Brussels

Anonymous first edition. This work is listed as no. 2023 in the bibliography of Elzevier editions (Willems, Vol. II). For the author's identity, see Barbier, Dictionnaire des ouvrages anonymes.
Contemporary full limp vellum binding with yapp edges. Smooth spine. Faded manuscript title in red ink to spine.

Belgian printing that followed the 1836 edition described in Vicaire IV, 259-60.

The preliminary note reproduces the introductory text from December 1832 announcing the inclusion of the three chapters missing from the original 1831 edition.

The half-title pages of the three volumes were not preserved by the binder.

A few occasional spots, otherwise a pleasant copy, attractively bound in contemporary Romantic style.

Contemporary Romantic bindings in burgundy long-grain half morocco over marbled boards, smooth spines decorated with gilt Romantic arabesques, spines very slightly faded with minor, unobtrusive rubbing, double gilt fillet frames on the marbled paper...

First edition of the French translation for volumes 2, 3 and 4; second edition of the French translation for volume 1. (Not listed by Gay).

A few occasional spots, not affecting the overall freshness of the copy.

Bound in uniform olive green half percaline, smooth spines with gilt floral device and double gilt rules at foot, boards covered with decorative patterned paper, mauve endpapers and pastedowns, inner hinges discreetly restored with adhesive or partly split, all edges red.

Illustrated with 53 black plates comprising 92 engravings, 4 chromolithographs, a fine folding map of Northern and Central Africa showing the explored areas and the route taken, and a...

Second edition, partly original, with 14 poems appearing here for the first time.

Bound in fawn half morocco with corners, spine very slightly darkened without consequence, marbled paper boards, comb-marbled endpapers and pastedowns, original wrappers and spine preserved.

Illustrated with a frontispiece by Félicien Rops.

A handsome copy, attractively bound.

Belgian counterfeit edition published the same year as the original.

A few occasional spots of foxing; a peddler’s stamp to the lower left corner of the half-title page.

Contemporary-style binding in burgundy Russian morocco over marbled paper boards, smooth spine richly gilt with decorative rolls and floral tools, minor rubbing to joints without loss, pebble-grain endpapers and pastedowns, original wrappers and spine preserved, gilt top edge. A handsome pastiche in the Romantic style.

A well-preserved copy, attractively bound in a fine Romantic pastiche.

First edition.

Contemporary half brown shagreen bindings, spines with four raised bands framed by blind fillets, gilt floral tools at head and tail, marbled paper boards, marbled endpapers and pastedowns, bookplates mounted at the head of the pastedowns, sprinkled edges.

A few minor spots of foxing, with press cuttings loosely inserted and leaving offsetting to the front endpapers of the first volume.

Signed autograph presentation inscription by Jules Claye, the printer of this work, to Ferdinand Taillefer on the front of the first volume: "... souvenir typographique à mon ancien et excellent collaborateur..."

First edition of the French translation, illustrated with wood engravings, heliotypes, and vignettes.

Spine and covers slightly and marginally sunned.

Illustrated with 19 hors-texte plates reproducing works by Utagawa Hiroshige.

Our copy bears this signed autograph inscription from a member of the Japanese Embassy to an art lover: "Avec les vifs remerciements de l'Ambassade du Japon pour votre aimable concours. Soirée japonaise, le 11 février 1926, 2586e anniversaire de l'avènement de la dynastie impériale."

First edition, with no edition statement.
Contemporary half chocolate shagreen bindings, spines with raised bands; marbled paper boards, with laid paper endpapers and pastedowns. Spines evenly lightened. Edges rubbed. Wear to headcaps and bands. A few spots of foxing, notably on the fore-edge. A good copy.
Without doubt, just after The Man Who Laughs, Hugo’s greatest novelistic achievement, depicting on the island of Guernsey the struggle of a solitary man against the ocean.

The Flowers of Evil. Interpretations by Odilon Redon
Edmond Deman, Brussels 1891, 16.4x22.1cm, loose leaves.

First edition in this size, reduced from the 1890 issue in large format. One of 10 copies on japon paper of this suite of 9 etchings, most limited deluxe copy (tirage de tête) with 10 on chine. With a table of contents, under a half green cloth publisher's slipcase with flaps, vignette printed on the lower board, missing ribbons. Spine and headpieces rubbed, inner margin of first cover shaded.

Exceptional set of prints on japon by Odilon Redon, superb symbolist "interpretations" of Baudelaire's masterpiece. The drawings from...