Paris

First edition, one of 21 numbered copies on Holland paper, the only deluxe copies along with 3 on Japan paper.
Full burgundy morocco binding, spine with five raised bands, gilt initials and date at foot, gilt roulettes on headcaps, gilt fillets on leading edges, frame of a burgundy morocco fillet decorated with sextuple gilt fillets on endpapers, pink paper endpapers and pastedowns, wrappers preserved, top edge gilt on deckled edges, bookplate pasted to verso of front board, contemporary English binding signed by Morrell.
Signed autograph inscription from A. de Fleuriau.
Handsome copy perfectly executed in a charming contemporary English binding.

First edition printed in 100 copies on laid paper.
Author's signature on the justification page.
Autograph inscription signed by René-Louis Doyon on the first cover.
Our copy is complete with its illustrated menu from the dinner of the friends of la Connaissance with a drawing by Domin.
Small marginal stains on the first cover, handsome copy.

First edition. Contemporary half black sheep binding, faded smooth spine showing traces of rubbing, decorated with black double fillets, marbled paper boards, edges and corners bumped, marbled endpapers and pastedowns, two tears with losses to one endpaper. Fine interior condition. Rare.

First French edition.
Rare signed autograph inscription by Walter Edo Stubbs.
Covers slightly and marginally shaded without any gravity, two small light stains at head and foot of the second cover.

First edition.
Autograph inscription from Pierre Darras.
Tiny insignificant spots to upper cover, a very good copy.

First edition, one of 200 numbered copies on fine paper, the only deluxe copies.
Signed autograph inscription from C.J. Cordeau.
Joints slightly cracked then reglued at head and foot.
Rare and handsome copy.

First edition, one of 25 numbered copies on pure laid paper, deluxe copies.
Signed autograph inscription from the author.
Like all copies from the deluxe issue, our copy is complete with Benn's original drypoint frontispiece.
The plastic film covering the covers showing some tears with losses, a marginal crease mark at the foot of the front cover, handsome interior condition.

New edition.
Contemporary full speckled blonde sheep bindings. Smooth spines decorated with blonde and black morocco title and volume labels, with gilt compartments and fleurons. All edges red. Head joint cracked on the second volume. Headcaps rubbed. Surface wear. One half-title leaf probably lacking. A small wormhole affecting the first leaves of the second volume. A work of pedagogy and morality consisting in the education of young girls.

First edition.
Publisher's full cream cloth binding, complete with its illustrated dust jacket whose spine is slightly sunned as well as its slipcase.
Rich iconography, handsome copy.

The definitive edition, first in parts, one of 25 numbered copies on vélin d'Arches paper, the only large paper copies.
Illustrated.
One small insignificant lack to foot of spine, a few small wormholes principally to endpapers, two tiny marginal tears without lack to lower cover, internally good.
Rare.

First edition, one of 40 numbered copies on Navarre laid paper, ours unnumbered.
Preface by André Fontainas.
Spine and covers very lightly and marginally sunned, some foxing affecting mainly the endpapers.

New edition of the work that Lange had published approximately half a century earlier under the name of Gastier, prosecutor at the parliament, and which originally bore the title "Praticien français". Quérard gives the 1755 edition, the last edition, and remarks: "The various intermediate editions underwent considerable modifications; those of 1699 and 1702 were given by Denis Simon, who added observations on various matters. After the author's death, two manuscript works found among his papers were added, one on the Right of indult; the other on Ecclesiastical jurisprudence". Title page in red and black.

Full blonde sheep binding. Spine with five raised bands decorated with a

New edition in French, published the same year as the first edition.
A good copy.

First collected edition, one of numbered copies on vergé labeur paper.
Endpapers very slightly and marginally sunned, not serious, a good copy.

First edition; the first two volumes appeared in 1813, the next two in 1815 and the last four in 1817.
Contemporary half tree-calf bindings. Smooth spines decorated with blonde morocco title and volume labels, small fleurons and gilt fillets. Paste-paper boards. Head of seventh volume very slightly damaged. Some very minor foxing to certain volumes.
Rare first edition of this essential work reflecting the Romantic era's vision of the Middle Ages, particularly in literature.

First edition.
Numerous contributions.
A very good copy.

First edition.
Numerous contributions.
A very good copy.

First edition.
Numerous contributions of which celles de C. Dotremont, E.M. Cioran, R. Abellio, J.L. Parant, J.P. Sartre...
Iconography, a very good copy.

First edition, one of 108 copies reimposed in quarto format, ours being one of the 100 nominative copies numbered in Roman numerals, part of the tête de tirage.
Bound in half green long-grain morocco, flat spine very slightly faded, wrappers and spine preserved.
A handsome copy.

New edition, reprint of the first edition in ten books published in 1621; illustrated with a portrait by Léonard Gautier and a large vignette with royal arms. Title page in red and black. Printed on fine paper.
Contemporary half calf binding. Decorated spine with raised bands. Red morocco title label. Head worn. Upper joint cracked at head. Rubbing to boards. Corners slightly bumped. An encyclopedic and highly celebrated work, Les recherches de la France stands out among all works of this kind for its radical novelty. Pasquier can be considered the father of modern history, History emerging then as a discipline and departing from legend and literature. Chapter VII, quite different from

Fifth edition statement. Edition illustrated with 19 chromolithographs and 400 wood engravings.
Publisher's binding in imitation of great Grolier-style bindings. Half dark green shagreen with shagreen-textured cloth boards. Corners slightly bumped. Very occasional light foxing.
The interest of this 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, a writer and scholar, and the curator 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, illu

First edition.
Publisher's full cream cloth binding, handsome copy complete with its illustrated dust jacket and slipcase.
Rich iconography.

First edition.
Publisher's full rose cardboard bindings, copies complete with their dust jackets which have no defects as well as their slipcase.
Volume 1: Impressionist painting in France.
Volume 2: Impressionism in Europe and North America.
Rich iconography.
Very fine set.

First edition, one of 105 numbered copies on vélin aravis, the only large paper copies.
A rare and good copy.

First edition on ordinary paper.
Half black shagreen binding with corners, spine with four raised bands set with gilt fillets decorated with a gilt fleuron, gilt initials at foot, gilt fillet frame on snakeskin-pattern paper boards, snakeskin-pattern paper endpapers and pastedowns, bookplate pasted on endpaper, covers and spine preserved, top edge gilt.
Autograph inscription signed by Jean Lorrain to Paul Padovani: "Le crime des riches qu'il côtoie tous les jours..." ["The crime of the wealthy whom he rubs shoulders with every day..."]
Some passages of the text underlined in blue pencil.
Handsome copy.

First Edition, one of the 16 numbered copies on Holland paper, small print in the smallest paper before 18 Japan.
Autograph dedication signed by Jean Ajalbert on the title page of the first volume.
Our copy is enriched by an autograph letter dated and signed by the author, three pages, addressed to an attorney in which he defends the mother of Roland Garros about legal problems related to the exploitation of the name of the "Garros" family, whom she was deprived of as she fought for the glorious memory of her son and has always maintained good relations with him ..., envelope attached to the letterhead of the Academy Goncourt.
We also enclose

Second edition by Garnier in a new expanded format, after the first by Delloye in 1843, in 125 installments of 4 leaves comprising a notice, the score and 4 recto-verso pages of steel engravings (extraordinary compositions framing the song text), in addition to three frontispieces. Illustrations by Trimollet, Daubigny, Meissonnier... The first edition by Delloye contained only 84 installments and songs. Printed on heavy laid paper.
Half dark green morocco binding with corners signed Niedrée at foot. Spine with raised bands ornately decorated in grotesque style with stylized wavelets. Top edges gilt. Thin split to upper joint at head of volume 1 and at foot of volume 3. 2 corners of volu

First edition, of which there were no deluxe copies.
A handsome copy.
Autograph inscription signed by Jean Monnier to the great Céline scholar Pierre Monnier: "Pour l'auteur de Ferdinand furieux..." ["For the author of Ferdinand furieux..."]

First edition printed to 500 numbered copies.
A very good copy.

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

First edition of which there were no large paper copies.
Spine slightly faded, a good copy.

First edition.
Publisher's full mouse-gray cloth binding, smooth spine decorated with gilt and blind allegorical motifs, headcaps slightly worn, gilt allegorical decoration on front cover, corners very slightly bumped without any gravity, all edges gilt, binding signed by Engel.
Work illustrated with numerous hors-texte illustrations by F. Lix, P. Merwart, J. Geoffroy, J. Girardet, L. Roux... Handsome copy.

Second edition.
Publisher's flexible mouse-grey cardboard binding, smooth spine, red top edge, original wrappers preserved.
Work illustrated with 27 maps or sketches.
Handsome copy.

First edition.
Half mouse-colored cloth bindings, smooth spines, marbled paper boards, contemporary bindings.
Work illustrated with numerous figures in the text.
Some minor foxing.
Handsome copy.

First edition of each volume.
Half red sheep binding, spine with five raised bands, marbled paper boards, marbled endpapers and pastedowns.
The first four fascicles are written by Edmund Reitter.
Rare and handsome set.

First edition on ordinary paper with the statement "Première série" on the title page, of which only 8 copies were printed on China paper in deluxe format.
Half chocolate-colored morocco-grained shagreen binding, spine with five raised bands decorated with double gilt compartments enriched at their centers with Francisque Sarcey's gilt cipher, marbled paper boards, marbled endpapers and pastedowns, contemporary binding.
Precious signed autograph inscription from Alphonse Daudet to his friend (Francisque) Sarcey.
Work illustrated with a frontispiece etching by André Gill.
Ink gift inscription at head of title page, handsome copy.

First edition, one of 1000 copies on laid paper.
Affectionate signed autograph inscription by Francis Norgelet to a couple of his friends.
Work illustrated with a portrait of the author by Despiau engraved by Germain on the front cover.
Handsome copy.

First edition printed in a small number of copies on vergé paper.
Affectionate autograph inscription from Francis Norgelet to a couple of his acquaintance.

First edition, one of 100 numbered copies on handmade Arches vellum.
Signed autograph inscription by Francis Norgelet.
Our copy is complete with the author's portrait by Despiau and his painting by Charles Guérin.
Furthermore, our copy is enhanced with Charles Guérin's painting engraved in three colors by Jules Germain which consists of a trial printing of 3 copies of this proof, ours bearing No. 6.
Handsome copy.

First edition, one of 50 numbered copies on alfa paper, the only large paper copies.
Autograph inscription from Paul-Marie de la Gorce.
A very good copy.

First edition, one of 70 numbered copies on alfa paper, the only large paper copies.
A very good copy.

First edition for which there is no mention of leading copies.
Binding half black shagreen, back with four nerves set with gilt fillets, marbled paper plates, guards and contreplats of handmade paper, Contemporary binding.
Nice copy.
Rare autograph dedication signed by Theodore de Wyzewa to Charles Pozzo di Borgo.

First edition, of which there were no large paper copies
Half light brown calf over marbled paper boards, double gilt fillets to spine, covers mounted on guards and preserved, top edge speckled; an unsigned modern pastiche binding by Goy & Vilaine
Very rare autograph inscription from Jules Verne to [Achille] Tournier, prefect of the Somme at the time
With original illustrations by Georges Roux
A very good copy handsomely bound.

The first edition, of which there were no deluxe copies.
Half hazelnut calf binding, smooth spine decorated with double gilt fillets, marbled paper boards, original covers mounted on guards and preserved, speckled top edge, modern pastiche binding unsigned by Goy & Vilaine.
Work decorated with original illustrations by L. Benett.
Very rare signed autograph inscription from Jules Verne to [Achille] Tournier, then Prefect of the Somme.
Jules Verne settled in Amiens, his wife's birthplace, in 1871: "At my wife's wish I settled in Amiens, a wise city, polished, of even temper, where society is cordial and learned. One is close to Paris, close enough to have i

First edition, one of 19 numbered copies on Hollande, the only deluxe paper issue.
A fine copy with full margins.

Third edition illustrated with 10 plates hors-texte including a frontispiece by Dalbou after Hoüel, 5 plates hors-texte by Laurent after Favray and 4 folding plates hors-texte by Laurent after Massit. The first three volumes contain all the letters on Greece, the last contains other opuscules by the author: Essays on Tibullus's Elegies (followed by their translation), The Seasons and Light Poetry.
Numerous floral headpieces and tailpieces (flower baskets, carnations...).
Contemporary full marbled blonde calf binding. Smooth spines decorated with green morocco title and volume labels, small gilt floral fleurons, and gilt dentelle at tail. Triple gilt frames on boards. All edges marb

Complete and unpublished autograph manuscript of 77 pages written and numbered on the recto in black ink.
Paper cover bearing the title, date and place Paris 12 December 1899 - 12 January 1900. Some autograph corrections by the author.
Unpublished comedy in prose; the action takes place in the contemporary period, in Paris and in the forest of Fontainebleau; it features a dramatic author, a charming actress, a provincial journalist...

New edition.
Full cloth Bradel binding in almond-colored percale, smooth spine slightly faded decorated with a gilt floral motif, double gilt fillet and date at foot, burgundy shagreen title-label, binding cold-stamped signed by Pierson.
Some minor foxing.

First edition.
Half black shagreen binding, spine slightly faded with four raised bands decorated with quadruple gilt fillets and adorned with a gilt fleuron enriched with a red shagreen mosaic piece, light scratches of no consequence to the joints, cold-stamped fillet and interlacing frame on boards, gilt edges, binding signed by Charles Magnier.
Work illustrated with 73 engravings in and outside the text.
Some minor foxing.

First edition of this tri-monthly review directed by Emile Kahn.
Set of 25 fascicles including 5 double issues. Nos. 1, 26, 28 and 33 are missing.
Official organ of the League of Human Rights established in 1920, the Cahiers are considered by democracy's defenders as both a militant tool and an important source of documentary information.

First edition of this tri-monthly review directed by Emile Kahn.
Set of 17 fascicles including one double issue. No. 21 is missing.
Official organ of the League of Human Rights established in 1920, the Cahiers are considered by democracy's defenders as both a militant tool and an important source of documentary information.

First edition de cette revue tri-mensuelle dirigée par Emile Kahn.
Ensemble de 29 fascicules. Nr 5, 14 and 17 are missing.

First edition of this tri-monthly review directed by Emile Kahn. Set of 5 fascicles: no. 9 of May 1st, 1939, no. 12 of June 15th, 1939, no. 13 of July 1st, 1939, no. 14 of July 15th, 1939 and no. 15 of August 1st, 1939. Official organ of the League of Human Rights which appeared in 1920, the Cahiers are considered by defenders of democracy as both a militant tool and an important source of documentary information.

First edition of this tri-monthly review directed by Emile Kahn.
Set of 7 fascicles. Issues nos. 5, 6, 8, 9, 12 and 13 are missing.
Official organ of the League of Human Rights which appeared in 1920, the Cahiers are considered by defenders of democracy as both a militant tool and an important source of documentary information.

First illustrated edition and marked as second edition, after the original, published in 1815 by the same publisher. 6 figures by Bouillon in the antique style engraved by Baquoy. Fine printing on laid paper and elegant typographic execution by Didot.
Contemporary full green straight-grained morocco binding. Smooth spine with 4 flat raised bands, decorated with 3 Restoration stamps, multiple decorative rolls, fillets, etc. Gilt title and date. Covers stamped in blind with a central Restoration roundel; 4 large corner stamps connected by 3 fillets forming a frame. Fine copy, very fresh, some worming on tissue guards and in margins of engravings. Very fine unsigned master binding.
Ph

First printing of Eekman's lithographs published in 740 copies (no. 80) signed by the authors.
One joint of the chemise very slightly split at foot for a few centimeters.
The work is illustrated with lithographs hors-texte in black by Eekman.
Handsome copy.

First edition, our copy being one of the service de presse copies. Cover somewhat faded, pale dampstain affecting the entire spine. Literary contributions by Saint-John Perse (Chanson), Max Jacob (Poèmes), André Breton (Introduction au discours "Sur le peu de réalité"), Léon-Paul Fargue (Nuées), Valery Larbaud (Lettre d'Italie), etc. Commerce, literary review founded by Marguerite Caetani, appeared as twenty-nine "quarterly notebooks published under the direction of Valéry, Fargue and Larbaud" between 1924 and 1932. Its publication formed part of the competitive tradition of French reviews of the 1920s and was not content merely to showcase the most prominent authors of French literature: it

First edition published in 2900 copies, ours being a Service de Presse (advance) copy.
Literary contributions by Paul Claudel (Le Livre de Christophe Colomb), T.S. Eliott (Som de l'Escalina), Valery Larbaud (Le Patron des traducteurs), Léon-Paul Fargue (Mimes), etc.
Commerce, a literary review founded by Marguerite Caetani, took the form of twenty-nine "quarterly issues published under the care of Valéry, Fargue and Larbaud" between 1924 and 1932. Its publication was part of the competitive tradition of French reviews of the 1920s and was not content merely to showcase the most prominent authors of French literature: it played the role of "discoverer" of young talents and unearth

First edition published in 2900 copies, ours being one of the copies on Alfa paper.
Literary contributions by Paul Valéry (Littérature), Ribemont-Dessaignes (Première épître aux directeurs), etc.
Commerce, a literary review founded by Marguerite Caetani, took the form of twenty-nine "quarterly issues published under the care of Valéry, Fargue and Larbaud" between 1924 and 1932. Its publication was part of the competitive tradition of French reviews of the 1920s and was not content merely to showcase the most prominent authors of French literature: it played the role of "discoverer" of young talents and unearthed forgotten seminal texts.

First edition published in 2900 copies, ours being one of the copies on Alfa paper.
Literary contributions by Paul Valéry (Essai sur Stendhal), Léon-Paul Fargue (Trouvé dans des papiers de famille), Valery Larbaud (Sur le rebut), etc.
Commerce, literary review founded by Marguerite Caetani, appeared in the form of twenty-nine "quarterly notebooks published under the care of Valéry, Fargue and Larbaud" between 1924 and 1932. Its publication follows in the competitive tradition of French reviews of the 1920s and does not merely promote the most prominent authors of French literature: it plays a role as "discoverer" of young talents and unearths forgotten seminal texts.
Light fox

First edition published in 2900 copies, ours being a Service de Presse (advance) copy.
Literary contributions by Paul Valéry (Au sujet des lettres persanes), Valery Larbaud (Rues et visages de Paris), Max Jacob (Poèmes), etc.
Commerce, literary review founded by Marguerite Caetani, appeared in the form of twenty-nine "quarterly notebooks published under the care of Valéry, Fargue and Larbaud" between 1924 and 1932. Its publication follows in the competitive tradition of French reviews of the 1920s and does not merely promote the most prominent authors of French literature: it plays a role as "discoverer" of young talents and unearths forgotten seminal texts.
Light foxing at

First edition published in 2900 copies, ours, one of the copies on Alfa paper.
Literary contributions by Paul Valéry (Allocution), Léon-Paul Fargue (D'un porte-plume à un aimant), Ribemont-Dessaignes (Deuxième épître aux serins et même aux rossignols), Franz Kafka (Récits), etc.
Commerce, a literary review founded by Marguerite Caetani, appeared in the form of twenty-nine "quarterly issues published under the supervision of Valéry, Fargue and Larbaud" between 1924 and 1932. Its publication formed part of the competitive tradition of French reviews of the 1920s and did not merely showcase the most prominent authors of French literature: it played the role of "discoverer" of young

First edition published in 2900 copies, our copy, one of the copies on Alfa paper.
Literary contributions by Paul Claudel (Le Vieillard sur le Mont Omi), Francis Jammes (Trois extraits de "Ma France poétique"), Paul Valéry (Préface pour une nouvelle traduction de la Soirée avec M. Teste), Léon-Paul Fargue (Poème), Valery Larbaud (Sir Thomas Wyat), etc.
Commerce, a literary review founded by Marguerite Caetani, appeared in the form of twenty-nine "quarterly issues published under the supervision of Valéry, Fargue and Larbaud" between 1924 and 1932. Its publication formed part of the competitive tradition of French reviews of the 1920s and did not merely showcase the most prominent

First edition published in 2900 copies, ours being one of the copies on Alfa paper.
Literary contributions by Paul Valéry (Réponse), Valery Larbaud (Le Vaisseau de Thésée), T.S. Eliot (Difficultés d'un homme d'Etat), Henri Michaux (Nous autres), William Faulkner (Une rose pour Emily), etc.
Commerce, a literary review founded by Marguerite Caetani, appeared in the form of twenty-nine "quarterly issues published under the care of Valéry, Fargue and Larbaud" between 1924 and 1932. Its publication forms part of the competitive tradition of French reviews of the 1920s and did not merely showcase the most prominent authors of French literature: it played the role of "discoverer" of you

First edition published in 2900 copies, ours being one of the copies on Alfa paper.
Literary contributions by Paul Valéry (Moralités), Valery Larbaud (Du sel ou du sable), etc.
Commerce, a literary review founded by Marguerite Caetani, appeared in the form of twenty-nine "quarterly issues published under the care of Valéry, Fargue and Larbaud" between 1924 and 1932. Its publication forms part of the competitive tradition of French reviews of the 1920s and did not merely showcase the most prominent authors of French literature: it played the role of "discoverer" of young talent and unearthed forgotten seminal texts.

First edition published in 2900 copies, ours being one of the copies on Alfa paper.
Literary contributions by Valery Larbaud (Trois belles mendiantes), Ribemont-Dessaignes (Au delà du pouvoir), Jean Paulhan (Sur une poésie obscure), etc.
Commerce, a literary review founded by Marguerite Caetani, took the form of twenty-nine "quarterly notebooks published under the supervision of Valéry, Fargue and Larbaud" between 1924 and 1932. Its publication was part of the competitive tradition of French reviews of the 1920s and was not content merely to promote the most prominent authors of French literature: it played the role of "discoverer" of young talents and unearthed forgotten seminal

First edition published in 2900 copies, our copy being one of the copies on Alfa paper.
Literary contributions by Léon-Paul Fargue (Banalité), Valery Larbaud (Le Vain travail de voir divers pays), André Suarès (Saint-Juin de la Primevère), etc.
Commerce, a literary review founded by Marguerite Caetani, took the form of twenty-nine "quarterly notebooks published under the supervision of Valéry, Fargue and Larbaud" between 1924 and 1932. Its publication was part of the competitive tradition of French reviews of the 1920s and was not content merely to promote the most prominent authors of French literature: it played the role of "discoverer" of young talents and unearthed forgotten

First edition published in 2900 copies, ours being one of the copies on Alfa paper.
Literary contributions by Paul Valéry (Amphion), Joé Bousquet (L'Ombre d'une ombre).
Commerce, a literary review founded by Marguerite Caetani, took the form of twenty-nine "quarterly issues published under the care of Valéry, Fargue and Larbaud" between 1924 and 1932. Its publication was part of the competitive tradition of French reviews of the 1920s and did not merely showcase the most prominent authors of French literature: it played the role of "discoverer" of young talents and unearthed forgotten seminal texts.

First edition published in 2900 copies, ours being one of the copies on Alfa paper.
Literary contributions by Paul Valéry (A B C), Léon-Paul Fargue (Tumulte), Jean Paulhan (L'Expérience du proverbe), Francis Ponge (Poèmes), etc.
Commerce, a literary review founded by Marguerite Caetani, took the form of twenty-nine "quarterly issues published under the care of Valéry, Fargue and Larbaud" between 1924 and 1932. Its publication was part of the competitive tradition of French reviews of the 1920s and did not merely showcase the most prominent authors of French literature: it played the role of "discoverer" of young talents and unearthed forgotten seminal texts.

First edition, one of 100 numbered copies on Arches paper, deluxe issue.
Our copy, like all copies from the deluxe issue, is complete with its original etching in double state signed by Auguste Brouet.
Work illustrated with 270 plates reproducing the artist's engraved work.
The slipcase of the second volume is worn.
Handsome copy.

New edition adorned with seven frontispieces by Scotin the elder. The journal first appeared in volume form in 1712.

Contemporary full speckled brown sheep binding. Spine with five raised bands, red morocco title and volume labels, gilt compartments and floral fleurons. All edges red. Head caps of volumes 1, 2, 3, 4, 5, 7 and 8 and foot caps of volumes 2, 3, 4 and 9 abraded (some damaged). Corners slightly bumped. Four joints cracked. Pale marginal dampstains to the second volume.

Edition with 32 original lithographs by Robert Lotiron, one of 200 numbered copies on Rives, the only printing.
A rare and good copy.

First edition.
Half hazel shagreen binding, spine with five raised bands slightly faded, publisher's gilt monogram at foot of front cover, marbled paper boards, top edge gilt, publisher's binding.
Work illustrated with 49 plates at the end.

First edition on ordinary paper.

Half-forest green shagreen contemporary binding, spine with five raised bands, marbled paper board and endpapers, bookplate pasted on one guard.
Some slight, minor foxing.

Rare signed and inscribed copy by Gustave Flaubert to (Louis) de Carné, journalist and historian, several of whose works were listed in the inventory of Flaubert's personal library.

Flaubert's interest in de Carné's work was not always benevolent, however. Critical notes on his articles can be found in the Bouvard and Pécuchet files.
Moreover, the publication of Salammbô coincided with the controversial election of Louis de

Original engraving. Optical view heightened in watercolor, depicting a view of the Ponte Sant'Angelo in Rome. 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 viewed through a set of mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered as the forerunners 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 parlor entertainments. The process was first developed in Paris, then London and finally in Ger

Original engraving.
Optical view heightened in watercolor, depicting a view of Saint Peter's in Rome.
Optical views, also called views, perspectives or "mondo nuovo", are engravings very fashionable between the end of the 18th and the beginning of the 19th century. They were intended to be observed through a set of several 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 appear in the 1740s and were drawing room entertainments. The process was first developed in Pa

Original engraving. Optical view heightened in watercolor, depicting a view of the Royal Academy of Painting in Rome. Blue paper. Optical views, also called views, perspectives or "mondo nuovo", are engravings very fashionable between the end of the 18th and the beginning of the 19th century. They were intended to be observed through a set of several 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 appear in the 1740s and were drawing room entertainments. The process was first devel

Original engraving. Optical view heightened in watercolors, depicting a view of the Quirinal Palace in Rome. Blue paper. 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 series of 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

Original engraving. Optical view heightened in watercolors, depicting a view of the Church of St. John Lateran in Rome. 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 series of 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 a

Original engraving.
Optical view heightened in watercolor, depicting a view of the great Piazza del Popolo, in Rome.
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 viewed 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 seem to appear in the 1740s and were parlor entertainments. The process was first developed in Paris,

Original engraving. Optical view heightened in watercolor, depicting a view of the Boulevards of Paris taken from the Porte du Temple. 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 viewed 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 seem to appear in the 1740s and were parlor entertainments. The process was first developed in Pari

Original engraving. Optical view heightened in watercolor, depicting a view of the three galleries of the Palace of Arts and Sciences in Rome. 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 viewed 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 predecessors 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 salon entertainments. The process was first developed in

Original engraving. Hand-colored optical view in watercolor, depicting a view of the Theatre of Marcellus in Rome. 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 set of several 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 seem to appear in the 1740s and were salon entertainments. The process was first developed in Paris, then London and finally i

Original engraving. Hand-colored optical view in watercolor, depicting a view of the review of the King's Household, "infantry which takes place every year in the plain of Sablons one league from Paris". Optical views, also called vues, perspectives or "mondo nuovo", were engravings 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 seem to appear in the 1740s and were p

Original engraving. Hand-colored optical view in watercolor, depicting an interior view of St. Paul's in Rome. Optical views, also called vues, perspectives or "mondo nuovo", were engravings 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 seem to appear in the 1740s and were parlor entertainments. The process was first developed in Paris, then London and finally in Ge

Original engraving.
Optical view heightened in watercolors, depicting an interior view of Saint Sulpice church.
Optical views, also called views, perspectives or "mondo nuovo", are engravings that were very fashionable between the end of the 18th and early 19th centuries. They were intended to be viewed 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 as precursors to 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

Original engraving. Optical view heightened in watercolour, depicting a view of the Louvre colonnade. Optical views, also called views, perspectives or "mondo nuovo", are engravings very fashionable between the end of the 18th and the beginning of the 19th century. They were intended to be observed through a set of several mirrors or by means of a Zegrascope, 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 appear in the 1740s and were salon entertainments. The process was first developed in Paris, then London and fina

Original engraving. Optical view heightened in watercolor, depicting a view of Holyrood Palace in Scotland. 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 as 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 salon entertainments. The process was first developed in Paris, then London and finally

Original engraving. Optical view heightened in watercolor, depicting a view of St. Ouen church in Rouen taken from the botanical garden. 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 as 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 salon entertainments. The process was first developed in Pa

Original engraving. Optical view heightened in watercolors, representing a perspective view of the review of the royal household. 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 forerunners 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 parlor entertainments. The process developed first in Paris, the