Autograph letter signed by Emile Zola addressed to Henry Fouquier, written in black ink on a bifolium. Usual folds from mailing.
This letter was transcribed in the complete correspondence of Emile Zola published by the CNRS and the Presses de l'Université de Montréal.
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.
First edition of these observations and proposed reforms concerning the Navy. Pierre-Alexandre Forfait (1752–1807) served as Minister of the Navy from November 1799 to October 1801.
Contemporary full fawn calf, mottled and polished, smooth spine tooled with gilt decorative compartments and false bands, red shagreen lettering-piece, joints lightly rubbed, boards framed with delicate gilt rolls, a few abrasions and small losses to the leather at the lower edges, marbled endpapers and pastedowns, corners softened, all edges gilt, a period binding.
Pierre-Alexandre Forfait (1752–1807) served as Minister of the Navy from November 1799 to October 1801.
Forfait and Bonaparte met in Venice around 1798, and it was he who "forma" the future Emperor in the principles of naval warfare that Napoleon would later wage against England.
In this pamphlet, he characterises the English in the following terms « … ces dominateurs des mers ne donneront jamais le temps nécessaire pour recréer et former une marine par les moyens ordinaires, la navigation marchande ou la pêche … Comptez qu'ils vous déclareront toujours la guerre, ou vous la feront sans la déclarer, avant que vos forces navales aient pu atteindre son degré de développement qui puisse les inquiéter ».
The plan of 21 July 1803, in which the flotilla was to operate without the support of the Navy, clearly demonstrates the deep influence Forfait’s ideas had on Bonaparte.
However, the group formed by Decrès, Ganteaume, Bruix and Villeneuve during the Egyptian campaign exerted a powerful influence on Napoleon; and Decrès ultimately succeeded in definitively supplanting Forfait.
Provenance: manuscript ex-libris of Decrès mounted on a pastedown; he succeeded the author as Minister of the Navy and remained in office until 1814.
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.
First edition of this periodical, comprising for the complete year 1781 (from 2 January to 28 December) 104 issues, the text printed in two columns with continuous pagination.
Contemporary half calf, mottled fawn, smooth spines decorated with gilt compartment tooling and floral ornaments, beige calf lettering-pieces and blue calf volume labels; minor losses and rubbing to spines and joints, a few scuffs to the blue paper boards, bumped corners, red edges; bindings contemporary to publication.
Transposition of ff. 357–58 and 359–60; initials in black ink and numbering to the endpapers; bookplate affixed and marginally torn in the first volume, another bookplate covered over in the second.
A biweekly periodical founded in June 1776, published until December 1792.
Its contributors included Serres de la Tour, Théveneau de Morande, and Brissot—already well-known publicists and scarcely “ministerial,” as was then said. Printed in England for readerships on both sides of the Channel, though primarily intended to inform a French audience about English institutions, it was avidly read in Paris, especially throughout the Anglo-French war over the American colonies. Along its columns one finds exceptionally rich documentation on that conflict (relative strengths, reports of naval and land engagements, debates in the English Parliament, diplomatic negotiations, etc.). Yet this was not its sole interest: what especially captured French readers of the Courier during this period of anglomania—and what chiefly accounts for the periodical’s value—were its detailed accounts of major English parliamentary sessions, together with numerous articles translated from and drawn from English and American newspapers.
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.
First edition of the earliest of the four works devoted by the deputy Amédée Desjobert (1796–1853) to the situation in Algeria (the second concerns the year 1838 – see below –, the third 1844, and the last 1846) (cf. Tailliart 2333).
Contemporary full tree-calf bindings, smooth spines gilt with garlands, fillets and floral tools, the gilt sometimes a touch dulled, red morocco lettering-pieces, green morocco volume labels slightly faded at the margins, marbled endpapers, gilt fillets to the board edges, marbled edges, modern bookplates mounted to the endpapers, contemporary bindings.
A few small losses to the leather on the boards, the half-title to the first work wanting, a pale marginal stain at the head of several leaves in the second volume, occasional foxing.
A member of the left in the Chamber, Amédée Desjobert opposed by every means the colonisation of Algeria, relying chiefly on arguments countering those advanced by the settlers and the military.
Volume II gathers the following texts, all dating from 1837 and 1838 and concerned with whether Algeria should be retained or abandoned:
Rare first edition comprising a fine series of 40 two-tone lithographs by Yuko Watanabe depicting Japanese types, scenes of traditional life, costumes, and more: Ronin, hara-kiri, samurai, the attack on Shogun Nobunaga, a geisha’s visit, young women paying a call, a game of go...
Not in Colas, nor Hiler & Hiler; lacking from the Bn; not in Nipponalia or Cordier. Wenckstern, I, p. 228 (gives the Yokohama address, undated, and mentions two volumes, the second—of which no trace could be found—containing 25 plates).
Bound in full beige cloth, smooth spine without lettering, lithograph mounted on the upper cover; twentieth-century binding.
Minor tears affecting three remargined plates and the final leaf (backed); a few small spots of foxing; small green ink stain touching most of the prints in the margin only, not affecting the image.
First edition, illustrated with woodcut armorial bearings at the head of the first page of text.
Description of the equestrian procession that accompanied through Rome the new Roman senator, Count Nils Bielke (1706–1765), a Swedish knight, chamberlain to the King of Sweden and papal chamberlain following his recent conversion to Catholicism.
The text gives a detailed account of the sumptuous costumes worn by the participants and of the various decorative settings. It concludes with the names and titles of all those who took part in the procession.
Ink annotations at the head of the final page.
Our copy is preserved in its original wrappers, now protected by modern plain paper covers.
A rare and attractive copy.
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 appearance of the 18 poems by Charles Baudelaire published on pages 1079–1093 of the Revue des Deux Mondes, showing numerous variations from the text of the first edition issued in 1857 by Poulet-Malassis & De Broise.
Full black shagreen binding, smooth spine, double blind-ruled borders on covers, comb-marbled endpapers and pastedowns, slightly later binding.
A rare and attractive copy.
Autograph letter signed "R" by Auguste Renoir, addressed to his friend and great collector of his works Paul Bérard. One and a half pages in black ink on a bifolium.
Horizontal fold mark inherent to mailing.
First edition, one of 15 numbered copies on pure wove paper, the only deluxe copies.
A very handsome copy.
First edition and first printing of Lucien Laforge’s pacifist illustrations, one of 400 deluxe copies on special matte red paper from the Barthélémy paper mills, the only deluxe issue announced.
Some light wear, otherwise a very good copy of this fierce anti-militarist pamphlet in which runs "comme le grésillement du fer rouge marquant à vif la chair pâle et grasse du Bourgeois repu de morts" (Paul Vaillant-Couturier in L'Humanité).
First edition on ordinary paper.
Small defects skillfully restored at the head and tail of the spine.
Rare inscribed presentation copy signed by Albert Cohen to Denise Mercier.
Edition published one year after the original, illustrated with four fine copper-engraved plates by Charles Eisen depicting Nordic types (Icelandic women, a bear hunt, Samoyeds, a Laplander in a sleigh) engraved by Le Mire, one folding map by Bellin, thirteen maps, plans, or views (eight of them folding) engraved by Croissey, as well as a charming engraved title vignette and a headpiece by Le Gouaz.
See Sabin, 37616; Chadenat, 1633; Boucher de la Richarderie, I, 380.
Full mottled calf binding, smooth spine richly gilt in compartments decorated with gilt fleurons and geometric motifs, sometimes slightly rubbed, red morocco label, restorations to spine and joints, gilt roll tooling on the caps, red-speckled citron edges, gilt fillets on the board edges; late eighteenth-century binding.
A tall, wide-margined copy.
Provenance: copy from the Château de Menneval, with an engraved bookplate mounted on the pastedown.
First edition, one of the review copies stamped "M.F." on the front cover and numbered in the colophon.
Small restored tears to the spine and upper part of the front cover, slight traces of creasing to the margins of the front cover.
Precious inscribed copy signed by Louis Pergaud to J.H. Rosny jeune, one of the historic members of the Goncourt Prize jury. Pergaud had won the 1910 Goncourt for his collection of short stories De Goupil à Margot.
First edition. Quérard I, 271 lists only one edition: "Paris, Née de La Rochelle, 1789." Kress B.1163; Goldsmiths 13858. Not in Einaudi."
With loose printed title pages for each volume, dated 1789.
The first volume, with an engraved pictorial title after Meunier, contains 52 double-page or folding plates inserted into the pagination, without following its numbering logic.
The second volume has an engraved pictorial title by Zaveris after Meunier and includes 154 etched plates of coins.
Full mottled calf, spines with six raised bands, gilt fillets and double gilt panels, red morocco lettering-pieces, green morocco numbering-pieces, gilt rolls on the headcaps, double blind-ruled borders on covers, marbled endpapers, gilt fillets on edges, marbled edges, contemporary bindings.
Some restorations to the bindings.
Unique edition, very rare (the 1789 printing to which our two additional title leaves would correspond does not seem to be attested despite Quérard’s mention).
An excellent copy on strong vellum paper, large-margined, with the spines elegantly decorated with special gilt tools.
Pirate edition of 1812, imprint dated 1796. It features the exact pagination of the genuine 1796 edition, as well as the 13 plates and 2 frontispieces by Monnet, Mlle Gérard and Fragonard fils engraved by Baquoy, Duplessi-Bertaux, Dupréel, Godefroy, Langlois, Lemire, Lingée, Masquelier, Patas, Pauquet, Simonet and Trière. The pirate edition is identified by the letters “R. p. D.” in the plates' lower margins, as they have been retouched by Delvaux. In addition, the fillet preceding the date on the title-page is wavy, and the title is presented in seven lines rather than eight.
Bound in full morocco, slight rubbing on the corners, all edges gilt, splendid binding signed by Hardy.
A very fine copy in a magnificent decorated full morocco binding by Hardy.
First edition of this important work, cf. Krivatsy 588. Garrison-Morton 1673, 5047 and 5085.
Full stiff ivory vellum, spine with four raised bands, the author’s name handwritten in black ink, one defect on the fourth band, blind-tooled rolls on the headcaps, gilt fillets highlighting the raised bands and framing the covers, small vellum losses on the covers, losses at the corners of the first and last endpaper, edges sprinkled red, contemporary binding.
Bound with this work are three further treatises by Guillaume de Baillou, all printed by Quesnel in 1640. Krivatsy, describing a volume made up in the same manner as ours, suggests that this collection may have been issued as such.
The additional works are described below:
- Definitiorum medicarum liber. (Title in red and black, 9 unnumbered ff., 108 pp. and 4 unnumbered ff. The title and preliminary leaves have been bound by mistake after the preliminaries of the first work).
Cf. Krivatsy 587. Garrison-Morton 6796.
First edition published in 1639, with cancel title dated 1640. "A glossary of Hippocratic terms" [Garrison-Morton].
- Commentarius in libellum Theophrasti De vertigine. (Title, 1 unnumbered dedication leaf, 41 pp., 1 unnumbered f.)
Cf. Krivatsy 582. First edition. "Includes Greek and Latin text of Theophrastus's De vertigine" [Krivatsy]
- De convulsionibus libellus. (Title, 7 unnumbered ff., 51 pp., 2 unnumbered ff.) Cf. Krivatsy 585.
First edition of this treatise on convulsions.
A very rare collection preserved in contemporary vellum.
First edition of one of the most important revolutionary publications against the African slave trade and the first manifesto of the Society of the Friends of the Blacks, founded in February 1788 by Jacques-Pierre Brissot, Étienne Clavière, and Mirabeau, barely nine months after the London Society for Effecting the Abolition of the Slave Trade, which served as their model.
First edition, one of 50 numbered copies on pur fil.
Spine slightly sunned, a small scratch to the front cover, corner creases at the preserved margins.
Rare copy as issued.
First edition and definitive and posthumous edition, arranged in strict chronological order, of a very rare iconographic series whose publication had begun as early as 1806 in somewhat disorderly instalments, but was never completed (only 49 instalments had appeared at the author’s death).
Cf Brunet V, 1453.
Work illustrated with 300 plates: lithographed and watercoloured title-frontispiece and 149 engraved plates, most finely hand-coloured, for the first volume; 150 plates for the second.
Contemporary bindings in half cherry-red morocco-grained shagreen with corners, spines with five raised bands decorated with blind fillets and panels, some minor rubbing to spines and joints, one joint of volume 1 split at foot, double blind fillet border on marbled paper boards, comb-marbled endpapers and pastedowns, bindings of the period.
Pleasing copy, complete with its 300 plates.
First edition of the French translation. No grands papiers (deluxe copies) were printed.
Some loss of plastic film on the spine, two light damp-stains on the upper and lower edges.
Signed and dated by Andy Warhol with an original drawing on three pages: verso of the first cover, endpaper and title page.
First edition, one of 500 numbered copies on Featherweight, the only deluxe issue.
Small loss and foxing to the headcap and upper edge, a crease and minor tears to the front cover, endpapers slightly toned without consequence.
Exceptional signed autograph presentation from Benjamin Fondane: « A Jacques Prévert cordialement. B. Fondane. Paris / 3 / 33. »
First edition, one of 20 deluxe copies on Holland paper, the only large-paper issue, reimposed in octavo format (the ordinary edition being in duodecimo).
Cf. Vicaire III, 305-306. Carteret I, 222.
Contemporary full stiff ivory vellum, smooth spine, marbled endpapers and pastedowns.
Fine copy.
Bibliographers mention 25 copies, which seems difficult to account for, as the limitation is clearly stated on the verso of the half-title. This procedure was customary for the author (Les Six aventures, 1857, was issued in the same dual printing).
Precious presentation copy inscribed and signed by Maxime Du Camp to the celebrated critic Jules Janin (1804–1874), who later affixed his engraved bookplate to the front endpapers.
Rare first edition of the French translation prepared by Thomas-François Dalibard at the request of the Comte de Buffon (cf Wheeler Gift 367d. Waller 11339. DSB V, pp. 129-139).
Full mottled calf, spine with five raised bands ruled in gilt and decorated with double gilt compartments with floral tools, red morocco lettering-piece, gilt rolls on the caps (partly rubbed), restorations to head and tail of spine as well as to the corners of the boards, marbled endpapers and pastedowns, gilt fillets on the edges, marbled edges, contemporary binding.
Some foxing, a dampstain to the upper right corner of the first endpaper.
The English first edition was published in London in 1751 under the title "Experiments and observations on electricity made at Philadelphia in America" (cf. Norman 830 for that edition).
First edition of this significant publication issued by the Commission of Inquiry tasked with collecting all available data and documentation on the cultivation, production, and sale of tobacco.
Illustrated with numerous folding tables and a folding map of France, printed in lithography by A. Cabassol and bound out of text.
Apparently not recorded in the Bibliothèque nationale de France.
Contemporary half calf binding, flat spine rebacked and decorated with gilt fillets, morocco labels in light brown, some rubbing to the spine, marbled paper boards with minor marginal flaws, marbled endpapers, sprinkled edges.
Some spotting to top edge; an embossed ownership stamp appears on the first leaf, with the initials CA in a medallion (possibly Caroline Augusta of the Two Sicilies, Duchess of Aumale?).
Comprehensive alphabetical index at the end of the volume.
New edition illustrated with 47 engraved and hand-colored costume plates (cf. Colas 2784).
This is a reissue, under the Metz imprint, of a portion (volume IV) of the Tableau Historique des costumes, des moeurs et des usages des principaux peuples de l'antiquité et du moyen âge, originally published in Paris and Metz between 1804 and 1809.
Rare and attractive copy preserved in its original publisher’s wrappers, with the original plain waiting cover and a printed title label affixed at the head of the spine.
First edition of the French translation by Philippe Florent de Puisieux (see Chadenat 1412 and 6038; Brunet 27050; Polak 5580; and Sabin 3968 for the English edition).
The first volume retains its engraved frontispiece.
Contemporary full calf bindings, spines with five raised bands decorated with double gilt panels and ornamental tooling, red morocco labels for title and volume number, gilt roll tooling on the caps, marbled endpapers and pastedowns, partially faded gilt fillets on board edges, red edges.
Two scratches and two small losses to the upper covers of the first two volumes.
A handsome copy, attractively bound, from the library of Darest de Saconay, with his armorial bookplate pasted on the inside covers.
Album comprising 44 plates of Breton costumes, the first two drawn in pencil, the others delicately watercoloured, mounted on heavy paper, some with captions, unsigned.
Bound in contemporary half green sheep, spine decorated with gilt and black fillets, gilt garlands and fleurons, some rubbing to the spine, embossed cherry-red cloth boards, bumped corners, a few scuffs along the edges.
A handsome album of Breton costumes in the manner of Hippolyte Lalaisse and his Galerie armoricaine of 1848.
Particularly focused on the Breton-speaking departments (Western Morbihan and Finistère): 1. [Seated bagpipe player]. – 2. [Peasant dance]. – 3. Woman from the Auray area (Morbihan). – 4. Young shepherd from Morbihan. – 5. Woman from Plouay (Morbihan). – 6. Man from Faouët (Morbihan). – 7. Women from Josselin (Morbihan). – 8. Woman from Pluméliau (Morbihan). – 9. Women from Ploemeur (Morbihan). – 10. Woman from Ploërmel and nearby farmer (Morbihan). – 11. Woman from Auray (Morbihan). – 12. Woman from Lanzac (Morbihan). – 13. Man from Lanzac. – 14. Woman from Guémené near Pontivy (Morbihan). – 15. Woman from Elven (Morbihan). – 16. Milkmaid from St-Paterne in Vannes (Morbihan). – 17. Woman from Douarnenez (Finistère). – 18. Man from Pont-l’Abbé (Finistère). – 19. Woman from Pont-l’Abbé. – 20. Fisherman from Douarnenez (Finistère). – 21. Milkmaid from Douarnenez. – 22. Bride from Kerfeunteun (Finistère). – 23. Man from Châteauneuf-du-Faou (Finistère). – 24. Women from Plougastel, near Brest (Finistère). – 25. Man from Plougastel. – 26. Woman from Locmaria, near Quimper, and farmer from Elliant (Finistère). – 27. Peasant from Riec (Finistère). – 28. Young girl from Bannalec (Finistère). – 29. Man from Saint-Thégonnec (Finistère). – 30. Women from the area of Pont-Lannay (Finistère). – 31. Bride and groom from Kerlouan (Finistère). – 32. Men and women from the area of Pontcroix (Finistère). – 33. Farmer from Saint-Évarzec (Finistère). – 34. [Woman and two children]. – 35. [Presentation of a newborn at a calvary]. – 36. Woman from Ploëne near Moncontour (Côtes-du-Nord). – 37. Woman from Antrain (Ille-et-Vilaine). – 38. Man and woman from Cancale (Ille-et-Vilaine). – 39. Woman from Saint-Servan and Dinan, near Saint-Malo (Ille-et-Vilaine). – 40. Young ladies from Pornic (Loire-Inférieure). – 41. Man from Bourg-de-Batz in festive costume (Loire-Inférieure). – 42. Woman from Bourg-de-Batz in festive costume. – 43. Bride and groom from Bourg-de-Batz. – 44. Young salt-workers in working attire.
Copy from the library of Léon Noël, with his ex-libris label pasted on the front endpaper.
First edition.
Bound in full cherry red morocco, smooth spine richly gilt with romantic typographic ornaments, gilt roll tooling on the caps, boards framed with double gilt fillets and interlaced motifs with gilt corner fleurons, gilt AO monogram stamped at the center of the boards, gilt garland border on the pastedowns, moiré sky-blue silk endpapers and pastedowns, trace of a removed bookplate on one pastedown, gilt fillets on the edges, all edges gilt, contemporary binding.
The sections relating to the colonies are as follows: Martinique, pp. 199–203; Guadeloupe and dependencies, pp. 204–209; French Guiana, pp. 210–212; Bourbon, pp. 216–220; French settlements in Oceania, pp. 223–224.
Copy from the library of Antoine-Marie-Philippe d'Orléans, Duke of Montpensier (1824–1890), youngest son of Louis-Philippe, with his gilt AO monogram stamped at the center of the boards. OHR 2590 (tool not listed).
A very handsome copy, finely bound in a period romantic binding with the Duke of Montpensier's monogram.
First edition, illustrated with 6 folding plates at the end of the volume (cf. Polak 5375).
Contemporary Bradel binding in full red boards, flat spine, black shagreen label with gilt lettering, the upper cover stamped in gilt with the monogram of Prince Eugène de Beauharnais, stepson of Napoleon. Lower corners a bit rubbed. Period binding.
A few minor spots, not affecting legibility.
Only two copies listed in the CCF (BnF and École Polytechnique).
The only edition of this insightful analysis of French naval doctrine at the close of the Revolutionary and Napoleonic Wars, significantly bearing the motto on the title page: Delenda est Britannia. Charles-Louis-Victor de La Rouvraye (1783–1850) joined the navy in June 1799; he served in the Boulogne flotilla and later in the Indian Ocean, where he was taken prisoner by the British (1806–1811).
Provenance: A distinguished copy from the library of Prince Eugène de Beauharnais, stepson of Napoleon, then Duke of Leuchtenberg, bearing his gilt cipher and that of his wife Augusta Amélie of Bavaria.
Later owned by a member of the Montboissier de Canilliac family, with an armorial bookplate mounted on the pastedown, most likely that of Charles de Montboissier-Beaufort-Canilliac (1753–1836), maritime prefect of Cherbourg from 1816 to 1826.
First edition, very scarce (see O'Reilly, Nouvelle Calédonie, 175. O'Reilly & Reitman 1246. Ferguson 16990-91. Hill p. 290. Forbes, Hawaiian National Bibliography, III, 2730. Martin, Hawai‘i, p. 48. Jenkins, Bibliography of Whaling, p. 150. Vaucaire p. 259).
Contemporary bindings in red half morocco-grained sheep over marbled boards, spines with four raised bands ruled in black, marbled endpapers and pastedowns, original wrappers preserved (except rear wrapper of vol. I), modern bindings.
Some foxing, mainly at the beginning of the first volume.
The chapter on New Caledonia spans pp. 257 to 350 of volume I; the one on Tahiti covers pp. 177 to 282 of volume II.
The author also visited and described Tasmania, the Chesterfield and Bampton Islands, New Zealand, Hawaii, and the Sandwich Islands.
See Forbes’ entry referencing the Hawaiian content: "Thiercelin made two Pacific voyages. The first was on the whaleship Ville de Bordeaux, which departed from Havre January 5, 1837, and returned January 5, 1841. He states (p. 284) that at the end of September 1839 the ship spent several weeks at Waimea, Kauai. This narrative concentrates on his second voyage on the Gustav, which departed from Havre, April 7, 1863, and returned in 1865. During the course of this voyage (particularly with respect to New Zealand and to Hawaii) the author describes conditions observed on his first voyage (…) A chapter titled Atouai [in vol. II] describes Waimea, Kauai (pp. 283-326)". Thiercelin had previously taken part in several whaling expeditions as ship’s doctor before embarking on this journey through Oceania and the Pacific. "[He] was greatly interested in the actual proceedings of a whale hunt and wished to experiment with new harpoons as a surer and speedier method of keeling whales (…) This book offers an interesting account of whaling vessels and their crews, a detailed description of the different types of whales, details of the actual whale hunt, and explanations of some of the newer whaling techniques such as poisoned harpoons and harpoons with explosive charges propelled by gun-like mechanisms" [Hill].
A very rare first edition of 15 lithographed views in bistre tint, mounted in an accordion pleat, forming a panorama of 6.75 ft and showing the Parisian procession of the return of Napoleon's mortal remains (his "ashes" used here as a metaphor since he was not cremated). The parade started from the Arc de Triomphe to his resting place in Invalides. In the lower margin, the caption presents the different groups forming the procession: Ajaccio delegation, Paris Municipal Council, Prince of Joinville Commission of Saint-Helena...in the centre of the panorama stands the spectacular funeral car. Without mention of the publisher, this impressive document was undoubtedly printed by Aubert, famous publisher of Parisian panoramas published during the same era and also illustrated by Adrien Provost.
Publisher's half cloth black Bradel binding, goffered silk boards framed with double gilt fillets, the first with the gilt title “convoi de l'Empereur” stamped in the centre.
“In the distance is seen, in the mist and the sunlight, against the grey and russet background of the trees in the Champs-élysées, beyond the great white phantom-like statues, a kind of golden mountain slowly moving. All that can be distinguished of it as yet is a sort of luminous glistening, which makes now stars, now lightening sparkle over the whole surface of the car. A mighty roar follows this apparition. It would seem as though this car draws after it the acclamation of the whole city, as a torch draws after it its smoke. (Victor Hugo, Choses Vues, “15 décembre 1840. Funérailles de l'Empereur. Notes prises sur place.”)
Album of 50 full-page plates signed by Lange, each with captioned tissue guards (cf. Polak 6415).
Publisher's binding in red half shagreen, spine with five raised bands decorated with gilt dotted rolls and black fillets, gilt naval anchors, gilt title and naval anchor on the upper cover in red cloth, marbled endpapers and pastedowns.
Some minor foxing, a few faded spots along the edges of the covers, a well-preserved copy overall.
A fine visual survey of the French navy at the end of the 19th century, featuring 44 warships and 6 merchant vessels (from the Compagnie Générale Transatlantique, Messageries Maritimes, Chargeurs Réunis, Albert Méniér, and Ant. Dom Bordes).
First edition of the French translation by Dominique Aubier, printed in 150 numbered copies on Rives wove paper, ours being one of 30 copies including the original print, numbered and signed by Louis Chavignier.
Our copy is one of only 10 exceptionally enriched with an additional suite on chine appliqué of the etching by Alberto Giacometti and the 14 burin engravings by Louis Chavignier.
The work is illustrated with an original etching as frontispiece by Alberto Giacometti, and 14 full-page original burin engravings by sculptor Louis Chavignier.
A handsome and rare copy.
Enclosed is the printed report, on Rives paper, of the general meeting held on 16 May 1962 by the bibliophile society Les Impénitents.
Also included is the promotional leaflet illustrated with an original burin engraving by Louis Chavignier, justified and signed by the artist, announcing the forthcoming publication of the book.
Minor, insignificant foxing affecting one leaf of the final gathering.
A rare and desirable copy.
First edition.
Official series not listed in Polak.
Full red morocco binding, smooth spine decorated with gilt Romantic arabesques, gilt roll-tooled bands at head and foot, elaborate gilt quadruple fillet frame, garland and lozenge design with gilt corner motifs on covers, gilt crowned monogram stamped in gilt at center of each board, blue moiré silk endleaves and doublures, gilt dentelle borders on doublures, gilt dotting on board edges, all edges gilt; a superb Romantic period binding.
Copy bearing the crowned monogram "FO" of Ferdinand Philippe, Duke of Orléans (1810–1842), eldest son of King Louis-Philippe.
A very fine copy, beautifully preserved in an outstanding period Romantic binding.
First edition, one of the rare numbered copies printed on red papier bouffant, the only deluxe issue alongside 5 copies on Hollande.
Covers slightly and marginally soiled, two initials in red ink in the upper left corner of the front cover.
Illustrated with a "portrait de crotte de bique et couillandouille par eux-mêmes" [portrait of goat-dropping and dick-and-drumstick by themselves.]
Very famous work from the Dadaist canon, written by Pansaers one year before his untimely death — the personal copy of painter Theo van Doesburg, with his autograph signature. In 1917, Doesburg had co-founded the renowned De Stijl neoplasticist movement with Piet Mondrian.
Doesbourg had joined the Dada movement in 1921, and also became one of its theorists. As Marguerite Tuijn notes, “Van Doesburg was deeply impressed by Pansaers. This artist was one of the few Belgian Dadaists, a mysterious figure and a quintessential poète maudit. In early 1920, he also arrived in Paris, where he created a small number of Dadaist works. Among others, he wrote *Le Pan-Pan au cul du nu nègre* (1919) and *Bar Nicanor* (1920). In April 1921, he left the Dada movement. He died at the end of October 1922.” (Theo van Doesburg. A New Expression of Life, Art and Technology, Palais des Beaux-Arts, Brussels, 26 February – 29 May 2016, p. 72).
One of the most desirable copies of this "PAN-DADA" masterpiece, in Pansaers' own words.
First edition, numbered copies on vélin pur fil, most limited deluxe issue.
A handsome copy complete with the publisher’s announcement slip.
Rare and important presentation copy inscribed by Irène Némirovsky: "A Benjamin Crémieux hommage de l'auteur. Irène Némirovsky". Némirovsky died in Auschwitz in 1942, and Crémieux in Buchenwald in 1944.
Crémieux had published a glowing review of Némirovsky’s first novel, David Golder. Its film adaptation by Julien Duvivier was among the earliest French talkies. On this short stories collection fittingly titled Films parlés (Talking Films) Némirovsky, the émigré writer, paid homage to Crémieux, a descendant of a long-assimilated Jewish family from southern France. Two years after the publication of this collection, Irène Némirovsky’s name would appear alongside Crémieux’s in an anonymous antisemitic pamphlet entitled Voici les vrais maîtres de la France [Here are the true masters of Frabce] listing over 800 names of writers (Mémorial de la Shoah, Olivier Philipponnat).
Neither would return from the death camps: “In Geneva, in February 1945, Olga Jungelson, an envoy from the Ministry of Refugees to the Red Cross, was unable to obtain any information about her, nor about the other deported writers she had been tasked with tracing: Benjamin Crémieux, Robert Desnos, Jean Cavaillès, Maurice Halbwachs” (La vie d'Irène Némirovsky, Patrick Lienhardt, Olivier Philipponnat).
Black-and-white photographic promotional portrait for Disney studios, depicting Walt Disney. A minute black line is visible near the hair.
Rare and striking manuscript signature by Walt Disney in black ink, signed directly within the image.
Rare first edition, as referenced by Clouzot (see Guide du bibliophile français XIXe siècle, p. 256).
A few insignificant spots of foxing, a small black ink stain at the bottom of pages 354–355. Complete with the errata leaf at the end of the volume.
Caramel half calf binding, spine with five raised bands ruled with gilt dotted lines and decorated with gilt and black tools, gilt fillets at head and foot of spine. Minor rubbing to the spine. Brown morocco title label. Marbled paper-covered boards framed with blind-stamped vertical rolls, endpapers and pastedowns in cat’s-eye paper, all edges gilt. Roman bookseller’s label at the top of a pastedown. Period-style binding signed in blind by Durvand.
Rare and important work (cf. Carteret), notable for being the first to bear Stendhal’s pseudonym on the title page.
First edition, illustrated with 5 lithographed plates outside the text, each featuring multiple figures (Not listed in Sabin).
Bound in modern half beige calf, smooth spine decorated with gilt and black fillets, black morocco title label, marbled paper boards, restored and preserved original printed wrappers bound in. Binding signed by the Laurenchet workshop.
Some occasional spotting.
All published: the renowned anthropologist had planned a work in two or perhaps three volumes gathering his observations made during travels in Alaska.
The plates depict fossils, bones of sea otters and American brockets, mollusks, and more. Contributions include studies and commentary by Jannetaz ("Catalogue des échantillons et observations géognostiques"), J.-L. de Cessac ("Étude microscopique et analyse chimique de quelques roches de l'Alaska"), A. Gaudry ("Sur une dent d'Elephas primigenius"), and P. Fischer ("Sur quelques fossiles de l'Alaska" and, with E. Perrier and P. Gervais: "Invertébrés marins des îles Aléoutiennes. Mollusques et cirrhipèdes"), among others.
A very scarce publication.
Rare first edition, complete with its 17 plates, including 2 maps, 2 colored facsimiles of Japanese view and plan (view of Yedo, plan of Nagasaki), and 13 colored facsimiles of natural history drawings. (See Cordier, Japonica, 549 and Sinica, 2128. Numa Broc, Asie, 89-90.)
Some minor foxing, a faint dampstain on the final leaves, small restorations to the verso of the facsimiles.
Contemporary half green shagreen, spine slightly faded, with raised bands framed by gilt fillets, double gilt compartments with decorative tools, boards framed with a blind-stamped fillet, marbled paper boards slightly soiled, combed endpapers and pastedowns, painted edges.
A career diplomat, Charles de Chassiron (1818–1871) was part of Baron Gros’s diplomatic mission to Japan in 1858. He boarded the corvette *Laplace* with the other members of the mission in Shanghai on September 6, 1858, arrived at Shimoda on the 14th at 10 a.m., left during the night of September 19, landed in Edo (Tokyo) on the 26th, stayed until October 12, and departed the country from Nagasaki on October 22.
Chassiron’s *Notes* are a nearly verbatim transcription of the journal he kept during his stay; the appendix contains the text of the Franco-Japanese treaty signed on October 9. His travel journal thus represents an important milestone in the history of Franco-Japanese relations. His entries concerning Edo are particularly valuable for their care, precision, and integrity. Throughout Chassiron’s text runs a tension between the anxious caution of a disoriented diplomat and the observations of a traveler fascinated by Japan’s social order and industrial arts. The French, more perplexed than the British before Japanese reality, nonetheless allowed themselves to be charmed by it, bringing back the image of a feudal Japan rooted in espionage, and that of an artistic Japan. (Cf. Numa Broc.)
First edition of considerable rarity, not recorded by Sabin (who mentions an octavo edition) nor by Monglond.
Title, 117 pp., 67 pp., 2 unnumbered leaves of tables, 84 pp. and one folding plate comprising the appendices. Pages 15 to 22 are taken up by an unpaginated "État des Réunions poursuivies à Saint Domingue, & sur lesquelles est intervenu Jugement pendant les années 1785, 1786, 1787 & 1788."
Contemporary quarter marbled calf over marbled paper boards, vellum-tipped corners, modern flat spine gilt with decorative tools and roll-tooled dentelle motifs, red shagreen label, marbled edges.
Count César Henri Guillaume de La Luzerne (1737–1799), governor of the island of Saint-Domingue and Minister of the Navy, was denounced by the deputies of Saint-Domingue and more generally accused of responsibility for the loss of the colonies. In this memoir, he defends himself by refuting the fifteen accusations presented by his detractors, supporting his arguments with extensive documentary evidence. Among other charges, he is accused of obstructing the appointment of colonial deputies to the Estates-General and of having “favorisé & favoriser encore les Gens de couleur” (third accusation, p. 110). The documents he presents in response offer valuable information on the colony’s organization, slavery, and trade on the eve of the French Revolution. Various tables record the number of enslaved people imported and sold, revenue from these sales, quantities of coffee sold and their sale prices by year, the number of Domain Reunions, and more. He is also reproached for a flour shortage, which leads him to address in detail the trade relations between Saint-Domingue and France, including quantitative data and the legislation governing these exchanges. Saint-Domingue regularly received flour from France to feed the white population and some enslaved persons; in return, it exported sugar, coffee, cotton, indigo, and other products of its fertile land. The appendices, which constitute the second part of the work, are equally rich in significant data and details regarding the internal administration of the colony.
Contemporary ownership inscription on the title page: J. Beysselance.
Very rare first edition illustrated with 40 lithographs (cf. Colas 1581, Mayfair, Algeria, 751, Tailliart, 1001, *Iconographie de l'Algérie*).
A few minor spots of foxing; the front free endpaper is slightly creased at the margin, not affecting the text.
The 40 plates, printed on 37 leaves, are arranged as follows: 37 black lithographs including one plan and one folding map (plates 11–12, [37–38], and [39–40] are printed on single leaves).
Among the rarest and most beautiful illustrated albums devoted to Algeria, this edition comprises 40 lithographic plates printed in black across 37 leaves. The map of the Regency of Algiers and the views of Algiers and Constantine, being in a larger format, each count as two. So rare is this album that even Esquer, author of the monumental *Iconographie de l'Algérie*, was only able to consult a copy containing 35 plates.
Contemporary binding in half green Russia morocco, flat spine with blind double fillets, marbled paper-covered boards with some light spotting, green vellum corners slightly rubbed.
Lithographed by Simon fils after drawings by Robert Jungmann, the plates depict costumes and views of Algeria. The author, who presents himself as a Polish refugee, explains in the preface that he served for nearly four years in the Armée d’Afrique and that the purpose of his work is "to provide a short but accurate account of Algiers and its surroundings, a region that is increasingly drawing our interest".
The text is divided into four chapters: Geographical overview; historical notes; costumes, manners and customs of the native populations, their methods of warfare, etc.; and the state of industry, commerce, arts and sciences. It includes precise descriptive information on Algiers, Blida, Médéa, Oran, Tlemcen, and Constantine, as well as commentary on history, climate, agriculture, and colonization. The illustrations include a map of the Regency of Algiers with hand-colored outlines also showing a large part of the Regency of Tunis; a portrait of Hussein Pasha, the last Dey of Algiers; picturesque views (View of Algiers, viewpoint near Mustapha Pacha in Algiers, partial view of Algiers' main square, Bab-el-Oued gate, marabout of Sidi-Yakoub, a fountain near Algiers, views of Constantine and Bône); and plates depicting inhabitants in traditional dress: Arab horsemen, Bedouins, Moorish women, Kabyles, Kouloughlis, Jewish men and women of Algiers, marabouts, Algerian corsairs, Zouaves, etc.
Partly first edition, revised and corrected, of which no deluxe copies were issued; one of the review copies.
Spine and covers slightly and marginally sunned, as usual.
Rare and valuable signed presentation inscription from Robert Antelme to Geneviève Hirsch.
"Il n'y a pas d'espèces humaines, il y a une espèce humaine. C'est parce que nous sommes des hommes comme eux que les SS seront en définitive impuissants devant nous."
["There are no human races; there is only one human race. It is precisely because we are men like them that the SS will ultimately be powerless against us."]
This seminal work on the Nazi concentration camp experience was first published in 1947. It was the third and final publication of the short-lived publishing house founded by Marguerite Duras and Robert Antelme, her husband from 1940 to 1946.
Initially unnoticed upon its discreet release — only a handful of copies were sold — the book was reissued the following year with new covers by Robert Marin. It faced the competition of numerous postwar accounts and initially struggled to find a readership. Yet, as recounted by F. Lebelley, "at a time when narratives abounded, the unique power of this work, marked by a stark sobriety, moved readers as a founding text. A writer’s book as well, which, as Duras acknowledged, ‘stepped away from literature.’ Robert Antelme would never write another. Despite the praise and accolades, L'Espèce humaine remained the singular work of a lifetime." (in Duras, ou le poids d'une plume).
Thanks to Albert Camus’s intervention, the book was reissued a decade later, in 1957, by Gallimard and finally reached a broader audience.
Since then, it has taken its place in literary history as one of the most significant works confronting the painful but essential reflection on concentration camps and the human condition. In its wake, writers such as his friend Jorge Semprun would embark on new approaches to the unspeakable task of writing about the camps.
As early as 1947, Antelme wrote in his foreword: "We had just returned, bringing with us our memory, our vivid experience, and felt a frantic desire to recount it exactly as it was. And yet, from the first days, we became aware of the gap between the language at our disposal and that experience [...] How could we resign ourselves to not trying to explain how we had come to that point? We were still there. And yet it was impossible. As soon as we began to tell it, we suffocated. To ourselves, what we had to say already seemed unimaginable."
Shortly after Gallimard’s reprint, this testimony received its most profound tribute from Maurice Blanchot:
"When man is reduced to the extreme deprivation of need, when he becomes ‘he who eats peelings,’ we see him reduced to nothing but himself, and man is revealed as he who requires nothing more than need itself to, by denying what denies him, preserve the primacy of human relation. One must add that need then changes, becomes radical in the literal sense, becomes a barren need, devoid of pleasure or content — a bare relation to bare life — and the bread one eats responds directly to the demand of need, just as need is immediately the need to live." (Maurice Blanchot, L'indestructible, in La Nrf n°112, 1962, reprinted in L'Entretien infini)
Presentation copies signed by Robert Antelme are of exceptional rarity.
First edition of the French translation, illustrated with a portrait of the author and 29 engraved plates depicting objects, ornaments, coins, plants, and animals (cf. Cordier, Bibl. Japonica, 447. Gay, 3151. Brunet, V, 850).
Contemporary full marbled calf bindings, flat spines richly decorated with gilt typographic tools, gilt roll tooling at head and tail, brown morocco title-pieces, dark green morocco volume labels, gilt roll-tooled borders on boards, marbled endpapers and pastedowns, gilt fillets on board edges, yellow edges.
A Swedish botanist and naturalist, Carl Peter Thunberg (1743–1828) studied medicine and natural history at Uppsala and became one of Linnaeus’s most brilliant pupils.
In 1771, he sailed as a surgeon aboard a ship of the Dutch East India Company. Upon arrival at the Cape, he remained in the colony for three years, exploring regions inhabited by the Hottentots and the Kaffirs while collecting specimens of plants and animals. In 1775, he traveled to Java, stayed in Batavia, and eventually reached Japan. He settled on the island of Deshima, in Nagasaki Bay, where the Dutch trading post of the Company was located. There he worked as a physician and obtained permission to botanize in the nearby mountains, where he collected a large number of rare and previously unknown plants, along with many natural history specimens. In 1776, he accompanied the Dutch Company’s director on a visit to the shogun in Edo (Tokyo), allowing him to explore further and gather more botanical samples. He returned to Sweden in 1779. The first volume recounts the voyage to the Cape of Good Hope, his stays at the Cape, and his first journey inland; the second volume describes his second trip along the Kaffir coast, return to the Cape, journey to Java, and arrival in Nagasaki; the third is entirely devoted to Japan: trade with the Dutch and Chinese, government, administration, religion, language, character and portrait of the Japanese, zoological observations, minerals, etc. The final volume continues with Japan: food, festivals, weaponry, agriculture, calendar, etc., followed by the account of the return voyage via Ceylon. It also includes Lamarck’s explanations of the eight natural history plates.
A rare copy of this important travel account.
Provenance: From the library of the Château de Menneval, with armorial bookplates on the pastedowns of each volume.
First edition, very difficult to find complete, as the third volume was published eight years after the first two.
Bound in full mottled bronze-green calf, smooth spines richly decorated with gilt floral compartments, red morocco labels for title and volume number, gilt rolls on the caps, joints slightly rubbed, gilt roll-tooled borders on the covers entirely adorned with oblong geometric patterns in blind, marbled endpapers and pastedowns, gilt Greek-key borders framing the pastedowns, bookplate mounted on the pastedown of the first volume, gilt fillets on the edges, all edges gilt, contemporary bindings.
Contains anecdotes about Rousseau, Poivre, Turgot, Helvétius, Benjamin Franklin, Holbach, Cardinal de La Rochefoucauld, the Marquise de Pompadour, Calonne, Necker, Beaujon…
A handsome copy attractively bound in a period decorative binding.
Rare first edition of this curious travel account, originally written entirely in verse (7,500 lines), though the author—on the advice of friends—agreed to intersperse it with prose narrative (retaining 2,500 lines of verse); see Sabin 20128, Gagnon 1134 (1710 edition), and Dionne II.
Contemporary full brown calf binding, spine with five raised bands, gilt compartments decorated with gilt floral tools, cherry red morocco label, gilt roll tooling at head and foot, double black fillet border on covers, gilt fillets on board edges, sprinkled yellow edges with red mottling.
Lower right corner of upper cover restored; some spots and minor scuffs to the boards; occasional light foxing, otherwise internally fresh and appealing.
Unlike the second edition of 1710, this copy was not issued with a frontispiece. Almost nothing is known about the life of Dières de Dièreville, a surgeon, possibly born around 1670, who embarked in August 1699 aboard the *Royale Paix* from La Rochelle for a trading mission to Acadia. He arrived on 13 October and remained in the region for a year, studying both the Acadians and the Indigenous peoples, while also collecting plant specimens for the Jardin du Roi in Paris. His return voyage took place from 6 October to 9 November 1700, after which he settled as a surgeon in Pont-l'Évêque. At the request of Michel Bégon, Intendant of La Rochelle, he wrote the account of his travels. He was still alive in 1711, but nothing further is known of his life.
First edition of the vocal and piano score of the opera Déjanire by Camille Saint-Saëns.
A few pencil annotations in the margins of certain staves.
Our copy is presented in a 3/4 shagreen clamshell box, spine with five raised bands framed by gilt garlands and decorated with gilt fleurons, gilt lettering at foot of spine: "Inscribed by composer". Boards, endpapers and pastedowns in marbled paper. Spine of the box slightly faded.
Inscribed, dated and signed by Camille Saint-Saëns to music critic Edouard Beaudu.
First edition in French, one of 1,000 numbered copies on Annonay rag paper, the only deluxe paper copies.
Illustrated with numerous photographs. Preface by Maurice Herzog. Foreword by the Duke of Edinburgh.
Publisher’s full flexible boards binding. Lacking slipcase, spine sunned with minor tears at head and foot.
Rare and handsome autograph inscription, dated and signed by General John Hunt: "A M. Robert Moch vous témoignant notre reconnaissance de nous avoir préparé la trace jusqu'au sommet du signal de l'Iséran le 3 janvier - et pour vous exprimer nos regrets de ne pas l'avoir suivie ! John Hunt 7/1/54."
This copy is further enhanced with the handwritten signature of Edmund Hillary beneath the inscription.
Signed and inscribed newspaper clipping with Picasso's portrait.
Newspaper clipping from 'Le Patriote de Nice et du Sud-Est' (25 October 1959) signed and inscribed by Pablo Picasso. A folded leaf inscribed with a large red felt-tip pen.
A pictorial and unusual inscription signed by Picasso on the front page of a Nice newspaper celebrating his 78th birthday: “For Max Pellequer / his friend / Picasso”. A beautiful testimony of friendship in an important political newspaper which featured many of the artist's original creations.
Autograph letter signed by Jacques Mesrine, dated Wednesday 29 December 1976, addressed to Jeanne Schneider, his love interest of the time. She smuggled out of prison the manuscript of his famous autobiography L'Instinct de mort. 66 lines in blue ink on two pages of a leaf. In the top left-hand corner of the letter, Jacques Mesrine has drawn a bouquet of flowers in multicoloured felt-tip pens. Usual horizontal fold, small tear to the fold in the right-hand margin.
Jacques Mesrine, who was in Fleury-Mérogis prison at the time, was delighted to receive so much proof of love and friendship in the many letters he received from his friends and family.
He, in turn, replied to all his correspondents, and in particular to Madame Panco, who had shown great kindness towards Jeanne Schneider: "I'm going to send my best wishes to Madame Panco, as I do every year... because I haven't forgotten what this woman has done for you... she is a “woman of respect” and a very human person... There are some in the administration (it's rare)'.
The indomitable Mesrine is full of tenderness and delicacy for Jeanne Schneider: ‘I've made you a little bouquet of flowers... to make up for being so unpleasant with you at the moment', but he has no wish in the world to change and submit to anyone's wishes: "What do you want, I'm becoming an old fart with a bloody temper... but I am as I am and have no intention of changing... or else I wouldn't be me any more. I'll tell you one thing, my angel... whether my book works or not... I don't give a damn... there's no way I'm going to start from scratch to make it sweeter."
Public Enemy No. 1 was outraged by the way he was treated by the prison administration after the publication of his polemical book ‘L'instinct de mort' (The Death Instinct ): "In France, the truth is frightening. At the moment I don't go out for a walk. ... I'm in my cell 24 hours a day. The reform! What do you expect me to do in this stupid courtyard in such cold weather? But I'm in great shape! "
He doesn't despair of being released or regaining his freedom soon, much to the dismay of all those who prefer to see him locked up: "I'm going to have to apply for a leave of... 10 years. but if that day comes... how many people are going to shit their pants... a lot of loudmouths who take advantage of the fact that I'm caged up to play the ‘pimp' but I'm free... there are no more ‘pimps'. it's nice to dream...'.
But he also talks about how happy he'll be to see his sweetheart again very soon, even if his condition as a prisoner is weighing on him and enraging him all the more: "I hope we'll finally be able to smile again, I'm going to be the real adorable little guy... well, almost! I love you, sweetheart... but this imprisonment is driving me crazy, I feel so powerless in the face of bullshit! "
A rare and beautiful letter from Jacques Mesrine in which he shows his intense affection for his girlfriend and his strong resentment of the prison system.
Autograph letter signed by Emile Zola addressed to Octave Mirbeau, dated in his hand March 4, 1901. Two pages in black ink on a bifolium.
Horizontal fold mark inherent to postal delivery.
Published in his Correspondence, vol. X, p. 242.
Precious letter from Zola to his great supporter Octave Mirbeau, who had paid his fine at the end of his second trial for "J'accuse!".
Now amnestied, the writer attempts - in vain - to recover the sum to reimburse him.
After his historic cry from the heart in l'Aurore, Zola was first condemned by the Seine jury on February 23, 1898 to one year in prison and a three thousand franc fine. The judgment was overturned on appeal, and the case was referred to the Versailles assizes, which retained only three lines out of the eight hundred that make up "J'accuse!" as grounds for accusation. To avoid accepting such a stifling of the debates, Zola's defense decided to default, and the conviction was confirmed on July 18 - Zola left that very evening for London to avoid prison. The tribunal also demanded 7,555 francs from him, which Mirbeau spontaneously decided to pay from his own funds. It was also Octave Mirbeau who prevented the seizure of Zola's furniture, by obtaining from Joseph Reinach the 40,000 francs in damages that Zola had been condemned to pay to the three pseudo-experts in handwriting that he had "defamed" in J'accuse!...
Following the amnesty law that ended judicial proceedings for "all criminal or delictual acts connected to the Dreyfus affair," Zola was acquitted but was not reimbursed. This letter attests to the writer's desire to compensate Mirbeau for his act of generosity: "Labori [his lawyer] will attempt an approach to try to recover the seven thousand and some francs that you paid on my behalf, for the Versailles affair. He simply wishes to have a letter from you, in order to show it and thus be authorized to speak in your name. You certainly do not have down there the receipt that was issued to you. Perhaps you remember its terms. In any case, if we must wait, we will wait, for nothing is urgent after all. The important thing today is only to test the ground, to see if they will return the money to us". However, the prosecutor's office refused his request. Furious, Zola wrote two days later a letter to Labori asking him to give up claiming the slightest cent - he published it in L'Aurore under the title "Let them keep the money": "they torture the text of the law and the State too keeps the money. If the prosecutor's office persists in this interpretation, it will be yet another monstrosity, in the unworthy way they have refused me all justice [...] I do not want to be complicit by accepting anything whatsoever from their amnesty [...]". According to Pierre Michel, these unsuccessful recovery attempts, of which this letter bears witness, "incited Zola to adopt an attitude that emphasizes even more his disinterestedness and that of his 'friend,' who is not named [in the L'Aurore article], probably at Mirbeau's request."
Dreyfus's pardon and the amnesty of his supporters did not satisfy the writer, but nevertheless marked the end of long years of struggle: "I have finished my crushing task, and I am going to rest a little because I am exhausted". Struck down in full glory the following year, he would not be able to witness Captain Dreyfus's rehabilitation.
Beautiful lines from Zola to Mirbeau who gave him the means to continue his fight for justice.
First edition, exceedingly rare copy without statement of edition, with the correct imprint dated 20 October 1912.
Restorations to spine and inner margins of the covers, a discreet fold to the lower right corner of the front cover.
Illustrated with 26 artworks by Paul Cézanne, Pablo Picasso, André Derain, Georges Braque, Jean Metzinger, Marie Laurencin, Albert Gleizes, Fernand Léger, Marcel Duchamp, Juan Gris and Francis Picabia.
A fine copy despite restorations, rare without statement of edition, of this Cubist manifesto published on the occasion of the historic exhibition of the "Section d'Or" at the Galerie La Boétie.
***
"It is difficult to imagine today the impact of Gleizes and Metzinger's book. Read, reread, celebrated or rejected, it was very quickly translated into Russian and English. The Russian cultural avant-garde discussed it passionately. From the American critic Arthur Jerome Eddy to the Romanian painter Marcel Janco, they recommended reading it, at the risk of forgetting that it was less the theorists than the good painters who expressed themselves in it. The Flemish poet Paul van Ostaijen considered the book as useful for a writer as for an artist, and, in fact, the abandonment of the concern for resemblance of the cubist painters corresponds to the fragmentation of meaning and the unusual images of Apollinaire or Reverdy. Du cubisme ends with these words: "To the partial freedoms conquered by Courbet, Manet, Cézanne and the Impressionists, Cubism substitutes infinite freedom. We now know that Cubism was not a break with the past but a door wide open to the future." (Serge Fauchereau)
"A cause du mécanisme moderne, qui permet de reproduire le rare à d'innombrables exemplaires, le rare se meurt et, entre autres, on fait du mot merveilleux un emploi abusif [mot biffé].
Le merveilleux cesse de l'être s'il se désingularise, et l'on a une tendance à le confondre avec tout ce qui nous étonne encore : la radio, la vitesse, la bombe atomique.
Or, le merveilleux se trouve beaucoup plus en nous que dans les objets qui nous surprennent. Le véritable merveilleux, c'est la faculté d'émerveillement, qui s'émousse si vite chez l'homme. L'enfance le quitte. Il se blinde contre elle. Il juge, il préjuge. Il repousse l'inconnu [phrase biffée]. S'il laisse agir en lui cette faculté atrophiée, c'est pour fuir les fatigues qu'il s'impose. Il en use comme d'une drogue et se plonge, pour quelques heures, dans un livre ou dans un film.
Rare first edition of this manual on film development.
Illustrated with 54 figures in the text and 6 folding plates at rear, containing 107 interesting samples of films negatives and celluloid.
With a frontispiece photographic portrait of Charles Pathé.
Skilfully restored brown half sheepskin publisher's binding, smooth spine decorated with golden arabesques, small gaps filled at head of spine, marbled endpapers and pastedowns.
"In the early years of the twentieth century, the largest film production company was the Société Pathé Frères (Pathé Brothers Company). Founded in 1897, the company was at its height in 1920s when it unveiled the first home movie projector, the Pathé Baby. [Le Film vierge Pathé] is one of the company's first publications explaining the secrets of processing 'virgin' film. Plates offer incredible images of the mass production of thousands of silent movies, including the first newsreels, sports films, and animation. 107 examples of actual celluloid color film have been mounted in each volume." (Princeton University Library, Julie L. Mellby)
First edition.
Marbled paper boards, smooth spine, gilt lettered red morocco title-label lengthwise. Slightly sunned boards, some minor restorations to title page.
Extremely rare essay on a so-called “cure” for breast cancer, published during the French Revolution.
Autograph letter most probably unpublished signed addressed by Juliette Drouet to her lover Victor Hugo, four pages written in black ink on a bifolium.
Transverse folds inherent to mailing, fold joining the two leaves reinforced with a fine strip of pasted paper barely perceptible.
Absent from the very complete online edition of Juliette Drouet's letters to Hugo by the Centre d'Études et de Recherche Éditer/Interpréter (University of Rouen-Normandy).
Very beautiful declaration of love and admiration by Juliette Drouet, the day after Hugo's plea defending his son. Charles Hugo had been brought before the assizes, and condemned despite his father's intervention, for having valiantly castigated the execution of Claude Montcharmont.
Hugo's great love addresses this letter in troubled times, where father and son find themselves at the forefront of the scene for their abolitionist positions. Scandalized by the execution of Montcharmont, a 29-year-old poacher from Morvan, Charles Hugo publishes an article in l'Événement which earns him a trial for contempt of respect due to the laws: the Second Republic already exists only in name, and the press is subject to frequent attacks, further aggravated here by the notoriety of the Hugos. Victor wants to defend his son and delivers a plea that remains famous: "Mon fils, tu reçois aujourd'hui un grand honneur, tu as été jugé digne de combattre, de souffrir peut-être, pour la sainte cause de la vérité. A dater d'aujourd'hui, tu entres dans la véritable vie virile de notre temps, c'est-à-dire dans la lutte pour le juste et pour le vrai. Sois fier, toi qui n'est qu'un simple soldat de l'idée humaine et démocratique, tu es assis sur ce banc où s'est assis Béranger, où s'est assis Lamennais !" (My son, you receive today a great honor, you have been judged worthy to fight, perhaps to suffer, for the holy cause of truth. From today, you enter into the true virile life of our time, that is to say into the struggle for the just and the true. Be proud, you who are but a simple soldier of the human and democratic idea, you are seated on this bench where Béranger sat, where Lamennais sat!)
Despite Hugo's historic intervention, Charles is condemned to six months in prison and 50 francs fine - a decision that Juliette bitterly castigates, overwhelmed by anguish at the outcome of the trial: "J'ai beau savoir que cet arrêt inique est non seulement supporté avec courage par vous tous, mais accepté avec orgueil et avec joie par le plus directement intéressé dans cette malheureuse condamnation, la fatigue et l'inquiétude que j'ai éprouvé pendant toute cette interminable journée d'hier m'a laissée une douloureuse courbature physique et morale" (However much I know that this iniquitous verdict is not only borne with courage by all of you, but accepted with pride and joy by the one most directly concerned in this unfortunate condemnation, the fatigue and anxiety I experienced during all that interminable day yesterday has left me with a painful physical and moral ache).
12 juin jeudi matin 7h
Autograph letter signed by the painter Eugène Delacroix to his friend Baron Félix Feuillet de Conches, master of protocol at the Ministry of Foreign Affairs under Charles X and Louis-Philippe. One page in black ink on a folded sheet, with the autograph address on the verso. Traces of seal and postal stamps dated October 7.
The painter writes to his friend Feuillet de Conches, a distinguished man of letters whose works were well received, and who also amassed an elegant collection of art and autographs in his apartment on the rue Neuve-des-Mathurins, the address of this very letter.
A charming and witty missive, in which Delacroix expresses his enchantment with country life, far removed from the bustle of Paris.
"From the summer of 1844, Eugène Delacroix settled at Champrosay, on the edge of the Sénart forest near Paris. There, he recorded in his journal the impressions inspired by his regular walks through the countryside. He produced numerous sketches, later reworked into his large compositions, as well as more ambitious landscapes that reveal how, in his mature and later years, the observation of nature — now contemplated for its own sake — had become central to his art." (MuMa)
"I reply to you late, dear Feuillet, but you will forgive me: I promise you a Gros, very happy to add it to the collection. I pity you for living far from the fields. If we were still in the time of Ovid’s Metamorphoses, I might believe myself in danger of one day being turned into a tree. I am mad about these innocent and beautiful trees, while human nature, on the other hand, loses each day in my esteem. I except, of course, friends like you and the few who retain a little reason.
I embrace you while awaiting this winter
Eug. Delacroix."
"Mon cher Confrère,
Excusez si je ne vous écris jamais, mais j'ai les yeux si malades que la seule pensée d'écrire dix lignes me torture.
J'ai l'intention d'ailleurs de faire plus, et d'aller vous serrer la main dans le courant d'avril. Je veux aller voir Naples, et descendre jusqu'à la Sicile. Je serai heureux de vous dire toute la reconnaissance que je vous ai pour votre si cordiale confraternité.
Je me demande si vous avez reçu Yvette [souligné plusieurs fois]. Dans tous les cas j'en ai encore un exemplaire ici, je vous l'adresse en le recommandant car les employés des Postes sont plus que suspects. [...]"
"Chère Madame,
Mille excuses pour le malentendu qui est de ma faute, sans doute.
Je ne me souvenais pas du tout que vous n'étiez pas libre ce soir. Si vous l'êtes demain samedi, j'en serais heureux. J'ai couru à Châtelet et suis parvenu à faire changer le jour pour mes places.
Voulez-vous avoir l'amabilité de me prévenir, soit par un télégramme, soit par un message téléphonique. Les pneumatiques ne parviennent pas à Levallois.
Une fois de plus pardonnez-moi et à demain soir, j'espère.
Respectueuses amitiés de votre dévoué" (Dear Madam, A thousand apologies for the misunderstanding which is undoubtedly my fault. I did not remember at all that you were not free this evening. If you are free tomorrow Saturday, I would be delighted. I ran to Châtelet and managed to have the day changed for my seats. Would you be so kind as to let me know, either by telegram or by telephone message. Pneumatic messages do not reach Levallois. Once more forgive me and until tomorrow evening, I hope. Respectful regards from your devoted)
Very elegant edition of Perrault's fairy tales, printed with the stereotype process invented by Louis-Etienne Herhan.
Illustrated with 5 full-text engravings (2 vignettes each) and a vignette on the engraved title, after the frontispiece by Antoine Clouzier for the first edition of Perrault's tales (Paris, Barbin, 1697).
Full roan binding, smooth spine framed in gilt and gilt motifs, black title label stamped in gilt, boards framed in gilt, inner dentelle, endpapers and pastedowns in caillouté paper, all edges gilt. Joints slightly split at head of spine, a small brown stain to title page and frontispiece, some spotting.
Very rare edition, including Bluebeard, Little Red Riding Hood, The Fairy, Sleeping Beauty, Puss in Boots, Cinderella, Riquet with the Tuft, Little Thumb, The Clever Princess, Donkey-skin, The Ridiculous Wishes.
A very scarce item, OCLC does not locate any copy printed by Saintin at this address.
