Paris

Definitive edition on ordinary paper.
Fine autograph inscription signed by Paul Fort to Alexis Baume "with my best wishes for the entire passage of the mysterious year 1943".
Foreword by Paul Valéry.

First edition.
Autograph inscription signed by Jean Roullier to Louis and Madeleine Barberon.
Marginal worming to head of first cover which also has small tears with tiny lacks to foot.

first edition of the French translation by Charles-Marie-René Leconte de Lisle.
Bound in red half-morocco with corners, back with five nerves, gilded head, contreplats and paper guards to the tank, blankets and back preserved, a few rare foxinges, beige canvas casing, modern binding.
Precious autograph dedication from Leconte de Lisle to George Sand:
"To Mrs. G. Sand
tribute of respectful admiration
Leconte de Lisle »
From his earliest writings, Leconte de Lisle placed himself directly under the influence of George Sand, to whom he dedicated two poems of youth: to George Sand and Lelia in solitude . This filiation was gradually transformed into reciprocal admiration, since George Sand paid tribute to the author in an article of the Temps du 31 July 1872: "M. Leconte de Lisle is a great poet too, and of such a strong originality that he is became a school head. We owe him real recognition? it would have to be a national recognition. "
This autograph dedication of the author, in the form of homage, accounts for the reciprocal esteem and admiration that the two authors bore.

Very nice literary tribute on a copy nicely connected.

The first edition, of which there were no deluxe copies.
Half caramel shagreen binding, spine with five raised bands decorated with double blind-stamped compartments, black shagreen title-label, marbled paper boards, marbled endpapers and pastedowns, contemporary binding.
Signed and inscribed by Alexandre Chatrian to his friend Ludovic Bouyon.
Bookplate of the dedicatee pasted on a pastedown.
Some minor foxing.

First edition, of which there were no deluxe copies.
Half caramel sheep binding, spine with five raised bands decorated with gilt fleurons showing some scratches, red shagreen title-label, marbled paper boards, front board affected at head with surface damage, marbled endpapers and pastedowns, contemporary binding.
Signed autograph inscription from André Beaunier to Guillaume Chastenet.
About Lucile de Chateaubriand, Eugénie de Guérin, Mmes de Staël and de Beaumont, M. Desbordes-Valmore...
Some minor foxing.

First edition, of which there were no deluxe copies.
Bradel binding in half purple cloth, smooth spine faded with gilt fleuron, double gilt fillet at foot, hazel shagreen title-label, marbled paper boards, original wrappers preserved, contemporary binding.
Work illustrated with in-text and full-page illustrations.

First edition of which there were no deluxe copies, with second edition statement.
Half caramel shagreen binding, spine with five raised bands decorated with double blind compartments, black shagreen title-label, marbled paper boards, marbled endpapers and pastedowns, upper corners slightly bumped, contemporary binding.
Signed and inscribed by Alexandre Chatrian to his friend Ludovic Bouyon.
Some light foxing.

First collected edition, one of 85 numbered copies on alfa paper, the only deluxe copies after 26 pur fil.
Half marbled sheep binding, spine with five raised bands decorated with gilt fleurons, gilt friezes at head and foot, burgundy red shagreen title-label, spine with some rubbing traces, lemon cardboard boards, marbled endpapers and pastedowns, covers and spine preserved, contemporary binding.

First edition, one of 200 numbered copies on alfa vellum, the only issue with 10 on Holland paper.
Pamphlet complete with its facsimile.
A light and pale marginal dampstain on the covers.

The first edition, of which there were no deluxe copies.
Half caramel shagreen binding, spine with five raised bands decorated with double blind-stamped compartments, black shagreen title label, marbled paper boards, marbled endpapers and pastedowns, upper corners slightly bumped, contemporary binding.
Autograph inscription signed by Alexandre Chatrian to both volumes to his "old friend" Ludovic Bouyon.
Some foxing, a crease mark at foot of last leaves.

First edition of which there were no deluxe copies.
Half caramel shagreen binding, spine with five raised bands decorated with double blind-tooled compartments, black shagreen title label with a small marginal lack, marbled paper boards, marbled endpapers and pastedowns, three corners slightly bumped, contemporary binding.
Signed autograph inscription from Alexandre Chatrian for both volumes to his "old friend" Ludovic Bouyon.
Some foxing.

First edition printed in a small number of copies of this offprint of the Correspondant.
Spine and covers marginally sunned, spine with small lacks.

First edition on ordinary paper.
Illustrated hors texte.
A good copy.

First edition published complete with introduction and notes by Jacques Ladreit de Lacharrière.
The work illustrated with a portrait of Madame de Chateaubriand as frontispiece.
Handsome copy.

First edition, one of 800 numbered copies on Rives laid paper, the only issue with 30 on Japan paper.
Work illustrated with a portrait of Madame de Vintimille as frontispiece.
Occasional light worming to endpapers, handsome copy.

First collected edition with some parts in first edition.
Bradel binding in indigo half-cloth, smooth spine decorated with gilt floral motif, double gilt fillet at foot, burgundy shagreen title-label, marbled paper boards, covers and spine preserved, two corners slightly bumped, contemporary binding.
Introduction and notes by Jacques Ledreit de Lacharrière.
Handsome copy.

Third edition.
Half navy blue shagreen binding, spine with five raised bands set with gilt dots decorated with gilt floral motifs, marbled paper boards, marbled endpapers and pastedowns, top edge gilt.
Some light foxing.

First edition.
Half black sheep binding, smooth spine decorated with quadruple gilt fillets, marbled paper boards, marbled endpapers and pastedowns, contemporary binding.
Handsome copy.

First edition
Dark green half cloth Bradel binding over marbled paper boards, gilt floral motif to spine, double gilt fillet at foot
Autograph inscription from Paul Verlaine to René Andreau
With a frontispiece portrait of the author by Louis Anquetin.

First edition.
About Chateaubriand, A. de Vigny, A. de Lamartine, G. Sand, T. Gautier, V. Hugo...
Spine cracked with small lacks, interior foxing.

Third edition.
Bradel binding in full mauve cloth decorated with vegetal motifs, smooth spine faded decorated with a gilt monogram, gilt date at foot, original wrappers preserved, top edge gilt, contemporary binding signed by Paul Vié.
The work illustrated with a portrait of Madame de Custine as frontispiece.

First edition published anonymously.
Full mouse-grey cloth Bradel binding, smooth spine, burgundy morocco title-label.

First edition.
Half black morocco binding, spine with five raised bands, marbled paper boards, marbled endpapers and pastedowns.
Our copy expanded with a mounted autograph note that does not appear to be in the author's hand: "A Madame, Madame la comtesse Charles de Goutaud, rue Louis le Grand n°23", dated December 1821. This note is found on the back of an invitation to the blessing of the new chapel of the Infirmerie Marie-Thérèse. Céleste de Chateaubriand, the author's wife, had founded this hospital in 1819, an institution whose mission was to welcome elderly priests and noble women who had become widows during the Revolution. Located on rue Denfert, at number 86 as indicated by this invitation, this institution still exists and welcomes retired Parisian priests. Lacks not touching text at the location of the seals.
A small paper manufacturing flaw at the foot of the title page.

First edition.
Half red morocco with corners, smooth spine decorated with triple gilt fillets and blind typographical motifs, red paper boards, two marginal stains at foot of boards, marbled endpapers and pastedowns, corners slightly bumped, yellow edges, contemporary binding.
Some minor foxing of no consequence.

First edition imprimée on thick paper.
Arrondissements and Seine heightened with watercolors. 
Map uniformly yellowed. Skillful repairs to the back.
Rare.

First edition.
Contemporrary binding in navy-blue cloth.
Handsome autograph inscription signed by André Theuriet to Guy de Maupassant : "...hommage de vive sympathie littéraire..."

First edition rare.
Half sheep, rubbing on the spine, corners bumped, contemporary binding.
Almost withour foxing.

First edition, one of the rare copies printed on laid paper of which no mention is made, the only deluxe copies.
Full navy blue shagreen binding, spine with five raised bands set with black fillets decorated with double blind compartments enhanced at their centers with gilt fleurons, gilt roulettes on the headcaps, boards struck at their centers with a gilt mandorla enriched with mosaicked navy blue interlace, double gilt fillets on the leading edges, wide gilt dentelle on the pastedowns, marbled endpapers and pastedowns, all edges gilt, superb contemporary binding signed by Simier.
Provenance: from the library of the author, Louis Ulbach, with his bookplate and a library shelf marking.
A very handsome copy perfectly executed by Simier.

Rare first edition consisting of an allegorical title engraved with Napoleon's arms and 59 steel-engraved plates by Boizot, Beauvallet, Vallois after drawings by Bralle. All the engravings are executed with great finesse and present a scale and aerial view at the bottom of each plate. The work would later appear under another title in 1812, without mention of Napoleon, with descriptive text by Amaury Duval: Les fontaines de Paris, anciennes et nouvelles. In later editions, the illustration would be expanded, notably in 1828.
19th-century half black shagreen binding with corners, marbled paper boards, all edges speckled, tail headcap worn and corners very lightly rubbed.
Some scattered foxing on title and endpapers.
Handsome copy.

First edition, rare, published anonymously and never reprinted. It is illustrated with 4 folding plans of Paris corresponding to the four chronological periods studied, extending from the dawn of the monarchy to Louis XV (up to Louis X, Philippe VI to Charles X; from Charles X to Henri IV; and from the latter to the reign of Louis XV). This edition appeared simultaneously at Pierre-François Giffart.
Contemporary full speckled brown sheep bindings. Spines with raised bands decorated with four fleurons and a roulette at foot. Red morocco title and volume labels. A lack at head of spine of volumes II and III. Head of spines worn for volumes IV and V. Foot of spine of volume IV worn. Most corners slightly bumped. Rubbing.
The work was composed from L'Histoire de la ville de Paris by Félibien and Lobineau in five folio volumes (1725), it intended to be more accessible, financially and intellectually. The fifth volume is a description of the city of Paris, its extent at different ages, its churches, colleges, squares, old and new streets, monuments...

Stated the second edition, but actually the third, enlarged, with three volumes and eight plates of constellations; rare. The first edition appeared in 1770 in a single volume, a second being added in 1771.

Contemporary spotted sheep, spine with four tools and roulettes to head and foot, red morocco title- and black morocco volume- labels, roulette frame to covers. Spines uniformly and slightly faded, lack to first blind-ruled compartment of spine of volume one. A good copy.

The work, in the form of an alphabetical dictionary, provides an overview of contemporary knowledge of natural history (mineralogy, botany, zoology, entomology, astronomy, and so on). Each article includes a curious or remarkable aspect of its subject (medical uses, strange properties, characteristics, etc). Several useful tables at end. Handsome.

First edition published in the Bibliothèque de La Pléiade.
Publisher's full brown grained sheep binding, smooth spine decorated with gilt fillets, handsome copy complete with its cellophane wrapper.
Iconography.

First edition published in the Bibliothèque de La Pléiade.
Publisher's full brown grained sheep binding, smooth spine decorated with gilt fillets, handsome copy complete with its cellophane wrapper.
Iconography.

New edition illustrated with an engraved portrait of the author as frontispiece to the first volume.
Half caramel calf bindings, smooth spines decorated with arabesques, gilt and blind fillets and friezes, gilt friezes at head and foot, some joints slightly cracked at head or foot, some scuffing to certain boards, gilt fillets on marbled paper boards, marbled endpapers and pastedowns, yellow edges, elegant Romantic bindings.
Occasional light foxing.
Handsome copy beautifully bound in Romantic style.

The first edition, published in a small number of copies.
Half fir-green morocco binding, spine slightly faded with five raised bands set with gilt dots decorated with gilt double compartments richly adorned with gilt typographical motifs, red morocco title, place and date labels, gilt fillet on marbled paper boards, marbled endpapers and pastedowns, contemporary binding.
Our copy is enhanced with a signed autograph note from the author in which he proposes to a person to postpone their meeting to another day.
Work illustrated with a beautiful frontispiece drawn and engraved by Félix Bracquemond.
Fine bookplate pasted above the reproduction of a photograph representing Charles Monselet also pasted on a pastedown.

First edition.
Bradel binding in half almond percale, smooth spine decorated with gilt floral motif, double gilt fillet at foot, hazel shagreen title-label, marbled paper boards, covers and spine preserved, contemporary binding signed by Stroobants.
Work illustrated with plates.
Engraved bookplate pasted on pastedown.
Handsome copy.

First edition, one of 100 numbered copies on pure thread paper, the only deluxe copies.
About Chateaubriand's sisters, Louise Ackermann, Marie Lenéru, Lucie Delarue-Mardrus, Jacques-Trève, Marie Dauguet, Marie Noël, Hélène Jung.
Handsome copy.

First edition.
Illustrated with 8 etchings.
A good copy.

First edition.
Spine slightly sunned, foxing at head of second board, ink gift inscription at head of first board, foxing on endpapers, otherwise handsome interior condition.

First edition.
Spine sunned, occasional small foxing.

First edition, one of 16 numbered copies on Japan paper, this one of 6 hors commerce, the tirage de tête.
A very good, well-margined copy.

Fine minuscule typographic edition, with commentary distributed around the text. Text within a red frame. Engraved title, with Renaissance-style border.
Edition illustrated with 27 albumen photographs mounted as vignettes at chapter heads, when the albumen photographic process had just been invented in 1850. One of the first books illustrated with photographs.
Binding in full black morocco signed by Lortic on the pastedown, 1871. Spine with raised bands decorated with 4 tools. Boards hot-stamped with a rich central roundel and corner tools; blind-ruled frame. Wide decorative gilt board-edges. Edges gilt. Light rubbing to upper joint at head (with a tiny floating piece), at foot, and to corners. Foxing on title page, scattered throughout the volume.
Very handsome copy, perfectly established in a full binding signed by Baudelaire's binder, Pierre-Marcelin Lortic.

First edition, one of 55 numbered copies on Madagascar, tirage de tête.
A very good copy with edges preserved.

Original engraving. Optical view heightened in watercolour, depicting a view of the Chinese baths taken from the Boulevard des Capucines.
Optical views, also called views, perspectives or "mondo nuovo", are engravings very much in vogue between the late 18th and early 19th centuries. They were intended to be observed through a set of several mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and were drawing-room entertainments. The process was first developed in Paris, then London and finally in Germany and was devoted to representing - in an idealized manner - the most famous panoramas and landscapes of East and West.
Some scattered worming and three dampstains at the bottom of the plate.

Original engraving. Optical view heightened in watercolor, depicting a view of the Palace of the Chamber of Deputies.
Optical views, also called vues, perspectives or "mondo nuovo", are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be observed through a set of several mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views appear to have emerged in the 1740s and were salon entertainments. The process was first developed in Paris, then London and finally in Germany and aimed to represent - in an idealized manner - the most famous panoramas and landscapes of the Orient and Occident.
Two strips of pasted paper (on the left and at the top) reinforce the plate.
Fine impression with very fresh colors.

Original engraving. Optical view heightened in watercolor, depicting a view of the Place Royale in Paris.
Optical views, also called vues, perspectives or "mondo nuovo", are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be observed through a set of several mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views appear to have emerged in the 1740s and were salon entertainments. The process was first developed in Paris, then London and finally in Germany and aimed to represent - in an idealized manner - the most famous panoramas and landscapes of the Orient and Occident.
Fine impression with very fresh colors.

Original engraving. Optical view heightened in watercolor, depicting a view of the Palace of the Stock Exchange.
Optical views, also called vues, perspectives, or "mondo nuovo," are engravings that were very popular between the late 18th and early 19th centuries. They were intended to be viewed through a series of mirrors or by means of a Zygrascope, an instrument consisting of a mirror and a lens. Optical views can be considered the forerunners of three-dimensional images and stereoscopes, which enjoyed great success from the 19th century onwards. Optical views appear to have emerged in the 1740s and were parlor entertainments. The process was first developed in Paris, then London, and finally in Germany, and focused on representing—in an idealized manner—the most famous panoramas and landscapes of East and West.
One tear without loss to left margin.
A handsome plate with fresh colors.

Original engraving. Optical view heightened in watercolor, depicting a view of the royal château of Compiègne.
Optical views, also called vues, perspectives, or "mondo nuovo," are engravings that were very popular between the late 18th and early 19th centuries. They were intended to be viewed through a series of mirrors or by means of a Zygrascope, an instrument consisting of a mirror and a lens. Optical views can be considered the forerunners of three-dimensional images and stereoscopes, which enjoyed great success from the 19th century onwards. Optical views appear to have emerged in the 1740s and were parlor entertainments. The process was first developed in Paris, then London, and finally in Germany, and focused on representing—in an idealized manner—the most famous panoramas and landscapes of East and West.
A handsome plate with fresh colors.

Original engraving. Optical view enhanced with watercolor, depicting a view of the Royal Military School, taken from Avenue Vaugirard.
Optical views, also called views, perspectives or "mondo nuovo," are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be observed through a set of multiple mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views appear to have emerged in the 1740s and were drawing room entertainments. The process was first developed in Paris, then London and finally in Germany, and focused on representing - in an idealized manner - the most famous panoramas and landscapes of the Orient and Occident.
Handsome plate with fresh colors.

Original engraving. Optical view enhanced with watercolor, depicting a view of the Porte Saint Martin taken from the Boulevard Saint Denis.
Optical views, also called views, perspectives or "mondo nuovo," are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be observed through a set of multiple mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views appear to have emerged in the 1740s and were drawing room entertainments. The process was first developed in Paris, then London and finally in Germany, and focused on representing - in an idealized manner - the most famous panoramas and landscapes of the Orient and Occident.
Handsome plate with fresh colors.

Original engraving. Optical view heightened in watercolor, depicting a view of the New Gallery of the Cabinet of Natural History at the Jardin du Roi.
Optical views, also called views, perspectives or "mondo nuovo", are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be observed through a system of multiple mirrors or by means of a Zygrascope, an instrument consisting of a mirror and a lens. Optical views can be considered as the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to have appeared in the 1740s and were salon entertainments. The process was first developed in Paris, then London and finally in Germany and sought to represent - in an idealized manner - the most famous panoramas and landscapes of East and West.
Fine plate with fresh colors.

Original engraving. Optical view heightened in watercolors, depicting a view representing the Royal Château of Versailles from the Paris avenue side.
Optical views, also called views, perspectives or "mondo nuovo", are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be observed through a set of several mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered as the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views appear to have emerged in the 1740s and were salon entertainments. The process was first developed in Paris, then London and finally in Germany and aimed to represent - in an idealized manner - the most famous panoramas and landscapes of East and West.
A paper strip in the upper margin reinforces the plate.
Fine impression with very fresh colors.

Original engraving. Optical view heightened in watercolors, depicting a view representing the gallery erected in the Place de Grève on the occasion of the birth of Monseigneur le Dauphin.
Optical views, also called views, perspectives or "mondo nuovo", are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be observed through a set of several mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered as the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views appear to have emerged in the 1740s and were salon entertainments. The process was first developed in Paris, then London and finally in Germany and aimed to represent - in an idealized manner - the most famous panoramas and landscapes of East and West.
Fine impression with very fresh colors.

First edition, one of 92 numbered copies on pur fil Lafuma, tirage de tête.
A very attractive copy.

First edition, one of 36 numbered copies on Hollande, tirage de tête.
A fine copy.

First edition, one of 80 numbered copies on pur fil, the only large paper copies after 25 Hollande.
A very attractive copy.

Edition illustrated with original designs by Paul Jarach engraved on wood by G. Poilliot, one of 425 numbered copies on Rives laid paper, the only copies after 5 Japan and 25 hors commerce.
Half brown shagreen binding with corners, spine sunned with five raised bands set with gilt fillets decorated with triple gilt compartments, gilt date at foot, frame of gilt fillets on mauve paper boards, mauve paper endpapers and pastedowns, covers and spine preserved, top edge gilt,

New edition, partly in first edition and expanded with a third volume, after the first published in 1711 in two volumes; it is illustrated with a title-frontispiece by Scotin engraved by Delamonce.
Contemporary full brown sheep binding. Decorated spine with raised bands. Red morocco title label, and brown morocco volume label. Head-caps worn. Tail-cap of volume I split. Overall rubbed. 10 corners slightly bumped.
Endowed with the thesis that poets were the first historians, Abbé Banier undertakes to decipher the historical meaning of mythology and the true sources of fables. The work became a classic and enjoyed great success. The whole is written in the form of dialogues, a fashionable form at the time. Numerous footnotes. The third volume adds the study of several myths: that of Hercules, of Jason and the golden fleece, of Theseus, of the Trojan war, and an explanation of Ovid's metamorphoses.

First edition.
Bradel binding in half fir green cloth, smooth spine decorated with gilt fleuron, double gilt fillet at foot, marbled paper boards marginally stained, corners and edges slightly bumped, contemporary binding.
Autograph inscription signed by Edouard Toulouse to Madame Jeanne Schnahl.

New edition.
Spine and covers marginally sunned, not serious, spots to covers, internally good.
Rare.

First edition.
Illustrated with 109 figures.
Spine slightly faded with a small tear at head, some minor marginal tears without significance to boards, handsome interior condition despite some light foxing.

First edition.
Illustrated covers.
Pencil annotations in margins of some pages.
Small angular fold marks on covers, one light harmless tear at foot of spine.

First edition, one of 725 numbered copies on laid paper.
Illustrated with a portrait of Rémy de Gourmont by Raoul Dufy.
Light rubbing to spine, handsome interior condition.

Illustrated edition in first printing with 300 in-text wood-engraved vignettes by Nanteuil, Baron, Français... Text within a decorative border.
Contemporary half midnight blue shagreen binding with corners. Smooth spine decorated with romantic elongated ornaments. Ornaments and fillets on boards and corners. Very fine marbled paper. Green moiré endpapers. Slight traces of fading, without consequence. Some scattered foxing, but on white paper (despite some browned gatherings in the first volume).
Very handsome copy, solidly bound.
Fine edition with romantic vignettes that takes its place among the other editions of classics produced by the illustrator duo Baron and Nanteuil, who participated in the renewal of the art of wood-engraved vignettes; they had already produced Télémaque by Fénelon, Roland furieux...

First edition on ordinary paper
Contemporary vellum-effect paper-backed Bradel binding over marbled paper boards, light brown shagreen title piece (rubbed), covers preserved

Handsome autograph inscription signed and dated by Charles Péguy to the Academician Gabriel Hanotaux: "..
Samedi 29 Avril 1911 / Exemplaire pour monsieur Gabriel Hanotaux de l'Académie Française / en hommage très respectueux
/ Charles Péguy [Saturday 29 April 1911 | A copy for Monsieur Gabriel Hanotaux of the Académie Française | with very best wishes
| Charles Péguy]." A little spotting (not serious) to endpapers.

First edition.
Autograph inscription signed by Eugène Schaeffer to the great Resistance fighter Gilbert Grandval: "... ambassadeur de la France en Sarre, grâce auquel cet ouvrage a vu le jour, en signe de reconnaissance, de la part de l'auteur..." ["... ambassador of France to the Saar, thanks to whom this work came to light, as a token of gratitude, from the author..."]
Two small tears of no consequence at head and foot of spine.

First edition.
Publisher's brown cloth binding, smooth spine, small foxing to boards.
Preface by Dr. F. Levillain.
Autograph inscription signed by the preface writer to his colleague Dr. Bérillon.
One stain to edges.

First edition.
One small lack to head of upper cover, small stains to covers.

Third edition with some parts in first edition as revised and corrected.
Work illustrated with figures in the text.
Light tear with minimal lack at head of first board, two slight marginal lacks on second board, some foxing.
Rare.

First edition.
Signed autograph inscription from Gaston Bonet-Maury to Monsieur Lachelier.
Preface by Anatole Leroy-Beaulieu.
Two lacks at head and foot of spine, two corner lacks at foot of boards, minor rodent damage to margins of final pages not affecting text.

Eighth edition.
Spine slightly sunned, internally good.

First edition published in a small number of copies of this offprint from anthropology courses at the Museum.
Spine and covers lightly and marginally sunned, front cover with a small tear at head.
Rare pamphlet.

First edition.
Foreword by Professor Yves Pélicier.
A good copy.

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

First edition on ordinary paper.
Half caramel sheep binding, spine with two raised bands decorated with a central gilt fleuron, double gilt fillets at foot, minor traces of rubbing to spine without significance, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt, one lower corner slightly bumped, contemporary binding.
Inscribed by André Mabille de Poncheville to the poet Jean Ott: "... cette étude sur deux peintres qu'il ne peut manquer de connaître..." ["...this study on two painters whom he cannot fail to know..."]
Work illustrated with reproductions of works by the Watteaus.

First edition in French, of which there were no deluxe copies.
Half caramel sheep binding, spine with two raised bands decorated with a central gilt fleuron, double gilt fillets and gilt date at foot, traces of rubbing to spine, citron shagreen title label, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt, contemporary binding.
Inscribed by the translator to the poet Jean Ott: "... au poète de l'Effort des races, ce livre où ne se retrouvent guère les couleurs de notre "adolescence boréale". Mais le maître n'a-t-il pas écrit : j'en lis qui sont du Nord et qui sont du Midi..." ["...to the poet of l'Effort des races, this book where one can hardly find the colors of our 'boreal adolescence'. But did not the master write: I read some who are from the North and some who are from the South..."]

First edition printed in a small number of copies on alfa paper.
Work illustrated with original woodcuts by Fernand Pinal.
Preface by Albert Acremant, president of the Rosati.
Handsome copy.

New edition, the volumes comprising three different editions (1749, 1753 and 1764), as is very often the case for this work when it is in a uniform binding, with editions and reprints spread over time. Illustrated with a frontispiece and 116 folding plates; particularly appreciated illustrations, especially astronomy plates.

End-of-18th century half calf binding. Spines richly decorated in gilt. First volume with a 2 cm split at the upper edge. A tear with missing spine-end on volume 2. Worm damage to tail of volume 3. Title pages of volumes 2 to 6 with two pieces of paper pasted, probably to conceal stamps. Page 102 of volume V cut at the bottom of the page (not affecting the text). A good copy, particularly fresh and attractively decorated.

Along with Le Spectacle de la nature, Leçons de physique expérimentale is undoubtedly the most famous work of scientific popularization of the French monarchy; both works are evidence of public interest in science and its achievements in the second half of the 18th century. The first three volumes are about mechanics, hydrostatics and the properties of air, the fourth water and fire, the fifth light and optics, and the last astronomy, magnetism and electricity. In each of these fields, Nollet describes numerous physics experiments.

Second edition but first for many parts, one advance (service de presse) copy.
Rare autograph inscription signed by Charles-Ferdinand Ramuz to Pierre de Massot.
Spine and back lightly sunned as usual.

First edition of the adaptation by Jean Ott, of which there were no deluxe copies
Illustrated with a frontispiece by David Ossipovitch Widhopff.
A light tear without gravity to the head of the front cover, handsome copy.

First edition of the adaptation by Jean Ott, of which there were no deluxe copies
Spine and covers slightly and marginally sunned, handsome copy.

First edition of the adaptation by Jean Ott, of which there were no deluxe copies
Work illustrated with a frontispiece by René Leverd.
Handsome copy.

First collected edition, of which there were no deluxe copies.
Work illustrated with drawings by D.O. Widhopff, R. Leverd, L. Jonas and M.Q. Point.
Handsome copy.

Statement of second edition, illustrated with three figures engraved by Tardieu. The first edition appeared in 3 vols. 18mo, the same year.
Full marbled brown sheep binding. Decorated spine with raised bands. Red long grain morocco title-label and volume labels. A tear with loss at head of first volume. Rubbing. 2 corners slightly bumped. Headcap of volume II partly worn away.
Collection of light and gallant tales by François de Lantier. Verses he wrote for Madame du Barry earned him a pension from Choiseul and a position in Dresden. He is the author of the voyages d'Anténor. Of his tales, he himself wrote in his preface: "it is better to write fairy tales than political dreams and to have a small clandestine commerce with the Muses, than to bear the burden of public affairs on one's back."
Viollet Le Duc bookplate; from the library of Laurent de Crozet; Laurent de Crozet bookplate. Jules Bobin manuscript ownership inscription. (Interesting provenance chain...)

Second edition.
Covers slightly soiled.

First edition in French translation for which no deluxe copies are mentioned.
Half marbled caramel sheep binding, spine with two raised bands decorated with central gilt fleuron, gilt date and double fillet at foot, traces of rubbing to spine, chocolate shagreen title-label, joints rubbed, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt, contemporary binding.
Autograph inscription signed by the translator, Léon Bocquet, to the poet Jean Ott.

New edition.
Half marbled caramel sheep binding, spine with two raised bands decorated with gilt central fleuron, gilt date and double fillet at foot, traces of rubbing to spine, chocolate shagreen title label, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt, contemporary binding.
Autograph inscription signed by Romain Coolus to the poet Jean Ott: "... en sympathie - sans le connaître - puisqu'il est ami d'Acremant..." ["... in sympathy - without knowing him - since he is a friend of Acremant..."]

First edition on ordinary paper.
Half brown shagreen binding, spine lightly with five raised bands set with double black fillets, gilt date at foot, traces of rubbing to spine, marbled paper boards, marbled endpapers and pastedowns, top edge gilt, contemporary binding.
Autograph inscription signed by Emile Poiteau to the poet Jean Ott and his wife: "... aimé de tous... les Félibres du Nord..." ["... loved by all... the Félibres of the North..."]

Second edition.
Half fir green shagreen binding, spine faded with five raised bands set with black double fillets, gilt date at foot, traces of rubbing to spine, one restored tear at foot, joints rubbed, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt, contemporary binding.
Very fine full-page autograph inscription signed by the author to the poet Jean Ott.
Work illustrated by Jacques de Chastellus.