ÉDITION-ORIGINALE, also called Le Feu Follet, is a bookshop located in Paris between Port Royal and the Jardin du Luxembourg.

The gallery ÉDITION-ORIGINALE brings together rare and valuable books, manuscripts, autographed books, etc.

This bookshop offers a very wide selection for all literature lovers: old books (1455-1820), literary and artistic journals, science, medicine & technology, religion & spirituality, history books, travel books, books of Fine Art, arts of living and social history.

ÉDITION-ORIGINALE also offers its clients advice on their collection as well as free valuations.

  • United Kingdom
Objects "Edition-Originale"

(Stanislas de GUAITA) Ludvig Baron de HOLBERG

(Stanislas de GUAITA) Ludvig Baron de HOLBERG Voyage de Nicolas Klimius dans le monde souterrain, contenant une nouvelle teorie de la terre, et l'histoire d'une cinquieme monarchie inconnue jusqu'à present Chez Frid. Chretien Pelt., A Copenhague et a Lipsic 1753, in-12 (9,5x15,5cm), (14) 388 pp., 8 f. de pl., relié. Second edition after the original from 1741 (Latin and French). Illustrated with a frontispiece and 7 f. engraved plates (one folding, map of the underworld) by Brühl. Note that the number of copies that date do not have the eight boards, the first French edition had only three, and Latin, no. Book originally translated from Latin 'Nicolai Klimii Iter subterraneum' by Eleazar of Mauvillon (1712-1779). Attributed to Holberg by Barbier (Dictionary of anonymous works). Bibliographic manual physical and occult / Caillet, 1912-1913. Engraved title page. Full Sheepskin brown vintage. Back to bands decorated. Part of title beige. Caps trimmed. The edges are devoid of leather at the corners. Endpapers renewed in the twentieth. Allegorical and satirical work of Ludvig Holberg (1684-1754), Danish author, professor of law and philosophy. This critical Utopia violently political and social institutions of the time, in the manner of Swift (Gulliver's Travels). This is the first story that takes place inside the earth. Klimius, a poor student, falls without a hole and ends up inside the earth, he discovers the planet Nazar and the people who live by the laws of nature and of reason ... We particularly noted that Nicolas Klimius is the first fiction based on astronomical theories of Edmond Halley. Figures illustrating the book are very curious and foreshadow Granville and fantasies about the animal world. Bookplate engraved with the arms of Mr. Baron Barenghien. Bookplate manuscript kabbalisticis Stanislaj Guaita 1890. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! 1 800 € Réf : 21067 OrderRead more

  • GBRLondon, United Kingdom
  • Dealer


BENITO (Gustave BEER) Jota. Manteau du soir, de Beer (pl.55, La Gazette du Bon ton, 1921 n°7) Lucien Vogel éditeur, Paris 1921, 18x24cm, une feuille. Original color print heightened with gold, printed on vergé paper, signed in the plate. An original print used to illustrate the Gazette du bon ton, one of the most attractive and influential 20th century fashion magazines, featuring the talents of French artists and other contributors from the burgeoning Art Deco movement. A celebrated fashion magazine established in 1912 by Lucien Vogel, La Gazette du bon ton appeared until 1925, with a hiatus from 1915 to 1920 due to the war (the editor-in-chief having been called up for service). It consisted of 69 issues printed in only 2,000 copies each and notably illustrated with 573 color plates and 148 sketches of the models of the great designers. Right from the start, this sumptuous publication “was aimed at bibliophiles and fashionable society,” (Françoise Tétart-Vittu, “La Gazette du bon ton”, in Dictionnaire de la mode, 2016) and was printed on fine vergé paper using a type cut specially for the magazine by Georges Peignot, known as Cochin, later used (in 1946) by Christian Dior. The prints were made using stencils, heightened in colors, some highlighted in gold or palladium. The story began in 1912, when Lucien Vogel, a man of the world involved in fashion (he had already been part of the fashion magazine Femina) decided, with his wife Cosette de Brunhoff – the sister of Jean, creator of Babar – to set up the Gazette du bon ton, subtitled at the time: “Art, fashion, frivolities.” Georges Charensol noted the reasoning of the editor-in-chief: “’In 1910,’ he observed, ‘there was no really artistic fashion magazine, nothing representative of the spirit of the time. My dream was therefore to make a luxury magazine with truly modern artists…I was assured of success, because when it comes to fashion, no country on earth can compete with France.’” (“Un grand éditeur d’art. Lucien Vogel” in Les Nouvelles littéraires, no. 133, May 1925). The magazine was immediately successful, not only in France but also in the United States and Latin America. At first, Vogel put together a team of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt, as well as eventually his friends from school and the School of Fine Arts, like George Barbier, Bernard Boutet de Monvel and Charles Martin. Other talented people soon came flocking to join the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Chalres Martin, Maggie Salcedo. These artist, mostly unknown when Lucien Vogel sought them out, later became emblematic and sought-after artistic figures. It was also they who worked on the advertising drawings for the Gazette. The plates put the spotlight on, and celebrate, dresses by seven designers of the age: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The designers provided exclusive models for each issue. Nonetheless, some of the illustrations are not based on real models, but simply on the illustrator’s conception of the fashion of the day. The Gazette du bon ton was an important step in the history of fashion. Combining aesthetic demands with the physical whole, it brought together – for the first time – the great talents of the artistic, literary, and fashion worlds; and imposed, through this alchemy, a completely new image of women: slender, independent and daring, which was shared by the new generation of designers, including Coco Chanel, Jean Patou, Marcel Rochas, and so on… Taken over in 1920 by Condé Montrose Nast, the Gazette du bon ton was an important influence on the new layout and aesthetics of that “little dying paper” that Nast had bought a few years earlier: Vogue. 100 € Réf : 54893 OrderRead more

  • GBRLondon, United Kingdom
  • Dealer

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