Poetry

first edition for which there is no mention of leading copies.
autograph dedication of the author autograph dated and signed by Jules Delacre to Mr. and Mrs. Engel Bathori.
Lack head back.

First edition, one of 450 numbered copies on Alfa paper, only 25 leading copies after Japan and 25 Holland paper.
autograph dedication of the author signed autograph of Charles Plisnier to the actress and theater Andrée Tainsy woman.
Nice copy.

Edition of wich no leading copies exists.
autograph dedication of the author autograph signed by Jorge Enrique Mobili in the singer Jane Bathori who was the companion of the actress and theater woman Andrée Tainsy.
Our copy is enriched by the author's business card.

Edition of wich no leading copies exists.
autograph dedication of the author autograph signed by Jorge Enrique Mobili in the singer Jane Bathori who was the companion of the actress and theater woman Andrée Tainsy.
Our copy is enriched by the author's business card.

First edition, one of 500 numbered copies on vellum Monfourat only draw after 33 leading copies.
autograph dedication of the author autograph signed by René Mébard to cantarice Jane Bathori who was the companion of the actress and theater woman Andrée Tainsy.

First edition, one of 500 numbered copies on vellum Monfourat only draw after 33 leading copies.
autograph dedication of the author autograph signed by René Mébard to cantarice Jane Bathori who was the companion of the actress and theater woman Andrée Tainsy.

First edition, one of 500 numbered copies on vellum Monfourat only draw after 33 leading copies.
autograph dedication of the author autograph signed by René Mébard to cantarice Jane Bathori who was the companion of the actress and theater woman Andrée Tainsy.

First edition, one of 200 numbered copies on Pergament, one draw with 15 Fabriano paper Magnani.
autograph dedication of the author signed autograph Tristan Fernandez to the singer Jane (Batory) and his partner the actress and theater woman Andrée (Tainsy).
First lightly shaded flat head.

Bilingual Edition, the French translation has been done by the Spanish-speaking poet Rafael Alberti.
Bel autograph signed Gloria Alcorta to the singer Jane Bathori who was the companion of the actress and theater Andrée Tainsy woman.
Book adorned the author of illustrations.
A pleasant, well complete copy of the original crystal of the book reproduces the title page.

New edition.
Contemporary half cherry red calf binding, spine with five raised bands decorated with gilt and blind fillets, uniformly faded, signed binding by Thouvenin.
Foxing.
Provenance: from the library of Marquis Guillaume de Lespine with his bookplate.

New edition.
Contemporary half blonde sheep bindings. Smooth spines decorated with gilt fillets, dentelles and fleurons.
Spine of volume two slightly damaged by opening, as well as joints of the same volume minimally damaged at head. Some foxing on endpapers and title pages.
Late edition of the author's works, a playful, light and sarcastic poetry, of which he himself established the genre at the beginning of the 18th century.

Complete Edition, review copy.
Precious autograph signed by Francis Carco Descaves to Lucien: "... Remember, remember ..."
spine slightly insolated, small angular lack of boards.

New edition.
Contemporary full blonde calf binding. Smooth spine decorated with gilt dentelle and fleurons as well as a brown morocco title label. Triple gilt fillet framing the boards. Gilt roulette on the edges and headcaps. All edges gilt. Good copy.
These two poems by Pope were brought together quite early and multiple editions were made of them, the first is a rather lyrical didactic poem on the nature of man and his place in the universe, and the second, quite different, is a graceful and libertine poem on the divinities of love, sylphs and gnomes, who assist young girls in their amorous emotions.

Edition with some parts in first edition, the main part of which appeared in 1597, but which contains for the first time Le Fresne, L'Espérance, La Divinité des procès, Sur un anneau, Je pensais que vertu, La Femme et le Procès, Ce Petit Dieu colère, On demande en vain; that is 7 new poems (only 17 had appeared in 1597).
Full dark green morocco binding late 19th century. Spine with raised bands decorated with 5 fleurons. Boards decorated à la Du Seuil, inner frame with fleurons in the corners. Rich inner frieze. Spine lightened. Light rubbing to corners, joints and headcaps. The copy appears, judging by the handmade paper of the pastedowns, to have been rebound.
This is the last book published during the author's lifetime and revised by his hand, the latter having died in 1602, at the age of 68. Although he was a very enlightened humanist and a profound scholar, friend to many poets (Muret, Ronsard, Baïf...), he is the author of light and particularly witty poetry, without affectation, nourished by Antiquity, where wordplay and rhymes embellish the poems. Professor of eloquence and Belles-Lettres, Passerat would publish very little during his lifetime, yet he was highly appreciated

Edition published by Georges d'Heylli and illustrated with original etchings by Guillaumot père et fils, one of 30 numbered copies on China paper, deluxe issue with 30 on Whatman.
Half caramel calf binding, spine with five raised bands set with gilt fillets decorated with double gilt compartments enhanced at angles with gilt typographical motifs, hazelnut brown morocco title-label, marbled paper boards, traces of soiling to board margins, marbled endpapers and pastedowns, top edge gilt, upper corners slightly bumped.
Occasional light foxing.

First edition.
Half-sheep binding in navy blue, spine with five raised bands set with black stippling decorated with double black fillets, marbled paper boards, marbled endpapers and pastedowns, one tear to a leading edge, contemporary binding.
Some minor foxing of no consequence.

Edition printed in 400 numbered copies on Hollande paper and illustrated with a frontispiece as well as 11 vignettes by Duplessis-Bertaux.
Half green morocco binding, spine with five raised bands decorated with the gilt monogram of the great bibliophile Roger de Cormenin repeated five times, marbled paper boards, marbled endpapers and pastedowns, top edge gilt.
Provenance: from the library of Roger de Cormenin, son of Louis de Cormenin who was the confidant and secretary of Théophile Gautier and also the intimate friend of Gustave Flaubert.

first edition printed in small numbers.
Full binding shagreen midnight blue, back with four nerves set with gold decorated with double black boxes threads and golden, light head scrapes back, framing of double gold and black nets on the boards, guards and white moiré silk contreplats containing small foxing, framing a set of triple gilt fillets on contreplats, all edges gilt, net gilded on the cuts, both corners with traces of friction, contemporary binding.
Our copy is enriched with an autograph quatrain signed Leon Laurent-Pichat.
Some minor foxing.

New edition printed on laid paper.
Half navy blue morocco binding, spine slightly faded with five raised bands set with black fillets, marbled paper boards, marbled endpapers and pastedowns, top edge gilt.
Work illustrated with a frontispiece engraving.
A trace of a bookseller's description label on an endpaper.
Handsome set in a charming uniform signed contemporary binding.

Reprint of the complete works given in 1776, established by Rigoley de Juvigny, illustrated with a portrait of the author by Aug. de Saint Aubin engraved by Billé. As very often, the eighth volume, comprising the Œuvres badines, is not included here.
Contemporary bindings in full tree calf. Smooth spines decorated with gilt fillets, dentelles and fleurons, as well as green morocco title and volume labels. Blind fillet on boards. All edges speckled.
Some rubbing, otherwise a handsome copy.
Author of numerous comedies and epigrams which he had made a true specialty, often against the authors of his time, notably Fréron and Voltaire. Many of his plays were successful, notably his greatest, La métromanie, of which Grimm said it would live as long as there is theater and taste in France. He also wrote libertine poetry which caused him not to be retained by the Académie Française.
Bookplate from the library of Louis Montaut.

First edition?
Contemporary full blonde calf binding. Smooth spine decorated with gilt compartments and fleurons, as well as a brown morocco title label. Gilt fillet and dotted lines on boards. Greek key roll in blind framing the pastedowns. Gilt rolls and lines on edges and headcaps. All edges gilt.
Corners rubbed, otherwise a handsome copy.
Joseph Alexandre de Ségur is the brother of the Comte de Ségur, he is the author of light comedies and songs. His brother, whose career as a statesman was ruined by the Revolution and who was condemned to live by his pen, becoming a historian, curiously also published a collection of tales and songs in 1801.
Bookplate from the library of Henri Bachimont (Henri Bresles), French composer and songwriter.

Edition illustrated with a portrait of the author and five figures by Moreau le Jeune.
Contemporary bindings in half red long-grain morocco with corners. Smooth spines decorated with eight gilt fillets. Paper boards. Some foxing, mainly on endpapers. Handsome copy.
Late edition of the author's works, a playful, light and sarcastic poetry, whose genre he himself established at the beginning of the 18th century.

New edition of the French translation by Xavier Marmier.
Binding chocolate brown half shagreen, back with five nerves had set with black nets decorated with double black boxes, tail golden date marbled paper plates, paper contreplats guards and to the tank.
Some minor foxing.

New edition.
Contemporary full sheep binding. Spine with five raised bands decorated with gilt compartments and fleurons, and a red morocco title label. Cold-tooled fillet framing the boards. Cracked joints, head worn and tail damaged with loss, rubbing, corners bumped. Fresh interior.
This edition contains the epistles, the elegies and miscellaneous poems including the sonnet to Sieur de Rapin which was not found in previous editions but which was not retained by modern criticism.

First printing edition, with Le Brun's translation, accompanied by the life of Tasso by Suard. The illustration comprises the portrait of Tasso engraved by Delvaux after Chasselat, and 20 figures by Le Barbier engraved by Bovinet, Dambrun, Delignon, Langlois, Trière, etc, protected by tissue guards.
Contemporary bindings in full marbled calf. Smooth spines decorated with gilt fleurons and dentelles. Boards framed with gilt roulette. Gilt roulette framing the pastedowns. Gilt roulette on the leading edges. All edges gilt. Head joint of the first volume cracked, headcap slightly damaged. Some rubbing. Scattered foxing. A reasonably good copy.
Handsome edition illustrated by Le Barbier, in neo-classical style. This edition was reprinted in 1813.

First edition.
Contemporary full marbled calf binding. Smooth spine decorated with gilt fillets and fleurons as well as a red morocco title-label. All edges speckled.
Some rubbing and two wormholes on the tail headcap.
The collection brings together various pieces in verse published in different periodicals. Guyétand reflects the poetry of the pre-revolutionary period, and his most accomplished work is a defense of Voltaire, Le génie vengé; he was an upright character who claimed his Jura and social origins, it is claimed that he was one of the models for the character created by Stendhal, Julien Sorel, which is undoubtedly his greatest glory.
Manuscript note by a modern reader on the verso of the first endpaper. Manuscript gift inscription from 1792 on the title page.

Second edition published a few months after the first edition, this second edition has the merit of containing tributes by Saint Aignan, Scudery, Bertault, Ménard.
Contemporary binding in full porphyry calf. Spine with four raised bands decorated with gilt compartments and fleurons, as well as a red morocco title-label. Double gilt fillet framing the covers. All edges marbled.
Adam Billaut (1602-1662) was one of the first working-class poets; Les chevilles by Master Adam appeared in 1644 and had great critical success. Billaut became the protégé of the Prince de Condé, was pensioned by Richelieu and admired by his peers. If his poetry shines little through elegance, in a century that was full of it, his language is full of verve and originality and his collections make him one of the very first poets of the 17th century, one of those whose language is always appreciated, devoid of affectation and unnecessary ornaments.

Fourth edition.
Half yellow mustard calf binding, spine with five raised bands set with black fillets, navy blue morocco title-label, red morocco author label, marbled paper boards, marbled endpapers and pastedowns.
Handsome copy.

first edition.
Bound in half red shagreen, back with five nerves set with black nets decorated with double gilded coffered, gold tail date caps slightly rubbed minor, marbled paper plates, guards and contreplats of handmade paper, marbled edges, corners blunted.
autograph dedication of the author autograph signed Armand Silvestre to Monsieur de Margorie.
Our copy has been enriched with a portrait of the author pasted next to the title page.
Preface by George Sand.

Elzevier edition.
Half dark green sheep binding, spine with four raised bands decorated with double compartments centered with gilt typographical motifs, small lack to upper headcap, marbled paper boards, marbled endpapers and pastedowns, corners slightly bumped.
Handsome interior condition without foxing.

Edition with some parts in first edition and the only complete edition.
Half bronze calf binding, smooth spine decorated with gilt romantic arabesques, joints showing traces of wear, marbled paper boards, marbled endpapers and pastedowns, marbled edges, contemporary romantic binding.
Some foxing.

New edition, illustrated with a frontispiece portrait of the author (unsigned), as well as with a figure at the head of each volume.
Contemporary full light calf bindings. Smooth spines decorated with gilt fleurons and fillets, as well as black morocco title and volume labels. Gilt vegetal roll border framing the boards. Geometric roll on the edges. Fine gilt dentelle framing the pastedowns. All edges marbled. Some joints rubbed or very lightly cracked, otherwise a handsome copy.
The edition is organized as follows:
Vol. 1. Young's Nights.
Vol. 2. Young's Nights (Continued). The Last Judgment. The Triumph of Religion. Paraphrase of the Book of Job. Epistle to Voltaire. Review of Life. Thoughts on Various Subjects. Eusebius, or the Virtuous Rich Man. Resignation.
Vol. 3. Estimation of Life. Treatise on Passions. Moral Letters on Pleasure. Conjectures on Original Composition.
Vol. 4. Revenge, A Tragedy. Busiris, King of Egypt, A Tragedy. Epistle to Lord Lansdowne on the Peace of 1712.
It is well known that Young's Nights enjoyed considerable success and many editions. Le Tourneur's famous translation accentuated the lugubrious side and the emphasis of the original, and contributed in France to making the work more famous than in England, making Young the leader of a new dark and pre-Romantic poetic school whose roots originated with Milton. Even his tragedies were considered the finest plays of the time, notably Revenge, an imitation of Othello, and he is considered to have been one of the principal figures of eighteenth-century English poetry at the origin of Romanticism.

New edition.
Half red shagreen binding, smooth spine decorated with gilt romantic arabesques, red paper boards decorated with cold-stamped decorative motifs, marbled endpapers and pastedowns, speckled edges, contemporary binding.
Some foxing.

Posthumous editions of these works, prepared and published by Jean de Rougevalet, the author's nephew. The Recueil is decorated with a lovely portrait of Passerat, engraved on copper by Thomas de Leu. Among the various French pieces it contains, one finds his famous cynegetic poetry: Le Cerf d'amour, Le Chien courant and Adonis ou la chasse du sanglier. Viollet-le-Duc's copy, with his bookplate.
Later binding (mid-18th century) in full marbled blonde calf, spine with five raised bands decorated with compartments and gilt fleurons, as well as a red morocco title label, triple gilt fillet framing the boards, all edges red.
In the Recueil: repair at head of gathering C, light dampstaining to a few leaves. The last leaf of the Poëmatia, blank, has not been preserved. The last gathering of the volume, shorter in side margin, appears to come from another copy and was added at the time of binding. Small defect to head of spine.

The very rare first collected edition, first in parts, of the works of Claude de Morenne (1550-1606), preacher to King Henri IV and Bishop of Sées.
Contemporary cream-colored supple vellum, spine with fillets and little gilt fleurons, double gilt fillet frame to covers, all edges gilt.
One tiny wormhole to top edge.
This collection is dedicated to Secretary of State Villeroy and contains, as well as various Funeral Orations and Eulogies (124 ff.), the Cantiques spirituels (77 pp.), the Quatrains (20 pp.) and les Poemes divers (104 pp.). Engraved ex libris with the initials PR and a device of Notre Dame protecting France with the genealogy of the French kings.
A very good copy.

First editions of some parts.
Contemporary half purple calf bindings, uniformly sunned spines decorated with gilt fillets, roulettes and fleurons and blind romantic fleurons, all edges marbled. Some rubbing to headcaps.

Edition from the collection of the Bibliothèque littéraire du XXe siècle, decorated with a frontispiece etching by Frédéric Massé.
Half bordeaux shagreen binding, spine with five raised bands set with black fillets decorated with the gilt monogram of the great bibliophile Roger de Cormenin repeated five times, gilt date at foot, faded turquoise morocco title label, marbled paper boards, marbled endpapers and pastedowns, top edge gilt retaining deckled edges.
Provenance: from the library of Roger de Cormenin, son of Louis de Cormenin who was the confidant and secretary of Théophile Gautier and also the intimate friend of Gustave Flaubert.
A handsome copy.

New editions. One frontispiece engraved by De Longueil after Watelet and 4 title fleurons engraved by Watelet for the Choix de poésies (cf. Cohen, col. 500). One frontispiece engraved by Watelet after Pierre, 5 head-vignettes engraved by Marguerite Le Comte (4) and Watelet (1) and one tailpiece for Daphnis (cf. Cohen, col. 436). One frontispiece, 10 head-vignettes and 2 tailpieces engraved by Watelet for the Idylles (cf. Cohen, col. 431).
Contemporary full grained calf bindings. Smooth spines decorated with blind fillets, unidentified gilt numbers at foot. Blind fillet frame to boards. All edges speckled red.
Small hole in the blank of the title of volume III. One tear without loss to the half-title of volume II. Small crack with loss of leather to one joint.
From the La Germonière library, with its engraved bookplate.

Reprint for the Cabinet du bibliophile Collection of the Elegies of the Dieppe poet Jean Doublet, born at the beginning of the 16th century and died around 1580. Edition of 333 copies, this one of 15 numbered copies on Whatman paper.
Contemporary binding in full red morocco, signed Allô - Wampflug, spine with five raised bands decorated with gilt fleurons in compartments, gilt fleurons stamped at center of boards, double gilt fillet emphasizing edges and headcaps, wide gilt dentelle framing pastedowns, all edges gilt. Handsome copy in a fine binding by Allô, gilt by Wampflug, gilder at Lortic from 1856 to 1876.
From the library of Baron de Marescot (1879, no. 151), with his engraved armorial bookplate.

Counterfeit of the Cazin 1781 edition of these erotic pieces, Madagascan songs and literary miscellanies. According to the permission placed at the end of the second volume, this fourth edition would have been printed in 1,500 copies. It is illustrated with 2 engraved title-frontispieces, bearing the mention "Fifth edition", and 5 figures etched by Coulet. Copy on blue-tinted laid paper.
Later (19th century) bindings in full blue morocco, decorated in Du Seuil style, signed Allô. Spines with five raised bands richly decorated with compartments, fleurons, fillets and gilt dentelles. Six-fold frame of gilt fillets and corner fleurons on boards. Gilt fillet emphasizing edges and headcaps. Wide gilt dentelles framing the marbled paper pastedowns. All edges gilt. A few very minor scuffs and boards slightly dulled, otherwise a handsome copy.
The Chevalier de Parny (1753-1814) was born on Île Bourbon (present-day Réunion). He stayed in France as a seminarian then officer, before returning to his native island, which permeates his Madagascan songs.
From the library of Léon Rattier, with his bookplate.

Famous anthology of poetry, known as the Recueil de Barbin because the notices it contains are thought to have been composed by François Barbin, son of the bookseller who first printed it in 1692. This precious collection was the first to grant an important place to Medieval poets, which was a great novelty at the time.
Near-contemporary bindings (circa 1810) in full tawny calf. Smooth spines richly decorated with compartments and gilt fillets, as well as emerald morocco title and volume labels. Covers framed with multiple gilt dentelles and roulettes. Gilt fillet highlighting the edges and headcaps. Gilt roulette framing the pastedowns. All edges gilt.
One corner bumped, light rubbing to the binding.
Attractive copy in decorative early 19th-century binding.

First edition.
Autograph inscription from Germaine Blondin to the journalist and film historian Pierre Leprohon.
Spine slightly sunned.

First edition.
Half red shagreen bindings, spines with five raised bands set with black fillets and decorated with gilt fleurons, marbled paper boards, endpapers and pastedowns of marbled paper, one corner slightly bumped, minor traces of rubbing on bottom edges, contemporary bindings.
Some occasional light foxing.
Provenance: from the library of Jules Félix Louis Gastinger with his bookplates pasted on the pastedowns.
Handsome copy attractively established in uniform contemporary binding.

New edition and first printing of the beautiful romantic illustrations.
Half red shagreen bindings, spines with four raised bands set with gilt borders decorated with double gilt and black compartments enhanced with gilt typographical motifs, double gilt fillets on red paper boards, endpapers and pastedowns of marbled paper, contemporary binding.
Work illustrated with 52 beautiful steel engravings by Charlet, Lemud, Johannot, Daubigny, Pauquet, Jacques, Penguilly, Rudder, Raffet, Sandoz.
Pleasant copy.

First edition.
Contemporary binding in full marbled blonde sheep. Spine with five raised bands decorated with gilt compartments and fleurons, as well as a red morocco title label. Gilt roulette on the edges and headcaps. All edges red.
Lower tail joint cracked for a few centimeters and some rubbing. Foxing mainly on the first and last leaves.
Lattaignant (1697-1779) was considered the great songwriter of his time (J'ai du bon tabac...); besides numerous songs, he is the author of light and gallant poetry of which Le mot et la chose is the most famous piece. In this respect the dedications of the songs or poems are very eloquent and summarize quite well the gallant and libertine spirit of this era. Voltaire, whom he admired, wrote this song for him: L'Atteignant chanta les belles ; Il trouva peu de cruelles, Car il sut plaire comme elles [...] The work contains annotations on each piece, which specify the subject and circumstances.

Second edition.
Half navy blue morocco-grained shagreen binding, lightened spine with five raised bands set with black fillets decorated with the gilt paraph of the great bibliophile Roger de Cormenin repeated five times, marbled paper boards, marbled endpapers and pastedowns, top edge gilt.
Provenance: from the library of Roger de Cormenin, son of Louis de Cormenin who was the confidant and secretary of Théophile Gautier and also the intimate friend of Gustave Flaubert.
Handsome copy almost entirely free of foxing.

Edition illustrated with 22 vignettes including 10 engraved by Champollion after J. Garnier and J. Fesquet, one of 150 copies on Whatman paper, ours unnumbered.
Half straw-yellow morocco with corners, faded spines with five raised bands set with gilt dots decorated with double gilt compartments richly ornamented with gilt floral motifs and a mosaic piece of lightened straw-yellow morocco, dates and places gilt at foot, gilt fillet frames on marbled paper boards, marbled endpapers and pastedowns, top edges gilt, bindings signed by Allô.
Our copy is enhanced with 5 out-of-text figures by Legrand which have been added.
Handsome copy beautifully executed and free from foxing.

First edition, one of 900 numbered copies on pur fil paper Lafuma.
Endpapers very slightly and partly faded, not serious.

Vasselier's Poésies appear to have had several editions at the same date, this one is considered the first. Unsigned portrait of the author as frontispiece.
Near-contemporary binding, Restoration period, in full brown calf signed Thouvenin. Spine with five raised bands richly decorated with gilt dentelles and fillets, as well as blind-tooled fleurons in the compartments and a black morocco title label. Blind dentelle, black fillet and gilt cornerpieces framing the boards. Joints slightly cracked. Foxing on the endpapers, frontispiece and opening and closing leaves.
Works of a minor Lyonnais poet of the late 18th century in the tradition of Grécourt, apparently director of the Post Office; Viollet Le Duc describes him thus: "His style is pure and elegant", "his tales, though too free, are nevertheless quite charming".

First edition for both works bound together.
Near-contemporary bindings signed at foot "Descham"; in red morocco for the spines and green for the boards. Smooth spines decorated with gilt compartments and fleurons as well as a signature at the bottom of each volume. Gilt roll-work framing the boards. Gilt rolls on the edges and headcaps. Fine gilt dentelles framing the marbled paper pastedowns. Some worming, mainly at the foot of the spines. Elegant copy combining two colors.
Descriptive and didactic poetry in imitation of Ovid's Fasti, The Fastes are this author's most famous work, who was also a playwright, and whose versification skills opened the doors of the French Academy to him. The author relates various customs connected to each day. The Pièces fugitives gather various pieces.

First edition printed on laid paper of the author's last work.
Half dark blue shagreen binding, spine with five raised bands decorated with black fillets, gilt date at foot, marbled paper boards, marbled endpapers and pastedowns, top edge gilt, two corners slightly bumped, contemporary binding.
Handsome copy.

New edition, handsomely illustrated with a portrait frontispiece engraved by Dupréel and eight figures hors texte by Fragonard fils, engraved by Dambrun, Duparc, Giraud le jeune, Pauquet, Lingée, Dupréel. Cohen does not record this edition.
Late 19th-century full blonde calf bindings, signed Petit successeur de Simier. Spine with five raised bands decorated with gilt compartments and fleurons as well as green morocco volume labels. Boards decorated with triple gilt fillets. Leading edges and headcaps decorated with double gilt fillets. Gilt dentelles framing the pastedowns. All edges gilt. Very handsome copy, in a highly decorative set.
Author of playful poetry, often libertine and light, well-crafted and amusing, which enjoyed great success, his works were first collected in 1711, then in 1746, shortly after his death in 1743. They saw many reissues. The fourth volume consists of attributed pieces. A good example of this poetry: "Le bègue. Un bègue voulait d'une dame/ Les bonnes graces acquérir,/ Et lui prouver l'ardente flamme/ Dont l'amour le faisait mourir. / Etant au bout de sa harangue,/ Ne pouvant plus mouvoir sa langue,/ Il eut recours à son outil;/ Puis le montrant et des yeux et du geste:/ Madame, excusez-moi, dit-il,/ Le porteur vous dira le reste." ["The stammerer. A stammerer wanted to acquire/ A lady's good graces,/ And prove to her the ardent flame/ With which love made him die. / Being at the end of his harangue,/ Unable to move his tongue any longer,/ He resorted to his tool;/ Then showing it with eyes and gesture:/ Madam, excuse me, he said,/ The bearer will tell you the rest."]
Bookplate. A. Jouffray. A L'Aventure.

Second edition with some parts in first edition, the first edition of 1804 had 2000 fewer verses. A title vignette.
Contemporary full camel blonde calf binding, signed R.P. Thouvenin. Spine with five raised bands decorated with stippling, fleurons and gilt fillets, as well as a blue morocco title-label. Gilt pointillé stamps, roulette and cold fillet framing the boards. Gilt dentelle framing the marbled paper pastedowns. All edges marbled. Head damaged, joints slightly rubbed. A large dampstain in the lower margin affecting the first leaves.
A collection composed of imitations of the great epic poets, from Antiquity or the Renaissance, consisting of a succession of tableaux. The author thus supposes that in the Elysian Fields, the great epic poets (Homer, Milton, Ariosto...) have gathered to sing and versify about the famous loves of Andromache and Hector, Renaud and Armida, Adam and Eve... This poetic vein, into which numerous poets of the Empire threw themselves, Millevoye or Baour Lormian, in their desire to resurrect epic poetry, left the impression of a serious crisis in French poetry.

First edition published anonymously.
Contemporary binding in half blonde calf. Spine with five raised bands decorated with gilt fillets and dots, and a green morocco title-label. All edges gilt.
A collection of light and humorous poetry, and gently libertine. Le paradis perdu is a satire of Milton's eponymous work; Les déguisemens de Vénus, an imitation of the Greek poets; Les galanteries de la bible are pleasant sermons in verse.

New edition printed in 60 numbered copies, ours one of 2 numbered copies on green paper, deluxe copies after 1 on Mouton paper.
Half dark green morocco binding, spine faded with four raised bands set with double gilt fillets decorated with double gilt compartments, minor rubbing to headcaps, boards, endpapers and pastedowns of marbled paper, two corners slightly bumped, contemporary binding.
A handsome and rare copy.

The rare illustrated first edition, with a frontispiece portrait of the author engraved by Picart. Collected edition, prepared by the author himself, containing his correspondence and poetry.
19th-century full emerald morocco binding signed Cuzin. Spine with five raised bands richly decorated with gilt compartments and fleurons. Triple gilt fillet framing the covers. Wide gilt dentelle framing the pastedowns. All edges gilt.
Montreuil's work belongs to précieux literature, consisting essentially of fictional letters addressed to ladies and damsels and madrigals. Mathieu de Montreuil assiduously frequented Parisian literary salons, like Benserade, his style is gallant and light, yet without affectation. Though he followed an ecclesiastical career, he was never actually ordained as a priest.

New edition.
Later red morroco by (19th century), Jansenist spine in six compartments, large gilt dentelle frame to pastedowns, all edges gilt.
Spine and joints slightly rubbed.

Edition presented with revised and corrected commentary, one of the rare copies printed on China paper.
Full navy morocco binding, spine with five raised bands set with gilt dots decorated with gilt double compartments enhanced with gilt typographical motifs, gilt friezes at head and foot, gilt roulettes on headcaps, triple gilt fillet frame on covers, marbled endpapers and pastedowns, gilt dentelle frame on pastedowns, all edges gilt, double gilt fillets on leading edges, superb contemporary binding signed by Hardy.
Some foxing.
Handsome copy established in a perfect full morocco binding signed by Hardy.

Edition with some parts in first edition and the only complete one.
Full navy calf binding, smooth spine decorated with gilt double cartouches and gilt romantic arabesque, very light scratches of no consequence to spine, frame of gilt fillet and gilt typographical motifs at corners on boards with gilt romantic mandorla at centers, pink paper endpapers and pastedowns, gilt fillets on leading edges, all edges gilt, superb romantic pastiche binding.
Some foxing.
Handsome copy established in a very elegant romantic pastiche binding.

Second reprint, one of 250 numbered copies on laid paper, the only printing with 8 China and 8 Whatman.
Binding in half navy blue morocco with corners, spine with five raised bands, gilt date at foot, marbled paper boards, marbled endpapers and pastedowns, top edge gilt, binding signed by Canape.
Handsome copy in an attractive Canape binding.

New edition.
Full chocolate morocco bindings, smooth spines decorated with gilt triple fillets as well as blind-stamped friezes and typographical motifs, gilt friezes at head and tail, gilt roulettes on headcaps, covers framed with a gilt fillet and blind floral frieze, decorated at centers with a mandorla ornamented with blind-stamped romantic arabesques, gilt dots and edging on leading edges, marbled endpapers and pastedowns, yellow edges, superb contemporary romantic bindings.
A handsome copy perfectly executed in magnificent contemporary romantic binding.

Collected edition ornamented with a portrait of Joseph Chénier as frontispiece to the first volume of works by Horace Vernet.
Half bronze calf bindings, faded spines with four raised bands set with gilt friezes and undulating blind fillets decorated with romantic typographical motifs in blind, gilt friezes at head and foot, marbled paper boards, slight tears of no consequence to some joints, marbled endpapers and pastedowns, marbled edges, elegant unsigned contemporary romantic bindings.
Handsome copy perfectly established in charming uniform contemporary romantic binding.

New edition, illustrated with a frontispiece portrait and 20 steel engravings by G. Standfast on heavy paper (tissue guards present).
Contemporary English binding in full red shagreen. Raised spine richly decorated. Boards very ornate with different frames, large corner pieces... Floral roulette on leading edges and interior floral frieze. Edges gilt. Minor rubbing traces to joints at headcaps. Very handsome copy, completely free of foxing, on tinted paper.

First edition, of which there were no deluxe copies.
Bound in half cherry red Russian morocco with corners, spine with five fine raised bands set with double gilt fillets decorated with double gilt compartments enhanced with gilt romantic tools, gilt date at foot, one joint showing traces of rubbing, gilt fillet frame on marbled paper boards, marbled endpapers and pastedowns, covers and spine preserved, handsome binding in the Romantic taste signed by Canape.
Rare autograph inscription signed by Auguste Barbier to Monsieur Oliveira.
Some minor foxing affecting mainly the margins of certain leaves.
Handsome copy perfectly bound in a handsome pastiche Romantic binding by Canape.

first edition on the current paper.
Signed autograph of Franc-Nohain Robert Garric.
Catholic reformist, he was the founder of "social Teams" in 1920, which aimed to establish a social elite and bring the good word about the brotherhood born of the trenches to the workers, in the tradition of patronage. Simone de Beauvoir, then student of Robert Garric in philosophy at Sainte-Marie Institute of Neuilly, remembers him in his "Memoirs of a Tidy Wench" "Garric appeared; I forgot everything else and myself; the authority of his voice subdued me. In twenty years we he explained, he had discovered in the trenches the joys of camaraderie that removed social barriers. [...] To deny all limits and all separations, get out of my class, out of my skin: this slogan electrified me. [...] Must serve my life! Must serve all my life! "
Pleasant full copy of his please insert.

First edition, one of 650 numbered copies on laid "bouffant" paper, one draw with 15 Holland paper.
Signed autograph of Pierre Richard in French journalist Paul Mathieix Action.
In addition, our copy is enriched with an autograph ticket Pierre Richard Paul Mathieix thanking him for mentioning in his book reviews the book in question and asking him to make him more publicity to publicize the house of edition of "The DROMOISE gallery".
Book illustrated with a portrait of Jean-Marc André Bernard Bost frontispiece.
Pleasant copy.

First edition, one of 200 numbered copies on colored paper, one draw with 10 Holland paper.
Signed autograph of the author Henry Febvre.
Small tears with three light gaps on the back and the boards, foxing on the guards.

First edition, one of 57 numbered copies on vélin d'Arches paper, the tirage de tête.
A very good copy.

First edition, one of 22 numbered copies on vélin d'Arches paper, the only large paper copies.
A very good copy.

First edition, illustrated with a frontispiece and 4 fine figures by Marillier engraved by Ponce, De Ghendt... and printed on strong paper. Rare copy entirely ruled, even for the figures.
Full navy morocco binding ca 1860 signed Arnaud. Raised-band spine decorated. Title and date in gilt. Triple gilt fillet frame on boards. Rich interior border. Edges gilt. Minor traces of rubbing to upper joint at head. Very handsome copy.
La Harpe drew the substance of his poem from an Arab tale, which was taken up by the Provençals in the romance Fortunatus, then at the beginning of the 18th century: Les aventures d'Abdalla.
19th-century ecclesiastical armorial bookplate, gold on red ground, with the inscription Abbatia Janduriarum, Leon rattier.

New edition after the original published in 1688 (a second volume was added later).
A handsome frontispiece portrait in medallion and a title vignette repeated in volume II. Title pages in red and black. Full red morocco binding late 19th century signed Thompson. Spine with raised bands decorated. Title and date gilt. Triple fillet frame on covers. Rich interior border. Edges gilt. Light rubbing at tail and lower edge. Scattered foxing. Handsome copy, perfectly executed. Madame Deshoulières was regarded as the foremost poetess of her time, and became moreover the first female academician. She held one of the most brilliant salons of the period, she was a refined and remarkably cultured mind, taking close interest in the sciences. Her poetry reflects the gallant spirit of the 17th century, but also its morality; the volumes bringing together songs, epistles, idylls, tragedies and occasional pieces. She was a précieuse, moving in the circle of Luxembourg with the Duchess of Montpensier and in a circle of libertines. The edition of her Poësies contributed greatly to her contemporary literary fame.

A reprint by the same publisher of the original published in 1657; it is very handsomely illustrated with a medallion portrait of Lucan supported by two eagles, a frontispiece and 10 very lively copperplate engravings (shipwreck, battles...) engraved by François Chauveau. All the plates, apart from the title-frontispiece, are before the letter. This second edition certainly benefited from the very first remaining prints.
Full raspberry red morocco binding from the end of the 19th century signed Petit. Raised band spine with blind compartments. Blind fillet frame on the covers. Gilt title and date at foot. All edges gilt. Rich decorative gilt board-edges. A stain on the third compartment and trace of dampstain at bottom of upper cover. Handsome copy, fresh, with particularly well-inked plates.
It is through this work that Brebeuf established his reputation as a poet. This is not a translation, but a free recreation based on the original, in continuous verse, although the author did not deviate from Lucan's plan, with the first eight books dealing with the wars between Caesar and Pompey and the last two with the expeditions to North Africa. Brébeuf sought to equal his illustrious ancient model and fully succeeded in this challenge, which earned him criticism from Boileau.

Fifth edition, the last revised and corrected by the author. Printed in italics.
Contemporary full brown grained sheep binding. Smooth spine attractively decorated. Red morocco title-label. Foxing. Handsome copy.
According to Louis Arnoult, Racan, (Histoire anecdotique et critique de sa vie et de ses œuvres. Paris, A. Colin. 1896), this is the best edition of the Bergeries. It is preceded by numerous pieces: the epistle to the king, the ode to the king, various sonnets to himself, letter to Malherbe. Racan composed this dramatic pastoral when he fell in love with Catherine de Thermes, alias Arthénice, in 1619. Caught up in the turmoil of war, being himself a soldier, he would not return to his work until much later. He is considered the most brilliant pupil of Malherbe, whom he met in 1605.

First edition, one of 40 numbered copies on Arches laid paper, deluxe copy.
First cover illustrated with a stamped vignette after Aubrey Beardsley.
Handsome copy.

Second edition, one of 985 numbered copies on alfa paper, the only printing along with 15 on pur fil.
Handsome autograph inscription from Tristan Tzara to Raymond Queneau.
A good copy.

First edition of the german translation by Paul Celan, printed on vergé.

Slight foxings, not serious, on one cover of the slipcase.
A good copy.
Autograph inscription, signed and dated, by Paul Celan to the surrealiust painter Edgar Jené and his wife : "Für Erica und Edgar Jené herzlich, Paul Celan. Paris, am 30. Oktober 1960".

First edition in French by Henri Parisot.
Handsome autograph inscription from Henri Parisot to Raymond Parisot.
A good copy.

First bilingual edition printed in 1,000 numbered copies.
Handsome autograph inscription signed and dated by Giuseppe Ungaretti : "Pour Queneau son admirateur et ami. Giuseppe Ungaretti / Conegliani il 20/5/62. [For Queneau his admirer and friend. Giuseppe Ungaretti / Congeliani the 20/5/62]."
The French translation is by Pierre-Jean Jouve.

(ARP Hans) TZARA Tristan. Vingt-cinq-et-un poèmes
Editions de la revue Fontaine, Paris 1946, 14 x 19,5 cm, original wrappers
First edition in parts on ordinary paper.
Handsome autograph inscription from Tristan Tzara to Raymond Queneau.
With 12 full-page drawings by Hans Arp.

Second edition.
Handsome autograph inscription dated and signed by Serge Charchoune to Raymond Queneau : "... avec amitié..."
With drawings by the author.
Spine and covers slightly and marginally sunned.

New edition, a numbered copy on bouffant paper, the only printing with 30 pur fil paper.
Handsome autograph inscription from Pierre Jean Jouve to Raymond Queneau : "... ce génie foudroyé de la poésie with une amicale pensée..." enhanced with an autograph inscription from Pierre Klossowski.
Foreword by Bernard Groethuysen.

First edition, one of 550 copies on vélin blanc paper, the only printing, along with 30 copies on Normandy.
Handsome autograph inscription signed by Henri Michaux to Raymond Queneau.
With 16 reproductions of paintings by Henri Michaux.
Foreword by Louis Cheronnet.

First edition, one of 400 numbered copies on alfa alone draw with Japan 6 and 12 Holland.
Precious autograph signed by the author "Raymond Queneau and Janine (sic) their friend ..."
Illustrated book with a frontispiece of Max Ernst.

First edition, of which there were no large paper copies.
Handsome autograph inscription from Tristan Tzara to Raymond Queneau : "... poète du langage et la liberté...[…the poet of language and liberty…]"
Covers and spine lightly and marginally sunned as usual.

First edition on ordinary paper.
Handsome autograph inscription signed by Tristan Tzara to Raymond Queneau : "... avec toute la grande sympathie...[with all great good wishes…]"
Tiny insignidficant marginal tears to covers.

First edition, an advance (service de presse) copy
Handsome autograph inscription from Robert Desnos to Janine and Raymond Queneau : "..
devant qui j'ai repassé le conseil de revision [who were my council of review]", enriched with a drawing showing a little elephant holding up Robert Desnos' name in its trunk
One joint very slightly cracked at foot.

New edition of the French translation established by Benjamin Goriély, one of 2000 numbered copies on white vellum.
Work illustrated with a portrait of Vladimir Mayakovsky by Granovski.
Signed autograph inscription from Benjamin Goriély to the journalist, screenwriter and producer Pierre Dumayet, one of the pioneers of French television.

First edition, an advance (service de presse) copy.
Handsome autograph inscription from Raymond Queneau to Marguerite Duras.
A good copy.