Paris (France)

Fourteenth collected edition. “This edition, the nicest and most complete of the old editions of Ronsard, is richly illustrated with copper engravings,” (Seymour de Ricci, Éditions originales de Ronsard). Superb engraved title by Léonard Gaultier, the same as used for the collected edition of 1609, here in its second state. A small woodcut portrait of Muret in a medallion, half-page portrait of Richelieu, half-page portraits of Ronsard and Cassandre by Melland, half-page medallion portraits of Henri II, Charles IX, François Duc d'Anjou, Henri Duc de Guise, Anne de Joyeuse, Mary Stuart, the Duc d'Espernon, François II and Catherine de Medici, all engraved by Thomas de Leu. One figure on title of second volume by Léonard Gaultier.
Text in italic (except the commentaries). Each work with its own half-title. Spine in compartments with six fleurons, gilt title, double fillet frame to covers. Leather cracked in title compartment and one other, adjacent, headpieces, joints and corners finely (almost invisibly) restored. About forty leaves of first volume browned. Volume two: title and about 30 other leaves browned, traces of light dampstaining and foxing to initial leaves. The final leaf of first volume bound at beginning of second (half title of the elegies), leaves 1515, 1517 and 1519 with right corner folded back.
The best old collected edition of the author's works and without question the most attractive. Ronsard's poetry was in limbo for a long time before his rediscovery and celebration by the Romantics. Ronsard was pilloried in the 17^th century by the leading Classicist, Malherbe, and the 18^th century was not kind to him either. France had to wait for Prosper Blanchemain's 1857-1867 edition to get to know “the Prince of Poets.”

With a frontispiece portrait of the author after Girodet, two portraits and 25 engraved plates after Alfred and Tony Johannot, Rouargue, Régnier, Pourvoyeur, etc., as well as a large folding map. This copy complete with the Congrès de Vérone, which makes up the two final volumes and is often missing from this edition.
Romantic binding of half green Russia, spine richly gilt, green honeycomb-patterned paper covers.
Spotting, as usual.
A very good copy in an elegant, strictly contemporary, Romantic binding.

First edition, one of 55 numbered copies on Hollande paper as justified and initialed by the publisher, the only large paper copies
Half grey morocco by J
Weckesser, spine in six compartments, place and date at foot of spine, marbled pastedowns and endpapers, covers and spine preserved, top edge gilt
This copy enriched with an autograph manuscript of two closely-written pages, being the third poem of the collection: “Après la chose faite, après le coup porté... “, dated April 1887, with numerous variants and a few corrections
An exceptional large paper copy enriched with an important autograph poem by Paul Verlaine.

First edition, one advance (service de presse) copies.
Autograph inscription from Robert Desnos to René Arcos.
Occasional foxing on the covers.

First edition of Ruy Blas, the title with the address at Paris and Leipzig, the first state of the first edition without mention of Les Burgraves.
Contemporary half light brown calf, spine in five compartments with fillets, gilt specks and blindruled fillets, gilt Greek friezes to head and foot, marbled endpapers and pastedowns. A little spotting.
Autograph inscription signed by Victor Hugo to Madame Mareuil, who first played the character of Casilda in Ruy Blas. Signature of the actor M. Montdidier (who played the Comte de Camporeal) to first page of text.
Provenance: from the library of Madame Mareuil.
A fine and handsome copy in an elegant contemporary binding, with an autograph inscription by Victor Hugo to an actress of his circle.

Masterpiece Boucher as an illustrator and unquestionably one of the finest books made ??in the first part of the eighteenth ^century. Second edition. We rarely see Note that this edition.

The illustration includes a beautiful portrait by Coypel engraved by Lépicié a flagship title page repeated on each volume, 33 figures by Boucher engraved by Laurent Cars, and 198 vignettes and culs-de-lamp (more repeated) by Boucher, Blondel Oppenord and engraved by Cars and Joullain.

Binders full calf porphyry time. Back with five nerves decorated with parts of title and volume numbers of red morocco, coffered and gilded florets. Triple gilt fillets coaching dishes. All marbled edges. Tail jaws split six inches in the first volume, same thing on the second and fourth. Tail cap of the second volume threadbare. Three caps head and two tails restored and some reinforced corners. Some scuffs. A pale wetness in Volume I, and some very tiny and rare spots.

Boucher began his career as an illustrator and engraver, including participation in the illustration and ornamentation of several editions; the realization of Molière finally allows him to fully exploit its capabilities and gives publishing its absolutely exceptional. The costumes, the staging orchestrated by the artist are well wonder in the theater Molière which Boucher attend numerous times for his illustration. This is one of the first editions that fully and totally the work of a marriage between an artist and a text.

MOLIèRE & BOUCHER François & COYPEL Charles
œuvres de Molière
Imprimerie de P. Prault, Paris 1734, in-4 (22 x 29 cm), (6) lxx; 330 pp & (6) 446 pp & (6) 442 pp & (6) 420 pp & (6) 618 pp & (6) 554 pp., 6 volumes, contemporary calf
First printing (with the error “comteese” to line 12 on page 360 of volume VI) of this illustrated edition with a portrait by Coypel engraved by Lepicié, a fleuron on the title repeated for each volume, 33 figures by François Boucher engraved by Laurent Cars, and 198 vignettes and tail-pieces (several repeated) by Boucher, Blondel and Oppenord, engraved by Cars and Joullain.
Contemporary brown calf, spine in six compartments with red and green morocco title and volume labels, gilt frames and fleurons, triple blindruled fillet frame to covers, double gilt fillets to edges of covers, gilt dentelle frame to pastedowns and marbled endpapers, all edges speckled red.
Skilful repairs to some joints, corners, and head- and tail-pieces. Two small paper faults to frontispiece, not significant. Repaired tear without lack, repaired using a strip of paper to verso of title page of first volume.
A painter at the court of Louis XV and protégé of Madame de Pompadour, of whom he painted a number of portraits, François Boucher (1703-1770) was one of the major artists of the Rococo movement in France. Influenced by Watteau’s fêtes galantes, he made the rococo a style in which the erotic treatment of the body was associated with a theatricality of movement and attitude in settings where artifice, winning out over realism, broke with the everyday, giving the paintings a newfound sensuality. These characteristics justify his work on the Works of Molière: his style, flexible and fluid, sits well with the intrigues – some amorous, some familial – of the playwright and makes for pleasing illustrations to the text.  
Ex-libris pasted to each front pastedown with the name of Jacques-Marie Jérôme Michau de Montaran, master of Ordinary Requests at the Hôtel du Roi.
A fine copy in a contemporary binding, illustrated by one of the most influential artists of the French Rococo style.

New edition.
Publisher's binding over flexible grey paper boards souris.
With 850 drawings.
A good copy.

First edition.
Publisher's binding over flexible grey paper boards.
With 495 drawings by L. Delove.
A good copy.

first edition of 250 copies printed on laid Arches paper.
Dated and signed autograph dedication of the author to his wife Alice "... token of affection ..."
Back and boards marginally browned, a poorly cut book that caused some slight marginal gaps without attack to the text.

First edition of which there were no large paper copies.
Two slight lacks to head and foot of spine.

Edition of wich no leading copies exists, false mention of second edition.
Rare autograph signed by the author with journalist Claude Jamet who collaborated notably "I'm everywhere."
spine slightly wrinkled, two small restored tears and a lack marginal on the first board.
The page on which the autograph is from another copy and was rebroché in our copy, landmark library manuscript Storage Length of the send page by Claude Jamet.

First edition, review copy for the first and second volume first edition on paper for the third current.
Signed autograph from the author to the historian LH Outcasts on the first volume.
Pleasant trilogy illustrated cards.

First edition, review copy.
Signed autograph of the author in Mauritius Christmas.
Two small rips and gaps in both the top and bottom of the back, second course and slightly insolated marginally, some badly cut sheets that caused shortages heads without damage to the text.

First edition, one of 135 numbered copies on marbled paper, this one of 100 with a signed engraving (one not used) by Max Papart, the only printing alongside 10 on Chapelle paper
With 11 original engravings by Max Paprt, signed in pencil
Autograph signatures of Jacques Prévert and Max Papart to the justification page
Autograph inscription from Max Papart to Jean-Pierre Chauvency, enriched with a signed original drawing of a stylized bird flying towards the sun
Faint dampstain (not serious) to top of slipcase, internally very good.

First edition on ordinary paper, falsely stated the fourth edition.
Spine soiled and repaired, internally good.

VERNE Jules
Nord contre Sud
[Texar's Revenge, or North Against South]
Hetzel, Paris 1887, 17 x 28 cm, publisher's binding
First edition with 85 illustrations by Benett and a map of the world at end. Publisher's catalogue at end.
Publisher's binding aux deux éléphants et à l'éventail, signed Souze and bound by Lenègre. Spine type D (cf. Jauzac), lower cover type n. Headpieces and edges slightly rubbed. A few thin lines of discoloration to lower cover. Four centimeters crack to endpapers. Occasional faint spotting.
A very good copy, rare in this color.
An adventure story set during the American Civil War, this work is a return to adventure stories for the author after several books of science fiction.
$ 1 100

First edition, one advance (service de presse) copy.
With an autograph inscription from Georges Bataille to Monsieur Delepine.
Three small stains on the spine, slightly folded.

New edition for which he was not drawn large papers, one copy of the press service.
Signed autograph of the author Theresa Rossi.
Two small spots without gravity on the first dish, a small lack marginal in feet without attack to the text pages 185-186.

First edition, one of 1420 numbered copies on vellum Jebel only major papers after 55 Arches and some trade off.
Precious autograph signed by the author André Malraux: "... with my very cordial remembrance and tribute very keen ..."
Four small bites minor on the back.
Bookplate pasted on a contreplat.

Edition first t Irage. A Jan. 50 copies on large paper. Copy # 48 of Whatman Illustrated January 4 etchings drawn in 4 states, including 2 of Japan including the frontispiece. Covers preserved.
Binding half morocco chocolate corners signed Mercier. Back with nerves decorated with multiple chambers. Golden head. Scorched blankets. Prints on Japanese paper with very pale foxing marginal sparse. Beautiful copy in a truly superb condition.

New edition.
Autograph inscription from Jean Cocteau to Odile Lespinasse, enriched with a drawing of a young man's profile.
Illustrated with hors text drawings by the author.
Spine faded as usual.

First edition, one of the few copies on Holland which he makes no mention.
Binding half almond canvas, smooth back, headpieces slightly rubbed, marbled paper dishes, small marginal stains on covers, guards and contreplats paper the tank top corners bumped, covers preserved, contemporary binding.
Signed autograph of the author Alfred Regnoul "... remember the banquet Paul Sain Cordial and fraternal tribute ...."
Copy slightly cropped.

Edition for which he was not drawn large papers.
Bel autograph dated and signed by the author at the man and polical officer Jean-Philippe Lecat, "... that found in the opening pages of" The response of lyrical abstraction "the design and purpose of a cultural philosophy (dream). With all humility and wishes very sensitive thoughts Georges Mathieu.
Our specimen is enriched by an autograph letter signed and dated by two pages of Georges Mathieu reiterating the dedicatee good feelings that feeds him.

First edition printed on papier glacé.
Numerous illustrations.
One joint cracked to foot, internally good.

First edition of which there were no large paper copies.
A few small spots, slight marginal tears, not serious, to covers.

First edition, one copy of the press service for the four volumes.
Signed autograph Isabelle Rivière the painter Theo van Rysselberghe on the first volume: "... remember ..."
A lack in foot of the back of troisème volume, two other tiny feet in back of the first and second volumes.

Ilustrée new edition with a frontispiece by Benett and engraved by Hildibrand, a label with the title, header 2, 49 in-text and 3 large prints full page in color by Neuville and Benett and a double-page map.
Cardboard to the acanthus leaf. 3 highlights of notebooks, a detached engraving, but superb condition from the carton. paper very clean, completely free of foxing. First printing in the carton.

First edition, an advance (service de presse) copy.
Handsome autograph inscription from Jean Follain to Raymond Queneau : "... Avec amitié..."

First edition of the French translation, one copy of the press service.
Precious autograph signed by the author Raymond Queneau: "... el unico que yo Quevedo frances conosco Con mi admiracion ...."
Beautiful specimen.

First edition on ordinary paper.
Handsome autograph inscription from Jean de Bosschère to Raymond Queneau : "... mais se souviendra-t-il de moi?..."
Spine very slightly sunned, not serious.

First edition for some parts, one of the few hors commerce copies on vélin paper justified by the author.
Handsome autograph inscription from René Char to Raymond Queneau.
Covers and spine very lightly faded at edges (but not significantly).

Collective Edition, one copy of the press service.
Precious and beautiful autograph signed by the author: "A Raymond Queneau and his nice wife éléèves this slang language test for 2nd degree for industrial suburb of farmer browser to standing water and the rest. His old friend Mac. "
Complete copy of his please insert.

First edition of the French translation by Henri Parisot, one of the few copies not for sale printed on green paper.
Precious autograph signed by Henri Parisot Raymond Queneau.
Book decorated with illustrations of Gisèle Prassinos.
Back slightly and marginally insolated dishes.

Published the same year as the first edition, one of 50 numbered copies on Japon impérial paper, the tirage de tête.
Elegant anthracite-colored buffalo skin by Bichon, title in palladium lettering to spine, gilt date at foot, moiré endpapers and pastedowns with African motifs, covers and spine preserved (one small lack to foot of spine), all edges gilt; slipcase edged with anthracite-colored buffalo.
A very good copy perfectly bound.

First edition, one of 100 numbered copies on vélin pur fil du Marais paper, the only large paper copies
Foreword by Raymond Queneau
A good and rare copy.

first edition.
Binding percaline half green, smooth back with a gold jewel, double net gilded tail, marbled paper boards, preserved covers, sprinkled edges, contemporary binding, shirt half morocco green, back with five nerves, mention Jules Renard copy tail, pouch lined with green morocco, modern set dressing Boichot Thomas signed the original binding.
Precious autograph signed by the author Jules Renard.
Our copy is enriched the famous bookplate Jules Renard designed and engraved by Henri de Toulouse-Lautrec.
Some reading marks in red pencil in the margins of some leaves probably from the hand of Jules Renard, light foxing not serious.
Copy from a superb pleasantly presented.

Second edition.
Signed autograph of the author Gerard Bauer: "sympathetically ... (is this still true?) ..."
A slight hitch without the first flat head gravity.

First edition, one of 1040 numbered copies on vellum higher.
Binding of the publisher according to the original model of Mario Prassinos.
Signed autograph from the author to Mr. L'Heureux.
Pleasant specimen.

Original edition on paper power despite a false indication of sixth.
Signed autograph of the author: "In memory of a warm evening the team to Arcueil, friendly ..."
Bites on the back and flat margins, two small gaps minor Length of second course.

First Edition Gallimard after a few months in original, fanciful mentioned forty-seventh edition.
Fatalistic autograph signed by the author René Baron Daumery "... this piece has now become a show families ..."
Tiny gaps minor Length back.

Original edition on the current paper, false mention thirteenth edition.
Book illustrated a portrait of the author by Piblo Picasso dedicated to Dominique Eluard.
Signed autograph Dominique Eluard Peter Korn enriched signature of Pablo Picasso in red pencil.
Two small tears without gravity top and bottom of the back.