Paris

First edition on current paper.

Illustrated book of 6 vignettes by André Derain.
Very discreet restorations on the back and the boards of covers, tiny angular gaps in heads of the very first leaflets.
Precious autograph dedication signed by Antonin Artaud: "To my dear friend André Lhote the only living writer who knows how to speak about painting in a poetic and superior sense."

First edition, very rare. Three states can be distinguished: the first, ours, is distinguished by the title page entitled Oeuvres posthumes, as is the half-title. The second state substitutes a new title page entitled Album d'un pessimiste, with the half-title still indicating Oeuvres posthumes (this is the state known and described by Clouzot). The third state has a new title page dated 1836, again entitled Album d'un pessimiste, with the half-title oeuvres posthumes (this is the most common state); however, the mention of a notice by L'Héritier has disappeared to make way for the mention of a biographical notice (extracted from Michaud's

New édition, illustrated with 4 folding plates (tree of consanguinity, tree of affinities, genealogy of Charles Le Bel and Blanche de Bourgogne, of Louis XII and Jeanne de France)

Contemporary full marbled brown sheep binding. Spine with raised bands decorated. Beige morocco title label. Rubbing to headcaps, joints, edges and corners; handsome copy, fresh.

Bookplate: Library of the Grand Seminary of Versailles, and stamp on title page.

First edition, one of 40 numbered copies on vélin pur fil paper, the tirage de tête (deluxe copies).

Full morocco, covers and spine preserved, slipcase, elegant binding signed by Semet & Plumelle.

Provenances: mostly from Robert Desprechins' library with his ex-libris drawn by Jean Cocteau, and by Louis de Sadeleer with his engraved ex-libris.

A very nice copy beautifully bound morocco signed by Semet & Plumelle.

Rare and highly sought-after first edition (...) of which only a portion of the copies contains a preface (cf. Clouzot). The important account of the lawsuit concerning The Lily of the Valley that precedes the novel was not retained in subsequent editions and is often lacking in a number of the copies published by Werdet.

Copy complete with both the preface and the account of the lawsuit that opposed Balzac to the publisher François Buloz. Contemporary half green sheepskin bindings, smooth spines decorated with gilt romantic typographical motifs, gilt fillets at heads and tails, marbled paper boards, paste paper endpapers and pastedowns, marbled edges, con

First edition, one of 15 numbered copies on Hollande paper, the leading copies.
This copy with the original frontispiece lithograph by André Masson.
Hors-texte illustrations by André Masson.
A very good and rare copy.

First definitive editions, partly original.
Bound in red half-shagreen with corners, spine with four raised bands decorated with blind-stamped panels and fillets, the entwined monogram of Jules Hetzel at the foot, uncut copy, contemporary binding.
A few occasional spots of foxing.
Inscribed by the author to Jules Hetzel, “as a token of the author’s friendship.”

In the 1840s, Balzac “contributed to a collective volume illustrated with Grandville’s vignettes, Scènes