‎Collectibles‎

‎Paul GAULOT‎

‎L'empire de Maximilien‎

‎Paris: Paul Ollendorff 1890. Fine. Paul Ollendorff Paris 1890 12.50 x 19 cm relié First edition one of 20 numbered copies on Holland paper the only deluxe copies. Half caramel sheep binding smooth spine decorated with rich gilt typographical motifs navy shagreen title-label with minor rubbing double fillets on marbled paper boards marbled endpapers and pastedowns top edge gilt retaining deckled edges unsigned contemporary binding but attributable to Lancelin. Signed autograph inscription from Paul Gaulot to Madame Paul Ollendorff. A full-margined copy handsomely bound. Provenance: from the library of Paul Ollendorff. Paul Ollendorff hardcover‎

Referenz des Buchhändlers : 43108

‎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 DEROULEDE‎

‎La moabite‎

‎Paris: Calmann Lévy 1881. Fine. Calmann Lévy Paris 1881 10 x 15.50 cm relié First edition on ordinary paper no mention of deluxe copies. 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 traces of rubbing marbled paper boards corners slightly bumped top edge gilt contemporary unsigned binding but attributable to Lancelin. Signed autograph inscription from Paul Déroulède to Paul Ollendorff on the half-title page which shows a very slight lack at foot. Provenance: from the library of Paul Ollendorff. Calmann Lévy hardcover‎

Referenz des Buchhändlers : 43090

‎Maurice CHAPELAN‎

‎Amoralités familières‎

‎Paris: Grasset 1964. Fine. Grasset Paris 1964 12 x 19 cm broché First edition one of 37 numbered copies on Holland paper deluxe copy. Full-page autograph inscription signed by the author to Mathieu Galey. Fine copy. Grasset unknown‎

Referenz des Buchhändlers : 42981

‎Georges OHNET‎

‎La comtesse Sarah‎

‎Paris: Paul Ollendorff 1887. Fine. Paul Ollendorff Paris 1887 13 x 19 cm relié First edition one of 25 numbered copies on Holland paper deluxe copy. Half dark green shagreen binding with corners sunned spine with five raised bands set with black fillets one scratch at foot marbled paper boards marbled endpapers and pastedowns top edge gilt on deckled edges contemporary unsigned binding but attributable to Lancelin. Signed autograph inscription from the author to Madame Paul Ollendorff. Full-margined copy handsomely bound. Provenance: from the library of Paul Ollendorff. Paul Ollendorff hardcover‎

Referenz des Buchhändlers : 43062

‎Georges DURUY‎

‎Ni dieu ni maître‎

‎Paris: Paul Ollendorff 1890. Fine. Paul Ollendorff Paris 1890 12 x 19 cm relié First edition on ordinary paper. Bradel binding in half aubergine cloth smooth spine faded decorated with gilt floral motif double gilt fillet at foot olive shagreen title-label with some light rubbing marbled paper boards top edge gilt one lower corner slightly bumped contemporary unsigned binding attributable to Lancelin. Signed autograph inscription from Georges Duruy to Madame Paul Ollendorff. Handsome copy handsomely bound. Provenance: from the library of Paul Ollendorff. Paul Ollendorff hardcover‎

Referenz des Buchhändlers : 43088

‎(John REDFERN) - Charles Emile CARLEGLE‎

‎Le Bon oncle. Costumes d'enfants. La Gazette du Bon ton n°1 - Année 1914 Planche II‎

‎Paris: Lucien Vogel éditeur 1914. Fine. Lucien Vogel éditeur Paris 1914 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

Referenz des Buchhändlers : 43225

‎Abbe DOUAY‎

‎Histoire généalogique des branches de la maison de Béthune existantes en Flandre et en Artois et connues pendant plusieurs siecles sous le nom de Desplanques .‎

‎à Paris: S. n. 1783. Fine. S. n. à Paris 1783 23 x 37.50 cm relié The rare first edition and only edition of this work. Illustrated with numerous tables a large folding plate showing the armorial genealogy of the Desplanques heraldic figures in the text and a notable feature of this book 15 medallion portraits ""au physionotrace"" a process invented by Louis Chrétien and developed by Edmé Quenedey in the style of wash engraving whose signatures can be found at the bottom of the portraits with the date and place of their creation. Also noteworthy is the presence of a 4-page supplement with a plate of coats of arms on fine blue paper. Near-contemporary half blonde sheep binding. Smooth spine decorated with 4 tools and roulettes. Gilt title. A tear at head with loss. Restoration to leaves 3 and 4 in margin due to dampstain. External and lower borders with tears. 19th-century armorial bookplate: former library of the château du Plessis-Brion. As announced in the foreword the author's purpose is not to establish the history of the house of Bethune already written by Du Chesne but to demonstrate by all the evidence at his disposal that the Desplanques descend directly from Robert I lord of Bethune the first representative of the branch in 970. The ducal and princely house of Béthune is among the oldest and most illustrious houses of France and Europe; most of the princes of Europe are affiliated with it not to mention those especially of the house of France; its most famous representative was the Duke of Sully. S. n. unknown‎

Referenz des Buchhändlers : 43141

‎Madeleine RUEG‎

‎Au bois - Tailleur de Madeleine Vionnet. La Gazette du Bon ton n°6. Année 1924-1925 - Planche 48‎

‎Paris: Lucien Vogel éditeur 1924. Fine. Lucien Vogel éditeur Paris 1924 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

Referenz des Buchhändlers : 43198

‎Maurice DONNAY‎

‎La douloureuse‎

‎Paris: Paul Ollendorff 1897. Fine. Paul Ollendorff Paris 1897 12.50 x 19 cm relié First edition one of the rare copies on Whatman paper ours printed specially for Paul Ollendorff. Half hazelnut morocco binding with corners spine with four raised bands set with gilt garlands as well as black fillets gilt friezes at head and foot marbled paper boards endpapers and pastedowns of moiré-effect paper original wrappers preserved top edge gilt on deckled edges. Provenance: from the library of Paul Ollendorff. Paul Ollendorff hardcover‎

Referenz des Buchhändlers : 43023

‎Francois MITTERRAND‎

‎Mémoires interrompus • Unfinished Memoirs‎

‎Paris: Odile Jacob 1996. Fine. Odile Jacob Paris 1996 15.50 x 23.50 cm broché First edition one of 30 numbered copies on Lana chiffon wove the only deluxe paper copies. A very handsome copy. Odile Jacob unknown‎

Referenz des Buchhändlers : 43144

‎Gustave GEFFROY‎

‎La servante‎

‎Paris: A. Romagnol 1905. Fine. A. Romagnol Paris 1905 14.50 x 21.50 cm relié First edition illustrated with 25 original wood engravings by Géo-Dupuis one of 130 numbered copies on China paper and reimposed in quarto soleil format. Half navy shagreen binding with corners spine sunned with five raised bands gilt date at foot gilt fillets framing the marbled paper boards marbled endpapers and pastedowns covers and spine preserved top edge gilt binding signed by L. Bernard. Our copy as stipulated in the justification page does include the double state of the wood engravings. Some minor foxing. Handsome copy despite the sunned spine. A. Romagnol hardcover‎

Referenz des Buchhändlers : 42894

‎Robert de BONNIERES‎

‎Les Monach‎

‎Paris: Paul Ollendorff 1885. Fine. Paul Ollendorff Paris 1885 12.50 x 19 cm relié First edition one of 50 numbered copies on Holland paper this copy bearing No. 1 the only deluxe copies. Half dark green morocco binding with corners spine with five raised bands decorated with gilt stippling and ornamented with double gilt compartments richly embellished with gilt typographical motifs gilt date at foot frame of gilt fillets on marbled paper boards marbled endpapers and pastedowns original wrappers preserved top edge gilt retaining its deckled edges contemporary binding signed by Lancelin. Handsome full-margined copy in fine condition. Provenance: from the library of Paul Ollendorff. Paul Ollendorff hardcover‎

Referenz des Buchhändlers : 43039

‎Andre THEURIET‎

‎Tante Aurélie‎

‎Paris: Charpentier & Fasquelle 1884. Fine. Charpentier & Fasquelle Paris 1884 12 x 19 cm relié New edition. 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. Handsome copy pleasingly bound. Provenance: library of Paul Ollendorff. Charpentier & Fasquelle hardcover‎

Referenz des Buchhändlers : 43078

‎SIMEON‎

‎Le Retour des autans. Tailleur et Robe d'après-midi de Doeuillet. La Gazette du Bon ton n°7 - Planche 55‎

‎Paris: Lucien Vogel éditeur 1920. Fine. Lucien Vogel éditeur Paris circa 1920 19.50 x 25 cm une feuille Original color print printed on vergé paper non signed. 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

Referenz des Buchhändlers : 43226

‎Albert DELPIT‎

‎Comme dans la vie‎

‎Paris: Paul Ollendorff 1890. Fine. Paul Ollendorff Paris 1890 12 x 19 cm relié First edition printed on ordinary paper. Half cherry red morocco binding with corners spine with five raised bands set with black fillets some minor traces of rubbing to spine marbled paper boards endpapers and pastedowns of marbled paper one upper corner slightly bumped top edge gilt contemporary unsigned binding but attributable to Lancelin. Signed autograph inscription from Albert Delpit to Madame Paul Ollendorff. Handsome copy attractively bound. Provenance: from the library of Paul Ollendorff. Paul Ollendorff hardcover‎

Referenz des Buchhändlers : 43074

‎Eugene MOUTON‎

‎Chimère‎

‎Paris: Librairie moderne 1887. Fine. Librairie moderne Paris 1887 12 x 19 cm relié First edition on ordinary paper no mention is made of deluxe copies. Bradel binding in half khaki cloth smooth spine decorated with a gilt floral motif double gilt fillet at foot red shagreen title-label with some minor rubbing traces and a marginal lack marbled paper boards top edge gilt contemporary unsigned binding but attributable to Lancelin. Autograph inscription signed by Eugène Mouton to Paul Ollendorff. Provenance: from the library of Paul Ollendorff. Librairie moderne hardcover‎

Referenz des Buchhändlers : 43094

‎Auguste GILBERT DE VOISINS‎

‎Le jour naissant‎

‎Paris: Georges Crès & Cie 1923. Fine. Georges Crès & Cie Paris 1923 12 x 19 cm relié First edition on ordinary paper false statement of second edition. Bradel binding in full decorative paper smooth spine very slightly sunned original wrappers preserved contemporary binding. Georges Crès & Cie unknown‎

Referenz des Buchhändlers : 43183

‎Pierre GUARIN‎

‎Grammatica hebraica et chaldaica‎

‎Lutetia Paris Parisiorum Paris Paris: Typis Jacobi Collombat Jacob Collombat 1724. Fine. Typis Jacobi Collombat Jacob Collombat Lutetia Paris • Parisiorum Paris • Paris 1724 - 1726 19.50 x 26 cm 2 volumes reliés The rare first edition of the two volumes published respectively in 1724 and 1726. It is illustrated with 2 head-piece vignettes 8 pages of musical scores a cabalistic tree printed separately the Samaritan Alphabet 2 plates of coins and 2 figures also printed separately. Copy with arms stamped on the covers and within each compartment from the library of the Abbey of Saint-Victor. The Abbey of Saint-Victor was one of the oldest abbeys in Paris on the site of the University of Jussieu and the Jardin des Plantes and one of the great intellectual centers of the medieval West; its rich library was opened to the public in the 18th century with the addition of new buildings. The abbey was destroyed during the Revolution and most of its collections joined the Bibliothèque nationale. Contemporary bindings in full glazed blonde calf. Raised band spines decorated. Red morocco title labels volume labels rubbed as well as the library label at the foot. Headcap of volume I worn with upper joint cracked at head. A loss at the head of volume II; upper joint exposed with a loss at foot. Some corners slightly bumped. Despite the defects a very handsome copy with fine tooling and beautiful arms.   Study by Dom Guarin Benedictine who exhorts in his preface the religious to knowledge of Holy Scripture in order to perfectly understand its messages. The first volume contains Hebrew grammar and the first part of syntax the second studies the figurative syntax of Hebrew true rhetoric of holy writing. An ample dissertation follows on various subjects concerning the Hebrews their poetry accents arithmetic their calendar; one finds there moreover treatises on the cabala and the Talmud and several tables of Chaldean and Hebrew words. Guarin continued his studies on this language by publishing a dictionary of the Hebrew and Chaldean language in 1747 but his death did not allow him to complete this work which was continued by other scholars. Typis Jacobi Collombat[ Jacob Collombat] unknown‎

Referenz des Buchhändlers : 42990

‎Georges IZARD‎

‎Viol d'un mausolée le sens et l'avenir de la déstabilisation‎

‎Paris: Julliard 1957. Fine. Julliard Paris 1957 14.50 x 19.50 cm broché First edition one of some copies hors commerce sur Corvol l'orgueilleux paper the only large paper copies with 30 on other Corvol. A good copy. Julliard unknown‎

Referenz des Buchhändlers : 43119

‎Jules BARBEY D'AUREVILLY‎

‎Du dandysme et de G. Brummell‎

‎Caen: B. Mancel 1845. Fine. B. Mancel Caen 1845 11.50 x 15 cm relié First edition one of the extremely rare copies on Hollande fort paper the only large paper copies of which a few are on colored paper. Contemporary half black shagreen with black paper boards spine in five compartments with black fillets corners a little rubbed. With an autograph inscription from Trebutien to Georges Lesnard. A little light foxing to endpapers. In his Annales de Normandie Jean-Luc Piré gives an analysis of the importance of the collaboration between Barbey and Trebutien devoting an entire paragraph to Dandysme to underline the importance of Trebutien's contribution to this little work among the rarest and most sought-after by Barbey. “We are familiar with the monumental correspondence Barbey maintained “monkishly” with his friend over the course of twenty-six years…The presence of Trebutien is almost constant in the Aurevillian universe. The “Sagittarius” was not far off when he wrote to his correspondent: “Your name interwoven with mine is as well known as my own…Whoever says d'Aurevilly says Trebutien.” Even in the very midst of Dandysme Barbey pays homage to his publisher and friend: “I ask the thirty or forty people who will read this their leave to introduce M. Trebutien as a friend whose merit is greater than my own and whose imagination and knowledge – often separate but united in him – need no personal friendship to impress those who appreciate such things.” The story of Dandysme more than any other of Barbey's books is tied to his publisher friend and active collaborator. Initially conceived simply as an article on Brummel who had died three years previously Du Dandysme was to take on book form thanks to a number of documents provided by Trebutien who served to provide Barbey with documentary material: “as for Brummell I've literally followed all your advice. I've read everything you recommended.” Having received two rejections for the article from the Revue des Deux Mondes and the Journal des Débats d'Aubervilly gave Trebutien the green light for publication. Barbey was to take this book to heart: the exchange of proofs and corrections was incessant. In October he decided to add notes. The collaboration with Trebutien took on particular meaning: “You have taught me to love Brummell once more. Without you I would have thrown him on the dust-heap to repay the disappointments he caused…But you have given me back the taste for him and so urged on by you here I am immersed in the cult of detail of little dots and shaded lines of all those corrections that make up a finished work for which I haven't the strength being a man of immediate passions a brutal and rapid artist animalistically reduced by his passions!” When in 1850 Trebutien suggested publishing Prophètes du Passé Barbey agreed in the following terms: “We'll correct the proofs like those for Brummell won't we my friend I like that way of working it is so inspiring. If a thought a note a little change should come to me I can send it on to you.” Whereas the first edition strengthened the friendship between the poet and his publisher J-L. Piré notes that the reprinting of the work was on the contrary a source of friction: Barbey suggested to his friend on the 2nd July 1858 that they let Poulet-Malassis reprint the work on Brummell…: “if you authorize me to deal with the sour Poulet lit.: chicken. We'll divide equally what he gives us for the Brummell and its reprint.” But Trebutien despised Poulet-Malassis: “a socialist of the worst kind…he was the editor of one of the basest newspapers of the time…He established in Paris a bookshop where he reprints all the impure and impious works of the 18th century.” Piré Jean-Luc in: Hors-série des Annales de Normandie. G.S. Trebutien Préface par J.-Cl. Polet 1985 pp. 3-198. An exceptional copy printed on large Holland paper in a sober contemporary binding. B. Mancel hardcover‎

Referenz des Buchhändlers : 43067

‎COLLECTIF‎

‎Département de la Seine. - Direction des affaires départementales état des communes à la fin du XIXème siècle : Aubervilliers‎

‎Montévrain: Imp. & Typ. de l'école d'Alembert 1900. Fine. Imp. & Typ. de l'école d'Alembert Montévrain 1900 16.50 x 25.50 cm broché First edition. With 2 maps in color. Spine and covers slightly and marginally sunned not serious. Imp. & Typ. de l'école d'Alembert unknown‎

Referenz des Buchhändlers : 43367

‎Rene FAUCHOIS‎

‎La paix des familles‎

‎Paris: André Delpeuch 1926. Fine. André Delpeuch Paris 1926 12.50 x 19.50 cm broché First edition one of 100 numbered copies on vélin du Marais the only deluxe copies with 25 Japan. Signed autograph inscription by René Fauchois. Work illustrated with 16 drawings by Boris. Handsome full-margined copy. André Delpeuch unknown‎

Referenz des Buchhändlers : 43352

‎COLLECTIF‎

‎Département de la Seine. - Direction des affaires départementales état des communes à la fin du XIXème siècle : Le Pré-saint-Gervais‎

‎Montévrain: Imp. & Typ. de l'école d'Alembert 1903. Fine. Imp. & Typ. de l'école d'Alembert Montévrain 1903 16.50 x 25.50 cm broché First edition. With 2 maps in color. Spine and covers slightly and marginally sunned not serious. Imp. & Typ. de l'école d'Alembert unknown‎

Referenz des Buchhändlers : 43366

‎Abel JACQUIN‎

‎Fables et poèmes‎

‎Bois-Colombes: Chez l'auteur 1964. Fine. Chez l'auteur Bois-Colombes 1964 19 x 24 cm reliure de l'éditeur New edition one of 2 lettered copies on vellum deluxe copy. Publisher's full cream cloth Bradel binding smooth spine title vignette pasted on first cover tawny felt endpapers and pastedowns. Signed and inscribed copy by the author to a couple of his friends. Our copy is enhanced with 4 letters and an autograph postcard addressed to the same recipients. Handsome copy. Chez l'auteur hardcover‎

Referenz des Buchhändlers : 43407