‎Collectibles‎

‎Louise COLET‎

‎Lettres de Benjamin Constant à Madame Récamier‎

‎Paris: E. Dentu 1864. Fine. E. Dentu Paris 1864 S.d 14.50 x 23.20 cm relié The rare first edition. A manuscript note bound at the beginning of the work states: First edition suppressed by court order it contains 74 unpublished letters. One can read on a manuscript leaf bound before the title: ""Edition seized and destroyed when it was about to be put on sale at the request of Benjamin Constant's sister and the niece and universal legatee of Madame Récamier Madame Charles Lenormant. Is not in the Bibliothèque Nationale."" A second manuscript leaf on Louis Colet has also been bound following the first. Modern half morocco binding with tan corners signed Alix at the bottom of the pastedown. Jansenist spine with raised bands. Gilt title. Gilt edges. Covers and spine preserved. Uncut copy with full margins. Very handsome copy. ""Few love letters are as beautiful as those from Benjamin Constant to Mme Récamier"". Jean Mistler in La Revue des deux mondes. Mistler specifies that Lenormant's 1882 edition was much altered whereas Louise Colet's edition is accurate. Introduction and preface by Louise Colet. E. Dentu hardcover‎

Riferimento per il libraio : 73164

‎Pierre LOTI‎

‎"Malade depuis hier matin je ne puis aller jusqu'à vous."" • Autograph note of Pierre Loti signed with his real name Julien Viaud‎

‎Hendaye 1910. Fine. Hendaye s. d. 11.30 x 9 cm une feuille Autograph note by Pierre Loti signed Julien Viaud. 8 lines in black ink on a card. ""Malade depuis hier matin je ne puis aller jusqu'à vous. J'aurais grand plaisir à vous voir ce soir entre 5 et 6h si vous n'avez rien de mieux à faire - où bien demain soir à la même heure si vous ne pouvez pas aujourd'hui"". ""Ill since yesterday morning I cannot come to you. I would have great pleasure in seeing you this evening between 5 and 6 o'clock if you have nothing better to do - or tomorrow evening at the same time if you cannot today"". unknown‎

Riferimento per il libraio : 73229

‎Edouard HALOUZE - (JANESICH)‎

‎A. Janesich Joaillier Publicité Volume 1 La Gazette du Bon ton 1920 n°4‎

‎Paris: Lucien Vogel éditeur 1920. Fine. Lucien Vogel éditeur Paris 1920 18 x 24 cm une feuille Original color print created by Edouard Halouze finely heightened in gold printed on laid paper and signed in the upper right of the plate. Painter illustrator and decorator Edouard Halouze drew fashion vignettes for the Gazette du Bon ton from the magazine's beginnings. Alongside this work he participated in 1920 in an exhibition devoted to ""La mode vue par les peintres"" presented at the Musée des arts décoratifs. He distinguished himself from other Gazette illustrators through his Cubist style in sets costumes and program covers for music-halls. Original engraving created for the illustration of La Gazette du bon ton one of the most beautiful and influential fashion magazines of the 20th century celebrating the talent of French creators and artists in the full bloom of Art Deco. Famous fashion magazine founded in 1912 by Lucien Vogel La Gazette du bon ton was published until 1925 with an interruption during the War from 1915 to 1920 due to the mobilization of its editor-in-chief. It consists of 69 issues printed in only 2000 copies and is illustrated notably with 573 color plates and 148 sketches representing models by great couturiers. Upon their publication these luxurious publications ""addressed bibliophiles and worldly aesthetes"" Françoise Tétart-Vittu ""La Gazette du bon ton"" in Dictionnaire de la mode 2016. Printed on fine laid paper they use a typeface specially created for the magazine by Georges Peignot the Cochin character adopted in 1946 by Christian Dior. The prints are created using the metal stencil technique heightened in colors and some highlighted in gold or palladium. The adventure begins in 1912 when Lucien Vogel a man of society and fashion - he had already participated in the Femina magazine - decides to found with his wife Cosette de Brunhoff sister of Jean the father of Babar the Gazette du bon ton whose subtitle was then ""Art modes et frivolités"". Georges Charensol reports the words of the editor-in-chief: ""En 1910 observe-t-il il n'existait aucun journal de mode véritablement artistique et représentatif de l'esprit de son époque. Je songeais donc à faire un magazine de luxe avec des artistes véritablement modernes . J'étais certain du succès car pour la mode aucun pays ne peut rivaliser avec la France."" ""In 1910 he observes there existed no fashion journal that was truly artistic and representative of the spirit of its time. I therefore thought of making a luxury magazine with truly modern artists . I was certain of success because for fashion no country can rival France."" ""Un grand éditeur d'art. Lucien Vogel"" in Les Nouvelles littéraires n°133 May 1925. The magazine's success was immediate not only in France but also in the United States and South America. Originally Vogel thus brought together a group of seven artists: André-Édouard Marty and Pierre Brissaud followed by Georges Lepape and Dammicourt; and finally his friends from the École des beaux-arts who were George Barbier Bernard Boutet de Monvel or Charles Martin. Other talents quickly joined the team: Guy Arnoux Léon Bakst Benito Boutet de Monvel Umberto Brunelleschi Chas Laborde Jean-Gabriel Domergue Raoul Dufy Édouard Halouze Alexandre Iacovleff Jean Émile Laboureur Charles Loupot Charles Martin Maggie Salcedo. These artists mostly unknown when Lucien Vogel called upon them would later become emblematic and sought-after artistic figures. These same illustrators created the drawings for the Gazette's advertisements. The plates highlight and sublimate the dresses of seven creators of the time: Lanvin Doeuillet Paquin Poiret Worth Vionnet and Doucet. The couturiers provided exclusive models for each issue. Nevertheless some of the illustrations feature no real model but only the illustrator's idea of contemporary fashion. La Gazette du bon ton is a decisive step in fashion history. Combining aesthetic require Lucien Vogel éditeur unknown‎

Riferimento per il libraio : 73137

‎Leon TOLSTOI‎

‎Oeuvres inédites et posthumes 1850-1910‎

‎Paris: Paul Dupont 1947. Fine. Paul Dupont Paris 1947 12.50 x 19 cm broché First edition in French one of 25 numbered copies on superior laid paper ours being one of 5 hors commerce copies the only deluxe copies. Spine lightly sunned tiny tear at foot of front board a full-margined copy. Paul Dupont unknown‎

Riferimento per il libraio : 73408

‎Leon MOUSSINAC - Paul VAILLANT-COUTURIER‎

‎Le père Juillet‎

‎Paris: Au sans pareil 1927. Fine. Au sans pareil Paris 1927 12.50 x 19.50 cm broché First edition one of 20 numbered copies on Montgolfier vellum deluxe issue. Small marginal tears to boards a vertical crease in margin of front board. A full-margined copy. Au sans pareil hardcover‎

Riferimento per il libraio : 73395

‎CLUB ALPIN FRANÇAIS Section de l'Isère. Taillefer Trièves Dévoluy Vercors‎

‎s. l. Grenoble: Club alpin français 1886. Fine. Club alpin français s. l. • Grenoble 1886 27.50 x 21 cm relié The rare first edition produced by the Club alpin français de l'Isère. Copy number: No. 55. On the title page mention of Album No. 1. It is likely that this notion of first album refers to a project by the Club alpin français for each section Dauphiné Savoie Haute Savoie Vosges. However we find in the catalogues of the Bibliothèque Nationale other albums noted as number 1 of the Isère section but which are entitled ""Chartreuse"" and ""Grandes-Rousses Sept-Laux Belledonne""; these two other albums also contain 50 photographs like ours. These albums have a distinctly artisanal character and do not constitute a printed edition in the classical sense they were made by and for the Club. No printer's name is found anywhere. The number of copies was therefore certainly very limited and intended for a few members and institutions and not for the general public. Contemporary half chocolate shagreen binding with corners. Spine with raised bands decorated with 3 ornaments gilt titles. Red edges. Rubbing to head and tail caps edges and corners. After a few leaves intended for descriptions of the photographs 50 mounted card plates on tabs with 50 photographs pasted down 9.5x14cm with a number and caption. Stamp on title page: Club alpin français section de l'Isère Grenoble. The Club alpin français was founded in 1874 with a center in Paris. Its mission was to introduce the mountains through practice and knowledge by promoting scientific work mountaineering hiking. Each section would distribute numerous periodicals. The Club alpin would become a sports federation in 1996. The photographs taken seek to give the most faithful representation possible of the mountains in Isère with views of peaks gorges waterfalls bridges tunnels hermitages roads lakes. This is one of the first photographic missions on the mountains. High-contrast silver prints in very fine condition. Club alpin français hardcover‎

Riferimento per il libraio : 73172

‎Yael DAYAN‎

‎Lieutenant au Sinaï‎

‎Paris: Robert Laffont 1967. Fine. Robert Laffont Paris 1967 14 x 20 cm broché First edition of which there were no deluxe copies a Service de Presse advance copy. Fine copy iconography. Rare dated autograph inscription signed by Yaël Dayan to Christian Melchior-Bonnet. Robert Laffont unknown‎

Riferimento per il libraio : 73249

‎Rene FALLET‎

‎Le vélo‎

‎Paris: Domat 1948. Fine. Domat Paris 1948 12 x 19 cm broché The first edition of which there were no deluxe copies. Light worming on endpapers manuscript ownership inscription in red ballpoint pen at head of first endpaper. Rare autograph inscription signed on this text by René Fallet ""chevalier du mérite cycliste"" to a friend and fellow cycling enthusiast: ""Pour Gaby cyclo de l'Allier avec les amitiés cyclistes sur 52.15 de son compatriote René Fallet"" ""For Gaby cyclist from Allier with cycling friendship over 52.15 from his compatriot René Fallet"". Domat unknown‎

Riferimento per il libraio : 73386

‎Honore DAUMIER‎

‎Lithographie originale en noir et blanc - Les Beaux Jours de la vie - ""Un début à la chasse""‎

‎Paris: Chez Aubert & Cie 1844. Fine. Chez Aubert & Cie Paris 1844 26 x 34 cm une feuille Original black and white lithograph created for Le Charivari and printed on heavy paper. Delteil 738 Scattered pale foxing and a light dampstain in the right margin. Chez Aubert & Cie unknown‎

Riferimento per il libraio : 73315

‎Arnaud BERQUIN‎

‎Oeuvres complètes‎

‎Paris: Renouard 1803. Fine. Renouard Paris 1803 - 1810 10 x 17 cm 17 volumes reliés New illustrated edition with 232 figures principally by Borel. Volume XIV contains an additional suite by Moreau a suite by Marillier and another anonymous suite. Copy on vellum paper the figures on heavy vellum. At the end of the publisher's notice a leaf with the price of works: the 20 volumes in-18 fine paper in wrappers with 18 engravings.30Fr. The same with 212 engravings in wrappers.60Fr. The same 17 volumes deluxe vellum paper figures from first proofs.120Fr. The volumes may be purchased separately by works. While at Princeton University and the Royal Library of Denmark one finds only the edition in 20 volumes with 18 engravings this copy proves more desirable in 17 volumes on vellum. According to the British Library copy the edition which announced 212 engravings offered only 205 so the others were added. Contemporary half Russia leather binding. Smooth spine decorated with 4 small concentric fleurons and roulettes. Red paper on boards imitating long-grained morocco. Some rubbing notably to corners. Scattered foxing. Lacking the table for volume X. Some leaves protruding. Uncut copy. Details of the collection: Vol. I-VII L'ami des enfans et de l'adolescence. Vol. VIII Le livre de famille ou Entretiens familiers sur les connaissances les plus nécessaires à la jeunesse; Vol. IX-X Bibliothèque des villages. Vol. XI Introduction a la connoissance de la nature imitée de l'anglois; Vol. XII-XIII Choix de lectures pour les enfans ou Recueil de contes d'anecdotes et de traits de vertu choisis des meilleurs auteurs. Vol. XIV Idylles romances et autres poésies de Berquin; Vol. XV-XVI Sandford et Merton imité de l'anglois. Vol. XVII Le petit Grandisson imité du hollandois. The author Berquin 1747-1791 specialized very early in children's literature being indeed the first to have done so. His children's books enjoyed great popularity and were very frequently reprinted throughout the nineteenth century. English and German children of the late eighteenth century knew Berquin's work very well. The greater part of l'ami des enfants consists of short theatrical pieces historical moral childish. but one also finds numerous short tales and romances letters as well as a shipwreck narrative. Thus one counts in the general table of contents 106 entries. L'ami de l'adolescence also contains moral theatrical pieces and other pieces more narrative or more clearly pedagogical; one should note La relation d'un naufrage sur l'île Royale and le Système du monde mis à la portée de cet âge. Certain works are entirely devoted to instruction and pedagogy such as L'introduction à la connaissance de la nature notably through animal figures or the Entretiens sur les connaissances. Moreover it is not that Berquin was the first to extend this literature that is important it is rather that one can situate at this period the introduction of childhood into our cultures and Berquin is precisely an eloquent testimony to this. Furthermore it was undoubtedly among the first times that one found so many children represented in illustration. Renouard hardcover‎

Riferimento per il libraio : 73224

‎[Eugene PERMA] - Marcel FROMENTI‎

‎L'ondulation permanente Eugène Publicité La Gazette du Bon ton 1920‎

‎Paris: Lucien Vogel éditeur 1920. Fine. Lucien Vogel éditeur Paris 1920 18 x 24 cm une feuille Original color print advertising the permanent wave according to Eugène Perma printed on laid paper. Three advertising vignettes on the reverse on ""The magical Marcel method of permanent hair waving"" the Salon du des humoristes and Pissot & Pavy's hats. Original engraving created for the illustration of La Gazette du bon ton one of the most beautiful and influential fashion magazines of the 20th century celebrating the talent of French creators and artists in the full bloom of Art Deco. Famous fashion magazine founded in 1912 by Lucien Vogel La Gazette du bon ton was published until 1925 with an interruption during the War from 1915 to 1920 due to the mobilization of its editor-in-chief. It consists of 69 issues printed in only 2000 copies and is illustrated notably with 573 color plates and 148 sketches representing models by great couturiers. Upon their publication these luxurious publications ""addressed bibliophiles and worldly aesthetes"" Françoise Tétart-Vittu ""La Gazette du bon ton"" in Dictionnaire de la mode 2016. Printed on fine laid paper they use a typeface specially created for the magazine by Georges Peignot the Cochin character adopted in 1946 by Christian Dior. The prints are created using the metal stencil technique heightened in colors and some highlighted in gold or palladium. The adventure begins in 1912 when Lucien Vogel a man of society and fashion - he had already participated in the Femina magazine - decides to found with his wife Cosette de Brunhoff sister of Jean the father of Babar the Gazette du bon ton whose subtitle was then ""Art modes et frivolités"". Georges Charensol reports the words of the editor-in-chief: ""En 1910 observe-t-il il n'existait aucun journal de mode véritablement artistique et représentatif de l'esprit de son époque. Je songeais donc à faire un magazine de luxe avec des artistes véritablement modernes . J'étais certain du succès car pour la mode aucun pays ne peut rivaliser avec la France."" ""In 1910 he observes there existed no fashion journal that was truly artistic and representative of the spirit of its time. I therefore thought of making a luxury magazine with truly modern artists . I was certain of success because for fashion no country can rival France."" ""Un grand éditeur d'art. Lucien Vogel"" in Les Nouvelles littéraires n°133 May 1925. The magazine's success was immediate not only in France but also in the United States and South America. Originally Vogel thus brought together a group of seven artists: André-Édouard Marty and Pierre Brissaud followed by Georges Lepape and Dammicourt; and finally his friends from the École des beaux-arts who were George Barbier Bernard Boutet de Monvel or Charles Martin. Other talents quickly joined the team: Guy Arnoux Léon Bakst Benito Boutet de Monvel Umberto Brunelleschi Chas Laborde Jean-Gabriel Domergue Raoul Dufy Édouard Halouze Alexandre Iacovleff Jean Émile Laboureur Charles Loupot Charles Martin Maggie Salcedo. These artists mostly unknown when Lucien Vogel called upon them would later become emblematic and sought-after artistic figures. These same illustrators created the drawings for the Gazette's advertisements. The plates highlight and sublimate the dresses of seven creators of the time: Lanvin Doeuillet Paquin Poiret Worth Vionnet and Doucet. The couturiers provided exclusive models for each issue. Nevertheless some of the illustrations feature no real model but only the illustrator's idea of contemporary fashion. La Gazette du bon ton is a decisive step in fashion history. Combining aesthetic requirement and artistic unity it brought together for the first time the great talents from the worlds of art letters and fashion and imposed through this alchemy a completely new image of woman slender independent and bold also carried by the new generation of couturiers Coco Chanel Jean Patou Marcel Lucien Vogel éditeur unknown‎

Riferimento per il libraio : 73138

‎Friedrich Gottlieb KLOPSTOCK‎

‎La Messiade‎

‎Paris: Chez HenrichsCh. PougensLevrault et Carteret 1800. Fine. Chez Henrichs Ch. Pougens Levrault et Carteret Paris An IX 1800 13 x 21 cm 3 volumes reliés First edition of the complete French translation produced by Mme de Kourzrock and illustrated - as frontispiece - with a portrait of the author. Contemporary full blonde calf bindings smooth spines richly decorated with dentelle fillets and starred typographical motifs boards framed with gilt roulettes the front covers stamped at their center with the inscription ""Hommage de l'amitié et de l'estime à la piété sincère"" Greek-style roulettes framing the pastedowns and paste-paper endpapers all edges gilt. On the first volume joint of the upper board cracked at head that of the second board entirely split. Joint of the first board of the third and final volume also split along its entire length. Headcap of the second volume partially damaged. Some corners slightly bumped and bindings rubbed essentially at the level of the joints. White endpapers marginally soiled. First complete French translation of this famous German text inspired by Milton's Paradise Lost. Chez HenrichsCh. PougensLevrault et Carteret hardcover‎

Riferimento per il libraio : 73205

‎Gerard de NERVAL‎

‎Billet autographe signé de Gérard de Nerval adressé à probablement adressé à Achille Denis‎

‎Paris 1850. Fine. Paris s. d. circa janvier 1850 9.80 x 13.30 cm une page sur un feuillet enveloppe jointe Autograph letter signed ""Gérard de Nerval"" addressed to probably addressed to Achille Denis editor-in-chief of the Messager des Théâtres. Envelope included. Folds inherent to being placed in envelope. A strip of glued paper in the left margin of the sheet and envelope. This letter has been transcribed in the correspondence published by Pléiade volume 3 p. 923. In this short note Nerval requests ""three seats for Les Porcherons"" an opéra-comique by Thomas Sauvage with music by Albert Grisar. unknown‎

Riferimento per il libraio : 73342

‎Pierre MOURGUE - (TECLA) - Jeanne LANVIN‎

‎Un collier Técla Publicité Volume 1 La Gazette du Bon ton 1920 n°2 suivi de Robes du soir de Jeanne Lanvin‎

‎Paris: Lucien Vogel éditeur 1920. Fine. Lucien Vogel éditeur Paris 1920 18 x 24 cm une feuille Original color print created by Pierre Mourgue printed on laid paper signed at bottom right of the plate. Advertising plate for dresses by Jeanne Lanvin on verso. Original engraving created for the illustration of La Gazette du bon ton one of the most beautiful and influential fashion magazines of the 20th century celebrating the talent of French creators and artists in the full bloom of Art Deco. Famous fashion magazine founded in 1912 by Lucien Vogel La Gazette du bon ton was published until 1925 with an interruption during the War from 1915 to 1920 due to the mobilization of its editor-in-chief. It consists of 69 issues printed in only 2000 copies and is illustrated notably with 573 color plates and 148 sketches representing models by great couturiers. From their publication these luxurious publications ""addressed bibliophiles and worldly aesthetes"" Françoise Tétart-Vittu ""La Gazette du bon ton"" in Dictionnaire de la mode 2016. Printed on fine laid paper they use a typeface specially created for the magazine by Georges Peignot the Cochin character adopted in 1946 by Christian Dior. The prints are created using the metal stencil technique heightened in colors and some highlighted in gold or palladium. The adventure begins in 1912 when Lucien Vogel a man of society and fashion - he had already participated in the magazine Femina - decides to found with his wife Cosette de Brunhoff sister of Jean the father of Babar the Gazette du bon ton whose subtitle was then ""Art modes et frivolités"". Georges Charensol reports the words of the editor-in-chief: ""In 1910 he observes there existed no fashion journal truly artistic and representative of the spirit of its time. I was therefore thinking of making a luxury magazine with truly modern artists . I was certain of success because for fashion no country can rival France."" ""Un grand éditeur d'art. Lucien Vogel"" in Les Nouvelles littéraires n°133 May 1925. The magazine's success is immediate not only in France but also in the United States and South America. Originally Vogel thus assembled a group of seven artists: André-Édouard Marty and Pierre Brissaud followed by Georges Lepape and Dammicourt; and finally his friends from the École des beaux-arts who are George Barbier Bernard Boutet de Monvel or Charles Martin. Other talents quickly join the team: Guy Arnoux Léon Bakst Benito Boutet de Monvel Umberto Brunelleschi Chas Laborde Jean-Gabriel Domergue Raoul Dufy Édouard Halouze Alexandre Iacovleff Jean Émile Laboureur Charles Loupot Charles Martin Maggie Salcedo. These artists mostly unknown when Lucien Vogel calls upon them will later become emblematic and sought-after artistic figures. These same illustrators create the drawings for the Gazette's advertisements. The plates highlight and sublimate the dresses of seven creators of the time: Lanvin Doeuillet Paquin Poiret Worth Vionnet and Doucet. The couturiers provide exclusive models for each issue. Nevertheless some of the illustrations feature no real model but only the idea that the illustrator has of the fashion of the day. La Gazette du bon ton is a decisive stage in the history of fashion. Combining aesthetic demands and visual unity it brings together for the first time the great talents of the worlds of arts letters and fashion and imposes through this alchemy a completely new image of woman slender independent and bold also carried by the new generation of couturiers Coco Chanel Jean Patou Marcel Rochas. Taken over in 1920 by Condé Montrose Nast the Gazette du bon ton would largely inspire the new composition and aesthetic choices of the ""petit journal mourant"" that Nast had bought a few years earlier: Vogue magazine. Lucien Vogel éditeur unknown‎

Riferimento per il libraio : 73135

‎Gabriel MATZNEFF‎

‎Les lèvres menteuses‎

‎Paris: La Table Ronde 1992. Fine. La Table Ronde Paris 1992 15 x 22 cm broché First edition one of the 50 numbered copies on Holland paper the only deluxe copies ""grands papiers"". Very nice copy. La Table Ronde unknown‎

Riferimento per il libraio : 73282

‎Rene FALLET - Jean-Paul LIEGEOIS‎

‎Splendeurs et misères de René Fallet‎

‎Paris: Denoël 1978. Fine. Denoël Paris 1978 14 x 22.50 cm broché First edition on ordinary paper. Handsome copy despite minor corner creases of no consequence to the boards iconography. Complete with publisher's slip. Autograph inscriptions signed by René Fallet "". ce portrait d'artiste en vieux crabe."" "". this portrait of an artist as an old crab."" and Jean-Paul Liégeois "". ce portrait à la manière de René Fallet"" "". this portrait in the manner of René Fallet"" to Jean-Michel Royer. Denoël hardcover‎

Riferimento per il libraio : 73256

‎Honore DAUMIER‎

‎Lithographie originale en noir et blanc - Les Beaux Jours de la vie - ""L'Amateur de melons""‎

‎Paris: Chez Aubert & Cie 1845. Fine. Chez Aubert & Cie Paris 1845 24.40 x 32.70 cm une feuille Original black and white lithograph second state created for Le Charivari and printed on heavy paper. Delteil 798 Light scattered foxing. Chez Aubert & Cie unknown‎

Riferimento per il libraio : 73321

‎Gerard de NERVAL‎

‎Lettre autographe signée de Gérard de Nerval adressée à Georges Bell‎

‎Paris 1853. Fine. Paris s. d. novembre 1853 10 x 13.60 cm un feuillet et son enveloppe dépliée Autograph letter signed ""votre G."" ""your G."" addressed to Georges Bell written in blue ink on the recto of a small sheet. Unfolded autograph envelope included containing a sentence that Nerval had not put in his letter. This letter has been transcribed in the Pléiade volume 1 letter 264. After several missed appointments and while he was at Dr. Blanche's clinic Nerval asks George Bell not to ""se préoccuper pas trop de l'affaire de Passy"" ""worry too much about the Passy affair"". Despite his confinement Nerval continues to conduct his business: ""Je conçois un projet ou système d'emprunt qui a quelques chances de réussite - mais il faut que j'engage très sérieusement ma signature."" ""I am conceiving a project or loan system that has some chances of success - but I must very seriously commit my signature."" He ends his letter with an enigmatic formula: ""Vous savez que je vous ai fait un conte ce matin. Je sortais des bras de.cherchez."" ""You know that I told you a tale this morning. I was coming from the arms of.guess."" unknown‎

Riferimento per il libraio : 73273

‎Gerard de NERVAL‎

‎Lettre autographe signée de Gérard de Nerval adressée à Auguste Cavé‎

‎Paris 1841. Fine. Paris 18 novembre 1841 13.90 x 20.80 cm une page sur un feuillet remplié Autograph letter signed by Gérard de Nerval addressed to Auguste Cavé written in careful handwriting in black ink on the first page of a double sheet. Minor traces of folds inherent to posting and some light foxing. This letter was transcribed in Nerval's Complete Works in the Pléiade edition. After two violent nervous breakdowns Gérard de Nerval was compelled to stay at Dr. Blanche's clinic between March and November 1841. Short of money he addressed this letter to his friend Auguste Cavé then director of the Fine Arts section at the Ministry of the Interior to solicit his support with ""M. le Ministre"": ""Quoi qu'entièrement rendu à la santé je sens que je ne puis encore travailler qu'avec ménagement et s'il était possible que l'on m'aidât d'une légère somme mensuelle . je serais plus sûr de pouvoir reprendre peu à peu ma position littéraire sans risquer de nouveaux accidens"" ""Though entirely restored to health I feel that I can only work with care and if it were possible to be helped with a small monthly sum . I would be more certain of being able to gradually resume my literary position without risking new accidents"". unknown‎

Riferimento per il libraio : 72914

‎Louis ARAGON - Georges SADOUL - Alain RESNAIS‎

‎Constantes du cinéma français in Le Point N°LIX‎

‎Souillac: Le Point 1962. Fine. Le Point Souillac 1962 19.50 x 25.50 cm broché First edition illustrated with photographs Handsome copy. Texts by Louis Aragon ""Du décor"" ""On Decor"" Georges Sadoul ""A la recherche de quelques fils conducteurs"" ""In Search of Some Connecting Threads"" Boisyvon ""L'exemplaire de René Clair"" ""René Clair's Copy"" Alain Resnais ""Les serpents et les caducées"" ""The Serpents and the Caducei"". Le Point unknown‎

Riferimento per il libraio : 73422

‎Jerome RICARD - Pierre-Francois Godard de BEAUCHAMPS‎

‎Aihcrappih histoire grec‎

‎s. l.: S. n. 1748. Fine. S. n. s. l. 1748 9 x 17 cm relié First edition. Frontispiece title on heavy paper. The work has been attributed to both Abbé Jérôme Richard and Pierre François Godard de Beauchamp. Contemporary full marbled brown sheep binding. Spine with raised bands decorated. Red morocco title label. Joints cracked at foot the joint of the upper board split with losses. 3 corners bumped. Leaf 119 tear with loss and loss of letters. Rubbing. Aihcrappoh is the anagram of Hipparchia; there is moreover another edition in 1748 under this title with an extended preface. Gallant and libertine story. S. n. hardcover‎

Riferimento per il libraio : 73975

‎Jules FERRY‎

‎PHOTOGRAPHIE Portrait photographique de Jules Ferry dédicacé‎

‎Paris: E. Thiebault 1875. Fine. E. Thiebault Paris 1875 6.20 x 10.50 cm une photographie Original albumen photograph depicting Jules Ferry carte-de-visite format mounted on card. Inscription at the bottom of the photograph: A mon cher et fidèle ami . possibly Labadère affectueux souvenir. Jules Ferry. ""To my dear and faithful friend . affectionate remembrance. Jules Ferry."" The photograph bears at the bottom the name E. Thiebault. Phot. On the reverse: Photographie Thiebault. 31 bould. Bonne Nouvelle. Paris. Superb condition. A trace of tape on the reverse in the upper margin. Rare photograph of Jules Ferry at around 40 years of age. Inscriptions by Jules Ferry are uncommon. The date is indicative but consistent. E. Thiebault unknown‎

Riferimento per il libraio : 74018

‎Abolhassan BANI SADR‎

‎Le complot des Ayatollahs‎

‎Paris: La Découverte 1989. Fine. La Découverte Paris 1989 13.50 x 22 cm broché First edition. A handsome copy. Autograph inscription dated and signed by Abolhassan Bani Sadr first president of Iran who was driven from power by Ayatollah Khomeini in 1981 to Madame Mona Saïd. La Découverte unknown‎

Riferimento per il libraio : 74035

‎Lawrence DURRELL - Henry MILLER‎

‎Une correspondance privée Lawrence Durrell Henry Miller‎

‎Paris: Buchet-Chastel 1963. Fine. Buchet-Chastel Paris 1963 14 x 19.50 cm broché First edition printed on ordinary paper of the French translation. Complete with its illustrated dust jacket which shows small tears and minor lacks. Precious two-color autograph inscription signed by Lawrence Durrell to his friend Janine Brun: ""Janine Brun / from Lawrence Durrell / with affection"". Among the olive trees and under the Mediterranean sun Lawrence Durrell met in the mid-1960s the young and vivacious ""Jany"" Janine Brun a woman from Montpellier in her thirties with devastating beauty who worked at the Department of Antiquities at the Sorbonne in Paris. She was nicknamed ""Buttons"" in memory of their first meeting where the young woman wore a dress covered with buttons. Henry Miller also fell under the charm of ""Buttons"" praising her beauty and eternal youth in exceptional unpublished letters. The three companions spent memorable Parisian evenings of which we keep precious autograph traces through their epistolary exchanges. Recommended by Durrell she made numerous trips notably to England from where she received extensive correspondence from the writer as well as original works of art signed with his artist pseudonym Oscar Epfs. Buchet-Chastel unknown‎

Riferimento per il libraio : 73617

‎Paul BALLURIAU - (Edmond CHAR)‎

‎"Crépuscule"" - Lithographie originale sur Japon - L'Estampe Moderne‎

‎Paris: Imprimerie Champenoispour CH. MassonH. Piazza 1897. Fine. Imprimerie Champenois pour CH. Masson H. Piazza Paris s. d. Juillet 1897 23 x 33 cm une feuille et une serpente Rare original color lithograph executed by Paul Balluriau for L'Estampe Moderne series number 3 published in July 1897. One of 50 deluxe proofs printed on Japan paper with wide margins artist's signature in the plate publisher's dry stamp representing a child's profile in the lower margin numbered stamp of the deluxe printing on verso; print preceded by a tissue guard bearing the artist's name title an excerpt from the work and a presentation of the artist traces of folds and another blank tissue guard. Magnificent French monthly publication edited between May 1897 and April 1899 L'Estampe moderne consists of original chromolithographs which unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards were specially created by each artist for the magazine. Thus 100 prints appeared in total covering the major artistic movements of the late 19th century: Symbolism Art Nouveau Pre-Raphaelites Orientalists and Belle Epoque. Each issue of four prints was printed in 2000 copies sold at 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F. This print of handsome format is superbly printed in colors on the most prestigious of papers: Japan. Thick silky satin and pearlescent it contributes to making each page a work in its own right. Its quality of ink absorption and its affinity with colors also make it the ideal support for these very beautiful lithographs. The interest of French collectors in artistic posters intensified in the early 1890s. Octave Uzanne to qualify this fever invented the term ""affichomanie."" The poster originally popular and posted in the streets of the capital then became an art object and its ephemeral support became precious and destined for conservation. Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a work of art in its own right equal to the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure Eugène Grasset Henri Detouche Emile Berchmans Louis Rhead Gaston de Latenay Lucien Lévy-Dhurmer Gustave-Max Stevens Charles Doudelet Hans Christiansen Henri Fantin-Latour Steinlen Ibels Engels Willette Henri Meunier Evenepoël Bellery-Desfontaines Charles Léandre etc. Handsome copy in the artist's symbolist style. Imprimerie Champenoispour CH. MassonH. Piazza unknown‎

Riferimento per il libraio : 73924