Masterpieces of Literature

First edition of the French translation (cf. Sabin, 33726 (original edition). Humboldt Library, 4696.)

Complete text, without the Atlas, which was published many years later (1867) and is frequently lacking.

Tears and small marginal losses to some leaves, spine of the second volume split, slight splitting at head and tail of the other volumes, foot of the spine of the first volume restored, some minor foxing.

First complete French edition, translated by H. Faye, of this seminal work by one of the greatest scholars and explorers of the nineteenth century; a masterful synthesis through which Alexander von Humboldt founded physical geography (P. Rousseau, Hist. de la science, p. 362).

The author himself regarded this as the work of his life.

Thanks to his scientific training and his various expeditions, in particular the exploration of South America with Aimé Bonpland, Humboldt was able to gather in a single work all the material, the sum of knowledge on celestial phenomena and life on Earth, from nebulae to the mosses clinging to granite rocks.

This work truly marks a milestone in the intellectual development of humanity.

Edition from the year of the original, stating 78th thousand.
Copy complete with its wraparound band announcing the award of the 1965 Prix Renaudot.
A minute tear without consequence at the foot of one joint.

Autograph inscription signed by Georges Perec to Jean Berthou and his wife.

Second edition only one month after the first edition.
Spine lightly wrinkled, small signs of folding in the margins of the boards, a light mark on the second board.

Claude Couffon, a French specialist and translator of the major Spanish-speaking writers of the second half of the 20th century, translated Chronicle of a Death Foretold a few years later.
On the last page, below the colophon, Gabriel García Márquez specified an address in Barcelona, that of his famous literary agent for Spain: “c/o Agencia Carmen Ballcells Urgel 241, Barcelona, 11.”

Rightly considered as one of the most important works op the Spanish language, the novel by García Márquez, however, had difficult beginnings after a first refusal by the avant-garde Barcelona publisher Seix Barral: “This novel will not be successful [...], this novel is useless.”
García Márquez sent it from Mexico to the Argentinian publisher Francisco Porrúa who immediately perceived the power of this unknown Colombian writer: “It wasn't a question of getting to the end to find out if the novel could be published. The publication was already decided from the first line, in the first paragraph. I simply understood what any sensible publisher would have understood: that it was an exceptional work.”
Finished printing in May 1967, Cien Años de Soledad appeared in bookshops in June with 8,000 copies selling out in a few days. The second print on 30 June will have the same success, as will the editions that follow week after week. More than half a million copies were sold in three years.

Several copies were later inscribed by Gabriel García Márquez who over the years has become one of the most famous South American writers, translated into 25 languages. However, contemporary autograph inscriptions on the first prints are extremely rare, even more so to one of his French translators who will contribute largely to his international renown.

First edition, one of the review copies.
Preface by Raymond Queneau.
Rare and appealing copy.

Rare signed autograph presentation from Boris Vian to Marc Bernard.

Edition published the same year as the first. Illustrated with a portrait of the author, three folding plates, a folding map of Longwood house and two folding maps.
Some foxing.

Full black calf bindings, smooth spines with gilt romantic motifs, boards with central motif in blind, boards ruled in gilt, a small restoration to the margin of the first volume's upper board, handmade endpapers and pastedowns, marbled edges, spine-ends ruled in gilt, contemporary romantic bindings.

Rare signed and inscribed copy to a veteran of the Napoleonic wars, on the title page of the first volume: "A Mr. Foucauld, ancien s. [sous] officier de la Grande Armée. Passy 19. 7bre 1840 par le Cte de Las Cases" [To Mr. Foucauld, former second officer of the French Imperial Army. Passy 19. September 1840 by Count de Las Cases]

This inscription by the famous memorialist dates from the year Napoleon's mortal remains were returned to France, a few days before the Belle Poule frigate arrived in St. Helena to collect the coffin. Las Cases inscribed this copy at a turning point in history, as the world was once again turning to the remote island where the Emperor was exiled and buried. A second resurrection was to occur with the triumphant return of the imperial coffin:

"Frozen sky, pure sun. - Oh! shines in history,
Of the mournful imperial triumph torch!
May the people forever keep you in their memory,
Beautiful day like glory,
Cold as the grave" (Le Retour de l'Empereur, Victor Hugo).
The famous compilation of memories and confidences of Napoleon in exile was considered from the beginning to be a true masterpiece which had a lasting effect on Napoleonic legacy. Inscriptions by Las Cases on his most famous work are extremely rare. Las Cases wrote these words to another faithful servant of the Empire, at a time when one of the most important events in Napoleonic history was unfolding: the long voyage of so-called “Mission des cendres”. Las Cases was to be part of this expedition and abandoned due to ill health. He was replaced by his son who had shared his captivity in St Helena and was to publish, like his father, an account of his journey with the Emperor's remains. Las Cases did, however, attend the lavish funeral ceremony at the Invalides, true to his words from the Mémorial: "The heavens blessed my efforts by allowing me to go all the way".

An exceptional copy with a rare meaningful signed autograph inscription, on the iconic work at the origin of Napoleonic mythology, handsomely set in a contemporary binding with Romantic gilt motifs.

Edition illustrated with 16 original watercolours by Auguste Leroux, engraved on copper by Delzers and Feltesse, one of 90 numbered copies on Imperial Japan paper.
Bound in navy blue half morocco with corners, spine with four raised bands decorated with gilt pointillé and triple gilt panels with typographic motifs, gilt date at foot, gilt fillet borders on marbled paper boards, marbled endpapers and pastedowns, original wrappers and spine preserved, gilt edges, contemporary binding signed by Bernasconi. 
As stated in the justification of the print run for the copies on Imperial Japan paper, our copy is complete with its two suites: one in colour with remarques and the other in colour.
In addition, our copy is exceptionally enriched with 2 original drawings by Auguste Leroux, one heightened with watercolour, signed with his initials and placed at the beginning of the volume, just after the justification of the print run. 
A fine copy, perfectly bound and enriched with two original drawings.

Rare first edition of the French translation prepared by Thomas-François Dalibard at the request of the Comte de Buffon (cf Wheeler Gift 367d. Waller 11339. DSB V, pp. 129-139).

Full mottled calf, spine with five raised bands ruled in gilt and decorated with double gilt compartments with floral tools, red morocco lettering-piece, gilt rolls on the caps (partly rubbed), restorations to head and tail of spine as well as to the corners of the boards, marbled endpapers and pastedowns, gilt fillets on the edges, marbled edges, contemporary binding.

Some foxing, a dampstain to the upper right corner of the first endpaper.

The English first edition was published in London in 1751 under the title "Experiments and observations on electricity made at Philadelphia in America" (cf. Norman 830 for that edition).

First edition of the French translation by Jean Dutourd, one of 86 numbered copies on pur fil, only grand papier (deluxe) copies. 

Extremely rare printing by Fauvelle, official printer for the Tribunaux de la Seine, contemporary and textually identical to the octavo and quarto editions by the Imprimerie de la République. Only four copies with Fauvelle's imprint in OCLC (BnF, National Library of Spain, Royal Danish Library, Stadtbibliothek Worms).

Bradel-style binding in full marbled paper boards, flat spine with red roan label, light foxing to the first three leaves.

First version of the Napoleonic Code, presented by the four members of Bonaparte's commission appointed to draft the civil code. Also contains the important “Preliminary Address to the First Draft of the Civil Code,” outlining the influences and objectives behind this landmark work - the first modern legal code to be widely adopted in Europe, which influenced the codes of jurisdictions all over the world.

First edition of this magnificent work, one of Gustave Le Bon’s (1841–1931) contributions to anthropology, in which he applied his pioneering theories to the Arab world. One of the few copies printed on japon paper, unrecorded in bibliographies.

Illustrated with 10 chromolithographs, 4 maps, and 366 engravings, including 70 large plates, after the author’s photographs or the most reliable documentary sources. Cf. Vicaire V, 134.

Contemporary half cherry-red shagreen, spine with five raised bands adorned with gilt fillets and double gilt compartments, double gilt fillet frame on marbled paper-covered boards, comb-marbled endpapers and pastedowns, top edge gilt.

Minor superficial rubbing to spine ends.

A rare and attractive copy on japon paper, handsomely bound in contemporary period style.

First edition of the French translation by Nicolas-Gabriel Vaquette d'Hermilly (1705 or 1710–1778), later revised by La Harpe (Quérard II, 30; Cioranescu, XVIII, 33 926).

Despite its very late date, this was only the second attempt at a French translation of Os Lusiadas (1572), following that of 1735 by Duperron de Castéra, which had failed to convince contemporary readers.

This edition includes 10 copper-engraved plates out of text, and is further enriched with notes and a biography of the author.

Bound in early 19th-century green bottle Russian morocco over pink paper boards, corners reinforced, flat spines with gilt double fillets and black ruling; some surface abrasions to boards, endpapers and pastedowns lightly shadowed at the margins.

Paper restoration to leaves 293–294 of the first volume; leaves 291–292 misbound in the second volume.

First edition of this French translation prepared by Abbé J.B. Morvan de Bellegarde, who here renders six of the nine books of the celebrated Brevissima relación by Las Casas, first published in Seville in 1552 (cf. Sabin 11273. Medina BHA 1085n. Streit I:733. Palau 46966. JCB (4) 344-345. Leclerc 337. "European Americana" 697/33).

Contemporary full marbled calf binding, spine gilt in compartments with decorative tooling, red morocco label, gilt rolls to head and tail caps, marbled endpapers and pastedowns, gilt fillets to board edges, red edges.

Minor repairs to joints, discreet restoration in the inner margin of the frontispiece.

A handsome copy.

Las Casas wrote this text in 1549 to defend himself against accusations from Spanish colonizers following his advocacy on behalf of the Indigenous peoples. In this impassioned denunciation, he condemns the colonial system introduced in the Indies by the Spanish, a system founded entirely on violence and plunder. The publication caused considerable stir in Spain and led to the abolition of the encomiendas—a land allocation system which, under the guise of converting and assisting the natives, legalized one of the most brutal forms of slavery. From a historical perspective, this work stands at the origin of the concept of the "noble savage", which, through missionary apologetics, would inspire the primitivist movement that ultimately gave rise—within Rousseau's thought—to a return to nature and to the new moral, political, and aesthetic sensibilities of the 19th century. Cf. Dict. des œuvres.

The first edition, first printing, numbered in the press, with only 23 large paper copies on Hollande paper.
With a frontispiece portrait of Apollinaire by Picasso.
Discreet restorations to spine.

With a chemise of half red morocco over paper boards by Boichot, spine in six compartments, date to foot of spine, identical paper slipcase with red morocco edging.

 
Rare autograph inscription signed by Guillaume Apollinaire: “for Henri Ghéon whose poetry I am fond of, Guillaume Apollinaire”.
This copy also with five manuscript corrections by Apollinaire on pages 71, 77, 92, 110 and 189.
A good copy with a rare autograph inscription by the poet.

An autograph quatrain in black ink has been mounted on the verso of the frontispiece.

First edition with all first printing  features, one of the press copies.

Exceptional presentation copy inscribed by the author to the famous singer Yvette Guilbert, to whom Céline himself sang and offered one of his scandalous compositions, “Katika la putain,” [Katika the Whore] later renamed “À Nœud coulant” [With a Slipknot"] "A madame Yvette Guilbert en témoignage de ma profonde admiration. LFCéline.” 

Beneath Céline's inscription, the actor Fabrice Luchini added: “A Yvette Guilbert in memoriam. FLuchini” ; and on the half-title, actor Jean-François Balmer wrote in turn: “Merci en bon voyage. JFBalmer.”

With pasted-in entry tickets to their respective performances of Voyage au bout de la nuit at the Comédie des Champs-Élysées for Luchini, and at the Théâtre de l’Œuvre for Balmer.

For the first three volumes, first edition, complete with all 84 parts published between February 1842 and October 1843 of this "admirable publication printed on thick vellum paper [...] one of the finest of the 19th century, justly esteemed and comparable to the beautifully illustrated books of the 18th century" (Carteret), (see Carteret III, 143–153; Vicaire II, 234–248).

The first three volumes are bound in full violet morocco, spines with five raised bands bordered with gilt pointillé tooling, compartments richly gilt with double gilt frames, gilt rolls on caps, covers framed with quintuple gilt fillets, gilt monogram MG at the corners, comb-marbled endpapers and pastedowns framed in gilt dentelle, double gilt fillets on board edges, all edges gilt. Splendid bindings signed by Dunezat, active between 1870 and 1895.

Illustrated by Charles François Daubigny, Ernest Meissonier, Anthelme Trimolet, Adolphe Steinheil, Gustave Staal, Emy, Louis-Léopold Boilly, Charles Edouard de Beaumont, among others.

Texts by Marc-Antoine Desaugiers, Fabre d'Églantine, Pierre-Jean Béranger, André Chénier, Florian, Sedaine, Constance de Salm, Jean-Joseph Vadé, etc., set to music by various composers, including André Grétry, Jean-Jacques Rousseau, Étienne Nicolas Méhul, and François-Adrien Boieldieu.

The complete collation is as follows: 1) 5 preliminary leaves (half-title, engraved title-frontispiece, list of songs, introduction by Delloye) and 28 parts of 4 unnumbered leaves each (28 songs, each including a 2-page note, 4 pages of text with illustrations, and 2 pages of music—i.e., 4 unnumbered leaves per song); 2) 5 preliminary leaves and 27 parts of 4 unnumbered leaves each, except for La Parodie de la Vestale, which includes 10 unnumbered leaves; 3) 5 preliminary leaves and 28 parts; 4) 2 unnumbered leaves, engraved frontispiece, xxiv and 224 pages.

The general series wrappers were not bound in this copy, which shows several first-issue points.

Enclosed: bound in violet half morocco with corners, Chansons populaires des provinces de France. Notices by Champfleury. Piano accompaniment by J. B. Wekerlin. Paris, Lécrivain et Toubon, booksellers, 1860, 2 unnumbered leaves, engraved frontispiece, xxiv and 224 pp.

Binding in violet half morocco with corners, spine with five raised bands bordered with gilt pointillé tooling, richly gilt compartments framed in double gilt fillets, marbled paper-covered boards, comb-marbled endpapers and pastedowns, a few scuffs to board edges and extremities, all edges gilt, an elegant unsigned binding likely attributable to Dunezat, active between 1870 and 1895.

A very handsome set, perfectly bound.

First edition. Bibliothèque des chemins de fer series. Quite scarce. The novel was previously serialized in the Moniteur universel from March to May 1857. 12-page Hachette catalogue bound in at the end.
Full early 20th-century tan morocco binding, signed at the foot of the inside front cover by A. J. Gonon, housed in a beige slipcase trimmed with morocco. Spine with raised bands, compartments decorated. Wide gilt fillet border on pastedowns. Untrimmed copy. Occasional foxing. Spine slightly sunned. Original wrappers preserved, spine portion missing. A good copy.

Edition established, annotated, and commented by Le Roux de Lincy and Anatole de Montaiglon. Deluxe printing limited to 395 copies on deluxe paper, this one of 40 on Whatman paper (No. 301), including three suites of the engravings: one in black on Japan paper, one in bistre, and one in sanguine.

Illustrated with a portrait by T. de Mare, a frontispiece by Dunker, and 76 figures after Freudenberg engraved by De Longueil, Eichler, Le Roy, among others. Includes head- and tailpieces. One chromolithographed plate depicting the arms of Marguerite de Navarre. All engravings are presented in three states, except the chromolithograph.

Contemporary full citron morocco binding signed by Allo. Spine with five raised bands, richly tooled with Marguerite de Navarre’s cipher repeated twice and fleur-de-lys motifs, framed in gilt compartments with various decorative tools and fillets. Her coat of arms stamped at the center of both covers, triple gilt fillet border. Lavish gilt dentelle turn-ins. A thin scratch to the lower board of volume II and a small surface crack along the lower joint of the same volume. A very well-preserved copy with only occasional light foxing. Edges untrimmed, causing the engravings to be slightly shorter than the text block.

A magnificent set in a masterly period binding.

New edition of the Fables, more complete than previous ones, illustrated with a hand-coloured vignette on the title page and 110 hand-coloured half-page illustrations in the text, for a total of 111 engraved and coloured plates (cf. Rochambeau 305. Després, p. 142, no. 63).

Full olive calf binding, spine with gilt fillets, numerously tooled in gilt, gilt tooling to spine-ends, boards framed in gilt, marbled endpapers and pastedowns, inner gilt dentelle on pastedowns, all edges gilt, 20th-century binding.

Spine and covers faded, some foxing, a snag at head of rear cover. Lower right corners of pp. ix-xi restored.

An exceptional and finely watercoloured copy of this abundantly illustrated edition of the "Fables." The famous illustrations by Jean-Baptiste Oudry were recut and modified for this publication and are accompanied by explanatory notes intended for young readers.

The title vignette was also created from a fragment of the frontispiece of the first edition illustrated by Oudry.

First edition, one of 115 numbered copies on alfa paper, the only deluxe copies aside from 35 on pure thread.

Two small spots of foxing on the front cover, a discreet crease, a handsome copy as issued.
 
Rare and highly sought after in deluxe paper.

First edition of the French translation, one of 240 numbered copies on alfa paper, the only deluxe copies after 7 on Japan paper, 10 on Arches, and 21 on pure rag vellum.
Restored tear at head of spine, which is also cracked, slight tears along the right margin of the front cover, internally clean and appealing.

Second edition of the French translation, published one year after the original, one of 300 numbered copies on vélin de Renage, the only deluxe paper copies.

A handsome and rare copy.

Rare and highly sought-after first edition.
Contemporary binding in black half shagreen, flat spines richly decorated with gilt ornamental rolls, discreet and skilful restoration to the foot of one joint, black paper-covered boards, marbled endpapers and pastedowns, sprinkled edges. Discreet restoration to the lower hinge of the first volume.
Exceptionally clean copy, virtually free of foxing (a rarity according to Clouzot, who notes that most copies are usually heavily spotted).
Provenance: from the libraries of Saint-Germain (with printed crowned bookplate beneath the titles on the half-titles); Count de Bonvouloir (with his printed bookplate, Château de Magny in Calvados, above the title on the half-title of the second volume and above the next bookplate on an endpaper of the first volume); Charles-Albert Gigault de Crisonoy de Lyonne, with his bookplate mounted on a pastedown and endpaper; and more recently Max Brun, with his bookplate mounted on the front pastedown of the first volume.
Shelving labels mounted at the top of the rear pastedowns, minor losses to white paper and some corner stains on the endpapers.
A rare copy preserved in a strictly contemporary binding.

New edition bearing a false statement of 128th edition.

Half heather red morocco binding, spine with five raised bands set with black fillets, gilt fillet frame on boards of Africanist-patterned paper, almond green paper endpapers and boards, original wrappers preserved, restorations to boards, top edge gilt, binding signed by Boichot.
Autograph inscription signed by Antoine de Saint-Exupéry on the half-title page: "Pour madame Capietto. En souvenir de quelques passages à Alger et, cette fois ci, d'une semaine bien mélancolique. Et avec toute mon amitié.
Antoine de Saint Exupéry." (For Madame Capietto. In memory of some visits to Algiers and, this time, of a very melancholy week. And with all my friendship. Antoine de Saint Exupéry.)







 

First edition on ordinary paper, bearing the correct colophon dated August 25, 1978.

With a printed stamp to the upper right corner of the half-title page; publisher's price sticker affixed to the foot of the lower cover.
A handsome copy.

New edition. A steel-engraved portrait frontispiece, printed on China paper and mounted. Printed in very small type, arranged in two columns.

Full polished blond calf binding, signed by Thouvenin at foot of spine. Smooth spine with blind-stamped Gothic architectural elements heightened with gilt dots, gilt fillets and title. Covers blind-stamped with a large Gothic window surrounded by architectural ornaments. Multiple blind-ruled frames with corner fleurons and gilt fillets. Inner dentelles. All edges gilt. Joints discreetly cracked at head. Some foxing and occasional browning to a few pages. Minor rubbing. Spine slightly dulled. A handsome copy.

Collective edition, partly original. It is illustrated with 3 frontispiece titles and 23 figures by François Chauveau. The three frontispiece titles dated 1660, the title page of the second volume with the date 1664, the other two title pages dated 1660. In the second volume, the privilege is also dated 1664, while the other two volumes have the privilege dated 1660. The second volume is therefore the 1664 reprint, identical in every respect to the 1660 edition, with the exception of the collation of the preliminary pieces. The three discourses as well as the examinations of each piece appear for the first time.

Binding in full 20th-century chocolate morocco signed Alix at the bottom of the endpapers. Spine with raised bands decorated with 4 grotesque panels, author, title, volume number, and date in gold. Large and rich interior border. Triple fillet border on the boards. Gilt edges. Minimal traces of rubbing. Volumes of great purity, with paper of beautiful freshness. Slipcases edged with chocolate morocco covered with old laid paper.

Magnificent copy.

First edition, one of 450 numbered copies on Corsican paper.
A pleasant copy, despite the spine and covers being slightly and marginally toned, as often.

First edition, one of 62 numbered copies on madagascar paper, deluxe copy.
Some light foxing affecting mainly the edges.
Half dark blue morocco binding, spine with five raised bands, cat's-eye paper boards, combed paper endpapers and pastedowns, original wrappers and spine preserved, top edge gilt, binding signed by Devauchelle.
Handsome copy beautifully executed.

First edition of the French translation, one of 150 numbered copies on pur fil, the only deluxe copies issued after 25 copies on Holland paper.

A fine copy with all edges untrimmed.

First French edition of the translation, with no copies printed on deluxe paper.

A handsome copy complete with its illustrated dust jacket, which shows minor tears to the head of the spine and panels.

The book was adapted for the screen in 2006 by Tom Tykwer, starring Ben Whishaw and Dustin Hoffman.

New edition, illustrated with drawings by de Neuville and Benett.
Publisher’s gilt-pictorial cloth binding known as “à un éléphant, titre dans l’éventail”, with Engel’s signature at the foot of the front cover plaque, spine featuring a lighthouse, rear cover of type “i” as defined by Jauzac, all edges gilt.
Headcaps very slightly compressed, faint trace of a removed label to the verso of the front board.
A handsome copy.
Le Tour du monde en quatre-vingts jours is an adventure novel. It tells the story of an English gentleman, Phileas Fogg, who wagers he can travel around the world_

First edition, untrimmed with wide margins, very rare and highly sought-after (see Clouzot, "Le manuel du bibliophile français", p. 257).

Some occasional foxing.

Illustrated on the title pages of both volumes with two engraved vignettes by Porrêt. This copy contains the publisher’s notice leaf in the first volume and the author’s note leaf in the second volume.

Contemporary red half calf over marbled boards, calf corners, spines ruled in gilt with double gilt panels decorated with typographic gilt tooling, black calf title and volume labels, some minor rubbing to joints, marbled endpapers and pastedowns, lower corners a bit worn, bookplate pasted on the front pastedown of volume one, contemporary bindings.

A very rare and desirable copy, entirely untrimmed and preserved in a handsome contemporary binding - an even rarer feature. As noted by Clouzot: "les reliures de l'époque sont le plus souvent assez simples. Donc ne pas se montrer difficile sur la qualité."  ['Contemporary bindings are most often rather plain; one should not be overly particular regarding their quality.']

New edition.

Spine very slightly sunned, but an attractive and well-preserved copy.

Signed by Jean-Paul Sartre on the half-title.

First edition, one of 120 numbered copies on Lafuma pure wove paper, the only large-paper issue.

Endpapers very slightly and marginally toned, two small tears at foot of spine.

A rare and much sought-after copy in original state.

First edition, "very rare and extremely sought-after" (Clouzot), one of 750 copies on laid paper, with title vignettes engraved by Henri Porret after Henry Monnier.

Skilful restoration of a tear at the foot of a page, with slight damage to a letter. A rare copy with no foxing.

Green half calf binding, smooth spines with arabesques stamped in gilt, black title labels and volume labels; marbled paper boards, spine boards and endpapers, speckled edges, later bindings in the Romantic style.

A rare Belgian pirate edition in 8 tomes bound in 4, published shortly after the novel's first serial appearance in the Journal des débats from August 28, 1844 to January 15, 1846. Complete with all half titles and title pages. They are all dated 1845, except for the last two (vol. 7-8) dated 1846. The edition includes the misprint "Christo" for "Cristo", present in the pre-first edition of the Journal des débats, and corrected for the first time at the end of 1846 in the first illustrated edition.

Contem­porary brown half shagreen, spine ruled in gilt, gilt titles and volumes, brown marbled paper boards, marbled edg­es. Spines uniformly lightened, rubbed corners and edges with small paper and leather tears, scuffs to boards. One quire slightly sticking out in vol. 1, 2 and vol. 3, 4, others misaligned in the other 2 volumes.
Rare pirate pre-first edition of the greatest revenge novel of all time. Given the extreme rarity of the French first edition in book form, these pirate editions - either predating or simultaenously published with the first Parisian edi­tion - have become rare and highly sought-after.
Operating outside of French copyright law, Belgian publishers issued numer­ous books published in France as soon as they appeared in newspapers. Hau­man, the publisher of this pirate edition, made a specialty of publishing dozens of Dumas novels - sometimes even as pre-first editions, before the French ones. Only this pirate edition and three others, all Belgian (Méline et Cans, Lebègue, and Muquardt) were published sequentially, their volumes closely following the publication of new journal installments, even before the novel was fully issued serially.
Munro, Alexandre Dumas père, a bibliogra­phy of works published in French, 1825-1900.

First printing of the 109 colored wood miniatures by Henry Lemarié, one of the numbered copies on Rives laid paper for each of the volumes.
Small tear at foot of spine of the Bluebeard slipcase, very light rubbing without significance to the slipcases, two small tears at foot of second board of the silent wrapper encasing Cinderella.

We include the illustrated catalogue of Jean Porson editions as well as the catalogue, printed on Rives, announcing the collection of Charles Perrault tales illustrated by Henry Lemarié. This descriptive catalogue is decorated with the frontispiece of Sleeping Beauty in black, two vignettes and two in-text illustrations by Henry Lemarié.
Each slipcase features an illustration by Henry Lemarié on the first board. 

Pleasant and rare set, complete with its illustrated slipcases, which was originally intended to comprise six tales but of which only three were published.

First edition, one of 70 numbered copies on pure thread paper, ours being one of 15 hors commerce copies lettered under Ingres covers, deluxe copies after 2 reimposed on pure thread laid paper hors commerce reserved for Jacques Hébertot and 13 holland paper copies.
Minor marginal tears of no consequence to the covers.
Handsome and rare copy of this response by Albert Camus to Jean-Paul Sartre's "Les mains sales".

First edition of the French translation by A. J. B. Defauconpret. Illustrated vi­gnette on the title page of each volume, with two illustrations in each volume (60 in total) by Louis Marckl after Noël Bertrand.
Green half shagreen binding, spine with five raised bands elaborately framed in gilt and blind, spine-ends stamped with a gilt rosette bearing cabbalistic signs, marbled paper boards, marbled endpa­pers and pastedowns, speckled edges, contemporary bindings.
Spines slightly lightened, some corners slightly dulled, more pronounced foxing on some volumes, a tear not affecting text to pp. 303-304 of vol. 2, a restored tear and a marginal lack of paper not af­fecting text to pp. 213-214 of vol. 5.

Autograph letter signed by James Fen­imore Cooper in French, bound in the first volume, written to Charles Goss­elin, publisher of his complete works.
Slight folds to the corners of the leaf, pencil and pen notes by a previous bib­liographer.

Handsomely bound set, exceptionally containing an autograph letter signed by the author to his publisher.

First edition, one of 200 numbered copies on Hollande paper, the only large paper copies.

Bradel binding in half blue morocco with corners, spine with five raised bands highlighted with gilt dots and decorated with triple gilt compartments, gilt date at tail, gilt fillets on marbled paper boards, guards and pastedowns of combed paper, original wrappers and spine preserved, top edge gilt, others uncut, binding signed Canape.

Rare copy of Guy de Maupassant's masterpiece beautifully bound in an elegant signed binding.

A fine edition complete with all 12 steel engravings with tissue guards after paintings by Jean-Louis-Ernest Meissonier, Bartolomé Esteban Murillo, Philippe de Champaigne, and Hyacinthe Rigaud, and its chromolithographic title page. Leafs containing the Discourse on Universal History  framed by floral, zoomorphic, figural and armorial interlaced borders. This copy is further enhanced with elaborate decorated initials and tailpieces, and a black-and-white frontispiece opening each part.

Sumptuous full navy blue cathedral polished calf bindings, smooth spines decorated in gilt and blind with Gothic tooling depicting ogival windows, dates and titles in gilt, Gothic lettering for titles; boards with a central panel in gilt and blind framed by multiple gilt fillets and a blind-tooled palmette border, board edges with repeated gilt and blind motifs, gilt edges, triple gilt fillet on joints, moiré pastedowns and endpapers.

Corners slightly bumped, a few minor scuffs to boards, bindings overall in very fine condition.

Scattered foxing, mostly marginal to text and plates, some leaves and plates with light browning.

List established by Georges Vicaire detailing the 12 steel engravings included in this edition:

"Portrait of Bossuet, engraved by Pigeot after H. Rigaud; Moses, engraved by Cousin after Ph. de Champaigne, within a border by A. Feart, engraved by E. Ollivier; the Nativity, engraved after Decaisne by Caron (border by Feart, engraved by E. Ollivier); Charlemagne, engraved after Meissonier by Caron (border by Feart, engraved by Ollivier); Isaiah, engraved after Meissonier by Cousin (border by A. Peyre, engraved by E. Ollivier); the Assumption, engraved after Murillo by Cousin; Jesus Christ, engraved after Decaisne by M. Lecomte (border by Chenavard, engraved by Ollivier); St. Paul, engraved after Meissonier by Cousin (border by A. Fries, engraved by Le Petit); St. Augustine, engraved after Murillo by Joubert (border by Feart, engraved by Ollivier); St. Basil, engraved after Herrera the Elder by Cousin (border by Feart, engraved by Ollivier); Greece, engraved after Tony Johannot by Revel (border by Feart, engraved by E. Ollivier); Rome, engraved after Tony Johannot by Pelée (border by Feart, engraved by Ollivier)."

(our own translation)

Copy comprising two translations in first edition by M. de Marolles, Abbé de Villeloin. Charming allegorical title-frontispiece depicting the authors and their works, the latter represented as two mischievous cherub-satyrs. Several headpieces, some with coats of arms, tailpieces, and decorated initials with floral and figural motifs.

Contemporary binding in full polished brown calf, spine with four gilt raised bands, decorated with four compartments with gilt fleurons and roulettes, double gilt fillet framing the boards.

Darkening to the spine and lower board, rubbing and scratches to the boards, one corner bumped.

Scattered foxing and dampstaining in the margins, affecting the text only slightly, small marginal hole at p. 201, faint brown ink mark at p. 101.

Rare illustrated 17th-century reimpression of Abbé Claude Picot's French translation of the Principia Philosophiæ, first published in Amsterdam in 1644. Ownership inscription in black ink on the title page signed "C.J. Bidey Sacerdotis de Dola in utroque lege Licentiam," likely a priest from Dole in the Jura, and a gift inscription in brown ink by "L.F. de Moriat."

Contemporary binding in full glazed and speckled brown calf, spine with five raised bands decorated with four richly gilt compartments, red morocco lettering piece, gilt roll on board edges, slightly worn, red speckled edges.

Early restorations to headcaps and joints, two small wormholes to spine, light surface wear and minor staining to boards, corners bumped.

Two marginal tears, not affecting text, to pp. 209, 401, and 483, and a minute hole to p. 371. Nine manuscript lines in brown ink on p. 4, possibly in the same hand as the author of the gift inscription.

The work is illustrated with several engravings, including a plate facing p. 119.

Complete copy comprising two translations by Nicolas Perrot d'Ablancourt, whose works are commonly known as "belles infidèles" (beautiful but unfaithful translations). Between 1662 and 1795, no other translation of Thucydides' History of the Peloponnesian War was published. The privilege granted to the bookseller Clousier in 1712 was shared among several booksellers, including Michel-Étienne David, Nicolas Gosselin, and Jean-Geoffroy Nyon.

Contemporary full brown calf, gilt spines with five raised bands and four compartments decorated with plain and dotted fillets enclosing fleuron tools, tan morocco lettering-pieces, numbering-pieces within gilt borders, gilt rolls to board edges, red speckled edges, marbled pastedowns and endpapers.

Light scratches and rubbing to boards, corners worn. Old bookplate mark on the first pastedown of the second volume.

Marginal worm trail in the first volume, not affecting text, overall some slight foxing. 

Folio edition of the Holy Bible illustrated by Gustave Doré in two volumes.
3/4 red calf, spine with five raised bands showing some scuffing, decorated with five blind-stamped panels framed in gilt, gilt roll on the bands and at top and bottom of spine, spine-ends rubbed, spine elaborately decorated with gilt tooling, title and volume number gilt-stamped, marbled paper boards framed in gilt, small losses of paper at upper margin of front board of both volumes, paper lifting at margin of lower cover of volume two, contemporary binding. Some foxing. 
Translated by J.J. Bourassé and P. Janvier.
A handsome edition with numerous monumental woodcuts after drawings by Gustave Doré.

Counterfeit edition published only one year after the octavo and duodecimo first editions. This copy in the same format as the octavo first edition that was corrected by Rousseau.

Contemporary full calf, smooth spine decorated with five gilt fleuron tools, red morocco lettering-piece, single fillet ruled in blind to boards, gilt fillet to board edges, red edges, marbled endpapers and pastedowns.

Head of spine missing, usual wear to joints with slight splitting in four places, minor rubbing to boards, corners bumped.

Minute stain to p. 157.

First public edition of this text written under the pseudonym François la Colère, one of 50 numbered copies on Madagascar paper, the deluxe issue.

Rare and fine copy.

First edition, one of 170 numbered copies on deluxe paper.

Fine copy preserved in its double wrapper.

First edition, one of 170 numbered copies on pure rag paper.

Shadowed endpapers; a small loss at the head of the upper board of the original front cover.

A pleasant copy, preserved in its double wrapper.

Third edition and the last revised by the author, partly original as 25 poems appear here for the first time, bringing the total to 151 poems (as against 100 in the 1857 edition). Copy of the second issue, with a title page dated 1869 and bearing the statement of third edition.
Illustrated with a steel-engraved portrait of Charles Baudelaire by Nargeot as frontispiece.
A few minor spots of foxing, as often encountered.
The upper cover and the half-title page bear the wording: "Oeuvres complètes". According to Clouzot, the volume was sold either separately on its own or as the first volume of the collected works, whose publication extended over several years.
It should be noted that the wrappers of this third edition are always dated 1869, while certain copies, the rarest, carry a title page dated 1868.
Notice by Théophile Gautier.

First edition of the Petits poëmes en prose, later entitled Le Spleen de Paris – Petits poëmes en prose. Second edition of Les Paradis artificiels.

Some foxing, mainly at the beginning and end of the volume.
Contemporary half black shagreen binding, spine with five raised bands ruled in gilt and decorated with gilt tools, marbled paper sides, marbled endpapers and pastedowns, speckled edges, corners slightly rubbed.
The half-title bears the designation: "Oeuvres complètes". The work was issued separately, either on its own or as the fourth volume of the complete works, the publication of which extended over several years.
Clouzot notes: "Très rare en reliure d'époque sans tomaison au dos".
Particularly sought after.


 

New edition of the French translation of this work, originally published in 1731 in two quarto volumes (see Brunet IV, 456).

This edition is illustrated with 8 folding plates, comprising 3 maps and 5 views.

Contemporary full marbled tan calf bindings, smooth spines richly decorated with gilt floral panels, bronze calf lettering- and volume-pieces, small wormholes to the spines, gilt rolls to the caps, single blind fillet framing the boards, marbled endpapers, gilt fillets to the board edges, red edges, bindings of the period.

Repairs to the joints, a few occasional spots of foxing.

The translator of this French version, written "en un style aisé, clair, même élégant", was Abbé Nicolas Gédoyn [Oréans, 1667 near Beaugency, 1744], known both for his translations and his scholarly works.

Born into an old and distinguished family of the Orléanais, he studied at the Jesuit college and entered the Society of Jesus as a novice in 1684.

He subsequently taught humanities and rhetoric at the college of Blois

Owing to ill health he left the order and entered the secular clergy. He settled in Paris, where in 1701 he was appointed canon of the Sainte-Chapelle.

Through his elderly kinswoman Ninon de Lenclos he became friendly with M. Arouet, the father of Voltaire, and discovered the future great writer in his earliest attempts. Appointed Abbé of Sainte-Sauve de Montreuil (diocese of Amiens), he resigned this benefice in favour of the abbey of Notre-Dame de Beaugency.

First edition (cf. En français dans le texte, 288. Horblit, 11b. Printing and the mind of man, 353.)

Full black cloth binding, smooth spine, headcaps slightly softened, corners slightly frayed, contemporary binding,

Printed stamps on the title page and on the final page of the table of contents, which bears, on the facing page, a numerical annotation in black ink.

New edition published under the direction of Victor Cousin and illustrated with 45 folding plates at the end of the volumes.

Full polished calf bindings in light brown, spines evenly darkened with four raised bands ruled in gilt and decorated with double gilt panels, gilt rolls at head and tail, gilt friezes at the foot of the spines, a few heads of spines slightly trimmed, joints rubbed, black calf lettering and volume labels, gilt fillet and garland borders on the covers, upper boards gilt-stamped at centre with crowned laurel wreaths and the gilt inscription “académie de Paris - Prix du concours général”, moiré silk endpapers and pastedowns in white, all edges gilt, gilt fillets on the board edges, a few corners lightly rubbed, contemporary bindings.

The set includes 45 folding plates: 11 in volume 3, 12 in volume 4, 11 in volume 5, 3 in volumes 6 and 7, 2 in volumes 8 and 9, and 1 in volumes 10 and 11.

Scattered foxing.

First edition, with all the features of first issue copies, including the misprint “Sénart” on the dedication leaf.

Contemporary plum-coloured 3/4 morocco binding signed by Georges Huser, spines with five raised bands, numerously ruled in blind, with a gilt floral tool at centres, dates in gilt at foot, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edges gilt, bookplates on each front pastedown. Complete with the publisher’s catalogue at the end of the first volume.

A very handsome copy, elegantly bound by Georges Huser, with the rare original wrappers preserved.