They are called deluxe papers, limited editions, tirages de têtes or simply first editions. They were printed in small numbers on special paper and carefully preserved, from the very beginning, by the first readers and admirers of these literary geniuses. These copies are the origin of the work and its legacy.
First edition and complete run of the 9 G.L.M. cahiers issued between May 1936 and March 1939.
A few spines slightly faded, as is often the case; otherwise a pleasing copy, complete with its original publisher’s slipcase in full grey boards, with red printed title label pasted to the spine.
With numerous contributions by most of the Surrealist poets, writers, and artists, including: André Breton, René Char, Paul Éluard, Philippe Soupault, René Crevel, Valentine Penrose, Federico García Lorca, Pablo Neruda, Michel Leiris, Max Ernst, Man Ray, and André Masson, as well as several spiritual forebears of Surrealism such as Franz Kafka, Lewis Carroll, and Raymond Roussel...
First edition, one of 30 numbered copies on Lafuma laid paper, the sole deluxe issue.
A fine copy.
Rare first edition under this title, complete with the engraved title-page. The first edition of 1607, Remonstrance faicte au Roy Très Chrétien pour la réunion des religions à la foy catholique, was printed in Tournon in only 96 pages. This second edition, of which there were probably two issues from the same bookseller, was substantially revised and enlarged by the author.
Contemporary limp vellum with yapp edges, smooth spine, faded ink manuscript title to spine, original ties present, red speckled edges. Bookplate of the lawyer V[ictor] Duchâtaux, a bibliophile of the second half of the 19th century, to front pastedown. Manuscript ownership inscription dated 1661 at foot of engraved title-page.
Two tiny ink spots on pp. 57 and 209 affecting one letter each, small marginal wormhole on p. 417 not affecting text, a fine copy.
On p. 58, the passage "not in the traditions of the Roman Church! but in their own Bible, which I made the judge of all my designs, and the rule of my will" (our own translation) is underlined in brown ink, probably in the same hand as the ownership inscription.
First edition describing the 388 items offered in the sale.
A few pencilled hammer prices in the margins, a loss to the upper right corner of the front wrapper and title-page, and small corner losses to the wrappers.
The introduction is by Fröhner, though the expert in charge of the sale was Hoffmann.
Of Baden origin, the numismatist Ludwig Wilhelm Fröhner (1834–1925) settled in Paris in 1859; he became a close friend of Napoleon III and assisted him in the preparation of his Histoire de Jules César (1865–1866), which helped him obtain both French naturalisation (1866) and an important post at the Louvre.
He later devoted himself to the cataloguing of collections, producing works that became major references for Antiquity and early medieval archaeology.
Rare first edition of this lecture delivered at the Cercle de France in Paris on January 8, 1958, no copy referenced in Worldcat. Light foxing to the front board.
Rare utopian pamphlet celebrating the creation of Brasilia and laying the theoretical foundations for the cities of the future. Inscribed and signed by Robert Miocque to his friend Marcel Dollfus at the top of the first page of text.
First edition, taken from the Mémoires de la Société royale et centrale d'agriculture, for the year 1824.
Illustrated with a folding plate inserted out of text.
Our copy is preserved in its original state, sewn and issued in a plain blue provisional wrapper.
Scattered light foxing.
A grandson of the founder and first director of the Académie royale de marine, Pierre-Marie-Sébastien Bigot de Morogues (1776-1840) devoted himself principally to agricultural matters.
First edition, one of 15 numbered copies on vellum, the only deluxe issue.
Fine and uncommon copy.
Complete autograph manuscript of 50 pages, written on the recto of each leaf and containing numerous deletions and revisions.
The manuscript was published in the December 1872 issue of the Bulletin de la Société de Géographie.
Full red shagreen binding, spine with five raised bands decorated with gilt fleurons and double gilt panels adorned with floral tools, double gilt fillets on the boards, comb-marbled endpapers and pastedowns, gilt dentelle border on the pastedowns, gilt edges on the boards, corners rubbed, contemporary binding.
The leaves are numbered 1 to 50 in the upper left corner; an earlier numbering, struck through, appears in the upper margin.
The study is divided into three parts:
The first part traces the history of navigation in the Sargasso Sea from the Phoenicians, who were the first to report floating banks of algae in the Atlantic. They were followed by the Carthaginians, Arabs, and Portuguese. But it was Christopher Columbus who, in 1492, provided the first serious observations of this maritime phenomenon. Gaffarel then refers to the voyages of Gonneville, Jean de Léry, and André Thévet, cites Humboldt, and finally discusses recent scientific explorations: in 1851–1852 by the campaign of the Dolphin, Captain Lee, and in 1855 by that of the brig Méléagre, Captain Leps.
In the second part, the author examines the geography of the Sargasso Sea, noting that its extent and boundaries have always remained uncertain. He then develops three hypotheses regarding their origin, the most plausible being that the sargassum forms around the Gulf Stream, whose warm and relatively calm waters offer favourable conditions for its proliferation. The text then discusses the different species of sargassum, their mode of growth, and their accumulation, which created the strange appearance that once frightened early navigators.
Finally, the author considers the resources of the Sargasso Sea: by analogy with the harvesting of seaweed along the French coasts—where, once reduced to ash, it provides an excellent fertiliser—one might imagine exploiting the algae of the Sargasso Sea for the extraction of mineral substances, though this would require specially equipped vessels. He concludes: “La mer des Sargasses est donc une véritable région promise.
Tous, plus ou moins, directement ou non, agriculteurs pour nos champs, malades pour nos santés, industriels pour nos usines […] citoyens pour notre patrie, nous n’avons qu’à gagner à l’exploitation des richesses inconnues de cette mer…” (p. 50).
Bound at the end:
First edition, illustrated with an original etching as frontispiece and four hors-texte drawings by Henri Laurens, one of 324 numbered copies on Vélin du Marais.
Title page lightly toned, otherwise a pleasing copy.
Signed in pencil by Tristan Tzara and Henri Laurens beneath the limitation statement.
Exceptional collection of 49 original watercolours depicting daily life in Tonkin, most illustrating rural scenes.
These unsigned watercolours, each measuring approximately 20 x 15 cm (excluding margins), are finely executed in Indian ink and watercolour, with touches of gouache, on paper sheets—some bearing the watermark "Latune et Cie Blacons."
Contemporary half red cloth binding, smooth spine covered in red shagreen, some rubbing to the spine, boards of marbled paper, blue endpapers and pastedowns.
Minor foxing to the margins of some watercolours.
The scenes depict a variety of subjects: a military post guarded by four soldiers, one standing sentry at the entrance; a guard in white uniform holding a rifle with a long bayonet, his head covered by a salacco (the traditional headgear of Indochinese riflemen); an elderly man seated at a table, smoking a pipe while being fanned by a servant; a peasant ploughing with two oxen; a woman praying at a grave; another peasant tilling the soil; two villagers meeting near a small bridge; four people working in a paddy field; a man in formal dress before a temple; three peasants harvesting rice; a cockfight, and more.
Also depicted are villagers carrying goods or fishing, wrestlers performing before a dignitary, a child guiding a blind man, two labourers transporting stones in a wheelbarrow, a procession led by a mounted dignitary carrying a wild boar in a cage, a prisoner being flogged, another about to be beheaded, a hunting scene, musicians, a woman at a loom, villagers at play, and so on.
Western presence is alluded to only once: an Indochinese sailing vessel flies three tri-colour flags while a steamship, probably French, makes its way in the background…
Accompanied by a piece of light brown calfskin (4 x 32 cm) blind-stamped with the inscription "Souvenir du Tonkin 1885-90".
A rare and precious visual record of Tonkin at the beginning of the French protectorate.
Very scarce first edition of the Armenian translation, illustrated with a lithographed frontispiece and title-frontispiece printed on tinted heavy stock by Weger (Leipzig), together with several in-text figures reproducing seals.
The CCFr records only copies of the French edition (indeed, the same year 1871 saw the publication of a first French translation; a second French edition was issued in Paris in 1888, at which time a German version was also printed at the Leipzig address).
Bradel binding in half brown percaline, smooth spine gilt-ruled and tooled with a gilt frieze, marbled paper boards, endpapers soiled, corners rubbed, edges sprinkled in blue.
Some minor foxing, chiefly at the beginning.
Apart from the frontispiece and title-frontispiece, the entire text is printed in Armenian. Fumagalli, Biblioteca Etiopica, 304.
Father Dimotheos Vartabet Sapritchian, an Armenian priest from Constantinople, travelled to Ethiopia in 1867 with one of his compatriots, Archbishop Isaac.
The travellers, who carried to King Theodore of Abyssinia a message from the Armenian patriarch, entered the country via Wahni in the west and crossed the regions of Bagemder and Tegré before embarking at Massawa.
The first part contains the narrative proper; the second offers observations on the country’s history, manners, and customs.
It also includes reflections on the Ethiopian Church, the clergy, baptism, confession, penance, marriage, funerary rites, festivals, and more.
A rare Jerusalem imprint: printing in the city is thought to date back to 1823.
Very rare first edition illustrated with 14 plates, three of which are in colour, issued as a supplement to the "Guide pratique de la fabrication de la bière" and the "Guide raisonné de la fabrication de la bière" published in 1867 and 1868.
Not in Vicaire or Bitting. Oberlé, Fastes, 1125, does not record this supplement.
Spine restored with minor losses, small marginal defects to the boards, and a stain along the right margin of the upper cover.
The author was a hop dealer and purveyor of brewery equipment in Strasbourg and in Gray (Haute-Saône).
This volume reflects the advances achieved by the brewing industry, particularly in northern France and in Belgium.
"Ce livre alsacien est un des meilleurs traités sur la fabrication de la bière"(Oberlé).
The plates depict the malt kiln of the Arlen brewery, the Carpentier germ-removing machine, the boilers of the Brasserie de l'Eléphant in Strasbourg, a mixer, a vat with its wave-breaker, the cooling trough of the Brasserie du Pêcheur, and more.
Rare.
Rare first edition of this project, whose development was certainly collective (with contributions from several democrats, including Frédéric Charrassin, Charles Fauvety, Adolphe Louis Chouippe, and Alexandre Erdan), but which was authored by the neo-criticist philosopher Charles Renouvier (1815–1903).
Bound in contemporary half cherry-colored sheepskin, with a smooth spine adorned with gilt fillets; some rubbing to the spine and boards. Marbled paper over boards, handmade laid paper endpapers and pastedowns, modern bookplate affixed to the front pastedown, slightly bumped corners, minor tears to the joints, speckled edges. Original binding.
Minor, insignificant foxing.
The central idea of this work is that of direct government and direct legislation, inspired by the debate initiated by Rittinghausen.
At the time, this idea was considered utopian and dangerous—much like in contemporary debates—on the grounds that it would discredit the representative system and, contrary to the authors’ intentions, play into the hands of the emerging Caesarism (this was 1851...).
The book also presents other proposals for institutional reform, notably the adoption of the canton as the basic administrative and political unit of the nation, intended to form the true French commune.
Provenance: from the library of Georges and Geneviève Dubois, with their bookplate affixed to the front pastedown.
First edition of the author's third book, with no copies printed on deluxe paper, here a review copy.
Spine very lightly sunned, without seriousness, faint spotting to the board edges.
Rare and desirable presentation copy signed by Patrick Modiano to the woman of letters Christiane Baroche: "Pour Christiane ces boulevards de ceinture avec lesquels elle est bien indulgente. Avec l'amitié de Patrick."
First edition, illustrated at the close of the volume with six plates printed out of text.
Only three copies recorded in the CCF (BnF, Institut, Strasbourg).
Our copy is preserved in its original state, issued in a temporary paper wrapper.
Spine restored at head with small losses; marginal losses to the soiled covers; two small adhesive strips along the right margins of the final plate; author’s name and title pencilled on the upper cover.
The study of Phoenician languages was the speciality of Auguste-Célestin Judas (1805–1873).
Rare first edition.
Our copy is issued in its original state, unbound and preserved in wrappers.
Not recorded by Oberlé. Only two copies located in the CCFr (Cherbourg and Montpellier).
Alexandre Lesdos (1813-1865) was a member of the Société d'Agriculture and of the Société Académique de Cherbourg.
In this work, he devotes an entire chapter to the wines of Saint-Émilion, noted for their "bouquet as delicate as that of the violet." (our own translation)
First edition of this important work on former French Indochina, comprising:
On the half-title page of Volume VI, signed autograph inscription by Auguste Pavie: "A l'ami Vitoux, hommage affectueux. A. Pavie."
Accompanying this set is: "Carte de l'Indo-Chine dressée par MM. les Capitaines Cupet, Friquegnon et de Malglaive membres de la Mission Pavie."
Printed in Paris by Augustin Challamel in 1893 (broadsheet, folded and linen-backed, with some foxing).
The map is housed in a modern half green cloth portfolio with tips, red oasis title label, red board covers, and a red full-cloth slipcase, designed to match the text volumes.
"A pioneer of new routes in Cambodia and Laos, and a key figure in French expansion in Indochina, Auguste Pavie (1847–1925) holds a privileged place among the explorers of this region. Born in Dinan, he joined the army at seventeen, served in Cochinchina with the Marine Infantry (1868), and was sent to Cambodia in 1875 (…). In 1876, he was commissioned by the Governor of Indochina to create a new map of Cambodia, taking advantage of the construction of a telegraph line between Phnom Penh and Bangkok (…). In 1885, Le Myre de Vilers, recognizing his abilities, appointed him to the delicate post of French Consul in Luang Prabang, where he was to defend the rights France had inherited from Annam over Laos (…). From Luang Prabang, Pavie undertook a series of journeys across Laos from 1887 to 1889, regions that Mouhot and F. Garnier had only briefly explored. His investigations focused on three main directions: east (Tran-Ninh, Plain of Jars); northeast (Hua-Panh); and north (Sip-Song-Chau). It was in this last area that Pavie concentrated his efforts, seeking safe routes to Tonkin in order to open up Laos and firmly link it to France's other Indochinese possessions (…). From 1888, Pavie was no longer alone. He surrounded himself with military collaborators—Cogniard, Cupet, Malglaive, Pennequin…—and civilians such as the young diplomat Lefèvre-Pontalis and the brilliant biologist Le Dantec. Within a few years, the Pavie Mission, a veritable geographical service, would number some forty members, not counting the many indigenous auxiliaries. Dispersed in small groups along different routes, the mission members multiplied the leader's efforts, covering considerable ground. Thus, in 1890–1891, surrounded by a large team of geographers, naturalists, doctors, ethnographers, and economists, Pavie successfully completed a vast territorial survey intended to establish the future borders between French Indochina, China, Siam, and Burma (…). The scientific results of this collective enterprise, unparalleled in the French Empire, were impressive. Extending far beyond Laos, the investigations covered Tonkin, Annam, Cambodia, and southern China. In total, some 600,000 km²—an area larger than France—were surveyed and partially mapped, and 70,000 km of land and river routes were recorded (…). Truly multidisciplinary, the Pavie Mission encompassed all fields of knowledge, neglecting neither history, nor literature, nor folklore…" (Cf. Numa Broc, Dictionnaire illustré des explorateurs français du XIXe siècle, Asie, pp. 366–368).
First edition printed in two columns, one in French and the other in Italian.
Not recorded by Starace or Roland Bonaparte.
Contemporary limp vellum-style boards, smooth unlettered spine; covers soiled.
Some scattered foxing; one quire working loose.
First edition of the English translation of "De Logomachiis eruditorum" (Amsterdam, 1688) by the Swiss Reformed theologian Samuel Werenfels (1657–1740), a notably engaging essay on the obstacles to concord among Christians created by the endless disputes over the terminology used to define points of belief.
A few small spots of foxing.
Full speckled fawn calf, the spine with five raised bands decorated with gilt compartments and gilt tools; rubbing to the spine, the gilt title almost entirely effaced, headcaps trimmed down with a small loss to the tailcap; gilt double-fillet border with gilt corner tools on the covers; some wear to the board edges with gilt fillets, corners softened; edges sprinkled red; contemporary binding.
A few small spots of foxing.
Copy from the library of Charles-Maurice de Talleyrand-Périgord, bearing his armorial bookplate “Re que Diou” from the Château de Valençay, mounted on the front endpapers.
A highly appealing provenance, given the fundamental scepticism of the former bishop of Autun.
First edition, one of 35 numbered copies on Rivoli vellum, the only deluxe-paper issue.
A particularly handsome copy
First edition, one of 24 numbered copies on Vélin Rivoli, the only deluxe issue.
A particularly handsome copy.
First edition, one of 36 copies on pure-wire vellum, the only copies printed on deluxe paper.
A particularly attractive copy.
First edition from the Imprimerie Royale, complete in nine quarto volumes with all 262 black-and-white engraved plates.
Contemporary full polished and mottled calf, spines with raised bands decorated with guilloche tooling and gilt ornaments in the compartments, red morocco lettering-pieces and numbering-pieces, triple gilt fillet border on boards, double gilt fillet on board edges, marbled endpapers and pastedowns, marbled edges. Minor variations in the tooling on volume 3.
In this set, some headcaps missing, 6 cm joints split at foot of volume 1, 6.5 cm and 6 cm at foot of volume 2, 3.5 cm at head of volume 3, corners bumped, scratches and minor restoration to boards, including a more significant repair on volume 7 measuring 11 cm, browning in left margin of lower board of volume 4.
In this copy: some worming, several instances of dampstaining throughout the set, more pronounced in volumes 1, 3, and 8, some tears, restored on the title page and on pp. ix and xxiii of volume 1, also restored on p. 496 of volume 2, on pp. 259 and 260 of volume 3, on pp. 481 and 482 of volume 4, and on pp. 173 to 176 of volume 5.
Copy with some marginal annotations: in volume 2, a manuscript footnote added in ink on p. 541 ("Voyez les Planches enluminures n°491"), erroneous manuscript dates in ink in volumes 2 and 8, the number "18" annotated in ink in the upper right corner of the rear endpaper of volume 9.
Copy richly illustrated with drawings by Jacques de Sève, engraved by Robert de Launay, Lucas, Michel, Madeleine-Thérèse Rousselet, C. Baron, Hubert, Catherine Haussard, Carl Gottlieb Guttenberg, Jean-Guillaume Blanchon, Menil, Dufour, Louis Claude Legrand, Claude Mathieu Fessard, Elisabeth Haussard, François Hubert, A.-B. Duhamel, Mlle Mansard, C. Baquoy, Heinrich Guttenberg, Laurent Guyot, Benazeth, Schmitz, Marie-Anne Rousselet (M. R. veuve Tardieu), Louis-Gabriel Monnier, Pierre-Étienne Moitte, Jean-Louis de Lignon, Levillain, N. du Four, Thomas Chambars, Nicolas Thomas, Luigi Valperga, and George Louis Biosse.
Accompanied by two additional plates, heightened in color, numbered XX and XXII, from a volume 7 of the Histoire naturelle des oiseaux.
First edition of the French translation, with no issue on deluxe paper.
Minor surface scuffs along the margins of the front wrapper.
With a fine signed presentation inscription by Italo Calvino: "A Michel Tournier avec le souvenir de Italo Calvino. Mai 1974."
First edition on standard paper.
A handsome copy, complete with its publisher’s wraparound band.
Fine presentation inscription signed by Milan Kundera: "Paris 1998. Pour Michel Tournier avec l'amitié fidèle de Milan Kundera."
First edition on ordinary paper.
A vertical crease along the right margin of the upper cover, which also shows a tiny blemish at the head; a complete copy retaining its publisher’s wraparound band.
Fine presentation inscription signed by Pascal Quignard: "Pour Michel Tournier cette terrasse à Rome, avec mon meilleur souvenir. Pascal Quignard."
First edition, with no deluxe paper issue.
The covers are faintly and marginally toned; a pleasing copy overall.
Moving and precious presentation copy signed by Jacques Julliard: "Pour Simone Veil à elle qui a été de tous les combats contre ce fascisme qui vient... pour lui dire estime et amitié. Jacques Julliard."
Exceptional album comprising 54 original caricatures, some captioned, executed in India ink, pencil, and watercolour (including three small pencil sketches on loose leaves), together with several blank leaves.
This entertaining and highly personal album, evidently compiled by an amateur artist, appears to chronicle the various adventures and misadventures of a small cast of recurring characters, all seemingly connected in one way or another with the French Embassy to the Ottoman Porte, as suggested by a piece of official letterhead inserted between two leaves.
Contemporary full ivory vellum with yapped edges, smooth spine ruled in red, a restored split at the head of the spine, red fillets framing the boards, some marking to the covers, comb-marbled endpapers, red edges.
The album also includes one autograph letter signed in black ink, embellished with marginal caricatures, addressed to Mr H. Fournier and opening with "Cher Washington n°2".
The recipient of this satirical, illustrated letter appears to be the diplomat Hugues Marie Henri Fournier (1821–1898), appointed ambassador to Constantinople in 1877.
The adventures of the small group, identified by captions in black pencil, seem to begin in Florence in September 1872 and continue on to Rome.
The album includes, among other scenes, a watercolour depicting the Temple of Vesta.
In December 1872, according to an ink caption, the group—comprising the Vicomtes Bresson, de Mareuil, d'Hauterive, and d'Hérisson—is caricatured in Rome: at the theatre, on the Capitoline Hill, on horseback, and so forth.
A panoramic watercolour likewise satirises the Franco-Prussian War of 1870 and its protagonists.
Also portrayed in pencil alongside Fournier are General de Castelbajac and the Baron de Talleyrand.
The album further contains a fine pencil portrait of Khalil Bey.
The renowned Ottoman diplomat and collector, born in Cairo in 1831 and deceased in Istanbul in 1879, had indeed returned to Constantinople in 1872, after his ambassadorship in Vienna (1868), to marry the Egyptian princess Nazli Fazl. In addition to his role in the Crimean War, he is remembered for his celebrated art collection which, sold at auction in 1868, included works by Courbet (among them L'Origine du monde), Ingres, Delacroix, and others.
The Comte d'Osmond and Alfred de Courtois are likewise caricatured.
The album also features a view titled Pointe imaginaire du sérail and a watercolour depicting a game of lawn tennis.
A unique ensemble.
First issue of the fifty large hors-texte lithographs drawn from life by Henry John Terry (cf. Vicaire, VII, 1164).
Publisher’s binding in full red cloth, smooth spine decorated with blind-ruled compartments and fillets, light rubbing to the head- and tailcaps, gilt-lettered title on the front board, yellow endpapers, trace of a removed bookplate on one pastedown, one lower corner softened, slight discoloration to the lower left corner of the rear board, occasional marginal foxing, a small loss to the foot of page 119, and minor wormholes at the foot of the last three leaves, not affecting the text.
The fifty striking black lithographs depict the most picturesque views of Haute-Savoie.
Henry John Terry, originally from England, studied in Geneva under Alexandre Calame, the foremost Swiss landscape painter of the nineteenth century, and later settled in the country.
A well-preserved copy in the publisher’s original cloth.
Second illustrated edition, comprising 15 engraved plates outside the text. (cf. Kayser, Bücher-Lexicon VI, 265.)
Thirteen plates have been delicately hand-coloured at the time, several set against scenic alpine backgrounds; one of the two uncoloured plates depicts traditional alpine cheesemaking tools.
The French text is printed on the verso of the German text.
Very rare suite presented with its original upper wrapper, housed in a modern black box with flat spine, red morocco title-piece, and a large matching morocco label on the upper cover; light and inconsequential surface wear to the boards.
Some text leaves are toned and trimmed short in the margins; one marginal tear to the uncoloured plate; minor foxing in places.
Despite what the title might suggest (as the author explains in his preface), the work is dedicated to Swiss cattle breeds.
A rare and strikingly complete suite.
First edition of the French translation (cf. Atabey, 557 (text) and 569 (atlas). Blackmer, 788 (atlas). Hage Chahine, 2105.)
Contemporary half brown shagreen, spines uniformly sunned and faded, raised bands framed with black fillets, marbled paper boards, comb-marbled endpapers, gilt edges; a few lightly rubbed corners, one small defect to the foot of the edges of the fifteenth volume.
Some light foxing in the text volumes.
The atlas volume, folio, is issued in parts under ten beige paper wrappers with printed blue labels; the wrapper of part 6 is lacking; the general map of the Ottoman Empire has been restored in the final part; light foxing to the covers.
The original German edition was published in Budapest in ten volumes between 1827 and 1835. The illustrations comprise thirty-nine maps and plans—principally battle plans—prepared by the translator J. J. Hellert. The text includes eight folding genealogical tables of Ottoman princes and high dignitaries.
Joseph von Hammer, a renowned Austrian orientalist and diplomat, was born in Graz (Styria) in 1774. He entered the Royal Academy of Oriental Languages in Vienna, where he studied Turkish, Persian and Arabic. In 1799 he undertook his first journey to Constantinople; the following year he joined the British admiral Sidney Smith in the campaign against the French in Egypt as interpreter and translator. He attended the grand vizier’s council at Jaffa and the surrender of Alexandria. In 1802 he became secretary to the Austrian legation in Constantinople, from which he travelled into Asia Minor and Greece. Posted in 1806 to the consulate-general at Jassy in Moldavia, he was appointed interpreter at the Viennese chancellery in 1807. In 1817 he rose to the rank of court councillor. After inheriting the estates of the Counts of Purgstall, he added their name to his own and was created baron in 1835. He translated numerous oriental works into German and played a major role in the founding of the Austrian Academy of Sciences, serving as its first president from 1848 to 1849. He died in Vienna in 1856. "Aucun orientaliste avant lui n'a connu plus intimement les peuples musulmans et n'a autant contribué à nous faire connaître leurs mœurs, leur histoire et leur littérature […]. Il passa trente ans à réunir les documents [de son Histoire de l'Empire ottoman], qu'il a tirée de manuscrits orientaux et des archives de Saint-Marc à Venise, de celles de Vienne, et de tous les ouvrages publiés en Europe sur l'Empire ottoman" (Hoefer, XXIII, 259-267). Provenance: S. H. Weiss bookshop in Constantinople, located on the Grande Rue de Pera opposite the Russian consulate (label in each text volume).
Rare work.
Rare pre-first edition offprint of Charles de Gaulle's article Les Origines de l'armée française, published in issue 520 of the Revue d'Infanterie in January 1936. This 44-page text will be entirely reprinted two years later as the first chapter of his celebrated work La France et son armée, published by Plon in 1938. Our copy is enriched with an autograph inscription signed by the author "to M. Jean Auburtin": "With profound and faithful friendship. C. de Gaulle."
Blue wrappers slightly sunned at extremities, spine and upper joint rebacked, minor losses to spine, vertical crease probably from mailing, old creases to upper right corners, some ink stains on lower wrapper, old stamp affixed and partially torn on same wrapper.
First edition of the French translation, one of 25 numbered copies on pur fil, the only copies printed on deluxe paper.
Blood red morocco binding, gilt title lenghtwise, black stingray boards framed in morocco, gilt decorative paper endleaves, original wrappers preserved, top edge gilt, an elegant binding signed Boichot. Front free endpaper slightly toned, otherwise a handsome untrimmed copy.
Illustrated with original woodcuts by Jean-Gabriel Daragnès.
First edition of this rare album illustrated with 18 lithographed plates, including the title-frontispiece (see Inventaire du Fonds Français, VII, 243, no. 21).
This unbound suite is housed in a grey cloth chemise and matching modern slipcase, spine unlettered with two tears at head and tail, plain boards, light soiling to the lower board.
Some scattered foxing.
A rare first edition, of which no subsequent reprint exists, complete with all his Neo-Latin poems, chiefly composed in Rome. The volume also contains two Greek poems at ff. 60 and 62, together with a poem which inspired the celebrated sonnet Happy he who like Ulysses.
Modern binding in full limp vellum, smooth spine, red edges, white pastedowns and endleaves.
Some defects within: discreet restoration to inner margin of title verso; small tear without loss at foot of ff. 2-3; dampstaining to lower margin of ff. 25-28 and 45-48; minimal marginal defect to f. 44, not affecting text.
Published in March 1558, this precious copy contains four books of Latin poems - Elegiæ, Varia Epigr[ammata], Amores [Faustinae], Tumuli - written by Du Bellay in Rome and Paris between 1553 and 1557. The collection, also referred to as Poemata or Œuvres latines, appeared in the same year as three other works from his Roman period: Les Regrets, Divers Jeux Rustiques, and Les Antiquitez de Rome.
Very rare first edition of the new laws enacted in 1775 by Catherine II, Empress of Russia, here translated into Turkish for the recently annexed Turkic-speaking provinces taken from the Ottoman Empire.
The work is divided into two parts: the first, dated 12 November 1775, comprises the first 28 chapters (pp. 1–190); the second contains chapters 29 to 31 (pp. 191–248).
Contemporary-style half mottled sheep with small corners, unlettered spine with five raised bands decorated with double gilt fillets and gilt thistle tools, marbled paper boards, red edges, modern binding.
Pale marginal dampstaining to the upper right corner of the initial leaves.
Handsome and uncommon album comprising 36 vintage silver-print photographs (18.5 × 23 cm, mounted and captioned by hand), depicting exterior views—façades, gardens, and architectural perspectives—of this English neo-Gothic estate built between 1868 and 1872 by Thomas Smith and the Cannes contractor Scavy for one Michael Hugh Scott, who never lived in it: the property quickly passed to the businessman Debionne, who resold it to Lord Wolverton after furnishing and decorating the interior.
Publisher’s blue percaline binding, smooth unlettered spine, blind-ruled frame on the boards, gilt-lettered title to the upper cover, marbled endpapers and pastedowns; contemporary binding.
A few black spots to the slightly warped upper board; pleasing internal condition.
Facing the first photograph, presentation inscription from the second owner, Alexandre-Louis Debionne, to his brother-in-law, dated 15 April 1878.
Very rare first edition of this splendid photographic album, produced in Cairo in 1871, representing the first illustrated catalogue of the earliest museum devoted to Egyptology.
The photographs by Hippolyte Delié and Émile Béchard depict the rooms and antiquities of the Boulaq Museum, founded in Cairo in 1863 by the eminent Egyptologist Auguste Mariette (1821–1881).
The album comprises forty albumen prints (approx. 24.5 × 18 cm), mounted on thick card leaves set on guards, each accompanied by a letterpress commentary leaf (except plates 4 and 11, which each have two). The prints are mounted on the versos of the plates, the rectos bearing the printed captions.
Contemporary half brown shagreen, spine with five raised bands decorated with blind-tooled compartments and gilt floral tools, minor rubbing to spine and joints, headcaps slightly softened, blind-tooled interlaced borders on the boards, gilt title on upper board, endpapers and pastedowns in white moiré silk with a few light spots, all edges gilt.
Repairs to the spine and one joint at head, a few scattered internal spots.
New edition and the first printing of Jacques Tardi’s illustrations.
Publisher’s white boards, smooth spine.
A handsome copy.
Presentation inscription, dated and signed by Jacques Tardi to Joëlle Passani, with an original black-felt drawing depicting a sorrowful-faced Bardamu in a small vignette.
First French edition, illustrated by Arthur Rackham with 40 mounted color plates on thick brown paper, each protected by a captioned tissue guard, along with 30 black-and-white line drawings within the text, one of the extremely rare 30 copies printed on Japon, signed by Arthur Rackham on the limitation page; the deluxe issue.
Publisher's Bradel binding in full vellum-style boards, smooth gilt-titled spine, upper board gilt-stamped with title and a tree design, top edge gilt; the silk tie on the lower board is lacking.
A very handsome copy, one of the exceedingly scarce Japon copies.
Provenance: manuscript ex-libris on the half-title of Maurice Feuillet, renowned press illustrator, notably for major legal trials, as well as art critic and founder of the Figaro artistique. Feuillet is best remembered for his courtroom sketches during the trials of Émile Zola in 1898 and Alfred Dreyfus in 1899.
First trade edition, one of only 50 numbered copies printed on alfa paper, the only deluxe issue.
Rare and very attractive copy in original condition.
First edition, printed on Vélin d’Angoulême, with the usual typographical errors, and containing the six proscribed poems; one of the few copies presented to the author and "intended for friends who render no literary services".
Full claret morocco binding, spine with five raised bands richly decorated with multiple gilt- and blind-tooled fillets; third-state covers; boards framed with multiple blind-tooled fillets; marbled endpapers; gilt turn-ins; all edges gilt; marbled paper slipcase with morocco border; signed binding by Semet & Plumelle.
Precious copy, enhanced with an autograph dedication in ink by the author on the dedication page, addressed to Paul Meurice, playwright, journalist, and close collaborator of Victor Hugo, « à Paul Meurice, témoignage d'amitié. Ch. Baudelaire » ["To Paul Meurice, in token of friendship. Ch. Baudelaire"]. Featuring twenty autograph corrections by the author to the printed dedication and four poems:
- At the dedication: two pencil corrections to the last words of the first line. Baudelaire adds a plural to “es langueS françaiseS,” “es” being, in fact, the contraction of “en les.” A surprising syntactical correction, sacrificing coherence, which the author later amended in 1861 to “Magicien es Lettres Françaises”.
- “La muse vénale”, p. 29: one ink correction to the final word of the last line of the first tercet, “Guère S,” one of the earliest misprints corrected by Baudelaire, which had nevertheless escaped him on the proofs, as with the following.
- “Le chat”, p. 110: one ink correction in the second line of the sixth quatrain, “au” logically changed to “un.”
- “Don Juan aux enfers”, p. 43: three ink corrections to the third line of the third tercet. The first, a simple misprint, “errant S,” had already troubled Baudelaire on the proofs, but its earlier correction had not been carried over.
The other two, “leS rivageS,” are not orthographic corrections but represent one of the very first poetic variants, absent from most presentation copies, foreshadowing the forthcoming complete revision of Les Fleurs du mal and the new original edition of 1861.
-"Le reniement de Saint Pierre", p. 217: a pencil correction on the fourth line of the second quatrain. The “D” replacing the “C” in “Cieux” is underlined three times. Curiously, the proofs reveal the exact opposite: “Les Dieux” was then corrected with a “C,” equally emphatically underlined. Anti-clerical remorse or altered alliteration? This correction, found in only a few copies, drew the poet’s attention to another misprint, still intact in our copy, later corrected in subsequent presentation copies: “au X doux bruit.”
-Baudelaire also inscribed a large “C” in pencil on pp. 52, 73, 91, 187, 191, and 206, at the head of the six poems condemned on 20 August 1857 for removal from copies in circulation. He transferred the same “C.” to the table of contents, opposite the six incriminated titles: Les Bijoux, Le Léthé, À celle qui est trop gaie, Lesbos, Femmes damnées: À la pâle clarté, and Les Métamorphoses du Vampire.
In total, twenty autograph interventions by Charles Baudelaire.
First edition, one of the copies printed on vellum paper.
Minor, inconsequential loss at the foot of the spine; light foxing chiefly affecting the rear cover.
Very scarce presentation inscription signed by René Guénon to the French journalist, writer, royalist activist and later collaborationist Jean Héritier.
Very rare first edition, bilingual, quarto in format and printed on laid paper, of the Corsican cahier de doléances.
(Cf. Starace 4747. Not in Roland Bonaparte. Conlon, xxiv, 89:1617, who notes only the 32-page octavo edition. No copy located in CCF or Worldcat.)
Our copy is preserved in a plain grey paper wrapper, with minor internal flaws, a few discreet paper restorations to the lower right margin of the opening leaves, not affecting the text.
"Les cahiers des Tiers, en même temps que des mesures spécifiques, exigent les mêmes réformes que le reste du royaume. Cette imbrication du régional et du national est jalonnée d'événements illustrant la dynamique révolutionnaire: agitation lors des assemblées primaires, émeute de Bastia le 1er mai 1789, "révolution municipale" du mois d'août à l'annonce du 14 Juillet parisien et sous le signe de la cocarde tricolore..." Soboul, Dict. hist. de la Révolution française.
Among the specific measures requested are the following: authorisation for Corsican vessels to fly the Moor’s Head on the French white ensign (as several towns and provinces of the kingdom already displayed their own arms); establishment of a university at Corte funded by the former revenues of the Carthusians, Jacobins, and Olivetans; establishment of a lazaretto to facilitate trade with the Levant; creation of a free port; preference in appointments to be given to Corsicans or to French inhabitants established on the island, etc.
Light foxing to the lower and upper right corners of the leaves, not affecting the text.
A well-preserved and appealing copy.
First edition of the French translation prepared by Michel Vaucaire, who would later write the lyrics to the famous song Non, je ne regrette rien, singed by Édith Piaf. One of the rare named copies printed on japon.
Vertical creasing to spine, minor corner losses to spine and boards, traces of erasure to first two leaves, as issued.
Illustrated with 9 black-and-white photographs, including one on the cover.
Illustrated edition with 13 colour plates on brown paper by Arthur Rackham tipped in with captioned tissue guards, together with 14 black-and-white illustrations in the text by Rackham, including a frontispiece portrait of Alice, one of the very rare 20 copies on Japon, signed by Arthur Rackham on the limitation page, copy from the deluxe issue. A few name copies on the same paper were also issued.
Publisher’s full vellum binding, smooth spine lettered in gilt with a gilt illustration of the Cheshire Cat, upper cover stamped in gilt with the title and an illustration of two fantastic creatures, illustrated endpapers, top edge gilt. Occasional light foxing.
A handsome copy of the most sought-after of Rackham’s illustrated works, one of the exceedingly rare copies on Japon paper.
Provenance: manuscript ex-libris on the half-title of Maurice Feuillet, celebrated press illustrator, notably for major legal trials, as well as art critic and founder of the 'Figaro artistique'. Feuillet remains renowned for his courtroom sketches during the trials of Émile Zola in 1898 and Alfred Dreyfus in 1899.
First edition on ordinary paper.
Half black long-grain morocco binding, smooth spine tooled in palladium with author, title, and date, anthracite-grey paper boards, original wrappers and spine preserved (the latter with two small stains at head and foot), endpapers and pastedowns of anthracite-grey paper, binding signed Thomas Boichot.
Precious and exceptional signed presentation inscription by Louis-Ferdinand Céline: "A Mac Orlan son admirateur et ami fidèle. LFerd"
First edition, printed on thick wove paper.
Bound in contemporary half brown shagreen, smooth spines decorated with black typographic motifs, marbled paper boards, hand-marbled endpapers and pastedowns, modern slipcase edged in brown morocco with matching marbled paper sides and olive-green felt lining.
Some occasional foxing, the note "Henri Beyle" in black ink at the upper corner of the title page of the first volume, final catalogue leaf present at the end of the second volume, small corner restorations to four leaves of the first volume.
"Very rare and extremely sought after. Usually quite simply bound at the time. Often foxed" (Clouzot). "This work is of great rarity in fine condition" (Carteret).
A handsome and very rare copy, large-margined and attractively bound at the time, of this masterpiece by Stendhal—rarer still than Le Rouge et le Noir.
First edition, illustrated with four plates, including a folding world map (cf. Sinkankas 3466; Agassiz III, 370).
Full fawn calf, spine with five slender raised bands, gilt-tooled compartments with occasionally softened floral tools, rubbed gilt headcaps, brown morocco lettering-piece, marbled endpapers and pastedowns, gilt dentelle framing the pastedowns, gilt fillets to board edges, marbled edges, contemporary binding.
Repairs to the spine, one joint split at head and foot, browning along the board margins with surface scratches, scattered foxing, a waterstain at the head of all leaves.
A noteworthy treatise devoted to yellow amber and above all to ambergris, the fragrant substance derived from the intestinal concretions of sperm whales which, once expelled, float on the surface of the sea and yield a highly prized perfume.
The plates depict a frog and a lizard embedded in amber, a world map (Africa, Europe, Asia and part of the Southern Lands), figures collecting bird droppings, and various animals.
"This book commonly appears in bibliographies on amber when in fact it is about ambergris, but Klobius examines both substances and notes their differences on p. 26-9. One of the plates shows a frog and a lizard imbedded in amber, both of which are fakes" [Sinkankas].
On the title-page, a distinguished manuscript ex-libris in black ink
First edition on vélin d'Angoulême (laid paper), complete with all six condemned pieces, with the usual typographical errors.
Contemporary red half sheepskin binding, spine with four raised bands framed in gilt adorned with gilt fleurons, red percaline boards, marbled endpapers , speckled edges.
Rare and sought-after first edition.
Half-black shagreen binding, spine in four compartments, marbled paper boards, pebbled endpapers and pastedowns, speckled edges, contemporary binding.
Some occasional light foxing as usual.
Rare copy in strictly contemporary binding.
First edition, one of 45 numbered copies on Holland paper, the deluxe issue.
Full chocolate-brown morocco binding, spine with five raised bands framed with black fillets, date gilt at foot, gilt rolls on the caps, marbled paper endpapers and doublures, gilt double fillet borders on the doublures, gilt fillets along the edges, original wrappers and spine preserved, all edges gilt, slipcase edged with matching chocolate morocco, sides in marbled paper, interior lined with grey felt. A splendid binding signed by Semet & Plumelle.
A very handsome copy, perfectly bound in full morocco by Semet & Plumelle.
A collection of extremely rare prospectuses, prefaces, prolegomena, and appendices to a monumental work of political and economic philosophy by the Le Havre lawyer J.-B.-J. L'Aignel (1741-1806), former mayor of Le Havre.
The work was intended to be published in several volumes, but illness prevented the author from completing it.
Contemporary full marbled calf binding, spine with five raised bands ruled in gilt (partly faded) and decorated with double gilt compartments, black morocco title labels, gilt fillet borders on the edges (partly rubbed), red edges.
Worming in the lower margin of the final section, not affecting the text; small restorations to the boards.
Printed in Le Havre or nearby Montivilliers, these pieces were meant to be issued separately and have very rarely survived (Frère knew of only three).
The present copy was assembled by the author himself and is one of the two most complete known, along with the copy held by the Bibliothèque municipale du Havre (although with slightly different contents): 1) Souscriptions proposées au public par le jurisconsulte L'Aignel… Pour ses deux Ouvrages intitulés : le premier, les Loix commerciales : le deuxième, la France commerçante. 1er Avril 1797. 4 pp. 2) Loix commerciales et France commerçante. Adresse Aux deux Conseils du Corps Législatif. 1er Avril 1797. 12 pp. (Lechevalier, Biblio. arr. du Havre, 4698) 3) Discours historique sur le commerce (par Savary). 44 pp. (Lechevalier 4699) 4) Discours sur la navigation (par L'Aignel). 71 pp. (Lechevalier 4697) 5) Les Phares de Normandie et du Havre, Allumés à l’avènement de Louis XVI (par L'Aignel); Ode… Présentée à Sa Majesté étant aux Phares du Havre, le 28 Juin 1786. 8 pp. (Frère II 133, Lechevalier 1496) 6) Les Livres XX, XXI & XXII, de l'Esprit des Loix Par Montesquieu : Relatifs au Commerce, Considéré comme une des bases de l'Ordre Social. Montivilliers, Imprimerie des Administrations municipales, s.d. 112 et 6 pp. (Lechevalier 4700) 7) Analyse satyrique de l'Esprit des loix Par M. de Bonneval. 1 f.n.ch. 8) L'Ordre Social. Prospectus. - L'Ordre Social, Propre à tout Gouvernement quelqu'il soit, républicain ou Monarchique; distribué en neuf Législations proposées : précédé de l'Examen des loix hébraïques, romaines, françaises, et autres, tant anciennes que modernes… Par le Jurisconsulte l'Aignel,… Au Havre, Chez l'Auteur, de l'imprimerie de Patry, (1795). 1 f.n.ch. et 27 pp. (Frère II 134, Lechevalier 4690: autre éd. en 24 pp.?) 9) La Confédération générale de l'Europe : ou Extrait du projet de paix perpétuelle de l'abbé de Saint-Pierre. Montivilliers, de l'Imprimerie du District (vers 1796). 15 pp. (Lechevalier 4700 (2)) 10) L'Ordre social, propre à tout gouvernement, Et distribué en neuf Législations …Par le Jurisconsulte l'Aignel,… S.l., (1795). 4 pp. 11) Les Pairies populaires et leurs assemblées Proposées par le Jurisconsulte l'Aignel… S.l., (1796). 20 pp. (Lechevalier 4696) 12) Le Comice patriotique et universel. Au Havre, de l'Impr. de Le Picquier, (vers 1795). 23 pp. (Frère II 134, Lechevalier 4693) 13) Les Hospices, Ci-devant dits Hôpitaux, Aumôneries, Maladreries, Léproseries, Hôtels ou Maisons-Dieu. S.l. (vers 1795). 32 pp. (Lechevalier 4695: autre éd. en 32 pp.?) 14) Les Tributs directs et fixés. Observation préliminaire. Au Havre, de l'Impr. de Le Picquier (vers 1795). 27 pp. (Lechevalier 4694) 15) L'Appendice de la France commerçante en 1789 Par le Jurisconsulte l'Aignel… Au Havre, chez l'Auteur, de l'Imprimerie de Patry, (1796). 2 ff.n.ch., 4 pp. 16) Le Spectacle de la France, lors de la convocation des États Généraux en 1789. S.l., (1796). xij pp. 17) Remarques particulières sur le gouvernement français Par le Président Hénault. Montivilliers, de l'Imprimerie des Administrations municipales, (vers 1795-1796). 54 pp. (Lechevalier 4700 (3)) 18) Histoire sommaire du droit français Par Gabriel Argou,… Montivilliers, de l'Imprimerie du District, (vers 1795-1796). 56 pp. (Lechevalier 4700 (4)) 19) Le Spectacle de la France, lors de la convocation des États Généraux en 1789. S.l. (vers 1795). 107 pp. (Lechevalier 4688) 20) Commerce général de la France en 1789 S.l.n.d. 23 pp. (Lechevalier 4691) 21) Salines et sel, Particulièrement en France S.l.n.d. 44 pp. (Lechevalier 4692). L'Aignel affixed to the front flyleaf an in-8 printed leaf containing two of his poems in honor of the First Consul and Josephine during their official visit to Le Havre on 15 Brumaire Year XI (6 November 1802).
This copy remained in the author’s family until his grandson René, also a lawyer in Le Havre, presented it on 6 November 1882 to a certain E. Seguin, as indicated by a pencil note on the front pastedown.
Rare first edition with bilingual text (French with facing Italian translation).
Our copy is preserved in its original state, uncut and unbound in temporary dominoté paper wrappers (with pen and black ink accounts and trials on the verso of the second cover). Minor foxing.
Only one copy recorded in the CCF (Avignon). Not listed in Starace.
A very rare collection documenting a little-known aspect of the famous "Miot decrees", which have given rise to much commentary, though only concerning their fiscal and customs provisions.
The regulatory activity of this unflinching State official extended into many other areas. When he disembarked from the Hirondelle on 25 March 1801 in Bastia, it was the second mission undertaken by Miot (1762–1841) in Corsica to implement continental legislation (the first had taken place in 1796–1797).
Settled in Ajaccio in the Bonaparte house, he exceptionally held full military, administrative, and judicial powers, tasked with bringing, as far as possible, the islanders under the French legal system, the constitutional regime having been temporarily suspended on the island by the First Consul.
The task was far from easy, hampered by numerous personal oppositions, and until his departure on 14 September 1802, he was often compelled to adapt the legal requirements to local customs and institutions.
First edition, one of 500 copies on ordinary paper.
This copy has a chemise and slipcase.
A little light spotting, not serious, nice copy.
Retaining its advertising band and slip.
Handsome autograph inscription signed by René Char: “à Man Ray au voyant carnassier de tout cœur R. Char.” (“To Man Ray to the carnivorous fortune teller, with all my heart, R. Char.”)
Unpublished, handwritten, signed letter from André Breton addressed to critic Charles Estienne; one page and a few lines in black ink on a paper from the à l'étoile scellée gallery.
Two transverse folds from having been sent, a small corner missing in the upper right margin.
Very beautiful letter giving an account of the death of one of André Breton's dearest friends and of his quarrel with Albert Camus.
Breton tells his friend about the death of the Surrealist Czech artist Jindřich Heisler: “Your letter spoke of those days where it seemed “that there was only just enough fire to live”: on Monday there was far from enough fire, when it reached me: one of my two or three best friends, Heisler, taken suddenly unwell on his way to mine on Saturday, had to be hospitalised urgently and I had just received the pneumatic from Bichat telling me of his death. The event, no less inconceivable than accomplished, left me distraught for a long time: there was no-one more exquisite than he, putting more warmth into everything he did, the most constant of which was to lighten and embellish those whom he loved.” The two poets were indeed very close: Heisler participated, alongside Breton, in the launch of Néon in 1948 and supported him during a period of depression, accompanying him with other friends to the Île de Sein. “The beginning of 1953 was overshadowed by the death of Jindřich Heisler (4 January). Loyal among the faithful, he “lived entirely for Surrealism” according to Breton, who pays tribute to his activity as a leader: “This is how he was between 1948 and 1950, the soul of Néon, and until his last moments the greatest bearer of projects that, as if by magic, his talent gave him the means to achieve.”” (Henri Béhar, André Breton)
Extremely rare first edition, probably printed in Prussia, of this essay written directly in French by Baron de Bielfeld (1716–1770), inspector of Prussian universities and a friend of Frederick the Great since the time when he was still Crown Prince of Prussia.
GV 1700–1910, vol. 111, p. 374. Not in Conlon (who only cites the Amsterdam edition of the same year). No copy located in the U.S.A.
Full red morocco with gilt decoration, smooth spine elaborately tooled in the grotesque style, gilt rolls on the caps, triple gilt fillet border on the covers, gilt fillets on the edges, star-patterned gilt paper endpapers and doublures, gilt dentelle border on the inside covers, all edges gilt, contemporary binding.
Small black spots on the boards, a few insignificant scattered foxmarks.
The author clearly intended this work to flatter his sovereign by showing how the princes of the House of Brandenburg, and particularly “the monarch who now occupies the throne,” had “the glorious maxim of granting their subjects full freedom of thought and generous protection to all talents.”
A fine copy, bound in a Parisian binding from one of the capital’s finest workshops, preserved in near-perfect condition.
First edition of this collection of political speeches.
Full red percaline binding, smooth spine without lettering showing slight rubbing, gilt inscription stamped to the upper cover: "République de Guinée R.D.A. à S.E. Jean Paul Sartre. N°30"; endpapers partly toned, a contemporary presentation binding offered to Jean-Paul Sartre.
Frontispiece photographic portrait bearing the autograph signature of President Ahmed Sékou Touré: Secretary General of the Parti Démocratique de Guinée, Supreme Leader of the Revolution.
Second edition.
Full forest-green morocco binding, spine with five raised bands framed with gilt dotted lines and decorated with double gilt panels, gilt rolls at head and tail, triple gilt fillets bordering the covers, marbled paper endpapers and doublures, gilt dentelle frame on the inside covers, all edges gilt, double gilt fillets along the edges, an elegant binding signed by Krafft.
Bound following it are:
- Nicolas Papin’s “De pulvere sympathico dissertatio”, printed in Paris by Siméon Piget in 1650 (8 unnumbered leaves, the last blank, and 40 pp.).
- By the same author, “La poudre de sympathie, deffendue contre les objections de Mr. Cattier, médecin du Roy”, printed in Paris by Siméon Piget in 1651 (4 unnumbered leaves and 56 pp.).
- Isaac Cattier’s “Response à Monsieur Papin Docteur en Medecine, touchant la poudre de sympathie”, printed in Paris by Edme Martin in 1651 (87 pp.).
A fine copy, beautifully preserved in a splendid binding signed by Krafft.
Rare and sought-after first edition, first issue.
Includes the subscribers' list and the foreword, which were omitted when the remainder of this edition passed into the hands of another publisher, Dion-Lambert. It also retains the pagination error in volume two: page 164 instead of 364. With a letter from the author, bearing his autograph signature, written and dated 14 April 1839, in the hand of his secretary. One page written in black ink on a leaf. Slightly darkened at the upper edge, with occasional foxing, and the usual folds from postal handling.
Our copy is enriched with an exceptional, prophetic and macabre letter by François-René de Chateaubriand: "mais moi je suis mort, absolument mort et s'il me fallait écrire un mot dans un journal, j'aimerais mieux être enseveli à mille pieds sous terre." ["but I am dead, utterly dead, and if I were required to write a single word in a newspaper, I would rather be buried a thousand feet underground."]
Signed with the author’s faltering hand, this apparently unpublished letter was penned by his secretary: "Vous connaissez la main de [Hyacinthe] Pilorge que j'employe pour remplacer la mienne souffrante de la goutte" ["You will recognise the hand of [Hyacinthe] Pilorge, whom I employ to replace my own, suffering from gout,"] the author explains in the introduction to the letter.
Black half-morocco bindings, smooth spines with double gilt fillets and double blind-stamped compartments, black paper boards, slight superficial rubbing to some boards, marbled paper pastedowns and endpapers, sprinkled edges; contemporary bindings. Sparse foxing.
Rare first edition illustrated with one table and two plates showing cranial shapes and portraits of the insane.
See Garrison Morton, 4922. En français dans le texte, 203. Kelly, p. 326. Foucault, Histoire de la folie, 523. Jan Goldstein, Console and classify, 65. Bariéty & Coury, 882.
Half calf binding with corners, smooth spine decorated with gilt floral and ornamental motifs, marbled paper boards, marbled endpapers and pastedowns, sprinkled edges; modern pastiche binding.
Some foxing mainly affecting the second volume.
Bound at the end of the volume is Jean-Etienne Esquirol’s "Des Établissemens consacrés aux aliénés en France, et des moyens de les améliorer. Mémoire présenté au ministre de l'Intérieur, en septembre 1818", published in Paris, undated, by Renouard, 35 pp.
On the verso of the title page: "Cet opuscule est extrait de l'ouvrage que l'auteur publiera à la fin de janvier 1838, sous le titre: Des maladies considérées sous les rapports médical, hygiénique, statistique et médico-légal." A rare offprint of the text that led to the adoption of the law of 30 June 1838, which established the creation of one psychiatric institution per department and made confinement subject to medical advice. "This Mémoire to the Minister of the Interior on conditions in Hospitals and Prisons is one of the ablest and most influential documents in the history of administrative psychiatry" (Zilboorg & Henry p. 391, cited in Haskell F. Norman Library, III, 1062). A judicious pairing of two fundamental texts.
First edition, one of 750 numbered copies on vélin paper, this not justified, the only printing along with 50 on Japan.
A good copy.
Aesthetic Surrealist autograph inscription by Benjamin Péret: '...Pourquoi la chevelure, me direz-vous? Oui, pourquoi? Parce que les cheveux remplacent les parapluies...' to his friend Léo Malet.
First French edition, one of 25 numbered copies on Hollande paper, deluxe issue.
This second volume of La comédie américaine was first published in English as The Ski Bum.
Fine copy.
First edition, one of 52 copies printed on Montval paper, ours being the second of 12 hors commerce copies, a deluxe issue.
Half anthracite-grey long-grained morocco, smooth spine lettered with the author’s name, title, date, and the palladium-stamped inscription “EXEMPLAIRE J. KESSEL”, abstract patterned paper boards, dove-grey paper endpapers and pastedowns, original wrappers and spine preserved, binding signed by Thomas Boichot.
Some light foxing mainly affecting the first and last leaves.
Exceptional and deeply moving full-page signed presentation inscription from Maurice Druon to Joseph Kessel: “Il fallait bien, mon grand Jef, que le premier livre que je t'envoie depuis que tu es Immortel soit les mémoires de Zeus. Je remercie les Destins de m'avoir donné un tel oncle et d'avoir permis que nous nous aimions si bien. Je t'embrasse. Maurice Mai 1963.”
First edition, one of 30 numbered copies on Holland paper, the deluxe issue.
Bound in full ebony morocco, smooth spine decorated with small inlays of garnet morocco and pearl-grey box calf, the latter framing the author’s initials and the title; the first numeral of the date, given in Roman numerals, appears within a square of pearl-grey box calf. Morocco boards framed with wide panels of chocolate suede, the upper cover with a large granulated paper panel lettered with the title and date of the edition set in garnet morocco, the initials framed by a rectangle of paper taken from a map of Haute-Savoie; bluish paper endpapers and pastedowns, original wrappers and spine preserved, top edge gilt; housed in a chemise with a rhodoid-backed spine and slipcase trimmed with ebony morocco. Binding signed by Pierre-Lucien Martin and dated 1964.
These “memoirs-autobiography” by Simone de Beauvoir trace her life from her success at the agrégation prepared with Jean-Paul Sartre to the Liberation of Paris in August 1944.
A superb and celebrated binding, produced in a few copies, each differing slightly, by Pierre-Lucien Martin, one of the masters of twentieth-century French bookbinding.
First edition, one of 160 hors commerce copies on Lana vellum, ours being one of 60 hors commerce copies, the only deluxe issue.
Half long-grain black morocco binding, smooth spine lettered with the author’s name, title, date, and the palladium inscription “EX. JOSEPH KESSEL 1958”, wood-patterned paper boards, grey endpapers and pastedowns, wrappers and spine preserved, binding signed by Thomas Boichot.
Some foxing, mainly affecting the wrappers and the first and last leaves.
Exceptional and moving signed autograph presentation from Maurice Druon to Joseph Kessel: "A toi mon grand Jef, cet Alexandre le grand né lui aussi sous le signe du Lion en même temps que du Bélier et que tu as aidé de tes conseils et de ton exemple en t'embrassant très fort. Maurice Juin 58"
First edition, one of the press service copies.
Precious signed autograph inscription from Paul Éluard to Benjamin Fondane.
Spine with three small expertly repaired tears, of no consequence.
A moving dedication from poet to poet, written on the eve of the war during which the two friends would contribute together to poetic resistance journals such as l'Honneur des poètes.
The deportation and death of Fondane in 1944, along with many other artist and poet friends, would profoundly affect Éluard, who composed in their memory a magnificent poetic tribute, "Eternité de ceux que je n'ai pas revus," listing the names of each of the departed:
"Visages clairs souvenirs sombres
Puis comme un grand coup sur les yeux
Visages de papier brûlé
Dans la mémoire rien que cendres
La rose froide de l'oubli
Pourtant Desnos pourtant Péri
Crémieux Fondane Pierre Unik
Sylvain Itkine Jean Jausion
Grou-Radenez Lucien Legros
Le temps le temps insupportable
Politzer Decour Robert Blache
Serge Meyer Mathias Lübeck
Maurice Bourdet et Jean Frayse
Dominique Corticchiato
Et Max Jacob et Saint-Pol Roux
Rien que le temps de n'être plus
Et rien que le temps d'être tout"
The first edition on simili-Japon paper.
Bradel grey cloth binding, navy blue cloth band with authors and title blindstamped to edge of upper board, upper cover preserved at end.
With 21 collages by Max Ernst.
A very good and rare copy.
First edition, one of 95 hors commerce copies on pure wove paper, the only deluxe paper issue.
Half fawn morocco binding, smooth spine with gilt lettering of the author's name, title, date, and the mention “EX. J. KESSEL”, fawn paper boards, rust-colored endpapers and pastedowns, original covers and spine preserved, binding signed by Thomas Boichot.
Some foxing mainly affecting the covers as well as the first and last leaves.
Exceptional and moving signed autograph inscription from Maurice Druon to Joseph Kessel: "A toi mon grand Jef, prince des Cavaliers, avec la joie de t'avoir rejoint parmi les Immortels, cette histoire de famille en t'embrassant pour tous les jours des hommes. Maurice 1967."
First edition, now rare according to Clouzot.
Endpapers partially toned, occasional scattered foxing, light dampstains in the upper margins of some leaves.
Contemporary half tan sheep binding, spine skilfully restored, marbled paper boards, first endpaper partly toned, a modest period binding (most copies were simply bound at the time, cf. Clouzot).
Exceptional signed autograph inscription by Victor Hugo: "A mon cher et respectable monsieur de la Rivière. Hommage de profond et reconnaissant attachement. Victor."
A fine set of the first four volumes of the French intégrale edition, identical to the original American structure. Volume 1 is housed in a metal case with embossed lettering and a folding map of Westeros. It is a copy of the highly sought-after very first French collector's edition of the series published in 2012. Volumes 2 and 3 followed in 2013, and volume 4 in 2014.
Each volume signed by George R.R. Martin on the title page. The signatures were obtained during the author's only public signing session for French readers, held in Dijon on July 3, 2014. (Volume 5 was not published until 2015.)
Colour pictorial wrappers with flaps. Slight rubbing to corners, minor handling wear to spines of vols. 2 and 3, crease marks to upper board of vol. 3, lower board of vol. 4, and front flap of vol. 3; edges of volumes 2, 3 and 4 lightly toned. Light rubbing to spine and boards of metal case.
First edition, one of 50 numbered copies on alfa, only deluxe copies. Some light foxing, mainly on the endpapers.
Rare signed presentation copy in French: “To my friend René Jasinski, in token of gratitude and friendship, these few scenes of Jewish life in New York. T. Twersky”, with a sentence in Hebrew translated by the author in French on a laid-in leaf: “Translation of the Hebrew inscription: sixth day of the week ‘Pekoudè’, year 5692 since the creation of the world, in the holy community of Paris”, (Friday, 4 March 1932 according to our calculation).
A remarkable autograph poem of youth by André Breton dedicated to Guillaume Apollinaire entitled «Décembre». 20 verses in ink on vergé d'Arches paper, composed in December 1915. This manuscript was copied between March 1917 and the beginning of 1918.
This poem is presented in a chemise and case with paper boards decorated with abstract motifs, the spine of the chemise in green morocco, pastedowns and endpapers of beige suede, a sheet of flexible plexiglass protecting the poem, case lined with green morocco, piece of green paper with caption «poème autographe» to bottom of upper cover of case, the whole by Thomas Boichot.
Key poem of the author's pre-Dadaist period, it formed part of the set of 7 manuscript poems by Breton (known as coll. X. in the Œuvres complètes d'André Breton, volume I in La Bibliothèque de la Pléiade, Gallimard, 1988, p. 1071). Thiese poems of his juvenilia are carefully copied out in black ink on watermarked vergé paper. The small collection was addressed to his circle of friends and writers, most notably including Valéry, Apollinaire, Théodore Fraenkel, and his brother in arms André Paris. They were later published in his first collection, Mont de piété, which appeared in June 1919, published by Au Sans Pareil, established not long before by his friend René Hilsum.
The precise dating of this set of autograph poems is made possible by the composition of the final poem in the set («André Derain»), written on 24 March 1917, which provides a definitive terminus post quem. An earlier version of the poem «Age», dedicated to Léon-Paul Fargue, appears in our collection under its original name, «Poème». Dated by the author 19 February 1916, the day of his 20th birthday, and composed 10 days previously (according to his letters), it was not retitled and reworked until its publication in July 1918 in Les Trois Roses. Judging by the similarities to things published before this last poem, the seven autograph poems were probably written during 1917 or at the beginning of 1918, while Breton was doing his residency in Val-de-Grâce and where, significantly, he made the acquaintance of Louis Aragon.
The poems that make up Mont de piété represent a rare and valuable insight into his youthful influences at the dawn of his joining the Dada movement and his discovery of automatic writing. Quite short and sometimes sibylline, one detects Symbolist highlights borrowed from Mallarmé, whom he rediscovered at poetry mornings in the théâtre Antoine and the Vieux-Colombier accompanied by his schoolfriend Théodore Fraenkel. During the first month of the War, Breton also dedicated himself to Rimbaud, plunging into Les Illuminations, the only work he carried with him in the confusion and haste that followed the outbreak of war. From his readings of Rimbaud were born the poems «Décembre», «Age», and «André Derain», while he borrowed Apollinaire's muse Marie Laurencin to whom he dedicated «L'an suave». The author's poetic inheritance was particularly marked by Paul Valéry, with whom he corresponded from 1914. Valéry played a considerable role in the writing of the poems of Mont de piété with the advice he gave the young poet. Admiring his disciple's audacity, who addressed each of these poems to him, he characterized the poem «Façon» (1916) thus: «The theme, language, scope, meter, everything is new, in the style, the manner of the future» (Letter of June 1916, Œuvres complètes d'André Breton, vol. I in La Bibliothèque de la Pléiade, Gallimard, 1988, p. 1072).
These essential buds of Breton's youth were written between his seventeenth and twenty-third year. Taken by surprise in Lorient by the declaration of war, he became a military nurse, serving in several hospitals and on the front during the Meuse offensive. In Nantes, he met Jacques Vaché, who inspired him to undertake a project of collective writing, as well as encouraging him to have illustrated the future collection that was to become Mont de piété, a task eventually undertaken by André Derain. His intimacy with this «dandy revolting against art and war» who shared his admiration for Jarry and his contact with the mental patients of the Saint Dizier neurological and psychiatric centre, marked a decisive stage in the birth of Surrealism. Posted to the Val-de-Grâce from 1917, Breton found in Paris the necessary literary vibrancy for his poetic quest and began reciting Rimbaud in the company of Aragon. It was thanks to Apollinaire that he became friends with Soupault, the future co-author of Champs magnétiques, and Reverdy, founder of the review Nord-Sud, which went on to publish the poems of Mont de piété. The seven poems of the collection were printed in avant-garde reviews (Les Trois Roses, Solstices, Nord-Sud) between 1917 and the beginning of 1919.
Four of the seven poems were dedicated to friends and masters of the author: Léon-Paul Fargue, and above all Apollinaire, to whom Breton devoted a paper in L'éventail. Breton also paid homage to Marie Laurencin and André Derain, creators of «plastic works that are still completely new, exposed to an almost unanimous rejection and intolerance» that were dear to Breton throughout his life (XXe siècle, n°3, June 1952). With these dedications, he increased the number of complex allusions, dedicating to one a poem inspired by the other, as in for instance «Age», dedicated to Léon-Paul Fargue, which echoed Rimbaud and his poem «Aube» (Les Illuminations, 1895).
The correspondence and friendship between the two poets began with the dedication of this poem, which Breton wrote in 1915. Apollinaire immediately spotted, in these lines that Breton had entrusted to him «a striking talent» (letter of 21 December 1915). Still under the spell of Rimbaud and the late Symbolism of Valéry when he wrote this poem, Breton found in Apollinaire a new poetic direction and told him a year later: «I confessed without protest the attraction you held for me. The seduction was so overwhelming that I cannot, for the moment, write about it.» The fractured structure of «Décembre» is testimony to a change that was already proceeding in the young poets work, 21 at the time. Alexandrines were set beside verses of a few syllables that dismantled meter. «At 25, the hotel with its [plug of [mistletoe I dodge the unjust spawn, O [white [soil! Hello – Europe languishes in [next [year's flames The song of the fennel – and [there [you are! We stay silent.» Breton also sent the poem to Valéry on the 14th December, who remarked on his new technique: «As to the very singular verses with their bold breaks, their allure broken and illuminated by the flash of the soliloquies at the corner of the fire, I find them an interesting study of something else, a new test of yourself.» The poem is set on the 25th December, a strange Christmas peopled by «flowering missals», «Mages» and «mangy clocks». Breton inserted another subtle dedication to his model (the «plug of mistletoe»), playing on Apollinaire's surname (Gui), which figures in his poems and his letters. «Décembre» is also the first poem by Breton directly to mention the War, and finishes on a dark image. «Private, Over there, conscript of the earth and [the standard, to be! And my arms, their warm creepers [that held you fast? - I would have savaged the life of your [poor angel breast.» This mark of admiration from Breton was followed by a study devoted to the poet's work, shortly after the publication of «Décembre» in L'Éventail on the 15 February 1919. As well as his influence as a poet and an art critic, Apollinaire posthumously contributed significantly to the birth of the post-War avant-garde movements: for if Breton was to be the theoretician behind Surrealism, it was nonetheless Apollinaire who invented the word, not to mention introducing Breton and Soupault. An extremely rare and fascinating manuscript from the young André Breton, dedicated to Apollinaire, the first Surrealist and guide for the new generation of post-War poets.
First edition, one of 69 numbered copies on pur fil, the only deluxe paper copies.
A very handsome copy.
First edition, one of 15 numbered copies on pure wove paper, the only deluxe copies.
A very handsome copy.
First edition on ordinary paper.
A pleasant copy.
Precious signed autograph inscription from André Pieyre de Mandiargues: "A Henri Michaux le coeur de son vieil ami André Pieyre de Mandiargues" enriched with Yvonne Caroutch’s handwritten signature.
The first edition for large parts of the text, printed in 550 copies with the correct date of 1891 on the title.
Contemporary paper boards with blindstamped floral motifs, spine very slightly browned, brown shagreen title-piece, gilt date to foot of spine, covers preserved.
Biographical press clippings bound in at end, bookseller's description laid down on head of one endpaper, leaving a mark on the opposite page.
This copy is complete with the original preface by Rodolphe Darzens, removed from most copies of this printing.
A good copy in a contemporary binding, which is rare, according to Clouzot.
First edition of the French translation, one of 200 copies numbered on Marais vellum, the only deluxe paper issue.
Minor rubbing along the joints. A rare and attractive copy.
