Budget-Friendly Gifts

Pléiade library edition printed on India paper.
Publisher's full brown grained sheep binding, orange top edge, smooth spine decorated with gilt fillets.
Handsome copy complete with its dust jacket and glassine but lacking its flexible slipcase.

Pléiade library edition printed on Bible paper.
Publisher's binding in full brown grained sheepskin, orange top edge, smooth spine decorated with gilt fillets.
Handsome copy complete with its cellophane wrapper, dust jacket and soft slipcase.

First edition, one of 144 numbered copies on laid paper, the only issue after 12 Japan.
Half red morocco binding with corners, spine with four raised bands, marbled paper boards, endpapers and pastedowns, covers and spine preserved, top edge gilt, binding signed Lucie Weill.
A handsomely bound copy.
Foxing affecting mainly the edges.
Frontispiece, work illustrated by Don with a portrait of Tristan Bernard.
Autograph inscription signed by Tristan Bernard to his friend Carlo Rim: "A Carlo Rim je dédie ces purs accents d'une âme poétique." ["To Carlo Rim I dedicate these pure accents of a poetic soul."]
We include an invitation card from Jacques Duhamel, Minister of Cultural Affairs, for the erection of the bust of Tristan Bernard on Place Tristan Bernard aux Ternes in Paris on Thursday May 18, 1972 at 11 a.m.
We include a press article by Carlo Rim about this cultural event.
During the Occupation, Tristan Bernard took refuge in Cannes and resided at the Windsor Hotel while his friend Carlo Rim offered him in vain to stay at his home so that he would be safe from denunciation or arrest; to which Tristan Bernard, never short of witticisms, replied: « À mon âge, on ne découche plus ! » ["At my age, one no longer sleeps away from home!"] adding: « Savez-vous que je figure dans le Petit Larousse ? On n'arrête pas quelqu'un qui figure dans le Petit Larousse » ["Do you know that I appear in the Petit Larousse? One doesn't arrest someone who appears in the Petit Larousse"]
He was nevertheless arrested in September 1943 as a Jew and interned with his wife at Drancy then released following intervention by Sacha Guitry and Arletty the following month.
His grandson François-René was also arrested as a resistance fighter and deported to Mauthausen where he died.
Provenance: from the library of the Provençal writer, caricaturist and filmmaker Carlo Rim who was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of André Salmon and Max Jacob.

The first edition, of which there were no deluxe copies.
Handsome copy, pencil reading marks in margins of some leaves.
Autograph inscription signed by Eduardo Manet to Jacques Duchâteau.

First edition, on ordinary paper, of the French translation by Albert Savine.
Printed stamp at head of an endpaper.
Handsome copy.

First edition of the French translation and presentation established by Marguerite Yourcenar.
Fine copy.
Publisher's binding in full boards.
Rich iconography.

The first edition, of which there were no deluxe copies.
Handsome copy.
Fine autograph inscription signed by Jacques Séguéla to a friend named Pierre.

First edition, of which there were no deluxe copies.
Rare autograph inscription dated and signed by Tonino Benacquista to Jean David: "... ce contrat passé..."

Second edition, published two months after the first edition.
Rear cover slightly soiled.
Autograph inscription signed by Erik Orsenna to Laurent Courquin: "... où l'on apprend tout mais tout sur les femmes" ["... where one learns everything, but everything about women"] enriched with a drawing depicting the author's smiling face.

The first edition in paperback format, for which no deluxe copies were printed.
Fore edges slightly soiled at head and foot.
Precious autograph inscription signed by Raymond Barre to the influential politician Marie-France Garaud, whom Raymond Barre misspelled as Garraud.

New edition, one of 2200 numbered copies on laid paper, the only deluxe copies after 16 on pure linen.
Publisher's binding after the original design by Mario Prassinos.
Light traces of sunning without consequence at head and foot of spine, bookplate pasted on one pastedown, endpapers darkened as usual.
Handsome copy.

Autograph letter signed by Jean Anouilh addressed to the Provençal writer, caricaturist and filmmaker Carlo Rim who was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of André Salmon and Max Jacob (22 lines in blue ink).
"Dear Carlo Rim,
I am leaving Paris without having managed to telephone you. I am going to ask you a small thing that would give me great pleasure. I have an old friend, daughter of an even older friend Odette Talazac whom you knew. Georgette Talazac who is the ex-wife of Jonatte from the Opera is in trouble. She is stout, comical, shrewd (45 years old). I help her get extra work when I can (she can speak but prefers to appear several times without speaking rather than say one line and disappear...) Try to give her extra work with you, you would oblige me greatly. Thank you in advance. Yours sympathetically while awaiting another legion of men that will succeed for us! Jean Anouilh. Georgette Talazac 13 bd Malsherbes (sic) Paris."

New edition.
Handsome copy.
Autograph inscription dated and signed by Joseph Joffo to a man named Antoine on an endpaper: "Pour Antoine témoignage de mes rêves d'adolescent et l'amitié en prime" ["For Antoine, testimony of my adolescent dreams and friendship as a bonus"] accompanied by a drawing of a flower.

Edition with most parts in first edition, one of 1040 numbered copies on alfama paper, the only deluxe copies after 50 on pure linen paper.
Publisher's binding executed after the original design by Paul Bonet.
Fine copy despite the spine being slightly sunned as usual.

Definitive edition from the Bibliothèque de La Pléiade printed on Bible paper.
Publisher's bindings in full brown grained sheep, orange top edges, smooth spines decorated with gilt fillets.
Fine complete set with its protective jackets, dust jackets and its fawn felt-covered slipcase.

First edition.
Publisher's full brown grained sheep binding, orange top edge, smooth spine decorated with gilt fillets.
Rich iconography.
Fine copy complete with its acetate wrapper and soft slipcase.

First edition.
Publisher's full brown grained sheep binding, orange top edge, smooth spine decorated with gilt fillets.
Rich iconography.
Fine copy complete with its glassine wrapper and slipcase.

Bibliothèque de La Pléiade edition printed on Bible paper.
Publisher's binding in full red grained sheep, blue top edge, smooth spine decorated with gilt fillets.
The protective jacket has two tiny tears at the head of the spine and is sunned at the board margins.
Copy complete with its protective jacket and dust jacket, the slipcase is lacking.

First edition.
Publisher's binding in full brown grained sheep, orange top edge, smooth spine decorated with gilt fillets.
Rich iconography.
Fine copy complete with its protective jacket and slipcase.

First edition.
Rich iconography.
Handsome copy complete with its protective sleeve and slipcase.

First edition.
Publisher's full brown grained sheep binding, smooth spine decorated with gilt fillets.
Rich iconography.
Fine copy complete with its cellophane wrapper and slipcase.

The first edition, of which there were no deluxe copies.
Photographic cover.
Handsome copy.

Bibliothèque de La Pléiade edition printed on India paper.
Publisher's full grey grained sheep binding, mauve top edge, smooth spine decorated with gilt fillets.
Handsome copy complete with its glassine wrapper and dust jacket; the soft slipcase is missing.

First edition published in the Bibliothèque de La Pléiade series.
Publisher's binding in full brown grained sheep, smooth spine decorated with gilt fillets, handsome copy complete with its glassine wrapper as well as its slipcase.
Iconography.

First edition for which no deluxe copies were printed.
Work illustrated with numerous drawings by Bernar, Cabu, Charb, Fournier, Gébé, Honoré, Jul, Kamagurka, Lefred-Thouron, Luz, Reiser, Riss, Siné, Tignous, Willem and Wolinski.
Autograph inscription signed by François Cavanna to a man named Julien: "Julien ! Tu n'étais pas né ! Il s'est en passé, des choses. Tous est là-dedans, tout ! A toi Julien. Cavanna." ["Julien! You weren't born yet! So many things have happened. Everything is in here, everything! Yours, Julien. Cavanna."]

Pléiade library edition printed on Bible paper.
Publisher's binding in full green grained sheep, blue top edge, smooth spine decorated with gilt fillets, complete with its glassine wrapper.
Handsome copy complete with its glassine wrapper and slipcase.

Bibliothèque de La Pléiade edition printed on Bible paper.
Publisher's binding in full brown grained sheep, orange top edge, smooth spine decorated with gilt fillets.
Handsome copy complete with its cellophane wrapper, lacking slipcase.

Bibliothèque de La Pléiade edition printed on Bible paper.
Publisher's binding in full green grained sheepskin, orange top edge, smooth spine decorated with gilt fillets.
Handsome copy complete with its glassine wrapper and dust jacket.

First edition.
Publisher's binding in full brown grained sheep, orange top edge, smooth spine decorated with gilt fillets.
Rich iconography.
Handsome copy complete with its cellophane wrapper.

First edition in French, one of 86 numbered copies on pur fil paper, the only deluxe copies.
Two small traces of sunning at head and foot of spine as usual.

First edition in French, one of 66 numbered copies on pure laid paper, the only deluxe copies.
Two small traces of sunning at head and foot of spine as usual.

First edition with all the features of the first printing and for which no deluxe copies were issued.
Publisher's full dark blue cardboard binding, smooth spine, price of 13 cents 6 dollars at the foot of the inner flap of the front cover of the dust jacket.
Handsome copy complete with its dust jacket illustrated by Jerzy Faczynski which has three small tears and whose spine is slightly faded.

The first edition, of which there were no deluxe copies.
Publisher's full blue cloth binding, smooth spine.
Fine copy with the illustrated dust jacket by Sheila Perry in perfect condition

Original wood engraving signed on the plate by the artist and engraver. Composition created by Gustave Doré and engraved by François Pannemaker on chine collé mounted on Holland laid paper commissioned by publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
A light marginal dampstain, not affecting the design.
These illustrations for the Contes are considered the most successful of this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the tableau to the smallest details that generate terrifying realism thanks to the technique known as "tinted wood." He uses India ink or gouache, previously diluted as required by the "wash" technique. For Perrault's tales, the eleven best engravers of the period were enlisted to engrave with burin the forty wood plates: Pannemaker, Pisan, Pierdon, Maurand, Boetzel, Brevière, Hébert, Deschamps, Dumont, Delduc and Fagnon. Gustave Doré's work in illustrating the Contes is paramount; he does not reduce engraving to its ornamental function but transforms it into a true object of narration. These illustrations are Doré's most famous works and immediately received enthusiastic reviews, notably that of Sainte-Beuve in Les Nouveaux lundis (December 23, 1861): "Un Perrault comme il n'y en eut jamais jusqu'ici et comme il ne s'en verra plus. (...) Je ne puis que dire que ces dessins me semblent fort beaux, d'un tour riche et opulent, qu'ils ont un caractère grandiose qui renouvelle l'aspect de ces humbles contes et leur rend de leur premier merveilleux antérieur à Perrault même." ["A Perrault like there never was before and like there will never be again. (...) I can only say that these drawings seem very beautiful to me, of a rich and opulent manner, that they have a grandiose character which renews the aspect of these humble tales and restores to them their original marvel that preceded Perrault himself."]

Original wood engraving signed on the plate by the artist and engraver. Composition created by Gustave Doré and engraved by François Pannemaker on chine collé mounted on Holland laid paper commissioned by publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
A light marginal dampstain, not affecting the design.
These illustrations for the Contes are considered the most successful of this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the tableau to the smallest details that generate terrifying realism thanks to the technique known as "tinted wood." He uses India ink or gouache, previously diluted as required by the "wash" technique. For Perrault's tales, the eleven best engravers of the period were enlisted to engrave with burin the forty wood plates: Pannemaker, Pisan, Pierdon, Maurand, Boetzel, Brevière, Hébert, Deschamps, Dumont, Delduc and Fagnon. Gustave Doré's work in illustrating the Contes is paramount; he does not reduce engraving to its ornamental function but transforms it into a true object of narration. These illustrations are Doré's most famous works and immediately received enthusiastic reviews, notably that of Sainte-Beuve in Les Nouveaux lundis (December 23, 1861): "Un Perrault comme il n'y en eut jamais jusqu'ici et comme il ne s'en verra plus. (...) Je ne puis que dire que ces dessins me semblent fort beaux, d'un tour riche et opulent, qu'ils ont un caractère grandiose qui renouvelle l'aspect de ces humbles contes et leur rend de leur premier merveilleux antérieur à Perrault même." ["A Perrault like there never was before and like there will never be again. (...) I can only say that these drawings seem very beautiful to me, of a rich and opulent manner, that they have a grandiose character which renews the aspect of these humble tales and restores to them their original marvel that preceded Perrault himself."]

Original wood engraving on end-grain wood signed in the plate by the artist and engraver. Composition created by Gustave Doré and engraved on China paper and mounted on Holland laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
A pale marginal dampstain, not touching the image, as well as a discreet black spot in the center of the engraving.
These illustrations of the Contes are considered the most successful of this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the tableau to the smallest details that generate terrifying realism through the technique known as "tinted wood". He uses India ink or gouache, previously diluted as required by the "wash" technique. For Perrault's tales, the eleven finest engravers of the period were enlisted to engrave with burin the forty wood blocks: Pannemaker, Pisan, Pierdon, Maurand, Boetzel, Brevière, Hébert, Deschamps, Dumont, Delduc and Fagnon. Gustave Doré's work in the context of illustrating the Contes is paramount; he does not reduce engraving to its ornamental function but transforms it into a true object of narration. These illustrations are Doré's most famous works and immediately received enthusiastic reviews, notably that of Sainte-Beuve in Les Nouveaux lundis (23 December 1861): "Un Perrault comme il n'y en eut jamais jusqu'ici et comme il ne s'en verra plus. (...) Je ne puis que dire que ces dessins me semblent fort beaux, d'un tour riche et opulent, qu'ils ont un caractère grandiose qui renouvelle l'aspect de ces humbles contes et leur rend de leur premier merveilleux antérieur à Perrault même." ["A Perrault such as there never was until now and such as there will never be again. (...) I can only say that these drawings seem very beautiful to me, of a rich and opulent turn, that they have a grandiose character that renews the aspect of these humble tales and restores to them their original wonder that predates Perrault himself."]

Original wood engraving on end-grain wood signed in the plate by the artist and engraver. Composition created by Gustave Doré and engraved by Charles Maurand on China paper and mounted on Holland laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
A pale marginal dampstain, not touching the image.
These illustrations of the Contes are considered the most successful of this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the tableau to the smallest details that generate terrifying realism through the technique known as "tinted wood". He uses India ink or gouache, previously diluted as required by the "wash" technique. For Perrault's tales, the eleven finest engravers of the period were enlisted to engrave with burin the forty wood blocks: Pannemaker, Pisan, Pierdon, Maurand, Boetzel, Brevière, Hébert, Deschamps, Dumont, Delduc and Fagnon. Gustave Doré's work in the context of illustrating the Contes is paramount; he does not reduce engraving to its ornamental function but transforms it into a true object of narration. These illustrations are Doré's most famous works and immediately received enthusiastic reviews, notably that of Sainte-Beuve in Les Nouveaux lundis (23 December 1861): "Un Perrault comme il n'y en eut jamais jusqu'ici et comme il ne s'en verra plus. (...) Je ne puis que dire que ces dessins me semblent fort beaux, d'un tour riche et opulent, qu'ils ont un caractère grandiose qui renouvelle l'aspect de ces humbles contes et leur rend de leur premier merveilleux antérieur à Perrault même." ["A Perrault such as there never was until now and such as there will never be again. (...) I can only say that these drawings seem very beautiful to me, of a rich and opulent turn, that they have a grandiose character that renews the aspect of these humble tales and restores to them their original wonder that predates Perrault himself."]

Original wood engraving signed on the plate by the artist and engraver. Composition created by Gustave Doré and engraved by François Pierdon on China paper and mounted on Dutch laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
A pale marginal dampstain, not touching the image, as well as some worming in the margin.
These illustrations for the Contes are considered the most successful for this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the tableau to the smallest details that generate terrifying realism through the technique known as "tinted wood." He uses India ink or gouache, previously diluted as required by the "wash" technique. For Perrault's tales, the eleven best engravers of the period were enlisted to engrave with burin the forty wooden plates: Pannemaker, Pisan, Pierdon, Maurand, Boetzel, Brevière, Hébert, Deschamps, Dumont, Delduc and Fagnon. Gustave Doré's work in illustrating the Contes is essential; he does not reduce engraving to its ornamental function but transforms it into a true object of narration. These illustrations are Doré's most famous works and immediately received enthusiastic reviews, notably that of Sainte-Beuve in Les Nouveaux lundis (December 23, 1861): "Un Perrault comme il n'y en eut jamais jusqu'ici et comme il ne s'en verra plus. (...) Je ne puis que dire que ces dessins me semblent fort beaux, d'un tour riche et opulent, qu'ils ont un caractère grandiose qui renouvelle l'aspect de ces humbles contes et leur rend de leur premier merveilleux antérieur à Perrault même." ["A Perrault like there never was before and as there will never be again. (...) I can only say that these drawings seem very beautiful to me, of a rich and opulent style, that they have a grandiose character that renews the aspect of these humble tales and restores to them their original wonder that preceded even Perrault."]

Original wood engraving signed on the plate by the artist and engraver. Composition created by Gustave Doré and engraved by Héliodore Pisan on China paper and mounted on Dutch laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
A pale marginal dampstain, not touching the image, as well as a small tear without loss and not affecting the engraving at the bottom and wormhole in the lower margin.
These illustrations for the Contes are considered the most successful for this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the tableau to the smallest details that generate terrifying realism through the technique known as "tinted wood." He uses India ink or gouache, previously diluted as required by the "wash" technique. For Perrault's tales, the eleven best engravers of the period were enlisted to engrave with burin the forty wooden plates: Pannemaker, Pisan, Pierdon, Maurand, Boetzel, Brevière, Hébert, Deschamps, Dumont, Delduc and Fagnon. Gustave Doré's work in illustrating the Contes is essential; he does not reduce engraving to its ornamental function but transforms it into a true object of narration. These illustrations are Doré's most famous works and immediately received enthusiastic reviews, notably that of Sainte-Beuve in Les Nouveaux lundis (December 23, 1861): "Un Perrault comme il n'y en eut jamais jusqu'ici et comme il ne s'en verra plus. (...) Je ne puis que dire que ces dessins me semblent fort beaux, d'un tour riche et opulent, qu'ils ont un caractère grandiose qui renouvelle l'aspect de ces humbles contes et leur rend de leur premier merveilleux antérieur à Perrault même." ["A Perrault like there never was before and as there will never be again. (...) I can only say that these drawings seem very beautiful to me, of a rich and opulent style, that they have a grandiose character that renews the aspect of these humble tales and restores to them their original wonder that preceded even Perrault."]

Original wood engraving signed on the plate by the artist and engraver. Composition by Gustave Doré and engraved by Hélène Boetzel on China paper and mounted on Dutch laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
A pale marginal dampstain, not touching the image.
These illustrations of the Contes are considered the most successful of this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the tableau to the smallest details that generate a terrifying realism through the technique known as "tinted wood." He uses India ink or gouache, previously diluted as required by the "wash" technique. For Perrault's tales, the eleven finest engravers of the period were enlisted to engrave with burin the forty wooden plates: Pannemaker, Pisan, Pierdon, Maurand, Boetzel, Brevière, Hébert, Deschamps, Dumont, Delduc and Fagnon. Gustave Doré's work in illustrating the Contes is paramount; he does not reduce engraving to its ornamental function but transforms it into a true narrative object. These illustrations are Doré's most famous works and immediately received enthusiastic reviews, notably that of Sainte-Beuve in Les Nouveaux lundis (23 December 1861): "Un Perrault comme il n'y en eut jamais jusqu'ici et comme il ne s'en verra plus. (...) Je ne puis que dire que ces dessins me semblent fort beaux, d'un tour riche et opulent, qu'ils ont un caractère grandiose qui renouvelle l'aspect de ces humbles contes et leur rend de leur premier merveilleux antérieur à Perrault même." ["A Perrault such as there has never been until now and such as will never be seen again. (...) I can only say that these drawings seem very beautiful to me, rich and opulent in style, that they have a grandiose character that renews the aspect of these humble tales and restores to them their first wonder, anterior even to Perrault."]

Original wood engraving signed on the plate by the artist and engraver. Composition by Gustave Doré and engraved by Héliodore Pisan on China paper and mounted on Dutch laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
A pale marginal dampstain, not touching the image.
These illustrations of the Contes are considered the most successful of this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the tableau to the smallest details that generate a terrifying realism through the technique known as "tinted wood." He uses India ink or gouache, previously diluted as required by the "wash" technique. For Perrault's tales, the eleven finest engravers of the period were enlisted to engrave with burin the forty wooden plates: Pannemaker, Pisan, Pierdon, Maurand, Boetzel, Brevière, Hébert, Deschamps, Dumont, Delduc and Fagnon. Gustave Doré's work in illustrating the Contes is paramount; he does not reduce engraving to its ornamental function but transforms it into a true narrative object. These illustrations are Doré's most famous works and immediately received enthusiastic reviews, notably that of Sainte-Beuve in Les Nouveaux lundis (23 December 1861): "Un Perrault comme il n'y en eut jamais jusqu'ici et comme il ne s'en verra plus. (...) Je ne puis que dire que ces dessins me semblent fort beaux, d'un tour riche et opulent, qu'ils ont un caractère grandiose qui renouvelle l'aspect de ces humbles contes et leur rend de leur premier merveilleux antérieur à Perrault même." ["A Perrault such as there has never been until now and such as will never be seen again. (...) I can only say that these drawings seem very beautiful to me, rich and opulent in style, that they have a grandiose character that renews the aspect of these humble tales and restores to them their first wonder, anterior even to Perrault."]

Original wood engraving signed in the plate by the artist and engraver. Composition created by Gustave Doré and engraved by Georges Perrichon on China paper and mounted on Dutch laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
A faint marginal dampstain, not affecting the design.
These illustrations of the Contes are considered the most successful of this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the tableau to the smallest details that generate terrifying realism thanks to the technique known as "tinted wood." He uses India ink or gouache, previously diluted as required by the "wash" technique. For Perrault's tales, the eleven best engravers of the time were called upon to engrave with burin the forty wooden plates: Pannemaker, Pisan, Pierdon, Maurand, Boetzel, Brevière, Hébert, Deschamps, Dumont, Delduc and Fagnon. Gustave Doré's work in illustrating the Contes is paramount; he does not reduce engraving to its ornamental function but transforms it into a true narrative object. These illustrations are Doré's most famous works and immediately received enthusiastic criticism, notably that of Sainte-Beuve in Les Nouveaux lundis (December 23, 1861): "Un Perrault comme il n'y en eut jamais jusqu'ici et comme il ne s'en verra plus. (...) Je ne puis que dire que ces dessins me semblent fort beaux, d'un tour riche et opulent, qu'ils ont un caractère grandiose qui renouvelle l'aspect de ces humbles contes et leur rend de leur premier merveilleux antérieur à Perrault même." ["A Perrault as there never was before and as there will never be again. (...) I can only say that these drawings seem very beautiful to me, rich and opulent in character, that they have a grandiose quality that renews the aspect of these humble tales and restores to them their original wonder that preceded Perrault himself."]

Original wood engraving signed in the plate by the artist and engraver. Composition created by Gustave Doré and engraved by François Pannemaker on China paper and mounted on Dutch laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
A faint marginal dampstain, not affecting the design, as well as some spotting in the margins.
These illustrations of the Contes are considered the most successful of this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the tableau to the smallest details that generate terrifying realism thanks to the technique known as "tinted wood." He uses India ink or gouache, previously diluted as required by the "wash" technique. For Perrault's tales, the eleven best engravers of the time were called upon to engrave with burin the forty wooden plates: Pannemaker, Pisan, Pierdon, Maurand, Boetzel, Brevière, Hébert, Deschamps, Dumont, Delduc and Fagnon. Gustave Doré's work in illustrating the Contes is paramount; he does not reduce engraving to its ornamental function but transforms it into a true narrative object. These illustrations are Doré's most famous works and immediately received enthusiastic criticism, notably that of Sainte-Beuve in Les Nouveaux lundis (December 23, 1861): "Un Perrault comme il n'y en eut jamais jusqu'ici et comme il ne s'en verra plus. (...) Je ne puis que dire que ces dessins me semblent fort beaux, d'un tour riche et opulent, qu'ils ont un caractère grandiose qui renouvelle l'aspect de ces humbles contes et leur rend de leur premier merveilleux antérieur à Perrault même." ["A Perrault as there never was before and as there will never be again. (...) I can only say that these drawings seem very beautiful to me, rich and opulent in character, that they have a grandiose quality that renews the aspect of these humble tales and restores to them their original wonder that preceded Perrault himself."]

Original wood engraving signed in the plate by the artist and engraver. Composition created by Gustave Doré and engraved on China paper and mounted on Dutch laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
A light marginal dampstain, not affecting the design, as well as some foxing in the margin.
These illustrations of the Contes are considered the most successful of this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the tableau to the smallest details that generate terrifying realism through the technique known as "tinted wood." He uses India ink or gouache, previously diluted as required by the "wash" technique. For Perrault's tales, the eleven best engravers of the time were enlisted to engrave the forty wood plates with the burin: Pannemaker, Pisan, Pierdon, Maurand, Boetzel, Brevière, Hébert, Deschamps, Dumont, Delduc and Fagnon. Gustave Doré's work in illustrating the Contes is essential; he does not reduce engraving to its ornamental function but transforms it into a true object of narration. These illustrations are Doré's most famous works and immediately received enthusiastic reviews, notably that of Sainte-Beuve in Les Nouveaux lundis (December 23, 1861): "Un Perrault comme il n'y en eut jamais jusqu'ici et comme il ne s'en verra plus. (...) Je ne puis que dire que ces dessins me semblent fort beaux, d'un tour riche et opulent, qu'ils ont un caractère grandiose qui renouvelle l'aspect de ces humbles contes et leur rend de leur premier merveilleux antérieur à Perrault même." ["A Perrault the likes of which has never existed until now and the likes of which will never be seen again. (...) I can only say that these drawings seem very beautiful to me, of a rich and opulent style, that they have a grandiose character that renews the aspect of these humble tales and restores to them their first marvelous quality that preceded Perrault himself."]

Original wood engraving signed in the plate by the artist and engraver. Composition created by Gustave Doré and engraved by François Pannemaker on China paper and mounted on Dutch laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
A very light marginal dampstain, not affecting the design, as well as some soiling in the left margin.
These illustrations of the Contes are considered the most successful of this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the tableau to the smallest details that generate terrifying realism through the technique known as "tinted wood." He uses India ink or gouache, previously diluted as required by the "wash" technique. For Perrault's tales, the eleven best engravers of the time were enlisted to engrave the forty wood plates with the burin: Pannemaker, Pisan, Pierdon, Maurand, Boetzel, Brevière, Hébert, Deschamps, Dumont, Delduc and Fagnon. Gustave Doré's work in illustrating the Contes is essential; he does not reduce engraving to its ornamental function but transforms it into a true object of narration. These illustrations are Doré's most famous works and immediately received enthusiastic reviews, notably that of Sainte-Beuve in Les Nouveaux lundis (December 23, 1861): "Un Perrault comme il n'y en eut jamais jusqu'ici et comme il ne s'en verra plus. (...) Je ne puis que dire que ces dessins me semblent fort beaux, d'un tour riche et opulent, qu'ils ont un caractère grandiose qui renouvelle l'aspect de ces humbles contes et leur rend de leur premier merveilleux antérieur à Perrault même." ["A Perrault the likes of which has never existed until now and the likes of which will never be seen again. (...) I can only say that these drawings seem very beautiful to me, of a rich and opulent style, that they have a grandiose character that renews the aspect of these humble tales and restores to them their first marvelous quality that preceded Perrault himself."]

Original wood engraving signed in the plate by the artist and engraver. Composition created by Gustave Doré and engraved by François Pannemaker on China paper and mounted on Holland laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
Very faint marginal dampstain not affecting the drawing and foxing in upper margin not affecting the engraving.
These illustrations of the Contes are considered the most successful of this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the tableau to the smallest details that generate terrifying realism through the technique known as "tinted wood". He uses India ink or gouache, previously diluted as required by the "wash" technique. For Perrault's tales, the eleven best engravers of the period were enlisted to engrave with burin the forty wooden plates: Pannemaker, Pisan, Pierdon, Maurand, Boetzel, Brevière, Hébert, Deschamps, Dumont, Delduc and Fagnon. Gustave Doré's work in illustrating the Contes is paramount; he does not reduce engraving to its ornamental function but transforms it into a true narrative object. These illustrations are Doré's most famous works and immediately received enthusiastic reviews, notably that of Sainte-Beuve in Les Nouveaux lundis (December 23, 1861): "Un Perrault comme il n'y en eut jamais jusqu'ici et comme il ne s'en verra plus. (...) Je ne puis que dire que ces dessins me semblent fort beaux, d'un tour riche et opulent, qu'ils ont un caractère grandiose qui renouvelle l'aspect de ces humbles contes et leur rend de leur premier merveilleux antérieur à Perrault même." ["A Perrault like none there has ever been until now and like none will ever be seen again. (...) I can only say that these drawings seem very beautiful to me, of a rich and opulent style, that they have a grandiose character that renews the aspect of these humble tales and restores to them their first wonder prior to Perrault himself."]

Original wood engraving signed in the plate by the artist and engraver. Composition created by Gustave Doré and engraved by Emile Deschamps on China paper and mounted on Holland laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
Occasional light foxing in margins, not affecting the engraving.
These illustrations of the Contes are considered the most successful of this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the tableau to the smallest details that generate terrifying realism through the technique known as "tinted wood". He uses India ink or gouache, previously diluted as required by the "wash" technique. For Perrault's tales, the eleven best engravers of the period were enlisted to engrave with burin the forty wooden plates: Pannemaker, Pisan, Pierdon, Maurand, Boetzel, Brevière, Hébert, Deschamps, Dumont, Delduc and Fagnon. Gustave Doré's work in illustrating the Contes is paramount; he does not reduce engraving to its ornamental function but transforms it into a true narrative object. These illustrations are Doré's most famous works and immediately received enthusiastic reviews, notably that of Sainte-Beuve in Les Nouveaux lundis (December 23, 1861): "Un Perrault comme il n'y en eut jamais jusqu'ici et comme il ne s'en verra plus. (...) Je ne puis que dire que ces dessins me semblent fort beaux, d'un tour riche et opulent, qu'ils ont un caractère grandiose qui renouvelle l'aspect de ces humbles contes et leur rend de leur premier merveilleux antérieur à Perrault même." ["A Perrault like none there has ever been until now and like none will ever be seen again. (...) I can only say that these drawings seem very beautiful to me, of a rich and opulent style, that they have a grandiose character that renews the aspect of these humble tales and restores to them their first wonder prior to Perrault himself."]

Original wood engraving signed in the plate by the artist and engraver. Composition created by Gustave Doré and engraved by François Pannemaker on China paper and mounted on Holland laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
Light lack to lower right corner of margin not affecting the engraving.
These illustrations of the Contes are considered the most successful of this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the tableau to the smallest details that generate terrifying realism thanks to the technique known as "tinted wood". He uses India ink or gouache, previously diluted as required by the "wash" technique. For Perrault's tales, the eleven best engravers of the period were enlisted to engrave with burin the forty wooden plates: Pannemaker, Pisan, Pierdon, Maurand, Boetzel, Brevière, Hébert, Deschamps, Dumont, Delduc and Fagnon. Gustave Doré's work in illustrating the Contes is paramount; he does not reduce engraving to its ornamental function but transforms it into a true object of narration. These illustrations are Doré's most famous works and immediately received enthusiastic reviews, notably that of Sainte-Beuve in Les Nouveaux lundis (December 23, 1861): "Un Perrault comme il n'y en eut jamais jusqu'ici et comme il ne s'en verra plus. (...) Je ne puis que dire que ces dessins me semblent fort beaux, d'un tour riche et opulent, qu'ils ont un caractère grandiose qui renouvelle l'aspect de ces humbles contes et leur rend de leur premier merveilleux antérieur à Perrault même." ["A Perrault such as there never was before and as will never be seen again. (...) I can only say that these drawings seem very beautiful to me, of a rich and opulent character, that they have a grandiose quality that renews the aspect of these humble tales and restores to them their original wonder that predates Perrault himself."]

Original wood engraving signed in the plate by the artist and engraver. Composition created by Gustave Doré and engraved by Héliodore Pisan on China paper and mounted on Holland laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
Rare and light worming to margins not affecting the engraving.
These illustrations of the Contes are considered the most successful of this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the tableau to the smallest details that generate terrifying realism thanks to the technique known as "tinted wood". He uses India ink or gouache, previously diluted as required by the "wash" technique. For Perrault's tales, the eleven best engravers of the period were enlisted to engrave with burin the forty wooden plates: Pannemaker, Pisan, Pierdon, Maurand, Boetzel, Brevière, Hébert, Deschamps, Dumont, Delduc and Fagnon. Gustave Doré's work in illustrating the Contes is paramount; he does not reduce engraving to its ornamental function but transforms it into a true object of narration. These illustrations are Doré's most famous works and immediately received enthusiastic reviews, notably that of Sainte-Beuve in Les Nouveaux lundis (December 23, 1861): "Un Perrault comme il n'y en eut jamais jusqu'ici et comme il ne s'en verra plus. (...) Je ne puis que dire que ces dessins me semblent fort beaux, d'un tour riche et opulent, qu'ils ont un caractère grandiose qui renouvelle l'aspect de ces humbles contes et leur rend de leur premier merveilleux antérieur à Perrault même." ["A Perrault such as there never was before and as will never be seen again. (...) I can only say that these drawings seem very beautiful to me, of a rich and opulent character, that they have a grandiose quality that renews the aspect of these humble tales and restores to them their original wonder that predates Perrault himself."]

Original wood engraving signed on the plate by the artist and engraver. Composition created by Gustave Doré and engraved by Jules Fagnion on China paper and mounted on Dutch laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
Excellent condition.
These illustrations of the Contes are considered the most successful treatment of this text: Gustave Doré presents an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the tableau to the smallest details that generate terrifying realism through the technique called "tinted wood." He uses India ink or gouache, previously diluted as required by the "wash" technique. For Perrault's tales, the eleven best engravers of the period were commissioned to engrave with burin the forty wood plates: Pannemaker, Pisan, Pierdon, Maurand, Boetzel, Brevière, Hébert, Deschamps, Dumont, Delduc and Fagnon. Gustave Doré's work in illustrating the Contes is essential; he does not reduce engraving to its ornamental function but transforms it into a true narrative object. These illustrations are Doré's most famous works and immediately received enthusiastic criticism, notably that of Sainte-Beuve in Les Nouveaux lundis (December 23, 1861): "Un Perrault comme il n'y en eut jamais jusqu'ici et comme il ne s'en verra plus. (...) Je ne puis que dire que ces dessins me semblent fort beaux, d'un tour riche et opulent, qu'ils ont un caractère grandiose qui renouvelle l'aspect de ces humbles contes et leur rend de leur premier merveilleux antérieur à Perrault même." ["A Perrault such as there has never been until now and as there will never be again. (...) I can only say that these drawings seem very beautiful to me, of a rich and opulent turn, that they have a grandiose character that renews the aspect of these humble tales and restores to them their first wonder prior to Perrault himself."]

Original wood engraving signed on the plate by the artist and engraver. Composition created by Gustave Doré and engraved by Louis Brevière on China paper and mounted on Dutch laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
Rare worming and soiling in the margin not touching the image.
These illustrations of the Contes are considered the most successful treatment of this text: Gustave Doré presents an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the tableau to the smallest details that generate terrifying realism through the technique called "tinted wood." He uses India ink or gouache, previously diluted as required by the "wash" technique. For Perrault's tales, the eleven best engravers of the period were commissioned to engrave with burin the forty wood plates: Pannemaker, Pisan, Pierdon, Maurand, Boetzel, Brevière, Hébert, Deschamps, Dumont, Delduc and Fagnon. Gustave Doré's work in illustrating the Contes is essential; he does not reduce engraving to its ornamental function but transforms it into a true narrative object. These illustrations are Doré's most famous works and immediately received enthusiastic criticism, notably that of Sainte-Beuve in Les Nouveaux lundis (December 23, 1861): "Un Perrault comme il n'y en eut jamais jusqu'ici et comme il ne s'en verra plus. (...) Je ne puis que dire que ces dessins me semblent fort beaux, d'un tour riche et opulent, qu'ils ont un caractère grandiose qui renouvelle l'aspect de ces humbles contes et leur rend de leur premier merveilleux antérieur à Perrault même." ["A Perrault such as there has never been until now and as there will never be again. (...) I can only say that these drawings seem very beautiful to me, of a rich and opulent turn, that they have a grandiose character that renews the aspect of these humble tales and restores to them their first wonder prior to Perrault himself."]

Original wood engraving signed in the plate by the artist and engraver. Composition created by Gustave Doré and engraved by Jean Delduc on China paper and mounted on Holland laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Tales in 1862.
Very rare foxing in the margin not affecting the design.
These illustrations of the Tales are considered the most successful of this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the scene to the smallest details that generate terrifying realism thanks to the technique called "tinted wood". He uses India ink or gouache, previously diluted as the "wash" technique requires. For Perrault's tales, the eleven best engravers of the time were called upon to engrave with burin the forty wooden plates: Pannemaker, Pisan, Pierdon, Maurand, Boetzel, Brevière, Hébert, Deschamps, Dumont, Delduc and Fagnon. Gustave Doré's work in illustrating the Tales is essential; he does not reduce engraving to its ornamental function but transforms it into a true object of narration. These illustrations are Doré's most famous works and immediately received enthusiastic criticism, notably that of Sainte-Beuve in Les Nouveaux lundis (December 23, 1861): "Un Perrault comme il n'y en eut jamais jusqu'ici et comme il ne s'en verra plus. (...) Je ne puis que dire que ces dessins me semblent fort beaux, d'un tour riche et opulent, qu'ils ont un caractère grandiose qui renouvelle l'aspect de ces humbles contes et leur rend de leur premier merveilleux antérieur à Perrault même." ["A Perrault like there never was until now and like there will never be again. (...) I can only say that these drawings seem very beautiful to me, of a rich and opulent style, that they have a grandiose character which renews the aspect of these humble tales and restores to them their first marvelous quality anterior to Perrault himself."]

Original wood engraving signed in the plate by the artist and engraver. Composition created by Gustave Doré and engraved by François Pannemaker on China paper and mounted on Holland laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Tales in 1862.
Some soiling and foxing in the margins not affecting the engraving.
These illustrations of the Tales are considered the most successful of this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the tableau to the smallest details that generate terrifying realism through the technique known as "tinted wood." He uses India ink or gouache, previously diluted as required by the "wash" technique. For Perrault's tales, the eleven best engravers of the time contributed to engrave with burin the forty wooden plates: Pannemaker, Pisan, Pierdon, Maurand, Boetzel, Brevière, Hébert, Deschamps, Dumont, Delduc and Fagnon. Gustave Doré's work in illustrating the Tales is essential; he does not reduce engraving to its ornamental function but transforms it into a true narrative object. These illustrations are Doré's most famous works and immediately received enthusiastic criticism, notably that of Sainte-Beuve in Les Nouveaux lundis (December 23, 1861): "Un Perrault comme il n'y en eut jamais jusqu'ici et comme il ne s'en verra plus. (...) Je ne puis que dire que ces dessins me semblent fort beaux, d'un tour riche et opulent, qu'ils ont un caractère grandiose qui renouvelle l'aspect de ces humbles contes et leur rend de leur premier merveilleux antérieur à Perrault même." ["A Perrault such as there never was until now and such as will never be seen again. (...) I can only say that these drawings seem very beautiful to me, of a rich and opulent style, that they have a grandiose character which renews the aspect of these humble tales and restores to them their first marvelous quality anterior to Perrault himself."]

Original wood engraving signed in the plate by the artist and engraver. Composition by Gustave Doré and engraved by François Pannemaker on China paper and laid down on Dutch laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
Worming to margins not affecting the engraving.
These illustrations of the Contes are considered the most successful for this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the tableau to the smallest details that generate terrifying realism thanks to the technique known as "tinted wood." He uses India ink or gouache, previously diluted as required by the "wash" technique. For Perrault's tales, the eleven best engravers of the period were employed to engrave with burin the forty wood plates: Pannemaker, Pisan, Pierdon, Maurand, Boetzel, Brevière, Hébert, Deschamps, Dumont, Delduc and Fagnon. Gustave Doré's work in illustrating the Contes is paramount; he does not reduce engraving to its ornamental function but transforms it into a true object of narration. These illustrations are Doré's most famous works and immediately received enthusiastic criticism, notably that of Sainte-Beuve in Les Nouveaux lundis (December 23, 1861): "Un Perrault comme il n'y en eut jamais jusqu'ici et comme il ne s'en verra plus. (...) Je ne puis que dire que ces dessins me semblent fort beaux, d'un tour riche et opulent, qu'ils ont un caractère grandiose qui renouvelle l'aspect de ces humbles contes et leur rend de leur premier merveilleux antérieur à Perrault même." ["A Perrault such as there never was until now and such as will never be seen again. (...) I can only say that these drawings seem very beautiful to me, of a rich and opulent turn, that they have a grandiose character that renews the aspect of these humble tales and restores to them their first marvelous quality prior to Perrault himself."]

Original wood engraving signed in the plate by the artist and engraver. Composition by Gustave Doré and engraved by François Pannemaker on China paper and laid down on Dutch laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
Rare worming to margins not affecting the engraving and crease to lower left corner of margin.
These illustrations of the Contes are considered the most successful for this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the tableau to the smallest details that generate terrifying realism thanks to the technique known as "tinted wood." He uses India ink or gouache, previously diluted as required by the "wash" technique. For Perrault's tales, the eleven best engravers of the period were employed to engrave with burin the forty wood plates: Pannemaker, Pisan, Pierdon, Maurand, Boetzel, Brevière, Hébert, Deschamps, Dumont, Delduc and Fagnon. Gustave Doré's work in illustrating the Contes is paramount; he does not reduce engraving to its ornamental function but transforms it into a true object of narration. These illustrations are Doré's most famous works and immediately received enthusiastic criticism, notably that of Sainte-Beuve in Les Nouveaux lundis (December 23, 1861): "Un Perrault comme il n'y en eut jamais jusqu'ici et comme il ne s'en verra plus. (...) Je ne puis que dire que ces dessins me semblent fort beaux, d'un tour riche et opulent, qu'ils ont un caractère grandiose qui renouvelle l'aspect de ces humbles contes et leur rend de leur premier merveilleux antérieur à Perrault même." ["A Perrault such as there never was until now and such as will never be seen again. (...) I can only say that these drawings seem very beautiful to me, of a rich and opulent turn, that they have a grandiose character that renews the aspect of these humble tales and restores to them their first marvelous quality prior to Perrault himself."]

Original wood engraving signed in the plate by the artist and engraver. Composition created by Gustave Doré and engraved by Boetzel on China paper and mounted on Holland laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
Occasional light worming in margins not affecting the engraving.
These illustrations for the Contes are considered the most successful of this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the composition to the smallest details that generate terrifying realism through the technique known as "tinted wood." He uses India ink or gouache, previously diluted as required by the "wash" technique. For Perrault's tales, the eleven best engravers of the period were employed to engrave with the burin the forty wooden plates: Pannemaker, Pisan, Pierdon, Maurand, Boetzel, Brevière, Hébert, Deschamps, Dumont, Delduc and Fagnon. Gustave Doré's work in illustrating the Contes is paramount; he does not reduce engraving to its ornamental function but transforms it into a true object of narration. These illustrations are Doré's most famous works and immediately received enthusiastic reviews, notably that of Sainte-Beuve in Les Nouveaux lundis (December 23, 1861): "A Perrault like there never was until now and like there will never be again. (...) I can only say that these drawings seem very beautiful to me, richly and opulently turned, that they have a grandiose character that renews the aspect of these humble tales and restores to them their first marvel prior to Perrault himself."

Original wood engraving signed in the plate by the artist and engraver. Composition executed by Gustave Doré and engraved by Héliodore Pisan on China paper and mounted on Holland laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
Fold in the lower right corner and very rare worming.
These illustrations of the Contes are considered the most successful of this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the tableau to the smallest details that generate terrifying realism through the technique known as "tinted wood." He uses India ink or gouache, previously diluted as required by the "wash" technique. For Perrault's tales, the eleven best engravers of the period were enlisted to engrave with burin the forty wooden plates: Pannemaker, Pisan, Pierdon, Maurand, Boetzel, Brevière, Hébert, Deschamps, Dumont, Delduc and Fagnon. Gustave Doré's work in illustrating the Contes is paramount; he does not reduce engraving to its ornamental function but transforms it into a true object of narration. These illustrations are Doré's most famous works and immediately received enthusiastic reviews, notably that of Sainte-Beuve in Les Nouveaux lundis (December 23, 1861): "Un Perrault comme il n'y en eut jamais jusqu'ici et comme il ne s'en verra plus. (...) Je ne puis que dire que ces dessins me semblent fort beaux, d'un tour riche et opulent, qu'ils ont un caractère grandiose qui renouvelle l'aspect de ces humbles contes et leur rend de leur premier merveilleux antérieur à Perrault même." ["A Perrault such as there never was before and such as will never be seen again. (...) I can only say that these drawings seem very beautiful to me, richly and opulently executed, that they have a grandiose character that renews the aspect of these humble tales and restores to them their original wonder that predates Perrault himself."]

Original wood engraving signed in the plate by the artist and engraver. Composition executed by Gustave Doré and engraved by Hébert on China paper and mounted on Holland laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
Fold in the lower left corner and very rare and pale worming.
These illustrations of the Contes are considered the most successful of this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the tableau to the smallest details that generate terrifying realism through the technique known as "tinted wood." He uses India ink or gouache, previously diluted as required by the "wash" technique. For Perrault's tales, the eleven best engravers of the period were enlisted to engrave with burin the forty wooden plates: Pannemaker, Pisan, Pierdon, Maurand, Boetzel, Brevière, Hébert, Deschamps, Dumont, Delduc and Fagnon. Gustave Doré's work in illustrating the Contes is paramount; he does not reduce engraving to its ornamental function but transforms it into a true object of narration. These illustrations are Doré's most famous works and immediately received enthusiastic reviews, notably that of Sainte-Beuve in Les Nouveaux lundis (December 23, 1861): "Un Perrault comme il n'y en eut jamais jusqu'ici et comme il ne s'en verra plus. (...) Je ne puis que dire que ces dessins me semblent fort beaux, d'un tour riche et opulent, qu'ils ont un caractère grandiose qui renouvelle l'aspect de ces humbles contes et leur rend de leur premier merveilleux antérieur à Perrault même." ["A Perrault such as there never was before and such as will never be seen again. (...) I can only say that these drawings seem very beautiful to me, richly and opulently executed, that they have a grandiose character that renews the aspect of these humble tales and restores to them their original wonder that predates Perrault himself."]

Original wood engraving signed on the plate by the artist and engraver. Composition created by Gustave Doré and engraved by Charles Maurand on China paper and mounted on laid Holland paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
Occasional worming and soiling to lower right corner, not affecting the engraving.
These illustrations of the Contes are considered the most successful of this text: Gustave Doré presents an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the scene to the smallest details that generate terrifying realism through the technique known as "tinted wood". He uses India ink or gouache, previously diluted as required by the "wash" technique. For Perrault's tales, the eleven best engravers of the time were employed to engrave with burin the forty wooden plates: Pannemaker, Pisan, Pierdon, Maurand, Boetzel, Brevière, Hébert, Deschamps, Dumont, Delduc and Fagnon. Gustave Doré's work in illustrating the Contes is paramount; he does not reduce engraving to its ornamental function but transforms it into a true object of narration. These illustrations are Doré's most famous works and immediately received enthusiastic criticism, notably that of Sainte-Beuve in Les Nouveaux lundis (December 23, 1861): "Un Perrault comme il n'y en eut jamais jusqu'ici et comme il ne s'en verra plus. (...) Je ne puis que dire que ces dessins me semblent fort beaux, d'un tour riche et opulent, qu'ils ont un caractère grandiose qui renouvelle l'aspect de ces humbles contes et leur rend de leur premier merveilleux antérieur à Perrault même." ["A Perrault like there never was before and as will never be seen again. (...) I can only say that these drawings seem very beautiful to me, of a rich and opulent turn, that they have a grandiose character that renews the aspect of these humble tales and restores to them their original marvelous quality that existed before Perrault himself."]

Original wood engraving signed on the plate by the artist and engraver. Composition created by Gustave Doré and engraved on China paper and mounted on laid Holland paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
Small fold to lower right corner not affecting the engraving and occasional light worming to margin.
These illustrations of the Contes are considered the most successful of this text: Gustave Doré presents an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the scene to the smallest details that generate terrifying realism through the technique known as "tinted wood". He uses India ink or gouache, previously diluted as required by the "wash" technique. For Perrault's tales, the eleven best engravers of the time were employed to engrave with burin the forty wooden plates: Pannemaker, Pisan, Pierdon, Maurand, Boetzel, Brevière, Hébert, Deschamps, Dumont, Delduc and Fagnon. Gustave Doré's work in illustrating the Contes is paramount; he does not reduce engraving to its ornamental function but transforms it into a true object of narration. These illustrations are Doré's most famous works and immediately received enthusiastic criticism, notably that of Sainte-Beuve in Les Nouveaux lundis (December 23, 1861): "Un Perrault comme il n'y en eut jamais jusqu'ici et comme il ne s'en verra plus. (...) Je ne puis que dire que ces dessins me semblent fort beaux, d'un tour riche et opulent, qu'ils ont un caractère grandiose qui renouvelle l'aspect de ces humbles contes et leur rend de leur premier merveilleux antérieur à Perrault même." ["A Perrault like there never was before and as will never be seen again. (...) I can only say that these drawings seem very beautiful to me, of a rich and opulent turn, that they have a grandiose character that renews the aspect of these humble tales and restores to them their original marvelous quality that existed before Perrault himself."]

Original wood engraving signed in the plate by the artist and the engraver. Composition created by Gustave Doré and engraved by Héliodore Pisan on China paper and mounted on Dutch laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
Worming in margins not touching the engraving.
These illustrations of the Contes are considered the most successful of this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the scene to the smallest details that generate terrifying realism through the technique known as "tinted wood". He uses India ink or gouache, previously diluted as required by the "wash" technique. For Perrault's tales, the eleven best engravers of the time were enlisted to engrave with burin the forty wooden plates: Pannemaker, Pisan, Pierdon, Maurand, Boetzel, Brevière, Hébert, Deschamps, Dumont, Delduc and Fagnon. Gustave Doré's work in illustrating the Contes is paramount; he does not reduce engraving to its ornamental function but transforms it into a true narrative object. These illustrations are Doré's most famous works and immediately received enthusiastic reviews, notably that of Sainte-Beuve in Les Nouveaux lundis (December 23, 1861): "Un Perrault comme il n'y en eut jamais jusqu'ici et comme il ne s'en verra plus. (...) Je ne puis que dire que ces dessins me semblent fort beaux, d'un tour riche et opulent, qu'ils ont un caractère grandiose qui renouvelle l'aspect de ces humbles contes et leur rend de leur premier merveilleux antérieur à Perrault même." ["A Perrault like none before and like none to come. (...) I can only say that these drawings seem very beautiful to me, richly and opulently executed, having a grandiose character that renews the aspect of these humble tales and restores their original wonder that predates even Perrault."]

Original wood engraving signed in the plate by the artist and the engraver. Composition created by Gustave Doré and engraved by Héliodore Pisan on China paper and mounted on Dutch laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
Two scratches in the margin, a small tear in the upper margin without loss and very rare worming not touching the engraving.
These illustrations of the Contes are considered the most successful of this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the scene to the smallest details that generate terrifying realism through the technique known as "tinted wood". He uses India ink or gouache, previously diluted as required by the "wash" technique. For Perrault's tales, the eleven best engravers of the time were enlisted to engrave with burin the forty wooden plates: Pannemaker, Pisan, Pierdon, Maurand, Boetzel, Brevière, Hébert, Deschamps, Dumont, Delduc and Fagnon. Gustave Doré's work in illustrating the Contes is paramount; he does not reduce engraving to its ornamental function but transforms it into a true narrative object. These illustrations are Doré's most famous works and immediately received enthusiastic reviews, notably that of Sainte-Beuve in Les Nouveaux lundis (December 23, 1861): "Un Perrault comme il n'y en eut jamais jusqu'ici et comme il ne s'en verra plus. (...) Je ne puis que dire que ces dessins me semblent fort beaux, d'un tour riche et opulent, qu'ils ont un caractère grandiose qui renouvelle l'aspect de ces humbles contes et leur rend de leur premier merveilleux antérieur à Perrault même." ["A Perrault like none before and like none to come. (...) I can only say that these drawings seem very beautiful to me, richly and opulently executed, having a grandiose character that renews the aspect of these humble tales and restores their original wonder that predates even Perrault."]

First edition, of which there were no deluxe copies.
Autograph inscription signed by Les Nuls: "Pour toi, cordialement. Ton ami. Les Nuls." ["For you, cordially. Your friend. Les Nuls."]

First edition, of which there were no deluxe copies.
Autograph inscription signed by Georges Blond: "A monsieur Peret, ces éléphants qui ne lui feront pas oublier les toros, en souhaitant qu'il les trouve quand même sympathiques" ["To Mr. Peret, these elephants who will not make him forget the bulls, hoping that he will find them sympathetic nonetheless"].
Fine illustrated cover by Cyril, iconography.

Handwritten letter dated and signed with 21 lines from Alphonse Boudard to his great friend and companion of convivial lunches, the Brussels journalist André Tillieu who was, like Alphonse Boudard, a great friend of Georges Brassens but also of Jean Giono.
A fold mark inherent to the folding of the letter for mailing, envelope included.
"ami,
bien reçu "Relax"... Mille mercis... Je suis toujours un peu confus par tout ce que tu écris sur mes livres. Je ne suis peut-être pas si haut ? Tu me forces à me poser des questions. Enfin, je fais de mon mieux. J'espère te voir bientôt à Paris avec Georges Brassens et Louis... A moins que j'aille faire un tour vers Lille puis Bruxelles. De toute façon je te ferai signe. Mes amitiés à ta femme. J'espère que pour ta fille les choses sont en place... J'ai vu des tas de cas de pneumos spontanés, ça s'arrange très bien (j'ai eu un double pneumo pendant cinq ans, mais c'était en vue de me guérir). A bientôt... encore merci et toute mon amitié. ABoudard." ["friend, well received 'Relax'... A thousand thanks... I am always somewhat confused by all that you write about my books. Perhaps I am not so great? You force me to ask myself questions. Anyway, I do my best. I hope to see you soon in Paris with Georges Brassens and Louis... Unless I take a trip towards Lille then Brussels. In any case I will let you know. My regards to your wife. I hope that for your daughter things are falling into place... I have seen lots of cases of spontaneous pneumothorax, it works out very well (I had a double pneumo for five years, but it was to cure me). See you soon... thanks again and all my friendship. ABoudard."]
André Tillieu from Brussels, very close friend and biographer of Georges Brassens, maintained an epistolary correspondence with Alphonse Boudard for almost thirty years, from 1972 until the latter's death in 2000.
The witty Parisian writer very quickly showed him his friendship, considering him as one of the rare critics to understand him perfectly to the point of clearly explaining in his reviews what he himself expressed only incompletely and sometimes confusedly in his books.
André Tillieu thus became part of the small circle of Alphonse Boudard's true friends on equal footing with le Gros Georges (Georges Brassens), le Niçois (Louis Nucéra) and René Fallet with whom he liked to share hearty well-watered meals and cycling trips. As death gradually took away his best friends one by one, André Tillieu remained one of Alphonse's very last pals.

First edition, of which there were no deluxe copies.
Handsome copy.
Autograph inscription dated and signed by Michel Drucker to a woman named Geneviève.

First edition, one of 120 numbered copies on Lana rag paper, the only deluxe copies.
Handsome illustrated copy with a frontispiece portrait of Jean Giono by Jean-Claude Goossens.
Signed autograph inscription from Henri Frossard to Claude Schneeberg.

New edition of the French translation, one of 200 numbered copies on Rives laid paper, deluxe copy.
Light sunning at foot of spine, handsome full-margined copy.
Work illustrated with wood engravings by Vassyl Khmeluk.

Signed manuscript card of 15 lines by Alphonse Boudard, on a bristol card, to his great friend and companion of well-watered lunches, the Brussels journalist André Tillieu who was, like Alphonse Boudard, a great friend of Georges Brassens but also of Louis Nucéra.
Envelope included.
"merci mon cher Tillieu, de ce formidable papier sur Julien Blanc et ses joyeux. il en faudrait beaucoup de cette encre-là ! Hélas ! elle est rare il faut croire... les journalistes en place préfèrent tremper leur plume dans l'ersatz d'encre mélangée avec un peu d'eau croupissante. à bientôt j'espère... Je finis un gros bouquin "Les combattants du petit bonheur'... l'accouchement comme toujours est difficile. avec toute mon amitié. ABoudard." ["thank you my dear Tillieu, for that wonderful piece on Julien Blanc and his merry bunch. we need much more of that kind of ink! Alas! it's rare it seems... journalists in place prefer to dip their pen in ersatz ink mixed with a bit of stagnant water. see you soon I hope... I'm finishing a big book 'Les combattants du petit bonheur'... the delivery as always is difficult. with all my friendship. ABoudard."]
André Tillieu from Brussels, very close friend and biographer of Georges Brassens, maintained an epistolary correspondence with Alphonse Boudard for almost thirty years, from 1972 until the latter's death in 2000.
The cheeky Parisian writer very quickly showed him his friendship, considering him as one of the rare critics to understand him perfectly to the point of clearly explaining in his chronicles what he himself expressed only incompletely and sometimes confusedly in his books.
André Tillieu thus became part of the small circle of true friends of Alphonse Boudard along with le Gros Georges (Georges Brassens), le Niçois (Louis Nucéra) and René Fallet with whom he loved to share hearty well-watered meals and cycling trips. As death gradually took away his best friends, André Tillieu would remain one of Alphonse's very last pals.

Signed manuscript bristol of 17 lines by Alphonse Boudard, on a visiting card, to his great friend and companion of well-watered lunches, the Brussels journalist André Tillieu who was, like Alphonse Boudard, a great friend of Georges Brassens but also of Jean Giono.
A date and the mention "les enfants de choeur" written in black ballpoint pen at the top of the bristol.
Envelope enclosed.
"Vieux,
comme toujours ton papier me va droit au coeur. Et tu dis juste... si c'était Beckett ! Hélas... le petit clan des snobs et de l'intelligentzia fait la loi, le bon goût et la réputation... Les vendredis soir Louis Nucera part à la campagne faire du vélo et travailler à son roman. Le mieux, pour l'instant, serait d'arranger q.q. chose avec Aline. Moi je peux me rendre libre et je serai content de te voir. à bientôt donc. ton pote. ABoudard." ["Old friend, as always your piece goes straight to my heart. And you're right... if it were Beckett! Alas... the little clan of snobs and intelligentsia makes the law, good taste and reputation... On Friday evenings Louis Nucera goes to the countryside to cycle and work on his novel. The best thing, for now, would be to arrange something with Aline. I can make myself free and I'll be happy to see you. See you soon then. Your buddy. ABoudard."]
André Tillieu from Brussels, very close friend and biographer of Georges Brassens, maintained correspondence with Alphonse Boudard for almost thirty years, from 1972 until the latter's death in 2000.
The Parisian satirical writer very quickly showed him his friendship, considering him as one of the rare critics to understand him perfectly to the point of clearly explaining in his reviews what he himself expressed only incompletely and sometimes confusedly in his books.
André Tillieu thus became part of the small circle of Alphonse Boudard's true friends alongside Gros Georges (Georges Brassens), le Niçois (Louis Nucéra) and René Fallet with whom he loved to share hearty well-watered meals and cycling trips. As death gradually took away his best friends one by one, André Tillieu remained one of Alphonse's very last buddies.

First French illustrated edition with 366 in-text woodcut figures.
Publisher's binding in full gilt black percaline cloth. Smooth spine decorated with ornamental compositions. Upper cover stamped with a large plate featuring a central urn. On the second cover a rosette overloaded with ornaments. Foxing on the first and last leaves, signatures browned from p. 165 to 216, otherwise the set is rather clean and white with some occasional foxing.

The first edition, of which there were no deluxe copies.
Handsome copy.
Autograph inscription signed by André Santini to a woman named Marité: "... dont je sais qu'elle apprécie l'air du temps. En souvenir d'un commun amour pour la peinture." ["... who I know appreciates the spirit of the times. In memory of a shared love for painting."]

First edition illustrated with photographs, one of 200 numbered and named copies.
Publisher's full brown cloth binding, smooth spine, smooth spine.
Handsome copy complete with its folding map at the beginning of the volume.

First edition of this vocal and piano score, first cover illustrated by an anonymous artist.
Very fine copy of this score from the American musical comedy entitled "Life of the party".

The first edition, of which there were no deluxe copies.
Some traces of rubbing to the joints and to the back cover.
Iconography.
Autograph inscription signed by André Lajoinie to a woman named Annick.

First edition of this vocal and piano score illustrated on the front cover with a color illustration by Roger de Valerio.
A very handsome copy despite some traces of creasing.

Original engraving. Optical view heightened in watercolour, depicting a view of the review of the King's Household, "infantry which takes place every year in the plain of Sablons one league from Paris". Optical views, also called views, perspectives or "mondo nuovo", are engravings very much in fashion between the end of the 18th and the beginning of the 19th century. They were intended to be observed through a set of several mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered as the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and were salon entertainments. The process was first developed in Paris, then London and finally in Germany and sought to represent - in an idealized manner - the most famous panoramas and landscapes of East and West. A small trace of angular fold. Fine impression with very fresh colours.

First edition, one of 944 numbered copies on wove paper, the only deluxe copies after 111 reimposed.
Handsome copy.

First edition, one of 150 numbered copies on wove paper, deluxe copies after 50 on Holland paper.
Handsome copy.
Marcel Prévost's manuscript signature on the half-title page.

First edition on ordinary paper.
Handsome copy.

First edition printed on ordinary paper.
Handsome copy with illustrated cover.
Signed autograph inscription from Pierre Daix to Jean Claval.

The first edition, of which there were no deluxe copies.
Some foxing on the covers, paper yellowed.
Work illustrated with two portraits of Louis Pergaud.
Beautiful and touching autograph inscription dated and signed by Edmond Rocher: "A Léon Bocquet l'ami et le premier éditeur de Louis Pergaud en affectueuse communion en la pensée du cher disparu. Edmond Rocher. Nbre 1923." ["To Léon Bocquet the friend and first publisher of Louis Pergaud in affectionate communion in memory of the dear departed. Edmond Rocher. November 1923."]

The first edition, of which there were no deluxe copies.
Handsome copy.
Dated and signed autograph inscription from Jean-Claude Renard to Nadine Nimier, wife and widow of Roger Nimier.

First edition, one of 112 numbered copies on laid paper, the only deluxe copies.
A handsome copy.

First edition, one of 312 numbered copies on alfa paper, the only deluxe copies after 28 on laid paper.
Handsome copy.
Iconography.

First edition, of which there were no deluxe copies.
Photographic cover, iconography.
Handsome copy.
Autograph inscription signed by Hubert de Leusse to Roland Manescau.

First edition on ordinary paper.
Handsome copy.
Fine autograph inscription signed by Bertrand Poirot-Delpech: "A Claude Mauriac avec la joie de lui redire (p.296) mon estime. Amicalement." ["To Claude Mauriac with the joy of telling him again (p.296) my esteem. With friendship."]

Autograph postcard signed by Maurice Béjart addressed to André-Philippe Hersin, written in blue ballpoint pen on the verso of a color photographic reproduction of the citadel of Methoni (Greece).
"Ma nouvelle compagnie me suit dans mon voyage solitaire. Oui il y a encore des lieux ici que le tourisme n'a pas touché. Je vous embrasse - Maurice" ["My new company follows me in my solitary journey. Yes there are still places here that tourism has not touched. I embrace you - Maurice"]
Journalist, dance critic and editor-in-chief of Les Saisons de la danse, Hersin was a great defender of Béjart's choreographic style and devoted laudatory articles to him in his magazine as well as monographic fascicles of his work.

New edition of the French translation, one of 50 numbered copies on Japan paper, deluxe printing.
Handsome copy.
Work illustrated with wood engravings in headpieces and tailpieces by Louis-William Graux.

The first edition, of which there were no deluxe copies.
A handsome copy.
Signed autograph inscription by Marcel Mouloudji to Jean Claval enhanced with a small drawn sun.