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Wed 19 Jun

FORBIN (Auguste de). Souvenirs of Sicily. Paris: imprimerie royale, 1823. - In-8, 222 x 143: frontispiece, (2 ff.), xx, 394 pp., (1 f.), 2 ff. of engraved music. Long-grained green morocco, gilt and cold-rolled border, gilt coat of arms in center, surrounded by a gilt frame, ornate ribbed spine, inner gilt border, gilt indication of provenance on first lining, gilt edges (Simier R. du roi). First edition of this interesting account of Sicily by the writer, archaeologist and painter Auguste de Forbin (1777-1841). His reminiscences occupy the first 226 pages. They are followed by several chapters: Aperçu des événemens survenus en Sicile en 1820 (sur l'insurrection de Sicile). - Notice sur quelques artistes de l'Antiquité qui ont fleuri en Sicile. - Note on some Sicilian artists, from the renaissance of the arts to the 19th century. - Note on some Sicilian authors who have published works in the last thirty years. - The Rajah of Bednoure, Indian history. The edition is illustrated with a frontispiece depicting the ruins of the Taormina theater, engraved by Lemaître after a drawing by the author, and two medals engraved by Simonet aîné after a drawing by Garson, placed at the head and end of the souvenirs text. Also included are two sheets of engraved music. A PRECIOUS COPY WITH THE COAT OF ARMS OF THE DUCHESSE DE BERRY, BOUND BY SIMIER. The first lining bears this inscription in gilt letters: "Chambre de S.A.R. // Madame la duchesse de Berry // Aux Tuileries // Bibliothèque des princes de Bauffremont". The Duchesse de Berry lived in the Pavillon de Marsan at the Tuileries Palace from 1820 to 1830. This copy includes 6 pencil annotations in the margins of pages XI, 34, 51, 152, 160 and 233, which an old note on the first white endpaper attributes to the Duchesse de Berry herself. The latter is not necessarily agreeable to the author, as she has written the word "mensonge" ("lie") opposite two passages. A very well preserved copy, despite numerous brown spots. Provenance: Duchesse de Berry, with her coat of arms on the boards, from the library of the Château de Rosny (Catalogue de la riche bibliothèque de Rosny, 1837, no. 1331). - Library of the Princes de Bauffremont.

Estim. 1 500 - 2 000 EUR

Fri 07 Jun

[Comte D. BOUTOURLINE] - APPIEN OF ALEXANDRIA (95-c. 165) "Roman history Title in Latin on title page "Romanarum historiarum: De bellis Punicis liber, De bellis Syriacis liber, De bellis Parthicis liber, De bellis Mithridaticis liber, De bellis ciuilibus libri v, De bellis Gallicis liber, seu potius, epitome. Basileae: Per Hier. Frobenium, et Nic. Episcopium, an. MDLIIII [1554]." Printer's mark "Froben" on title page and colophon, dated 1553 in title and 1554 in colophon. Copy with a corner binding and complete with the in-fine plate with Froben's large engraved vignette, and very fine engraved lettrines. A folio-sized volume (34x22 cm). Provenance Library of the general and writer Count Dmitri Petrovich Boutourline (1790-1849). He was also director of the Imperial Library in St. Petersburg. History Count Boutourlin had 2 libraries. The 1st, to which he devoted 30 years, was burned in 1812 during the Moscow fire. It contained 4,003 printed works and 24 mss. Retired to Florence, this bibliophile managed to build up a second library, which became one of the most famous in Europe. It contained 7,678 items, including 250 mss., nearly 1,000 15th-century editions and almost all of Savanarola's opuscules. There are two catalogues: that of 1805 and the catalogue of the library of the late Count Boutourlin, whose sale will take place on Monday November 16, 1840: Paris, Silvestre, 1839, 3 vols. in-8, corresponding to the second biblio. he set up in Florence. This copy is certainly present in this catalog. His armorial bookplate bears his reference no. 1189. Further reference: Catalogue des livres de S.E.M. le comte de Boutourlin revu par MM. Ant. Alex. Barbier, librarian of the Conseil d'Etat.

Estim. 800 - 1 000 EUR

Wed 12 Jun

*LE PETIT (Claude). - L'Heure du Berger. Demy-roman comique, ou roman demy-comique. Paris, Robinot, 1662. In-16 de [14] ff., 111-[3]-[2] pp. Basane marbrée, dos lisse orné, p. de titre, tr. rouges (reliure de l'époque). Manque en coiffe de queue, petites salissures au titre. Édition originale de cet ouvrage rare et quelque peu licencieux. Il en a été donné une réimpression par J. Gay, 1862. On y joint l'édition de 1664 chez Ribou, Paris, petit in-12 de [2] ff., 80 pp., veau brun, dos à nerfs orné (reliure de l'époque). ""Facétie en prose mêlée de vers, fort gaie et tres spirituelle. Viollet-Leduc, dans sa Bibliothèque poétique, II, 160, s'étonne qu'elle ne soit pas plus connue. C'est, dit-il, une peinture satirique de mœurs galantes aujourd'hui oubliées, mais qui ont toujours leurs analogues, et dont la comparaison lui parait devoir piquer la curiosité. Cet ouvrage est le premier publié par le malheureux Claude Le Petit, pendu et brulé en place de Grève, en 1662, pour cause d'impiété. Il est clair que la terreur inspirée par cette condamnation et par cette exécution rejaillit sur l'Heure du berger, que l'on n'osa plus lire depuis cette époque, malgré le privilège du roi qui lui avait été accordé, et qu'elle fut cause de la rareté du livre et du peu d'empressement des amateurs […] La réimpression de 1862 ne contribua pas à les rassurer, car elle fut incriminée et condamnée à Paris, en 1869. […] M. Victor Fournel a dit quelques mots de l'Heure du berger de Le Petit dans son Introduction au Roman comique de Scarron (Bibliothèque Elzevir., Paris, Jannet, 1857, 2 vol.); il trouve que c'est un livre burlesque, plein de galimatias et de mauvais goût, mais ne manquant pas d'un certain esprit; et il ajoute qu'il faut voir dans cet ouvrage l'alliance de l'élément gaulois à l'influence espagnole, la protestation du bon sens narquois, de l'esprit positif et railleur, contre les subtilités, les raffinements, l'héroisme guindé et menteur des Cyrus, des Astrie et des Polexandre, ct contre le langage faux et les faux sentiments des pastorales. Le Petit dédie son livre : A Monseigneur, Monsieur ou Messire Zorobabel Pirondeski, Liber Baro Auff Camploskow, Graff Von Koxiska unt Chifrisko, Colonel d'un régiment de Visigots, pour le service de Son Altesse Sérénissime Chimin Janos, demy-duc de Transilvanie, et premier valet de Garde-Robe de défunt monsieur son père Ragoski, etc. Tout le volume se poursuit sur ce ton railleur. Les vers de Le Petit sont généralement élégants et corrects"" Gay (II, 472.)

Estim. 180 - 200 EUR

Wed 19 Jun

THE LADY AND LESCUYER DEBATE NEWLY DONE. Small booklet in-4, chocolate-colored jansenist morocco, 5-rib spine, interior lace, gilt edges ( Duru et Chambolle, 1862). Bechtel, 55/B-55 // Brunet, II-545 // GW, 03724 // Renouard, 1074 // Rothschild, I-466 // USTC, 766394. (11f. out of 12, the last blank missing here) / a-b6 / 30 lines (except b4 in 29), goth. car. / 132 x 187 mm. A very rare edition of this poem attributable to Henri Baude, a French poet born in Moulins around 1430 and who died around 1495. A contemporary of Villon, Baude was the author of satirical moralities and poems written in a lively, bountiful style, seasoned with Gallic salt, in a picturesque, maliciously naive and often sarcastic manner. in a lively, playful style, seasoned with Gallic salt, in a picturesque, maliciously naive and often sarcastic manner (Larousse). Le Debat de la dame et de l'escuyer is a long poetic dialogue between a squire and the lady he is in love with, whom he tries to convert to his love. This poem of 67 stanzas of eight lines was also published under the title La Complainte de lescuyer à la dame. The author's name could be guessed from one line of the poem (23rd line of f. B4), in which the initial handwritten version is as follows On nous respont laissez buissoner Baude was replaced by the printed version On nous respont laissez huchier sans fraude. This peculiarity was noted by Montaiglon. It was disputed by some, including Bechtel, but to date there is nothing significant to indicate that this piece was not written by this poet. Two editions of this Débat, ours and another published by Jehan Lambert, both undated. Both are obviously very rare. The present edition bears Jehan Trepperel's mark on the first leaf, reproduced by Renouard (no. 1074). The copy comes from the La Roche Lacarelle and Lignerolles libraries. A pencil note by Jean Bourdel indicates that the copy from these libraries previously belonged to Armand Bertin and Félix Solar (no. 1082), and that the binding was altered between Solar and La Roche Lacarelle. According to our research, the Bertin-Solar copy was bound in red morocco by Koelher and described as a fine copy in the Solar sale. We can see no reason why La Roche Lacarelle would have had it rebound in a Jansenist binding by Duru et Chambolle. In any case, we have not found a copy other than the two described above, apart from the copy in the Library of Congress in Washington referenced by the USTC. All these elements make this an extremely rare edition. A very fine copy. Provenance: Baron Sosthène de La Roche Lacarelle (bookplate, April 30, 1888, no. 148) and Comte Raoul de Lignerolles (II, March 5-17, 1894, no. 860). The last white leaf bears a ghost of an ex-dono to Anne de Dreux, but this leaf obviously comes from another volume and has been reused.

Estim. 5 000 - 7 000 EUR

Fri 07 Jun

CERVANTES SAAVEDRA (Miguel de). EL INGENIOSO HIDALGO DON QUIJOTE DE LA MANCHA... dedicada A la Nacion Española. Barcelona, Imprenta de la viuda e hijos de Gorchs, 1832. Two first volumes out of six (xxiii, 399 pp, 4 plates // 2 ff, 422 pp, 4 plates) half black chagrin, spine ribbed and decorated with cold boxes (19th century bindings) slightly rubbed copy. Nueva edicion conforme en todo à la ultima de la Real Academia Española y con las notas de D. J. A. Pellicer. First part alone illustrated with eight signed engravings by Masferrer. The last volumes with the analysis of Le Quichotte by el Teniente Coronel D. Vicente de los Rios and the Life of Cervantes by Navarrete were published in 1834. Palau, 52061: Esta edicion es muy estimada. Rius, 187: Reimpression de la edicion de los Sres. Salvatella descrita en el nùm. 183. (On joint) CERVANTES SAAVEDRA (Miguel de). EL INGENIOSO HIDALGO DON QUIJOTE DE LA MANCHA Paris, Garnier Hermanos, [1896] One volume in-8° (2 f, CXIX-679 pp) half dark green chagrin, spine ribbed and unsealed (19th century binding), one spine split, some freckling. Rare enriched edition of the life of Cervantes by D. M. F Navarrete. Our copy contains a facsimile of a letter by Cervantes not reported by Palau (52218). (Enclosed) CERVANTES SAAVEDRA (Miguel de). EL INGENIOSO HIDALGO DON QUIJOTE DE LA MANCHA Madrid, Saturnino Calleja, 1904. One volume in-16 (Port. , xx-876 pp) full red and gold percaline with publisher's plate depicting Don Quixote and his squire. Gilt edges. Edicion illustrada con 317 artisticos grabados. Not cited by Palau. Henrich, 230 b: Edicion economica published on the eve of the 400th anniversary of the first edition (1605). Two library seals: Roman Catholic Church, Alberta, Canada and Ligugé Abbey (Renan's retreat). Handwritten letter to Father Leopoldo Gaugain, dated December 25, 1909.

Estim. 100 - 150 EUR

Fri 07 Jun

NO COPIES IN FRANCE. [DANIEL (Christoph)]. Vermischte AUFSATZE in Spanischer Prose zum Besten derer welche diese Sprache in Rucksicht auf burgerliche Geschafte lernen wollen. Gesamlet von C. D. Ebelin, Professor Luneburg, Herold und Wahlstab, 1807. One volume in-8° (4 ff, 250 pp) full contemporary vellum paper boards. Fine binding. Pagination skipped from p. 141 to p. 144 with no gaps. Miscelanea española in which we find, among others, the Novela dela Fuerza de la Sangre and chapter XVIII of the Aventuras de Don Quixote. Rare Spanish mixtures printed in Germany. Nothing in Palau! Three copies in the libraries of Erfurt, Hamburg and Jena; none in France. (Attached). [CERVANTES]. THE HISTORY OF THE INGENIOUS GENTLEMAN DON QUIXOTE OF LA MANCHA. EdinburghJohn Grant, 1910 Four strong volumes in 4° (XLII- 445 pp// VIII-484 pp// X-512 pp// X-508pp), brick half-percaline, sunned spines (publisher's binding). Fine edition published under the auspices of the Hispanic Society of America. Published on untrimmed laid paper and illustrated with Lalauze's etchings. Reprint of Motteux's translation published in 1712. Palau, 52656. Rare. A TRANSLATION BY HEINRICH HEINE (Included). CERVANTES DE SAAVEDRA (Miguel). Der finnreiche Junker DON QUIXOTE VON LA MANCHA. Leipzig und Berlin, Theodor Dieter, [1911]. A large in-4° volume of LV and 668 pp, 1 p. catalog. Publisher's full polychrome percaline, Don Quixote and his valet are shown galloping on their mounts. The scene, in particular Rossinante, is slightly embossed. This German edition is illustrated with 102 plates after Tony Johannot. Along with Gustave Doré, these are the two illustrators most frequently used in foreign publications. The translation is by Heinrich Heine after Viardot, not the Spanish text.

Estim. 250 - 300 EUR

Wed 12 Jun

Musique - ROUSSEAU (Jean-Jacques). - Les consolations des misères de ma vie, ou recueil de romances et duos. Paris, Roullede de La Chevardière, Esprit, 1781. In-folio, demi-chagrin brun, dos lisse orné, titre doré (rel. 19e s.). [1] f. titre frontispice gravé, 11 pp. (Avis de l'éditeur de ce recueil [Marquis de Girardin], Noms des souscripteurs pour le recueil Airs, Romances et Duos et Avertissement), 199 pp. (1) f. table (s'arrêtant à la lettre V). Rare édition originale gravée sur papier fort. Belle page de titre dessinée et gravée par Charles Benazech, élève de Greuze (1767-1794), avec le buste de Rousseau entouré de charmants enfants heureux, sur l'île des Peupliers. La partition est gravée par Richomme, le plus célèbre graveur de musique du temps, et par André pour les paroles. « On a réuni dans ce recueil des petits morceaux de musique échappés à M. Rousseau »; c'est même la mise en musique (près de cent romances et petits airs) des textes glanés pendant toute sa vie sur des thèmes variés et chez des auteurs qui lui sont chers (Marot, Shakespeare, Métastase…). Presque tout est inédit, retrouvé dans les manuscrits remis le 10 avril 1781 à la Bibliothèque du Roi. Cette très belle édition fut établie après souscription et au bénéfice de l'Hôpital des Enfans Trouvés.» Titre illustré dessiné et gravé par C. Benazech et 199 pages de musique gravées par André et Richomme. Exemplaire bien complet de l'Avis de l'éditeur et des Noms des souscripteurs. Bel exemplaire. (Quérard VIII, 197 ; Tchemerzine X, 61 ; Dufour I, 248.)

Estim. 250 - 300 EUR

Wed 12 Jun

VIALA (Pierre) & VERMOREL (Victor). - Traité général de viticulture. Ampélographie. Paris, Masson & Cie, 1901-1910. 7 vol. in-folio, brochés, couv. imprimées rempliées. Salissures et qqs petites déchirures à la couv. du tome I. Édition originale du plus monumental traité d'ampélographie jamais édité. Elle est illustrée de 570 planches hors-texte dont 500 en couleurs (+ une planche en double en couleurs volante ajoutée à la fin du tome VI ""Lignan blanc"") ainsi que de 840 figures in-texte. L'ouvrage fut publié sous la direction des deux éminents ampélographes Viala et Vermorel. Ils ont fait appel aux spécialistes du monde entier, des propriétaires viticulteurs, des professeurs d'agriculture, des ingénieurs agronomes, des œnologues d'Italie, du Portugal, d'Allemagne, de Hongrie, d'Espagne, du Chili, d'Algérie, des États-Unis, des Roumanie, de Tunisie, de Serbie, de Russie, de Grèce, etc., pour leur fournir toutes les informations concernant les cépages de leurs divers pays. ""Nous avons été extrêmement impressionnés de trouver là des notices sur de toutes petites vignes, presque confidentielles, produisant des vins ignorés du public et que nous avons bus en vallée d'Aoste ou en Suisse."" (Oberlé Bibliothèque bachique 276 ). Le 7e volume comprend un important ""Dictionnaire ampélographique"". Qqs petites rousseurs sur les couvertures. Habituelles petites décharges de couleurs sur les serpentes par endroits (sans gravité), rares rousseurs.. Bon exemplaire tel que paru, bien complet, y compris du spécimen de [4] ff. sous couverture rempliée (défraichie).

Estim. 4 000 - 6 000 EUR

Thu 06 Jun

BOUCHEL, Laurent - La Bibliothèque ou trésor du droit françois, où son traitées les matières civiles, criminelles, et bénéficiales, tant réglées par les ordonnances et coustumes de France, que décidées par arrests des cours souveraines; sommairement extraites des plus célèbres jurisconsultes et practiciens françois, et conférées en plusieurs endroits avec les loys, et coustumes des nations étrangères. Augmented in this new edition by Maistre Jean Bechefer. Paris, Jacques Dallin, 1667. 3 vol. gr. in-folio, the large-margined copy appears on large paper, granulated brown calf, coats of arms in the center of the boards, spine ribbed and decorated with repeated numeral, lack at the bottom of the spine of volume I, qqs. coiffes arasées, charn. partly split, corners dull, one nibbled, coats of arms sometimes a little rubbed. DUPIN 1781. Third edition enlarged on those of 1615 and 1629, by Bechefer. Bouchel (1559-1629) was a lawyer at the Parlement de Paris, maître des requêtes to King Henri IV and a member of the Conseil privé in 1615. A vast dictionary of legal concepts, in which he compiled over 600 authors cited at the beginning of the work. For example, the article Loix is almost entirely taken from Jean Bodin's Six livres de la République. This 3000-page work appears to be the first attempt at a legal encyclopedia. With the coat of arms and cipher of Guillaume de Lamoignon (1617-1677) first president of the Parlement de Paris. He himself attempted to codify and unify the laws, and was the originator of the famous Lamoignon library, which grew for two centuries. OHR pl. 2015. Signed by François Lapeyre lawyer in Aurillac, stamped by A. Delzons avocat.

Estim. 600 EUR

Fri 07 Jun

AMADIS DE GAULE :11 vols. Out of 12, vol. 8 is missing. Paris, Vincent Sertenas, Est. Groulleau et Jehan Longis, 1540-56. Seventeenth-century calf, ornate ribbed spine. Composite copy: Vol. 1 1548, Vol. 2 1550, Vol. 3 1547, Vol. 4 1543 E. O. T. 5 1544 E. O. T. 6 1557. T. 7 1546 T. 9 1553. T. 10. 1551. T. 11 1559. T. 12 title page reprinted with an erroneous date which is not that of the colophon of Est. Groulleau 1556. Translation of this chivalric novel of Spanish origin, adapted to French tastes by Nicolas de Herberay, Claude Colet, Jacques Gohory and Guillaume Aubert in a lighter, more rhetorical style. As a whole, this work, rarely complete, consists of twelve books written by several authors, each adding a new book with no particular connection to the previous one. The in-f° publication was begun by Denis Jadot in 1540 and continued by Etienne Groulleau until 1556. In the meantime, an in-8° edition appeared from 1548 to 1560. The majority of the set is decorated with thistle lettering designed by Denis Jadot for the Amadis, Geofroy Tory's "lettres fleuries" and 4 larger ones in books I and III featuring God holding a globe and a "T" on a fleurdelisé semé. In addition, each in texto is surrounded by ornamented or "grotesque" woodcuts, some with coats of arms at the bottom. Translation of this chivalric novel of Spanish origin, adapted to French tastes through the use of a lighter, more rhetorical style by Nicolas de Herberay, Claude Colet, Jacques Gohory and Guillaume Aubert. Palau, 10506. These editions, with their humanist typography augmented by flowery lettering and elegant, uncluttered illustrations, made an essential contribution to the heyday of the 16th-century French figure book. Some wear to covers and corners. A very rare set, of which we know of no complete first-edition copies in French public libraries.

Estim. 5 000 - 6 000 EUR

Fri 07 Jun

GUILLON DE MONTLEON, Aimé (1758-1842). Histoire de la Campagne de S.A.I. le Prince Eugène-Napoléon de France, vice-roi d'Italie, Prince de Venise, Chancelier d'Etat de l'Empire Français, Général en chef de l'Armée d'Italie, contre l'armée autrichienne en 1809. Milan, Jean-Pierre Giegler. 1809. In-8, (8) and 163 pages; 1/2 speckled basane. Well-established pastiche binding. Extremely rare work. In his Bibliographie Napoléonienne, G. Davois (II, 84) estimates that only two copies escaped the destruction demanded by Napoleon. Only one copy is listed in the world's public libraries (KVK). It is in the Bayerische Bibliothek in Münich. It bears this old note on the false title: "Napoleon was then in Vienna, Austria,(...) where he was negotiating his marriage to Marie-Louise of Austria. The present pamphlet upset him. He complained about it to Eugène Beauharnais, his viceroy, who had it searched everywhere, even at the homes of the individuals who had bought it, and removed all the copies remaining at the bookseller's, in return for compensation of 3,000 francs." The work was printed by Destefanis, Milan, in Saint-Zeno. Abbé Guillon de Montleon, a strong-minded doctor of theology, refused to take the oath to the Civil Constitution of the Clergy in 1792. He was forced to take refuge abroad for several years. On his return from exile, he published a pamphlet against the future emperor in 1800, which earned him a conviction and a stay in the Italian prison of Mantua. On his release in 1805, Eugène de Beauharnais, viceroy of Italy, chose him to create the Journal Officiel Italien - and, in 1809, to celebrate his exploits against the Austrian army - the date was ill-chosen, as Napoleon was in Vienna... In 1816, he was appointed curator of the Mazarine Library. The work is described as "extremely rare" in the Dorbon catalog on the Empire published in 1901 (n°522). Missing from Tullard. Ex-libris of Baron Paulin-Ruelle.

Estim. 1 000 - 1 500 EUR

Fri 07 Jun

PARQUIN, Denis-Charles (1786-1845). Souvenirs and campaigns of an old soldier of the Empire. By a captain of the Imperial Guard, ex-officer of the Legion of Honor, now a political prisoner in the citadel of Doulins. With portrait of the author. Paris, Administration de Librairie. 1843. 2 volumes in 1 in-8. (8 pages), 318 pages ; (2 ff), 288 pages, (2 ff) errata, 1 folding table. 1/2 cherry chagrin, spine decorated with gilt fillets and boxes (Lemardeley bookbinder's barely legible signature). A very fine copy of the extremely rare first edition of these memoirs written during Parquin's incarceration in the political prison of Doullens. Sentenced to 20 years for his participation in the Boulogne expedition, Parquin died in prison in 1845. They were published anonymously by a discreet "Administration de Librairie", whose address, "25 rue Notre Dame des Victoires", was misleading, and which did not appear in the 1843 Annuaire Firmin-Didot. In its December 1843 issue, the Bibliographie de la France advertises Volume I of Les Souvenirs, noting that "nothing indicates the number of volumes the work should have". Volume II, although also dated 1841, was probably published in 1844 or 1845: but Bibliographie de la France never announced it. These two volumes are missing from many institutions. It is one of the mythical works of Empire libraries. "These memoirs of a light cavalry officer, happily written, deserve their reputation" (Tulard, 1117). A pencil drawing with ink highlights (circa 1840?) has been added and laminated to the first blank page. It shows Napoleon, from behind, and three soldiers. One of them writes: "Sire notre Empereur, pardonnez si à votre approche nous avons un coup de soleil". Ex-libris of the Bibliothèque de la Moskowa.

Estim. 4 000 - 6 000 EUR

Thu 20 Jun

GOETHE (Johann Wolfgang von). Autograph letter signed "JW v Goethe", addressed to Christian Gottlob von Voigt. Weimar, October 7, 1818. 2 pp. in-4. As Minister of State of the Grand Duchy of Weimar, Goethe was responsible for reorganizing the library and museum in Jena. Here he proposes that Georg Gottlieb Güldenapfel be released from his duties at the periodical Neue Jenaische Allgemeine Literaturzeitung (edited by the philologist Heinrich-Karl Eichstädt), so that he can devote himself to the Jena university library currently being set up (under the orders of the same Eichstädt). " ... Wunsch u[nd] Winck, wie ich hoffe, gemäß thue folgenden Vorschlag. 1) Geh[eimer] Hofr[at] Eichstedt entläßt Prof[essor] Güldenapfel zu Weynachten in Frieden, welcher Besoldung u[nd] Deputat behielte. 2) Benamst G. H. R. Eichst. Ein Subjeckt das er an dessen Stelle setzen will. Diesem können wir 8 Scheffel Korn 8 Sch[effel] Gerste aus der Museums Casse versprechen. Für Anschaffung und Verantwortung trage Sorge. Bey Abfassung des Museums und Bibliothecks Berichtes beseitige diese Sache indem ich ihrer nur im Vorbeygehn als abgethan gedencke, und höchste Billigung des Geschehnen erbittend. Doch wünschte vorerst daß mein Vorschlag Güldenapfeln ein Geheimniß bliebe, damit man sich vor allen Dingen seiner künftigen Thätigkeit bey der Acad[emischen] Bibliotheck, nach Befreyung von der Literaturzeitung versichern könne. Indessen beeile die Aufsätze zu den Berichten, sie E[ure] Exzell[enz] vorzulegen... " WRITER AND STATEMAN CHRISTIAN GOTTLOB VON VOIGT (1743-1819) was a friend of Wieland, Schiller, Herder and Goethe. He shared with Goethe the position of State Councillor of the Grand Duchy of Weimar - where he also held a position in library administration.

Estim. 300 - 400 EUR

Fri 07 Jun

[WANTED NOTICE] Criminal Trombinoscope. [New York, circa 1880-1900]. Wooden cabinet (75.2 x 58.2 x 26 cm), door decorated with an original oil painting, opening onto 10 hinged pivoting racks, each with 25 slots, housing 100 photographic portraits, 9 x 5.5 cm. Extraordinary system cabinet designed to hold photographic portraits of wanted criminals: it was made in the United States around 1880, probably for a New York detective agency. It contains a collection of 100 photographic portraits of American criminals, on albumen paper, dating from the late 19th century. 34 portraits are stamped "C. W. Bigden photographer", and 2 are stamped "Fay photography". Most of them bear handwritten indications on the back, giving the identity and description of the criminal, the date of arrest, the sentence, and so on. These include Charles Brown "The Murderer of Berkley"; Frank Weader "Horse Thief"; Joseph Quinn "Pickpocket"; William Scholl wanted for "Bruglary", etc. The door closing the cabinet is adorned with a large oil painting depicting a crime scene at night. An anonymous naive painting: the murderer turns as he leaves, while his victim lies on the ground with his throat slit. The night scene seems to represent London, and the clock tower in the background, indicating the time of the crime, appears to be Big Ben. However, as the corpse is that of a man, it cannot be Jack the Ripper, who only preyed on women, occasional prostitutes. A unique object, the most curious unearthed by Philippe Zoummeroff. It was featured in the Crimes et légendes catalog published by the Serge Plantureux bookshop (1991, no. 800: with cover reproduction). Provenance: Zoummeroff Collection (Zoummeroff sale: Bibliothèque Philippe Zoummeroff. Crimes et Châtiments, May 16, 2014, no. 188)

Estim. 15 000 - 20 000 EUR

Fri 07 Jun

CERVANTES (Michel). DON QUICHOTTE DE LA MANCHE. Lausanne, Payot, 1948. One volume in-12, full publisher's decorated boards, illustrated color dust jacket. This children's edition was still very popular after the war. Illustrated with eight color plates by J. J. Mennet. Palau does not mention it. (Attached). [CERVANTES]. DON QUICHOTTE. Paris, Librairies-imprimeries réunies. L. Martinet, [1948?] Album in-4°, full publisher's illustrated boards. Published in the "Bibliothèque de la Jeunesse et de l'Enfance" collection, the adventures of Don Quichotte are followed by Ali-Baba, Gargantua, Baron de Krack, L'oiseau bleu and Riquet à la Houpe. The color illustrations are by Myrbach. (Included). CERVANTES SAAVEDRA (Miguel). THE WONDERFUL STORY OF DON QUIXOTE DE LA MANCHE. Liège et Paris, Chagor, [1950?] One volume in-4° (253 pp, 1 ff table) publisher's color illustrated boards. A fine children's publication with text adapted by Tom Louis. The illustrations, including seven in-text color illustrations, are by Alexis Peclers. REPRINT OF ILLUSTRATIONS BY LORIOUX. (Included). CERVANTES. DON QUICHOTTE Paris, Librairie Hachette, [1951]] Plaquette in-8° (60 pp, 1 ff) full red cardboard illustrated with a color plate by F. Lorioux. Withdrawal of the 1933 edition. From the collection des grands romanciers. Black and white illustrations by Félix Lorioux. Printed by Brodard et Taupin. SMALL TEXTBOOK. (On joint). CERVANTES. DON QUIJOTE DE LA MANCHA. NOVELAS EJEMPLARES. Toulouse / Paris, Privat/ Didier, [1951]] Small volume in-12, beige illustrated boards (Publisher's binding). Collection Privat des classiques espagnols. Texts annotated by Th. Alaux and L. Sagardoy. Small textbook with annotated excerpts from Le Quichotte and Les Nouvelles exemplaires. Includes vocabulary notes and pertinent questions.

Estim. 150 - 200 EUR

Wed 19 Jun

[BAUDOUIN DE FLANDRES]. LHystoire et cronicque du noble et vaillant Baudouyn conte de Flandres qui espousa le dyable. Small in-4, navy blue morocco, triple fillet with armorial supra-libris of the Mello library in the center, 5-nerve spine nicely decorated with small irons, interior lace, edges gilded on marbling ( Trautz-Bauzonnet). Bechtel, 57/B-65 // Brunet, I-7076 // Fairfax Murray, 26 // Hain, 2707 // USTC, 79155. (66f.) / A8, B4, C8, D-E4, F-G8, H-L4, M6 / 38 long lines, gothic car / 130 x 187 mm. Eighth edition in Gothic type, reported by Bechtel. Prose setting of an earlier poem whose author is unknown. It tells the story of Baudouin IX, Count of Flanders, who married a devil, was set on the right path by a hermit, then took part in the Crusade and remained a prisoner of the infidels for twenty-five years. He then returned to Flanders, where his daughter Jeanne, wife of Ferrand of Portugal, had him put to death. A curious romanticized story of the real Baudouin IX, Count of Flanders, who became Emperor of Constantinople in 1204 and was killed in 1206. Profusely illustrated edition with a large woodcut on the title depicting Baudouyn and the dyable, his future wife, on horseback in a forest, another large woodcut on the last leaf depicting the Last Judgment, 54 woodcuts in the text, 13 of which are repeated, the printer's mark on the verso of the last leaf and numerous initials. A very fine copy bound by Trautz-Bauzonnet with the arms of Baron Seillière. USTC lists only one copy in private hands and none in public libraries. Angular repairs to title and 3 leaves. Provenance: Nicolas Yemeniz (May 9, 1867, no. 2339), Baron Achille Seillière (supra-libris, absent from sales in 1887, 1890 and 1893) and Fairfax Murray (label, no. 26).

Estim. 12 000 - 15 000 EUR

Thu 20 Jun

VOLTAIRE (François-Marie Arouet dit). Letter signed "V" [to the Geneva printer and bookseller Gabriel Cramer]. S.l., [October 1767]. One p. 1/3 in-4, trace of stamp in margin. BEAUTIFUL LETTER CONCERNING SEVERAL EDITIONS OF HIS WORKS. "This world-cy, as I have seen it for a long time, is a perpetual war. My dear Caro must know how I treated DUCHENE'S EDITION "AU TEMPLE DU GOUT" OU DU DEGOUT, and how I said and said again, printed and reprinted that THIS IGNORANT'S EDITION WAS DETESTABLE. His widow, who knows no more than he did, has made a new in-12 edition in line with that of my dear Caro. May God grant that it is accurate. I don't know whether Duchêne and his associates have taken out a privilege. All I can do and say is that I recognize no other edition than that of my dear Caro and those that will conform to it. I will certify that Panckoucke's edition is perfect, although I have not seen it. The said Panckoucke must be perfectly aware of the edition of LA HENRIADE and the plays by Duchêne, who Duchêne never knew I had done any other work. I believe that his edition is in-12 and that it does not have the insolence to defy an in-4° which is made for libraries. I've been told that Mr de Sartines [Antoine de Sartine, Lieutenant General of the Paris Police] greatly favors his friend Pankouke. That's all I knew. I'll do whatever my dear Caro wants...". He is referring here to the Parisian printer-librarians Nicolas-Bonaventure Duchesne (whose widow Marie-Antoinette Cailleau took over the business in 1765) and Charles-Joseph Panckoucke.

Estim. 300 - 400 EUR

Thu 20 Jun

Quatrain du Mantiq al-Tayr (Conférence des oiseaux) de Farid al-Din 'Attar (m.1229) - By Mir 'Ali (or followers) , Central Asia, Bukhara, 16th century Poetry, ink and opaque pigments heightened with gold on paper, 4 lines. of fine black nasta'liq in poly-lobed cartouches in reserve on a cobalt-blue background decorated with tchi clouds and dense floral scrolls. Located in Dar al-Saltana Bukhara in the month of Sha'ban. Signed Mir 'Ali in the lower triangle, on a background decorated with foliage. Mounted on an album page with a beige border with arabesques of gold scrolls, and margins with strong green paper decorated with animals among trees. Condition: a few repaints, notably at the bottom of the signature, and traces of moisture in the margins that do not affect the calligraphy. Calligraphy: 16.7 x 9.5 cm Full page: 31.2 x 20.5 cm Provenance : Public sale, France. Private collection since the 1980s. Known as the Sultans' calligrapher, Mîr ʿAlî Heravi (d.1544) was one of the finest calligraphers of the Timurid period living in Herat and working in the royal libraries of many governors. He moved in 935 AH, 1528-1529 to Bukhara, forced by Ubaydullah Khan (Shaybanid king). He died there 16 years later. An illuminated quatrain signed by Mir 'Ali Harawi (or atelier), Central Asia, Bukhara, 16th century Known as the Sultans' calligrapher, Mîr ʿAlî Heravi (d.1544) was one of the best calligraphers of the Timurid period living in Herat and working in the royal libraries of many governors. He moved in 935 AH, 1528-1529 to Bukhara, forced by Ubaydullah Khan (Shaybanid king). He died in this city 16 years later.

Estim. 3 500 - 5 000 EUR

Wed 12 Jun

[TROLL (Johann Heinrich)]. - [Vues du Jardin impérial et royal des Tuileries, dessinées d'après nature et gravées par Troll.] Paris, Bance, [1807]. Série complète des huit vues du Jardin des Tuileries gravées à l'aquatinte, en ff. (sans la couverture ni les feuillets de titre). ""Originaire de Winterthur, Troll fut dessinateur et de graveur ; Après avoir été l’élève d'Adrian Zingg (1734-1816) à Dresde, il voyagea en Italie et passa ensuite quelques années à Paris. Fuyant la Révolution française, Troll se réfugia en Hollande avant de retourner en Suisse en 1793 ; Il revint s’installer durablement à Paris en 1798, période à laquelle il réalisa notamment cette série de vues des jardins des Tuileries."" Notice INHA (cote FOL I 214, Bibliothèque Jacques Doucet). Les vues représentent notamment des sculptures dont certaines ont disparu ou ont été déplacées entre temps (Les Lutteurs, Méléagre, Le Centaure et l'Amour, La Paix entre les Grecs et les Romains (Oreste et Electre), Apollon et Daphné…). Bel ensemble, rare et recherché. Qqs rousseurs. On y joint : - une suite de 5 gravures du 19e s. d'après Véronèse (La Chasteté de Joseph et Le Respect), Mieris (Les Bacchantes), Le Tintoret (Jupiter & Léda), Le Padouan (Mars et Vénus). Qqs rousseurs. - une gravure de Moreau le Jeune pour l'Histoire philosophique du Commerce des Indes de l'abbé Raynal (un Anglais de la Barbade vend sa maîtresse) - une gravure d'après Teniers (Cabinet du duc de Choiseul) - un paysage de Carache gravé par Massé (mouillures) - 2 portraits gravés en couleurs au pointillé par Dubrusle et Augrand (La Glaneuse et La Vendangeuse). Rousseurs. - une gravure en bistre d'après F. Boucher (Vénus et Cupidon)* - 5 gravures de cachets révolutionnaires - un petit portrait peint de Napoléon III - un portrait gravé de Robespierre (19e s.)

Estim. 200 - 300 EUR

Wed 12 Jun

SENEQUE. - Senecae Tragoediae. Venise, Filippo Giunta, 1506. In-8 (167 x 98 mm) de 224 ff. (coll. a-z⁸ &⁸ A-D⁸ (D8 blanc)). Lettrines rubriquées en rouge et bleu. Veau brun, dos à nerfs orné à froid, étiquette de titre manuscrite, plats ornés d’un large décor de roulettes à froid, tranches ciselées (reliure de l’époque ). Frottés, manque de cuir en queue du dos, coins émoussés, fermoirs manquants. Légères mouillures marginales. Marginalia manuscrits (fin XVIe siècle). Petits travaux de vers sur les gardes. Belle édition en caractères italiques renfermant pour la première fois un commentaire de la vie de Sénèque et les argumenta de Benedetto Riccardini. ""Après l’édition parisienne de C. Fernandus, celle de Benedetto Riccardini, dit ‘Philologus’ est à nouveau éditée en Italie, mais à Florence, chez le célèbre imprimeur F. Giunta. Elle témoigne de recherches typographiques et d’organisation de la page nouvelle, en insérant un colophon en cul-de-lampe et en pratiquant les italiques. Le texte est bien plus serré, sans doute destiné à une lecture plus assidue, par un public plus nombreux, d’autant que l’exemplaire adopte un format réduit. On y retrouve des arguments, mais dans une nouvelle version : ils sont en prose et assez développés (si bien que la seconde édition Juntine, de 1513, en proposera une version abrégée)."" Pascale Rey, ""Les éditions des tragédies de Sénèque conservées à la Bibliothèque nationale de France (XVe-XIXe s.)"", in L’Antiquité à la BnF, 17/01/2018, https://antiquitebnf.hypotheses.org/1643). Ex-libris (congrégations religieuses) et notes manuscrites au titre et en haut de la première page (dont une citation de Sénèque).

Estim. 1 500 - 2 000 EUR

Tue 18 Jun

André BRETON (1896-1966). Autograph manuscript signed, L'Art des fous, la clé des champs, [1948]; 2pages in-4, with erasures and corrections. Interesting text on art brut and madmen. Published in Les Cahiers de la Pléiade (no. 6, Fall 1948-Winter 1949), with a dossier devoted to art brut, it was collected in 1953 in La Clé des champs, and reprinted in 1965 in Le Surréalisme et la Peinture. Breton responds to Jean Dubuffet's "manifesto de l'Art brut", which stresses the interest of works by mentally ill people committed to psychiatric institutions. He also cites an article by Lo Duca, on "Art and the Mad", and studies by Jacques Lacan and Gaston Ferdière... And he concludes: "I will not be afraid to put forward the idea, paradoxical only at first sight, that the art of those classified as mentally ill constitutes a reservoir of moral health. Indeed, it escapes everything that tends to distort the testimony we're dealing with, which is of the order of external influences, calculations, social success or disappointment, etc. The mechanisms of artistic creation are here of the utmost importance. Here, the mechanisms of artistic creation are freed from all hindrance. Through an astonishing dialectical effect, claustration, the renunciation of all profits and vanities, despite their individual pathetic aspects, are here the guarantors of the total authenticity that is lacking everywhere else, and from which we are more and more impaired every day". Former Jacques Millot collection (Bibliothèque du Professeur Millot, June 15, 1991, no. 24).

Estim. 1 500 - 1 800 EUR

Tue 18 Jun

Albert CAMUS (1913-1960). Typescript signed with autograph additions and corrections, [L'Été à Alger, 1937]; 12pages in-4 or in-fol. and 1page in-12. Working typescript of a complete chapter of Noces (Alger, Edmond Charlot, 1939); in the edition, it will be dedicated to Jacques Heurgon. This highly corrected typescript contains interesting variants. It was used for printing, with an indication that a particular passage "should be put in a note". Camus speaks of his love for Algiers: "These are often secret loves, those one shares with a city"... At the end of the first paragraph, Camus strikes out: "and having nothing to desire, he can then measure his present", and corrects: "and assured of his desires, he can then measure his riches". He describes the deserted city in summer, the baths at the port, the freedom of bodies golden and burnished under the sun, the white cubes of the Kasbah, the dance hall on Padovani beach, the neighborhood cinemas, the intensity of life of a "people without past, without tradition and yet not without poetry"... On page 11, on a small sheet of paper, Camus adds: "Everything that exalts life at the same time increases its absurdity. In the summer of Algeria, I learned that only one thing is more tragic than suffering, and that is the life of a happy man. But it can also be the path to a greater life, because it leads to not cheating. Former Jacques Millot collection (Bibliothèque du Professeur Millot, June 15, 1991, no. 44).

Estim. 1 500 - 2 000 EUR

Wed 19 Jun

ZOLA (Émile). Une page d'amour preceded by a preface with drawings by Édouard Dantan. Paris: Librairie des Bibliophiles, 1884. - 2 volumes in-8, 246 x 164: portrait, (2 ff.), IV, 261 pp., (1 f.), 5 plates, printed cover; (2 ff.), 287 pp. 5 plates, printed cover. Dark green morocco, mosaic floral garland in brick, olive and brown morocco framing the boards, ribbed spine decorated in the center with a mosaic flower in the same morocco, gilt fillet, gilt leaves and mosaic flowers framing the inside, brocaded silk lining and endpapers, double endpapers, gilt edges on witnesses, cover preserved (Ch. Meunier). New edition of the eighth novel in the Rougon-Macquart series, printed in an edition of 250 copies. Published in the Bibliothèque artistique moderne collection, it is illustrated with a frontispiece portrait of the author and 10 plates, etched by Albert Duvivier after drawings by Édouard Joseph DANTAN (1848-1897). A precious copy, one of 20 on Whatman paper (no. 33), including a suite of illustrations before the letter. It has been exceptionally enriched with the rare portrait of Zola engraved by Henri Toussaint after a photograph by Nadar, in three proofs on laid paper, signed by the engraver, as well as one of the 10 proof suites of the 11 plates in first state on japon, the first initialed by the engraver and justified "n° 1 sur dix". A very fine copy in a mosaic binding by Charles Meunier. Spines slightly faded. A few foxing marks, notably on the front cover of the second volume and on the japon prints.

Estim. 400 - 600 EUR

Wed 12 Jun

ROUSSEAU (Jean-Jacques). - Les Confessions [première partie] de J. J. Rousseau, Suivies des Rêveries du Promeneur Solitaire. Genève, sn, 1782. 2 volumes in-8 de [1] f., 471 pp., [1] f., 279-[1]-300 pp. (Manque les faux-titres). Veau raciné, dos lisses ornés, p. de titre et de tomaison en mar. rouge (reliure de l'époque, restaurée). Le titre du tome I est orné d'un fleuron, celui du tome II d'une urne. Lég. rousseurs éparses. ÉDITION ORIGINALE DE LA PREMIÈRE PARTIE DES CONFESSIONS. L'édition originale des Confessions à fait l'objet d'une controverse selon les différents bibliographes, entre cette édition séparée, dite ""en gros caractères"" et les tomes X (pour l'édition in-4), XIX et XX (pour l'édition in-8), XX et XXI (pour l'édition in-12) de la collection des Œuvres complètes, et les tomes VIII et IX des Œuvres posthumes, toutes datées de 1782 à Genève. Les recherches récentes s'appuyant sur les commentaires publiés dans la livraison de juin 1782 du Journal Helvétique, tendent à considérer cette édition séparée de la première partie des Confessions comme étant bien l'originale. La deuxième partie de cette édition séparée parut en 1789, avec les tomaisons III et IV mais avec le titre ""Seconde partie des confessions"" ; les deux premiers volumes constituant ainsi un ensemble complet d'un ouvrage distinct de la seconde partie. Pierre Alexandre du Peyrou, ami et éditeur de Rousseau, avait en effet affirmé à l'époque que l'édition de la seconde partie s'était faite ""en violation de la volonté de l'auteur, suivant laquelle cet ouvrage [la seconde partie] ne devait voir le jour qu'au commencement du siècle prochain"". (Dufour 340 ; Rousseau, Œuvres complètes, T. I, Bibliothèque de la Pléiade, Gallimard p. 1889 ; Tchemerzine V, 562.) Bel exemplaire bien relié. Ex-libris moderne J. Baltrusaïtis. Ex-libris armorié d'Archibald Seymour (13e duc de Somerset).

Estim. 300 - 500 EUR

Fri 14 Jun

Divân by Âsafî Heravî Eastern Iran, Khorassan, probably Herat, Timurid or Safavid period, early 16th century Initial illuminated double page from a manuscript on paper, each laminated on a cardboard backing. Polychrome gouache, gold and black ink. Wide margin adorned with gilded arabesques and large frame decorated with floral motifs framing six text cartouches of a poem on love with an invocation to God, praying him to give satisfaction to a loving heart, in nasta'liq script arranged in staggered rows. Old no. 101 glued to the spine on the cardboard backing to which the two pages are attached. (Wear, double page separated, slight discoloration, margins slightly cut, pages laminated to cardboard backing. 27.4 x 17.2 cm and 27.7 x 16.8 cm Provenance: Former collection Mihran Sevadjian (1884- 1964 ?); Sale Maîtres G. Muel et E. Ader, Persian Art. Collection Sevadjian. 2nd sale, Hôtel Drouot, Paris, November 23, 1960, lot 101. Rare and beautiful double page of a poem by Âsafî Heravî. Âsafî Heravî, Âsaf b. Na'îm-al-dîn Ne'matallâh b. 'Alâ-al-dîn 'Ali Qohestânî, was a poet of the Timurid period, who died in 923H./1517. His father was the vizier of the Timurid sultan Abû Sa'îd (r. 1451-69) and his pen name Âsafî comes from the name Âsaf, a conventional title for a vizier. In Herat, he was a pupil of the great poet 'Abdal- Rahmân Jâmî (Jami) during the reign of the Shaybanid dynasty. He also lived part of his life in Shiraz and sometimes wore the Shîrazî nisba. His works include a mathnawî and over 400 gazals (lyric poems) totalling over 2,000 verses, collected in a Dîvân (Collected Poems) (Encyclopaedia Iranica, Âsafî Heravî, https: //iranicaonline.org/articles/asafi-heravi-asaf-b). This sumptuously illuminated double-page spread of a continuous poem corresponds to the very beginning of the first gazal of Âsafî Heravî's Dîvân, as the end of each distich ends with the letter alif. This Dîvân was probably copied just after the poet's death. ISLAMIC ARTS Rare set of 16th-century Safavid paintings and illuminations from the former Sevadjian collection (Lots 17 to 22) Mihran Sevadjian (1884-1964 ?) was an Armenian dealer in oriental art and archaeology, originally from Egypt and based in Paris near Drouot, successively at 19 rue Buffault, 37 rue de Châteaudun and 17 rue Le Peletier. He lent numerous works to the 1903 and 1907 Paris exhibitions of Muslim art, as well as to the 1910 Munich exhibition, and sold to museums, notably the Louvre. Part of his collection was sold at Drouot, Paris, on June 1, 1927 and April 13-14, 1932. His entire collection was subsequently sold at Drouot on November 23, 1960, April 18-20, 1961 and October 31, 1961, when Sevadjian was elderly and in financial difficulties. At the sale of November 23, 1960, which included the five lots shown below, the Musée du Louvre acquired nine miniatures (lots 2, 29, 33, 36, 150, 151, 52 and 154), now inventoried as MAO 367 to MAO 375. Several of these pages almost certainly came from the same albums (muraqqa') as those presented here. We would like to thank Francis Richard, Honorary Curator of the Bibliothèque Bibliothèque Nationale de Paris for his help in compiling these notes, and Armen Tokatlian, art historian, for his information on Sevadjian.

Estim. 1 500 - 2 000 EUR

Wed 19 Jun

Pierre de RONSARD. Elegie sur les troubles d'Amboise. 1560. Booklet in-4, modern vellum. Barbier, Discours, 1 et seq. // Tchemerzine-Scheler, V-437. (6 f.) / A4, B2 / 164 x 225 mm. Very rare first separate edition of this work, which marks the birth the birth of a patriotic and committed literature, unknown before Ronsard (Barbier). The text had previously appeared in the first collective edition of his works, in the Cinquième livre des Poèmes. Apart from typographical errors that were corrected in later editions, the importance of this edition is revealed by verse 7 on folio A2: the word livres will later be replaced by the word arms. As the enemy seduced by books The people devoye who falsely follow him We must confuse them by arguing with books With books to assail him, with books to answer him which will become: You have to confuse him by arguing over books With weapons to assail him, with weapons to answer him. This hardening of tone was prompted by the Vassy massacre that had just taken place, and by the reactions of indignant Protestants. Ronsard resolutely sided with the king, encouraging him to fight his enemies not with books, but with arms. Jean-Paul Barbier-Mueller, in his Bibliographie des discours politiques de Ronsard, has identified three different editions, giving numerous details to help identify them. The present copy contains all the first printing remarks noted by Barbier-Mueller on the copy in the Bibliothèque publique et universitaire de Genève. This primitive state of the Élégie sur les troubles d'Amboise is extremely rare. Barbier thought the Geneva library copy was unique. There are now two!

Estim. 2 000 - 3 000 EUR

Sat 15 Jun

PENDULE dite " à l'Africaine " Clock symbolizing Africa in patinated bronze and gilded bronze, featuring a black huntress seated on the movement, dressed in a loincloth, adorned with a necklace, carrying a quiver and holding a bow, accompanied by a feline and a tortoise.Sulfide eyes.Base adorned with a bas-relief with Putti symbolizing fishing, agriculture and hunting. Enamel dial with Roman and Arabic numerals signed Normant, Paris. Six toupie feet. First half of the 19th century. H: 45 cm - L: 37 cm The taste for exoticism in vogue in the 18th century, due in particular to the writings of Jean-Jacques Rousseau, Bernardin de Saint Pierre, William Defoe and Chateaubriand, gave rise to a number of "negro" clocks representing trades (porters, nannies, sailors, gardeners, etc.), allegories (America and Africa) or literary subjects (Atala, Robinson Crusoe), all with a black character. Most were designed by Simon Deverberie (1764- 1824), bronzemaker and merchant, based in rue des Fossés du temple from 1801 to 1821, who deposited his model drawings with the Cabinet des estampes on 3 Pluviose an VII ( e 30-fol). They were engraved and published in a collection entitled "Modèles de Pendules" kept at the Bibliothèque Nationale (4 RES 121) with the title: "Inventé par De Verberie et Cgnie, Tout se fait dans leur manufacture le bronze la dorure et l'Horlogerie rue des Fossés du temple n° 47 à Paris". Comparative bibliography: H.Ottomeyer, P.Proschel, Vergoldete bronzen, Munich, 1986, page 81 Musée de Saint Omer , Hôtel Sandelin " La pendule au nègre" 1978, N°16 P.Kjelberg. Encyclopédie de la pendule française . Editions de l'Amateur, Paris 1997, page 351 Similar example: Musée des Arts Décoratifs, Paris (inv.35 193) Experts: Jacques Bacot and Hughes de Lencquesaing

Estim. 8 000 - 12 000 EUR

Thu 20 Jun

STENDHAL (Henri Beyle, dit). Autograph letter signed "Beyle", in English, addressed to M. Moore. S.l., "18 7bre" [probably 1826]. One p. in-12, address on spine, some ink transfer at fold. "My dear Sir, I will send you tomorow the letter for M. Col[burn]. I hope you have the chek for the 1200 f. due the 2d of September. I am, my dear Sir, your most obliged servant..." From 1822 onwards, Stendhal contributed to the London-based New Monthly Magazine (where his articles were translated into English), published by Henry Colburn, whose representative in Paris was Moore. STENDHAL, ANGLOPHILE AND ANGLOPHONE. As a young man, he learned English on his arrival in Paris, and devoted himself to reading the great authors in the text. Having met Lord Byron in Milan in 1816, he subsequently socialized with Englishmen in Paris, many of whom became close friends, such as Sutton Sharpe, Sarah de Tracy and Edward Edwards. He also regularly attended readings of English literature at the home of painter and writer Étienne Delécluze. He made several trips to England himself, in 1817, 1821 and 1826, and was a regular reader and contributor to English-language magazines. His first literary pamphlet was dedicated to Racine and Shakespeare, and his works in general were soon translated for English readers. Letter not included in the Correspondance published in the Bibliothèque de la Pléiade. ATTACHED: LOUŸS (Pierre). Autograph letter signed. S.l., June 14, 1916. "THE TRUE DOCTRINE OF LIFE... CONSISTS IN FULFILLING GOD'S WILL AND NOT ONE'S OWN".

Estim. 800 - 1 000 EUR

Wed 19 Jun

[Joachim DU BELLAY]. La Deffence, et illustration de la Langue Francoyse. By I.D.B.A. In-8, burgundy morocco, triple fillet, nicely decorated 2-nerved spine, interior lace, gilt edges ( Godillot). Brunet, I-749 // Cioranescu, 8298 // Tchemerzine-Scheler, III-38 // USTC, 40665. (48f., last blank) / a-f8 / 99 x 161 mm. Extremely rare first edition of one of the founding texts of the French language. Born into a noble family in 1522, in Liré, Anjou, Joachim Du Bellay devoted himself from adolescence to the study of classical literature. With his wealth of knowledge, he moved to the courts of François I and Henri II, where he indulged in gallantry like his fellow poets. Nicknamed the French Ovid, he joined the Pléiade along with Ronsard and Baïf. He followed his uncle Cardinal Du Bellay to Rome, where he spent three years, before returning to France and being appointed canon and archdeacon of Notre-Dame de Paris. In delicate health, he died some time later, in 1560, at the age of thirty-eight. His Deffense et illustration de la langue francoyse is remarkable for its style and subject matter. In it, he argues that the French language can rise to the heights of the Greek and Latin languages. To develop the original powers of the national language, Du Bellay gives a whole series of tips on how to enrich lexicon and syntax, create new genres and regulate versification (En français dans le texte, no. 49). The first edition is very rare. A note by Jean Bourdel indicates five or six known copies, including one at the BnF, the others at Mouravit, Fugger and Tannery. This note is erroneous, as there are at least nine copies in public libraries, including three in France. This in no way detracts from the rarity of this edition, which is very difficult to find. This copy passed through the hands of Lucien Scheler, who noted in pencil on one endpaper: Collationné L.S. Réglé. A very fine copy, perfectly established by Godillot.

Estim. 8 000 - 10 000 EUR

Wed 19 Jun

ZOLA (Émile). Les Trois villes. Paris. Paris: Bibliothèque-Charpentier, 1898. - In-18, 180 x 116: (2 ff.), 608 pp. printed cover. Red half-maroquin with corners, gilt fillets, ornate spine, gilt head, untrimmed, cover preserved (A. Meyer). First edition of the third novel in the Les Trois villes cycle inaugurated with Lourdes in 1894. A precious copy, on publisher's paper, offered by the author to his lawyer Fernand Labori (1860-1917), enriched with this very fine autograph signed letter on the false title: to Fernand Labori // to the great citizen, to the elo- // quent defender of truth // and justice, whose // word will certainly // germinate tomorrow's harvest, // - to the friend and com- // pagnon pagnon, in the giant // struggle from which we will emerge // // victorious. victorious. // Emile Zola That same year of 1898, Émile Zola's trial took place before the Seine Assize Court, following the publication on January 13 of his famous letter to the President of the Republic in L'Aurore, under the title J'accuse! Fernand Labori was one of Zola's lawyers in this case, which ended on February 22 with Zola being sentenced to three years in prison and fined three thousand francs. Paris was published just a few days after the trial, on March 1, 1898, and this dispatch, contemporary with the publication, perfectly illustrates Zola's desire to fight despite the outcome of the case. It also echoes the contents of the book, in which, according to Léon Blum, "never has M. Zola developed with greater lucidity and force his optimistic vision of humanity on the march" (Léon Blum in Revue Blanche, April 1, 1898). A good copy in a contemporary binding by Alexandre Meyer (1834-1905). Some wear to binding. Provenance: Fernand Labori, with dispatch from the author.

Estim. 2 000 - 3 000 EUR

Thu 20 Jun

[ENLUMINURE]. Fragment of a choir book (Gradual or Antiphonary?) Historiated Q initial Adoration of the shepherds France, Paris, circa 1530-1540 Anonymous illuminator influenced by the Groupe Etienne Colaud (?) (active in Paris from 1512 to circa 1540) Dimensions: 152 x 170 mm Illumination mounted on a cardboard base, framed in ink and marked "Peinture sur vélin" (size of cardboard base: 186 x 202 mm). This handsome historiated initial can be traced back to the 1520s-1540s. The historiated initial is inscribed in a blue lettering with white highlights, set against a liquid gold background and decorated with vine leaves and floral motifs. This type of motif is found in an Evangeliary preserved at the Bibliothèque Sainte-Geneviève in Paris, MS 106, and is associated with the Colaud group and possibly with an artist known in the archives as Jean Leclerc (?), a collaborator of Etienne Colaud (see M.-B. Cousseau, Enlumineur anonyme (Jean Leclerc?), in Enluminures du Louvre (2011), cat. 127). In some respects, the present illumination recalls the work of an artist identified as Martial Vaillant, son-in-law of Etienne Colaud, documented in Paris since 1523 (he was one of the governors of the Confrérie des Enlumineurs Saint-Jean l'Evangéliste), painter of a Book of Hours for the Dauphin François (Paris, BnF, NAL 104, Heures peintes en deux campagnes, l'une dans les années 1530 et l'autre plus tard dans les années 1550 pour les encadrement ; see M.-B. Cousseau, Etienne Colaud et l'enluminure parisienne sous le règne de François Ier (2016), pp. 87-91). Further research is needed to better identify the illuminator of this initial, which also shows influences from the major artist of these decades, namely Noël Bellemare, whose compositions influenced the artists of the "Colaud group". Expert: Ariane ADELINE

Estim. 1 000 - 1 500 EUR

Thu 20 Jun

SET of 6 bound volumes. CLEOMEDE. Meteora græce et latine. Burdigalæ, apud Simonem Milangium, 1605. In-4, supple gilt parchment; heavy spotting (contemporary binding). - DELLA PORTA (Giambattista)]. De Furtivis literarum notis vulgo de Ziferis libri quinque. Neapoli, apud Joannem Baptistam Subtilem, 1602. In-folio, stiff replacement parchment, cardboard slipcase (modern binding). New, enlarged edition of this work originally published in 1563. - GIDE (André). Les Cahiers d'André Walter. Typescript. [Probably 1920-1930]. In-4, cloth-backed paperback volume, shabby hardback folder and slipcase. Preparatory volume for a reprint. - LA RUE (Charles)]. Manuscript entitled "Astrologiæ nova methodus". [17th century]. In-folio, semi-hard parchment (period binding), modern drawings on boards, cardboard slipcase (modern slipcase). Copy of a work published anonymously by Charles La Rue, a Capuchin under the name Yves de Paris. The print was condemned to the fire. - LEFEVRE D'ÉTAPLES (Jacques)]. In hoc opere continentur totius philosophiæ naturalis [Aristotelis] paraphrases. Parisiis, ex officina Simonis Colinæi, 1521. In-folio, brown calf with cold decoration on wooden boards; first cover detached (contemporary binding). - SAINT-CYRAN (Jean Duvergier de Hauranne, abbé de)]. Manuscript entitled "De la pauvreté". [17th century]. In-4, approx. 65 pp. in stiff antique parchment with later ink title on spine, volume housed in black chagrin-backed slipcase (Ateliers Laurenchet). Almost complete copy of his Pensées chrétiennes sur la pauvreté (originally published in 1670), with the exception of the beginning and end of the text. Followed by a French translation of some psalms, and finally the French translation of part of a letter by Saint Bernard. Antique inscription in ink on one endpaper: "De la bibliothèque de la chevalière d'Éon".

Estim. 1 000 - 1 500 EUR

Thu 06 Jun

VIETNAM, XIXe siècle - Important set of photographs on Vietnam Black and white photographic views taken by Dr. Hocquard, Médecin-Major, with the authorization of the General-in-Chief of the Expeditionary Corps 1883-1886. Various subjects including types, animated scenes, handicrafts, landscapes... Over 150 albumen prints mounted on 114 plates, handwritten captions in pencil on mounts and spine Prints: from 9.5 to 15.5 cm to 19 x 25 cm Plates: 35.5 x 46 cm - 34 x 44 cm The prints shown here are probably the first proofs that were later used for the publication of Dr. Hocquard's album "Vues photographiques", edited by Henry Cremnitz, 2 rue Crétet, Paris. Collections : - The Bibliothèque Nationale has in its collections an album presenting a selection of around 50 prints, some similar to those presented here, bearing a number and a caption printed in the images, on printed publisher's cardboard. - The Musée de l'Armée holds an album with 34 views. - The Harvard Art Museums holds a set of some 40 images. Charles-Edouard Hocquard studied medicine at the Ecole d'application du Val-de-Grâce before joining the military hospital in Lyon. Assigned to the 82nd infantry regiment in 1883, he was appointed medical officer second class, and in January 1884 voluntarily embarked for the Tonkin expeditionary corps to take part in France's military campaign in Asia. After a month-long crossing, Dr. Hocquard disembarked at Haiphong in February 1884. He travelled throughout northern and central Vietnam until April 1886. His photographs document the daily life of Tonkinese society: Mandarins and peasants, soldiers and musicians, Annamites and Chinese, notables and prisoners... On his return to Europe, Dr. Hocquard presented his prints at the Antwerp World's Fair in 1885, winning a gold medal. His photographs were published by publisher Henry Cremnitz in the form of an album in 1886. A few years later, he wrote an account of his stay in "Une campagne au Tonkin", illustrated with engravings based on his photographs, in which he commented: "I am 'Ong quan ké dên' (the great mandarin Lantern). [...] the natives sometimes take my darkroom for a sophisticated war machine, sometimes for a big lantern". Bibliography: - Docteur Hocquard, Une campagne au Tonkin. Ouvrage contenant deux cent quarante-sept gravures et deux cartes, Paris, Librairie Hachette et Cie, 1892. This story was previously published in installments in Le Tour du Monde, nouveau journal des voyages, from 1889 to 1891, under the title "Trente mois au Tonkin" ("Thirty months in Tonkin"). - Docteur Hocquard, op. cit. p. 469. Gaston Roullet (1847-1925) was a naval painter, attached in 1885 to the staff of General de Courcy (1827-1887), Commander-in-Chief of the Tonkin Corps. - Laëtitia Desserrières, Cabinet des dessins, des estampes, et de la photographie, Musée de l'Armée, 2013

Estim. 4 000 - 6 000 EUR

Fri 21 Jun

Nicolas de LARGILLIERRE (1656-1746) Portrait of Gaspard Charles-Guillaume de Vintimille, Bishop of Marseille Re-backed canvas 62.5 x 51.5 cm In its Louis XV carved and gilded oak frame. PROVENANCE : - Paris, Drouot, Sale, December 1, 1995, n°50, reproduced - Private collection, Paris BIBLIOGRAPHY : - Catalog of the exhibition Largillièrre, portraitiste du XVIIIe siècle, Montreal, Musée des Beaux-Arts, 1981, annexe II, P. 390 NOTE: - The painting will be included in the future catalog raisonné of the artist being prepared by Dominique BRÊME. - Our painting was already known from a print, preserved at the Bibliothèque Nationale, by H. COUSSIN, engraver in Aix (1709-1779) (Estampas, Sortais, Da 58, t. V, see also the Montreal exhibition catalog cited above). Although there are variations, notably in the position of the hands and certain details of the costume, we can identify the model with certainty: Charles Gaspard Guillaume de Vintimille des Comtés de Marseille, bishop of Marseille. - Although neither the painting nor the engraving are dated, the date of the marriage contract between Nicolas de Largillierre and Marguerite-Elisabeth Forest, drawn up in Paris on August 19, 1699, constitutes a terminus ante quem for our portrait. Indeed, this document (Paris, Archives Nationales, Minutier central, X, 251, published as an appendix to the Montreal exhibition catalog, p.390) includes an inventory of Largillierre's estate and mentions, on the verso of the fourth sheet, a debt by "Monsieur l'Esveque de Marseille" of "deux cens quarante neuf livres x s(ols)" (249 livres et dix sols). As the painting no longer appears in the inventory of works kept in the artist's studio at this date, we can legitimately assume that it had already been completed and delivered to its commissioner.

Estim. 8 000 - 12 000 EUR

Fri 07 Jun

JOMINI, Antoine Henry de (1779-1869). Vie politique et militaire de Napoléon racontée par lui-même au Tribunal de César, d'Alexandre et de Frédéric. Paris, Anselin, Libraire de la Garde Royale et des troupes de toutes armes. 1827. 4 volumes in-8, paperback, untrimmed. 540, 503, 540, 712 pages. Catalog of 8 + 15 pages of the Librairie Militaire Anselin catalog at the beginning of volume I. Printed covers preserved, with typographical ornament . (Some light foxing). First edition of the first 4 volumes, as issued. Jomini, born in the Swiss Canton of Vaud, was famous for his authoritative military treatises. During the Russian Campaign, he was appointed governor of Vilna in Lithuania in 1812, then of Smolensk, and finally chief of staff to Marshal Ney in 1813. In revenge against Berthier, he defected to the enemy, becoming military advisor to Tsar Alexander I in 1814. La Vie politique et militaire de Napoléon is written in the first person, as if it were the Emperor's personal memoirs. This work earned Jomini the nickname "Napoleon's soothsayer", as he seemed to understand perfectly the Emperor's way of thinking and waging war. Slipped into Volume I is a handwritten letter (39 lines on 2 in-12 leaves with postmark dated October 15, 1827), signed by General de Vaudoncourt (1772-1845), addressed to the editors of Vie Politique, Ancelin and Pochard. "I have just learned that the Vie politique et militaire de Napoléon racontée par lui-même (by M. de Jomini, as I had first guessed) has been published by you... Far from being an enemy of M. de Jomini, to whose talents I do all the justice they deserve, I am convinced that this work is written with the impartiality one should desire...". Vaudoncourt proposes to review it "with the same spirit of impartiality" in various journals, such as the Revue Encyclopédique, the Journal de l'Académie Militaire and some German newspapers. "If you would therefore like this analysis, please send me a copy of the work for this purpose..." ATTACHED: Précis politique et militaire de la campagne de 1815. Pour servir de supplément et de rectification à la Vie Politique et Militaire de Napoléon racontée par lui-même par le Général J... Paris, Anselin et Laguyonie, 1839. In-8, 284 pages. 1/2 mid-nineteenth-century stiff vellum (stamps faded on faux-titre). First edition of the fifth and last volume, or 22nd and last chapter of the Vie Politique et Militaire de Napoléon, published 12 years after the first four volumes. It is illustrated with 2 folding tables and 3 folding maps for the battle of Waterloo and the 1815 campaign. "The XXIInd chapter which I give here separately was the last of a work published twelve years ago; but as the manuscript of this campaign had unfortunately been mislaid, the publisher was forced to make up for it hastily and somewhat incompletely. The original manuscript having been found by an unforeseen event, I have hastened to restore it..." (Preface) Red stamps on title: "Cercle Militaire de Bordeaux. Bibliothèques de garnison" (circa 1880). Ex-libris Baron Charles d'Huart. In all: 5 volumes.

Estim. 700 EUR

Tue 18 Jun

Paul ELUARD (1895-1952). Autograph manuscript, [Picasso, 1951]; 9 1/4 pages on 10 leaves in-4 (one leaf torn and taped back). Draft of a lecture on Pablo Picasso (delivered in London on October 18, 1951; an important fragment was published, under the title "Le plus jeune artiste du monde" ("The World's Youngest Artist"), on the front page of the Lettres françaises issue of October 25, 1951, with the headline "Picasso a 70 ans" ("Picasso is 70"). This manuscript, written in midnight-blue ink or blue pen, features numerous important erasures and corrections. "I can easily imagine that we have just published the one hundred and seventy-first thousandth article and the one thousand two hundredth book on Picasso, that we are on our millionth photograph and that his name has become a household word [...] We have never spoken of a living painter as we speak of Picasso. And yet, this 70-year-old man can be considered the youngest artist of his time. Begun more than half a century ago, his work continues to be the most vivid in the world, surprising, outraging and, fortunately, arousing admiration and enthusiasm. [...] The truth on which Picasso relies is his own youth. [...] And today, we are not commemorating Picasso, we are inaugurating him. His strength will be great, his genius will blossom. Tomorrow will not fulfill the promise of yesterday, but the promise of tomorrow. This perpetual child, this new Faust and this new Don Juan promises to seduce, to amaze [...] What is Picasso doing today? A goat. He has used branches for its ribs, two cooking pots for its udders and bicycle handlebars for its horns. And the goat began to live. And Picasso was born"... Etc. Former Jacques Millot collection (Bibliothèque du Professeur Millot, June 15, 1991, no. 66).

Estim. 1 500 - 1 800 EUR

Fri 07 Jun

LEPAUTE Fin du XVIIIe siècle - Chased ormolu clock with white enamelled rotating discs. Column with laurels surmounted by an urn with a snake coiled at the top in a pinecone, detached "à la grecque" handles decorated with lion heads, base signed "Lepaute". Dial with double rotating white enamel disk, Roman numerals for the hours and Arabic numerals for the minutes, one minute track. Mechanical movement with key winding located in the base, hours/minutes indicated by the snake's tongue, under the base a winding square. H. 47 cm - W. 16.5 cm - D. 16.5 cm THE ROBERT OSMOND MODEL This clock is based on one of the preparatory drawings attributed to Robert Osmond, now in the Bibliothèque Doucet in Paris and illustrated in H. Ottomeyer, P. Proschel, Vergoldete Bronzen, Munich, 1986, p. 195 fig. 3.12.5. A flagship or emblematic model of neoclassicism, it was used by several watchmakers, such as our example by Lepaute. A clock, the base bearing the signature of the watchmaker Lepaute (Lepaute in Paris), is shown in S. Eriksen Early neo-classicism in France, fig. 193. In 1766, in his catalog, Lepaute describes a clock with a brown patina, the dial surrounded by a snake and resting on a truncated column corresponding to our model. Among the earliest examples of this model, in the form of a vase on a truncated column, is a work produced by the foundryman Robert Osmond and the clockmaker Lepaute in 1770, which is illustrated in H. Ottomeyer and P. Pröschel, Vergoldete Bronzen, Band I, Editions Klinkhardt & Biermann, Munich, 1986, p. 194; as well as a second one in the collections of the Musée des Arts Décoratifs in Paris (see P. Jullian, Le style Louis XVI, Editions Baschet et Cie, Paris, 1983, p.121, fig.4); last but not least, a final clock of this type in the Musée du Petit Palais, Paris, published in Tardy, La pendule française, Des origines à nos jours, 2e partie : Du Louis XVI à nos jours, Paris, 1974, p. 289, fig.3. THE LEPAUTE DYNASTY The House of Lepaute in Paris is the signature of two brothers, Jean-André and Jean-Baptiste Lepaute. The first (1720-1789) had married Mlle Etable de la Brière, a distinguished astronomer, in 1748, and a few years later received the title of Horloger du Roi by lodging at the Palais du Luxembourg. After a brilliant career, punctuated by several works on the research and perfection of clockmaking, he ceased his activity in 1775. His brother, Jean-Baptiste, joined him in Paris in the mid-1740s, also receiving the title of Horloger du Roi, and after his brother retired from business, he succeeded him in the Galeries du Louvre. He ceased his activity on May 14, 1789, just two months before the unrest of the revolutionary period, but his renown meant that in 1793, he was a member of the jury responsible for deciding on questions relating to the new time system, a name forever associated with the art of clockmaking in France at the end of the Age of Enlightenment.

Estim. 12 000 - 18 000 EUR

Fri 07 Jun

LAS CASES, Count Emmanuel de (1766-1842). Mémorial de Sainte Hélène ou Journal où se trouve consigné jour par jour ce qu'a dit et fait Napoléon durant dix-huit mois. By Comte de Las Cases. Paris. Chez l'auteur, rue du Bac n°53. 1823. (With:) Suite du Mémorial de Sainte Hélène ou observations critiques, anecdotes inédites pour servir de supplément et de correctif à cet ouvrage, contenant un récit authentique de faits, de documents, un manuscrit inédit de Napoléon, les six derniers mois du gouvernement impérial et l'exposé des causes qui contribuèrent à sa chute etc... Paris, Raynal et Roret, 1825. Paris, . 1823-1825. 8 in-8 volumes for the Mémorial, stapled, untrimmed. Publication red-brick covers; printed labels on spine. Large folding map of St. Helena (label on volume I partly faded; minor defects on spine of volume I, and on top cover of volume V). 1 volume in-8 for the Suite au Mémorial, paperback, untrimmed. Publisher's red printed covers. Portrait of Las Cases. A true first edition of this work, both a historical masterpiece and a major literary text, which was reprinted many times, from 1823-1824. It is quite rare, even more so in paperback, in its original condition. Vicaire (Manuel de l'Amateur des livres du XIXème siècle, tome V) gives a precise and complete description. All his remarks are found in this copy: identical collations (different from the collations of the 2nd edition of 1823-1824); pagination error in volume II, which passes, without missing, from page 4 to page 9; page 7 of volume VIII is blank; an errata leaf in volumes I to IV and VIII, etc... Las Cases specifies (page 8, volume VIII) that "the four views mentioned in the Mémorial ... are at the Mémorial depot, rue du Bac, n°53". These four views were in fact sold separately, and it is therefore normal that they should not be found in this copy of the publication brochure. On the other hand, the large fold-out map of St. Helena was "delivered with the 8th volume": it is indeed present here. This edition of Le Mémorial is included in the Bibliothèque Nationale's "En français dans le texte: Dix siècles de lumières par le livre", which describes the major texts of the French language, from the Strasbourg Oath (842) to Charles de Gaulle (Mémoires de guerre, 1954-1959) and Claude Simon (La route des Flandres, 1960). (Vicaire, V, col.73-74; Carteret, II, pages 35-36; En Français dans le Texte, n°235; Tulard, 850: "We must not forget the enormous influence of this work, which today figures in all the major literary collections").

Estim. 600 - 1 000 EUR

Wed 19 Jun

ZOLA (Émile). Thérèse Raquin. Drama in four acts first performed at the Théâtre de la Renaissance on July 11, 1873. Paris : Charpentier et Cie, 1873. - In-12, 179 x 115 : 144 pp. Red half-maroquin with corners, spine ribbed, untrimmed (G. Gauché). First edition of Zola's stage adaptation of his third novel, published under the same title in 1867. There were no large papers. Precious copy from Gérard Bauër (1888-1967), member of the Académie Goncourt, enriched with 3 beautiful autograph letters signed by Émile Zola addressed to the journalist Henry Bauër (1851-1915), dated December 12, 1881 and May 8 and May 20, 1892, 4 pages and a half, about articles: - "You speak of Thérèse Raquin too kindly, and I remain a little confused and very touched, as I have not been spoiled for my plays until now" (December 12, 1881), - Your article has given me great pleasure, with its beautiful warmth of literary sympathy. You said what I want to be said, that I have been fighting for the truth for a long time, and that I have done my work without worrying about success" (May 8, 1892), - Your article has just given me great joy, for it not only confirms a triumph that remains somewhat dubious for me, it proves to me that one is always right to fight the good fight, since one is always sure to find on one's side a champion such as yourself" (May 20, 1892). Corresponding envelopes enclosed. The copy is also enriched with an article by Henry Bauër on the play Thérèse Raquin, as well as two letters of thanks, one signed by Suffel, the other autograph and signed by Julien Cain, on the letterhead of the Bibliothèque nationale, addressed to Gérard Bauër, both dated March 17, 1953. Some wear. Provenance: Gérard Bauër, with bookplate.

Estim. 600 - 800 EUR

Wed 19 Jun

Amadis JAMYN. Les Œuvres poétiques. Reveües, corrigees & augmentees en ceste derniere impression. - Le Second volume des œuvres... Ibid.., Félix Le Mangnier, 1584. 2 volumes in-12, duck-blue chagrin, double cold-stamped fillet, 4-nerved spine decorated in the same style with gilt fleurons, interior roulette, gilt edges ( 19th-century binding). Brunet, III-497 // Cioranescu, 11774, 11775 // De Backer, 406/407 // Tchemerzine-Scheler, III-740,741. I. (4 f.)-309-(11 f.) / *4, A-Z12, a-c12, d8 / 73 x 132 mm. // II. (6 f.) the last blank missing here-176 (miscalculated 182)-(4 f.) / ā6, A-P12 / 70 x 126 mm. Third edition, partly original, for the Œuvres poétiques, and original for Le Second volume des œuvres. Although published five years apart, all bibliographies consulted indicate that these two editions must be combined to make a complete copy of Amadis Jamyn's works. The second volume has not been reprinted, and is therefore rarer to come across. Copies of the first volume can be found addressed to Mamert Patisson or Le Mangnier. It is therefore likely that they shared the edition. The second volume offers a special feature. Folio 129 is a general title to the Discours de la philosophie à passicharis et à Rodanthe, which corresponds to De Backer's description. It is followed by a leaf containing the privilege on the recto and a sonnet introducing the Discours philosophiques on the reverse. This leaf has no signature and has been added to notebook L. The volumes differ slightly in size, which the binder has skilfully homogenized in the binding. Ink stains to 4 leaves in the first volume, a few passages underlined at an early date, title of the second volume repaired and minor marginal restorations to a few leaves. Provenance: Prosper Blanchemain (ex-libris, Maggs catalog Bibliothèque d'un humaniste, 1937, no. 251).

Estim. 2 500 - 3 500 EUR

Tue 25 Jun

Paul DELVAUX (1897-1994) - Paul DELVAUX (1897-1994) Place Sainte Croix (Place Flagey, Ixelles), 1921 Oil on panel Signed and dated lower left: "P.D 11-21". 40 x 60 cm Provenance - Former Paul Crokaert Collection (1875-1955), Brussels - Maitre Binoche, Paris Hôtel Drouot, sale December 16, 1974, lot no. 51 - Servarts, Palais des Beaux-Arts de Bruxelles, November 1996 sale, lot no. 427 - Galerie Harold t'Kint de Roodenbeke, Brussels - Private collection, Brussels Bibliography: M. Butor, J. Clair, S. Houbart-Wilkin, Delvaux: Catalogue de l'oeuvre peint, La bibliothèque des arts, Lausanne- Paris, 1975, n°10, reproduced p.150 Our painting most probably depicts the start of the morning market on Place Sainte-Croix, one of Ixelles' most popular markets at the time. Paul Delvaux liked to stroll around Brussels, in 1921, at the age of 24. His interest in, and fascination with, railway stations began to emerge. The 1920s were a key period in his work. Delvaux was not yet a dream painter (he would become one in 1935 after discovering De Chirico), but the essential elements of his aesthetic vocabulary and artistic identity were gradually established. He painted many views of the capital, with trains and streetcars making an indelible impression. He had already mastered a certain technique and was nourished by his artistic encounters. In our painting, the Impressionist influence and that of Alfred Bastien, whom he met at the Rouge-Cloître, are obvious. The composition, an essential aspect of this painting, is carefully crafted, harmonious and dynamic, Delvaux has also inscribed a street perspective here that invites the viewer in. The vanishing-point perspective is one of Delvaux's great trademarks, and is to be found in the majority of his paintings right up to the end of his career.

Estim. 20 000 - 40 000 EUR

Thu 20 Jun

CHAR (René). Autograph poem entitled "Loin de nos cendres" ("Far from our ashes"). 3/4 p. in-plano (38.5 x 28 cm), a few erasures and corrections, on Fabriano drawing paper; loosely mounted on cardboard, matted. Text written in 1981, originally published in the Nrf in 1983, and collected in the 1983 edition of the Œuvres complètes (Paris, Gallimard, Nrf, Bibliothèque de la Pléiade). "Our cake of chimeras having scorched at its sunset, the first watches of ["famous" strikethrough] rival time appeared to view. No more black limousine to carry us away on its infatuated slides. Destitution is possession. A fine nocturnal dust barely disturbed ["barely" crossed out then reinscribed] the down of your dear sleeping face. What came from the stars was not theatrical but observed. My shyness was reborn under careful ["royal" crossed out] exteriors, those that white frosts bestow on grasses at rest on the reverse side of icy plateaus. Common suffering, despite the sting of rarefied echoes, sang the hymn. The final ovation went not to a sepulchral half-light ["sepulchral" was added later], mirific glassmaker, but to a line ["of slim" corrected to "a line"] of eels in a hurry to leave the natal stream for the ["wide" crossed out] rivers with their uneven walls. There the alders gather. Sur le lit du courant passe le sang, le virtuose du retour [René Char had originally written: "Sur le lit du courant le sang, virtuose du retour"]..." Autograph letter to his companion Anne Favre-Reinbold. ILLUSTRATED FOLDER WITH TWO GOUACHES BY ALEXANDRE GASPERINE, one signed and dated "AG/81". The artist also illustrated two books by René Char, Les Voisinages de Van Gogh (1985), and Le Gisant mis en lumière (1987). Cover reproduction

Estim. 400 - 500 EUR

Thu 06 Jun

MAULTROT, Gabriel-Nicolas & MEY, Claude] - Maximes du droit public françois, tirées des Capitulaires, des Ordonnances du Royaume, & des autres monumens de l'Histoire de France. 2e éd. double de la précédente. Amsterdam, Marc-Michel Rey, 1775. 6 vol. in-12, paper sometimes yellowed, fawn marbled calf, smooth spine decorated. Against despotism. Published in reaction to Chancellor Maupeou's coup d'état. Enclosed: LE GRAND, Joachim - Traité de la Succession à la couronne, ou la Couronne de France toujours successive linéale agnatique, avec un mémoire touchant la succession à la couronne d'Espagne. Paris, Gabriel Martin, 1728. In-12, (6) ff, 391 pp, (8) ff, traces of dampness on the first few ff, contemporary fawn calf, spine with ornate nerves, qq.epid. SAFFROY I, 12361. First edition. - PINSON DE LA MARTIERE, Jean] - Estat de la France, comme elle estoit gouvernée en l'An M.DC.XLVIII. Où sont contenües diverses remarques et particularitez de l'Histoire de nostre temps (à la sphère). S. l., 1649. In-16, 185 pp, qqs. yellowed ff. including title, br. dominot cover, first cover detached. SAFFROY (Bibl. des Almanachs et Annuaires) n°60. First year known under this title, 1644 having never been described. States of France in 1784. - VOLTAIRE] - Histoire de la guerre de mil sept cent quarante-un. Amsterdam (Paris), 1755. 2 parts in one vol. in-12, (2) ff, 278 pp. ; (2) ff, 208 pp. in contemporary marbled fawn calf, spine ribbed and decorated. Cat. BN (Voltaire) 3548. Second edition reproducing page for page the first published the same year, but without the cartoons recast in the text. Originally published under this title, it later appeared under the definitive title Précis d'Histoire du Siècle de Louis XV. - PERNETTI, Abbé Jacques] - Le Repos de Cyrus, ou l'Histoire de sa vie depuis sa seizième jusqu'à sa quarantième année. Paris, Briasson, 1733. 3 parts in one vol. in-16, XI, 355 (4) pp. in brown bas. spine decorated, upper cuff frayed. Historical novel. Pernetti resorts to fiction to fill a gap, for: ''Neither Xenophon nor the other Greek authors have said anything about this long space of time in what they have told of Cyrus.'' - DUPIN, Louis Ellies] - Traité de la Puissance Ecclésiastique et temporelle. S. l., 1707. In-8, (8) ff, VIII, 779 pp, portrait added, signed on title by Derebier and Bournatel, contemporary granulated fawn calf, spine ribbed and ornamented, upper cuff frayed. First edition. The work deals with the four articles adopted by the general assembly of the clergy in 1682. Put on index May 14, 1708. Louis Ellies Du Pin was related to Racine through his mother. He composed a monumental Bibliothèque des Auteurs Ecclésiastiques containing a large number of bold assertions on the establishment of dogma and the testimony of heretics. He was suspected of sympathy with the Jansenists, and was one of the signatories to the Cas de conscience affair.

Estim. 200 EUR

Thu 06 Jun

BOUANGE, Mgr G. - Saint Géraud d'Aurillac et son illustre abbaye. Aurillac, Impr. de L. Bonnet-Picut, 1870-1881. 2 vol. in-8, XVI, 543 pp, (2) ff; 658 pp, (3) ff, yellowed paper, russet, br. spine of volume I defr. (Appended:) LAUSSER, Abbé P.-F. - Gerbert. Etude historique sur le Xe siècle. Aurillac, 1866. In-8, brown, spine split and defr. XXXIX, 378 pp. yellowed paper. Envoi -- PICAVET, F. - Gerbert un pape philosophe d'après l'histoire et d'après la légende. Paris, Ernest Leroux, 1897. In-8, br. 227 pp. -- LA SALLE DE ROCHEMAURE, Duc de - Gerbert Sylvestre II. Paris, Emile Paul, 1914. In-8, br. front, 752 pp. with numerous plates. -- VISSAC, Marc de - Chroniques du pays d'Auvergne. Chateaugay and its lords. Giac et Laqueuille. Riom, G. Leboyer, 1880. In-8, glossy paper, filled cover, 264 pp. 2 plates t.w., several russets. 350 copies in all. -- GRAND, Roger - Du Guesclin en Auvergne. His last military operations, his death, his funeral. Paris, Picard, 1906. In-8, br. -- BOUDET, Marcellin - Documents historiques inédits du XIVe siècle. Thomas de La Marche, batard de France, et ses aventures (1318-1361). Riom, Ulysse Jouvet, 1900. In-8, br. 378 pp. Forwarding -- LE ROUX DE LINCY & BRUEL, Alex. - Notice historique et critique sur la vie et les ouvrages manuscrits de Dom Jacques Du Breul auteur du Théâtre des Antiquités de Paris et d'une chronique latine manuscrite sur l'abbaye de Saint-Germain-des-Prés. Paris, A. Franck, 1868. In-8, br. Extract from the Bibliothèque de l'Ecole des Chartes -- MEYNIEL, Joseph - Le Président Jean Savaron. Ses théories, ses ouvrages. Paris, Bonvalot-Jouve, 1906. In-8, br. 376 pp. yellowed paper -- DURIF, Henri - Un Chapitre des mémoires inédits de François Maynard, président au présidial d'Aurillac. Clermont-Ferrand, 1846. In-8, br. Extract from Tablettes historiques de l'Auvergne -- RIBIER, René de - Une Branche batarde de la Maison de Chabannes. Les Chabannes-Sauvat. Paris, H. Champion, 1910. In-8, br., coats of arms and facsimiles -- VERNIÈRE, Antoine - Courses de Mandrin dans l'Auvergne, le Velay et le Forez (1754). Clermont-Ferrand, G. Mont-Louis, 1890. In-8, br. 98 pp. 2 h. t. plates, traces of moisture in margins -- BOUDET, Marcellin - Les Conventionnels d'Auvergne. Dulaure. Paris, Auguste Aubry, 1874. In-8, br. missing cover corner, 464 pp. Printed in all 130 ex. num. -- DURIF, Henri - Notice sur M. Pierre Crémont, musicien-compositeur et chef d'orchestre. Aurillac, L. Bonnet-Picut, 1876. In-8, br. -- COURCHINOUX, Abbé F. - Silhouettes cantaliennes. Aurillac, Impr. Moderne, 1903. In-8, br. with cover missing, XIII, 80 pp. Printed on laid paper. Introduction by A. Vermenouze - AYMAR, Alphonse - Un Lieutenant Général du Bailliage des Montagnes d'Auvergne au XVIIIe siècle. Aurillac, Impr. E. Bancharel, 1901. In-8, br. Forwarding.

Estim. 100 EUR

Wed 19 Jun

[CHRISTINE de PISAN]. Sensuit lepistre de Othea deesse de prudēce moralisee en laquelle sont cõtenus plusieurs bons et notables enseignemens pour toutes personnes Voulans ensuivir les vertues et fuir les vices... Small booklet in-4, ivy-green morocco, triple cold fillet, 6-rib spine, interior lace, gilt edges ( Bauzonnet-Trautz). Bechtel, 142/C-316 // Brunet, Supplément I-259 // Tchemerzine-Scheler, V-205. (33f. on 34, the last blank missing here) / A4, B8, C4, D8, E4, F6 / 40 lines on 2 columns, goth. car. / 128 x 188 mm. Third edition and second under this title, the text having previously been published in Les Cent histoires de Troye. Born in Venice in 1363 and dying around 1431, Christine de Pisan came to France at the age of five when her father took up the post of secretary to King Charles V. Married at the age of fifteen, she lived among the splendors of the Court, but the death of her father and that of the King, her protector, forced her to earn her own living. Widowed at the age of twenty-five and the mother of three children, she embarked on a literary career to support herself, composing numerous works in prose and verse. At the request of the Duke of Burgundy, she wrote a Vie de Charles V (Life of Charles V), arguably the finest of her works, many of which were not published until the 19th century. She was one of the first women to live by her pen. The Epistle of Othea goddess of prudence... was first published around 1500 in the volume entitled Les Cent hystoires de Troye. It was subsequently published in two separate editions, the first in Rouen, which Bechtel dates between 1507 and 1518, and the present Parisian edition, which can be dated between 1518 and 1520. This edition is listed by Brunet, Tchemerzine and Bechtel, and these three eminent bibliographers cite only this copy. Title in red and black with a large lettering and a woodcut depicting Othea deesse et le messager, a woodcut on folio A2 depicting a couple and announcing the beginning of the work and 2 small woodcuts on the verso of the last folio F5. Some titles at the beginning of the volume are printed in red ink. No other copies have been found in major private collections or public libraries, and this appears to be the only known copy. A fine copy, despite a small crack at the top of one spine. Provenance: Ambroise Firmin-Didot (June 6-15, 1878, no. 140) and Édouard Moura (December 3-8, 1923, no. 211), then sold in Paris on June 14, 1950.

Estim. 5 000 - 6 000 EUR

Wed 19 Jun

POLYBE MEGALOPOLITEIN. Les Cinq premiers livres des histoires... Autrefois traduits & mis en lumière par Louïs Maigret... In-folio, gilt vellum with overlays very nicely decorated with roulette and fillets in frames, spandrels and large central finial, religious congregation iron added in the upper part, spine with 5 nerves, gilt edges, traces of cords ( Contemporary binding.) Adams, P-1810 // Brunet, IV-791 // Cartier, II-415. (6f.)-1f. folded-335-(8f.) / A6, [ ]1, a-z6, A-E6, F-G4 / 215 x 333 mm. Third edition of the translation by Louis Maigret, more complete than previous editions, of the Histoire de Polybe. A Greek historian of the second century B.C., Polybius wrote a general history, of which only the first five complete books and fragments of a few others have survived. The first five books cover events from 220 to 141 B.C., but are preceded by a table of earlier events, in which the author deals with events in the Roman republic and contemporary states. This is the first general history ever written. Louis Maigret published a translation of the first five books in 1542 in Paris with Denis Janot, followed by another with fragments of books I, VI, VII, VIII and XVI in 1552, again in Paris but published by Groulleau. The present translation also contains fragments of Books IX to XV and XVII. A handsome engraved title in architectural style with scrolled motifs, animals, figures... A fold-out plate for the drawing of the Romans' camp and handsome lettering with sifted background and foliate motifs. A fine ruled copy bearing on the boards a gilt iron of the Minimes de la Place Royale in Paris with the word Charitas and in exergue the words Conventus Parisiensis Minimorum. In the second half of the 18th century, the Minimes had built up a library in their convent on Place Royale in Paris, numbering over 15,000 volumes, which were dispersed during the French Revolution. Part of this collection was added to the Bibliothèque de l'Arsenal. Vellum a little stained. Inner hinge partly cracked. Provenance: Couvent des Minimes de Paris (iron on covers and handwritten note on title).

Estim. 800 - 1 000 EUR

Tue 18 Jun

André BRETON (1896-1966). Autograph manuscript, 1st Conference in Mexico City, May 1938; 5pages in-4 in green ink. Unpublished manuscript of the first Mexico City conference. [Breton was in Mexico from April 18 to August 1, 1938, to deliver a series of lectures on the literature and art of the time. The first lecture, given on May 13 at the University of Mexico, has remained unpublished; a review appeared in the May 15 issue of La Prensa under the title "Las Transformaciones modernas del Arte y el Surrealismo". See Œuvres complètes (Pléiade), t.II, p.1829]. The manuscript, in green ink, shows numerous erasures and corrections. "All the paths I have seen the modern mind follow for the past twenty years lead to Mexico. This is the point of convergence of all the great roads of adventure on which this spirit is engaged, tirelessly searching for the means by which the world can be transformed, by which life can be changed. For many of us, European poets and artists, the very word Mexico has taken on a magical virtue in the heart of childhood"... And Breton evokes Arthur Rimbaud, who was marked by reading Costal l'Indien, quoting several of his verses; then there's the Douanier Rousseau, celebrated by Apollinaire... He then insists on the presence of the "mythological past" in Mexican popular culture... Mexico is also "a marvellous social crucible from which have sprung, over the last twenty years, the greatest sparks in the direction of progress"... Finally, Breton sees Mexico not only as "the chosen land of black humor", but also as "an inexhaustible reservoir of romantic energy, of that romanticism which we are only beginning to understand has turned our entire psychic life upside down, making us experience not only the fertility of the mythical imagination [...].Even today, it's around Romanticism that we're fighting, the word isn't too strong", and in particular German Romanticism, so threatened in Germany... Etc. Former Jacques Millot collection (Bibliothèque du Professeur Millot, June 15, 1991, no. 18).

Estim. 2 500 - 3 000 EUR

Wed 19 Jun

Alain CHARTIER. Les fais maistre alain charetier. 2 parts in one in-folio volume, granite calf with arms in center of boards, 5-ribbed spine with repeated numeral ( 17th century binding). Bechtel, 136/C-271 // BMC, VIII-142 // Brunet, I-1812 // CIBN, I-C-269 // Delisle, Chantilly, 415 // Macfarlane 109 // Olivier, pl. 1706 // Tchemerzine-Scheler, II-281 // USTC, 71014. I. (66f.) / a-b8, c6, d8, e-k6 (the last blank) / II. (68f.), A-B8, C6, D8, E6, F8, G-K6 / 40 lines in 2 columns, gothic car / 188 x 260 mm. Very rare third edition of Alain Chartier's works. The bibliographies only refer to a single earlier edition dated 1489, but the Catalogue des Incunables of the Bibliothèque Nationale describes a second, said to have been published around 1494. French writer Alain Chartier was born in the Bayeux region around 1385. Of noble origin, he studied at the University of Paris. He was a clerk, notary and secretary to the House of Charles VII. A political writer, moralist and poet, he was entrusted with various diplomatic missions, including negotiating the marriage of four-year-old Marguerite of Scotland to the future Louis XI in 1428. Some claim that he was Archdeacon of Paris or a member of the Paris Parliament, although this is not certain, but he was highly regarded at Court. He was the author of moral, patriotic and poetic works, all of which reflect his noble and great soul, a heart full of religious faith and love for his country (Larousse). The edition consists of two parts: the first contains the prose works, Le Curial, Le Quadrilogue invectif, La genealogie de l'extraction des roys, La declaration de la ditte genealogie... and the second the poetic works such as La Belle dame sans mercy, La Pastourelle de Gransson, Le Breviaire des nobles, Le Debat de resveillematin, laments, ballads... The edition is illustrated with a large grotesque on the title of Volume I, a large woodcut on the verso of the title depicting in the upper part a group of five official figures, in the middle part the clerk's office, the prosecutor, the receiver and students in the lower section. On folio a2 a large woodcut showing a man lying on a bed, a woman and a man beside the bed, this woodcut repeated on the first folio of the second part, and finally a genealogical table of the kings of France on the last folio of the first part. The volume bears Vérard's mark on the last leaf. This edition is described by Bechtel, who dates it, probably incorrectly, to 1490. Our copy conforms in all respects (text, illustrations, colophon) to the description given by Macfarlane (no. 109): the first leaf of the first part presents a large grotesque reproduced by him (no. 9) with the title Les fais maistre alain Chartier on a single line, a presentation different from that given by Tchemerzine, who reproduces another grotesque with the title on 3 lines. The library of the Château de Chantilly owns two copies of this edition, one on vellum and the other on ordinary paper. In Léopold Delisle's lengthy note on these two works in Le Cabinet imprimés antérieurs au milieu XVIe siècle, he points out the differences between the two copies. Le Cabinet des livres imprimés antérieurs au milieu du XVIe siècle, he points out the differences between the two copies, specifying that the vellum copy must certainly have been printed before the paper copy, the latter having undergone several corrections. Our copy has all (but one) of the first printing remarks noted in the Chantilly catalog, whether in terms of text, illustration or colophon. Only the title differs completely from the Chantilly copy, but this is the title described by Macfarlane, and we believe it must have been printed before the one reproduced by Tchemerzine, with later editions using the latter. Delisle then indicates that the BnF owns two copies, one on paper in first condition and the other on vellum in second condition, that the Bibliothèque Mazarine's copy is in second condition and that of the British Museum is in first condition. The present copy is one of the very few with numerous remarks from the first state. A copy bearing the coat of arms of Jean Du Bouchet (1599-1684), King's Counselor in his Councils, Master of the King's Ordinary Hotel, historiographer and first constable of France, knighted in Saint-Michel in 1637. The spine of the binding bears a repeated number which, although we cannot be certain, must be that of Jean Du Bouchet. The spine also bears a small inscription PARIS added later. Binding

Estim. 10 000 - 12 000 EUR

Wed 19 Jun

HUGO (Victor). Œuvres complètes. Paris: J. Hetzel, A. Quantin, 1880-1885. - 46 volumes in-8 (of 48), 251 x 160. Dark brown morocco, gilt coat of arms at center of boards, ribbed spine decorated with a gilt crowned numeral, interior gilt lace, gilt head, untrimmed, cover preserved (David). Ne varietur" definitive edition, begun during the author's lifetime in 1880 and completed in 1889. It is divided into 8 sections: Poetry (16 volumes published between 1880 and 1883), Philosophy (2 volumes published in 1882), History (3 volumes published in 1882 and 1883), Voyage (2 volumes published in 1884), Drames (5 volumes published between 1881 and 1889), Romans (14 volumes published between 1880 and 1883), Actes et paroles (4 volumes published between 1882 and 1889) and Œuvres diverses (2 volumes published in 1885). Volume 2 of the novels has a fold-out facsimile. PRECIOUS EXAMPLES ON HOLLAND PAPER (numbered 60/100) from the library of the Duc de Chartres, bound with his coat of arms and cipher by David. The series lacks the two volumes published in 1889, namely the last volume of Drames and the fourth volume of Actes et paroles, which is common to other copies on Hollande that we have found. ATTACHED WITH 100 EAUX-FORTES ENGRAVED AFTER DRAWINGS BY FRANÇOIS FLAMENG (1856-1923), published by the Hébert bookshop to illustrate this edition and issued in 10 series of 10 plates in the publisher's 310 x 220 mm percaline folder, from December 1885 to December 1888. Each plate is presented under a captioned serpente. A copy of the ordinary edition on fine tinted Hollande paper, enriched with the table of engravings and the publication prospectus. Text volumes: Spines slightly faded. Upper corners of volume III of the History sunk. Small 2 cm split at one hinge of volume VI of the novels. Corners damaged on both volumes of the voyage. Lower corners bumped on volume II of the dramas. Slight white marks and rubbing on some boards. A few rare freckles and browned leaves. Sequels: Soiling to some folders. Margins of first plate of each series browned. Provenance: Robert d'Orléans, Duc de Chartres, with his arms and cipher. - Pierre Berès, with label reading "Bibliothèque du Duc de Chartres".

Estim. 4 000 - 6 000 EUR

Wed 19 Jun

Jean and Jacques de LA TAILLE. The Famine, or the Gabeonites... - Saul le Furieux... Ibid, id, 1572. - Daire... Ibid, id.., 1573. - Alexander. Ibid, id, 1573. - La Manière de faire des vers en francois, comme en Grec & en Latin. Ibid, id, 1573. 5 works in 2 volumes in-8, marbled calf, arms in the center of the boards, smooth spines decorated in the grotesque style, red edges ( 18th century binding). Olivier, 1719-1 // Tchemerzine-Scheler, IV-89a-90b et seq., 92-93. I. 173 f.-(3 f.) / A-Y8 (the last blank) /// II. 80 f. / A-K8 // 36 f. / A-D8, E4 (the last blank) // 32 f. / A-D8 (the last blank) // 22 f.-(2 f.) / A-C8 (the last blank). Reunion of works by brothers Jean and Jacques de La Taille. Second edition of La Famine and first edition of Saul le Furieux by Jean de La Taille. All three works by Jacques de La Taille are in first edition. In a long note added to Tchemerzine's notes on these editions, Lucien Scheler points out that, while they can be found separately, it is desirable to see these different works reunited as the publisher had intended. Indeed, on the back of the title of "La Famine La Famine", details (...) of what can be considered an attempt at a collective edition of the two brothers' works (Scheler). This collection brings together four plays by Jean de La Taille, La Famine, Les Corrivaus, Le Negromant and Saul Le furieux, as well as pieces of poetry, hymns, elegies, epitaphs, etc., a Remontrance pour le Roy, and two tragedies by his brother Jacques, Daire and Alexandre, to whom we also owe a Manière de faire les vers. All these works, except the last, are in verse. Woodcut portrait of Jean de La Taille at the end of the first volume and large woodcut medallion with his motto, repeated several times. Copy with the coat of arms of Louis-César de La Baume Le Blanc, duc de La Vallière, peer de France, governor of Bourbonnais, grand falconer of France. Binding rubbed with two early splits, one corner previously restored. An angular wetness affecting the last third of the second volume. Provenance: Duc de La Vallière (arms, I, December 1783, no. 2976), Baron Sosthène de La Roche Lacarelle (bookplate, April 30-May 5, 1888, no. 294) and Docteur Lucien-Graux (bookplate). 2 old markings in ink and old stamp of the Bibliothèque Mazarine on all titles and on the penultimate leaf of the second volume.

Estim. 300 - 500 EUR

Wed 19 Jun

[Simon BOUGOUINC]. Lespinette du ieune prince Conquerant Le royaulme de bonne renommee Nouvellement Imprime a Paris. Cum privilegio. In-folio, lemon morocco, large Renaissance-style black calf mosaic interlacing decoration, 5-nerve spine decorated in the same style, prairie-green morocco lining with wide small-iron lace and Mello library armorial bookplate in the center, double endpapers, gilt edges ( Niedrée-1844). Bechtel, 96/B-355 // Brunet, II-1062 // Cioranescu, 4534 // Fairfax Murray, 61 // Macfarlane, 90 // Tchemerzine-Scheler, II-437 // USTC, 8325. (124f.) / a-v6, x4 / 43 lines on 2 columns, gothic car / 190 x 269 mm. Extremely rare first edition of a dialogue consisting of nearly 20,000 verses, most of them ten syllables long. The author, Simon Bougouinc or Bougoinc, a 16th-century French poet and prose writer, was valet de chambre to King Louis XII. He translated several of Lucian's treatises, wrote plays and this allegorical poem, which he signed on the last page with an acrostic entitled Le nom de l'auteur en manière de supplication where the first letters read vertically Symon Bougouync. The poem recounts the author's encounter with a young prince taken by lovesickness. What follows is a long, adventurous journey that touches on a wide range of subjects, including love and virtue, of course, but also advice on life and education. They visit the bedside of the prince's father, who is dying and advises his son on society and the division of power between the nobility, the clergy and the laborers. Their steps then lead them to the Orchard of the World, where they encounter youth and madness before embarking on a ship, passing the perilous sea where the place of salvation lies, and finding on the seashore a hermit named the father of virtues and a page named good company. Without going into detail, the adventure continues with the conquest of the city of nobility by the prince and duke of brave love. duke of brave love, the coronation of the prince who becomes king of the kingdom of good fame, and the crowning of the queen named the lady of good government or Raison. The work is lavishly illustrated with woodcuts, including the title with a large grotesque, 45 figures in the text, 15 of which take up the width of the page and 30 smaller ones, numerous initials and the printer's mark on the last leaf. A superb copy, finely bound by Niedrée, a Parisian bookbinder who was awarded a silver medal in 1844 for his Renaissance-style bindings. bindings in the style of the Renaissance... (of) such accuracy of design... (that they) surpass the richest bindings in the superb libraries of Henri II, Cardinal deFarnerie, Henri III, Grolier and de Thou. Minor rubbing to one hinge and 2 places on spine with epidermis, one stain to second board. 2 leaves (f2-f5) shorter in lower margin by 7 mm. Provenance: Armand Bertin (ex-libris, absent from 1854 sale), Baron Achille Seillière (supra-libris, II, May 5-14, 1890, no. 449) and Fairfax Murray (label, no. 61).

Estim. 20 000 - 25 000 EUR

Wed 19 Jun

[Jacobus de CESSOLIS]. Le Ieu des eschez moralise nouvellement imprime a Paris. In-folio, green morocco, triple fillet with Mello library supra-libris, 5-rib spine decorated with gilt fillets and fleurons, bright red morocco lining decorated with large Renaissance-style gilt fillet decoration, double endpapers, gilt edges ( Chambolle-Duru / Marius Michel). Bechtel, 397/J-137 // Brunet, III-480 // Fairfax Murray, 629 // Macfarlane, 72 // Rothschild, II-1506 // Tchemerzine-Scheler, V-206 // USTC, 26056. (4f.)-CII / a4, b-s6 / 34 lines on 2 columns, gothic car / 185 x 267 mm. Very rare first French edition of a text attributed to Jacques de Cessoles and published in Latin in Utrecht in 1473. The author, a French religious born in Cessoles in Picardy, from which he took his name, lived in the 13th century. In his Moralized Chess Game, he seeks to derive rules of conduct for all states from the play of the pieces (Larousse). The translator is unknown, but the translation is generally attributed to Jean de Vignay or Vigny. The Jeu des échecs moralisé ends on folio l5. It is followed by a book that is very similar to the previous one: a book on the order of chivalry. the order of chivalry, then, on page p5, the novel Mélibée et Prudence, a moral novel by Christine de Pisan which first appeared around 1480, and of which this is the second publication. The illustration consists of a large grotesque for the title and 4 woodcuts, including a very fine one on the verso of the title depicting a king and queen playing chess in a twelve-compartment frame depicting various characters, the plowman, the marshal, the spendthrift, the knight, the judge... A large woodcut (b4v) depicts Christ crucified surrounded by God and the evangelists, a woodcut taken from Vérard's Bible and repeated on folio p4v, and a smaller woodcut at the end of the Jeu des échecs moralisé depicting a female soldier and a man armed with a club, a woodcut that had been used for another publication by Vérard. Jeu des échecs moralisé depicting a female soldier and a man armed with a club, which had been used for another of Vérard's publications: le Chevalier Délibéré. Macfarlane describes another wood on folio p4v, but Fairfax Murray, in his lengthy description of our copy, indicates that he consulted the British Museum copy on which Macfarlane wrote his description, and that folio p4v is probably a facsimile. Macfarlane's error in describing the illustration on folio p4v is confirmed by Picot's entry in the Rothschild catalog, which describes a copy identical to ours. Very rare edition. The USTC lists six copies in public libraries. Light discoloration of spine and board edges. Inversion of the 3rd and 4th leaves and very skilful angular restorations to the first 20 leaves not affecting the text, only the engraving on the verso of the title having been slightly reworked in ink. A very fine copy bound in the arms of Baron Seillière with his supra-libris from the Mello library. Provenance: Baron Achille Seillière (supra-libris, I, May 5-14, 1890, no. 135) and Fairfax Murray (label, no. 629).

Estim. 10 000 - 12 000 EUR

Wed 19 Jun

Hélisenne de CRENNE (Marguerite Briet, known as). Les Œuvres... A sçavoir, Les angoisses douloureuses qui procedent d'amours. Les Epistres familieres & invectives. Le songe de ladicte Dame. Le tout reveu & corrigé de nouveau par elle. In-16, black morocco, gilt coat of arms at center of boards, 5-rib spine decorated with small angular gilt fleurons ( Binding circa 1700). Brun, 163 // Brunet, II-415 // Cioranescu, 7102 // Olivier, 799. (175f. of 176, the last blank missing here) / a-z8, A-X8 / 68 x 117 mm. Sixth edition of Œuvres d'Hélisenne de Crenne, bound with the arms of the Countess de Verrue. Marguerite Briet, born around 1510 in Picardy and died around 1560, married Philippe Fournel, seigneur of Du Cresne, before separating from him in 1552. It was therefore under her married name Crenne that she published her novels and epistles, including Les Angoysses douloureuses is the most important. The Œuvres, comprising the three main writings of Hélisenne de Crenne, namely The Angoisses douloureuses, the Epistres familieres and Songe, were first published together in 1543 by Charles L'Angelier, without illustration. Étienne Groulleau subsequently published five editions (1550, 1551, 1553, 1555 and ours in 1560), all illustrated with 8 woodcuts in the text for Les Angoisses douloureuses. Copy with the arms of the Comtesse de Verrue. Jeanne-Baptiste d'Albert de Luynes was born in 1670 and married the Count of Verrue in 1683. After long refusing the advances of the Duke of Savoy Victor-Amédée II, she became his mistress and ruled his court until she fled Turin and settled in Paris in 1700. Widowed in 1704 after the death of her husband in the battle of Hochstaedt, she opened her hotel on rue du Cherche-Midi to intellectuals and literati, and brought together the court and the finest minds of the time in her salon. Witty and well-educated, she turned her hotel into a veritable museum, filled with paintings, antiques and objets d'art; every year, she devoted 100,000 books to her library (Larousse). A patroness of poets and philosophers, she lavished so many entertainments, dinners and parties with great generosity that they earned her the nickname of Dame de volupté. She died in 1736, leaving behind a library of over 18,000 volumes, most of them bound in her coat of arms, which was sold the following year. A very fine copy that subsequently passed through the Gaignat, Brunet, Marigues de Champ-Repus, Hoe and Cortlandt Bishop libraries. Minimal rubbing to spine ends. Small restoration in the inner margin of the title, a few ink stains on the first 2 leaves and lack in the upper margin of the last leaf. Provenance: Claude(? faded manuscript bookplate on title dated 1613), Comtesse de Verrue (arms, sale in 1737, no. 253), Louis-Jean Gaignat (? in fine, April 10, 1769, no. 2501, no mention of arms), Jacques-Charles Brunet (April 20-24, 1868, no. 540), Eugène Marigues de Champ-Repus (bookplate), Robert Hoe (bookplate, II, January 8, 1912, no. 933) and Cortlandt F. Bischop (bookplate, I, April 5-8, 1938, no. 519).

Estim. 3 500 - 4 500 EUR

Wed 19 Jun

JAMMES (Francis). Rayons de Miel. Églogues. Paris: Bibliothèque de l'Occident, 1908. - In-8, 253 x 160: 53 pp. (1 blank), printed cover. Jansenist dark green morocco, ribbed spine, interior gilt lace, gilt edges on witnesses, cover preserved (Joly fils). First edition of this poetic collection, printed in an edition of 400 copies. It comprises 11 poems: Alexandre de Ruchenfleur. Églogue de printemps. - Par la porte épaisse et cloutée... - Comme quand on relève un bouquet... - O quenouilles rosâtres!... - Le Contrevent gémit,... - Si tu descends du nord,... - François, le savetier mon voisin,... - Il est des jours de Juin.... - Dites-vous que la vie est ici,... - À cette heure ou j'écris,... Paysanne. Summer eglogue. André Gide wrote this note in 1909 about his friend's book: "A Francis Jammes poem is never the result of an effort, of a poetic gageure, as Baudelaire wished; it springs from a divine source, eager to reflect as much of heaven as possible ; to find fault with the quality of its water, the harmony of its murmurs, the direction of its course, is futile; all one can do is refuse to drink from it; I pity anyone who is not thirsty for this water, water so clear, so fresh, so lustrous that I don't come so much to drink from it as to wash in it. [...] My predilection lingers with the Church dressed in leaves; but I don't think Alexandre de Ruchenfleur, which opens this new collection, is in any way inferior to Jammes's other long poems (to Jean de Noarrieu, for example, whom it sometimes reminds us of), if not even superior to them. Its only fault is that it comes later. - From now on, Francis Jammes forbids himself to have any intelligence for any drama other than the one he would like to be common to every man, whose only events, between birth and death, would be legitimate love and the procreation of a few children. This is the "simple and tranquil" life that Verlaine sobbed about; a fabric of azure and light, unadorned and unencumbered, inevitably cut short by mourning, but not overshadowed by it, so radiant will be the faith. The few short pieces, which follow Alexandre de Ruchenfleur, have an unexpected rhythm and retain a charming verdeur" (André Gide, Francis Jammes: Rayons de Miel, in Nouvelle Revue Française, no. 4, May 1909, pp. 372-373). To conclude his note, he quotes an extract from the poem that closes the collection, entitled Paysanne. Églogue de l'été. In his opinion, this is one of the most characteristic poems Jammes has given us, composed of a sequence of lines "of singular nobility, breadth and beauty" (André Gide, ibid., p. 373). ONE OF 25 FIRST NUMBERED EXAMPLES ON HOLLAND VAN GELDER PAPER (no. 3). A very fine copy bound by Joly fils. Spine slightly faded. A few rare brown spots. Provenance: Henri Thuile, with bookplate.

Estim. 300 - 400 EUR

Wed 19 Jun

Les CRONIQS DU TRESCHRESTIEN ｸ TRES VICTORIEUX LOYS DE VALOYS feu roy de frãce q absolue Unziesme de ce nõ avecqs plusieurs aultres advētures advenues tãt en ce royaulme de France cõme es pays Voisins depuis lan mil quatre cens.lv.iusques en lan mil quatre cēs quatre quatrevingtz & trois Inclusivemēt... In-folio, tobacco calf, spine with 6 ornate nerves ( 18th century binding). Bechtel, 147/C-344 // Brunet, Supplément I-260// BMC, VIII-289 // CIBN, C-319 / Hain, II-5005 // USTC, 70104. (73f. of 74, the last blank missing here) / a-e8, f-i6, k10 / 44 lines on 2 columns, goth. car. / 192 x 272 mm. First edition of the Chronique de Louis XI, known as the Chronique scandaleuse. Mainly recounting the facts of French history during the reign of Louis XI from 1461 to 1483, this chronicle is called scandalous because it mentions everything that King Louis XI did, and recites things that are not too much to his advantage. because it mentions everything King Louis XI did, and recites things that are not too much to his advantage. This scandaleuse appears in the 1611 edition, where the author is presented as a clerk of the Hostel de Ville de Paris. As for the author of this chronicle, the various editions present him as anonymous until Gilles Corrozet's publication of the Trésors des histoires de France in 1583, in which he attributed authorship of the text to Jean de Troye, an attribution repeated the following year by La Croix Du Maine in his Bibliothèque française. It wasn't until the end of the 19th century that the Chronique scandaleuse found its true author in the person of Jean de Roye, whose diary was published by Bernard de Mandrot in 1894-1896, which is none other than the chronicle we're talking about. Jean de Roye (1425-1495?) was a notary at the Châtelet de Paris, secretary to Duke Jean II de Bourbon and concierge at the Hôtel de Bourbon in Paris. This first edition of the Chronique scandaleuse provides the complete text we know from two manuscripts held at the BnF. The section from 1461 to 1479 is highly developed and seems to have been written from day to day, while the subsequent section, from 1479 to 1483, is more summary and seems to have been added in a single block. A fine copy with wide margins. The title bears an old handwritten annotation Old edition of the Chronique dite Scandaleuse du Roy Louis XI by Jean de Troyes Greffier de Lhostel de Ville de Paris. Old restorations, hinges and spine rubbed and missing. Small stains to title, browning to 2 leaves (C6, C7), a wormhole to 18 leaves (A7 to C8).

Estim. 5 000 - 6 000 EUR

Wed 19 Jun

Pierre de RONSARD. Les Œuvres... 5 parts in 4 volumes in-16, red jansenist morocco, 5 ribbed spine, interior lace, gilt edges ( M. Lortic). Barbier, MBP, II-28 // Tchemerzine, V-474 et seq. I. (12 f.)-140f.-91 f.-(5 f.) / a8, e8, a-r8, s4, A-M8 // II. (8 f.)-249 f.-(1 f.) / *8, a-z8, A-H8, I2 // III. 222 f.-(2 f.) / A-Z8, Aa-Ee8 // IV. 135 f.-(1 f.) / A-R8 / 64 x 115 mm. First collective edition, partly original, extremely rare. It consists of five parts with separate titles and paginations. The first & second books of the Amours (volume I), the Odes (vol. II), the Poems (vol. III) and the Hymns (tome IV). It is illustrated with a medallion portrait of Ronsard, reproduced in all four volumes, and a portrait of Marc-Antoine Muret (volume I), both engraved after Jean Cousin. This is the first of Ronsard's works to be published by Gabriel Buon, who had just purchased the Laporte estate in 1558. It marks the beginning of a long collaboration between the poet and the publisher, to whom Ronsard granted exclusive rights to publish all his works for six years. This edition is doubly important in that it contains eighty previously unpublished pieces, and in that it offers the original text of the poems, many of whose lines Ronsard altered in later editions for religious reasons. The copy comes from the De Backer collection. We compared it with the Barbier-Mueller copy and noted a difference in the title of the Second livre des Amours. Second livre des Amours, but our title conforms to that described by Tchemerzine and to that of the BnF. There are undoubtedly two states of this title. The De Backer catalog insists on the preciousness of this edition, describing it as an extraordinary rarity. He gives a perfect and precise technical description: no more than three copies of these precious volumes are known, including one incomplete by several leaves, the one in the Bibliothèque nationale and this one. Barbier-Mueller lists only two complete copies, his own and that of the BnF, and cites three incomplete copies, from the De Backer, Maggs and Rowfant collections. The latter is now in the Houghton Library at Harvard, and the Maggs copy has not been located. The De Backer copy we offer remains. It contains two new leaves in Volume II, the title (*1) and the last leaf of the table (*8), conditions which undoubtedly make it one of the most complete in private hands and one of the only ones to be found. Damage to one volume and white wax at foot of volumes. Title of volume III cut out and replaced by a blank piece of paper, title and one leaf of volume II rebacked. The upper margins of Volume I and the side margins of Volume IV are a little short, with damage to some marginalia. Provenance: Hector De Backer (bookplate, February 17-20, 1926, no. 396).

Estim. 35 000 - 45 000 EUR

Wed 19 Jun

Pierre de RONSARD. Les Quatre premiers livres des Odes... Ensemble son Bocage... - Pierre de RONSARD. L'Hymne de France. Paris, Michel Vascosan, 1549. 2 works in one volume in-8, brown basane, gilt arms in the center of the boards, spine with 5 ornate nerves ( Late 17th century binding). Barbier, MBP, II-2, 3, 4, 5 // De Backer, 389 bis // Olivier, 2350 // Rothschild, 669-671 // Tchemerzine-Scheler, V-415/416. I. (10 f.)-170 f.-(2 f.) / A8, *2, a-x8, y4 ( with y3 signed z3) // II (8 f.) / A8 / 98 x 159 mm. First editions of these two very rare works, which are among Ronsard's earliest published works. There is a debate between several bibliographers about different editions of the Four first books of the Odes. Barbier-Mueller's summary of the debate is very skilfully commented in Ma bibliothèque poétique (II-n° 5). Without going into the details of this polemic, we shall follow his opinion that there are several states of this edition, and indicate the composition of our copy. This one: - contains the Suravertissement followed by the Privilege; - contains misprint on verso of folio 136, Boucage for Bocage; - contains error on folio 155, erroneously numbered 557; - contains the two errata leaves at the end of the volume. L'Hymne de France is sometimes considered Ronsard's first publication (cf. Picot in the Rothschild catalog), sometimes his second after L'Épithalame d'Antoine de Bourbon (cf. Tchemerzine). . Sometimes, as here, we find the Quatre premiers livres... and L'Hymne bound together; the reason for this is that the Quatres premiers livres contain in fine, as we said, two errata leaves which are often missing and which are present here. Curiously, these two errata pages concern both books, even though they were published by two different publishers. This peculiarity has led some bibliographers, such as Seymour de Ricci, to believe that the first collection and the booklet must have been sold together, and that a copy of the Quatre premiers livres... not containing L'Hymne would be incomplete. We agree with Barbier-Mueller's thesis that, due to a typographical correction to the word Hymne to Hinne and because of an error in the name Ronsard spelled with a T, considered these two publications to be two separate editions. A copy bearing the arms of François Chartraire de Montigny, a member of the Burgundy Parliament in 1692, who died in 1728, leaving behind a substantial library. The copy contains a few old handwritten annotations and a few underlined passages. Binding a little rubbed, title page rebacked. Title of Odes stained and restored, a few brown spots, probably due to faded ink. Provenance: J.B. Clergéon (? handwritten bookplate dated 1633), François Chartraire de Montigny (arms) and Mme Gueneau de Mussy (bookplate).

Estim. 6 000 - 8 000 EUR

Thu 20 Jun

BATAILLE (Georges). Autograph letter signed [TO PAINTER RENE MAGRITTE]. Fontenay-le-Comte [in the Vendée department], February 13, 1961. 3 pp. in-8. While writing his latest book, Les Larmes d'Éros, Georges Bataille was staying with his friend André Costa, sub-prefect in Fontenay-le-Comte. Very ill, he died in July 1962, and his work was published posthumously in 1964 by Jean-Jacques Pauvert, in the "Bibliothèque internationale d'érotologie" edited by writer and film critic Jean-Marie Lo Duca. "My dear friend, what can I do, what must I do? My state of exhaustion is such that I don't know what to say to you, except that the obvious is there for me, I don't know what to say to you. Except this: if, instead of writing to you, I could talk to you, it seems to me that you would do what was necessary to send Jean-Marie Lo Duca... what would be needed to REPRODUCE "LE CARNAVAL DU SAGE" IN COLOR. I've never been so far from laughter, and IF I HAVE THE IDEA OF INTEGRATING "OLYMPIA" INTO MY BOOK, INTO THIS BOOK WHICH I CALL "LES LARMES D'ÉROS", IT'S BECAUSE IT LOOKS WONDERFUL TO ME. But the book itself, as I write it, leaves me in a state that is less marvellous than sick. I can't believe for a moment that you won't answer me in such a way as to put an end to any misunderstanding... I CONFESS, THE WORD SAUGRENU, WHICH IN MY LETTER MEANT EROTIC, WAS OBVIOUSLY CLUMSY, SINCE IT OFFENDED YOU. But I can't believe that this clumsiness continues to make you think that I see in your paintings the slightest trace of fun. I simply had to tell you: I'd hate the word "saugrenu" if it had the meaning you give it. But it's true that my book is about eroticism. (If I continue to have so much trouble writing it, I don't know when it will come out!) Believe in my faithful affection... " ATTACHED: COPPEE (François). A photographic portrait with autograph letter signed (1906), an autograph letter signed (1907), an autograph business card signed (n.d.). - GROLLEAU (Charles). One autograph letter signed (1939) and 2 autograph pieces signed (1931 and 1936), all addressed to Lucien Descaves. Poet, translator of Omar Khayyam and Oscar Wilde, Charles Grolleau was also literary director at Crès. - GROLLEAU (E.). 8 autograph letters signed by Charles Grolleau's wife to Lucien Descaves. 1940-1943. - LECOMTE (Georges). 15 letters (12 autograph and 3 signed) to Lucien Descaves. 1907-1936.

Estim. 200 - 300 EUR

Wed 12 Jun

DENMARK (Belgium, 1950). "Horizontaal versneden boeken ingewerkt in stukken plank", 1998. Wood and paper. Set of 9 pieces. One is signed and dated on the back. Each piece is numbered. Measurements: 45 cm (height). 14 cm (width piece 1); 9.5 cm (width piece 2); 16 cm (width piece 3); 12.5 cm (width piece 4); 17 cm (width piece 5); 17.5 cm (width piece 6); 18 cm (width piece 7); 15.5 cm (width piece 8) and 16.5 cm (width piece 9). The works of "Denmark" symbolize the consequences of our culture of waste, suggesting a way to cope with the incessant flood of information. By turning printed products into art, he combines traditional forms of conservation, with forms of disposal that include spraying, cutting and burning. Since the early 1970s, "Denmark" has cut up, dissected and (re)assembled books, magazines and newspapers. His "archival installations" are a critical reaction to the information overload we are confronted with on a daily basis. The artist himself writes: "How many newspapers and magazines do people throw away every day? How many unread masterpieces appear on their bookshelves? How many old exams and papers gather dust in school attics?" For the past 50 years, Belgian artist Denmark - pseudonym of Marc Robbroeckx - has transformed tons of printed paper into art. He creates sculptures and installations with books, newspapers and magazines. His main ingredient is always paper, cut, pressed, stacked or folded. Denmark claims that each page of his work is folded into the smallest possible volume. This reduction of surface area is a metaphor for the artist's search for the essence. Denmark, pseudonym of Marc Robbroeckx, is a Belgian artist known for his paintings, sculptures and installations that often use newspapers and other media. In 1972 he completed his studies in art history and archaeology at the University of Ghent. He made his debut in the art world in 1968 and in 1977, his newspaper clippings won him the Young Belgian Painting Competition Prize (Brussels, Palace of Fine Arts). His artistic career gained momentum in the late seventies and eighties. He conceived the name "Denmark" as an acronym for "Pan American Airlines and Company" reflecting his early fascination with travel and the media. Denmark's innovative use of recycled materials and his provocative commentary on contemporary society have positioned him as a notable figure in Belgian art today. Denmark's work has been exhibited in numerous galleries and museums internationally, including the Design Museum in Brussels. The record price for a Denmark work sold at auction was $73,958 for "Dead Letters (B.13.78)" in 2022. Currently his work belongs to numerous collections of great artistic relevance among which are; The Art Museum of Ahlen, Antwerp M HKA, Museum of Contemporary Art, Belgian Art Center Phillip Ingrid, Museum of Bremen Weserburg, Royal Museums of Fine Arts Brussels, Museum of Contemporary Art Eupen Eupen, the Library of Genk, Museum of Ghent Dr. Guislain, Museum Municipal de Gent Dr. Guislain, Museum Municipal de Gent Dr. Guislain, Museum Municipal de Gent Dr. Guislain, Museum Municipal de Gent Dr. Guislain, Museum Municipal de Gent Dr. Guislain, Museum Municipal de Gent Dr. Guislain. Guislain, Municipal Museum of Contemporary Art of Ghent, Museum of Ixelles, the Central Library of Leuven, the Madrid ARCO Foundation Contemporary Art Collection and the Bibliothèque Nationale de Paris, among others.

Estim. 26 000 - 28 000 EUR

Thu 20 Jun

Une des premières éditions du Coran de Kazan - L'Imprimerie du Gymnase asiatique, colophon: at the expense of Joseph Ismail Oglou 1821 LE CORAN EN ARABE, Small in-4 half-basane with corners, ornate smooth spine, red morocco title page, speckled edges. 764 p. and eleven lines per page. Mixed azure and white paper. Framing vignettes on both frontispiece pages. ( Bibliothèque S. de Sacy 1467 - Uns Khaldof, Dalil al-matbou'at fi Roussiya 318/13). The typeface used is recognized as Kazan naskh (Kazanskii nash in Russian). References Efim A. Rezvan, "A History of Printed Editions of the Qur'an," The Oxford Handbook of Qur'anic Studies ed. Mustafa Shah & M. A. S. Abdel Haleem (2020) 261-262 Yakubovych, Mykhaylo. History of the Printing of the Glorious Qur'an in Europe: Editions, their Quality and Accuracy, in: Studies of the Symposium on Printing the Qur'an (2014), Madinah: King Fahd Glorious Qur'an Printing Complex, 2016, pp. 51-76. The Qur'an was first published in an edition printed by Muslims in Kazan, in 1803. Prior to this date, and for most of the 19th century, the Koran had been transmitted mainly by handwritten copy in the Muslim world. Widely distributed among Muslims in Russia and the neighboring countries of the Ottoman Empire, the print run is said to have been 1,500 copies. The Arabic characters used were those of the St. Petersburg press, transferred to Kazan in 1801-1802, when the Asian press was created at the Kazan gymnasium. Kazan and the surrounding area were among the most densely populated Islamic regions in Russia, creating a strong demand for religious books. The Kazan press was in fact the only press allowed to publish Muslim religious literature. The study by E. A. Rezvane's study reveals that the Kazan edition of the Glorious Qur'an occupies a very important place not only in the history of Qur'an publication, but also in the preservation of Islamic religious identity throughout the Muslim world. One of the 1st printed Kazan Qu'ran, Russia, 1821. The Koran was first published in a printed edition by Muslims in Kazan in 1803. Prior to this date, and for most of the 19th century, the Koran had been transmitted mainly by handwritten copy in the Muslim world. Widely distributed among Muslims in Russia and the neighbouring countries of the Ottoman Empire, the print run is said to have been 1,500 copies. The Arabic characters used were those of the St Petersburg press, transferred to Kazan in 1801-1802, when the Asian press was created at the Kazan gymnasium. Kazan and the surrounding area was one of the most densely populated Islamic regions in Russia, which created a strong demand for religious books. The Kazan press was in fact the only press allowed to publish Muslim religious literature. The study by E. A. Rezvane reveals that the Kazan edition of the Glorious Qur'an occupies a very important place not only in the history of the publication of the Qur'an, but also in the preservation of Islamic religious identity throughout the Muslim world.

Estim. 4 000 - 6 000 EUR

Fri 21 Jun

Théodore GÉRICAULT (1791-1824) Portrait of Galaor, the artist's dog circa 1818-1819 Watercolor over graphite pencil lines 15.5 x 15.5 cm PROVENANCE : - Bro de Comères family collection until 1925 - Collection Edouard Mortier, Duc de Trévise until 1946 - Galerie Aubry in 1964 - Private collection EXHIBITIONS : - Géricault Centenary Exhibition, organized by the Duc de Trévise, N°223, Paris, Galerie Charpentier, April 24-May 16, 1924 - Géricault exhibition, Musée des Beaux-Arts de Rouen, 1924 - Exhibition Géricault, peintre et dessinateur (1791-1824), organized for the benefit of the "Sauvegarde de l'Art français", introduction by the Duc de Trévise, catalog by Pierre Dubaut, no. 225. Paris, Galerie Bernheim-Jeune, May 10 - May 29, 1937 - Géricault cet inconnu exhibition, no. 63. Paris, Galerie Étienne Bignou, May 1950. - Gros-Géricault-Delacroix exhibition. Organized in memory of the Duc de Trévise, president of the Sauvegarde de l'Art français, by M. M. Dubaut, Delestre et Lebel, no. 68. Paris, Galerie Bernheim-Jeune, January 9 - March 15 1954. - Géricault exhibition, organized for the benefit of the Société des Amis du Louvre, catalog by Claude Roger-Marx, no. 50. Paris, Galerie Claude Aubry, November 6 - December 7, 1964. BIBLIOGRAPHY : - CLÉMENT Charles, Géricault: étude biographique et critique avec le catalog raisonné de l'oeuvre du maître, n°57, p. 338. Didier, Paris, 1868. "Galaor, a dog of the mastiff species that belonged to Géricault. He is lying down, half his body sticking out of his stone kennel. Watercolor. To Colonel Olivier Bro de Comères". - Géricault Centenary Exhibition Catalogue, n°223 p. 72, 1924. - EITNER Lorenz, Charles Clément, Géricault, Paris-Laget, p. 463, 1973. - BAZIN Germain, Géricault, tome V, p. 73. Wildenstein Institute, La bibliothèque des Arts, Paris, 1987-1992. "Clément catalogued a certain "Galaor" at no. 57 (drawings). A mastiff that belonged to Géricault, he is lying with half his body outside his stone kennel. Watercolor. To Colonel O. Bro de Comères. H. 0.155; L. 0.155". NOTE: This watercolor by Théodore Géricault depicts his dog, lying in a niche, its head protruding outwards. The dog, of indeterminate breed, is called Galaor, probably named in derision of the Comte d'Artois (Charles X), who called himself by this name in his youth (Bazin, p.73). Indeed, this drawing dates from the period when the artist, a former musketeer to the king, became involved in the opposition. Our sheet remained in the Bro de Comères family, close friends of the painter, for almost a hundred years, before passing into the collection of the Duke of Treviso, and finally into a private collection. It can be compared with a sketch of the same animal in a niche, preserved at the Art Institute of Chicago, part of a notebook from the 1818-1819 period. Géricault's watercolor has been described by : Hubert DUCHEMIN, 8, rue de Louvois, 75002 PARIS +33(0)1.42.60.83.01, [email protected]

Estim. 30 000 - 40 000 EUR

Tue 18 Jun

André BRETON (1896-1966). Autograph manuscript signed, Autodidactes dits "naïfs", New York 1941-1942; 3pages in-4. Interesting art-critical text on the Naïfs, in its original, partly unpublished version. This manuscript, abundantly crossed out and corrected, is in three parts, the last of which alone was collected in Le Surréalisme et la Peinture (New York, Brentano's, 1945). The first two leaves relate to Sidney Janis's book They taught themselves (New York, 1942), and his collection of self-taught American primitive painters. The first text, bearing the title in red pen, begins as follows: "In the twentieth century, living artistic consciousness, evolving in tandem with the need for knowledge, is experiencing four main poles of attraction, under the influence of four singular modes of expression: - 1° the sculpture of primitive peoples (Africa gradually giving way to Oceania and ancient America), - 2° the drawings of children under ten, - 3° the drawings and paintings of mediums in trance, - 4° the artistic production of the insane (mainly schizophrenics)"... There are also the self-taught painters, "pure of all the taint of artistic education", who are "a source of freshness and frankness", and in the emotion Breton feels, he finds the "magnetic thread" that runs through the canvases of Douanier Rousseau, the "Ideal Palace" of Facteur Cheval and the creations of Hirschfield.... The second page is entitled They taught themselves, and is dated "New York September 14, 1941". This is a second version of the preceding text; translated into English, it served as the exhibition presentation for Sidney Janis' collection and was used on the dust jacket of Janis' book; the French version is unpublished (a translation from the English is published in Œuvres complètes, t.IV, p.1186). Breton concludes: "This is, to my knowledge, the first time that an exceptional gift for observation and deduction, of an entirely scientific nature, has been combined with an admirable sense of both artistic and poetic quality. The latter has never ceased to express itself, moreover, in the infallible choice which presides over the assembly of the paintings in his collection, all of those which intellectually have made an event or mark an important stage in some respect in the direction of mystery and fire". The last leaf, entitled Preface, signed and dated at the end "New York January 19, 1942", gives, with important erasures and corrections, the text collected in Le Surréalisme et la Peinture. In it, Breton evokes Douanier Rousseau, whom he likens to Georges Courteline and Alfred Jarry: "Rousseau has the insignificant power, if not to wither almost all painting behind him, at least to make appear derisory the artistic means that are taught and whose codification tends to establish a wholly formal perfection on the ruins of inspiration". He concludes by praising the work of Sidney Janis, "who lends self-taught American painters his fervent support, has the privilege of living in the intimacy of the masterpiece which, unbeknownst to them, commands the line of their production: I mean Rousseau's Dream. [...] Just as Cimabue's Virgin once walked through Rome, it may one day be appropriate, among works of the same sincerity and foresight, to processionally walk her through the streets. Former Jacques Millot collection (Bibliothèque du Professeur Millot, June 15, 1991, no. 28, 1°).

Estim. 1 500 - 1 800 EUR

Tue 18 Jun

Louis-Ferdinand CÉLINE. Manuscripts (carbon copies) with autograph additions and corrections for Féerie pour une autre fois, [ca. 1950]; 20 folios in-fol. (34 x 21 cm) and 148 folios in-4 (28 x 20 cm), in sheets. Important set of duplicates of the manuscript with additions and corrections for the final version of the novel. The genesis of Féerie pour une autre fois, which began in Denmark in 1946, was a laborious process right up to its publication in 1952. Henri Godard has identified at least four versions, with intermediate ones. Somewhat later, Céline chose to divide his book into two parts. In Féerie I, Céline recalls the last months of the Occupation in Paris, and his incarceration in Denmark. These fragments relate to the finalization of the definitive version, prior to its typing in 1950. Céline wrote his manuscript in ballpoint pen, using carbon paper to make a duplicate. On this duplicate, particularly on the first fragment, in black carbon on large sheets, Céline made numerous (and sometimes important) autograph corrections and additions in blue ballpoint pen; he also inserted a few entirely autograph sheets. There are numerous variants with the final text (the Lucette of the manuscript becomes Arlette in the edition), as well as passages that have been crossed out; most of the corrections have been integrated into the edited text, while some have been omitted. The second set, in blue carbon on in-4 sheets, is less corrected. The manuscript is paginated, with a few extra pages; we refer in square brackets to the corresponding pages in Volume IV of Romans dans la Bibliothèque de la Pléiade (1993), recently renamed Romans 1952-1955. 119-137 (20ff., 34 x 21 cm.) [Pl. 41-47]. "10,000! 100,000! 200,000 grills! you could see France now! [...] These are the people they're sending, assesseuses, from the Quai [des Nerveux crossed out and corrected:] Zysthérie, from Paris, to revive the Saints in". Page 127, Céline pins an autograph 6-line crest: "Je m'en fous de l'appartement Goudeau [Gaveneau in the edition]!"... Page 132 is entirely autograph: "huit jours de plus! ils étaient plus mille d'assassins! 300.000!"... 326-359 [Pl. 100-109] "le 115! et le 40 donc, saperlipope! [...] plundered, outraged, stalked, inked, dirtied, a thousand satanies, exiled, a thousand" 404-438 [Pl. 119-127] "Oh with Féerie all is other! [...] crumbled in '39!... and my bricks dis? find bricks again" 447-455 [Pl. 128-130] "He congratulated himself. [...] not just the shutters...! the whole guitoune!.. everything was wobbly, musty..." 476-496 [Pl. 135-139] "but still, what a treat! [...] There are unhappy people! There are people in rotten hovels! There are selfish people!" 561-600 [Pl. 151-159] "Treated! the fangs I saw! the fangs! I saw the fangs of people [...] There are sounds that no longer exist! but the piano, the notes! the notes a finger! a finger! go! go!" 671-680 [Pl. 173-175] "let's look for them for the morgue... we'll see by their faces... [...] his vein! the impasse Trainée! I must situate everything for you!"

Estim. 1 500 - 2 000 EUR

Wed 19 Jun

[Gratien DU PONT]. Les Controverses des Sexes Masculin et Femenin. In-folio, camel morocco, triple fillet, 5-nerved spine decorated with gilt fillets, interior lace, gilt edges ( Bauzonnet). Bechtel 251/D-428 // Brunet, II-251 // Fairfax Murray, 133 // USTC, 12870. (24f.)-CLXXIXf.-(1f.) badly paginated / C-CCC8, a-c8, d6 (+1f.), e8 (+1f.), f-x8, y6-z6 / 38 or 39 lines, sometimes on 2 columns, gothic car. / 174 x 247 mm. A rare first edition of this work in favor of male authority and against liberated women. Gratien Du Pont, sieur de Drusac, was a poet from the first half of the 16th century who lived in Toulouse, where he was Lieutenant General of the Seneschaussée and a member of Parliament. He died before 1545. The publication of Controverses des sexes masculin et féminin was apparently inspired by his painful separation from his wife. This deeply misogynistic work attempts to denigrate women. In the first book, the author doubts that women, like men, were created in the image of God. In the second, he advises against marriage. In the third, he recounts historical cases recounted by sacred or secular authors, poems, epistles or ballads in which women appear in the wrong roles or reveal their vices or crimes, all good arguments for establishing male authority. This is the only work composed by Gratien Du Pont, and it was not the poetic quality of its author, described by Viollet-Le-Duc as mediocre, that made it famous, but the polemic it provoked between supporters of male authority and those of female emancipation. Among those who spoke out against the work were Symphorien Champier, Charles Fontaine, Charles de Sainte-Marthe, Arnault de Laborie and, above all, Étienne Dolet, against whom Du Pont obtained from the Toulouse Parliament a ban on Dolet entering the city of Toulouse. The book is curiously illustrated. It features a title with architectural frame, portico, columns, pediment and putti, in the middle of which is a second engraving with the motto Loqui ad mensuram optimum: "For a better measure". This frame is repeated six times in the volume, with either text (1) or engravings (5) in the middle, depicting: the author asleep in a landscape inspired by an old man symbolizing the male sex; a convoy carrying Dame Fortune; an army on the march; a gathering of women who have come to attack the author and defend Cupid... A final large woodcut depicts a chessboard bearing the names of the women's vices distributed among the squares. The illustration is completed by 6 small vignettes depicting assailants leading a group of people widowed or married, ieunes et gaillardz and muguetteurs fort vieillardz, numerous initials and the printer's mark on the last leaf. Finally, we note a curious acrostic on folio L1 and following, which reads the proverb Crazy woman is and always will be crazy. The collation of this edition is very complex, as there are errors in foliation and signatures. The copy is complete with all leaves and the additional leaves (pages 26/27 and 31/34). A fine copy, despite a stain on the second cover and the title a little short of margins. Old handwritten inscription on title partly faded, purple ink stains affecting the lower margin of several leaves over 2 to 3 mm high and 1 mm wide. Provenance: Henri Bordes (ex-libris, his Catalog d'un choix de livres faisant partie de la bibliothèque d'un amateur bordelais, 1872, no. 153, not in the 1911 sale).

Estim. 5 000 - 6 000 EUR

Tue 18 Jun

Marcel PROUST (1871-1922). L.A.S. "Marcel", [Salies-de-Béarn September 1886], to his maternal grandfather Nathé Weil; 3 1/2 pages in-8 in purple ink. Long and amusing youthful letter to his grandfather, with a portrait of Mme Catusse. "My dear little grandfather Thank you a thousand times over for your letter. It seems that my style has the misfortune to displease everyone. Since the sublime genre doesn't suit me, I'll try bourgeois". And Marcel talks about one of the hotel's guests, the dentist Magitot, and his wife's "maneuvers and the respect of the hotel's inhabitants", where he was considered "an illustrious scholar, a famous doctor. While we passed poor and ignored in the hotel lounge, people were bustling around the deity, with an affable and easy welcome. [...] And the doctor deigned to smile, even to play wisth. Hide your face, O faculty! So I insinuated insidiously to a chatty admirer of the "doctor" that the scientist was a dentist, a simple "scientist by the way, and doctor I believe" tooth puller. But the venom circulated badly, and Mr. Magitot left yesterday, having enjoyed a month of the lying sweets of popularity. I must say, to pay homage to the truth, as the châtelain d'Auteuil says, that the doctor is a very good man, very frank, very natural, extremely well-educated and very intelligent. He amused himself the other day in front of an audience of very devout wives and husbands by reading atheistic and blasphemous verses by a certain Madame Ackermann and proving a+b, that religions were human institutions that stopped the progress of society, that God was a chimera, the intelligence and the heart were vital functions like digestion and respiration, shouting out loud that conscience was the only rule of man and that with these dogmas the virtues - charity, for example - regained all their strength, whereas with religion they were practiced for the narrow and selfish purpose of a reward". Mme Catusse loathed Magitot, calling him an odontologist... "The treatment is doing us very well. Maman is blooming and Robert is thriving. I'm a tender rose and starve at every meal"... Marcel then paints a portrait of Madame Catusse [who was to become one of his great friends]: she is "a charming woman. Very pretty face, black hair, smooth velvety skin, very clear eyes, very lively and very soft, very slim waist, plump rather than tall, very great intelligence, very remarkable, deep education, a lot of wit and grace, a not so banal amiability which does not exclude a frankness full of flavor, all in all, a great deal of originality and charm, and to complete my information, this delightful woman, who softens for us the rigors of exile, sings admirably with a very pure and sympathetic voice, and also paints (I don't know how, having never seen anything painted or drawn by her)"... He ends by recalling the promise to subscribe her to the Revue bleue; and he adds "that the odontologist had called himself a colleague of Papa's noise, which I found hard to destroy"... Madame Proust added 8 lines at the bottom of her son's letter: "Mon petit père I don't want to deprive you of your grandson's letter, but for special reasons that I will tell you in person, I want no one but Maman, you and Georges to read it, and I want you to tear it up immediately. J.P" Correspondance, t.XXI, n°393. Provenance: Bibliothèque Jacques Guérin (VII, May 20, 1992, no. 57).

Estim. 4 000 - 6 000 EUR

Wed 19 Jun

[Eloy DAMERVAL]. Sensuit la grãt dyablerie Qui traicte cõment sathan fait demõstrance a Lucifer de tous les maulx que les mõdains font selon leurs estatz vacations et mestiers. Et comment il les tire a dpnation... Small in-4, red jansenist morocco, 5-ribbed spine, interior roulette and filleting, gilt edges ( Chambolle-Duru). Bechtel, 204/D-26 // Brunet, II-478 // Fairfax Murray, 600 // Tchemerzine-Scheler, II-720 // USTC, 83461. (150f.) / A6, b-e4-8, f4, g-o4-8, p4, q-z4-8, ｸ4, A4, B8 / 40 lines on 2 columns, goth. car. / 130 x 190 mm. A very rare second or third edition of this theological poem on human vices, a contemporary edition of which was also published by Le Noir. Little is known about Eloy Damerval, who is listed as the author of this text in the table of the first edition. A singer at the Court of Savoy, then attached to Charles d'Orléans at the Château de Blois, he was, in 1483, master of the choirboys of Sainte-Croix in Orléans. The Grande diablerie is his most famous work. Comprising an 8-chapter prologue and two 260-chapter books, followed by the actor's final conclusion, this comic dialogue between Satan and Lucifer contains over 22,000 verses. Satan, full of experience, explains to a naive young Lucifer the foibles and weaknesses of men and women, and how to tempt them: Jay thousand million traps And trebuchetz Lucifer To make them die in hell The world, the flesh and the dyables Nuyt and day are not fables. Damerval's intention is to challenge men to fall into these traps, but he doesn't shy away from a certain literary pretension, claiming to be Aesop, Come Esopes en ung beau mettre / Se dit bien qui est panthamettre: And don't be dismayed Si jay voulu pour resveiller The understanding of the lisans Often dare to say pleasant things Et de termes assez joyeulx To keep your hands boring Car les rimes entrelardees Of joyful words are watched Comunement plus voulentiers... In chapter 68, François Villon is mentioned, probably one of the earliest literary references to the poet: Maistre Francoys Villon jadis / Clerc expert en faictz et en ditz / Comme fort nouveau quil estoit / Et a farcer se delectoit / Fist a Paris son testament. This work was first published by Michel Le Noir around 1508. The name of the author is taken from the table of this first edition: De maistre Eloy d'Amerval (...) / Cy s'ensuyt (...) la Dyablerie... These verses are not included in our edition, which only mentions the author's first name at the beginning of the prologue and at the very end of the volume: Prier aussi le createur / Pour moy Eloy le pauvre acteur. Title in red and black adorned with a large lettering and a large woodcut depicting five devils, one of whom is taking long notes, a large woodcut at the colophon (f.A6v) printed in red and black depicting 6 devils, and a smaller woodcut in black showing God appearing to the author (f. b1r). Leaves A2v and A5r are printed in red and black, with 47 small initials on a sifted background. The edition is extremely rare. There are four or five copies: one at the Bibliothèque Mazarine, one at the Kongelige Bibliotek in Copenhagen, the Soleinne copy, the Yemeniz (no. 1702)/Firmin-Didot (no. 174) copy and this one. The Soleinne and Yemeniz/Firmin-Didot copies, both bound in antique calf, may be the same. A fine copy, despite a small loss at the top of a spine and a slight knock to a cut on the first cover. Notebooks v and x inverted, an old annotation in ink (f. B7v), angular restoration to 4 leaves (A1, c1, y4 and ｸ1) and restoration with damage to a few letters (f. l2). Provenance: Fairfax Murray (label, no. 600).

Estim. 6 000 - 8 000 EUR

Thu 20 Jun

Anthologie de littérature arabe andalouse des Xe-XIIe-XIIIe siècle, Copie autographe par Ali ibn Musa Ibn Saïd al-Maghribi (m.1286) - Spain or Near East, circa 1255-1285 Manuscript in Arabic, on strong oriental paper, without title or colophon, 193 leaves, calligraphed in sepia ink, in beautiful naskhi of 21 lines per page, with titles in large Maghribi script. The manuscript contains 386 more or less extensive notices of Andalusian poets and prose writers from the 5th, 6th and 6th centuries of the Hegira, systematically including extracts from their diwans. The entries cover an average of one page, but some poets have several pages. Flap binding, cold-stamped boards. Condition: old marginal dampening, paper restorations not affecting the text except for a dozen leaves. Marginal notes mainly perpendicular, in the same handwriting. 20 x 13.5 cm Carbon-14 dating by the Ciram laboratory confirms dating between 1256 and 1304 (2 σ - 86.1% confidence). Provenance : Former collection of His Excellency Ambassador M. B. A., acquired in the 1970s. Bibliographical references: Encyclopédie Islamica - III - 950. Levi- Provençal: the Hispanic Zagel in Ibn Saïd's Mughrib. Arabica I-fasc. I-1954. G. Potiron: Un polygraphe andalou du XIIIe siècle. Arabica XIII-fasc. 2-1966. Author: Ibn Saïd al-Maghribi (1213-1286), also known as Ibn Saïd al-Andalusi, was a polymath and the greatest connoisseur of poetry produced in Al-Andalus during the 12th and 13th centuries. He was born near Granada, into a prominent family in the service of the Almohad dynasty, descended from a companion of the Prophet. His life was punctuated by his research, which led him to meet many scholars and explore numerous libraries (Cairo, Marrakech, Seville, Damascus, Homs, Mosul, Baghdad, Armenia, Tunis). He made the pilgrimage in 1249, then moved on to Damascus, where he met the Ayyubid sultan al-Mu'adham b. al-Malik al-Salih. In 1254, he entered the service of the Hafsid sultan Abu Abdallah al-Mustansir. He also visited Armenia and the Mongol court of Hulagu Khan from 1256 to 1265. Ibn Said's work Ibn Said is said to have written or compiled at least forty works in all literary genres, including history, geography, literature and poetry. Most of his works are anthologies and encyclopedias, like the present manuscript. His monumental work is the completion of the fifteen-volume "Kitab al-Mughrib fi-Hula al-Maghrib" ("The Extraordinary Book on the Finery of the West"), initiated more than a century earlier by Abû Muhammad al-Hijari (d. 1155) at the request of Ibn Saïd's great-grandfather, and completed by various members of his family. The work, also known as Kitâb al-Mughrib, is halfway between a poetry anthology and a geography, collecting information on Maghreb poets organized by geographical origin. According to Louis Crompton, it is "perhaps the most important" of the various anthologies of medieval Andalusian poetry. The present manuscript The present manuscript, which contains 386 notes and extracts from Andalusian poets, is presented as an unclassified anthology, in contrast to the presentation of the "Mughrib". The present text seems to relate to a lost part of Ibn Saïd's work. Based on the exhaustive bibliography compiled by G. Potiron, it must belong to one of the following titles reputed to have been lost: N°8 Muluk al-Shi'r, N°9 al-Muqtataf min hula-l-Arus al-Andalusiya, N°10 al-Muqtataf min azahir al-Taraf, N°22 Kunuz al-Adab, N°30 al-Mirzama. Three autograph works are known: - Escorial Library, Madrid, - University of Tubingen - Royal Library of Egypt A comparison of the spelling, the peculiarities of Hispanic Arabic and the marginal additions leaves no doubt as to the autograph authenticity of the present manuscript. From p. 62 onwards, the author refers to his family. Finally, on pages 70 to 110, he begins his 40-page anthology in the first person, introducing himself as the person who finalized the "Araïs al-Adab" (i.e. "Falak al-Adab", general title of the Mughrib and Muchriq). He notes that he was one of the secretaries (katib) of the Almohad Emir Yahia b. Abdelwaheb. On page 82, he quotes ten lines from a poem of his own composition, written in honor of Sultan Saladin, on the occasion of the Crusaders' defeat at the Battle of Damietta (1250). Anthology of Andalusian Arabic literature from the 10th-12th-13th centuries, autograph copy by Ali ibn Musa Ibn Saïd al-Maghribi (d.1286) The author: Ibn Said al-Maghribi (1213-1286), also known as Ibn Said al-Andalusi, was a polymath and the greatest connoisseur of the poetry produced in Al-Andalus during the twelfth and thirteenth centuries.

Estim. 50 000 - 80 000 EUR

Thu 20 Jun

VERVE. Paris, Tériade, 1937-1960. 38 issues in 26 volumes in-4, paperback or hardback, illustrated covers. Rare complete collection of the 38 issues in 26 fascicles of this famous literary and artistic review printed for Tériade by Draeger, and the prints by Mourlot. Remarkable review in which such great authors as Gide, Bataille, Garcia Lorca, Malraux, Michaux, Reverdy, Joyce, Hemingway, Claudel, Sartre, Paulhan, Rouault, Braque, Adrienne Monnier and Picasso took part. Contains numerous reproductions and original lithographs by Léger, Miro, Kandinsky, Masson, Picasso, Matisse, Chagall, Miró, Paul Klee, Derain and Bonnard. A fine set, complete with the expected original lithographs. Includes a 2nd copy of issue no. 2 (back cover torn, top cap missing). Set of 27 vols. Covers occasionally rubbed, with minor blemishes and minor loss; interiors fresh. ---------- Detailed condition report: - Issue 1 of December 1937. Cover illustrated by Henri Matisse. Texts by Gide, Bataille, Garcia Lorca, Malraux, Michaux... 4 lithographs : Léger, Miro, Rattner, Borès. Reproductions of works by Matisse, Maillol, Derain, Cézanne, Bonnard. Slight rubbing. - Issue 2, March 1938. Cover illustrated by Georges Braque. Texts by Reverdy, Joyce, Hemingway, Bataille, Michaux... Color and gold heliogravures after Ingres, Giotto... Photographs by Blumenfeld, Brassaï... Four original lithographs: 2 by Kandinsky, and 2 by André Masson. Includes a 2nd copy (back cover torn, top cover missing). - Issue 3, June 1938. Cover illustrated by Pierre Bonnard. Texts by Tagore, Reverdy, Claudel, Caillois, Bataille. Original lithographs by Chagall, Miró, Rattner, Paul Klee. - Number 4, November 1938. Cover illustrated by Georges Rouault. Texts by Rilke, Reverdy, Caillois, Michaux, Sartre... Photographs by Bill Brandt, Brassaï... Original lithographs by Matisse, Derain. Rubbing to spine, missing headpieces. - Numbers 5-6, July 1939. Cover illustrated by Aristide Maillol. Texts by Paulhan, Reverdy, Michaux, Daumal... Lithographs by Braque, Rouault, Derain, Léger, Bonnard, Matisse, Paul Klee... Rubbing, minor loss to covers and second board. - Issue 7, March 1940: Les Très Riches Heures du Duc de Berry. Reproduced and laminated full-page paintings in color and gold. Small stain on upper corner of first cover. - Issue no. 8, June 1940. Cover illustrated by Henri Matisse. Texts by Claudel, Rouault, Braque, Reverdy, Adrienne Monnier, Malraux... Reproductions of works by Derain, Matisse, Picasso, Bonnard... Cover spine fragile, partly taped, first cover missing, rubbed. - Issue no. 9, October 1943. Les Fouquet de la Bibliothèque nationale. Paintings by Jean Fouquet reproduced and laminated full-page, in color and gold. Cover pitted, spine torn. - Number 10 of 1943. Les Très riches Heures du Duc de Berry. Images from the life of Jesus. Texts by Henri Malo. Reproduced and laminated full-page paintings in color and gold. Small tears to cover: headpieces and lower corner of second plate. - Number 11 of March 1945. The Fouquets of Chantilly. The life of Jesus by Jean Fouquet. Texts by Henri Malo. Reproduced and laminated full-page paintings by Jean Fouquet, in color and gold. Slight rubbing: covers and corners. Traces of tape on endpapers. - Number 12 of 1945. The Fouquets of Chantilly. The Virgin and Saints by Jean Fouquet. Reproduced and laminated full-page paintings by Jean Fouquet, in color and gold. Rubbing to corners and headpieces, small tear to spine. - Number 13 of 1945. MATISSE. De la Couleur. 3 original lithographs by Henri Matisse: cover, title, frontispiece. Stained cover, missing headpieces, rubbing, crease to upper margin of cover. - Number 14-15 of 1946. BOURDICHON (Jean). Les Heures d'Anne de Bretagne Text by Emile Mâle. Captions by Edmond Pognon. Reproduced and laminated full-page paintings in color and gold. Pale stains on boards. - Number 16 of 1946. D'ANJOU (René). Traité de la forme et devis d'un tournoi. Afterword by Edmond Pognon. Full-page reproductions in black and color. Minor hole at hinge, small tear at foot. - Number 17-18 of 1947. COULEUR DE BONNARD. Cover illustrated by Pierre Bonnard. Original lithograph by Pierre Bonnard as frontispiece. Minor loss to headpieces, spine ends cracked, light rubbing. - Numbers 19-20, April 1948. COULEUR DE PICASSO. Cover illustrated by Pablo Picasso. Full-page black and color reproductions of Picasso's paintings and drawings. Texts by Pablo Picasso and Jaime Sabartès.

Estim. 6 000 - 8 000 EUR

Fri 21 Jun

Jean-Antoine HOUDON (1741-1828) et son atelier - George Washington (1732-1799) Bust in plaster with terracotta patina. Original model created in 1785. Signed on the right shoulder "HOUDON F.". Bears the wax stamp (incomplete) of Houdon's workshop on the inside. H: 65 cm including breche marble pedestal, H: 14 cm (Minor accidents and restorations). Provenance : - Family of connoisseurs, Paris, probably before 1960. Related works: - Jean-Antoine Houdon, George Washington (1732-1799), original terracotta model, H: 32 cm, Mount Vernon, Virginia, George Washington Estate, Museum & Gardens, inv. W-369 ; - Jean-Antoine Houdon, George Washington (1732-1799), terracotta bust, H: 56 cm, Paris, Musée du Louvre, inv. Louvre, inv. RF 350 ; - Jean-Antoine Houdon, George Washington (1732-1799), marble bust, H: 63 cm, Versailles, Musée National du Château, inv. MV 630 ; - Louis Léopold Boilly, L'atelier de Houdon, circa 1804, oil on canvas, H: 88 x W: 115 cm, Paris, Musée des Arts Décoratifs, inv. PE 63. Another example in plaster called "à l'antique avec le torse nu": - Jean-Antoine Houdon, Georges Washington (1732-1799), circa 1786, patinated plaster (originally), H: 54.5 cm, Boston, Athenaeum, inv. UH150 ; - Jean-Antoine Houdon, Georges Washington (1732-1799), stained plaster, H: 65 cm, n°59 of the exhibition catalog Centenaire de J.-A. Houdon, né à Versailles, Versailles, 1928 Related literature - Guilhem Scherf, Houdon, 1741-1828: statues, sculpted portraits..., Paris, Musée du Louvre Ed. Somogy éd. D'art, 2006 ; -Anne Poulet, Jean-Antoine Houdon. Sculptor of the Enlightenment, cat. exp. National Gallery of Art, May 4-September 7, 2003, Los Angeles, The J. Paul Getty Museum, November 4, 2003-January 25, 2004, Versailles, Musée et Domaine national du Château de Versailles, March 1-May 30, 2004, Washington, University of chicago Press, 2003, P: 263-268 ; - Louis Réau, Houdon: sa vie et son oeuvre, Paris, F. de Nobele, 1964; - Paul Vitry, Centenaire de J.-A. Houdon, né à Versailles, cat. exp., Versailles, Bibliothèque de Versailles, 1928, P: 38. Building on his reputation as an illustrious portraitist, French sculptor Jean-Antoine Houdon was chosen in 1784 by Thomas Jefferson and Benjamin Franklin to create the full-length sculpture of George Washington commissioned by the Virginia Legislature. Although his model was a portrait painted by Charles Wilson Peale, the official portraitist of the hero of American Independence, Houdon nevertheless made the trip to the United States to work "from life" on this prestigious commission. The sculptor, accompanied by Benjamin Franklin and three assistants, set sail from Le Havre for Philadelphia in July 1785. During his stay in October of the same year with the general resident at Mount Vernon, he executed a live mask and a terracotta bust. The large marble sculpture of the Founding Father of the United States of America, delivered in 1796 and still in the Virginia State Capitol in Richmond, as well as the various bust versions, all derive from these two works modeled at Mount Vernon during the winter of 1785. Houdon created three different versions of the statesman's bust. One in "antique" style, like the original terracotta, one in tunic and toga, and one in shirt and scarf. The bust presented here is one of the rare "antique" versions. It's difficult to say with any certainty how many busts in patinated plaster there were in this "à l'antique" version. On site, in 1785, Houdon produced a first plaster copy from a cast of the Mount Vernon terracotta, as a gift for Franklin. In 1786, the sculptor's assistants returned to France with the molds for the bust. In 1789, Jefferson was in Paris and purchased a proof from Houdon (with a terracotta patina, the bust is now stripped, bears the remains of the workshop's wax stamp and is preserved in Boston, Athenaeum, inv. UH150). A plaster copy, not located today, was part of the sale of the artist's studio collection in 1828, but its description does not allow us to know whether it was patinated or still clothed. Most surviving examples are late replicas of the toga model, many in terracotta or bronze. The reverse of our bust bears the wax stamp that Houdon had affixed to his busts, and which can be found on all the plaster casts and terracottas from his workshop offered for sale in 1795 and 1828. The work is signed below the shoulder in the still-fresh plaster with his beautiful signature in disjointed cursive characters. The impression is clean, lively and nervous, and the original patina a beautiful golden blond. The bust rests on its original pedestal, an elegant breche marble sign of the special attention paid to the work.

Estim. 20 000 - 30 000 EUR
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