Paris

First edition in French, of which there were no deluxe copies, a Service de Presse (advance) copy.
Precious autograph inscription signed by George Meredith to Maurice Blanchot.
Two tears at head and foot of spine, marginal worming to first cover, one angular stain to front endpaper.

First edition, a Service de Presse (advance) copy.
Small marginal tears without loss to first cover.
Handsome copy complete with publisher's (advertising) slip.
Precious autograph inscription signed by Armand Lanoux to Maurice Blanchot.

First edition, a Service de Presse (advance) copy.
Precious autograph inscription signed by Madeleine Chapsal to Maurice Blanchot.
A small tear at head of first cover, otherwise handsome copy.

First edition of which there were no large paper copies.
Handsome autograph inscription from Claude Digeon to Maurice Blanchot.

First edition, a Service de Presse (advance) copy.
Precious autograph inscription signed by Patrick Waldberg to Maurice Blanchot.
Three small stains at head of first cover.

First edition in French, an advance (service de presse) copy.
Handsome and rare autograph inscription from Ernst von Salomon to Maurice Blanchot.
Plats slightly soiled, otherwise a good copy.

First edition, a Service de Presse (advance) copy.
Precious autograph inscription signed by Robert Kemp to Maurice Blanchot.
First cover as well as pages of first gathering creased at head, otherwise a handsome copy.

First edition, an advance (service de presse) copy.
Handsome autograph inscription from Pierre Daninos to Maurice Blanchot.

First edition, a Service de Presse (advance) copy.
Precious autograph inscription signed by Etiemble to Maurice Blanchot: "... en vive estime (et jalousie)" ["with deep esteem (and jealousy)"].
A small tear at head of first cover, slight foxing to spine.

First edition printed on ordinary paper.
Precious autograph inscription signed by Pierre Francescat to Maurice Blanchot.
A small tear on the first cover, spine slightly warped.

The first edition, of which there were no deluxe copies, a Service de Presse (advance) copy.
Precious autograph inscription signed by Marie-Hélène Camus to Maurice Blanchot.
Photographs by Daniel Camus.
Handsome copy.

The first edition, of which there were no deluxe copies, a Service de Presse (advance) copy.
Precious autograph inscription signed by Anne-Marie de Vilaine to Maurice Blanchot.
Handsome copy complete with publisher's (advertising) slip.

First edition printed on ordinary paper.
Precious autograph inscription signed by Georges Bonnamy to Maurice Blanchot.
A small tear re-glued at the foot of the spine, foxing on the top edge.

First edition, a Service de Presse (advance) copy.
Precious autograph inscription signed by Colette Yver to Maurice Blanchot.
Two tears repaired at head and foot of spine, worming on top edge.

New edition, rare, following the first French edition published in 1786. Translation by De La Marre of the English novel: the Recess, or a tale of other time (1785).
Contemporary half brown sheep binding with corners. Spine with raised bands decorated with fillets. Havana morocco title label. Head slightly worn. Foot largely missing. A crack at foot. Corners slightly bumped. Split to upper joint at head. Modest binding.
Like Walpole's Castle of Otranto, The Recess is one of the first Gothic novels, not yet inhabited by the formulas and stereotypes that would exhaust the genre itself, but it already contains all the ingredients that would make it successful: spleen, melancholy, terror, settings of ruined castles and abbeys, secrets surrounding an obscure birth. This novel above all marks the superiority of English fiction, with a plot and narrative writing much more mature and developed than The Castle of Otranto. Two sisters live in the underground chambers of a castle, and the novel gradually unfolds the discovery of this strange situation. We read in the Historical, Literary and Anecdotal Memoirs drawn from the correspondence of Grimm and Diderot: "it is the story of a daughter of Mary Stuart and the Duke of Norfolk, a tissue of romantic incidents, sad, implausible, but whose sequence has nevertheless I know not what charm that can engage readers who love this kind of work."

First edition, a Service de Presse (advance) copy.
Precious signed autograph inscription from Marcel Arland to Maurice Blanchot.
Two tears at head and foot of spine, light crease mark at head of second cover.

New edition of the French translation, of which there were no deluxe copies.
Signed autograph inscription from the translator.
Provenance: from the library of Maurice Blanchot.
Minor stains of no consequence to the covers.

First edition, a Service de Presse (advance) copy.
Precious autograph inscription signed by Jean Blanzat to Maurice Blanchot.
Two small insignificant stains on the spine and front cover.
Complete with publisher's (advertising) slip.
Preface by Raymond Queneau.

First edition of the French translation, of which there were no deluxe copies, a Service de Presse (advance) copy.
Precious autograph inscription signed by Harry Mathews in French to Maurice Blanchot "... avec toute ma gratitude pour l"'Arrêt de mort', pour ne pas nommer tous les autres accomplis et à venir" ["... with all my gratitude for 'Death Sentence', not to mention all the others accomplished and to come"].
Handsome copy.

First edition, of which there were no deluxe copies, a Service de Presse (advance) copy.
Precious signed autograph inscription from Constantin de Grunwald to Maurice Blanchot.
Iconography.
Two tears at head and foot of spine.

First edition on ordinary paper.
Precious signed autograph inscription from Jean-Paul Weber to Maurice Blanchot.
Spine slightly sunned without consequence, a small lack to the pages of the first gathering which were poorly cut.

First edition, of which there were no deluxe copies, a service de presse (advance) copy.
Precious autograph inscription signed by Bernard Savoy to Maurice Blanchot.
Spine slightly sunned, minimal foxing on covers.
Complete with publisher's slip.

First edition, an advance (service de presse) copy.
Handsome autograph inscription from Annette Vaillant to Maurice Blanchot.

First edition, an advance (service de presse) copy.
Handsome autograph inscription from Marcel Jouhandeau to Maurice Blanchot.
Spine slightly and insignificantly sunned.

First edition, a service de presse (advance) copy.
Precious autograph inscription signed by Marcel Jouhandeau to Maurice Blanchot.
Spine wrinkled, small stains on the first cover.

First edition, an advance (service de presse) copy.
Handsome autograph inscription from Marcel Jouhandeau to Maurice Blanchot.

First edition, of which there were no deluxe copies, a Service de Presse (advance) copy.
Precious signed autograph inscription from Marie-Emilie Rey to Maurice Blanchot.
A small tear at the foot of the spine, slight worming on the second cover.
Complete with publisher's slip.

Illustrated edition with 20 original etchings by André Jacquemin, one of 225 copies on Rives paper.
Publisher's full black leather binding in morocco style, spine with four raised bands showing light rubbing of no consequence, boards decorated with gilt fillets forming a geometric composition, green paper endpapers and pastedowns, top edge gilt, light traces of rubbing to slipcase.

First edition of which there were no large paper copies.
A good copy.

First edition on ordinary paper, false mention of edition.
Autograph inscription from the author.
A good copy.

Original extract from La Gazette du bon ton, illustrated with eight color drawings by Geffroy. Accompanied by a double sheet of text concerning winter fashion from different designers (Lanvin, Poiret, Vionnet and Worth).

The famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton was published until 1925 with an interruption during the War from 1915 to 1920, due to the mobilization of its editor-in-chief. It consists of 69 issues printed in only 2000 copies and is illustrated notably with 573 color plates and 148 sketches representing models by major couturiers. From their publication, these luxurious publications "addressed bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu "La Gazette du bon ton" in Dictionnaire de la mode, 2016). Printed on fine laid paper, they used a typeface specially created for the magazine by Georges Peignot, the Cochin font, later adopted in 1946 by Christian Dior. The prints were created using the metal stencil technique, enhanced with colors and some highlighted with gold or palladium.
The adventure began in 1912 when Lucien Vogel, a man of society and fashion - he had already contributed to the magazine Femina - decided to found with his wife Cosette de Brunhoff (sister of Jean, Babar's father) La Gazette du bon ton whose subtitle was then "Art, modes et frivolités." Georges Charensol reports the words of the editor-in-chief: "In 1910, he observed, there existed no fashion journal that was truly artistic and representative of the spirit of its time. I was therefore thinking of creating a luxury magazine with truly modern artists [...] I was certain of success because in fashion no country can rival France." ("Un grand éditeur d'art. Lucien Vogel" in Les Nouvelles littéraires, no. 133, May 1925). The magazine's success was immediate, not only in France, but also in the United States and South America.
Originally, Vogel assembled a group of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt; and finally his friends from the École des beaux-arts including George Barbier, Bernard Boutet de Monvel, and Charles Martin. Other talents quickly joined the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Charles Martin, Maggie Salcedo. These artists, mostly unknown when Lucien Vogel called upon them, would later become emblematic and sought-after artistic figures. These same illustrators created the drawings for the Gazette's advertisements.
The plates highlight and sublimate the dresses of seven designers of the period: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provided exclusive models for each issue. Nevertheless, some of the illustrations featured no real model, but only the illustrator's idea of contemporary fashion.
La Gazette du bon ton represents a decisive step in fashion history. Combining aesthetic excellence and visual unity, it brought together for the first time the great talents from the worlds of arts, letters and fashion and established, through this alchemy, a completely new image of woman—slender, independent and bold—also carried by the new generation of couturiers Coco Chanel, Jean Patou, Marcel Rochas...
Taken over in 1920 by Condé Montrose Nast, La Gazette du bon ton would largely inspire the new composition and aesthetic choices of the "small dying journal" that Nast had bought several years earlier: Vogue magazine.
Very handsome copy.

Original extract from La Gazette du bon ton, illustrated with thirteen colored drawings signed M.T.

Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton was published until 1925 with an interruption during the War from 1915 to 1920, due to the mobilization of its editor-in-chief. It consists of 69 issues printed in only 2000 copies and is illustrated notably with 573 colored plates and 148 sketches representing models by great couturiers. From their publication, these luxurious publications "addressed bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu "La Gazette du bon ton" in Dictionary of Fashion, 2016). Printed on fine laid paper, they use a typeface specially created for the magazine by Georges Peignot, the Cochin character, adopted in 1946 by Christian Dior. The prints are produced using the metal stencil technique, heightened in colors and some highlighted with gold or palladium.
The adventure began in 1912 when Lucien Vogel, man of the world and fashion - he had already participated in the magazine Femina - decided to found with his wife Cosette de Brunhoff (sister of Jean, Babar's father) La Gazette du bon ton whose subtitle was then "Art, fashion and frivolities." Georges Charensol reports the editor-in-chief's words: "En 1910, observe-t-il, il n'existait aucun journal de mode véritablement artistique et représentatif de l'esprit de son époque. Je songeais donc à faire un magazine de luxe avec des artistes véritablement modernes [...] J'étais certain du succès car pour la mode aucun pays ne peut rivaliser avec la France." ["In 1910, he observed, there was no truly artistic fashion magazine representative of the spirit of its time. I was therefore thinking of making a luxury magazine with truly modern artists [...] I was certain of success because for fashion no country can rival France."] ("A great art publisher. Lucien Vogel" in Les Nouvelles littéraires, n°133, May 1925). The magazine's success was immediate, not only in France, but also in the United States and South America.
Originally, Vogel therefore assembled a group of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt; and finally his friends from the École des beaux-arts who were George Barbier, Bernard Boutet de Monvel, or Charles Martin. Other talents quickly joined the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Charles Martin, Maggie Salcedo. These artists, mostly unknown when Lucien Vogel called upon them, would later become emblematic and sought-after artistic figures. These same illustrators created the drawings for the Gazette's advertisements.
The plates highlight and sublimate the dresses of seven creators of the era: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provided exclusive models for each issue. Nevertheless, some of the illustrations featured no real model, but only the illustrator's idea of contemporary fashion.
La Gazette du bon ton is a decisive step in fashion history. Combining aesthetic demand and plastic unity, it brought together for the first time the great talents of the worlds of arts, letters and fashion and imposed, through this alchemy, a completely new image of women, slender, independent and audacious, also carried by the new generation of couturiers Coco Chanel, Jean Patou, Marcel Rochas...
Acquired in 1920 by Condé Montrose Nast, La Gazette du bon ton would largely inspire the new composition and aesthetic choices of the "dying little magazine" that Nast had purchased a few years earlier: Vogue magazine.
Very fine copy.

First edition.
Contemporary brown paper Bradel binding, modern black sheep title label, skillful repairs to joints and corners.
Rare autograph inscription from the author to his friend the sculptor David (d'Angers). The inscription, though its ink has faded, is still legible.
Retaining its frontispiece lithograph by Raffet.
Occasional spotting.

First edition, one of 100 numbered copies on vélin du Marais, the only deluxe copies with 25 Japan.
Signed autograph inscription by René Fauchois.
Work illustrated with 16 drawings by Boris.
Handsome full-margined copy.

First edition on ordinary paper.
Paper yellowed.

First edition, one of 275 numbered copies on Arches, the only deluxe copies.
Half blue-grey morocco binding, spine with five raised bands with minor tears, gilt date at foot, marbled paper boards, marbled endpapers and pastedowns, covers and spine preserved, top edge gilt, contemporary binding signed by Stroobants.
Signed autograph inscription by Vicomte de Reiset.
Work illustrated with a frontispiece and 28 plates.

First edition.
Ex-dono in ink to head of upper cover, faint marginal dampstain to lower cover.

The first edition, of which there were no deluxe copies.
Publisher's full navy cardboard binding, smooth spine, complete with its illustrated dust jacket which shows no defects.
Autograph inscription signed by André Frossard to the great Gaullist resistance fighter Gilbert Grandval.
Handsome copy.

First collected edition of the French translation.
Full black paper boards, smooth spine, tan sheep title-label, red edges, modest contemporary binding.
Handsome interior condition almost entirely free of foxing.

The first edition, of which there were no deluxe copies.
Signed and inscribed copy.
Iconography.
Very light worming to edges without significance.

First edition, an advance (service de presse) copy.
Autograph inscription from the author.
Spots, not serious, to the edges.

The first edition, of which there were no deluxe copies.
Signed and inscribed copy.
Work illustrated with drawings by Edmond-Maurice Pérot.

First edition on ordinary paper.
Half dark green shagreen binding, faded spine with four raised bands set with gilt dots decorated with gilt double compartments embellished with gilt typographical motifs, marbled paper boards, original wrappers preserved, top edge gilt.
Press clippings included.
Signed and inscribed by Willy to Willy Michel.

First edition, of which there were no deluxe copies.
Half dark green shagreen binding, faded spine with four raised bands set with gilt dots decorated with gilt double compartments embellished with gilt typographical motifs, marbled paper boards, original wrappers preserved, top edge gilt.
Signed and inscribed by Willy to Willy Michel.
Cover illustrated by Wely depicting Willy and Colette
Photographic frontispiece showing Colette as Claudine with the inscription "Vive la vie en rose!"
Additionally, we include a one-page autograph letter signed by Madeleine de Swarte concerning Willy and addressed to Willy Michel, envelope preserved.
Press clippings included.

Original color print, printed on vergé paper, signed in the plate.

An original print used to illustrate the Gazette du bon ton, one of the most attractive and influential 20th century fashion magazines, featuring the talents of French artists and other contributors from the burgeoning Art Deco movement.

A celebrated fashion magazine established in 1912 by Lucien Vogel, La Gazette du bon ton appeared until 1925, with a hiatus from 1915 to 1920 due to the war (the editor-in-chief having been called up for service). It consisted of 69 issues printed in only 2,000 copies each and notably illustrated with 573 color plates and 148 sketches of the models of the great designers. Right from the start, this sumptuous publication “was aimed at bibliophiles and fashionable society,” (Françoise Tétart-Vittu, “La Gazette du bon ton”, in Dictionnaire de la mode, 2016) and was printed on fine vergé paper using a type cut specially for the magazine by Georges Peignot, known as Cochin, later used (in 1946) by Christian Dior. The prints were made using stencils, heightened in colors, some highlighted in gold or palladium.

The story began in 1912, when Lucien Vogel, a man of the world involved in fashion (he had already been part of the fashion magazine Femina) decided, with his wife Cosette de Brunhoff – the sister of Jean, creator of Babar – to set up the Gazette du bon ton, subtitled at the time: “Art, fashion, frivolities.” Georges Charensol noted the reasoning of the editor-in-chief: “’In 1910,’ he observed, ‘there was no really artistic fashion magazine, nothing representative of the spirit of the time. My dream was therefore to make a luxury magazine with truly modern artists…I was assured of success, because when it comes to fashion, no country on earth can compete with France.’” (“Un grand éditeur d’art. Lucien Vogel” in Les Nouvelles littéraires, no. 133, May 1925). The magazine was immediately successful, not only in France but also in the United States and Latin America.

At first, Vogel put together a team of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt, as well as eventually his friends from school and the School of Fine Arts, like George Barbier, Bernard Boutet de Monvel and Charles Martin. Other talented people soon came flocking to join the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Chalres Martin, Maggie Salcedo. These artist, mostly unknown when Lucien Vogel sought them out, later became emblematic and sought-after artistic figures. It was also they who worked on the advertising drawings for the Gazette.

The plates put the spotlight on, and celebrate, dresses by seven designers of the age: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The designers provided exclusive models for each issue. Nonetheless, some of the illustrations are not based on real models, but simply on the illustrator’s conception of the fashion of the day.

The Gazette du bon ton was an important step in the history of fashion. Combining aesthetic demands with the physical whole, it brought together – for the first time – the great talents of the artistic, literary, and fashion worlds; and imposed, through this alchemy, a completely new image of women: slender, independent and daring, which was shared by the new generation of designers, including Coco Chanel, Jean Patou, Marcel Rochas, and so on…

Taken over in 1920 by Condé Montrose Nast, the Gazette du bon ton was an important influence on the new layout and aesthetics of that “little dying paper” that Nast had bought a few years earlier: Vogue.

Original color print, printed on vergé paper, signed in the plate.

An original print used to illustrate the Gazette du bon ton, one of the most attractive and influential 20th century fashion magazines, featuring the talents of French artists and other contributors from the burgeoning Art Deco movement.

A celebrated fashion magazine established in 1912 by Lucien Vogel, La Gazette du bon ton appeared until 1925, with a hiatus from 1915 to 1920 due to the war (the editor-in-chief having been called up for service). It consisted of 69 issues printed in only 2,000 copies each and notably illustrated with 573 color plates and 148 sketches of the models of the great designers. Right from the start, this sumptuous publication “was aimed at bibliophiles and fashionable society,” (Françoise Tétart-Vittu, “La Gazette du bon ton”, in Dictionnaire de la mode, 2016) and was printed on fine vergé paper using a type cut specially for the magazine by Georges Peignot, known as Cochin, later used (in 1946) by Christian Dior. The prints were made using stencils, heightened in colors, some highlighted in gold or palladium.

The story began in 1912, when Lucien Vogel, a man of the world involved in fashion (he had already been part of the fashion magazine Femina) decided, with his wife Cosette de Brunhoff – the sister of Jean, creator of Babar – to set up the Gazette du bon ton, subtitled at the time: “Art, fashion, frivolities.” Georges Charensol noted the reasoning of the editor-in-chief: “'In 1910,' he observed, ‘there was no really artistic fashion magazine, nothing representative of the spirit of the time. My dream was therefore to make a luxury magazine with truly modern artists…I was assured of success, because when it comes to fashion, no country on earth can compete with France.'” (“Un grand éditeur d'art. Lucien Vogel” in Les Nouvelles littéraires, no. 133, May 1925). The magazine was immediately successful, not only in France but also in the United States and Latin America.

At first, Vogel put together a team of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt, as well as eventually his friends from school and the School of Fine Arts, like George Barbier, Bernard Boutet de Monvel and Charles Martin. Other talented people soon came flocking to join the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Chalres Martin, Maggie Salcedo. These artist, mostly unknown when Lucien Vogel sought them out, later became emblematic and sought-after artistic figures. It was also they who worked on the advertising drawings for the Gazette.

The plates put the spotlight on, and celebrate, dresses by seven designers of the age: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The designers provided exclusive models for each issue. Nonetheless, some of the illustrations are not based on real models, but simply on the illustrator's conception of the fashion of the day.

The Gazette du bon ton was an important step in the history of fashion. Combining aesthetic demands with the physical whole, it brought together – for the first time – the great talents of the artistic, literary, and fashion worlds; and imposed, through this alchemy, a completely new image of women: slender, independent and daring, which was shared by the new generation of designers, including Coco Chanel, Jean Patou, Marcel Rochas, and so on…

Taken over in 1920 by Condé Montrose Nast, the Gazette du bon ton was an important influence on the new layout and aesthetics of that “little dying paper” that Nast had bought a few years earlier: Vogue.

Original color print, printed on vergé paper, non signed.

An original print used to illustrate the Gazette du bon ton, one of the most attractive and influential 20th century fashion magazines, featuring the talents of French artists and other contributors from the burgeoning Art Deco movement.

A celebrated fashion magazine established in 1912 by Lucien Vogel, La Gazette du bon ton appeared until 1925, with a hiatus from 1915 to 1920 due to the war (the editor-in-chief having been called up for service). It consisted of 69 issues printed in only 2,000 copies each and notably illustrated with 573 color plates and 148 sketches of the models of the great designers. Right from the start, this sumptuous publication “was aimed at bibliophiles and fashionable society,” (Françoise Tétart-Vittu, “La Gazette du bon ton”, in Dictionnaire de la mode, 2016) and was printed on fine vergé paper using a type cut specially for the magazine by Georges Peignot, known as Cochin, later used (in 1946) by Christian Dior. The prints were made using stencils, heightened in colors, some highlighted in gold or palladium.

The story began in 1912, when Lucien Vogel, a man of the world involved in fashion (he had already been part of the fashion magazine Femina) decided, with his wife Cosette de Brunhoff – the sister of Jean, creator of Babar – to set up the Gazette du bon ton, subtitled at the time: “Art, fashion, frivolities.” Georges Charensol noted the reasoning of the editor-in-chief: “’In 1910,’ he observed, ‘there was no really artistic fashion magazine, nothing representative of the spirit of the time. My dream was therefore to make a luxury magazine with truly modern artists…I was assured of success, because when it comes to fashion, no country on earth can compete with France.’” (“Un grand éditeur d’art. Lucien Vogel” in Les Nouvelles littéraires, no. 133, May 1925). The magazine was immediately successful, not only in France but also in the United States and Latin America.

At first, Vogel put together a team of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt, as well as eventually his friends from school and the School of Fine Arts, like George Barbier, Bernard Boutet de Monvel and Charles Martin. Other talented people soon came flocking to join the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Chalres Martin, Maggie Salcedo. These artist, mostly unknown when Lucien Vogel sought them out, later became emblematic and sought-after artistic figures. It was also they who worked on the advertising drawings for the Gazette.

The plates put the spotlight on, and celebrate, dresses by seven designers of the age: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The designers provided exclusive models for each issue. Nonetheless, some of the illustrations are not based on real models, but simply on the illustrator’s conception of the fashion of the day.

The Gazette du bon ton was an important step in the history of fashion. Combining aesthetic demands with the physical whole, it brought together – for the first time – the great talents of the artistic, literary, and fashion worlds; and imposed, through this alchemy, a completely new image of women: slender, independent and daring, which was shared by the new generation of designers, including Coco Chanel, Jean Patou, Marcel Rochas, and so on…

Taken over in 1920 by Condé Montrose Nast, the Gazette du bon ton was an important influence on the new layout and aesthetics of that “little dying paper” that Nast had bought a few years earlier: Vogue.

Original color print, printed on vergé paper, signed in the plate.

An original print used to illustrate the Gazette du bon ton, one of the most attractive and influential 20th century fashion magazines, featuring the talents of French artists and other contributors from the burgeoning Art Deco movement.

A celebrated fashion magazine established in 1912 by Lucien Vogel, La Gazette du bon ton appeared until 1925, with a hiatus from 1915 to 1920 due to the war (the editor-in-chief having been called up for service). It consisted of 69 issues printed in only 2,000 copies each and notably illustrated with 573 color plates and 148 sketches of the models of the great designers. Right from the start, this sumptuous publication “was aimed at bibliophiles and fashionable society,” (Françoise Tétart-Vittu, “La Gazette du bon ton”, in Dictionnaire de la mode, 2016) and was printed on fine vergé paper using a type cut specially for the magazine by Georges Peignot, known as Cochin, later used (in 1946) by Christian Dior. The prints were made using stencils, heightened in colors, some highlighted in gold or palladium.

The story began in 1912, when Lucien Vogel, a man of the world involved in fashion (he had already been part of the fashion magazine Femina) decided, with his wife Cosette de Brunhoff – the sister of Jean, creator of Babar – to set up the Gazette du bon ton, subtitled at the time: “Art, fashion, frivolities.” Georges Charensol noted the reasoning of the editor-in-chief: “’In 1910,’ he observed, ‘there was no really artistic fashion magazine, nothing representative of the spirit of the time. My dream was therefore to make a luxury magazine with truly modern artists…I was assured of success, because when it comes to fashion, no country on earth can compete with France.’” (“Un grand éditeur d’art. Lucien Vogel” in Les Nouvelles littéraires, no. 133, May 1925). The magazine was immediately successful, not only in France but also in the United States and Latin America.

At first, Vogel put together a team of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt, as well as eventually his friends from school and the School of Fine Arts, like George Barbier, Bernard Boutet de Monvel and Charles Martin. Other talented people soon came flocking to join the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Chalres Martin, Maggie Salcedo. These artist, mostly unknown when Lucien Vogel sought them out, later became emblematic and sought-after artistic figures. It was also they who worked on the advertising drawings for the Gazette.

The plates put the spotlight on, and celebrate, dresses by seven designers of the age: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The designers provided exclusive models for each issue. Nonetheless, some of the illustrations are not based on real models, but simply on the illustrator’s conception of the fashion of the day.

The Gazette du bon ton was an important step in the history of fashion. Combining aesthetic demands with the physical whole, it brought together – for the first time – the great talents of the artistic, literary, and fashion worlds; and imposed, through this alchemy, a completely new image of women: slender, independent and daring, which was shared by the new generation of designers, including Coco Chanel, Jean Patou, Marcel Rochas, and so on…

Taken over in 1920 by Condé Montrose Nast, the Gazette du bon ton was an important influence on the new layout and aesthetics of that “little dying paper” that Nast had bought a few years earlier: Vogue.

Original color print, printed on vergé paper, signed in the plate.

An original print used to illustrate the Gazette du bon ton, one of the most attractive and influential 20th century fashion magazines, featuring the talents of French artists and other contributors from the burgeoning Art Deco movement.

A celebrated fashion magazine established in 1912 by Lucien Vogel, La Gazette du bon ton appeared until 1925, with a hiatus from 1915 to 1920 due to the war (the editor-in-chief having been called up for service). It consisted of 69 issues printed in only 2,000 copies each and notably illustrated with 573 color plates and 148 sketches of the models of the great designers. Right from the start, this sumptuous publication “was aimed at bibliophiles and fashionable society,” (Françoise Tétart-Vittu, “La Gazette du bon ton”, in Dictionnaire de la mode, 2016) and was printed on fine vergé paper using a type cut specially for the magazine by Georges Peignot, known as Cochin, later used (in 1946) by Christian Dior. The prints were made using stencils, heightened in colors, some highlighted in gold or palladium.

The story began in 1912, when Lucien Vogel, a man of the world involved in fashion (he had already been part of the fashion magazine Femina) decided, with his wife Cosette de Brunhoff – the sister of Jean, creator of Babar – to set up the Gazette du bon ton, subtitled at the time: “Art, fashion, frivolities.” Georges Charensol noted the reasoning of the editor-in-chief: “’In 1910,’ he observed, ‘there was no really artistic fashion magazine, nothing representative of the spirit of the time. My dream was therefore to make a luxury magazine with truly modern artists…I was assured of success, because when it comes to fashion, no country on earth can compete with France.’” (“Un grand éditeur d’art. Lucien Vogel” in Les Nouvelles littéraires, no. 133, May 1925). The magazine was immediately successful, not only in France but also in the United States and Latin America.

At first, Vogel put together a team of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt, as well as eventually his friends from school and the School of Fine Arts, like George Barbier, Bernard Boutet de Monvel and Charles Martin. Other talented people soon came flocking to join the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Chalres Martin, Maggie Salcedo. These artist, mostly unknown when Lucien Vogel sought them out, later became emblematic and sought-after artistic figures. It was also they who worked on the advertising drawings for the Gazette.

The plates put the spotlight on, and celebrate, dresses by seven designers of the age: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The designers provided exclusive models for each issue. Nonetheless, some of the illustrations are not based on real models, but simply on the illustrator’s conception of the fashion of the day.

The Gazette du bon ton was an important step in the history of fashion. Combining aesthetic demands with the physical whole, it brought together – for the first time – the great talents of the artistic, literary, and fashion worlds; and imposed, through this alchemy, a completely new image of women: slender, independent and daring, which was shared by the new generation of designers, including Coco Chanel, Jean Patou, Marcel Rochas, and so on…

Taken over in 1920 by Condé Montrose Nast, the Gazette du bon ton was an important influence on the new layout and aesthetics of that “little dying paper” that Nast had bought a few years earlier: Vogue.

The first edition, of which there were no deluxe copies.
Half dark green shagreen binding, spine slightly faded with four raised bands bordered with black fillets, title-label and author's name in red shagreen, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved.
Fine full-page signed autograph inscription from the author to the great Gaullist resistance fighter Gilbert Grandval.

First edition, one of 150 numbered copies on Holland paper.
Signed autograph inscription from Claude Farrère.
Two small tears repaired at head and foot of slightly warped spine, minimal marginal foxing of no consequence on first and last leaves.
Full-margined copy.

First edition, one of 30 numbered copies on deluxe paper, this copy unnumbered, the only deluxe copies.
Signed autograph inscription by Claude Gallimard.
Rare and handsome copy.

Edition illustrated with original illustrations by T. Polat, one of 50 copies on Arches paper, deluxe copies after 30 on Japan paper.
Spine with four raised bands set with black fillets decorated with undulating black fillets representing barbed wire and a poilu helmet enriched with an inlaid piece of brown morocco, boards enhanced with a pattern of black fillets representing barbed wire and poilu helmets in the corners and centers enriched with inlaid pieces of brown morocco, black fillet on the leading edges, frame of red morocco listel and double gilt fillets with gilt poilu helmets in the corners on the pastedowns, endpapers and pastedowns of gray watered silk, following endpapers of handmade paper, covers and spine preserved, top edge gilt; slipcase bordered with the same morocco and covered with handmade paper, brown felt interior, superb contemporary binding signed René Kieffer.
Work illustrated with 38 etchings, an original frontispiece and an original hors-texte by T. Polat.
Like all copies of the deluxe issue, our copy is complete with its duplicate suite of the frontispiece and hors-texte on China paper.
Manuscript signatures of the author and publisher on the justification page.
Fine copy perfectly executed by René Kieffer.

First edition on ordinary paper, false statement of second edition.
Bradel binding in full decorative paper, smooth spine very slightly sunned, original wrappers preserved, contemporary binding.

Original color print, printed on vergé paper, signed in the plate.

An original print used to illustrate the Gazette du bon ton, one of the most attractive and influential 20th century fashion magazines, featuring the talents of French artists and other contributors from the burgeoning Art Deco movement.

A celebrated fashion magazine established in 1912 by Lucien Vogel, La Gazette du bon ton appeared until 1925, with a hiatus from 1915 to 1920 due to the war (the editor-in-chief having been called up for service). It consisted of 69 issues printed in only 2,000 copies each and notably illustrated with 573 color plates and 148 sketches of the models of the great designers. Right from the start, this sumptuous publication “was aimed at bibliophiles and fashionable society,” (Françoise Tétart-Vittu, “La Gazette du bon ton”, in Dictionnaire de la mode, 2016) and was printed on fine vergé paper using a type cut specially for the magazine by Georges Peignot, known as Cochin, later used (in 1946) by Christian Dior. The prints were made using stencils, heightened in colors, some highlighted in gold or palladium.

The story began in 1912, when Lucien Vogel, a man of the world involved in fashion (he had already been part of the fashion magazine Femina) decided, with his wife Cosette de Brunhoff – the sister of Jean, creator of Babar – to set up the Gazette du bon ton, subtitled at the time: “Art, fashion, frivolities.” Georges Charensol noted the reasoning of the editor-in-chief: “’In 1910,’ he observed, ‘there was no really artistic fashion magazine, nothing representative of the spirit of the time. My dream was therefore to make a luxury magazine with truly modern artists…I was assured of success, because when it comes to fashion, no country on earth can compete with France.’” (“Un grand éditeur d’art. Lucien Vogel” in Les Nouvelles littéraires, no. 133, May 1925). The magazine was immediately successful, not only in France but also in the United States and Latin America.

At first, Vogel put together a team of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt, as well as eventually his friends from school and the School of Fine Arts, like George Barbier, Bernard Boutet de Monvel and Charles Martin. Other talented people soon came flocking to join the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Chalres Martin, Maggie Salcedo. These artist, mostly unknown when Lucien Vogel sought them out, later became emblematic and sought-after artistic figures. It was also they who worked on the advertising drawings for the Gazette.

The plates put the spotlight on, and celebrate, dresses by seven designers of the age: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The designers provided exclusive models for each issue. Nonetheless, some of the illustrations are not based on real models, but simply on the illustrator’s conception of the fashion of the day.

The Gazette du bon ton was an important step in the history of fashion. Combining aesthetic demands with the physical whole, it brought together – for the first time – the great talents of the artistic, literary, and fashion worlds; and imposed, through this alchemy, a completely new image of women: slender, independent and daring, which was shared by the new generation of designers, including Coco Chanel, Jean Patou, Marcel Rochas, and so on…

Taken over in 1920 by Condé Montrose Nast, the Gazette du bon ton was an important influence on the new layout and aesthetics of that “little dying paper” that Nast had bought a few years earlier: Vogue.

Original color print, printed on vergé paper, signed in the plate.

An original print used to illustrate the Gazette du bon ton, one of the most attractive and influential 20th century fashion magazines, featuring the talents of French artists and other contributors from the burgeoning Art Deco movement.

A celebrated fashion magazine established in 1912 by Lucien Vogel, La Gazette du bon ton appeared until 1925, with a hiatus from 1915 to 1920 due to the war (the editor-in-chief having been called up for service). It consisted of 69 issues printed in only 2,000 copies each and notably illustrated with 573 color plates and 148 sketches of the models of the great designers. Right from the start, this sumptuous publication “was aimed at bibliophiles and fashionable society,” (Françoise Tétart-Vittu, “La Gazette du bon ton”, in Dictionnaire de la mode, 2016) and was printed on fine vergé paper using a type cut specially for the magazine by Georges Peignot, known as Cochin, later used (in 1946) by Christian Dior. The prints were made using stencils, heightened in colors, some highlighted in gold or palladium.

The story began in 1912, when Lucien Vogel, a man of the world involved in fashion (he had already been part of the fashion magazine Femina) decided, with his wife Cosette de Brunhoff – the sister of Jean, creator of Babar – to set up the Gazette du bon ton, subtitled at the time: “Art, fashion, frivolities.” Georges Charensol noted the reasoning of the editor-in-chief: “'In 1910,' he observed, ‘there was no really artistic fashion magazine, nothing representative of the spirit of the time. My dream was therefore to make a luxury magazine with truly modern artists…I was assured of success, because when it comes to fashion, no country on earth can compete with France.'” (“Un grand éditeur d'art. Lucien Vogel” in Les Nouvelles littéraires, no. 133, May 1925). The magazine was immediately successful, not only in France but also in the United States and Latin America.

At first, Vogel put together a team of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt, as well as eventually his friends from school and the School of Fine Arts, like George Barbier, Bernard Boutet de Monvel and Charles Martin. Other talented people soon came flocking to join the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Chalres Martin, Maggie Salcedo. These artist, mostly unknown when Lucien Vogel sought them out, later became emblematic and sought-after artistic figures. It was also they who worked on the advertising drawings for the Gazette.

The plates put the spotlight on, and celebrate, dresses by seven designers of the age: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The designers provided exclusive models for each issue. Nonetheless, some of the illustrations are not based on real models, but simply on the illustrator's conception of the fashion of the day.

The Gazette du bon ton was an important step in the history of fashion. Combining aesthetic demands with the physical whole, it brought together – for the first time – the great talents of the artistic, literary, and fashion worlds; and imposed, through this alchemy, a completely new image of women: slender, independent and daring, which was shared by the new generation of designers, including Coco Chanel, Jean Patou, Marcel Rochas, and so on…

Taken over in 1920 by Condé Montrose Nast, the Gazette du bon ton was an important influence on the new layout and aesthetics of that “little dying paper” that Nast had bought a few years earlier: Vogue.

Second edition on ordinary paper.

Bradel binding in half orange cloth, smooth spine very slightly faded decorated with gilt floral motif, double gilt fillet at foot, chocolate shagreen title label, marbled paper boards, original wrappers preserved, contemporary binding.

Precious signed autograph inscription from Octave Mirbeau to Jean Ajalbert.

Provenance: library of Jean Ajalbert with his Japanese-style bookplate in the style of the Nabis, wood engraved in a very small number, signed with a monogram, probably that of Félicien Rops.

The first edition, of which there were no deluxe copies.
Bradel binding in half sage-green cloth, spine decorated with gilt floral motif, double gilt fillet at foot, red shagreen title label, marbled paper boards, original wrappers preserved, contemporary binding.
Precious signed autograph inscription from Emile Nolly to Jean Ajalbert.
Furthermore, our copy is expanded with a four-page signed and dated autograph letter from the author, mounted on a stub, and addressed to the dedicatee in which Emile Nolly warmly thanks Jean Ajalbert for supporting his candidacy for the Prix Goncourt as well as for his laudatory articles in the Indochinese press concerning "Hien le maboul". Finally, we include an original photograph of the author. The article by Jean Ajalbert published in an Indochinese weekly is bound at the rear.
Provenance: from the library of Jean Ajalbert with his Japanese-style bookplate pasted to the verso of the front board, consisting of a wood engraving, probably by Félicien Rops, printed in a very small number and depicting Mount Fuji.
Handsome ensemble.

First edition on ordinary paper.
Contemporary Bradel binding in half almond cloth, smooth spine very slightly faded decorated with a gilt typographical fleuron, double gilt fillet at foot, red shagreen title-label, marbled paper boards, original wrappers preserved, front cover with small harmless stains at head.
Provenance: from the library of Jean Ajalbert with his japonisant bookplate in the style of the Nabis engraved on wood in a very small number, signed with a monogram, probably that of Félicien Rops.
Precious signed autograph inscription from Jules Renard to Jean Ajalbert.

The first edition, of which there were no deluxe copies.
Contemporary Bradel binding in half mouse-grey cloth, smooth spine very slightly faded decorated with a gilt typographical motif, double gilt fillet at foot, chocolate shagreen title-label with marginal scratches, marbled paper boards, original wrappers preserved.
Precious signed autograph inscription from René Boylesve to Jean Ajalbert.
Provenance: from the library of Jean Ajalbert.

The rare first edition, and only edition of this work. Illustrated with numerous tables, a large folding plate showing the armorial genealogy of the Desplanques, heraldic figures in the text, and a notable feature of this book, 15 medallion portraits "au physionotrace" (a process invented by Louis Chrétien and developed by Edmé Quenedey in the style of wash engraving, whose signatures can be found at the bottom of the portraits with the date and place of their creation). Also noteworthy is the presence of a 4-page supplement with a plate of coats of arms on fine blue paper.
Near-contemporary half blonde sheep binding. Smooth spine decorated with 4 tools and roulettes. Gilt title. A tear at head with loss. Restoration to leaves 3 and 4 in margin, due to dampstain. External and lower borders with tears.
19th-century armorial bookplate: former library of the château du Plessis-Brion.
As announced in the foreword, the author's purpose is not to establish the history of the house of Bethune, already written by Du Chesne, but to demonstrate by all the evidence at his disposal that the Desplanques descend directly from Robert I, lord of Bethune, the first representative of the branch in 970. The ducal and princely house of Béthune is among the oldest and most illustrious houses of France and Europe; most of the princes of Europe are affiliated with it, not to mention those especially of the house of France; its most famous representative was the Duke of Sully.

First edition, one of 100 numbered copies on alfa paper, the only deluxe copies.
Half green shagreen binding, spine slightly faded with four raised bands set with black fillets, title and author labels in red shagreen, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved.
Fine signed autograph inscription from Auguste Pieplu to the great Gaullist resistance fighter Gilbert Grandval.

The first edition, of which there were no deluxe copies.
Half green shagreen binding, spine slightly faded with four raised bands set with black fillets, title and author labels in red shagreen, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved.
Signed autograph inscription from Eugène Descamps to the great Gaullist resistance fighter Gilbert Grandval.

First edition printed on ordinary paper, with only 20 deluxe copies printed on Holland paper.
Half chocolate brown morocco binding, smooth spine with three tiny holes at head, marbled paper boards, marbled endpapers and pastedowns, minor surface abrasions at foot of second board, contemporary unsigned binding but attributable to Lancelin.
Signed autograph inscription from Octave Mirbeau to Paul Ollendorff.
A slight marginal tear to the first gathering which has been mounted. Attractively bound copy. Provenance: from the library of Paul Ollendorff.

Second edition printed on ordinary paper immediately after the first edition, containing the three chapters on Balzac that caused scandal.
Half chocolate brown morocco binding, smooth spine, marbled paper boards, marbled endpapers and pastedowns, minor scuffs of no consequence at foot of second board, original wrappers preserved, contemporary unsigned binding but attributable to Lancelin.
Signed autograph inscription from Octave Mirbeau to Paul Ollendorff.
Handsome copy attractively bound.
Provenance: from the library of Paul Ollendorff.

First edition printed on ordinary paper, only 50 copies on Japan paper were printed as deluxe copies.
Half cherry red morocco binding, spine with five raised bands set with gilt fillets decorated with double gilt compartments richly adorned with gilt decorative motifs as well as a mosaic piece of cherry red morocco, some minor traces of rubbing to spine, double gilt fillets on marbled paper boards, endpapers and pastedowns of marbled paper, top edge gilt, contemporary unsigned binding but attributable to Lancelin.
Signed autograph inscription from Albert Delpit to Madame Paul Ollendorff.
Handsome copy attractively bound.
Provenance: from the library of Paul Ollendorff.

First edition printed on ordinary paper.
Half cherry red morocco binding with corners, spine with five raised bands set with black fillets, some minor traces of rubbing to spine, marbled paper boards, endpapers and pastedowns of marbled paper, one upper corner slightly bumped, top edge gilt, contemporary unsigned binding but attributable to Lancelin.
Signed autograph inscription from Albert Delpit to Madame Paul Ollendorff.
Handsome copy attractively bound.
Provenance: from the library of Paul Ollendorff.

First edition, one of 20 numbered copies on Japan paper, ours bearing No. 1, the only deluxe copies.
Half purple morocco with corners, sunned spine with five raised bands set with black fillets, gilt date at foot, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt retaining deckled edges, contemporary binding signed by Lancelin.
Handsome copy skilfully bound.
Provenance: from the library of Paul Ollendorff.

First edition on ordinary paper.
Bradel binding in half periwinkle cloth, smooth spine decorated with gilt floral motif, double gilt fillet at foot, red shagreen title label with some light rubbing, marbled paper boards, top edge gilt, contemporary unsigned binding but attributable to Lancelin.
Autograph inscription signed by André Theuriet to Madame Paul Ollendorff.
Provenance: from the library of Paul Ollendorff.

New edition.
Bradel binding in half periwinkle cloth, smooth spine decorated with gilt floral motif, double gilt fillet at foot, red shagreen title-label with some minor rubbing, marbled paper boards, top edge gilt, contemporary unsigned binding but attributable to Lancelin.
Autograph inscription signed by André Theuriet to Madame Paul Ollendorff.
Handsome copy pleasingly bound.
Provenance: library of Paul Ollendorff.

First edition on ordinary paper, no deluxe copies mentioned.
Bradel binding in half periwinkle cloth, smooth spine decorated with gilt floral motif, double gilt fillet at foot, red shagreen title-label with some minor rubbing, marbled paper boards, top edge gilt, contemporary unsigned binding but attributable to Lancelin.
Autograph inscription signed by André Theuriet to Madame Paul Ollendorff on the half-title page which has a tiny angular lack at head.
Two small stains at head and foot of first leaves.
Provenance: from the library of Paul Ollendorff.

First edition printed on ordinary paper, with no mention of deluxe copies.
Bradel binding in half periwinkle cloth, smooth spine decorated with gilt floral motif, small stains at foot of spine, double gilt fillet at tail, red shagreen title-label with some minor rubbing traces, marbled paper boards, corners slightly bumped, top edge gilt, contemporary binding unsigned but attributable to Lancelin.
Signed and inscribed by André Theuriet to Paul Ollendorff.
Handsome copy attractively bound.
Provenance: from the library of Paul Ollendorff.

First edition printed on ordinary paper, with no mention of deluxe copies.
Bradel binding in half periwinkle cloth, smooth spine decorated with gilt floral motif, stains at foot of spine, double gilt fillet at tail, red shagreen title-label with some minor rubbing traces, marbled paper boards, top edge gilt, contemporary binding unsigned but attributable to Lancelin.
Signed and inscribed by André Theuriet to Paul Ollendorff.
Handsome copy attractively bound.
Provenance: from the library of Paul Ollendorff.

First edition, one of 5 numbered copies on Holland paper, the only deluxe copies.
Bradel binding in khaki half-cloth, smooth spine decorated with gilt floral motif, double gilt fillet at tail, red shagreen title-label with some minor rubbing, marbled paper boards, top edge gilt, minor tears of no consequence to leading edges, contemporary unsigned binding attributable to Lancelin.
Signed autograph inscription from Jean Marni to his publisher Paul Ollendorff on the half-title page.
Endpapers and half-title page foxed.
Provenance: from the library of Paul Ollendorff.

First edition on ordinary paper, with no mention of deluxe copies.
Bradel binding in red half-cloth, smooth spine lightly browned decorated with gilt floral motif, double gilt fillet at tail, navy shagreen title-label with some minor rubbing, marbled paper boards, top edge gilt, illustrated covers preserved, contemporary unsigned binding attributable to Lancelin.
Signed autograph inscription from Coquelin Cadet to Paul Ollendorff.
Work illustrated with drawings by H. Pille, Le Mouel, Friand, Mesplès, Janel, Fraipont, Cohl, Bac Frim...
Provenance: from the library of Paul Ollendorff.

First edition on ordinary paper.
Bradel binding in half aubergine cloth, smooth spine faded decorated with gilt floral motif, double gilt fillet at foot, olive shagreen title-label with some light rubbing, marbled paper boards, top edge gilt, one lower corner slightly bumped, contemporary unsigned binding attributable to Lancelin.
Signed autograph inscription from Georges Duruy to Madame Paul Ollendorff.
Handsome copy handsomely bound.
Provenance: from the library of Paul Ollendorff.

First edition on ordinary paper, no mention of deluxe copies.
Bradel binding in half periwinkle cloth, smooth spine decorated with gilt floral motif, double gilt fillet at foot, red shagreen title-label with some light rubbing, marbled paper boards, top edge gilt, contemporary unsigned binding attributable to Lancelin.
Signed autograph inscription from Paul Déroulède to Paul Ollendorff and his wife.
Handsome copy handsomely bound.
Provenance: from the library of Paul Ollendorff.

First edition on ordinary paper, no mention of deluxe copies.
Bradel binding in half periwinkle cloth, smooth spine decorated with gilt floral motif, double gilt fillet at foot, red shagreen title-label with some minor traces of rubbing, marbled paper boards, corners slightly bumped, top edge gilt, contemporary unsigned binding but attributable to Lancelin.
Signed autograph inscription from Paul Déroulède to Paul Ollendorff on the half-title page which shows a very slight lack at foot.
Provenance: from the library of Paul Ollendorff.

First edition on ordinary paper, no mention is made of deluxe copies.
Bradel binding in half khaki cloth, smooth spine decorated with a gilt floral motif, double gilt fillet at foot, red shagreen title-label with some minor rubbing traces and a marginal lack, marbled paper boards, top edge gilt, contemporary unsigned binding but attributable to Lancelin.
Autograph inscription signed by Eugène Mouton to Paul Ollendorff.
Provenance: from the library of Paul Ollendorff.

Fourth edition.
Bradel binding in half khaki cloth, smooth spine decorated with a gilt floral motif, double gilt fillet at foot, red shagreen title-label with some minor rubbing traces, marbled paper boards, top edge gilt, contemporary unsigned binding but attributable to Lancelin.
Autograph inscription signed by Eugène Mouton to Paul Ollendorff.
Provenance: from the library of Paul Ollendorff.

First edition on ordinary paper.
Bradel binding in half aubergine cloth, smooth spine faded and decorated with a gilt floral motif, double gilt fillet at foot, olive shagreen title-label with some minor traces of rubbing and small lacks, marbled paper boards, upper corners slightly bumped, top edge gilt, contemporary unsigned binding but attributable to Lancelin.
Autograph inscription signed by Georges Duruy to madame Paul Ollendorff.
Provenance: from the library of Paul Ollendorff.

First edition on ordinary paper for each of the volumes.
Half chocolate brown morocco binding, spine with five raised bands showing traces of rubbing, marbled paper boards, a small marginal paper lack to the first board, marbled endpapers and pastedowns, marbled edges.
Autograph inscription signed by Emile Guiard to Jacques Ollendorff in the form of a six-line verse on the first volume.
Provenance: from the library of Paul Ollendorff.

First edition, one of 20 numbered copies on Holland paper, the only deluxe copies.
Half caramel sheep binding, smooth spine decorated with rich gilt typographical motifs, navy shagreen title-label with minor rubbing, double fillets on marbled paper boards, marbled endpapers and pastedowns, top edge gilt retaining deckled edges, unsigned contemporary binding but attributable to Lancelin.
Signed autograph inscription from Paul Gaulot to Madame Paul Ollendorff.
A full-margined copy handsomely bound.
Provenance: from the library of Paul Ollendorff.

First edition, one of 20 numbered copies on Holland paper, the only deluxe copies.
Half caramel sheep binding, smooth spine decorated with rich gilt typographical motifs, navy shagreen title-label with a small lack, some light traces of rubbing to spine, double fillets on marbled paper boards, marbled endpapers and pastedowns, top edge gilt retaining deckled edges, unsigned contemporary binding but attributable to Lancelin.
Signed autograph inscription from Paul Gaulot to Madame Paul Ollendorff.
A full-margined copy handsomely bound.
Provenance: from the library of Paul Ollendorff.

First edition, one of some copies hors commerce sur Corvol l'orgueilleux paper, the only large paper copies with 30 on other Corvol.
A good copy.

First edition, one of the rare copies on Japan paper, ours specially printed for Paul Ollendorff.

Half navy blue morocco binding with corners, spine with five raised bands set with gilt dots decorated with double gilt compartments richly embellished with gilt typographical motifs as well as a mosaic piece of hazel morocco, gilt date at foot, very light traces of rubbing without consequence on the spine, double gilt fillet frame on marbled paper boards, marbled endpapers and pastedowns, top edge gilt, contemporary unsigned binding but attributable to Lancelin.

Handsome copy agreeably bound.
Provenance: from the library of Paul Ollendorff.

First edition, one of 25 numbered copies on Holland paper, deluxe copy.
Half dark green shagreen binding with corners, sunned spine with five raised bands set with black fillets, one scratch at foot, marbled paper boards, marbled endpapers and pastedowns, top edge gilt on deckled edges, contemporary unsigned binding but attributable to Lancelin.
Signed autograph inscription from the author to Madame Paul Ollendorff.
Full-margined copy handsomely bound.
Provenance: from the library of Paul Ollendorff.

First edition, one of the rare copies on Holland paper of which no mention is made

Half cherry red morocco binding, spine with five raised bands set with gilt dotted lines decorated with double gilt compartments richly embellished with gilt typographical motifs as well as mosaic pieces of havana morocco, gilt date at tail, double gilt fillet frame on marbled paper boards, marbled endpapers and pastedowns, top edge gilt retaining deckled edges, contemporary unsigned binding but attributable to Lancelin.

Fine copy perfectly executed.
Provenance: from the library of Paul Ollendorff.

First edition on ordinary paper.
Half cherry red morocco binding, spine with five raised bands set with gilt fillets decorated with double gilt compartments embellished with gilt floral motifs, marbled paper boards, marbled endpapers and pastedowns, top edge gilt, contemporary unsigned binding but attributable to Lancelin.
Autograph inscription signed by Georges Ohnet to his publisher Paul Ollendorff.
Fine copy handsomely bound.
Provenance: from the library of Paul Ollendorff.

The first edition, of which there were no deluxe copies.
Half red shagreen binding, spine with five raised bands set with black fillets with small black spots at head, marbled paper boards, red paper endpapers and pastedowns, covers (back cover with a small lack at head) preserved.
Autograph inscription signed by Paul Adam to Paul Ollendorff, slightly trimmed.
Provenance: from the library of Paul Ollendorff.