Romanticism

First edition, richly illustrated with 75 hors-texte plates, principally by Gavarni, including 4 music plates framed with wood engravings by Bertall and several compositions by Bertall. Very numerous vignettes by Monnier, Français, Daubigny... The compositions with multitudes of vignettes by Bertall on subjects such as evenings at the opera, Paris by night... which constitute the ensemble of Paris comique are particularly delightful. This edition is rarer than le Diable à Paris.
Contemporary green half-shagreen. Smooth spine decorated with series of romantic tools in compartments. Green corsillonné paper boards. Borders rubbed and corners slightly bumped. Some scattered foxing, principally in the outer margins, on good white paper. The text jumps from p. 5 to 41 without loss, the text continuing. Good copy.
Portrait of Paris, in all its aspects, at the beginning of the Second Empire, Le tiroir du Diable sails on the success of le Diable à Paris with the same collective for texts and illustrations. One notes the presence of Balzac's text: Physiologie des boulevards, two texts by Sand and one by Musset. The other collaborators being celebrated litterateurs of this period, Edouard Ourliac, Frédéric Soulié... At the beginning of the work, Lavallée's text on the geography of Paris (which was also present at the beginning of le Diable à Paris). At the end of the work, statistics of Paris, the work always wanting to be both entertaining and informative. In this regard, all the texts, satirical or not, of the work are more or less of journalistic character, but as journalism was then practiced under the Second Empire. The work concludes with the statistics of Paris.

Bilingual edition translated by Charles Nodier and first printing of the frontispiece printed on China paper as well as the 10 hors-texte plates engraved on steel by Finden after drawings by Tony Johannot.
Half glazed navy calf binding, smooth spine decorated with a gilt cartouche adorned with gilt arabesques, light rubbing traces on the joints, marbled paper boards, marbled endpapers and pastedowns, contemporary Romantic binding.
Work also illustrated with more than 100 in-text wood-engraved vignettes.
Some minor foxing, handsome copy in contemporary Romantic binding, complete with its tissue guards protecting the 10 hors-texte plates, which is rare.

Illustrated with original etchings by Eugène Corneau, and printed in 210 copies on pure Lana laid paper, ours being one of 20 numbered copies including a suite in black, deluxe copies after 10 other Lana copies.
Our copy is complete with its suite in black at rear.
Worming to the chemise as well as to the very first pages of the work, otherwise handsome interior condition.

First edition of the two series published respectively in 1835 and 1836. 36 steel engravings for the first volume and 40 for the second, totaling 76 engravings engraved by various English engravers and printed on strong paper, under tissue guards. A large title vignette and a frontispiece in the second volume, both dated 1836, therefore could not have been part of the first.
Green half morocco signed Boutigny. The second volume, although using the same tools (and the same endpaper), and coming from the same workshop, is in a noticeably different binding (bound two years later), in navy blue half shagreen, the ensemble being ultimately more aesthetic than if the color were similar. Romantic gilt tool along the spine, gilt title. Very fine blue marbled paper. Despite some minimal foxing at the tissue guards and in the margins, very fine copy. The selection of works highlights the great sites of Europe, including even Mont Saint-Michel, and universal representations, such as Don Quixote. Each work is accompanied by an introductory text.

Second edition of the author's first work printed after the very rare first edition of London 1797.
Half tawny sheep binding, spine with five raised bands set with gilt friezes decorated with black fillets and blind typographical motifs, marbled paper boards, marbled endpapers and pastedowns, pastiche romantic binding.
Occasional foxing, a small hole with slight damage to text pages 387-388.
Rare.

First edition.
This edition is often mistakenly confused with the Garnier edition Chants et chansons populaires de la France (in one volume and in several), yet it is rigorously different both in illustration and content. It is illustrated with 48 steel-engraved plates printed in bistre after Gavarni, Travies... and numerous wood engravings.
Half brown shagreen. Spine with false raised bands decorated with thick and thin compartments. Wine-colored percaline boards. Edges gilt. Boards discolored in places (borders). Joints of volume 1 rubbed in places. Tissue guards browned. Occasionally some foxing in margins or around tissue guards. Overall quite fresh and clean.
The two volumes offer nearly 1400 songs covering all styles, often accompanied by historical and literary notes.

The very rare first edition, of which there were no large paper copies, this copy being from the very first issue without mention and with the correct publisher, Giraud et Dagneau.
Bradel binding in half indigo cloth over marbled paper boards, spine with a gilt floral motif, double gilt fillet and date at foot of spine, black shagreen title piece, the very fragile covers preserved with marginal repairs.
A few small spots as usual.
Difficult to find in good condition, as with this copy, because one often finds this work wormed, the covers being fragile (cf Clouzot).
Rare.

Second edition, first for some parts: augmented with two poems
Contemporary black half shagreen over black paper boards, spine in five compartments with triple gilt compartments, double gilt fillet frame to covers, marbled pastedowns and endpapers
Rare autograph inscription from Théophile Gautier: "A mon ami Clapet...[To my friend Clapet]"
A little spotting.

First edition, illustrated with 12 steel-engraved plates.

Contemporary full brown straight-grained morocco. Smooth spine decorated with large Romantic tools with date at foot. Covers with large blind Greek key border and gilt fillet frame. All edges gilt. Decorative gilt board-edges. White watered paper endpapers. Spine uniformly sunned, turned brown. One corner rubbed. Several gatherings browned. Handsome copy nonetheless, in contemporary morocco.

One of Curmer's famous and beautiful publications, who had just published in 1838 one of the most celebrated Romantic books: Paul et Virginie. An essential literary figure from the mid-19th century onwards, La bedollière, formerly a bohemian alongside Baudelaire, whom he frequented at the café, here gives his first collection of short stories; he is one of the models of the journalist-writer (he would contribute numerous articles to Les français peints par eux-mêmes) who would make writing a lucrative profession. He is talented, possesses a fine pen, but devoid of any genius.

First edition, illustrated with two engraved titles (in English), one colored plate and 117 steel engravings (with tissue guards) by Allom, Bartlett, and M'Culloch, engraved by Griffiths, Varrall, Prior, etc. Superb illustration, as English engravers were particularly prized during this period for their fineness of execution, and French publishers placed extensive orders in England for the illustration of their books.
Full publisher's binding. Half red morocco decorated with a large special gilt stamp (arms and symbols of Scotland) on wine-colored sheep boards stamped with a large decorative floral stamp in blind. Edges gilt. Magnificent and rare English publisher's binding, despite some defects: a slight lack to head of volume I; headcap of volume II heavily worn; some corners bumped and rubbing to edges.
Rare pale scattered foxing (virtually non-existent on text), mainly in margins and caused by tissue guards, but heavy on the 2 titles. History of Scotland, its particularities, its monuments...

First edition, of which there were no deluxe copies.
Autograph inscription from the author.
A small stain at the head of the back cover.

First edition of this large-format Keepsake, illustrated with 23 large steel-engraved plates, printed on strong vellum paper, by English engravers after Reynolds, Turner, Rubens, Frith, and other 19th-century English painters.
Publisher's blue boards. Lenègre binder. Large gilt plaque on covers. Large ornaments on spine. A 3 cm split to lower joint (almost invisible). Foxing to margins of first two plates. Fine copy in boards in perfect condition. Wide margins preserved.
Series of texts typical of keepsakes, on varied subjects, Brummel, Paris, Venice... and a poem by Hugo on the last leaf: Les lys du foyer. Notable is a famous engraving after Turner, depicting a train at full speed crossing a bridge.

First edition, illustrated with 26 English steel engravings (including the second title).
Half wine-red morocco binding. Romantic Boutigny plaque on spine. Very fine marbled paper on boards. Boutigny binder's label on endpaper. Spine uniformly sunned, without gravity, and ultimately aesthetic. Scattered foxing in margins, despite very white paper.
Literary contributions by Chateaubriand, Alexandre Dumas, Paul de Kock, Casimir Delavigne...

First edition, one of 500 copies on vergé à la forme paper. With a portrait and 5 illustrations.
A very good copy.

First edition. Illustrated with 36 steel engravings by Herbert, Drummond, Hayter, engraved by Cook, Stoddart... Each engraving is protected by a tissue guard.
English publisher's binding. Full midnight blue shagreen. Smooth spine richly decorated. Boards decorated with a broad frieze and corner ornaments, as well as a central design within which stands a lion passant. A tear to the upper joint at the headcap. Very good condition, some very occasional scattered foxing. Joints lightly rubbed, with a slight tear to the lower joint. Very handsome English binding, refined and richly decorated.

First edition printed in a small number on laid paper.
Bradel binding in full red cloth, smooth spine, date at foot, original wrappers preserved.
Illustrated work, as frontispiece, with an etching by Staal.
Some minor worming without significance.

First French edition, the first having appeared the year before in Brussels, published by Lebègue.
Half navy blue shagreen over marbled paper boards, spine (very slightly faded) in six compartments a little rubbed (but not significantly), marbled endpapers and pastedowns.
A very rare autograph inscription signed by Henry Murger to his friend Michel Carré on half-title.
A tiny lack at the center of one pastedowns, a little light insignificant foxing, marginal trace of a label to half-title.

First edition.
Publisher's full red boards, smooth spine decorated with a cartouche and gilt typographical motifs, boards framed with gilt fillet and decorated with a medallion and typographical motifs in blind, edges gilt.
Contributions by M. de Boinville, E. Gonzalès, G. Molé, T. Coffinier, M. Aycard...
Work illustrated with 19 steel engravings.
Some light foxing.
Rare copy presented in romantic boards of pleasant freshness.

First edition published anonymously and generally attributed to Escoffier or to J. de Castelneau.
Spine faded, foxing, rare copy in its original wrappers.

First edition published anonymously and generally attributed to Escoffier or to J. de Castelneau.
Foxing, covers and spine lacking.
Rare.

Rare first edition.
Half-shagreen binding in blue, spine with five raised bands decorated with gilt roulettes and floral motifs, traces of rubbing at head and foot, one corner slightly bumped.
Some light foxing, otherwise handsome interior condition.

First edition.
Small occasional foxing, otherwise a good copy.

First edition.
A very good copy with practically no foxing.

The first edition, of which there were no deluxe copies.
Handsome copy free from foxing.

First edition.
Half black shagreen binding, smooth spine showing traces of rubbing, front board detached, corners bumped with paper loss to both boards.
Rare copy free from foxing.
Bound at the end is the conclusion of the description of H. Vernet's lithographic work on a manuscript leaf.

First editions.
Bradel binding. One leaf of announce missing at the beginning of the second volume which retains, on the other hand, the folding lithograph by Charlet.
A little light spotting mostly on the last pages of the second volume, otherwise nices copies.

First edition.
Inscription from Maurice Escoffier, the dedicatee's name has been skillfully erased.
Small tears and lacks at foot and head of spine, covers very slightly and marginally faded without consequence, handsome interior condition.

First edition, one of 50 numbered copies on Arches laid paper, after only 20 Japan and 30 Holland.
Work illustrated with 15 plates hors-texte as well as numerous in-text vignettes.
Light worming on endpapers, handsome copy.

New edition.
Full dark green shagreen binding, smooth spine decorated with gilt arabesques, gilt roulettes on headcaps, traces of rubbing to joints, triple blind-ruled frames on boards decorated at their centers with blind-stamped arabesques as well as a gilt fountain, gilt fillets on edges, corners slightly bumped, marbled endpapers and pastedowns, contemporary Romantic binding.
Work illustrated with two vignettes engraved on the title and half-title pages.
Foxing mainly at beginning and end of volume.
Rare.

First edition.
Contemporary half navy sheep binding, smooth spine decorated with gilt and blind fillets, a tiny hole at the head of one joint, marbled paper boards.
Work illustrated with in-text vignettes as well as 4 maps and 46 full-page plates. A dampstain affecting the entire text block, occasional foxing.

First edition.
Publisher's full beige skyvertex binding, complete with dust jacket, cellophane wrapper and slipcase.
Illustrated.
Handsome copy.

First edition on ordinary paper, false statement of edition.
Author's inscription to the editor-in-chief of the historical review "Le miroir de l'histoire".
Our copy is enhanced with an autograph note from the author addressed to the periodical's editorial staff in anticipation of a favorable review of his work.

First edition, one of 50 numbered copies on alfa paper, the only deluxe copies.
Autograph inscription signed by Ernest Sellière.
Some minor foxing affecting margins of certain pages, otherwise a handsome copy.

First edition on ordinary paper.
Autograph inscription from the author.

First edition, one of 50 numbered copies on alfa paper, the only deluxe copies.
Inscribed by Henri Girard.
Slight foxing affecting the margins of some pages, otherwise a handsome copy.

First edition on ordinary paper.
Autograph inscription from the author.

First edition, illustrated with portraits, views and autograph in frontispiece and hors-texte.
Half marbled tan calf. Spine with raised bands decorated with fillets on the bands. Original wrappers preserved. Rubbing to headcaps. Good copy.
Critical study containing the correspondence with Sainte-Beuve.

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

First edition, of which there were no deluxe copies.
Signed and inscribed by Robert Marrast.
Handsome copy.

First edition.
Illustrated.

First edition.
Spine and covers lightly and marginally sunned without severity, handsome interior condition.

Translation from the 8th German edition.
Introduction by Victor Basch.
Some minor marginal foxing.

First edition, no deluxe copies mentioned.
Three marginal lacks to the cover boards, spine faded.
Rare.

New edition.
One cracked joint, light spotting to boards, some foxing.