Budget-Friendly Gifts

The first edition, of which there were no deluxe copies.
Handsome copy with the dust jacket.
Autograph inscription dated and signed by Yann Queffelec to a friend named Anne.

The first edition, of which there were no deluxe copies.
Handsome copy, iconography.
Beautiful full-page autograph inscription dated and signed by Odette Joyeux to Christian Giudicelli: "A Christian Giudicelli, à mon cher Christian à mon tour de "doubler". Je te fais parvenir un nouvel exemplaire de ces troisièmes regards dont je t'ai tant parlé en souhaitant que tu en sois content. Ton amie, ton interrète Odette (Joyeux), Mars 1990." ["To Christian Giudicelli, to my dear Christian, my turn to 'double.' I am sending you a new copy of these 'Third Looks' which I have spoken to you about so much, hoping that you will be pleased with it. Your friend, your interpreter Odette (Joyeux), March 1990."]

First edition of this series of 24 photogravures depicting views of London.
Manuscript gift inscription in pen: "With very best wishes from Glady Christmas 1926"
Brown paper covers with some marginal tears.
Handsome album documenting London at the birth of Queen Elizabeth II.

First edition.
Handsome copy.
Rich iconography.
Autograph inscription signed by Alain Borer to Christian Giudicelli: "Pour Christian, tout en avant, dans la lumière et dans la force - en toutes proximités. Alain" ["For Christian, all forward, in light and in strength - in all proximities. Alain"] enhanced with an ink stamp design reminiscent of an Egyptian hieroglyph.

The first edition, of which there were no deluxe copies.
Small light stains on the fore edge and on the back cover, a handsome copy.
Autograph inscription signed by Jean-Pierre Darroussin to a woman named Stéphanie.

First edition, one of 10 numbered copies on pure thread laid paper, the only deluxe copies.
Handsome copy despite a lack to margin of the first endpaper.
Fine autograph inscription signed by Roger Vrigny to his friend Christian Giudicelli: "Pour toi, mon Christian, la vie n'est pas brève car tu sais bien que "nous vivrons toujours" Roger." ["For you, my Christian, life is not brief because you know well that 'we will always live' Roger."]

First edition with the correct imprint of June 2001.
Handsome copy.

First edition on ordinary paper.
Handsome copy retaining publisher's wraparound band.

First edition, of which there were no deluxe copies.
Spine sunned, one angular lack at foot of second board.
Signed autograph inscription from Henry Thétard to the Provençal writer, caricaturist and filmmaker Carlo Rim who was notably the friend of Fernandel, Raimu and Marcel Pagnol as well as Max Jacob.

The first edition, of which there were no deluxe copies.
Handsome copy.
Autograph inscription signed by Vincent Ravalec to a woman named Eglantine: "... les aventures d'Eglantine" ["... the adventures of Eglantine"]

First edition in book form.
Spine sunned with small lacks at head and foot, minor corner losses to boards.
Autograph inscription dated March 40 and signed by Tristan Bernard to his friend Carlo Rim: "A Carlo Rim un poilu bien chenu ! Tristan Bernard. Mars 40." ["To Carlo Rim, a very grizzled soldier! Tristan Bernard. March 40."]
During the Occupation, Tristan Bernard took refuge in Cannes and stayed at the Windsor hotel while his friend Carlo Rim vainly proposed that he stay at his place so that he would be safe from denunciation or arrest; to which Tristan Bernard, never short of witticisms, replied: "At my age, one no longer sleeps away from home!" adding: "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 the following month through the intervention of Sacha Guitry and Arletty.
His grandson François-René was also arrested as a member of the Resistance 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.

New edition.
Bradel binding in half almond-green percale, smooth spine decorated with a central gilt fleuron, double gilt fillet at foot, burgundy shagreen title-label, pebbled paper boards, original covers preserved, contemporary binding.
Small lack at head of one endpaper.
Handsome copy.

The first edition, of which there were no deluxe copies.
A handsome copy despite slight marginal creases to the first cover.
Autograph inscription signed by Guy Konopnicki to Eric Roussel "... qui retrouvera quelques morceaux d'histoire..." ["... who will find some pieces of history..."]

The first edition, of which there were no deluxe copies.
Second cover marginally sunned, otherwise a handsome copy.
Rare autograph inscription signed by Bertrand de Castelbajac to Monsieur Caster: "... cet exemplaire plus agréable à lire qu'un manuscrit." ["... this copy more pleasant to read than a manuscript."]

First edition on ordinary paper.
Handsome copy.
Autograph inscription signed by the Immortal Alain Peyrefitte to Marcel Vignaud "... bon compagnon, en signe amical..." ["... good companion, as a friendly gesture..."]

First edition.
One crease to upper left corner of second cover.
Photographic section at end of volume.
Signed and inscribed copy from Nicole Calfan to Jean-Pierre Richard.

Autograph letter signed by Judith Gautier addressed to Francis Chrétien, the husband of her maid Céleste. Three pages written in violet ink on a double sheet with letterhead from 30 rue Washington. Transverse folds inherent to mailing.
Judith Gautier sends Francis some instructions regarding the renovation of her house in Dinard, le Pré aux oiseaux: "Je pensais à la cuisine qui va être très noire et à la fenêtre bouchée, qui est du côté du jardin sous la fenêtre de la salle à manger. Il me semble qu'elle rendrait du jour et même du soleil si elle était débouchée et bien disposée." ["I was thinking about the kitchen which will be very dark and the blocked window, which is on the garden side under the dining room window. It seems to me that it would provide light and even sunlight if it were unblocked and well arranged."]

The first edition, of which there were no deluxe copies.
Two corner creases to upper right of rear cover.
Signed autograph inscription from Jacques Séguéla to a man named Hervé.

The first edition, of which there were no deluxe copies.
Handsome copy.
Autograph inscription dated and signed by Marina Vlady to a woman named Anne-Thérèse.

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.

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 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.