Gil Blas

First edition.
Contemporary half dark red shagreen, spine in six compartments with gilt fleurons (scratched, corners bumped), marbled paper endpapers and pastedowns. Each issue of eight pages has a large color illustration on the first and last pages (a song with musical notation).
Contributions by Paul Adam, Jules Barbey D'Aurevilly, Stéphane Mallarmé, Alphonse Allais, Paul Arène, Baudelaire, Jules Bois, Georges Clémenceau, Courteline, Alphonse Daudet, Lucien Descaves, Gyp, Maurice Leblanc, Jean Lorrain, Guy de Maupassant, René Maizeroy, Catulle Mendès, Edgar Quinet, Jules Renard, Jean Richepin, Albert Samain, Marcel Schwob, Paul Verlaine, Emile Zola, and others.
Illustrated by Steinlen, Balluriau, Caruchet, Chéret, Gerbault, Gottlob, Guillaume, Louis Legrand, and so on.
A rare and attractive tête de collection.

First edition.
Half brown cloth binding, marbled paper boards, corners slightly bumped, edges scuffed, headcap torn. Contemporary binding.
Each issue retains its four pages, some light marginal tears not touching the text, as well as some creases.
Contributions by Marcel Prévost ("Cousine Laura", "Grace!", "Au cabaret", "L'Abbé Pantalon", "Maxime"), Aristide Bruant (numerous songs), Georges Courteline ("Margot", "26", "Boubouroche", "La Pendule", "Exempt de cravate", "Je m'en fous", "Un mal de gorge", "Ferme ta malle !", "Premières armes", "L'Honneur des Brossarbourg", "Le Mauvais cocher", "Suggestion"), Jean Richepin (numerous poems, as well as prose texts: "Ch'tiote", "La Casquette", "Mimile"), Alphonse Daudet ("La Moisson au bord de la mer", "La Musique aux Champs"), Charles Baudelaire (posthumous publication of "Ciel Brouillé", "Moesta et Errabunda", "Le Jet d'eau", "Causerie", "Le Jour des Morts", "Don Juan aux Enfers", "Les Aveugles", "A une mendiante rousse", "Bohémiens en voyage", "L'Aube spirituelle", "Le Jeu", "A une passante"), Paul Verlaine ("Sagesse", "Sur l'herbe", "A la promenade", "La Chanson des Ingénues", "Mandoline", "Le Faune" "Cythère", "En sourdine", "Colombine"), François Coppée ("Rousse", "Brune"), Guy de Maupassant ("La Parure", "Le Champ d'oliviers", "Le Crime au Père Boniface", "Histoire d'une fille de ferme", "Littérature du gendarme", "La Dot"), Willy ("Francisque"), Barbey d'Aurevilly ("La Vengeance d'une femme", "Le Rideau cramoisi"), Alphonse Allais ("Le Langage des fleurs", "L'Absence profitable", "La Télégraphiste", "Bébert"), Emile Zola ("Pour une nuit d'amour", "Lourdes"), Jules Renard ("Oeuf de poule", "Poil de Carotte"), Maurice Leblanc ("Roméo et Juliette", "L'Elevage", "La Vierge"), Gyp ("Le Débutant"), Catulle Mendès ("Le Passe-pied"), Jean Lorrain ("Les Yeux du mort"), J.-H. Rosny ("Lacération", "Cabinets particuliers", "L'Immolation", "Le Funéraliste"), Mark Twain ("Concernant les femmes de chambre"), Théophile Gautier ("A une robe rose"), Sully-Prud'homme ("Les Vénus"), Anatole France ("Chronique napolitaine"), Edmond et Jules de Goncourt ("Le Passeur de Maguelone", "Le Père Thibaut"), Tristan Corbière ("Sainte Anne") among others; drawings by Steinlen, A. Guillaume, Paul Balluriau, Lourdey, Carl-Hap and Maurice Marais notably.
Illustrated journal with numerous color and black and white drawings, sometimes full-page or even double-page spreads, as well as musical scores.
Gil Blas was a former French weekly newspaper, founded by Auguste Dumont, which appeared from November 19, 1879 to August 4, 1914, then very occasionally from January 20, 1921 to March 1940. For a period, starting November 17, 1909, it was directed by Henri de Noussanne and Pierre de Maroussein. Gil Blas initially aimed to be literary. Great writers expressed themselves in chronicles that enjoyed great success: Guy de Maupassant (or Maufrigneuse) whose collaboration was the longest (1881-1888), Paul Arène, Émile Bergerat, Clovis Hugues, René Maizeroy, Jean Richepin, etc. Equally important were the serials, signed by Émile Zola, Hector Malot, Théodore de Banville, and Octave Mirbeau notably. For his part, Maupassant published "Une vie" (February-April 1883), "Bel Ami" (April-May 1885), "Mont-Oriol" (December 1886-February 1887), etc. Beyond these chronicles and serials, Zola defended some of his works in the newspaper, through "Lettres au Directeur" (on "le Rêve", November 8, 1888; on "la Bête humaine", November 13, 1889).

First edition.
Half beige cloth binding, marbled paper boards, corners slightly bumped, leading edges scuffed. Contemporary binding.
Each issue contains its full four pages, some light marginal tears not touching text.
Contributions by Willy [Ernest Willy], Edmond Char, Jules Lévy, Tristan Bernard, Maurice Leblanc and J.-H. Rosny ("Le Baiser de la Reine") notably; drawings by Sandy-Hook, Jacques Villon, Steinlen, Weiluc, Moriss, Georges Redon, Gottlob, Prejelan among others.
Journal illustrated with numerous drawings in color and black and white, sometimes full-page, as well as musical scores.
Gil Blas was a former French weekly newspaper, founded by Auguste Dumont, which appeared from November 19, 1879 to August 4, 1914, then very occasionally from January 20, 1921 to March 1940. For a period, starting November 17, 1909, it was directed by Henri de Noussanne and Pierre de Maroussein. Gil Blas initially positioned itself as a literary publication. Great writers expressed themselves in chronicles that enjoyed great success: Guy de Maupassant (or Maufrigneuse) whose collaboration was the longest (1881-1888), Paul Arène, Émile Bergerat, Clovis Hugues, René Maizeroy, Jean Richepin, etc. Equally important were the serialized novels, signed by Émile Zola, Hector Malot, Théodore de Banville, and Octave Mirbeau notably. For his part, Maupassant published "Une vie" (February-April 1883), "Bel Ami" (April-May 1885), "Mont-Oriol" (December 1886-February 1887), etc. Beyond these chronicles and serialized novels, Zola defended some of his works in the newspaper, through "Lettres au Directeur" (on "le Rêve", November 8, 1888; on "la Bête humaine", November 13, 1889).

First edition.
Half brown sheep binding, marbled paper boards, corners slightly bumped, leading edges scuffed, lacks to boards and spine torn. Contemporary binding.
Each issue contains its full four pages, some light marginal tears not touching text, as well as creases.
Contributions by Anatole France ("La Messe des ombres"), Charles Baudelaire (posthumous publication of "La mort des pauvres", "La Corde", "Ciel brouillé", "Chanson d'après-midi"), Georges Courteline, Jules Renard ("Poil de Carotte"), Marcel Prévost ("L'Abbé Pantalon", "Torchonnette", "Jeunes époux"), Edmond and Jules de Goncourt ("Le Passeur de Maguelone", "Le Père Thibaut"), Aristide Bruant ("Fins de siècle", "Souper du Mac", "Coquette", "Crâneuse"), Alphonse Allais ("Bébert"), Emile Zola ("Le Jeûne", "Un hommage éloquent"), Jean Richepin ("L'oublieux"), Paul Verlaine ("Colombine", "Les indolents", "Pantomime"), J.-H. Rosny ("La Sauveuse", "L'immolation", "Le Funéraliste"), Tristan Corbière ("Sainte Anne"), Gyp, Rachilde ("Volupté"), Paul Léautaud ("Elégie"), Willy ("Une passade"), Maurice Leblanc ("L'Oeuvre de Mort"), Jehan Rictus ("Les soliloques du pauvre"); drawings by Sandy-Hook, Abel, Steinlen, Léandre, Carl Hap, Japhet, Gottlob, Prejelan among others.
Journal illustrated with numerous drawings in color and black and white, sometimes full-page or double-page spreads, as well as musical scores.
Gil Blas was a former French weekly newspaper, founded by Auguste Dumont, which appeared from November 19, 1879 to August 4, 1914, then very occasionally from January 20, 1921 to March 1940. For a period, starting November 17, 1909, it was directed by Henri de Noussanne and Pierre de Maroussein. Gil Blas initially positioned itself as a literary publication. Great writers expressed themselves in chronicles that enjoyed great success: Guy de Maupassant (or Maufrigneuse) whose collaboration was the longest (1881-1888), Paul Arène, Émile Bergerat, Clovis Hugues, René Maizeroy, Jean Richepin, etc. Equally important were the serialized novels, signed by Émile Zola, Hector Malot, Théodore de Banville, and Octave Mirbeau notably. For his part, Maupassant published "Une vie" (February-April 1883), "Bel Ami" (April-May 1885), "Mont-Oriol" (December 1886-February 1887), etc. Beyond these chronicles and serialized novels, Zola defended some of his works in the newspaper, through "Lettres au Directeur" (on "le Rêve", November 8, 1888; on "la Bête humaine", November 13, 1889).