Paris

First edition, one of 25 numbered copies on vergé paper Ingres de Lana, this copy one of 10 hors commerce, the only large paper copies.
A good copy.

First edition, one of 25 numbered copies on vergé paper Ingres de Lana, this copy one of 10 hors commerce, the only large paper copies.
A good copy.

Edition of wich no leading copies exists.
autograph dedication of the author autograph signed and dated by Pierre Klossowski his publisher Jean-Jacques Pauvert and his wife.
Back slightly insolated.

Edition with drawings by Jean-Emile Laboureur, a numbered copy on vergé paper, stated the 1000th.
Upper cover and spine uniformly faded.

Hubert & Brun | Paris 1820 | 12.5 x 20.5 cm | contemporary sheep
New edition with 32 plates hors texte.
Contemporary Masonic light brown sheep, the spine with gilt tools and friezes, gilt roulettes to head- and tail-pieces, gilt dentelle frame to boards, with Masonic symbols and devices in centre, marbled endpapers and pastedowns, gilt border on edges of covers, marbled edges.
Repaired tear to p. 417.
A very good copy in a spectacular Masonic binding.

First edition.
Half red shagreen binding, spine with five raised bands showing traces of rubbing, marbled paper boards, marbled endpavers and pastedowns, original wrappers preserved, top edge gilt.
Rare antimilitarist work.

First edition, one of 10 numbered copies on Hollande paper, the tirage de tête after 10 Chine and 12 Japon.
Original illustrations by the author.
This copy, as called for by the justification page, retains the double state of the frontispiece.
Rare and nice copy with edges preserved.

Third edition statement (considerably expanded) for Mes fantaisies; Mes nouveaux torts bears the date of the first edition, but from a different publisher than Delalain. A frontispiece by Marillier engraved by de Ghendt and a figure by the same engraved by Gaucher for Mes nouveaux torts. A frontispiece by Eisen, engraved by Longueil, a title vignette and a tailpiece by the same, engraved by de Ghendt for Mes fantaisies. Given the identical binding, we have united these two editions.
Half vermillion morocco bindings with corners from the late 19th century. Raised band spines with ornaments. Gilt titles. Fillets on boards. Uncut copies, with the original marbled covers. The volume of Mes nouveaux torts is slightly shorter. A tissue guard has been inserted between the frontispiece and title page.
Very fresh copies, established in perfect unsigned master binding.
Both works are poetic anthologies. A notice presents the edition of Mes fantaisies as being more carefully prepared than the two previous ones, with cuts and additions, and a new order. One finds the "Discours sur la poésie" as a preface, where the author confesses his inclinations, notably for medieval poetry.
One will note the important epistle that begins Mes nouveaux torts and explains the title, in which Dorat attempts to explain the origin of his disgrace in the literary world; following this justification, Dorat quotes an exchange of letters with Voltaire. This preface is doubly interesting regarding the world of letters and its intolerance, and regarding the author's biography.

First collected edition of this collection of novellas whose 5 volumes appeared from 1774 to 1778. 1774 for the first two volumes, 1775 for the third volume, 1777 for the fourth and 1778 for the fifth volume (volumes to come are announced at the end of published volumes). Due to the extended publication period, it is rare to encounter a homogeneous set with all the correct edition dates. Each novella is separated by a half-title with an edition statement.
Each novella contains a figure, a half-page title vignette, and a tailpiece by Eisen or Marillier, and engraved by Binet, de Ghuendt, de Longueil... Very beautiful and fine illustration, being 48 figures and 24 tailpieces. The printing, illustration and layout clearly recall the careful editions produced by Dorat. "...but as the illustrations are of the greatest beauty, it is important to obtain the first editions..." Cohen.
Volume I: Fanny, Lucie et Mélanie, Clary, Julie, Nancy. 5 frontispieces, 5 vignettes and 5 tailpieces by Eisen.
Volume II: Anne Bell, Sélicourt, Sidney et Volsan, Adelson et Salvini, Sargines. 5 frontispieces, 5 vignettes and 5 tailpieces, by Eisen.
Volume III: Zénothémis, Bazile, Lorezzo, Liebman, Rosalie. viij pages of sheet music for Sicilian romances. 5 frontispieces, 5 vignettes and 5 tailpieces by Eisen.
Volume IV: Ermance, D'Almanzi, Pauline et Suzette, Makin, Germeuil. 5 frontispieces, 5 vignettes and 5 tailpieces by Marillier.
Volume V: Daminville, Henriette et Charlot, Valmiers, Amelie. 4 frontispieces, 4 vignettes and 4 tailpieces by Marillier and Le Barbier.
Contemporary full brown scaled calf bindings. Raised band spines with ornaments, roulettes at tail and head. Red morocco title labels, and green morocco volume labels. Triple fillet frame on boards. Edges gilt. A small hole at head of volume I, tiny lack at head of volume IV. Rubbing to first raised band of volume I. Upper joints of volumes IV and V narrowly split at head. 3 corners bumped. A 1 cm lack on lower board of volume V. Usage rubbing. Scattered irregular foxing, some leaves yellowed and some yellow dampstain traces. A dampstain trace in left margin of first frontispiece of volume IV. Frontispiece of volume II backed and damaged in its left margin. Absence of half-title in volume II. Spine of fourth volume having lost gilding through rubbing.
Overall, handsome set in quality binding.
Most of Baculard d'Arnaud's tales show an immoderate taste for true anecdotes (historical or picturesque and from various countries: Italy, Germany, Spain) and the author is perfectly representative of this literature that would give rise to the gothic and dark novel. An exacerbated, brilliant sentimentalism animates the author's works, with a certain complacency in depicting evil and a rather morbid pleasure in affects. Were it not for the framework that often defines the gothic novel, and which is absent from D'arnaud's works (except for Le comte de Comminges), the author is very close to this movement in late 18th-century literature.

New edition, rare and posthumous, illustrated with two allegorical frontispieces by Renou and engraved by Robert.
Contemporary full marbled calf bindings. Raised band spines decorated with compartmented onion tools and roulettes, red morocco title labels. One lack at head of volume I and a cut at head of volume II (with slight lack). Upper joint of volume I cracked at head, and upper joint of volume II narrowly cracked at tail. 2 corners bumped. Rubbing. Light offsetting from the engraving on the title page of volume I. Margins foxed on half-title and final leaves. Despite the few defects mentioned, a handsome copy with quality binding.
The Lives of Architects and Sculptors are preceded by the Discourse on Architecture (84p.), and the Discourse on Sculpture (36p.). These biographies are classified by nationality; besides the biographical elements proper, the principal buildings realized and books written are also detailed. We count for Italian architects 17 entries, 2 for the English, only one for the Germans, and 23 for the French. The proportion is equivalent for sculptors. Dezallier D'Argenville had previously given an Abridgment of the Lives of Painters, and wanted to rival this work, which Vasari had undertaken during the Renaissance with his Lives of the Most Excellent Painters, Sculptors and Architects.

First edition, one of 26 numbered copies on Hollande, tirage de tête.
A few occasional foxings oncovers and endpapers.

First edition, one of 205 numbered copies on pur fil, the only deluxe copies after 60 Holland.
Handsome copy.

Popular illustrated edition bringing together 14 titles and more, from the Romans populaires illustrés collection. Drawings by Johannot, Beaucé, Staal, Bertall, Baron... It includes the rare title The Monk by Lewis.
Contents: Valérie by Madame de Krudener. Manon Lescaut by Prévost d'Exiles. Le talisman du coeur by Louis Lurine. La peine du talion by Jules Lacroix. Le règne de Satan by Benjamin Gastineau. Riche et pauvre by Emile Souvestre. Télémaque by Fénelon. Mes prisons by Pellico. La princesse de Montpensier by Madame de Lafayette. Les contes de l'atelier by Michel Masson. Le vicaire de Wakefield by Goldsmith. Simple histoire by Inchbald. 3 plays by Beaumarchais. Printed in 2 columns. A half-title of the Romans populaires illustrés has been bound at the beginning of the work with a table of contents that does not correspond at all to the titles in the volume.
Contemporary half black shagreen binding. Smooth spine decorated with a large romantic ornament and a roll at head and foot. One split at head. Rubbing to edges and headcaps, but good copy, particularly fresh, on crisp white paper, free from foxing.
These popular editions are rare in good condition, and very desirable for the quality of their illustrations. They form a too-forgotten history of romantic publishing.

First edition, one of 25 numbered copies on papier or Turner.
A good copy.

First edition, one of 60 numbered copies on vellum, the only deluxe copies.
Small adhesive paper stains at head and foot of endpapers, otherwise handsome copy.

First edition, one of 60 numbered copies on vellum, the only deluxe copies.
Small adhesive paper residue at head and foot of endpapers, otherwise a handsome copy.

First edition, one of 25 numbered copies on vélin paper neige, the only large paper copies.
A good copy.

First edition, one of 145 numbered copies on pur fil, the only deluxe copies after 50 on Holland paper.
Marginal scratches with small paper losses to the back board, otherwise a handsome copy.

First edition for which there was no large paper copies.
Autograph inscription from the Abbé Pierre to a friend : "A Laurent ensemble."
A very good copy retaining its adverstising slip. Illustrated.

First edition, one of 55 numbered copies on pur fil paper, the only large paper copies.
A good copy.

First edition, one of 76 numbered copies on pur fil, the only large paper copies.
A good copy.

First edition, one of 145 numbered copies on "pur-fil" paper, ours one of 75 reserved to the Club of the first edition, the only major paper.
Signing autograph Pierre Moinot below the justification of the draw.
Nice copy.

New miniature edition of the Latin Vulgate, following the first which seems to have appeared in 1531, published by Yolande Bonhomme, but which was not illustrated. An edition is also recorded in 1538 by Simon de Colines, without illustration. Title page within an engraved Renaissance frame. A specific title page for the Epistles: Pauli aposto - l'epistolae.
The work is illustrated with 30 woodcut figures, detailed as follows: 4 figures for the Gospels (saints with their attributes in medieval or Renaissance scenes) and numerous historiated initials depicting the Passion narrative. A frontispiece for the Acts of the Apostles (repeated for Epistola Petri apostoli prima). A frontispiece for the Epistles (Saint James as preacher, walking, with a fortified city in the background, dressed in 16th-century clothing and bearing the Saint James shell on his hat and cape (figure repeated for Epistola canonica Iacobi apostoli). A frontispiece for Epistola beati Ioannis. 21 allegorical figures for the Apocalypse, including the four horsemen of the Apocalypse, a rain of stars, the seven-headed crowned beast...
Edition absent from English and French catalogues, from the British Library and the Bibliothèque Nationale de France. The figures differ from the multiple illustrated editions published by Gryphe from 1539 to 1542. Absent from the Hollis catalogue at Harvard.
Contemporary full glazed brown calf binding. Spine with raised bands, unlettered. The binding having shifted, the fore edge formed by the leaves creates a bulging protrusion that extends beyond the boards. Title page very browned. Right corner of the first three leaves missing, in margin, not touching text but having taken away a small part of the Renaissance frame of the title page. Last leaf detaching. Index leaves browned, otherwise generally fresh, with some leaves bearing small brown stains. Missing before the Apocalypse four leaves of Epistola beati Ioanni Apostoli secunda.
Rare illustrated miniature edition of the New Testament.

First edition.
Full brown marbled and glazed calf binding. Decorated smooth spine. Beige morocco title label. Speckled edges. Tear with loss to joints at foot. One corner bumped. Despite the mentioned defect, handsome copy.
Poetic anthology with a Latin part and a French part, which can be translated as The Pleasures of the Countryside, compiled and whose poems were gathered by François Bertrand. Around this theme of the countryside are thus gathered poems by Horace, Virgil, Houdard de la Mothe, Ménage, De La Farre.

First edition.
Contemporary brown sheep binding. Spine with raised bands, ornamented. Tan morocco title and volume labels. Headcap of volume I worn. Upper joint of volume I cracked at head and foot. Corners slightly bumped. Rubbing.
Gourville's public activity spanned nearly half a century, from the eve of the Fronde to the end of the 17th century. Of modest origins, he was able through his qualities to become a servant of the Duke of La Rochefoucauld, then of the Prince of Condé, and even of Mazarin. The memoirs recount the world of finance and taxation; being close to superintendent Fouquet, he became very wealthy, but followed the latter in his disgrace; but far from being ruined in exile, Gourville took advantage of this period to become a diplomat and be very close to Louis XIV's ministers; he would finally long manage the house of Condé and attempt to restore its fortune.

First edition, one of 100 numbered copies on papier de luxe, the only large paper copies.
Spine of the chemise sunned, a good copy.

First edition, one of 50 numbered copies on papier de luxe, the only large paper copies.
Spine of the slipcase slightly sunned, a good copy.

First edition, one of 100 numbered copies on papier de luxe, the only large paper copies.
Spine of the slipcase sunned, a good copy.

Edition of wich no leading copies exists.
Autograph of Georges Marchais to a militant.
Iconography.
Nice copy.

First edition, one of the rare copies on China paper.
Full red cloth Bradel binding, smooth spine, rubbed black shagreen title-label, boards slightly soiled, original wrappers preserved (front cover detached), contemporary binding signed by Thivet.
Printed stamp of the Vanier bookstore with the manuscript initials L.V. probably in Vanier's own hand at the foot of the endpaper.
Work illustrated with humorous drawings by Henri de Sta.

First edition, one of 31 numbered copies on Hollande, tirage de tête.
A very good copy.

First edition, one of 85 numbered copies on vélin pur fil Johannot paper, the tirage de tête.
Spine very slightly faded, not serious and as usual.
A very good copy.

First edition, one of 90 numbered copies on Hollande, tirage de tête.
A good and well-margined copy.

First edition, one of 40 numbered copies on pur fil Lafuma, the only large paper copies along with some hors commerce.
A very good copy.

First edition.
Publisher's full grey cloth Bradel binding, smooth spine, front board illustrated with a photograph, one upper corner slightly bumped.
Rich iconography, handsome copy.

First edition, rare.
Contemporary full marbled sheep. Spine with raised bands, decorated. Red morocco title-label. Headcaps worn. Joints cracked at head for 0.5 cm. Lower joint cracked at tail along 2 compartments. Corners bumped and worn.
Typology of wounds caused by firearms. Literature on the subject. Various remedies.

First edition.
Publisher's polychrome paper boards in Bradel binding, smooth spine, joints with small tears at head and foot, cover specially designed by Francisco Borès.
Work illustrated with 8 original lithographs by the artist as well as 183 reproductions of his works including 12 in color.
Text by Jean Grenier.

First edition, one of 15 numbered copies on chiffon Auvergne paper, tirage de tête.

Spectacularly bound in black calf by Pierre-Lucien Martin, the covers inlaid with white and grey calf with a geometric decoration of gilt fillets making perspective shapes, endpapers and pastedowns of Auvergne paper, the delicate Auvergne paper covers and back preserved, top edge gilt. Slipcase with black paper flaps, lined with grey felt and with a spine of rhodoid plastic (small crack to head), trimmed with black calf and with a brown paper interior.

This copy is enriched with a manuscript sheet bearing six fragments of poems chosen and copied out by Paul Eluard, which had appeared in Poésie et vérité [Poetry and Truth] ten years before.
A magnificent copy remarkably bound in decorated black calf by Pierre-Lucien Martin.

First French edition, rare, translated by Charles Lefèvre from the fourth edition.
Contemporary full raspberry sheep. Smooth spines decorated with three compartments and fillets. Titles and volume numbers gilt. Large floral panel stamped in blind on covers. Gilt fillet border. One small wormhole to upper joint at tail of volume 3. Light rubbing to headcaps and some joints. Some scattered foxing on paper that remains white. Handsome copy, rare in full binding and in this condition.
From 1799 to 1825, Colletta was both a witness and an actor in all the Neapolitan revolutions. He thus adhered to the new government as soon as the French founded a new republic in Naples in 1799. As soon as Ferdinand IV had reconquered the city, he was thrown in prison. In 1806 the Bourbons were again thrown from the throne and Joseph Bonaparte settled in Naples. Colletta was then reinstated to his rank. In 1812, he was promoted to general and director of roads and bridges. He served under Murat's orders and fought the Austrians in 1815. During the Revolution of 1820, he was called by the king as advisor, and again fought the Austrians in 1821. When autocracy was restored, he was imprisoned for 3 months and escaped execution thanks to Austrian intervention. Colletta then knew exile and was permitted to reside in Florence where he wrote his History of Naples. This takes its place in European history.

First edition published anonymously.
Half brown shagreen binding, spine with four raised bands decorated with gilt fleurons, gilt author's name at foot, minor rubbing to spine and corners, marbled paper boards, marbled endpapers and pastedowns.
The author's name, E. Michelot, has been inscribed in ink on the title page.
Rare.

First edition.
Copy presented in its original wrappers.
Spine with three small paper losses, pale dampstaining and some light worming marginally affecting certain leaves.

First edition for the entirety of these sequential works. Each of the 5 Avertissements has a specific title page, the fourth and fifth dated 1690; the seven texts have the particularity of having continuous pagination, even though they did not appear on the same date, the last two being dated 1691 (L'antiquité eclaircie actually corresponds to the sixth avertissement, the seventh part Etat present des controverses forming the third and final part of the sixth avertissement. The last two texts are published by Jean Anisson and no longer by Sébastien Cramoisy. Publishers' devices on title pages, stork for the first, fleur-de-lys for Anisson.
Full dark green morocco binding from the late 19th century signed Duru 1851. Raised bands Jansenist spine. Gilt title and date. Double blind fillet border on covers. Rich interior border. Gilt edges. Minor rubbing to edges and corners. Thin scratches on covers without significance. Very handsome copy, (some gatherings yellowed throughout but very clean), in a master binding, with beautiful margins.
L'histoire des variations des églises protestantes which neutralized Protestant theses by demonstrating their incessant variations, appeared in 1688; its success was immediate and troubled the Protestant world. Very quickly the Protestant minister Jurieu responded in his work Lettres pastorales to Bossuet's book by attacking it sharply; in turn and masterfully, Bossuet published six avertissements in which he treats the principal points of doctrine opposing Catholicism to Protestantism. This battle of books brilliantly reactivated the theological and political quarrel of the two interpretations of Christianity. Bossuet fought Protestants all his life and with the greatest passion, even obtaining the conversion of Turenne and other notable figures.
Bookplate of Ysabel Sanchez de movellan. Second bookplate with the motto Sine angulis angulo. Library stamp on title page: Ex. Bibl. Eccl. Cath. Rupel. On verso of title page, another stamp: Couet. Chne.

Collection of 4 memoirs and two documents from the legal case that opposed Beaumarchais to Judge Goezman.
Details:
Memoire à consulter, pour Pierre-Augustin Caron de Beaumarchais. Imprimerie de Valleyre. 1773. Paris.
Supplément au mémoire à consulter. Imprimerie de Quillau. 1773. Paris.
Addition au supplément du mémoire à consulter. Imprimerie de Clousier. Paris.
Requête d'attenuation pour le Sr Caron de Beaumarchais. Imprimerie de Knapen. 1773. Paris.
Quatrième mémoire à consulter. Imprimerie de Clousier. 1774. Paris.
Arrest de la cour du Parlement du 26 février 1774. Chez P.G. Simon. 1774. Paris.
Early 20th-century half vellum binding. Smooth spine with handwritten title. Marbled paper boards. Some manuscript notes in margins of certain leaves. Foxing and marginal dampstaining to right corner of the Addition au supplément... Overall paper more or less yellowed.
From 1773 to 1774, Beaumarchais published 4 memoirs in which he dramatized his legal adventure (one can see that he had chosen to represent himself). These 4 memoirs, which blend dialogues and interrogations, entertained all of Paris, even Madame Du Barry, and were performed everywhere in cafés and on the boulevards, as they constitute a formidable comedy in which lies are ultimately revealed. Beaumarchais was indeed acquitted in the case that opposed him to Judge Goezman; the latter was the reporting judge in his trial regarding the Paris-Duverney inheritance which ruined and dishonored the author. Beaumarchais accused Goezman of corruption and the judge in turn accused Beaumarchais of defamation and attempted corruption.
Judge Goezman constitutes above all a symbol of the corruption of the new Parliament erected by Louis XV, and of the arbitrariness of justice.

first edition for which there is no mention of leading copies.
Signed autograph Jean Sarment Etienne Rey and his wife: "... these little songs intermittent poet ..."
spine and marginally insolated boards, nice interior state.

First Edition, one of 129 numbered copies on laid Lafuma Navarre and reimposed format in-quarto tellière, head print.
Three small tears at the foot of the first board, a slight trace of sunstroke at the foot of the back.

First edition, one of 30 numbered copies on Hollande, the only large paper copies.
A very good copy with good margins.

First edition in French, one of 20 numbered copies on Holland paper, deluxe copy.
A portrait of Arthur Symons as frontispiece.
Endpapers lightly and partially shadowed.

New edition published in the author's complete works.
Half green calf binding, faded spine with four raised bands set with gilt dots decorated with double gilt compartments with corner ornaments, brown calf title label and author's name, small lack to head cap, scratches at head of joints, marbled paper boards, marbled endpapers and pastedowns, contemporary binding.
Light foxing of no consequence.

New edition.
Half caramel long-grain morocco binding, spine with one raised band decorated with black romantic fleurons, hazelnut morocco title label, gilt fillet framing the marbled paper boards, marbled endpapers and pastedowns, marbled edges, contemporary romantic binding.
Printed bibliophile's stamp with crowned cipher as bookplate.
Some light foxing.
Handsome copy in a charming contemporary romantic binding.

New edition.
Half long-grain caramel morocco binding, spine with one raised band decorated with black romantic fleurons, hazelnut morocco title-label, gilt fillet framing the marbled paper boards, marbled endpapers and pastedowns, one lower corner slightly bumped, marbled edges, contemporary romantic binding.
Printed bibliophile's stamp with crowned monogram serving as bookplate.
Some light foxing.
Copy handsomely bound in a charming contemporary romantic binding.

First edition printed in 300 copies on laid paper of this text which inspired William Shakespeare's "Romeo and Juliet".
Full two-tone blue and brown marbled sheep binding, spine with four raised bands decorated with black fillets, hazelnut shagreen title-label, marbled endpapers and pastedowns, original wrappers preserved, top edges gilt, contemporary binding.
Bookseller's descriptive label pasted at head of front endpaper of first volume.
Rare and handsome copy.

First edition, one of 25 numbered copies on Japon, tirage de tête.
Repaired tears to the spine, otherwise a good copy.

First edition, one of 130 numbered copies on pur fil, the only large paper copies after 25 Hollande.
A very good copy.

First edition, one of 200 numbered copies on Papier rhapsodie d'Arjomari justified and numbered par José Corti, the only large paper copies.
Spine slightly faded, not serious, two small traces of folding to head of upper cover, otherwise a good copy.

First edition printed in 500 numbered copies on Holland paper.
Half bordeaux shagreen binding, faded spine with five raised bands, marbled paper boards, marbled endpapers and pastedowns, preserved wrappers refreshed and lined.
Work illustrated with a portrait of Corneille as frontispiece.
Handsome interior condition.

First edition printed on laid paper.
Half tan sheep binding with corners, faded spine with five raised bands decorated with gilt fillets, publisher's gilt monogram and date at foot, spine rubbed, one joint cracked at head, marbled paper boards, marbled endpapers and pastedowns, top edge gilt, corners bumped and rubbed, contemporary binding.
Provenance: from the publisher's library with his gilt monogram at foot of spine and his engraved bookplate with his initials pasted on a pastedown.
Handsome interior condition.

First edition, one of the rare copies printed on large vellum.
Half chocolate brown morocco binding with corners, spine with five raised bands decorated with double gilt compartments at the centers of which the crowned and gilt monogram of Clément de Ris is repeated five times, gilt date at foot, small traces of rubbing on joints, gilt fillet frame on marbled paper boards, marbled endpapers and pastedowns, top edge gilt retaining deckled edges, upper corners slightly bumped, near-contemporary binding signed by Dupré.
Some light foxing affecting mainly some deckled edges of certain leaves.
Gift inscription and manuscript notation in pen by Clément de Ris at head of an endpaper and facing it.
Deluxe copy handsomely bound.

New revised and corrected edition.
Half-shagreen bindings in brown, smooth spines faded and decorated with gilt romantic cartouches, gilt friezes at head and foot, marbled paper boards, marbled endpapers and pastedowns, speckled edges, four corners slightly bumped.
Handsome interior condition almost entirely free from foxing.

New revised and corrected edition.
Half brown shagreen binding, smooth faded spine decorated with gilt romantic cartouches, gilt friezes at head and foot, marbled paper boards, marbled endpapers and pastedowns, speckled edges, two corners slightly bumped.
Handsome interior condition virtually free of foxing.

First edition.
Contributions by Théodore Duret "Le nationalisme', L. Tolstoï "Quarante ans" Mark Twain "A la dure", Alfred Jarry "Le guet-apens de M. Timbre", Félicien Fagus...
A small tear at foot of spine, a light stain at head of front board.

First edition.
Contributions by Alfred Jarry "De quelques viols légaux", Charles-Louis Philippe "Le père Perdrix", Julien Benda "A propos de Pelléas et Mélisande", Docteur Binet-Sanglé "Les cures miraculeuses de Jésus", Isabelle Eberhardt "Heures de Tunis"...
A small tear at the foot of the spine.

First edition.
Contributions by Alfred Jarry "Le prolongement du chemin de fer de ceinture" and "Les contes du vampire par A.-Ferdinand Hérold", Marcel Réja "Le péril imaginaire", Charles-Louis Philippe "Le père Perdrix", Robert Scheffer "Poèmes"...
A tiny tear at the foot of the spine.

First edition.
Contributions by Alfred Jarry "Messaline", Leo Tolstoy "Du sens de la vie", Matilde Serao "Infidèle", Charles Saulnier "Le musée de Lille", André Lebey "Quatre départs"...
Light foxing to the covers.

First edition.
Contributions by Alfred Jarry "Messaline", Leo Tolstoy "De l'éducation religieuse", Michel Arnauld on Friedrich Nietzsche, Alexandre Cohen 'Le niveleur de montagnes, légende javanaise"...
A stain at the foot of the front cover, a tear at the foot of the back cover.

First edition.
Contributions by Alfred Jarry, Rachilde, Max Nordau, Jacques-Emile Blanche Georges Polti on singular and curious opinions concerning lord Hamlet; Jacques de Nittis "Vénus ennemie", Paul Louis "L'empire britannique", Thadée Natanson, Félicien Fagus...
Small lack at foot of spine.

First edition.
Contributions by Paul Adam "Oeuvres inédites de l'Empereur", Léon Tolstoï "Qu'est-ce que l'art?", Gustave Kahn "Jordon", Jean de Mitty, Alfred Athys...
Some stains to front cover.

First edition.
Contributions by Octave Mirbeau "Journal d'un femme de chambre", Edmond Fazy "Artin", Théodore de Wizewa, Gustave Kahn, Henri Ghéon...
Issue illustrated with 3 drawings by Frédéric Front on devotion to Saint Anthony of Padua and a portrait of Victor Barrucand by Félix Vallotton.
Some stains and worming to covers.

First edition.
Contributions by Octave Mirbeau "Journal d'un femme de chambre", Maurice Maindron "Les musées militaires", Urbain Gohier "Le ressort" Félicien Fagus "Louise, drame social", Romain Coolus...
Small tear at foot of spine.

First edition.
Contributions by Octave Mirbeau "Diary of a Chambermaid", Judith Gautier "The Flower-Bird", Thadée Natanson on Georges Seurat, Paul Louis, Romain Coolus...
A.-Ferdinand Hérold "Ballad to the Glory of Mercier", Gustave Kahn "Ruskin"...
Issue illustrated with 4 drawings by Georges Seurat
Some worming to covers.

First edition.
Contributions by Leo Tolstoy "What Love Demands", Romain Coolus "The Marquis of Carabas", Théodore Duret "Critical Studies of History", Léon Blum, Thadée Natanson...
Light worming to covers.

First edition.
Contributions by Octave Mirbeau "Journal d'un femme de chambre", Léon Blum "L'article 7", Judith Gautier "L'oiseau-fleur lisse ses plumes", Gustave Kahn "Images", André Gide, Emile Verhaeren...
Some tears to spine.

First edition.
Contributions by Octave Mirbeau "Journal d'un femme de chambre", Paul Louis "La réaction anti-marxiste", Franc-Nohain "La croix d'honneur ses plumes", Gustave Kahn, Victor Barrucand...
Issue illustrated with a portrait of Léon Blum by Félix Vallotton.
Two small tears to spine, foxing to covers.

First edition.
Contributions by Octave Mirbeau "Journal d'un femme de chambre", J.L. de Janasz "L'auteur de Quo Vadis", Alexandre Cohen "L'affaire de Polna", Henri Ghéon, Romain Coolus...
Issue illustrated with a portrait of Octave Mirbeau by Félix Vallotton.
Minor worming to covers without damage.

First edition.
Contributions by Alfred Jarry "Anthropophagie", Gustave Kahn "Victor Hugo et la critique", Paul VChenay "D'un cahier de Victor Hugo", Mark Twain "A la dure"...
Other contributions by Lucie Delarue-Mardrus, Georges Eekhoud, Judith Gautier, Papus, Emile Zola notably on Tolstoy and the sexual question.
Light worming to covers.

First edition.
Contributions by Paul Louis "L'essor économique de l'Allemagne", Léon Tolstoï "La conférence de la Paix", Romain Coolus "Le marquis de Carabas", Robert Dreyfus "Egidy", Charles Péguy "La crise et le Parti Socialiste", Léon Blum, Félicien Fagus...
Light worming to covers.

Fourth edition.
Bradel binding in full brown cloth, smooth spine, date and double gilt fillet at foot, signed binding.
Handsome copy.

First edition.
Full brown sheep binding, smooth discolored spine decorated with gilt romantic arabesques, gilt roulettes on headcaps, top headcap worn, frame of quadruple gilt fillets decorated with typographical fleurons in the corners on paper boards, marbled endpapers and pastedowns, frame of fine gilt dentelle on pastedowns, original wrappers preserved with small corner restorations, corners slightly bumped, gilt fillets on leading edges, all edges gilt, contemporary binding.
Signed autograph inscription from the Vicomte de Larochefoucauld.
Some rubbing traces on binding, occasional light foxing.
Gift inscription in ink on front wrapper.

First edition, one of 13 numbered copies on vélin du marais paper, the only large paper copies.
A good copy.

Reprint on laid paper published by Horemans in Lille, using the woodblocks from the edition by Jehan Lecocq in Troyes in 1539.
This work consists of the reproduction of 56 woodcuts after 15th-century xylographs.
Spine faded, front board detached, angular crease mark at head of rear board, handsome interior condition.

First edition.
Half green sheep binding, smooth spine faded decorated with the gilt bookplate of Count de Falloux repeated four times, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, binding signed by A. Lasneret, Angevin binder.
Signed autograph inscription from Victor de Laprade to Count de Falloux.
Some foxing mainly at the beginning of the volume, light dampstain at foot of leaves.
Provenance: from the library of Bourg d'Iré, property of Count de Falloux, with his bookplate pasted on a pastedown.

Second illustrated edition with a portrait of Henri Régnault etched by Laguillermie.
Half chocolate brown shagreen binding, spine with five raised bands slightly faded, marbled paper boards, front board with a white stain at head, marbled endpapers and pastedowns, speckled edges.
Provenance: from the library of Louis d'Eichtahl with a shelf label pasted on a pastedown.

First edition of the French translation established by prince Augustin Galitzin for the first and third volumes, first edition for the second; the third volume being printed on laid paper.
Half black cloth binding, smooth spine richly decorated with the gilt ex-libris of comte de Falloux repeated four times, black paper boards.
Light foxing, a light dampstain without consequence to the half-title page of the second volume.
Provenance: from the library of Bourg d'Iré, property of comte de Falloux, with his bookplate pasted to a pastedown.

First edition, a Service de Presse (advance) copy.
Signed autograph inscription from Henri Lavedan to the comte de Blois.
Two small tears to the slightly sunned spine, foxing to the front cover.
Complete with publisher's (advertising) slip.

First edition, an advance (service de presse) copy.

Three small wormholes and a clear dampstain to margin of upper cover, one joint cracked at foot.
Retaining its prière d'insérer. 
Very precious and moving autograph inscription signed and dated by Maurice Blanchot to his mother and sister: "Personne ne reçoit tant de Dieu que celui qui est entièrement mort. Saint Grégoire. Pour sa chère maman et sa vieille Marg, en toute affection. Maurice [No one receives God so fully as someone who is entirely dead. Saint Gregory. For his darling mother and old Marg, with all love. Maurice]."

First edition, an advance (service de presse) copy.
Very handsome and moving autograph inscription signed by Maurice Blanchot to his sister on a calling card pasted to head of one endpaper: "A ma chère Marg. Ce livre d'amitié et pour l'amitié (plus à feuilleter qu'à lire, peut-être) avec ma grande affection. Maurice [To my dear sister Marg. This book of friendship, or book for friendship (maybe more to leaf through than to read) with great affection. Maurice]."
A good copy.

First edition, an advance (service de presse) copy.
A very handsome and moving autograph inscription from Maurice Blanchot to his sister : "Pour ma chère Marguerite qui porte maintenant (mot illisible) le poids de mon affection. Maurice [For my dear Marguerite who now bears (illegible word) the weight of my affection. Maurice]."
A good copy.

New edition.
Half black shagreen binding, smooth spine decorated with gilt romantic arabesques, one restored tear at foot of spine, marbled paper boards, one corner lacking.
Some foxing, scraped gift inscription causing a small paper loss at head of title page.