Maison Quantin

Original etching before letters heightened with aquatint and signed in the plate.
Made on laid paper at the request of publisher A. QUANTIN to illustrate La Fontaine's fable: "The Sick Stag".
Very fine condition, presented in a modern black mat and protected by tissue guard.
Auguste Delierre (1829-1891) is referenced thus in Bénézit, dictionary of painters, sculptors, draughtsmen and engravers: "history painter, genre scenes, animated landscapes, still lifes, illustrator. Student of Eugène Ciceri, he participated in the Paris Salon between 1852 and 1889. His compositions of landscapes animated with hunting dogs show the influence of works by Desportes and Oudry which he long copied. He shows moreover a predilection for still lifes. He also illustrated the Fables of La Fontaine." Alain-Marie Bassy in his book "The Fables of La Fontaine, four centuries of illustration" analyzes his style for the representation of fables: "If he seeks the same angle of view on the animal as Gustave Doré, he eliminates all sense of terror. The bird wounded by an arrow is no longer a great migratory bird but the deliciously colored quail of still lifes. [...]Before [the animals among which we live], Delierre's eye is as cold as that of an entomologist. The art of fable becomes for him the finest example of pictorial naturalism." A deluxe edition in two volumes: Fables of La Fontaine. Edition illustrated with 75 etched plates by A. Delierre, Paris, Quantin, 1883, is catalogued at the Bibliothèque Nationale. The etchings of the fables are before letters and enclosed in pretty Louis XVI frames."

First edition, one of 12 numbered copies on Hollande, the only deluxe issue. 

Complete with the folding map at the end.

Full fawn morocco binding, five raised band spine, date at foot, comb-marbled paper pastedowns framed with a rich gilt roll, comb-marbled endpapers, gilt fillet to headcap, gilt fillet to leading edges, gilt roll to headcaps, original wrappers and spine preserved, all gilt deckled edges, housed in a fawn morocco-edged slipcase. Binding signed by Semet & Plumelle. 

 

Provenance: From the libraries of Dr André Chauveau, Lucius Wilmerding, and RBL, with their bookplates affixed.

 

A splendid deluxe copy of exceptional rarity. 

Very fine original etching before letters, heightened with aquatint and signed in the plate.
Executed on laid paper and protected by tissue guard at the request of publisher A. QUANTIN to illustrate La Fontaine's fable: "The Monkey and the Dolphin".
Very fine condition, presented in a modern black mat.
Auguste Delierre (1829-1891) is referenced as follows in Bénézit, dictionary of painters, sculptors, draughtsmen and engravers: "history painter, genre scenes, animated landscapes, still lifes, illustrator. Student of Eugène Ciceri, he participated in the Paris Salon between 1852 and 1889. His compositions of landscapes animated with hunting dogs show the influence of works by Desportes and Oudry which he copied for a long time. He also shows a predilection for still lifes. He also illustrated La Fontaine's Fables." Alain-Marie Bassy in his book Les Fables de La Fontaine, quatre siècles d'illustration analyzes his style for the representation of fables: "If he seeks the same angle of view on the animal as Gustave Doré, he dismisses any sense of terror. The bird wounded by an arrow is no longer a large migratory bird but the deliciously colored quail of still lifes." [...]Before [the animals among which we live], Delierre's eye is as cold as that of an entomologist. The art of the fable becomes in his work the finest example of pictorial naturalism." A deluxe edition in two volumes: Fables de La Fontaine. Edition illustrated with 75 etched plates by A. Delierre, Paris, Quantin, 1883, is catalogued at the Bibliothèque Nationale. The etchings of the fables are before letters and enclosed in pretty Louis XVI frames."

Original etching before letters enhanced with aquatint and signed in the plate.
Executed on laid paper at the request of publisher A. QUANTIN to illustrate La Fontaine's fable: "Le renard et le buste" ["The Fox and the Bust"].
Very fine condition, protected by tissue guard.
Auguste Delierre (1829-1891) is referenced in Bénézit, dictionary of painters, sculptors, draughtsmen and engravers: "history painter, genre scenes, animated landscapes, still lifes, illustrator. Student of Eugène Ciceri, he participated in the Paris Salon between 1852 and 1889. His compositions of landscapes animated with hunting dogs show the influence of works by Desportes and Oudry which he long copied. He also shows a predilection for still lifes. He also illustrated La Fontaine's Fables." Alain-Marie Bassy in his book "Les Fables de La Fontaine, quatre siècles d'illustration" ["La Fontaine's Fables, four centuries of illustration"] analyzes his style for representing the fables: "S'il recherche le même angle de vue sur l'animal que Gustave Doré, il écarte tout sens de l'effroi. L'oiseau blessé d'une flèche n'est plus un grand oiseau migrateur mais la caille délicieusement colorée des natures mortes. [...] Devant [les animaux au milieu desquels nous vivons], l'œil de Delierre est aussi froid que celui d'un entomologiste. L'art de la fable devient chez lui le plus bel exemple de naturalisme pictural." ["If he seeks the same angle of view on the animal as Gustave Doré, he eliminates all sense of terror. The bird wounded by an arrow is no longer a large migratory bird but the deliciously colored quail of still lifes. [...] Before [the animals among which we live], Delierre's eye is as cold as that of an entomologist. The art of the fable becomes in his work the finest example of pictorial naturalism."] A deluxe edition in two volumes: Fables de La Fontaine. Edition illustrée de 75 planches à l'eau-forte par A. Delierre, Paris, Quantin, 1883, is catalogued at the Bibliothèque Nationale. The etchings of the fables are before letters and enclosed in pretty Louis XVI frames.

Original etching before lettering heightened with aquatint and signed in the plate. Created on laid paper commissioned by publisher A. QUANTIN to illustrate La Fontaine's fable: "Le renard et les poulets d'Inde".
Very fine condition, presented in a modern black mat and protected by a tissue guard.
Auguste Delierre (1829-1891) is referenced as follows in the Bénézit, dictionary of painters, sculptors, draftsmen and engravers: "history painter, genre scenes, animated landscapes, still lifes, illustrator. Student of Eugène Ciceri, he participated in the Paris Salon between 1852 and 1889. His compositions of landscapes animated with hunting dogs show the influence of works by Desportes and Oudry which he long copied. He also shows a predilection for still lifes. He also illustrated the Fables of La Fontaine." Alain-Marie Bassy in his book "Les Fables de La Fontaine, quatre siècles d'illustration" ["The Fables of La Fontaine, four centuries of illustration"] analyzes his style for the representation of fables: "S'il recherche le même angle de vue sur l'animal que Gustave Doré, il écarte tout sens de l'effroi. L'oiseau blessé d'une flèche n'est plus un grand oiseau migrateur mais la caille délicieusement colorée des natures mortes. [...]Devant [les animaux au milieu desquels nous vivons], l'œil de Delierre est aussi froid que celui d'un entomologiste. L'art de la fable devient chez lui le plus bel exemple de naturalisme pictural." ["If he seeks the same angle of view on the animal as Gustave Doré, he eliminates all sense of terror. The bird wounded by an arrow is no longer a great migratory bird but the deliciously colored quail of still lifes. [...] Before [the animals among which we live], Delierre's eye is as cold as that of an entomologist. The art of the fable becomes in his work the finest example of pictorial naturalism."] A deluxe edition in two volumes: Fables de La Fontaine. Edition illustrée de 75 planches à l'eau-forte par A. Delierre, Paris, Quantin, 1883, is catalogued at the Bibliothèque Nationale. The etchings of the fables are before lettering and enclosed in lovely Louis XVI frames."

Original etching before letters heightened with aquatint and signed in the plate.
Created on laid paper at the request of publisher A. QUANTIN to illustrate La Fontaine's fable: "Le pot de fer et le pot de terre" ["The Iron Pot and the Clay Pot"].
Very fine condition, presented in a modern black mat and protected by tissue guard.
Auguste Delierre (1829-1891) is referenced thus in the Bénézit dictionary of painters, sculptors, draughtsmen and engravers: "history painter, genre scenes, animated landscapes, still lifes, illustrator. A pupil of Eugène Ciceri, he participated in the Paris Salon between 1852 and 1889. His compositions of landscapes animated with hunting dogs show the influence of the works of Desportes and Oudry which he long copied. He shows moreover a predilection for still lifes. He also illustrated the Fables of La Fontaine." Alain-Marie Bassy in his book "Les Fables de La Fontaine, quatre siècles d'illustration" ["The Fables of La Fontaine, Four Centuries of Illustration"] analyzes his style for the representation of the fables: "S'il recherche le même angle de vue sur l'animal que Gustave Doré, il écarte tout sens de l'effroi. L'oiseau blessé d'une flèche n'est plus un grand oiseau migrateur mais la caille délicieusement colorée des natures mortes. [...]Devant [les animaux au milieu desquels nous vivons], l'œil de Delierre est aussi froid que celui d'un entomologiste. L'art de la fable devient chez lui le plus bel exemple de naturalisme pictural." ["If he seeks the same angle of view on the animal as Gustave Doré, he dismisses all sense of dread. The bird wounded by an arrow is no longer a great migratory bird but the deliciously colored quail of still lifes. [...] Before [the animals among which we live], Delierre's eye is as cold as that of an entomologist. The art of the fable becomes in his work the finest example of pictorial naturalism."] A deluxe edition in two volumes: Fables de La Fontaine. Edition illustrée de 75 planches à l'eau-forte par A. Delierre, Paris, Quantin, 1883, is catalogued at the Bibliothèque Nationale. Les eaux-fortes des fables sont avant la lettre et enfermées dans de jolis cadres Louis XVI." ["The etchings of the fables are before letters and enclosed in pretty Louis XVI frames."]

Original etching before letters heightened with aquatint.
Created on laid paper at the request of publisher A. QUANTIN to illustrate La Fontaine's fable: "The Vultures and the Pigeons".
Very fine condition, presented in a modern black mat and protected by tissue guard.
Auguste Delierre (1829-1891) is referenced thus in Bénézit, dictionary of painters, sculptors, draughtsmen and engravers: "history painter, genre scenes, animated landscapes, still lifes, illustrator. Student of Eugène Ciceri, he participated in the Paris Salon between 1852 and 1889. His compositions of landscapes animated with hunting dogs show the influence of works by Desportes and Oudry which he long copied. He moreover shows a predilection for still lifes. He also illustrated La Fontaine's Fables." Alain-Marie Bassy in his book "Les Fables de La Fontaine, quatre siècles d'illustration" ["La Fontaine's Fables, Four Centuries of Illustration"] analyzes his style for the representation of fables: "S'il recherche le même angle de vue sur l'animal que Gustave Doré, il écarte tout sens de l'effroi. L'oiseau blessé d'une flèche n'est plus un grand oiseau migrateur mais la caille délicieusement colorée des natures mortes. [...]Devant [les animaux au milieu desquels nous vivons], l'œil de Delierre est aussi froid que celui d'un entomologiste. L'art de la fable devient chez lui le plus bel exemple de naturalisme pictural." ["If he seeks the same angle of view on the animal as Gustave Doré, he dismisses all sense of fear. The bird wounded by an arrow is no longer a large migratory bird but the deliciously colored quail of still lifes. [...] Before [the animals among which we live], Delierre's eye is as cold as that of an entomologist. The art of the fable becomes in his work the finest example of pictorial naturalism."] A deluxe edition in two volumes: Fables de La Fontaine. Edition illustrée de 75 planches à l'eau-forte par A. Delierre, Paris, Quantin, 1883, is catalogued at the Bibliothèque Nationale. The etchings of the fables are before letters and enclosed in handsome Louis XVI frames."

First editions of these 2 works sumptuously illustrated by Paul Avril. L'éventail: One blue title vignette, the first page in a portico framing the text, 43 text-framing headpieces printed in green, pink, blue, sepia; tailpieces, engraved titles. Text within a frame (sirens and cherubs). Title page in red and black. L'ombrelle: One title vignette, 54 text-framing illustrations, printed in green, pink, blue, sepia; tailpieces and engraved titles. Text within a frame. Both works were reportedly printed in 750 copies on tinted vellum, after the deluxe copies on Japan paper. Illustrated covers on Japan paper preserved.
Bindings in half red morocco with corners, with small green leaves mosaicked on the spine. Raised band spine decorated with roses, flowers and foliage. Double fillet rule on boards and corners. Light traces of rubbing. The L'éventail volume with foxing on the covers. 6 leaves in L'ombrelle with browning.
Fine copies.
Very fine illustrated work, endowed with a certain preciousness suited to the subject, fruit of close collaboration between the artist and the writer. The book constituting an interesting monograph on a little-studied subject in the ironic style characteristic of the author.

First edition magnificently decorated by Paul Avril with a title vignette, 54 illustrations printed in green, pink, blue, sepia framing the text, tailpieces and engraved titles.
The print run of this work is estimated at 750 copies on vellum and 100 on Japan paper.
Handsome copy with fine covers on Japan paper.

First collected edition containing some unpublished works. An etched portrait by Commanville. Definitive edition based on the manuscripts of Mme Commanville, Flaubert's niece to whom he had bequeathed his manuscripts. Printed on fine laid paper. La tentation de Saint Antoine is printed on strong laid paper, thicker. One black stain at foot of volume 8, another smaller one on spine of volume 4. This edition is printed on much better paper than the editions published by Henri May, with whom the publishing privilege was shared; it is dated 1885 whereas May's printings contain no date.
Contemporary half navy blue shagreen bindings with corners. Jansenist spine with raised bands. Spines uniformly browned. Author, title and volume number gilt. Separation fillets on covers. Traces of rubbing.
Besides the works that had already been published and one volume for the theatre, this edition contains the study on Flaubert by Maupassant placed before Bouvard et Pécuchet and some unpublished works after the Mélanges: Par les champs et par les grèves, La danse des morts, Novembre, Rabelais (a youthful study), Smarh, A bord de la Cange (fragments from a journey to the Orient). Gustave Flaubert died in 1880.

Illustrated edition in first printing limited to 1000 copies on handmade laid paper. No. 480. A portrait of the author drawn and etched by Gaujean and 10 plates etched by Gaujean after Albert Dawant, as well as headpieces, ornamental letters and tailpieces by Emile Mas after Sébastien Leclerc. Original wrappers preserved with titles in gold and vignettes printed in blue and red.
Contemporary half pink morocco binding with corners. Raised bands in Jansenist style. Titles and volume numbers gilt. Top edge gilt. Entirely uncut, superbly fresh. Spine uniformly sunned. Light traces of rubbing. Scattered speckling on the spine of volume I. Small brown mark on the top of the first compartment of volume I.
Handsome copy.

First edition printed on laid paper.
Handsome copy illustrated with a frontispiece and 4 out-of-text portraits etched.
Bradel binding in half safron percale, smooth spine decorated with gilt fillets, black shagreen title label, speckled paper boards, original wrappers preserved, corners slightly bumped, bookplate of the famous bibliophile Paul Lacombe pasted on a pastedown, contemporary binding signed in blind by Lemardeley.

First edition. Copy n° CXXVIII of the 100 copies on deluxe Japan paper numbered CI to CC. There were two other issues printed: one on Vélin de Hollande numbered 1 to 1000, and another on "large paper" of Japan numbered I to C. Edition handsomely decorated with numerous illustrations in black, bistre, blue and colors by Paul Avril.

Japanese style publisher's binding in a brown and polychrome (gold, silver, colors) slipcase, decorated with vegetal, floral and insects motifs in relief. Smooth spine with gilt title in Japanese style. Gilt title on the upper board. Turquoise silk endpapers with leather corners. Rubbed head of spine. Traces of rubbing on corners and edges. The binding of the pages is relatively loose and many sets of pages have come out, some of them only holding by 1 or 2 seams, due to an a manufacturing defect (the binding was made with few seams and was too distended). The leather corners of the illustrated covers made some foxing on the corners of the pages.

Although these slipcases seem to have been initially reserved for copies of large paper, they can also be found on copies of regular paper. As a result, collectors could certainly obtain them for a fee. We have listed 5 different ones, but we do not know how many copies were made, certainly not many.

In spite of the mentioned defects, a very nice and rare copy.
Uzanne's favorite book, in which he lets his thoughts on the world wander (The World and Society - Arts and Letters - Interior - Study - Love - Travel - Sports - The Table - Dream) and whose binding attains the perfection desired by Uzanne.

This book is available at the bookstore upon request within 48 hours.

First edition. Printed on laid paper. Illustrated covers on Japan paper. Watercolor illustrations by Albert Lynch, engraved in colored etching by Eugène Gaujean. 20 colored engravings (including 10 full-page), 10 illustrated colored initials, numerous tailpieces and vignettes in black.
Contemporary full mosaic shagreen binding in blue and brown. Spine with raised bands decorated with 4 fleurons in ornate compartments. Head and tail rolls. Bordeaux morocco title label, ornate brown shagreen date label. Covers with mosaic work featuring a large rectangular frame very richly decorated in the manner of lace-work bindings, corner and angular tools, multiple framing fillets. Broad inner lace-work. Double endpapers. Edges gilt. Covers preserved.
Very handsome copy, perfectly fresh, with wide margins.
Famous history of feminine fashion under Octave Uzanne, particularly Parisian, in the 19th century. Nymphs and Marvellous Women, Romantic Elegantes, etc... Beautiful publication.

First edition illustrated by Paul Avril. Illustrated covers on japan paper in chromolithography, a blue-tinted title vignette, the first page within a portico framing the text, 43 headers framing the text printed in green, pink, blue, sepia; tailpieces, engraved titles. Text within a frame (sirens and cherubs). Title page in red and black. The work was reportedly printed in 750 copies on tinted vellum.
Contemporary full camel morocco binding. Jansenist spine with raised bands. Interior roulette and fillets. Black sheep title-label. Full-margined copy, uncut. Light traces of rubbing, particularly to lower board. A dark comma mark on upper board and spine.
Handsome copy, in perfect fresh condition.
Very fine illustrated work, endowed with a certain preciousness befitting the subject, the fruit of close collaboration between artist and writer. The book forms an interesting monograph on a little-studied subject in the ironic style characteristic of the author.

New edition, one of 25 numbered copies on Japan paper, the only deluxe copies.
Half chocolate brown morocco binding, spine with five raised bands showing slight scuffs, marbled paper boards, pebbled paper endpapers and pastedowns, original wrappers and spine preserved, top edge gilt with deckled edges, scuffs with lacks to marbled paper on lower edges.
Work illustrated with a portrait of Charles Dickens as frontispiece.
Handsome copy.

New edition.
Bradel binding in half bottle-green cloth, smooth spine decorated with a gilt floral motif, date and double gilt fillet at foot, red shagreen title-label, marbled paper boards, contemporary binding.
Handsome copy illustrated with 107 figures in the text.

First edition, one of 500 numbered copies on tinted vellum, single edition with 25 Japan.
Bradel binding in full glazed Havana calfskin, smooth back decorated with a central monogram (A in the Q) and a golden floral pattern, tiny traces of friction without gravity, a black spot at the foot of a bit, date in the tail, golden casters on the caps, repetition of the same golden monogram at the head of the first board, small spots without gravity on the boards, golden nets on the cuts, double framing of golden lace on the guards and the paper counterplates in the tank , fragile double wrappers preserved and bound in, golden edges, ex-libris pasted on the back of the first cover, elegant Contemporary binding.
Autograph signed by Hugues Le Roux to his publisher A. Quantin on the false title page.
Illustrated book of 5 engravings by Paul Avril including 1 in frontispiece.
Shaded false title page, otherwise good interior condition.
Pleasant copy established in an elegant Contemporary binding.
Provenance: library of A. Quantin with his engraved ex-libris.

First edition of this work magnificently illustrated with a color title-frontispiece, a color back cover and 150 watercolors by Charles Lallemand engraved by Michelet. Deluxe paper printing, strong laid paper. The watercolors were made in situ by the author.
Sky blue beveled publisher's boards. Smooth spine decorated with a crescent and star, with roulettes and a Tunisian in color in picturesque attire. Gilt edges. On the upper board the title and the Tunisian flag. Plate signed Lenègre & cie. Soiling on the first board. Spine has become slightly turquoise. Headcaps slightly depressed. Traces of rubbing. Perfect freshness of the paper.
Handsome copy of this superb publication, whose text forms a testimony on Tunisia of the late nineteenth century and a real admiration for its people, its history and its land.

Edition illustrated with in-text illustrations in black by Louis Le Riverend and Paul Steck as well as three out-of-text watercolors in color by Edward Loevy.
Publisher's polychrome cardboard binding, smooth spine decorated with gilt and silver ornament, beveled boards, front board enhanced with a large illustration, all edges gilt.
Endpapers tending to slightly pull away.

Edition with some parts in first edition as it contains numerous unpublished texts, one of 50 numbered copies on China paper, ours bearing No. 1, the only deluxe copies with 50 Whatman.
Bindings in half caramel calf, spines with five raised bands set with gilt fillets and decorated with double gilt compartments ornamented with gilt dentelles, brown morocco title labels, navy blue morocco volume labels, marbled paper boards, marbled endpapers and pastedowns, top edges gilt, original wrappers preserved, some corners slightly bumped, contemporary bindings.
Some minor rubbing traces on certain spines, small holes in the spine margins of the first (volumes 1 & 2) and third (volumes 5 & 6) volumes, one stain on the spine of the second volume (volumes 3 & 4), worming in the margins of the last forty pages of the first volume (volumes 1 & 2) not touching the text.
Work illustrated with 50 etched portraits by Rousselle and Rivoalen, here in double state as in the China and Whatman copies.
Handsome copy of this collection, composed of the famous collections of Pierre Clairambault (genealogist of the King's orders), of Jean-Frédéric Phélypeaux Maurepas and numerous other unpublished manuscripts.

New edition.
Half brown shagreen binding, spine faded and lightened with raised bands decorated with Greek friezes in blind, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved.
Light foxing of no significance.
Work illustrated with 131 figures in the text.

Illustrated edition of 10 original Adrien Marie compositions etched by Wallet, one of 50 numbered copies on Japan featuring etchings in double condition;
Binding in half gray percaline with corners, smooth back adorned with a floral golden pattern, golden date and double fillet in tail, title piece of navy shagreen, boards of marbled paper, Contemporary binding.
Edition enriched with an unpublished preface by Jules Clarétie.
Some foxinges mainly affecting the white guards of the binding.
Our copy is exceptionally embellished with an original watercolor in color signed Frédéric Bourdin on the page preceding the title page.

SENSIER Alfred
La vie et l’oeuvre de J.F. Millet
A. Quantin, Paris 1881, 22.5 x 33.5 cm, bound
First edition, one of 100 numbered copies on Hollande paper, the only large paper copies.
Contemporary half black morocco Bradel binding over marbled paper boards by A. Tisseron, small scratches to head and foot of spine, gilt date to foot, marbled endpapers and pastedowns, covers preserved, corners slightly bumped.
12 hors-texte plates, here present in two states as in the tirage de tête, as well as 48 engravings to text reproducing works by Jean-François Millet.
Provenance: from the collection of the painter and engraver Jean Frélaut with his signature to one pastedown serving as an ex-libris.
This copy exceptionally enriched with three original drawings, pencil on paper, on two loose sheets, by Jean Frélaut, signed and dated and executed in the manner of Millet, as detailed at the foot of the drawings.
The drawings show two women and a portrait of a man.

First edition printed on laid paper.
Half tan sheep binding with corners, faded spine with five raised bands decorated with gilt fillets, publisher's gilt monogram and date at foot, spine rubbed, one joint cracked at head, marbled paper boards, marbled endpapers and pastedowns, top edge gilt, corners bumped and rubbed, contemporary binding.
Provenance: from the publisher's library with his gilt monogram at foot of spine and his engraved bookplate with his initials pasted on a pastedown.
Handsome interior condition.

First edition.
Half red shagreen bindings, spines with five raised bands set with black fillets and decorated with gilt fleurons, marbled paper boards, endpapers and pastedowns of marbled paper, one corner slightly bumped, minor traces of rubbing on bottom edges, contemporary bindings.
Some occasional light foxing.
Provenance: from the library of Jules Félix Louis Gastinger with his bookplates pasted on the pastedowns.
Handsome copy attractively established in uniform contemporary binding.

Edition illustrated with 3 original etchings by Maurice Leloir, one of the rare copies on China paper justified by the publisher and of which no mention is made.
Bradel binding in half morocco-grained havana shagreen with corners, smooth spine decorated with a gilt cartouche embellished with gilt typographical motifs, date at foot, frame of gilt fillets on marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved.
Our copy is complete with its folding facsimile as well as the duplicate state of the 3 etchings.
Preface by Parisot.
A rare and handsome copy, beautifully bound.

Edition printed on laid paper and illustrated with 5 drawings by Valton engraved by Gaujean.
Bradel binding in half olive cloth, smooth spine decorated with a gilt floral motif, publisher's name gilt at foot, chocolate shagreen title-label with minor scratches, marbled paper boards, a small marginal lack of paper on the front board, covers and spine preserved, corners slightly bumped, contemporary binding.
Accompanying press cuttings have left a shadow on the half-title page.

Edition with some parts in first edition and printed in a small number of copies on laid paper.
Half mint green morocco binding with corners, spine with five raised bands set with gilt dots decorated with double gilt compartments and adorned with gilt floral motifs, double gilt fillets framing the marbled paper boards, marbled endpapers and pastedowns, top edge gilt, bookplate pasted to verso of front board.
Original bio-bibliographical note by Octave Uzanne.
Work illustrated with plates.
Some minor foxing, mainly marginal.

First edition.
Bradel binding in half mint green cloth, smooth spine decorated with gilt floral motif, double gilt fillet at foot, red sheep title-label showing minor rubbing, marbled paper boards, corners slightly bumped, minor rubbing to edges, original wrappers preserved, contemporary binding.
Jean de Mitty's copy, with his autograph ownership inscription at head of half-title page.
Some minor foxing, pale dampstain affecting head of certain pages.
Bookplate pasted to verso of front board.

Original etching before letters enhanced with aquatint and signed in the plate.
Created on laid paper at the request of publisher A. QUANTIN to illustrate La Fontaine's fable: "The Farmer, the Dog and the Fox".
Very fine condition, presented in a modern black mat and protected by a tissue guard.
Auguste Delierre (1829-1891) is referenced in Bénézit, dictionary of painters, sculptors, draughtsmen and engravers: "history painter, genre scenes, animated landscapes, still lifes, illustrator. A pupil of Eugène Ciceri, he participated in the Paris Salon between 1852 and 1889. His compositions of landscapes animated with hunting dogs show the influence of the works of Desportes and Oudry which he long copied. He shows moreover a predilection for still lifes. He also illustrated the Fables of La Fontaine." Alain-Marie Bassy in his book "Les Fables de La Fontaine, quatre siècles d'illustration" analyzes his style for the representation of fables: "If he seeks the same angle of view on the animal as Gustave Doré, he dismisses any sense of terror. The bird wounded by an arrow is no longer a large migratory bird but the deliciously colored quail of still lifes. [...] Before [the animals among which we live], Delierre's eye is as cold as that of an entomologist. The art of the fable becomes in his hands the finest example of pictorial naturalism." A deluxe edition in two volumes: Fables de La Fontaine. Edition illustrated with 75 etched plates by A. Delierre, Paris, Quantin, 1883, is catalogued at the Bibliothèque Nationale. The etchings of the fables are before letters and enclosed in beautiful Louis XVI frames."

Original etching before letters enhanced with aquatint and signed in the plate.
Created on laid paper at the request of publisher A. QUANTIN to illustrate La Fontaine's fable: "The Two Rats, the Fox and the Egg".
Very fine condition, presented in a modern black mat and protected by a tissue guard.
Auguste Delierre (1829-1891) is referenced in Bénézit, dictionary of painters, sculptors, draughtsmen and engravers: "history painter, genre scenes, animated landscapes, still lifes, illustrator. A pupil of Eugène Ciceri, he participated in the Paris Salon between 1852 and 1889. His compositions of landscapes animated with hunting dogs show the influence of the works of Desportes and Oudry which he long copied. He shows moreover a predilection for still lifes. He also illustrated the Fables of La Fontaine." Alain-Marie Bassy in his book "Les Fables de La Fontaine, quatre siècles d'illustration" analyzes his style for the representation of fables: "If he seeks the same angle of view on the animal as Gustave Doré, he dismisses any sense of terror. The bird wounded by an arrow is no longer a large migratory bird but the deliciously colored quail of still lifes. [...] Before [the animals among which we live], Delierre's eye is as cold as that of an entomologist. The art of the fable becomes in his hands the finest example of pictorial naturalism." A deluxe edition in two volumes: Fables de La Fontaine. Edition illustrated with 75 etched plates by A. Delierre, Paris, Quantin, 1883, is catalogued at the Bibliothèque Nationale. The etchings of the fables are before letters and enclosed in beautiful Louis XVI frames."

Original etching before lettering heightened with aquatint and signed in the plate. Created on laid paper commissioned by publisher A. QUANTIN to illustrate La Fontaine's fable: "Le paysan du Danube".
Very fine condition, presented in a modern black mat and protected by a tissue guard.
Auguste Delierre (1829-1891) is referenced as follows in the Bénézit, dictionary of painters, sculptors, draftsmen and engravers: "history painter, genre scenes, animated landscapes, still lifes, illustrator. Student of Eugène Ciceri, he participated in the Paris Salon between 1852 and 1889. His compositions of landscapes animated with hunting dogs show the influence of works by Desportes and Oudry which he long copied. He also shows a predilection for still lifes. He also illustrated the Fables of La Fontaine." Alain-Marie Bassy in his book "Les Fables de La Fontaine, quatre siècles d'illustration" ["The Fables of La Fontaine, four centuries of illustration"] analyzes his style for the representation of fables: "S'il recherche le même angle de vue sur l'animal que Gustave Doré, il écarte tout sens de l'effroi. L'oiseau blessé d'une flèche n'est plus un grand oiseau migrateur mais la caille délicieusement colorée des natures mortes. [...]Devant [les animaux au milieu desquels nous vivons], l'œil de Delierre est aussi froid que celui d'un entomologiste. L'art de la fable devient chez lui le plus bel exemple de naturalisme pictural." ["If he seeks the same angle of view on the animal as Gustave Doré, he eliminates all sense of terror. The bird wounded by an arrow is no longer a great migratory bird but the deliciously colored quail of still lifes. [...] Before [the animals among which we live], Delierre's eye is as cold as that of an entomologist. The art of the fable becomes in his work the finest example of pictorial naturalism."] A deluxe edition in two volumes: Fables de La Fontaine. Edition illustrée de 75 planches à l'eau-forte par A. Delierre, Paris, Quantin, 1883, is catalogued at the Bibliothèque Nationale. The etchings of the fables are before lettering and enclosed in lovely Louis XVI frames."

Original etching before lettering heightened with aquatint and signed in the plate.
Executed on laid paper at the request of publisher A. QUANTIN to illustrate La Fontaine's fable: "Les deux coqs".
Very fine condition, presented in a modern black mount and protected by tissue guard.
Auguste Delierre (1829-1891) is referenced in the Bénézit dictionary of painters, sculptors, draughtsmen and engravers as: "history painter, genre scenes, animated landscapes, still lifes, illustrator. Student of Eugène Ciceri, he participated in the Paris Salon between 1852 and 1889. His compositions of landscapes animated with hunting dogs show the influence of works by Desportes and Oudry which he copied for a long time. He also shows a predilection for still lifes. He also illustrated the Fables of La Fontaine." Alain-Marie Bassy in his book "Les Fables de La Fontaine, quatre siècles d'illustration" analyzes his style for the representation of fables: "If he seeks the same angle of view on the animal as Gustave Doré, he avoids all sense of terror. The bird wounded by an arrow is no longer a large migratory bird but the deliciously colored quail of still lifes. [...] Before [the animals among which we live], Delierre's eye is as cold as that of an entomologist. The art of the fable becomes in his work the finest example of pictorial naturalism." A deluxe edition in two volumes: Fables de La Fontaine. Edition illustrée de 75 planches à l'eau-forte par A. Delierre, Paris, Quantin, 1883, is catalogued at the Bibliothèque Nationale. The etchings of the fables are before lettering and enclosed in pretty Louis XVI frames.

Original etching before letters heightened with aquatint and signed in the plate.
Executed on laid paper at the request of publisher A. QUANTIN to illustrate La Fontaine's fable: "Le gland et la citrouille".
Very fine condition, presented in a modern black mat and protected by tissue guard.
Auguste Delierre (1829-1891) is referenced in Bénézit, dictionary of painters, sculptors, draughtsmen and engravers as follows: "history painter, genre scenes, animated landscapes, still lifes, illustrator. Student of Eugène Ciceri, he participated in the Paris Salon between 1852 and 1889. His compositions of landscapes animated with hunting dogs show the influence of works by Desportes and Oudry which he long copied. He shows moreover a predilection for still lifes. He also illustrated La Fontaine's Fables." Alain-Marie Bassy in his book "Les Fables de La Fontaine, quatre siècles d'illustration" analyzes his style for the representation of fables: "If he seeks the same angle of view on the animal as Gustave Doré, he dismisses all sense of terror. The bird wounded by an arrow is no longer a great migratory bird but the deliciously colored quail of still lifes. [...] Before [the animals among which we live], Delierre's eye is as cold as that of an entomologist. The art of the fable becomes in his work the finest example of pictorial naturalism." A deluxe edition in two volumes: Fables de La Fontaine. Edition illustrated with 75 etched plates by A. Delierre, Paris, Quantin, 1883, is catalogued at the Bibliothèque Nationale. The etchings of the fables are before letters and enclosed in pretty Louis XVI frames."

Original etching before letters heightened with aquatint and signed in the plate.
Created on laid paper at the request of publisher A. QUANTIN to illustrate La Fontaine's fable: "Le cierge".
Very fine condition, presented in a modern black mat and protected by a tissue guard.
Auguste Delierre (1829-1891) is referenced thus in Bénézit, dictionary of painters, sculptors, draughtsmen and engravers: "history painter, genre scenes, animated landscapes, still lifes, illustrator. Student of Eugène Ciceri, he participated in the Paris Salon between 1852 and 1889. His compositions of landscapes animated with hunting dogs show the influence of works by Desportes and Oudry which he copied for a long time. He shows moreover a predilection for still lifes. He also illustrated La Fontaine's Fables." Alain-Marie Bassy in his book "Les Fables de La Fontaine, quatre siècles d'illustration" analyzes his style for the representation of fables: "If he seeks the same angle of view on the animal as Gustave Doré, he dismisses all sense of terror. The bird wounded by an arrow is no longer a great migratory bird but the deliciously colored quail of still lifes. [...]Before [the animals among which we live], Delierre's eye is as cold as that of an entomologist. The art of the fable becomes in his work the finest example of pictorial naturalism." A deluxe edition in two volumes: Fables de La Fontaine. Edition illustrated with 75 etched plates by A. Delierre, Paris, Quantin, 1883, is catalogued at the Bibliothèque Nationale. The etchings of the fables are before letters and enclosed in pretty Louis XVI frames."

Original etching before letters heightened with aquatint.
Created on laid paper at the request of publisher A. QUANTIN to illustrate La Fontaine's fable: "The Lark and her Young Ones, with the Master of a Field".
Very fine condition, presented in a modern black mat and protected by tissue guard.
Auguste Delierre (1829-1891) is referenced thus in Bénézit, dictionary of painters, sculptors, draughtsmen and engravers: "history painter, genre scenes, animated landscapes, still lifes, illustrator. Student of Eugène Ciceri, he participated in the Paris Salon between 1852 and 1889. His compositions of landscapes animated with hunting dogs show the influence of works by Desportes and Oudry which he long copied. He moreover shows a predilection for still lifes. He also illustrated La Fontaine's Fables." Alain-Marie Bassy in his book "Les Fables de La Fontaine, quatre siècles d'illustration" ["La Fontaine's Fables, Four Centuries of Illustration"] analyzes his style for the representation of fables: "S'il recherche le même angle de vue sur l'animal que Gustave Doré, il écarte tout sens de l'effroi. L'oiseau blessé d'une flèche n'est plus un grand oiseau migrateur mais la caille délicieusement colorée des natures mortes. [...]Devant [les animaux au milieu desquels nous vivons], l'œil de Delierre est aussi froid que celui d'un entomologiste. L'art de la fable devient chez lui le plus bel exemple de naturalisme pictural." ["If he seeks the same angle of view on the animal as Gustave Doré, he dismisses all sense of fear. The bird wounded by an arrow is no longer a large migratory bird but the deliciously colored quail of still lifes. [...] Before [the animals among which we live], Delierre's eye is as cold as that of an entomologist. The art of the fable becomes in his work the finest example of pictorial naturalism."] A deluxe edition in two volumes: Fables de La Fontaine. Edition illustrée de 75 planches à l'eau-forte par A. Delierre, Paris, Quantin, 1883, is catalogued at the Bibliothèque Nationale. The etchings of the fables are before letters and enclosed in handsome Louis XVI frames."

Original etching before letters heightened with aquatint and signed in the plate.
Created on laid paper at the request of publisher A. QUANTIN to illustrate La Fontaine's fable: "La vieille et les deux servantes" ["The Old Woman and the Two Servants"].
Very fine condition, presented in a modern black mat and protected by tissue guard.
Auguste Delierre (1829-1891) is referenced thus in the Bénézit dictionary of painters, sculptors, draughtsmen and engravers: "history painter, genre scenes, animated landscapes, still lifes, illustrator. A pupil of Eugène Ciceri, he participated in the Paris Salon between 1852 and 1889. His compositions of landscapes animated with hunting dogs show the influence of the works of Desportes and Oudry which he long copied. He shows moreover a predilection for still lifes. He also illustrated the Fables of La Fontaine." Alain-Marie Bassy in his book "Les Fables de La Fontaine, quatre siècles d'illustration" ["The Fables of La Fontaine, Four Centuries of Illustration"] analyzes his style for the representation of the fables: "S'il recherche le même angle de vue sur l'animal que Gustave Doré, il écarte tout sens de l'effroi. L'oiseau blessé d'une flèche n'est plus un grand oiseau migrateur mais la caille délicieusement colorée des natures mortes. [...]Devant [les animaux au milieu desquels nous vivons], l'œil de Delierre est aussi froid que celui d'un entomologiste. L'art de la fable devient chez lui le plus bel exemple de naturalisme pictural." ["If he seeks the same angle of view on the animal as Gustave Doré, he dismisses all sense of dread. The bird wounded by an arrow is no longer a great migratory bird but the deliciously colored quail of still lifes. [...] Before [the animals among which we live], Delierre's eye is as cold as that of an entomologist. The art of the fable becomes in his work the finest example of pictorial naturalism."] A deluxe edition in two volumes: Fables de La Fontaine. Edition illustrée de 75 planches à l'eau-forte par A. Delierre, Paris, Quantin, 1883, is catalogued at the Bibliothèque Nationale. Les eaux-fortes des fables sont avant la lettre et enfermées dans de jolis cadres Louis XVI." ["The etchings of the fables are before letters and enclosed in pretty Louis XVI frames."]

Original etching before letters heightened with aquatint and signed in the plate.
Created on laid paper at the request of publisher A. QUANTIN to illustrate La Fontaine's fable: "Le cerf et la Cigne" ["The Stag and the Swan"].
Very handsome condition, presented in a modern black mount and protected by tissue guard. Auguste Delierre (1829-1891) is referenced in Bénézit, the dictionary of painters, sculptors, draughtsmen and engravers: "history painter, genre scenes, animated landscapes, still lifes, illustrator. Student of Eugène Ciceri, he participated in the Paris Salon between 1852 and 1889. His compositions of landscapes animated with hunting dogs show the influence of works by Desportes and Oudry which he long copied. He also shows a predilection for still lifes. He also illustrated La Fontaine's Fables." Alain-Marie Bassy in his book "Les Fables de La Fontaine, quatre siècles d'illustration" ["La Fontaine's Fables, four centuries of illustration"] analyzes his style for the representation of the fables: "S'il recherche le même angle de vue sur l'animal que Gustave Doré, il écarte tout sens de l'effroi. L'oiseau blessé d'une flèche n'est plus un grand oiseau migrateur mais la caille délicieusement colorée des natures mortes. [...]Devant [les animaux au milieu desquels nous vivons], l'œil de Delierre est aussi froid que celui d'un entomologiste. L'art de la fable devient chez lui le plus bel exemple de naturalisme pictural." ["If he seeks the same angle of view on the animal as Gustave Doré, he discards any sense of terror. The bird wounded by an arrow is no longer a large migratory bird but the deliciously colored quail of still lifes. [...] Before [the animals among which we live], Delierre's eye is as cold as that of an entomologist. The art of the fable becomes in his work the finest example of pictorial naturalism."] A deluxe edition in two volumes: Fables de La Fontaine. Edition illustrée de 75 planches à l'eau-forte par A. Delierre, Paris, Quantin, 1883, is catalogued at the Bibliothèque Nationale. Les eaux-fortes des fables sont avant la lettre et enfermées dans de jolis cadres Louis XVI." ["The etchings of the fables are before letters and enclosed in lovely Louis XVI frames."]

Original etching before letters heightened with aquatint and signed in the plate.
Created on laid paper at the request of publisher A. QUANTIN to illustrate La Fontaine's fable: "Le chat et le Renard" ["The Cat and the Fox"].
Very handsome condition, presented in a modern black mount and protected by tissue guard.
Auguste Delierre (1829-1891) is referenced in Bénézit, the dictionary of painters, sculptors, draughtsmen and engravers: "history painter, genre scenes, animated landscapes, still lifes, illustrator. Student of Eugène Ciceri, he participated in the Paris Salon between 1852 and 1889. His compositions of landscapes animated with hunting dogs show the influence of works by Desportes and Oudry which he long copied. He also shows a predilection for still lifes. He also illustrated La Fontaine's Fables." Alain-Marie Bassy in his book "Les Fables de La Fontaine, quatre siècles d'illustration" ["La Fontaine's Fables, four centuries of illustration"] analyzes his style for the representation of the fables: "S'il recherche le même angle de vue sur l'animal que Gustave Doré, il écarte tout sens de l'effroi. L'oiseau blessé d'une flèche n'est plus un grand oiseau migrateur mais la caille délicieusement colorée des natures mortes. [...] Devant [les animaux au milieu desquels nous vivons], l'œil de Delierre est aussi froid que celui d'un entomologiste. L'art de la fable devient chez lui le plus bel exemple de naturalisme pictural." ["If he seeks the same angle of view on the animal as Gustave Doré, he discards any sense of terror. The bird wounded by an arrow is no longer a large migratory bird but the deliciously colored quail of still lifes. [...] Before [the animals among which we live], Delierre's eye is as cold as that of an entomologist. The art of the fable becomes in his work the finest example of pictorial naturalism."] A deluxe edition in two volumes: Fables de La Fontaine. Edition illustrée de 75 planches à l'eau-forte par A. Delierre, Paris, Quantin, 1883, is catalogued at the Bibliothèque Nationale. Les eaux-fortes des fables sont avant la lettre et enfermées dans de jolis cadres Louis XVI." ["The etchings of the fables are before letters and enclosed in lovely Louis XVI frames."]

Illustrated edition in first printing with 10 hors-texte plates by Lynch, etched by Abot. Printed on Arches laid paper.
Contemporary half-navy shagreen binding with corners. Spine with raised bands decorated with multiple roulettes on the bands and between the bands, with series of fillets, a large central mirrored tool and two other tools, all in blind and gilt. Double fillet border on boards. Top edge gilt. Spine turned green. Fresh throughout, and full-margined.
A handsome copy.

La Française du siècle. Modes. – Mœurs. – Usages [The Frenchwoman of the Century]First edition, one of 100 numbered copies on Japan paper, the only grand papier (deluxe) copies.
Full grey morocco, the spine in five compartments, spine lightly sunned, date and place gildt on foot, gilt fillets on the spine head, endpapers and pastedowns in cloth with a floral pattern, framed on the endpages by a listel of grey morocco enhanced with gilt typographic pattern, the following pages in marbled paper, wrappers and spine preserved, gilt edges, double gilt fillets on the head band, a superb contemporary binding signed by Bretault. Some minor foxing.
The book is illustrated with 11 aquaforte plates in color by Rops, Moreau, Lynch, Gonzales, Kratké, Gervex.
Our copy like the Japanese copies are composed of engraving drawn on Japan paper in a double state.

Son altesse la femme [Her Highness Woman]First edition, one of 100 numbered copies on Japan paper, the only grand papier (deluxe) copies.
Binding in full grey morocco, the spine in five compartments lightly sunned, date and place on the foot, gilt fillets on the spine head, endpages and pastedowns in cloth with a floral pattern, framed on the pastedown pages listel of grey morocco with gilt typographic pattern, next endpages and pastedowns in marble paper, wrappers and spine preserved, gilt edges, double golden fillets on the head band, superb contemporary binding by Bretault. Some small light foxing.
Illustrated with 11 aquaforte plates in color by Rops, Moreau, Lynch, Gonzales, Kratké, Gervex. Our copy in the Japanese manner is complete with printed engravings on Japan paper in a double state.
A very beautiful copy, perfectly bound.

First edition on current paper.
Binding in the bradel half vellum vellum style, smooth back adorned with triple gilded boxes and decorated with angles of gilded florets, marbled paper plates, preserved covers, gilded head, corners blunt, contemporary binding.
Notes of a bibliophile covering all the guard compared to the first preserved cover plate.
Some foxinges mainly affecting the first and last leaflets, shadows, some spots on the handwritten letter.
Our copy is exceptionally enriched with a beautiful autograph letter, mounted on tab, 4 pages dated and signed by Louis de Grammont addressed to Villiers de l'Isle Adam in which he regrets that the writer of Axel has "fled the worries of the city "because against them" the countryside is your only asylum "and that the salons in which they participated both are" heartless without you "and" the house of Nina loses three quarters, not to say the five- sevenths of his charms ... "He encourages Villiers, in his exile," in his stay extramural "..." to bring him a tragedy altier, poignant, terrible and jester, where the grotesque elbows the scary,. .. a drama that finally cuts the whistle to the helpless and the envious ...

First edition.
Half morocco, covers preserved, slight tears to headpieces, top edge gilt.
A nice copy without foxing and elegantly bound.

First edition.
Half morocco slight rubbing to head of joints, covers preserved, slight tears to headpieces, top edge gilt.
A nice copy without foxing and elegantly bound.