Paris

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 cha

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".

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./

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

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 enti

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

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

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

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 re

First edition.
Publisher's Bradel binding in half dark green percale, smooth spine, black morocco title label, small gilt ornament and double gilt fillet at foot.
Twelve issues from January to December 1902. Original wrappers preserved.
Each issue is illustrated with a woodcut.
Literary contributions by Léon Blum ("Les yeux que j'aime"), Paul Fort, Henri Ghéon, André Gide ("Oscar Wilde"), Mme Alphonse Daudet, Walt Whitman, etc.
Founded in 1890 by Henri Mazel, L'Ermitage was a monthly journal belonging to the first wave of small symbolist reviews. In the 1895s, the journal entered a decline, and its new director, Edouard Ducoté, called upon André Gide. The editor

First edition.
Publisher's Bradel binding in half dark green percale, smooth spine, black morocco title-label, small gilt ornament and double gilt fillet at tail.
Twelve issues from January to December 1904. Covers preserved.
Each issue is illustrated with a woodcut.
Literary contributions by Henri Ghéon, Paul Gauguin ("Lettre"), Francis Jammes, Walt Whitman, René Boylesve, André Gide ("De l'évolution du théâtre, conférence", "De Biskra à Touggourth", "De l'importance du public", "La querelle du peuplier"), Rémy de Gourmont ("Des pas sur le sable"), etc.
Founded in 1890 by Henri Mazel, l'Ermitage was a monthly review belonging to the first wave of small symbolis

First edition.
Publisher's Bradel binding in half salmon cloth, smooth spine, black morocco title label, small gilt ornament and double gilt fillet at foot.
Eleven issues from January to November 1896. Original wrappers preserved.
Literary contributions by André Gide ("Ménalque"), Maurice Barrès, Octave Uzanne, Francis Jammes, Pierre Louÿs, Henri Ghéon, etc.
The February issue pays homage to Paul Verlaine, who had died a month earlier. A handsome portrait of the poet on his deathbed after a drawing by Noé Legrand.
Founded in 1890 by Henri Mazel, l'Ermitage is a monthly review belonging to the first wave of small Symbolist magazines. In the 1895s, the review entered d

First edition.
Publisher's Bradel binding in half dark green cloth, smooth spine, black morocco title label, small gilt ornament and double gilt fillet at foot.
Twelve issues from January to December 1897. Original wrappers preserved.
Each issue is illustrated with a bichrome woodcut.
Literary contributions by René Boylesve, Paul Fort, Francis Jammes, Henri Ghéon, Remy de Gourmont, etc.
Founded in 1890 by Henri Mazel, l'Ermitage is a monthly review belonging to the first wave of small Symbolist magazines. In the 1895s, the review entered decline, and its new director, Edouard Ducoté, called upon André Gide. The editorial team was then reduced to twelve regular c

First edition.
Publisher's Bradel binding in half dark green cloth, smooth spine, black morocco title label, small gilt ornament and double gilt fillet at foot.
Twelve issues from January to December 1899. Original wrappers preserved.
Each issue is illustrated with a wood engraving.
Literary contributions by Paul Fort, Henri Ghéon, André Gide, Francis Jammes, René Boylesve, etc.
Founded in 1890 by Henri Mazel, l'Ermitage was a monthly review belonging to the first wave of symbolist little magazines. In the 1895 years, the review entered decline, and its new director, Edouard Ducoté, called upon André Gide. The editorial team was then reduced to twelve regular co

Original edition on the current paper.
Binding bronze half calf, smooth back, guards and contreplats of handmade paper, preserved cover, elegant binding pastiche signed P. Goy & C. Vilaine.
Signed autograph of the author Bookseller Achilles Heymann. This bookseller was "one of the most picturesque types of Paris. (...) All birds (...), students, sometimes even literate, came to consult this man who knew all of the library, the book he was reading or at least bought. " (G. Baume In the land of letters, 1922).
Maupassant did was not wrong, as he says in the letter to Henry Kistemaeckers of 7 May 1882 "I answer for sale at the Bookstore New You will see the 3 emp

Issues 1 to 30 (without No. 19) of this rare journal. Head of the collection, 36 issues were published in Year VII and 5 issues in Year VIII. Tourneux, I, 708, indicates that "the B.N. catalogue has recorded various incomplete printings of the Bulletin Décadaire".
Half speckled blonde sheep binding. Smooth spine decorated with two bird stamps, diamonds and roulettes. Green sheep title label. Small lacks with surface loss at head and to fourth compartment. One leaf detached.
"The Executive Directory will give the necessary orders for the publication and dispatch to each municipal administration of a décadaire bulletin. This bulletin will make known at the same time acts of bravery a

First edition, richly illustrated with 75 hors-texte plates, principally by Gavarni, including 4 music plates framed with wood engravings by Bertall and several compositions by Bertall. Very numerous vignettes by Monnier, Français, Daubigny... The compositions with multitudes of vignettes by Bertall on subjects such as evenings at the opera, Paris by night... which constitute the ensemble of Paris comique are particularly delightful. This edition is rarer than le Diable à Paris.
Contemporary green half-shagreen. Smooth spine decorated with series of romantic tools in compartments. Green corsillonné paper boards. Borders rubbed and corners slightly bumped. Some scattered foxing, principa

Illustrated edition, one of 78 copies on Japan paper, our copy being one of 12 hors-commerce copies nominally printed specially for Gaston Morancé, from the deluxe issue.
Our edition is illustrated with numerous and beautiful color illustrations in and out of text by George Barbier.
First cover with folded illustrated cover in colors by George Barbier. Spine slightly sunned with a small stain.

First edition of the complete series comprising 17 issues.
Each issue contains 44 pages and is illustrated with a bicolor lithograph by Marcolon, E. Tap, Charlereal and Georges Bergère.
Some covers detached and occasional foxing.
Left-wing journal in the continuity of le Grand guignol whose publication ended on February 22, 1922, le Guignol illustré is a semi-monthly satirical illustrated publication published exclusively under pseudonyms. It was created by Maurice Brivet and publishes articles on politico-economic scandals and moral affairs of the time. It is also an engaged journal which was at the origin of numerous campaigns led against banks and colonial companies notably

Edition with some parts in first edition, not offered for sale.
Small restoration to foot of spine otherwise handsome copy as issued, bookplate pasted in.
Rare work according to most bibliographers.

First edition.
Half black shagreen binding, smooth spine decorated with gilt and blind fillets and gilt dentelle at foot; corners slightly rubbed.
Each issue comprises eight pages.
Texts by Méry, Alexandre Dumas Fils, Jules Janin, Victor Hugo (poem "La Fleur de l'âme" set to song), Théophile Gautier (poem "Le Monde est méchant" set to music), Alphonse de Lamartine (poem "Une voix céleste" set to music) and Paul Féval notably.
Engravings by Verdeil, Belin, Deschamps, and Etienne among others.

Edition limited to 250 copies, ours being one of the numbered copies on Holland paper (no. 6, printed for the library of M. Cros-Bonnel).
Slipcase rubbed in full brown percaline, gilt title and author's name stamped in blind on spine, decoration in the same style on front cover.
Our edition features 23 plates hors-texte sometimes in colors including several proofs before letters of the headpieces.
Some foxing and binding slightly detached.

First edition, one of 2,500 numbered copies on alfa paper.
Autograph inscription signed by Jacques Chardonne to Clément Gueymard.
Spine very lightly sunned.

First edition, one of 350 numbered press copies on alfa paper.
Friendly autograph inscription signed by the author to Clément Gueymard.
Covers and spine partially sunned.

First edition.
Contemporary half-brown shagreen binding, spine with five raised bands decorated with small fleurons and gilt fillets, top edge gilt. Some light rubbing and spine very lightly sunned.
Contributions by Maurice Barrès, Paul Bourget, Jean Richepin and Paul Verlaine notably.
Drawings and engravings in color and black and white by Caran d'Ache, Godefroy, Grasset and Willette among others.
La Revue illustrée is a French publication renowned both for the quality of its illustrations and for its prestigious contributors from 1885 to 1912: Guy de Maupassant, Emile Zola, Maurice Barrès, Anatole France and many others. René Baschet, director of the Revue Illustrée

First edition.
Contemporary half brown shagreen binding, spine with five raised bands decorated with small fleurons and gilt fillets, top edge gilt. Some superficial scuffing and spine very lightly sunned.
Contributions by Paul Bourget, Abel Hermant, Jean Richepin and Charles Yriarte notably.
Drawings and engravings in color and black and white by Jules Chéret, Giacomelli, Godefroy and Grasset among others.
La Revue illustrée is a French publication renowned both for the quality of its illustrations and for its prestigious contributors from 1885 to 1912: Guy de Maupassant, Emile Zola, Maurice Barrès, Anatole France and many others. René Baschet, director of the Revue

First edition.
Contemporary half brown shagreen binding, spine with five raised bands decorated with small fleurons and gilt fillets, top edge gilt. Some superficial scuffing and spine very lightly sunned.
Contributions by Marcel Schwob and Paul Margueritte notably.
Drawings and engravings in color and black and white by Godefroy, Grasset, Job and Willette among others.
La Revue illustrée is a French publication renowned both for the quality of its illustrations and for its prestigious contributors from 1885 to 1912: Guy de Maupassant, Emile Zola, Maurice Barrès, Anatole France and many others. René Baschet, director of the Revue Illustrée, already prefigures in this

First edition.
Contemporary half-brown shagreen binding, spine with five raised bands decorated with small fleurons and gilt fillets, top edge gilt. Some light rubbing and spine very lightly sunned.
Contributions by Jules Clarétie, Gyp, Hector Malot and Octave Mirbeau notably.
Drawings and engravings in color and black and white by Jules Chéret, Godefroy, Renouard, Willette and Auguste Rodin among others. Several photographs concerning the architecture of the Universal Exhibition.
La Revue illustrée is a French publication renowned both for the quality of its illustrations and for its prestigious contributors from 1885 to 1912: Guy de Maupassant, Emile Zola, Maurice Barrè

First edition, one of 45 numbered copies on Marais paper, the tirage de tête
This copy has a slipcase and chemise in half navy blue shagreen over marbled paper boards by T
Boichot, spine with title, author and date in palladium
A good copy
Rare.

First edition limited to 1500 copies, ours being one of the 1350 copies on laid paper with the 11 plates printed separately on handmade paper from Arches manufacturers and all illustrations in color and black printed on the text paper.
Publisher's chemise in full ecru cloth stamped in gilt with wheat ear motifs, watered silk flaps. Cover of illustrated paper with a design matching the chemise.
Eleven engravings printed separately presented under printed tissue guards, 32 headpieces, 9 vignettes in the text and 19 tailpieces by Eugène Burnand.
Some surface wear to the chemise and numerous foxing marks on the plates.

Bilingual edition translated by Charles Nodier and first printing of the frontispiece printed on China paper as well as the 10 hors-texte plates engraved on steel by Finden after drawings by Tony Johannot.
Half glazed navy calf binding, smooth spine decorated with a gilt cartouche adorned with gilt arabesques, light rubbing traces on the joints, marbled paper boards, marbled endpapers and pastedowns, contemporary Romantic binding.
Work also illustrated with more than 100 in-text wood-engraved vignettes.
Some minor foxing, handsome copy in contemporary Romantic binding, complete with its tissue guards protecting the 10 hors-texte plates, which is rare.

Third edition.
Half hazel shagreen binding with corners, spine with four raised bands showing light scratches, marbled paper boards, marbled endpapers and pastedowns, covers and spine preserved.
Autograph inscription signed by E. Laumonnier.
Work illustrated with 20 illustrations and 7 plans.
Handsome copy.

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

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

A celebrated fashion magazine established in 1912 by Lucien Vogel, La Gazette du bon ton appeared until 1925, with a hiatus from 1915 to 1920 due to the war (the editor-in-chief having been called up for service). It consisted of 69 issues printed in only 2,000 copies each and notably illustrated with 573 color plates and 148 sketches of the models of the great designe

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

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

A celebrated fashion magazine established in 1912 by Lucien Vogel, La Gazette du bon ton appeared until 1925, with a hiatus from 1915 to 1920 due to the war (the editor-in-chief having been called up for service). It consisted of 69 issues printed in only 2,000 copies each and notably illustrated with 573 color plates and 148 sketches of the models of the great designe

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

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

A celebrated fashion magazine established in 1912 by Lucien Vogel, La Gazette du bon ton appeared until 1925, with a hiatus from 1915 to 1920 due to the war (the editor-in-chief having been called up for service). It consisted of 69 issues printed in only 2,000 copies each and notably illustrated with 573 color plates and 148 sketches of the models of the great designe

Illustrated with original etchings by Eugène Corneau, and printed in 210 copies on pure Lana laid paper, ours being one of 20 numbered copies including a suite in black, deluxe copies after 10 other Lana copies.
Our copy is complete with its suite in black at rear.
Worming to the chemise as well as to the very first pages of the work, otherwise handsome interior condition.

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

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

A celebrated fashion magazine established in 1912 by Lucien Vogel, La Gazette du bon ton appeared until 1925, with a hiatus from 1915 to 1920 due to the war (the editor-in-chief having been called up for service). It consisted of 69 issues printed in only 2,000 copies each and notably illustrated with 573 color plates and 148 sketches of the models of the great designers. Right

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

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

A celebrated fashion magazine established in 1912 by Lucien Vogel, La Gazette du bon ton appeared until 1925, with a hiatus from 1915 to 1920 due to the war (the editor-in-chief having been called up for service). It consisted of 69 issues printed in only 2,000 copies each and notably illustrated with 573 color plates and 148 sketches of the models of the great designe

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

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

A celebrated fashion magazine established in 1912 by Lucien Vogel, La Gazette du bon ton appeared until 1925, with a hiatus from 1915 to 1920 due to the war (the editor-in-chief having been called up for service). It consisted of 69 issues printed in only 2,000 copies each and notably illustrated with 573 color plates and 148 sketches of the models of the great designers. Right

Original color print, printed on vergé paper, the signature does not let identify the artist.

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

A celebrated fashion magazine established in 1912 by Lucien Vogel, La Gazette du bon ton appeared until 1925, with a hiatus from 1915 to 1920 due to the war (the editor-in-chief having been called up for service). It consisted of 69 issues printed in only 2,000 copies each and notably illustrated with 573 color plates and 148 sketches of the mo

Original color print, printed on vergé paper, the signature does not let identify the artist.

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

A celebrated fashion magazine established in 1912 by Lucien Vogel, La Gazette du bon ton appeared until 1925, with a hiatus from 1915 to 1920 due to the war (the editor-in-chief having been called up for service). It consisted of 69 issues printed in only 2,000 copies each and notably illustrated with 573 color plates and 148 sketches of the mo

First edition, rare.
Contemporary full brown calf binding, spine with five raised bands decorated with gilt compartments, red morocco title-label, all edges speckled. Head and tail of spine worn and one corner extensively damaged. Two raised bands cracked.
A sometimes fierce satire of the literary world. In a fictional Greece, at Delphi, under the aegis of Apollo, the author orchestrates the most improbable encounters. We see parading first the ancient authors, then the moderns, Descartes, Spinoza, and few authors are spared by the author's sallies.

First edition, rare.
Contemporary full marbled sheep binding. Decorated smooth spines. Red morocco title labels and black morocco volume labels. Head caps worn. Title labels very rubbed, with lacks. Some corners bumped. Dampstaining to right margin at corner on the first ten pages of the first volume.
History, geography and customs of Hindustan, that is to say the Mogul empire which extended from the Himalayas in the north, to the peninsula of Malabar and Coromandel in the south, by the sultan of one of the provinces of this nation. Fantin-Desodoards assured, initially in company with Mirabeau, the translation and formatting for the edition. The work brings together a wealth of pre

First edition. Printer's device on title page, with a headpiece bearing the royal arms and an initial letter.
Full brown sheep binding. Decorated spine with raised bands. Gilt title. Split headcaps. Joints cracked at head and foot. Corners very bumped. Overall rubbed and stained. First endleaf coming loose.
History of Calvinism in France, but considered as a heresy, and making an apology for the action of Louis XIV and the revocation of the Edict of Nantes enacted one year earlier, in 1685. The work tells the history of the movement in France under the different kings, from Henri II to Louis XIV, and the various policies and events of the kingdom. The author had already faced the w

First edition.
Contemporary binding in full blonde sheep, smooth spine with four raised bands, boards decorated with double blind frame, all edges speckled red. The head is worn and the tail slightly damaged. Some surface abrasions and cracked joints are also to note.
"The Questions sur la tolérance by Maultrot and Tailhé seek to illuminate all the philosophical, religious and historical foundations of the idea of tolerance. The two authors evoke episodes in Christian history marked by intolerance, notably the Spanish Inquisition and the Albigensian Crusade. An entire chapter is devoted to the revocation of the Edict of Nantes, considered as an attack on the laws, rights and freedo

Eighth edition statement.
Later full blonde sheep binding with tree calf pattern (ca 1790). Smooth spine decorated with scattered ornaments, Greek key patterns, eye in a sun motif, various roulettes. Pink morocco title label. Headcap and tailcap repaired, with slight lacks. Spine slightly faded. 3 corners slightly bumped.
A famous and important work in the history of thought, often called "The Logic of Port-Royal", this represents the logical approach according to Jansenism, a Cartesian and Pascalian approach to reason, associating reason with mathematical reasoning viewed as an ideal of thought. The author was a great intellectual figure of the 17th century, not only as a controve

First printing of the 24 original illustrations by Jean Oberlé, one of 400 copies printed on pink paper, the only printing with 25 Japan copies.
Spine and boards marginally lightened as often, otherwise handsome copy.

First edition of the two series published respectively in 1835 and 1836. 36 steel engravings for the first volume and 40 for the second, totaling 76 engravings engraved by various English engravers and printed on strong paper, under tissue guards. A large title vignette and a frontispiece in the second volume, both dated 1836, therefore could not have been part of the first.
Green half morocco signed Boutigny. The second volume, although using the same tools (and the same endpaper), and coming from the same workshop, is in a noticeably different binding (bound two years later), in navy blue half shagreen, the ensemble being ultimately more aesthetic than if the color were similar. Roman

First edition.
Publisher's red paper boards, smooth spine decorated with blind fillets, compartments and typographical motifs, the gold of the fleurons set in the compartments having faded, blind fillets framing the covers, pale discoloration at foot of front cover, pale green endpapers and pastedowns.
Illustrated with engravings in the text.
Some light foxing. Rare.

Critical edition with introduction and notes by Henri Bouillane de Lacoste on ordinary paper.
Handsome copy.
Provenance: from the library of André Rolland de Renéville.

First edition, one of the advance copies.
Precious and very beautiful autograph inscription signed by Maurice Fourre to (André) Rolland de Renéville: "... (Pour R. de R...) Sur le tapis de la laine usagée, le boa constrictor, de huit mètres de long, tout écaillé d'argent, ceinture intimement le lion chevelu de l'Atlas aux yeux songeurs..." ["... (For R. de R...) On the carpet of worn wool, the boa constrictor, eight meters long, all scaled in silver, intimately encircles the hairy lion of the Atlas with dreamy eyes..."]
Joints lightly rubbed with a repaired tear at foot, two light stains on the first endpaper, light traces of rubbing on the first cover.
Prefac

First edition, a Service de Presse (advance) copy.
Precious signed autograph inscription from Maurice Fourre to (André) Rolland de Renéville.
Minor worming to spine without consequence, complete with publisher's (advertising) slip.
Autograph inscriptions by Maurice Fourré are rare.
Provenance: from the library of André Rolland de Renéville.

First edition, one of the copies, not justified, alfa paper. This copy, under illustrated green cover, retains its frontispiece by Toyen,and a photograph from the author by Elise Breton to the centre of the book.
Handsome autograph inscription from André Breton to André Rolland de Renéville on half title.
A very good copy.
Provenance : the library of André Rolland de Renéville.