Paris

Edition with some parts in first edition, one of 1100 numbered copies on pure thread paper.
Work illustrated with a portrait of the author by Pablo Picasso.
Spine with a very slight lack at foot.

First edition, one of 120 numbered copies on wove paper, the only deluxe copies after 36 on Holland paper.
Handsome copy.

First edition, one of 120 numbered copies on wove paper, the only deluxe copies after 36 on Holland paper.
Handsome copy.

First edition, one of 355 numbered copies on laid pur fil paper, the only deluxe copies after 120 on Hollande paper.
Handsome copy.

Pléiade library edition printed on Bible paper.
Publisher's full brown grained sheepskin binding, orange top edge, smooth spine decorated with gilt fillets,
Fine copy complete with its cellophane wrapper.

First edition in French.
Small stains on the first cover.

The first edition, of which there were no deluxe copies.
Photographic cover.
Handsome copy.

First edition printed on ordinary paper.
Spine very lightly sunned with small light halos.
Autograph inscription dated and signed by Lucien Bodard to Jean-Louis Guillaud.

First edition, of which there were no deluxe copies.
Handsome copy.
Fine autograph inscription signed by Claude Lévi-Strauss to anthropologist Georges Balandier: "... cette mythologie de la dynamique sociale..." ["... this mythology of social dynamics..."]

First edition.
Publisher's full brown grained sheep binding, orange top edge, smooth spine decorated with gilt fillets.
Rich iconography.
Handsome copy complete with its dust jacket and cellophane wrapper, lacking the flexible slipcase.

First edition.
Publisher's polychrome cardboard binding, smooth spine.
Signed autograph inscription from Philippe Bertrand to a man named Guillaume accompanied by a drawing depicting geometric forms.

First edition of this selection and the notices on the authors established by Gérard de Lacaze-Duthiers.
Handsome copy complete with its publisher's slip.
Signed autograph inscription from Gérard de Lacaze-Duthiers to journalist Henry Lafragette thanking him for his laudatory article concerning this work.
Our copy is enriched with an autograph letter signed by Gérard de Lacaze-Duthiers to the same, on letterhead of the library of the aristocracy, dated May 30, 1959.

Bibliothèque de La Pléiade edition printed on Bible paper.
Publisher's binding in full brown grained sheep, orange top edge, smooth spine decorated with gilt fillets.
Handsome copy complete with its rhodoid dust jacket, slipcase lacking.

Fine edition with Oudry's 276 engravings, from the 1755-1759 edition. [...] it is little known and quite rare, much rarer than the Desaint and Saillant edition of 1755. (Rochambeau, 124)
Near-contemporary bindings (late 18th century) in half brown calf, smooth spines decorated with camel morocco title and volume labels, paste-paper boards, all edges red. Rubbing to boards.
Some leaves uniformly browned and light dampstains without any damage to the engravings.
Contemporary bibliographical label pasted to verso of first endpaper.
Fine edition of this great classic of French literature illustrated by the greatest animal painter, Jean-Baptiste Oudry.

The first edition, of which there were no deluxe copies.
Handsome copy
Signed autograph inscription by Jean d'Ormesson to a woman named Annie: "... ce puzzle du monde..."

First edition, of which there were no deluxe copies.
Handsome copy, with press cutting included.
Handsome autograph inscription signed by Erik Orsenna to a woman named Isabelle: "... Et voilà, le reportage commencé en Inde par un appel chez vous... Bon voyage ! Et vive la douceur des surfaces ! Fidèlement Erik." ["... And there you have it, the report that began in India with a call to your home... Have a good trip! And long live the gentleness of surfaces! Faithfully Erik."]

Bibliothèque de La Pléiade edition printed on India paper.
Publisher's full grey grained sheep binding, mauve top edge, smooth spine decorated with gilt fillets.
Handsome copy complete with its glassine wrapper and dust jacket; the soft slipcase is missing.

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

Bibliothèque de La Pléiade edition printed on Bible paper.
Publisher's full blue grained sheepskin binding, blue top edge, smooth spine decorated with gilt fillets.
Handsome copy complete with its cellophane wrapper and slipcase.

Bibliothèque de La Pléiade edition printed on Bible paper.
Publisher's full brown grained sheepskin binding, orange top edge, smooth spine decorated with gilt fillets.
Handsome copy complete with its cellophane wrapper and dust jacket, lacking slipcase.

First edition, one of 30 numbered copies on Japan paper, the only deluxe copies.
Half navy blue morocco binding, spine with five raised bands, gilt date at foot, marbled paper boards, pebbled paper endpapers and pastedowns, covers and spine preserved, top edge gilt, binding signed by Goy & Vilaine.

First edition and first printing of Eisen's illustrations engraved by Massard, one plate, one vignette and one tailpiece.
Contemporary binding in full blonde calf with scale pattern, smooth spine decorated with gilt fillets and fleurons as well as a black morocco title-label, triple gilt fillet framing the boards, gilt fillets on the leading edges, gilt lines on the headcaps, marbled endpapers and pastedowns, all edges marbled. Fine copy despite some discreet rubbing to the binding.
Provenance: Maurice Lacroix library with his bookplate pasted on the verso of the first endpaper.
Fine copy in first printing of this imitation of the famous Lettres portugaises by...

First edition, one of 20 numbered copies on pure Lana rag paper, the only deluxe copies along with a few hors commerce copies also on pure Lana rag paper.
Handsome copy despite the slightly faded spine.

First edition, one of 50 numbered copies on alfa mousse paper, the only deluxe copies along with a few hors commerce copies also on alfa mousse paper.
Handsome copy despite the spine showing slight sunning at head and foot.

First edition, one of 30 numbered copies on corvol l'orgueilleux paper, the only deluxe copies along with a few hors commerce copies also on corvol l'orgueilleux paper.
Handsome copy despite the spine showing slight sunning at head and foot.

First edition, one of 50 numbered copies on pur fil du Marais paper, the only deluxe copies along with a few hors commerce copies also on pur fil du Marais paper.
Handsome copy despite the spine showing slight sunning at head and foot.

First edition, one of 50 numbered copies on pur fil du Marais paper, the only deluxe copies along with some hors commerce copies also on pur fil du Marais paper.
Handsome copy despite the spine and covers showing slight sunning at head and foot.

Pléiade library edition printed on Bible paper.
Publisher's binding in full brown grained sheep, orange top edge, smooth spine decorated with gilt fillets.
Complete copy with its cellophane wrapper and soft slipcase.

Autograph letter signed by Renée Vivien addressed to Marcelle Tinayre, written in black ink on a double sheet of headed paper decorated with a border of violets. Transverse creases inherent to mailing.
Also a writer, Marcelle Tinayre was close to Renée Vivien, who entrusted her first verses to her to read. Upon Vivien's death, Tinayre paid tribute to her through several texts, notably a very beautiful tribute article published in the review Schéhérazade in 1910 entitled "Trois images de Renée Vivien".
"Chère grande amie, Votre si bonne carte de souvenir m'a réjouie et touchée. De tout coeur un remerciement chaleureux. Malgré les inévitables petits...

First edition, one of 50 numbered copies on pur fil paper, the only deluxe copies along with a few hors commerce copies also on pur fil paper.
Handsome copy despite the spine and boards showing slight sunning at head and foot, one endpaper shadowed due to a press article about the work.

First edition, one of 100 numbered copies on corvol l'orgueilleux paper, the only deluxe copies along with a few hors commerce copies also on corvol l'orgueilleux paper.
Handsome copy despite the spine and boards showing slight sunning at head and foot.

First edition, one of 50 numbered copies on pur fil du Marais paper, the only deluxe copies along with some hors commerce copies also on pur fil du Marais paper.
Handsome copy despite the spine which has a small tear at head.

Handwritten signed letter addressed to a poet: “You sing the rose loved by Psapphâ, who compared it to the loving virgins of Mitilini” Handwritten signed letter from Renée Vivien addressed to a poet, written in violet ink on a double leaf of paper decorated at the head with a border of violets. Transverse folds from having been sent.
“Monsieur, Je viens à l'instant de défaire le paquet qui contenait votre délicat volume, où j'ai cueilli de rares fleurs de poésie. Vous chantez la rose aimée de Psapphâ, qui la comparait aux vierges amoureuses de Mytilène. Parmi vos poèmes...

Autograph letter signed by Renée Vivien addressed to Charles Maurras, written in violet ink on a double leaf of headed paper adorned with a border of violets. Transverse folds inherent to mailing, envelope included.
Beautiful letter of thanks: "Monsieur, En feuillettant votre si intéressant volume : De l'Avenir de l'Intelligence, j'ai relu, avec un plaisir ému, les pages - trop indulgentes vraiment ! - que vous avez consacré à mes ouvrages. Merci infiniment. Et veuillez agréer mes très reconnaissants sentiments de confraternité littéraire. Renée Vivien" ["Sir, While leafing through your most interesting volume: De l'Avenir de l'Intelligence, I reread...

Original color lithograph engraved by Albert Adam after a drawing by Léon Jean-Baptiste Sabatier and used as illustration for Paris et ses ruines by Victor Fournel, a work bearing witness to the ravages of the Paris Commune.
Some marginal soiling, otherwise a handsome copy.

Original black and white lithograph drawn and engraved by Jules David and used as an illustration for Paris et ses ruines by Victor Fournel, a work documenting the devastation of the Paris Commune.
Some marginal worming, otherwise a handsome copy.

Original black and white lithograph drawn and engraved by Léon Jean-Baptiste Sabatier and used as an illustration for Paris et ses ruines by Victor Fournel, a work documenting the devastation of the Paris Commune.
Some marginal worming, otherwise a handsome copy.

Original color lithograph engraved by Albert Adam after a drawing by Léon Jean-Baptiste Sabatier, used as an illustration for Paris et ses ruines by Victor Fournel, a work documenting the ravages of the Paris Commune.
Some marginal soiling, otherwise a handsome copy.

Original black and white lithograph engraved by Albert Adam after a drawing by Léon Jean-Baptiste Sabatier, used as an illustration for Paris et ses ruines by Victor Fournel, a work documenting the ravages of the Paris Commune.
Some marginal soiling, otherwise a handsome copy.

Original color lithograph drawn and engraved by Léon Jean-Baptiste Sabatier and used as illustration in Paris et ses ruines by Victor Fournel, a work documenting the ravages of the Paris Commune.
Handsome copy.

Original lithograph in colors engraved by Jules Gaildrau after a drawing by Léon Jean-Baptiste Sabatier and used as an illustration for Paris et ses ruines by Victor Fournel, a work documenting the devastation of the Paris Commune.
Some marginal foxing spots, otherwise a handsome copy.

Original lithograph in colors engraved by Charles-Claude Bachelier after a drawing by Léon Jean-Baptiste Sabatier and used as an illustration for Paris et ses ruines by Victor Fournel, a work documenting the devastation of the Paris Commune.
Some marginal soiling, otherwise a handsome copy.

Original color lithograph engraved by Albert Adam after a drawing by Léon Jean-Baptiste Sabatier, used as an illustration for Paris et ses ruines by Victor Fournel, a work documenting the devastation of the Paris Commune.
Some marginal worming, otherwise a handsome copy.

Original color lithograph by Albert Adam, Léon Jean-Baptiste Sabatier and Félix Benoist, used as an illustration for Paris et ses ruines by Victor Fournel, a work documenting the devastation of the Paris Commune.
Some marginal worming, otherwise a handsome copy.

Original black and white lithograph drawn and engraved by Philippe Benoist and used as illustration for Paris et ses ruines by Victor Fournel, a work documenting the ravages of the Paris Commune.
Handsome copy despite some worming.

Original black and white lithograph drawn and engraved by Philippe Benoist and used as illustration for Paris et ses ruines by Victor Fournel, a work documenting the devastation of the Paris Commune.
Handsome copy despite some worming.

Original black and white lithograph drawn and engraved by Philippe Benoist and used as illustration for Paris et ses ruines by Victor Fournel, a work documenting the devastation of the Paris Commune.
Handsome copy despite some discreet worming.

First edition, one of 30 numbered copies on Corvol l'Orgueilleux paper, the only deluxe copies along with a few hors commerce copies also on Corvol paper.
Handsome copy despite slight sunning to head of spine.

First editions of each volume, one of 20 numbered copies on pure fil du Marais paper (first volume) or Lana paper (second volume), the only deluxe copies with some hors commerce copies also on Corvol paper.
Handsome set despite slight sunning to heads of spines.

First edition, one of 30 numbered copies on pure fil du Marais paper, the only deluxe copies.
Handsome copy despite very light sunning to head of spine.

First edition, one of 50 numbered copies on Lana rag vellum, the only deluxe copies along with a few hors commerce copies also on Lana paper.
Handsome copy despite light worming to spine.

First edition, one of 50 numbered copies on pure Marais paper, the only deluxe copies along with a few hors commerce copies also on Marais paper.
Handsome copy despite slight sunning to head of spine and a shadow on one page left by the publisher's slip which served as a bookmark.

First edition, one of 30 numbered copies on alfa paper, the only deluxe copies.
Fine copy.
About Charles Baudelaire, Gustave Doré, plagiarism, publisher-writer relationships, Henri de Régnier, "Did silent cinema exist?"...

Pléiade library edition printed on India paper.
Publisher's full brown grained sheep binding, orange top edge, smooth spine decorated with gilt fillets.
Fine copy complete with its glassine wrapper and dust jacket; the flexible slipcase is lacking.

First edition, one of 155 numbered copies on pur fil, the only deluxe copies after 50 on Holland paper.
Fine copy.

Manuscript letter dated and signed, 42 lines from Alphonse Boudard to his great friend and companion of well-watered lunches, the Brussels journalist André Tillieu who was, like Alphonse Boudard, a great friend of Georges Brassens but also of Louis Nucéra.
A fold mark inherent to the folding of the letter for mailing, envelope included.
An inscription in red ballpoint pen in the upper right corner of the missive: mort Aline Giono, this manuscript note being repeated in the upper left corner of the envelope.
"vieux,
oui, j'ai appris l'affreuse nouvelle. Pas un mot de Zoë (qui ne me donne pas son adresse, je n'ai donc pu lui répondre) Que dire ? On...

Dated and signed greeting card depicting Paul Léautaud captured by painter Viko with 15 lines from Alphonse Boudard, to his great friend and companion of well-lubricated lunches, Brussels journalist André Tillieu who was, like Alphonse Boudard, a great friend of Georges Brassens but also of Louis Nucéra.
Envelope included.
"Salut vieux,
merci de tes voeux... on essaiera de mijoter un livre selon tes goûts... aux petits oignons ! Si tu descends dans le sud, c'est à dire au soleil lumineux de Paris, fais nous signe ( à Louis ou à moi) et on bavardera un peu plus que la dernière fois. avec tous mes voeux pour 88, pour toi et les tiens... et mon amitié. ABoudard."...

First edition, of which there were no deluxe copies.
Handsome copy.
Signed autograph inscription by Michel Rocard to Joël and Marie-Claude Hamard.

First edition on ordinary paper.
A fold to the upper left corner of the back cover.
Handsome copy complete with its publisher's wraparound band.
Signed autograph inscription by Jean d'Ormesson to Luce Palmyre: "... les rires et les larmes..." ["... laughter and tears..."]

First edition, one of 205 numbered copies on vélin neige, the only deluxe copies after 155 on vélin d'Arches.
Two small instances of sunning at head and foot of spine, otherwise a handsome copy.

First edition, one of 225 numbered copies on snow-white vellum.
Two small patches of sunning at head and foot of spine, otherwise a handsome copy.

Dated and signed manuscript letter of 42 lines from Alphonse Boudard to his great friend and companion of boozy lunches, the Brussels journalist André Tillieu, who was, like Alphonse Boudard, a great friend of Georges Brassens but also of Louis Nucéra.
A fold mark inherent to the folding of the letter for mailing.
"vieux,
merci de ta formidable lettre... j'ai mis du temps avant de te répondre, débordé que je suis par les activités de "promotion" de Mme de Saint Sulpice. Fatigant tous ces trains, tous ces avions, ces attentes, ces blabla toujours les mêmes. Bah ! il y a des métiers plus pénibles et moins rémunérateurs. Je me demande toujours si mes premiers bouquins...

Manuscript letter dated and signed, 17 lines from Alphonse Boudard to his great friend and companion of well-lubricated lunches, the Brussels journalist André Tillieu who was, like Alphonse Boudard, a great friend of Georges Brassens but also of Louis Nucéra.
A crease mark inherent to folding the letter for mailing, envelope included.
"ami,
bien reçu "Le Peuple" et ton papelard sublime. Bravo ! Merci ! etc... dans un monticule de paperasses qui s'accumulent sur mon bureau, j'ai perdu la carte qur tu m'as envoyée avec l'adresse de la fille de Giono. Je la retrouverai, mais quand ? (Je suis plutôt bordelique question classement, rangement etc...) Pour ne pas perdre trop...

Voyage au Congo suivi de Retour du Tchad
First collective edition of two journeys in Africa by André Gide published successively in 1927 and 1928. First edition, grand papier (deluxe copy) with 64 photographs by Marc Allégret printed in sepia and four maps. One of 28 numbered copies on japon impérial, the tirage de tête.
Our copy includes the 1928 colophon of first issue copies on japon impérial. Copies printed on Arches bear the date 1929 (Bibliographie des écrits d'André Gide, Arnold Naville).

First edition, one of 25 numbered copies on pure Lana rag paper, the only deluxe copies.
Very fine copy.

First edition in French, one of 86 numbered copies on pur fil paper, the only deluxe copies.
Two small traces of sunning at head and foot of spine as usual.

First edition in French, one of 86 numbered copies on pur fil paper, the only deluxe copies.
Two small traces of sunning at head and foot of spine as usual.

First edition in French, one of 67 numbered copies on pure laid paper, the only deluxe copies.
Two small traces of sunning at head and foot of spine as usual.

First edition in French, one of 66 numbered copies on pur fil, the only deluxe copies.
Two small sun-marks at head and foot of spine, otherwise handsome copy.

First edition in French, one of 66 numbered copies on pure laid paper, the only deluxe copies.
Spine slightly sunned, otherwise handsome copy.

The first edition, of which there were no deluxe copies.
Handsome copy.
Precious autograph inscription from Jean-Louis Schefer to Pierre Klossowski.

Signed manuscript card of 21 lines from Alphonse Boudard, on a printed visiting card, to his great friend and companion of wine-filled lunches, the Brussels journalist André Tillieu, who was, like Alphonse Boudard, a great friend of Georges Brassens but also of Louis Nucéra.
Envelope included.
"vieux, oui le hasard fait bien les choses... surtout que l'interview date de mon dernier passage à Bruxelles début novembre. Tout va bien pour le livre, mais mapièce quitte les planches. (As-tu reçu le livre ?) J'espère tout de même te voir à Paris bientôt. En attendant je te souhaite la fameuse bonne année. Qu'elle soit heureuse, fructueuse admirable... artistique etc... et... avec...

Dated and signed manuscript letter of 31 lines from Alphonse Boudard to his great friend and companion of wine-filled lunches, the Brussels journalist André Tillieu, who was, like Alphonse Boudard, a great friend of Georges Brassens but also of Jean Giono.
A fold mark inherent to the folding of the letter for mailing, a pencil inscription "Manouche" in the upper left corner of the missive.
"ami,
ton papier me parvient en vacances... enfin au bord de la mer où je gratte un peu pour la gloire d'Alain Delon... son prochain film! Ca me comble ce que tu écris. C'est juste.. ll s'agit de dire tout ce qui doit être dit... que ça plaise ou non à ceux-ci ou à ceux-là. Mon...

The first edition, published in a small number of copies.
Half red morocco with corners, spine with five raised bands set with gilt and black fillets, gilt fillet on combed paper boards, marbled endpapers and pastedowns, top edge gilt, contemporary binding.
The work illustrated with a beautiful frontispiece drawn and engraved by Félix Bracquemond.
Handsome copy attractively bound.

New edition printed on laid paper and revised and corrected from the best texts, notably from the 1732 edition.
Half red morocco-grained shagreen binding, spine with five raised bands set with gilt dots and decorated with richly ornamented double gilt compartments, gilt date at foot, marbled paper boards, combed paper endpapers and pastedowns, top edge gilt.
Notice by Tenant de Latour.
Handsome copy from the Elzevirian library.

The first edition, of which there were no deluxe copies.
Handsome copy retaining publisher's wraparound band.
Signed autograph inscription by Bernard Pivot to a woman named Bernadette.

First edition on ordinary paper.
Handsome copy retaining publisher's wraparound band.
Amusing autograph inscription signed by Jean-Bertrand Pontalis to Doctor Jacques Chassigneux: "... qui me trouve toujours en grande forme, il exagère. C'était mieux avant, bien sûr mais, maintenant, ça pourrait être pire, bien sûr aussi. Avec mon amitié et ma gratitude." ["... who always finds me in great shape, he exaggerates. It was better before, of course, but now it could be worse, of course too. With my friendship and gratitude."]

First edition on ordinary paper.
Full brown cloth Bradel binding, smooth spine, gilt date at foot, covers and spine preserved, bookplates pasted on one pastedown, contemporary binding signed in blind by Stroobants.
Two light dampstains to upper right corner of first cover and upper left corner of second cover.
Autograph inscription dated Brussels 1934 and signed by Paul Claudel to Gérard Bauër.
Provenance: from the libraries of Gérard Bauër and Jean-François Lemaire with their bookplates pasted on one pastedown.

First edition of this personal invitation, ours in the name of Gérard Bauër from the Académie Goncourt, to attend the funeral of Paul Claudel at Notre-Dame Cathedral in Paris on February 28, 1955 at 10 a.m.
A central fold inherent to postal mailing.

Original wood engraving signed on the plate by the artist and engraver. Composition created by Gustave Doré and engraved by François Pannemaker on chine collé mounted on Holland laid paper commissioned by publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
A light marginal dampstain, not affecting the design.
These illustrations for the Contes are considered the most successful of this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the tableau to the smallest details that generate terrifying realism thanks to the technique known...

Original wood engraving signed on the plate by the artist and engraver. Composition created by Gustave Doré and engraved by François Pannemaker on chine collé mounted on Holland laid paper commissioned by publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
A light marginal dampstain, not affecting the design.
These illustrations for the Contes are considered the most successful of this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the tableau to the smallest details that generate terrifying realism thanks to the technique known...

Original wood engraving on end-grain wood signed in the plate by the artist and engraver. Composition created by Gustave Doré and engraved on China paper and mounted on Holland laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
A pale marginal dampstain, not touching the image, as well as a discreet black spot in the center of the engraving.
These illustrations of the Contes are considered the most successful of this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the tableau to the smallest details...

Original wood engraving on end-grain wood signed in the plate by the artist and engraver. Composition created by Gustave Doré and engraved by Charles Maurand on China paper and mounted on Holland laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
A pale marginal dampstain, not touching the image.
These illustrations of the Contes are considered the most successful of this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the tableau to the smallest details that generate terrifying realism through the...

Original wood engraving signed on the plate by the artist and engraver. Composition created by Gustave Doré and engraved by François Pierdon on China paper and mounted on Dutch laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
A pale marginal dampstain, not touching the image, as well as some worming in the margin.
These illustrations for the Contes are considered the most successful for this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the tableau to the smallest details that generate terrifying...

Original wood engraving signed on the plate by the artist and engraver. Composition created by Gustave Doré and engraved by Héliodore Pisan on China paper and mounted on Dutch laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
A pale marginal dampstain, not touching the image, as well as a small tear without loss and not affecting the engraving at the bottom and wormhole in the lower margin.
These illustrations for the Contes are considered the most successful for this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the...

Original wood engraving signed on the plate by the artist and engraver. Composition by Gustave Doré and engraved by Hélène Boetzel on China paper and mounted on Dutch laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
A pale marginal dampstain, not touching the image.
These illustrations of the Contes are considered the most successful of this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the tableau to the smallest details that generate a terrifying realism through the technique known as "tinted...

Original wood engraving signed in the plate by the artist and engraver. Composition created by Gustave Doré and engraved by Georges Perrichon on China paper and mounted on Dutch laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
A faint marginal dampstain, not affecting the design.
These illustrations of the Contes are considered the most successful of this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the tableau to the smallest details that generate terrifying realism thanks to the technique...

Original wood engraving signed in the plate by the artist and engraver. Composition created by Gustave Doré and engraved by François Pannemaker on China paper and mounted on Dutch laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
A faint marginal dampstain, not affecting the design, as well as some spotting in the margins.
These illustrations of the Contes are considered the most successful of this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the tableau to the smallest details that generate...