Romanticism

First edition.
A tear to head of a spine and small lacks to foot of both spines, occasional foxing, covers of the second volume stained.

First edition on current paper.
Nice copy.
Afterword by Judith Petit.
Illustrated book of drawings by Pierre Alechinsky.
Signed autograph dedication of Pierre Alechinsky to his friend Georges Raillard: "If you have time to spend Nov. 9, it would be amazing dear George (illegible word)."

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 Sainte-Beuve’s cowardice during the trial of Les Fleurs du Mal and the undue esteem Baudelaire continued to show him.

Second separate edition.
Some small foxing.

Illustrated edition with 24 original compositions by Adolphe Lalauze, one of 200 numbered copies on Japan paper or grand Arches vellum, ours on Japan paper from the deluxe issue.
Full floral fabric binding, smooth spine, sand morocco title-label, covers and spine preserved, contemporary binding signed by Champs.
Preface by Léo Claretie.
Handsome copy despite some light foxing.
Our copy contains two states of the etchings by Adolphe Lalauze.

Second edition, published in June, a few months after the first edition by Poulet Malassis. Rare. From a limited edition of 500 copies printed on laid paper.
Contemporary half green sheep binding. Jansenist spine with raised bands. Gilt title. Spine lightly sunned. Original wrappers preserved. Rubbing to corners and edges. Some occasional isolated foxing.
A handsome copy.
This collection contains the six condemned pieces from Les Fleurs du mal, as well as 17 new poems.

Illustrated with 21 original compositions by Paul Avril, one of 100 numbered copies on Japan paper with a state of the etchings hors-texte with remarques.
Bradel binding in half blue cloth with corners, smooth spine decorated with a gilt floral motif, gilt date and double fillet at foot, tan shagreen title-label, marbled paper boards, covers and spine preserved, contemporary binding.
A small stain without consequence at head of first board.
Preface by Anatole France.
Handsome copy.

Edition illustrated with 21 original compositions by Paul Avril, one of 100 numbered copies on Japan containing a state of the hors-texte etchings with remarques.
Bradel binding in half brown cloth with corners, smooth spine decorated with gilt floral motif, gilt date and double fillet at foot, red shagreen title-label, marbled paper boards, covers and spine preserved, contemporary binding.
Preface by Anatole France.
Fine copy.

Edition illustrated with 30 original compositions by Charles Delort engraved with burin and etching by L. Boisson, one of 400 numbered copies on vélin du Marais, the only issue after 200 Japan and grand vélin du Marais.
Bradel binding in half blue cloth with corners, smooth spine decorated with gilt floral motif, gilt date and double fillet at foot, chocolate brown shagreen title-label, marbled paper boards, contemporary binding.
Preface by Robert Vallery-Radot.
Handsome copy despite some light foxing affecting mainly the edges.

Illustrated edition with 110 original compositions by Edouard Toudouze, one of 75 numbered copies on Japan paper containing an additional state of the illustrations, the only deluxe copies after 25 on China paper.
Half turquoise cloth binding with corners, smooth spine decorated with gilt floral motif, gilt date and double fillet at foot, chocolate brown morocco title label, marbled paper boards, covers and spine preserved, contemporary binding.
Some minor foxing of no consequence.
Handsome copy.

Edition not put into commerce and printed in 160 nominative copies, ours for L.J. Baptiste Bourdery.
This publication is illustrated with 13 etchings engraved by Manesse after drawings by Eugène Courboin, including 7 headpieces and 6 tailpieces as well as 9 Art Nouveau style decorative border frames, in one tone repeated on each page, by Eugène Courboin.
Bradel binding in half pink cloth with corners, smooth spine faded and lightened decorated with a gilt floral motif, gilt date and double fillet at foot, navy blue shagreen title label, marbled paper boards, illustrated covers and spine preserved, contemporary binding.
Some light foxing affecting mainly the plain endpapers of the binding.

First edition, one of 550 numbered copies on wove paper, the only deluxe copies.
Two bookplates pasted on an endpaper.
Handsome copy.

First edition, one of the review copies service.
A tear glued to the back of the head.
Precious autograph dedication signed by Maurice Toesca to Jean-Paul Sartre: "... this paradoxical essay (he remembers Alain's attention to" Consuelo ", cordial tribute of a classmate."

Rare first edition, illustrated with a very handsome etched frontispiece by Célestin Nanteuil. Charpentier catalogue at rear of 4 pages.
Half bronze-gilt percaline binding with corners signed U. Zaugg ca 1880. Smooth spine. Black glazed shagreen title-label. Poppy-patterned paper on gold ground. Top edge gilt. Binding executed on uncut wrappers. Original jonquil covers preserved. Scattered browning. Traces of rubbing to headcaps.
Joseph Dumas bookplate designed and engraved by Henry André (1922) depicting a ruined castle on a promontory within a Gothic altarpiece. Joseph Dumas: resistance fighter, deputy of the Seine and great collector of romantic works.
Handsome copy attractively bound.
The play narrates the dark machinations of a young social climber who impregnated Angèle through political calculation. The play refers particularly to the July Revolution of 1830.

First edition, one of 15 numbered copies on Hollande paper, the only grand papier (deluxe) copies.
Half morocco, covers and spine preserved, binding signed by P. Goy & C. Vilaine.
Shades on the first and last leaves.
A nice copy with edges preserved.

First edition, of which there were no deluxe copies.
Two small stains on the first cover.

New edition revised and corrected.
Some foxinges.
Binding half green shagreen, back with five nerves adorned with cold nets and with traces of rubbing, marbled paper plates, guards and contreplats of handmade paper, speckled edges, corners very slightly blunt.
Signed autograph from Sainte-Beuve to Arsene Houssaye.

Illustrated edition of initials, colored vignettes and 8 plates inset by Georges Lepape, one of 36 numbered copies on Holland paper, head print.
Binding half turquoise shagreen corners, back with four nerves slightly discolored, paper plates with moiré effect, guards and contreplats of handmade paper, cover and back preserved, gilded head.
Nice copy.
Our copy, as it is stipulated in the justification of the draw, is full of the original etching of Georges Lepape that he signed.

Very rare and highly sought-after first edition of Balzac's first novel signed by his name. Published a small number of copies, this first novel whose original title is inspired by the last of the Mohicans James Cooper, reappeared, reworked in 1834 under a new title: The Chouans .
This first important work of Balzac also marks the beginning of the comedy Humaine which she constitura since 1845 a scene of the military life .
Bindings in half red Russian leather, smooth backs adorned with gilt and black threads, gold friezes in heads and tails, marbled paper plates, Contemporary binding.
A restored bit and a flap sheet of the first volume changed, some small foxing.

Exceptional exemplary set in a charming Contemporary binding.

New edition, illustrated with a frontispiece, an engraved title and 18 plates, all on steel, and very numerous wood engravings (headpieces, tailpieces, vignettes) after Turner, Birket Foster & John Gilbert. Several facsimiles. Edition with notes, additions and remarks by J. G. Lockhart. Fine careful printing in 2 columns. Each work contains a half-title, an appendix. Clear and well-structured edition, perfectly illustrated with Scottish landscapes and historical scenes.
Publisher's binding in full beveled ultramarine gilt cloth. Smooth spine decorated with a large ornamental composition evoking medieval illuminated books. Large decorative blue and gold plate, very rich, with central cartouche, the whole evoking medieval illuminations. All edges gilt. Spine slightly faded. Headcaps rubbed with micro cuts. Corners rubbed and bumped. Internal hinge of lower board with tears, but the volume remains well bound and cohesive, without play. Copy on fine tinted vellum paper, completely free of foxing, perfectly fresh. Tissue guards still present. A protective covering has been added to protect the binding, we have left it in place.

First edition.
Bradel bindings in half sienna cloth, smooth spines decorated with a gilt fleuron, double gilt fillets at foot, marbled paper boards.
Some foxing, gift inscriptions in pen from a previous owner on the half-title pages of the volumes.
Rare.
.

First edition of this deluxe keepsake composed of Finden engravings and 12 texts on tinted vellum in prose and verse by Barrett, Mitford, John Hughes. A frontispiece and 12 large steel compositions in an octagon surrounded by vignettes engraved in line and printed on strong vellum. Drawings or paintings by James Brown, engraved by Finden and other English engravers in his circle.
Publisher's binding in full blue shagreen. Smooth spine decorated with a rich ornamental composition of foliage, vases... Boards decorated with a large central ornament of interlaced scrollwork, similar in the corners. Edges gilt. Yellow endpapers. Hard slipcase of blue and red marbled paper (rubbing). Small tear at foot. Headcaps rubbed. Rubbing to spine. Copy with impeccable paper.
Finden was a famous English engraver who illustrated numerous books under his celebrated name, on the navy or regions of the United Kingdom, costumes... The excellence of his technique brought steel engraving to the highest level. One can clearly see in this work the subtle gradations, depth and fineness of rendering. This keepsake is a beautiful testimony to romanticism in the decorative arts.

New edition illustrated with a vignette on the title page.
Full glazed navy blue calf binding, smooth spine richly decorated with gilt fillets, fleurons and friezes, covers framed with gilt dentelle with cold-stamped mandorla at center, marbled endpapers and pastedowns, gilt pointillé on leading edges, yellow speckled edges, corners slightly bumped, contemporary Romantic binding.
Some foxing, certain leaves with light dampstains at head and foot.
Handsome copy in contemporary Romantic binding.

First edition.
Contemporary green half sheep bindings (blue marbled boards). False raised band spines decorated with fillets, roll tooling at head and tail. Gilt titles and volume numbers. Some rubbing. Boards rubbed. A brown ink or water stain affecting the lower margin of the title page of volume 6 and the first 5 leaves, fading gradually, all within 2 cm. Paper generally fresh throughout.
Lamothe-Langon accomplished remarkable editorial work in organizing these outstanding memoirs of a little-known period following the Napoleonic Empire from the king's papers and manuscript documents. These are not merely political and historical memoirs but also cultural and intimate ones, which reveal the complex personality of this king.

NB: This work is available at the bookstore upon request within 48 hours.

First edition, one of 64 numbered copies on alfa mousse, the only large paper copies.
Spine faded and sunned as usual.
Rare and nice copy.

Second edition, with some parts in first edition as it was revised and corrected.
Publisher's binding in full navy blue shagreen, spine with four raised bands decorated with gilt fillets and adorned with quintuple gilt compartments decorated at the angles with gilt floral motifs, gilt roulettes on the headcaps, some light rubbing to the spine without serious damage, covers with blind fillet frame and sextuple gilt fillets as well as gilt fleurons in the corners, front cover stamped at center with the gilt arms of the Duchy of Baden, white watered silk endpapers, gilt garlands on the leading edges, corners slightly bumped, all edges gilt.
Work illustrated by Tony Johannot, Eugène Lamy, Français and Jacquemot.
Our copy is complete with, as frontispiece, the full-length portrait of Frederick, Prince Regent of Baden printed on China paper, the colored map of the Duchy of Baden, the portrait of Leopold, Grand Duke of Baden printed on China paper, 14 plates and 6 costume plates finely heightened in watercolor.
The illustration finally includes 53 vignettes.
Handsome copy despite some foxing affecting certain leaves and a tiny hole on page 71.

First printing of Tony Johannot's illustrations consisting of 13 hors-texte plates (including the frontispiece) and 100 vignettes engraved on wood.
Bradel binding in blue half-cloth, smooth spine decorated with gilt fleuron, gilt date at foot, marbled paper boards, corners slightly bumped.
A repaired tear in the margin of page 129, the first two engravings (the frontispiece and the following one) have been remounted with adhesive strips, some foxing.
Printed bookplate and a bookseller's description label pasted on an endpaper.

Third edition with a frontispiece by Tony Johannot and illustrations by Auguste Raffet.
Half caramel sheep bindings, smooth spines decorated with gilt friezes and blind-stamped fleurons, some traces of rubbing to spines, marbled paper boards, marbled endpapers and pastedowns, two tears to leading edges, contemporary binding.
Some foxing.

First edition, illustrated with 12 out-of-text steel-engraved vignettes.
Half dark green straight-grained morocco binding, smooth spine decorated with large gilt romantic tools, scratches at foot of spine, green boards, yellow paper endpapers and pastedowns, corners slightly bumped, all edges gilt.
Some minor foxing.

First edition.
Half almond green cloth Bradel binding, smooth spine, gilt date at foot, chocolate brown shagreen title label showing some rubbing, marbled paper boards, marbled endpapers and pastedowns, covers preserved, first cover shaded, contemporary binding.
A bookseller's descriptive label pasted opposite the first cover, a small hole on the second cover.

First edition, one of 50 numbered copies on Holland paper, deluxe copy.
Endpapers lightly and marginally shaded, handsome copy.

First edition.
Spine and boards slightly and marginally discolored as usual, otherwise a handsome copy.

First edition of this famous literary pamphlet published under a pseudonym and savaging the greatest names of French Romanticism.
Bradel binding in green half-cloth, smooth spine, date and place gilt at foot, hazelnut shagreen title-label with minor scratches, marbled paper boards, original wrappers preserved, binding signed by Petitot.
Small stains at foot of first cover and first leaves.
The first cover bears a scathing judgment on this work, a previous owner also specified the true name of the author hiding behind the pseudonym Van Engelgom.
Rare.
Provenance: from the library of Paul Lacombe with his handsome engraved bookplate illustrating the Pont-Neuf seen from the bouquinistes of Quai Conti.

The very rare first edition.

Full glazed red calf bindings, smooth spines ornately decorated with gilt vegetal motifs, black calf title labels, gilt tooling on the headcaps, frames of quadruple black and gilt fillets enhanced with gilt fleurons at the corners on marbled paper boards, pink paper endpapers and pastedowns slightly soiled at margins, all edges gilt, gilt fillets at head and tail of leading edges, contemporary bindings.

Some light rubbing to boards, some minor foxing.

A handsome and rare copy of this work dedicated to his friend Béranger bound in an elegant contemporary Romantic binding. 

first edition for which it was not taken from large papers.
autograph dedication of the author autograph signed by Bernard Masson to Pierre Dumayet.
Pleasant copy.

First edition.
Half shagreen, two corners slightly bumped, contemporary binding.
A little light spotting, library label to pastedown.

Edition with some parts in first edition as 14 letters appear here for the first time.
Lacks at foot of spines of first, second and fourth volumes, one tear to joint of fourth volume, some light foxing.

Original wash drawing by Alfred Johannot, a study entitled La Confession for a lithograph published in volume 2 of L'Artiste (22nd issue).
Attached: a lithographed proof of the drawing (slightly spotted) executed by J. Lion and Bichebois the elder, signed Alfred Johannot pinx. in the lower left corner, and J. Lion lith. in the lower right corner.

Alfred Johannot worked with his brothers Tony and Charles as an illustrator, engraver and vignettist. The Johannot brothers occupy an important place in the history of the Romantic illustrated book for their work on celebrated works by Walter Scott, Beaumarchais, Bernardin de Saint-Pierre and Goethe, but also for numerous comic opera and vaudeville librettos. They also contributed extensively to illustrating stories published in the weekly L'Artiste, founded in 1831. This fine arts and literature review was essential to Romantic literature and a meeting place for artists, critics and men of letters. It published Balzac's Colonel Chabert and articles by Chateaubriand and George Sand, among others, and received contributions from Delacroix. Published as a booklet of about fifteen pages, its frontispiece was signed by Tony Johannot and young artists like Decamps and Raffet collaborated on it, giving it a very Romantic character.

This drawing comes from the collection of Aristide Marie (1862-1938), essayist, specialist in Gérard de Nerval, and great collector of works by Alfred and Tony Johannot, to whom he devoted a work (Alfred et Tony Johannot, Paris, H. Floury, 1925, 124 p.). He also wrote essays on other Romantic painters and lithographers, including Célestin Nanteuil and Henry Monnier. The majority of the Johannot works from this collection is now housed at the Musée de la vie romantique in Paris.

First edition very sought-after according to Clouzot.
A little light spotting, two ink stains on title and half-title page.
Rare copy in its original wrappers.

First edition for Séraphita and third version of Louis Lambert.
Reliures in half morocco, covers and spine preserved, bindings signed by Champs.
A nice copy, rare and sought-after.

First edition.
Bradel binding in half brown morocco with corners, spine with five raised bands set with gilt fillets and decorated with double gilt compartments decorated with gilt floral motifs, date and place gilt at foot, double gilt fillets on marbled paper boards, marbled endpapers and pastedowns, covers preserved, top edge gilt.
Light foxing.
Provenance: from the library of Victor Hugo's beloved grandson, Georges-Victor Hugo, whom his grandfather, who took charge of his education after the death of his son Charles, affectionately nicknamed: "Monsieur le Petit Georges", with his monogram stamped in gilt at the head of the front board.

First edition, very rare. Three states can be distinguished: the first, ours, is distinguished by the title page entitled Oeuvres posthumes, as is the half-title. The second state substitutes a new title page entitled Album d'un pessimiste, with the half-title still indicating Oeuvres posthumes (this is the state known and described by Clouzot). The third state has a new title page dated 1836, again entitled Album d'un pessimiste, with the half-title oeuvres posthumes (this is the most common state); however, the mention of a notice by L'Héritier has disappeared to make way for the mention of a biographical notice (extracted from Michaud's Biographie universelle). L'Heritier's notice was removed from the first state, as the publisher preferred not to include it for fear of offending certain contemporaries mentioned.

Rabbe's works are preceded by Victor Hugo's poem: A Alphonse Rabbe, which would later appear in Les chants du Crépuscule, published in 1836.

These posthumous works were collected and published by the writer's nephew Charles Rabbe, who received a subsidy from the Ministry of Public Instruction for this purpose.
Contemporary half black shagreen bindings. Spine with false raised bands decorated with blind thick fillets. Gilt title and volume numbers. Owner's name at foot: Gauger. Minor rubbing to headcaps. 2 corners slightly bumped. Very light scattered foxing. A handsome copy.

A dark and sombre writer, marked by failure and the futility of things, who died in 1829 from opium excess (it is unknown whether his death was suicide or an unfortunate dosage of opium), Rabbe would enchant Baudelaire, receive the touching solicitude of Victor Hugo, and André Breton would not forget him in his anthology. All of Rabbe's pages are filled with a sickly and feverish romanticism, haunted by pessimism and despair, of which his principal work that would make his reputation: Philosophie du désespoir, is emblematic of his profound melancholy and his cult of death. Essays, commentary and maxims, prose poems punctuate these posthumous works, a model of dark romanticism.
Of greatest interest is the exceptional rarity of this very first state of Alphonse Rabbe's major work, unknown to Clouzot and to most bibliographers. The Bibliothèque Nationale de France possesses only the second state, and French catalogues contain only copies dated 1836.

Rare and highly sought-after first edition (...) of which only a portion of the copies contains a preface (cf. Clouzot). The important account of the lawsuit concerning The Lily of the Valley that precedes the novel was not retained in subsequent editions and is often lacking in a number of the copies published by Werdet.

Copy complete with both the preface and the account of the lawsuit that opposed Balzac to the publisher François Buloz. Contemporary half green sheepskin bindings, smooth spines decorated with gilt romantic typographical motifs, gilt fillets at heads and tails, marbled paper boards, paste paper endpapers and pastedowns, marbled edges, contemporary romantic bindings. Some minor foxing, bookseller's descriptive label pasted at head of front pastedown of the first volume.

Exceptional copy in an elegant contemporary binding.

First definitive editions, partly original.
Bound in red half-shagreen with corners, spine with four raised bands decorated with blind-stamped panels and fillets, the entwined monogram of Jules Hetzel at the foot, uncut copy, contemporary binding.
A few occasional spots of foxing.
Inscribed by the author to Jules Hetzel, “as a token of the author’s friendship.”

In the 1840s, Balzac “contributed to a collective volume illustrated with Grandville’s vignettes, Scènes de la vie privée et publique des animaux, issued in parts by a new publisher, Pierre-Jules Hetzel (1814–1886), who was to become a friend and play a crucial role in the consortium of publishers of La Comédie humaine. [Balzac] also assisted Hetzel in drafting texts signed ‘P.-J. Stahl,’ the publisher’s pseudonym.” (Roger Pierrot, Honoré de Balzac, Paris, Fayard, 1994)

An outstanding copy, inscribed by Balzac, in a charming contemporary binding.

New edition for each of the volumes.
Half sheep binding in plum color, smooth spine slightly discolored and faded decorated with gilt romantic arabesques, marbled paper boards, marbled endpapers and pastedowns, charming contemporary romantic binding.
Some minor foxing without consequence.
Handsome copy beautifully bound.

Italian scene: animated seaside with square tower

Original pencil drawing showing an animated seaside scene.

Modern black wooden frame.

A drawing done during the journey the artist undertook with Sade in 1776.

Jean-Baptiste Tierce (1737-1794), who studied at the School of Fine Arts in Rouen and subsequently at the Academy of Painting and Sculpture in Paris, quickly built a reputation as a landscapist for his views of the South of France and Italy. His paintings are in the Uffizi in Florence and several French museums. When, in December 1775, Sade left Rome for Naples, he was welcomed by the son-in-law of his friend Dr. Mesny, Jean-Baptiste Tierce, who at the time was working on commissions for Cardinal de Bernis. He found lodgings for the Marquis who “intends to see everything [of the region], learn everything, judge, admire, critique, love, hate, in short give himself over to the insatiable and passionate curiosity that takes him to museums, galleries, churches, palaces and libraries as well as grottoes, caves, catacombs, and right down to the very innards of volcanoes. He was not content merely to look at the various works of art and ancient and modern monuments; he also set out to observe the local mores, politics, religion, administration, and social life. The beauty of the women, the local traditions, the quality of plays, table manners, and the way people drank, dressed, prayed, and made their way in the world all interested him. He wanted to take in both the present and the past of this culture, to encompass it all in a unique and universal vision. A massive undertaking to match his extraordinary imagination which he was, however, unable to fulfil, it being impossible for him to do so.
This was, however, the nature of his central ambition as a writer: grandiose and outsized. With a view to this “great work”, Sade took hurried notes, at the side of the road or in hostelries, which he then complemented with notes from his correspondents Mesny and Iberti. Thus, he built up the monument he intended to put before the public, but which did not end up seeing the light of day until the 20^th century.

Jean-Baptiste Tierce was a close collaborator: he re-read Sade's notes and gave his observations on the little notebooks, with numbers referring to the works mentioned. Sade took the greatest notice of his views. Often, the painter accompanied him on his rambles, sketchbook in hand, drawing the buildings and landscapes before them. A hundred or so of these drawings and watercolors were recently found in the Sade family archives. They give the Voyage en Italie the charm of a real travel diary.” (Maurice Levert, Sade, pp. 283-284).

Provenance : Sade family archives.

Fourth edition with some parts in first edition as it is expanded and the only complete one.
Bradel binding in full almond green boards, smooth spines decorated with gilt friezes, minor rubbing to spines and headcaps, brown board title labels, covers and spine preserved, contemporary bindings.
Some foxing affecting mainly the preserved covers.

Original drawing in ink and watercolor depicting an animated seaside view with a village perched on a cliff.
Modern framing in blonde molding.
Drawing executed during the journey made with the Marquis de Sade during the year 1776.
Jean-Baptiste Tierce (1737-1794), student at the École des Beaux-arts in Rouen then at the Academy of Painting and Sculpture in Paris, quickly distinguished himself as a landscape painter for his views of the South of France and Italy. His paintings are preserved at the Uffizi in Florence and in several French museums. When in December 1775 Sade left Rome for Naples, he was welcomed by the son-in-law of his friend Doctor Mesny, Jean-Baptiste Tierce, who at that time was receiving commissions from Cardinal de Bernis. He found lodging for the Marquis "[who] intended to see everything [in the region], learn about everything, judge, admire, criticize, love, hate, in short to give free rein to that insatiable and passionate curiosity which led him into museums, galleries, churches, palaces and libraries, as well as into grottos, vaults, catacombs, and even into the bowels of volcanoes. He was not content to contemplate works of art, ancient or modern monuments; he also observed customs, politics, religion, administration, social life. The beauty of women, worldly customs, the quality of entertainments, ways of eating, drinking, dressing, praying, conducting oneself in society: nothing left him indifferent. He wanted to grasp all the present and all the past of this civilization, to embrace it entirely in a single and universal vision. A gigantic program, commensurate with his exceptional imagination, but which he could no longer fulfill, which was impossible for him to fulfill.
Yet such was his first ambition as a writer: grandiose, excessive. With this 'great work' in view, Sade hastily took notes, at roadsides or in inns, which he supplemented with the notes of his correspondents Mesny and Iberti. Thus was built this monument which he intended for the public, but which would not see the light of day until the 20th^th century.
Jean-Baptiste Tierce collaborated closely: he reread the notes and recorded his observations in small notebooks, with numbers referring to the works described. Sade took the greatest account of them. Often, the painter accompanied him on his excursions, his sketchbook in hand, drawing the buildings and landscapes before their eyes. About a hundred of these drawings and gouaches were recently found in the archives of the Sade family. They give the Journey to Italy the appearance of a true reportage." (Maurice Levert, Sade, pp. 283-284).
Provenance: archives of the Sade family.

first edition.
Binding half black shagreen, spine slightly thinned to four nerves decorated with black boxes, flat black cardboard, guards and contreplats paper to the tank top corners bumped, small rips on the cuts, sprinkled edges, contemporary binding.
Rare autograph signed by Delphine Gay: "To his dear Delphine" topped the first volume of the title page.
Nice copy.

Edition illustrated with 24 original color lithographs by Alexandre Lunois, one of 500 numbered copies on vélin du Marais.
Half blue shagreen binding, spine with five raised bands, gilt date at foot, marbled paper boards, one scratch to head of front board, marbled endpapers and pastedowns, original wrappers preserved, top edge marbled.
Handsome copy.

Second edition published by the same publisher and the same year as the first edition.
Half brown shagreen binding with corners, smooth lightened spine decorated with gilt allegories as well as floral motifs stamped in blind, slight rubbing on the headcaps, gilt fillets framing the marbled paper boards, contemporary Romantic binding signed by Torchet at foot of spine.
Pen gift inscription at head of one pastedown, two small wormholes at heads and feet of the very last leaves.

First edition, of which there were no large paper copies.
Early 20th century pastiche half brown calf over marbled paper boards, blindtooled fleurons and double gilt fillets to spine, marbled paper endpapers and pastedowns, covers preserved.
A very rare autograph inscription signed by Gérard de Nerval to Monsieur Ferdinand Langlé, the founder of the Pompes Funèbre in 1828, but also involved in literature, theatre and journalism under the pseudonyms of Ferdinand, Eusèbe and Charles Odry.
A little spotting.
Autograph inscriptions by Gérard de Nerval are of the utmost rarity.

First edition on current paper, it was printed 100 copies on Holland paper in large papers.
Binding half shagreen red, back with four purposes nerves set with golden dots adorned with gilded fleurons and nets cold patches of marbled paper, guards and contreplats of handmade paper, speckled slices, Contemporary binding signed Derveaux son.
Rare foxing mainly affecting the margins of some leaves.
Exceptional autograph signed by Victor Hugo to his son François-Victor on the fake title page: "To my beloved Victor. V. »
In 1872, only two of the five children that Victor Hugo had with his wife Adèle Foucher are still alive: François-Victor, whom he calls simply Victor and on whom he defers his affection, and Adèle, walled in madness, who has just been interned on his return from Barbaspine. Hugo notes in his notebooks: "Just a year ago, I was leaving for Bordeaux with Charles [his other son] who was not going back alive. Today I see Adele again. What shagreen! But the tragedies will continue to strike the old writer: the "beloved" Francis Victor will succumb the following year, in 1873, tuberculosis.
François-Victor Hugo is the author of a monumental translation of the complete works of William Shakespeare, the first respectful of the language of the English playwright: "For those who, in Shakespeare, want all Shakespeare, this translation was missing", wrote with emotion Hugo in the preface.
Nice copy enriched with a very moving dedication of Victor Hugo to his son.

First edition, the first volume being at the right date of 1832, which is very rare according to Clouzot.
Binders in half navy blue morocco navy corners, smooth back decorated with cartridges decorated with golden floral friezes, golden dates in tails, gilt fillets on the plates of marbled paper, guards and contreplats of handmade paper, blankets and back preserved, elegant bindings in the romantic style signed by Champs.
Rare and pleasant copy set in a perfect romantic binding of Champs.

The first edition, of which there were no deluxe copies.
Restored spine with reglued tears, small lacks and corner creases to boards.
Colportage stamp on title page.
Rare.

First edition, one of 504 numbered copies on pure laid paper.
Handsome full-margined copy.

First edition, one of 1500 copies on laid in the form of Arches paper.
Funny autograph signed Marcel Bouteron "! Bedouck wear my wishes to my friends Ripert MB!"
Nice copy.

COLLECTIF
First edition.
Full cloth binding, smooth spine slightly faded and richly decorated with rococo tools with blue and green highlights, front board decorated with an important gilt plate with fabric highlights of different colors surrounding a titled medallion, frame of blind-stamped fillets, back board decorated with a gilt tool with architectural motif in the rococo taste and frame of blind-stamped fillets, jonquil paper pastedowns and endpapers, all edges gilt, publisher's Romantic binding.
Work illustrated with a frontispiece and very numerous black and white engravings in and outside the text.
This is an album-book dealing with various subjects: Study of Russian customs. David Wilkie, English Painter. Modern industry and the holy places. In Kabyle Country. A visit to the Jardin des Plantes.
Some foxing and minor defects of use to the binding.

Edition illustrated with 260 original compositions in and outside the text by Adrien Moreau, engraved on wood by Brauer, Froment, Hamel, Méaulle, Rousseau and Thomas, one of 35 numbered copies on China paper, deluxe copies.
A minor tear at the foot of one joint of the first volume.
Handsome copy.

First edition.
Handsome autograph inscription signed by Alphonse de Lamartine to the painter (Jean) Gigoux.
Small restored tears to head and foot of joints, spotting.

First edition, one of 1500 numbered copies on alfa bouffant paper, the only issue after 18 on pur fil.
Spine and covers marginally discolored and sunned as usual, occasional foxing.

First edition.
Bound in red half Russia with corners, spine with four raised bands gilt-ruled and decorated with double gilt panels, date in gilt at foot within a compartment, marbled endpapers and pastedowns, rare wrappers and spine preserved, top edge gilt, uncut, binding signed by Bernasconi.
The catalogue leaf of Victor Hugo’s works is present. A few folding creases to some leaves.

Mounted opposite the definitive version printed on p. 223 is a precious autograph poem by Victor Hugo, entitled “La pauvre fleur disait au papillon céleste”, on two folded leaves mounted on a stub. This is a first version, consisting of four quatrains. These verses were reworked by Hugo, with some variants, in the definitive version, augmented with four additional quatrains.

The poem was composed by Hugo for his mistress Juliette Drouet, whom he had met two years earlier. It symbolizes the nature of their relationship—the poet bound by his marital and literary life, the young woman condemned to wait for him—and played a central role in their shared imagination: Juliette Drouet frequently quoted the line “Et moi je reste seule à voir tourner mon ombre / À mes pieds !” in her love letters to Victor Hugo. The double motif of the flower and the butterfly, alongside their entwined initials, also appears in the painted decoration of the Chinese salon from Hauteville Fairy, Juliette Drouet’s residence in Guernsey, a décor conceived by Hugo himself and now preserved at the Maison Victor Hugo in Paris.

A fine uncut copy, in a charming signed binding, enriched with a very rare autograph poem by Victor Hugo written for Juliette Drouet.

First edition.
Bradel binding in half bottle green Russia morocco, smooth spine decorated with gilt cartouches and fleurons, gilt date at foot, headcap very lightly rubbed, marbled paper boards, upper corners very slightly bumped, bookplate pasted on one pastedown, binding signed by Pouillet.
Rare and handsome copy.

First edition.
Binding in half blue Russia morocco, smooth spine richly decorated with gilt cartouches, fleurons and arabesques, marbled paper boards, marbled endpapers and pastedowns, bookplate pasted on one pastedown.
Rare and handsome copy despite some light foxing.

First edition reissued under new covers and relay title.
This rare collection was initially published in December 1833 under the title: L'amulette. Étrennes à nos jeunes amis.
Half dark green Russia morocco binding, smooth spine decorated with gilt arabesques, gilt date at foot, gilt fillet on marbled paper boards, three scratches on first cover, marbled endpapers and pastedowns, bookplate pasted on pastedown, covers and spine preserved, elegant pastiche binding signed by Pouillet.
Work illustrated with a title vignette and 8 plates.
Some foxing of no great consequence.

First edition published in the author's complete works.
Bradel binding in full sienna cloth, smooth spine decorated with a central gilt fleuron, gilt date and double fillet at foot, black sheep title-label with two small marginal lacks, original wrappers preserved, cold-stamped binding signed by Pierson.
Some light foxing of no consequence, mainly affecting the final leaves.

First edition.
Half burgundy Russia morocco binding with corners, smooth spine decorated with a cartouche, arabesques and gilt fillets, gilt date at foot, very light traces of rubbing without significance to joints, gilt fillet frames on marbled paper boards, marbled endpapers and pastedowns, top edge gilt, bookplate pasted on pastedown, elegant romantic pastiche binding signed by Pagnant.
Work illustrated with an engraving as frontispiece representing Maximilien de Robespierre.
Rare and handsome copy attractively bound in a signed binding by Pagnant.

First edition.
Half aubergine calf bindings with small corners, spines faded with four raised bands set with gilt garlands and decorated with gilt fleurons, gilt dates at foot, one stain at foot of spine of first volume, gilt fillets on marbled paper boards, marbled endpapers and pastedowns, covers and spines (restored) preserved, elegant romantic pastiche bindings.

first edition printed in small numbers on Holland paper.
Signed autograph of the great bibliophile Pierre Bellanger Louis Barthou.
Rare copy and pleasant.

New edition published five years after the original of 1836, decorated with a frontispiece, several plates after Marckl and engraved by Quartley, Dujardin and Piaud, with vignettes and tailpieces.
Half green shagreen Empire binding, smooth spine decorated with gilt rococo ornaments, triple gilt fillets on boards and corners, all edges gilt.
Joint at foot of front board slightly cracked.
Some discreet foxing.
Handsome copy elegantly bound in a contemporary Empire binding.

First edition, one of the 38 copys numbered on "pur-fil" paper only leading copies.
autograph dedication of the author autograph signed and dated in full page, Hervé de Peslouan George Oudard ending form of a poem: "A Oudard Georges, the master of" Best teacher ", these pages about the love life of a man whose all the teachers were ... better. In very faithful homage and sincere gratitude.
Impromptu: When in September / Au pastor ... it Sicambrian, / I put the copy / of "Mesdam's Dumas" / I thought qu'tôt or late / You would Oudard Georges ... /. ..S'il got lost en route / Las, I do not understand then drop ... / Moral: / For the incorrectness of which your mind smoked / Forgive me, Lord ... here Lafuma "
Back insolated, nice interior state.

Edition for each volume.
"Bradel" binding vellum way, smooth back, calligraphic inscriptions in the medieval manner on the back and flat, black date tail back, wrappers and back preserved and bound in to each volume, guards and contreplats of handmade paper red head, signed binding Thiebaut.
complete copies of their headpieces and their facsimiles.
Our copy is enriched by an autograph letter (mounted on the first book upside tab) Eugene Mirecourt, a page addressed to Chamfleury in which its distance corresponding to about a piece showing that they have jointly written with Champfleury and does not provide enough promotion to the taste of Eugene de Mirecourt.
Some little foxing, clear wetting at the foot sheets of the second book.

Edition of wich no leading copies exists.
Signed autograph of Jean Grenier to his friend Professor Georges Blin.
Back insolated.

The rare first edition.

Dark red morocco by Stroobants, the spine richly decorated with compartments and decorative tools in the Romantic style, date to foot of spine, triple gilt fillet frame to covers, gilt roulette frame to pastedowns, marbled endpapers, double gilt fillet to edges of covers, gilt roulette to headpiece, covers preserved, gilt edges.
With a frontispiece by Tony Johannot.
Autograph inscription signed by Alfred de Vigny to Madame de Fabricius, a friend of the author, close companion of Emile Deschamps and a regular at his salon.
Provenance : from the Grandsire collection.

A fine copy retaining its rare covers without any spotting, and in a superb binding.

Popular illustrated edition bringing together 14 titles and more, from the Romans populaires illustrés collection. Drawings by Johannot, Beaucé, Staal, Bertall, Baron... It includes the rare title The Monk by Lewis.
Contents: Valérie by Madame de Krudener. Manon Lescaut by Prévost d'Exiles. Le talisman du coeur by Louis Lurine. La peine du talion by Jules Lacroix. Le règne de Satan by Benjamin Gastineau. Riche et pauvre by Emile Souvestre. Télémaque by Fénelon. Mes prisons by Pellico. La princesse de Montpensier by Madame de Lafayette. Les contes de l'atelier by Michel Masson. Le vicaire de Wakefield by Goldsmith. Simple histoire by Inchbald. 3 plays by Beaumarchais. Printed in 2 columns. A half-title of the Romans populaires illustrés has been bound at the beginning of the work with a table of contents that does not correspond at all to the titles in the volume.
Contemporary half black shagreen binding. Smooth spine decorated with a large romantic ornament and a roll at head and foot. One split at head. Rubbing to edges and headcaps, but good copy, particularly fresh, on crisp white paper, free from foxing.
These popular editions are rare in good condition, and very desirable for the quality of their illustrations. They form a too-forgotten history of romantic publishing.

Belgian counterfeit edition published the same year as the original and unknown to Clouzot.
Half navy blue shagreen binding, spine with five fine raised bands decorated with black fillets, marbled paper boards, marbled endpapers and pastedowns, speckled edges, corners very slightly bumped.
Handsome interior condition almost entirely free of foxing.

First Belgian edition, one year after the first edition.
Binding half shagreen red back with four nerves set with golden dots adorned with double gilded boxes and gilded typographic florets, small traces of friction on the upper cap, chestnut cardboard plates, guards and contreplats of handmade paper, corners very slightly blunted.
Signed autograph from Sainte-Beuve to Ulysse Marcillac next to the title page of the first volume.
Nice copy.

New edition.
Half red calf bindings, smooth spines slightly faded, decorated with gilt romantic arabesques and a stamp in blind, gilt fillets at head and foot of spines, black calf title labels, marbled paper boards, marbled endpapers and pastedowns, marbled edges, contemporary romantic bindings.
Provenance: from the library of J.B. Baillière with his labels pasted on the pastedowns.
Handsome copy in charming contemporary romantic bindings.

First edition in-12.
Half hazelnut shagreen binding, spine with four raised bands decorated with fillets and double black compartments, spine lightly rubbed, triple blind fillets framing the hazelnut boards, white watered silk endpapers and pastedowns, top edge gilt, contemporary binding.
Bookplate pasted to one pastedown.
Light foxing.

The first edition, which appeared in plain covers
This copy has a chemise of half blue morocco over blue marbled paper boards and slipcase of blue marbled paper edged with blue morocco
Foxing, an angular lack to the first blank endpaper, traces of folds to plain covers
Very rare autograph inscription from François-René de Chateaubriand: “De la part de l'auteur [from the author]” to head of half-title
A precious, unsophisticated copy enriched with an autograph inscription from the author.

The rare first edition.
Bound in contemporary half mottled sheep with small corners, smooth spines decorated with gilt fillets, raciné paper boards, contemporary bindings.
One joint partially cracked, a discreet dampstain to inner margin of volume 2, occasional light foxing. A narrow-margined copy.
Provenance: from the library of Tegernsee castle, property of Prince Charles-Theodore of Bavaria (1795-1875). Charles-Theodore of Bavaria, son of the first King of Bavaria Maximilian I, was "Generalfeldmarschall" and privy councillor to the King of Bavaria (Stamp "S.K.H.D Prinzen Carl V. Bayern Güter Administration Tegernsee").
A rare copy, of princely provenance, in strictly contemporary bindings.

New edition, illustrated with eight wood engravings hors-texte by Corbould.
Contemporary publisher's full dark green shagreen binding. Spine with raised bands decorated with compartments, fillets and roulettes. Covers decorated with series of blind and gilt frames. Roulette on edges, interior frieze. Edges gilt. Foxing where tissue guards have not been removed, but overall fresh. Very light rubbing to corners or joints, small dark areas on leather. Very handsome copy.
Collected edition comprising a Memoir by the author, The lady of the last minstrel, Marmion, The lady of the lake, The vision of Don Roderick, Rokeby, The lord of the isles, Lyrical pieces, Miscellaneous poems and ballads.
19th century engraved armorial bookplate. Library of the Château de Grenade.

Bilingual edition translated by Charles Nodier and first printing of the frontispiece printed on China paper as well as the 10 steel-engraved out-of-text plates by Finden after drawings by Tony Johannot.
Half brown shagreen binding with corners, spine slightly faded with four raised bands decorated with gilt fillets and compartments embellished with gilt arabesques, gilt fillet frame on brown cardboard boards, marbled endpapers and pastedowns, marbled edges, contemporary Romantic binding.
Work also illustrated with more than 100 wood-engraved in-text vignettes.
Some minor foxing of no consequence.

Edition illustrated with a portrait of the author as frontispiece to the first volume as well as 15 etchings hors-texte, one of 100 copies on Holland paper.
Half red morocco bindings, smooth spines, gilt dates at foot, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, elegant contemporary bindings signed by Carayon.
A tiny scratch on one joint of the last volume, occasional light foxing without gravity affecting mainly the covers.
Handsome copy beautifully bound.

First edition.
Half caramel calf binding, smooth spine decorated with black and gilt fillets as well as gilt friezes, turquoise calf title-label, marbled paper boards, marbled endpapers and pastedowns, speckled edges, contemporary binding.
Pencil gift inscription on the half-title page.
Our copy contains an additional leaf with a manuscript French translation of Zedlitz's poem "La revue nocturne" by a previous owner.
Handsome copy attractively bound.

First edition.
Bound in half dark green shagreen, spine with four raised bands set with gilt fillets decorated with gilt fleurons, marbled paper boards, marbled endpapers and pastedowns, speckled edges, corners slightly bumped, contemporary binding.
Some minor foxing affecting mainly the edges.

First collected edition.
We have the first four volumes of this series which comprises ten volumes but is very rarely encountered complete (Cf. Clouzot).
Some minor lacks to spines and boards, scratches to front board of second volume, spine of fourth volume split, light dampstains at end of three of the four volumes.
Rare set.

New edition of the French translation by A.J.B. Defauconpret.
Half caramel morocco bindings, spines with one large raised band decorated with black romantic cartouches, marbled paper boards, marbled endpapers and pastedowns, marbled edges, three corners slightly bumped, contemporary romantic bindings signed by Meslant at foot of spines.
Pen gift inscriptions dated 1922 on blank endpapers serving as bookplates.
Handsome copy in charming uniform romantic binding signed by Meslant.

New edition with some parts in first edition as revised and corrected.
Half green shagreen binding, smooth spine decorated with double gilt compartments embellished at angles with gilt typographical motifs, green watered silk boards with some rubbing, marbled endpapers and pastedowns, speckled edges.

First edition.
Half red calf binding, faded spine with four raised bands set with gilt dots decorated with gilt fillets, black shagreen title and volume labels, marbled paper boards, marbled endpapers and pastedowns, speckled edges, contemporary binding.
Some minor foxing.
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