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Sole edition of a rare anonymous poetical collection, comprising heroic odes dedicated to a variety of men (and one woman) whose names are as equally disguised as the author’s and a series of shorter verses which are lightheartedly erotic and sometimes overtly pornographic. It is rare now to find a printed collection so resistant to attribution. It does not appear in the bibliographies of Cioransecu, Gay or Pia (as one might expect) and only Conlon hazards a guess at its authorship, suggesting it may be by the same ‘Monsieur B***’ to whom Rochon de Chabannes dedicated a Satyre sur les hommes, but this seems far from certain. The opening poem, ‘Épitre au Chevalier d’Har’ with a comparison of its subject to Dryden, Pope and Milton and its invocations of the names of Grafton, Mulgrave and Roscommon, may turn out to be useful for future attribution. The book bears what appears to be a genuine Geneva imprint of the Cramer brothers, official publishers of Voltaire.

None of the verses we have sampled appear to have been anthologised elsewhere, which is particularly rare for the kind of erotic poetry occupying half of the volume. Notable among these is a verse devoted to the quasi-Viagran effects of coffee, as experienced by young Alix and a cleric. Such verses were often shared among coterie writers and tend to appear in several collections, both manuscript and print — which seems not to be the case here.

This copy bears the inscription of Jules Bobin (1834-1905) bibliophile, friend and executor of Huysmans’ will — a collector who specialised in this kind of rare curiosa.

Conlon, p. 412. WorldCat locates copies at the Taylorian Institute, Oxford and Indiana only (discounting the BL copy which lacks pp. 1-66). There is also a copy at the Bn.

First editions of all three of George Auriol’s monogram books, with a rich array of designs for his artistic and literary colleagues in Paris and further afield. Polymathic poet and songwriter, part of the Chat Noir (along with his lifelong friend Erik Satie) Auriol created designs that became emblematic of Art nouveau Paris, together with his typography for the Metropolitain railway and type designs adapted by Peignot. The three volumes of monograms include marks for himself and his closest collaborator, Henri Rivière, as well as Stéphane Mallarmé, Octave Uzanne, the Théâtre du Chat Noir, Edmond Haraucourt, Anatole France, Henri de Toulouse-Lautrec, Steinlen, Octave Mirbeau, Aristide Briand and Woodrow Wilson. Most display the clear influence of the pervading japonisme in contemporary Parisian design, with Auriol adapting the Japanese quasi-heraldic culture of the pictographic Japanese ‘mon’ to western lettering.

Publishers for whom Auriol supplied monograms included Ernest Flammarion, Quillot, Larousse, Hachette, Peignot et fils, Henri Laurens and we also find the earliest logo for Cadbury’s chocolate (1905, in the volume for 1907).

Each volume of the set is of regular trade issue (nonetheless issued in small numbers) and the 1924 volume bears an elegant inscription by Auriol in red ink to the publisher Pierre Monot, at the Larousse Mensuel — one of Auriol’s most important publishing connections. It also contains an autograph letter from Edmond Lauren on notepaper bearing his Auriol-designed notepaper. The 1907 volume contains two prospectuses.

First edition of a rare pamphlet issued in the wake of the decree issued by the police prefect Claude Mangin on April 14, 1830, prohibiting prostitutes ‘from appearing, at any time and under any pretext, in the passages, in public gardens and on the boulevards’ and ordering them to engage in prostitution only in licensed brothels. This measure lasted only three months, but was enough for its opponents to publish dozens of pamphlets. All these occasional pieces are extremely rare, including this one.

Purporting to be the work of a Matrone, jurisconsulte de ces dames this enquiry and petition is satirical in tone, and yet still gives voice to the women it represents, by outlining in detail how Mangin’s heavy-handed decree would effect them at various levels, pointing out the impossibility of enclosing the thousands of Parisian filles de joie in licenses houses. The frontispiece, which has been attributed to Henri Monnier, shows a discussion among the women debating the pour et contre of the measures, presided over by the matron. It is captioned ‘Comité central et de Sabbat des Donzelles de Paris’, likening it to a ‘sabbath’ of witches. WorldCat lists copies at the Bn, Cleveland Public Library and Bryn Mawr College only.

First edition. A near pristine file copy of this French language example of an early rag book from Dean and Co, who pioneered the rag book for the youngest children in 1903, producing boldly coloured printed calico books designed to be washable and indestructible — the Dean logo shows two dogs pulling at a rag book, and the inserted advert leaf states that children can carry the book in their mouths without danger ( ‘Les couleurs employées dans ces livres sont fortement fixés. Les enfants peuvent les porter à la bouche sans aucun danger. Ces livres peuvent être lavé’). Qu’est cela? is a simple vocabulary book, naming fifty familiar objects including toys (dolls, a cup-and-ball, a paintbox, a toy train, a jack-in-the box, a kite and a rocking horse) as well as a rifle, a sword, a drum and an automobile. No library copies found in WorldCat or JISC LibraryHub.

Rag books proved a popular adaptation of the printed codex in the early twentieth century, bringing books to the youngest of children. This is a file copy from Dean and Co, who pioneered the rag book for the youngest children in 1903, producing boldly coloured printed calico books designed to be washable and indestructible — the Dean logo shows two dogs pulling at a rag book. It illustrates twenty-four animals, including the dog on the cover, as well as butterflies, a giraffe, a camel, a parrot, a kangaroo, three monkeys and a turkey, all captioned in French. The pinked edges were designed to minimise fraying, and in this case the copy is unused. No library copies found in WorldCat or JISC LibraryHub.

Folio (290 × 230 mm), pp. [4] (one bifolium). Browned, some marginal creasing.

[with:] Supplément au Manifeste technique de la littérature futuriste. [Milan: A. Talveggia for Direction du Mouvement futuriste, 1912]. Browned, some marginal creasing, fore-edge quite chipped.

First editions in French (simultaneous with the Italian issues) of Marinetti’s Futurist manifestos for literature: ‘Sitting on the gas tank of an aeroplane, my stomach warmed by the pilot’s head, I sensed the ridiculous inanity of the old syntax inherited from Homer. A pressing need to liberate words, to drag them out of their prison in the Latin period!’

[MARINETTI, F. T.] Le Music-Hall. Manifeste futuriste publié par le “Daily-Mail,” 21 Novembre 1913. [Milan: A. Talveggia for Direction du Mouvement futuriste, 1913].

Folio (290 × 230 mm), pp. [4] (one bifolium). Browned, some creasing, chipping and short tears at margins, but generally sound.

First edition of Marinetti’s manifesto on the music hall. Though dated 29 September 1913, publication postdated the abridged version published in English in the Daily Mail on November 21, 1913, where it was attributed to ‘the only intelligible Futurist’). Issued simultaneously in Italian in this pamphlet form. It lays out the Futurists’ enthusiasm for Music Hall as an anti-academic art form, not bound by tradition, with its speed and mechanical novelty, its use of cinematography to create effects unheard of in the theatre, and its genuine collaboration with the audience, among many other perceived advantages over conventional theatre. It ends with a typically Futurist typographical performance incorporating adverts for Manoli cigarettes. Marinetti had been lecturing in London in 1913 and his various pronouncements were eagerly covered by the press. It was not until the eve of war in 1914 that he put his manifesto into practice, giving presentations at London’s largest music hall, the Coliseum — events which were greeted with a degree of bemusement by a distracted British public.

--- La Danse futuriste. Danse de l’Aviateur - Danse du Shrapnell - Danse de la Mitrailleuse. [Milan: A. Tareggia for Direction du Mouvement futuriste, 1917].

Folio (290 × 230 mm), pp. [4] (one bifolium). Browned, some creasing, chipping and short tears at margins, but generally sound.

First edition in French (and probably the first separate edition) the Italian text having previously appeared in the journal Italia futurista of 8 July 1917. Marinetti’s manifesto for dance applies the Futurist programme prioritising action, violence and speed to contemporary dance. He considers the innovations brought to European dance by Argentine tango (’spasme furieux’) and other South American forms, he is equivocal about the langorous style of Isadora Duncan but more enthusiastic about Loïe Fuller, before coming to the point: ‘La danse futuriste sera: Inharmonieuse - Disgracieuse - Asymétrique - Dynamique - Motlibriste’. He then gives detailed accounts of three such dances: Danse de l’Aviateur - Danse du Shrapnell - Danse de la Mitrailleuse. Carteret 418.

First edition of this rare offprint from the Gazette des tribunaux reporting the case and outcome surrounding the publication of Marie-Antoinette’s library catalogue, edited by Louis Lacour and printed as Livres du boudoir de la reine Marie Antoinette. Catalogue authentique et original for Jules Gay. Bibliographically and politically fascinating, the case was brought by the state against Lacour and Gay, alleging that the rights to the manuscript catalogue remained with the state, and that Lacour and Gay had sought to publish it for immoral reasons. It seems that it was this second contention that was the primary motive for bringing the case: with the Appendix here explaining that certain monarchical Legitimists had objected to Marie-Antoinette’s name being blackened further through the presentation of her private reading material - the books of the boudoir being widely considered trivial. There is also a discussion of the extent to which the manuscript catalogue really represented the queen’s reading matter, or simply an assemblage of fashionable books. The matter was decided in favour of Lacour and Gay, the former apparently arranging for this offprint - with manuscript dedications at the rear (obliterated in this copy). WorldCat: Bn, BL, Oxford (Law Library) and Michigan.

First edition of a detailed treatise on household management for young women, presented in epistolary form. It was to become very popular, running to several editions by the middle of the century, but the first edition is rare. Starting by establishing the principles of order and economy it proceeds to give advice on a suitable house, its furnishing (with chapters on the dining room, salon, bedrooms for both madame and monsieur, and kitchen). There is information on the linen provision and washing, and choice of fabrics, as well as on personal dress. Two of the longer chapters consider the appointment and operation of the wine cellar (over which the mistress of the house had control) and the kitchen, the latter with a selection of useful recipes and dishes.

Though separately-published, it is one of the volumes of the series Encyclopédie des Dames issued by Audot from 1821, which provided titles useful and interesting to women, all in portable format like this. This copy was apparently a subscriber’s copy, with the half-title bearing the printed statement ‘Exemplaire imprimé pour la Bibliothèque de Mademoiselle Emma de Kolly’, and it is therefore likely that the arms on the upper cover are also hers (though we have been unable to discover anything more about her). WorldCat finds only one copy of the first edition outside continental Europe (University of Michigan).

A pocket guide for visitors to the three levels of the Eiffel Tower.

First edition: a rare work by the young Barrès (1862–1923), the same year Huit jours chez M. Renan, ‘imaginary conversations on an impertinently ironic note, won him both praise and blame, and before long he was in the first rank of authors’ (Oxford Companion to French Literature). Barrès’ look at the Left Bank, and the men and women found there, is peppered with little drawings, all anonymous.

First edition of this luxurious production, the text translated by Lucie Paul-Marguerite from the Chinese seventeenth-century collection Kin-kou-kikouan (or Jingu qiguan) and telling the moral story of an extra-marital adventure. The 16 original paintings on silk are attributed to Ouang Shao Ki of Szechuan, copied for this edition in Peking by four separate artists (one each for the drawing, the foliage, the clothing and the figures). They are remarkable productions, and each one is captioned in manuscript with Chinese characters. Produced in only 125 copies, this is one of the 10 copies on Japon reserved for the author (copy number 3).
Lucie Paul-Margueritte (1886-1955) began publishing in magazines at the age of eighteen. After three years of marriage, she divorced and thereafter lived with her widowed sister, Ève Paul-Margueritte. Together, they raised the latter's son, living from their writings. She made numerous translations including several from the Chinese and a number of English novels, including Bram Stoker’s Dracula. Carteret IV. p. 265: ‘Belle publication’. WorldCat: Bn and Boston Athenaeum only.

First edition of these three photographically illustrated albums, mainly portraits of contemporary Parisian actresses, dancers and singers, both from the mainstream theatres and the smaller dance halls and cafés-concerts. Reutlinger’s studio specialised in such portraits, usually actresses photographed in different degrees of deshabille in either studio settings or in the corridors and dressing rooms of the theatre. The voyeurism of the photographer is extended into bedroom and bathroom scenes intended to illustrate the daily routine of the ideal Parisienne. Sarah Bernhardt and Yvette Guilbert appear, while most subjects are now little-known but then much admired Parisian performers.

First edition of one of the most interesting Paris Exposition guides.

A steel-engraved plate collection made after daguerrotypes. Another issue (with variant title contained 28 plates).

First edition of the Art Journal’s retrospective catalogue of the 1867 Exposition, including notice of the prize winners. It is a kaleidoscope of Second Empire decorative and applied arts from all over Europe and beyond. It comprises: a general Introduction by C. Boutell; Glass - Domestic and Decorative by G. Wallis; Lace and Embroidery by Mrs. B. Palliser; Adaptations From the Antique by C. Boutell; Art Materials and Products in Clay, Stone, Marbles, Etc. by D.T. Ansted; Furniture. by J.B. Atkinson; Textile Fabrics by Mrs. B. Palliser; Goldsmith's Work, Silver, and Jewellery by H. Friswell; Porcelain and Pottery by J. Dafforne and Bronzes and Bronze Imitations by G. Wallis.

First edition. A comic album by ‘Mars’ casting a lighthearted eye over life in belle époque Paris, with walks in the park, visits to the theatre, family picnics, bike riding and horse riding.

First edition. Rimmel, a phenomenally successful perfumer and cosmetics innovator was a member of the committee of the second Paris exposition. His Recollections contain a colour-printed additional title of the Broussa mosque, the medieval Yechil Djami (the Green Mosque), reconstructed in reduced form in the Turkish section of the Exposition. The book appeared in both French and English versions, which eachran to several editions.

First edition of a charming illustrated guide by the bibliophile journalist–photographer Jérôme Doucet (1865–1957) to the various ‘little trades’ plied on the streets of turn-of-the-century Paris, from tram rail cleaner to map seller, lamplighter to bootblack, cigar end collector to saw sharpener, marshmallow vendor to bill sticker, ragmen and organ grinders to women carding stuffing for mattresses, people renting chairs or toy boats, or selling ice cream, or chestnuts, or chickweed, or mistletoe, or lettuce, or soup. And, naturally, les bouquinistes.

First edition: Paris by night, as described by Darzens (1865–1938) and depicted by Adolphe Willette (1857–1926), an artist who worked on the Moulin Rouge cabaret, focusing on Montmartre and around, with chapters on, as one might expect, the Folies-Bergère etc, but also subjects such as roller coasters and night-time printing. Vicaire III, 27.

First separate edition, with illustrations by Maclaren himself and his friends, recounting a visit to Paris in 1878 to see the sights (Notre-Dame, Saint-Sulpice, the Panthéon, Napoleon’s tomb, Versailles, the Père Lachaise cemetery, the Jardin des Plantes, etc) as well as the Exposition Universelle.
Library Hub Discover locates 3 copies only: BL, NLS, Trinity College Dublin.