A. Lacroix, Verboeckhoven & Cie

First edition of William Shakespeare, published in 1864 by A. Lacroix, Verboeckhoven & Cie.

Contemporary half aubergine calf, smooth spine decorated with gilt and blind fillets, gilt ornamental bands at head and foot, marbled paper boards, marbled endpapers and pastedowns. A few small areas of foxing.

A highly significant copy, with a signed autograph presentation inscription from Victor Hugo to Camille Berru, added on a leaf of blue paper:

“To my brave and dear companion in adversity...

First edition.

Full blue percaline binding, smooth spine gilt with a central floral motif, date and double gilt rules at foot, brown shagreen title label with minor scuffing along the left edge, original wrappers preserved, slightly later binding signed in blind by Pierson.

Ink initials on the front endpaper and upper wrapper, serving as an ex-libris.

A handsome copy, tastefully bound by Pierson and virtually free of foxing.

First edition, issued without any edition statement.
Contemporary half mottled fawn sheep bindings, smooth spines ruled in gilt with double fillets, red sheep lettering pieces bearing the author's name "Works of V. Hugo", sky-blue sheep title and volume labels, marbled paper-covered boards, decorative endpapers and pastedowns.
Some occasional foxing, small holes at the head of the half-title leaf of the first volume.
Widely regarded as Hugo's masterpiece in the realm of fiction, a dark and baroque work in which his poetic style, built upon antitheses and oxymora, is carried to its furthest limits, anticipating qualities later embraced by the Surrealists.

Victor HUGO
Les Misérables
A. Lacroix & Verboeckhoven & Cie, Bruxelles 1862, 14,5x22cm, 10 bound volumes.

First edition without statement published concomitantly with the Pagnerre's Paris edition.
Bound in half blue sheepskin, spine in four compartments decorated with double gilt fillets, blue paper plates, marbled paste-down and endpapers, mottled edges, English bindings of the time.
Scattered foxings, title page of the third volume slightly and marginally soiled, paper plates a little rubbed and a few tears on some edges, some joints repaired.

New édition which conforms to that of 1851 corrected by Eugène Sue.

Half navy blue shagreen bindings, spines slightly faded with five raised bands decorated with gilt floral motifs, marbled paper boards, blue paper endpapers and pastedowns, some corners slightly bumped. Some light foxing.

Handsome set in charming uniform binding.

First edition of the French translation for volumes 2, 3 and 4; second edition of the French translation for volume 1. (Not listed by Gay).

A few occasional spots, not affecting the overall freshness of the copy.

Bound in uniform olive green half percaline, smooth spines with gilt floral device and double gilt rules at foot, boards covered with decorative patterned paper, mauve endpapers and pastedowns, inner hinges discreetly restored with adhesive or partly split, all edges red.

Illustrated with 53 black plates comprising 92 engravings, 4 chromolithographs, a fine folding map of Northern and Central Africa showing the explored areas and the route taken, and a...

First edition.

Contemporary half brown shagreen bindings, spines with four raised bands framed by blind fillets, gilt floral tools at head and tail, marbled paper boards, marbled endpapers and pastedowns, bookplates mounted at the head of the pastedowns, sprinkled edges.

A few minor spots of foxing, with press cuttings loosely inserted and leaving offsetting to the front endpapers of the first volume.

Signed autograph presentation inscription by Jules Claye, the printer of this work, to Ferdinand Taillefer on the front of the first volume: "... souvenir typographique à mon ancien et excellent collaborateur..."

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.