Psychoanalysis & Psychology

First edition, one of 15 numbered copies on vellum, the only deluxe issue.

Fine and uncommon copy.

First edition of this pioneering work in the history of psychiatry (cf. Garrison & Morton 4920; Semelaigne I, pp. 68-73; Waller records only the 1770 German translation; Wellcome III 547; Blake 277).

Contemporary half calf with vellum-tipped corners, smooth spines gilt with decorative rolls, some rubbing and small wormholes to the spines, marbled paper boards, sprinkled edges; bindings from the early nineteenth century.

Ink stains on pp. 72–76 of the first volume, a black ink spot at the head of the lower cover of the second volume, a few minor and unobtrusive foxmarks.

For Lorry, not all melancholic patients are driven by a single fixed idea, and melancholy is a state of mental disorder of physical origin, in which the mind—sharply disturbed by objects either external or produced by the imagination—becomes unable to resist, repel, or reason through the ideas arising from them. He identifies two forms of the condition, according to whether its origin lies in the solid parts or in the humours, which he terms nervous melancholy and humoral melancholy respectively.

"La mélancolie nerveuse peut parfois constituer l'hystérie chez la femme, l'hypochondrie chez l'homme ; ou bien c'est la manie vraie, ou encore, sans le moindre symptôme maniaque, elle consiste uniquement en convulsions. Il semble y avoir peu de différences entre la mélancolie et la manie, mais le mélancolique délire surtout sur ce qui le concerne en particulier, tandis que le délire maniaque s'étend à tous les sujets". Cf. Semelaigne.

Lorry (1726–1783) may also be regarded as the founder of dermatology in France (Tractatus de morbis cutaneis, Paris, G. Cavelier, 1777).

A pleasant copy, with generous margins.

Original ink drawing by Marie-Laure de Noailles, signed "Marie-Laure" within the artwork (appearing twice as a result of folding the paper while the ink was still wet). With an autograph postcard signed to Valentine Hugo, with 2 inscriptions and some parts of the photograph drawn over. 

A Rorschach-like Surrealist decalcomania by Marie-Laure de Noailles created for painter and photographer Valentine Hugo, the “Queen of Hearts” of the Surrealists.

First edition (cf Caillet I, 1960. Waller II, 12861a.)

A lack at the foot of the spine of the first volume, covers uniformly browned, handsome interior condition. 

Rare first edition of the author's principal work, but with a most questionable method, since he classifies under the category of alienation all the unknown or misunderstood phenomena of the period (demonolatry, lycanthropy, mysticism, vampirism, witchcraft, etc.).

It has at least the advantage of attempting the first history of psychiatry, from the 15th to the 19th century.

Louis-Florentin Calmeil (1798-1895), intern in Philippe Pinel's service, practiced at Charenton from 1823 to 1873 and was able to benefit from the advances due to the successive direction of Royer-Collard and Esquirol.

Rare first edition illustrated with one table and two plates showing cranial shapes and portraits of the insane.

See Garrison Morton, 4922. En français dans le texte, 203. Kelly, p. 326. Foucault, Histoire de la folie, 523. Jan Goldstein, Console and classify, 65. Bariéty & Coury, 882.

Half calf binding with corners, smooth spine decorated with gilt floral and ornamental motifs, marbled paper boards, marbled endpapers and pastedowns, sprinkled edges; modern pastiche binding.

Some foxing mainly affecting the second volume.

Bound at the end of the volume is Jean-Etienne Esquirol’s "Des Établissemens consacrés aux aliénés en France, et des moyens de les améliorer. Mémoire présenté au ministre de l'Intérieur, en septembre 1818", published in Paris, undated, by Renouard, 35 pp.

On the verso of the title page: "Cet opuscule est extrait de l'ouvrage que l'auteur publiera à la fin de janvier 1838, sous le titre: Des maladies considérées sous les rapports médical, hygiénique, statistique et médico-légal." A rare offprint of the text that led to the adoption of the law of 30 June 1838, which established the creation of one psychiatric institution per department and made confinement subject to medical advice. "This Mémoire to the Minister of the Interior on conditions in Hospitals and Prisons is one of the ablest and most influential documents in the history of administrative psychiatry" (Zilboorg & Henry p. 391, cited in Haskell F. Norman Library, III, 1062). A judicious pairing of two fundamental texts.

First edition of the French translation, of which no copies were printed on deluxe paper, one of the review copies.

A few small spots on the slightly rubbed spine, light foxing mainly affecting the endpapers.

Very rare autograph inscription signed by Otto Rank: "à Monsieur Sébastien Charlety en hommage de ma très haute estime. Otto Rank."

Original photographic portrait of Sigmund Freud, in silver print made later by Engelman from the original negative.

After the Night of Broken Glass, the young Jewish photographer Edmund Engelman (1907-2000) fled to the United States leaving behind his precious but compromising negatives of his clandestine photography. He did not recover them until after the Second World War, in 1952, from the psychoanalyst's daughter Anna Freud.
Handwritten inscription signed by photographer Edmund Engelman in the lower margin of the photograph: “à Nadine Nimier Cordialement Edmund Engelman” (“To Nadine Nimier Sincerely Edmund Engelman”).
Nadine Nimier was the wife of the writer Roger Nimier. She hosted “Les après-midi de France Culture”, a show in which she received some well-known and highly respected psychoanalysts, namely Jacques Lacan and Françoise Dolto. It was on 20 January 1980 that she interviewed Edmund Engelman, then on a visit to Paris for the exhibition of his photographs at the Erval Gallery.

A beautiful portrait of the founder of psychoanalysis taken in May 1938, shortly before his departure from Vienna to London.

One hundred and six photographs were taken during Engelman's clandestine visit to Freud at 19 Berggasse in Vienna. Many of these photographs depicting the psychoanalyst's practice and art collection are known, but the artist only took a few portraits of the master. This photographic session was carried out at the request of August Aichhorn and bears witness to the last moments of the birthplace of psychoanalysis, a discipline from this point forward banned by the Nazi regime:
“On Sunday 13 March, a meeting of the management committee of the Viennese Psychoanalytical Society took place and two decisions were taken: all members of the Society must leave the country as quickly as possible and the headquarters of the Society must be at the place where Freud will settle.” (“August Aichhorn et la figure paternelle: fragments biographiques et cliniques” in Recherches en psychanalyse n° 1, 2004)

Edmund Engelman in his book entitled La Maison de Freud Berggasse 19 Vienne published in 1979 recounts:
“I remember both my excitement and my fear, that rainy morning of May 1938, as I walked through the deserted streets of Vienna towards 19, Berggasse. I carried my cameras, tripod, lenses and film in a small suitcase that seemed to get heavier with each step. I was convinced that anyone who saw me would know that I was going to see Dr Sigmund Freud, to accomplish a mission that the Nazis would not have appreciated. [...] I was afraid that there was not enough light to photograph the interior of Freud's house. Using flash or spotlights was out of the question as the Gestapo kept the house under constant surveillance. This unique document on the place where Freud had lived and worked over the past forty years, would have to be executed without arousing the slightest suspicion.

I feared for my own safety as for the lives of the Freuds, and did not want to compromise myself by a misstep when they were so close to leaving Vienna safe and sound. [...] One weekend in 1933, at the summer residence of a friend, outside of the city, I had the pleasure of meeting a certain August Aichhorn who was closely interested in the highly controversial field of psychoanalysis and was, to my keen curiosity, a close friend of the famous professor Freud. [...] We quickly became good friends. [...] He confided to me that Freud, after a terrible harassment (raid of his house by the Nazis, detention of his daughter Anna), had finally received permission to leave for London, thanks to the intervention of senior figures and foreign diplomats. The Freuds, he told me, would set out within ten days. The famous apartment and its offices would be disrupted by the move and the departure of the owners. We agreed that it would be of the greatest interest to the history of psychoanalysis to undertake a precious and detailed testimony of the place where it had been born, so that, according to the courageous expression of Aichhorn, “it would be possible to erect a museum when the storm of the years is over. [...] Knowing my interest and my quality as a photographer, he asked me if I felt able to take photographs of Freud's house. I was enthusiastic. [...] Above all, I was eager to know Freud who had then entrenched himself in his private life and had little relationship with the outside world.” (Engelman, La Maison de Freud Berggasse 19 Vienne, 1979)
The photographer then explained that Freud, very weakened by illness, was supposed to be absent during the photography session, however, “The next day – the third day – while I was about to take some complementary photographs of the office (experiencing there for the first time a feeling of routine), I heard small rapid footsteps approaching. It was Freud. He had changed his usual routine unexpectedly and, returning to his work room, he found me there. We looked at each other with equal astonishment. I was confused and embarrassed. He seemed worried, but remained calm and placid. I simply did not know what to say so I remained silent. Fortunately, Aichhorn then appeared in the room and immediately gauged the situation. He explained to Freud the purpose of my work and introduced me. We shook hands, obviously relieved. [...] I asked him if I could photograph him. He kindly consented and asked me to continue my shooting as I pleased. [...] I even suggested, if it could be useful, and to avoid trouble or wasting time, to take the necessary photos for the passports. [...] Freud, at my request, looked slightly in profile, took off his glasses, and reacted with a smile to one of those remarks that photographers make while they prepare.”
The photograph described by Engelman is without question the one we offer. Despite the very detailed description of this unusual photograph, it has not been preserved for the illustration of the book.

This very rare photographic portrait of the founder of psychoanalysis was taken a few days before his exile and revealing the stigma of a cancer that will be fatal to him.
It iss the only image of him revealing a smile.

First edition of the French translation, one of 51 numbered copies on pure wove paper, the only copies printed on deluxe paper.
Spine and boards slightly and marginally sunned, as often.
Rare and handsome copy of this work, splendidly adapted for the screen in 1967 by Richard Brooks, with Robert Blake, Scott Wilson, John Forsythe, and John MacLiam in the leading roles.
Richard Brooks even went so far as to film in the actual house where the crime took place, as well as in the same courthouse, where 7 of the 12 jurors played their own roles.

First edition on ordinary paper, with the correct colophon dated 26 February 1926.

A pleasant copy.

First edition, printed in a small number of copies, of this offprint from the April 1958 issue of Critique.

Minor tears at head and tail of spine.

Rare and appealing copy.

First edition, with no deluxe copies printed.

Publisher's full blue cloth binding, smooth spine, copy complete with its photographic dust jacket, showing minor tears at the head and tail of the spine without loss.

Text by Françoise Dolto, photographs by Alecio de Andrade.

Inscribed and signed by Françoise Dolto and Alecio de Andrade on the front free endpaper.

First edition, 15 issues in 15 separate installments, abundantly illustrated with black and white photographs. Complete with the special issue "Hommage à Picasso" (No. 3, 1930) and the index for the year 1929, published as a separate 8-page stapled booklet.

Presented in a custom slipcase with a flat spine in blue morocco, title stamped in palladium and spine framed in palladium, decorative blue paper boards, sky-blue suede doublures; a handsome ensemble signed Boichot.

Some spines slightly faded not affecting the text, occasional minor foxing along the margins of certain covers. 

Complete series of this legendary and non-conformist magazine founded by Georges Bataille, which gave voice to "fields of art and knowledge unrecognized by official culture or considered controversial: popular literature, jazz, cabaret, advertising, everyday life" (Annie Pirabot), along with so-called primitive art and objects.

First edition of the French translation by Marie Bonaparte, one of 70 numbered copies on pur fil, the only deluxe paper copies.

Covers slightly and marginally toned, otherwise a handsome and rare copy.

The text is preceded by a translation of the short story Gradiva by Wilhelm Jensen, rendered by E. Zak and G. Sadoul.

It is followed by a psychoanalytic study of the dream and the fascination experienced by the young archaeologist Norbert Hanold for the image of a young woman sculpted in a bas-relief from the collections of the Museum of Rome.

Manuscript note by Philippe Soupault, 22 lines in mauve ink on a sheet, headed with this inscription: "Les séances", devoted to the famous "sleep" sessions conducted in André Breton's studio consisting of oneiric writings or texts dictated by a dreamer.
The manuscript notes contain three deletions and corrections.
Philippe Soupault considers his attempts questionable and even labels them as imposture, distancing himself from any active participation in these practices: "Neither Aragon nor I participated actively in the experiments called sleep sessions, while Breton accepted with great interest Crevel's suggestion to engage in experiments he had discovered among friends. One had to fall asleep and recount what 'one saw'..."
He recalls the results that were not always convincing: "Crevel, Desnos and Péret 'fell asleep' and, despite his efforts, Breton could not manage to fall asleep. Listening to the accounts of these sessions, I could not help thinking that the 'sleepers' did not hesitate to simulate in order to make themselves interesting." to such an extent that the intransigent leader of surrealism interrupted them: "Breton realized the danger of one-upmanship and especially of Desnos's exaltation. He ceased attempting new sleep experiments."
Interesting recollections from the last living historical surrealist, often harsh toward his former or new companions.

First edition in French, a Service de Presse (advance) copy.

Spine sunned with dampstains, pale dampstain to right margin of front board.

Autograph inscription signed by the translator Maurice Edgar Coindreau to Pierre Ripault.

Third edition stated. The first edition was published in 1671. Printer's device on title page, with fleur-de-lys.
Contemporary full brown sheep binding. Decorated raised band spine. Brown sheep title-label. One hole at foot. Overall rubbed.
The success of this treatise on civility led to its reprinting more than 15 times until 1730. Written for a friend of the author who wanted to send his son to Court, the work particularly emphasizes respect for etiquette and the behavior that a gentleman should display. The treatise encompasses all activities of a gentleman: cleanliness, dancing, relations with servants, superiors, table manners...

First edition, of which there were no grand papier (deluxe) copies, an advance (service de presse) copy.
Spine slightly bowed, with a few tears and lacks to plastic film cover. Slight foxing in the margins of a few pages.
Handsome autograph inscription signed by Michel Foucault, at the time a young teacher, to Jean-Charles Varennes.
A very rare advance copy, which could be said to have taken the place of the grand papier (deluxe) copies.

Original edition on ordinary paper. Publisher’s binding in full cream cloth, smooth spine, title label and an image pasted on the upper cover, complete with clasp and ribbon. Illustrated with one press clipping and a postcard depicting Millet’s The Angelus. A pleasant copy.

First French edition, after the original German published in 1732 under the title: Psychologia empirica.

Contemporary full brown sheep binding. Decorated spine with raised bands. Red morocco title-label. One lack at head, similar lacks at foot. Joints cracked at head and foot. Corners slightly bumped. Title page with browning to margins.

Wolf sought to redefine philosophy as a whole based on a stable principle of knowledge founded on deduction and the model of geometry; a rationalist, he was a disciple of Leibniz from whom he borrowed many concepts. And yet for the first time in the history of philosophy, Wolf conferred an autonomy on psychology that it had never had before, distinguishing between rational psychology and empirical psychology (the translator having chosen the term experimental psychology which would be promoted to a great future in France). Furthermore Wolf perfected the question of symbolism and the relation of the body to sign and representation. The translator, faced with Wolf's incredibly prolix work and the mediocre abridgments he encountered, preferred to follow the author step by step in the construction of his ideas and theses without giving an exhaustive and literal translation that would be barely readable.

Armorial bookplate from the 18th century, unidentified.

Rare. We have found nothing concerning this work, absent from libraries.
Half calf Romantic binding with corners in red, smooth spine with 4 tools and fillets. Foxing. One corner of the title page border reinforced.
In the form of a tale and dialogue between a father and son, the author examines the nobility of character of a good merchant, how he should be a good father to his son and a good father to his country. Numerous passages on the importance of agriculture. « Ce travail lui donna des vues très étendues sur les rapports du commerce, avec le bonheur particulier & général des hommes? » (This work gave him very extensive views on the relationship of commerce with the particular & general happiness of mankind?).