Budget-Friendly Gifts

First edition.
Half red shagreen binding with corners, spine with five raised bands decorated with fleurons in double gilt compartments, gilt fillets on boards. Top edge gilt.
Work illustrated with numerous engravings in and outside the text in black by Andrieux, Bellecroix, Bodmer, Chifflart, Corot, Delort, Diaz, Jules Dupré, Giacomelli, Gerlier, Gosselin, Riou, Th. Rousseau, Scott. Engraving by F. Méaulle. Map of the French forest in colors on double page.
Handsome copy without foxing.

New edition with some parts in first edition as it is expanded with unpublished letters to madame d'Houdetot.
Half green sheep bindings with small corners, spine slightly faded with four fine raised bands richly decorated with gilt and blind typographic motifs, marine sheep title and volume labels, mint cardboard boards with some light surface wear, some corners slightly bumped, marbled edges, Romantic bindings.
Some minor foxing of no consequence.

Second edition of the French translation, published only a few months after the first edition of the French translation.
Half wine-colored sheep binding, smooth spine very slightly faded decorated with gilt romantic decorative motifs, marbled paper boards, contemporary binding.
Light foxing mainly at beginning and end of volume.

New edition of the French translation preceded by an introduction by Guizot.
Publisher's full red cardboard binding, smooth spine very lightly faded decorated with gilt typographic motifs, frame of gilt fillets and dots on the first cover stamped in its center with a decoration of gilt Chinese fabulous animals, light marginal spotting at head of first cover, second cover decorated with stylized black vegetal decoration, all edges gilt.
Illustrations hors-texte.
Pen gift inscription at head of half-title page, some small foxing.

First edition and first printing of the illustrations.
Half mint green shagreen binding, spine slightly faded with four raised bands set with double gilt fillets decorated with double gilt compartments, double fillets on mint green paper boards, marbled endpapers and pastedowns, top edge gilt.
Work illustrated with 51 hors-texte engravings (including 1 frontispiece) and numerous in-text engravings.
Scattered foxing as usual.

New edition, from the author's complete works, printed on ordinary paper.
Bradel binding in half caramel morocco, smooth spine decorated with a cartouche and double gilt compartments decorated at angles, date at foot, marbled paper boards, endpapers and pastedowns, covers preserved, top edge gilt, binding signed by Champs.
Fine copy handsomely bound.

New edition illustrated with original etchings by Tony Johannot.
Half olive shagreen binding, spine with four raised bands set with cold fillets and gilt dots, decorated with triple gilt compartments, gilt title, corners very slightly bumped.
Work illustrated with original etchings hors-texte by Tony Johannot.
Scattered foxing.

First edition.
Half mint Russian morocco binding, smooth spine decorated with gilt romantic decorative motifs enhanced with a parrot tool and showing traces of rubbing, marbled paper boards, marbled endpapers and pastedowns, contemporary romantic binding.
Work illustrated with engravings in text and plates.
The author's portrait frontispiece is on a loose leaf in our copy.
Some light foxing.

First edition, one of 995 numbered copies on pur fil paper, the only deluxe copies with 109 reimposed.
Half cloth binding with vellum-style corners, smooth spine, burgundy morocco title-label with minimal scratch, gilt fillet frames on moiré-effect paper boards, marbled endpapers and pastedowns, covers and spine preserved, top edge gilt, contemporary binding in the style of Stroobants.
Handsome copy.

Edition illustrated with 125 original vignettes engraved on wood by Porret.

Half chocolate morocco binding, spine with five raised bands set with stippling and double gilt fillets, gilt dentelles at head and foot of spine which shows very light traces of rubbing without gravity, marbled paper boards, marbled endpapers and pastedowns, gilt edges, binding signed by Franz.

Work illustrated with 16 plates hors-texte and numerous wood vignettes after C. Nanteuil, T. Johannot...
Some light foxing.
Handsomely bound copy.

First edition, one of 30 numbered copies on vergé d'Arches, tirage de tête.
A very good copy with good margins.

First illustrated edition and first printing of the abundant in-text illustrations by Edmond Morin.
Half olive morocco binding with corners, smooth spine faded, date at foot, marbled paper boards, marbled endpapers and pastedowns, original wrappers and spine preserved, binding signed by Carayon.
Work illustrated with an etched portrait of the author as frontispiece by Léopold Flameng.
Occasional foxing.

Illustrated edition with 113 engravings and 35 out-of-text plates in black and in color, including 6 chromolithographs.
Publisher's half red shagreen binding, spine with five raised bands decorated with gilt compartments richly adorned with gilt decorative motifs, publisher's name and place gilt at foot, one joint slightly cracked at head, very light rubbing traces without significance on joints, silk percaline boards decorated with important gilt decoration by Souze, corners slightly bumped, moiré paper endpapers and pastedowns, all edges gilt.
Minute foxing on endpapers, handsome interior condition.

Edition illustrated by Grandville.
Half fir green shagreen binding with corners, smooth spine decorated with triple gilt cartouches embellished with gilt decorative motifs, fragile joints, double gilt fillets on green cloth boards, moiré paper endpapers and pastedowns, all edges gilt.
Work illustrated with a frontispiece and 117 plates.
Some minor foxing.

New edition of the French translation established by A. Bordot.
Half fir-green shagreen bindings, spines with four raised bands decorated with double blind-stamped compartments enhanced with gilt typographical motifs, quintuple fillets and cartouches framing the green paper boards, moiré paper endpapers and pastedowns, all edges gilt, contemporary bindings. Work illustrated with Hadamard's lithographs printed in two tones.
Some minor foxing.

Edition printed in 210 numbered copies, ours one of 170 on Holland paper.
Bradel bindings in half olive morocco with corners, smooth spines, dates at foot, marbled paper boards, corners slightly bumped, marbled endpapers and pastedowns, original wrappers preserved, contemporary bindings.
Work illustrated with original etchings by E. Morin.
Occasional light worming, otherwise a handsome set attractively bound.

First edition, one of 350 numbered copies on Holland paper.
Half chocolate morocco binding with corners, spine with four raised bands decorated with stippling and gilt double compartments, marbled paper boards, marbled endpapers and pastedowns, original wrappers and spine preserved, top edge gilt.
A handsome copy in perfect condition.

First edition on ordinary paper.
Bradel binding in half cherry red percaline, smooth spine very slightly faded decorated with a central gilt fleuron, gilt initials and double gilt fillet at foot, hazelnut shagreen title-label showing traces of rubbing, marbled paper boards, corners slightly bumped, original wrappers preserved, contemporary binding.
Very slight marginal lacks at foot of title page.

First edition, of which there were no deluxe copies.
Bradel binding in half vellum-style boards, smooth spine decorated with gilt botanical motifs, gilt friezes at head and foot, marbled paper boards, orange top edge, contemporary binding.
Provenance: from the collection of French-speaking Swiss poets assembled by Albert Natural from the 1920s onwards.

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

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

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

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

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

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

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

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

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

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

Second edition after the original of 1766, published by the same publisher.

Half emerald morocco binding from the mid-19th century. Spine with raised bands decorated with 5 flowers and fillets.

The work is a libertine entertainment on elegance and fashion in novelistic form; it is the story of an elegant man and his tribulations in society.

First edition on ordinary paper; only a few copies were printed on China and Holland paper as deluxe copies.
One joint cracked at foot then reglued, a small marginal tear restored to the front cover, occasional foxing.

First edition in French on ordinary paper, translated by J.W. Bienstock, from a limited edition of only 5 deluxe copies on Holland paper.
A slight corner lack at the foot of the back cover.
Rare.

First edition.
Illustrated with a frontispiece title drawn by Gazard and engraved by Patas, and three engravings by Larrieu, engraved by the same.
Mid-19th century half red sheep binding. Smooth spine with fillets. Fine copy.
Barnabé Farmian Durosy or de Rozoi (1745-1792) was a journalist and man of letters from Toulouse, at once playwright, poet, novelist, historian and essayist. Founder and editor of a royalist daily newspaper in 1789, he was the first journalist to die by guillotine under the Terror. Henri IV ou la Bataille d'Ivry was deemed worthy of some twenty performances in Paris, Versailles, Toulouse and Brussels between 1774 and 1795. Antoine Rivarol seems to have been the only one to show enthusiasm for his lyrical work. It was necessary, wrote the author of Discours sur l'universalité de la langue française in 1788, for "poetic youth" to forget "the Voltaires, the Racines and the Corneilles" and take as model the one whose name "flies from mouth to mouth on the wing of vaudeville."

First edition.
Half fir green shagreen binding, spine with five raised bands with minor rubbing, ornately gilt in double compartments, marbled paper boards, marbled endpapers and pastedowns, contemporary binding.
A photographic portrait of the author taped to an endpaper, some light foxing.

Seventh edition, with some parts in first edition, as expanded with 'De l'absolutisme et de la liberté'.
Half khaki sheep binding, smooth spine with small traces of rubbing decorated with gilt and blind fillets, blind typographical devices, gilt roulettes at head and foot, date at tail, marbled paper boards, marbled endpapers and pastedowns, contemporary binding.
Some light foxing mainly at beginning and end of volume.

First edition on ordinary paper.
Autograph inscription from Henri de Régnier to Louis Bertrand.

First edition of the translation by L. Tailhade, a Service de Presse (advance) copy.
Autograph inscription signed by Laurent Tailhade to his morphine-addicted friend Dominique Bonnaud.
Frontispiece by E. Gabard, charming head- and tailpieces in Art Nouveau style.
Spine sunned, some stains on the covers.

Illustrated with engravings after drawings by Gérard Séguin, d'Aubigny, Steinheil...
Half green shagreen binding, spine with four raised bands handsomely decorated, double fillets on boards, gilt edge, contemporary binding.
One frontispiece, one portrait and numerous compositions in the text engraved on steel.
Copy almost free from foxing, one of the handsome illustrated works of the Romantic period.

First edition, one of 100 numbered copies on Arches paper, deluxe copies after 57 hors commerce.
Illustrations by Rodolphe Töpffer.
Handsome copy despite light and partial shadows on the endpapers.

Second edition.
A rare and very good copy.

First edition, of which there were no deluxe copies.
Half red morocco binding, spine in five compartments with slight damage, date at foot, covers and spine preserved, top edge gilt, binding signed by Canape.
Autograph inscription from Ernest Prévost to A. Godoy.
Handsome copy elegantly bound.

Second edition.
Publisher's full black paper boards, smooth spine with slight tear at foot decorated with gilt motifs, a tear with slight lack to one joint, boards decorated with gilt motifs.
Frontispiece illustration.
Rare and light interior foxing, gift inscription in ink.

Edition illustrated with drawings by P. Lauters.
Full red cardboard binding, smooth spine decorated with gilt motifs, blind-ruled borders on covers, all edges gilt.
Copy free from foxing.

First edition, one of 74 numbered copies on alfa Djebel paper, deluxe copies after 26 special alfa Djebel.
About notably H. Bazin, R. Fallet, L. Calaferte, Y. Gibeau.
Handsome copy despite the spine slightly faded.

First edition in French, one of 100 numbered copies on pur fil paper, after only 25 on Japan and 50 on Hollande.
Handsome copy.

First edition.
A rare and good copy, with almost no spotting, retaining the publisher's catalogue at the end.

First edition, one of 250 numbered copies on Holland paper, the only deluxe copies.
Title page and final endpaper shaded, otherwise handsome copy with full margins.

Second edition. Half caramel calf binding, spine in four compartments decorated with gilt dots, roulettes and fillets as well as typographical motifs and blind fillets, marbled edges, elegant contemporary Romantic binding. Some light foxing of no consequence, otherwise a handsome copy.

First edition printed in a small number of copies for which there was no mention of large paper copies.
A rare and good copy.

First edition with original illustrations by Eugène Courboin.
Publisher's full mouse-grey cloth binding, smooth spine, illustrated front cover, very light scratches of no importance to the rear cover, top edge gilt.
Work with illustrations in black and in colour, in-text and full-page.
Handsome copy.

First edition.
Richly illustrated.
A very good copy complete with plastic wrappers.

New edition of the French translation established by an anonymous translator.

Bradel bindings in full embossed mint green paper boards, smooth spines with small traces of rubbing, orange sheep title labels, navy sheep volume labels, tears to headcaps, some surface wear to boards, corners bumped, contemporary bindings.
Some light foxing of no consequence.

Rare edition.

Edition with some parts in first edition and illustrated with 186 drawings by the best artists of the period.
Half khaki shagreen binding with corners, spine with five raised bands set with gilt fillets decorated with double gilt compartments adorned with gilt decorative motifs, gilt initials at foot, light scratches on joints, marbled paper boards, marbled endpapers and pastedowns, contemporary binding.
Edition expanded with 12 new songs with accompaniment by Pierre Létorey.
Illustrations by Giacomelli, Grandville, Viollat, Crépon, Riou, Worms...
Handsome copy.

First edition and first issue of Gavarni's illustrations.
Publisher's full red boards binding, smooth spine very slightly faded, boards decorated with gilt decorative motifs, small corner stains on front board.
Work illustrated with 100 large compositions by Gavarni.
A pale marginal dampstain on the title page diminishing and disappearing through the following pages, otherwise pleasant interior condition.

First edition in French.
Publisher's full red cloth binding, copy complete with its illustrated dust jacket in perfect condition.
Rich iconography.
Fine copy.

First edition.
Publisher's full red cloth binding, complete with its illustrated dust jacket which shows no defects and its slipcase.
Rich iconography.
Handsome copy.

First edition of which there were no deluxe copies.
Contributions by J. Sauvageot, A. Geismar, D. Cohn-Bendit and J.P. Duteuil.
Iconography.
Handsome copy.

Edition illustrated with 61 drawings and 11 hors-texte plates by Eugène Burnand reproducing the engravings from the 1908 edition.
Half brown shagreen binding, spine with 5 raised bands lightly rubbed set with gilt fillets decorated with double gilt compartments embellished with gilt fleurons, double fillets on marbled paper boards, top edge gilt.
Foreword by Eugène-Melchior de Vogüe.
Gift inscription at head of first endpaper as a present.
Handsome copy.

First edition.
Text in Spanish, numerous color illustrations.
A small dampstain to the foot of the dust jacket, otherwise a handsome copy.

First edition, of which there were no deluxe copies.
Beautiful full-page autograph inscription from the author to Georges Simenon.
Handsome copy, lacking dust jacket.