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

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.
Handsome copy complete with its dust jacket.
Signed autograph inscription from Yves Bonnefoy to Henri Zerner.

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”).

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 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.

First edition, one of 700 copies on colour paper, ours numbered in pencil.
Copy complete of its folded rainbow dust jacket which has small angular pieces missing including on the flaps, good internal condition.
Text by Michel Tapié.
Work illustrated with 32 images by Jean Dubuffet.
Handwritten presentation dated and signed by Jean Dubuffet to the writer, journalist and theatre historian Paul-Louis Mignon.

Edition illustrated with 31 original etchings by Jacques Ramondot and printed in 145 nominative copies on Fabriano laid paper.
Spine of chemise and slipcase lightened, boards lightly and marginally shaded without gravity.
Bookplate pasted opposite the colophon.
Our copy is complete with the very beautiful multicolored poster folded in 4, reproducing the decoration of the chemise and slipcase.
Each of the three texts is printed on laid paper of different color: grey for "Les Pâques à New York", taupe grey for "La Prose du Transsibérien" and mustard yellow for "Le Panama ou les Aventures de mes sept Oncles".

Edition illustrated with 17 original full-page lithographs by Yves Brayer and printed in 200 numbered copies on grand vélin d'Arches.
Handsome copy complete with its chemise and slipcase.
Autograph inscription signed by Yves Brayer to Bernard Gauche enhanced with an original watercolor depicting two toreros.

First edition, one of 37 numbered copies on pur fil du Marais paper, the only deluxe copies.
A tiny insignificant tear at foot of spine.
Handsome copy.

First edition published in the Bibliothèque de La Pléiade.
Publisher's binding in full brown grained sheep, grey top edge, smooth spine decorated with gilt fillets.
Handsome copy complete with its glassine wrapper, dust jacket and soft slipcase.

First edition on ordinary paper.
Some small wormholes to margins of certain leaves and to boards.
Autograph inscription signed by Paul Valéry to Paul Jamot: "... en souvenir de sa visite..." ["in memory of his visit..."]

First edition, one of 25 numbered copies on pur fil paper, the only deluxe copies.
Handsome copy.

Pléiade library edition printed on Bible paper.
Publisher's binding in full brown grained sheep, orange top edge, smooth spine decorated with gilt fillets.
Fine copy complete with its glassine, dust jacket and slipcase.

First edition on ordinary paper.
Handsome copy.

Pléiade library edition printed on Bible paper.
Publisher's full red grained sheep bindings, grey top edges, smooth spines decorated with gilt fillets, complete with their protective wrappers and soft slipcases.
Two small tears to the protective wrappers at the spine heads.
Handsome set.

First edition.
Half black Russian morocco bindings, smooth spines decorated with gilt romantic arabesques, gilt dates at foot, marbled paper boards, pebbled paper endpapers and pastedowns, top edges gilt, slipcases edged with black morocco, pebbled paper boards, elegant romantic pastiche bindings signed Champs.
Bookplate pasted on an endpaper of the first volume, the facing page bearing this manuscript notation in pen: "édition princeps".
Fine copy, free from foxing, in an attractive romantic pastiche binding by Champs.

First edition in French translated by Francis Viélé-Griffin printed in 300 numbered copies on laid paper.
Handsome full-margined copy.

First edition.
Spine cracked with some lacks, light corner bumps to boards, some light interior foxing.
Precious signed autograph inscription from Paul Fort: "A Léon Bakst, son admirateur."

Definitive edition.
Light foxing of no consequence to board margins.
Handsome copy complete with publisher's (advertising) slip.
Manuscript inscription by the author or publisher on the half-title page: copy of Mrs N.C. Barney.

First edition, of which there were no deluxe copies.
Handsome copy.
Autograph inscription dated and signed by Jean Madiran to the great Céline scholar Pierre Monnier: "... honorable successeur de Charles-Quint, cet hommage au maître-horloger." ["...honorable successor of Charles V, this tribute to the master clockmaker."]

First edition, a Service de Presse (advance) copy.
Handsome copy despite a small blue cross inscribed at head of half-title page.
Signed autograph inscription by Norge to the Resistance poet and publisher of poets Pierre Seghers and his wife Véronique on the half-title page: "A Pierre et Véronique, mes deux bonnes, douces, fortes, chaudes et admirables vérités d'amitié. Leur vieux Norge..." ["To Pierre and Véronique, my two good, gentle, strong, warm and admirable truths of friendship. Their old Norge..."]

First edition in French printed in 350 copies, ours one of 25 numbered copies on Japan paper, deluxe copy.
Translated by Suzanne Kra.
Handsome copy despite a slight crease mark on one leaf, retaining its deckled edges.
Very rare as a deluxe copy.

First edition, one of the numbered copies.
Handsome copy.
Autograph inscription signed by Yves Bonnefoy to Diane de Margerie.

New bilingual edition, with Charles Batteux's prose translation on facing pages. Frontispiece by Deveria. Life of Horace attributed to Suetonius translated by Achaintre. Bibliographical notes and commentary on each work. Fine edition of the Latin poet.
Contemporary wine-colored glazed full calf binding signed at foot of volume I by Thouvenin jeune. Spine with 5 raised bands richly decorated with 2 blind stamps, 2 grotesque compartments composed of monastic tools, head and tail roll tools. Boards stamped in blind with central lozenge containing ornamental composition, blind border frieze. Gilt roll on leading edges, internal frieze. Marbled edges matching the endpaper pattern. Spine darkened to brown. Discoloration traces on upper board of volume 3. Brown stain on lower board of volume 3. Lightly scratched area on lower board of volume 1. Very handsome copy.

New edition.
Contemporary full navy morocco binding. Spine with raised bands decorated with 3 fleurons. Roulette at head and foot. Fillets on the raised bands. Covers stamped in blind with a central lozenge with interior quatrefoil and second lozenge. Blind-tooled frieze. Triple interior fillet. Gilt edges. Scattered foxing. Small areas on the upper covers of volumes 1 and 2 where the blue has turned blue-green, same on the spines. Very handsome copy.
Volume 1 contains the poetry, volume 2 The Eclogues of Virgil and 2 tragedies, volume 3 the comedies and the Discourses on harmony and comedy.

The first edition, of which there were no deluxe copies.
Spine and boards slightly and marginally discolored and sunned.
Fine autograph inscription signed by Jacques Dubois to his friend Charles (Dobzynski): "A mon cher Charles, lui qui sait si bien ce que je veux dire quand je dis "à moitié déraciné par la charrue de la guerre". Pour que nous soyons unis comme les 5 doigts d'un poing fermé. Ton Jacques." ["To my dear Charles, who knows so well what I mean when I say 'half uprooted by the plow of war'. So that we may be united like the 5 fingers of a closed fist. Your Jacques."]

First edition entirely handwritten and printed in 15 numbered copies on vellum.
Work illustrated with 10 original engravings by Gérard Serée.
Rare and handsome copy.
Manuscript signatures of Marie-Claire Bancquart and Gérard Serée on the colophon.



.

First edition, one of 400 numbered copies on Alep paper.
Handsome copy complete with its dust jacket.
Numerous contributions including those by Federico Garcia Lorca, Rafael Alberti, Jorge Guillen, Antonio Machado, Lope de Vega, Luis de Gongora...



.

First edition printed in 500 numbered copies, ours being one of the 250 hors commerce copies reserved for the author.
A handsome copy.

Autograph postcard signed by Stéphane Mallarmé addressed to Alidor Delzant, written on both sides in black ink. Envelope enclosed.
Alidor Delzant was a lawyer, collector and bibliophile. Friend of the Goncourts, he devoted a work to them and was secretary and testamentary legatee of Edmond.
"Tout ce qui vécut autour de Verlaine s'efface donc, aidé, tant mieux ! de la piété charmante et tendre de Madame Delzant. La gloire du Poëte se fait toujours solitaire." ["Everything that lived around Verlaine thus fades away, helped, so much the better! by the charming and tender piety of Madame Delzant. The Poet's glory always stands alone."] Delzant had announced to Mallarmé the death of Eugénie Krantz, Verlaine's last mistress. Delzant's wife had frequented her during visits to the sick at Bonsecours hospital in Montrouge.

The first edition, published in a small number of copies.
Spine sunned.
Autograph inscription signed by Paul Neuhuys to Francis Gérard on the first endpaper, partially shadowed due to the presence of two small newspaper clippings.

First edition, one of 400 numbered copies on alfa paper.
Full cream white shagreen binding, spine with four fine raised bands slightly darkened, gilt frieze border on covers, marbled paper endpapers and pastedowns, top edge gilt, original wrappers and spine preserved.
Foxing affecting mainly the margins of the leaves.
Fine autograph inscription signed by Patrice de La Tour du Pin to his friend the diplomat Pierre Saffroy: "Mon Pierre, les anges qui viennent de toi vers moi, je les connais assez, je les aimes assez pour que j'ose à peine t'envoyer ce petit livre qui traitent (sic) des anges dans l'amitié spirituelle." ["My Pierre, the angels who come from you to me, I know them well enough, I love them enough that I hardly dare send you this little book which deals with angels in spiritual friendship."]

First edition, one of 470 numbered copies on Holland paper, the only deluxe copies with 59 on China paper.

Full violet morocco binding, spine with five raised bands uniformly sunned, date and place gilt at foot, double gilt fillet on edges and headcaps, endpapers and pastedowns - framed with wide gilt dentelle - of paste paper, all edges gilt on witnesses, covers and spine preserved, binding signed David. Upper corner of first cover lightly rubbed.

Bookplate pasted on front pastedown.
Handsome copy of this collection containing three fantastic tales: "L'entrevue", "Le Pavillon fermé" and "Marceline ou la punition fantastique".

First edition, one of 20 numbered copies on pure Arches laid paper, deluxe copy.
Handsome copy.

Second edition, published the same year as the first, printed by the royal printing house in 500 copies.
Two leaves browned.
Bradel binding in full marbled paper, smooth spine decorated with a black morocco label, title lengthwise, binding signed Thomas Boichot.

First edition of the French translation established by Milos Sova, one of 10 lettered copies on Holland paper.
Preface and adaptation by Jean Marcenac.
Publisher's yellow cardboard binding, smooth spine, fine copy complete with its dust jacket matching the covers.

First edition illustrated with 12 original compositions outside the text by Pierre Fonteinas colored by stencil, one of 839 numbered copies on B.F.K. de Rives paper.
Half blue morocco binding with corners, spine lightly darkened with four raised bands decorated with a red mosaic morocco piece representing a wave emerging from gilt wavelets rising up to gilt stars, gilt fillets on the marbled paper boards, endpapers and pastedowns of another marbled paper, covers and spine preserved, top edge gilt, binding signed P. Nichon.
The work is also illustrated with 8 initial letters and 1 tailpiece by Pierre Fonteinas.
Handsome copy.

First edition, one of 62 numbered copies on pur fil, deluxe copy.
Fine copy.

First edition printed on laid paper.
This academy crowned Victor Hugo in 1820 and F.A.R. de Chateaubriand in 1821.
Full brown shagreen binding, spine with four raised bands extending onto the boards with blind fillets ending in fleurons thus representing the clasps of medieval books, gilt rolls on headcaps, gilt pointillé on edges, combed paper endpapers and pastedowns, gilt dentelle frame on pastedowns, red edges.
Handsome copy despite some light foxing.

First edition printed in 200 hors commerce copies.
A rare and handsome copy.
Autograph inscription dated and signed by Lucien Becker to Albert Béguin: "...en espérant qu'il reconnaîtra en ces poëmes quelques voix du "passager de la terre"..." ["...hoping that he will recognize in these poems some voices of the "passenger of the earth"..."]

Edition with some parts in first edition, one of 50 numbered copies on Holland paper, deluxe copy.
Very handsome copy.

First edition, one of 50 numbered copies on Holland paper, deluxe copy.
A very handsome copy.

First edition of some parts as revised and expanded, one of 41 numbered copies on Holland paper, deluxe copy.
A very handsome copy.

First edition, one of 36 numbered copies on China paper, deluxe copies.
Very handsome copy

First edition, a Service de Presse (advance) copy.
Foxing on covers, a light dampstain on spine.
Printed bookplate representing the lion of Saint Mark at head of an endpaper.
Touching and precious signed autograph inscription from Raymond Queneau: "A Serge Reggiani comédien, chanteur et poète. Queneau."

First collected edition, one of 20 numbered copies on pure wove paper, the only deluxe copies with a few hors commerce.
First cover very lightly and marginally sunned, spine creased at foot, handsome copy of the third volume of the complete works of Pierre Jean Jouve.
Precious autograph inscription dated and signed by Pierre Jean Jouve: "A André Malraux en amitié, admiration - fidélité. Pierre Jean Jouve. 1966" ["To André Malraux in friendship, admiration - loyalty. Pierre Jean Jouve. 1966"]

First collected edition, one of 20 numbered copies on pure wove paper, the only deluxe copies with a few hors commerce.
Handsome copy of the fourth volume of the complete works of Pierre Jean Jouve.
Precious autograph inscription dated and signed by Pierre Jean Jouve: "A André Malraux pour un grand livre et une amicale figure. Pierre Jean Jouve. 1967" ["To André Malraux for a great book and a friendly figure. Pierre Jean Jouve. 1967"]

First edition, one of the numbered copies on petits petits-gris paper.
Copy slightly warped.

First edition of the translation and presentation established by André Tchernia, one of 244 numbered copies on feuille verte et apostolique paper.
Fine copy.

First edition of this issue of the important humanist review founded by Emmanuel Mounier, one of 50 numbered copies on alma du Marais paper, the only deluxe copies.
Issue partly devoted to Emmanuel Mounier with contributions by Jean-Marie Domenach "Mounier surpassed?", Marcel Reggui "How I knew Mounier", Michel Steiner "Pages to read in the present"...
This issue also deals with Hungarian poetry with Sandor Csoori, Gyula Illyes, Zoltan Jekely, Laszlo Nagy, Otto Orban, Gyorgy Raba, Judith Toth, Zsuzsa Takacs...
Other contributions by Steven Kehnan & Dick Howard "The new student left in the United States".
Occasional light foxing, principally marginal.

First edition of the French translation established by Ratimir Pavlovic, of which there were no deluxe copies.

Handsome copy.

Autograph inscription dated and signed by Dora Teitelboim to her friend the poet Charles (Dobzynski): "... A Charles avec tout mon coeur..." ["... To Charles with all my heart..."]

New edition expanded with a preface by the author.
Covers slightly and marginally shaded, otherwise handsome copy.

First edition of the French translation, one of 25 numbered copies on vélin crèvecoeur, deluxe copy after 10 pur fil
Gift inscription dated in black ink from bookseller Claude Buffet at head of first endpaper.
Handsome copy.

First edition, one of 500 numbered copies on special bouffant paper, the only issue after 60 on alfa paper.
Handsome copy.
Cover illustrated with a drawing by Henri Matisse.
Autograph inscription dated and signed by Armand Monjo to Charles Dobzynski.