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"


Gustave FLAUBERT Madame Bovary Michel Lévy frères, Paris 1857, 10,5x17cm, 2 volumes reliés en 1. FLAUBERT Gustave Madame Bovary Michel Lévy frères, Paris 1857, 105 x 170 mm (4 1/8 x 6 11/16 ”), 2 volumes bound in 1, contemporary shagreen First edition. Elegant contemporary purple shagreen (uncommon according to Clouzot), spine in five compartments with gilt fillets and triple blind-ruled compartments, blindstamped roulettes to head- and tail-pieces and edges of covers, quintuple gilt fillet frame and large blindruled fillet to covers, gilt dentelle frame to pastedowns, cream moirée silk endpapers and pastedowns, a little light spotting to endpapers and pastedowns, all edges gilt, ex-libris to one pastedown, clear light dampstain to foot of first few leaves. A very rare autograph inscription signed by Gustave Flaubert to Alfred Guérard, a close friend of Louis Bouilhet, who is the dedicatee of the work: “à Alf. Guérard souvenir d’amitié. Gustave Flaubert [to Alf. Guérard, a friendly souvenir].” The final letters of the word “amitié” and Flaubert’s name shaved by the binder. Autograph inscriptions by Flaubert are very rare on copies of Madame Bovary (cf. Clouzot). Alfred Guérard was, with Gustave Flaubert, one of the closest friends of Louis Bouilhet, and an important industrialist in Rouen, who was also a friend of the arts and a true patron of Bouilhet, who had dedicated several works to him. Flaubert, as his correspondence also tells us, always invited him to his literary or artistic dinners. He was, most notably, one of the very few people to hear, in 1863, the abortive féerie, the Château des cœurs, which only got as far as a “solemn reading before a learned council” that Flaubert assembled from among his society friends. “We wanted to have a bourgeois audience to judge the naive effect of the work” (see his letters to his niece Caroline in December 1863). A very good copy with an autograph inscription, in a handsome contemporary binding.23 000 € Réf : 46560 Order BookRead more

  • GBRUnited Kingdom
  • Dealer
Fixed price
20 600 GBP


Guillaume APOLLINAIRE Alcools. Poèmes 1898-1913 Mercure de France, Paris 1913, 11,5x18,5cm, relié sous étui. APOLLINAIRE Guillaume Alcools. Poèmes 1898-1913 [Alcools. Poems] Mercure de France, Paris 1913, 115 x 185 mm (4 1/2 x 7 1/4 ”), Bradel cloth, custom slipcase First edition, a first impression copy numbered in the press, of which there were only 23 grand papier copies on Hollande paper (deluxe copies). Flexible burnished black Bradel paper binding with floral motifs by P. Goy & Vilaine, purple morocco titlepiece, gilt date at foot of spine, endpapers and pastedowns of paper with floral and silver motifs, covers preserved. A rare autograph inscription by Guillaume Apollinaire: “à Edouard Gazanion, son ami, Guillaume Apollinaire [to Edouard Gazanion, his friend Guillaume Apollinaire]”. This copy also has seven pen and ink corrections by Apollinaire himself. Edouard Gazanion, for his part, also inserted numerous punctuation marks in pencil and a textual correction matching the pre-published versions of some poems, which had previously appeared in the literary journal Phalange. A poet from the Bohemian Montmartre scene at the turn of the century, a pillar of the Lapin Agile, a regular at the Bouscarat on the place du Tertre and the Bateau-Lavoir, Gazanion was by turns friendly or close to the poets, writers and painters of the Butte at the beginning of their careers, including Jacob, Mac Orlan, Dorgelès, Couté, Salmon, Picasso, Warnod, Marcoussis and Carco who liked his “Chansons pour celle qui n’est pas venue” [Songs for the Girl who did not Come] (Vers et Prose, 1910) and who often crashed at his when he was broke. His meeting with Apollinaire goes back to the Soleil d’Or, when the latter was reading his “Nuit Rhénane” for the first time – in 1903. Both poets, they kept in touch from then on. Gazanion stood out for his defense of Mamelles de Tirésias during the memorable scandal when it was staged. With a frontispiece portrait of Apollinaire by Picasso. A tiny angular lack to foot of first endpaper, bearing the inscription. A good copy in an elegant signed binding, with a rare autograph inscription by Apollinaire.20 000 € Réf : 53972 Order BookRead more

  • GBRUnited Kingdom
  • Dealer
Fixed price
17 900 GBP

Georges LEPAPE

Georges LEPAPE (Jeanne LANVIN) Comment?...Déjà prête ! Robe du soir et pyjama, de Jeanne Lanvin (pl.39, La Gazette du Bon ton, 1924 n°7) Lucien Vogel éditeur, Paris 1924, 18x24cm, une feuille. Original color print, 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.120 € Réf : 55084 Order BookRead more

  • GBRUnited Kingdom
  • Dealer
Fixed price
110 GBP

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