Imprimerie de Monsieur

Statement of new edition, considerably expanded. It is illustrated with a portrait by Monet as frontispiece to volume I and with 18 figures by Meon and Monnet engraved by Thérèse Martinet. Volume 1, 6 figures including the portrait, and 5 frontispieces for the theatrical pieces. In volume 2, 13 figures, 3 for the theatrical pieces as frontispieces, and 10 for each canto of La Dunciade. Edition beautifully produced by Didot, on Holland paper.
Contemporary full marbled brown calf binding, probably Directoire period. Spine with raised bands decorated with 4 different tools including an urn tool, the tools within decorated compartments. Roll tooling at head and tail. Red morocco title label with roll tooling, red morocco volume label with black pastille mosaic and gilt circle. Triple thick gilt fillet border. Marbled edges. 5 corners bumped, 3 of them on volume 2. Some lacks to edges.
Very handsome set, with remarkably fresh paper (apart from some rare foxing on verso of engravings or pale marks in margins of certain engravings).
Although one could not honestly qualify Palissot's literary production as important, he was undoubtedly a major figure in the literary life of his era; thus the various pieces, notes, remarks, letters that frame each comedy (the edition is very rich in this respect) are remarkable regarding literary life in the second half of the 18th century, notably concerning the famous quarrel of the philosophers which Palissot initiated, attacking them outrageously in his eponymous play (undoubtedly poorly conceived from a dramaturgical point of view, but excellent in its writing, each mockery hitting its mark).
Besides the theater and the poem La Dunciade, the volumes contain the Mémoires littéraires (dictionary of literary figures), correspondence with Voltaire (he was his protégé at the beginning of his career), critiques by his contemporaries (Freron, Piron, Duclos...). One will discover with pleasure the critiques by his contemporaries of his own plays. Palissot was undoubtedly a social climber, with incredible talent for polemic and mockery, and equally for flattery; this edition of his works retains the greatest interest for the world of Letters in the second part of the 18th century.

First collected edition of this collection whose volumes appeared separately, only the half-titles indicating the title Oeuvres, or oeuvres posthumes; it is difficult to assemble.
This edition contains Les fables in first edition, but also the Don Quichotte whose version by Florian appears for the first time, and Gonzalve de Cordoue of which this is the first edition. Volume 12 contains the life of Florian and several unpublished pieces including Guillaume Tell.
Illustration: apart from the 24 figures by Barbier and Lefèvre present in the Don Quichotte, this copy is complete with the 84 figures rarely found assembled with these editions, in frames by Monsiau, Queverdo, on heavy paper, including a portrait of Cervantes and of Florian also in ornate frames. Total of 108 figures.
Contemporary full glazed and flamed blonde calf binding. Smooth spine decorated with 2 compartments with grotesque diamonds, 2 stamps, and roulettes separating the various compartments. Morocco title-label and volume labels in tawny. Spines uniformly faded. Crack to upper joint of volume 10, some light surface wear on several boards, several corners. One gathering loose in volume 1, in volume 3, several in volume 6, one in volumes 9, 10, 11. In volume 1, trace of angular dampstain on the plates of Galatée and on the text erratically and resuming from p. 98 to 114. Volume 2, trace of dampstain at edge of margins of some leaves. Volume 7, trace of dampstain in upper margin of the first plate and on the leaves, fainter up to page 30. One perforation at tail of volume 9.
Details of the collection:
Volume 1: Estelle followed by Galatée. 1788. De l'imprimerie de Monsieur. 13 figures.
Volume 2: Numa Pompillus. De l'imprimerie de Didot L'aîné. 1787. Statement of third edition. 13 figures.
Volume 3: Nouvelles. De l'imprimerie de Didot L'aîné. 1792. Statement of third edition. 12 figures.
Volumes 4 and 5: Gonzalve de Cordoue preceded by a summary on the Moors of Spain. De l'imprimerie de Didot L'aîné. 1791. 15 figures.
Volumes 6 and 7: Théâtre. Imprimerie de Didot L'aîné. 1790. Statement of third edition. 13 figures.
Volume 8: Fables. Imprimerie de Didot L'aîné. 11 figures.
Volumes 9 to 11: Don Quichotte. 1799. Deterville. Imprimerie de Didot L'aîné. 24 figures.
Volume 12. Guillaume Tell et autres pièces. A la librairie économique. 1800. 8 figures.

New edition.
Contemporary glazed blonde calf binding, very close to the work of Derôme le jeune to whom it can be attributed. Smooth spine decorated with 5 small tools, roulette at foot. Black morocco title label. Triple fillet frame on covers with small corner tools. Fillet on edges and turn-ins. Gilt edges. Light rubbing. Very fine copy, quite fresh.
This history of the Spanish conspiracy against Venice was originally published in 1618, and had meanwhile become a great classic of historical literature. It thus joined the collection of works from Monsieur's printing house, all of which are distinguished by the quality and accuracy of their printing.

The finest and most complete of the editions of Regnard, when it contains the fifth and sixth volumes, printed in small numbers (as Cohen indicates), and which are rarely found together with the first four. It is illustrated with a portrait of the author by Rigaud engraved by Tardieu and 11 fine figures by Moreau and Marillier, engraved by Delignon, Duponchel, etc. The remarks and prefaces are by Garnier.
Contemporary full blonde porphyry and glazed calf bindings. Smooth decorated spines, roll tooling at head and foot. Green morocco title and volume labels. Triple fillet frame on boards. Slight lack to one title label. Rubbing to headcaps and edges. One wormhole at foot of volume II. Spines lightened. Joint at foot of volume VI cracked. Very handsome copy, despite minor defects. Interior generally fresh, with rare spotting.
Volume 1 is dedicated to travel narratives, volumes 2 to 4 to theatre, and volumes 5 and 6 to Italian theatre. This careful edition, with fine printing and quality engravings, ranks among the great successes of editions produced by Monsieur's printing house (Racine, Corneille).
IHS Domus Parisian bookplate. ADS Germany. Gift inscription: "Coll. complet. Lez 23 gbre 1792. DB. J. J. De Bure fils aîné."

The finest and most complete edition of Regnard, when it contains the fifth and sixth volumes, printed in small numbers (as indicated by Cohen), and which are rarely found bound with the first four. These two volumes have not been added to this copy.
It is illustrated with a portrait of the author by Rigaud engraved by Tardieu and 7 fine plates by Moreau and Marillier, engraved by Delignon, Duponchel, etc. The notes and prefaces are by Garnier.
Contemporary full sheep bindings in polished mottled leather signed with a Mouillié label (probably slightly later). Spine with raised bands decorated with 4 fleurons in dotted lozenges. Morocco title and volume labels in red. Decorative border on covers. Edges gilt. A crack to the upper joint of volume IV. Rubbing to headcaps, joints and corners. Very handsome copy.
Volume 1 is devoted to travel narratives, volumes 2 to 4 to theater. This carefully produced edition, with fine printing and quality engravings, ranks among the great achievements of editions produced at the printing house of Monsieur (Racine, Corneille).

The finest and most complete edition of Regnard, when it properly contains the fifth and sixth volumes, printed in small numbers (as Cohen indicates), and which are rarely found together with the first four.
It is illustrated with a portrait of the author by Rigaud engraved by Tardieu and 11 fine figures by Moreau and Marillier, engraved by Delignon, Duponchel, etc. The remarks and prefaces are by Garnier.
Contemporary full tree calf binding. Spine with raised bands decorated with 4 stars and fillets. Red morocco title and volume labels. Framing fillet on covers. Lacking at foot of volume 1 and at head of volume 3. Joints of volume 2 cracked. Despite some defects, quite a handsome set.
Volume 1 is dedicated to travel narratives, volumes 2 to 4 to theater, and volumes 5 and 6 to Italian theater. This carefully produced edition, with fine printing and quality engravings, joins the great successes of editions produced by the Imprimerie de Monsieur (Racine, Corneille).

Cristallographie, ou Description des formes propres à tous les corps du règne minéral, Dans l'état de Combinaison saline, pierreuse ou métallique [Cristallography]
tDe l'Imprimerie de Monsieur | Paris 1783 | 8vo (13 x 20.5 cm)
| xxxviij (2) 623 pp and (4) 659 pp and (4) 611 pp and xvj
(32 tables + 12 folding plates) 80 pp | contemporary sheep
First edition under this title, partly original as it is significantly expanded. The very first edition appeared in 1772 under the title Essai de cristallographie ou description des figures géométriques, propres à différens corps du règne minéral, connus vulgairement sous le nom de cristaux, composed of one single volume. This copy is complete with its 32 tables and 12 folding plates, which present
more than 450 crystalline forms.
Contemporary light brown marbled sheep, spine in five compartments with gilt compartments and fleurons, red and green morocco title and volume labels, a few joints and headpieces skilfully repaired, marbled endpapers and pastedowns, all edges red.
Bookshop labels to pastedowns.
A very good and rare copy.

First edition.
Contemporary half brown calf binding. Smooth spine with fleurons and fillets.
Following the convocation of the Estates-General in 1789 and recent events, the author expresses his reflections on the future of the people, the clergy, the king, the nobility... In the preamble, Bernardin de Saint Pierre expresses doubt regarding the decisions of the National Assembly, which alone cannot make just decisions for the people. His political reflection revolves around a balance of powers. The author's prose is characterized, even in this political essay, by a very personal accent of sincerity, the discourse being interspersed with many autobiographical touches.