18th Century Illustrated Books

First edition printed with a small number of copies on laid.
Work illustrated with a cover and three engraved wooden vignettes by Remy de Gourmont.

First edition of these songs set to music by Marcel Legay.
Fine illustrated cover.
Preface by Francisque Sarcey.
One small repaired tear to verso of front board with adhesive repair, otherwise handsome copy.

First edition.
Beautiful illustrated cover by Eugène Rapp.
Work adorned with illustrations by Rapp, Joanon-Mairer.
Preface by Coquelin-Cadet.
Some foxing on the first endpaper, endpapers partially darkened, otherwise handsome copy.

First edition.
Work adorned with a beautiful illustrated cover and drawings by Léonce Burret.
Preface by Maurice Lefevre.
Handsome copy despite some foxing, notably on the front cover.

First edition, one of the rare copies on Holland paper of which there is no mention.
Spine slightly split at head, otherwise handsome copy with full margins.
Work illustrated with 11 engravings by Godefroy Durand.

First edition of this sung tale by Jacques Le Lorrain set to music by Gaston Dubreuilh.
Publisher's binding in half steel-blue percaline, smooth spine unlettered, grey paper boards, illustrated front board, blue paper endpapers and pastedowns.
Handsome copy.
Work illustrated by Maurice de Lambert.
Rare copy of this sung tale created by Gabriel de Montoya at the shadow theatre of the Quat-z-Arts.

First edition.
Publisher's binding in full blue percaline, smooth unlettered spine, beveled boards, front cover illustrated with a large composition by Job on a plate made by Engel, blue paper endpapers and pastedowns.
One endpaper with a fold and very light adhesive paper residue, light discoloration to second cover
Handsome copy.
Work decorated with full-page illustrations by Job.

First edition illustrated with a cover and drawings by Théophile Alexandre Steinlen.
Bradel binding in half red shagreen, smooth spine, date in gilt at foot, pebbled paper boards, covers illustrated by Théophile Alexandre Steinlen and spine preserved in one piece.
Handsome copy despite a small restoration to the upper corner of page 93, a slight lack at foot of the second cover of the illustrated wrapper.

First edition illustrated with a cover and frontispiece by Emmanuel Brun.
Bradel binding in half brown cloth, smooth spine, date in gilt at foot, pebbled paper boards, illustrated cover by Emmanuel Brun and spine preserved.
Handsome copy of this collection of songs interpreted by Yvette Guilbert.

First edition illustrated with a cover and nearly 100 drawings by Lucien Métivet
Half brown shagreen binding, spine slightly faded with five raised bands decorated with gilt fleurons, marbled paper boards, combed paper endpapers and pastedowns, illustrated covers by Lucien Métivet preserved, top edge gilt, contemporary binding.
Some minor foxing, light rubbing to joints, one lack to upper corner of page 287.
Handsome copy of this collection of songs performed by Jacques Ferny at the "La roulotte" theatre from 1896 to 1899 and at the Carillon and Tréteau de Tabarin in Montmartre in 1899-1900.

First edition consisting of an album of 10 original etchings by Adolphe Lalauze and a sanguine frontispiece around the theme of childhood.
Publisher's full red cardboard binding, smooth spine without lettering, some scratches on the headcaps, title and illustrator's name stamped in gold on the first cover, blind-ruled frame on covers, covers slightly faded at foot, marbled endpapers and pastedowns.
Pleasant interior condition, three of the ten etchings being signed in the plate.
Presentation by Eugène Montrosier.
Provenance: from the library of Ludovic Halévy with his bookplate pasted on a pastedown.

First edition, abundantly illustrated by Charles Jouas with a frontispiece and in-text compositions, engraved on wood by H. Paillard. Unique edition limited to 138 numbered copies on China paper, No. 77. This edition was produced by the celebrated bibliophile and bibliographer Henri Beraldi who launched Charles Jouas's career with this publication.
Bradel binding in half tender green morocco with mosaic corners signed Charles Meunier at the top of the first endpaper. Smooth spine decorated with an iris on stem with its buds (flowers and buds in orange and brown mosaic). Separating fillets on the boards. Spine having uniformly turned to brown. One corner slightly bumped. Traces of rubbing to corners and edges. Very handsome copy.
Bookplate of Jacques Crépineau, director of the Michodière theatre and entertainment historian, renowned bibliophile for his collection of Romantics.
The volume gathers the poems about Paris by the first hydropath and brilliant practical joker Émile Goudeau (1849-1906), the last one entitled Bibliophilie and naturally addressed to Béraldi.
On October 11, 1878, Emile Goudeau founded the Cercle des Hydropathes where the bohemians of the time gathered, Goudeau would pay his members with the help of the "Green Fairy", absinthe.

First edition.
Work decorated with a beautiful illustrated cover and 150 drawings by Léonce Burret
Handsome copy.

New illustrated edition in first printing with a frontispiece and 12 etchings by Alphonse Bichard. Edition printed in 118 copies "pour les amis des livres". The first 100 copies bearing the names of subscribers. This one to Monsieur Bouret, No. 52. All engravings in double state, before and after lettering. Printed on Arches laid paper.
Full brown morocco binding signed on the rear pastedown by Wampflug. Jansenist spine with raised bands. Author, title, place and date in gilt. Top edge gilt. Wide inner decorative border. Uncut copy, full-margined, perfectly fresh.
Copy from the Ader sale of Jacques Crépineau's library, with the Ader bookmark reproducing Crépineau's bookplate.
Very handsome copy.

First edition.
Fine illustrated cover by Jean Tild.
Tears at head and foot of spine with slight lacks without gravity.
Fine and bohemian autograph inscription dated and signed by Xavier Privas: "A mon ami Emile Bessière pêcheur de lunes et (je l'espère) de thunes en confraternel hommage. Xavier Privas 8 Février 1904." ["To my friend Emile Bessière, fisher of moons and (I hope) of cash in fraternal tribute. Xavier Privas 8 February 1904."]

Edition illustrated by Scott.
Publisher's full mouse-grey cloth binding, smooth spine, front cover decorated with a large plate by Paul Souze, grey-blue paper endpapers and pastedowns, all edges gilt, corners slightly bumped without significance.
Fine copy.

First illustrated edition with 250 wood-engraved compositions by Edmond Morin. One of 50 numbered copies on Wattman paper (No. 49 in manuscript), second paper after 10 Japan copies from a total edition of 260 deluxe copies. Portrait of the author as frontispiece by Léopold Flameng. The ordinary edition contains no justification.
Contemporary half navy blue morocco with mosaic corners, signed Champs. Spine with raised bands decorated with richly ornamented compartments with a central red morocco motif. Roll tooling at head and foot, fillet on bands. Navy blue morocco title-label, date at foot. Separation fillets on boards. Top edge gilt. Covers and spine preserved. Uncut copy with full margins. Paper perfectly fresh, endpapers with some light foxing. Light rubbing, notably to corners and lower edges, otherwise very handsome copy.
A true literary phenomenon of the late 19th century, the work consists of a succession of light and humorous scenes that celebrate adolescent first emotions and love of women, then marriage and fatherhood. This results in a gentle eroticism that celebrates women through their adornments, makeup or clothing. Henry James himself praised the beauties of these light pieces, writing that he preferred an inch of Droz to a kilometer of Daudet...

First edition of this poem by Georges Fragerolle set to music by himself and performed for the first time at the famous Montmartre cabaret "Le Chat noir" by Rodolphe Salis on January 21, 1896, where he was the regular pianist alongside Erik Satie.
Publisher's sand-colored paper boards, smooth spine, covers illustrated with a large design representing the Giza Pyramids site surmounted by the dream of a Pharaoh's soldiers, endpapers and pastedowns with floral-patterned paper.
Work illustrated with 17 full-page lithographs by Amédée Virola.
Some rubbing to edges and corners, copy lacking its very fragile illustrated dust jacket.
Handsome copy.

First edition of these Christmas carols set to music by Georges Fragerolle.
Publisher's full white paper boards binding, smooth spine, front cover illustrated with a large decoration representing the Nativity, endpapers and pastedowns of floral-patterned paper.
Work decorated with Art Nouveau illustrations and ornamentations by George Auriol.
Gift inscription in pen on the page facing the half-title page.
Handsome copy complete with its very fragile illustrated dust jacket.

Bilingual illustrated edition in first printing, translated by Charles Nodier with the English text facing. Notice by Charles Nodier. 10 plates by Johannot on heavy laid paper before letters and more than one hundred vignettes. Printed on fine tinted laid paper. A frontispiece on China paper mounted on heavy laid paper. Text within ruled borders.
Full glazed midnight blue calf binding. Smooth spine decorated with long mirror tools. Boards stamped in blind with a large Cathedral plate with foliate scrollwork (motifs that seem to reproduce the front cover). Edges gilt. Interior border. Fresh overall, but foxing on the frontispiece and title leaf. Traces of rubbing. One upper edge slightly bumped over 0.5cm. The figure p. 341 is missing. Captioned tissue guards present.
Handsome copy in a full contemporary binding. The plate used for the boards seems particularly well suited to the work (cathedral motifs softened by ornaments, foliage and other elements).

Edition of the French translation by Desaintange (Ange-François Fariau de Saint-Ange (1747-1810)), with the French version alongside the Latin. The very famous illustration comprises a portrait of Desaintange, a frontispiece, and 139 figures by Eisen, Moreau Le Jeune, Gravelot, Monnet, Boucher and engraved by Massard, Simmonet, Née, Leveau, Ponce, Binet, De Longueil... Most by Eisen and Moreau Le Jeune. Complete with the leaf showing placement of engravings after the title of volume I.
Contemporary binding in full blonde sheep marbled in green and brown. Smooth spine decorated with 4 compartments in grotesque style (stars and small tools), with roulettes at head and foot (wide Empire-style roulette at foot). Vine-motif border frame. Title and volume labels in blonde sheep. Loss to upper joint at head of volume I with 3cm split. One cut to headcap of volume I. Loss to upper joint at head of volume 2. One gathering in vol. II p.55 largely detached, and protruding by a few millimeters. Scattered pale foxing. A good copy.

Very rare and sought-after first edition, according to Clouzot, printed in only 300 copies.
Full red morocco binding, spine with five raised bands decorated with black fillets, gilt date at foot, gilt roulettes on headcaps, marbled endpapers and pastedowns, frame of gilt dentelle on pastedowns, double gilt fillets on edges, top edge gilt, original wrappers preserved, full marbled paper slipcase with marbled paper lining, perfect binding signed by Thivet, a binder who worked during the last quarter of the 19th century.
Bookplate pasted on one pastedown, bibliophilic notes in pencil on an endpaper by a previous owner of the work.
Handsome copy of one of the rarest "Romantics," complete with the frontispiece on China paper, drawn and engraved by Célestin Nanteuil.

Reprint of the so-called Keepsake edition published by Renduel in 1836. Furne had bought out the Renduel bookshop and quickly exploited its stock. The illustration contains a portrait of Victor Hugo as frontispiece, 2 title vignettes (these illustrations are new) and 11 steel engravings printed on strong paper by Johannot, Boulanger, Raffet, Rogier & Rouargue engraved by Finden, Staines... It is well printed in airy typography with large margins, and close to the original published in 1831. These two volumes that could be purchased separately formed the head of collection of the new collected edition at Furne, which explains the presence of Victor Hugo's portrait. Half-title before the titles, but which do not display, as for most copies of 1840: Oeuvres complètes de Victor Hugo.
Full straight-grained wine-colored morocco binding of the period with the cipher C.F. stamped in blind on the covers. Smooth spine decorated with long rococo tools and fillets. Gilt title and volume number. Covers with a wide border with fillets and rococo tools and the central cipher C. F. Wave fillet on the leading edges, interior frieze. White moiré endpapers. Edges gilt. Pale and yellow foxing scattered on paper that has remained white. The engravings are browned by the framing of the tissue guards, which are themselves browned. Spines have become uniformly blond. Traces of rubbing.
Fine copy. Notre-Dame de Paris, moreover like all the great novels of the period, is very rare in full contemporary binding, especially in straight-grained morocco.

First edition, illustrated with 21 steel plates by Rouargue and Kernot (Saint Petersburg, Moscow...), of which 8 are hand-colored (animated scenes with costumes).
Publisher's half brown shagreen binding. Spine with false raised bands decorated with compartments with multiple fillets. Series of blind frames on the boards. Gilt edges. White moiré endpapers. The present tissue guards are considerably browned. Fresh overall with some scattered foxing. Light tear at head. Rubbing traces. Good copy.
Famous travel account by journalist Charles de Saint-Julien (1802-1869), from Saint Petersburg to the Caucasus via Finland, Moscow and Nijni-Novgorod (the Volga, Crimea, Kazan...), followed by a journey from Saint Petersburg to Kamchatka, through Siberia.

First edition, illustrated with a repeated frontispiece and 30 steel-engraved plates by Gavarni engraved by Geoffroy on China paper laid down. Printed on fine white wove paper. Blue or neutral tissue guards. Illustrated orange-tinted covers preserved (spine and back covers with advertisements also preserved).
Half lavender morocco binding with corners and long grain signed Mercier (1920) at the top of the first endpaper, in Romantic style. Spine with false raised bands richly decorated with two complex mirrored tools in each compartment, blind fillets and rolls on the bands. Separation fillets on the boards. Uncut copy, full-margined. Perfect paper freshness. Light rubbing traces, impact at foot of the Parures volume with a dent of 0.8cm.
Very handsome copy, rare in this condition.
Blue leather bookplate P. Villeboeuf, with his gilt monogram also at top of pastedowns.
Méry's texts are short stories centered around a precious stone or jewel.

First edition and first printing of the illustrations by Tony Johannot, Paul Gavarni and Jean Gigoux.
Half chocolate brown morocco binding with corners, spine with five raised bands set with gilt dots and decorated with gilt typographical motifs set within double gilt compartments, gilt date at foot, gilt friezes at head and foot, gilt fillet frame on pebbled paper boards, combed paper endpapers and pastedowns, top edge gilt, handsome romantic covers and spine (lined and with slight lacks of no importance at head and foot) preserved, elegant binding signed David.
Occasional foxing.
Handsome copy perfectly executed.

First edition consisting of 26 full-page drawing plates by Ferdinand Bac.
Preface by Marcel Prévost.
Bradel binding in half red cloth with corners, smooth spine, black shagreen title-label, gilt date at foot, gilt fillet frame on marbled paper boards, speckled endpapers and pastedowns, original wrappers preserved, corners slightly bumped, contemporary binding.
First wrapper preserved but tending to come loose, light superficial scuffing to boards without significance.

Illustrated edition with first printing of vignettes by Tony Johannot, Baron, Celestin Nanteuil, Grandville, Geoffroy and 32 plates by the same artists.
Half chocolate brown morocco with corners, late 19th century, signed Bertault at the top of the first endpaper. Smooth spine richly decorated with mirror-pattern tools in Romantic style, roulette at head and tail, frame fillets. Separating fillets on boards. Top edge gilt. Covers and spine preserved. Uncut copy with full margins. Paper perfectly fresh, immaculate. Spine slightly sunned. Some traces of rubbing.
Very handsome copy of this rare illustrated Romantic work.

First edition of this monograph on the caricaturist Cham with a preface by Alexandre Dumas Fils illustrated with sixteen compositions and facsimiles hors-texte (two in color).
Autograph inscription signed by the author: "Offerte à la tombola par l'auteur Félix Ribeyre" ["Offered to the raffle by the author Félix Ribeyre"].
Contemporary half brown morocco binding, spine with five raised bands, compartments decorated with gilt tools depicting quills and pencil holders, gilt date at foot, marbled paper boards, combed paper endpapers and pastedowns, covers preserved, top edge gilt on deckled edges. Some light rubbing to upper joint.
Scattered foxing, more pronounced in places.
Our copy is expanded with an autograph letter signed by Cham.

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.

Les Français peints par eux-mêmes. Encyclopédie morale du dix-neuvième siècle – Le Prisme [with] Les Anglais peints par eux-mêmes [The French painted by themselves – The English painted by themselves]
First edition, one of the grand papier (deluxe) copies with two states of the illustrations for the 8 volumes of Les Français peints par eux-mêmes: one in black on tinted paper, and one enhanced by hand using the so-called “coloris gommé” technique with watercolour and varnish on white paper. Les Anglais peints par eux-mêmes includes the engravings in black. No deluxe copies in colour have been made for this rare set of Les Français.

Bound in half brown morocco, spine in five compartments enhanced with stipple engraving and double gilt panels richly decorated with gilt floral motifs framing a mosaic medallion of green morocco with a gilt rose stamped in the center, cartouches at the top decorated with a gilt garland framing the place and publication date, some light minor rubbing on some compartments, gilt fillets on the marbled paper boards, comb-patterned endpapers, top edges gilt. Elegant late nineteenth century bindings signed Durvand-Thiret.

Complete with all engravings along with added engravings, i.e. 930 engravings including 415 in colour. Title pages dated 1841 for all volumes of Les Français except for volume 5 of Les Parisiens and volume 3 of La Province dated 1842. Les Français peints par eux-mêmes has 415 engravings in black (including that of Napoleon on horseback) instead of the 405 announced and 415 in colour including a double page map of France in volume III of the Province. The English volume illustrated by Kenny Meadous is complete with 100 plates in black.

This unique set contains in total almost a thousand black and coloured engravings and more than 1500 in-text illustrations.
Famous gallery of woodcut portraits depicting the social classes of the 19th century by the greatest artists of the time: Gavarni, Daumier, Delacroix, Grandville, Johannot, Bellangé, Charlet, Daubigny, etc... The portraits are all accompanied by original texts from the most famous Romantic authors, including: Balzac, Nodier, Gautier, Nerval, Gozlan, Janin, Karr, etc...
Scarce foxing affecting mainly the Prism and the Anglais.

The texts and illustrations of the book paint a lively picture of inhabitants and their trade in metropolitan France and its colonies. It sets the tone for panoramic literature – a new genre coined by Walter Benjamin in Charles Baudelaire. A lyric poet at the height of capitalism. In addition to these portraits of the Français, “the contribution of a whole areopagus of great and small authors and illustrators” (S. Le Men, “La 'littérature panoramique' dans la genèse de la Comédie Humaine: Balzac et Les Français peints par eux-mêmes”, L'Année balzacienne 2002/1 (No. 3) CAIRN) includes some of the most renowned authors and cartoonists of the time, each of whom made an original creation for the project.

This protean fresco was directed by editor Léon Curmer, already known for the publishing success of Paul et Virginie between 1836 and 1838. Curmer is represented here by an article, “L'éditeur” in volume IV written by Elias Regnault. The latter takes example in Louis-Sebastien Mercier's Tableau de Paris, published in 1781, whose vision is even further extended by the representation of French provinces in Les Français. Thanks to Curmer the work finds an even deeper meaning: “the editor has widened his frame, and instead of letting a few fleeting portraits get lost in the immense daily whirlwind that engulfs all things, he has sought to bring together the most salient physiognomies of that time.” (S. Le Men, Ibid.)
Curmer selected the authors and illustrators closest to the ones they depict: “It is therefore a question of calling upon authors and illustrators who are well selected according to the 'types' they will have to portray.” (S. Le Men, Ibid.).
Les Français was published in fascicules – a common format at the time, allowing for a greater investment by the public whose opinion and subscription would count for the orientation of future articles. Readers were called upon to contribute, as shown by the “Correspondance des Français” preserved in our copy of Prisme, where the editor responds to readers' suggestions for articles: “Le Coiffeur [hairdresser] de M. Paul Tén... is a most spiritual article. We regret that the Coiffeur type having already been published we cannot accept it.” (Prisme, Issue 84)

The book is lavishly illustrated in the text with vignettes and culs-de-lampe, but it is above all the full-page figure in a landscape opposite the page of the text (so-called “types”) which constitute a novelty in the history of the illustrated book.

These portrayals in traditional settings and various occupations are close to the science of physiology popular at the time. Studying social groups, it aims to determine a representation of an individual who would be the prime example of his group, inevitably leading to a form of caricature.
This “project of a moral encyclopaedia which summarises the whole of society” (Léon Curmer) is the accomplished testimony of an era. Curmer's contemporaries found in the work “a sort of collective self-portrait in which “Paris” and “the provinces” follow one another, and in which each group will be able to recognise itself in one issue or another. (Ségolène Le Men, Ibid.). From its conception its main objective was to capture a fleeting present that lives according to the Baudelairian fashion, in order to “make a portrait of contemporary manners, amusing for the present, instructive for the future.” (Ségolène Le Men, Ibid.)

An important and rare copy of a masterpiece of the romantic illustrated book. A deluxe edition with Le Prisme with the addition of Les Anglais peints par eux-mêmes set in perfect uniform and mosaic bindings signed Durvand Thivet.

New translation by A. Mazuy. The 3 volumes are illustrated with a portrait of Ariosto as frontispiece and 85 wood-engraved figures printed on China paper and mounted on strong paper. They are numbered from 1 to 85. The 3 volumes properly contain the placement sheets for the engravings at the end and the errata. This beautiful illustration, a romantic vision of the chivalrous Middle Ages, is the work of Meissonnier, Baron, Français, Girardet...
Contemporary full glazed calf binding in violet. Smooth spine decorated with Rocaille tools in long and mirror patterns. Gilt title. Boards stamped in blind with a large ornamental plate in Renaissance style. Gilt framing fillets. Interior frieze. Lemon-yellow endpapers. Tissue guards present. Some occasional scattered foxing on an otherwise clean set, the tissue guards often browned or foxed. Signs of rubbing. Cracks on one lower joint at foot. Spine uniformly blue-green.
Very handsome copy, rare in this condition.
The work is completed with several studies by the translator, notes on chivalric romances, oriental traditions, chronicles, songs of the trouvères and troubadours. An index of proper names in Orlando Furioso.

Finely illustrated edition with 34 etchings by Jules Adeline. Deluxe copy, one of 150 copies on Japan Imperial paper, No. 129. La légende du violon de Faïence, first edition, one of 150 on Japan Imperial paper, deluxe copy. A blue composition for the cover and 8 etchings by Jules Adeline. Bibliophilic gems reflecting the refined taste of late 19th-century book collectors.
Full blue morocco binding for le Violon de Faïence. Half blue morocco binding with corners for La légende... The first signed by Maylander at the bottom of the front pastedown, the second on the endpaper. Spine with raised bands decorated, having turned green. Triple-ruled frame for le violon de faïence, wide inner border with raw silk endpapers. Double slipcase edged with morocco, varnished marbled paper, also signed by Maylander at the foot. Original wrappers preserved. 2 leaves of illustrated catalogues from the Conquet bookshop on Japan paper bound at rear. Superb copies, perfectly fresh and in irreproachable condition.
Le violon de faïence is a novel by Champfleury featuring two collectors of rare ceramics, one of whom is a violinist. La légende du violon de faïence, by the illustrator of Le Violon de Faïence, evokes the life of Champfleury who had just died and old Rouen. Adeline recounts anecdotes about the creation of the novel.

Second edition, luxurious reprint of the illustrated first edition published in 1834. 16 plates (views of the Rhine, monuments...), including a frontispiece and bust portrait of the author and 12 steel vignettes. The illustration by D. Roberts is finely engraved and particularly successful. Printed on tinted vellum, the plates on heavy vellum.
Publisher's full black shagreen binding. Raised spine richly decorated, gilt title and date. Gilt decoration on boards with a central amphora and rococo frame. Interior frieze. All edges gilt. A copy of beautiful freshness.
Autograph signature of Xavier Marmier as bookplate on verso of first endpaper.
Novel illustrated by a journey on the Rhine, composed of various Rhenish legends. A particularly romantic vision of the Rhine.

First edition of this violently anti-Semitic and anti-Dreyfusard review, issue N°53 is unfortunately missing from our series.
Bound in full soft brick-red cloth, smooth spine, small rubbing to upper headcap and one lower corner, some discoloration stains on boards, purple paper endpapers and pastedowns, contemporary binding.
Work illustrated with drawings by Forain and Caran d'Ache.
Handsome set.

Magic Lantern Red Riding Hood – 12 Lantern slides Complete series of illustrations the tale of Red Riding Hood hand-painted on 12 glass plates intended for a magic lantern, the ancestor of the projector and the cinema.
Publisher's cardboard box, with the titles on the top board: “12 Superior English Made lantern slides”. Handwritten: “Red Riding Hood”. Signs of rubbing on the box. A stop in the split lid at 2cm. On plate 9, paper is missing which circles the plate in a border. On plate 12, the black part has a small scratch, this part encircling the medallion which is projected by the lantern. Otherwise collection in excellent condition.
Millikin & Lawley carried out their trade in magic lanterns and plates between 1860 and 1900.

First edition illustrated with vignettes by Gavarni.
Half red glacé long-grained morocco binding signed on endpaper by Durvand. Yellow printed wrappers preserved. Smooth spine decorated with a tool at head and 2 mirrored tools. Gilt title. Date at tail. Uncut copy, perfectly fresh, very clean. Top edge gilt. Discreet restorations to front wrapper. Very handsome copy.
Satirical writing on the world of the Paris Opera, its singers, its dancers, its audience, its administration, its stagehands, etc.

First edition composed of 15 sepia lithographs, illustrating the different figures of the Cotillon.

Publisher's cream and gold boards, covered with glazed moiré paper. Top headcap pushed in. Soiling. Corners slightly bumped. Good copy.

A ballroom dance created around 1820 which became wildly popular at the end of balls, the main venues for fashionable entertainment of the era, the cotillon mixed parlor games and dances; composed of several figures (the flowers, the handkerchief chase, the ribbon, the cavaliers, etc.) and accessories, it could last up to two hours and more depending on the cotillon leader. 19 pages of text in the work explain the figures of the cotillon. For example, the hat: The leading cavalier gives his lady a hat and forms a circle around her with several cavaliers, turning rapidly. The lady places the hat on the head of the waltzer she chooses.

Most of the dances were based on the polka or the waltz. Due to the proximity of the dancers, the cotillon was an excellent means of discreet flirtation.

Complete collection of three novellas in pre-first editions published in three special Christmas issues of Le Figaro illustré, all featuring unique illustrations not found in later editions.
Fritt-Flacc. Le Figaro illustré. Christmas 1884. Black and white illustrations by Willette. Also contains: Voyage circulaire by Emile Zola, Le rire by Eugène Mouton, Le chocolat by Thimothée Trimm. Black illustrations. (Discreet restorations to front cover). (37x47.7cm)
M. Ré-Dièze et Mlle Mi-Bémol: Le Figaro illustré. Christmas 1893. 8 color illustrations by Myrbach. Also contains: Jim et Jack by Augustin Filon, illustrated by Julien Moreau. La fée au rocher by Armand Silvestre, illustrated in color. Marie-Marion by Jules Claretie, color illustrations by Jules Dubufe fils. (2 small restorations to outer margin, 2 tears to spine, without loss). (31x41cm)
Aventures de la famille Raton. Le figaro illustré. Christmas 1891. 17 color illustrations by Myrbach. (Discreet restorations to spine). (32x42cm)
The three newspapers are of notably different sizes.
Modern royal blue cloth case bordered with cream paper. Second case into which the first slides containing the newspapers, royal blue cloth bordered with cream paper. Very good condition of the 3 newspapers, with some minimal defects (minute lack at edge, micro tear, etc.).

New illustrated edition in first printing of 159 plates, 68 in volume 1, 66 in volume 2, and 29 in the third volume. Text in 2 columns within a frame, engravings in an ornate frame.
Contemporary half cherry red glazed calf binding. Spine with false flat raised bands richly decorated with cold and hot Restoration tooling, multiple cold and hot rolls on the bands, at tail and head. Title-label and volume label of brown glazed calf. Traces of rubbing to joints at head and tail, headcaps, covers. One corner bumped on volume 2, 2 on volume 3. Some foxing, some pages and engravings browned. Handsome copy.
Translation from the Vulgate by Lemaître de Sacy. Throughout the 19th century, this translation prevailed among writers for its literary qualities, notably Victor Hugo, Rimbaud...

First separate edition and first illustrated edition of this famous short story which first appeared in Les soirées de Médan in 1880. The illustration contains 58 compositions by François Thévenot engraved on wood by A. Romagnol, a frontispiece portrait, 7 plates and 47 in-text compositions. Limited to 300 numbered copies, one of 40 copies on handmade laid paper additionally containing a separate suite on China paper of the illustrations and a triple suite of the plates (2 of which on China paper). The portrait of Maupassant is also printed in 3 states, 2 of which on China paper.
Contemporary half tawny marbled calf binding with corners signed at the top of the first endpaper Baillot. Spine with 4 raised bands decorated with romantic tools, roulette at foot, fillets. Gilt title. Top edge gilt. Covers and spine preserved. The tissue guards, reduced in size compared to the leaves, have created on the laid paper an occasionally browned border. Apart from this minor flaw, a very fresh copy. Surface wear along the upper joint, the leather being exposed without glaze. 3 small chips on the spine and along the lower joint due to surface wear, the glaze having disappeared in these spots. Perfect freshness of the paper.
Fine copy.

First edition published anonymously and decorated with original illustrations in red chalk by Joseph Roy, one of 25 numbered copies on Japan paper, the only deluxe copies.
Bradel binding in half brown morocco with corners, faded spine with five raised bands set with gilt dots decorated with double gilt compartments richly decorated, date gilt at foot, frame of gilt fillets on pebbled paper boards, combed paper endpapers and pastedowns, covers preserved, light rubbing to corners, binding signed Carayon.
Some light foxing affecting essentially the endpapers.
Rare.
Manuscript signature of the publisher below the edition statement.

First edition, one of 150 numbered copies on Japan paper, deluxe copy.
Half tan shagreen binding with corners, smooth spine faded decorated with gilt cartouche and black typographical motifs, marbled paper boards, marbled endpapers and pastedowns, covers and spine preserved.
Work illustrated with 28 original compositions by Oreste Cortazzo engraved as etchings by Abot and Clapès.
Our copy, like all copies of the deluxe edition, is complete with the double state of the etchings.
Spine and boards slightly and marginally faded.

"Vade mecum" edition illustrated with 55 engravings drawn by Forest.
Full brown Russia morocco binding, spine with four raised bands set with black garlands decorated with gilt double compartments and gilt typographical motifs, gilt date and place at foot, gilt roulettes on headcaps, quintuple gilt fillet frame with gilt fleurons at corners on boards, marbled endpapers and pastedowns, gilt dentelle frame on pastedowns, all edges gilt, double gilt fillets on edges, two corners slightly bumped, covers and spine preserved, superb binding signed Mercier successor to Cuzin.
Fine copy perfectly executed in a full morocco binding by Mercier.

First edition of the French translation by Paul Dousdebès.
Half chocolate brown shagreen binding with corners, smooth spine decorated with gilt fillets and fleurons, gilt date at foot, double gilt fillets framing the pebbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt.
Fine copy complete with its 4 pages of facsimile Japanese ideograms at the end of the volume.
Work illustrated with 32 wood engravings, colored in blue, black and gray, and printed on special Japanese paper containing mica powder.
Signed autograph inscription by Paul Dousdebès.

Illustrated edition with 12 original etchings by Paul-Eugène Mesplès, one of 30 numbered copies on Japon paper, the only deluxe copies after 10 on rose paper.
Full vellum-style paper boards binding, smooth spine decorated with black fillets and gilt compartments decorated with gilt typographical motifs, frame of triple gilt fillets on the covers, endpapers and pastedowns of combed paper, original wrappers preserved, top edge gilt, late 19th century binding.
Our copy includes a duplicate suite on Japon of the etchings.
Covers marginally and lightly soiled, decorative motifs on the spine slightly faded.

First edition, one of 200 numbered copies on Arches paper.
Work illustrated with a portrait of Léon Daudet as frontispiece, 1 tailpiece as well as 14 original hors-texte by Charles Fouqueray reproduced in colors by Fortier-Marotte.
Half burgundy morocco binding with corners, smooth spine decorated with gilt floral motif enhanced with green and beige mosaic morocco pieces forming the petals, light rubbing without significance to headcaps, boards, endpapers and pastedowns of marbled paper, covers preserved, top edge gilt, corners slightly bumped, elegant contemporary mosaic binding signed David.
Copy handsomely bound in a contemporary mosaic binding signed David.

Edition printed in 100 copies on tinted paper and illustrated with a frontispiece as well as 11 title vignettes.
The work is also decorated with initials, head- and tailpieces.
Full red shagreen binding, spine with five raised bands decorated with triple gilt compartments, some light rubbing on the bands and joints, gilt roulettes on the headcaps, triple gilt fillets framing the boards enhanced with interlaced gilt designs, combed paper endpapers and pastedowns, gilt dentelle border on the pastedowns, marbled edges, double gilt fillets on the leading edges, light rubbing on the corners, contemporary binding.

New edition with illustrations by Luigi Rossi and Felician Myrbach, one of 50 copies on Japan paper, deluxe copy.
Half tawny morocco binding with corners, spine with five raised bands set with gilt dots decorated with double gilt compartments enhanced with gilt typographical motifs, gilt date at foot, gilt fillet on pebbled paper boards, combed paper endpapers and pastedowns, top edge gilt retaining deckled edges, covers and spine preserved, contemporary binding signed Kraft.
A description label from an English bookseller pasted on an endpaper, light scratches of no consequence to headcaps, occasional worming.
Provenance: from the Robert Hoe library with his bookplate pasted on a pastedown.

Illustrated edition with 8 original full-page engravings after Pascal Dagnan-Bouveret by Le Rat. 120 numbered copies on vélin satiné, our copy one of 100 nominative.
Beige morocco by Marius Michel, mint green morocco doublures, framed with a gilt floral frieze decorated with inlaid morocco pieces and fillets on the boards, moiré silk endpapers, original wrappers preserved, double gilt fillets on the edges, all edges gilt, case lined with morocco, moiré paper boards, superb binding signed Marius Michel.
Bookseller's ticket label glued on a guard.
Our copy includes a suite of 8 full-page etchings.
A very nice copy superbly set by Marius Michel in doubled morocco.

Edition illustrated with 41 original etchings by Auguste Lepère, including a frontispiece, 20 headpieces, 20 tailpieces as well as 20 historiated initials printed in two colors
The work is printed in 250 numbered copies on vélin du Marais justified by the publisher.
Half chocolate brown morocco binding with corners, spine with five raised bands, gilt date at foot, marbled paper boards, endpapers and pastedowns of pebbled paper, covers and spine preserved, top edge gilt retaining deckled edges, contemporary binding signed by Stroobants.
Some minor foxing affecting mainly the last leaves at head.
Handsome copy perfectly established.

First edition. Limited to 1000 numbered copies on Velin du Marais paper, no. 89. A hand-watercolored frontispiece with gold highlights, 37 superb engravings, most in mezzotint as plates, but some in text (frames, coats of arms...), under inscribed tissue guards. One double-page engraving and two in sepia printing. The plates, superbly executed, are before letters and printed on strong vellum.
Contemporary half pink morocco binding with corners. Spine with raised bands decorated with fillets. Gilt titles. Light spotting on the first compartment, on one corner. Some rare worming.
Very handsome copy.
Famous monograph by Pierre de Nolhac, admirably illustrated.

First edition illustrated with 150 superb hand-painted plates in colors, painted with gouache or watercolored by hand, printed on heavy laid paper.
Publisher's binding with loose leaves. Half olive sheep slipcase and chemise. Gilt title on spine. Gray cardboard covers reproducing the title page. Back cover with advertisement for another book offered by the publisher. Ties. Head of spine of both volumes split at both joints and loose, more so for volume 1. Corner of lower cover of volume 1 missing with part of the border. On the last leaves of volume II, p. 247 to the end, and on the table of contents, clear traces of dampstaining. Only one plate bears the discreet trace of an old dampstain in the lower margin. Overall superb freshness of the paper, notwithstanding some rare worming or pale foxing on a few leaves.
Bookplate of J. Baumgartner.
Each plate is the subject of a descriptive notice. The representation of costumes is particularly extensive, and embraces all of Europe (France, Germany, Italy, England, Switzerland), from forgotten trades (Falconer, pikeman, mace-bearer) to the nobility. One also finds some famous figures such as Isabella d'Este, Francis I. The drawing of the plates is particularly fine and pure and great attention has been paid to the realization of the colors.

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.

ff.: Alphabetical table.

Third edition illustrated with 10 frontispieces and 4 portraits including 2 at the frontispiece of Marie-Louise, Eugène, Joséphine, Murat. The volumes have been bound with their blue covers bearing the eagle title vignette by Johannot. This cover is found lined in white in the volume of L'histoire populaire de la famille Bonaparte which bears no volume number. The genealogy of the Bonaparte family occupies 3 leaves in this volume.
Binding ca 1920 in half green sheep. Smooth spine decorated with 2 mirror tools and a laurel crown. Gilt title. Spines sunned becoming uniformly blonde. Traces of rubbing. Scattered foxing. Good set.
Journalist and historian, Horace Raisson, whose full name was Horace-Napoléon Raisson seemed destined to write this history which declares itself objective and simple. Due to its format and type of edition, it was quite popular.

New edition, illustrated with a full-length portrait frontispiece by Stober and 30 plates for volume 1, 30 for the second volume, 30 for the third, 29 for volume 4 and 2 facsimiles of handwriting; all these plates are contained in an atlas. The four volumes are bound in two volumes. Each plate contains 2 to 12 figures.
Contemporary half burgundy shagreen binding with corners, spine with false raised bands decorated with gilt and blind fillets, marbled paper boards, all edges marbled.
Bindings skillfully restored. Scattered foxing throughout text.

New edition with some parts in first edition printed in 200 numbered copies on Japan paper.
Work illustrated with 11 watercolors hors-texte by Alcide Théophile Robaudi as well as 35 watercolors in-text by Adolphe Giraldon.
Full havana morocco binding, spine with five raised bands decorated with a gilt floral composition climbing the spine executed with pieces of green and brown mosaic morocco, date and place gilt at tail, gilt roulettes on headcaps, work's title composed of pieces of red mosaic morocco set in gold at head of first cover, rich gilt floral composition running the full height of the first cover along its right margin and comprising pieces of red, green and brown mosaic morocco, endpapers and pastedowns of beige moiré silk enhanced with embroidered tricolor floral bouquets, small gilt floral composition in the same taste at foot of second cover, frame on pastedowns of gilt floral friezes enhanced with pieces of red, blue and green mosaic morocco, following endpapers of handmade paper, covers and spine preserved, edges gilt, gilt fillets on leading edges, slipcase with havana morocco entry, pebbled paper boards, superb contemporary mosaic binding signed Ruban and dated 1896.
Our copy is enhanced with an original watercolor signed by Alcide Théophile Robaudi on an endpaper representing a woman.
Very handsome copy magnificently executed.

First collected edition. The first 22 volumes are dated 1869, the last two (Miscellaneous Essays) were published in 1886, and it is very rare to find them together. Abundant illustration with plates (approximately 250 engravings) and text illustrations (1500 wood engravings) by the author, Doyle, Walker, Du Maurier and others. The novels contain a frontispiece and an engraved title. Some volumes still have conjugate leaves.
Publisher's full green cloth binding, gilt. Smooth spine elaborately gilt in compartments. Boards stamped in blind with decorative plate and central gilt monogram of WPT. One small split to headcap of volume 2 of The Newcomes, 2 to the Burlesques volume, otherwise headcaps sunken but superb set. Paper very clean with some foxing to endpapers and first leaves. Exceptionally fine preservation.
Armorial bookplate of the XIXth Baron de Bellet
Contents of the edition: VANITY FAIR vols. I-II; THE HISTORY OF PENDENNIS vols. I-II; THE NEWCOMES vols. I-II; THE HISTORY OF HENRY ESMOND; THE VIRGINIANS vols. I-II; THE ADVENTURES OF PHILIP vols. I-II; THE PARIS SKETCH BOOK and THE YELLOWPLUSH PAPERS; THE MEMOIRS OF BARRY LYNDON and THE HISTORY OF SAMUEL TITMARSH AND THE GREAT HOGGARTY DIAMOND; THE IRISH SKETCH BOOK and NOTES OF A JOURNEY FROM CORNHILL TO GRAND CAIRO; THE BOOK OF SNOBS and SKETCHES AND TRAVELS IN LONDON; BURLESQUES; THE CHRISTMAS BOOKS OF MR. M.A. TITMARSH; BALLADS AND TALES; THE FOUR GEORGEES and THE ENGLISH HUMOURISTS; ROUNDABOUT PAPERS and THE SECOND FUNERAL OF NAPOLEON; DENNIS DUVAL and LOVEL THE WIDOWER; CATHERINE, LITTLE TRAVELS, and THE FITZBOODLE PAPERS; MISCELLANEOUS ESSAYS, SKETCHES AND REVIEWS; and CONTRIBUTIONS TO "PUNCH.

First edition, illustrated with numerous engraved plates of salons, furniture and paintings, on heavy paper. Portrait of Rembrandt in double state.
Armorial copy, possibly from the Amaudric du Chaffaut or Bouffard de l'Espinay family. Purpure a dove holding a golden branch, in chief three silver leaves on gold, the whole surmounted by a count's coronet and flanked by two unicorns, with the motto Fidelitas.
Contemporary full camel morocco binding signed on the pastedown L. Petit. Raised-band spine decorated with blind-tooled compartments, arms at foot. Brown morocco title-label. Double blind fillet frame on covers, large arms stamped at centers. Wide and rich inner dentelle. All edges gilt. At top of upper cover, strip slightly lighter.
Baron Léopold Double's collection was sold from May 30 to June 4, 1881, on rue Louis Le Grand. It was one of the most celebrated of its time for its quality and scope, and constituted the first great collection of decorative arts, objects or furniture of prestigious provenance (particularly Marie-Antoinette who was a true obsession for the collector). Lucien Double, the Baron's son, gave in this work a glimpse of his father's magnificent collections which included at least a dozen salons of various periods, all furnished in the diverse styles of the time, including an eighteenth-century salon that had no equal except the salon des Singes, attributed to Watteau, at Chantilly. These salons were reconstituted during the sale and the author gives a precise description of them. Alongside the description of paintings, objects or furniture, the gray pencil price of the adjudication, also under each of the plates, with the sale number. The sale brought in 2,600,000 Francs, as attested by a slip of paper pasted before the title page.

First editions of these 4 volumes abundantly illustrated with 484 color engravings in the text and numerous black and white ones, being 121 per volume. The editions of each volume appeared from 1888 to 1891.
Publisher's special bindings, grey for the first volume, green for the following 3. Smooth spine decorated with ornate compartments. Color composition on the first cover, different for each volume. All edges gilt. Signs of rubbing at head and corners. One tiny cut on a headcap. Fresh paper, free from foxing.
Superb copies.
Vol.1, Niederbronn, Wissembourg, Froeschwiller, Châlons, Reims, Buzancy, Beaumont, Mouzon, Bazeille, Sedan. 956 pages. Vol.2, Sarrebrück, Spickeren, La retraite sur Metz, Pont-à-Mousson, Borny. 956 pages. Vol.3, Gravelotte, Rézonville, Vionville, Mars-la-Tour, Saint-Marcel, Flavigny, Les lignes d'Amanvillers, Saint-Privat, Sainte-Marie-aux-Chênes, Montigny-la-Grange, Moscou, Saint-Hubert, Le Point du Jour. 978 pages. Vol.4, L'Investissement de Metz, La journée des dupes, Servigny, Noisseville, Flanville, Nouilly, Coincy, Le Blocus de Metz, Peltre, Mercy-le Haut, Ladonchamps, La Capitulation. Beyond the illustration, the obvious interest of this collection is to present the history of the war from both the German and French perspective.

First edition of this tale. 15 comic tales were published in this series bringing together the writer Tanezaku and the painter Utagawa Toyokuni Kunisada. One color illustration on double page and embossed paper, 2 on double page in grey and black wash, 15 in black and white on double page, 2 single page.
Japanese accordion binding. Sky blue cover with wheel and flower motifs. Title label. 1cm wormhole affecting the last 10 leaves. Soiling to left corner corresponding to the thumb that handled the leaves across several pages.
Very fine illustration by one of the masters of printmaking, Kunisada.

The Thousand and Second Night, illustrated with 9 plates by Lalauze. Copy on Arches vellum numbered 312 by hand. Limited edition of 500 copies. Title page in red and black. Curiously, this copy, although justified as simple Arches vellum, is actually on Grand Arches vellum.
Jean and Jeanette, illustrated with 24 compositions by Lalauze. Copy on Arches numbered 331 by hand. Limited edition of 500 copies. Title page in red and black.
Uniform bindings for these 2 works in half morocco with tender green corners. Spine with raised bands decorated in compartments. Titles and dates gilt. Ruled fillets on boards. Top edges gilt. Wrappers and spine preserved (not the spine for The Thousand and Second Night). Spines uniformly faded. Light traces of rubbing, particularly to corners. Paper perfectly fresh, with some offsetting from the engravings in Jean and Jeanette. Full-margined copies, uncut.
Handsome copies.

Edition consisting of a facsimile reproduction of the Jehan Dupré edition printed in the 15th century (1493), one of 250 numbered copies on laid paper, the only print run with 80 other deluxe copies (20 on extra-strong laid paper, 10 on Rose paper and 50 on China paper).
Publisher's full cardboard binding in imitation vellum in the manner of medieval bindings, smooth spine, first cover illustrated with a reproduction of a woodcut, one lower corner slightly bumped.
Work illustrated with reproductions of woodcuts and engraved initials.
Three margin restorations to three leaves using adhesive pieces, stains and two blue ballpoint pen reading marks in margins of one leaf.
Rare and handsome facsimile beautifully illustrated with woodcuts and engraved initials in the manner of incunabula from the end of the 15th century.

First edition illustrated with an unpublished portrait in chromolithography, 14 frames on tinted frieze, ornaments and tailpieces extracted from a 15th-century manuscript, and 14 beautiful original compositions printed in monochrome by Claudius Ciappori-Puche.
Deluxe publisher's binding in full brown shagreen gilt and polychrome signed at foot by Legros and Pelletier. Spine with raised bands decorated with special tools. Large ornamental panel on boards, with at the center of the upper board a shield on blue ground, same on the lower board with the initials JD within a decorative medallion. Foot headcap slightly worn in part. Gilt roll on leading edges and rich interior frieze. Edges gilt. Leather of lower joint at foot with slight crack. Some pale scattered foxing.
Rich binding inspired by the 15th century.
Biography of Joan of Arc examined from the perspective of her divine mission.

First edition.
Half red sheep binding, spine decorated with triple gilt fillets showing some scratches, marbled paper boards, marbled endpapers and pastedowns, speckled edges with some small tears, contemporary binding.
Handsome interior condition despite a tear on the illustrated front page of No. 24 from December 9, 1899.
Le Journal amusant was a French weekly publication created by Charles Philipon on January 5, 1856 in 8 grand-folio pages and disappeared perhaps in December 1933, representing 86 years of publication. The journal consisted three-quarters of illustrations focusing on social satire then comedy of manners with an increasing place given to theater and fashion. In the 1860s, the editor-in-chief was Nadar.
Numerous illustrations by Charles Léandre, Henriot, Ferdinand Bac, Luc, H. Gerbault, Noël Dorville, Charles Huard, Albert Guillaume, Crafty, Mars, Lourdey, Stop, Lourdey, d'Aurian...
Most issues include a large black comic strip plate by Benjamin Rabier, approximately 30 plates in total.

First edition illustrated with 36 hand-painted color plates with gold highlights
Half black morocco binding with long grain from the late 19th century. Spine with raised bands richly decorated with 3 stamps and Restoration-style ornaments. One corner rubbed. Paper uncut.
Very handsome copy, fresh
Henry Houssaye bookplate.
Remarkable illustration of theatrical costumes. At the head of the work are placed full-length portraits of the "greatest poet and greatest actor of the era," Voltaire and Lekain, shown rehearsing a scene from Mahomet. All illustrations are by Foech. "Engraved after gouaches of the smallest proportion, they are nonetheless of the most singular resemblance. Wirsker, author of these gouaches, reproduced with the most spirited exactitude the physiognomy, bearing, and character of his originals, in the roles where they excelled, and in the situations where they excited the most enthusiasm. My engravings are a faithful copy." Letter from Foech.

Charles Baudelaire. Sa vie et son œuvre First edition on thick paper, of the first biography devoted to Charles Baudelaire, who had died two years prior.
Half navy morocco over marbled paper boards Bradel binding by Alfred Farez, the spine slightly faded, marbled endpapers and pastedowns, covers and spine preserved.
This copy complete with the 5 etching portraits of Charles Baudelaire by Edouard Manet, Gustave Courbet, Emile Deroy and Charles Baudelaire himself. Edouard Manet engraved the two of his, Félix Bracquemond the three others.

Autograph inscription signed by Charles Asselineau to the publisher and bibliophile Léon Techener.

Very rare and sought-after first edition, according to Clouzot, printed in only 300 copies.

Half red morocco binding with corners, smooth spine decorated with gilt romantic arabesques, gilt date at foot, gilt fillet frame on marbled paper boards, pebbled paper endpapers and pastedowns, original wrappers preserved and lined, elegant pastiche romantic binding signed by Devauchelle.

Fine copy of one of the rarest "Romantics", complete with the frontispiece on China paper, drawn and engraved by Célestin Nanteuil.

First edition illustrated with a frontispiece and 24 etchings on chine collé by Félicien Rops and Emile Thérond (the frontispiece and 18 of the vignettes are indeed by Rops).
Contemporary half brown shagreen binding. Spine with raised bands decorated with fillets. Some rubbing. 2 corners slightly bumped.
One of Auguste Poulet-Malassis's first productions in Brussels, the F. Rops frontispiece is a heliogravure reworked with etching and drypoint.
Monograph of all Parisian balls, a fashion particularly followed by all social classes at the time.

First edition illustrated with 10 color plates under tissue guards and 175 monochrome engravings in black in the text, engraved by M. Raymond and MM. Ducourtioux and Huillard, depicting military costumes from the Gauls to the Second Empire.
Publisher's binding, full straight-grained green Empire morocco boards of the period. Special gilt plate on spine and upper cover, red percaline banner for the title. Publisher's blind stamp on rear cover. Light rubbing to headcap and corners. Half-title with marginal tear of 1.5cm. A slight nick at foot. Perfect paper freshness. Some leaves slightly protruding, otherwise a very handsome copy in the publisher's deluxe binding.

First edition illustrated with 19 photogravure plates on Arches paper, and numerous in-text vignettes also in photogravure. Printed on strong glazed laid paper. Some music plates.
Publisher's full navy long-grain morocco binding. Ornamental title on spine and upper cover, special tools. Gilt edges. Sort of non-woven wallpaper on covers evoking fabric. Paper in perfect freshness. Light traces of rubbing. Spine darkened.
Superb deluxe publisher's binding of this abundantly illustrated monograph on dance. The work forms one of the best references on the history of dance.

New edition and first illustrated. Copy on chine paper, finest paper with duplicate suites, expanded with an original watercolor. The first edition, published in 1893, was subtitled: Epic poem in twenty tales. The work is illustrated with 61 compositions engraved on wood after François Thévenot: 8 captioned plates. 20 headpieces. 32 text illustrations. 1 cover illustration. Limited to 351 numbered copies. This is one of 25 (no. 21) on chine containing a separate printing on chine and a separate printing on japan pelure mounted on chine. Copy expanded with an original watercolor signed F. Thévenot and two prospectuses for the work, one on chine and the other on vellum.
Binding in full green straight-grained morocco signed at bottom of front pastedown Noulhac (1902), wide frame composed of fillets, compartments, vegetal ornaments and imperial symbols (eagle and bee), raised spine decorated, author's name, title, place of publication and date gilt, double fillet on headcaps and leading edges, decorative gilt board-edges composed of fillets, vegetal ornaments and imperial symbols (eagle and bee), doublure and endpapers of moiré silk and marbled paper, edges gilt retaining deckled edges, original wrappers preserved.
Light rubbing to corners without consequence; some foxing, sometimes heavy at beginning of volume on certain leaves.
Magnificent copy, bound in exceptional leather.
Inspired by the Napoleonic era, the texts in this collection are largely scenes of military life.

First edition in French.
Publisher's full blue cloth binding, spine decorated with compartments and blind fillets, blind fillet border on boards, yellow paper endpapers and pastedowns, small discoloration spots on spine and boards.
Scattered foxing.
Work illustrated with 238 figures in the text.

First deluxe edition of this translation of the Vulgate by Abbé Glaire, whose first edition appeared in 1861. Printed on white satin laid paper. Very rich iconography with 56 hors-texte engravings after paintings by the old masters in rich Renaissance frames, all text pages in frames inspired by books of hours or from the 16th or 17th century. Careful layout, typical of fine works printed by Firmin Didot at this period.
Publisher's full red morocco binding of the period in large grain. Raised band spine decorated with gilt compartments and blind fillets. Wide gilt frame with interlaced fillets forming decorative motifs in the corners on the covers, blind heavy fillets, series of gilt fillets. Rich interior border. Gilt edges. Fir green moiré silk endpapers. Superb copy, particularly fresh and free from foxing. Deluxe version of this publisher's binding which was also produced in half shagreen.
Translator's preface, numerous notes. Esteemed translation. Abbé Glaire began by following oriental language courses under the direction of Sylvestre de Sacy, he himself taught Hebrew. He does not seek stylistic elegance, but literal rigor. His translation is still published today.

First edition illustrated by Tony Johannot, second part of the story of Jérôme Patureau, the first being: Jérôme Patureau à la recherche d'une position sociale, illustrated by Grandville. 30 plates outside the text and 200 wood-engraved vignettes in the text.
Half old-red straight-grained morocco binding, near-contemporary, signed on the first marbled endpaper by Prosper Charon. Spine with flat false raised bands decorated with ornate compartments with black framing around the compartments and emphasizing the bands. Elegant binding. Rubbing to boards, edges and corners. Scattered foxing, mainly in the margins, on good white paper.
Rare illustrated covers preserved. The frontispiece has been placed before the front cover.
Handsome copy.

First edition, one of 100 copies numbered and justified on Holland paper by the publisher, deluxe copy.
Fine copy despite small marginal worming on first endpaper.
Work illustrated with a color frontispiece, a facsimile letter as well as 7 plates of which 3 in color, historiated bandeaux and initials, reproducing drawings by Detaille, Berne-Bellecour, Baugnies, etc...

First edition and first printing of the illustrations.
Publisher's full olive green cloth binding, smooth unlettered spine, front board decorated with an equestrian scene, blue paper endpapers and pastedowns, red edges.
Illustrations in text and full-page in black and color by Crafty.
Very occasional foxing.
Handsome copy despite the top headcap very slightly rubbed without any significance and a small nick at the foot of the front board.
We include the dust jacket of the work in poor condition.

First edition never put into commerce, intended for members of the royal family and state dignitaries. It is printed on strong vellum, the only issue with 6 on China paper. Work illustrated with 200 vignettes in the text and 40 out-of-text figures engraved on wood, printed before letters on applied China paper, by Raffet, Decamps, Dauzat. Our copy is complete with its folding map at the end (Route de Philippeville à Alger). Fine work very well printed, with high quality engravings.
Publisher's Bradel binding covered with chamois paper, chamois slipcase (probably later). Smooth spine with beige calf title label. Spine slightly darkened with damage to the title label and at two places on the spine. Rubbing at foot revealing the white underneath. Some occasional foxing, notably to tissue guards, on perfectly white paper. The captions for the plates are found at the bottom of the tissue guards.
Book recounting the Duke of Orléans' expedition to Algeria in 1839. It was written by the writer Charles Nodier, based on notes taken by the young prince. Major account of the conquest of Algeria.
Handsome copy, full-margined, in its original boards.

Edition illustrated with drawings by the author both in and outside the text.
Publisher's binding in half bottle-green shagreen, spine with four fine raised bands decorated with double gilt compartments, binder's name gilt at tail, frame of blind fillets on bottle-green paper boards, endpapers and pastedowns of white watered silk with some minor foxing, all edges gilt.
Some foxing.

New edition with some parts in first edition as revised and completed by Jules Janin for the text and expanded with numerous tailpieces and headpieces by Grandville for the illustration. A bibliography of books illustrated by Grandville/
Later half red sheep binding (ca 1920), Jansenist spine with raised bands, small traces of rubbing on the slightly faded spine. Set of beautiful freshness, but some pale browning in the margins at the beginning of the work. The preserved cover restored with a strip of paper to be restored. Inversion of leaves at the beginning of the work, leaf 3 appearing before leaf 1.
Handsome copy.
Work illustrated with a frontispiece and 70 hand-colored plates outside the text as well as numerous tailpieces and headpieces. This work had previously appeared in black and white.
Text by Louis Lurine, Charles Monselet, Albéric Second, Louis Huart...
A notice by Charles Blanc on Grandville.

New edition. The era of bindings "with pasted portrait" with the "lighthouse" spine began in 1892 and ended in 1895. 95 illustrations including one full-page map, most by Meyer.
Publisher's binding known as "With printed portrait". Plate signed Souze. Rear board of Lenègre type. Edges gilt.
Very fine first plate, with sharp gilt. Corners slightly rubbed. Spine somewhat faded. Headcaps sunken. Rear board good but with some soiling, and the cloth along the lower joint narrowly split for 5cm. Paper fresh and bright, free from foxing. Volume solid and tight throughout. Fine copy overall.
Adventure novel devoted to the question of slavery, and more particularly the slave trade by Africans themselves. This is one of Verne's finest stories, one where the narration is most accomplished.