Romanticism

Extremely important edition, comprising a large number of works appearing here in their first edition. The complete set of these 27 volumes is rare (Clouzot). The titles present in first edition are: Mattea, Lettres d’un Voyageur, La Dernière Aldini, Les Maîtres mosaïstes, L’Uscoque, Spiridion, Les Sept Cordes de la lyre, Gabriel,

First edition illustrated with wood engravings in the text by Gavarni, Daumier, D'Aubigny...
Bradel binding in full beige percaline, smooth spine with a black paper label, front cover decorated with an oil painting after the frontispiece, signed lower right "A. Dangleterre d'après document d'époque". Headcaps and joints skillfully restored.
A rare publication on Paris under Louis-Philippe. The work proceeds by subjects and articles: the wet-nurses’ office, flower sellers, baths, streetlamps, pavements, theatre outings, beards and moustaches, the Luxembourg Gardens, the Opera Ball, the auctioneers’ hall, lorettes and courtesans (Alexandre Dumas), restaurants and

First edition, one of 315 numbered copies on laid Marais paper and reimposed in Tellière quarto format.
Half dark green shagreen bindings with corners, spines with five raised bands, gilt dates at foot, combed paper boards, endpapers and pastedowns of matching paper, covers and spines preserved, slipcase edged with dark green shagreen, boards covered with combed paper.

Second collected edition of Victor Hugo's works published by Furne after the Renduel edition of 1833-1836; it is illustrated with 35 steel engravings. Les contemplations published in 1856 (first edition with a mention of second edition) was added to this edition. The Furne edition spans from 1840 to 1846. Le Rhin indeed appears in first collected edition at this date.
This edition, originally published in installments, was verified and corrected by Hugo himself. It was initially intended to form only 12 volumes (which are most often found alone); volume 9 bis was added later where Ruy Blas is reprinted, and the 3 volumes of Le Rhin following. Furne had bought out the Renduel bookshop,

First edition, rare copy with no statement of print.
Full blue morocco binding, spine with raised bands in the Jansenist style, endpapers and pastedowns of combed marbled paper, gilt dentelle framing the pastedowns, double gilt fillets and gilt tooling to headcaps and board edges, top edge gilt with untrimmed margins preserved, original front wrapper bound in, binding signed by Marius Michel. Monogrammed bookplate mounted on the verso of the first endpaper.
This copy is enriched with four hors-texte plates by Louis Boulanger and Alfred Johannot.
Signed autograph inscription by Victor Hugo on the half-title: « À Monsieur Ch[arles] Mévil son bien cordialeme

New edition, with some parts in first edition as expanded with a preface, one of 30 numbered copies on Holland paper, deluxe copies after 6 on Japan paper.

Full chocolate brown morocco binding, spine with five raised bands, gilt roulettes on headcaps, quadruple black fillets framing the boards, black fleurons at corners, marbled endpapers and pastedowns, triple gilt fillets framing the pastedowns, covers and spine preserved, double gilt fillets on leading edges, top edge gilt on deckled edges, contemporary binding signed by Stroobants.

Bookplate pasted at head of one pastedown.

Very fine copy perfectly executed by Stroobants.

First edition of the theatrical adaptation.
Bound in half red shagreen, spine in four compartments set with gilt stipples adorned with double gilt spine panels, marbled paper plates, marbled endpapers, contemporary binding.
Precious handwritten presentation signed by George Sand: “à monsieur Huart en lui demandant pardon de tout le mal que je lui donne.” “To Mr Huart asking for his forgiveness for all the harm I am causing him.”

Provenance: from the Grandsire library with its ex-libris.

Signed autograph letter by the painter Théodore Rousseau, one page on a folded sheet.

“My dear Sir,

I shall do my utmost to send you my painting today; by early tomorrow morning it will be fully framed, ready to hang. Believe me, if I kept you waiting, it was not out of vanity; I had a difficult task to complete in a limited time. until tomorrow morning, and thank you for all the kindness I have experienced from the administration. Yours entirely devoted,
Th. Rousseau”

First edition, one of 12 numbered copies on Hollande, the only deluxe issue. 

Complete with the folding map at the end.

Full fawn morocco binding, five raised band spine, date at foot, comb-marbled paper pastedowns framed with a rich gilt roll, comb-marbled endpapers, gilt fillet to headcap, gilt fillet to leading edges, gilt roll to headcaps, original wrappers and spine preserved, all gilt deckled edges, housed in a fawn morocco-edged slipcase. Binding signed by Semet & Plumelle. 

Provenance: From the libraries of Dr André Chauveau, Lucius Wilmerding, and RBL, with their bookplates affixed.

A splendid deluxe copy of exceptional rarity

First collected edition, partly original, by far the most important and most sought-after (cf. Clouzot), with Chateaubriand having revised and reworked a large part of his writings.
This set also contains in first edition several texts including Les Natchez, Le Dernier Abencérage, Le Voyage en Amérique, and Moïse (placed at the end of vol. XXII and often lacking).

Each volume illustrated with a frontispiece

Long autograph letter by Stendhal, addressed to his sister Pauline, written in fine handwriting with black ink.
Address of Stendhal's father, where his sister resides, in Grenoble, with the stamp "n°51 Grande Armée." Red wax seal bearing Stendhal's coat of arms.
Several original folds, inherent to postal delivery. A paper loss due to the unsealing of the letter has been skillfully restored. Published in his Correspondance (ed. Henri Martineau), Paris, Le Divan, 1933, vol. 3, no. 262 A, pp. 26-29.
A very beautiful letter, filled with romantic passion, blending childhood nostalgia with sentimental tales, and foreshadowing

First edition, of which only 500 copies were issued. With an etched frontispiece portrait of Théophile Gautier by Émile Thérond.

With a substantial prefatory letter by Victor Hugo.

Full red morocco binding, gilt date at the foot of spine, marbled endpapers, Baudelairian ex-libris from Renée Cortot’s collection on the first endpaper, wrappers preserved, top edge gilt. Pale foxing affecting the first and last leaves, beautiful copy perfectly set.

Complete works of Goethe comprising his poetry, theater, novels, critical essays and correspondence. Gothic printing in 2 columns. 5 superb steel engravings on thick paper under yellow tissue guards in volume 2 by Kaulbach and Felner in Gothic or classical style and engraved by English engravers, 2 engravings in volume 3. One of the first complete works of the author who died in 1833. The same publisher had issued this edition in 55 thin volumes in 1833, here delivering a more compact and manageable version.
German contemporary full green shagreen binding. Smooth spine decorated with rococo tools connected by long fillets. Gilt title and volume number. Double fillet frame on boards.

Collection assembled by an anonymous hand of chromolithographs and engravings. Numerous pages with various frames, Gothic and ornamental, intended to receive engravings. Frontispiece in chromolithography heightened with colors. The papers intended to receive drawings, engravings or chromos are of various colors: blue, green, cream, pink. The collection ends with music sheets that have remained blank.

English publisher's binding in full burgundy shagreen. Smooth spine decorated with a large ornamental Romantic plaque. Boards with a central raised rectangle decorated with a large stamp with the inscription: Album orné, blind-stamped frame. Rich Renaissance frieze in framin

Remarkable autograph letter signed by Charles Baudelaire to Auguste Poulet-Malassis, publisher of Les Fleurs du Mal, dated 28 February 1859 and written in Honfleur. 64 lines in black ink, some passages underlined, housed in a modern black half-morocco folder.

Baudelaire appears preoccupied with the “ Sainte-Beuve/Babou affair,” one of the many controversies following the Fleurs du Mal trial, in which the writer Hippolyte Babou accused Sainte-Beuve of failing to defend Baudelaire during the proceedings.
Excerpts from this letter were quoted by Marcel Proust in his celebrated Contre Sainte-Beuve, where he lamented Sa