Budget-Friendly Gifts

The first edition, of which there were no deluxe copies.
Signed autograph inscription from Kenneth White to François Nourissier: "... le paysage antérieur..." ["... the anterior landscape..."]

First edition, of which there were no deluxe copies.
Handsome copy.
Dated autograph inscription signed by Joseph Joffo to Tince Kieffer accompanied by a drawing representing a flower on the facing page.

First edition, of which there were no deluxe copies.
Handsome copy.
Autograph inscription signed by Marek Halter to Delphine Horville.

First edition, of which there were no deluxe copies.
The work won the Prix Goncourt in 1985 and was adapted for cinema in 1987 by Marion Hänsel with Thierry Frémont in the leading role.

Second edition, published three months after the first edition.
Handsome copy.
In this edition, the text is notably modified on page 121: the "Espace du possible" campsite, near Royan, becoming the fictional campsite, "Lieu du changement," near Cholet to avoid legal action by the establishment's owners.

The first edition, of which there were no deluxe copies.
Handsome copy despite some worming to the verso of the covers.
Autograph inscription signed by Joseph Joffo to a woman named Clodie: "A Clodie et... un sac de bises" ["To Clodie and... a bag of kisses"] accompanied by a drawing representing a flower.

The first edition, of which there were no deluxe copies.
Some light foxing affecting mainly the endpapers.
Rare autograph inscription signed by Abbé Pierre on the front endpaper: "A Jacqueline Pujol fraternellement tous ensemble dans l'espérance sur le chemin à la rencontre de Jésus qui nous aime et nous apprend la joie d'aimer." ["To Jacqueline Pujol fraternally all together in hope on the path to meet Jesus who loves us and teaches us the joy of loving."]

First edition.
Rich iconography.
Handsome copy complete with its glassine wrapper but lacking its slipcase.

Pléiade library edition printed on Bible paper.
Publisher's binding in full blue grained sheep, blue top edge, smooth spine decorated with gilt fillets.
Handsome copy complete with its protective film but lacking its dust jacket and soft slipcase.

Photographic postcard inscribed by Maurice Chevalier to Alice Rim showing the imposing Empire State Building in New York.
The postcard is addressed, from New York, in telegraphic form, to Caro Canaille, pen name of Alice Rim, Carlo's wife:
"Première manche - la scène - gagnée - Il reste la TV - épreuve capitale - le 4 Déc. Mille pensées amicales. Maurice. Waldorf Astoria N.Y." ["First round - the stage - won - TV remains - crucial test - Dec 4th. A thousand friendly thoughts. Maurice. Waldorf Astoria N.Y."]
Carlo Rim was a Provençal writer, author of "Ma belle Marseille", a caricaturist, a filmmaker and was notably the friend of Fernandel, Raimu and Marcel Pa

Pléiade library edition printed on India paper.
Publisher's full red grained sheepskin binding, blue top edge, smooth spine decorated with gilt fillets.
The cellophane wrapper has two tiny tears at the head of the spine and is sunned at the edges of the boards.
Complete with its cellophane wrapper, lacking slipcase and dust jacket.

Pléiade library edition printed on Bible paper.
Publisher's full brown grained sheep binding, orange top edge, smooth spine decorated with gilt fillets.
Handsome copy complete with protective cover but lacking soft case.

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

First edition.
Two tears with slight lacks of no consequence at foot and head of spine, a light stain and a small scratch on the first cover.
Illustrated catalogue with 12 folding plates at rear of volume as well as in-text figures.
Rare.

The first edition, of which there were no deluxe copies.
Handsome copy.
Fine and amusing autograph inscription signed by Isabelle Lacamp on the half-title page to Jean-Pierre Richard, Carlo Rim's son: "Enfin!!! "le baiser du dragon" à croquer comme gourmandise pimentée, fontaine trépidante, au pays de Confucius, pastiche et parodie burlesque. Bon voyage en compagnie de "Tigre hilare" et "Etron pensif". Affectueusement, la "vieille jaune" Isabelle." ["Finally!!! 'the dragon's kiss' to savor like spicy delicacy, bubbling fountain, in the land of Confucius, pastiche and burlesque parody. Have a good trip in the company of 'Hilarious Tiger' and 'Pensiv

First edition.
Handsome copy.
Dated and signed autograph inscription by Frigide Barjot to a friend named Pierre: "... toi qui a vécu les affres de la sortie, depuis Palamos. Et voici le bébé de ce printemps pas comme les autres. Je t'embrasse. Ta Frigide." ["... you who lived through the agonies of the release, since Palamos. And here is the baby of this spring unlike any other. I embrace you. Your Frigide."]

First edition of this issue of the important humanist journal founded by Emmanuel Mounier, one of 50 numbered copies on alma du Marais paper, the only deluxe copies.
Other contributions by Albert Béguin: "Fidélité et imagination", Charles Piquois: "Au pays de mes pères", Antoine Pelletier: "Le protestantisme aux Etats-Unis", André Berthelot: "Le problème de l'élimination des armes atomiques"...
Light worming without significance.

The first edition, of which there were no deluxe copies
Handsome copy.
Fine autograph inscription signed by Sophie Bramly to a woman named Micaela: "Par ce qu'il est temps de tout saisir des subtilités qui nous écartent de notre chemin !" ["Because it is time to grasp all the subtleties that lead us away from our path!"].

The first edition, of which there were no deluxe copies.
Spine slightly yellowed at head, small tear to the wraparound band.
Handsome copy retaining publisher's wraparound band: "André Bergeron s'interroge sur le syndicalisme".
Fine dated and signed autograph inscription from André Bergeron to Jean-Jacques Oechslin who was for several years president of the "Groupe des employeurs": "... en amical hommage, ce message que je sais de bon sens, vertu rare aujourd'hui. Puisse l'Europe se faire - et se faire vite - avant qu'il ne soit trop tard. Avec mes voeux pour lui et pour l'organisation dont il se charge. le 3.10.1996." ["...in friendly homage, this me

Edition printed in 2000 copies.
Work illustrated with drawings in text and full-page in black and colors by the author.
Spine sunned with small lacks at head and foot, handsome interior condition.
Signed autograph inscription from Serge enhanced with a small drawing depicting a naval anchor, a heart and a star: "Pour toi Carlo Rim, marseillais de Paris cette rue du monde affectueusement d'un parisien de Marseille." ["For you Carlo Rim, Marseillais of Paris this street of the world affectionately from a Parisian of Marseille."]
Carlo Rim was a Provençal writer, author of "Ma belle Marseille", a caricaturist, a filmmaker and was no

First edition illustrated with 51 drawings by Benett and 57 facsimiles and maps by Mathis and Morieu. At end, 1880 AI catalogue, a particularity which distinguishes the first edition.
Publisher's brick-colored boards "à la sphère armillaire ptolémaïque". Brown endpapers. Second board Engel type b with rosette, corner palmettes and frame of Greek fret. Fine upper plate. Corners good. Spine good, slightly faded. Smooth edges without steps. Headcaps folded, with a micro cut at head. Second board with some soiling. Scattered foxing. Volume well bound and uniform.
Handsome copy.

First edition.
Handsome copy.
Autograph inscription dated and signed by Françoise Giroud to Claude Merikelon.

First edition, one of 20 numbered copies on vellum, ours unnumbered but properly justified "first edition" at the foot of the back cover, the only deluxe copies.
Handsome copy despite tiny worming on the back cover.

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 (J

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: "

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,

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.

Original blue ink drawing by Carlo Rim depicting his friend Antonin Artaud in profile.
The drawing, likely preparatory, was executed on tracing paper.
Carlo Rim was a Provençal writer, notably the author of "Ma belle Marseille", as well as a caricaturist and filmmaker. He was a close friend of Fernandel, Raimu, and Marcel Pagnol, as well as of Max Jacob and André Salmon, whom he met in Sanary.

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 Du

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..."

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 tim

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 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

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

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

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 t

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

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 theat

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 w

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

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 know

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 terr

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

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 gener

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

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 techn

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 thank

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 tech

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

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 "t

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

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 "ti