‎Collectibles‎

‎Paul FORT‎

‎La petite bête‎

‎Paris: Léon Vanier 1891. Fine. Léon Vanier Paris 1891 13.50 x 21 cm broché First edition of which there were no deluxe copies. Front cover slightly warped otherwise a rare and handsome copy. Léon Vanier unknown‎

Referenz des Buchhändlers : 6804

‎Paul FORT‎

‎La Tourangelle‎

‎Paris: Flammarion 1925. Fine. Flammarion Paris 1925 13 x 19 cm broché Definitive edition one of 10 numbered copies on Holland paper deluxe issue. A small tear at foot of spine handsome copy. Flammarion unknown‎

Referenz des Buchhändlers : 80119

‎Paul FORT‎

‎La tristesse de l'homme‎

‎Paris: E. Figuière 1910. Fine. E. Figuière Paris 1910 12 x 19 cm broché First edition printed on ordinary paper. Autograph inscription by Paul Fort. A tiny angular lack to head of first cover. E. Figuière unknown‎

Referenz des Buchhändlers : 19337

‎Paul FORT‎

‎Le marchand d'images‎

‎Paris: Flammarion 1924. Fine. Flammarion Paris 1924 12 x 19 cm broché First edition on ordinary paper. Signed autograph inscription from Paul Fort to André Coeuroy. Handsome copy. Flammarion unknown‎

Referenz des Buchhändlers : 38545

‎Paul FORT‎

‎Les compères du roi Louis‎

‎Paris: Flammarion 1923. Fine. Flammarion Paris 1923 12 x 19 cm broché First edition on current paper. Autograph dedication dated 1943 and signed by Paul Fort to a friend named Michel. Flammarion unknown‎

Referenz des Buchhändlers : 61415

‎Paul FORT‎

‎Montlhéry-la-Bataille‎

‎Paris: Eugène Figuière 1912. Fine. Eugène Figuière Paris 1912 12 x 19 cm broché First edition. Spine cracked with some lacks light corner bumps to boards some light interior foxing. Precious signed autograph inscription from Paul Fort: ""A Léon Bakst son admirateur."" Eugène Figuière hardcover‎

Referenz des Buchhändlers : 76634

‎Paul FORT‎

‎Vive Patrie !‎

‎Paris: Flammarion 1950. Fine. Flammarion Paris 1950 12 x 18.50 cm broché Definitive edition one of 882 numbered copies on pure linen paper reserved for the ""Friends of Paul Fort"". Spine slightly sunned otherwise handsome copy. Fine autograph inscription signed by Paul Fort to André Allix: "". avec les distingués hommages et le très amical souvenir d'un vieux trouvère. Qu'est-ce que la poésie Une chanson qu'on parle."" "".with distinguished homage and the very friendly remembrance of an old troubadour. What is poetry A song that one speaks."" Flammarion unknown‎

Referenz des Buchhändlers : 80013

‎Paul FORT - Edouard MAC'AVOY‎

‎Ballades comtoises‎

‎Besançon: Les bibliophiles comtois 1958. Fine. Les bibliophiles comtois Besançon 1958 16.50 x 24 cm en feuilles sous étui Edition printed in 150 nominative copies on rag paper. Work illustrated with a frontispiece portrait of Paul Fort by Mac Avoy here in double state. First cover marginally discolored otherwise handsome copy. Les bibliophiles comtois unknown‎

Referenz des Buchhändlers : 56747

‎Paul FORT - Ginette D'YD‎

‎L'homme tombé du paradis‎

‎Paris: Armand Jules Klein 1928. Fine. Armand Jules Klein Paris 1928 18.50 x 28 cm relié First Edition one of 185 copies numbered and justified by Paul Fort on laid Arches paper and reserved for his friends. Binding half morbid taupe morocco corners smooth back adorned with double golden nets marbled paper plates guards and contreplats of handmade paper preserved covers gilded head ex-libris Georges Rouma pasted on a contreplat. Illustrated book of a frontispiece in colors vignettes and banners of Ginette D'Yd. Nice copy. The book is also illustrated with a beautiful portrait of Paul Fort by Gino Severini at the foot of which Paul Fort has cracked a dated and signed autograph to Georges Rouma. Autograph signed by Paul Fort to his friend Georges Rouma wishing him a happy new year 1933. Armand Jules Klein unknown‎

Referenz des Buchhändlers : 62819

‎Paul FORT - Gino SEVERINI‎

‎Naufrage sous l'arc-en-ciel‎

‎Paris: Armand Jules Klein 1937. Fine. Armand Jules Klein Paris s. d. 1937 19.50 x 29.50 cm broché First edition out of trade one of 300 numbered copies on Arches paper ours printed specially for Jean Comte only draw with 30 Japan. Nice copy. Illustrated book of a frontispiece and a cul-de-lamp of Gino Severini. Autograph dedication dated and signed by Paul Fort to Jean Comte: ""This book or rather this shipwrecked shipwrecked boat under the rainbow of hope . with the affectionate memory of an old finder of our France "". Armand Jules Klein unknown‎

Referenz des Buchhändlers : 65065

‎Paul FRANCHE‎

‎La légende dorée des bêtes‎

‎Paris: Perrin & Cie 1907. Fine. Perrin & Cie Paris 1907 12 x 19 cm broché First edition on ordinary paper with only 8 copies printed on Holland paper in deluxe format. About the pig of Saint Anthony the donkey of Saint Florent at the court of King Dagobert the wolf of Saint Hervé the stag of Saint Hubert. Spine sunned foxing to boards small corner loss affecting the front board handsome interior condition. Rare. Perrin & Cie hardcover‎

Referenz des Buchhändlers : 13524

‎Paul GAFFAREL‎

‎La mer des Sargasses‎

‎Paris: C. Delagrave & Cie 1873. Fine. C. Delagrave & Cie Paris 1873 14.50 x 23 cm broché The first edition published in a small number of copies of this offprint from the 'Bulletin de la société de géographie'. Two small tears with slight lacks at head and foot of spine handsome interior condition. C. Delagrave & Cie unknown‎

Referenz des Buchhändlers : 10319

‎Paul GAUGUIN‎

‎"I'm gifted he says to the point of making others jealous"" - Autograph letter signed by Paul Gauguin‎

‎s. l. Tahiti 1896. Fine. ""I'm gifted he says to the point of making others jealous."" s. l. Tahiti août 1896 20.50 x 27 cm quatre pages sur deux feuillets “Yes I have sarcasm in my words yes I do not know how to flatter and bend my back how to beg in official salons … I am nothing but a braying schemer but if I had submitted - yes I would be comfortable."" Long autograph letter dated August 1896 and signed by Paul Gauguin to painter Daniel de Monfreid. Four pages in black ink on two lined sheets. Small tears to margins not affecting the text traces of folds inherent to sending. In the midst of his descent into hell abandoned in his Tahitian artificial paradise Gauguin feels cursed : “Definitely I was born under a bad star.” he laments. His quest for primitive freedom leaves him in destitution and misery. Suffering agony the painter sends paintings to one of his few supporters his faithful friend Daniel de Monfreid - but writes the wrong address. Published in Lettres de Paul Gauguin à Georges-Daniel de Monfreid 1918 p. 146 n° XXIII; our letter reveals the name of Émile Schuffenecker his friend and associate on the Paris stock exchange and then Pont-Aven - anonymized in the published version - whom Gauguin vilifies on numerous occasions in these pages. This exceptional missive was written in Tahiti where the painter had returned the previous year bidding a final farewell to the old Europe. Gauguin had just come out from a stay in hospital in Papeete to treat his bruised legs following the beating he had received in Concarneau two years earlier for defending his muse Annah the Javanese. The painter could not escape the aftermath of this altercation and suffered from a terrible purulent eczema on his leg as well as syphilis drowning his torments in alcohol. The letter is a perfect example of Gauguin's correspondence from the summer of 1896 which ""smells of the fever that has seized a mind overheated by pain and lack of sleep"" David Haziot. In his confusion the painter misspelt the address of Monfreid's studio at the Cité Fleurie a famous chalet-like artists' residence where Gauguin had stayed : “I sent you a bunch of paintings last month. I'm afraid for them because it seems to me that I put 55 Bd Arago instead of 65” This mailing included his composition Eihaha Ohipa painted in his studio in Punaauia and now kept at the Pushkin Museum in Moscow. Shipped via a naval officer - fees to be paid by Monfreid - the paintings did not arrive until November. Beyond his feverish fears Gauguin delivers in these lines a true manifesto of his integrity as an artist - the perfect counterpart to his famous Christlike self-portrait Near Golgotha painted around the same period. To him his destiny and generosity are nothing short of Christ-like: “in the most difficult moments of my life I more than shared with unfortunate people and never had any reward other than complete abandonment”. He had in fact helped display Schuffenecker's paintings in Impressionist exhibitions saved his friend Laval from suicide and opened his purse to so many others. Instead of returning the favor Schuffenecker prefers to feel sorry for himself: “Schuff really wrote me a crazy and unfair letter and I don't know what to answer because he is a sick mind . he would be more unhappy than me who has glory strength and health. Let's talk about it! I'm good at making others jealous he says”. Gauguin who had always refused to make concessions and compromise is finally betrayed by one of his closest relations Schuffenecker who becomes in the letter a true Judas Iscariot: “Schuff has just made a useless petition I believe for the State to come to my aid. This is the thing that can offend me the most. I'm asking friends to help me out for the time it takes to get back the money I'm owed and their efforts to recover it but begging the State was never my intention”. The painter reaches a point of no return not only bruised in his flesh but also unknown‎

Referenz des Buchhändlers : 84738

‎Paul GAUGUIN - George-Daniel de MONFREID‎

‎Diane et Actéon aux Marquises. Noa Noa. Epreuve unique du bois dessiné et gravé d'après Paul Gauguin par George-Daniel de Monfreid‎

‎1924. Fine. s. d. 1924 9.30 x 7.80 cm autre Diane et Actéon aux Marquises. Noa Noa. Unique proof of the woodcut drawn and engraved after Paul Gauguin by George-Daniel de Monfreidbetween 1904 & 1924 93 x 78 mm one sheetOriginal proof likely unique of this intermediate state of a woodcut drawn and engraved by George-Daniel de Monfreid after two works by Paul Gauguin. Print on Japan silk annotation by the artist in the left-hand margin. Woodcut drawn and engraved after two works the man holding a branch being a reproduction of a watercolor on page 37 of the Noa Noa manuscript while the full-length woman originally observed by this browser is presented here in bust with her hand to her face model reproduced on a woodcut engraved by Gauguin on page 4 of the manuscript and his original sketch pasted on page 51 evoking a similar scene. The final woodcut will serve as the head of chapter IV of the first true illustrated edition of Noa Noa published by Crès in 1924 the first illustrated work after Paul Gauguin and a majestic tribute to one of the precursors of modern art. Superb engraving synthesizing a watercolor from the original Noa Noa manuscript inspired by the myth of Diana and Actaeon engraved by Gauguin's closest friend and executor the artist George-Daniel de Monfreid heir to the album he would offer to the French State in 1927. A likely unique proof part of 17 known test woodcuts from the early project to publish Noa Noa all made on various fine papers and annotated by the artist. Woodcut engraved after a watercolor reinterpreting the myth of Diana surprised in the bath by Actaeon. In the engraving Monfreid took care to preserve the typical of deer antler shape of the branch seized by the indiscreet which evokes its metamorphosis by the goddess. A very rare work by Gauguin mixing ancient mythology and island exoticism whose subversive power seems entirely carried by the vahine Diana's expression of feint surprise. It is from the original illustrated manuscript of Noa Noa brought back from Tahiti by Segalen on the artist's death in 1903 that Monfreid began producing this fundamental work from as early as 1904. This is the second version of this “to read and look at” notebook. The first manuscript written on the return of his first voyage and entrusted by Gauguin to Charles Morice in 1893 responded to a different project. Gauguin had composed only the text interspersed with blank pages for Morice's poems. But after several years without news Morice preferred to publish a version entirely rewritten by himself in 1901. Gauguin therefore copied his manuscript and illustrated it during his second stay in Polynesia with sketches watercolors and collages. This album that the artist enriched and safely preserved until his death is preserved today at the Musée d'Orsay. It is therefore from this manuscript the only one illustrated that Monfreid composed the edition of Gauguin's Noa Noa. However although Monfreid's publication was forward it took more than twenty years to complete in part due to a copyright dispute with Charles Morice who wanted to be co-author of the forthcoming edition and whose poems would eventually be preserved. The result of several years of reflection and work the 1924 edition is both faithful to the watercolors and woodcut engravings illustrating the precious manuscript and to the whole of Gauguin's Tahitian work who died in indifference. Monfreid thus engraves several drawings from the original notebook and enriches it with woodcuts made from other works of which he is the custodian. Some of these compositions combine several paintings while scrupulously respecting the artist's line transforming the work into a true journey through the painter's works. The very choice of using wood engraving is a tribute to this technique prized by Gauguin who in Pont-Aven produced 10 woodcuts to illustrate his manuscript between his two Polynesian stays. The in unknown‎

Referenz des Buchhändlers : 78248

‎Paul GAUGUIN - George-Daniel de MONFREID‎

‎La mémoire et l'imagination. Noa Noa. Epreuve unique du bois dessiné et gravé d'après Paul Gauguin par George-Daniel de Monfreid‎

‎1924. Fine. s. d. 1924 9.30 x 7.80 cm autre La Mémoire et l'Imagination. Noa Noa. Unique proof of the woodcut drawn and engraved after Paul Gauguin by George-Daniel de Monfreid between 1904 & 1924 93 x 78 cm one sheet Original proof likely unique of this intermediate state of a woodcut drawn and engraved by George-Daniel de Monfreid after a watercolor by Paul Gauguin. Print on fine cream laid paper annotation by the artist in the left-hand margin. Woodcut drawn and engraved after a watercolor from the Noa Noa manuscript pasted on a page of text of the famous album. The final woodcut will serve as the head of the first illustrated edition of Noa Noa published by Crès in 1924 the first illustrated work after Paul Gauguin and a majestic tribute to one of the precursors of modern art. Superb and significant engraving after a very specific watercolor from Paul Gauguin's manuscript a real breakthrough in text engraved by his closest friend and executor the artist George-Daniel de Monfreid heir to the album he would offer to the French State in 1927. The initial watercolor was cut out in waves around the female figure and pasted on the last chapter to prevent it from being read and thus get the story back on track. Gauguin had also added winding lines starting from the watercolor on the text page thus giving the impression of a cave breaking through the page by the psychic power of the sitting woman whose head diffuses the undulating rays. Monfreid decided to place it at the head of the work accompanied by two birds taken from other works to illustrate the power of the artist and his imagination. A likely unique proof part of 17 known test woodcuts from the early project to publish Noa Noa all made on various fine papers and annotated by the artist. Unique proof of a woodcut engraved after the mystical watercolor erasing the first ending of the story to allow the reader to graphically enter the painted album repeated in the printed version as the initiatory opening of the engraved story. It is from the original illustrated manuscript of Noa Noa brought back from Tahiti by Segalen on the artist's death in 1903 that Monfreid began producing this fundamental work from as early as 1904. This is the second version of this “to read and look at” notebook. The first manuscript written on the return of his first voyage and entrusted by Gauguin to Charles Morice in 1893 responded to a different project. Gauguin had composed only the text interspersed with blank pages for Morice's poems. But after several years without news Morice preferred to publish a version entirely rewritten by himself in 1901. Gauguin therefore copied his manuscript and illustrated it during his second stay in Polynesia with sketches watercolors and collages. This album that the artist enriched and safely preserved until his death is preserved today at the Musée d'Orsay. It is therefore from this manuscript the only one illustrated that Monfreid composed the edition of Gauguin's Noa Noa. However although Monfreid's publication was forward it took more than twenty years to complete in part due to a copyright dispute with Charles Morice who wanted to be co-author of the forthcoming edition and whose poems would eventually be preserved. The result of several years of reflection and work the 1924 edition is both faithful to the watercolors and woodcut engravings illustrating the precious manuscript and to the whole of Gauguin's Tahitian work who died in indifference. Monfreid thus engraves several drawings from the original notebook and enriches it with woodcuts made from other works of which he is the custodian. Some of these compositions combine several paintings while scrupulously respecting the artist's line transforming the work into a true journey through the painter's works. The very choice of using wood engraving is a tribute to this technique prized by Gauguin who in Pont-Aven produced 10 woodcuts to unknown‎

Referenz des Buchhändlers : 78247

‎Paul GAUGUIN‎

‎Lettres de Gauguin à sa Femme et à des Amis‎

‎Paris: Grasset 1946. Fine. Grasset Paris 1946 14 x 21 cm broché First edition one of 312 numbered copies on alfa paper the only deluxe copies after 28 on laid paper. Handsome copy. Iconography. Grasset unknown‎

Referenz des Buchhändlers : 79181

‎Paul GAUGUIN - George-Daniel de MONFREID‎

‎Tehura. Noa Noa. Epreuve unique gravée d'après le tableau Merahi metua no tehamana de Paul Gauguin par George-Daniel de Monfreid • Tehura. Original proof engraved after‎

‎1924. Fine. s. d. 1924 9.30 x 7.80 cm autre Tehura. Original proof engraved after the painting ""Merahi Metua no Tehamana"". Intermediate state for Noa Noabetween 1904 & 1924 93 x 78 cm one sheetOriginal proof likely unique of this intermediate state of “Tehura” wood drawn and engraved after Paul Gaughin's painting “Merahi Metua no Tehamana” by George-Daniel de Monfreid. Print on fine cream laid paper annotation by the artist in the left-hand margin. The definitive wood served as the head of chapter VI “Le Conteur parle” page 81 of the true first edition of Noa Noa published by Crès in 1924 the first illustrated work from Paul Gauguin and a majestic tribute to one of the precursors of modern art. A most important and very first woodcut of Gauguin's masterpiece engraved by his closest friend and executor artist George-Daniel de Monfreid to whom Gauguin offered the painting after two unsuccessful exhibitions. Likely unique proof part of 17 known test prints from the project to publish prematurely Noa Noa all made on various fine papers and annotated by the artist. Precious woodcut after Gauguin's masterpiece Merahi metua no Tehamana showing the painter's wife his main tahitian model. It is from the original illustrated manuscript of Noa Noa brought back from Tahiti by Segalen on the artist's death in 1903 that Monfreid began producing this fundamental work from as early as 1904. This is the second version of this “to read and look at” notebook. The first manuscript written on the return of his first voyage and entrusted by Gauguin to Charles Morice in 1893 responded to a different project. Gauguin had composed only the text interspersed with blank pages for Morice's poems. But after several years without news Morice preferred to publish a version entirely rewritten by himself in 1901. Gauguin therefore copied his manuscript and illustrated it during his second stay in Polynesia with sketches watercolors and collages. This album that the artist enriched and safely preserved until his death is preserved today at the Musée d'Orsay. It is therefore from this manuscript the only one illustrated that Monfreid composed the edition of Gauguin's Noa Noa. However although Monfreid's publication was forward it took more than twenty years to complete in part due to a copyright dispute with Charles Morice who wanted to be co-author of the forthcoming edition and whose poems would eventually be preserved. The result of several years of reflection and work the 1924 edition is both faithful to the watercolors and woodcut engravings illustrating the precious manuscript and to the whole of Gauguin's Tahitian work who died in indifference. Monfreid thus engraves several drawings from the original notebook and enriches it with woodcuts made from other works of which he is the custodian. Some of these compositions combine several paintings while scrupulously respecting the artist's line transforming the work into a true journey through the painter's works. The very choice of using wood engraving is a tribute to this technique prized by Gauguin who in Pont-Aven produced 10 woodcuts to illustrate his manuscript between his two Polynesian stays. The intermediate woodcuts until then unknown testify to the slow work of composition to restore the artistic richness of Gauguin's work by his most faithful artistic companion and first champion: “When I saw Gauguin for the first time I was greatly disconcerted by the details of art that radiated from his works as well as from the conversations of this extraordinary man. You immediately felt that he was the Master” in L'Hermitage 1903. unknown‎

Referenz des Buchhändlers : 78250

‎Paul GAULOT‎

‎Henriette Busseuil‎

‎Paris: Paul Ollendorff 1895. Fine. Paul Ollendorff Paris 1895 12.50 x 19 cm relié First edition one of 5 numbered copies on Holland paper the only deluxe copies. Half hazel morocco with corners spine with five raised bands set with gilt dots black fillets and gilt fleurons gilt friezes at head and foot marbled paper boards moiré-effect endpapers and pastedowns original wrappers preserved top edge gilt retaining its deckled edges. Autograph inscription signed by Paul Gaulot to Madame Paul Ollendorf. A handsome full-margined copy handsomely bound. Provenance: from the library of Paul Ollendorff. Paul Ollendorff hardcover‎

Referenz des Buchhändlers : 43036

‎Paul GAULTIER‎

‎L'idéal moderne‎

‎Paris: Payot 1908. Fine. Payot Paris 1908 12 x 19 cm broché First edition of which there were no deluxe copies. Rare autograph inscription from Paul Gaultier. Light marginal worming to front cover and spine. Payot unknown‎

Referenz des Buchhändlers : 23440

‎Paul GAVARNI - Ludovic HALEVY‎

‎La mascarade humaine‎

‎Paris: Calmann Lévy 1881. Fine. Calmann Lévy Paris 1881 22 x 31 cm reliure de l'éditeur First edition and first issue of Gavarni's illustrations. Publisher's full red boards binding smooth spine very slightly faded boards decorated with gilt decorative motifs small corner stains on front board. Work illustrated with 100 large compositions by Gavarni. A pale marginal dampstain on the title page diminishing and disappearing through the following pages otherwise pleasant interior condition. Calmann Lévy hardcover‎

Referenz des Buchhändlers : 35083

‎Paul GAVARNI - Eugene DELACROIX - Honore DAUMIER‎

‎Les Français peints par eux-mêmes. Encyclopédie morale du dix-neuvième siècle - Le prisme Avec Les Anglais peints par eux-mêmes • The French Painted by Themselves. Moral Encyclopaedia of the Nineteenth Century – The Prism With The English Painted by Themselves‎

‎Paris: Léon Curmer 1840. Fine. Léon Curmer Paris 1840-1842 18 x 26.50 cm 11 volumes reliés Les Français peints par eux-mêmes. Encyclopédie morale du dix-neuvième siècle – Le Prisme with Les Anglais peints par eux-mêmes The French painted by themselves – The English painted by themselves Léon Curmer Paris 1840-1842 18 x 265 cm 11 volumes in half morocco First edition one of the grand papier deluxe copies with two states of the illustrations for the 8 volumes of Les Français peints par eux-mêmes: one in black on tinted paper and one enhanced by hand using the so-called “coloris gommé” technique with watercolour and varnish on white paper. Les Anglais peints par eux-mêmes includes the engravings in black. No deluxe copies in colour have been made for this rare set of Les Français. Bound in half brown morocco spine in five compartments enhanced with stipple engraving and double gilt panels richly decorated with gilt floral motifs framing a mosaic medallion of green morocco with a gilt rose stamped in the center cartouches at the top decorated with a gilt garland framing the place and publication date some light minor rubbing on some compartments gilt fillets on the marbled paper boards comb-patterned endpapers top edges gilt. Elegant late nineteenth century bindings signed Durvand-Thiret. Complete with all engravings along with added engravings i.e. 930 engravings including 415 in colour. Title pages dated 1841 for all volumes of Les Français except for volume 5 of Les Parisiens and volume 3 of La Province dated 1842. Les Français peints par eux-mêmes has 415 engravings in black including that of Napoleon on horseback instead of the 405 announced and 415 in colour including a double page map of France in volume III of the Province. The English volume illustrated by Kenny Meadous is complete with 100 plates in black. This unique set contains in total almost a thousand black and coloured engravings and more than 1500 in-text illustrations. Famous gallery of woodcut portraits depicting the social classes of the 19th century by the greatest artists of the time: Gavarni Daumier Delacroix Grandville Johannot Bellangé Charlet Daubigny etc. The portraits are all accompanied by original texts from the most famous Romantic authors including: Balzac Nodier Gautier Nerval Gozlan Janin Karr etc. Scarce foxing affecting mainly the Prism and the Anglais. The texts and illustrations of the book paint a lively picture of inhabitants and their trade in metropolitan France and its colonies. It sets the tone for panoramic literature – a new genre coined by Walter Benjamin in Charles Baudelaire. A lyric poet at the height of capitalism. In addition to these portraits of the Français “the contribution of a whole areopagus of great and small authors and illustrators” S. Le Men “La 'littérature panoramique' dans la genèse de la Comédie Humaine: Balzac et Les Français peints par eux-mêmes” L'Année balzacienne 2002/1 No. 3 CAIRN includes some of the most renowned authors and cartoonists of the time each of whom made an original creation for the project. This protean fresco was directed by editor Léon Curmer already known for the publishing success of Paul et Virginie between 1836 and 1838. Curmer is represented here by an article “L'éditeur” in volume IV written by Elias Regnault. The latter takes example in Louis-Sebastien Mercier's Tableau de Paris published in 1781 whose vision is even further extended by the representation of French provinces in Les Français. Thanks to Curmer the work finds an even deeper meaning: “the editor has widened his frame and instead of letting a few fleeting portraits get lost in the immense daily whirlwind that engulfs all things he has sought to bring together the most salient physiognomies of that time.” S. Le Men Ibid. Curmer selected the authors and illustrators closest to the ones they depict: “It is therefore a question of calling upon authors and illustrators who are wel Léon Curmer hardcover‎

Referenz des Buchhändlers : 77055

‎Paul GAVARNI‎

‎Lithographie originale en couleurs - ""De l'esprit et du pain pour un jour.""‎

‎Paris: Imprimerie d'Aubert 1839. Fine. Imprimerie d'Aubert Paris s. d. 1839 26.40 x 34.50 cm une feuille Original lithograph heightened in colors and gum arabic for Le Charivari printed on fine paper. Armelhaut and Bocher 904. Plate uniformly shaded. Imprimerie d'Aubert unknown‎

Referenz des Buchhändlers : 82101

‎Paul GAVARNI‎

‎Oeuvres choisies. Etudes de moeurs contemporaines. 1- Les enfants terribles. Traductions en langue vulgaire. Les lorettes. Les actrices. Notices par Théophile Gautier et Laurent-Jan. 2- Fourberies de femmes en matière de sentiment. Clichy. Paris le soir. Notices par Laurent-Jan Auguste Lireux et Léon Gozlan. 3- Le Carnaval à Paris. Paris le matin. Les étudiants de Paris. Notices par Théophile Gautier A. Barthet et A. de Soubiran. 4- La vie de jeune homme. Les débardeurs. Notices par P.J. Stahl.‎

‎Paris: Hetzel 1845. Fine. Hetzel Paris 1845-1848 17.70 x 26.80 cm 4 volumes reliés First edition and first printing of the engravings. Contributions by Théophile Gautier Laurent-Jan Léon Gozlan Auguste Lireux and Jules Hetzel under the pseudonym P.-J. Stahl among others. Contemporary publisher's binding in full black shagreen. Smooth spine decorated with 3 ornate compartments blind and gilt fillets. Large rocaille composition on boards thick triple fillet frame. Interior frieze. White watered silk endpapers. All edges gilt. Perimeter of watered silk endpapers brown-stained. Tailcap of volume 2 with a loss. Traces of rubbing. Thin scratch on the upper board of volume 1 lower board of volume 2. Some very occasional foxing on clean white paper. The binder inverted volumes 1 and 2 and volumes 3 and 4 the error stemming from the fact that the 4 series are not numbered by volume. Very handsome copy. Work illustrated with a general frontispiece 14 vignettes including one repeated and 320 plates all wood-engraved. References: Vicaire III 953-955; Brivois pp.168-171; Carteret III-260-264: ""Cet ouvrage est fort rare en belle condition."" Remarkable copy of superb freshness in full contemporary Romantic binding. Hetzel hardcover‎

Referenz des Buchhändlers : 78015

‎Paul GAVARNI - Joseph MERY‎

‎Perles et Parures Les Joyaux fantaisie par Gavarni texte par Méry. Minéralogie des dames par le Cte Foelix. suivi de Les Parures fantaisie par Gavarni texte par Méry. Histoire de la mode par le Cte Foelix.‎

‎Paris: G. de Gonet 1850. Fine. G. de Gonet Paris 1850 S.d 19 x 28.50 cm relié First edition illustrated with a repeated frontispiece and 30 steel-engraved plates by Gavarni engraved by Geoffroy on China paper laid down. Printed on fine white wove paper. Blue or neutral tissue guards. Illustrated orange-tinted covers preserved spine and back covers with advertisements also preserved. Half lavender morocco binding with corners and long grain signed Mercier 1920 at the top of the first endpaper in Romantic style. Spine with false raised bands richly decorated with two complex mirrored tools in each compartment blind fillets and rolls on the bands. Separation fillets on the boards. Uncut copy full-margined. Perfect paper freshness. Light rubbing traces impact at foot of the Parures volume with a dent of 0.8cm. Very handsome copy rare in this condition. Blue leather bookplate P. Villeboeuf with his gilt monogram also at top of pastedowns. Méry's texts are short stories centered around a precious stone or jewel. G. de Gonet hardcover‎

Referenz des Buchhändlers : 77587

‎Paul GAVARNI‎

‎Souvenirs du Carnaval par Gavarni. 25 planches. Souvenirs de Carnaval. Les bals masqués. Costumes historiques‎

‎Paris: Léopold Pannier et Cie 1840. Fine. Stunning and rare suite by a great illustrator from the Romantic era Léopold Pannier et Cie Paris s. d. 1840-1850 25.50 x 34.50 cm 25 lithographies reliées en un volume First collective edition of this complete series of 25 original lithographed plates printed on thick vellum. Mounted engravings preceded by a title page bringing together three series: Souvenirs de Carnaval 6 plates Les bals masqués 7 plates Costumes historiques 12 plates. Each of these series first appeared in other journals: under the title 'Souvenirs de Carnaval' in Ritner et Goupil 'Les bals masqués' in La Caricature and 'Costumes historiques' in Charivari. Engravings in third state according to Vicaire. Some foxing. Red half straight-grained morocco Bradel binding smooth spine decoratively tooled and lettered in gilt with a rich ornamentation of repeated floral motifs marbled paper pastedowns and endpapers binding signed Victor Champs.   Very rare collection in a deluxe edition printed on thick vellum elegantly bound. Léopold Pannier et Cie hardcover‎

Referenz des Buchhändlers : 84312