Paris

New edition.
Autograph inscription from Paul Claudel to Lewis Muffat.

First edition, one of 30 copies on vergé d'Arches, the only grand papier (deluxe) copies after 16 Japon.
Full black morocco, covers and spine preserved, top edge gilt, slipcase lined with morocco, binding signed by Devauchelle.
Autograph inscription signed by Max Jacob to (Adolphe) Basler, critic and artseller, friend of Guillaume Apollinaire : "... pour essayer de m'acquitter d'une impayable dette, son ami..." with a drawing in black ink.
A nice copy elegantly bound.

First edition, an advance (service de presse) copy.
Autograph inscription from Louis Aragon to Albert Jean.

First edition of the French translation, one of 52 numbered copies on alfa, the only large paper copies.
A very good copy.

First edition, one of 100 numbered copies on pur fil, tirage de tête.
A very good copy.

First edition on ordinary paper.
Autograph inscription d'Antoine Blondin à Guy Debrincat.
A good copy.

First edition, one of 1050 numbered copies on vélin labeur.
Publisher's paper boards with an original design by Paul Bonet.
A very good copy.

The first edition and first printing of the engravings.
Contributions from Théophile Gautier, Laurent-Jan, Léon Gozlan, Auguste Lireux and Jules Hetzel under the pseudonym of P.-J. Stahl, among others.
Contemporary Romantic green shagreen, spine richly gilt with Rocaille tools and gilt fleurons, large frame of fillets and gilt tools to covers, sizeable blindstamped tool to covers, pastedowns with gilt roulette frame, endpapers and pastedowns of white moiré material (soiled), gilt fillet to edges of covers, all edges gilt.
With a general frontispiece, 14 vignettes (one repeated) and 320 plates, all woodcuts.
References : Vicaire, III, 953-955 ; Brivois pp.168-171 ; Carter

First edition, one of 120 numbered copies on pur fil paper, the only large paper copies.
A fine copy, the covers and spine not faded as usual.

First edition printed in 511 copies.
Contemporary Bradel binding of almond-colored cloth by Vermorel, the spine with a gilt floral motif, gilt date to foot, green morocco title label, gilt fillet frame to covers, endpaper and pastedowns of floral paper.
A good copy of the first work by Jules Laforgue in a charming contemporary binding.

With 20 engravings by Moreau, Monsieur, Cochin, Chaspelet and Lebarbier.
Elegant contemporary half red morocco over red paper boards by Simier, spine in six compartments with gilt undulating fillets and blindstamped garlands, as well as gilt fleurons, and gilt friezes to head and foot, some spines sunned, a few scratches to some covers, marbled endpapers and pastedowns, a few corners lightly bumped.
Spotting.
Provenance : from the library of Herman Frasch Whiton with his ex libris to endpapers.
A good copy in an elegant contemporary uniform binding by Simier, one of the most talented master binders of the 19th century.

First edition of the French translation, review copy.
Precious and beautiful autograph signed by French Stefan Zweig to Jules Romains, "In the expensive Jules Romains, which I like as a friend and I admire as a master. Stefan Zweig. "Enriched by autograph dedication of the author an autograph signed by the translator, Alzir Hella:" A Jules Romains, the part of the author and cordially Alzir Hella. "
Stefan Zweig had met Jules Romains attending members of the Créteil Abbey in the early twentieth century and the two men were quickly linked to a strong friendship. Love one another as a cosmopolitan Europe, they met regularly at the op

The very rare first edition with a lovely frontispiece illustration of a young harpist beneath the charming quatrain: “La Harpe entre vos mains Silvie / Ne laisse rien à désirer / De vos beaux yeux : l'âme est ravie / Peut-on vous voir sans vous aimer !” [The harp in your hands, Silvie| Leaves nothing to be desired| A glance at your eyes thrills me| How could you not be admired?]. Engraved title within a circular frame surrounded by musical instruments, manuscript ex dono at foot. The work, including the text, is entirely engraved.
 
Contemporary half calf over marbled boards. Worming to inner margin of first six leaves very discreetly repaired.
 
The work begins with a b