Poetry

First edition.
Half red shagreen binding, spine with four raised bands set with blind fillets, red cardboard boards, marbled endpapers and pastedowns, speckled edges, contemporary binding.
Foxing.

First edition of the French translation by Marcel Pagnol, one of 32 numbered copies on pur fil paper, the only grand papier (deluxe) copies.
Cover illustrated with a woodcut by Aristide Maillol.
Slight traces of sunning to head and to foot of spine, nice copy.

Definitive edition on ordinary paper.
Fine autograph inscription signed by Paul Fort to Alexis Baume "with my best wishes for the entire passage of the mysterious year 1943".
Foreword by Paul Valéry.

First edition on ordinary paper.
Autograph inscription signed by Jean l'Anselme to Claude Bruno-Durocher "ce jour de premier contact poétique...'" ["this day of first poetic contact..."]
Epiphanic preface by Henri Perruchot.

First edition, one of 50 numbered copies on laid Centaur paper, the only ones to feature an original lithograph by René Laubiès on the cover, deluxe copies.
Autograph inscription signed by Olivier Soufflot de Magny to a close friend: "Pour Bernard l'irremplaçable / ces petits airs sur une seule corde (celle dont il ne faut pas parler dans la maison du pendu..." ["For irreplaceable Bernard / these little airs on a single string (the one we shouldn't mention in the hanged man's house..."] with an additional autograph inscription signed by René Laubiès.
Cover illustrated with an original lithograph by René Laubiès.
Autograph signatures of the author and illustrator on the justification page.
Handsome copy.

First edition, one of 300 numbered copies, the only issue with 10 deluxe copies.
Precious dated autograph inscription signed by Pierre Puttemans to Roger Caillois "... en respectueux hommage..."
Covers slightly and marginally sunned, handsome interior condition.

Third edition.
Half navy blue shagreen binding, spine with five raised bands set with gilt dots decorated with gilt floral motifs, marbled paper boards, marbled endpapers and pastedowns, top edge gilt.
Some light foxing.

First edition
Dark green half cloth Bradel binding over marbled paper boards, gilt floral motif to spine, double gilt fillet at foot
Autograph inscription from Paul Verlaine to René Andreau
With a frontispiece portrait of the author by Louis Anquetin.

Fine minuscule typographic edition, with commentary distributed around the text. Text within a red frame. Engraved title, with Renaissance-style border.
Edition illustrated with 27 albumen photographs mounted as vignettes at chapter heads, when the albumen photographic process had just been invented in 1850. One of the first books illustrated with photographs.
Binding in full black morocco signed by Lortic on the pastedown, 1871. Spine with raised bands decorated with 4 tools. Boards hot-stamped with a rich central roundel and corner tools; blind-ruled frame. Wide decorative gilt board-edges. Edges gilt. Light rubbing to upper joint at head (with a tiny floating piece), at foot, and to corners. Foxing on title page, scattered throughout the volume.
Very handsome copy, perfectly established in a full binding signed by Baudelaire's binder, Pierre-Marcelin Lortic.

First edition printed in a small number of copies on alfa paper.
Work illustrated with original woodcuts by Fernand Pinal.
Preface by Albert Acremant, president of the Rosati.
Handsome copy.

First edition of the adaptation by Jean Ott, of which there were no deluxe copies
Work illustrated with a frontispiece by René Leverd.
Handsome copy.

First collected edition, of which there were no deluxe copies.
Work illustrated with drawings by D.O. Widhopff, R. Leverd, L. Jonas and M.Q. Point.
Handsome copy.

Statement of second edition, illustrated with three figures engraved by Tardieu. The first edition appeared in 3 vols. 18mo, the same year.
Full marbled brown sheep binding. Decorated spine with raised bands. Red long grain morocco title-label and volume labels. A tear with loss at head of first volume. Rubbing. 2 corners slightly bumped. Headcap of volume II partly worn away.
Collection of light and gallant tales by François de Lantier. Verses he wrote for Madame du Barry earned him a pension from Choiseul and a position in Dresden. He is the author of the voyages d'Anténor. Of his tales, he himself wrote in his preface: "it is better to write fairy tales than political dreams and to have a small clandestine commerce with the Muses, than to bear the burden of public affairs on one's back."
Viollet Le Duc bookplate; from the library of Laurent de Crozet; Laurent de Crozet bookplate. Jules Bobin manuscript ownership inscription. (Interesting provenance chain...)

First edition, one of 55 numbered copies on alfa paper, the only large paper copies.
A good copy.

First edition, of which no deluxe copies were issued.
Half brown shagreen binding, spine with five raised bands set with double black fillets, gilt date at foot, traces of rubbing to spine, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt, contemporary binding.
Signed autograph inscription from Emile Langlade to the poet Jean Ott.

First edition, one of 100 service de presse copies on colored paper.
Half marbled caramel sheep binding, spine with two raised bands decorated with gilt central fleuron, gilt date and double fillet at foot, some light rubbing to spine, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, one upper corner bumped, top edge gilt, contemporary binding.
Very fine signed autograph inscription from Emile Poiteau to the poet Jean Ott ending in verse.
Illustrated with wood engravings and drawings by Arthur Mayeur.

First edition, one of 94 numbered copies on Rives laid paper.
Half brown shagreen binding, spine with five raised bands set with black double fillets, gilt date at foot, some light rubbing to spine, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt, two corners slightly bumped, contemporary binding.
Fine signed autograph inscription from Ernest Depré to the poet Jean Ott in the form of a quatrain.
Illustrated with 37 drawings by André Lavezzari.
Preface by Jean Richepin.

First edition, one of 820 numbered copies on vélin crème paper.
A good copy.

First edition, one of 14 numbered copies on pur fil, tirage de tête.
A good copy.

Collected edition, one of 2,500 numbered copies on alfa paper.
Publisher's binding in red half-shagreen with bands, spines slightly faded with five raised bands decorated with gilt ornamental motifs, vellum-style boards, some small marginal surface wear to heads of boards, illustrated covers and spine preserved, top edges gilt, bindings signed by Lise L. Bataille.
Work illustrated with 32 plates, 12 in color by Adrien Bagarry as well as tailpieces by Boris Grosser, cover illustrated by Jean Boisseau.
Literary contributions by Rétif de la Bretonne, Claude Godard d'Aucour, the comte de Caylus...
Handsome set.

The first edition printed in a small number of copies on laid paper and illustrated with original illustrations by the author.
Publisher's slipcase and chemise in full black cloth.
A minor corner tear inside the chemise slipcase.
A handsome copy.

The first edition printed in a small number of copies on laid paper.
Half tan sheep binding, spine with five raised bands set with gilt fillets, traces of rubbing to spine, olive morocco title-label, marbled paper boards, a pale dampstain to head margin of front board, marbled endpapers and pastedowns, an angular stain to foot of rear endpapers, contemporary binding.
Some minor foxing of no consequence.
A rare and handsome copy.

Later edition on Hollande paper
Chemise backed in dark green morocco over marbled paper boards, marbled pastedowns and endpapers, slipcase edged with same morocco and with boards of the same paper, lined with apple-green paper
Rare inscription from Paul Verlaine to Achille Segard
A small marginal lack to pages 15 & 16 due to paper fault, manuscript note “1866” in ink below the date featuring on the upper cover
A rare, unsophisticated and uncut copy.

First edition, one of 446 numbered copies on Marais paper, ours one of 46 hors commerce copies, the only deluxe copies with 29 on Japan paper and 75 on Holland paper.
Autograph inscription from the author to Doctor Paul Voivenel enriched with a signed autograph tribute from the illustrator.
Work illustrated with 25 original woodcuts by Max Bugnicourt.Preface by J.H. Rosny.

Sixth edition.
One small tear to foot of spine.

First edition of which there were no large paper copies.
A very good copy considering the fragility of the paper.

First edition, of which there were no deluxe copies.
Handsome signed autograph inscription from the author to Raymond Fournier: "... en souvenir des Rameaux 53..." ["... in memory of Palm Sunday 53..."]
Work illustrated with 3 drawings by Jean Ferrieu.
Tiny marginal worming on boards, complete with publisher's slip.

First edition, of which there were no deluxe copies.
Precious autograph inscription signed by Maurice Bourg to Maurice Blanchot. Our copy is enhanced with an autograph letter signed by the author also addressed to Maurice Blanchot.
Minor worming to boards.

New edition after the collective edition of 1756, edited by abbé Delaporte; a first collective edition published under the title of Pièce dérobées in 1750 was produced by Meunier de Quelon, whose preface is found in the preliminary pieces. A medallion portrait of Garand as frontispiece. Numerous pages of sheet music with lyrics below in volumes 2, 3, 4.
Contemporary full marbled blonde calf binding. Raised-band spine decorated with 4 fleurons with roulette at head and foot. Red morocco title and volume labels. Blind-ruled frame on boards. A leather pastille covers the arms on each board. Library label at head. Handsome copy.
Lattaignant (1697-1779) was considered the great chansonnier of his era (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 period; at rear, a table lists the addresses and occasions that presided over the writing of the pieces. Voltaire, whom he admired, composed this song for him: L'Atteignant chanta les belles ; Il trouva peu de cruelles, Car il sut plaire comme elles [...]

Edition printed on laid paper and illustrated with 2 lithographs, 5 vignettes and 4 tailpieces by P.E. Mesplès.
Half aubergine shagreen binding with corners, spine with five raised bands, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt.

First edition, an advance (service de presse) copy.
Handsome autograph inscription from Henri de Régnier to Tristan Bernard.

First edition printed in a run of 500 numbered copies on alfa mousse paper.
Illustrated with a frontispiece engraved by Jo Etcheverry.
Rare and handsome copy despite some minimal foxing of no consequence.

First edition of 300 numbered copies on alfa paper.
A good copy.

New edition, one of 2 lettered copies on vellum, deluxe copy. Publisher's full cream cloth Bradel binding, smooth spine, title vignette pasted on first cover, tawny felt endpapers and pastedowns.
Signed and inscribed copy by the author to a couple of his friends.
Our copy is enhanced with 4 letters and an autograph postcard addressed to the same recipients.
Handsome copy.

First edition printed on ordinary paper.
Half bordeaux shagreen binding with corners, smooth spine decorated with a gilt cartouche adorned with gilt bees as well as black typographical motifs, gilt date at foot, traces of rubbing to joints, gilt fillets framing the marbled paper boards, marbled endpapers and pastedowns, three corners slightly bumped, covers and spine preserved, top edge gilt, binding signed by Loisellier-Le Douarin.
Work illustrated with an etching by Armbroster as frontispiece as well as five engraved titles, headpieces, initials and typographical ornaments.
Some foxing.

First edition prepared and annotated by Raymond Matzen, one of 250 numbered copies on Arches laid paper.
Publisher's full bordeaux cloth Bradel binding, smooth spine, front cover illustrated with a profile portrait of the author framed by triple gilt fillets, marbled endpapers and pastedowns, top edge gilt.
Work illustrated with a frontispiece by Gérard Cachet as well as 15 lithographs and numerous original tailpieces by Robert Kuven.
Autograph inscription signed by Raymond Matzen.
Handsome copy.

First edition, one of 150 numbered copies on vélin paper, the tirage de tête.
A rare and good copy.

First edition on ordinary paper.
Half navy blue shagreen over marbled paper boards, spine in six compartments, marbled endpapers and pastedowns.
Rare autograph inscription by Maurice Rollinat to Marcel Fouquier.
With a frontispiece portrait of the author by F. Desmoulin.

First edition, one of 175 numbered copies on pure rag laid paper, the only deluxe copies.
Work illustrated with 8 photographs by Brassaï.
Spine sunned and creased, handsome interior condition.

New edition.
Full glazed navy calf binding, smooth spine decorated with gilt romantic arabesques, gilt roulettes on headcaps, joints lightly rubbed (the first almost detached), single gilt fillet border on boards with some epidermures, gilt fillet on edges, marbled endpapers and pastedowns, corners very slightly bumped without consequence, contemporary romantic binding.
Texts by Virgil translated by Delille, Florian, Legouvé, Voltaire, La Fontaine, Boileau, Corneille...
Work illustrated with an engraved frontispiece.
Some light foxing.

First edition.
Contributions by P. Vaillant Couturier, R. Bizet, A. Jean, R. Morand...
Issue illustrated by J. Julien, M. Gromaire, J. Schuwer...

First edition.
Contributions from P. Vaillant Couturier, M. Bouchel, J. Robert Desplaces...
With illustrations by J. Dété-Gahisto, M. Gromaire...

First edition.
Contributions by P. Vaillant Couturier, Monique, E. Mac Kenty, A. Jean.
Issue illustrated by A. de Skékely...
Spine and boards uniformly faded.

First edition.
Contributions by C.L. Philippe "Unpublished Letters", B. Marcotte, P. Vaillant Couturier...
Issue illustrated by A. de Skékely, G. Lecornu...
Spine and boards uniformly faded.

First edition.
Contributions by P. Vaillant Couturier, J. Robert Desplaces, Banville d'Hostel...
Issue illustrated by Ancelin, A. de Skékely, A. Juin...

First edition.
Contributions from R. Bizet, R. Morand, P. Vaillant Couturier...
With illustrations by P. Prudhomme...

First edition; the first two volumes appeared in 1813, the next two in 1815 and the last four in 1817.
Contemporary half tree-calf bindings. Smooth spines decorated with blonde morocco title and volume labels, small fleurons and gilt fillets. Paste-paper boards. Head of seventh volume very slightly damaged. Some very minor foxing to certain volumes.
Rare first edition of this essential work reflecting the Romantic era's vision of the Middle Ages, particularly in literature.

New edition, the original in six cantos having appeared in 1750, but first illustrated edition with seven unsigned figures; Cohen attributes the frontispiece to Eisen and the figures to Martinet.
Contemporary full speckled blonde sheep binding. Smooth spine decorated with a red morocco title label, compartments and small gilt floral fleurons. All edges red. Head worn down, two corners slightly bumped, joints cracked and very skillfully restored at head.
The Art of Love by Gouge de Cessière is followed by an Idea of Ovid's Art of Love. Naturally inspired directly by Ovid's illustrious eponymous poem, The Art of Love by Gouge de Cessière is a sort of playful banter on seduction and love, advocated as a virtue. The poem enjoyed some success.

New edition, reprint of the first edition in ten books published in 1621; illustrated with a portrait by Léonard Gautier and a large vignette with royal arms. Title page in red and black. Printed on fine paper.
Contemporary half calf binding. Decorated spine with raised bands. Red morocco title label. Head worn. Upper joint cracked at head. Rubbing to boards. Corners slightly bumped. An encyclopedic and highly celebrated work, Les recherches de la France stands out among all works of this kind for its radical novelty. Pasquier can be considered the father of modern history, History emerging then as a discipline and departing from legend and literature. Chapter VII, quite different from the others since those focused on research into the Antiquity of France, concerns itself with the formation of the French language; one part is devoted to the Pléiade, of which Pasquier was a member. Chapter VI already dealt with the origin of French poetry. "A unique monument raised to antiquities, the Recherches comprise, through their variety and boldness, everything that a scholar of the 16th century could aspire to." Robert Barroux (archivist of Paris and historian).

Third edition illustrated with 10 plates hors-texte including a frontispiece by Dalbou after Hoüel, 5 plates hors-texte by Laurent after Favray and 4 folding plates hors-texte by Laurent after Massit. The first three volumes contain all the letters on Greece, the last contains other opuscules by the author: Essays on Tibullus's Elegies (followed by their translation), The Seasons and Light Poetry.
Numerous floral headpieces and tailpieces (flower baskets, carnations...).
Contemporary full marbled blonde calf binding. Smooth spines decorated with green morocco title and volume labels, small gilt floral fleurons, and gilt dentelle at tail. Triple gilt frames on boards. All edges marbled. Headcap of first volume abraded. Some wormholes on spines of second and third volumes. Tail joint split on first volume. Six corners bumped. Surface abrasions. Some pale corner dampstains. Worming affecting the entire lower right corner of the third volume. Handsome overall appearance of the copy.
Broader than its title suggests, the Literary Journey to Greece contains numerous information about the Turks, Armenians and their customs, and naturally the peoples of Greece. The letters are the work of a merchant residing in Constantinople, Monsieur Guys, addressed to an art lover, Bourlat de Montredont. Deeply devoted to literature and research on Antiquity, the author in his description of Greece, its customs and practices, draws his material from ancient writers by establishing constant parallels with modern Greece, showing how much all of Greek literature is found in it. Each letter focuses on a subject, many deal with art, but some more specific ones cover furniture, jewelry, makeup, festivities, proprieties, baths, architecture, and naturally, a domain of particular interest to the author: commerce and navigation. Some letters are additions, and treat customs among the Turks, Jews... An ambitious project by a man anchored in the reality of his time (and who spent more than 30 years in the Levant), the Literary Journey to Greece identifies in modern Greece all the heritage of Antiquity, and makes modern Greeks the direct heirs, descendants of ancient Greeks. The author thus renews interest in travel to Greece. Before its time, it is one of the first works of anthropology.

First printing of Eekman's lithographs published in 740 copies (no. 80) signed by the authors.
One joint of the chemise very slightly split at foot for a few centimeters.
The work is illustrated with lithographs hors-texte in black by Eekman.
Handsome copy.

First edition, illustrated with a medallion portrait of Corneille on the title page, and three figures on heavy paper after Cochin, and engraved by Prévost, Ponce and Saint-Aubin.
Contemporary brown sheep binding. Spine with raised bands decorated with 5 fleurons. Red morocco title-label. Roulette on leading edges. Rubbing. 3 corners slightly bumped.
Didactic and lyrical poem, in alexandrines.

New edition.
Half burgundy shagreen binding with corners, spine with four raised bands set with gilt dots decorated with double gilt compartments adorned with gilt floral motifs, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt.
Precious autograph inscription signed by Théodore de Banville to his close friend Edmond de Goncourt.

New edition.
Half burgundy shagreen binding with corners, spine with four raised bands set with gilt dots decorated with double gilt compartments adorned with gilt floral motifs, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt.
Our copy is enhanced with a laudatory autograph letter dated and signed by the author to his close friend Edmond de Goncourt.

New edition.
Half bordeaux shagreen binding with corners, spine with four raised bands set with gilt dots decorated with double gilt compartments enhanced with gilt floral motifs, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt.
Work illustrated with a portrait of the author as frontispiece.
Precious autograph inscription signed by Théodore de Banville to his close friend Edmond de Goncourt.

New edition.
Half burgundy shagreen binding with corners, spine with four raised bands set with gilt dots decorated with double gilt compartments enhanced with gilt floral motifs, marbled paper boards, marbled endpapers and pastedowns, covers preserved, top edge gilt.
Work illustrated with a portrait of the author as frontispiece.
Precious autograph inscription signed by Théodore de Banville to his close friend Edmond de Goncourt.

Second edition.
Contemporary half red shagreen. Spine with raised bands decorated with grotesques. 2 corners slightly bumped.
Scattered foxing on paper that has remained white.
Handsome copy.
Preface by Victor Hugo for the first edition of 1830. Poet from Maine-et-Loire who died tragically at 22 in a duel.

First collected edition containing some unpublished pieces. One of the rare copies containing both epistles by Bois-Robert and Scarron (most copies contain fewer preliminary leaves). A frontispiece portrait of the author drawn by Petrus and engraved by Daret; a title vignette, printer's device on title page.
Contemporary limp vellum binding. Smooth unlettered spine. Light stains to upper board. Worming to preliminary leaves, after the first two leaves, to lower margin; although confined to margin, numerous wormholes throughout preliminary leaves. Also to note, worming to table of contents and extending from final text leaves, always to lower margin. Some foxing and yellowed leaves.
This edition was largely prepared by the author himself and is the only one he acknowledged, conscious of the value of his work and his approaching death (died in 1646); it contains 268 pieces, of which 173 are unpublished. Some pieces that had appeared in collective volumes do not appear in this complete works. François Maynard is one of the principal names in poetry of the first half of the 17th century, alongside Malherbe, Racan, Viau, Regnier. A disciple of Malherbe, his poetry is distinguished by the great clarity of its style and regularity of its verse; it also conveys a certain melancholy.

First edition, extra-illustrated with a frontispiece by Cochin engraved by Sornique.Les nouveaux saints. Chez Dabin. Paris. 1801. Third edition. André Marie Chénier.Qu'est-ce que la théophilantropie ? A la librairie claissique. Paris.1801.La religion naturelle est-elle absurde, intolérante, contraires aux idées reçues, et conduit-elle au fanatisme ? Se trouve à la libraire du Pont Michel. An 6.Sur la philosophie. An 9. S.n. S.l.
Contemporary full green morocco binding. Smooth spine decorated à la grotesque with trellis work, roulette at head and foot. Red morocco title label. Roulette border on covers. Edges gilt. Small lack at head. One corner slightly bumped. Rubbing to head and joints. The frontispiece has been backed with paper on verso. Handsome copy.La guerre des dieux is a satirical poem in which the gods of the Christian religion and those of Greco-Roman mythology clash; it gave rise to numerous complaints from its publication, and was at the same time placed very highly in this type of production, due to the quality of its language and style. The first editions are sought after because all subsequent ones were expurgated. Following this famous poem by Parny, an amateur has gathered several texts from the same period accounting for the situation of religion in France; the texts illuminate each other, and allow one to understand the circumstances that could have given birth to Parny's poem. Chénier's second text is also a satire on religion and philosophers. Theophilanthropy emerged in 1797, a movement placing the love of God and mankind above all things and departing from the church. The article that follows is a defense of natural religion, and its adherents. The last text brings together philosophy and natural religion, and rejects all superstition. Bookplate of Auguste Dide.

First edition of this translation by Moutonnet de Clairfonds, and first issue of the illustration, which comprises a frontispiece, 12 headpieces and 13 tailpieces by Eisen, engraved by Massard and Duclos. Title page in red and black.
Full red morocco binding, late 19th century, signed Pickering. Jansenist spine with raised bands. Wide inner decorative border. Edges gilt. Small brown stains on upper cover. Despite the minor defects noted, a very fine copy.
Cohen rightly cites this work as "one of the most elegantly illustrated books of the 18th century"; Eisen's contribution is indeed delicate and inspired, and the headpiece engravings are superbly executed.

First collected edition, one of 82 numbered copies on pur fil, the only large paper copies.
A very good copy.

Assembly by the owner of two works with the objective of completing them; the owner thus added to the volume of Selected Works published in Paris, a tome (the second) of the complete works published in Brussels. A frontispiece and title vignette for the Selected Works.
Books bound with the arms of the Earl of Lucan (Ireland, County Dublin), George Charles Bingham, Field Marshal, with the motto: Spes mea Christus. The presence of fleurs-de-lis is doubtless explained by the fact that the first Earl of Lucan was the son of Jacques Fitz-James, naturalized French.
Contemporary full rose calf binding (English binding) signed Hering. Smooth spine decorated with grotesque foliage and a crowned eagle (symbol of the Earl's arms). Boards stamped with arms and dotted fillet border. Inner dentelle and on the edges. One damage to the upper joint of volume II. Marbled edges. Spine very lightly faded. A lack to the title-label of volume II. Joints rubbed. Very handsome copy, despite minor defects.
Although the poet Parny, pre-Romantic in his writing, has today fallen into disuse, he was not only popular but received unequaled esteem from his peers; thus Chateaubriand wrote: "I knew by heart the elegies of the Chevalier de Parny, and I still know them," and Pushkin, evoking erotic poetry, said that Parny was his master.

New edition, the earliest to include Gilbert's illustrations dates back to 1856, the publisher having expanded the text based on unpublished material available at the time of publication. A frontispiece portrait and numerous wood-engraved illustrations after John Gilbert.
Contemporary publisher's binding in full dark green shagreen. Spine with raised bands decorated in compartments; roulette at foot. Succession of hot- and cold-stamped border fillets on covers. Decorative gilt board-edges. All edges gilt. Handsome copy.
This edition was shared with the London publisher Bell And Daldy (different collation and title).

First edition on ordinary paper, only 12 copies were printed on Holland paper as deluxe copies.
Full Jansenist burgundy morocco binding, spine with four raised bands, triple gilt fillet frames on endpapers, marbled endpapers and pastedowns, original faded covers and spine preserved, all edges gilt, elegant binding signed Georges Cretté.
Autograph inscription signed by Jean Moréas to composer and music teacher Gaston Vallin.
Provenance: libraries of Raoul Simonson and Jean Lebrun with their bookplates pasted to verso of front board.
Fine copy in perfect condition.

First edition on bluish paper.
Contemporary glacé full red morocco binding. Smooth spine decorated. Black morocco title and volume labels. Triple fillet frame on boards. Interior roll tooling. Edges gilt. Handsome copy.
Year calendar, numerous pieces and anonymous poetry, some signed by the publisher Baude de la Croix, extracts from Saadi, fables, etc...

First edition, quite rare.
Full light calf binding from early 20th century, handsome pastiche of a contemporary binding. Decorated raised spine. Triple fillet frame on boards. Red morocco title-label. Decorative gilt board-edges and roll on leading edges. 18th-century endpapers preserved. The lower margin of the title page, missing (the owner's name was removed), has been filled with modern paper. A hole in the lower right margin on pp. 301 and 302. An amusing old annotation (probably from the 18th century) in ink in the lower margin of the publisher's warning: "foutu sot".
Collection of satirical and erotic poetry attributed to a certain Busca (some pieces are by him), who, according to Barbier (Dict. des ouvrages anonymes) is the future general Pommereul, in Bonaparte's service. Many of the poems are signed Boufflers, Voltaire. The work is divided into three parts, as announced in the title. It includes several songs. Note that the theological tales are so called only because they feature monks and other church characters. The Catholic litanies are more than irreverent songs (litanies of saint geneviève...) that treat the church saints with extreme levity. Lovers of curiosa will appreciate the truly outrageous and rather incredible liberties of this collection which presents numerous unpublished pieces.

First editions for each of the volumes, with no mention of deluxe copies.
Bradel binding in half mint green morocco with corners, smooth spines with slight traces of light rubbing ornately decorated with gilt cartouches adorned with floral motifs and gilt arabesques, gilt initials at foot, gilt fillet frames on marbled paper boards, marbled endpapers and pastedowns, illustrated covers preserved, top edges gilt, contemporary bindings stamp-signed in blind by Pierson & Henry Josef.
Some light foxing affecting the first volume, otherwise handsome copies attractively bound by Pierson & Josef.

First American edition printed in 1000 copies. Publication date stamped 17 Sept. 1940.
Publisher's full black cloth binding. Our copy retains the colored dust jacket with some small tears and lacks at head and foot.

First edition, one of 220 numbered copies on "uso mano", the only printing with 35 Japon.
A rare and good copy.

Edition with some parts in first edition, expanded with Book VII, a table of contents, numerous additions and a portrait of Pasquier by Thomas de Leu. This portrait had been created in 1583 in Troyes and had never been integrated into the editions. This is the last edition published during the author's lifetime.
Contemporary full calf binding. Spine with raised bands richly decorated. A lack to head. A lack of leather to the last compartment. Upper joint cracked at foot and head. Wormholes to part of the upper board.
Encyclopedic and highly celebrated work, Les recherches de la France stands out among all works of this kind for its radical novelty. Pasquier can be considered as the father of modern history, History then emerging as a discipline and departing from legend and literature. Chapter VII, quite different from the others since those focused on research into the Antiquity of France, examines the formation of the French language; a section is devoted to the Pléiade, of which Pasquier was a member. Chapter VI already dealt with the origin of French poetry.

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.

First edition, one of 10 numbered copies on Holland paper, from the deluxe edition.
Half burgundy Russian morocco binding with corners, smooth spine decorated with two double gilt compartments richly adorned with gilt decorative motifs, date at foot, gilt fillet frames on marbled paper boards, marbled endpapers and pastedowns, covers marginally faded and spine preserved, bookplate pasted on an endpaper, elegant pastiche binding signed Semet & Plumelle.
With a frontispiece portrait of the author.
A very fine and rare full-margined copy in perfect condition.
Provenance: from Albert Natural's collection of Swiss Romandy poets, which he assembled from the 1920s onwards.

First edition, one of 5 numbered copies on Japan paper, deluxe copy.
Half mint green morocco with corners, spine with five raised bands set with gilt fillets and decorated with triple gilt compartments, date at foot, gilt fillet frames on marbled paper boards, marbled endpapers and pastedowns, covers and spine preserved, bookplate pasted on endpaper, top edge gilt, elegant binding signed by Semet & Plumelle.
Rare and very handsome copy in perfect condition.
Provenance: from Albert Natural's collection of French Swiss poets which he assembled from the nineteen twenties.

First edition, of which there were no deluxe copies.
Half rust-colored morocco with corners, spine with five raised bands set with gilt fillets and decorated with triple gilt compartments, date at foot, gilt fillet frames on marbled paper boards, marbled endpapers and pastedowns, covers and spine with small lacks preserved, bookplate pasted on endpaper, top edge gilt, elegant binding signed by Semet & Plumelle.
Rare and very handsome copy in perfect condition.
Provenance: from Albert Natural's collection of French Swiss poets which he assembled from the nineteen twenties.

First edition not put into commerce, of which there were no deluxe copies.
Half mouse-colored morocco binding with corners, spine with five raised bands set with gilt fillets decorated with triple gilt compartments, date at foot, gilt fillet frames on marbled paper boards, marbled endpapers and pastedowns, covers and spine preserved, bookplate pasted on endpaper, top edge gilt, elegant binding signed by Semet & Plumelle.
Autograph signature of the author.
Rare and very handsome copy perfectly established.
Provenance: from the collection of Swiss Romand poets by Albert Natural which he formed from the nineteen twenties.

First edition, of which there were no deluxe copies.
Half sand morocco binding with corners, spine with five raised bands set with gilt fillets decorated with triple gilt compartments, date at foot, gilt fillet frames on marbled paper boards, marbled endpapers and pastedowns, covers and spine preserved, bookplate pasted on endpaper, top edge gilt, elegant binding signed Semet & Plumelle.
Rare and very handsome copy perfectly bound.
Provenance: from Albert Natural's collection of Swiss Romand poets which he assembled from the twenties onwards.

First edition, one of 10 numbered copies on Japan paper, deluxe copy.
Half chocolate morocco binding with corners, spine with five raised bands set with gilt fillets decorated with triple gilt compartments, gilt fillet frames on marbled paper boards, marbled endpapers and pastedowns, covers and spine preserved, top edge gilt, elegant binding signed Semet & Plumelle.
Rare and very handsome copy perfectly bound.
Provenance: from Albert Natural's collection of Swiss Romand poets which he assembled from the twenties onwards.

First edition, of which there were no deluxe copies.
Half khaki Russia morocco binding with corners, smooth spine slightly faded decorated with gilt romantic ornamental motifs, date at foot, gilt fillet frames on marbled paper boards, marbled endpapers and pastedowns, original wrappers and spine preserved, bookplate pasted on endpaper, top edge gilt, elegant romantic pastiche binding signed by Semet & Plumelle.
Rare and very handsome copy in perfect condition.
Provenance: from Albert Natural's collection of Swiss Romandy poets which he formed from the twenties onwards.

First edition, of which there were no deluxe copies.
Half burgundy Russia morocco binding with corners, smooth spine decorated with gilt romantic ornamental motifs, date at foot, gilt fillet frames on marbled paper boards, marbled endpapers and pastedowns, original wrappers and spine preserved, bookplate pasted on endpaper, top edge gilt, elegant romantic pastiche binding signed by Semet & Plumelle.
Rare and very handsome copy in perfect condition.
Provenance: from Albert Natural's collection of Swiss Romandy poets which he formed from the twenties onwards.

First edition, one of 60 numbered copies on papier "chandelle", this one not justified, tirage de tête with 30 Whatman and two copies hors commerce.
A very good and rare copy.

First edition, one of 44 numbered copies on Holland paper, deluxe copy.
Very handsome copy.

First edition, one of 10 copies on Hollande paper, the only large paper copies.
Jansenist red morocco binding by Marius Michel, spine in five compartments, date to foot, marbled endpapers and pastedowns, red morocco frame to pastedowns with seven gilt fillets, covers preserved, all edges gilt.
This copy is enriched with two autograph letters by the author of 3 and 2 pages length respectively.
A fine copy in a superb binding by Marius Michel.
Provenance : collection of Marius Michel with his ex libris pasted onto one of the endpapers.

First edition of the author's first published work.
Half green sheep binding, smooth spine decorated with double gilt fillets, dark blue sheep title-label, marbled paper boards, one joint cracked along its entire length, rubbed edges, contemporary binding.
Reading library stamps, some foxing.

First edition, one of 43 numbered copies on Hollande paper, the tirage de tête.
A fine copy.

First separate edition.
Full tawny sheep binding, smooth spine decorated with two double gilt compartments and gilt typographical motifs, headcaps slightly rubbed, cherry red morocco title-label, marbled endpapers and pastedowns, yellow edges, contemporary binding.
A biographical note concerning the author pasted facing the half-title page, occasional light foxing.
Handsome copy.

The most complete collected edition, expanded with two previously unpublished pieces, namely two verse letters from Cretin to Molinet, with a response from the latter. Preface by the editor, who had specialized in republishing poets from the Middle Ages and the Renaissance.
Contemporary full calf binding. Spine with raised bands decorated with 5 small fleurons in compartments of 3 fillets. Red morocco title label. Head worn. Title page yellowed.
Guillaume Dubois, known as Crétin, (1460?-1525) was treasurer of the Sainte-Chapelle at Vincennes, then cantor of the Sainte-Chapelle in Paris and ordinary almoner to King François I. He was recognized as a master, notably by Jean Lemaire de Belges and Clément Marot. He is ranked among the Grands Rhétoriqueurs. His poetry is divided into two main parts: the chants royaux and the epistles (verse letters addressed to different figures).

First edition printed on ordinary paper.
Bradel binding in half indigo cloth, smooth spine decorated with gilt floral motif, double gilt fillet at foot, navy blue shagreen title-label, marbled paper boards, original wrappers preserved, contemporary binding.
Signed autograph inscription from José Maria de Hérédia to Eugène Pailleron.

First edition. Rare.
Contemporary full speckled calf binding. Spine with raised bands and gilt ornament. Split headcaps. Pale marginal dampstain to first 50 pages. Our copy lacks leaf A1 which is a half-title, with no loss of text.
Gabriel Gilbert (1610-1680) was initially considered a precursor to Racine with regard to his dramatic production. Before becoming secretary to Queen Christina of Sweden, he served the Duchess of Rohan.
The work contains 7 odes addressed to great figures (King of Sweden, Mazarin...) and Christian poetry.

NB: This work is available at the bookshop on request within 48 hours.

First edition with no mention of deluxe copies.
Half turquoise sheep binding, spine sunned with four raised bands, marbled paper boards, marbled endpapers and pastedowns, original wrappers and spine preserved.
Fine autograph inscription from Emile Faisant.
Rare work dedicated to the memory of Leconte de Lisle.