‎Collectibles‎

‎Pierre-Charles LEVESQUE‎

‎Histoire de Russie‎

‎à Paris: Chez Debure l'aîné 1782. Fine. Chez Debure l'aîné à Paris 1782 10 x 17 cm relié First edition illustrated with 2 large folding maps of western Russia and eastern Russia. Contemporary full marbled calf bindings spines with raised bands decorated roulettes at head and foot. Red morocco title label black wax volume labels. One wormhole along the upper joint at the foot of volume I. Upper joint of volume 3 nibbled for 3 cm. A tear at the foot of volume 2 with a small cut at the headcap. Volume labels rubbed. Corners rubbed. Handsome copy. Levesque spent 7 years in Saint Petersburg during which he was a professor under the protection of Diderot who allowed him to consult the archives and documents necessary for the completion of his work which forms the most accomplished history of Russia at the end of the 18th century. The work exercised a decisive influence on the image of Russia in Europe and on Russian historiographers. The accuracy of the facts and the quality of the narrative contributed to making Levesque's Histoire de la Russie a classic work in Russia. Maccarthy Fitz-John bookplate. Chez Debure l'aîné hardcover‎

Riferimento per il libraio : 63220

‎Edouard GUILLON‎

‎Nos écrivains militaires. Etudes de littérature et d'histoire militaires. Première série : des origines à la Révolution‎

‎Paris: Plon Nourrit & Cie 1898. Fine. Plon Nourrit & Cie Paris 1898 12 x 19 cm relié First edition. Half sienna cloth Bradel binding smooth spine decorated with a gilt floral motif double gilt fillets at foot black shagreen title-label marbled paper boards orange paper endpapers and pastedowns contemporary binding. Some light foxing mainly affecting the edges. Plon, Nourrit & Cie hardcover‎

Riferimento per il libraio : 63244

‎Gabriel POMERAND‎

‎Le D. Man‎

‎Paris: Christian Bourgois 1966. Fine. Christian Bourgois Paris 1966 13 x 21.50 cm broché First edition one of 27 numbered copies on alfa paper the only deluxe paper issue. A dizzying plunge into the world of LSD by “l'archange Gabriel” a legendary figure of Saint-Germain-des-Prés and one of the founders of Lettrism. In 1950 Boris Vian described him as follows: « Vingt-quatre ans un mètre 68 cheveux hirsutes yeux noirs poids 50 kg ; il fut successivement parasite prisonnier étudiant résistant écrivain gigolo puis époux. . Pomerand fut un des éléments surprenants du Tabou du temps de ces beaux soirs. Il avait une façon bien personnelle de vociférer ses œuvres lettristes à la face du monde. » A rare and handsome copy complete with its preview pamphlet: ""Autopsie du L.S.D. 25"". Christian Bourgois unknown‎

Riferimento per il libraio : 63267

‎Antoine BLONDIN‎

‎Quat'saisons • Four Seasons‎

‎Paris: La Table Ronde 1975. Fine. La Table Ronde Paris 1975 14 x 19.50 cm broché First edition one of 15 numbered copies on Hollande the tirage de tête. Spine very lightly sunned at head and foot. Rare and nice copy. La Table Ronde unknown‎

Riferimento per il libraio : 63260

‎Paul TRIAIRE‎

‎Dominique Larrey et les campagnes de la révolution de l'Empire 1768-1842‎

‎Tours: Alfred Mame & fils 1902. Fine. Alfred Mame & fils Tours 1902 17.50 x 26.50 cm relié First edition. Bradel binding in half sienna cloth smooth spine decorated with a gilt fleuron double gilt fillets at foot black shagreen title-label marbled paper boards. Foxing mainly at beginning and end of volume pen gift inscription from a previous owner copy slightly warped. Work illustrated with a frontispiece portrait of Baron Dominique Larrey. Alfred Mame & fils hardcover‎

Riferimento per il libraio : 63203

‎Pierre DRIEU LA ROCHELLE‎

‎Journal 1939-1945 • Journal 1939–1945‎

‎Paris: Gallimard 1992. Fine. Gallimard Paris 1992 16 x 23.50 cm broché First edition one of 64 numbered copies on Hollande paper the only grand papier deluxe copies. Rare and nice copy. Gallimard unknown‎

Riferimento per il libraio : 63258

‎COLLECTIF‎

‎Almanach de Lorraine et Barrois année 1773‎

‎à Nancy: Chez la Veuve Charlot 1773. Fine. Chez la Veuve Charlot à Nancy 1773 6.50 x 11.50 cm relié First edition. Contemporary full blonde shagreen binding with granite texture. Smooth spine decorated with gilt compartments and fleurons with a blonde shagreen title-label. All edges red. A loss to the joint at foot. One corner slightly bumped. Chez la Veuve Charlot unknown‎

Riferimento per il libraio : 42870

‎Alexandre DUCOURNEAU‎

‎La Guienne historique et monumentale‎

‎Bordeaux: Imp. de P. Coudert 1842. Fine. Imp. de P. Coudert Bordeaux 1842-1844 20 x 29.50 cm 4 volumes reliés en 2 First edition. Half navy shagreen binding smooth spines showing traces of rubbing decorated with romantic arabesques and double gilt fillets upper headcaps worn marbled paper boards marbled endpapers and pastedowns some tears of no great consequence to the leading edges contemporary bindings. Work illustrated with 287 plates hors-texte including 3 in color. Some foxing. Rare. Imp. de P. Coudert hardcover‎

Riferimento per il libraio : 42673

‎Prosper MERIMEE‎

‎La jaquerie scènes féodales suivies de La famille de Carvajal‎

‎Paris: Brissot-Thivars 1828. Fine. Brissot-Thivars Paris 1828 12.50 x 20 cm relié First edition of the author's third work printed by Honoré de Balzac. Black paper boards smooth spine tan sheep title-label with two small angular lacks one joint slightly cracked then reglued at head red edges modest contemporary binding. Handsome interior condition. Brissot-Thivars hardcover‎

Riferimento per il libraio : 42970

‎Alphonse ALLAIS‎

‎Le parapluie de l'escouade‎

‎Paris: Paul Ollendorff 1893. Fine. Paul Ollendorff Paris 1893 12 x 19 cm relié First edition for which there is no mention of large paper copies. Contemporary Bradel binding in half khaki cloth over marbled paper boards the spine with gilt floral motif a double gilt fillet at foot of spine red shagreen title label small marginal scratches one lower corner rubbed. A rare and precious autograph inscription from Alphonse Allais to his publisher Paul Ollendorff : "". le seul éditeur vraiment digne de ce nom hommage d'un auteur qui n'est pas non plus dans une potiche the only publisher really worthy of that name homage from an author who is also not on a sinecure"". Provenance : library of Paul Ollendorff. Paul Ollendorff hardcover‎

Riferimento per il libraio : 42997

‎Jacques CHARDONNE‎

‎Eva‎

‎Paris: Grasset 1930. Fine. Grasset Paris 1930 12 x 19 cm broché First edition one of the numbered copies on alfa. A good copy. Grasset unknown‎

Riferimento per il libraio : 42995

‎COLLECTIF‎

‎Le Bibliophile revue artistique et documentaire du livre ancien et moderne collection complète‎

‎Paris: Publications Papyrus 1931. Fine. Publications Papyrus Paris 1931-1933 23 x 28 cm 15 fascicules brochés First edition printed in 1000 numbered copies on Papyrus paper. With reproductions in heliotypie. A good set complete in 15 issues. Publications Papyrus unknown‎

Riferimento per il libraio : 42964

‎Louis-Auguste PICARD‎

‎Origines de l'école de cavalerie et de ses traditions équestres‎

‎Saumur: S. Milon & fils 1890. Fine. S. Milon & fils Saumur s. d. 1890 19.50 x 28.50 cm 2 volumes reliés First edition. Modern binding in half cloth covers preserved lined and with angular lacks. Illustrated with 52 engravings hors-texte. A little light spotting. S. Milon & fils hardcover‎

Riferimento per il libraio : 42977

‎Octave MIRBEAU‎

‎La 628-E8‎

‎Paris: Charpentier 1907. Fine. Charpentier Paris 1907 12 x 19 cm relié Second edition printed on ordinary paper immediately after the first edition containing the three chapters on Balzac that caused scandal. Half chocolate brown morocco binding smooth spine marbled paper boards marbled endpapers and pastedowns minor scuffs of no consequence at foot of second board original wrappers preserved contemporary unsigned binding but attributable to Lancelin. Signed autograph inscription from Octave Mirbeau to Paul Ollendorff. Handsome copy attractively bound. Provenance: from the library of Paul Ollendorff. Charpentier hardcover‎

Riferimento per il libraio : 43071

‎Edouard ROD‎

‎La chute de miss Topsy‎

‎Bruxelles Brussels: Henry Kistemaeckers 1882. Fine. Henry Kistemaeckers Bruxelles Brussels 1882 10 x 16 cm relié First edition printed on laid paper. Bradel binding in half khaki cloth smooth spine decorated with gilt floral motif double gilt fillet at foot red shagreen title-label with some minor traces of rubbing marbled paper boards top edge gilt contemporary unsigned binding but attributable to Lancelin. Signed autograph inscription from Edouard Rod to Paul Ollendorff. Work illustrated with a portrait of the author by A. Descaves. Provenance: from the library of Paul Ollendorff. Henry Kistemaeckers hardcover‎

Riferimento per il libraio : 43093

‎Georges de PORTO-RICHE‎

‎Les Malefilâtre. - Bonheur manqué. - Quelques vers d'autrefois‎

‎Paris: Librairie ThéâtralePaul OllendorffEmile-Paul frères 1904. Fine. Librairie Théâtrale Paul Ollendorff Emile-Paul frères Paris 1904-1915 11.50 x 18.50 cm 3 volumes reliés en 1 Second editions for the first and last texts edition with some parts in first edition for the second. Half hazelnut shagreen binding spine with five raised bands set with black fillets marbled paper boards slightly faded at margins moiré-effect endpapers and pastedowns original wrappers preserved. Signed autograph inscription by the author on the title page of the second volume. Librairie ThéâtralePaul OllendorffEmile-Paul frères hardcover‎

Riferimento per il libraio : 43028

‎Andre THEURIET‎

‎Madame Heurteloup la bête noire‎

‎Paris: Charpentier 1882. Fine. Charpentier Paris 1882 12 x 19 cm relié First edition on ordinary paper no deluxe copies mentioned. Bradel binding in half periwinkle cloth smooth spine decorated with gilt floral motif double gilt fillet at foot red shagreen title-label with some minor rubbing marbled paper boards top edge gilt contemporary unsigned binding but attributable to Lancelin. Autograph inscription signed by André Theuriet to Madame Paul Ollendorff on the half-title page which has a tiny angular lack at head. Two small stains at head and foot of first leaves. Provenance: from the library of Paul Ollendorff. Charpentier hardcover‎

Riferimento per il libraio : 43079

‎J MARNI‎

‎La femme de Silva‎

‎Paris: Paul Ollendorff 1887. Fine. Paul Ollendorff Paris 1887 12 x 19 cm relié First edition one of 5 numbered copies on Holland paper the only deluxe copies. Bradel binding in khaki half-cloth smooth spine decorated with gilt floral motif double gilt fillet at tail red shagreen title-label with some minor rubbing marbled paper boards top edge gilt minor tears of no consequence to leading edges contemporary unsigned binding attributable to Lancelin. Signed autograph inscription from Jean Marni to his publisher Paul Ollendorff on the half-title page. Endpapers and half-title page foxed. Provenance: from the library of Paul Ollendorff. Paul Ollendorff hardcover‎

Riferimento per il libraio : 43086

‎Andre THEURIET‎

‎La maison des deux barbeaux‎

‎Paris: Paul Ollendorff 1879. Fine. Paul Ollendorff Paris 1879 12 x 19 cm relié First edition on ordinary paper. Bradel binding in half periwinkle cloth smooth spine decorated with gilt floral motif double gilt fillet at foot red shagreen title label with some light rubbing marbled paper boards top edge gilt contemporary unsigned binding but attributable to Lancelin. Autograph inscription signed by André Theuriet to Madame Paul Ollendorff. Provenance: from the library of Paul Ollendorff. Paul Ollendorff hardcover‎

Riferimento per il libraio : 43076

‎Marcel CRESSOT‎

‎Chan Heurlin poème en patois messin de Brondex et Mory présenté et traduit par Marcel Cressot‎

‎Faculté des lettres de l'Université de Nancy: Annales de l'Est 1948. Fine. Annales de l'Est Faculté des lettres de l'Université de Nancy 1948 16.50 x 25.50 cm broché The first edition of which there were no deluxe copies. Signed autograph inscription from Marcel Cressot to the great Gaullist resistance fighter Gilbert Grandval and his wife. Spine and covers marginally sunned without gravity handsome interior condition. Annales de l'Est unknown‎

Riferimento per il libraio : 43133

‎Louis STRIMPL‎

‎Le Bel été. Robe de lingerie pour la campagne. La Gazette du Bon ton n°9. Année 1913 - Planche III‎

‎Paris: Lucien Vogel éditeur 1913. Fine. Lucien Vogel éditeur Paris 1913 19.50 x 25 cm une feuille Original color print printed on vergé paper signed in the plate. An original print used to illustrate the Gazette du bon ton one of the most attractive and influential 20th century fashion magazines featuring the talents of French artists and other contributors from the burgeoning Art Deco movement. A celebrated fashion magazine established in 1912 by Lucien Vogel La Gazette du bon ton appeared until 1925 with a hiatus from 1915 to 1920 due to the war the editor-in-chief having been called up for service. It consisted of 69 issues printed in only 2000 copies each and notably illustrated with 573 color plates and 148 sketches of the models of the great designers. Right from the start this sumptuous publication “was aimed at bibliophiles and fashionable society” Françoise Tétart-Vittu “La Gazette du bon ton” in Dictionnaire de la mode 2016 and was printed on fine vergé paper using a type cut specially for the magazine by Georges Peignot known as Cochin later used in 1946 by Christian Dior. The prints were made using stencils heightened in colors some highlighted in gold or palladium. The story began in 1912 when Lucien Vogel a man of the world involved in fashion he had already been part of the fashion magazine Femina decided with his wife Cosette de Brunhoff – the sister of Jean creator of Babar – to set up the Gazette du bon ton subtitled at the time: “Art fashion frivolities.” Georges Charensol noted the reasoning of the editor-in-chief: “’In 1910’ he observed ‘there was no really artistic fashion magazine nothing representative of the spirit of the time. My dream was therefore to make a luxury magazine with truly modern artists…I was assured of success because when it comes to fashion no country on earth can compete with France.’” “Un grand éditeur d’art. Lucien Vogel” in Les Nouvelles littéraires no. 133 May 1925. The magazine was immediately successful not only in France but also in the United States and Latin America. At first Vogel put together a team of seven artists: André-Édouard Marty and Pierre Brissaud followed by Georges Lepape and Dammicourt as well as eventually his friends from school and the School of Fine Arts like George Barbier Bernard Boutet de Monvel and Charles Martin. Other talented people soon came flocking to 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 Chalres Martin Maggie Salcedo. These artist mostly unknown when Lucien Vogel sought them out later became emblematic and sought-after artistic figures. It was also they who worked on the advertising drawings for the Gazette. The plates put the spotlight on and celebrate dresses by seven designers of the age: Lanvin Doeuillet Paquin Poiret Worth Vionnet and Doucet. The designers provided exclusive models for each issue. Nonetheless some of the illustrations are not based on real models but simply on the illustrator’s conception of the fashion of the day. The Gazette du bon ton was an important step in the history of fashion. Combining aesthetic demands with the physical whole it brought together – for the first time – the great talents of the artistic literary and fashion worlds; and imposed through this alchemy a completely new image of women: slender independent and daring which was shared by the new generation of designers including Coco Chanel Jean Patou Marcel Rochas and so on… Taken over in 1920 by Condé Montrose Nast the Gazette du bon ton was an important influence on the new layout and aesthetics of that “little dying paper” that Nast had bought a few years earlier: Vogue. Lucien Vogel éditeur unknown‎

Riferimento per il libraio : 43190

‎Emile NOLLY‎

‎Hien le maboul‎

‎Paris: Calmann Lévy 1909. Fine. Calmann Lévy Paris s. d. 1909 12 x 19.50 cm relié The first edition of which there were no deluxe copies. Bradel binding in half sage-green cloth spine decorated with gilt floral motif double gilt fillet at foot red shagreen title label marbled paper boards original wrappers preserved contemporary binding. Precious signed autograph inscription from Emile Nolly to Jean Ajalbert. Furthermore our copy is expanded with a four-page signed and dated autograph letter from the author mounted on a stub and addressed to the dedicatee in which Emile Nolly warmly thanks Jean Ajalbert for supporting his candidacy for the Prix Goncourt as well as for his laudatory articles in the Indochinese press concerning ""Hien le maboul"". Finally we include an original photograph of the author. The article by Jean Ajalbert published in an Indochinese weekly is bound at the rear. Provenance: from the library of Jean Ajalbert with his Japanese-style bookplate pasted to the verso of the front board consisting of a wood engraving probably by Félicien Rops printed in a very small number and depicting Mount Fuji. Handsome ensemble. Calmann Lévy hardcover‎

Riferimento per il libraio : 43154

‎Rene MINGUET‎

‎Paris et l'hexagone français‎

‎Paris: Editions France-Empire 1962. Fine. Editions France-Empire Paris 1962 13.50 x 19 cm relié The first edition of which there were no deluxe copies. Half dark green shagreen binding spine slightly faded with four raised bands bordered with black fillets title-label and author's name in red shagreen marbled paper boards marbled endpapers and pastedowns original wrappers preserved. Fine full-page signed autograph inscription from the author to the great Gaullist resistance fighter Gilbert Grandval. Editions France-Empire hardcover‎

Riferimento per il libraio : 43249

‎Jean DUTOURD‎

‎Ca bouge dans le prêt-à-porter‎

‎Paris: Flammarion 1989. Fine. Flammarion Paris 1989 13 x 20 cm broché First edition an advance service de presse copy. Autograph inscription from the author. Spots not serious to the edges. Flammarion unknown‎

Riferimento per il libraio : 43300

‎Pierre BRISSAUD‎

‎Rentrez vos blancs moutons. Une bergère par Chéruit. La Gazette du Bon ton n°4 Année 1913 - Planche VIII‎

‎Paris: Lucien Vogel éditeur 1913. Fine. Lucien Vogel éditeur Paris 1913 19.50 x 25 cm une feuille Original color print printed on vergé paper signed in the plate. An original print used to illustrate the Gazette du bon ton one of the most attractive and influential 20th century fashion magazines featuring the talents of French artists and other contributors from the burgeoning Art Deco movement. A celebrated fashion magazine established in 1912 by Lucien Vogel La Gazette du bon ton appeared until 1925 with a hiatus from 1915 to 1920 due to the war the editor-in-chief having been called up for service. It consisted of 69 issues printed in only 2000 copies each and notably illustrated with 573 color plates and 148 sketches of the models of the great designers. Right from the start this sumptuous publication “was aimed at bibliophiles and fashionable society” Françoise Tétart-Vittu “La Gazette du bon ton” in Dictionnaire de la mode 2016 and was printed on fine vergé paper using a type cut specially for the magazine by Georges Peignot known as Cochin later used in 1946 by Christian Dior. The prints were made using stencils heightened in colors some highlighted in gold or palladium. The story began in 1912 when Lucien Vogel a man of the world involved in fashion he had already been part of the fashion magazine Femina decided with his wife Cosette de Brunhoff – the sister of Jean creator of Babar – to set up the Gazette du bon ton subtitled at the time: “Art fashion frivolities.” Georges Charensol noted the reasoning of the editor-in-chief: “’In 1910’ he observed ‘there was no really artistic fashion magazine nothing representative of the spirit of the time. My dream was therefore to make a luxury magazine with truly modern artists…I was assured of success because when it comes to fashion no country on earth can compete with France.’” “Un grand éditeur d’art. Lucien Vogel” in Les Nouvelles littéraires no. 133 May 1925. The magazine was immediately successful not only in France but also in the United States and Latin America. At first Vogel put together a team of seven artists: André-Édouard Marty and Pierre Brissaud followed by Georges Lepape and Dammicourt as well as eventually his friends from school and the School of Fine Arts like George Barbier Bernard Boutet de Monvel and Charles Martin. Other talented people soon came flocking to 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 Chalres Martin Maggie Salcedo. These artist mostly unknown when Lucien Vogel sought them out later became emblematic and sought-after artistic figures. It was also they who worked on the advertising drawings for the Gazette. The plates put the spotlight on and celebrate dresses by seven designers of the age: Lanvin Doeuillet Paquin Poiret Worth Vionnet and Doucet. The designers provided exclusive models for each issue. Nonetheless some of the illustrations are not based on real models but simply on the illustrator’s conception of the fashion of the day. The Gazette du bon ton was an important step in the history of fashion. Combining aesthetic demands with the physical whole it brought together – for the first time – the great talents of the artistic literary and fashion worlds; and imposed through this alchemy a completely new image of women: slender independent and daring which was shared by the new generation of designers including Coco Chanel Jean Patou Marcel Rochas and so on… Taken over in 1920 by Condé Montrose Nast the Gazette du bon ton was an important influence on the new layout and aesthetics of that “little dying paper” that Nast had bought a few years earlier: Vogue. Lucien Vogel éditeur unknown‎

Riferimento per il libraio : 43239