Paris & Île de France

First edition, a Service de Presse (advance) copy.
Rare and handsome copy considering the fragility of this poor-quality wartime paper.
Autograph inscription signed by Louis-Ferdinand Céline: "A Mr Monnerot bien amicalement L.F. Céline." ["To Mr Monnerot most cordially L.F. Céline."]

First printing of the 31 illustrations outside text (29 plates and 2 frontispieces) and numerous vignettes within the text by Gavarni, Daumier, D'Aubigny, Adam, Emy, Traviès, Boulanger, Monnier and Théno.
This is a copy of the first edition of 1843 reissued by Marescq in 1844 with the same illustrations but with different titles and additionally containing 11 plates outside text in volume 1, 2 engraved titles as well as 2 frontispieces.
Texts by Paul de Kock, Honoré de Balzac, Alexandre Dumas, Frédéric Soulié, Léon Gozlan, Edouard Ourliac, Eugène Briffault, Eugène Guinot and Henri Monnier.
Half chocolate brown morocco bindings with corners, smooth spines decorated with richly ornamented gilt cartouches, gilt dates at foot, frames of gilt fillets on marbled paper boards, combed paper endpapers and pastedowns, covers preserved, top edges gilt, elegant pastiche bindings signed Pagnant.
Handsome copy beautifully executed of this very important work, remarkable for the fine constellation of writers and artists of the Romantic period who collaborated on it. A book very difficult to find perfect with its covers (cf Carteret).

First edition and first printing of the 6 color compositions by Chas Laborde, one of 255 numbered copies on laid paper with deckled edges.
Spine lightly sunned, rear board marginally shadowed and stained on its right margin.
Precious autograph inscription signed by Guy Laborde to his uncle, the book's illustrator: "A mon oncle Chas. dont l'atelier de la rue des Saules et celui de la rue Caulaincourt furent mes phares tutélaires." ["To my uncle Chas. whose studios on rue des Saules and rue Caulaincourt were my guiding lights."]

First edition, first printing of this rare album, with its precious publisher's lithographed green cover by Belin and twenty original captioned lithographed plates by Gustave Doré.
One of Doré's earliest efforts, his debut album of illustrations he published at age twenty-two: "In this album, Doré begins to display an unprecedented mastery of comedy and exuberance. We are constantly drawn in by the abundant playfulness of his verve, and, as Béraldi says, 'by a very accurate, very witty and yet measured observation'"(Henri Leblanc, Catalogue de l'oeuvre complète de Gustave Doré).
Later olive-green 3/4 Russian morocco binding, faded spine, light scuffing to the corners, marbled pastedowns and endleaves, original covers preserved, binding signed Ch. Septier.

London 1889, Mount: 28,7x38,4cm - photograph : 18,3x27,4cm, a photograph mounted.

Rare original portrait of Gustave Eiffel, carbon print mounted with the stamp of the Walery studio on mount.
Signed and inscribed to lower right corner of mount: "Au Camarade Richard Souvenir du banquet du 22 Nbre [18]89 G. Eiffel" (To fellow comrade Richard Souvenir of the banquet from 22 November [18]89 G. Eiffel)
This striking portrait of the engeneering legend was shot in the year of the tower's inauguration. Built on the occasion of the Paris Universal Exhibition, it was the tallest man-made structure at the time, towering 300 meters over the Parisian landscape. Eiffel is also responsible for designing the iron structure of the Statue of Liberty.
Another print of this portrait is kept at the National Portrait Gallery, London.

First collected and partly first edition, a Service de Presse (advance) copy.
Half brown sheep binding, spine with four raised bands underlined with black fillets, marbled paper effect boards, marbled endpapers and pastedowns, original wrappers and spine preserved.
Some minor foxing, a stain on the second cover board preserved, complete with publisher's (advertising) slip.
Provenance: from the library of Marcel Augagneur with his curious bookplate pasted on a pastedown.
Signed autograph inscription from Marcel Aymé to journalist Marcel Augagneur ("Gringoire" and "L'écho de Paris") who used the pseudonym Marc de Saligny for his writing.

First edition of this speech delivered at the session of March 13, 1794 to the assembly of the National Convention.
Small stains in the margins of the leaves, a lack at the foot of the last leaf with no damage to the text.
Rare copy presented in its original wrappers.

First edition, one of 50 numbered copies on vélin pur chiffon de Lana, the only deluxe issue (grands papiers).
A very fine copy.
Moving and beautiful inscription by Daniel Pennac to his great friend Franklin Rist (to whom he dedicated Comme un Roman) added below the printed dedication: "Et grâce à ton amitié, Franklin, qui nourrit chaque ligne, et dont un lecteur attentif trouverait même la trace entre les mots. D. Pennac" [And thanks to your friendship, Franklin, which influenced each line, an observant reader would even find its trace between the words. D. Pennac] with a drawing of a little man carrying, like Atlas or Sisyphus, a fountain pen.

First edition on ordinary paper.
Cover illustrated by Jean Hugo.
One joint slightly reglued at head, minor stains without consequence on the back cover.
Signed autograph inscription from Maurice Sachs to the tragedienne and theatre actress Andrée Tainsy.
Our copy is enriched with an autograph letter dated and signed by Maurice Sachs in which he inquires about the dedicatee.

First edition, one of 250 numbered copies on Holland paper, the only deluxe copies after a few rare copies on China paper.
First cover skillfully restored, printed library stamp with numbering on the half-title page.
Copy as issued.

First edition printed on laid paper for the first two volumes.
Publisher's Bradel binding in full sea-green boards, smooth spine with small tears at foot, spine and boards of the second volume uniformly faded and lightened, corners slightly bumped.
Work illustrated with figures in the text.
Handsome complete set in 3 volumes.

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

The rare first edition.
Light clear dampstains to covers marginally and slightly dusty, handsome interior condition.

First edition.
Later half red shagreen binding, spine with four raised bands decorated with gilt floral motifs, marbled paper boards, combed paper endpapers and pastedowns, corners slightly bumped.
Some light foxing affecting mainly the first and last few leaves.

First edition of this issue.
Handsome copy.
Other contributions by Maurice Nadeau "Temps mort", Yves Bonnefoy "L'acte et le lieu de la poésie (fin)", Georges Limbour, Roland Barthes "Mythologie, cinéma, droite et gauche"...

First edition.
Light tears and marginal foxing to boards, one stain to first cover.
Rare.

Rare first edition.
Later Bradel binding in half red cloth, smooth spine decorated with double gilt fillets at head and foot, gilt title lettered lengthwise, marbled paper boards. Two leaves trimmed slightly shorter.
Quérard, La France littéraire: "Guiot celebrates the gift made to the Public Library of Corbeil, of the Antiquités de Corbeil, par J. de Labarre, one hundred and fifty-three years after their printing."

First edition.
Later half red shagreen binding, smooth spine decorated with gilt and blind fillets, paste paper boards with some small lacks, endpapers and pastedowns of pebbled paper. Edges with some tears, otherwise a handsome copy.
Exupère de Bayeux or Saint Spire was the first bishop of Bayeux. In the 9th century, during the Norman invasions, his relics were transported from Bayeux to the château de Palluau, then, in the following century, to the collegiate church of Saint-Spire de Corbeil by Count Haymon.

First edition.
Later binding in half camel sheep, spine with five raised bands decorated with gilt fillets and a red morocco title label, paste paper boards with some losses, combed paper endpapers and pastedowns, all edges combed. Joints slightly cracked at head, headcap with small losses.

First edition.
Later Bradel binding in marbled paper boards, flat spine evenly faded with a red morocco lettering-piece, rubbed headcaps.

First edition of this issue.
A small tear to the right margin of the front cover.
Contributions by Jacques Prévert "The gay Paris", Louis-René Des Forêts "Les grands moments d'un chanteur", Georges Séféris "Monsieur S.T. décrit un homme", Michel Leiris "Les tablettes sportives (partie III)", Maurice Nadeau...

First edition.
Contemporary full straight-grained red morocco binding, smooth spine decorated with gilt fillets and fleurons as well as a black morocco title-label, gilt fillet and roll-tooled border to covers, gilt roll-tooling on leading edges and headcaps, gilt decorative border surrounding endpapers and blue paper pastedowns. A handsome copy despite a small tear at head of upper cover.

First edition of this speech read at the session of the Chamber of Deputies on July 18, 1824.
Some light foxing, back cover entirely shaded.
Rare.

First edition.
Publisher's binding in full black paper boards, smooth spine, spine and covers richly decorated with gilt ornamental motifs, blind-ruled frame on covers, yellow paper endpapers and pastedowns, contemporary Romantic binding.
Some light foxing.
Work illustrated with 12 engravings devoted to the different regions of France.

First edition, a Service de Presse (advance) copy.
Illustrated cover and frontispiece decorated with a drawing by Albert Dubout.
Foreword by Jean Gabin.
Spine slightly sunned, a small lack of paper on second cover, a light dampstain at lower right corner of first cover.
Autograph inscription signed by Fernand Trignol to his friend Carlo Rim.
Carlo Rim inscribed his name below the inscription and pasted a clipping from a press article in which Fernand Trignol appears as Grand Chamberlain of the court of Warsaw in the film Tarass-Boulba alongside Charles David and Carlo Rim, dialogue writer, with Jacques Natanson, of this film by Alexis Granowsky released in 1936.
Provenance: from the library of the Provençal writer, caricaturist and filmmaker Carlo Rim who was notably friend to Fernandel, Raimu and Marcel Pagnol but also to André Salmon and Max Jacob.

First edition, a Service de Presse (advance) copy.
A light tear at foot of spine, front cover with small marginal stains.
Autograph inscription dated and signed by Jean Pierre Dorian to Carlo Rim and his wife who had taken the pen name Caro Canaille.
Carlo Rim, author of "Ma belle Marseille", was a Provençal writer, caricaturist and filmmaker and friend of Fernandel, Raimu and Marcel Pagnol but also of André Salmon and Max Jacob.

The first edition published in a small number of copies on laid paper.
Spine with two lacks at head and foot, corner lacks to boards, at the head of the second board, some small worming affecting mainly the endpapers.

First edition, one of 50 numbered copies on vellum, the only deluxe copies.
Some foxing affecting mainly the endpapers.
Preface by Francis Poulenc, iconography.
Autograph inscription dated December 1936 and signed by Marthe de Kerrieu to a couple of friends presenting her wishes and wishing them happy holidays for the end of year, enhanced with the signature of Francis Poulenc.

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.

Original color lithograph engraved by Albert Adam after a drawing by Léon Jean-Baptiste Sabatier and used as illustration for Paris et ses ruines by Victor Fournel, a work bearing witness to the ravages of the Paris Commune.
Some marginal soiling, otherwise a handsome copy.

Original black and white lithograph drawn and engraved by Jules David and used as an illustration for Paris et ses ruines by Victor Fournel, a work documenting the devastation of the Paris Commune.
Some marginal worming, otherwise a handsome copy.

Original black and white lithograph drawn and engraved by Léon Jean-Baptiste Sabatier and used as an illustration for Paris et ses ruines by Victor Fournel, a work documenting the devastation of the Paris Commune.
Some marginal worming, otherwise a handsome copy.

Original color lithograph engraved by Albert Adam after a drawing by Léon Jean-Baptiste Sabatier, used as an illustration for Paris et ses ruines by Victor Fournel, a work documenting the ravages of the Paris Commune.
Some marginal soiling, otherwise a handsome copy.

Original black and white lithograph engraved by Albert Adam after a drawing by Léon Jean-Baptiste Sabatier, used as an illustration for Paris et ses ruines by Victor Fournel, a work documenting the ravages of the Paris Commune.
Some marginal soiling, otherwise a handsome copy.

Original color lithograph drawn and engraved by Léon Jean-Baptiste Sabatier and used as illustration in Paris et ses ruines by Victor Fournel, a work documenting the ravages of the Paris Commune.
Handsome copy.

Original color lithograph engraved by Albert Adam after a drawing by Léon Jean-Baptiste Sabatier and used as illustration in Paris et ses ruines by Victor Fournel, a work documenting the ravages of the Paris Commune.
Some marginal worming and a small tear without loss to lower margin, not affecting the image.

Original lithograph in colors engraved by Jules Gaildrau after a drawing by Léon Jean-Baptiste Sabatier and used as an illustration for Paris et ses ruines by Victor Fournel, a work documenting the devastation of the Paris Commune.
Some marginal foxing spots, otherwise a handsome copy.

Original lithograph in colors engraved by Charles-Claude Bachelier after a drawing by Léon Jean-Baptiste Sabatier and used as an illustration for Paris et ses ruines by Victor Fournel, a work documenting the devastation of the Paris Commune.
Some marginal soiling, otherwise a handsome copy.

Original color lithograph engraved by Albert Adam after a drawing by Léon Jean-Baptiste Sabatier, used as an illustration for Paris et ses ruines by Victor Fournel, a work documenting the devastation of the Paris Commune.
Some marginal worming, otherwise a handsome copy.

Original color lithograph by Albert Adam, Léon Jean-Baptiste Sabatier and Félix Benoist, used as an illustration for Paris et ses ruines by Victor Fournel, a work documenting the devastation of the Paris Commune.
Some marginal worming, otherwise a handsome copy.

Original black and white lithograph drawn and engraved by Philippe Benoist and used as illustration for Paris et ses ruines by Victor Fournel, a work documenting the ravages of the Paris Commune.
Handsome copy despite some worming.

Original black and white lithograph drawn and engraved by Philippe Benoist and used as illustration for Paris et ses ruines by Victor Fournel, a work documenting the ravages of the Paris Commune.
Handsome copy despite some discrete worming.

Original black and white lithograph drawn and engraved by Philippe Benoist and used as illustration for Paris et ses ruines by Victor Fournel, a work documenting the devastation of the Paris Commune.
Handsome copy despite some worming.

Original black and white lithograph drawn and engraved by Philippe Benoist and used as illustration for Paris et ses ruines by Victor Fournel, a work documenting the devastation of the Paris Commune.
Handsome copy despite some discreet worming.

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.
Work illustrated with 13 drawings by Henry de Sta including the cover.
Spine with restorations as well as lacks to head and foot, small corner lacks to boards, some foxing.
Rare.

First edition printed in 110 copies, ours bearing number 38 and specially printed for Gustave Rabiet.
The first volume is illustrated with wood engravings by Valentin de Campion. Full blue morocco binding, smooth spine, gilt title, geometric friezes in gold and palladium continuing on the covers, gilt fillets on the edges, moiré fabric endpapers and pastedowns, following endpapers of printed paper, pastedowns framed with blue morocco and double fillets in gold and palladium, top edge gilt with deckled edges. Binding signed Jean Lambert.
The second volume is illustrated with etchings by Geo Michel. Half morocco binding with bands, smooth spine identical to the first volume, endpapers and pastedowns of printed paper, covers of paper reproducing the printed paper from the interior of the work. Binding signed Jean Lambert.
A slipcase with some rubbing to the edges features the printed paper of the two volumes and houses these two volumes.
A very handsome copy.

The first edition, of which there were no deluxe copies.
A handsome copy.
Signed autograph inscription by Marcel Mouloudji to Jean Claval enhanced with a small drawn sun.

First edition on ordinary paper.
Handsome copy.
Signed and inscribed copy from Marcel Mouloudji to Jean Claval.

First edition, one of 35 numbered copies on alfa mousse, the only deluxe copies.
Spine lightly sunned.
Preface by François Mauriac.
Fine and rare copy of this poignant testimony describing the daily life of the author, a resistance member, arrested then deported, in the women's concentration camp of Neubrandebourg, near Ravensbrück.

First edition, one of 27 numbered copies on alfa mousse, the only deluxe copies.
Very fine and rare work written by one of the three leaders of the Military Action Committee of the National Council of the Resistance or Comac, supreme command body of the F.F.I., which played a leading role in the liberation of Paris.

First collected edition with some parts in first edition, one of 260 numbered copies on wove paper, deluxe copies after 28 on Holland paper.
Handsome copy.

The first edition, of which there were no deluxe copies.
Handsome copy despite three light stains on the lower edge without any damage to the text.
Autograph inscription signed by Bertrand Delanoë to a close collaborator named Cécile: "A toi, chère Cécile, au nom des valeurs et des combats partagés. De l'amour de la vie ; de la ville. Amicalement." ["To you, dear Cécile, in the name of shared values and struggles. For the love of life; of the city. With friendship."]

First edition and first printing of the engravings.
Contributions by Théophile Gautier, Laurent-Jan, Léon Gozlan, Auguste Lireux and Jules Hetzel under the pseudonym P.-J. Stahl among others.
Contemporary publisher's binding in full black shagreen. Smooth spine decorated with 3 ornate compartments, blind and gilt fillets. Large rocaille composition on boards, thick triple fillet frame. Interior frieze. White watered silk endpapers. All edges gilt. Perimeter of watered silk endpapers brown-stained. Tailcap of volume 2 with a loss. Traces of rubbing. Thin scratch on the upper board of volume 1, lower board of volume 2. Some very occasional foxing on clean white paper. The binder inverted volumes 1 and 2, and volumes 3 and 4 (the error stemming from the fact that the 4 series are not numbered by volume). Very handsome copy.
Work illustrated with a general frontispiece, 14 vignettes including one repeated and 320 plates, all wood-engraved.
References: Vicaire, III, 953-955; Brivois pp.168-171; Carteret, III-260-264: "Cet ouvrage est fort rare en belle condition."
Remarkable copy of superb freshness in full contemporary Romantic binding.

First edition of these songs set to music by Marcel Legay.
Fine illustrated cover.
Preface by Francisque Sarcey.
One small repaired tear to verso of front board with adhesive repair, otherwise handsome copy.

First edition.
Beautiful illustrated cover by Eugène Rapp.
Work adorned with illustrations by Rapp, Joanon-Mairer.
Preface by Coquelin-Cadet.
Some foxing on the first endpaper, endpapers partially darkened, otherwise handsome copy.

New edition, one of 25 numbered copies on Japan paper, justified by the publisher, the only deluxe copies.
Half red shagreen binding, spine with five raised bands set with gilt dots and decorated with double gilt compartments enhanced with gilt wavy fillets, marbled paper boards, pebbled paper endpapers and pastedowns, illustrated covers preserved, red top edge, contemporary binding.
Work illustrated by Eugène Rapp, music by Paul Delmet.
Preface by Coquelin-Cadet.
Handsome copy, pleasantly bound.

New edition, one of 25 numbered copies on Japan paper, justified by the publisher, the only deluxe copies.
Half red shagreen binding, spine with five fine raised bands set with gilt dots and decorated with double gilt compartments enhanced with gilt wavy fillets, marbled paper boards, pebbled paper endpapers and pastedowns, illustrated covers preserved, contemporary binding.
Work illustrated by Fernand Fau.
Handsome copy, pleasantly bound.

First edition.
Half brown morocco shagreen binding with corners, spine with five raised bands, date gilt at foot, marbled paper boards, endpapers and pastedowns of pebbled paper, covers and sunned spine preserved, top edge gilt, bookplate pasted on pastedown, binding signed René Aussourd.
Some minor foxing without significance.
Handsome copy beautifully bound.

First edition.
Full navy blue cloth Bradel binding, smooth spine decorated with gilt floral motif, date and double gilt fillets at foot, brown shagreen title-label, binding signed in blind by Pierson.
Some minor foxing of no consequence.

First edition.
Bound in tan sheep, spine with five raised bands, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, speckled edges, contemporary binding signed by P. Saillot, binder on rue de Verneuil in Paris
Work illustrated with reproductions of works by Maurice de Vlaminck including 10 in color.
Handsome copy.

First edition.
Fine illustrated cover by Jean Tild.
Tears at head and foot of spine with slight lacks without gravity.
Fine and bohemian autograph inscription dated and signed by Xavier Privas: "A mon ami Emile Bessière pêcheur de lunes et (je l'espère) de thunes en confraternel hommage. Xavier Privas 8 Février 1904." ["To my friend Emile Bessière, fisher of moons and (I hope) of cash in fraternal tribute. Xavier Privas 8 February 1904."]

Original color print heightened with palladium, printed on laid paper, signed at the bottom right of the plate.
Original engraving created for the illustration of La Gazette du bon ton, one of the most beautiful and influential fashion magazines of the 20th century, celebrating the talent of French creators and artists at the height of the Art Deco movement.
Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton was published until 1925 with an interruption during the War from 1915 to 1920, due to the mobilization of its editor-in-chief. It consists of 69 issues printed in only 2,000 copies and is illustrated notably with 573 color plates and 148 sketches representing models by great couturiers. From their publication, these luxurious publications "addressed bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu "La Gazette du bon ton" in Dictionnaire de la mode, 2016). Printed on fine laid paper, they used a typeface specially created for the magazine by Georges Peignot, the Cochin character, adopted in 1946 by Christian Dior. The prints were created using the metal stencil technique, heightened in colors and some highlighted in gold or palladium.
The adventure began in 1912 when Lucien Vogel, a man of society and fashion - he had already participated in the magazine Femina - decided to found with his wife Cosette de Brunhoff (sister of Jean, the father of Babar) the Gazette du bon ton whose subtitle was then "Art, modes et frivolités." Georges Charensol reported the words of the editor-in-chief: "In 1910, he observed, there existed no fashion journal that was truly artistic and representative of the spirit of its time. I therefore thought of creating a luxury magazine with truly modern artists [...] I was certain of success because for fashion no country can rival France." ("Un grand éditeur d'art. Lucien Vogel" in Les Nouvelles littéraires, no. 133, May 1925). The magazine's success was immediate, not only in France, but also in the United States and South America.
Originally, Vogel thus assembled a group of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt; and finally his friends from the École des beaux-arts who were George Barbier, Bernard Boutet de Monvel, or Charles Martin. Other talents quickly joined the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Charles Martin, Maggie Salcedo. These artists, mostly unknown when Lucien Vogel called upon them, would later become emblematic and sought-after artistic figures. These same illustrators created the drawings for the Gazette's advertisements.
The plates highlighted and sublimated the dresses of seven creators of the time: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provided exclusive models for each issue. Nevertheless, some of the illustrations featured no real model, but only the illustrator's idea of the fashion of the day.
La Gazette du bon ton was a decisive step in the history of fashion. Combining aesthetic excellence and plastic unity, it brought together for the first time the great talents from the worlds of arts, letters and fashion and imposed, through this alchemy, a completely new image of women, slender, independent and bold, also carried by the new generation of couturiers Coco Chanel, Jean Patou, Marcel Rochas...
Taken over in 1920 by Condé Montrose Nast, the Gazette du bon ton would largely inspire the new composition and aesthetic choices of the "dying little journal" that Nast had purchased a few years earlier: Vogue magazine.

First edition illustrated with 15 original copperplate engravings, including 10 in color, by Maurice de Vlaminck, one of 250 numbered copies on Arches laid paper.

The work is also illustrated with 2 portraits by Amedeo Modigliani depicting Maurice de Vlaminck and his wife.

Full Empire green morocco binding, spine with two prominent raised bands extending as triangles in blind on the covers, spine decorated with three gilt lozenges with gilt title and separated by a transverse gilt bar, marbled paper endpapers and pastedowns, triple gilt fillets framing the pastedowns, covers and spine preserved, top edge gilt, Empire green morocco-edged slipcase, marbled paper boards, contemporary binding signed by the workshops of C. Muller, Nancy bookbinder.

Manuscript signature by Maurice de Vlaminck in pencil below his frontispiece portrait.

Spine slightly darkened, otherwise a handsome copy.

Illustrated edition with 34 original color compositions by Albert Robida engraved by Bertrand and printed in 115 numbered and nominative copies on vélin du Marais.
Full red morocco binding, spine with four raised bands studded with black dots and decorated with triple compartments (two gilt and one black), covers framed with triple gilt fillets and a black morocco fillet, marbled paper endpapers and pastedowns, pastedowns decorated at corners with stylized gilt floral motifs enhanced with brown mosaic morocco pieces forming their petals, covers and spine preserved, all edges gilt, red morocco-edged slipcase, marbled paper boards, white felt lining, elegant contemporary binding dated 1903 and signed Meunier.
A very handsome copy superbly executed.

Les Français peints par eux-mêmes. Encyclopédie morale du dix-neuvième siècle – Le Prisme [with] Les Anglais peints par eux-mêmes [The French painted by themselves – The English painted by themselves]
First edition, one of the grand papier (deluxe) copies with two states of the illustrations for the 8 volumes of Les Français peints par eux-mêmes: one in black on tinted paper, and one enhanced by hand using the so-called “coloris gommé” technique with watercolour and varnish on white paper. Les Anglais peints par eux-mêmes includes the engravings in black. No deluxe copies in colour have been made for this rare set of Les Français.

Bound in half brown morocco, spine in five compartments enhanced with stipple engraving and double gilt panels richly decorated with gilt floral motifs framing a mosaic medallion of green morocco with a gilt rose stamped in the center, cartouches at the top decorated with a gilt garland framing the place and publication date, some light minor rubbing on some compartments, gilt fillets on the marbled paper boards, comb-patterned endpapers, top edges gilt. Elegant late nineteenth century bindings signed Durvand-Thiret.

Complete with all engravings along with added engravings, i.e. 930 engravings including 415 in colour. Title pages dated 1841 for all volumes of Les Français except for volume 5 of Les Parisiens and volume 3 of La Province dated 1842. Les Français peints par eux-mêmes has 415 engravings in black (including that of Napoleon on horseback) instead of the 405 announced and 415 in colour including a double page map of France in volume III of the Province. The English volume illustrated by Kenny Meadous is complete with 100 plates in black.

This unique set contains in total almost a thousand black and coloured engravings and more than 1500 in-text illustrations.
Famous gallery of woodcut portraits depicting the social classes of the 19th century by the greatest artists of the time: Gavarni, Daumier, Delacroix, Grandville, Johannot, Bellangé, Charlet, Daubigny, etc... The portraits are all accompanied by original texts from the most famous Romantic authors, including: Balzac, Nodier, Gautier, Nerval, Gozlan, Janin, Karr, etc...
Scarce foxing affecting mainly the Prism and the Anglais.

The texts and illustrations of the book paint a lively picture of inhabitants and their trade in metropolitan France and its colonies. It sets the tone for panoramic literature – a new genre coined by Walter Benjamin in Charles Baudelaire. A lyric poet at the height of capitalism. In addition to these portraits of the Français, “the contribution of a whole areopagus of great and small authors and illustrators” (S. Le Men, “La 'littérature panoramique' dans la genèse de la Comédie Humaine: Balzac et Les Français peints par eux-mêmes”, L'Année balzacienne 2002/1 (No. 3) CAIRN) includes some of the most renowned authors and cartoonists of the time, each of whom made an original creation for the project.

This protean fresco was directed by editor Léon Curmer, already known for the publishing success of Paul et Virginie between 1836 and 1838. Curmer is represented here by an article, “L'éditeur” in volume IV written by Elias Regnault. The latter takes example in Louis-Sebastien Mercier's Tableau de Paris, published in 1781, whose vision is even further extended by the representation of French provinces in Les Français. Thanks to Curmer the work finds an even deeper meaning: “the editor has widened his frame, and instead of letting a few fleeting portraits get lost in the immense daily whirlwind that engulfs all things, he has sought to bring together the most salient physiognomies of that time.” (S. Le Men, Ibid.)
Curmer selected the authors and illustrators closest to the ones they depict: “It is therefore a question of calling upon authors and illustrators who are well selected according to the 'types' they will have to portray.” (S. Le Men, Ibid.).
Les Français was published in fascicules – a common format at the time, allowing for a greater investment by the public whose opinion and subscription would count for the orientation of future articles. Readers were called upon to contribute, as shown by the “Correspondance des Français” preserved in our copy of Prisme, where the editor responds to readers' suggestions for articles: “Le Coiffeur [hairdresser] de M. Paul Tén... is a most spiritual article. We regret that the Coiffeur type having already been published we cannot accept it.” (Prisme, Issue 84)

The book is lavishly illustrated in the text with vignettes and culs-de-lampe, but it is above all the full-page figure in a landscape opposite the page of the text (so-called “types”) which constitute a novelty in the history of the illustrated book.

These portrayals in traditional settings and various occupations are close to the science of physiology popular at the time. Studying social groups, it aims to determine a representation of an individual who would be the prime example of his group, inevitably leading to a form of caricature.
This “project of a moral encyclopaedia which summarises the whole of society” (Léon Curmer) is the accomplished testimony of an era. Curmer's contemporaries found in the work “a sort of collective self-portrait in which “Paris” and “the provinces” follow one another, and in which each group will be able to recognise itself in one issue or another. (Ségolène Le Men, Ibid.). From its conception its main objective was to capture a fleeting present that lives according to the Baudelairian fashion, in order to “make a portrait of contemporary manners, amusing for the present, instructive for the future.” (Ségolène Le Men, Ibid.)

An important and rare copy of a masterpiece of the romantic illustrated book. A deluxe edition with Le Prisme with the addition of Les Anglais peints par eux-mêmes set in perfect uniform and mosaic bindings signed Durvand Thivet.

First edition decorated with numerous illustrations in the text, with mention of second edition.
Bradel binding in half green cloth, smooth spine decorated with a central gilt floral motif, gilt date and double fillet at tail, brown shagreen title label with slight scratches, almond green marbled paper boards, original wrappers preserved, contemporary binding.
Precious signed autograph inscription by Gabriel Montoya, star performer of Rodolphe Salis's Chat Noir and later inept administrator of the Quat'z-arts which he took over in 1910: "A mon vieil ami Joseph Uzanne, en souvenir des bonnes soirées de La Plume, très cordialement j'offre ce volume." ["To my old friend Joseph Uzanne, in memory of the good evenings at La Plume, very cordially I offer this volume."]
Our copy is enhanced with a postcard, pasted on an endpaper, listing the works of Gabriel Montoya, and, on the following endpaper, an original photograph of the Montmartre performer which he signed at the bottom.
Finally, we also include, on a loose leaf, a handwritten quintain by Gabriel Montoya praising the merits of Vin Mariani: "Lorsque j'ai bu deux doigts de vin Mariani / Je puis allégrement jouer les Hernani, / Et sans peur de faiblir au seuil de ma tirade / Dégoiser de Ruy-Bas la fameuse algarade / C'est par hasard qu'hier je surpris ce propos / Près d'un closet : Mounet parlait à Galipaux." ["When I have drunk two fingers of Mariani wine / I can cheerfully play Hernani, / And without fear of weakening at the threshold of my tirade / Declaim Ruy Blas's famous altercation / It was by chance that yesterday I overheard this remark / Near a closet: Mounet was speaking to Galipaux."]
A whole atmosphere and era!

First edition printed with 200 copies on vellum, illustrated with a frontispiece and 12 colour intaglio engraved plates by Willette, printed in bistre in the text and in colour for the insets by Vigna-Vigneron, comprising the frontispiece in 7 versions including 4 for the decomposition of the colour and 12 insets in 2 versions, that is black and white and colour.

Bound in pale pink suede, spine in two false compartments, multicoloured patchwork garland glued to the boards, comb-patterned endpapers, shimmering covers and spine preserved, all leaves have been mounted on guards, brown cloth slipcase, binding signed D. M. and dated 2015.

"Belle publication côtée, une des meilleures de l'artiste, qui mérite plus d'attention. Vigna, habile artiste restaurateur de gravures anciennes, a innové un artistique procédé de reproduction en couleurs qui respecte l'original" (Carteret). “Beautiful popular publication, one of the artist's best, which deserves more attention. Vigna, a skilled artist restorer of old engraving, invented an artistic colour reproduction process that respects the original” (Carteret).

First edition, one of 50 numbered deluxe copies, the only deluxe copies.
Spine of the second chemise slightly sunned, worming to the boards of the slipcase.
Handsome copy presented in sheets, under double chemise and slipcase.
Iconography.

Edition illustrated with 20 original lithographs in 8 and 10 colours by Kees Van Dongen and printed with 110 copies, ours is one of the 10 hors-commerce without the series of lettered and named lithographs on Rives vellum.
We attach the presentation prospectus to the work.
Rubbings and tears in the margins of the slipcase and on the joints of the chemise.
A beautiful and rare copy.

First edition.
Half blue sheep binding, smooth spine decorated with gilt fillets and dots as well as black fillets, spine with some light rubbing, gilt initials at foot, marbled paper boards, pebbled paper endpapers and pastedowns, speckled edges, one corner slightly bumped, near-contemporary binding.
Handsome copy.
Precious signed autograph inscription from Ludovic Halévy to his friend Alexandre Dumas fils: "A mon cher maître et ami Alexandre Dumas. Ludovic Halévy" ["To my dear master and friend Alexandre Dumas. Ludovic Halévy"]

First edition, illustrated with 44 wood-engraved plates and numerous wood-engraved vignettes in the text (the title page announcing 300 drawings) after Nanteuil, Gavarni... A handsome Romantic illustrated work. 2 frontispieces, the first by Nanteuil, the second by Edouard de Beaumont.
Contemporary half dark green shagreen binding. Spine with flat false raised bands decorated with compartmentalized Romantic tools, gilt and blind fillets. Boards rubbed, corners turned over and bumped. Light scattered foxing. A good copy, with attractive decorative spines.
Historical texts on the streets of Paris by Jules Janin, Eugène Briffault, Louis Huart... under the direction of Lurine. The work traces the history of certain streets of Paris, squares, districts... the most famous of the capital.

First edition, one of the rare copies on laid paper of which no mention is made.
Full black morocco binding, spine with five raised bands, place and date gilt at foot, cold-stamped roulettes on headcaps, marbled paper endpapers and pastedowns, frame of double gilt fillets and gilt fleurons in corners of pastedowns, covers and spine preserved, small tear on second cover, top edge gilt, contemporary binding signed René Kieffer.
Preface by Edmond Frank, work illustrated with a portrait of the author as frontispiece drawn and engraved by H. Danger.
Our copy is enriched with a double portrait of Paul Marrot as frontispiece and bears an autograph inscription signed by H. Danger to the preface writer of the work, Edmond Frank.
Fine and rare deluxe copy established in a full morocco binding signed René Kieffer.

First edition, one of 650 numbered copies on Japon impérial paper.
Work illustrated with 17 original color compositions by Charles Jouas.
Handsome copy despite light marginal foxing of no consequence on the first cover.

First edition, one of 50 numbered copies on Holland paper, the only deluxe copies after 3 on China paper and 5 on Japan paper.
Half black shagreen binding, spine with five raised bands, combed paper boards, marbled paper endpapers and pastedowns.
Handsome copy despite the top edge slightly shaded.

Edition illustrated with 8 original etchings by André Dignimont, one of 25 numbered copies on Holland paper, deluxe issue after 8 different Japan papers.
Bound in full red morocco shagreen, spine with five raised bands set with gilt fillets decorated with double gilt compartments ornamented at their centers with gilt floral motifs, triple gilt fillet frame on boards, moiré-effect paper endpapers and pastedowns, gilt dentelle frame on pastedowns, covers and spine preserved, top edge gilt on deckled edges, binding signed Barth fils.
Our copy contains the complete suite in black of the illustrations as stipulated in the justification page.
Handsome copy attractively bound.

Edition illustrated with drawings in and out of text in black and in colors by Jean Dulac, one of 50 numbered copies on Japan paper, deluxe copy.
Half havana shagreen binding with bands, smooth spine decorated with a golden angel brandishing a golden crown, boards, endpapers and pastedowns of moiré-effect paper, covers and spine preserved.
Fine copy.

Illustrated edition with 15 original watercolors by Chas Laborde, one of 450 numbered copies on vellum.
Half blue morocco binding with corners, spine very lightly darkened with four raised bands set with gilt fillets and decorated with quadruple gilt compartments and a fifth compartment enhanced with a red mosaicked morocco fillet, gilt date at foot, frame of gilt fillets on the moiré-effect paper boards, endpapers and pastedowns of the same paper, top edge gilt, covers and spine preserved, binding signed Paul Saschel
Handsome copy beautifully bound in a mosaicked binding.

Edition illustrated with 80 original woodcuts by Sylvain Sauvage, one of 1100 numbered copies on gothic laid paper.
Half morocco binding with corners, spine slightly sunned with five raised bands set with gilt fillets and decorated with double gilt compartments, marbled paper boards, marbled endpapers and pastedowns, covers and spine preserved, top edge gilt, binding signed Barbance successor to Yseux-Simier.
Handsome copy beautifully bound.

Edition illustrated with 41 original etchings by Auguste Lepère, including a frontispiece, 20 headpieces, 20 tailpieces as well as 20 historiated initials printed in two colors
The work is printed in 250 numbered copies on vélin du Marais justified by the publisher.
Half chocolate brown morocco binding with corners, spine with five raised bands, gilt date at foot, marbled paper boards, endpapers and pastedowns of pebbled paper, covers and spine preserved, top edge gilt retaining deckled edges, contemporary binding signed by Stroobants.
Some minor foxing affecting mainly the last leaves at head.
Handsome copy perfectly established.

First edition illustrated with 7 wood engravings and 3 plans.
Half bronze sheep binding, spine with five raised bands with scratches and a black stain, marbled paper boards, speckled endpapers and pastedowns, speckled edges, contemporary binding.
Handsome copy.

Two complete autograph manuscripts, on five perforated leaves, of 46 lines for the first and 52 lines for the second, written in blue ink, of the song entitled "Place Blanche" which exists in two versions both entitled "Place Blanche" but with varying text: the first beginning with "J'étais allé dimanche me promener" and the second with "Les amoureux l'dimanche vont deux par deux".
Each manuscript in our possession corresponds to one of the two versions and is extensively corrected, crossed out and reworked while remaining consistent with the final state of the song.
We include, on two perforated leaves (one mounted on flexible cardboard), a complete typescript for each version of "Place Blanche".
Also included are the printed score of this song for each instrument, another score of the song as well as a typescript of the American adaptation of "Place Blanche" and these few handwritten words from the translator, written in red ink addressed to Boris Vian: "Serai Paris mardi. Qu'en penses-tu Bobo, moi ça me plait beaucoup. Dis-moi vite. Merci Nicole." ["Will be Paris Tuesday. What do you think Bobo, I like it very much. Tell me quickly. Thanks Nicole."]
Fine ensemble of this song which was written in 1956 and whose music was composed by Henri Salvador.
Provenance: Fondation Boris Vian.

Illustrated edition with 10 portraits of the most celebrated actresses of the time by Alexandre Lacauchie, printed outside the text.
Half red calf binding, spine with five raised bands decorated with garlands and double gilt compartments, some scuffs notably to the upper headcap, marbled paper boards, marbled endpapers and pastedowns, a small harmless nick to the top edge, contemporary binding.
Handsome interior condition without foxing.

New print of six engraved plates on laid by Duclos following the extremely rare series drawn and engraved on copper by Auguste de Saint-Aubin, initially published in 1770.
The 6 plates represent the different games played by young children in Paris at the end of the 18th century: la sabot (clog), la coupe-tête (leapfrog), la fossette or le jeu de noyaux (kernal game), la toupie (spinning top) or la corde (rope), the last plate illustrating the exit from school where we see children jumping, running and dancing.
Our series is presented in a laced chemise in full red shagreen comprising some rubbing on the boards, flattened corners, a library shelving label glued at the foot of the second board, printed collection stamp at the foot of the verso of the first board.
Rare.

Collection des guides Joanne series. Alphabetical list of Paris streets with also the list of omnibuses and their routes, fares, mobile carriages and other public transport.
Publisher's binding in full purple cloth. Smooth unlettered spine. Title and arms of Paris on the first cover.
Large folding map of Paris in colors. Several small tears. Handsome copy.
The Paris of Napoleon III and Haussmann. This map of Paris was published for the 1867 Paris Universal Exhibition. At the end of the chapter on public carriages, one reads: "A special service, from Place du Palais-Royal to Pont d'Iéna, will operate throughout the duration of the exhibition".

First edition on ordinary paper, with mention of second edition.
Spine sunned with a lack at foot, dampstain at foot of boards.
Precious signed autograph inscription from André Salmon: "A Jacques Copeau, son ami admirateur de son oeuvre, André Salmon. Paris, Juin 1920." ["To Jacques Copeau, his friend and admirer of his work, André Salmon. Paris, June 1920."]