COLLECTIF

First edition.
Publisher's Bradel binding in half dark green percale, smooth spine, black morocco title-label, small gilt ornament and double gilt fillet at tail.
Twelve issues from January to December 1904. Covers preserved.
Each issue is illustrated with a woodcut.
Literary contributions by Henri Ghéon, Paul Gauguin ("Lettre"), Francis Jammes, Walt Whitman, René Boylesve, André Gide ("De l'évolution du théâtre, conférence", "De Biskra à Touggourth", "De l'importance du public", "La querelle du peuplier"), Rémy de Gourmont ("Des pas sur le sable"), etc.
Founded in 1890 by Henri Mazel, l'Ermitage was a monthly review belonging to the first wave of small symbolist reviews. In the 1895s, the review went into decline, and its new director, Edouard Ducoté, called upon André Gide. The editorial team was then reduced to twelve regular collaborators, friends of Gide. After multiple difficulties and attempts to reorganize the editorial team (Remy de Gourmont would work there briefly and also contribute financially in 1905), l'Ermitage breathed its last in 1906.
L'Ermitage managed to distinguish itself from other important reviews of the time such as the Mercure de France or the Revue blanche because it claimed to be eclectic and apolitical; on its cover, one could read that it was "la seule Revue qui ne s'occupe ni de politique ni de sociologie [mais] qui traite uniquement de littérature et d'art." Its small illustrations were in art nouveau style, and, faithful to its symbolist spirit, its collaborators were more interested in poetry than in novels.
Tiphaine Samoyault, French literary critic, considers that l'Ermitage expressed a transition straddling fin de siècle aestheticism and avant-garde poetry of the 1910s.

First edition.
Publisher's Bradel binding in half salmon cloth, smooth spine, black morocco title label, small gilt ornament and double gilt fillet at foot.
Eleven issues from January to November 1896. Original wrappers preserved.
Literary contributions by André Gide ("Ménalque"), Maurice Barrès, Octave Uzanne, Francis Jammes, Pierre Louÿs, Henri Ghéon, etc.
The February issue pays homage to Paul Verlaine, who had died a month earlier. A handsome portrait of the poet on his deathbed after a drawing by Noé Legrand.
Founded in 1890 by Henri Mazel, l'Ermitage is a monthly review belonging to the first wave of small Symbolist magazines. In the 1895s, the review entered decline, and its new director, Edouard Ducoté, called upon André Gide. The editorial team was then reduced to twelve regular contributors, friends of Gide. After multiple difficulties and attempts to reorganize the editorial team (Remy de Gourmont would make a passage there and also contribute financially in 1905), l'Ermitage drew its last breath in 1906.
L'Ermitage managed to distinguish itself from other important reviews of the time such as the Mercure de France or the Revue blanche because it claimed to be eclectic and apolitical; on its cover, one could read that it was "la seule Revue qui ne s'occupe ni de politique ni de sociologie [mais] qui traite uniquement de littérature et d'art" ["the only Review that concerns itself neither with politics nor sociology [but] that deals exclusively with literature and art"]. Its small illustrations are in Art Nouveau style, and, faithful to its Symbolist spirit, its contributors were more interested in poetry than in novels.
Tiphaine Samoyault, French literary critic, considers that l'Ermitage expresses a transition straddling fin de siècle aestheticism and the avant-garde poetry of the 1910s.

First edition.
Publisher's Bradel binding in half dark green cloth, smooth spine, black morocco title label, small gilt ornament and double gilt fillet at foot.
Twelve issues from January to December 1897. Original wrappers preserved.
Each issue is illustrated with a bichrome woodcut.
Literary contributions by René Boylesve, Paul Fort, Francis Jammes, Henri Ghéon, Remy de Gourmont, etc.
Founded in 1890 by Henri Mazel, l'Ermitage is a monthly review belonging to the first wave of small Symbolist magazines. In the 1895s, the review entered decline, and its new director, Edouard Ducoté, called upon André Gide. The editorial team was then reduced to twelve regular contributors, friends of Gide. After multiple difficulties and attempts to reorganize the editorial team (Remy de Gourmont would make a passage there and also contribute financially in 1905), l'Ermitage drew its last breath in 1906.
L'Ermitage managed to distinguish itself from other important reviews of the time such as the Mercure de France or the Revue blanche because it claimed to be eclectic and apolitical; on its cover, one could read that it was "la seule Revue qui ne s'occupe ni de politique ni de sociologie [mais] qui traite uniquement de littérature et d'art" ["the only Review that concerns itself neither with politics nor sociology [but] that deals exclusively with literature and art"]. Its small illustrations are in Art Nouveau style, and, faithful to its Symbolist spirit, its contributors were more interested in poetry than in novels.
Tiphaine Samoyault, French literary critic, considers that l'Ermitage expresses a transition straddling fin de siècle aestheticism and the avant-garde poetry of the 1910s.

First edition.
Publisher's Bradel binding in half dark green cloth, smooth spine, black morocco title label, small gilt ornament and double gilt fillet at foot.
Twelve issues from January to December 1899. Original wrappers preserved.
Each issue is illustrated with a wood engraving.
Literary contributions by Paul Fort, Henri Ghéon, André Gide, Francis Jammes, René Boylesve, etc.
Founded in 1890 by Henri Mazel, l'Ermitage was a monthly review belonging to the first wave of symbolist little magazines. In the 1895 years, the review entered decline, and its new director, Edouard Ducoté, called upon André Gide. The editorial team was then reduced to twelve regular collaborators, friends of Gide. After multiple difficulties and attempts to reorganize the editorial team (Remy de Gourmont would make a stint there and also contribute financially in 1905), l'Ermitage breathed its last in 1906.
L'Ermitage managed to distinguish itself from other important reviews of the period such as the Mercure de France or the Revue blanche because it claimed to be eclectic and apolitical; on its cover, one could read that it was "the only Review that concerns itself neither with politics nor sociology [but] that deals exclusively with literature and art." Its small illustrations were in Art Nouveau style, and, faithful to its symbolist spirit, its collaborators were more interested in poetry than in novels.
Tiphaine Samoyault, French literary critic, considers that l'Ermitage expresses a transition straddling fin-de-siècle aestheticism and the avant-garde poetry of the 1910s.

First edition.
A tiny fold to the left corner, otherwise very good condition.
In addition to existing titles, more than 70 newspapers were created during the 70 days of the Commune. But press freedom was restricted from April 18, and on May 18 the Committee of Public Safety banned newspapers favorable to the Thiers government as it withdrew to Versailles. The most influential newspapers at the time were 'Le Cri du Peuple' by Jules Vallès, 'Le Mot d'ordre' by Henri Rochefort, 'L'Affranchi' by Paschal Grousset, 'Le Père Duchesne' by Versmersch, 'La Sociale' with Madame André Léo, 'Le vengeur' by Félix Pyat, 'La Commune'. It was especially in May that the struggle against the pro-Versailles press gained vigor: thus, between May 5 and 18, 21 newspapers were suppressed. It is quite evident that the pro-Communard Parisian press could not be distributed in the provinces due to the vigilance of the Thiers government.
L'Echo français, a "daily political" newspaper, is an example of a Versailles newspaper. It sometimes published articles from other newspapers of its political persuasion and reprinted those from pro-Communard dailies in order to discredit them.

First edition.
Very good condition.
In addition to existing titles, more than 70 newspapers were created during the 70 days of the Commune. But press freedom was restricted from April 18, and on May 18 the Committee of Public Safety banned newspapers favorable to the Thiers government as it withdrew to Versailles. The most influential newspapers at the time were 'Le Cri du Peuple' by Jules Vallès, 'Le Mot d'ordre' by Henri Rochefort, 'L'Affranchi' by Paschal Grousset, 'Le Père Duchesne' by Versmersch, 'La Sociale' with Madame André Léo, 'Le vengeur' by Félix Pyat, 'La Commune'. It was especially in May that the struggle against the pro-Versailles press gained vigor: thus, between May 5 and 18, 21 newspapers were suppressed. It is quite evident that the pro-Communard Parisian press could not be distributed in the provinces due to the vigilance of the Thiers government.
L'Echo français, a "daily political" newspaper, is an example of a Versailles newspaper. It sometimes published articles from other newspapers of its political persuasion and reprinted those from pro-Communard dailies in order to discredit them.

First edition.
Very good condition.
Adding to existing titles, more than 70 newspapers were created during the 70 days of the Commune. But press freedom was restricted from April 18, and on May 18 the Committee of Public Safety banned newspapers favorable to the Thiers government which withdrew to Versailles. The most influential newspapers at the time were 'Le Cri du Peuple' by Jules Vallès, 'Le Mot d'ordre' by Henri Rochefort, 'L'Affranchi' by Paschal Grousset, 'Le Père Duchesne' by Versmersch, 'La Sociale' with Madame André Léo, 'Le vengeur' by Félix Pyat, 'La Commune'. It was especially in May that the struggle against the pro-Versailles press gained momentum: thus, between May 5 and 18, 21 newspapers were suppressed. It is quite evident that the Parisian pro-Communard press could not be distributed in the provinces due to the vigilance of the Thiers government.
L'Echo français, a "daily political" newspaper is an example of a Versailles newspaper. It sometimes published articles from other newspapers of its political persuasion and reprinted those from pro-Communard dailies in order to discredit them.

First edition.
Very good condition.
Adding to existing titles, more than 70 newspapers were created during the 70 days of the Commune. But press freedom was restricted from April 18, and on May 18 the Committee of Public Safety banned newspapers favorable to the Thiers government which withdrew to Versailles. The most influential newspapers at the time were 'Le Cri du Peuple' by Jules Vallès, 'Le Mot d'ordre' by Henri Rochefort, 'L'Affranchi' by Paschal Grousset, 'Le Père Duchesne' by Versmersch, 'La Sociale' with Madame André Léo, 'Le vengeur' by Félix Pyat, 'La Commune'. It was especially in May that the struggle against the pro-Versailles press gained momentum: thus, between May 5 and 18, 21 newspapers were suppressed. It is quite evident that the Parisian pro-Communard press could not be distributed in the provinces due to the vigilance of the Thiers government.
L'Echo français, a "daily political" newspaper is an example of a Versailles newspaper. It sometimes published articles from other newspapers of its political persuasion and reprinted those from pro-Communard dailies in order to discredit them.

First edition.
Very good condition.
Adding to the existing titles, more than 70 newspapers were created during the 70 days of the Commune. But press freedom was restricted from April 18th, and on May 18th the Committee of Public Safety banned newspapers favorable to the Thiers government which withdrew towards Versailles. The most influential newspapers at the time were 'Le Cri du Peuple' by Jules Vallès, 'Le Mot d'ordre' by Henri Rochefort, 'L'Affranchi' by Paschal Grousset, 'Le Père Duchesne' by Versmersch, 'La Sociale' with Madame André Léo, 'Le vengeur' by Félix Pyat, 'La Commune'. It was especially in May that the fight against the pro-Versailles press gained vigor: thus, between May 5th and 18th, 21 newspapers were suppressed. It is quite evident that the pro-Communard Parisian press could not be distributed in the provinces due to the vigilance of the Thiers government.
L'Echo français, a "daily political" newspaper is an example of a Versailles newspaper. It sometimes published articles from other newspapers of its political alignment and reproduced those from pro-Communard dailies in order to discredit them.

First edition.
A faint trace of central crease, otherwise very good condition.
Adding to the existing titles, more than 70 newspapers were created during the 70 days of the Commune. But press freedom was restricted from April 18th, and on May 18th the Committee of Public Safety banned newspapers favorable to the Thiers government which withdrew towards Versailles. The most influential newspapers at the time were 'Le Cri du Peuple' by Jules Vallès, 'Le Mot d'ordre' by Henri Rochefort, 'L'Affranchi' by Paschal Grousset, 'Le Père Duchesne' by Versmersch, 'La Sociale' with Madame André Léo, 'Le vengeur' by Félix Pyat, 'La Commune'. It was especially in May that the fight against the pro-Versailles press gained vigor: thus, between May 5th and 18th, 21 newspapers were suppressed. It is quite evident that the pro-Communard Parisian press could not be distributed in the provinces due to the vigilance of the Thiers government.
L'Echo français, a "daily political" newspaper is an example of a Versailles newspaper. It sometimes published articles from other newspapers of its political alignment and reproduced those from pro-Communard dailies in order to discredit them.

First edition.
Very good condition.
In addition to existing titles, more than 70 newspapers were created during the 70 days of the Commune. But press freedom was restricted from April 18th, and on May 18th the Committee of Public Safety banned newspapers favorable to the Thiers government which withdrew towards Versailles. The most influential newspapers then were 'Le Cri du Peuple' by Jules Vallès, 'Le Mot d'ordre' by Henri Rochefort, 'L'Affranchi' by Paschal Grousset, 'Le Père Duchesne' by Versmersch, 'La Sociale' with Madame André Léo, 'Le vengeur' by Félix Pyat, 'La Commune'. It was especially in May that the struggle against the pro-Versailles press gained vigor: thus, between May 5th and 18th, 21 newspapers were suppressed. It is quite evident that the Parisian pro-Communard press could not be distributed in the provinces due to the vigilance of the Thiers government.
L'Echo français, a "daily political" newspaper is an example of a Versailles journal. It sometimes published articles from other newspapers of its political alignment and reprinted those from pro-Communard dailies in order to discredit them.

First edition.
A small shadow at top, otherwise very good condition.
In addition to existing titles, more than 70 newspapers were created during the 70 days of the Commune. But press freedom was restricted from April 18th, and on May 18th the Committee of Public Safety banned newspapers favorable to the Thiers government which withdrew towards Versailles. The most influential newspapers then were 'Le Cri du Peuple' by Jules Vallès, 'Le Mot d'ordre' by Henri Rochefort, 'L'Affranchi' by Paschal Grousset, 'Le Père Duchesne' by Versmersch, 'La Sociale' with Madame André Léo, 'Le vengeur' by Félix Pyat, 'La Commune'. It was especially in May that the struggle against the pro-Versailles press gained vigor: thus, between May 5th and 18th, 21 newspapers were suppressed. It is quite evident that the Parisian pro-Communard press could not be distributed in the provinces due to the vigilance of the Thiers government.
L'Echo français, a "daily political" newspaper is an example of a Versailles journal. It sometimes published articles from other newspapers of its political alignment and reprinted those from pro-Communard dailies in order to discredit them.

First edition.
Very good condition. Some manuscript annotations in pencil above the title.
In addition to existing titles, more than 70 newspapers were created during the 70 days of the Commune. But press freedom was restricted from April 18, and on May 18 the Committee of Public Safety banned newspapers favorable to the Thiers government which withdrew towards Versailles. The most influential newspapers then were 'Le Cri du Peuple' by Jules Vallès, 'Le Mot d'ordre' by Henri Rochefort, 'L'Affranchi' by Paschal Grousset, 'Le Père Duchesne' by Versmersch, 'La Sociale' with Madame André Léo, 'Le vengeur' by Félix Pyat, 'La Commune'. It was especially in May that the struggle against the pro-Versailles press gained vigor: thus, between May 5 and 18, 21 newspapers were suppressed. It is quite evident that the pro-Commune Parisian press could not be distributed in the provinces due to the vigilance of the Thiers government.
L'Echo français, a "daily political" newspaper is an example of a Versailles newspaper. It sometimes published articles from other newspapers of its political persuasion and reprinted those from pro-Commune dailies in order to discredit them.

First edition.
A small shadow at the top, otherwise very good condition.
In addition to existing titles, more than 70 newspapers were created during the 70 days of the Commune. But press freedom was restricted from April 18, and on May 18 the Committee of Public Safety banned newspapers favorable to the Thiers government which withdrew towards Versailles. The most influential newspapers then were 'Le Cri du Peuple' by Jules Vallès, 'Le Mot d'ordre' by Henri Rochefort, 'L'Affranchi' by Paschal Grousset, 'Le Père Duchesne' by Versmersch, 'La Sociale' with Madame André Léo, 'Le vengeur' by Félix Pyat, 'La Commune'. It was especially in May that the struggle against the pro-Versailles press gained vigor: thus, between May 5 and 18, 21 newspapers were suppressed. It is quite evident that the pro-Commune Parisian press could not be distributed in the provinces due to the vigilance of the Thiers government.
L'Echo français, a "daily political" newspaper is an example of a Versailles newspaper. It sometimes published articles from other newspapers of its political persuasion and reprinted those from pro-Commune dailies in order to discredit them.

First edition.
A small shadow at top, otherwise in very good condition.
In addition to existing titles, over 70 newspapers were created during the 70 days of the Commune. However, press freedom was restricted from April 18th, and on May 18th the Committee of Public Safety banned newspapers favorable to the Thiers government as it withdrew to Versailles. The most influential newspapers at that time were 'Le Cri du Peuple' by Jules Vallès, 'Le Mot d'ordre' by Henri Rochefort, 'L'Affranchi' by Paschal Grousset, 'Le Père Duchesne' by Versmersch, 'La Sociale' with Madame André Léo, 'Le vengeur' by Félix Pyat, 'La Commune'. It was particularly in May that the struggle against the pro-Versailles press intensified: thus, between May 5th and 18th, 21 newspapers were suppressed. It is quite evident that the pro-Communard Parisian press could not be distributed in the provinces due to the vigilance of the Thiers government.
L'Echo français, a "daily political" newspaper, is an example of a Versaillais journal. It sometimes published articles from other newspapers of its political persuasion and reproduced those from pro-Communard dailies in order to discredit them.

First edition.
A small crease mark at top, otherwise in very good condition.
In addition to existing titles, over 70 newspapers were created during the 70 days of the Commune. However, press freedom was restricted from April 18th, and on May 18th the Committee of Public Safety banned newspapers favorable to the Thiers government as it withdrew to Versailles. The most influential newspapers at that time were 'Le Cri du Peuple' by Jules Vallès, 'Le Mot d'ordre' by Henri Rochefort, 'L'Affranchi' by Paschal Grousset, 'Le Père Duchesne' by Versmersch, 'La Sociale' with Madame André Léo, 'Le vengeur' by Félix Pyat, 'La Commune'. It was particularly in May that the struggle against the pro-Versailles press intensified: thus, between May 5th and 18th, 21 newspapers were suppressed. It is quite evident that the pro-Communard Parisian press could not be distributed in the provinces due to the vigilance of the Thiers government.
L'Echo français, a "daily political" newspaper, is an example of a Versaillais journal. It sometimes published articles from other newspapers of its political persuasion and reproduced those from pro-Communard dailies in order to discredit them.

First edition.
A small crease mark at top and some very pale foxing, otherwise very good condition.
In addition to existing titles, more than 70 newspapers were created during the 70 days of the Commune. But press freedom was restricted from April 18th, and on May 18th the Committee of Public Safety banned newspapers favorable to the Thiers government which moved away towards Versailles. The most influential newspapers at that time were 'Le Cri du Peuple' by Jules Vallès, 'Le Mot d'ordre' by Henri Rochefort, 'L'Affranchi' by Paschal Grousset, 'Le Père Duchesne' by Versmersch, 'La Sociale' with Madame André Léo, 'Le vengeur' by Félix Pyat, 'La Commune'. It was especially in May that the fight against the pro-Versailles press gained momentum: thus, between May 5th and 18th, 21 newspapers were suppressed. It is quite evident that the pro-Communard Parisian press could not be distributed in the provinces due to the vigilance of the Thiers government.
L'Echo français, a "daily political" newspaper, is an example of a Versailles journal. It sometimes published articles from other newspapers of its political side and reproduced those from pro-Communard dailies in order to discredit them.

First edition.
A small crease mark at top and some very pale foxing, otherwise very good condition.
Statement: "An accident to the printing press made it impossible to print l'Echo français yesterday.".
In addition to existing titles, more than 70 newspapers were created during the 70 days of the Commune. But press freedom was restricted from April 18th, and on May 18th the Committee of Public Safety banned newspapers favorable to the Thiers government which moved away towards Versailles. The most influential newspapers at that time were 'Le Cri du Peuple' by Jules Vallès, 'Le Mot d'ordre' by Henri Rochefort, 'L'Affranchi' by Paschal Grousset, 'Le Père Duchesne' by Versmersch, 'La Sociale' with Madame André Léo, 'Le vengeur' by Félix Pyat, 'La Commune'. It was especially in May that the fight against the pro-Versailles press gained momentum: thus, between May 5th and 18th, 21 newspapers were suppressed. It is quite evident that the pro-Communard Parisian press could not be distributed in the provinces due to the vigilance of the Thiers government.
L'Echo français, a "daily political" newspaper, is an example of a Versailles journal. It sometimes published articles from other newspapers of its political side and reproduced those from pro-Communard dailies in order to discredit them.

First edition.
A small crease mark at top as well as some very faint foxing, otherwise very good condition.
Adding to existing titles, more than 70 newspapers were created during the 70 days of the Commune. But press freedom was restricted from April 18th, and on May 18th the Committee of Public Safety banned newspapers favorable to the Thiers government which withdrew towards Versailles. The most influential newspapers then were 'Le Cri du Peuple' by Jules Vallès, 'Le Mot d'ordre' by Henri Rochefort, 'L'Affranchi' by Paschal Grousset, 'Le Père Duchesne' by Versmersch, 'La Sociale' with Madame André Léo, 'Le vengeur' by Félix Pyat, 'La Commune'. It was especially in May that the struggle against the pro-Versailles press gained vigor: thus, between May 5th and 18th, 21 newspapers were suppressed. It is quite evident that the Parisian pro-Communard press could not be distributed in the provinces due to the vigilance of the Thiers government.
L'Echo français, a "daily political" newspaper, is an example of a Versailles newspaper. It sometimes published articles from other newspapers of its political persuasion and reproduced those from pro-Communard dailies in order to discredit them.

First edition.
A small crease mark at top, otherwise very good condition.
Adding to existing titles, more than 70 newspapers were created during the 70 days of the Commune. But press freedom was restricted from April 18th, and on May 18th the Committee of Public Safety banned newspapers favorable to the Thiers government which withdrew towards Versailles. The most influential newspapers then were 'Le Cri du Peuple' by Jules Vallès, 'Le Mot d'ordre' by Henri Rochefort, 'L'Affranchi' by Paschal Grousset, 'Le Père Duchesne' by Versmersch, 'La Sociale' with Madame André Léo, 'Le vengeur' by Félix Pyat, 'La Commune'. It was especially in May that the struggle against the pro-Versailles press gained vigor: thus, between May 5th and 18th, 21 newspapers were suppressed. It is quite evident that the Parisian pro-Communard press could not be distributed in the provinces due to the vigilance of the Thiers government.
L'Echo français, a "daily political" newspaper, is an example of a Versailles newspaper. It sometimes published articles from other newspapers of its political persuasion and reproduced those from pro-Communard dailies in order to discredit them.

First edition.
A small crease mark at top, otherwise very good condition.
Adding to existing titles, more than 70 newspapers were created during the 70 days of the Commune. But press freedom was restricted from April 18th, and on May 18th the Committee of Public Safety banned newspapers favorable to the Thiers government which withdrew towards Versailles. The most influential newspapers at the time were 'Le Cri du Peuple' by Jules Vallès, 'Le Mot d'ordre' by Henri Rochefort, 'L'Affranchi' by Paschal Grousset, 'Le Père Duchesne' by Versmersch, 'La Sociale' with madame André Léo, 'Le vengeur' by Félix Pyat, 'La Commune'. It was especially in May that the struggle against the pro-Versailles press gained vigor: thus, between May 5th and 18th, 21 newspapers were suppressed. It is quite evident that the pro-Communard Parisian press could not be distributed in the provinces due to the vigilance of the Thiers government.
L'Echo français, a "daily political" newspaper is an example of a Versailles journal. It sometimes published articles from other newspapers of its political side and reprinted those from pro-Communard dailies in order to discredit them.

First edition.
A small crease mark at top as well as some very pale foxing, otherwise very good condition.
Adding to existing titles, more than 70 newspapers were created during the 70 days of the Commune. But press freedom was restricted from April 18th, and on May 18th the Committee of Public Safety banned newspapers favorable to the Thiers government which withdrew towards Versailles. The most influential newspapers at the time were 'Le Cri du Peuple' by Jules Vallès, 'Le Mot d'ordre' by Henri Rochefort, 'L'Affranchi' by Paschal Grousset, 'Le Père Duchesne' by Versmersch, 'La Sociale' with madame André Léo, 'Le vengeur' by Félix Pyat, 'La Commune'. It was especially in May that the struggle against the pro-Versailles press gained vigor: thus, between May 5th and 18th, 21 newspapers were suppressed. It is quite evident that the pro-Communard Parisian press could not be distributed in the provinces due to the vigilance of the Thiers government.
L'Echo français, a "daily political" newspaper is an example of a Versailles journal. It sometimes published articles from other newspapers of its political side and reprinted those from pro-Communard dailies in order to discredit them.

First edition.
A small crease mark, otherwise very good condition.
Adding to existing titles, more than 70 newspapers were created during the 70 days of the Commune. But press freedom was restricted from April 18, and on May 18 the Committee of Public Safety banned newspapers favorable to the Thiers government which was withdrawing towards Versailles. The most influential newspapers then were 'Le Cri du Peuple' by Jules Vallès, 'Le Mot d'ordre' by Henri Rochefort, 'L'Affranchi' by Paschal Grousset, 'Le Père Duchesne' by Versmersch, 'La Sociale' with madame André Léo, 'Le vengeur' by Félix Pyat, 'La Commune'. It was especially in May that the struggle against the pro-Versailles press gained vigor: thus, between May 5 and 18, 21 newspapers were suppressed. It is quite evident that the pro-Communard Parisian press could not be distributed in the provinces due to the vigilance of the Thiers government.
L'Echo français, a "daily political" newspaper is an example of a Versailles newspaper. It sometimes published articles from other newspapers of its political persuasion and reprinted those from pro-Communard dailies in order to discredit them.

First edition.
A small crease mark, otherwise very good condition.
Adding to existing titles, more than 70 newspapers were created during the 70 days of the Commune. But press freedom was restricted from April 18, and on May 18 the Committee of Public Safety banned newspapers favorable to the Thiers government which was withdrawing towards Versailles. The most influential newspapers then were 'Le Cri du Peuple' by Jules Vallès, 'Le Mot d'ordre' by Henri Rochefort, 'L'Affranchi' by Paschal Grousset, 'Le Père Duchesne' by Versmersch, 'La Sociale' with madame André Léo, 'Le vengeur' by Félix Pyat, 'La Commune'. It was especially in May that the struggle against the pro-Versailles press gained vigor: thus, between May 5 and 18, 21 newspapers were suppressed. It is quite evident that the pro-Communard Parisian press could not be distributed in the provinces due to the vigilance of the Thiers government.
L'Echo français, a "daily political" newspaper is an example of a Versailles newspaper. It sometimes published articles from other newspapers of its political persuasion and reprinted those from pro-Communard dailies in order to discredit them.

First edition.
A small crease mark, otherwise very good condition.
Adding to existing titles, more than 70 newspapers were created during the 70 days of the Commune. But press freedom was restricted from April 18, and on May 18 the Committee of Public Safety banned newspapers favorable to the Thiers government which withdrew towards Versailles. The most influential newspapers then were 'Le Cri du Peuple' by Jules Vallès, 'Le Mot d'ordre' by Henri Rochefort, 'L'Affranchi' by Paschal Grousset, 'Le Père Duchesne' by Versmersch, 'La Sociale' with Madame André Léo, 'Le vengeur' by Félix Pyat, 'La Commune'. It was especially in May that the struggle against the pro-Versailles press gathered strength: thus, between May 5 and 18, 21 newspapers were suppressed. It is quite evident that the pro-Communard Parisian press could not be distributed in the provinces due to the vigilance of the Thiers government.
L'Echo français, a "daily political" newspaper is an example of a Versailles journal. It sometimes published articles from other newspapers of its political persuasion and reproduced those from pro-Communard dailies in order to discredit them.

First edition.
A small crease mark, otherwise very good condition.
Adding to existing titles, more than 70 newspapers were created during the 70 days of the Commune. But press freedom was restricted from April 18, and on May 18 the Committee of Public Safety banned newspapers favorable to the Thiers government which withdrew towards Versailles. The most influential newspapers then were 'Le Cri du Peuple' by Jules Vallès, 'Le Mot d'ordre' by Henri Rochefort, 'L'Affranchi' by Paschal Grousset, 'Le Père Duchesne' by Versmersch, 'La Sociale' with Madame André Léo, 'Le vengeur' by Félix Pyat, 'La Commune'. It was especially in May that the struggle against the pro-Versailles press gathered strength: thus, between May 5 and 18, 21 newspapers were suppressed. It is quite evident that the pro-Communard Parisian press could not be distributed in the provinces due to the vigilance of the Thiers government.
L'Echo français, a "daily political" newspaper is an example of a Versailles journal. It sometimes published articles from other newspapers of its political persuasion and reproduced those from pro-Communard dailies in order to discredit them.

First edition.
A small crease mark, otherwise very good condition.
In addition to existing titles, more than 70 newspapers were created during the 70 days of the Commune. But press freedom was restricted from April 18, and on May 18 the Committee of Public Safety banned newspapers favorable to the Thiers government which withdrew towards Versailles. The most influential newspapers then were 'Le Cri du Peuple' by Jules Vallès, 'Le Mot d'ordre' by Henri Rochefort, 'L'Affranchi' by Paschal Grousset, 'Le Père Duchesne' by Versmersch, 'La Sociale' with Madame André Léo, 'Le vengeur' by Félix Pyat, 'La Commune'. It was especially in May that the fight against the pro-Versailles press gained vigor: thus, between May 5 and 18, 21 newspapers were suppressed. It is quite evident that the Parisian pro-Commune press could not be distributed in the provinces due to the vigilance of the Thiers government.
L'Echo français, a "daily political" newspaper is an example of a Versailles newspaper. It sometimes published articles from other newspapers of its political persuasion and reprinted those from pro-Commune dailies in order to discredit them.

First edition.
A small crease mark, otherwise very good condition.
In addition to existing titles, more than 70 newspapers were created during the 70 days of the Commune. But press freedom was restricted from April 18, and on May 18 the Committee of Public Safety banned newspapers favorable to the Thiers government which withdrew towards Versailles. The most influential newspapers then were 'Le Cri du Peuple' by Jules Vallès, 'Le Mot d'ordre' by Henri Rochefort, 'L'Affranchi' by Paschal Grousset, 'Le Père Duchesne' by Versmersch, 'La Sociale' with Madame André Léo, 'Le vengeur' by Félix Pyat, 'La Commune'. It was especially in May that the fight against the pro-Versailles press gained vigor: thus, between May 5 and 18, 21 newspapers were suppressed. It is quite evident that the Parisian pro-Commune press could not be distributed in the provinces due to the vigilance of the Thiers government.
L'Echo français, a "daily political" newspaper is an example of a Versailles newspaper. It sometimes published articles from other newspapers of its political persuasion and reprinted those from pro-Commune dailies in order to discredit them.

First edition of the complete series comprising 17 issues.
Each issue contains 44 pages and is illustrated with a bicolor lithograph by Marcolon, E. Tap, Charlereal and Georges Bergère.
Some covers detached and occasional foxing.
Left-wing journal in the continuity of le Grand guignol whose publication ended on February 22, 1922, le Guignol illustré is a semi-monthly satirical illustrated publication published exclusively under pseudonyms. It was created by Maurice Brivet and publishes articles on politico-economic scandals and moral affairs of the time. It is also an engaged journal which was at the origin of numerous campaigns led against banks and colonial companies notably.
Joined with the first issue of le Guignol déchaîné from November 10, 1922.
Very rare.

First edition.
Half black shagreen binding, smooth spine decorated with gilt and blind fillets and gilt dentelle at foot; corners slightly rubbed.
Each issue comprises eight pages.
Texts by Méry, Alexandre Dumas Fils, Jules Janin, Victor Hugo (poem "La Fleur de l'âme" set to song), Théophile Gautier (poem "Le Monde est méchant" set to music), Alphonse de Lamartine (poem "Une voix céleste" set to music) and Paul Féval notably.
Engravings by Verdeil, Belin, Deschamps, and Etienne among others.

First edition.
Contemporary half-brown shagreen binding, spine with five raised bands decorated with small fleurons and gilt fillets, top edge gilt. Some light rubbing and spine very lightly sunned.
Contributions by Maurice Barrès, Paul Bourget, Jean Richepin and Paul Verlaine notably.
Drawings and engravings in color and black and white by Caran d'Ache, Godefroy, Grasset and Willette among others.
La Revue illustrée is a French publication renowned both for the quality of its illustrations and for its prestigious contributors from 1885 to 1912: Guy de Maupassant, Emile Zola, Maurice Barrès, Anatole France and many others. René Baschet, director of the Revue Illustrée, already prefigures in this publication what the magazine L'Illustration would become, which he would later direct: a fabulous vehicle for the text-image relationship and impressive rigor in the quality of illustration.
Rare and sought after.

First edition.
Contemporary half brown shagreen binding, spine with five raised bands decorated with small fleurons and gilt fillets, top edge gilt. Some superficial scuffing and spine very lightly sunned.
Contributions by Paul Bourget, Abel Hermant, Jean Richepin and Charles Yriarte notably.
Drawings and engravings in color and black and white by Jules Chéret, Giacomelli, Godefroy and Grasset among others.
La Revue illustrée is a French publication renowned both for the quality of its illustrations and for its prestigious contributors from 1885 to 1912: Guy de Maupassant, Emile Zola, Maurice Barrès, Anatole France and many others. René Baschet, director of the Revue Illustrée, already prefigures in this publication what L'Illustration magazine would become, which he would later direct: a fabulous vehicle for the text-image relationship and an impressive rigor in the quality of illustration.
Rare and sought after.

First edition.
Contemporary half brown shagreen binding, spine with five raised bands decorated with small fleurons and gilt fillets, top edge gilt. Some superficial scuffing and spine very lightly sunned.
Contributions by Marcel Schwob and Paul Margueritte notably.
Drawings and engravings in color and black and white by Godefroy, Grasset, Job and Willette among others.
La Revue illustrée is a French publication renowned both for the quality of its illustrations and for its prestigious contributors from 1885 to 1912: Guy de Maupassant, Emile Zola, Maurice Barrès, Anatole France and many others. René Baschet, director of the Revue Illustrée, already prefigures in this publication what L'Illustration magazine would become, which he would later direct: a fabulous vehicle for the text-image relationship and an impressive rigor in the quality of illustration.
Rare and sought after.

First edition.
Contemporary half-brown shagreen binding, spine with five raised bands decorated with small fleurons and gilt fillets, top edge gilt. Some light rubbing and spine very lightly sunned.
Contributions by Jules Clarétie, Gyp, Hector Malot and Octave Mirbeau notably.
Drawings and engravings in color and black and white by Jules Chéret, Godefroy, Renouard, Willette and Auguste Rodin among others. Several photographs concerning the architecture of the Universal Exhibition.
La Revue illustrée is a French publication renowned both for the quality of its illustrations and for its prestigious contributors from 1885 to 1912: Guy de Maupassant, Emile Zola, Maurice Barrès, Anatole France and many others. René Baschet, director of the Revue Illustrée, already prefigures in this publication what the magazine L'Illustration would become, which he would later direct: a fabulous vehicle for the text-image relationship and impressive rigor in the quality of illustration.
Rare and sought after.

First edition. An engraved title frontispiece.
Full marbled and glazed blonde calf binding. Decorated spine with raised bands. Red morocco title-label. Head slightly worn. Handsome copy.
This almanac contains, in addition to the year's calendar, a series of pieces, fables and light poetry by various authors (Dorat, Voisenon, Voltaire, Piron, Marmontel, etc.), a critique of works published in 1773 and of shows performed in that same year.

Facsimile, printed in 250 copies of the first edition of this rare journal.
Contributions by V. Hugo, E. d'Hervilly, baron Grog, T. de Banville, M. Nothing, A. Roger, E. des Essarts, Oméga, Criton, R. Luzarche, P. Verlaine...Publisher's olive paper boards, smooth spine.
Complete run of this rare journal.
A handsome copy.

First edition.
Iconography.
Slight stains to endpapers, a good copy.

First edition.
Half tan sheep bindings, smooth spines decorated with gilt fleurons and friezes, red morocco title-label, green morocco volume labels, traces of rubbing on joints, blue paper boards with some surface wear, corners slightly bumped, speckled edges, contemporary bindings.
Illustrated periodical with figures in text and hors-texte as well as hors-texte plates.
Foxing, two pale dampstains affecting beginning and end of volumes.
Rare complete run.

First edition.
Slight foxing to the covers.

New edition and first printing of the 7 beautiful hand-colored plates hors-texte including a frontispiece.
Half cherry red glazed calf binding, smooth spine decorated with black fillets, traces of rubbing on the joints, marbled paper boards, corners slightly bumped, bookseller's label pasted on an endpaper.
Some foxing.

First edition.
Half blue sheep binding, spine lightly rubbed with gilt fillets, some surface wear, edges and headcaps rubbed, small lacks to the sheep, contemporary binding.
Le Journal amusant was a French weekly publication created by Charles Philipon on January 5, 1856 in 8 large-folio pages and perhaps disappeared in December 1933, representing 86 years of publication. The journal was composed three-quarters of illustrations around social satire then comedy of manners with an increasing place given to theatre and fashion. In the 1860s, the editor-in-chief was Nadar.
Numerous illustrations by Grévin, Henriot, Forain, P. Léonnec, Crafty, Mars, Baric, Stop, Marais, Attinger, Luc, Reboul, Nell, Petit, Morland, Le Petit, Randon, Robida, Bertall...
Rare marginal tears without loss to some pages, light foxing in places, handsome interior condition.

First edition.
Full black cloth binding, smooth spine decorated with gilt arabesque tools, sextuple blind-stamped fillets framing the boards, title and vignette depicting an allegory of victory accompanied by a cherub stamped in gilt at the center of the front board, corners very slightly bumped, yellow paper pastedowns and endpapers, publisher's binding.
Contributions by Victorien Sardou, Méry among others.
8-page journal extensively illustrated with woodcuts by the greatest artists of the time.
Contrary to what the title page indicates, this volume contains all issues from December 1859 to November 1860.
Very handsome copy in its rare publisher's binding.

First edition.
Half brown cloth binding, marbled paper boards, corners slightly bumped, edges scuffed, headcap torn. Contemporary binding.
Each issue retains its four pages, some light marginal tears not touching the text, as well as some creases.
Contributions by Marcel Prévost ("Cousine Laura", "Grace!", "Au cabaret", "L'Abbé Pantalon", "Maxime"), Aristide Bruant (numerous songs), Georges Courteline ("Margot", "26", "Boubouroche", "La Pendule", "Exempt de cravate", "Je m'en fous", "Un mal de gorge", "Ferme ta malle !", "Premières armes", "L'Honneur des Brossarbourg", "Le Mauvais cocher", "Suggestion"), Jean Richepin (numerous poems, as well as prose texts: "Ch'tiote", "La Casquette", "Mimile"), Alphonse Daudet ("La Moisson au bord de la mer", "La Musique aux Champs"), Charles Baudelaire (posthumous publication of "Ciel Brouillé", "Moesta et Errabunda", "Le Jet d'eau", "Causerie", "Le Jour des Morts", "Don Juan aux Enfers", "Les Aveugles", "A une mendiante rousse", "Bohémiens en voyage", "L'Aube spirituelle", "Le Jeu", "A une passante"), Paul Verlaine ("Sagesse", "Sur l'herbe", "A la promenade", "La Chanson des Ingénues", "Mandoline", "Le Faune" "Cythère", "En sourdine", "Colombine"), François Coppée ("Rousse", "Brune"), Guy de Maupassant ("La Parure", "Le Champ d'oliviers", "Le Crime au Père Boniface", "Histoire d'une fille de ferme", "Littérature du gendarme", "La Dot"), Willy ("Francisque"), Barbey d'Aurevilly ("La Vengeance d'une femme", "Le Rideau cramoisi"), Alphonse Allais ("Le Langage des fleurs", "L'Absence profitable", "La Télégraphiste", "Bébert"), Emile Zola ("Pour une nuit d'amour", "Lourdes"), Jules Renard ("Oeuf de poule", "Poil de Carotte"), Maurice Leblanc ("Roméo et Juliette", "L'Elevage", "La Vierge"), Gyp ("Le Débutant"), Catulle Mendès ("Le Passe-pied"), Jean Lorrain ("Les Yeux du mort"), J.-H. Rosny ("Lacération", "Cabinets particuliers", "L'Immolation", "Le Funéraliste"), Mark Twain ("Concernant les femmes de chambre"), Théophile Gautier ("A une robe rose"), Sully-Prud'homme ("Les Vénus"), Anatole France ("Chronique napolitaine"), Edmond et Jules de Goncourt ("Le Passeur de Maguelone", "Le Père Thibaut"), Tristan Corbière ("Sainte Anne") among others; drawings by Steinlen, A. Guillaume, Paul Balluriau, Lourdey, Carl-Hap and Maurice Marais notably.
Illustrated journal with numerous color and black and white drawings, sometimes full-page or even double-page spreads, as well as musical scores.
Gil Blas was a former French weekly newspaper, founded by Auguste Dumont, which appeared from November 19, 1879 to August 4, 1914, then very occasionally from January 20, 1921 to March 1940. For a period, starting November 17, 1909, it was directed by Henri de Noussanne and Pierre de Maroussein. Gil Blas initially aimed to be literary. Great writers expressed themselves in chronicles that enjoyed great success: Guy de Maupassant (or Maufrigneuse) whose collaboration was the longest (1881-1888), Paul Arène, Émile Bergerat, Clovis Hugues, René Maizeroy, Jean Richepin, etc. Equally important were the serials, signed by Émile Zola, Hector Malot, Théodore de Banville, and Octave Mirbeau notably. For his part, Maupassant published "Une vie" (February-April 1883), "Bel Ami" (April-May 1885), "Mont-Oriol" (December 1886-February 1887), etc. Beyond these chronicles and serials, Zola defended some of his works in the newspaper, through "Lettres au Directeur" (on "le Rêve", November 8, 1888; on "la Bête humaine", November 13, 1889).

First edition.
Half beige cloth binding, marbled paper boards, corners slightly bumped, leading edges scuffed. Contemporary binding.
Each issue contains its full four pages, some light marginal tears not touching text.
Contributions by Willy [Ernest Willy], Edmond Char, Jules Lévy, Tristan Bernard, Maurice Leblanc and J.-H. Rosny ("Le Baiser de la Reine") notably; drawings by Sandy-Hook, Jacques Villon, Steinlen, Weiluc, Moriss, Georges Redon, Gottlob, Prejelan among others.
Journal illustrated with numerous drawings in color and black and white, sometimes full-page, as well as musical scores.
Gil Blas was a former French weekly newspaper, founded by Auguste Dumont, which appeared from November 19, 1879 to August 4, 1914, then very occasionally from January 20, 1921 to March 1940. For a period, starting November 17, 1909, it was directed by Henri de Noussanne and Pierre de Maroussein. Gil Blas initially positioned itself as a literary publication. Great writers expressed themselves in chronicles that enjoyed great success: Guy de Maupassant (or Maufrigneuse) whose collaboration was the longest (1881-1888), Paul Arène, Émile Bergerat, Clovis Hugues, René Maizeroy, Jean Richepin, etc. Equally important were the serialized novels, signed by Émile Zola, Hector Malot, Théodore de Banville, and Octave Mirbeau notably. For his part, Maupassant published "Une vie" (February-April 1883), "Bel Ami" (April-May 1885), "Mont-Oriol" (December 1886-February 1887), etc. Beyond these chronicles and serialized novels, Zola defended some of his works in the newspaper, through "Lettres au Directeur" (on "le Rêve", November 8, 1888; on "la Bête humaine", November 13, 1889).

First edition.
Half brown sheep binding, marbled paper boards, corners slightly bumped, leading edges scuffed, lacks to boards and spine torn. Contemporary binding.
Each issue contains its full four pages, some light marginal tears not touching text, as well as creases.
Contributions by Anatole France ("La Messe des ombres"), Charles Baudelaire (posthumous publication of "La mort des pauvres", "La Corde", "Ciel brouillé", "Chanson d'après-midi"), Georges Courteline, Jules Renard ("Poil de Carotte"), Marcel Prévost ("L'Abbé Pantalon", "Torchonnette", "Jeunes époux"), Edmond and Jules de Goncourt ("Le Passeur de Maguelone", "Le Père Thibaut"), Aristide Bruant ("Fins de siècle", "Souper du Mac", "Coquette", "Crâneuse"), Alphonse Allais ("Bébert"), Emile Zola ("Le Jeûne", "Un hommage éloquent"), Jean Richepin ("L'oublieux"), Paul Verlaine ("Colombine", "Les indolents", "Pantomime"), J.-H. Rosny ("La Sauveuse", "L'immolation", "Le Funéraliste"), Tristan Corbière ("Sainte Anne"), Gyp, Rachilde ("Volupté"), Paul Léautaud ("Elégie"), Willy ("Une passade"), Maurice Leblanc ("L'Oeuvre de Mort"), Jehan Rictus ("Les soliloques du pauvre"); drawings by Sandy-Hook, Abel, Steinlen, Léandre, Carl Hap, Japhet, Gottlob, Prejelan among others.
Journal illustrated with numerous drawings in color and black and white, sometimes full-page or double-page spreads, as well as musical scores.
Gil Blas was a former French weekly newspaper, founded by Auguste Dumont, which appeared from November 19, 1879 to August 4, 1914, then very occasionally from January 20, 1921 to March 1940. For a period, starting November 17, 1909, it was directed by Henri de Noussanne and Pierre de Maroussein. Gil Blas initially positioned itself as a literary publication. Great writers expressed themselves in chronicles that enjoyed great success: Guy de Maupassant (or Maufrigneuse) whose collaboration was the longest (1881-1888), Paul Arène, Émile Bergerat, Clovis Hugues, René Maizeroy, Jean Richepin, etc. Equally important were the serialized novels, signed by Émile Zola, Hector Malot, Théodore de Banville, and Octave Mirbeau notably. For his part, Maupassant published "Une vie" (February-April 1883), "Bel Ami" (April-May 1885), "Mont-Oriol" (December 1886-February 1887), etc. Beyond these chronicles and serialized novels, Zola defended some of his works in the newspaper, through "Lettres au Directeur" (on "le Rêve", November 8, 1888; on "la Bête humaine", November 13, 1889).

First edition.
Half red shagreen binding, boards stained, spine with four raised bands decorated with gilt motifs, publisher's binding.
Contributions by Champfleury, Charles Blanc, Philippe Burty, Emile Galichon, Albert Jacquemart and Paul Chéron among others; etching by Jean Achard.
Review illustrated with numerous black and white engravings.
La Gazette des beaux-arts is a French art review, founded in 1859 by Édouard Houssaye, with Charles Blanc as editor-in-chief; it ceased publication in 2002.
For nearly one hundred and fifty years, it was a worldwide reference in art history.

First edition.
Half red shagreen binding, split headcaps, spine with four raised bands decorated with gilt motifs, publisher's binding.
Contributions by Louis Gonse, Ludovic Lalanne, Duranty, Anatole de Montaiglon, Charles Blanc, Champfleury, Charles Yriarte and Paul Chéron among others; etching by Paul Renouard.
Review illustrated with numerous black and white plates.
La Gazette des beaux-arts is a French art review, founded in 1859 by Édouard Houssaye, with Charles Blanc as editor-in-chief; it ceased publication in 2002.
For nearly one hundred and fifty years it was a worldwide reference in art history.

First edition.
Full red cloth binding, marbled edges, publisher's binding.
Contributions by Paul Mantz, Alfred Darcel, Louis Gonse, Ludovic Lalanne, Charles Yriarte, Alfred de Lostalot and Paul Chéron among others; original etching by Léon Bonnat.
Review illustrated with numerous black and white plates.
Our copy is incomplete: it lacks the original etching by James Whistler (p367).
La Gazette des beaux-arts is a French art review, founded in 1859 by Édouard Houssaye, with Charles Blanc as editor-in-chief; it ceased publication in 2002.
For nearly one hundred and fifty years it was a worldwide reference in art history.

First edition.
Half red shagreen binding, headcaps torn, spine with four raised bands decorated in blind, minor lacks to boards, publisher's binding.
Contributions by Charles Clément, Georges Duplessis, Paul Mantz, Louis Gonse, Champfleury, Alfred Darcel, Emile Galichon, Alfred Michiels, Duranty and Paul Chéron among others.
Our copy is incomplete, lacking the engraving by Adolphe Appian (p 47).
Journal illustrated with numerous black and white plates.
The Gazette des beaux-arts is a French art journal, founded in 1859 by Édouard Houssaye, with Charles Blanc as editor-in-chief; it ceased publication in 2002.
For nearly one hundred and fifty years it was a worldwide reference in art history.

First edition.
Half red shagreen binding, corners bumped, headcaps damaged, boards worn and stained, minor lacks, spine with four raised bands decorated in gilt, publisher's binding.
Contributions by Alfred Michiels, Philippe Burty, Charles Blanc ("Ingres, sa vie et ses oeuvres"), Albert Jacquemart, Alfred Darcel, Emile Galichon and Paul Chéron among others.
Journal illustrated with numerous black and white plates, as well as one folding plate (see photo).
The Gazette des beaux-arts is a French art journal, founded in 1859 by Édouard Houssaye, with Charles Blanc as editor-in-chief; it ceased publication in 2002.
For nearly one hundred and fifty years it was a worldwide reference in art history.

First edition.
Half red shagreen binding, split headcaps, spine with four raised bands decorated with gilt ornament, publisher's binding.
Contributions by Alfred Darcel, Anatole de Montaiglon, Duranty, Ludovic Lalanne, Paul Lefort, Louis Gonse, Paul Mantz and Paul Chéron among others; original etching by Edwin Edwards notably.
Review illustrated with numerous black and white hors-texte engravings.
The Gazette des beaux-arts is a French art review, founded in 1859 by Édouard Houssaye, with Charles Blanc as editor-in-chief; it ceased publication in 2002.
For nearly one hundred and fifty years it was a world reference in art history.

First edition.
Half red shagreen binding, split headcaps, spine with four raised bands decorated with gilt motifs, publisher's binding.
Contributions by Anatole de Montaiglon, Paul Mantz, Louis Gonse, Alfred Lostalot, Paul Lefort, Ludovic Lalanne, Duranty and Paul Chéron; etching attributed to Rubens, original etching by Francesco Paolo Michetti.
Review illustrated with numerous black and white hors-texte engravings.
The Gazette des beaux-arts is a French art review, founded in 1859 by Édouard Houssaye, with Charles Blanc as editor-in-chief; it ceased publication in 2002.
For nearly one hundred and fifty years it was a world reference in art history.

First edition.
Half red shagreen binding, spine with four raised bands decorated with gilt ornament, publisher's binding.
Contributions by Louis Gonse, Sully Prudhomme ("Quelques oeuvres décoratives inédites"), Alfred Darcel, Albert Jacquemart, Champfleury and Paul Chéron among others.
Review illustrated with numerous black and white hors-texte engravings.
La Gazette des beaux-arts is a French art review, founded in 1859 by Édouard Houssaye, with Charles Blanc as editor-in-chief; it ceased publication in 2002.
For nearly one hundred and fifty years it was a world reference in art history.

First edition.
Half red shagreen binding, headcaps damaged, paper on boards very slightly detached, spine with four raised bands decorated with gilt ornament, publisher's binding.
Contributions by Charles Blanc, Eugène Guillaume, Paul Mantz, Anatole de Montaiglon, Alfred Darcel, Georges Duplessis, Louis Gonse, Charles Yriarte and Paul Chéron among others; etching by Alphonse Legros, heliogravure by Baldus and etching by Delaunay among others.
Review illustrated with numerous black and white hors-texte engravings, as well as a folding engraving after a drawing by Puvis de Chavanne (see photograph).
La Gazette des beaux-arts is a French art review, founded in 1859 by Édouard Houssaye, with Charles Blanc as editor-in-chief; it ceased publication in 2002.
For nearly one hundred and fifty years it was a world reference in art history.

First edition.
Half red shagreen binding, corners slightly bumped, covers scratched, headcaps worn, spine with five raised bands gilt and blind-tooled, publisher's binding.
Contributions by Charles Blanc, Albert Jacquemart, René Ménard, Louis Gonse notably, drawings by Gavarni among others.
Review illustrated with numerous full-page black and white engravings.
The Gazette des beaux-arts is a French art review, founded in 1859 by Édouard Houssaye, with Charles Blanc as editor-in-chief; it ceased publication in 2002.
For nearly one hundred and fifty years it was a worldwide reference in art history.

First edition.
Half red shagreen binding, corners slightly bumped, covers scratched, headcaps worn, slight crease on upper board, spine with five raised bands gilt and blind-tooled, publisher's binding.
Contributions by Charles Blanc ("Eugène Delacroix"), Albert Jacquemart, Champfleury, Edmond and Jules de Goncourt ("Chardin") and Victor Hugo ("Les Rues et les maisons du vieux Blois") among others; engraving by Héliodore Pisan.
Review illustrated with numerous full-page black and white engravings, as well as several folding plates.
The Gazette des beaux-arts is a French art review, founded in 1859 by Édouard Houssaye, with Charles Blanc as editor-in-chief; it ceased publication in 2002.
For nearly one hundred and fifty years it was a worldwide reference in art history.

First edition.
Half red shagreen binding, corners slightly bumped, covers scuffed, headcaps torn, spine gilt and blind, spine with five raised bands, publisher's binding.
Contributions by Paul Mantz, Alfred de Lostalot and Duranty among others.
Journal illustrated with numerous black and white engravings hors-texte, including one folding plate (see photograph).
La Gazette des beaux-arts is a French art journal, founded in 1859 by Édouard Houssaye, with Charles Blanc as editor-in-chief; it ceased publication in 2002.
For nearly one hundred and fifty years it was a worldwide reference in art history.

First edition.
Half chocolate shagreen binding, corners slightly bumped, covers scuffed, headcaps torn, spine with five raised bands, publisher's binding.
Contributions by Paul Mantz, Alfred de Lostalot and Duranty among others.
Journal illustrated with numerous black and white engravings hors-texte.
La Gazette des beaux-arts is a French art journal, founded in 1859 by Édouard Houssaye, with Charles Blanc as editor-in-chief; it ceased publication in 2002.
For nearly one hundred and fifty years it was a worldwide reference in art history.

First edition.
Half chocolate shagreen binding, corners slightly bumped, covers scratched, headcaps severely damaged, relatively significant lacks to both covers, spine with five raised bands, publisher's binding.
Contributions by Paul Mantz, Alfred de Lostalot and Duranty among others; fine heliogravure by Eugène Sadoux printed separately from the text, as well as several heliographies by Honoré Daumier.
Magazine illustrated with numerous black and white engravings printed separately from the text, including one folding plate (see photograph).
La Gazette des beaux-arts is a French art magazine, founded in 1859 by Édouard Houssaye, with Charles Blanc as editor-in-chief; it ceased publication in 2002.
For nearly one hundred and fifty years it was a worldwide reference in art history.

First edition.
Half red shagreen binding, corners slightly bumped, leading edges scraped, headcaps torn, spine with four raised bands gilt in blind, publisher's binding.
Contributions by Duranty, Paul Mantz, Champfleury, Ludovic Lalanne and Louis Gonse among others; fine etching printed hors-texte by Emile Boilvin.
Review illustrated with numerous black and white engravings hors-texte as well as a facsimile of a watercolor by Ingres in colors.
La Gazette des beaux-arts is a French art review, founded in 1859 by Édouard Houssaye, with Charles Blanc as editor-in-chief; it ceased publication in 2002.
For nearly one hundred and fifty years it was a worldwide reference in art history.

First edition.
Half red shagreen binding, corners slightly bumped, headcaps torn, spine with four raised bands gilt in blind, publisher's binding.
Contributions by Charles Blanc, Duranty, Ludovic Lalanne, Paul Mantz, Louis Gons, Champfleury and Paul Chéron among others; original etching by Paul Renouard notably.
Review illustrated with numerous black and white engravings hors-texte, notably an engraving representing Alexandre Dumas (see photo).
La Gazette des beaux-arts is a French art review, founded in 1859 by Édouard Houssaye, with Charles Blanc as editor-in-chief; it ceased publication in 2002.
For nearly one hundred and fifty years it was a worldwide reference in art history.

First edition.
Half red shagreen binding, corners slightly bumped, split headcaps, boards worn and stained, minor lacks, spine with four raised bands stamped in blind, publisher's binding.
Contributions by Charles Blanc ("Ingres, sa vie et ses oeuvres"), Paul Mantz, Edmond and Jules de Goncourt ("Gravelot") among others; several facsimiles by Eugène Delacroix and Goya.
Review illustrated with numerous black and white hors-texte engravings.
The Gazette des beaux-arts is a French art review, founded in 1859 by Édouard Houssaye, with Charles Blanc as editor-in-chief; it ceased publication in 2002.
For nearly one hundred and fifty years it was a worldwide reference in art history.

First edition.
Half red shagreen binding, corners slightly bumped, spine with four raised bands stamped in blind, publisher's binding.
Contributions by Charles Yriarte, Charles Blanc, Louis Gonse, Champfleury, Paul Mantz and Paul Chéron among others; etchings by Arthur Evershed among others.
Review illustrated with numerous black and white hors-texte engravings.
The Gazette des beaux-arts is a French art review, founded in 1859 by Édouard Houssaye, with Charles Blanc as editor-in-chief; it ceased publication in 2002.
For nearly one hundred and fifty years it was a worldwide reference in art history.

First edition.
Half red shagreen binding, spine with four raised bands stamped in cold gilt, publisher's binding.
Contributions by Henri Delaborde, Georges Duplessis, Charles Yriarte, Paul Mantz, Louis Gonse and Paul Chéron among others; facsimile of an etching by Eugène Delacroix.
Review illustrated with numerous black and white plates.
La Gazette des beaux-arts is a French art review, founded in 1859 by Édouard Houssaye, with Charles Blanc as editor-in-chief; it ceased publication in 2002.
For nearly one hundred and fifty years it was a worldwide reference in art history.

First edition.
Half red shagreen binding, headcaps damaged, corners slightly bumped, spine with four raised bands stamped in cold gilt, publisher's binding.
Contributions by Charles Blanc, Paul Mantz, Duranty and Paul Chéron among others; etching by Augustin Feyen-Perrin notably.
Review illustrated with numerous black and white plates, as well as a folding plate (see photograph).
La Gazette des beaux-arts is a French art review, founded in 1859 by Édouard Houssaye, with Charles Blanc as editor-in-chief; it ceased publication in 2002.
For nearly one hundred and fifty years it was a worldwide reference in art history.

First edition.
Half red shagreen binding, headcaps damaged, some minor lacks to boards without consequence, spine with four raised bands gilt in blind, publisher's binding.
Contributions by Emile Galichon, Charles Clément, Philippe Burty, Henri Delaborde, Alfred Michiels, Champfleury, Charles Blanc, Paul Mantz, Georges Duplessis and Paul Chéron among others; fine etching by Bracquemond.
Review illustrated with numerous black and white plates, as well as one folding plate (see photograph).
The Gazette des beaux-arts is a French art review, founded in 1859 by Édouard Houssaye, with Charles Blanc as editor-in-chief; it ceased publication in 2002.
For nearly one hundred and fifty years it was a worldwide reference in art history.

First edition.
Half red shagreen binding, headcaps severely damaged, some minor lacks to boards without consequence, spine with four raised bands gilt in blind and detached, publisher's binding.
Contributions by Paul Mantz, Alfred Michiels, Philippe Burty, Charles Blanc, Emile Galichon, Albert Jacquemart, Charles Clément and Paul Chéron among others; etching by Léonce Chabry among others.
Review illustrated with numerous black and white plates.
The Gazette des beaux-arts is a French art review, founded in 1859 by Édouard Houssaye, with Charles Blanc as editor-in-chief; it ceased publication in 2002.
For nearly one hundred and fifty years it was a worldwide reference in art history.

First edition.
Half red shagreen binding, headcaps torn, spine with four raised bands gilt and blind-tooled (with some lacks), publisher's binding.
Contributions by Charles Blanc, Charles Yriarte, Louis Gonse, Anatole de Montaiglon, Champfleury, Duranty, Ludovic Lalanne, Paul Mantz and Paul Chéron among others; original etching by Joseph Israëls among others.
Review illustrated with numerous black and white plates.
The Gazette des beaux-arts is a French art review, founded in 1859 by Édouard Houssaye, with Charles Blanc as editor-in-chief; it ceased publication in 2002.
For nearly one hundred and fifty years it was a worldwide reference in art history.

First edition.
Half red shagreen binding, headcaps torn, some minor lacks to boards, spine with four raised bands gilt and blind-tooled, publisher's binding.
Contributions by Paul Mantz, Edmond and Jules de Goncourt ("Eisen"), Charles Blanc, Alfred Michiels, Henri Delaborde, Champfleury, Philippe Burty, Georges Duplessis and Paul Chéron among others, etching by Bracquemond, by Léonce Chabry
Review illustrated with numerous black and white plates.
The Gazette des beaux-arts is a French art review, founded in 1859 by Édouard Houssaye, with Charles Blanc as editor-in-chief; it ceased publication in 2002.
For nearly one hundred and fifty years it was a worldwide reference in art history.

First edition.
Half chocolate sheep binding, spine uniformly worn, boards lightly scratched, joints scraped, corners slightly bumped, spine decorated in blind, publisher's binding.
Volume complete with its volume cover page, each issue comprising eight pages.
Contributions by Charles Baudelaire, Théophile Gautier ("Goya") and Alexandre Dumas notably, drawings by Cham, Gustave Doré and Edmond Morin among others.
Review illustrated with numerous full-page black and white engravings.
Le Monde illustré was a weekly current affairs magazine published from 1847 to 1940 and from 1945 to 1956, notably directed by Paul Dalloz and Charles Yriarte. From its launch Le Monde illustré secured the collaboration of authors and artists such as Alexandre Dumas, Paul Féval, Théophile Gautier, George Sand, Cham, Gustave Doré...

First edition.
Half red cloth binding, edges rubbed, corners bumped, headcaps lightly damaged, publisher's binding. Complete volume with its volume title page; each issue contains eight pages.
Contributions by Champfleury, François Coppée, Paul Féval and Charles Yriarte among others, drawings notably by Karl Bodmer, Gustave Doré and Edmond Morin, engravings by Chapon and Méaulle among others.
Journal illustrated with numerous full-page black and white engravings, some double-page engravings, as well as several folding plates.
Le Monde illustré is a weekly news journal published from 1847 to 1940 and from 1945 to 1956, it was directed notably by Paul Dalloz and Charles Yriarte. From its launch Le Monde illustré secured the collaboration of authors and artists such as Alexandre Dumas, Paul Féval, Théophile Gautier, George Sand, Cham, Gustave Doré...

First edition.
Half light blue cloth binding, corners bumped, edges rubbed, spine lightly sunned, publisher's binding. Volume complete with its volume title page; each issue contains eight pages.
Contributions by Amédée Achard, Champfleury, François Coppée, Paul Féval and Charles Yriarte among others, drawings by Cham and Gustave Doré notably.
Journal illustrated with numerous full-page black and white engravings.
Le Monde illustré is a weekly news journal published from 1847 to 1940 and from 1945 to 1956, it was directed notably by Paul Dalloz and Charles Yriarte. From its launch Le Monde illustré secured the collaboration of authors and artists such as Alexandre Dumas, Paul Féval, Théophile Gautier, George Sand, Cham, Gustave Doré...

First edition.
Half black shagreen binding, corners slightly bumped, edges scuffed, spine decorated in blind, publisher's binding. Complete volume with its volume cover page, each issue contains eight pages.
Contributions by Amédée Achard, Alexandre Dumas (serial "Le Capitaine Richard"), Hector Berlioz, Paul Féval, Méry, Emile de Girardin ("La Fille du Millionnaire") and George Sand notably.
Magazine illustrated with numerous full-page black and white engravings, some double-page engravings.
Le Monde illustré is a weekly news journal published from 1847 to 1940 and from 1945 to 1956, it was directed notably by Paul Dalloz and Charles Yriarte. From its launch Le Monde illustré secured the collaboration of authors and artists such as Alexandre Dumas, Paul Féval, Théophile Gautier, George Sand, Cham, Gustave Doré...

First edition.
Half brown shagreen binding, corners slightly bumped, edges scuffed, boards lightly sunned and heavily damaged, edges torn, spine worn and publisher's binding. Volume complete with its volume cover page; each issue contains eight pages.
Contributions by Amédée Achard, Champfleury, François Coppée, Paul Féval and Charles Yriarte among others, drawings by Cham and Gustave Doré notably.
Magazine illustrated with numerous full-page black and white engravings.
Le Monde illustré is a weekly news journal published from 1847 to 1940 and from 1945 to 1956, it was directed notably by Paul Dalloz and Charles Yriarte. From its launch Le Monde illustré secured the collaboration of authors and artists such as Alexandre Dumas, Paul Féval, Théophile Gautier, George Sand, Cham, Gustave Doré...

First edition.
Half blue sheep binding, corners bumped, edges scuffed, spine decorated in blind, publisher's binding. Complete volume including its volume title page, each issue contains eight pages.
Contributions by Amédée Achard, Alexandre Dumas (serial "Le Capitaine Richard"), Hector Berlioz, Paul Féval, Méry, Emile de Girardin ("La Fille du Millionnaire") and George Sand notably.
Periodical illustrated with numerous full-page black and white engravings, some double-page engravings.
Le Monde illustré is a weekly news journal published from 1847 to 1940 and from 1945 to 1956, it was directed notably by Paul Dalloz and Charles Yriarte. From its launch Le Monde illustré secured the collaboration of authors and artists such as Alexandre Dumas, Paul Féval, Théophile Gautier, George Sand, Cham, Gustave Doré...

First edition.
Half red cloth binding, corners bumped, edges scuffed, publisher's binding. Complete volume including its volume title page, each issue contains eight pages.
Contributions by Champfleury, François Coppée, Paul Féval and Charles Yriarte notably, drawings by Karl Bodmer, Gustave Doré, Edmond Morin and Cham among others, engravings by Chapon, Méaulle and Bellanger among others.
Periodical illustrated with numerous full-page black and white engravings.
Le Monde illustré is a weekly news journal published from 1847 to 1940 and from 1945 to 1956, it was directed notably by Paul Dalloz and Charles Yriarte. From its launch Le Monde illustré secured the collaboration of authors and artists such as Alexandre Dumas, Paul Féval, Théophile Gautier, George Sand, Cham, Gustave Doré...

First edition.
Half red sheep binding, corners bumped and two torn, covers scuffed, board lightly sunned and stained, some lacks to spine, publisher's binding.
Volume complete with its volume title page; each issue contains eight pages.
Contributions by Gustave Aimard, Charles Baudelaire, Paul Féval, Méry and Charles Yriarte notably, drawings by Cham, Gustave Doré and Edmond Morin among others.
Review illustrated with numerous full-page black and white engravings, as well as several double-page ones.
Le Monde illustré is a weekly news journal published from 1847 to 1940 and from 1945 to 1956, notably directed by Paul Dalloz and Charles Yriarte. From its launch Le Monde illustré secured the collaboration of authors and artists such as Alexandre Dumas, Paul Féval, Théophile Gautier, George Sand, Cham, Gustave Doré...

First edition.
Half aqua green cloth binding, covers scuffed, boards lightly sunned, joint cracked without severity, publisher's binding.
Volume complete with its volume title page; each issue contains eight pages.
Contributions by Gustave Aimard, Charles Baudelaire, Paul Féval, Méry, and Charles Yriarte among others, drawings by Cham, Gustave Doré and Edmond Morin among others.
Review illustrated with numerous full-page black and white engravings, as well as several double-page ones.
Le Monde illustré is a weekly news journal published from 1847 to 1940 and from 1945 to 1956, notably directed by Paul Dalloz and Charles Yriarte. From its launch Le Monde illustré secured the collaboration of authors and artists such as Alexandre Dumas, Paul Féval, Théophile Gautier, George Sand, Cham, Gustave Doré...

First edition.
Half blue sheep binding, corners slightly bumped, edges scuffed, boards lightly sunned, headcaps damaged, publisher's binding and spine decorated in blind.
Volume complete with its title page for the volume; each issue contains eight pages.
Contributions by Gustave Aimard, Joseph Doucet, Alexandre Dumas, Paul Féval and Méry among others, drawings by Cham, Gustave Doré and Edmond Morin notably.
Review illustrated with numerous full-page black and white engravings, as well as several double-page spreads.
Le Monde illustré is a weekly news journal published from 1847 to 1940 and from 1945 to 1956, directed notably by Paul Dalloz and Charles Yriarte. From its launch Le Monde illustré secured the collaboration of authors and artists such as Alexandre Dumas, Paul Féval, Théophile Gautier, George Sand, Cham, Gustave Doré...

First edition. Half spinach green sheep binding, corners slightly bumped, headcaps split, edges scuffed, publisher's binding. Volume complete with its title page for the volume. Contributions by Alphonse Daudet, Joseph Doucet, Paul Féval, Théophile Gautier ("Le Baptême de la Neva") and Méry among others, drawings by Carjat, Gustave Doré and Edmond Morin notably. Review illustrated with numerous full-page black and white engravings. Le Monde illustré is a weekly news journal published from 1847 to 1940 and from 1945 to 1956, directed notably by Paul Dalloz and Charles Yriarte. From its launch Le Monde illustré secured the collaboration of authors and artists such as Alexandre Dumas, Paul Féval, Théophile Gautier, George Sand, Cham, Gustave Doré...

First edition.
Red half-cloth binding, corners slightly bumped, covers rubbed, publisher's binding. Complete volume including its title page, each issue comprises eight pages.
Contributions by Eugène Muller, Champfleury, François Coppée, Paul Féval and Charles Yriarte notably, drawings by Karl Bodmer, Gustave Doré, Cham and Edmond Morin among others, engravings by Chapon and Méaulle in particular.
Magazine illustrated with numerous full-page black and white engravings, sometimes even double-page spreads, as well as a large folding plate.
Le Monde illustré was a weekly news journal published from 1847 to 1940 and from 1945 to 1956, it was directed notably by Paul Dalloz and Charles Yriarte. From its launch Le Monde illustré secured the collaboration of authors and artists such as Alexandre Dumas, Paul Féval, Théophile Gautier, George Sand, Cham, Gustave Doré...

First edition.
Red half-cloth binding, corners slightly bumped, covers rubbed, publisher's binding. Complete volume including its title page, each issue contains eight pages.
Contributions by Champfleury, François Coppée, Paul Féval and Charles Yriarte notably, drawings by Karl Bodmer, Gustave Doré, Edmond Morin and Cham among others, engravings by Chapon, Méaulle and Bellanger among others.
Magazine illustrated with numerous full-page black and white engravings.
Le Monde illustré was a weekly news journal published from 1847 to 1940 and from 1945 to 1956, it was directed notably by Paul Dalloz and Charles Yriarte. From its launch Le Monde illustré secured the collaboration of authors and artists such as Alexandre Dumas, Paul Féval, Théophile Gautier, George Sand, Cham, Gustave Doré...

First edition.
Volume complete with its volume title page.
Contributions by Amédée Achard, Chamfleury, Paul Féval and Charles Yriarte among others, with drawings by Cham and Edmond Morin notably.
Illustrated magazine with numerous full-page black and white engravings.
Le Monde illustré was a weekly news publication that appeared from 1847 to 1940 and from 1945 to 1956, directed notably by Paul Dalloz and Charles Yriarte. From its launch Le Monde illustré secured collaboration from authors and artists such as Alexandre Dumas, Paul Féval, Théophile Gautier, George Sand, Cham, Gustave Doré...

First edition.
Volume complete with its volume title page.
Contributions by Amédée Achard, Chamfleury, Paul Féval and Charles Yriarte among others, with drawings by Cham and Edmond Morin notably.
Illustrated magazine with numerous full-page black and white engravings.
Le Monde illustré was a weekly news publication that appeared from 1847 to 1940 and from 1945 to 1956, directed notably by Paul Dalloz and Charles Yriarte. From its launch Le Monde illustré secured collaboration from authors and artists such as Alexandre Dumas, Paul Féval, Théophile Gautier, George Sand, Cham, Gustave Doré...

First edition.
Half red cloth binding, spine rubbed, corners bumped, headcaps slightly damaged, publisher's binding. Complete volume with its tome cover page; each issue contains eight pages.
Contributions by Champfleury, François Coppée, Paul Féval and Charles Yriarte among others, drawings notably by Karl Bodmer, Gustave Doré and Edmond Morin, engravings by Chapon and Méaulle among others.
Magazine illustrated with numerous full-page black and white engravings, some double-page engravings, as well as several folding plates.
Le Monde illustré is a weekly news journal published from 1847 to 1940 and from 1945 to 1956, it was directed notably by Paul Dalloz and Charles Yriarte. From its launch Le Monde illustré secured the collaboration of authors and artists such as Alexandre Dumas, Paul Féval, Théophile Gautier, George Sand, Cham, Gustave Doré...

First edition.
Half tan sheep binding, spine rubbed, corners bumped, sheep slightly torn on upper board and some worming, headcaps slightly damaged, publisher's binding. Complete volume with its tome cover page; each issue contains eight pages.
Contributions by Alphonse Daudet, Champfleury, François Coppée, Paul Féval and Charles Yriarte notably, drawings by Karl Bodmer, Caran d'Ache, Dunki among others, engravings by Chapon, Méaulle among others.
Magazine illustrated with numerous full-page black and white engravings, some double-page engravings, as well as one folding plate and one double-page color engraving.
Le Monde illustré is a weekly news journal published from 1847 to 1940 and from 1945 to 1956, it was directed notably by Paul Dalloz and Charles Yriarte. From its launch Le Monde illustré secured the collaboration of authors and artists such as Alexandre Dumas, Paul Féval, Théophile Gautier, George Sand, Cham, Gustave Doré...

First edition.
Half aqua green cloth binding, covers scuffed, publisher's binding. Complete volume with its title page; each issue contains eight pages.
Contributions by Gustave Aimard, Paul Féval and Charles Yriarte notably, illustrations by Cham, Gustave Doré and Edmond Morin among others.
Journal illustrated with numerous full-page engravings in black and white, some double-page engravings.
Le Monde illustré was a weekly news journal published from 1847 to 1940 and from 1945 to 1956, directed notably by Paul Dalloz and Charles Yriarte. From its launch Le Monde illustré secured the collaboration of authors and artists such as Alexandre Dumas, Paul Féval, Théophile Gautier, George Sand, Cham, Gustave Doré...

First edition.
Half aqua green cloth binding, covers scuffed, spine slightly sunned, head slightly split, publisher's binding. Complete volume with its title page; each issue contains eight pages.
Contributions by Gustave Aimard and Charles Yriarte among others, illustrations by Cham, Gustave Doré and Edmond Morin notably.
Journal illustrated with numerous full-page engravings in black and white.
Le Monde illustré was a weekly news journal published from 1847 to 1940 and from 1945 to 1956, directed notably by Paul Dalloz and Charles Yriarte. From its launch Le Monde illustré secured the collaboration of authors and artists such as Alexandre Dumas, Paul Féval, Théophile Gautier, George Sand, Cham, Gustave Doré...

First edition.
Half sea-green cloth binding, covers scratched, spine lightly sunned, upper joint of upper board slightly split, publisher's binding. Complete volume with its volume cover page; each issue contains eight pages.
Contributions by Alexandre Dumas, Paul Féval, Méry and Charles Yriarte among others, drawings by Bayard, Cham, Gustave Doré and Edmond Morin notably.
Review illustrated with numerous full-page engravings in black and white.
Le Monde illustré is a weekly news journal published from 1847 to 1940 and from 1945 to 1956, it was directed notably by Paul Dalloz and Charles Yriarte. From its launch Le Monde illustré secured the collaboration of authors and artists such as Alexandre Dumas, Paul Féval, Théophile Gautier, George Sand, Cham, Gustave Doré...

First edition.
Minor lacks without gravity to margin of first cover. Complete volume with its volume cover page; each issue contains eight pages.
Contributions by Eugène Muller, Champfleury, François Coppée, Paul Féval and Charles Yriarte notably, drawings by Karl Bodmer, Gustave Doré and Cham among others, engravings by Chapon and Méaulle in particular.
Review illustrated with numerous full-page engravings in black and white, as well as folding plates.
Le Monde illustré is a weekly news journal published from 1847 to 1940 and from 1945 to 1956, it was directed notably by Paul Dalloz and Charles Yriarte. From its launch Le Monde illustré secured the collaboration of authors and artists such as Alexandre Dumas, Paul Féval, Théophile Gautier, George Sand, Cham, Gustave Doré...