Paris (France)

First edition, one of the Service de Presse (advance) copies.
Precious and superb autograph inscription by the author to Moïse Kisling.
Frontispiece portrait of André Breton by Man Ray. Spine and covers slightly faded at margins, light spotting to head of front cover.

First edition. Large printer's vignette depicting the adoration of the Magi. Epistle to Colbert with a headpiece by Chauveau and a large initial. Printed in two columns.
Contemporary full vellum binding. Jansenist spine with raised bands. Title and volume number in black ink. Part of the upper headcap of volume I missing. Lower headcap of volume II split. Upper joint of volume I cracked across three compartments. Worming to spine of volume II, sometimes quite extensive. Wormholes to spines of both volumes. Paper often yellowed.
Vast geographical repertoire composed in dictionary form by Ferrarius, expanded and revised by Michel Antoine Baudrand (the scholarly editor). The work catalogues not only cities, but also lakes and rivers... Alongside the Latin nomenclature, terms are given in the vernacular language, and often in several languages when necessary; the dictionary therefore constitutes an important source for Latin origins, especially as it contains even the smallest village and the smallest stream then known in the world. At the end of the work, a table of longitudes and latitudes.

First edition.
Literary contributions by M. Proust, R. Crevel, P. Reverdy, G. Ribemont-Dessaignes, A. Salmon...
Issue illustrated with 7 drawings by G.B. Braccelli.
Covers very slightly and marginally faded at head, otherwise a handsome copy.

First edition.
Literary contributions by G. Apollinaire, T. Tzara, R. Crevel, J. Delteil, E. Berl...
Issue illustrated with 10 drawings by E. Josephson and a calligram by G. Apollinaire.
Covers very slightly and marginally faded at head, otherwise a handsome copy.

First edition, of which there were no deluxe copies.
Spine split with loss, some foxing.

First edition, false statement of second edition.
Inscribed by Aurel.
Spine sunned, small tear at foot.

First edition printed in 400 copies on laid paper.
Covers soiled, dampstain at head marginally affecting covers and some leaves.
Inscribed by the author to the illustrator Ciokolwsky.
A press cutting pasted on the half-title page.

First edition, one of 60 numbered copies on pure laid Johannot paper, the only deluxe copies with 5 Renage.
Work illustrated with a frontispiece photograph of B. Cendrars.
Light sunning to the top of the justification page and its verso, handsome copy.

MARINETTI Filippo Tommaso
La Conquête des étoiles
[The Conquest of the Stars]
Sansot, Paris 1909, 13,5 x 17,5 cm, half black morocco
First edition for which there is no mention of grand papier (deluxe) copies, falsely stated the third edition.
Half black morocco over marbled paper boards by P. Goy & C. Vilaine, spine in six compartments with gilt date at foot, marbled endpapers and pastedowns, wrappers and spine preserved, top edge gilt.
Autograph inscription from Filippo Tommaso Marinetti to a lady, adding his address in Milan.
Light foxing, principally to endpapers.
A nicely bound copy.
$ 1 800

First edition on ordinary paper.
Ecstatic autograph inscription signed full-page by the author to Robert Desnos : "Merde / Robert Desnos".
Spine faded repaired, first cover lined with small marginal repairs, lower cover missing.
A precious relic.

First edition, one of the numbered copies on laid paper.
Work illustrated with 4 etchings by J. Boullaire.
Handsome copy.

First edition, illustrated with two frontispieces drawn by Bornet and engraved by Boivinet.
Contemporary full mottled calf binding. Smooth spine decorated with 3 tools and roulettes. Red morocco title label and black morocco volume label (pastille). Headcap of volume 1 worn. Corners slightly bumped. A brown and dark stain from page 325 to the end, in lower margin, not touching text, becoming more pronounced on the final leaves. A trace of dampstains on the first leaves of the first volume.
Story of Podalire, a foundling discovered by the Queen of Thebes, his education and destiny.

NB: This work is available at the bookshop upon request within 48 hours.

First edition.
Half bordeaux sheep binding, smooth spine faded, decorated with gilt and blind fillets and blind tooling, gilt dentelle at tail.
Foxing.
Rare.

First edition, one of 210 numbered copies on alfa paper, the only deluxe copies along with 7 on Japan and 22 on pur fil.
Pale offsetting from adhesive paper at head and foot of endpapers, otherwise a handsome copy of this work dedicated to Albert Londres.

First edition of which there were no large paper copies.
Contemporary half red shagreen, spine (slightly faded) in five compartments with triple blindruled fillets.
A few spots, but otherwise a very good and rare copy of the first work by Emile Zola in a very satisfactory contemporary binding.
Rare and sought-after.

First edition, one of 110 numbered copies on pur fil, the only deluxe paper with 35 on Holland paper.
Half tan sheep binding, spine with five raised bands, covers and spine preserved, retaining its deckled edges.
Small rubbing marks on the spine.
Manuscript gift inscription on the endpaper

First edition, one of 550 numbered copies on vergé baroque à barbes, the only printing with 15 Whatman and 62 vergé.
A very good copy.

First edition in part printed in 760 numbered copies on vélin blanc paper.
With 60 original woodcuts by André Derain.
A very good copy.

First edition printed in only 30 copies on Hollande paper.

Half morocco, spine very slightly faded, covers preserved, top edge gilt.

Handsome autograph inscription signed by Francis Carco to a relative.

Exceedingly rare.

First edition on ordinary paper.
Autograph inscription from the author to Henri Lavedan.
Spine sunned, one joint reattached at head, minimal corner wear to front board.

First edition, one of 900 numbered copies on vélin blanc paper.
A good copy.

First edition of this thesis defended at the Faculty of Medicine of Paris on April 7, 1826.
Our pamphlet is presented in plain wrappers.
Our copy is folded widthwise, light scattered foxing.
Rare.

First edition of one of Ponsard's major works, false statement of seventh edition.
Contemporary binding in half aqua green sheep, smooth spine, gilt title.
Handsome copy.

Original lithograph on heavy laid paper, superbly heightened with watercolor and gum arabic.
Drawing by François Grenier (1793-1867) and lithographed by Charles Motte (1785-1836) for the "Victoires et Conquêtes" series. Watercolored proof in very fine condition, colors well preserved, presented under a mat.

Original lithograph on heavy laid paper, superbly heightened with watercolor and gum arabic.
Drawing signed and dated in the plate by François Grenier (1793-1867) and lithographed by Charles Motte (1785-1836) for the "Victoires et Conquêtes" series.
Watercolored proof in very fine condition, colors well preserved, presented under a mat.

Original lithograph on heavy vellum, superbly heightened in watercolour and gum arabic. Drawing by François Grenier (1793-1867) and lithographed by Charles Motte (1785-1836) for the "Victoires et Conquêtes" series.
Watercoloured proof in very fine condition, colours well preserved, presented under a mount.

Original etching before letters enhanced with aquatint and signed in the plate.
Created on laid paper at the request of publisher A. QUANTIN to illustrate La Fontaine's fable: "The Farmer, the Dog and the Fox".
Very fine condition, presented in a modern black mat and protected by a tissue guard.
Auguste Delierre (1829-1891) is referenced in Bénézit, dictionary of painters, sculptors, draughtsmen and engravers: "history painter, genre scenes, animated landscapes, still lifes, illustrator. A pupil of Eugène Ciceri, he participated in the Paris Salon between 1852 and 1889. His compositions of landscapes animated with hunting dogs show the influence of the works of Desportes and Oudry which he long copied. He shows moreover a predilection for still lifes. He also illustrated the Fables of La Fontaine." Alain-Marie Bassy in his book "Les Fables de La Fontaine, quatre siècles d'illustration" analyzes his style for the representation of fables: "If he seeks the same angle of view on the animal as Gustave Doré, he dismisses any sense of terror. The bird wounded by an arrow is no longer a large migratory bird but the deliciously colored quail of still lifes. [...] Before [the animals among which we live], Delierre's eye is as cold as that of an entomologist. The art of the fable becomes in his hands the finest example of pictorial naturalism." A deluxe edition in two volumes: Fables de La Fontaine. Edition illustrated with 75 etched plates by A. Delierre, Paris, Quantin, 1883, is catalogued at the Bibliothèque Nationale. The etchings of the fables are before letters and enclosed in beautiful Louis XVI frames."

Original etching before letters enhanced with aquatint and signed in the plate.
Created on laid paper at the request of publisher A. QUANTIN to illustrate La Fontaine's fable: "The Two Rats, the Fox and the Egg".
Very fine condition, presented in a modern black mat and protected by a tissue guard.
Auguste Delierre (1829-1891) is referenced in Bénézit, dictionary of painters, sculptors, draughtsmen and engravers: "history painter, genre scenes, animated landscapes, still lifes, illustrator. A pupil of Eugène Ciceri, he participated in the Paris Salon between 1852 and 1889. His compositions of landscapes animated with hunting dogs show the influence of the works of Desportes and Oudry which he long copied. He shows moreover a predilection for still lifes. He also illustrated the Fables of La Fontaine." Alain-Marie Bassy in his book "Les Fables de La Fontaine, quatre siècles d'illustration" analyzes his style for the representation of fables: "If he seeks the same angle of view on the animal as Gustave Doré, he dismisses any sense of terror. The bird wounded by an arrow is no longer a large migratory bird but the deliciously colored quail of still lifes. [...] Before [the animals among which we live], Delierre's eye is as cold as that of an entomologist. The art of the fable becomes in his hands the finest example of pictorial naturalism." A deluxe edition in two volumes: Fables de La Fontaine. Edition illustrated with 75 etched plates by A. Delierre, Paris, Quantin, 1883, is catalogued at the Bibliothèque Nationale. The etchings of the fables are before letters and enclosed in beautiful Louis XVI frames."

Original etching before lettering heightened with aquatint and signed in the plate. Created on laid paper commissioned by publisher A. QUANTIN to illustrate La Fontaine's fable: "Le paysan du Danube".
Very fine condition, presented in a modern black mat and protected by a tissue guard.
Auguste Delierre (1829-1891) is referenced as follows in the Bénézit, dictionary of painters, sculptors, draftsmen and engravers: "history painter, genre scenes, animated landscapes, still lifes, illustrator. Student of Eugène Ciceri, he participated in the Paris Salon between 1852 and 1889. His compositions of landscapes animated with hunting dogs show the influence of works by Desportes and Oudry which he long copied. He also shows a predilection for still lifes. He also illustrated the Fables of La Fontaine." Alain-Marie Bassy in his book "Les Fables de La Fontaine, quatre siècles d'illustration" ["The Fables of La Fontaine, four centuries of illustration"] analyzes his style for the representation of fables: "S'il recherche le même angle de vue sur l'animal que Gustave Doré, il écarte tout sens de l'effroi. L'oiseau blessé d'une flèche n'est plus un grand oiseau migrateur mais la caille délicieusement colorée des natures mortes. [...]Devant [les animaux au milieu desquels nous vivons], l'œil de Delierre est aussi froid que celui d'un entomologiste. L'art de la fable devient chez lui le plus bel exemple de naturalisme pictural." ["If he seeks the same angle of view on the animal as Gustave Doré, he eliminates all sense of terror. The bird wounded by an arrow is no longer a great migratory bird but the deliciously colored quail of still lifes. [...] Before [the animals among which we live], Delierre's eye is as cold as that of an entomologist. The art of the fable becomes in his work the finest example of pictorial naturalism."] A deluxe edition in two volumes: Fables de La Fontaine. Edition illustrée de 75 planches à l'eau-forte par A. Delierre, Paris, Quantin, 1883, is catalogued at the Bibliothèque Nationale. The etchings of the fables are before lettering and enclosed in lovely Louis XVI frames."

First edition published in a small number of copies of this poem by R. Darzens set to music by Auguste Chapuis.
Fine autograph inscription signed by Rodolphe Darzens.
Work illustrated with 10 original lithographs by Adolphe Willette.
Some light foxing affecting essentially the first and last pages.

First edition, printed on Hollande.
Illustrated covers and engraved frontispieces, borders by Fernand Besnier, Kauffmann...
Rare set, complete and in good condition despite some occasional little foxing.

First edition.
In blue paper wrappers, printed in red and black.
Contributions by: Joris-Karl Huysmans: "Diaz", Théodore de Banville: "Conversation parisienne", Emile Zola: "L'Assommoir" (Second part, IV-continued), Armand Silvestre: "Deae Ignotae", Catulle Mendès: "Les roses jaunes", Georges Codde: "Clochettes", Ernest d'Hervilly: "Les Miracles de Paris", Jean Prouvaire: "La semaine parisienne".
Handsome copy.

First edition.
In blue paper wrappers, printed in red and black.
Contributions by: Leconte de Lisle: "L'accident de Don Inigo", Emile Zola: "L'Assommoir" (Second part, I-continued), Léon Dierx: "Confrontation", Catulle Mendès: "La femme de Tabarin, parade", Frédéric Plessis: "Diadème", Henry Laujol: "Les Abeilles", Maurice Rollinat: "La Lune", Edmond Péradon: "Les poèmes de l'Amour et de la Mer", J-K Huysmans: "Concours pour le prix de Rome", Jean Prouvaire: "La semaine parisienne".
Handsome copy.

First edition, extracted from the Revue des Deux Mondes. Rare.
In plain wrappers.

First edition.
Extracted from the Revue des Deux Mondes.
Rare.
In plain wrappers.

First edition. Extracted from the Revue des Deux Mondes. Rare
In plain wrappers.

First edition.
Extracted from the Revue des Deux Mondes.
Rare.
In plain wrappers.

Pre-first edition of this play, published by Calmann-Lévy in September 1891.
Extracted from the Revue des Deux Mondes.
Rare.
In unlettered wrappers.

First edition. Extracted from the Revue des Deux Mondes.
Rare
In unlettered wrappers

First edition. Extracted from the Revue des Deux Mondes. Rare
In plain wrappers.

First edition.
Extracted from the Revue des Deux Mondes.
Rare.
In plain wrappers.

First edition.
Extracted from the Revue des Deux Mondes.
Rare.
In plain wrappers.

First edition. Extracted from the Revue des Deux Mondes. Rare
In plain wrappers.

First edition.
Extracted from the Revue des Deux Mondes.
Rare.
In plain wrappers.

Original etching before lettering heightened with aquatint and signed in the plate.
Executed on laid paper at the request of publisher A. QUANTIN to illustrate La Fontaine's fable: "Les deux coqs".
Very fine condition, presented in a modern black mount and protected by tissue guard.
Auguste Delierre (1829-1891) is referenced in the Bénézit dictionary of painters, sculptors, draughtsmen and engravers as: "history painter, genre scenes, animated landscapes, still lifes, illustrator. Student of Eugène Ciceri, he participated in the Paris Salon between 1852 and 1889. His compositions of landscapes animated with hunting dogs show the influence of works by Desportes and Oudry which he copied for a long time. He also shows a predilection for still lifes. He also illustrated the Fables of La Fontaine." Alain-Marie Bassy in his book "Les Fables de La Fontaine, quatre siècles d'illustration" analyzes his style for the representation of fables: "If he seeks the same angle of view on the animal as Gustave Doré, he avoids all sense of terror. The bird wounded by an arrow is no longer a large migratory bird but the deliciously colored quail of still lifes. [...] Before [the animals among which we live], Delierre's eye is as cold as that of an entomologist. The art of the fable becomes in his work the finest example of pictorial naturalism." A deluxe edition in two volumes: Fables de La Fontaine. Edition illustrée de 75 planches à l'eau-forte par A. Delierre, Paris, Quantin, 1883, is catalogued at the Bibliothèque Nationale. The etchings of the fables are before lettering and enclosed in pretty Louis XVI frames.

First edition. Extracted from the Revue des Deux Mondes. Rare
In plain wrappers.

Original etching before letters heightened with aquatint and signed in the plate.
Executed on laid paper at the request of publisher A. QUANTIN to illustrate La Fontaine's fable: "Le gland et la citrouille".
Very fine condition, presented in a modern black mat and protected by tissue guard.
Auguste Delierre (1829-1891) is referenced in Bénézit, dictionary of painters, sculptors, draughtsmen and engravers as follows: "history painter, genre scenes, animated landscapes, still lifes, illustrator. Student of Eugène Ciceri, he participated in the Paris Salon between 1852 and 1889. His compositions of landscapes animated with hunting dogs show the influence of works by Desportes and Oudry which he long copied. He shows moreover a predilection for still lifes. He also illustrated La Fontaine's Fables." Alain-Marie Bassy in his book "Les Fables de La Fontaine, quatre siècles d'illustration" analyzes his style for the representation of fables: "If he seeks the same angle of view on the animal as Gustave Doré, he dismisses all sense of terror. The bird wounded by an arrow is no longer a great migratory bird but the deliciously colored quail of still lifes. [...] Before [the animals among which we live], Delierre's eye is as cold as that of an entomologist. The art of the fable becomes in his work the finest example of pictorial naturalism." A deluxe edition in two volumes: Fables de La Fontaine. Edition illustrated with 75 etched plates by A. Delierre, Paris, Quantin, 1883, is catalogued at the Bibliothèque Nationale. The etchings of the fables are before letters and enclosed in pretty Louis XVI frames."

First edition. Extracted from the Revue des Deux Mondes. Rare
In plain wrappers.

First edition.
Extracted from the Revue des Deux Mondes.
Rare.
In plain wrappers.

First edition.
Extracted from the Revue des Deux Mondes.
Rare.
In plain wrappers.

Pre-first edition.
Les Propos du Soir were published by Hachette in 1893.
Extracted from the Revue des Deux Mondes.
Rare.
In plain wrappers.

Original etching before letters heightened with aquatint and signed in the plate.
Created on laid paper at the request of publisher A. QUANTIN to illustrate La Fontaine's fable: "Le cierge".
Very fine condition, presented in a modern black mat and protected by a tissue guard.
Auguste Delierre (1829-1891) is referenced thus in Bénézit, dictionary of painters, sculptors, draughtsmen and engravers: "history painter, genre scenes, animated landscapes, still lifes, illustrator. Student of Eugène Ciceri, he participated in the Paris Salon between 1852 and 1889. His compositions of landscapes animated with hunting dogs show the influence of works by Desportes and Oudry which he copied for a long time. He shows moreover a predilection for still lifes. He also illustrated La Fontaine's Fables." Alain-Marie Bassy in his book "Les Fables de La Fontaine, quatre siècles d'illustration" analyzes his style for the representation of fables: "If he seeks the same angle of view on the animal as Gustave Doré, he dismisses all sense of terror. The bird wounded by an arrow is no longer a great migratory bird but the deliciously colored quail of still lifes. [...]Before [the animals among which we live], Delierre's eye is as cold as that of an entomologist. The art of the fable becomes in his work the finest example of pictorial naturalism." A deluxe edition in two volumes: Fables de La Fontaine. Edition illustrated with 75 etched plates by A. Delierre, Paris, Quantin, 1883, is catalogued at the Bibliothèque Nationale. The etchings of the fables are before letters and enclosed in pretty Louis XVI frames."

First edition.
Extracted from the Revue des Deux Mondes.
Rare.
In plain wrappers.

First edition. Extracted from the Revue des Deux Mondes. Rare
In plain wrappers.

First edition.
Extracted from the Revue des Deux Mondes.
Rare.
In plain wrappers.

First edition. Extracted from the Revue des Deux Mondes. Rare
In plain wrappers.

First edition. Extracted from the Revue des Deux Mondes. Rare
In plain wrappers.

First edition. Extracted from the Revue des Deux Mondes. Rare
Under plain wrapper.

First edition. Extracted from the Revue des Deux Mondes. RareUnder plain wrapper.

Second edition reprinted from the 1655 original, expanded with the Dictionary of Hunters; and illustrated with a frontispiece. This edition is better printed than the first and in a slightly larger format.

Contemporary flexible full vellum binding. Smooth spine with title and date at tail in black ink executed in the 19th century. Two small lacks at head of title-leaf and frontispiece not touching the engraving. Fine copy.

Famous treatise on hunting, the most important of the 17th century, intended according to the author himself to replace the older one by du Fouilloux whose last edition dated back to 1650. The work is much more complete from all points of view and written in a less relaxed style, which aims to be more scientific and precise; it is moreover expanded in this edition with the dictionary of hunters, a most interesting lexicon which allows one to find the expressions and terms used among hunters.

First edition. There were three editions published in the same year in Rotterdam. Rather rare.
Full parchment binding, 19th century, reusing a 17th or 18th century manuscript. Smooth spine, red sheep title-label.
The author proposes in 24 chapters an economic reform of the kingdom; taxes, ecclesiastical property, disparities of wealth, wars, debts... all subjects treated with great common sense and sound observation, but not without a certain moral vision against luxury, excess of money and materialism. A work to be placed among the reflections on the economy of this second half of the 18th century which prepared for the French Revolution.

NB: This work is available at the bookshop on request within 48 hours.

Original etching before letters heightened with aquatint.
Created on laid paper at the request of publisher A. QUANTIN to illustrate La Fontaine's fable: "The Lark and her Young Ones, with the Master of a Field".
Very fine condition, presented in a modern black mat and protected by tissue guard.
Auguste Delierre (1829-1891) is referenced thus in Bénézit, dictionary of painters, sculptors, draughtsmen and engravers: "history painter, genre scenes, animated landscapes, still lifes, illustrator. Student of Eugène Ciceri, he participated in the Paris Salon between 1852 and 1889. His compositions of landscapes animated with hunting dogs show the influence of works by Desportes and Oudry which he long copied. He moreover shows a predilection for still lifes. He also illustrated La Fontaine's Fables." Alain-Marie Bassy in his book "Les Fables de La Fontaine, quatre siècles d'illustration" ["La Fontaine's Fables, Four Centuries of Illustration"] analyzes his style for the representation of fables: "S'il recherche le même angle de vue sur l'animal que Gustave Doré, il écarte tout sens de l'effroi. L'oiseau blessé d'une flèche n'est plus un grand oiseau migrateur mais la caille délicieusement colorée des natures mortes. [...]Devant [les animaux au milieu desquels nous vivons], l'œil de Delierre est aussi froid que celui d'un entomologiste. L'art de la fable devient chez lui le plus bel exemple de naturalisme pictural." ["If he seeks the same angle of view on the animal as Gustave Doré, he dismisses all sense of fear. The bird wounded by an arrow is no longer a large migratory bird but the deliciously colored quail of still lifes. [...] Before [the animals among which we live], Delierre's eye is as cold as that of an entomologist. The art of the fable becomes in his work the finest example of pictorial naturalism."] A deluxe edition in two volumes: Fables de La Fontaine. Edition illustrée de 75 planches à l'eau-forte par A. Delierre, Paris, Quantin, 1883, is catalogued at the Bibliothèque Nationale. The etchings of the fables are before letters and enclosed in handsome Louis XVI frames."

Original etching before letters heightened with aquatint and signed in the plate.
Created on laid paper at the request of publisher A. QUANTIN to illustrate La Fontaine's fable: "La vieille et les deux servantes" ["The Old Woman and the Two Servants"].
Very fine condition, presented in a modern black mat and protected by tissue guard.
Auguste Delierre (1829-1891) is referenced thus in the Bénézit dictionary of painters, sculptors, draughtsmen and engravers: "history painter, genre scenes, animated landscapes, still lifes, illustrator. A pupil of Eugène Ciceri, he participated in the Paris Salon between 1852 and 1889. His compositions of landscapes animated with hunting dogs show the influence of the works of Desportes and Oudry which he long copied. He shows moreover a predilection for still lifes. He also illustrated the Fables of La Fontaine." Alain-Marie Bassy in his book "Les Fables de La Fontaine, quatre siècles d'illustration" ["The Fables of La Fontaine, Four Centuries of Illustration"] analyzes his style for the representation of the fables: "S'il recherche le même angle de vue sur l'animal que Gustave Doré, il écarte tout sens de l'effroi. L'oiseau blessé d'une flèche n'est plus un grand oiseau migrateur mais la caille délicieusement colorée des natures mortes. [...]Devant [les animaux au milieu desquels nous vivons], l'œil de Delierre est aussi froid que celui d'un entomologiste. L'art de la fable devient chez lui le plus bel exemple de naturalisme pictural." ["If he seeks the same angle of view on the animal as Gustave Doré, he dismisses all sense of dread. The bird wounded by an arrow is no longer a great migratory bird but the deliciously colored quail of still lifes. [...] Before [the animals among which we live], Delierre's eye is as cold as that of an entomologist. The art of the fable becomes in his work the finest example of pictorial naturalism."] A deluxe edition in two volumes: Fables de La Fontaine. Edition illustrée de 75 planches à l'eau-forte par A. Delierre, Paris, Quantin, 1883, is catalogued at the Bibliothèque Nationale. Les eaux-fortes des fables sont avant la lettre et enfermées dans de jolis cadres Louis XVI." ["The etchings of the fables are before letters and enclosed in pretty Louis XVI frames."]

Original etching before letters heightened with aquatint and signed in the plate.
Created on laid paper at the request of publisher A. QUANTIN to illustrate La Fontaine's fable: "Le cerf et la Cigne" ["The Stag and the Swan"].
Very handsome condition, presented in a modern black mount and protected by tissue guard. Auguste Delierre (1829-1891) is referenced in Bénézit, the dictionary of painters, sculptors, draughtsmen and engravers: "history painter, genre scenes, animated landscapes, still lifes, illustrator. Student of Eugène Ciceri, he participated in the Paris Salon between 1852 and 1889. His compositions of landscapes animated with hunting dogs show the influence of works by Desportes and Oudry which he long copied. He also shows a predilection for still lifes. He also illustrated La Fontaine's Fables." Alain-Marie Bassy in his book "Les Fables de La Fontaine, quatre siècles d'illustration" ["La Fontaine's Fables, four centuries of illustration"] analyzes his style for the representation of the fables: "S'il recherche le même angle de vue sur l'animal que Gustave Doré, il écarte tout sens de l'effroi. L'oiseau blessé d'une flèche n'est plus un grand oiseau migrateur mais la caille délicieusement colorée des natures mortes. [...]Devant [les animaux au milieu desquels nous vivons], l'œil de Delierre est aussi froid que celui d'un entomologiste. L'art de la fable devient chez lui le plus bel exemple de naturalisme pictural." ["If he seeks the same angle of view on the animal as Gustave Doré, he discards any sense of terror. The bird wounded by an arrow is no longer a large migratory bird but the deliciously colored quail of still lifes. [...] Before [the animals among which we live], Delierre's eye is as cold as that of an entomologist. The art of the fable becomes in his work the finest example of pictorial naturalism."] A deluxe edition in two volumes: Fables de La Fontaine. Edition illustrée de 75 planches à l'eau-forte par A. Delierre, Paris, Quantin, 1883, is catalogued at the Bibliothèque Nationale. Les eaux-fortes des fables sont avant la lettre et enfermées dans de jolis cadres Louis XVI." ["The etchings of the fables are before letters and enclosed in lovely Louis XVI frames."]

Original etching before letters heightened with aquatint and signed in the plate.
Created on laid paper at the request of publisher A. QUANTIN to illustrate La Fontaine's fable: "Le chat et le Renard" ["The Cat and the Fox"].
Very handsome condition, presented in a modern black mount and protected by tissue guard.
Auguste Delierre (1829-1891) is referenced in Bénézit, the dictionary of painters, sculptors, draughtsmen and engravers: "history painter, genre scenes, animated landscapes, still lifes, illustrator. Student of Eugène Ciceri, he participated in the Paris Salon between 1852 and 1889. His compositions of landscapes animated with hunting dogs show the influence of works by Desportes and Oudry which he long copied. He also shows a predilection for still lifes. He also illustrated La Fontaine's Fables." Alain-Marie Bassy in his book "Les Fables de La Fontaine, quatre siècles d'illustration" ["La Fontaine's Fables, four centuries of illustration"] analyzes his style for the representation of the fables: "S'il recherche le même angle de vue sur l'animal que Gustave Doré, il écarte tout sens de l'effroi. L'oiseau blessé d'une flèche n'est plus un grand oiseau migrateur mais la caille délicieusement colorée des natures mortes. [...] Devant [les animaux au milieu desquels nous vivons], l'œil de Delierre est aussi froid que celui d'un entomologiste. L'art de la fable devient chez lui le plus bel exemple de naturalisme pictural." ["If he seeks the same angle of view on the animal as Gustave Doré, he discards any sense of terror. The bird wounded by an arrow is no longer a large migratory bird but the deliciously colored quail of still lifes. [...] Before [the animals among which we live], Delierre's eye is as cold as that of an entomologist. The art of the fable becomes in his work the finest example of pictorial naturalism."] A deluxe edition in two volumes: Fables de La Fontaine. Edition illustrée de 75 planches à l'eau-forte par A. Delierre, Paris, Quantin, 1883, is catalogued at the Bibliothèque Nationale. Les eaux-fortes des fables sont avant la lettre et enfermées dans de jolis cadres Louis XVI." ["The etchings of the fables are before letters and enclosed in lovely Louis XVI frames."]

First edition on ordinary paper.
Inscribed by the author.
Spine sunned, minor tears at head and foot of joints.

First edition, one of the numbered copies from the first printing.
Small marginal stains on the first cover, two slight marginal tears at the head of the joints.

First edition of these two memoirs extracted from the first fascicle, Modern State section, of the Description de l'Egypte.
Cream parchment-style modern paper boards. Black sheep title-label. Wide-margined copy, uncut.
Historical notice on artificial incubation in Egypt and method employed to hatch chickens. History and description of the manufacture of sal ammoniac.

First edition of these two memoirs extracted from the first fascicle, Modern State section, of the Description de l'Egypte.
Full cream parchment-style modern paper boards. Black sheep title-label. Wide-margined copy, uncut.
Tax system and property ownership in Egypt. Administration and internal and external commercial relations. Important memoirs for the history of Egypt, such a study having never been undertaken before, which is why the author necessarily concerns himself with the history and evolution of the country since Selim I.

First edition of this memoir extracted from the first issue, Modern State section, of the Description of Egypt.

Full cream parchment-style modern boards. Black sheep title label. Large paper copy, uncut.
Considerations on the instruments and method used for astronomical observations and calculations. Survey of different calculations according to different geographical points.

3 articles extracted from the Revue des deux mondes.
First edition. Rare.
In plain wrappers.

First edition.
Half dark green cloth binding, title and author's name gilt to spine, "S de B [Société de Biologie] at foot, marbled paper boards, contemporary binding.
Leaves lightly warped, pale dampstain at foot affecting all leaves, more pronounced on pp. 23 to 35. One restoration to verso of last leaf, which shows small tears with minute losses in lower right corner.

First edition, rare. The second work, bound with the first and with only a half-title (without lack), is by Aubert de la Chesnaye des Bois.
Modern cream parchment paper boards binding. Black sheep title-label.
A satirical work mocking the Cartesians and the question of the soul and reason. Bougeant proposed that animals had recovered the souls of the wicked; this allusion, even ironic, to the transmigration of souls led to exile by the Jesuits. The work had considerable success in Europe, and is above all an attack against Descartes' mechanistic conception.

The Sylphe was first published in 1730, it is Crébillon's first tale. Lettre d'un jeune officier is in anonymous first edition; very rare, this first edition appears to be absent from all libraries. At the end of the letter, a signature: L.B.D.K. Rare edition.
Modern cream parchment paper boards binding. Black sheep title-label.
An erotic tale, the Sylphe, a spirit appearing to a woman weary of men, is the demon of masturbation.

Selection of 38 pieces for children.
Full tawny sheep binding with root-grain pattern. Smooth spine with gilt tooling, fleurons and decorative borders, rubbing notably to headcaps and joints. Fine stylized roll-tooled border. Orange shagreen title-label. Speckled edges. Contemporary binding. Leading edges rubbed, two small lacks at foot of second board. Scattered foxing. Illustrated with two engravings, including a frontispiece and title vignette. Initial letters and tailpieces.
Our copy is complete with all its pages, but ff. 121 and 123, 125 and 127, 137 and 139, 141 and 143 have been transposed.

First edition.
8vo in original wrappers, illustrated cover and text within a triple-ruled border.
Spine cracked, cover browned, front cover partially detached, with a marginal tear and a stain, a lack at head of spine, a tear at head of back cover near the joint, interior however fresh.
Several in-text illustrations.
On the front pastedown: "Cette édition, autographiée à dessein, est appelée à devenir très rapidement rarissime. Les exemplaires sont revêtus de la signature de l'auteur" ["This edition, deliberately autographed, is destined to become very rare very quickly. The copies bear the author's signature"].
Work published on the occasion of the Universal Exhibition of 1878, which aims to offer a synthesis of the rules of this card game with illustrations, repertoire of difficulties, and is enhanced with anecdotes, a short story, poetry and comic fantasies.

First edition in French, one of 220 numbered copies on Rives paper, the only deluxe copies.
Worming to covers and endpapers, spine sunned.

First edition, extracted from the Revue des deux mondes. Rare.
In plain wrappers.

Pre-first edition extracted from the Revue des deux mondes.
Rare.
In plain wrappers.

First edition; extracted from the Revue des deux mondes. Rare.
Under plain wrappers.

First edition, extracted from the Revue des deux mondes. Rare. Under plain wrappers.

First edition, extracted from the Revue des deux mondes. Rare.
In plain wrappers.

First edition, extracted from the Revue des deux mondes. Rare.
In plain wrappers.

First edition, extracted from the Revue des deux mondes. Rare.
In plain wrappers.

First edition, extracted from the Revue des deux mondes. Rare.
In plain wrappers.

First edition, extracted from the Revue des deux mondes. Rare. In plain wrappers.

First edition extracted from the Revue des deux mondes. Rare.
In plain wrappers.

First editions, extracted from the Revue des deux mondes. Rare. In plain wrappers.

First edition, extracted from the Revue des deux mondes.
Rare.
In plain wrappers.

First edition, extracted from the Revue des deux mondes.
Rare.
In plain wrappers.