Italy

First edition, one of 30 numbered copies on Lafuma laid paper, the sole deluxe issue.

A fine copy.

First edition, completed at the end of the volume with a folding table printed off text (cf. Sabin 28336; Howes 318).

Bound in full flexible beige boards, the manuscript spine title clumsily restored with an adhesive strip and now largely faded; sprinkled red edges.

A dampstain affecting the upper right corner of the opening leaves; a few scattered foxmarks.

The folding table bound at the end of the volume is not recorded by Sabin. It summarises the key geographical data for each state (natural resources, population in 1790 and 1810, universities and colleges, representation in Congress, etc.).

Father Giovanni Grassi of the Society of Jesus spent several years in Georgetown, where he served as rector of the seminary.

First edition.

A single copy recorded in the CCFr (Roanne).

Contemporary half green calf, smooth spine cracked and with losses, marbled paper boards, original printed wrappers preserved, binding of the period.

Lower board tending to detach.

The Venetian historian Ronaldo Fulin (1824–1884) produced numerous publications and original studies based on the exceptionally rich holdings of the Archivio di Stato of Venice.

The question addressed in this communication is linked to the presumed relations between Columbus and Venice (see the accompanying letters).

Copy from the library of the celebrated Americanist Henry Harrisse (1829–1910), a specialist of the earliest discoveries of the New World, with an autograph inscription by Ronaldo Fulin at the head of the front wrapper.

Henry Harrisse enhanced this pamphlet with seven autograph signed letters, mounted, in French or Italian, generally accompanied by their envelopes: 1. One from the Italian historian Cesare Cantù (1804–1895), dated 10 December 1881. – 2. One from the Columbian scholar Marcello Staglieno (1829–1909), dated 3 August 1888. – 3. One from the director of the Archivio di Stato of Venice (signature illegible), dated 27 June 1888. – 4. A card from the publisher B. Calore, dated 17 December 1881. – 5.–6. Two letters from the philologist and Hispanist Alfred Morel-Fatio (1850–19245), dated 2 and 9 December 1881. – 7. One letter from Henry Vignaud (1830–1922), in his capacity as First Secretary of the United States Legation in Paris from 1882 to 1909, dated 30 May 1888.

Most of these letters revolve around the existence of a purported letter from Christopher Columbus to the Senate of Venice, prior to the voyages of exploration.

First edition of this pamphlet devoted to the largest marshland in Italy, the Fucecchio wetlands.

Illustrated with a double-page engraved plate.

Disbound copy.

From the library of the economist, agronomist, industrialist, and lithographer Charles-Philibert de Lasteyrie du Saillant (1759–1849), with his ownership stamp on the title-page.

First edition of the French translation, with no issue on deluxe paper.

Minor surface scuffs along the margins of the front wrapper.

With a fine signed presentation inscription by Italo Calvino: "A Michel Tournier avec le souvenir de Italo Calvino. Mai 1974."

First edition on ordinary paper.

A vertical crease along the right margin of the upper cover, which also shows a tiny blemish at the head; a complete copy retaining its publisher’s wraparound band.

Fine presentation inscription signed by Pascal Quignard: "Pour Michel Tournier cette terrasse à Rome, avec mon meilleur souvenir. Pascal Quignard."

Rare first edition, illustrated with two vignettes: one on the title page and another at the head of the opening text leaf (cf. Backer & Sommervogel VII, 185, no. 58.)

See Brunet, "Recherches sur les imprimeries imaginaires, clandestines et particulières", p. 19.

Printed on the private presses of the Turin Court of Appeal, the work offers a detailed account of the miraculous phenomena reported in Rome between July 1796 and January 1797. The author rebuts, in particular, the sceptical reactions of the "fiers à bras du philosophisme".

Our copy is preserved in its original drab paper wrappers, the spine cracked, the covers soiled, a few spots, a pale dampstain at the head of the first leaves, and an inked stamp on the title-page.

Jean-Joseph Rossignol, born in Vallouise or La Pisse (Hautes-Alpes) on 3 July 1726, entered the Society of Jesus in 1742. He taught the classics, rhetoric, and philosophy at Marseille and, after the suppression in France (1762), at Vilna, where he directed the observatory. After 1773 he joined the Collegio dei Nobili in Milan, where he taught physics and mathematics for eighteen years. He died in Turin in 1817.

Exceptional album comprising 54 original caricatures, some captioned, executed in India ink, pencil, and watercolour (including three small pencil sketches on loose leaves), together with several blank leaves.

This entertaining and highly personal album, evidently compiled by an amateur artist, appears to chronicle the various adventures and misadventures of a small cast of recurring characters, all seemingly connected in one way or another with the French Embassy to the Ottoman Porte, as suggested by a piece of official letterhead inserted between two leaves.

Contemporary full ivory vellum with yapped edges, smooth spine ruled in red, a restored split at the head of the spine, red fillets framing the boards, some marking to the covers, comb-marbled endpapers, red edges.

The album also includes one autograph letter signed in black ink, embellished with marginal caricatures, addressed to Mr H. Fournier and opening with "Cher Washington n°2".

The recipient of this satirical, illustrated letter appears to be the diplomat Hugues Marie Henri Fournier (1821–1898), appointed ambassador to Constantinople in 1877.

The adventures of the small group, identified by captions in black pencil, seem to begin in Florence in September 1872 and continue on to Rome.

The album includes, among other scenes, a watercolour depicting the Temple of Vesta.

In December 1872, according to an ink caption, the group—comprising the Vicomtes Bresson, de Mareuil, d'Hauterive, and d'Hérisson—is caricatured in Rome: at the theatre, on the Capitoline Hill, on horseback, and so forth.

A panoramic watercolour likewise satirises the Franco-Prussian War of 1870 and its protagonists.

Also portrayed in pencil alongside Fournier are General de Castelbajac and the Baron de Talleyrand.

The album further contains a fine pencil portrait of Khalil Bey.

The renowned Ottoman diplomat and collector, born in Cairo in 1831 and deceased in Istanbul in 1879, had indeed returned to Constantinople in 1872, after his ambassadorship in Vienna (1868), to marry the Egyptian princess Nazli Fazl. In addition to his role in the Crimean War, he is remembered for his celebrated art collection which, sold at auction in 1868, included works by Courbet (among them L'Origine du monde), Ingres, Delacroix, and others.

The Comte d'Osmond and Alfred de Courtois are likewise caricatured.

The album also features a view titled Pointe imaginaire du sérail and a watercolour depicting a game of lawn tennis.

A unique ensemble.

Autograph letter signed by François-René de Chateaubriand to Ferdinand Denois, written in Rome and dated 11 August 1829, 2 pages and two lines in black ink on a bifolium. A tear caused by the opening of the letter on the blank portion of the final leaf, not affecting text.

"I must also, Sir, thank you once again: my poor friend La Ferronays [the Minister of Foreign Affairs Auguste Ferron de La Ferronnays was to resign two weeks later due to poor health] has written to me that all his ailments have returned, that he feels unwell two or three times a day, and that he cannot consider returning to public affairs, etc. I believe that the interim will nevertheless be prolonged and that this will allow matters to carry through to the end of the session. I requested leave through MM. Boissy and Givré [his embassy secretaries Hilaire-Étienne-Octave Rouillé de Boissy, and Bernard Desmousseaux de Givré], without being entirely resolved to make use of it: this will depend on events. A telegraphic dispatch of 4 April, arriving via Toulon, informed me that the king étoit fort content de la nomination du pape. Our cardinals rallied to me and conducted themselves very well. Cardinal [Anne-Antoine-Jules de] Clermont-Tonnerre, who suffered a fall, is lodged at the embassy, where I am caring for him as best I can - what will the Gazette say of this? [La Gazette de France, journal of the radical royalists known as Ultras, was highly hostile to Chateaubriand.]... "

First edition of this rare album illustrated with 18 lithographed plates, including the title-frontispiece (see Inventaire du Fonds Français, VII, 243, no. 21).

This unbound suite is housed in a grey cloth chemise and matching modern slipcase, spine unlettered with two tears at head and tail, plain boards, light soiling to the lower board.

Some scattered foxing.

A rare first edition, of which no subsequent reprint exists, complete with all his Neo-Latin poems, chiefly composed in Rome. The volume also contains two Greek poems at ff. 60 and 62, together with a poem which inspired the celebrated sonnet Happy he who like Ulysses.

Modern binding in full limp vellum, smooth spine, red edges, white pastedowns and endleaves.

Some defects within: discreet restoration to inner margin of title verso; small tear without loss at foot of ff. 2-3; dampstaining to lower margin of ff. 25-28 and 45-48; minimal marginal defect to f. 44, not affecting text.

Published in March 1558, this precious copy contains four books of Latin poems - Elegiæ, Varia Epigr[ammata], Amores [Faustinae], Tumuli - written by Du Bellay in Rome and Paris between 1553 and 1557. The collection, also referred to as Poemata or Œuvres latines, appeared in the same year as three other works from his Roman period: Les Regrets, Divers Jeux Rustiques, and Les Antiquitez de Rome.

Rare edition presenting the bilingual text in two facing columns (French–Piedmontese).

No copy recorded in the CCF.

A scarce version in the Piedmontese dialect (then the vehicular language for much of the population of the former duchy), issued by one of the Protestant Bible societies, likely intended for the Waldensian and related communities still well established in the valleys.

Contemporary full black shagreen binding, spine with five raised bands ruled in blind, rubbing to the spine, triple blind-ruled panels on the covers, yellow endpapers and pastedowns, inner hinge split, all edges gilt, corners lightly worn.

Copy presented to Wilbraham Taylor by The Foreign Conference and Evangelization Committee in 1851 (printed presentation label mounted on the front endpapers).

Embossed stamp and label of the Forbes Library in Northampton on an endleaf and on the title-page.

First edition of the French translation, issued without any large-paper copies.

A handsome copy, complete with its original promotional band: "Calvino et la préhistoire-fiction."

Inscribed, dated, and signed by Italo Calvino to Pascal Pia.

First edition, one of 24 numbered copies on alfa paper, the only deluxe issue.

With sections devoted in particular to Cesare Pavese and Alberto Moravia...

A rare and attractive copy of Dominique Fernandez’s first published work.

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.

First edition of the French translation by Isabelle Rivière, one of 33 numbered copies on pur fil de Voiron, ours being one of 5 hors commerce copies, reimposed in quarto Tellière format, the only deluxe copies.

A handsome and rare copy.

Very rare first edition, with only one copy listed in WorldCat.

Contemporary half vellum binding with small corners, smooth spine, brown morocco title label with losses, marbled paper boards.

Some foxing and light staining to the title page.

The work lists and quantifies commercial exchanges with various regions of Italy, as well as with France, Spain, America, Russia, the Levant, and others.

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.

First edition, of which no copies were printed on deluxe paper.

Half black shagreen binding, spine with five raised bands decorated with gilt garlands, gilt date at foot, marbled paper boards, combed paper endpapers and pastedowns, gilt top edge, original wrappers preserved.

Scattered foxing, some reading marks in red and blue pencil in the margins of certain paragraphs, ink stamps of the Etienne Vion bookshop and stationery in Amiens on the title page, a library shelfmark at the head of the title page.

First edition on ordinary paper.

Half black shagreen binding, spine with five raised bands decorated with gilt garlands, marbled paper boards, comb-marbled endpapers and pastedowns, gilt top edge, original covers and spine preserved.

Scattered foxing mostly affecting the edges.

Partly original edition, expanded with a preface and entirely unpublished fragments.

Bound in contemporary half black shagreen, spines with five raised bands decorated with gilt garlands, gilt dates at the foot, marbled paper boards, comb-marbled endpapers, gilt edges.

Some foxing, mainly at the beginning and end of the volumes.

Complete with the folding table bound at the beginning of the second volume.

Partly original edition, entirely revised.

Some foxing.

Rare copy preserved in its original wrappers.

Illustrated edition with 2 folding maps and 10 engraved plates outside the text (see Garrison & Morton 71; DSB 613-614).

Contemporary full marbled calf binding, spine with six raised bands decorated with double black panels stamped with blind typographic motifs, burgundy shagreen title label, marbled endpapers and pastedowns, red edges.

Some restoration to the binding, spine rebacked; evidence of waterstaining to the upper margins of the leaves in the second volume.

Giovanni Maria Lancisi (1654–1720), an Italian physician trained at the University of Rome, produced significant work on mosquitoes and malaria (he introduced the term), as well as on cardiovascular diseases and aneurysms. These contributions are gathered in the present work, illustrated with ten anatomical plates of the heart. "Lancisi, great Italian clinician, was the first to describe cardiac syphilis; he was also notable as an epidemiologist, with a clear insight into the theory of contagion. He was physician to Pope Clement XI, who turned over to him the forgotten copper plates executed by Eustachius in 1552. Lancisi published these with his own notes in 1714. [...] Lancisi's posthumous De aneurysmatibus published in 1728 appears only in later collected editions" (Garrison & Morton).

Rare first edition of Hector Berlioz's first book.
Some restorations to the top spine-end, volume label on the spine of the second volume not fully visible, boards strengthened or lined (first board of the first volume), some stains on the first boards of both volumes.
Fine condition inside almost without any foxing.
Our copy is housed in green half shagreen chemises and slipcases, marbled paper boards, slipcases lined with the same shagreen, gilt titles and dates on the spine.
Rare.

First edition for which no grand papier (deluxe) copies were printed.
Small marginal pieces missing at the top of the first board, a clear remnant of adhesive paper at the bottom of the first endpaper.
Copy complete with the facsimile at the end of the volume.

Precious handwritten inscription signed by Gabriele d'Annunzio to Natalie Clifford Barney: « à miss Barney et au Temple de l'Amitié attentive, cette légère torpille ‘sine litteris' est offerte par la ‘tête d'ivoire'. Gabriele d'Annunzio » (“To Miss Barney and the attentive Temple of Friendship, this light ‘sine litteris' torpedo is offered by the ‘ivory head'. Gabriele d'Annunzio”

Very beautiful testimony to the friendship between Gabriele d'Annunzio and Natalie Clifford Barney, who probably met through the painter Romaine Brooks, temporary lover of the “ivory head” but also of the Amazon for more than fifty years.
In 1909, Natalie Clifford Barney acquired the Temple of Friendship at 20 Rue Jacob and set up her literary salon, which would be held every Friday and would welcome the greatest literary and artistic personalities of the time: Salomon Reinach, Auguste Rodin, Rainer Maria Rilke, Colette, James Joyce, Paul Valéry, Pierre Louÿs, Anatole France, Robert de Montesquiou, Gertrude Stein, Somerset Maugham, T. S. Eliot, Jean Cocteau, Max Jacob, André Gide, Nancy Cunard, Peggy Guggenheim, Marie Laurencin, Paul Claudel, Adrienne Monnier, Sylvia Beach, Scott and Zelda Fitzgerald, Truman Capote, Françoise Sagan, Marguerite Yourcenar... and, of course, Gabriele d'Annunzio whom she greatly admired.
She paid tribute to him by devoting a chapter of her Aventures de l'esprit (1929) to him: “D'Annunzio, a precious little old ivory object, works with the constancy of a monk who watches over his God.”

First edition of the French translation, for which no deluxe copies were issued.
Precious autograph presentation inscription signed by Italo Calvino to his friend, the Argentine photographer José María “Pepe” Fernández.
Our copy is further enriched with an original photograph by Pepe Fernández depicting Italo Calvino leaning on a stack of books.
Signed by the photographer at the foot of the image, with handwritten notes and Pepe Fernández’s stamp on the verso.
Double autograph signature of Pepe Fernández on the front endpaper and the title page as presentation inscriptions, spine faded.

First edition, one of 100 numbered copies on alfa, the only grands papiers (deluxe copies) after 5 pur-fil paper.

Bound in half green morocco, paste paper boards, marbled paper endpapers, wrappers and spine preserved, top edge gilt, contemporary binding signed Lucie Weill.
Skilful and discreet repair to the top of a joint.
Illustrated with 6 vignettes by André Derain.

Handsome inscription signed by Antonin Artaud: “à Alice & à Carlo Rim que j'aime beaucoup parce que j'aime dans la vie tout ce qui est nature, franc et sans fard et la vie d'Héliogabale aussi est franche et sans fard et dans la ligne de la grande Nature. Antonin Artaud leur ami.” (“To Alice & Carlo Rim whom I love very much because I love in life all that is nature, frank and unvarnished and the life of Elagabalus is also frank and unvarnished and in line with the great Nature. Antonin Artaud their friend.”)

Original colour print heightened in palladium, printed on laid paper and signed in the plate lower right.

Original engraving produced for the illustration of La Gazette du Bon Ton, one of the most beautiful and influential fashion journals of the 20th century, celebrating the talent of French designers and artists at the height of the Art Deco era.

Rare bilingual edition, in Italian with the Croatian text facing, of this study on the woods of Istria, with at the end of the volume a folding engraved plate on the timbers intended for naval construction "de sorte que les navires dureraient plus longtemps".

Disbound copy, the plate detached.

From the Bibliothèque économique Lasteyrie, with its stamp on the title page.

First edition of this fine collection comprising 72 numbered copper-engraved plates. (cf. Katalog der Ornamentstichsammlung Berlin, 2744. Brunet, V, 199 lists the author's name as Scheult).

Contemporary half calf binding with vellum-tipped corners, recently rebacked with a smooth spine decorated with gilt ornamental rolls and fleurons, olive green morocco label. Some rubbing to the spine, marbled paper-covered boards.

Scattered foxing, light dampstain to the upper outer corner of most leaves.

First and only edition, with a tumultuous publishing history: the first volume had been printed as early as 1835 by Paulin, but the entire edition was destroyed in the fire on rue du Pot-au-Fer. The author subsequently revised his work and published a new version in 1838, simultaneously with the second volume.

Minor marginal defects to spines and covers; the second volume is bound in a temporary plain wrapper (lacking the printed covers); scattered foxing.

First edition of this rare album illustrated with 15 line-engraved plates, each protected by a tissue guard and accompanied by a caption leaf, including a reproduction of the author's portrait drawn by Ingres in Rome in 1818.

Publisher's original full grey boards, flat spine without lettering, some rubbing, blind-ruled borders on covers, a scratch to the foot of the upper cover, central title, corners rubbed.

Some foxing.

Inscribed by Antoine-Marie Chenavard to his friend Antonin L., with the author's signed presentation note.

Autograph letter signed by Jean-Auguste-Dominique Ingres to Charles Paillet, with autograph address and title "Honorary Expert Commissioner of the Royal Museums", with postal stamps. Usual fold marks. A marginal tear repaired without affecting the text.

Ingres provides descriptions and exhibition instructions for his two paintings Aretino and the Ambassador of Charles V and Aretino in the Studio of Tintoretto.

First edition of this rare album illustrated with 15 outline-engraved plates, each protected by a tissue guard and accompanied by a leaf of descriptive text, including a reproduction of the author's portrait drawn by Ingres in Rome in 1818 (cf. Castiglione, p. 226. Only three copies listed in the CCF: BnF, INHA, Lyon).

Contemporary green half sheepskin binding with corners, spine with four raised bands framed by dotted rolls, gilt double fillets and floral tools, triple gilt fillet border on green paper-covered boards, gilt title to upper board, marbled endpapers, contemporary binding.

Some rubbing to spine, corners restored.

A handsome copy.

Author's copy with inkstamp to the title-page.

First edition illustrated with four plates of medals and one folding map with hand-colored outlines.

Contemporary half chocolate-brown sheep bindings, smooth spines slightly faded and decorated with triple gilt fillets, gilt letter "N" at foot of spines, marbled paper boards, marbled endpapers, speckled edges.

Minor rubbing to spines, occasional foxing.

A senior tax official, Baron de Nervo (1810–1897) authored several works on financial history, but was also an eclectic traveler: his account of a journey to Sicily undertaken in 1833 is decidedly uncommon.

First edition of the French translation, one of 31 numbered copies on pur fil, the only copies printed on deluxe paper.

Spine and covers slightly and marginally faded, a pleasant copy.

Handsome Greek printing of the Psalter according to the Septuagint, followed by traditional Biblical hymnology and a weekly recitation guide.

Illustrated with a charming woodcut depicting David.

Contemporary black cloth-backed marbled boards, spine unlettered and slightly faded, blue endpapers and pastedowns.

Occasional foxing, otherwise clean and well-preserved throughout.

New edition. "American Imprints" 28030. See Lowndes II, 298 for the first edition: "Liveliness of description of scenery and manners, couched in an easy and elegant style…"

Contemporary half havana shagreen with corners, spine decorated with gilt fillets and fleurons, rubbed beige morocco label, a few minor scuffs along the spine. Gilt garland borders framing the marbled paper boards, endpapers and pastedowns of rose paper lightly soiled at margins, marbled edges. Late 19th-century binding.

Some occasional foxing.

A good copy.

First edition, one of 30 numbered copies on alfa paper, the only deluxe copies.

Spine very slightly faded, a pleasing copy.

Rare first edition, as referenced by Clouzot (see Guide du bibliophile français XIX^e 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 of the author's first work; Aboal Amaro, Amerigo Vespucci, page 31. Leclerc, 263 (does not mention this edition). Sabin, 10704.

Contemporary limp cream paper boards, plain spine, original binding.

Spine worn with some loss, a marginal stain affecting two leaves at the beginning, otherwise a clean and attractive copy.

This essay, in which the author argued "with a certain force of reasoning" (Larousse) that Vespucci discovered America before Christopher Columbus, was awarded the prize of the Academy of Cortona in 1788. The Florentine scholar Stanislas Canovai (1740–1811) devoted his life to restoring the reputation of the famed navigator Amerigo Vespucci, publishing several works on the subject. The last of these, published posthumously in 1817, is mentioned by Sabin with the following comment: "It is hardly possible to understand how calumnies against Amerigo, which have so long been taught in every school, could have, for many years, survived this excellent refutation."

Leclerc notes: "A dissertation much attacked, which gave rise to numerous inquiries into early Spanish voyages to the Indies." Dedication epistle to Giovanni Luigi di Durfort.

Manuscript ex-libris on the title page and engraved armorial bookplate pasted on the front pastedown.

First edition, illustrated with 11 plates including a frontispiece. This copy has been enriched with a second frontispiece inserted before the half-title: the frontispiece from the Relation de la bataille de Marengo présentée à l'empereur par le Maréchal Berthier, published in 1808. This image, depicting Napoleon on horseback listening to Marshal Berthier outlining the battle plan held by a guard, has been mounted on red cloth. The booklet contains only a half-title, as the original cover—which has not been preserved—appears to have served as the title page: beneath a central imperial eagle, it simply bore the date and the mention “Paris, En vente chez tous les libraires.”

Volume bearing the arms and cipher of Napoleon III.

Contemporary full red shagreen binding. Spine with raised bands, decorated with five small bees. The upper board features the imperial arms at center, surrounded by the collar of the Order of the Holy Spirit, with four eagles in the corners and multiple frames. The lower board bears the cipher of Napoleon III. Moiré silk endpapers framed by a pattern of stars and circles. All edges gilt. Occasional light foxing.

A very handsome copy.

First edition, one of 110 copies printed on pure Lana wove paper, the only copies on deluxe paper.

Half maroon shagreen binding with corners, spine with four raised bands adorned with black fillets, gilt patterned paper boards, marbled endpapers and pastedowns, original wrappers and spine preserved, top edge gilt.

A handsome copy, finely bound.

First edition, one of 35 numbered copies on Neige vellum, the only deluxe copies.
Handsome copy.

First edition of the French translation, one of 50 numbered copies on pur fil paper, the only deluxe issue.
Attractive copy, with minor foxing to the spine.

Original photograph depicting Emilio Visconti-Venosta in frontal view.

Contemporary silver print bearing, at the foot of the image, the blindstamp of Roman photographer Lorenzo Suscipj, a pioneer of photography in Italy.

Minor black specks to the surface of the photograph.

Mounted on a stiff card sheet printed with the photographer’s address.

A rare dated and signed autograph inscription by Emilio Visconti-Venosta to the verso: “À M Henri Fournier, souvenir d’un ami, E. Visconti-Venosta. Rome. 18 January 1877”.  ['To Mr Henri Fournier, a token from a friend, E. Visconti-Venosta. Rome, 18 January 1877.']

An influential Italian statesman, Emilio Visconti-Venosta played a significant role in the struggle for Italian unification. Appointed by Cavour as royal commissioner to Giuseppe Garibaldi, he later served as Minister of Foreign Affairs.
A fine portrait by a pioneer of Italian photography, depicting one of the founding figures of Italy’s independence and unity.

"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. [...]"

First edition printed in small numbers of this offprint from the Mercure de France published on May 15, 1920. OCLC does not locate any copies in North America and only three in Eu­rope (Bnf, Bibliothèque Doucet, Uni­versitätsbibliothek Basel).
Covers with frayed margins, second cover partially shaded, one small piece of paper missing from the right margin of a page due to the fragility of the paper.
Signed and inscribed copy to paint­er Bernard de Blois: “En sympathie de voisin de logis et d'esthétique. Canudo 1922.” [”In sympathy as a neighbor of lodgings and aesthetics. Canudo 1922.”]
Extremely rare first edition of the li­bretto of the ballet Skating-Rink set on a roller-skating rink, created by the Ballets Suédois with choreogra­phy by Jean Börlin and music by Ar­thur Honegger, as well as costumes, curtain and stage designs by Fernand Léger.
This Futurist poem-libretto is di­rectly inspired by Charlie Chaplin's The Rink (1916), using the events in the skating rink as a metaphor for the hectic life in modern cities with its mechanical, almost ritual repeti­tions and its vicious circle of attrac­tion and rejection.
Canudo's inscription dates from 1922, the year of the ballet's creation at the Théâtre des Champs-Élysées by the Ballets Suédois. The troupe had been founded by the Swedish art collector Rolf de Maré after the model of Di­aghilev's Ballets russes. “The action of this 'Ballet aux patins', subtitle given by Canudo to his poem-libret­to, takes place in Paris in the hall of the popular ballroom Tabarin trans­formed into a skating rink for roll­er skates. Skating practised in large skating rinks such as the Skating Pal­ais on Avenue du Bois de Boulogne, had conquered the popular balls and café-concerts as early as 1875, but it returned in force in the 1910s after the ball-bearing revolution” (Josiane Mas). The dynamism of this activi­ty had won over the Italian Futurists and also inspired popular culture like Chaplin's The Rink, which Canudo certainly watched during a leave of absence from the French army where he had enlisted – like Apollinaire – during WW1.
The rare first edition of Canudo's poem is the real starting point of the Gesamtkunstwerk of Skating-Rink – the text that inspired its musical compositions, costumes and chore­ographies. Its title “for the music of...” clearly suggests a work in progress for which the artists have not yet all been chosen: Arthur Honegger, a famous member of the “Groupe des Six”, was commissioned to write the music in 1921 and did not finish the orchestration until 5 days before the ballet premiered. Canudo encour­aged every contributing artist to study Chaplin's film, which is reflect­ed in numerous aspects of the pro­duction: the figure of the “Madman” in Canudo's poem becomes a color­ful, cubist Tramp under the brush of Fernand Léger, with a high hat, a jack­et with uneven tails and trousers with one striped and one checked leg. His movements choreographed by Börlin were based on Chaplin's part, with comic acrobatics and countless laps of the skater – a metaphor for the be­witching rhythm of industry and the daily hustle and bustle of the modern city. To the chagrin of critics, these new concepts of dance and perform­ing arts combined modernity and the popular life inspired by the New World: “Despite their national foci, what made Skating Rink and Parade modern were their American refer­ences: both looked to Hollywood – Skating Rink to Charlie Chaplin, Parade to The Perils of Pauline; both made references to jazz, and both referred albeit in indirect ways to American mechanical modernity. The motivation behind their evident ad­miration for the United States was the desire that France and other Europe­an countries might emulate American modernity and, through attaining its promised financial rewards, use them to create a better life.” (Ramsay Burt, Alien Bodies. Representations of Mo­dernity, “Race” and Nation in Early Modern Dance, 2002).
This text created by a key figure of the Parisian avant-garde for the Ballets suédois in 1920 called for the conver­gence of the arts – literature, painting, dance and music – transforming the stage into a pure Cubist and Futurist manifestation.
Extremely rare, all the more with an autograph inscription by Ricciotto Canudo.

Illustrated edition with a portrait of Jean Boccaccio as frontispiece to the first volume and 11 etched out-of-text engravings by Léopold Flameng, one of 600 copies on Holland paper in forme.
Half straw-yellow morocco bindings with corners, spines with five raised bands decorated with black fillets, gilt dates at foot, red morocco title and volume labels, marbled paper boards, marbled endpapers and pastedowns, top edges gilt, bindings signed by Canape-Helz.
Our copy is exceptionally enhanced with a suite of engravings executed by Gravelot.
Handsome set.