Paris (France)

First edition of this voice and piano score illustrated on the first cover with an illustration by H. Rousseau.
Adaptation of a poem by François Delcourt, miner in Béthune.
Handsome copy.

First edition of this piano score illustrated on the first cover with a large color illustration by Clérice Frères.
Superb copy.

First edition of this vocal and piano score illustrated on the first cover with a color illustration by Würth.
Handsome copy despite minimal marginal tears.

First edition, one of 100 numbered copies on alfa paper, the only deluxe copies.
Handsome copy.

First edition of this piano score illustrated on the first cover with a color illustration by Roger de Valerio.
Superb copy.

New edition, a Service de Presse (advance) copy.
A handsome copy.
Warm and amusing autograph inscription dated and signed by Daniel Boulanger to Ulrike Bergweiler who was Antoine Gallimard's secretary: "En prime pour Ulrike Bergweiler, le gouverneur polygame te salue, mais tiens-toi loin de lui et près de moi..." ["As a bonus for Ulrike Bergweiler, the polygamous governor greets you, but stay away from him and close to me..."]

First edition of this vocal and piano score illustrated on the front cover with a color illustration by Roger de Valerio.
A very handsome copy despite some traces of creasing.

First edition of this voice (bilingual) and piano score illustrated on the front cover with a color illustration by Charles Roussel.
Superb copy.

First edition of this vocal (bilingual) and piano score, with illustrated first cover, "La nouvelle danse américine de la "Coloured Revue" Cotton Club Parade de New York présentée par Henri Varna dans la Revue du Casino de Paris "Paris en Joie" avec Maurice Chevalier."
A very handsome copy.

First edition of this vocal (bilingual) and piano score, first cover illustrated by Roger de Valerio.
A very handsome copy.

First edition of this piano score with a large color illustration by Clérice Frères on the front cover.
A very fine copy.

First edition, one of 125 numbered copies on Ingres paper, the only deluxe copies after 25 on Hollande paper.
A handsome copy.

First edition of this voice and piano score illustrated on the first cover with a color illustration by Würth.
Handsome copy despite tiny marginal tears.

First edition of this piano score, first cover illustrated in colors by Léon Pousthomis.
Handsome copy.

First edition of this issue of the magazine consisting of two folded sheets.
Handsome copy.
On the first, a color woodcut depicting Alphonse Karr by Emile Cohl.
On the following, text by Pierre and Paul in first edition titled "Alphonse Karr".

First edition of this issue of the magazine founded by writer Félicien Champsaur and illustrator Alfred Le Petit, consisting of two folded sheets.
Handsome copy.
On the first, a color woodcut depicting Albert Robida by Alfred Le Petit.
On the following, text by Félicien Champsaur in first edition titled "Albert Robida".

First edition of this issue of the magazine consisting of two folded sheets.
Handsome copy.
On the first, a color lithograph representing Daubray by Emile Cohl.
On the following ones, text by Pierre et Paul in first edition entitled "Daubray".

First edition of this issue of the magazine consisting of two folded sheets.
Handsome copy despite some minor worming.
On the first, a color woodcut representing Paul Bourget by Emile Cohl.
On the following ones, text by Jules Laforgue in first edition entitled "Paul Bourget".

First edition, one of 88 numbered copies on pur fil paper, deluxe copies after 13 on Holland paper.
Rare and very handsome copy.

First edition.
Handsome copy, iconography.
Signed autograph inscription from Charles Tillon, leader of the Francs-Tireurs et Partisans during the Resistance and later minister, to Jean-Luc Robin.

First edition on ordinary paper, stated as fourth edition.
Handsome copy.
Autograph inscription signed by Claude Roy to Jean Claval.

First edition, of which there were no deluxe copies.
Handsome copy.
Dated autograph inscription signed by Pierre Courtade to Jean Claval.

The first edition, of which there were no deluxe copies.
Handsome copy.
Autograph inscription signed by Jean-Noël Jeannerey to Françoise Templaire.

First edition on ordinary paper.
Boards soiled, important coffee stain on the second board and at the foot of the first leaves, foxing on the edges.
Precious autograph inscription signed by Kléber Haedens to Nadine Nimier, wife and widow of Roger Nimier, leader, with Antoine Blondin, of the Hussards, literary movement of which Kléber Haedens was a member: "Pour toi Nadine, je pense à toi et je t'embrasse. Kléber" ["For you Nadine, I think of you and I embrace you. Kléber"].
Moving provenance: from the library of Nadine Nimier, wife and widow of Roger Nimier.

First edition, one of 250 numbered copies on pure rag Lana laid paper, the only deluxe copies.
Very handsome copy.

Original engraving. Optical view heightened in watercolour, depicting a view of the review of the King's Household, "infantry which takes place every year in the plain of Sablons one league from Paris". Optical views, also called views, perspectives or "mondo nuovo", are engravings very much in fashion between the end of the 18th and the beginning of the 19th century. They were intended to be observed through a set of several mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered as the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and were salon entertainments. The process was first developed in Paris, then London and finally in Germany and sought to represent - in an idealized manner - the most famous panoramas and landscapes of East and West. A small trace of angular fold. Fine impression with very fresh colours.

First edition in French.
Publisher's full boards binding, smooth spine, illustrated covers.
Handsome copy, illustrations by Jean-Jacques Beurtheray.
Autograph inscription dated and signed by Miguel Angel Sanz to Doctor Kernbaum.

Original color lithograph executed especially by the artist for l'Estampe Moderne. Proof printed on heavy laid paper, publisher's blind stamp in lower margin.
Artist's signature in the plate. Fine copy in the artist's Belle Époque style.
Published by Ch. Masson and H. Piazza, the two years of l'Estampe Moderne constitute one of the finest lithographic achievements of the period. Each print is an original work created especially for the journal by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and "Belle Époque" movements.

First edition.
Handsome copy, iconography.
Autograph inscription signed by Antoine Argoud: "Paris le 15 Mars 1975. A Mme Falabot, à la femme d'un pied noir mort en Algérie. Avec mes respectueux hommages. Antoine Argoud." ["Paris March 15, 1975. To Mrs. Falabot, to the wife of a pied noir who died in Algeria. With my respectful homage. Antoine Argoud."]

First edition, one of 944 numbered copies on wove paper, the only deluxe copies after 111 reimposed.
Handsome copy.

First edition, one of 150 numbered copies on wove paper, deluxe copies after 50 on Holland paper.
Handsome copy.
Marcel Prévost's manuscript signature on the half-title page.

First edition, one of 300 numbered copies on alfa laid paper, the only deluxe copies after 5 on Holland paper.
Some foxing to boards.
Autograph inscription signed by Jean Dorsenne: "A mon ami le sergent Muzereau de la classe !!! Cé témoignage d'affection d'un simple pékin ! Jean Dorsennus." ["To my friend sergeant Muzereau of the class!!! This token of affection from a simple civilian! Jean Dorsennus."]

First edition of the French translation, one of 25 numbered copies on vélin dap-cau, the only deluxe copies.
Spine and boards lightly and marginally lightened as usual.

First edition.
Fine copy.
Rare autograph inscription signed by Henri Laborit to Madame Lachatrape.

The first edition, of which there were no deluxe copies.
Handsome copy, illustrated.
Autograph inscription signed by Hugues Panassié: "A M. Denis, 'satchmo-ingly yours' Hugues Panassié."

First edition on ordinary paper.
Handsome copy.

First edition, one of 10 numbered copies on Holland paper, deluxe issue.
Very handsome copy.

First edition printed on ordinary paper.
Handsome copy.
Dated and signed autograph inscription, in pencil, from Pierre Alechinsky to Jacques Bertin

First edition, one of 1300 numbered copies on sunburst white alfa.
Fine copy.

First edition of the French translation, one of 325 numbered copies on vélin d'Artois, the only deluxe copies.
Handsome copy.

First edition printed on alfa paper.
Small tears to the margins of the covers which is inevitable given the fragility of this work.

First edition, one of 15 numbered copies on Japan Imperial paper, deluxe issue.
Handsome full-margined copy despite the spine and covers being slightly and marginally lightened, a light stain in the margin of one deckled edge.
Work illustrated with drawings in the text.
Our copy is enriched with an autograph letter signed by Charles Léger about works he has already written on Balzac.

First edition printed on ordinary paper.
Handsome copy with illustrated cover.
Signed autograph inscription from Pierre Daix to Jean Claval.

First edition of the French translation, one of 10 numbered copies on Lana laid paper, the only deluxe copies after 5 on Rives laid paper.
Restoration to the slipcase split at foot along its entire length, otherwise handsome copy.

First edition.
Work illustrated with photographs.
Autograph inscription signed by Serge Lifar to Maryelle Krempff who completed her brilliant career as a dancer as principal dancer at the Opéra Comique before teaching dance at the National Regional Conservatory of Saint-Maur des Fossés from 1969 to 1989: "A Maryelle Krempff 'l'étoile de la danse' en souvenir de ce jour mémorable. Amicalement Serge Lifar." ["To Maryelle Krempff 'the star of dance' in memory of this memorable day. Cordially Serge Lifar."]

First edition.
Small stains on covers, two tears to margin of half-title page and at foot of rear cover, handsome copy.

First edition illustrated with photographs, of which there were no deluxe copies.
Handsome copy.
Autograph inscription dated 1944 and signed by Serge Lifar to Maryelle Krempff, who completed her brilliant career as a dancer as principal dancer at the Opéra Comique before teaching dance at the Conservatoire National de région de Saint-Maur des Fossés from 1969 to 1989: "A mademoiselle Maryelle Krempff qui aime la Danse et la sert la grace (sic). Serge Lifar." ["To Miss Maryelle Krempff who loves Dance and serves it with grace. Serge Lifar."]

First edition.
Some light foxing to margins of certain leaves.
Iconography.
About the industrial disaster that occurred in Bhopal, India, which cost the lives of approximately 25,000-30,000 people according to victims' associations and only 7,575 according to Indian authorities.
Autograph inscription dated and signed by Dominique Lapierre probably to Régine Deforges: "A la bellissime Régine, de tout coeur. D. Lapierre 1.10.2001" ["To the most beautiful Régine, wholeheartedly. D. Lapierre 1.10.2001"]

The first edition, of which there were no deluxe copies.
Some foxing on the covers, paper yellowed.
Work illustrated with two portraits of Louis Pergaud.
Beautiful and touching autograph inscription dated and signed by Edmond Rocher: "A Léon Bocquet l'ami et le premier éditeur de Louis Pergaud en affectueuse communion en la pensée du cher disparu. Edmond Rocher. Nbre 1923." ["To Léon Bocquet the friend and first publisher of Louis Pergaud in affectionate communion in memory of the dear departed. Edmond Rocher. November 1923."]

First edition, one of 500 numbered copies on Holland paper, ours unnumbered, the only printing after 20 copies on antique paper and 5 hors commerce.
The first volume contains the commentary on Giovanni Battista Bracelli by Tristan Tzara, followed by "L'aventure d'un livre et notes bibliographiques" ["The adventure of a book and bibliographical notes"] by publisher Alain Brieux.
The second volume is a facsimile reproduction of Bracelli's book, "Bizzarie", illustrated with 50 engravings created in 1624.
The facsimile was printed from the only complete and known copy, that of American bibliophile Mr. Lessing Rosenwald.
This illustration volume is bound in full boards in imitation of medieval vellum with ties.
Slipcase and chemise in full brown boards, smooth spine unlettered, title label pasted on the slipcase.
Handsome copy.

First edition, of which there were no deluxe copies.
Handsome copy.
Autograph inscription signed by Claude Lévi-Strauss to Nadine Nimier: "Pour Nadine avec les amitiés de Lévi-Strauss." ["For Nadine with friendship from Lévi-Strauss."]

First edition, a Service de Presse (advance) copy.
Spine lightly yellowed, foxing to front cover.
Autograph inscription signed by Michel Tournier to Ulrike Bergweiler who was Antoine Gallimard's secretary: "Pour Ulrike Bergweiler. En toute amitié. Michel Tournier." ["For Ulrike Bergweiler. In friendship. Michel Tournier."]

First edition on ordinary paper.
Spine sunned, a pink stain on the front cover.
Autograph inscription signed by Félicien Marceau to Ulrike Bergweiler who was Antoine Gallimard's secretary: "Pour Ulrike de son ami Félicien. Le 17 mars 89." ["For Ulrike from her friend Félicien. March 17, 89."]

First edition, one of 120 numbered copies on pur fil paper, the only printing after 20 copies on san francisco paper.
Handsome copy.
Illustrated with 6 drawings by R. Berton and a photographic portrait of Tristan Derème by Mertens-Auradon.
Fine autograph inscription signed by Tristan Derème to Professor Lereboullet: "... et voici, dans ces feuillets, qu'on évoque le port et le refuge au milieu des tempêtes de la vie - et c'est le seuil fleuri de la vieille maison. On y rêve à Paris, dans le vacarme et la course de la vie quotidienne ! En très cordial hommage.Tristan Derème. 29 -XI - 30." ["... and here, in these pages, one evokes the harbor and refuge in the midst of life's storms - and it is the flowered threshold of the old house. One dreams of it in Paris, in the din and rush of daily life! With very cordial homage. Tristan Derème. 29 -XI - 30."]

The first edition, of which there were no deluxe copies.
Handsome copy complete with dust jacket.
Fine signed autograph inscription by Michel Albertini to a friend named Anne-Rose: "... ces merdicoles qui n'auraient jamais été si drôles et émouvants sans elle... Alors, avec un gros morceau de soleil de Marseille en plus, et que pour vous... chère Anne... ma première..." ["... these merdicoles which would never have been so funny and moving without her... So, with a big piece of Marseille sunshine in addition, and just for you... dear Anne... my first..."]

First edition on ordinary paper.
A tear repaired at foot of spine.
Illustrated with 26 reproductions of works by Georges Grosz.
Precious signed autograph inscription by Léon Bazalgette: "A J. E. Laboureur, très cordialement. LBazalgette." ["To J. E. Laboureur, very cordially. LBazalgette."]

The first edition, of which there were no deluxe copies.
Handsome copy.
Dated and signed autograph inscription from Jean-Claude Renard to Nadine Nimier, wife and widow of Roger Nimier.

First edition in French, of which there were no deluxe copies, a Service de Presse (advance) copy.
Handsome copy despite two light stains on the spine.
Dated and signed autograph inscription from Carlos Fuentes to Bernard Sesé, translator into French of the principal Spanish-speaking writers of the 20th century.

The first edition, of which there were no deluxe copies.
Handsome copy.
Signed autograph inscription from Claude Mossé to Patrice de Plunkett.

First edition, one of 112 numbered copies on laid paper, the only deluxe copies.
A handsome copy.

First edition on ordinary paper.
Light foxing to left margin of front cover, otherwise a handsome copy

Edition with some parts in first edition, of which there were no deluxe copies.
Handsome copy.
Fine autograph inscription dated and signed by René Depestre to Jean Orizet: "... ces chants d'adieu à quelques chimères du siècle..." ["... these farewell songs to some chimeras of the century..."]

The first edition, of which there were no deluxe copies.
Handsome copy.
Autograph inscription dated and signed by Julia Kristeva to Ulrike (Bergweiler): "... qui fait partie de l'esprit des samouraïs..." ["... which is part of the spirit of the samurai..."]

First edition, of which there were no deluxe copies.
Handsome copy retaining publisher's wraparound band.
Signed and inscribed by Régis Debray to Ulrike Bergweiler.

First edition printed in a small number of copies on laid paper.
This work offers the particularity of being in a bilingual edition: in Breton and, below, the French translation.
Rare and handsome copy.

First edition, one of 312 numbered copies on alfa paper, the only deluxe copies after 28 on laid paper.
Handsome copy.
Iconography.

Illustrated edition with 75 wood-engraved plates for volume 1, 66 for volume 2, 74 for volume 3, 94 for volume 4, and 85 for volume 5, all designed by Alphonse de Neuville, Philipoteaux... The fifth volume was written by Madame de Witt, the author's daughter, based on notes left by him. Several colored maps.
Publisher's binding signed at foot Charles Magnier, red and gold. Half red shagreen with cloth boards. Spine with false raised bands decorated with four emblems of French royalty: the salamander, the sun, the dolphins and a crescent moon. Boards decorated with a large red and gold plate bearing in medallions the ciphers of several kings, on a background of red foliage. White watered silk endpapers. Some light rubbing to headcaps and joints, otherwise a very handsome copy in superb condition, despite some scattered foxing on very white paper, heavy on the endpapers (of different paper). One bump to head of volume 3.
Minister of public instruction, Guizot played a key role in the history of education and this work is the fruit of his reflections.

First edition, one of 120 numbered copies on Lana pure rag vellum for each volume, the only deluxe copies.
Very fine complete copy in two volumes of this third part of "Leçons de Ténèbres".

First edition, one of 30 numbered copies on pure rag Arches paper, deluxe copy.
Light foxing to first cover, otherwise a handsome copy.

First edition, of which there were no deluxe copies.
Photographic cover, iconography.
Handsome copy.
Autograph inscription signed by Hubert de Leusse to Roland Manescau.

First edition on ordinary paper.
Handsome copy.
Fine autograph inscription signed by Bertrand Poirot-Delpech: "A Claude Mauriac avec la joie de lui redire (p.296) mon estime. Amicalement." ["To Claude Mauriac with the joy of telling him again (p.296) my esteem. With friendship."]

Second edition, the most sought-after. The first was published by Emery in 1722 in 2 folio volumes, to which 2 supplement volumes were added in 1728. 1 frontispiece and 204 hors-texte plates of which approximately half are double-page corresponding, according to the publisher's count, to more than 300 figures. Repeated title vignette and vignettes at chapter heads. The double plates have all been mounted on tabs. Title pages in red and black. Copy on fine paper, the half-titles, titles and plates on thick rag paper, the text on laid paper. Wide margins.
Volume I: 6 maps, 1 plan, 47 hors-texte plates (single and double, as well as one triple). Volume II: 59 hors-texte plates (the majority double-page). Volume III: 84 hors-texte plates (approximately half double-page). Volume IV: 7 hors-texte plates. Rich iconography composed of views, battle scenes, architectural plates, tortures, costumes, ceremonies...
Armorial copy of Guillaume Pavée, baron de Vendeuvre (1779-1870). Or a peacock proper, on a chief azure charged with a crosslet or between two stars of the same, surmounted by a baron's crown.
Contemporary full glazed Lavallière calf binding. Spine with 6 raised bands, compartments richly decorated with small gilt tools, dark green morocco title and volume labels, gilt armorial stamps at center of boards and blind fillet border, gilt roll on edges, marbled paper doublures and endpapers, red edges. Upper joint of volume I split at head for 7 cm and small chip at foot of lower joint; upper joint of volume II split at tail for 7.5 cm; surface scratches, scrapes on boards of volume III, discreet repaired damage at tail; headcap of volume IV damaged, small wormhole trace at foot of upper joint and some surface scratches at tail of front board (some browning as well); wear to corners, some restored; some small wormholes, particularly on joints. Some leaves or gatherings slightly yellowed as always. Tear with small loss of text to leaf K (see photograph) of volume I; sound angular stain on some leaves of volume II; in volume III, harmless wormhole through foot margin to page 272 (becomes a small trace of about 1.5 cm on only a few leaves); small tear in paper of last leaf of volume IV. Other very minor usual defects of no consequence whatsoever. Fresh set overall.
Handsome copy of this monument of exegetical literature.

First edition and first issue, illustrated with 16 hors-texte engravings by Paul Gavarni engraved on steel by Charles Geoffroy and heightened in colors. Each plate features lace-cut decorative borders standing out against a pink paper background.
Publisher's full pictorial boards, original yellow paper endpapers and pastedowns somewhat soiled at margins as usual. Some corners slightly rubbed, as well as the headcaps; rear joint very slightly opened. Scattered foxing more pronounced on certain leaves.
Very handsome publication preserved in its romantic pictorial boards.

First edition, one of 10 numbered copies on Japan paper, deluxe copies.
Handsome copy despite the spine and boards slightly and marginally discolored as usual.

First edition, one of 25 numbered copies on pure Lana rag vellum, ours one of 7 hors commerce copies, the only deluxe copies
A handsome copy.

First edition on ordinary paper.
Spine lightly sunned, otherwise handsome copy.
Work illustrated with 174 drawings by Steinlen.
Rare signed autograph inscription by Théophile Alexandre Steinlen.

First edition, very rare, like all first editions by the author.
Half morocco binding with black long-grain corners from the late 19th century signed by Pouillet. Smooth spine decorated with mirror tooling. Author, title and date gilt. Double fillet on boards. Lack to lower corner of half-title and title. P.7 small lack to upper right corner. Paper perfectly fresh.
Romantic drama set in Madrid, where Gautier expresses his passion for bullfighting.

First edition, illustrated with 32 color illustrations by Sureda and engraved by Aubert (full-page, headpieces and fine lettering), many of which are enhanced in gold or silver ink.

Limited edition of 400 copies. This one, marked H. C. V, is one of the rare first paper copies on the finest Japon (only 15 copies), containing every engraving in double state on Vieux Japon and Japon Impérial of all the woodcuts, covers and spine.

 
Signed and inscribed on the title page from the authors: "What a pleasure it is for you, O reader, if you enjoy La Fête arabe !" Jérôme and Jean Tharaud. December 1928."

Full morocco midnight blue binding with polychrome inlays depicting Orientalist compositions signed by Yseux, pupil of master bookbinder Simier. Gilt edges, illustrated covers and spine preserved. Blue paper slipcase lined with blue shagreen leather.
Spine slightly darkened. Brown trace over 3 cm on the blank reverse of one plate, moderate creasing/paper handling to the lower margin of another plate, slight paper defect appearing to be original in the inner margin of 1 or 2 other plates, minor light soiling on 2 white leaves. Wide margins, superb paper condition.

 

A wonderfully bound travel book of Arabia, one of the rarest copies of this edition with two sets of color illustrations

New and improved edition, largely expanded, corrected and revised from the Manuscripts of the Imperial Library, by M. Méon. Four frontispieces after E. H. Langlois. One of the rare copies on large and fine Holland paper.
Later half wine-red long-grain morocco with corners signed Thouvenin at foot of first volume. Spine with raised bands decorated with compartments with tools and fillets. Title and volume number gilt. Top edge gilt. Spines evenly faded to blonde. Traces of rubbing. Untrimmed copy, full-margined. Fresh overall, but some foxing on half-titles and first leaves.
Handsome copy on large paper.
Besides the tales and fabliaux, a glossary for each volume, a dissertation on the origin of the French language, a dissertation on the language of the Celts. Details of volumes: I. Dissertation on the origin of the French language. L'Ordene de Chevalerie (in verse, in prose). Du chevalier qui ooit la Messe, et Notre-Dame estoit pour lui au tournoiement. Du preudome qui rescolt son compere de noier. Le Sentier batu. Li congiés Adan d'Aras, Baude Fastoul d'Aras, Jehan Bodel. La Bataille des Vins. De Cortois d'Arras; c'est d'Aucassin et Nicolete, Etc. Volume II: Dissertation on the language of the Celts and Gauls. On the language of the Swiss. New observations on Etymologies. Le Castoiement d'un père à son fils. De la Male Dame. Les Rues de Paris. Les Crieries de Paris. Les Moustiers de Paris. Les Ordres de Paris, Etc. Volume III: Du Vilain Mire. Fabliau de la Merde. Dou Lou et de l'One. De L'Asne et du Chien. Dou pet au Vilain. Le Lay d'Aristote. Des Trois aveugles de Compiengne. Etc. Volume IV: Du Bouchier d'Abbeville. Le Lai de Graelent. De l'Escureul. De Audigier. De Berengier au lonc cul. De Piramus et de Tisbé. Florance et Blanche Flor. Le Credo au Ribaut.

First edition printed in 1000 copies on laid paper. No. 870. One frontispiece heightened in colors and 51 illustrations printed in sepia and various tints, of superb execution.
Deluxe publisher's binding in full olive green long-grain morocco signed Durvand at foot of upper cover. Smooth spine richly decorated with 2 compartments with grotesques and the Empress's monogram, and various roulettes. Covers stamped with the Empress's arms at center, with a wide framing frieze with foliage in the corners. Interior frieze composed of Empire motifs. Edges gilt. Spine evenly faded. Traces of rubbing. Narrow leather split along upper joint after headcap, for several cm. Fresh overall but some scattered foxing, particularly on first leaves.
Very handsome copy in its rare publisher's binding

First edition of this complete collection, each volume illustrated with a wood engraving frontispiece and some wood engravings in text.
All volumes as issued in the publisher's green wrappers. The first volume has been restored at head and foot with two paper strips.
Of the utmost rarity.

New edition, quite rare, of Bouchon Dubournial's translation, illustrated in first printing with an engraved portrait by Cazenave and 6 figures by Desenne engraved by Laugier, Leroux...
Contemporary half glazed wine-colored calf binding. Smooth spine decorated with 3 tools, fillets and roulettes at head and tail. Gilt title and volume number. Traces of rubbing. Scattered foxing.
Benjamin Pernelle bookplate.
Cervantes' last work completed 4 days before his death and published posthumously in 1617. In his epistle, Cervantes declares he had never written anything better. The novel is a sort of rewriting of Heliodorus's Latin novel: The Aethiopica, but Cervantes placed his heroes in the north and each trial of the separated couple takes place in a spiritual and Christian journey. This work would not have many editions over the centuries, overshadowed by the success of Don Quixote.

First edition illustrated with 200 plates and 120 vignettes by Grandville, engraved by Brévière. One plate missing from volume 2 ("Tous l'aimaient éperdument..." in the chapter entitled "Les peines de coeur d'une chatte française". In volume 1, the plates from pages 241 and 378 are incorrectly bound at pages 140 and 275. The frontispiece of the first volume is different in the first volume from most other copies, however the usual frontispiece has been placed further along.
Contemporary half red calf bindings, smooth spines decorated with large uniformly faded gilt tools, marbled paper boards with some minor rubbing as well as on the bindings overall, pebbled paper endpapers and pastedowns. A few very rare foxing spots.
Pleasant copy of this satire of society under the Second Empire.

First edition, admirably illustrated with 201 plates and 120 vignettes by Grandville. This first volume correctly has the first third of the work printed on tinted paper while the rest is on white paper, a characteristic of the first printing; most copies are from a second printing as the leaves are also white like the rest of the work. Moreover, Hetzel's publisher's preface, usually absent, is present here before the prologue. Most copies begin directly with the prologue. The frontispiece of volume 1 has been placed facing p. 32, the engraved half-title entitled Scène de moeurs serving as frontispiece; this half-title is often absent from most copies. The frontispiece and engraved title of volume 2, as well as an engraved half-title also entitled 2e partie have been preserved without the title page of the second volume which has not been bound in this copy. These 2 half-titles, in the first volume Scène de moeurs, in the second volume 2e partie are very often absent from copies.
Near-contemporary half red shagreen bindings with corners. Spines with raised bands with 3 decorated compartments, gilt title and volume number. Separation fillets on boards. Combed edges, echoing the pattern of the endpapers. Signs of rubbing. On the upper board of volume 1, a 2 cm area exposing the cardboard. Superb freshness of the paper, completely free from foxing.
Handsome copy.
This famous publication needs no introduction, a satire of contemporary Parisian society under the Second Empire, an enterprise due to Hetzel, who under the pseudonym Stahl signed several texts and commissioned texts from the most famous writers of the time: Balzac, Musset, Sand, La Bedollière... The last chapter recounts the imprisonment of the various writers who can be seen in enclosures at the Jardin des plantes, where we see Grandville from behind drawing them. One of Grandville's great works of imagination, full of verve and fantasy.

First edition printed in 110 copies, ours bearing number 38 and specially printed for Gustave Rabiet.
The first volume is illustrated with wood engravings by Valentin de Campion. Full blue morocco binding, smooth spine, gilt title, geometric friezes in gold and palladium continuing on the covers, gilt fillets on the edges, moiré fabric endpapers and pastedowns, following endpapers of printed paper, pastedowns framed with blue morocco and double fillets in gold and palladium, top edge gilt with deckled edges. Binding signed Jean Lambert.
The second volume is illustrated with etchings by Geo Michel. Half morocco binding with bands, smooth spine identical to the first volume, endpapers and pastedowns of printed paper, covers of paper reproducing the printed paper from the interior of the work. Binding signed Jean Lambert.
A slipcase with some rubbing to the edges features the printed paper of the two volumes and houses these two volumes.
A very handsome copy.

New edition illustrated by François-Edouard Zier.
Contemporary binding in full sheep, smooth spine with title and floral motifs in blind, first cover with embossed leather forming the profile of a woman and title in Greek stamped in blind after an illustration by Lina Bill, second cover stamped in blind with a comb, necklace and mirror, marbled endpapers and pastedowns, illustrated wrappers preserved, top edge gilt on deckled edges. The binding shows scratches and rubbing. Some foxing, mainly on edges and second wrapper. A small marginal tear without loss to first blank endpaper.
Handsome copy in Art Nouveau binding.

First edition limited to 200 copies, ours one of 150 on laid paper, illustrated with two photographic portraits hors-texte and two full-page facsimiles of autographs.
Near-contemporary binding in half brown morocco with corners, smooth spine with mosaic brown morocco pieces, rubbing and small lack at foot, marbled paper boards, marbled endpapers and pastedowns, red wrappers preserved, top edge gilt on deckled edges. Some very occasional worming.
Our copy is enhanced with an autograph letter signed by Henri de Régnier as well as an autograph leaf bearing a signed dedication from the same to Jean Moréas.