Idées Cadeaux de Noël entre 300 et 1000 euros

First edition of which there were no grand papier (deluxe) copies.
Texts by Michel Leiris, Jacques Prévert, Vercors, Hervé Bazin and commentaries by Jean-Paul Sartre.
Autograph inscription signed by Jean-Paul Sartre to Mademoiselle Marchais.

First edition, one of 64 numbered copies on pure wove paper, the only deluxe copies issued.
A pleasant copy.

Autograph calling card signed by Henri Bergson and addressed to Alain Besnard, director of the Villa Medici.
"Je ne puis vous dire, cher et illustre confrère, combien vos aimables félicitations me touchent. Merci, et de tout coeur à vous, H.B."

First edition illustrated with drawings by Georges Wolinski.
A fine copy.
Precious dated and signed autograph inscription from Georges Wolinski to his friends Régine Deforges and her husband, the illustrator Pierre Wiazemsky, known as Wiaz, enriched with an original drawing depicting Régine Deforges smoking a cigar, the smoke forming a curl in which appear the following words, with a playful nod to Che Guevara: "Pierre et Régine à Cuba, Che calor !"

Original etching on Chine appliqué mounted on heavy paper, engraved by Félix Bracquemond after Manet’s 1861 painting, probably depicting Léon Leenhoff, the painter’s natural son.

First edition of Yves Bonnefoy’s debut work, one of 300 copies on coated paper, the only issue after 1 on beige paper, 10 on grey paper and 50 on Chamois.
Spine and covers slightly and marginally faded, as usual.
Inscribed and signed by Yves Bonnefoy to a couple of friends, dated 1976: "1946-1976 cher Pierre, chère Simone, il est grand temps de vous remettre cette pièce à conviction... Avec affection. Yves."

First edition printed in 310 copies, ours being one of 285 numbered copies on Auvergne paper. Our copy is enhanced with an original drawing signed by Léon Courbouleix.
Bradel binding in full vellum, smooth spine decorated with an original drawing and pen title, covers decorated with drawings by Gaston Hoffmann, marbled paper slipcase.
Very handsome work entirely engraved with etching, printed on hand press by Léon Courbouleix and bound in a very beautiful painted binding by Gaston Hoffmann.

First edition on ordinary paper.
Publisher's binding in full black boards decorated with Castelbajac-style motifs, smooth spine, complete with its illustrated dust jacket.
Richly illustrated.
A fine copy.
Inscribed, dated and signed by Jean-Charles de Castelbajac to Jocelyne Aurel-Tulle with New Year wishes for 1997, enriched with a drawing in yellow and black felt-tip depicting flowers and leaves.

Illustrated edition with 12 original color compositions by Edouard Chimot, one of 50 numbered copies on Rives wove, deluxe issue after 23 other copies on Rives wove.
Half orange-red morocco over corners, smooth spine, illustrator’s name gilt at foot, gilt fillet framing on vellum-style paper boards, marbled endpapers and pastedowns, original covers preserved, all edges gilt, slipcase edged in orange-red morocco with marbled paper panels and interior, binding signed Vassière, binder in Castres.
This copy includes the additional suite of the illustrations in black, as stated in the colophon.
A fine copy, handsomely bound.

Later edition published a few months after the original, for which no deluxe paper copies were issued.
A fine copy complete with its promotional band: prix Goncourt 2010.
Signed autograph inscription from Michel Houellebecq to a man named Farès.

Autograph letter signed by Emmanuel de Las Cases to Count Guillaume de Garden, dated May 10, 1833. Autograph address on verso of last leaf. Tears to last leaf due to opening, small tear in upper margin of first leaf extending 4 centimeters, not touching text, usual folds.

Precious letter from the famous memorialist, the Emperor's companion in exile, whose masterpiece was at the origin of the Napoleonic myth. He invites Count de Garden to lunch, also known under the name Garden de Saint-Ange. This great historian and diplomat is the author of the monumental Histoire générale des traités de paix.



Monsieur le Comte,
[...] Seriez vous homme à vous déplacer le matin, nous vous offririons de venir dimanche goûter nos oeufs frais à déjeuner et j'y trouverai pour mon compte dans votre seule conversation tout ce dont j'ai besoin j'en suis sûr [...]

First edition printed by "Cercle nouveau du livre" before the deluxe edition by Julliard a few months later, one of the numbered copies, the only printing.

Very handsome copy complete with its rhodoid.

Publisher's binding in full green cloth, smooth spine, title and author's name stamped in gilt on the front cover.

 

Illustrated edition with 68 illustrations by George Roux including 20 large chromotypography engravings and a map.
Catalogue Y at end.
Publisher's Hetzel binding signed Engel known as "au globe" type 4, lighthouse spine, second cover type Engel "i" according to Jauzac, all edges gilt.
Spine slightly faded, endpapers replaced, a small discoloration stain on the second cover, corners slightly frayed.
Le Sphinx des glaces is a fantastic novel, intended as a sequel to Edgar Poe's novel - to which it is dedicated -, Les Aventures d'Arthur Gordon Pym, published in 1838.
Copy not recorded by Jauzac.

Original ink drawing signed by Jean Cocteau, dated in his hand September 3, 1953.
One horizontal crease.
Between a few pen strokes that strangely resemble a tombstone, the writer-artist has slipped in an amusing epitaph: "Voilà ma fille je ne peux pas dire mieux / Jean" (There you are my daughter I cannot say better / Jean).

Original black and white silver print photographic portrait of Colette in conversation with one of her young admirers, Bernard Petiot.
Notes in blue ballpoint pen, one crossed out, followed by "Bernard Petiot 1957".
This photograph was taken on April 22, 1953, during the award ceremony of the Grand Officier de la Légion d'Honneur.
On the reverse, a humorous autograph inscription by the writer: "For Bernard Petiot, in memory of a ancient writer, Colette, to whom young visitors are sympathetic".

Edition illustrated with 73 illustrations and a map.
Publisher's polychrome paper boards, smooth spine, first cover decorated with a large illustration representing Ejnar Mikkelsen accompanied by his dog team, blue paper endpapers and pastedowns, all edges gilt.
Handsome copy.

Autograph letter signed by Paul Eluard addressed to Marco Ristic (whom Paul Eluard Frenchifies as Marco Ristitch), theorist and founder of Serbian surrealism, 17 lines written in blue ink.
Folds inherent to postal handling, envelope included.
Marco Ristic is in France and Paul Eluard is burning to meet him: "Needless to say my impatience to see you again, but I knew you were busy upon your arrival and, for a month, I have been bedridden." even if his job does not allow him to do so immediately: "Up yesterday, I must leave tomorrow morning for Brussels... [...] I would very much like you to telephone me so that we can make an appointment."
The poet wishes to introduce his correspondent to the Croatian architect Josip Markovic, father of his friend Dora Maar, Pablo Picasso's muse: "A great friend, Dora Maar, asks me to recommend her father, Mr Markovitch, to you. I would be grateful if you would receive him."
To facilitate these hoped-for and envisioned contacts, Paul Eluard provides his Parisian address and telephone number.
Charming missive illustrating the international connections of surrealism and decorated with Paul Eluard's handsome manuscript signature, one of its most important representatives.

First edition printed on blue paper.
One crease mark in left margin of leaf, otherwise a rare and handsome copy.

Autograph letter signed by Astolphe de Custine (16 lines in black ink) regarding the republication, issued by the same publisher Amyot in the same year as the first edition, of his prophetic and famous work "La Russie en 1839".
Fold marks inherent to posting, the ink of the year in the date having faded.
Due to the great success of his work "La Russie en 1839" whose first edition was published in 1843 by Amyot, Custine had difficulty obtaining a copy of the republication, printed a few months later the same year, of his masterpiece which he intended for his correspondent: "Here, sir, is the second copy of La Russie that I have been able to wrest from Amyot since the new edition went on sale."
Like his publisher, the author insists to his correspondent, certainly a literary critic, on the importance of this new edition which contains some parts in first edition so that he might review it: "Amyot is very keen that emphasis be placed on the new anecdotes with which this edition is enlarged: and I am especially keen not to neglect any opportunity to show you my confidence in your goodwill..."
A handsome letter testifying to the immediate and resounding success of this very important work by Astolphe de Custine, considered the counterpart to the celebrated "De la démocratie en Amérique" by Alexis de Tocqueville; the accuracy of certain of Custine's analyses being verified even in Stalinist Russia up to that of Vladimir Putin.

First edition, one of 100 numbered copies on deluxe paper, the only deluxe copies.
Handsome copy.

The first edition, of which there were no deluxe copies.
Fine copy, with press clippings included.
Rare and moving autograph inscription signed by Raymond Aubrac: "Pour Régine Deforges en souvenir de notre voyage vietnamien. Amicalement R. Aubrac." (For Régine Deforges in memory of our Vietnamese journey. Warmly R. Aubrac.)

First edition illustrated with 28 wood engravings in the text by Félix Vallotton, who also illustrated the front cover.
Half-yellow morocco Bradel binding, smooth spine, brown morocco title-label, marbled paper boards, combed paper endpapers and pastedowns, illustrated covers by Félix Vallotton and spine preserved, top edge gilt, binding signed by Kauffmann.
A handsome copy, pleasingly bound.

First edition, one of the Service de Presse (advance) copies.
Spine lightly sunned without significance.
Autograph inscription signed by Maurice Merleau-Ponty to monsieur de La Porte.

First edition, one of 180 numbered copies on pur fil de rives paper, the only deluxe copies.
Handsome copy.

New edition, illustrated with 40 magnificent watercolors by Maurice Leloir, including 34 full-page and 2 double-page illustrations, printed in chromotypography.
Title page in blue and gold with the arms of Louis XIV and his cipher. All leaves are mounted.
Publisher's binding in full royal blue cloth, smooth spine with gilt title, front cover decorated with a large polychrome and gilt plate on the upper cover depicting Louis XIV on horseback, gilt edges, binding signed Engel.
Handsome copy almost entirely free from foxing.

First edition of which there were no deluxe copies, one of the service de presse copies.
A small insignificant tear at foot of the slightly wrinkled spine.
Autograph inscription signed by Emmanuel Lévinas to his close friend the philosopher Charles Galpérine and his wife Rachel.

First edition.
Handsome copy despite occasional worming, with publisher's wraparound band.
Facing the title page, our copy is enhanced with an autograph inscription signed by Cabu to the graphic designer, typographer, illustrator, layout artist, and writer Robert Massin, known as Massin, as well as a humorous original drawing in black felt-tip pen on a full page depicting François Mitterrand in his coffin with this caption: "Pour la mise en boîte, j'ai exigé Massin."

Edition illustrated with 65 original color wood engravings by Pierre Falké, one of 300 copies on Rives paper, the only printing after 5 Japan paper, 5 hors commerce and 45 Madagascar paper copies.
Handsome copy.

New edition illustrated with 40 plates hors-texte and 164 wood-engraved vignettes by Grandville.
Full green shagreen binding, spine with four raised bands highlighted with gilt fillets and decorated with double gilt compartments, gilt roulettes on headcaps, covers framed with a wide blind fillet and double gilt fillet decorated with gilt romantic arabesques, white watered silk endpapers and pastedowns which are soiled, bookplate pasted to one pastedown, gilt fillet on leading edges, all edges gilt, contemporary romantic binding.
Some minor foxing affecting principally the very first and last leaves.

First edition, one of 100 numbered copies on Japan paper, the only deluxe copies.
Handsome copy.
Work illustrated with 100 colored drawings by Théophile Alexandre Steinlen.

First edition of the French translation
A handsome copy.
Rare autograph inscription signed by Vaclav Havel, in French, to Richard Coutin accompanied by a small drawing of a heart.

First edition, one of 515 numbered copies on laid paper, the only deluxe copies after 16 Japan and 85 Holland.
Minor spotting without consequence to the spine.
Handsome copy.

First edition of Jacques Prévert's text on the circus and first printing of the 76 photographs (including 27 double-page) in black by Izis Bidermanas printed in photogravure.
The work is also illustrated with 4 original color compositions by Marc Chagall.
Handsome copy complete with its glassine wrapper which has tears and lacks.
Autograph inscription signed by Izis Bidermanas: "En hommage pour André Rouly "Limousin" et l'amitié d'Izis en souvenir des années difficiles" (In tribute to André Rouly "Limousin" and Izis's friendship in memory of the difficult years).

First edition in French, one of 210 numbered copies in roman numerals on alfa paper, the only deluxe copies.
Preface by Valéry Larbaud.
A handsome copy.

Edition of the same year as the original, with "83ème mille" statement.
Manuscript gift inscription dated at head of first endpaper.
Handsome copy, with press cuttings laid in.
Autograph inscription signed by Georges Pérec to René Girard.

First edition, of which there were no deluxe copies.
Handsome copy.
Dated manuscript signature by Salvador Dali on the half-title page.

The first edition, of which there were no deluxe copies.
Handsome copy, .
Rare signed autograph inscription by Geneviève De Gaulle-Anthonioz: "A toi nous n'oublierons jamais."

The first edition, of which there were no deluxe copies.
Bibliophile's blind stamp at foot of endpaper.
Iconography, handsome copy.
Autograph inscription dated and signed by Pierre Mendès France to Roger Charoy.

First edition, one of 55 numbered copies on Ingres laid Lana paper, the only deluxe copies.
Handsome copy.

First edition of the French translation, with no copies printed on deluxe paper.
A handsome copy.
Illustrated.
Inscribed and signed by Volker Schlöndorff to Jean Claval, with a dated autograph dedication.
Volker Schlöndorff began his career as an assistant to Alain Resnais on "L'année dernière à Marienbad," to Jean-Pierre Melville on "Le doulos" and "Léon Morin prêtre," and to Louis Malle on "Le feu follet" and "Viva Maria!"—the latter encouraging him to direct his first feature film in 1966, "Les désarrois de l'élève Törless," based on the novel by Robert Musil. He would go on to adapt several other literary works for the screen, including "Le coup de grâce" by Marguerite Yourcenar, "Le tambour" by Günther Grass, and "Le roi des aulnes" by Michel Tournier.

First edition, of which there were no deluxe copies.
A scratch on one joint of the first volume which also has two stains on the bottom edge.
Iconography.
Autograph inscription dated and signed by Jean Lacouture on each volume, to Bernard Kouchner: "Pour Bernard Kouchner qui en sait un bout en matière de rebelle" (For Bernard Kouchner who knows a thing or two about rebels), "Pour Bernard Kouchner qui préfère les hommes aux "héros" mais s'intéresse aux montagnes..." (For Bernard Kouchner who prefers men to "heroes" but is interested in mountains...), "Pour Bernard Kouchner, ce dernier volet du portrait d'un roc..." (For Bernard Kouchner, this final part of the portrait of a rock...)

First edition illustrated with reproductions of works by Zao Wou-Ki.
Publisher's full blue cloth binding, smooth spine, fine copy complete with its illustrated dust jacket.
Autograph inscription signed by Zao Wou-Ki to Pierre Bourgeois.

The first edition, of which there were no deluxe copies.
One stain on the first endpaper, handsome copy complete with its illustrated dust jacket which has minor marginal tears of no consequence.
Press clippings included.
Rare autograph inscription signed by Mika Etchebéhère, promoted to captain of the second combat company of P.O.U.M. during the Spanish Civil War, to Paul Moirot.

First public edition, published two years after the original clandestine edition, and first edition for which a deluxe issue was printed, one of 100 numbered copies on coated paper, the only deluxe copies.
This edition precedes the first public edition from Éditions de Minuit which also includes a deluxe issue.
Minor foxing to covers lightly and marginally sunned without consequence, handsome interior condition.

First edition illustrated with photographs.
Fine copy.
Manuscript signature dated by Lech Walesa.

First edition, one of 55 numbered copies on pur fil, the only deluxe copies.
Handsome copy of this novel which describes, hour by hour, the day of March 22, 1968 at the University of Nanterre.

First duodecimo edition.
Work preceded by a notice on the life and works of Beyle by his literary executor Romain Colomb followed by a literary study on Beyle by Honoré de Balzac.
Spine restored, small losses and marginal tears to boards, foxing.
Rare copy in original wrappers as issued.

Illustrated edition with 109 engravings including 8 etchings and one original lithograph by Jean Puy, one of 315 numbered copies on Arches vellum, the only issue after 30 on old Japan and 30 on Imperial Japan.
Half-red shagreen binding with bands, smooth spine, gilt friezes at head and foot, vellum-style paper boards, marbled paper boards, endpapers and pastedowns, covers and spine (spine in poor condition) preserved, slipcase with black shagreen borders, red cardboard boards.
The front cover has three small tears.
Handsome copy.
Both binding boards are enhanced with two original black ink drawings by Jean Puy depicting scenes from the work.

First printing of the 23 color plates by Edmond Dulac.
Publisher's full brick-red cloth binding, smooth spine richly decorated with Arabesque design on a background of blue roses, front board decorated with large gilt Arabesque design on a background of blue roses, small spots of discoloration on the boards, endpapers and pastedowns of brick paper on a background of blue roses.
Half-title and final endpaper pages spotted, otherwise handsome interior condition.

First edition, one of 35 numbered copies on Holland paper, deluxe issue.
Very handsome copy.

First edition, one of 130 numbered copies on wove paper, the only deluxe copies.
A very handsome copy.

First printing of the 31 original woodcuts in black by Joseph Sima, one of 210 numbered copies on Montval laid paper, ours unnumbered.
Handsome copy complete with its fragile glassine paper covers.

Original double color print heightened with gold and palladium, printed on laid paper, signed lower left on 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 in the full bloom of Art Deco.
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 2000 copies and is illustrated notably with 573 color plates and 148 sketches representing models by great couturiers. From their publication, these luxurious publications "address bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu "La Gazette du bon ton" in Dictionnaire de la mode, 2016). Printed on fine laid paper, they use a typeface specially created for the magazine by Georges Peignot, the Cochin character, adopted in 1946 by Christian Dior. The prints are created using the metal stencil technique, heightened in colors and some highlighted with gold or palladium.
The adventure begins in 1912 when Lucien Vogel, man of the world and fashion - he had already participated in the magazine Femina - decides to found with his wife Cosette de Brunhoff (sister of Jean, father of Babar) the Gazette du bon ton whose subtitle was then "Art, modes et frivolités". Georges Charensol reports the words of the editor-in-chief: "In 1910, he observes, there existed no fashion journal truly artistic and representative of the spirit of its time. I was therefore thinking of making 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, n°133, May 1925). The magazine's success is immediate, not only in France, but also in the United States and South America.
Originally, Vogel therefore brings together 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 are George Barbier, Bernard Boutet de Monvel, or Charles Martin. Other talents quickly join 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, unknown for the most part when Lucien Vogel calls upon them, will subsequently become emblematic and sought-after artistic figures. These same illustrators create the drawings for the Gazette's advertisements.
The plates highlight and sublimate the dresses of seven creators of the era: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provide exclusive models for each issue. Nevertheless, some of the illustrations feature no real model, but only the idea that the illustrator has of the day's fashion.
La Gazette du bon ton is a decisive step in fashion history. Combining aesthetic demand and plastic unity, it brings together for the first time the great talents of the worlds of arts, letters and fashion and imposes, through this alchemy, a completely new image of woman, 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 "little dying journal" that Nast had bought a few years earlier: Vogue magazine.

First edition illustrated with colored compositions and black drawings by Jean Bruller, one of 15 numbered copies on Holland paper, deluxe copy.
Discreet restorations to the spine and foot of boards.
Our copy, as stipulated in the justification page, is complete with the original drawing signed by Jean Bruller in pencil.

Autograph letter signed by Victor Schoelcher, one page written in black ink on a bifolium of blue paper bearing the monogram and address of the politician, addressed to minister Alfred Boucher-Cadart, director of the general security service at the Ministry of the Interior. The envelope containing this letter has been pasted onto the second leaf. Central fold inherent to the mailing.
"There is nothing more to be done for the worker Cauchare. He was forced to serve his 10 days in prison while the Ministry of Justice was changing his sentence. I nonetheless thank you for your goodwill toward the poor man and I ask you to accept the assurance of my highest consideration."

Autograph letter dated and signed by André Malraux (14 lines in blue ballpoint pen from his Boulogne home on avenue Victor Hugo) discussing his workload related to the preparation and delayed publication of the work Des bas-reliefs aux grottes sacrées for which André Parinaud is sending him documentation.
André Malraux is not yet ready to send his work to the publisher: "... le livre ne parait pas cette année. Peut-être en mars 54. Et pour savoir où nous allons, il faudrait que la préface au moins fût terminée. J'en ai encore pour deux mois." ["... the book is not coming out this year. Perhaps in March 54. And to know where we are going, at least the preface would need to be finished. I still have two months of work ahead."]
Fold mark from mailing, envelope included.
Resistance fighter participating in Combat, André Parinaud is a journalist, columnist, art critic and writer. From 1959 to 1967, he held the position of editor-in-chief of the important weekly Arts bringing together the elite of French creation in all artistic fields: literature, painting, theater, cinema... He would then conduct more than 1000 radio interviews with the greatest writers and artists including Salvador Dali, Louis-Ferdinand Céline, Colette, Paul Léautaud, André Breton, Georges Simenon and André Malraux... While continuing to work at O.R.T.F. and radio, he founded several festivals or artistic events such as Le Festival international du film d'art, l'Académie nationale des arts de la rue.

First edition, one of 100 numbered copies on pure laid paper, ours one of a few hors commerce copies, the only deluxe copies.
Half red morocco binding with bands, smooth spine very lightly faded without concern, boards, endpapers and pastedowns of moiré effect paper, covers and spine preserved, top edge gilt.
Autograph inscription dated 1957 and signed by Maurice Druon to a friend named Elisa: "... cette introduction à quelques problèmes qui nous sont communs avec la volupté d'être assez près d'elle pour la connaître. Maurice Juin 57." ["... this introduction to some problems we share with the pleasure of being close enough to her to know her. Maurice June 57."]

The first edition, of which there were no deluxe copies.
Handsome copy, blind-stamped bookplate at foot of half-title page.
Signed autograph inscription by François Mitterrand to René Doré on the half-title page.

The first edition, of which there were no deluxe copies.
Minor stains to foot of covers.
Autograph inscription signed by Pierre Bourdieu to Nabile Izris.

First edition, one of 20 numbered copies on vellum, ours unnumbered but properly justified "first edition" at the foot of the back cover, the only deluxe copies.
Handsome copy despite tiny worming on the back cover.

New edition with illustrations.
Publisher's binding in full brown boards, smooth spine with slight lacks to the protective film covering the work.
Signed autograph inscription by Zino Davidoff to Alain Ripoche.

Autograph signed letter card from Fernandel, on letterhead from his property L'Oustau de la Mar at Carry-le-Rouet, addressed to his great friend the Provençal writer, caricaturist and filmmaker Carlo Rim, who was also his biographer.
(10 lines in turquoise ink, the ink having smudged on three words).
"18 Sept 1951
My dear Carlo,
I leave tomorrow for Italy, but I haven't forgotten you. You will receive documentation and manuscript pages "My memoirs" published by "Ce soir" in 1938, you will thus have all the details from my birth and my different jobs before being an artist (at least I believe so). Affectionately Fernandel."

First edition of the French translation, one of 75 numbered copies on laid paper, the only deluxe copies.
A handsome full-margined copy.

First edition, of which there were no deluxe copies.
Handsome copy.
Fine autograph inscription signed by Claude Lévi-Strauss to anthropologist Georges Balandier: "... cette mythologie de la dynamique sociale..." ["... this mythology of social dynamics..."]

First edition of the French translation, one of 68 numbered copies on pur fil paper, after only 13 Japan and 20 Holland.
Spine with two sun-faded areas at head and foot, endpapers lightly and partially shaded, a manuscript gift inscription at the head of the first endpaper.

Original print by Jean Arp printed on japon and created for the work Feuilles éparses in homage to René Crevel.
Handsome copy.

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

First edition of the French translation, one of 50 numbered copies on Madagascar paper, deluxe issue.
A handsome copy.

Wedding announcement of Boris Vian and Ursula Kübler. On the left panel is mounted a photograph of Vian and his wife in their famous 1911 Brasier Torpedo.
Included is the envelope written in Boris Vian's hand in purple ink. Manuscript calculations in green ink on verso.
Passionate about mechanics and driving, Boris Vian owned numerous car models; his favorite was undoubtedly his 1911 Brasier Torpedo, a former Marne taxi which he acquired in spring 1950.
The marriage finally took place on February 8, 1954 at the town hall of the 18th arrondissement of Paris.

Rare original lithograph, executed by Théophile Alexandre Steinlen for L'Estampe Moderne, series number 14 published in June 1898.
One of 50 deluxe copies printed on Japan paper with wide margins, artist's signature and date in the plate, publisher's dry stamp depicting a child's profile in the lower margin, with the numbered stamp of the deluxe issue on verso, some foxing.
Lithograph inspired by an extract from Germinie Lacerteux by the Goncourts.
A magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of previously unpublished chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each delivery of four prints was issued in 2000 copies sold at 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe issue: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too inconsistent, owes its reputation, not to its own beauty, but to its particular affinities with printing ink. Its texture, smooth and soft together, is more apt than any other to receive a beautiful impression. This property makes China paper sought after for printing engravings..." (Anatole France).
French collectors' interest in artistic posters intensified at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomania." The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral medium became precious and devoted to preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a work of art in its own right, on the same level as the luxury illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
A handsome copy.

First edition, of which there were no deluxe copies.
Illustrated with drawings by Cabu.
Handsome copy complete with its wraparound band: "Touche pas à ma planète !" ["Don't touch my planet!"].
Precious autograph inscription signed by François Cavanna to his friends Régine Deforges and Wiaz: "A Régine, à Wiaz, qui le liront ensemble ou se le raconteront..." ["To Régine, to Wiaz, who will read it together or tell it to each other..."]
Provenance: from the library of Régine Deforges.

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

Original lithograph printed on BFK de Rives paper. "Artist's proof" notation written in pencil at lower left. Artist's signature in pencil at lower right of the plate.
Margins soiled with small creasing marks.
Mysterious landscape with luxuriant vegetation, fire at center, depicts the titan against a background of hills in green and orange tones.

Invitation card to the Quat'z'Arts Ball - “L'Entrée de Cyrus dans Babylone”
PMarmy, Paris 1925, 22.5 x 32 cm, one leaf
Invitation card to the Quat'z'Arts Ball - “L'Entrée de Cyrus dans Babylone” which took place on 22 June 1925 in Wagram. Very beautiful colour illustration by Théo Sardnal depicting Cyrus the Great.
This rare document presents the tickets in the lower margin and solemnly specifies: “Le comité sera impitoyable pour tout costume qui ne sera pas de l'époque” “The committee will be ruthless with all costumes that are not of the era”.
The first Quat'z'Arts ball, a great celebration organised by the students of the École nationale des beaux-arts in Paris, took place on 23 April 1892. This tradition continued until 1966.
A superb copy in bright colours and in new condition.

First edition, one of 26 numbered copies on Japan paper, deluxe issue after 25 on China paper.
Half green morocco with corners, smooth spine decorated with two turquoise mosaic morocco cartouches adorned with a scattering of gilt stars as well as gilt ink pot, life buoy and sailor's beret, gilt fillet frame on marbled paper boards, marbled endpapers and pastedowns, covers and spine preserved, top edge gilt, elegant contemporary binding signed Affolter.
Spine and boards marginally lightened.
A handsome, perfectly established copy.
Provenance: from the library of the Duke of Massa with his engraved bookplate mounted on an endpaper.

Illustrated edition with 49 original etchings by Raymond Renefer, one of 24 numbered copies on Japan paper, the deluxe issue after 13 old Japan copies.
Full red morocco binding, spine slightly faded with four raised bands, gilt roulettes on headcaps, front cover decorated with a geometric design of mosaic morocco pieces in turquoise, brown, navy blue and brown surrounded by gilt dots, burgundy watered silk endpapers and pastedowns, gilt fillet frame on pastedowns, top edge gilt, gilt fillet on edges, covers and spine preserved, binding signed Trinckel.
The work includes, as stated in the edition justification, the duplicate suite on China paper of the illustrations.
Handsome copy perfectly executed in a mosaic binding by Trinckvel.

First edition illustrated with color images by Hansi and Huen.
Publisher's full sky blue paper boards binding, smooth spine, illustrated covers, endpapers and pastedowns of decorative patterned paper.
Small spots of discoloration on covers, occasional foxing, last inner hinge split at head and foot.
Handsome copy of this work published for the little children of Alsace and France.

Original lithograph heightened in colors and gummed, in third state, for Le Charivari, printed on heavy paper.
Delteil, 827
Plate uniformly shaded.

Rare original lithograph, executed by Patrice Dillon for L'Estampe Moderne, series number 20 published in December 1898.
One of 50 deluxe proofs printed on Japan paper with wide margins, artist's signature in the plate, publisher's dry stamp depicting a child's profile in the lower margin, numbered stamp of the deluxe printing on the reverse; engraving preceded by a tissue guard captioned with the artist's name, title, and an extract from a work.
Lithograph inspired by an extract from Polichinelle by Charles Nodier, reproduced on the print's tissue guard.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specifically by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each issue of four prints was printed in 2,000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential printing of very grand luxury: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of beautiful format is superbly printed on the most prestigious of papers: Japan paper. Thick, silky, satiny and pearlescent, it contributes to making each page a complete work in itself. Its quality of ink absorption and its affinity with colors also make it the ideal medium for these very beautiful lithographs.
French collectors' interest in artistic posters intensified at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral medium became precious and devoted to preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art in the same way as the illustrated luxury book. He thus composed a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy.

First edition, one of 56 numbered copies on alfa paper, the only deluxe copies.
Foxing to margins of covers and spine, a slight tear without loss at foot of rear cover, otherwise a handsome copy.

First edition, one of 50 numbered copies on Arches paper, deluxe issue.
Handsome copy.
Autograph inscription dated and signed by the publisher, Henri Martineau, to Professor Alajaouine.

First edition on ordinary paper.

Publisher’s full cloth binding, flat spine, minor inconsequential wear to headcaps and corners.

Illustrations.

Rare and valuable presentation copy to Odette and Francis Ponge.

 

 

First edition, of which there were no deluxe copies.
Half navy blue morocco bindings, spines with five raised bands showing some minor rubbing, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edges gilt, contemporary bindings signed Petitot.
Autograph inscription signed by Anatole France to Madame Félix Roussel on the first volume.

First edition, one of 45 numbered copies on "pur-fil" paper, ours one of the 10 out of trade, only leading copies.
Nice copy.
Signed autograph of Louis de Saint-Piere Gérard Mainguet: "... with the certainty that he will always love this intelligent and faithful soldier, who showed so much common sense in an era that was so often missing."

First edition in French, one of 38 numbered copies on pure thread paper, the only deluxe copies.
Minor marginal tears to boards without consequence, light stain at foot of first endpaper.
Handsome full-margined copy illustrated with 8 maps hors-texte and 2 sketches in the text.

Edition with some parts in first edition. The first 3 volumes appeared in 1787, the fourth in 1788 (12mo without engraved titles); 3 other volumes were published in 1789 as supplements, containing letters. Finally, 2 other volumes appeared in 1792 and are rarely found with the first ones, with various pieces and letters. A frontispiece portrait. 7 beautifully engraved title pages with 4 different vignettes, some repeated in volumes 5 to 7. Attribution to Thibault de Lavaux by Barbier.
Contemporary full marbled blonde calf bindings. Smooth spines decorated with 4 small fleurons. Red morocco title labels and green morocco volume labels. Spines sunned. Large rubbing to upper board of volumes I and II, less pronounced on volume V. Loss to upper joint at head of volume III, on upper board and along lower joint. Losses at tail of volume 7. Internally fresh, but 3 title pages with brown stain to margin. Good copy.
Important biography by the philologist Thiebault de Lavaux, accompanied by anecdotes and supporting documents. The account is chronological. Volume I: 1712 to 1756. Volume 2: 1756 to 1763. Volume 3: 1772 to 1785. Volume 4: private and literary life. Volumes V to 7 consist of letters about Frederick II, these are so many pieces that support the biography.

The rare first edition.
Half brown sheep binding, smooth spine decorated with gilt typographical motifs nearly faded, brown shagreen title label, wooden-effect paper boards, yellow edges.
Occasional light foxing, gift inscription in pen from a previous owner of the work on the half-title page.