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NEWHardcover, 255 x 200 mm, ¾ green morocco over marbled boards, gilt lettering to spine with raised bands, grey laid paper endpapers, Serge Golifman’s bookplate pasted to verso, 3 ffl, orig. wrappers, incl spine, preserved; collated: 2 blanks, h.t., t.p., 14 leaves of text; faux t.p. Éloge de la marquise de Beausemblant, 6 leaves of text, colophon (limitation), 2 blanks, 3 ffl, unpaginated, plus 7 leaves of plates, incl. frontispiece. Publisher's wrappers 250 x 190 mm. Title-page (red and black): PAUL MORAND | LES PLAISIRS | RHENANS | orné de sept lithographies originales | et coloriées à la main | DUSSELDORF | Librairie Leocadia || The front wrapper is the same, in black only. Limitation: Cette édition, imprimée pour une Société de Bibliophiles, a été tirée à 107 exemplaires hors commerce, savoir: exemplaires sur vieux japon, numérotés de 1 à 7, et 100 exemplaires sur vélin d'Arches, numérotés de 8 à 107. Les lithographies ont été tirées sur presse à bras et coloriées à la main. Les pierres ont été poncées après tirage. Exemplaire N° 81. [The edition was printed for a bibliophile society in 107 non-commercial copies: 7 copies on “vieux Japon” paper, numbered from 1 to 7, and 100 copies on “Arches Vellum”, numbered from 8 to 107, of which this is copy № 81]. An unauthorized (pirated) edition of two short stories by Paul Morand, initially published in “L’Europe galante” by Éditions Grasset in 1925: Les plaisirs rhénans and Éloge de la marquise de Beausemblant; illustrated with 7 lithographs coloured with crayons after Gaston-Louis Roux, printed by Mme Duchatel; the stones were then destroyed (sanded). According to Pia: « Pour le principe, semble-t-il, Bernard Grasset à qui aucune autorisation d’éditer ainsi ces deux nouvelles n'avait été demandée, déposa une plainte contre X... en contrefaçon. L'enquête judiciaire, si enquête il y eut, n’aboutit pas. Le tirage de l’édition « pirate » avait été si restreint que tous les exemplaires en avaient été vendus sitôt parus. Le coupable, en l’occurrence René Bonnel, ne fut pas inquiété ». Dutel attests: « Un des personnages, subissant une agréable fellation, représenté sur l'une des lithographies, ressemble fort à Paul Morand qui en avait pris ombrage! » Comment by the seller: L’ouvrage est d’autant plus rare que Morand lui-même, mécontent d’une des gravures qui le représente en position intéressante, fit détruire une partie des exemplaires. Resume: While Bernard Grasset opposed the pirated edition on copyright infringement grounds, Paul Morand was enraged by his resemblance to the depicted character; the latter destroyed as many copies of the edition as he could, so only a few still exist. The print run of the "pirate" edition was so limited that all the copies were sold as soon as they were published. Catalogue Raisonné: Dutel III № 2215 (p. 321) ; Pia : № 1056; Nordmann (I) № 281. Contributors: Paul Morand (French, 1888 – 1976) – author Gaston-Louis Roux (French, 1904 – 1988) – artist René Bonnel (French, 18841 – 1975) – publisher Bernard Grasset (French, 1881 – 1955) – publisher -
Hardcover volume, collated 18mo, 130 x 85 mm (2 parts in one). Contemporary burgundy morocco outlined with gilt triple fillet, flat spine gilt in compartments, brown morocco label gilt, all edges gilt, gilt dentelle, text printed on slightly blue laid paper with illegible watermark; dark blue endpapers, Tony Fekete (T. F.) bookplate by Wahorn to front pastedown. Frontispiece and 14 engraved plates by Elluin after Borel, with guard tissue. Graphite ms to h.t.: "Figures de Borrel. | Gravées pr. Elluin." Title-page: NOUVELLE TRADUCTION | DE | WOMAN OF PLEASUR, | OU | FILLE DE JOIE. | PAR M. CLELAND, | CONTENANT les Mémoires | de Mademoiselle FANNY, | écrits par elle – même. | AVEC FIGURES | — | PREMIERE (SECONDE) PARTIE. | — | ~ | A LONDRES; | Chez G. FENTON, dans le Strand; | — | M. DCC. LXXVI. || Collation: 18mo throughout A-O12/6, total 126 leaves plus 15 plates, incl. frontispiece. Pagination: separate for each part [1-5] 6-119 [120 blank], [1-3] 4-132, total 252 pages. Provenance: Tony Fekete (Christie’s 2014, № 54, p. 37; Price realized GBP 11,875): “[CLELAND, John (1709-1789).] Nouvelle traduction de Woman of Pleasur [sic] ou Fille de Joie. Contenant les Mémoires de Mademoiselle Fanny, écrits par elle-même. London [but Paris]: G. Fenton [Cazin], 1776. 2 volumes in one, duodecimo (128 x 80 mm). Printed on blue tinted paper. Frontispiece and 14 engraved plates on thick white paper by Elluin after Borel. (Short tear repaired in the margin of one plate, another plate with a faint dampstain touching the facing leaf of text.) Contemporary burgundy morocco, flat spine gilt in compartments, morocco label gilt, covers with a gilt triple fillet border, gilt edges, blue endpapers. THE MOST BEAUTIFUL 18TH-CENTURY ILLUSTRATED EDITION OF THIS CELEBRATED EROTIC NOVEL. An excellent copy bound in contemporary morocco. It is the second translation into French, but the first to include the exquisite plates by Elluin after Borel. These are some of the best illustrations by this remarkable partnership responsible for a number of important 18th-century libertine texts. Cohen-DeRicci 242-3; Dutel A-407 ; Gay-Lemonnyer II, 304; Pia Enfer, 915.” Catalogue raisonné: Dutel (I) A-407, p. 134; Cohen-DeRicci 242-3; Fekete (Christie's) 54, p. 37. Contributors: John Cleland (British, c. 1709 – 1789). François-Rolland Elluin (French, 1745 – c. 1822) Antoine Borel (French, 1743 – 1810) Hubert-Martin Cazin (French, 1724 – 1795) András Wahorn (Hungarian, b. 1953) Fekete, Tony Laszlo (Hungarian, b. 1972) -
A set of two volumes, one with the text (1) and another with the plates (2), cased in a red ‘romantic’ fitting box of red morocco, lavishly tooled in gilt, c. 1840, more recently adapted to house two books of different size. Vol.1: Hardcover volume, 22.4 x 14 cm, 8vo, bound in half black polished calf (late 19th century) over marbled boards, spine and corners gilt-tooled, raised bands, gilt lozenges in compartments, gilt-lettered red morocco label; marbled endpapers; Francis M. G. Mauleverer armorial bookplate (motto “Deus Providebit”) to front pastedown. Printed on laid paper, Collation: 1 blank, engraved frontis., engraved t.p., A-Cc8 Dd2, 1 blank; pagination:[1] 2-420. Vol. 2: Hardcover volume, 21 x 14 cm, bound in green straight-grain morocco (early 19th century), boards with a roll-tooled palmette border, spine decorated in gilt, blue moiré endpapers, yellow feps, additional blank leaves: 2 in the front and 4 in the back, unpaginated; engraved frontis. and t.p. as in vol. 2, plus 35 plates now attributed to Delcroche printed on India paper, pasted on thicker leaves and bound in numerical order, but pl. 34 after pl. 35; As per Christie’s “The prints, sometimes attributed to de Hooghe, are actually by Delcroche, who illustrated a number of classics in the 1770s and 1780s, including Fanny Hill. AE and ABPC record only three copies of this edition at auction, including the Nordmann and Hayoit copies. Apollinaire Enfer, 277; Dutel A-15; Eros invaincu 16; Foxon Libertine Literature, NY: 1965, p.38; Gay-Lemonnyer I, 10; Pia Enfer, 346.” Contributors: Delcroche (Dutch, 17th century), “artiste hollandaise”, nothing else is known. Dutel and Nordmann attribute the plates to Romeyn de Hooghe (Dutch, 1645 – 1708). Nicolas Chorier (French, 1612 – 1692) – author. Francis M. G. Mauleverer (British, 1918 – 1962) – provenance. Seller’s description: 2 vols in 8vo (215x125 and 204x117 mm), a complete but composite set, the text volume in late 19th c. half black morocco, with corners, gilt spine tooled in gold, the plate volume in a nice early 19th-century green morocco binding, the spine gilt-tooled in compartments, the sides with a roll-tooled palmette border, pale blue moiré style endpapers (hinges repaired). Text vol.: engraved frontispiece, engr. title, pp. 420. Plates vol. comprising: the engraved title, frontispiece, and 35 engraved plates, probably by Delcroche. Both volumes cased in a ‘romantic’ fitting box binding, c. 1840, more recently adapted. -
Description: An unbound softcover volume 23 x 18 cm, collated as 17 gatherings in 4to, text in fac-simile manuscript printed on Japon Nacre wove paper with untrimmed outer and bottom margins, with engraved title-page and 11 laid-in hand-coloured etchings after André Collot; in red quarter morocco over marbled boards folder with gilt lettering to spine “P. L. | ~ | PETITES | SCÈNES | AMOUREUSES”, in a matching slipcase 25 x 20 cm. Complete copy with all the pages, incl. the limitation page. Title-page: {vignette in colour} | Douze douzains de Dialogues | ou | Petites scènes amoureuses | * || (text in fac-simile ms). Limitation: Cet ouvrage a été tiré | sure Japn supernacré | à 100 exemplaire | numerotés de I à C | EXEMPLAIRE № LII. Content: (97 dialogues, not 144), similar to Pia: Premier douzain : Dialogues des Filles nues (1, 3, 4, 5, 6) – 5 dialogues; Deuxième douzain : Dialogue[s] des Masturbées (13, 14, 15, 16, 17, 18, 19, 20, [21]) – 9 dialogues; Troisième douzain : Dialogues des Masturbées (25, 26, 27, [28], 29, 30, 31, 32, 33) – 9 dialogues; Quatrième douzain : Dialogues des Lécheuses (37, 38, 39, 40, 41, 42, 44) – 7 dialogues; Cinquième douzain : Dialogues des Phallophores (49, 50, 51, 52, 53, 54) – 6 dialogues; Sixième douzain : Dialogues des Goules (61, 62, 63, 64, 65, 65 (i.e. 66), 67, 68, 69, 70, 71) – 11 dialogues; Septième douzain : Dialogues des Amoureuses (73, 74, 75, 76, 77, 78, 79, [80]) – 8 dialogues; Huitième douzain : Dialogues des Enculées (85, 86, 87, 88, 89, 90, 91, 92, 93, 94, [95]) – 11 dialogues; Neuvième douzain : Dialogues des Chieuses (97, 98, 99, 100, 101, 102, 104) – 7 dialogues; Dixième douzain : Dialogues des Pisseuses (109, 110, 111, 112, 114) – 5 dialogues; Onzième douzain : Dialogues des Mères (121, 122, 123, 124, 125, 126, 127, 128, 129, 130, 131, 132) – 12 dialogues; Douzième douzain : Dialogues des Enfants (134, 135, 136, 137, 138, 139, [140]) – 7 dialogues. Collation: [1]-[17]4; total 68 leaves plus 11 plates. See another copy of the same book in this collection [LIB-2819.2021], where 13 (blank/limitation) is missing. Edition: This copy of "calligraphié" Douze douzains de dialogues ou petites scènes amoureuses was most probably published in Paris by Libraire Robert Télin in 1927, 100 copies on Japon Nacre as per Dutel (1920-1970) № 1427. This is a complete copy with all 68 leaves; LIB-2819.2021 has 67 leaves. Another "calligraphié" edition published in c. 1940 (Dutel 1429) is bound and has 80 leaves. Dutel unequivocally attributes the drawings to André Collot. Plates in this copy are similar to the ones in a pirated copy of Scènes de péripatéticiennes / Douze douzains de dialogues [LIB-2961.2022] (Dutel № 2366). According to Pia (1978) № 358, this is a 1927 edition published in Paris by libraire Robert Télin: « 1 f. blanc, 1 f. (justification), 1 f. (titre) et 65 ff. n. ch., plus 11 gravures à l’eau-forte rehaussées de couleurs ». Edition limited to 100 copies numbered I – C; this copy is № LII (52). Catalogue raisonné: Dutel (1920-1970) №№ 1427 and 1429, p. 137 and № 2366, p. 356 ; Pia (1978) 358-9, p. 199-200. Contributors: Pierre Louÿs (French, 1870 – 1925) – author. André Collot (French, 1897 – 1976) – artist. -
Single volume, 18 x 12.5 cm, bound in ¾ crimson morocco over marbled boards, gilt double-fillet borders, spine with gilded raised bands, gilt in compartments, gilt-lettered label, marbled endpapers, top margin gilt, text printed on dense wove paper, with 8 etchings by anonymous on thin laid paper (Chine) with tissue guards, after original lithographs by Devéria and Henri Grévedon or Octave Tassaert for the 1833 edition (1926 re-print LIB-3135.2023); the plate with the ape after 1864 edition (LIB-3087.2022) and the plate with the donkey after unknown. Title-page: GAMIANI | OU | DEUX NUITS D’EXCES | PAR | A D M | — | EN HOLLANDE | – | 1866 || Pagination: [4] (h.t., t.p.), [i] ii-xvi, [3] 4-153 [154 blank]; total 158 pages plus 8 plates (anonymous etchings), incl. frontispiece. Catalogue raisonné: Dutel I: A-470; Pia: 518/9. BNF Enfer 418. Note: This edition is conformant with Dutel, but not with Pia, who mentions [2], xvi, 148 pp. Pia writes: 'According to a bibliographic record published in 1874 by Vital Puissant, this edition was printed in Brussels by Briard on behalf of Alphonse Lécrivain, a Parisian publisher who took refuge in Belgium'. Catalogue Poulet-Malassis & ses amis description: № 74. [Alfred de MUSSET] A D M. Gamiani ou deux nuits d’excès. En Hollande, 1866. In-8 de xvi, 153 pages, demi-maroquin cerise à coins, dos à nerfs orné, lets dorés sur les mors, tête dorée, tranches naturelles, couverture conservée (reliure ancienne). Illustré de 8 gravures sur Chine dont l’une en frontispice, toutes accompagnées de serpentines. Piqûres et mouillures. Dutel A-470, pas à l’Enfer de la BnF. -
Single volume, 19.2 x 14.2 cm, bound in ¾ dark blue morocco over peacock marbled boards, gilt double-fillet border, spine with gilded raised bands, gilt fleurons and lettering, marbled endpapers, top margin gilt, outer margin uncut; text printed on watermarked laid paper; frontispiece by Félicien Rops, plates by Félix Lukkow after original lithographs by Devéria and Henri Grévedon or Octave Tassaert for the 1833 edition (1926 re-print LIB-3135.2023); the plate with the ape may be considered 'after edition of 1864' (LIB-3087.2022). Collation: π2 (h.t., t.p.) [a]8 1-712 96, total 64 leaves plus etched frontispiece in sanguine after page 8 and 12 engraved plates on India paper; illustrations include six burin engravings printed in two versions each, black and red, all six by Félix Lukkow after Devéria and Grévedon. Pagination: [4] [i] ii-viii, [1] 2-116, total 128 pages, ils. Title-page: GAMIANI | OU | DEUX NUITS D’EXCES | PAR | ALCIDE, Baron de M******. | {publisher's device} | — | BRUXELLES | MDCCCXXXIII—1871. || Limitation: Print run of 150 copies of which one unique on peau de vélin, 130 on laid paper (papier vergé), 5 on papier album jaune, 4 on papier de Chine, 10 on papier fort de Hollande. This is copy № 3, on Van Gelder laid paper, watermarked (possibly this is what they call ‘papier fort de Hollande’). Catalogue raisonné: Dutel I: A-472; Pia 520. Ref.: BNF Enfer 66. Contributors: Alfred de Musset (French, 1810 – 1857) – author. Félicien Rops (Belgian, 1833 – 1898) – artist. Félix Lukkow (French, fl. c. 1870 – 1875) – engraver. Vital Puissant (Belgian, 1835 – 1878) – publisher. Catalogue Poulet-Malassis & ses amis description: № 58. [Alfred de MUSSET - Félix LUKKOV] Alcide, baron de M******. Gamiani ou Deux nuits d’excès. Bruxelles, M DCCC XXXIII - 1871 [Vital Puissant]. In-8 de 2 .n.ch, viii, 116 pages, demi-chagrin bleu à coins, dos à nerfs orné, lets dorés et à froid sur les mors, tête dorée, tranches naturelles, non rogné (reliure de l’époque). Illustré de 7 gravures sur Chine, dont une en frontispice, en double état (sauf le frontispice) par Félix Lukkov, d’après les gravures de Félicien Rops. Tirage à 150 ex. L’un des 10 ex. tirés in-8, sur grand papier fort de Hollande (n° 3). Bibliographie : Pia 561, Per 16-14, Enfer 66, Dutel A-472. -
Single volume, 16.8 x 11.3 cm, bound in full dark olive crushed morocco by Brany (signed), gilt triple-fillet border to boards, spine with raised bands, gilt in compartments, gilt-lettered label, gilt dentelle inside, marbled endpapers, all margins gilt, gilt double fillet to boards margin; text printed on laid paper. Bookplate of Maurice Lebarbier de Tinan to fep 45 x 35 mm representing standing satyr with erected penis holding monogram ‘MT’ in his hands with a motto below on a ribbon ‘FAIRE SANS DIRE’. Maurice Lebarbier de Tinan book collection was dispersed via l’hôtel Drouot (Paris) on a sale from March 9 to 12, 1885; a catalogue was published: Catalogue d’un joli choix de livres anciens et modernes, en très belle condition de reliure, composant la bibliothèque de M. L. de T*** [Lebarbier de Tinan] (Paris, Ch. Porquet, 1885, in-8, VIII-140 p., 481 lots). Collation: π2 (h.t., t.p.) a6 b2 1-1112, total 82 leaves plus 18 engraved plates on wove paper; illustrations include engraved frontispiece and six etchings printed in two versions each, black and red, and one etching (at p. 103) in two states, two colour versions for each state, frontispiece and 3 or 4 plates after Félicien Rops, the others after original lithographs by Devéria and Henri Grévedon or Octave Tassaert for the 1833 edition (re-print of 1926 LIB-3135.2023). Pagination: [4] [i] ii-xvi, [3] 4-141 [3], total 164 pages, ils. Title-page (red and black): GAMIANI | OU | DEUX NUITS D’EXCES | PAR | A D M | AVEC UN EPISODE DE LA VIE DE L’AUTEUR | Extrait des mémoires de la | COMTESSE DE C******** | – | « Hippolyte, cher cœur, que dis-tu ces choses ? » | Femmes damnées, Fleurs du Mal. | — | LESBOS | INSTITUTION MERY — PAVILLON BAUDELAIRE. || Catalogue raisonné: Dutel I: A-464; Bory: 596-605; Pia: 516/7. According to Pia, the print run is limited to 150 copies on laid paper. Ref.: BNF Enfer 419. Fekete (Christie's): 135. Provenance: Maurice Lebarbier de Tinan (French, 1842 – 1918). Contributors: Alfred de Musset (French, 1810 – 1857) – author. Félicien Rops (Belgian, 1833 – 1898) – artist. Auguste Poulet-Malassis (French, 1825 – 1878) – publisher. Catalogue Poulet-Malassis & ses amis description: № 5. [Alfred de MUSSET] A D M. Gamiani ou Deux nuits d’excès, avec un épisode de la vie de l’auteur, extrait des mémoires de la comtesse de C********. Lesbos, Institution Méry, Pavillon Baudelaire [A. Poulet-Malassis, 1864]. Illustré de 8 gravures, dont l’une en frontispice, en double état (et quatre états pour la gravure « au singe » de la page 103) de Félicien Rops. Là où Baudelaire soutient Poulet-Malassis quand l’éditeur soutient l’attribution à Musset. Perfectionniste ? Trop cher ? Trop sollicité ? Pas toujours inspiré ? Rops réalisera rarement des suites complètes, ne répondant le plus souvent à la demande de ses commanditaires que par la conception de frontispices. Au verso du faux-titre, Launay voit une justification de 150 exemplaires sur papier vergé, paraphés et numérotés, qui ne figure pas ici. Très bel exemplaire relié par Brany. Provenance : Bibliothèque de Lebarbier de Tinan de Lebarbier de Tinan dont la collection fut dispersée en 1885, justifié par son ex-libris représentant un satyre en érection, portant la devise “Faire sans dire”. Bibliographie : Pia 558, Per 16-8, PC 1299, Lau 285, Enfer 419, Dutel A-464." [LIB-3118.2022] -
Volume bound by Boichot (signed on front pastedown), 25.3 x 20.2 cm in a 25.9 x 20.3 slipcase, the book and the case uniformly in beige, brown, and blue diaper paper with a navy blue label with gilt lettering to book's spine, top edge gilt, J.-P. Dutel’s bookplate to fep, portfolio cover preserved. Pp.: [1-4] 5-37 [38 blank]; collated 4to, 13 2-54; total 19 leaves (38 pages), plus 12 plates coloured in stencil technique (pochoir), produced after watercolours by Gerda Wegener in c. 1917 on Arches or Whatman laid paper, watermarked. Each illustration bears a small masquerade mask at the bottom as a signature. Text printed on laid paper without a watermark; starting from 2nd gathering, the text printed on recto only; minor traces of water stain to some pages. Title-page (red and black): ALEXANDRE DE VÉRINEAU | Douze Sonnets lascifs | pour accompagner la suite d’aquarelles intitulée | Les Délassements d’Éros | {vignette medallion} | ÉROTOPOLIS | A L’ENSEIGNE DU FAUNE | 1925 || First edition, first printing (incl. plates); clandestine. Catalogue raisonné: Dutel 1356, 1434; Pia 363/4; Noedmann I 310; Fekete 221. Contributors: Louis Perceau (French, 1883 – 1942) – author (see LIB-2633.2021: Guillaume Apollinaire, Fernand Fleuret, Louis Perceau. L'enfer de la Bibliothèque Nationale. — Paris: Mercure de France, 1913). Gerda Wegener (Danish, 1886 – 1940) – artist. Maurice Duflou (French, 1885 – 1951) – publisher. Boichot – bookbinder. -
A three-volume unique copy of Louÿs’s poetical work ‘Pybrac’; edition published in 1928 by Marcel Vertès limited to 30 copies; contains 31 drypoints by Marcel Vertès, incl. frontispiece, nine full-page plates and twenty in-text vignettes; enriched with a volume of three suites of plates (first state b/w on Van Gelder paper, final state b/w on Japon nacré paper, final state hand-coloured on Van Gelder paper) plus 5 refused plates; and with a volume of one original watercolour, five ink drawings, three suites of plates (first state b/w on Van Gelder paper, final state b/w on Japon nacré paper, final state hand-coloured on Van Gelder paper) plus similar 5 refused plates, one b/w plate and one coloured plate, and a drypoint metal plate; two volumes of three are in a slipcase. Same edition in this collection: LIB-2919.2022. Details: (1) The ‘Texte’ volume, collated in-4to, 26 x 20.5 cm bound by Creuzevault (signed inside the front cover, in the bottom) in full tan morocco, blind fillets and a brown strip in the bottom to boards, double gilt fillet and a brown label along the spine, gilt-lettered vertically “PYBRAC | TEXTE”; gilt on black faux marbled endpapers, printed on watermarked Van Gelder Zonen laid paper; collated as follows: [3] blank flyleaves, [1] wrapper ‘PYBRAC’, [5] leaves with pasted original ink drawings on white paper, [1] leaf with pasted original hand-coloured ink drawings on blue paper, [1] drypoint frontispiece, [2] blank leaves, [1] half-title/limitation, [1] t.p., [2] blank leaves, 1-104 (pp. 1-78 [2]), [4] blank leaves plus nine full-page drypoint plates; total 70 leaves. Title-page: PYBRAC | ILLUSTRE DE TRENTE POINT SÈCHES | D’UN | ARTISTE INCONNU | PARIS | AUX DÉPENS D’UN AMATEUR | — | M. CM. XXVIII || Limitation: Edition limited to 30 copies; 1 copy unique on Japon Nacré with 30 original sketches, one suite in colour, two suites in black and 5 cancelled plates; 29 copies on Hollande Van Gelder, with one original watercolour, four original sketches, one suite in colour, two suites in black and 5 cancelled plates. This is copy № 12. (2) The ‘Suites’ volume, 26 x 20.5 cm, uniformly bound in quarter tan morocco over faux marbled paper, blind fillets, horizontal brown strip in the bottom, a vertical brown strip along the border, double gilt fillet and a brown label along the spine, gilt-lettered vertically “PYBRAC | SUITES”; gilt on black faux marbled endpapers; collated as follows: [3] blank flyleaves, three suites of prints: first state on Van Gelder paper, the final state on ‘Japon nacré’ paper, and hand-coloured final state on Van Gelder (31 x 3 = 93 leaves) plus [5] refused plates and [3] blank leaves; total 104 leaves. ‘Texte’ and ‘Suites’ volumes are placed in a faux marbled slipcase. (3) The ‘Suites 2’ volume, 26 x 21.5 cm, bound similarly to the ‘Suites’ volume (quarter morocco), gilt-lettered vertically “PYBRAC | SUITES 2” to spine; front cover with a hollow placement with the drypoint metal plate inside (plate #3), [3] blank wove paper leaves, [1] section title (s.t.) ‘AQUARELLE ORIGINALE’, [1] ink and crayon drawing, [1] s.t. ‘CROQUIS ORIGINAUX’, [5] ink drawings, [1] s.t. ‘PREMIER ÉTAT DES PLANCHES’, [31] plates on Van Gelder, [1] s.t. ‘SUITE EN NOIR SUR JAPON NACRÉ’, [31] plates, s.t. ‘SUITE COLORIÉE A LA MAIN’, [31] plates, [1] s.t. ‘PLANCHES REFUSÉS’, [5] plates, [1] coloured plate #13, [1] uncoloured plate #10, [3] wove paper blank leaves; total 118 leaves. Catalogue raisonné: Dutel (1920-70) № 2279 ; Fekete № 216; Nordmann (I) № 235; Vokaer 23. Ref.: honesterotica.com Contributors: Pierre Louÿs (French, 1870 – 1925) – author. Marcel Vertès [Marcell Vértes] (Jewish-Hungarian-French, 1895 – 1961) – artist. Henri Creuzevault (French, 1905 – 1971) – bookbinder. Seller's description: [ENRICHI & HORS-COMMERCE NON JUSTIFIÉ] Pierre LOUŸS - Marcel VERTÈS. Pybrac, illustré de trente pointes sèches d’un artiste inconnu. Paris, aux dépens d’un amateur, 1928. 3 volumes in-4 de 79 pages, 98 et 76 feuillets. Le volume contenant le texte est relié d'un plein chagrin havane à dos lisse, une pièce de titre en long et un filet doré à froid en bas (Creuzevault). Les deux autres volumes sont reliés à l'identiques, demi chagrin havane, dos lisse, pièce de titre en long, filets dorés sur le dos et filet doré à froid sur le bas et le long du mors. Le cuivre est placé dans le plat intérieur du volume 3, les suites dans le 2. Les deux premiers volumes sont rassemblés dans un étui. Illustré de 31 gravures originales dont 11 hors-texte par Marcel Vertès pour l’une des premières publications obscènes de Pierre Louÿs. Tirage à 30 exemplaires. La justification indique : "Il a été tiré de ce livre 30 exemplaires : 1 exemplaire unique sur Japon nacré avec trente croquis originaux, une suite en couleur, deux suites en noir et une épreuve des cinq planches refusées ; 29 exemplaires sur grand papier de Hollande Van Gelder avec une aquarelle originale, quatre croquis originaux, une suite en couleur, deux suites en noir et une épreuve des cinq planches refusées.". Exemplaire n°12 (Volume 1 Texte). Cet exemplaire est composé différemment soit : Volume 1, Texte : La couverture conservée, 5 dessins originaux à l'encre, 1 dessin sur papier bleu à l'estompe de couleur, le texte, les gravures in-texte et hors-texte. — Volume 2, Suites : les 31 planches en 3 états (1 en couleur et 2 en noir) et une épreuve des 5 planches refusées. — Volume 3, Suites 2 : 1 cuivre, 1 aquarelle, 5 dessins originaux à l'encre, 2 suites en noir, 1 suite coloriée à la main, 1 épreuve des 5 planches refusées, 1 dessin refusé à l'encre et à l'aquarelle et 1 dessin refusé à l'encre. Dutel précise : « Elle est ornée de 11 gravures originales hors-texte dont un titre et 20 gravures dans le texte par Marcel Vertès qui fut aussi l’éditeur de cet ouvrage. Il s’agit d’une des plus belles et des plus rares productions bibliophiliques de l’artiste. » Et surtout la plus rare… (Dutel 2279, pas à l’Enfer de la BnF). -
Description: Softcover, original blue-grey wrappers, maroon fleuron to front wrapper « P.L. {copulating couple} 1897. », 28.5 x 23 cm, in a grey double slipcase. Pp.: [1-10] 11-192 [2] [6 blanks], total 200 pages, 50 folio leaves folded in half collated in 4to, unbound, plus 16 coloured lithographs by Jean Berque; all printed on wove paper watermarked “LANA”. This is № 207 of an undisclosed number of copies. Edition enriched with a suite of 12 hand-coloured etchings after Éduard Chimot for publication in the late 1940s (Dutel 2524) on BFK Rives paper. Title-page (maroon and black): P. L. | TROIS | FILLES | DE LEUR | MÈRE | {fleuron} | A L'ENSEIGNE DU CHAT POUR CHAT | M DCCC XCVII || Catalogue raisonné: Dutel 2523, Pia 1340. Contributors: Pierre Louÿs (French, 1870 – 1925) – author. Jean Berque (French, 1896 – 1954) – artist. Édouard Chimot (French, 1880 – 1959) – artist. -
Description: An unbound softcover volume 23.5 x 18 cm collated in 4to, text in fac-simile manuscript printed on Japon Nacre wove paper with untrimmed outer and bottom margins, with 12 laid-in hand-coloured etchings, including the title-page, after André Collot; in red quarter morocco over marbled boards folder with gilt lettering to spine “P. L. | ~ | PETITES | SCÈNES | AMOUREUSES”, in a red faux ostrich leather clamshell box 26.7 x 21 cm. A copy without the limitation page. Title-page: {vignette in colour} | Douze douzains de Dialogues | ou | Petites scènes amoureuses | * || (text in fac-simile ms). Content: (97 dialogues, not 144), similar to Pia: Premier douzain : Dialogues des Filles nues (1, 3, 4, 5, 6) – 5 dialogues; Deuxième douzain : Dialogue[s] des Masturbées (13, 14, 15, 16, 17, 18, 19, 20, [21]) – 9 dialogues; Troisième douzain : Dialogues des Masturbées (25, 26, 27, [28], 29, 30, 31, 32, 33) – 9 dialogues; Quatrième douzain : Dialogues des Lécheuses (37, 38, 39, 40, 41, 42, 44) – 7 dialogues; Cinquième douzain : Dialogues des Phallophores (49, 50, 51, 52, 53, 54) – 6 dialogues; Sixième douzain : Dialogues des Goules (61, 62, 63, 64, 65, 65 (i.e. 66), 67, 68, 69, 70, 71) – 11 dialogues; Septième douzain : Dialogues des Amoureuses (73, 74, 75, 76, 77, 78, 79, [80]) – 8 dialogues; Huitième douzain : Dialogues des Enculées (85, 86, 87, 88, 89, 90, 91, 92, 93, 94, [95]) – 11 dialogues; Neuvième douzain : Dialogues des Chieuses (97, 98, 99, 100, 101, 102, 104) – 7 dialogues; Dixième douzain : Dialogues des Pisseuses (109, 110, 111, 112, 114) – 5 dialogues; Onzième douzain : Dialogues des Mères (121, 122, 123, 124, 125, 126, 127, 128, 129, 130, 131, 132) – 12 dialogues; Douzième douzain : Dialogues des Enfants (134, 135, 136, 137, 138, 139, [140]) – 7 dialogues. Collation: unpaginated, unbound [1]2 [16]4; total 66 leaves plus 12 plates, incl. t.p. In reality, when compared with another copy of the same book [LIB-3144.2023], the first gathering should have consisted of four leaves: 11 blanks, 12 engraved t.p. / blank, 13 blank / limitation, 14 faux t.p. Premier Douzain Dialogues des Filles nues. Edition: This copy of "calligraphié" Douze douzains de dialogues ou petites scènes amoureuses was most probably published in Paris by Libraire Robert Télin in 1927, 100 copies on Japon Nacre as per Dutel (1920-1970) № 1427. However, per Dutel (1) the title-page lettering is all in capital letters, (2) the illustration printed on p. 545 differs from the one in my copy, (3) the number of leaves is 68, while in my copy it is 66. Another "calligraphié" edition published in c. 1940 (Dutel 1429) is bound and has 80 leaves. Dutel unequivocally attributes the drawings to André Collot. Plates in this copy are similar to the ones in a pirated copy of Scènes de péripatéticiennes / Douze douzains de dialogues [LIB-2961.2022] (Dutel № 2366). According to Pia (1978) № 358, this is a 1927 edition published in Paris by libraire Robert Télin: « 1 f. blanc, 1 f. (justification), 1 f. (titre) et 65 ff. n. ch., plus 11 gravures à l’eau-forte rehaussées de couleurs ». Pia describes the folder and the box (chemise et étui) with lettering to spine almost as in my case: “P. L. | – | Petites | scènes | amoureuses” (lower case). Per Pia, illustrations are after André Collot (French, 1897 – 1976) or Louis Berthomme Saint-André (French, 1905 – 1977). Edition limited to 100 copies numbered I – C. There is no limitation statement in my copy, which may explain why my copy has fewer leaves than per Dutel and Pia. Catalogue raisonné: Dutel (1920-1970) №№ 1427 and 1429, p. 137 and № 2366, p. 356 ; Pia (1978) 358-9, p. 199-200. Contributors: Pierre Louÿs (French, 1870 – 1925) – author. André Collot (French, 1897 – 1976) – artist. -
Description: Publisher’s French flapped wrappers 28.2 x 19.2 cm, lettering to front cover “SCÈNES | DE | PÉRIPATÉTICIENNES | Εις το αφρωδιαζειν αγει | MCMIII”, pp. [1-6] 7-132 [4]. 10 laid-in (unbound) colour plates after André Collot, including the title-page vignette. Text printed on laid paper, plates on wove paper. According to J.-P. Dutel (1920-1970) № 2366, p. 356, this is a pirated reprint with 11 plates of the 1927 or 1935 edition of “Douze douzains de dialogues”, illustrated with 12 hand-coloured etchings after André Collot (№ 1427, 1428, p. 137, ibid.). Limitation of 200 copies seems fake as per Pia, the copy in BNF bears number 262 (Pia № 1213, p. 635; № 359, p. 200). Title-page: SCÈNES DE | PÉRIPATÉTICIENNES (arch) | Εις το αφρωδιαζειν αγει | MCMIII || Pictorial t.p.: {vignette in colour} | Douze douzains de Dialogues | ou | Petites scènes amoureuses | * || (text in fac-simile ms). Limitation: edition is limited to 200 copies of which this is copy № 44. Contributors: Pierre Louÿs (French, 1870 – 1925) – author. André Collot (French, 1897 – 1976) – artist. See: LIB-2819.2021 in this collection. -
Description: One volume in French flapped cream wrappers, 25.5 x 19.5 cm, lettered “PYBRAC”, in glassine DJ, collated 4to, printed on watermarked Van Gelder laid paper, outer and bottom margins untrimmed, illustrated with 20 in-text drypoints on recto of each 1st and 3rd leaf of 1-10 gatherings, some with tipped-in tissue guards, unbound. This copy lacks the frontispiece, 10 full-page plates, and does not have any enrichment. It is one volume instead of two. Title-page: PYBRAC | ILLUSTRE DE TRENTE POINT SÈCHES | D’UN | ARTISTE INCONNU | PARIS | AUX DÉPENS D’UN AMATEUR | — | M. CM. XXVIII || Limitation: Edition limited to 30 copies, 1 copy unique on Japon Nacré with 30 original sketches, one suite in colour, two suites in black and 5 cancelled plates; 29 copies on Hollande Van Gelder, with one original watercolour, four original sketches, one suite in colour, two suites in black and 5 cancelled plates. This is copy № 8 (but without 11 full-page plates and with no enrichment). For a unique copy of the enriched edition in this collection, see LIB-3065.2022. Collation: π4 (2 blanks, h.t., t.p.), 1-104, χ2 (2 blanks), total 46 leaves. Pagination: [8] 1-78 [2] [4], total 92 pages. Catalogue raisonné: Dutel (1920-1970): № 2279, p. 334, Pia (Enfer):№ 1117, p. 586, Nordmann (I):№ 235; Vokaer № 23, p. 13; Fekete:№ 216. Contributors: Pierre Louÿs (French, 1870 – 1925) – author. Marcel Vertès [Marcell Vértes] (Jewish-Hungarian-French, 1895 – 1961) – artist. -
Description: Softcover volume 27 x 21.3 cm in publisher’s French flapped cream wrappers, with a vignette and lettered in red within a black frame to front "GAMIANI | OU DEUX NUITS D'EXCÈS". Printed on unmarked wove paper, outer and lower margins untrimmed. Illustrated with full-page frontispiece, 10 headpieces, and 5 smaller woodcuts (one repeated on the front wrapper and on t.p.) by Pierre Aubert after Jean-Gabriel Daragnès [pseud. Jean de Guethary], some with inlaid tissue guards. Copy enriched with one graphite pencil drawing signed "J. de Guethary", tipped in before h.t. Title-page (red and black): GAMIANI | OU DEUX NUITS D'EXCÈS | PAR A. DE M. | Avec | des vignettes | de | JEAN DE GUETHARY | {VIGNETTE} | — | CHEZ UN BOURGEOIS DE PARIS | Rue du Coq Hardi | 1845 || Pagination: [i-vi] (orig. drawing, h.t. / vignette, t.p./limit.) [vii] viii-xx, [1-3] 4-64 [4]; total 88 pages. Limitation: Edition limited to 110 copies. According to Dutel, 110 copies were printed on Japon ancient, 3 on Japon Impérial, and 3 on Whatman. This copy is № 115. Catalogue raisonné: Dutel (1920-1970): № 1630, p. 183; Pia (Enfer) 527, p. 286. Alfred de Musset (French, 1810 – 1857) – author. Jean-Gabriel Daragnès (French, 1886 – 1950) – artist, publisher. Pierre Aubert (Swiss, 1910 – 1987) – engraver. -
Description: Publisher’s tan French flapped wrappers, in glassine DJ, 25.4 x 19.4 cm, collated in-4to, lettered LA SEMAINE | SECRÈTE DE | VÉNUS | {fleuron} ||, outer margin uncut. Title-page: ≈ | LA SEMAINE | SECRÈTE | DE VÉNUS | Illustrée de huit Dessins | originaux reproduits en | lithographie et coloriés | {vignette} | LA CHRONIQUE CLANDESTINE | ≈ de 1919 à 1925 ≈ || Limitation: Unique copy on Vieux Japon enriched with original drawings and suites of plates, № 1-25 on Japon Imperial, enriched with 1 drawing and 3 suites of plates, № 26-275 on vélin d’Arches «avec les sept lithos en couleurs»; total print run – 275+1. This is copy № 70. Collation: π3 (blank, h.t./limit., t.p.), 1-154 χ1, total 64 leaves plus 7 plates, lithographs after drawings by Marcel Vertès, extraneous to collation. Note: Eight lithographs stated in the title are 7 plates AND a vignette on the title page. Vokaer attributes the printer/publisher as "Imprimerie Daragnès" and the year of publication as 1925. Pagination: [6] 2 blanks, 2 h.t. / limit., 2 t.p., [1-2] 3-115 [7] ; total 128 pages plus ils. Catalogue raisonné: Dutel (1920-1970): № 2386; Pia (Enfer) 1317; Nordmann (1): 246; Vokaer (1967): 8, Contributors : Pierre Mac-Orlan (French, 1882 – 1970) – author. Marcel Vertès [Marcell Vértes] (Jewish-Hungarian-French, 1895 – 1961) – artist. Paul Cotinaud – publisher (per Dutel) Coulouma (Argenteuil) – printer (per Dutel). -
One volume, 25.8 x 20.7 cm, laid paper 25.2 x 19.5 cm, platemark 13.3 x 7.7 cm, wide margins; bound in calf, ruled in gilt, rebacked, raised bands, blind-stamped flower lozenges in compartments, crimson label with gilt lettering, marbled endpapers, all edges gilt, gilt dentelle inside, engraved bookplate to front pastedown: lettered ribbon: “VINCTUS NON VICTUS”, chained Lion Passant in a collar, below “Maurice B. Worms”. Title-page: MONUMENS | DU | CULTE SECRET | DES | DAMES ROMAINES , | POUR SERVIR DE SUITE | AUX MONUMENS DE LA VIE PRIVÉE | DES XII CÉSARS. | {VIGNETTE} | A CAPRÉE. | CHEZ SABELLUS. | M. DCC. LXXXIV. || Collation: [A]2 B-G2 2A-Z2 Aa2 Bb1, total 63 leaves, plus engraved title/frontispiece and 50 plates, all unsigned, first and last blanks. Pagination: [i-ii] iii-xxvii [xxviii] 1-98, ils., total 126 pages. Catalogue raisonné: Cohen-De Ricci: 475; Lewine: 233; Dutel (1650-1880) № A-729, p. 223; Pia (1978): col. 884-5, pp. 467-8. Author: Pierre-François Hugues d'Hancarville (French, 1719-1805) – author. Provenance: Maurice Benedict Worms (Austrian, 1805 – 1867), son of Benedikt Moses Worms (1769 – 1824) and Schönche Jeannette Rothschild (1771 – 1859), maternal grandson of Mayer Amschel Rothschild (1744 – 1812), the founder of the House of Rothschild.
