Bureaux de la Revue

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 regular collaborators, friends of Gide. After multiple difficulties and attempts to reorganize the editorial team (Remy de Gourmont would make a passage there and also contribute financially in 1905), l'Ermitage breathes its last in 1906.
L'Ermitage manages to distinguish itself from other important reviews of the time such as the Mercure de France or the Revue blanche because it claims to be eclectic and apolitical; on its cover, one can read that it is "la seule Revue qui ne s'occupe ni de politique ni de sociologie [mais] qui traite uniquement de littérature et d'art." Its small illustrations are in Art Nouveau style, and, faithful to its symbolist spirit, its collaborators are more interested in poetry than in the novel.
Tiphaine Samoyault, French literary critic, considers that l'Ermitage expresses a transition straddling fin de siècle aestheticism and avant-garde poetry of the 1910s.

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 editorial team was then reduced to twelve regular collaborators, friends of Gide. After multiple difficulties and attempts to reorganize the editorial team (Remy de Gourmont would spend time there and also contribute financially in 1905), L'Ermitage drew its last breath in 1906.
L'Ermitage managed to distinguish itself from other important journals of the time such as the Mercure de France or the Revue blanche because it claimed to be eclectic and apolitical; on its cover, one could read that it was "la seule Revue qui ne s'occupe ni de politique ni de sociologie [mais] qui traite uniquement de littérature et d'art." ["the only Review that deals neither with politics nor sociology [but] treats exclusively with literature and art."] Its small illustrations were in the Art Nouveau style, and, faithful to its symbolist spirit, its collaborators were more interested in poetry than in the novel.
Tiphaine Samoyault, French literary critic, considers that L'Ermitage expresses a transition straddling fin de siècle aestheticism and the avant-garde poetry of the 1910s.

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 symbolist reviews. In the 1895s, the review went into decline, and its new director, Edouard Ducoté, called upon André Gide. The editorial team was then reduced to twelve regular collaborators, friends of Gide. After multiple difficulties and attempts to reorganize the editorial team (Remy de Gourmont would work there briefly and also contribute financially in 1905), l'Ermitage breathed its last in 1906.
L'Ermitage managed to distinguish itself from other important reviews of the time such as the Mercure de France or the Revue blanche because it claimed to be eclectic and apolitical; on its cover, one could read that it was "la seule Revue qui ne s'occupe ni de politique ni de sociologie [mais] qui traite uniquement de littérature et d'art." Its small illustrations were in art nouveau style, and, faithful to its symbolist spirit, its collaborators were more interested in poetry than in novels.
Tiphaine Samoyault, French literary critic, considers that l'Ermitage expressed a transition straddling fin de siècle aestheticism and avant-garde poetry of the 1910s.

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 decline, and its new director, Edouard Ducoté, called upon André Gide. The editorial team was then reduced to twelve regular contributors, friends of Gide. After multiple difficulties and attempts to reorganize the editorial team (Remy de Gourmont would make a passage there and also contribute financially in 1905), l'Ermitage drew its last breath in 1906.
L'Ermitage managed to distinguish itself from other important reviews of the time such as the Mercure de France or the Revue blanche because it claimed to be eclectic and apolitical; on its cover, one could read that it was "la seule Revue qui ne s'occupe ni de politique ni de sociologie [mais] qui traite uniquement de littérature et d'art" ["the only Review that concerns itself neither with politics nor sociology [but] that deals exclusively with literature and art"]. Its small illustrations are in Art Nouveau style, and, faithful to its Symbolist spirit, its contributors were more interested in poetry than in novels.
Tiphaine Samoyault, French literary critic, considers that l'Ermitage expresses a transition straddling fin de siècle aestheticism and the avant-garde poetry of the 1910s.

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 contributors, friends of Gide. After multiple difficulties and attempts to reorganize the editorial team (Remy de Gourmont would make a passage there and also contribute financially in 1905), l'Ermitage drew its last breath in 1906.
L'Ermitage managed to distinguish itself from other important reviews of the time such as the Mercure de France or the Revue blanche because it claimed to be eclectic and apolitical; on its cover, one could read that it was "la seule Revue qui ne s'occupe ni de politique ni de sociologie [mais] qui traite uniquement de littérature et d'art" ["the only Review that concerns itself neither with politics nor sociology [but] that deals exclusively with literature and art"]. Its small illustrations are in Art Nouveau style, and, faithful to its Symbolist spirit, its contributors were more interested in poetry than in novels.
Tiphaine Samoyault, French literary critic, considers that l'Ermitage expresses a transition straddling fin de siècle aestheticism and the avant-garde poetry of the 1910s.

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 collaborators, friends of Gide. After multiple difficulties and attempts to reorganize the editorial team (Remy de Gourmont would make a stint there and also contribute financially in 1905), l'Ermitage breathed its last in 1906.
L'Ermitage managed to distinguish itself from other important reviews of the period such as the Mercure de France or the Revue blanche because it claimed to be eclectic and apolitical; on its cover, one could read that it was "the only Review that concerns itself neither with politics nor sociology [but] that deals exclusively with literature and art." Its small illustrations were in Art Nouveau style, and, faithful to its symbolist spirit, its collaborators were more interested in poetry than in novels.
Tiphaine Samoyault, French literary critic, considers that l'Ermitage expresses a transition straddling fin-de-siècle aestheticism and the avant-garde poetry of the 1910s.

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 1903. Original wrappers preserved.
Each issue is illustrated with a woodcut.
Literary contributions by Henri Ghéon, André Gide ("Bethsabé, poème dramatique"), Charles Guérin, Walt Whitman, Francis Jammes, Nietzsche ("Le Nihilisme européen"), 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 editorial team was then reduced to twelve regular collaborators, friends of Gide. After multiple difficulties and attempts to reorganize the editorial team (Remy de Gourmont would spend time there and also contribute financially in 1905), L'Ermitage drew its last breath in 1906.
L'Ermitage managed to distinguish itself from other important journals of the time such as the Mercure de France or the Revue blanche because it claimed to be eclectic and apolitical; on its cover, one could read that it was "la seule Revue qui ne s'occupe ni de politique ni de sociologie [mais] qui traite uniquement de littérature et d'art." ["the only Review that deals neither with politics nor sociology [but] treats exclusively with literature and art."] Its small illustrations were in the Art Nouveau style, and, faithful to its symbolist spirit, its collaborators were more interested in poetry than in the novel.
Tiphaine Samoyault, French literary critic, considers that L'Ermitage expresses a transition straddling fin de siècle aestheticism and the avant-garde poetry of the 1910s.