handsome copy.
Work illustrated by Maurice de Lambert.
Rare copy of this sung tale created by Gabriel de Montoya at the shadow theatre of the Quat-z-Arts.

First edition.
Publisher's binding in full blue percaline, smooth unlettered spine, beveled boards, front cover illustrated with a large composition by Job on a plate made by Engel, blue paper endpapers and pastedowns.
One endpaper with a fold and very light adhesive paper residue, light discoloration to second cover
Handsome copy.
Work decorated with full-page illustrations by Job.

First edition illustrated with a cover and drawings by Théophile Alexandre Steinlen.
Bradel binding in half red shagreen, smooth spine, date in gilt at foot, pebbled paper boards, covers illustrated by Théophile Alexandre Steinlen and spine preserved in one piece.
Handsome copy despite a small restoration to the upper corner of page 93, a slight lack at foot of the second cover of the illustrated wrapper.

First edition illustrated with a cover and frontispiece by Emmanuel Brun.
Bradel binding in half brown cloth, smooth spine, date in gilt at foot, pebbled paper boards, illustrated cover by Emmanuel Brun and spine preserved.
Handsome copy of this collection of songs interpreted by Yvette Guilbert.

First edition illustrated with a cover and nearly 100 drawings by Lucien Métivet
Half brown shagreen binding, spine slightly faded with five raised bands decorated with gilt fleurons, marbled paper boards, combed paper endpapers and pastedowns, illustrated covers by Lucien Métivet preserved, top edge gilt, contemporary binding.
Some minor foxing, light rubbing to joints, one lack to upper corner of page 287.
Handsome copy of this collection of songs performed by Jacques Ferny at the "La roulotte" theatre from 1896 to 1899 and at the Carillon and Tréteau de Tabarin in Montmartre in 1899-1900.

First edition of the transposition of the poem by Walt Whitman by Francis Viélé-Griffin, one of 100 copies on Holland, only print.
Small tears and gaps on the back and in the margins of the boards which have been internally patched at the head and the foot, spine and boards marginally sun-damaged, good internal condition.
Modern ex-libris glued to the foot of the verso of the first board.
Rare.

First edition, one of 718 numbered copies on laid paper, the only issue with 16 Japan copies.
Frontispiece with a portrait of the author lithographed by Mania Mavro.
Fine copy despite minor marginal tears of no consequence to the covers, spine slightly faded as usual.
Autograph inscription signed by Francis Ponge to the bookseller-bibliophile Max-Philippe Delatte: "... avec qui j'entretiens un commerce (au sens noble) dont je me félicite. Amicalement Francis Ponge" ["... with whom I maintain a relationship (in the noble sense) which pleases me greatly. Cordially Francis Ponge"].

First bilingual edition, the French translation placed opposite the Spanish text.
Handsome copy.
Preface by Arthur Lundkvist, introduction by Eugène Van Itterbeek.
Fine autograph inscription dated and signed by Justo Jorge Padron to the poet Liliane Wouters.

First edition.
Fine copy.
Autograph inscription signed by Dionisio Aymara to poet Marcel Hennart, in which he specifies his address in Caracas, Venezuela.

First edition.
Fine copy complete with its wraparound band.
Autograph inscription dated and signed by Cristina Lacasa to poet Marcel Hennart, in which she specifies her address in Lérida, Spain.

First edition complete with the Sinclair clan tartan bookmark.
Covers lightly soiled, four light dampstains to boards, handsome interior condition.
Work illustrated with 112 plates and a portrait of the author at the beginning of the volume.

Rare first edition printed in a very small number of copies and strictly hors commerce.
Light foxing to covers and very slight browning at margins.
Autograph inscription from Lucien Becker to André Fraigneau

First edition printed on laid paper.
Illustrated work, with a frontispiece drawing by the author.
Scattered foxing.
Bradel binding in half olive green cloth, smooth spine decorated with gilt fleuron, gilt double fillet at tail, brown shagreen title label, pebbled paper boards, covers and spine preserved, near-contemporary binding signed in blind Champs.

First edition of this poem by Georges Fragerolle set to music by himself and performed for the first time at the famous Montmartre cabaret "Le Chat noir" by Rodolphe Salis on January 21, 1896, where he was the regular pianist alongside Erik Satie.
Publisher's sand-colored paper boards, smooth spine, covers illustrated with a large design representing the Giza Pyramids site surmounted by the dream of a Pharaoh's soldiers, endpapers and pastedowns with floral-patterned paper.
Work illustrated with 17 full-page lithographs by Amédée Virola.
Some rubbing to edges and corners, copy lacking its very fragile illustrated dust jacket.
Handsome copy.

Very rare and sought-after first edition, according to Clouzot, printed in only 300 copies.
Full red morocco binding, spine with five raised bands decorated with black fillets, gilt date at foot, gilt roulettes on headcaps, marbled endpapers and pastedowns, frame of gilt dentelle on pastedowns, double gilt fillets on edges, top edge gilt, original wrappers preserved, full marbled paper slipcase with marbled paper lining, perfect binding signed by Thivet, a binder who worked during the last quarter of the 19th century.
Bookplate pasted on one pastedown, bibliophilic notes in pencil on an endpaper by a previous owner of the work.
Handsome copy of one of the rarest "Romantics," complete with the frontispiece on China paper, drawn and engraved by Célestin Nanteuil.

Autograph letter signed by Emile Goudeau addressed to his dear master (Francisque Sarcey, 16 lines in black ink) thanking him for his last letter which he reads with some delay and for his support in granting an award which he has just been honored with: "l'envoi de la lettre écrite par un Labadens exaspéré. Ce camarade (?) m'a fait passer un bon quart d'heure. Enfin cet infortuné lauréat ne me pardonne peut-être pas, d'être, lui tombé dans les hypothèques." ["the sending of the letter written by an exasperated Labadens. This comrade (?) made me spend a difficult quarter of an hour. Finally this unfortunate laureate perhaps does not forgive me for having fallen into mortgages."]
Central fold inherent to the mailing.

Collected edition, one of the numbered copies, the only issue.
Publisher's Bradel binding in full white cloth, smooth spine, front cover decorated with a geometric design.
Handsome copy.

First edition.
Half caramel morocco with small corners, spine with four raised bands decorated with black fillets, marbled paper boards, marbled endpapers and pastedowns, bookplate pasted on one pastedown, top edge gilt, covers and spine (sunned and with some lacks) preserved. Discreet restorations to joints.
Fine copy handsomely bound.
Precious autograph inscription signed by Victor Hugo to Constant Laurent.

Third edition of the text, the second from this publisher.
A handsome copy.
Manuscript signature of Jorge Luis Borges on the half-title page.