Le Grand d'Aussy, Pierre Jean Baptiste (Legrand Daussy)
Three volumes, complete. FIRST EDITION of this scholarly, encyclopedic, and highly entertaining history of French gastronomy. XIII, (3), 373, (1); (4), 383, (1); (4), 363, (1). Half-titles present (they are often missing). The author originally set out to write an extensive work covering all facets of private life in France, but only this first part--which covers everything related to cooking, wine, eating, and hunting--was published. Discusses the origins of cooking tools and techniques, the provenance of all kinds of foods (including, of course, foodstuffs that came from the New World), and much more, including an extensive section on hunting. A classic. PRINTED ON FINE LAID PAPER. 8vo. ELEGANTLY BOUND IN FULL CONTEMPORARY SPECKLED CALF, SPINE GILT IN SEVEN COMPARTMENTS. Minimal traces of wear to bindings, else a fine and bright copy with very large margins and very white paper. Vicaire 510 ("Ouvrage tres interessant et tres utile."); Bitting 280 ("This is one of the finest works upon the social life of the French people."); Thiebaud 576. AN OUTSTANDING SET OF A RARE AND IMPORTANT WORK.
Paul Signac
A FASCINATING SIX-PAGE SIGNED AUTOGRAPH LETTER FROM PAUL SIGNAC TO HIS DEALER. About 400 words in very legible script on three sheets of fine writing paper, with the letterhead of Signac's "Société des Artistes Indépendants". Dated May 3, 1920. Signac starts by acknowledging receipt of a check for 1890 francs for sales of his work, and thanking his correspondent. He goes on to say that he no longer goes to Bernheim's gallery since Fénéon was replaced by "ces jeunes gens parfumés". It's enough for him to pass by their windows, and he expresses his disappointment that his recent painting, "Le mimosa", is displayed next to some horrible Vlaminck paintings (although he clarifies that he's criticizing only Vlaminck's most recent style, referring to him as "gifted".) He then encourages his correspondent not to lose faith: while charlatans may triumph for the moment, the future belongs to good and solid painting. Probably, anyway. He then discusses the paintings he's working on at the moment, including views of Mont Blanc and Notre Dame, and "des tulipes pour m'entrainer." He then devotes a few sentences to roasting the Salon, which he visited today. He concludes the letter with an inventory of watercolors on deposit with his correspondent. The correspondent, interestingly, has annotated the list: for example, "Payé à Signac 29 avril 19. Lyon." Signc concludes with an effusive greeting to his correspondent's wife, and thanks him again for his services. AN UNPARALLELED AND VERY PERSONAL GLIMPSE INTO THE PARISIAN ART WORLD DURING ITS GREATEST MOMENT.
Albert Samain (Louis Edouard Fournier) (Dr. Emile Goubert)
A UNIQUE AND SPECTACULAR COPY OF THE FIRST EDITION. vii, 163 pp. ILLUSTRATED WITH A FRONTISPIECE PORTRAIT OF SAMAIN BY JAMAS AND 25 WONDERFUL MIXED ETCHINGS BY CHESSA, JAMAS, AND LE SUEUR AFTER FOURNIER. From a total edition of 150 numbered copies, this is ONE OF ONLY TWENTY PRINTED IN LARGE FORMAT ON FINE ARCHES WOVE PAPER FOR "LES XX", THE MOST EXCLUSIVE BIBLIOPHILE SOCIETY IN FRANCE. This copy, moreover, features A UNIQUE COLLECTION of 13 PROOFS OF EARLY STATES ON FINE LAID PAPER, seven of which are bons à tirer for the first (remarque) state, one of which is extensively annotated and all of which are SIGNED by the publisher. The other six are impressions of the second state. Fournier (1857-1917) is now best remembered in France for his frescoes in the Grand Palais, and in England for his painting "The Funeral of Shelley" (1889). Folio. BEAUTIFULLY BOUND by Carayon (signed) in quarter morocco and marbled boards. Two sets of wraps and backstrips preserved: that of the regular edition, and that of the Tirage spécial pour "Les 20". Early states are in a second volume, attractively bound in recent quarter cloth. Tiny traces of wear to bindings, else FINE AND BRIGHT. UNIQUE.
Max Jacob (and Maurice Morel, "l'abbé Morel")
A signed autograph letter, written during the Occupation, from Max Jacob (1876-1944) to his close friend and protégé Maurice Morel ("l'abbé Morel", 1908-1991). 2 pp (front and back of a leaf measuring 27 x 21 cm), about 400 words written neatly in ink. Jacob had encouraged Morel to paint in 1925, when the latter was only 17, and had organized his first exhibition. Morel became a successful painter. In 1934 Morel was ordained a Roman Catholic priest. The present letter begins with a discussion of a manuscript Jacob is considering having published so that he can sell copies to tourists (we can assume he's joking.) He moves on to spiritual matters: "Je suis de votre avis sur le manque de respect envers Dieu, plus grand que le manque d'amour : c'est une preuve de crise de l'intelligence car pour respecter, il faut comprendre ou comprendre au moins qu'on ne comprend pas. Prenez garde en luttant contre le sentimentalisme de dessécher complètement ces coeurs déjà tellement arides : pour la métaphysique, je vous la livre. Le symbolisme est à la base de toutes les religions parce que le signe est l'idée et que l'idée se confond avec la réalité. C'est pourquoi il est dit : "que votre nom soit sanctifié." car le nom est le signe de la personne." The letter is dated February 28, 1941, as is the postmark on the envelope (included). In excellent condition. An outstanding item.
Two volumes bound in one, complete. FIRST EDITION OF THE MANESSISCHE HANDSCHRIFT (also known as the Grosse Heidelberger Liederhandschrift), compiled in the 14th century and far and away the most important collection of medieval German lyric verse. Thus also the FIRST EDITION OF VIRTUALLY ALL OF THE SURVIVING CORPUS OF MIDDLE HIGH GERMAN POETRY. Includes the work of 140 poets, including Walther von der Vogelweide, Reinmar der Alte, Gottfried von Strassburg, Hartmann von Aue, Niedhart von Reuenthal, Kaiser Heinrich, and Reinmar der Zweite. 4to. Attractively bound in contemporary calf. Spine gilt in six compartments, with raised bands. Some wear to binding, but structurally solid. Internally FINE AND BRIGHT. Brunet III, 1362; Graesse IV, 362. Very important and very rare, especially in such good condition.
AN ELEGANTLY-BOUND LARGE-PAPER COPY ON IMPERIAL JAPANESE PAPER, WITH AN ORIGINAL LITHOGRAPH BY EMILE CLAUS. The first monograph on Belgian impressionist Emile Claus (1849-1924). ONE OF ONLY 50 NUMBERED COPIES ON EXTREMELY FINE IMPERIAL JAPANESE PAPER. Only these 50 copies include the original lithograph "Hiver (Matin)", also printed on Imperial Japanese paper. Includes a catalogue of the works and numerous mounted plates. From the collection of leading Belgian industrialist, bibliophile, and patron of the arts Paul Auguste Cyrille, Baron de Launoit (1891-1981), with his bookplate. Large 4to. Elegantly bound in three-quarters morocco and marbled boards, with mosaic on spine. Original wrappers preserved. Top edge gilt, other edges uncut. Traces of wear to corners of binding, otherwise FINE AND BRIGHT. A stunning copy, with a great provenance.
A SPECTACULAR, AND SPECTACULARLY RARE, LIVRE D'ARTISTE. FIRST EDITION of this novel by Aymé, with 22 GORGEOUS ORIGINAL COLOR-PRINTED ETCHINGS BY NALY. From a TOTAL EDITION of only 26 numbered copies printed on fine Montval wove paper, this is one of four "exemplaires de collaborateurs". This copy, exceptionally, has (in addition to the 22 color etchings) the PRELIMINARY DRAWING (pencil and India ink) for the etching on p. 35 (SIGNED) and three of the etchings in first state, all SIGNED by Naly. Folio. Loose as issued in original calf chemise, with orange starfish onlay on front cover (chemise signed by master binder Claude Houdart). FINE AND BRIGHT, WITH NO DEFECTS. In the original calf-lined board slipcase with repeating Neptune motif, printed in blue, on the inside.
A REMARKABLE SURVIVAL: A PRISTINE COPY ON VELLUM, IN SHEETS, IN THE ORIGINAL ENVELOPE. 23 pp. A beautiful little fine press book, and the first book in the St. George Series. Forde's inspirational verses, with the stunning art nouveau woodcuts by I. de B. Lockyer (half-title, title, and frontispiece.) : The striking frontispiece depicting St. George serenely slaying the dragon appears here for the first time. One of only 21 numbered copies PRINTED ON VELLUM. This copy is of particularly great interest as it is preserved in unbound sheets enclosed in the original (somewhat worn) publisher's envelope, where we find "I. Fruit of the Spirit. Real vellum Nº 13" neatly inscribed in ink. 8vo. FINE AND BRIGHT, AS NEW WITH NO DEFECTS. Also included is a pristine copy of the regular edition, printed on extremely fine handmade Whatman wove paper and sewn into the original wraps. Uncut, and also in perfect condition.
A truly original livre d'artiste devoted to lost and found objects in Paris c. 1900, with NINE STUNNING ORIGINAL COLOR PIGMENT PRINTS by Ghislaine Escande in which dozens of such objects are depicted with the backdrop of very detailed late 19th-century maps. Edition limited to 60 numbered copies printed on fine wove paper and SIGNED by the author and the artist, of which this is the author's copy, COPY NUMBER I of TEN COPIES FOR THE AUTHOR AND THE ARTIST. The box housing the book doubles as a display case for AN ORIGINAL LOST OBJECT, a little chromolithographed antique bookmark printed in French and German, found on June 11, 1920 on the Rue des Archives. 4to. Loose as issued in the original riveted cardboard box, with labels on top, bottom, and side. FINE AND BRIGHT, WITH NO DEFECTS.