Bibliothèque de La Pléiade edition printed on Bible paper.
Rhodoïd slightly yellowed as sometimes occurs.
Rich iconography.
Publisher's full brown grained sheepskin binding, orange top edge, smooth spine decorated with gilt fillets.
Fine copy complete with its rhodoïd, dust jacket and soft slipcase.
Edition translated by Defaucompret. Each volume has an engraved title with a vignette and at least 2 steel engravings per work, the animated scenes are by Tony Johannot, the views are English engravings. 28 folding maps heightened in colors, including a large map of Scotland, at the end of the History of Scotland.
Half navy blue shagreen binding, slightly later, ca 1850. Spine with raised bands decorated with gilt compartments and thick and thin fillets, in blind and gilt. Spine uniformly and slightly darkened. Author, volume number and title gilt. Volume 1: trace of dampstain to one corner of p. 300 to the end. Volume 4: broad yellowing on title page to p.30. Volume 7: trace of dampstain in left margin p. 197 to the end. Volume XXIII, trace of pale yellow dampstain in upper margin slightly affecting the text throughout the volume. Some traces of rubbing. Scattered foxing. Very handsome set, well bound.
Important critical edition, with all the author's prefaces for the different editions, and notes.
Details of the edition: 1) Waverley 2) Guy Mannering 3) L'Antiquaire 4) Rob-Roy 5) Le Nain noir & Les Puritains d'Écosse 6) La Prison d'Édimbourg 7) La Fiancée de Lammermoor ; L'Officier de fortune 8) Ivanhoé 9) Le Monastère 10) L'Abbé 11) Kenilworth 12) Le Pirate 13) Aventures de Nigel 14) Peveril du Pic 15) Quentin Durward 16) Les Eaux de Saint-Ronan 17) Redgauntlet 18) Les Fiancés ou Le Connétable de Chester 19) Le Talisman ou Richard en Palestine 20) Woodstock 21) Chroniques de la Canongate 22) La Jolie Fille de Perth 23) Charles le Téméraire 24) Robert comte de Paris 25) Le Château périlleux & Histoire de la démonologie et de la sorcellerie 26, 27 & 28) Histoire d'Écosse 29 & 30) Romans poétiques
Scott's great dark novels have obscured the fact that he is a great ironist and keen observer of human psychology, closer to Dickens and Fielding than one might initially believe. Yet what the generation of Romantic authors, who were overwhelmed by the discovery of Walter Scott, retained was primarily the historical and romantic tragedy, and the literary use of Scottish legends. Scott, like so many other great authors of English literature, is unfortunately reduced in France to a few novels. The greater part remains unpublished today, which makes this edition all the more valuable.
First edition of the French translation by A. J. B. Defauconpret. Illustrated vignette on the title page of each volume, with two illustrations in each volume (60 in total) by Louis Marckl after Noël Bertrand.
Green half shagreen binding, spine with five raised bands elaborately framed in gilt and blind, spine-ends stamped with a gilt rosette bearing cabbalistic signs, marbled paper boards, marbled endpapers and pastedowns, speckled edges, contemporary bindings.
Spines slightly lightened, some corners slightly dulled, more pronounced foxing on some volumes, a tear not affecting text to pp. 303-304 of vol. 2, a restored tear and a marginal lack of paper not affecting text to pp. 213-214 of vol. 5.
Autograph letter signed by James Fenimore Cooper in French, bound in the first volume, written to Charles Gosselin, publisher of his complete works.
Slight folds to the corners of the leaf, pencil and pen notes by a previous bibliographer.
Handsomely bound set, exceptionally containing an autograph letter signed by the author to his publisher.
First edition, a Service de Presse (advance) copy.
A discreet restoration using a small adhesive piece on the verso of the first cover extending onto the first endpaper.
Autograph inscription signed by André Breton: "A Claude Aveline, hommage d'André Breton".
Nicknamed at 21 "the world's youngest publisher," Claude Aveline would publish from 1922 onwards, thanks to André Gide and Georges Duhamel, some fifty works. In 1934, he would engage in politics, alongside Henri Barbusse and Romain Rolland, in the anti-fascist movement then, from August 1940, in the Resistance first in Paris then in the free zone where he would miraculously escape arrest by the Gestapo in April 1944.
First edition, one of 12 numbered copies on hollande paper, the only large paper copies.
Full red shagreen binding, spine with three raised bands decorated with gilt fillets and gilt cartouche enriched with black typographic motifs, marbled paper endpapers and pastedowns, bookplate affixed to pastedown, original wrappers and spine preserved, top edge gilt, other edges uncut.
Foxing to some uncut edges.
Autograph inscription signed by Georges Clemenceau to Monsieur Henry Leyret, political and judicial chronicler and editor at L'Aurore.
Edition illustrated with 4 folding maps heightened in color. In the Supplement: Routes and distances from Paris to London.
Contemporary full brown marbled sheep binding. Raised spine decorated. Beige morocco title-label. Headcap largely worn. Evidence of rubbing. One corner slightly bumped.
Historical and geographical précis of the British kingdom, with some chapters on the customs and psychology of this nation.
First edition illustrated with 2 frontispiece portraits and 100 hors-texte plates by Gustave Doré engraved by Bellanger, Pannemaker, Pisan...
Publisher's binding in full vermillion percaline cloth signed Magnier. Smooth spine decorated with 6 richly ornamented compartments. Large plate on the upper cover with a cross with pointed ends at center, 4 swords, 4 blazoned shields and 4 crescents in the corners. The second cover repeats the central part of the decoration of the first cover. Spine slightly sunned. Minor cuts at head and tail. Some foxing on otherwise white paper. Corners slightly turned.
Fine copy of this capital text, the fruit of 30 years of research, which profoundly renewed the vision of the Middle Ages and Middle East. Published in 1821, this new historical manner transformed narration with a concern for greater objectivity. Doré's penultimate work, "The artist's capacity to transform facts into myths, to transcend reality, finds in this work terrain as fertile as in Perrault's Tales or the Divine Comedy", Margot Renard, «The siege and assault in Joseph-François Michaud's History of the Crusades illustrated by Gustave Doré (1877)» In Michaud's text, Doré chooses emblematic episodes that nourish the text with his own dark and baroque, visionary and Christlike vision.
