Paris

First edition, one of 1,050 numbered copies printed on Alfama paper.

Publisher's boards executed after Mario Prassinos's original design.

Spine lightly sunned at the head, otherwise a pleasant copy.

First edition, one of the ordinary copies, with no deluxe issue.

A handsome copy.

Autograph inscription signed by Michel Houellebecq to Pascale Cassagnau.

First edition on ordinary paper.

A fine copy, complete with its promotional band.

Inscribed and signed by Jean-Marie Gustave Le Clézio to Pierre Mertens.

First edition on ordinary paper.

A very good copy.

Inscribed, dated and signed by Jean-Marie Gustave Le Clézio to Pierre Mertens.

Second edition.

Rare and pleasing copy, with an International Red Aid membership form loosely inserted.

First illustrated edition issued for the Club français des bibliophiles, one of the numbered copies.
Publisher’s full olive-green cloth bindings, smooth spines, gilt medallions in relief depicting General de Gaulle and Free France stamped at the centres of the upper covers, fine copies complete with their original glassine wrappers.
A complete set in three volumes, richly illustrated.
Autograph inscription dated and signed by Charles de Gaulle in the first volume, manuscript signatures dated in the second and third volumes.

First French edition, the exceedingly rare first edition having been printed in Belgium five years earlier.

Contemporary half black shagreen binding, spine with five raised bands highlighted with gilt dotted rules and decorated with blind fillets, a slightly split joint at the head, a few scuffs to the spine, marbled paper boards, marbled endpapers, speckled edges.

A small dampstain to the lower right corner of the title page.

Preface by Maurice Barrès.

1825 edition, here lacking its title page, in which the celebrated lyricist claimed for the first time, explicitly and in writing, to be the sole composer of La Marseillaise, that is, the author of both the music and the words. He would make this claim on only one other occasion, in a letter of 5 January 1829 to M. Beuchot. In its early years, France's national anthem was the subject of a genuine controversy over its authorship, particularly regarding the musical composition, that would persist long after 1825, notwithstanding the declarations contained in this edition. Hector...

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

First edition.
Literary contributions by Paul Eluard, André Breton, Pierre Brasseur, Raymond Queneau, Giorgio de Chirico, Michel Leiris, Robert Desnos, Antonin Artaud, Benjamin Péret, ...
Pictorial or photographic contributions by Giorgio de Chirico, Pablo Picasso, André Masson, Max Ernst...
Upper cover with a few light marginal soiling to the left edge, a small tear at the foot of the spine, otherwise a good copy considering the fragility of this periodical.

First edition, one of 355 numbered copies on wove paper, the only issue with 25 copies on Holland paper.
A pleasant copy.

First edition, one of 26 numbered copies on alfa paper, our copy one of 14 hors commerce copies, the only deluxe paper issue.

A rare and handsome copy.

First edition of the French translation, illustrated with wood engravings, heliotypes, and vignettes.

Spine and covers slightly and marginally sunned.

Illustrated with 19 hors-texte plates reproducing works by Utagawa Hiroshige.

Our copy bears this signed autograph inscription from a member of the Japanese Embassy to an art lover: "Avec les vifs remerciements de l'Ambassade du Japon pour votre aimable concours. Soirée japonaise, le 11 février 1926, 2586e anniversaire de l'avènement de la dynastie impériale."

First edition of the French translation, for which no deluxe paper copies are mentioned.

Spine wrinkled, as often.

Illustrated.

Inscribed and signed by Man Ray to Claude Nardin.

First edition printed in a small run by the French Communist Party.

Minor, unobtrusive spotting to the lower cover, which also bears a small hole with loss of two letters on the verso.

A rare and pleasing copy.

First edition on ordinary paper.

A small stain at the foot of the upper cover.

Fine autograph inscription signed by Julien Gracq to Roger Schir: "...ce petit morceau de littérature discourtoise en m'excusant du peu de ménagements..."

First edition on ordinary paper.

A pleasant copy.

Precious signed autograph inscription by Joë Bousquet : "Au maître André Suarès avec l'hommage de ma profonde admiration et l'expression du chagrin que j'éprouve à me savoir lui adresser à son domicile la tisane des sarments. Joë Bousquet Carcassonne, 7 juillet 1936."

First edition, one of 2,000 numbered copies on alfa paper.

Manuscript initials at the head of the upper cover and of the title page serving as an ex-libris.

A pleasant copy.

First edition on ordinary paper.

Manuscript initials at the head of the upper cover and of the title page serving as an ex-libris.

A pleasant copy.

Fifth edition of the "New edition, enlarged with the Description of all new Monuments, Buildings & other Curiosities, with the changes made over the past approximately twenty years," to which is joined a supplementary volume by the same author, likewise printed in 1771, drawn from the "latest edition." The first work is thought to have been that of Claude-Marin Saugrain, before being taken up by Georges-Louis Le Rouge.
A complete copy with all 44 engravings, some folded, such as the map of France, of substantial size. It features the Bastille fortress, twenty-eight years before its fall, as well as the château of Saint-Cloud, still...

New edition.

A pleasing copy.

Rare signed autograph inscription from Philippe Muray to a close acquaintance named Benoît.

First French edition, issued in Paris on 3 April 1862, simultaneously with the Belgian edition, here including the very rare suite of 20 engraved plates by Castelli and Neuville on heavy wove paper. This scarce suite was produced to illustrate the first edition of Les Misérables. It was sold separately, as a supplementary set, and is only very rarely encountered bound together with the volumes.
A particularly interesting copy, as it is composite, and perfectly illustrating the publisher’s commercial strategy, which divided publication into three issues (the first two volumes on 3 April, the following four on 15 May, and the final four on 30 June), as well as the story of the...

First illustrated edition, in the very first issue and complete in a single volume; a three-volume issue, more common and published later in the course of 1836, was subsequently produced. With a frontispiece title and 11 steel-engraved plates hors-texte on heavy wove paper, after Johannot, Boulanger, Raffet, Rogier & Rouargue, engraved by Finden, Staines… The work is attractively printed in an airy type with generous margins, closely following the original edition published in 1831. The plate entitled "De l'utilité des fenêtres" is present; according to Clouzot it is most often lacking, as it was printed later than the initial release of the work.
Contemporary full wine-coloured...

First edition, one of 45 numbered copies on vélin de Hollande van Gelder, most limited deluxe issue.

In wrappers as issued, housed in a decorated clamshell box with a square white spine bearing the title printed in red and the author's name in black; the upper board features a portrait of the author by Izis, the lower board a portrait of the author taken in 1957 by François Pages at Céline's house in Meudon with his parrot Toto; two very faint white marks on the upper board; interior of the slipcase lined in bordeaux paper with white pastedowns, an outstanding work by the artist Julie Nadot.

A remarkable copy presented in a custom box featuring an original...

First edition, containing 23 tales by Andersen translated by David Soldi, together with a biographical essay by Xavier Marmier.

Illustrated with 40 vignettes by Bertall, engraved by Jacques G. J. Midderich and Alphonse Minne.

Full blue cloth binding, flat spine, gilt-stamped title, faint rubbing to the joints, light scattered marks to the boards, contemporary binding.

A very rare copy of this collection of...

New edition, partly original (cf. Quérard VII, 308. See Blackmer and Atabey for other editions. Not in Conlon.)

Contemporary full mottled fawn calf binding, smooth spine decorated with panels adorned with a bird tool surrounded by small gilt fleurons, green calf title-piece, gilt fillets to edges, red edges.

Spine and joints restored.

The title-page is engraved and enhanced with wash (two Turks in conversation with a European).

"This work contains [the 21] letters of Neddim Coggia, supposedly describing his experiences in Paris as secretary to the embassy of Mehemet Effendi in 1721 (…) Blackmer incorrectly states that the Letters of Nedim Coggia and the...

First edition of the catalogue for the exhibition of works by Claude Monet held at the Galerie Bernheim-Jeune in Paris from 28 May to 8 June 1912.

Preface by Octave Mirbeau.

Bradel binding in half fawn morocco, smooth spine, date gilt at foot, minor rubbing to spine, boards of marbled paper framed with a gilt fillet, marbled endpapers and pastedowns, wrappers (a pink stain at the foot of the lower wrapper) and spine preserved, top edge gilt; contemporary binding signed L. Bernard.

The paintings were exhibited four years after Claude Monet’s sole journey to Venice.

Illustrated catalogue with 9 reproductions of paintings by Claude Monet.

Illustrated edition with 4 original copper engravings by Armand Coussens, one of 25 numbered copies on japon paper, this being one of the few hors commerce copies specially printed for Armand Coussens, as stated in the colophon.

Translated from the Languedoc dialect and prefaced by Marcel Coulon.

Contemporary half blue morocco over corners, spine with four raised bands ruled in black, date gilt at foot, covers of moiré-effect paper framed with black fillets, matching endleaves and pastedowns, wrappers and spine preserved, top edge gilt, an elegant signed period binding by Ch. Septier.

This copy is enriched with an autograph letter of nearly three pages, dated...

Edition limited to 200 numbered copies on mould-made vellum paper and illustrated with 36 original lithographs by Louis Morin (including the wrapper).

Bradel binding in half orange morocco over marbled boards with corners, smooth spine featuring a gilt cartouche decorated with romantic gilt arabesques, gilt date at foot, gilt fillet frames to the marbled paper covers, a small snag to the lower left corner of the upper board, marbled endpapers and pastedowns, original wrappers and spine preserved, an elegant contemporary binding signed Alfred Farez.

A handsome copy, pleasingly bound.

Autograph letter signed by Thomas Mann, in French and on the headed paper of the Hôtel Regina, 2 place des Pyramides, Paris, addressed to the journalist (Claude Morgan).

10 lines in blue ink on a single leaf, a stain affecting the "14" of 14 May 1951, creases consistent with having been folded for mailing.

"14 Mai 1951

Cher monsieur,

ayant prolongé mon séjour à Paris d'un jour, je vous donnerais avec plaisir une courte interview ce soir à six heures trente. Avec l'expression de mes meilleurs sentiments. Thomas Mann."

First edition of the French translation, one of 200 numbered copies on white wove paper, the only deluxe paper issue.

Bound in full mouse-grey shagreen, spine with five raised bands ruled in black, covers framed with a single black fillet, endpapers and pastedowns in cat’s-eye patterned paper, wrappers (with a small loss at the foot of the lower cover) and spine preserved, top edge gilt.

A pleasing copy.

First edition, with no deluxe paper issue stated.

An attractive copy, complete with its publisher’s wraparound band; "Moi, dit Pierrot, je les mettrais pas entre toutes les mains..."

A few scuffs to the band.

Rare signed autograph inscription from Bertrand Blier to Germaine Beaumont.

Two years later, Bertrand Blier adapted his novel for the screen, starring Patrick Dewaere, Gérard Depardieu, Miou-Miou, Jeanne Moreau and Brigitte Fossey in the leading roles. 

First edition of the complete works of Charles Louis de Secondat, Baron de La Brède and de Montesquieu, edited by François Richer under the supervision of the author's son. Volumes 1 and 2 contain the celebrated Spirit of the Laws, introduced by a headpiece depicting the 1753 Dassier medal and illustrated with two maps—a world map and one of Europe—in the second volume. This copy is enriched with a frontispiece, painted by Jacques de Sève and engraved by Claude-Antoine Littret, from the 1767 London edition, as well as 10 additional pages containing the "Additions" in volume 3.

First edition of the French translation, one of 350 numbered copies on alfa paper, the only deluxe paper issue.

A fine copy, despite a small area of sunning at head and tail of the spine.

First trade edition, with the title page printed in black and red, issued after the exceedingly rare original edition limited to 10 copies.

Half navy blue shagreen binding, spine slightly faded with five raised bands, gilt date at the foot, marbled paper boards, marbled endpapers and pastedowns, original wrappers sunned and restored spine, preserved, gilt top edge.

Pleasant copy illustrated with ornamental initials, headpieces, and tailpieces.

First edition, one of the publisher’s review copies.

Spine and boards very slightly and marginally sunned.

Fine dated and signed autograph inscription by Pierre Bost: "à Jean-Paul Sartre qui a connu le tiroir - et qui a même déjà lu ce livre. Avec l'amitié de Pierre Bost dec.45."

First issue of Albert Dubout’s colour illustrations, printed in 600 named and numbered copies on vélin de Rives.

Bradel-style binding in half chocolate-brown morocco with corners, smooth spine, gilt date at foot, moiré-effect paper boards, marbled endpapers and pastedowns, original wrappers and spine preserved, gilt top edge, contemporary signed binding by Bernasconi.

A few light spots of foxing.

A fine, attractively bound copy of the first work illustrated by Albert Dubout.

First edition, standard issue.

Spine lightly faded as usual; some leaves with brittle margins resulting in minor losses.

Signed autograph inscription from Raymond Queneau to Yvon Belaval.

First edition of the French translation, for which no deluxe paper copies were issued, one of the publisher’s review copies.

Spine and boards very slightly and marginally sunned, without consequence.

Signed autograph inscription by Julio Cortázar to André Wurmser.

First edition, with no edition statement.
Contemporary half chocolate shagreen bindings, spines with raised bands; marbled paper boards, with laid paper endpapers and pastedowns. Spines evenly lightened. Edges rubbed. Wear to headcaps and bands. A few spots of foxing, notably on the fore-edge. A good copy.
Without doubt, just after The Man Who Laughs, Hugo’s greatest novelistic achievement, depicting on the island of Guernsey the struggle of a solitary man against the ocean.

Copy comprising two translations in first edition by M. de Marolles, Abbé de Villeloin. Charming allegorical engraved title-page depicting the authors and their works, the latter represented as two mischievous cherub-satyrs. Several headpieces, some with coats of arms, tailpieces, and decorated initials with floral and figural motifs.

Contemporary binding in full brown calf, spine with four gilt raised bands, decorated with four compartments with gilt fleurons and roulettes, double gilt fillet framing the...

First edition illustrated with 12 full-page plates by Françoise Gilot, one of only 115 numbered copies on Arches vellum, the deluxe issue.

Our copy is indeed accompanied by an original lithograph by Françoise Gilot on a separate leaf.

A very good copy.

Paul Éluard’s handwritten signature on the limitation page, lightly and partially shaded as on the facing page.

Charming example of shellwork binding on a devotional book from 1858.

Publisher's binding, with exceptionnally added contemporary shellwork panel including more than 200 miniature shell to each board, blue cloth spine elaborately decorated with gilt pink and blue gauffered motifs, all edges gilt, inner gilt dentelle; a few shells lost, a little rubbed at corners and spine-ends.

Augmented and revised edition originally published by a Belgian friar in Cologne in 1634.  It was very successful in Belgium, the Netherlands, France, all the way to Mexico (El pecador arrepentido, Mexico, 1716). One copy is even recorded in the library of poet Guillaume Apollinaire (BHVP, 8-MS-FS-19-014).

Full roan binding, spine with four raised bands, gilt tooling in compartments, red morocco title label, spine-ends, joints and corners restored.

A handsome copy of this innovative confessional manual, which "encouraged self-reflection on several...

First edition, one of 500 numbered copies on white vellum, the sole issue with 15 copies on Japon.
A fine copy, notwithstanding a small spot to the upper left margin of the second board.

First edition, one of 30 numbered copies on Lafuma laid paper, the sole deluxe issue.

A fine copy.

First edition, one of 647 numbered copies on deluxe paper, the only deluxe issue after 109 reimposed copies.

Correspondence collected and annotated by Jean-Marie Carré.

A fine copy.

First edition, one of 647 numbered copies on pure rag paper, being the only deluxe paper issue after 109 reimposed copies.

Fine copy.

First edition, one of 306 numbered copies on deluxe paper, the only large-paper issue after 109 reimposed copies.

A fine copy.

First edition, no copies in North American libraries; only four copies known in Europe (Mazarine, Méjanes, BnF, Lausanne). Illustrated throughout with numerous headpieces, historiated initials, and tailpieces. Contemporary full gilt vellum binding, flat spine with gilt floral tools twice framed in gilt, morocco lettering-piece, boards framed in gilt, centre oval palm wreath, enclosing the initials “I.H.S.” (Jesus Hominum Salvator), superimposed over a former cypher “H. D. B.”, the lower board with the same wreath enclosing the initials “MA” (Mater Amabilis), tie holes, traces of a library label at the foot of spine, gilt edges, some foxing and...

First edition, one of 90 numbered copies on vellum, ours one of the few hors commerce copies, the only issue after 20 copies on orange paper.

Spine slightly sunned as usual, with a small tear to head of spine; a fine copy.

Illustrated with a frontispiece by Max Ernst.

Whimsical inscription on a presentation copy to Surrealist painter Yves Tanguy: "in memory of a past not unlike a Henri III sideboard. Lély." (A monsieur Yves Tanguy en souvenir d'un passé pareil à un buffet Henri III)

First edition, one of 35 numbered copies on vélin bleu, most limited deluxe issue (tirage de tête). Spine and boards marginally faded as usual, otherwise a handsome copy.

Illustrated with 8 black-and-white photolithographs after collages by Max Ernst.

A rare copy of this collection of surrealist tales by Leonora Carrington, which “recall, through their very ‘English’ humour, certain adventures of...

Rare first edition of this poème-objet in concertina form folded back and forth, illustrated by Fernand Léger who married the text of the poem “Liberté” by his friend Paul Éluard with his striking pochoir technique. Original slipcase preserved, with author and artists painted in white on the side (two chipped edges on each top end of the plastic case).
Stencil print by Albert Jon after an original design by Fernand Léger produced at the request of the poet, resistant, and publisher Pierre Seghers. Edition of 212 numbered copies, this copy one of 200 copies on Auvergne paper. This copy has been skilfully restored.
One of the most famous and striking editions...

First illustrated deluxe edition, expanded with a foreword by Albert Gleizes, one of 400 numbered copies on Lana wove paper.

Volume illustrated with 7 original etchings or drypoints by Pablo Picasso

“L’homme au chapeau”, Jean Metzinger, Marie Laurencin, Albert Gleizes, Francis Picabia, Jacques Villon and Marcel Duchamp, together with 4 plates after Georges Braque, André Derain, Juan Gris and...

First edition.

Head of the plain back restored; a few light spots of foxing and a faint waterstain.

The lawyer François Beslay (1835–1883) soon left the bar to devote himself to Catholic journalism. He was a contributor to the Revue contemporaine; to the Correspondant; to the Revue d’économie chrétienne; to the Français; to the Journal des villes et des campagnes; and to L’Ami de la religion.

Autograph presentation inscription by François Beslay at the head of the upper wrapper to the former minister Odilon Barrot (1791–1873), who had retired from political life in 1851.

Rare first edition, as are most of Edouard Lapène’s works.

Contemporary half green sheep over marbled paper boards, smooth spine decoratively gilt with fillets and garlands and blind-stamped ornaments, one upper corner damaged, marbled edges.

Spine lightly rubbed, scattered foxing.

This work deals with the Peninsular War, or the Toulouse campaign.

The volume constitutes an excellent account of the conquest of Andalusia, then in rebellion against King Joseph, as far as Malaga (which would fall) and Cadiz (which would remain free until the end of the French occupation).

At the time, the author was a young captain attached to the 2nd division of the 5th Army...

Rare first edition, illustrated at the end of the volume with a folding map printed outside the text and with outline colouring.

Our copy has been extra-illustrated with a folding engraving "Vue générale de l'île d'Elbe et de la ville de Porto-Ferrajo" (Paris, Pillet, numbered 26).

Contemporary half calf over corners, smooth spine gilt with fillets, date gilt at foot, burgundy calf title label lettered lengthwise, some rubbing to joints and edges, marbled paper boards, marbled endpapers, contemporary binding.

The only edition, very scarce, of this account strictly contemporary with Napoleon’s arrival on the island of Elba.

The final two leaves contain...

First edition (cf. Cordier, Bibl. Sinica, 2772; Chadenat, 912; Barbier, II, 736 d; Brunet, Table, 28267.)

Contemporary half marbled sheep over green parchment corners, smooth spines decorated with gilt fillets and floral tools, red morocco title labels, pink paste-paper boards.

A small wormtrack at the foot of the spine of the second volume, some rubbing to the spines and boards, light foxing.

The epistle to the Comte de Maurepas is signed Margat, a member of the Society of Jesus, and notes that he was a missionary in Saint-Domingue. However, Barbier and Cordier attribute the work to Father Brumoy.

Tamerlane (or Timur-Leng) was born in 1336 in the Djagatai, at...

First edition of the French translation, issued without any large-paper copies.

A handsome copy, complete with its original promotional band: "Calvino et la préhistoire-fiction."

Inscribed, dated, and signed by Italo Calvino to Pascal Pia.

New edition published under the direction of Victor Cousin and illustrated with 45 folding plates at the end of the volumes.

Full polished calf bindings in light brown, spines evenly darkened with four raised bands ruled in gilt and decorated with double gilt panels, gilt rolls at head and tail, gilt friezes at the foot of the spines, a few heads of spines slightly trimmed, joints rubbed, black calf lettering and volume labels, gilt fillet and garland borders on the covers, upper boards gilt-stamped at centre with crowned laurel wreaths and the gilt inscription “académie de Paris - Prix du concours général”, moiré silk endpapers and pastedowns in white, all edges gilt, gilt fillets...

First edition, first issue with all the features of first issue copies including the misprint "Sénart" on the dedication leaf.
Dark green half-shagreen binding, spines with four raised bands decorated with double gilt-tooled compartments with gilt roundels at the corners, very minor restoration to the headbands, marbled paper boards, marbled endpapers and pastedowns, contemporary bindings.
With an exceptionally added autograph letter signed by Gustave Flaubert to his niece Caroline Commanville, affectionately known as "Loulou", on one page of a bifolium, pasted to a flyleaf of the first volume:"Tuesday, 11 o'clock. [26 March 1872]My Loulou, your gdmother bore the...

Rare first edition of the French translation prepared by Pingeron, who enriched it with notes (cf. Attabey, 1127. Not in Chadenat, Hage Chahine or Blackmer. Monglond, I, 466. Brunet, V, 317. Quérard, IX, 98). Only one copy recorded in Italian public collections (Ravenna).

Our copy is preserved in its original blue-grey wrappers, the spine plain with contemporary manuscript titling, entirely uncut.

First French edition of this uncommon work: other writings by Sestini are encountered more frequently (perhaps owing to its date of publication?).

With a dedicatory epistle to the comte de La Billardrie d'Angivillier.

Abbot Domenico Sestini (1750–1832) was a numismatist...

First edition (cf. Pritzel 6493; Vicaire, Bibliographie gastronomique, 610.)

Some foxing.

Contemporary half green sheep, the spine darkened and decorated with quadruple gilt fillets, red shagreen lettering-piece, joints rubbed, a gilt name at foot of spine, marbled boards, a few small defects to the edges, mottled edges.

An interesting study listing more than a thousand edible plants, including several little-known species that could, to advantage, be more widely used.

An alphabetical index provides the French names with cross-references to their Latin equivalents.

Some ten pages are devoted to coffee and more than twenty to tea; one also notes...

Photographic postcard issued by the television weekly Télé 7 Jours, depicting Guy Lux smoking a cigarette.

A well-preserved example.

Signed by Guy Lux in blue felt-tip pen.

First edition, no copies printed on deluxe paper.

Publisher's full red boards, flat spine, complete with the illustrated dust jacket.

Illustrated with numerous photographs.

Fine signed autograph inscription by Daniel Pennac to his friend Franklin Rist on the title page, each group of words enclosed in a comic strip-style speech bubble: "Nemo par Pennac et POUR FRANKLIN / nom d'un chien / avec / mon / amitié / de toujours / et d'aujourd'hui. Je t'embrasse Daniel"; the inscription is completed with a drawing of a little figure in the style of the Titan Atlas, carrying a fountain pen.

Autograph envelope addressed by André Breton to his friend Géo Dupin, curator of the La Cour d'Ingres art gallery at 17 quai Voltaire, from whom the Pope of Surrealism acquired several paintings.

The address is written in black ink (some letters slightly smudged).

A well-preserved example.

Original black and white photograph depicting Valéry Giscard d'Estaing posing frontally.

A fine copy. Original envelope with the letterhead of the French Presidency included.

Inscribed and signed tribute by Valéry Giscard d'Estaing in blue ink.

Provenance: from the collection of the noted autograph collector Claude Armand.

First edition on ordinary paper.

Contemporary red half morocco with corners, spine with five raised bands, gilt rules and triple gilt panels, date stamped in gilt at foot, minor rubbing to bands, gilt fillet borders on marbled paper sides, endpapers and pastedowns of comb-marbled paper, original wrappers and spine bound in, one upper corner lightly scuffed, binding signed by C. Septier.

Manuscript signature of one of the authors on the half-title page.

A handsome copy attractively bound in a period binding.

First edition, illustrated with in-text drawings by Lorentz.

Some occasional foxing.

Bradel binding in green Empire morocco, spine very slightly faded, gilt date at foot, gilt decorative rolls at head and foot, marbled paper-covered boards, comb-marbled endpapers and pastedowns, bookplate mounted on one endpaper, trace of a removed bookplate at the head of a pastedown. Original wrappers preserved. Binding signed by Durvand.

Extremely rare ensemble including a catalogue-program on laid paper, 3 original broadsides and 4 flyers announcements printed on colored paper (salmon, pink, blue and yellow) for the Bal de la Grande Ourse organized by the Union des Artistes Russes in Paris, held on May 8, 1925. Not at the NYPL or the Houghton Library. 
The folio broadside announcement (49.5 x 32.5 cm) is printed on both sides on laid paper and illustrated with a drawing by Cubist painters Auguste Herbin and Henri Laurens, folded in half; with two alternate printings of the same broadside printed on thin blue paper, folded in half or in four.
Housed in a chemise and slipcase with a brown morocco spine.

A new printing of the works issued by Houssiaux, who had acquired the Furne publishing stock under which the works were originally released. He expanded the series with three additional volumes (Théâtre, Contes drolatiques, etc.), which appeared for the first time within the collected works in 1855. The edition was entirely reprinted in 1855. Most volumes bear the date 1863.

Contemporary half shagreen bindings in brown, spines with five raised bands, decorated with four blind-stamped fleurons within compartments. Author, title and volume numbering gilt. Scattered foxing. One volume with the paper boards renewed. Signs of rubbing.

The set is illustrated with 138 plates...