Paris

First edition printed in 160 copies, ours one of 100 on extra-strong paper.
Autograph inscription signed by Joseph Poisle Desgranges.
Work illustrated with 14 original etchings by Alfred Taiée.
Spine sunned, marginal worming to foot of front board, occasional light foxing to interior.

First edition, one of 50 numbered copies on pur fil paper, the only deluxe copies.
Half turquoise morocco with corners, smooth spine faded, decorated with a gilt cartouche enhanced with gilt floral motif, double gilt fillet frames on marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt.
Precious signed autograph inscription from Louis Arraou to Louis Loucheur.
Rare minor worming affecting mainly the endpapers.
Handsome full-margined copy attractively bound.

New edition, conforming to the first edition published in 1763, one of 10 numbered copies on Arches paper, the only deluxe copies.
Bradel binding in full paper, smooth spine, hazelnut shagreen title-label with minor marginal scratches, original wrappers preserved, contemporary binding.
Work illustrated with a frontispiece portrait of the author.
Introduction and bibliography by Radeville and Deschamps.

First edition.
Half fir green shagreen binding, spine with five raised bands showing minor rubbing, gilt date at foot, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt, contemporary binding.
One small harmless tear without loss at head of first endpaper.

Edition decorated with original orientalist illustrations by A.H. Thomas, one of 950 numbered copies on Guarro paper.
Half brown shagreen binding with corners, smooth spine slightly faded decorated with gilt floral motifs featuring, as petals, red shagreen incisions, marbled paper boards, endpapers and pastedowns, covers and spine preserved, top edge gilt, contemporary binding.
Handsome copy.

The first edition, with no mention of deluxe copies.
Bradel binding in half mouse-grey cloth with corners, smooth spine decorated with a gilt floral motif, double gilt fillet at foot, marbled paper boards, pink paper endpapers and pastedowns, covers and spine preserved, contemporary binding signed by Vermorel.
Work illustrated with a photographic frontispiece.
Preface by Octave Gréard.
Handsome copy.

First edition.
Contemporary full marbled and glazed brown calf binding. Spine with raised bands, attractively decorated. Thin split at foot measuring 0.5cm. 2 corners slightly bumped. Good copy.
A mixture of critiques, plays, poetry and speeches. Contains notably "Les Réflexions sur quelque ouvrages faussement appelés ouvrages d'imagination"; "Les âmes rivales, histoire fabuleuse"; "Les abdérites" and "L'empire de l'amour", plays; "Discours de l'Académie française", and other pieces.

First edition published under a pseudonym in a numbered edition of 250 copies on Holland paper.
As frontispiece, a portrait of the author.
Book dedicated to true Gauls only, to those who still love the ribald tales and the spicy, peppery discourse of our forefathers.
Rare and handsome copy despite light foxing to the rear endpaper.

First edition.
Bradel binding in half turquoise cloth with corners, smooth spine decorated with gilt fleuron, gilt date and double fillet at foot, hazel shagreen title-label with minor scuffs, marbled paper boards, pink and gilt endpapers and pastedowns, covers and spine preserved, binding signed by Vermorel.
Concerning Guy de Maupassant, Puvis de Chavannes, Jean Richepin, Yvette Guilbert... Handsome copy.

First edition, one of 300 numbered copies on tinted Arches paper, deluxe copy.
Signed autograph inscription by Reybaz.
Work illustrated with 33 original compositions by Hautot and a frontispiece reproducing "Le légionnaire" by Steinlen.
Spine slightly faded, some minor foxing affecting mainly the endpapers, as well as the half-title and title pages.
Rare.

First edition.
Illustrated cover by Brecht.
Preface by Hector France.
A good copy.

First edition of the first work dealing with forensic medicine applied to the mentally ill.
Contemporary half-calf bindings in brown glazed calf, smooth spines decorated with central gilt tools as well as quadruple fillets and gilt arabesques at head and tail, marbled paper boards, contemporary bindings.
Work illustrated with a lithographed portrait of the author as frontispiece to the first volume.
Some foxing affecting the beginning and end of each volume.
Rare copy, elegantly bound at the time, of this important work.

First edition, one of 1000 numbered copies on Arches laid paper.
Spine and boards slightly and marginally faded as usual, handsome interior condition.

First edition.
Half red calf binding, spine slightly faded with four raised bands decorated with gilt and black friezes and fillets as well as black typographical motifs and a gilt mandorla, headcaps and joints at the level of the headcaps showing traces of rubbing, marbled paper boards, marbled endpapers and pastedowns, corners slightly bumped, marbled edges, contemporary binding. Our copy is complete with its explanatory folding plate at the end which has a tear without loss.
Some foxing mainly at the end of the volume.
Rare.

First edition, one of 125 numbered copies on B.F.K. de Rives paper.
With 21 original watercolors by Louis Icart.
A joint of the chemise cracked and rubbed, a lack to the edge of the slipcase, of which a joint is also rubbed.
A very good copy.

Edition with a portrait of the author as frontispiece and fourteen unsigned figures.
Contemporary bindings in half tawny sheep, smooth spines decorated with blue and red morocco title and volume labels, with fleurons and gilt fillets, and gilt dentelle at foot, boards of paper imitating grained leather, all edges marbled.
Three headcaps damaged, four joints cracked. Extensive foxing.

First edition.
Contemporary half black shagreen over marbled paper boards, spine in six compartments with gilt fleurons.
Handsome autograph inscription signed by Théodore de Banville to Alphonse Daudet.
With a frontispiece on China paper by Georges Rochegrosse.
The occasional bit of spotting, one discreet repair to the foot of one joint.
Printed ex libris of Madame Alphonse Daudet to ffep.

First edition in French, one of 205 numbered copies on pure laid paper, the only deluxe copies.
Half burgundy shagreen binding with corners, spine with four raised bands, marbled paper boards, endpapers and pastedowns, original wrappers and spine preserved, top edge gilt, binding signed by Trinckvel.
Handsome copy.

First edition, one of 25 numbered copies on Rives, deluxe copy.
Full havana shagreen binding, spine with five raised bands set with black fillets, small and light marginal stains on the front cover, original wrappers preserved.
Handsome copy.

First edition
Handsome autograph insciption from Léon Bloy to the painter Georges Rouault: "Rien pour son art - Il n'y a pas de caricature".
Spine reinforced with some filled in lacks, a tear repaired to the half title page,the one with the inscription.
This copy has a chemise an slipcase of full black morocco over marbled paper boards, lined with sheep.

Rouault fait la connaissance de Léon Bloy en 1904 par l'intermédiaire d'une de ses oeuvres: « On m'apprend que le peintre Georges Rouault, élève de Gustave Moreau, s'est passionné pour moi. Ayant trouvé chez son maître "La Femme pauvre"..., ce livre l'a mordu au coeur, blessé incurablement » (Journal de L. Bloy, 16 mars 1904). Naît alors une indéfectible amitié entre les deux artistes. Cependant lorsqu'en 1905 Rouault expose au Salon d'Automne "Monsieur et Madame Poulot" inspiré du roman de Bloy, la réaction de celui-ci est violente: « ... Cet artiste qu'on croyait capable de peindre des séraphins, semble ne plus concevoir que d'atroces et vengeresses caricatures. L'infamie bourgeoise opère en lui une si violente répercussion d'horreur que son art paraît blessé à mort. Il a voulu faire mes Poulot personnages de "La Femme Pauvre". À aucun prix je ne veux de cette illustration. Il s'agissait de faire ce qu'il y a de plus tragique : deux bourgeois, mâle et femelle, complets : candides, pacifiques, miséricordieux et sages à mettre l'écume de la peur à la bouche des chevaux des constellations. Il a fait deux assassins de petite banlieue. » Nul mieux que Raïssa Maritain ne sut décrire l'amitié complexe qui unit le jeune peintre et le vieil écrivain, analysant à la fois "la raison profonde de leur dissentiment" en citant une lettre de Bloy à Rouault de 1907 : « Vous êtes attiré par le laid exclusivement. " comme leur "admiration" qu'elle explique par "la vive foi de l'un et de l'autre, (...) l'élévation et la rigueur de leur conscience d'artistes". "Combien de fois - écrit-elle - dans les années qui ont suivi, n'avons-nous pas vu Rouault chez Bloy, debout, appuyé contre le mur, un léger sourire sur ses lèvres closes, le regard au loin, le visage apparemment impassible, mais d'une pâleur qui allait s'accentuant lorsque la question de la peinture moderne était abordée. Rouault pâlissait, mais gardait jusqu'au bout un silence héroïque. Et toujours, malgré cette irréductible opposition sur la question même de son art, il est resté fidèle à Léon Bloy. On eût dit qu'il venait chercher chez Bloy les accusations mêmes qui tourmentaient en lui ce qu'il avait de plus cher, - non pour les soumettre à une discussion quelconque, mais pour éprouver contre elles la force de l'instinct qui l'entraînait vers l'inconnu et qui devait triompher de tout obstacle." ("A l'aube de nouvelles amitiés" in La Nouvelle Relève, octobre 1941)C'est le même Léon Bloy, respectueux mais immuablement critique à l'égard de son jeune ami, qui lui dédicace ce portrait d'une sainte, cette élégie de la beauté qu'il ne saura jamais percevoir dans l'oeuvre de Rouault.

Edition illustrated with 17 original compositions by A. Lalauze, one of 300 numbered copies on Arches.
Bradel binding in half fir green cloth with corners, smooth spine decorated with a gilt floral motif, red shagreen title-label, marbled paper boards, covers and spine preserved, contemporary binding signed by P. Ruban.
Autograph inscription signed by the publisher to Gabriel Hanotaux.
Our copy is enhanced with a duplicate state of the compositions.
Handsome copy.

First edition, richly illustrated, of the abridged version of the famous commentaries by the Chevalier de Folard, established by the Count of Chabot. 113 copperplate engravings - sometimes folding (Volume I: 51, volume 2: 22 and volume 3: 40) - representing techniques, battle scenes and war machines of Antiquity; including 4 maps and a plan of Cremona.

Full speckled blonde calf binding. Spine with five raised bands decorated with red morocco title and volume labels and gilt compartments and fleurons; gilt dentelles at foot. All edges red. Two head caps worn, the third slightly rubbed. Some wormholes on the spine of the second volume. Two corners slightly bumped. Numerous scuffing.

First edition on ordinary paper, only 5 large paper copies were printed on Hollande.
Rare autograph inscription signed by Georges Darien to Emile Faguet.
Spine sunned, folded and repaired, angular lacks filled-in to the covers.

First edition, one of 1000 numbered copies on Rives paper, the tirage de tête.
Richly illustrated.
A very good copy.

First edition, one of 25 lettered copies on Arches vellum justified by the author, deluxe copy.
Autograph inscription signed by Jean-Marc d'Anthoine.
Preface by Nicolas Beauduin, work illustrated with original compositions by Pierre Matossy.
Rare and handsome copy.

Reissue of the 1775 edition, illustrated with 20 beautiful figures by Moreau le Jeune and Marillier, engraved by De Longueil, Née...

Contemporary full speckled calf binding. Smooth spine handsomely decorated. Pink morocco title label and black morocco volume label. Lacking at headcap of volume IV. 4 corners slightly bumped.

New edition illustrated with 4 sepia lithographs. Text within decorative borders.
Publisher's polychrome binding in black percaline. Large special gilt panel on the upper cover. Rich blue, yellow, pink, white frame. Smooth spine very richly decorated with polychromy. Special panel on the lower cover: Robinson in a medallion decorated with polychromy. A thin crack at the foot. One corner slightly bumped. Some signatures slightly loosened. Handsome copy.
Adventure story for young readers. A Robinsonade on an ice island.

First edition, rare.
Contemporary full blonde marbled calf. Spine with raised bands, decorated. Red shagreen title label renewed. Slight lack at head. Foot headcap rubbed. Corners bumped.
Travel account established by Father Nicolas Frizon from memoirs written by a missionary during his passage through Turkey toward China, Jacques Villotte. As sea travel was very dangerous, two routes were chosen, one through Muscovy, the other through Turkey, the Jesuits hoping to convert the peoples of Tartary. Narrative established in third person beginning with the Jesuit's three-week stay in Constantinople. Followed by an ample description of caravan travels. Considerations on the Persians. City of Isfahan. Situation of the earthly paradise and considerations on ancient Babylon. Considerations on the Persians and Armenians. This is an enlightened and tolerant vision of foreign customs by a Jesuit who also dwells on the affairs and history of his order. The Jesuit Father, who departed from Marseille in 1688, reached Isfahan in October 1689 where he remained for twelve years. He did not manage to pass into China and was recalled to France.

First edition, one of 56 numbered copies on Arches, tirage de tête after 16 Annam.
A good copy.

Fifth edition of Voiture's Œuvres, the first of which appeared in 1648; and first edition of the Nouvelles œuvres de Voiture. A frontispiece by Mellan for the first volume, a headpiece and an initial in the epistle and a fine portrait of the author by Champaigne engraved by Nanteuil.
Contemporary full brown sheep binding. Raised spine richly decorated. Red morocco title label. One missing headcap. Tear with loss to upper joint at foot. Rubbing. Good copy.
Voiture (1597-1648) was throughout his life a gallant and a courtier, brilliant in salons and playing games. His epistolary talent earned him long popularity in France for fashionable prose, and his poetry excels in the mannered and precious tone, even though he knew how to be trivial when necessary. He is an essential figure of the literary scene of the early 17th century, a true Molière character.
Voiture is first and foremost a style, not only in his letters (Lettres amoureuses) and his poetry but also in his prose, see for example the delightful Métamorphoses. His works were in the image of the man, gallant, teaching beautiful language and fine manners to the habitués of the hôtel de Rambouillet. His fame was very great during his century and he remains an emblem for the 17th century.

First edition, one of 200 numbered copies on laid paper, the only issue after 2 Annam, 3 Japan and 45 Montval.
Work illustrated with original color lithographs by François Salvat.
Handsome copy lacking its slipcase.

First edition, of which there were no deluxe copies.
Autograph inscription signed by Emile Augier.
One joint cracked at head, minor stains to boards, foxing.

First edition, of which no deluxe copies were mentioned.
Half cherry red shagreen binding, smooth spine decorated with triple blind fillets, marbled paper boards with minor surface abrasions, corners slightly bumped, contemporary binding.
Foxing mainly affecting the very first and very last pages, gift inscription in ink at head of title page.
Rare.

First edition printed on ordinary paper.
Fascicule illustrated with an unpublished portrait of the artist by himself engraved on wood by G. Aubert as well as reproductions of works by M. Denis.
Two tiny lacks to head and foot of sunned spine, handsome interior condition.
Precious autograph inscription signed by François Fosca to Pierre Drieu la Rochelle.

First edition on ordinary paper.
Precious autograph inscription signed by Louis Cheronnet to Pierre Drieu la Rochelle.
Fascicle illustrated with 32 reproductions of the artist's works.
Some worming.
Precious relic.

Rare first edition.
Signed autograph inscription from Jean-Jacques Ampère.
Spine slightly faded, a filled loss at head spanning the full length of the front cover, an angular ink stain at the head of the rear cover and last page of the publisher's catalog.

First edition printed on Lana paper.
Work illustrated with 11 original color compositions hors-texte by Commander Margot as well as numerous in-text drawings.
Introduction by General Du Breuil.
Two slight lacks at foot of spine, a small light stain of no consequence at foot of front cover, otherwise a handsome copy.

First edition.
Half light brown sheep over marbled paper boards, spine with gilt dots and fillets and brown fillets, navy blue sheep title-label, headpieces rubbed with slight lacks, one joint cracked and repaired at head, a few scratches to joints, marbled endpapers and pastedowns.
A little light insignificant spotting.
Rare.

First edition.
Half black shagreen bindings, spines with five raised bands decorated with gilt fleurons, minor traces of rubbing to head caps, marbled paper boards, marbled endpapers and pastedowns, armorial bookplates pasted to verso of front boards.
Works illustrated with reproductions of coats of arms in text.
Some minor foxing.
Rare complete collection of this heraldry journal.

New edition.

Full glazed eggplant calf binding, smooth spine decorated with gilt romantic arabesques, gilt roulettes on headcaps, quintuple gilt fillet frames on boards enhanced with decorative motifs stamped in blind, double gilt fillets on leading edges, one slight harmless nick to upper corner, marbled endpapers and pastedowns, gilt edges, elegant romantic binding. Some minor foxing of no consequence.

Handsome copy.

First edition, one of 12 numbered copies on Japan paper, deluxe copy.
A small tear and light worming to spine, gift inscription from a previous owner, two tiny corner creases at foot of boards, an interior repair using an adhesive piece to verso and at foot of front board.

First edition, one of 33 numbered copies on Arches laid paper, the only deluxe copies with 1 Holland.
Spine slightly sunned as well as some deckled edges, handsome full-margined copy.

First edition, one of the numbered copies on alfa paper.
Autograph signature of the author on the justification page.
A handsome copy.

First edition, one of the numbered copies on châtaignier paper.
Signed and inscribed by Marc Bernard to Maurice Noël.

First edition of the French translation printed on ordinary paper.
Signed autograph inscription by Alejo Carpentier in French.
Blind stamp at foot of first endpaper.

First edition in French, of which there were no deluxe copies.
Rare autograph inscription signed by Victor Nekrassov, in Russian, to Nathalie Sarraute with the translator's signature.
Handsome copy.

First edition, one of 200 numbered copies on pure Rives laid paper, the only deluxe copies after 50 Lana and 100 hors commerce.
Half burgundy morocco binding with bands, smooth spine, gilt date at foot, light superficial scuffs to joints without significance, boards, endpapers and pastedowns of moiré-effect paper, covers and spine preserved, top edge gilt, elegant binding signed by Bellevallée.
Handsome copy expertly bound.

First edition.
Contemporary binding in full brown grained calf. Spine with raised bands decorated with 5 compartmented fleurons. Red morocco title-label. Head worn. Rubbing. An old dampstain has weakened the first leaves at the outer margin (2cm long by 1cm wide).
The first written biography of Marguerite de Valois, known as Queen Margot, in a very romantic style, but without any lyricism and of great clarity. The scandalous life of Queen Margot had to wait until 1777 to find its historian.

Third edition with some parts in first edition, a Service de Presse (advance) copy.
Signed autograph inscription from André Breton to Maurice Noël on the half-title page.
Light dampstain at foot of spine extending very discreetly to lower margins of leaves.
Rare.

First edition, one of 200 copies on handmade Vosges paper, the only deluxe copies along with 12 copies on China paper.
Signed autograph inscription from André Fontainas to Albert Saint Paul.
Back cover illustrated with a symbolist drawing by Léon Bloy.
Rare and handsome copy.

First edition, one of 50 numbered copies on pur fil, the only large paper copies.
Four slight traces of black ink in the margins of four leaves, a good copy.

Pre-first editions.
Half brown sheep binding, smooth spine decorated with double gilt fillets and black fillets, gilt friezes at tail, some traces of rubbing on spine, slight lack at foot of one joint, marbled paper boards, corners slightly bumped, contemporary binding.
Other contributions by Charles Nodier, Emile Marco de Saint-Hilaire, Jules Janin, Horace Raisson, Eugène Scribe...
Foxing.

Pre-first edition.
Half brown sheep binding, smooth spine decorated with double gilt fillets and black fillets, gilt frieze at tail partially rubbed, some traces of rubbing on spine and a lack to upper headcap, marbled paper boards, corners slightly bumped, contemporary binding.
Other contributions by Jules Sandeau, Alexandre Dumas fils, Eugène Sue...
Magazine illustrated with hors-texte engravings.
Foxing

Pre-first edition.
Half brown sheep binding, smooth spine decorated with double gilt fillets and black fillets, gilt frieze at tail, some light rubbing to spine, two lacks to head of spine, marbled paper boards, corners slightly bumped, contemporary binding.
Other contributions by George Sand, Casimir Delavigne, Brillat-Savarin, Alphonse Karr...
Journal illustrated with plates.
Foxing

Rare first French edition, translated by Bouscheseiche. Without the atlas containing 11 maps that is often found separately.
Later ca 1850 half marbled green calf binding; beautiful pastiche resembling a contemporary binding. Smooth spine decorated with Greek key pattern and four fleurons. Brown morocco title and volume labels. Marbled edges. A lack at the foot of volume 2, continuing onto the board. Handsome copy, very elegant, and quite fresh overall.
Hindostan extended from the Himalayas in the North to the Malabar and Coromandel peninsulas in the South, that is to say the major part of India at that time. James Rennel's study is almost exclusively geographical, and only one chapter on the fall of the great Mogul sacrifices to the historical aspect, exception for the introduction to the first volume on the origin of Hindostan and European conquests. The work was very well received in England, Rennel certainly provided precise and useful information to anyone traveling to these lands. In order to complete the physical and human geography of Hindostan, the French edition added several chapters, an introduction of texts translated by Castera on the history of India, the bibliography of travelers, and which form a large part of the third volume; one will note with interest Samuel Turner's Journey to Tibet.

First edition on ordinary paper, marked service de press (advance copy) at foot of lower cover; the only large paper copies were 5 on Japon and 17 on Hollande paper.
Contemporary Bradel binding in half saffron cloth over marbled paper boards, spine with gilt floral motif, double gilt fillet and date to foot of spine, black shagreen title piece (faded) to spine, two corners very slightly bumped, covers and spine preserved (with some staining).
Handsome autograph inscription from Hugues Rebell to Alphonse Daudet.
A good copy complete with the publisher's catalog at end.

First edition on ordinary paper.
Contemporary Bradel binding of half light red cloth over marbled paper boards (slightly sunned at edges), spine with gilt floral motif, date and double gilt fillet to foot, black shagreen title label with a tiny tear, covers and spine preserved.
Autograph inscription signed by Joris-Karl Huysmans to his friend Charles Buet, whom Huysmans had described in the figure of the dangerously sanctimonious Chantelouve in "Là-bas".

FAUTRIER Jean & GANZO Robert. Lespugue
Chez les auteurs, n. p. [Paris] 1942, 35,5 x 29,5 cm, loose leaves with wrappers
First edition, one of 110 numbered copies on China paper, the only printing along with 12 copies on Japon nacré paper and 1 on Chine, variously enriched.
Illustrated with 11 original color lithographs by Jean Fautrier.
Autograph inscription from Robert Ganzo to a couple of his acquaintance.
Manuscript signatures of the author and illustrator on the justification page.
This copy retains its original glassine wrapper showing spiders wandering in the webs they've woven
Occasional very light spotting, a good copy.

First edition, one of 40 numbered copies on Japan paper, the only printing with 3 on Auvergne paper.
Autograph inscription from Robert Ganzo to a friend.
A rare and good copy.

First edition, one of 156 numbered copies on Holland paper, deluxe copy.
Signed autograph inscription from Robert Ganzo to a close friend, André Lecoeur.
A small and light dampstain at foot of spine which also has a tiny tear of no consequence.
Handsome full-margined copy.

First edition, one of 270 numbered copies on Rives vellum, the only deluxe copies after 15 Japan and 20 Holland.
Work illustrated with an original frontispiece and headpiece by Marcel Vertès.
Our copy is enriched with the duplicate state of the frontispiece and headpiece.
Signed autograph inscription from Robert Ganzo to André Lecoeur.
Handsome copy.

First edition of the French translation established by Robert Ganzo, one of 400 numbered copies on Marais paper, the only issue.
Autograph inscription signed by Robert Ganzo to a couple of his friends.
Preface by Jean Cassou.
Handsome copy.

Fourth edition statement, after the first published in 1765.
Contemporary full marbled calf binding. Decorated spine with raised bands. Red morocco title label. One tear with loss at foot. Corners slightly bumped. Good copy.
Bergier was responsible for a considerable number of critical works of controversy against the Enlightenment philosophers, notably against the materialists, as a defender of the church and religion. He attacks Rousseau and his theses particularly here, notably those set forth in Emile, which he considers dangerous for man, the state, and religion.

First edition, one of 230 numbered copies on Alfa paper. Handwritten inscription signed by the author. A tiny marginal tear on the front cover, ex-libris pasted on the first blank endpaper.

First edition printed in 2000 copies, ours being one of the copies on laid paper.
Some stains on the chemise.
The work is illustrated with six hors-texte plates in black and color by Henri Montassier and Raoul Serres.

First edition, one of 900 numbered copies on Lana vellum, the only issue with 50 Arches and 50 pure linen.
Work illustrated with 12 lithographs and original drawings by Jack Girbal.
Fine copy despite a small tear at the foot of the spine.

First edition, a first issue copy numbered in the press; there were only 3 large paper copies on Japan and 27 on Hollande paper.
Autograph inscription signed by Léon Bloy to a close friend "...ce livre d'un vieux pauvre pour agrandir les coeurs […this book from a poor old man to make hearts a little bigger]."
One small insignificant stain to head of upper cover, a very good copy.

First edition on ordinary paper; there were only 3 large paper copies on Japan and 17 on Hollande.
Handsome autograph inscription signed by Léon Bloy to his friend Louise Marguillier "... Les larmes, chère amie, cela seul vaut quelque chose. Le savez-vous ou ne le savez-vous pas? [Tears, my dear friend, are the only things worth anything at all. Do you know that, or not?]".
With a frontispiece heliogravure.
A very good copy.

First edition on ordinary paper, falsely stated the sixth edition, there has been printed only 10 Hollande large paper copies.
Autograph inscription signed by Jean Lorrain.
Spine slightly cracked and with two tiny lacks to foot, a few pieces of the text underligned in blue pencil.
Cover illustrated with a drawing by Sem.

First edition on ordinary paper, of which there were only 10 large paper on Hollande.
With an autograph inscription from Jean Lorrain.
A small hole and tiny lack to the margin of the first endpaper.
Beautiful illustrated cover by Van Wélie.

First edition.
Full smooth blonde calf binding, smooth spine decorated with a red morocco label, compartments and gilt geometric motifs, boards framed with a Bacchic roll, gilt roll to edges and headcaps, all edges gilt.
A small lack to foot of joint, corners slightly bumped and edges rubbed.
The work is illustrated with eight plates.

First collected edition containing some unpublished pieces. One of the rare copies containing both epistles by Bois-Robert and Scarron (most copies contain fewer preliminary leaves). A frontispiece portrait of the author drawn by Petrus and engraved by Daret; a title vignette, printer's device on title page.
Contemporary limp vellum binding. Smooth unlettered spine. Light stains to upper board. Worming to preliminary leaves, after the first two leaves, to lower margin; although confined to margin, numerous wormholes throughout preliminary leaves. Also to note, worming to table of contents and extending from final text leaves, always to lower margin. Some foxing and yellowed leaves.
This edition was largely prepared by the author himself and is the only one he acknowledged, conscious of the value of his work and his approaching death (died in 1646); it contains 268 pieces, of which 173 are unpublished. Some pieces that had appeared in collective volumes do not appear in this complete works. François Maynard is one of the principal names in poetry of the first half of the 17th century, alongside Malherbe, Racan, Viau, Regnier. A disciple of Malherbe, his poetry is distinguished by the great clarity of its style and regularity of its verse; it also conveys a certain melancholy.

New edition.
Work illustrated with numerous figures in and outside the text.
Spine broken and restored at head with an adhesive piece, handsome interior condition.

First French edition, partly first edition and published one year after the original, one of 10 copies on Holland paper, the only deluxe copies with 2 on China paper.
Bradel binding in half cherry red cloth, smooth spine decorated with gilt floral motif, gilt date and double fillet at foot, rubbed black morocco title label, marbled paper boards, original wrappers preserved, top edge gilt, binding cold-stamped signed Pierson.
Precious and rare signed autograph inscription from Théophile Gautier to Jules Pelletier, Secretary General of the Ministry of State to whom Gautier lent his pen.
He thanked him by interceding with the Emperor who appointed him Officer of the Legion of Honor on August 7, 1858.
Our copy is complete, as frontispiece, with the portrait of H. de Balzac printed on China paper and etched by E. Hédouin as well as its 3 autograph facsimiles (which are often lacking according to Clouzot).

First edition, magnificently illustrated with 13 chromolithographs and 400 wood engravings in-text. Publisher's binding in its most luxurious version by Lenègre in half red shagreen richly decorated with a Souze plate, a plate also found on the red shagreen-textured percaline boards; binding evoking the rich Renaissance bindings of Grolier type. Gilt edges. Minor rubbing at foot. Very handsome copy, with some scattered foxing in the margins. The interest of the work manifests itself both through its erudition and its accessibility and readability (historical anecdotes...). We owe it to Paul Jacob, who was a great bibliophile, writer and scholar, and keeper of the Arsenal library. If the entire series has become a great classic in the field, it is because it successfully combines the work of publisher, printer, bookbinder, historian, illustrators, and documentation, and few books have ultimately achieved this amalgamation that we owe to Firmin-Didot, at a time when books had become quite mediocre. One will note the presence in the sciences of the study of alchemy and occult sciences, and a chapter on heraldry.

New edition.
Half black morocco binding, spine with five raised bands, marbled paper boards, marbled endpavers and pastedowns, original wrappers preserved, top edge gilt.
Work illustrated with 80 hors-texte plates after Grandville (including 1 frontispiece) as well as in-text vignettes.

Second edition.
Half black shagreen binding, spine with four fine raised bands decorated with double gilt compartments, frame of gilt fillet on black paper boards, some tears to leading edges, cream watered silk endpapers and pastedowns.
Work illustrated after drawings by the author as well as 15 hors-texte drawings by Calame.
Occasional light foxing affecting mainly the beginning and end of the volume.

First edition in French on ordinary paper, only 25 copies were printed on deluxe paper.
Half red shagreen binding, spine with four raised bands set with gilt fillets decorated with triple gilt compartments, marbled paper boards, marbled endpapers and pastedowns, covers preserved, top edge gilt, contemporary binding.

New edition of the French translation on ordinary paper, false statement of sixth edition, no mention of deluxe copies.
Half red shagreen binding, spine with four raised bands set with gilt fillets decorated with triple gilt compartments, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, two corners slightly bumped, top edge gilt, contemporary binding.

New edition, after the original published in 1681; it is known that this book went through many editions.
Contemporary full speckled brown calf binding. Spine with five raised bands decorated with gilt compartments and floral motifs, red morocco title label. All edges marbled. Calf somewhat rubbed in places. A small dampstain should be mentioned.
Famous work by the jurist, ecclesiastical historian and abbot Claude Fleury. He was appointed by Louis XIV as tutor to the Dukes of Burgundy, Berry and Anjou, as well as confessor to the young Louis XV.

Edition printed on laid paper and richly illustrated with heraldic vignettes in black.
Bradel binding in half vellum-style boards in the manner of medieval books, smooth spine, marbled paper boards, fragile parchment covers preserved, marbled paper endpapers and pastedowns, pastiche binding of the period.
Work abundantly decorated with heraldic vignettes in the text.
Handsome copy.

First edition.
Half-brown cloth binding, smooth spine decorated with gilt fillets and gilt title, marbled paper boards, speckled edges. Spine uniformly sunned, a lack to upper left corner, other corners bumped.
A folding map of Switzerland divided into 22 cantons created by the author.
Scattered foxing.

First edition.
Contemporary full brown calf binding. Spine with five raised bands, red morocco title label. Edges underlined with gilt dentelle. All edges red. Small wormholes on spine and calf rubbed in places.
A small dampstain affecting several pages.
This text has been attributed to Pierre Corgne (1700-1781), French theologian and churchman, canon of the diocese of Soissons. It deals with the conflict between Stephen I and Cyprian bishop of Carthage: "Stephen or Stephen I becomes the 23rd Pope on May 12, 254. His pontificate falls between two waves of persecution.
An internal crisis in the Church brings it to the brink of rupture with the Eastern Churches and that of Africa. Like his two predecessors Stephen favors the reintegration of Christians who apostatized under the persecutions of Trajan, Decius and have repented since. The ritual differences have intensified between the different churches and Stephen demands that all churches conform to Roman dogma. A conflict begins with Cyprian, the bishop of Carthage, threatened by Stephen I with excommunication. Cyprian receives support from the Churches of Asia Minor, Syria and Cappadocia." Corgne gives a contemporary reading of this historical episode, seeking to legitimize the authority of the Church of Rome.

New edition, after the first edition published in 1688 in 2 volumes quarto.
Contemporary full brown grained calf binding. Spine with five raised bands decorated with gilt compartments and fleurons, red morocco title and volume labels, leading edges underlined with blind tooling. All edges red.
Two head caps worn, one headband detached at the tail of the first volume and corners very slightly bumped.
One of Bossuet's major works, in which the author summarizes the controversies against the Protestant church through a key concept: variation. The multiple destinies and variations around the same doctrine must demonstrate to us that the Protestant church could not be the church of Christ and the repository of faith.

Fourth edition with some parts in first edition as it was revised, corrected and expanded with more than 400 new articles.
Rare and handsome copy presented in its original wrappers.

First edition.
Spine very slightly and insignificantly faded, a good copy.

First edition, illustrated with a title vignette and 14 compositions by Albert Lynch, two in colors, all engraved by Gaugean; the text has been entirely engraved in cursive letters by Leclere. Printed by Maison Quentin. Grand Velin d'Arches.
One of the first 50 nominative copies to Mme Edmond-Adam, no. 2, extra-illustrated with her etched portrait (before letters) and of Boufflers by Hilaire Le Dru. Total edition of 115 numbered copies.
Three-quarter navy morocco signed by Jarrigeon. Smooth Jansenist spine. Gilt title and date at foot. Original wrappers preserved. Head slightly faded. Very handsome copy. This charming libertine tale first appeared in 1762; it is certainly the most characteristic work of its author.

First edition, illustrated with 14 lithographic compositions by Maurice Eliot.
Copy printed for M. E. Terré. Text within a border frame. Grand Velin.
Half chocolate morocco with corners signed Lortic. Jansenist spine with raised bands. Some pale foxing at beginning of work. Minor rubbing. Handsome copy.

First edition.
Publisher's Bradel binding in half dark green percaline, smooth spine, black morocco title label, small gilt tool and double gilt fillet at foot.
Twelve issues from January to December 1901. Original wrappers preserved.
Each issue illustrated with a wood engraving.
Literary contributions by Paul Fort, André Gide ("Emmanuel Signoret", "Les limites de l'art"), Francis Jammes, etc.
Founded in 1890 by Henri Mazel, l'Ermitage is a monthly review belonging to the first wave of small symbolist reviews. In the 1895 years, the review enters decline, and its new director, Edouard Ducoté, calls upon André Gide. The editorial team is then reduced to twelve regular collaborators, friends of Gide. After multiple difficulties and attempts to reorganize the editorial team (Remy de Gourmont would make a passage there and also contribute financially in 1905), l'Ermitage breathes its last in 1906.
L'Ermitage manages to distinguish itself from other important reviews of the time such as the Mercure de France or the Revue blanche because it claims to be eclectic and apolitical; on its cover, one can read that it is "la seule Revue qui ne s'occupe ni de politique ni de sociologie [mais] qui traite uniquement de littérature et d'art." Its small illustrations are in Art Nouveau style, and, faithful to its symbolist spirit, its collaborators are more interested in poetry than in the novel.
Tiphaine Samoyault, French literary critic, considers that l'Ermitage expresses a transition straddling fin de siècle aestheticism and avant-garde poetry of the 1910s.