First Editions

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 established by André Malraux, one of 50 numbered copies on Japan paper, deluxe printing.
Preface by Gabriel-Albert Aurier.
Work illustrated with a frontispiece, 6 headpieces as well as 3 tailpieces engraved on wood by Jean-Gabriel Daragnès.
Fine full-margined copy complete, as stipulated in the print run justification, with the suite of woodcuts on China paper.

First edition, one of the numbered copies on alfa paper.
A tiny tear at the foot of the spine, some light foxing to the margins of certain leaves.
Dated autograph inscription signed by Georges Bernanos to Monsieur Bouvier.

First edition of this issue of Beaux-Arts magazine published on the occasion of Pierre Soulages' exhibition at the Musée d'Art moderne de la ville de Paris.
Fine copy.
Iconography.
Autograph inscription signed by Pierre Soulages to a man named Jean-Claude.

First edition, one of 297 numbered copies on handmade paper.
A handsome copy.

First UK edition.
Blue cloth publisher's binding.
Nice copy with its dust jacket. Slight traces rubbing at the foot and at the head of the dust jacket.
Corner missing at the foot of the first flap of the dust jacket, with a small trace of adhesive.

The two short stories were first published in the New Yorker in 1955 and 1959.

First edition, one of 50 copies on China paper printed specially for the bookseller Carteret, ours bearing No. 1, the only deluxe copies.
Work consisting of 87 plates of drawings by the author which he captioned in order to ridicule bourgeois marriage.
Bradel binding in half green morocco with corners, smooth spine slightly discolored, gilt date at foot, marbled paper sides, covers and spine preserved, endpapers and pastedowns of combed paper, top edge gilt on deckled edges, contemporary binding signed Durvand.
Handsome full-margined copy agreeably bound in contemporary binding signed Durvand.

First edition, one of 350 numbered copies on laid paper, the only printing after 25 on Holland paper.
Spine slightly browned with a tear at head and a small lack at foot, a crease in the right margin of the first cover and following leaves.
Autograph inscription dated and signed by André Suarès to his doctor H. Compain: "... en souvenir de ses bons soins..." ["...in remembrance of his good care..."]

First edition printed in only 125 numbered copies on strong laid paper.
Work illustrated by Charles Jouas with 12 compositions engraved with etching and burin by Boisson, including one frontispiece and eleven in-text. These engravings were printed on China paper in Wittman's workshops and mounted on laid paper.
Full lavallière morocco binding, spine with five raised bands decorated with triple gilt compartments, place and date at foot, quintuple gilt compartment framing the boards, important gilt stamped decoration framing the pastedowns, combed paper endpapers, double gilt fillet on the edges, guilloche headcaps, original covers preserved, all edges gilt, binding signed Chambolle-Duru.
Superb copy perfectly executed by Chambolle-Duru.

First edition, one of 16 numbered copies on Holland paper, deluxe issue.
A transverse fold to the head of the rear board, otherwise a handsome copy.

First edition printed on ordinary paper.
Some minor foxing to the margins of the boards.
Fine dated and signed autograph inscription by Robert de Montesquiou: "A notre jeune ami, Henry Bardac, dont j'apprends avec effroi qu'il a 32 ans. Cela fait réflechir sur l'âge des vieux amis. RMontesquiou Février 1921." ["To our young friend, Henry Bardac, whose age of 32 I learn with dismay. This makes one reflect on the age of old friends. RMontesquiou February 1921."]

First edition, a Service de Presse (advance) copy.
Some small worming to spine.
Autograph inscription signed by Henri de Montherlant to Edouard Caen.

First edition on ordinary paper.
Some light foxing affecting the endpapers and edges.
Autograph inscription signed by Robert de Montesquiou on an endpaper to the politician Jean de Castellane, brother of the famous dandy Boni: "Au comte & à la comtesse Jean de Castellane. Mon petit dernier.. Quel amour d'enfant ! Robert de Montesquiou." ["To Count & Countess Jean de Castellane. My little last one.. What a lovable child! Robert de Montesquiou."]

First edition on ordinary paper.
Some light foxing to margins, covers slightly and partially faded.
Beautiful autograph inscription dated and signed by Robert de Montesquiou to the Countess de Castellane, sister-in-law of the famous dandy Boni: "A la comtesse J. de Castellane. Vous dont les thés ont le bonheur de ne pas être "poétiques", ne les changez pas!.. RMontesquiou 1912." ["To Countess J. de Castellane. You whose teas have the good fortune of not being 'poetic', don't change them!.. RMontesquiou 1912."]

First edition printed in 450 numbered copies.
Very handsome copy.
Illustrated work, complete with all 205 binding plates (plate 79, then 79 bis).
Under the direction of Marcel Garrigou, with contributions by Raoul Dufy, Roger Devauchelle, René Kieffer, Pierre-Lucien Martin, André Dunoyer de Segonzac...

First edition, one of 310 numbered copies on vélin rivoli paper, the only deluxe copies.
Edition established by Régis Tettamanzi.
Copy in mint condition.

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, one of 52 numbered copies on Montval paper, deluxe copy.
Endpapers very lightly and partially shaded, without consequence.
Handsome full-margined copy.

First edition, one of 297 numbered copies on pur fil paper, ours being one of the 100 copies reserved for the Strasbourg selection of the "La mésange" bookshop.
Four small stains of no consequence to right margin of front cover.
Handsome copy.

First edition.
Half green sheep binding, smooth spine decorated with triple gilt fillets, marbled paper boards, marbled endpapers and pastedowns, contemporary binding.
One tear at head of a leading edge, corners slightly bumped, foxing, two printed library stamps on half-title and title pages.

First edition, one of 30 numbered copies on pur fil paper, the only deluxe copies.
Very handsome copy.

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

First edition, one of 14 numbered copies on Arches laid paper, the deluxe issue after 4 on old Japan paper.
Some worming on the slightly dusty deckled edges, a few minor foxing spots, otherwise a rare and handsome copy.

First edition printed in 575 numbered copies on handmade Arches laid paper.
Work illustrated with a vignette by Raoul Dufy on the cover.
Spine lightened as is generally the case, otherwise handsome copy.
Manuscript signature of Jean Paulhan at the foot of the first endpaper.

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."]

First edition, one of 4 numbered copies on China paper, ours unnumbered but properly justified "chine" below the justification page and at the foot of the second cover, deluxe copy.
Fine full-margined copy.

First edition, on ordinary paper, of François Mauriac's second work.
Handsome copy despite two small stains on the first cover.
Dated and signed autograph inscription from François Mauriac to François Hepp.

First edition.
Half red shagreen bindings, spines with four raised bands set with black fillets and decorated with double black compartments adorned with central gilt fleurons, marbled paper boards, marbled endpapers and pastedowns, speckled edges, contemporary bindings.
Some foxing otherwise handsome copy.
Our copy is enhanced with an original photograph of a painted portrait representing Béranger pasted on an endpaper of the first volume.

First edition, one of 85 numbered copies on pur fil paper, deluxe copy.
Three minor tears of no consequence at the foot of the first cover.
A handsome full-margined copy.
In 1926, Albert Londres, who had already traveled to numerous countries in his capacity as a reporter, settled in the Phocaean city. Marseille porte du Sud, an account comprised of twelve articles, is a true documentary and above all a tribute to this cosmopolitan city.

The first collected edition, of which there were no deluxe copies.
Spine slightly faded.
Curious autograph inscription signed by Bernard Frank on the half-title page: "Copie conforme. Bernard"

The first edition, of which there were no deluxe copies.
Handsome copy.
Work illustrated with photographs by Michel Houellebecq.

First edition, of which there were no deluxe copies, a Service de Presse (advance) copy.
Handsome copy.
Fine autograph inscription signed by Eduardo Manet to Guy Dumur: "... à qui nous devons, tous, une sincère gratitude pour sa courageuse défense de 'l'autre' théâtre." ["... to whom we all owe sincere gratitude for his courageous defense of 'the other' theater."]

Second edition with some parts in first edition as revised and expanded and offering the French translation on facing pages.
Handsome copy.

First edition.
Publisher's brown grained sheepskin binding, orange top edge, smooth spine decorated with gilt fillets.
Rich iconography.
Handsome copy complete with its glassine wrapper but lacking its slipcase.

First edition.
Publisher's brown grained sheepskin binding, smooth spine decorated with gilt fillets.
Rich iconography.
Handsome copy complete with its glassine wrapper.

First edition, one of 1050 numbered copies on vellum.
Publisher's full cardboard binding after Paul Bonet's original design.
Spine with two small areas of sunning at head and foot as often found, otherwise a handsome copy.

First edition.
Half red shagreen binding, spine with five raised bands, marbled paper boards, marbled endpapers and pastedowns, some tears to leading edges, corners slightly bumped, top edge gilt.
Some rubbing to joints, a discoloration mark to margin of front board, boards marginally browned, some minor foxing to interior.
Numerous contributions including those by Alphonse Daudet, Maurice Barrès, Henri Cazalis, Charles-Marie-René Leconte de Lisle, Jean Lorrain, Anatole France, Léon Cladel, Paul Arène, José Maria de Heredia, Maurice Rollinat, Sully-Prudhomme, Eugène Vermersch, Laurent Tailhade, Maurice Rollinat...
Rare complete fifth year.

First edition of this play comparing bourgeois marriage to legalized prostitution.
Bradel binding in half grey percaline with corners, smooth spine decorated with gilt floral motif, date and double gilt fillets at foot of spine, navy blue shagreen title-label with minor rubbing, marbled paper boards, covers and spine preserved, binding signed in blind by Victor Champs.
Handsome copy.

First edition.
Bradel binding in grey half-cloth with corners, smooth spine decorated with a gilt floral motif, gilt date and double fillet at foot of spine, navy blue shagreen title-label with slight rubbing, marbled paper boards, covers and spine preserved, binding stamp-signed in blind by Victor Champs.
Handsome copy.

First edition.
Bradel binding in grey half-cloth with corners, smooth spine decorated with a gilt floral motif, gilt date and double fillet at foot of spine, navy blue shagreen title-label with slight rubbing, marbled paper boards, covers and spine preserved, binding stamp-signed in blind by Victor Champs.
Handsome copy.

First edition.
Bradel binding in half grey cloth with corners, smooth spine decorated with gilt floral motif, gilt date and double fillet at foot of spine, navy blue shagreen title-label with minor rubbing, marbled paper boards, covers and spine preserved, binding signed in blind by Victor Champs.
Handsome copy.

First edition of this play set to music by Charles Gounod.
Bradel binding in half grey cloth with corners, smooth spine decorated with gilt floral motif, gilt date and double fillet at foot of spine, navy blue shagreen title-label with minor rubbing, marbled paper boards, covers and spine preserved, binding signed in blind by Victor Champs.
Handsome copy.

First edition illustrated with drawings by Alain Grée.
Publisher's polychrome paper boards, smooth spine.
Small lack to film covering at head of one joint, five fine blue ballpoint pen marks in margins of two pages, a small light stain on the fore edge, otherwise handsome copy.
Autograph inscription signed by Paul Guth to Stéphanie de Gonneville.

First edition.
Half red shagreen binding, spine with five raised bands, marbled paper boards, marbled endpapers and pastedowns, some tears on the leading edges, top edge gilt.
One fragile joint, a trace of discoloration in the margin of the first cover, boards marginally browned, some light foxing to interior.
Numerous contributions including those of Alphonse Daudet, Charles-Marie-René Leconte de Lisle, Anatole France, Eugène Vermersch, Léon Cladel, Edgar Allan Poe, Paul Arène, Paul Nadar, François Coppée, Maurice Rollinat, Jules Troubat, André Gill, Théodore de Banville, Albert Glatigny, Sully-Prudhomme ...
The first issue is illustrated with a frontispiece by Félix Régamey featuring portraits of the main contributors to the review.
Rare complete second year.

First edition.
Half red shagreen binding, spine with five raised bands, marbled paper boards, marbled endpapers and pastedowns, some tears to leading edges, top edge gilt.
Some rubbing to joints, a discoloration mark to margin of front board, boards marginally browned, some light foxing to interior, the first three leaves tending to detach.
Numerous contributions including those by Alphonse Daudet, Charles-Marie-René Leconte de Lisle, Anatole France, Léon Cladel, Edgar Allan Poe, Paul Arène, Paul Nadar, François Coppée, Maurice Rollinat, Jules Troubat, André Gill, Georges Rodenbach, Emmanuel Des Essarts...
Rare complete third year.

First edition.
Half red shagreen binding, spine with five raised bands, headcaps worn down, marbled paper boards, marbled endpapers and pastedowns, some tears on the leading edges, corners slightly bumped, top edge gilt.
Light rubbing on the joints, a discoloration mark in the margin of the front board, boards marginally browned, some light interior foxing.
Numerous contributions including those by Alphonse Daudet, Maurice Barrès, Charles-Marie-René Leconte de Lisle, Anatole France, Léon Cladel, Paul Arène, Paul Nadar, François Coppée, Maurice Rollinat, Sully-Prudhomme, Eugène Vermersch, Jules Romain, Georges Rodenbach, Stanislas de Guaita...
Rare complete fourth year.

First edition, one of 58 numbered copies on pure Lana rag paper, deluxe copy.
Spine and boards lightly and marginally sunned without consequence.
Handsome full-margined copy.

First edition illustrated with 101 lithographs by Daumier and 2 frontispieces by Nanteuil. Each issue contains 3 pages of text and one captioned lithograph. The volumes dated 1840 are reprints. These lithographs were originally published separately from 1836 to 1838, and were reduced in size for this volume.
Contemporary half calf binding with lavender tint. Smooth spine decorated with mirror rococo tooling. Spine uniformly darkened. Joints cracked. One scratch on the upper cover. Evidence of rubbing. Lithograph 36 has a repaired tear running lengthwise across the entire page. Very light scattered foxing. Small dampstain to lower margin of lithographs 48 to 57. Paper generally somewhat browned.
Satire of society through the character of Robert Macaire, an unscrupulous businessman

First edition, one of 42 numbered copies on Rives laid paper, the only deluxe copies.
Handsome full-margined copy.

First edition.
A small tear reglued at foot of spine.
Issue illustrated with a drawing by Louis Dejean "Aurel".
Other contributions by Francis Carco "Les journaux" ["The newspapers"], Emile Sicard "Francis Jammes", Jean-Louis Vaudoyer "Les plaintes de Jézabel" ["The complaints of Jezebel"], Paul Souchon "La fausse nymphe" ["The false nymph"]...

Second edition with some parts in first edition as expanded with two new pieces: "L'occasion" and "Le carrosse du Saint Sacrement".

Half red straight-grained morocco binding with corners signed Blanchetière at the top of the first endpaper. Smooth spine decorated with a large mirror tool and roulettes. Separating fillets on the boards. Very fresh copy, uncut, however some brown spots on Le carrosse du saint sacrement.

Very handsome copy.

Provenance: from the library of Jacques Crépineau, famous collector of Romantic books, with his bookplate. Theater historian and director of the Michodière theater.

This is Prosper Mérimée's first work composed of 6 theatrical pieces. "First dramatic manifestation, in France, of Romantic creation, the Théâtre de Clara Gazul is an original pastiche that shows a moralist's irony, but also a parodic exaggeration of Spanish culture (cries, tears, revenge, killings)." "More intended for reading than for performance, the work achieved considerable success from its publication." Larousse Encyclopédie

First edition, with statement of sixth edition.
Bradel binding in full cream white cloth, smooth spine decorated with a black floral motif, double fillet and black date at foot, contemporary binding.
Endpapers partially shadowed, some marginal foxing affecting mainly the first and last leaves.
Rare autograph inscription signed by Joris-Karl Huysmans on this text to P. Edeline.

First edition published in 2900 copies, ours being one of the copies on Alfa paper reserved for the press service.
Light foxing affecting mainly the edges.
Literary contributions by Thomas Stearns Eliot "Som de l'Escalina", Paul Valéry "Le livre de Christophe Colomb", Léon-Paul Fargue "Mimes", Valery Larbaud "Le patron des traducteurs"...
Commerce, literary review founded by Marguerite Caetani, appears in the form of twenty-nine "quarterly notebooks published under the care 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 simply showcase the most prominent authors of French literature: it plays a role as "discoverer" of young talents and unearths forgotten capital texts.

First edition illustrated with humorous drawings by the author.
Full paper boards binding, smooth spine, complete with its illustrated dust jacket.
Handsome copy.
Autograph inscription signed by Avoine to Jean-Pierre Richard and his wife Michelle.

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.

First edition published in 2900 copies, ours being one of the copies on Alfa paper.
Two stains on the spine which also has a small tear at the head, a stain at the lower right corner of the first cover.
Literary contributions by Léon-Paul Fargue "Une violette noire", Benjamin Fondane "Ulysse", Henri Michaux "Un certain plume", Jean Follain "Poèmes", André Gide "Oedipe", Georges Meredith "Amour moderne", Louis Brauquier "Panama".
Commerce, a literary review founded by Marguerite Caetani, presented itself as twenty-nine "quarterly notebooks published under the care of Valéry, Fargue and Larbaud" between 1924 and 1932. Its publication forms part of the competitive tradition of French reviews of the 1920s and was not content merely to showcase 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 2,900 copies, ours being one of the Alfa paper copies.
A crease at the head of the front cover, light foxing to edges.
Literary contributions by Henri Michaux "Le fils du macrochéphale", André Suarès "Fiorenza", Paul Valéry "Petite préface aux poésies de T'Au Yuan Ming", T'Au Yuan Ming "Oraison funèbre sur sa mort, traduction de Liang Tsong Taï"...
Commerce, a literary review founded by Marguerite Caetani, appeared as 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 was not content merely to 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 2,900 copies, ours being one of the Alfa paper copies reserved for the press service.
Spine slightly faded.
Literary contributions by Ossip Mandelstam "Le timbre égyptien", René Daumal "Poèmes", Paul Valéry "Moralités", Valery Larbaud "Du sel ou du sable"...
Commerce, a literary review founded by Marguerite Caetani, appeared as 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 was not content merely to promote the most prominent authors of French literature: it played the role of "discoverer" of young talents and unearthed forgotten seminal texts.

The first edition, of which there were no deluxe copies, with mention of eighth edition.
Publisher's wraparound band attached.
Our copy contains numerous corrections and modifications in the author's hand, made to provide the final corrections to his publisher before definitive publication.

First edition, illustrated with an engraved title with vignette, 39 plates by H. K. Browne including 10 mezzotints, including the frontispiece. All the drawings were executed according to very precise recommendations by Dickens, the mezzotint engravings expressing despair and the dark sides of the novel while the caricatural figures express joy and humor. As with all of Dickens's works, this novel first appeared in serial form (March 1852 to September 1853). First printing points: "elgble" p19, line 6; "chair" p209, line 23; "counsinship" p275, line 22
English binding in half burgundy shagreen with small corners. Spine with false raised bands richly decorated. Brown shagreen title label. Traces of rubbing to joints, headcaps, bands, corners and edges. Boards also rubbed. While the text paper is rather clean, despite yellowing of some margins near the figures, that of the engravings constantly shows browning, sometimes heavy, mainly in the margins, an almost systematic case in Dickens editions due to the use of more acidic paper for the engravings. A few small stains or foxing in the text. Good copy, well bound, a rare case for these popular editions.
The ninth novel published by Dickens and the first of the great panoramic novels depicting society, Bleak House came to life in France in 1858 under the title: La maison d'âpre-vent. A profound originality at the time, the novel uses two narrators, one in the third person, the other in the first. The opposition of the two narrations stigmatizes the relationship of the individual to the functioning of society. Many critics see it as one of the author's finest creations.
Bookplate of Syan Siennen.

First edition, one of the numbered first printing copies printed on press, with service de presse stamp at head of first cover.
Half navy blue shagreen binding with corners, spine with five raised bands, gilt date at foot, marbled paper boards, combed paper endpapers and pastedowns, covers and spine preserved, top edge gilt.
Handsome copy despite a small tear at head of first cover.
Signed autograph inscription from Jean Mélia to Léon Côte.

The first edition, of which there were no deluxe copies.
A few words of thanks written in green ink at the head of the half-title page, otherwise a handsome copy.
Manuscript signature by Graham Swift on the title page.

Rare first edition, of which there were no deluxe copies, of the French translation established by Paul Claudel.
Handsome copy despite some occasional light foxing.

First edition printed in 980 numbered copies on vélin du marais paper, ours one of the 100 hors commerce.
Handsome copy.
Work illustrated with a frontispiece by André Dunoyer de Segonzac.
Handsome unsigned autograph thought by Paul Géraldy on the half-title page: "Une ancienne tradition veut encore aujourd'hui qu'à Paris, quand on donne une pièce au public pour la première fois, le nom de l'auteur ne figure pas sur les affiches. Les spectateurs sont avertis que c'est une pièce de théâtre, et non pas un auteur, qui leur est présentée. Quand tout est terminé, le rideau se relève. Un des comédiens s'avance et nomme l'auteur, pour référence, accessoirement." ["An old tradition still holds today that in Paris, when a play is given to the public for the first time, the author's name does not appear on the posters. The spectators are informed that it is a play, and not an author, that is being presented to them. When everything is finished, the curtain rises. One of the actors steps forward and names the author, for reference, incidentally."]

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.

First edition, one of 35 numbered copies on B.F.K. de Rives pure rag vellum, the only deluxe copies.
Very handsome copy.

First edition, one of 35 numbered copies on handmade laid paper from Rives, the only deluxe copies.
A very fine and rare copy.

First edition, one of 20 numbered copies on vélin chiffon du marais, the most limited deluxe paper before 30 on Holland paper.
A very fine and rare copy.

First edition.
A minor tear at foot of spine.
Handsome copy complete with its folding table at beginning of volume.

First edition, one of 10 lettered copies on Japan paper, deluxe issue.
Some foxing to margins of first cover, a tear to upper right corner of second cover.
A full-margined copy.
Autograph inscription signed by Ignace Legrand to the Venezuelan painter and engraver Elisa Elvira Zuloaga: "A madame Zuloaga, hommage de l'auteur Ignace Legrand."

First edition, one of the numbered copies of the first issue printed, service de presse punch mark at head of front board.
Bound in half navy blue morocco-grained shagreen with corners, spine with five raised bands, date gilt at foot, marbled paper boards, endpapers and pastedowns of combed paper, covers and spine preserved, top edge gilt.
Handsome copy.
Signed autograph inscription from Jean Mélia to Léon Côte and his wife.

« Books ! Books form America ! They have traveled all the way over the Ocean from where the sun sets behind the tower of the Woolworth Building to where the sun rises behind the spine of Notre-Dame. They bring us a whiff of the atmosphere of the New World, a pulse of its thought, a ray of its beauty. »


The rare first edition of the inaugural speeches for the American library at the Sorbonne, December 13, 1920.
One page of photographic portraits of the authors.

« Sartre affirmait que la grande révélation pour les lecteurs français de l'entre-deux guerres fut celle des romanciers américains, Hemingway, Faulkner, Dos Passos, Steinbeck. C'est au cours des mêmes années que l'histoire américaine fit sa percée dans les Universités françaises, tout en se limitant, à la différence du roman, à des cercles très étroits et spécialisés. Elle s'imposa dans un petit nombre d'institutions Collège de France, Sorbonne, Ecole des Hautes-Etudes... » ["Sartre claimed that the great revelation for French readers of the inter-war period was that of American novelists, Hemingway, Faulkner, Dos Passos, Steinbeck. It was during these same years that American history made its breakthrough in French Universities, while limiting itself, unlike the novel, to very narrow and specialized circles. It established itself in a small number of institutions: Collège de France, Sorbonne, Ecole des Hautes-Etudes..."] (Fohlen Claude. Les débuts de l'histoire américaine en France. In: Revue Française d'Etudes Américaines, N°13, février 1982. Historiens français des Etats-Unis. pp. 27-40.)
Founded the same year as the American Library in Paris, thanks to a donation from the Carnegie Foundation, the American Library, attached to that of the Sorbonne, marks the official beginning of American History studies in France: « Deux mille livres, choisis parmi les plus représentatifs et les meilleurs, dans les catégories de l'histoire, de la biographie et des mémoires, des documents originaux, de la géographie humaine, économique et sociale, de la religion et de la morale, de la pédagogie, du droit, et enfin de la littérature, offrent aux professeurs et aux étudiants les sources principales où ils peuvent puiser la connaissance exacte (...) de la nation américaine » ["Two thousand books, chosen from among the most representative and the best, in the categories of history, biography and memoirs, original documents, human, economic and social geography, religion and morals, pedagogy, law, and finally literature, offer professors and students the main sources from which they can draw exact knowledge (...) of the American nation"].
This important gift was originally intended to support Charles Cestre's efforts in his teaching of American civilization and to guarantee, after the First World War, Franco-American understanding and friendship: « The knowledge of America's historical, moral and literary record will be the best warrant that no misunderstanding creeps in between her and France » (Speech by Charles Cestre)
Published in a very small number of copies reserved for members attending the Inauguration Ceremony, this rare booklet honors American culture in France's most prestigious university, while at the same time and two streets from the Sorbonne, Sylvia Beach was welcoming in her Latin Quarter bookshop the writers of the Lost Generation who would revolutionize French and Anglo-Saxon literature.

First edition.
Cntemporary marbled roan binding, smooth spine with partialy faded roll-tooled and ruled gilt motifs, burgundy roan title-label, spine-ends restored, joints restored at head and foot, marbled paper pastedowns and endpapers, gilt ruled leading edges, upper corners bent, marbled edges.
Some minor foxing, browned leaves, printed library stamp and pencil annotations to one endpaper.
Provenance: Louis Humbert library, with his bookplate on front pastedown.
Rare signed inscription by Charles Nodier to the royalist journalist, disciple of Félicité de La Mennais, staunch critic of Romanticism Pierre-Sébastien Laurentie: "A Monsieur Laurentie, son dévoué Charles Nodier."

First edition of this issue.
Light stains on the covers, a small lack to the lower right corner of the first cover, handsome interior condition.
The magazine "Jazz," celebrated for the quality of its illustrations and photographs, was founded in 1929 by Titaÿna with Carlo Rim as editor-in-chief, and appeared monthly between December 1928 and March 1930, comprising 15 issues plus 2 supplements.
Contributions by Pierre Mac Orlan "Vieille et jeune Bretagne" ["Old and young Brittany"], Jacques Dyssord "Clemenceau", Pierre Ichac "Un auteur dramatique chez les mangeurs d'homme" ["A playwright among the cannibals"], Claude Aveline "Le souvenir de Bourdelle" ["The memory of Bourdelle"], Eli Lotar "Amsterdam", Louis Hirschauer "Retour du Soudan" ["Return from Sudan"], André Hunebelle "Art abstrait" ["Abstract art"]...
Issue illustrated with works by Carlo Rim and Georges Grosz as well as numerous photographs by Germaine Krull, Yvonne Chevalier, Eli Lotar, Jean Collar, Sougez...

First edition of this issue.
Some tears to the spine, a lack to the lower left corner of the back cover.
The magazine "Jazz", celebrated for the quality of its illustrations and photographs, was founded in 1929 by Titaÿna with Carlo Rim as editor-in-chief, and appeared monthly between December 1928 and March 1930, totaling 15 issues plus 2 supplements.
Contributions by Léo Larguier "La brocante en l'an 2030", Jacques Maret "Peintures sous verre", Emile Condroyer "Islande", André Beucler "Batoum", Jean Schlicklin "Bréhat"...
Issue illustrated with numerous photographs by Germaine Krull, Sébastien Gallais, Paul Nadar, Henri Manuel, De Smet...

First edition of this issue.
Two tears to the spine, some stains to margins of covers.
The magazine "Jazz" celebrated for the quality of its illustrations and photographs, was founded in 1929 by Titaÿna with Carlo Rim as editor-in-chief, and appeared monthly between December 1928 and March 1930, totaling 15 issues plus 2 supplements.
Contributions by Joseph Conrad "Atterrissages et départs", Henri de Montherlant "Les conduites de taureaux en Camargue", Florent Fels "La route", Titaÿna "Panama", Pierre Lazareff "Vie intime des artistes du music-hall", Paul Chauveau "Jean Cocteau l'imposteur", Urbain Faure "plongeurs de nacre... pêcheurs de perles"...
Issue illustrated with works by Jean Cocteau, Henri-Pierre Gassier as well as numerous photographs by Jean Dreville, Eli Lotar, Kertesz, Carlo Rim, Titaÿna, Pierre Ichac, Germaine Krull, Urbain Faure...

First edition of this issue.
Small tears of no consequence to spine, some light stains at foot of front cover.
The magazine "Jazz," celebrated for the quality of its illustrations and photographs, was founded in 1929 by Titaÿna with Carlo Rim as editor-in-chief, and appeared monthly between December 1928 and March 1930, comprising 15 issues plus 2 supplements.
Contributions by Jacques Dyssord "Rue de Lappe," Florent Fels "Le port d'Amsterdam," Joseph Delteil "Le Paradis terrestre," Henri Thétard "Fêtes foraines," Waldemar George "Expressionisme," Carlo Rim: "La rue chinoise"...
Issue illustrated with works by Moïse Kisling, Louis Touchagues, Jean Cocteau, Bécan, Carlo Rim as well as numerous photographs by Germaine Krull, Achay, Manuel frères...

First edition of this issue.
Very light marginal worming to covers, handsome copy.
The magazine "Jazz," celebrated for the quality of its illustrations and photographs, was founded in 1929 by Titaÿna with Carlo Rim as editor-in-chief, and appeared monthly between December 1928 and March 1930, comprising 15 issues plus 2 supplements.
Contributions by Titaÿna "La vie à bord des grands paquebots," Carlo Rim "Lubaki, peintre nègre," Georges Altman "Vladimlir Iliitch Lénine," Serge "Promenade en avion," André Hunebelle "Images du verre," Legrand-Chabrier "Contorsions," Ivan Goll "Sodome et Berlin," Georges Thiry "Antoine, photographe nègre"...
Issue illustrated with works by Carlo Rim, Antoinette Lubaki and Sem as well as numerous photographs by Eli Lotar, Antoine, Rap, Gergely, Hansa Luftbild, Sougez, Keystone, Jean Painlevé...

First edition of this issue.
Marginal stains to covers, pleasant interior condition.
The magazine "Jazz", celebrated for the quality of its illustrations and photographs, was founded in 1929 by Titaÿna with Carlo Rim as editor-in-chief, and was published monthly between December 1928 and March 1930, comprising 15 issues plus 2 supplements.
Contributions by Titaÿna "Bagdad", Ilya Ehrenbourg "Slovaquie", Marcel Zahar "Centenaire du bec de gaz", Carlo Rim "Rues", Pierre Scize "Le cinéma"...
Issue illustrated with works by Carlo Rim, Honoré Daumier, Eugène Delacroix, Francisco de Goya, Paul Gavarni as well as numerous photographs by Germaine Krull, Laszlo Moholy Nagy, Ilya Ehrenbourg, Achay, Plicka...

First edition of this issue.
Light marginal foxing to the covers, minor tears to the spine without consequence, handsome interior condition.
The magazine "Jazz", celebrated for the quality of its illustrations and photographs, was founded in 1929 by Titaÿna with Carlo Rim as editor-in-chief, and appeared monthly between December 1928 and March 1930, totaling 15 issues plus 2 supplements.
Contributions by Titaÿna "Alep", Florent Fels "Joris Ivens", Jean Dorsenne "L'Océanie à travers les artistes", Carlo Rim "Rues", Legrand-Chabrier "Frégoli"...
Issue illustrated with works by Carlo Rim, Serge and Sennep as well as numerous photographs by Germaine Krull, Joris Ivens, Brunoff, Titaÿna, Castelli, Douaze, Manuel...

First edition of this issue announcing the forthcoming publication by "Sans pareil" of "Plan de l'aiguille" by Blaise Cendrars photographed with a cigarette between his lips.
Minor marginal foxing.
The magazine "Jazz," famous for the quality of its illustrations and photographs, was founded in 1929 by Titaÿna with Carlo Rim as editor-in-chief, and appeared monthly between December 1928 and March 1930, totaling 15 issues plus 2 supplements.
Contributions by Titaÿna "Jérusalem," Jacques Dyssord "Défense et illustration du chantage," Florent Fels "Acier," Paul Chauveau "Ubu de chair," Pierre Scize "Lorsque Charlot parut...," Jacques Heller "Le voyageur, le sauvage et le sociologue..."
Issue illustrated with works by Alfred Jarry, Louis Touchagues, Carlo Rim and Serge as well as numerous photographs by Germaine Krull, Eli Lotar, Jacques Heller, Achay, Titaÿna...

The first edition, of which there were no deluxe copies.
A discreet trace of adhesive tape at the foot of the spine and boards, light foxing to endpapers.
Iconography.
Autograph inscription signed by Claude Lévi-Strauss to the Islamologist Henri Laoust.

Autograph letter dated and signed (25 lines in black ink) from the illustrator and caricaturist Sennep, addressed to his friend the Provençal writer, caricaturist and filmmaker Carlo Rim, thanking him while teasing him after having been decorated with the Legion of Honor: "Merci, gros jaloux ! mais, d'abord, je n'ai pas les cheveux aussi blancs ! ensuite, ma cravate est d'un bleu de ciel, qui évoque le ruban des "Enfants de Marie", beaucoup plus que l'ordre du Saint-Esprit..." ["Thank you, big jealous one! but, first, I don't have hair that white! then, my tie is sky blue, which evokes the ribbon of the "Children of Mary", much more than the order of the Holy Spirit..."]

A self-portrait in black felt-tip pen and heightened with blue pencil represents the illustrator, freshly honored, with his decoration around his neck.

Fold inherent to mailing.

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 illustrated with in-text drawings by the author.
Half navy blue shagreen binding with corners, spine with four raised bands set with gilt garlands decorated with gilt typographical motifs, gilt friezes at head and foot, frame of double gilt fillets on marbled paper boards, marbled endpapers and pastedowns, front cover preserved, bookplate pasted on a pastedown, soft slipcase in full marbled paper with small marginal rubbing.
Our copy is enhanced with two original drawings by Marius Renard corresponding to the illustrations on pages 110 and 261, the drawings are mounted on blue-grey cardboard sheets.

First edition printed on ordinary paper.
Handsome copy despite two small tears at head of spine.
Signed autograph inscription from Anna Langfus to Ninette Schapira.