Theater: Classic Plays

First edition, one of 17 numbered copies on Hollande paper, the tirage de tête.
A very good copy.

First edition for "L'homme aux valises", one of 20 numbered copies on Hollande, tirage de tête.
A very attractive copy.

First edition.
Half blue-grey cloth Bradel binding over marbled paper boards by Champs, spine with gilt stylized floral motif, date and double gilt fillet to foot, navy blue shagreen title-piece with a small angular lack to top, covers preserved.
Autograph inscription signed by Victor Hugo to his friend, the literary critic Henri Trianon.
Small manuscript correction to the first page of the introduction, a few small wormtracks to the title and half-title.
Provenance : Morizet collection, collection of Raymond Boueil with his engraved ex libris, Maurice Escoffier (Le mouvement romantique N°1557), Robert Schumann, manuscript initials (1965, N°207) and Philippe Zoummerouff (2001, N°62).

The first edition, of which there were no deluxe copies.
Light dampstains, small lacks and marginal tears to spine and boards.
Rare but in this condition.

First edition, one of 28 numbered copies on pur fil, ours bearing No. 1, deluxe copy.
Small tears with tiny marginal lacks on covers, a lack at foot of spine at the level of deckled edges, first endpaper partially and lightly shadowed.
A full-margined copy.

First edition on ordinary paper.
Handsome autograph inscription from François Billetdoux to Marcel Aymé : "... très fidèlement..."

First edition, one of the copies of the press service.
Precious autograph signed by the author Marcel Ayme: "... with the fraternal admiration and sympathy for Pierre Gascar."
Back insolated, complete copy of his please insert.

First edition, one of 192 numbered copies on pure thread paper, ours being one of 12 hors commerce copies, deluxe issue.
Cover illustrated with a colored drawing by Jean-Denis Masclès.
A light dampstain at the foot of the spine.
Handsome copy.

First edition, one of 112 numbered copies on alfa paper, the only large paper copies after 28 on pur fil paper.
Small tears, not serious, to margins of the covers, otherwise a good copy.

Illustrated with 28 original lithographs by Maurice Berdon and printed in a numbered edition of 200 copies on handmade laid paper from the Rives mills.
A handsome copy, spine of the chemise lightly sunned without consequence.

First edition, one of the copies of the press service.
Binding sheepskin half hazelnut, back with five nerves filetsnoirs crimped, flat timber so paper and spiral effect, guards and contreplats of handmade paper, preserved covers, red head.
Signed autograph of the author: "Henry original end Bidou teller, who would displease Racine unless displease Debates ..."
Frontispiece, a Racine portrait.
A little lack of paper heads white guards binding, nice interior state.

First edition of the French translation on ordinary paper, only 50 copies were printed on deluxe paper.
Our copy is expanded with an invitation card to the first performance of this play.

First edition illustrated with a drawing by Georges Rochegrosse engraved as frontispiece.
Bradel binding in half almond green cloth, red morocco title label, date at foot, original wrappers preserved.
Autograph inscription signed by Théodore de Banville to Henri Lenoir on the half-title page.
Some marginal foxing and restorations with reinforcements to front wrapper.

Seconde separate edition.
Foxing.

First edition on ordinary paper, with only 11 deluxe copies printed.
Half brown morocco binding, spine with five raised bands, dated at foot, marbled paper boards, endpapers and pastedowns lined with combed paper, original wrappers preserved, top edge gilt, binding signed by P. Goy & C. Vilaine.
Precious signed autograph inscription from Léon Blum to Paul Reboux.
Fine copy perfectly executed.

First Edition, one of 14 numbered copies on "pur-fil" paper, only leading copies.
Small bites on the guards, back slightly insolated.
Rare and nice copy.

The first edition, of which there were no deluxe copies.
Beautiful signed autograph inscription from the author to a friend named Mireille.
A tiny tear of no consequence to the spine.

First French edition, expanded with an original preface by the author, printed in 1800 numbered copies on alfa paper.
Signed autograph inscription from Henri de Montherlant to Bernard Fleurot.
Handsome copy.

The first edition, published in a small number of copies.
Half fir-green morocco binding, spine slightly faded with five raised bands set with gilt dots decorated with gilt double compartments richly adorned with gilt typographical motifs, red morocco title, place and date labels, gilt fillet on marbled paper boards, marbled endpapers and pastedowns, contemporary binding.
Our copy is enhanced with a signed autograph note from the author in which he proposes to a person to postpone their meeting to another day.
Work illustrated with a beautiful frontispiece drawn and engraved by Félix Bracquemond.
Fine bookplate pasted above the reproduction of a photograph representing Charles Monselet also pasted on a pastedown.

First edition of the adaptation by Jean Ott, of which there were no deluxe copies
Illustrated with a frontispiece by David Ossipovitch Widhopff.
A light tear without gravity to the head of the front cover, handsome copy.

First edition of the adaptation by Jean Ott, of which there were no deluxe copies
Spine and covers slightly and marginally sunned, 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.

New edition.
Half marbled caramel sheep binding, spine with two raised bands decorated with gilt central fleuron, gilt date and double fillet at foot, traces of rubbing to spine, chocolate shagreen title label, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt, contemporary binding.
Autograph inscription signed by Romain Coolus to the poet Jean Ott: "... en sympathie - sans le connaître - puisqu'il est ami d'Acremant..." ["... in sympathy - without knowing him - since he is a friend of Acremant..."]

First edition of the theatrical adaptation, one of 8 numbered copies on Holland paper, deluxe copy.
A tiny tear of no consequence at the head of the first cover, a very light shadow at the head of the justification page and on the facing page left by the numbering bookmark, handsome copy.

Reprint for the first play, hors commerce first editions for the three others.
Half marbled caramel sheep binding, faded spine with two raised bands decorated with gilt central fleuron, gilt date and double fillet at foot, olive sheep title label, traces of rubbing to spine, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved for each of the 4 volumes, top edge gilt, contemporary binding.
Signed autograph inscription from Jules Gringoire to the poet Jean Ott on each of the plays.
Rare collection of these plays not distributed in trade

First edition, an advance (service de presse) copy.
Autograph inscription signed by Albert Camus to Henri Gouhier.
Paper yellowed as usual, spine sunned, retaining its advertising slip.

First edition, a Service de Presse (advance) copy.
Spine slightly sunned, handsome interior condition.
Precious signed autograph inscription from Marcel Aymé to his daughter Colette: ".. bien affectueusement. / Marcel." [".. with much affection. / Marcel."]

First edition, one of 50 numbered copies on Japan, the only large paper copies.
A good and well-margined copy.

First edition, one of 25 numbered copies on Hollande, tirage de tête after 15 parcheminé azuré hors commerce reserved for the author.
A very good copy with good margins.

First edition, one of 36 numbered copies on Hollande, tirage de tête.
A good copy.

First edition, one of 45 numbered copies on wove paper, our copy unnumbered but properly justified on wove paper.
Spine very slightly faded as usual, otherwise a handsome copy.

First edition, one of 60 numbered copies on vélin du Marais, tirage de tête.
Two small marginal traces of fol to foot of spine and first cover, otherwise a very good copy.

First edition, one of 18 numbered copies on pur fil paper, the tirage de tête (deluxe copy).

Jansenist red morocco, spine in six compartments, gilt date to foot of spine, pastedowns and endpapers in black morocco, covers and spine preserved, all edges gilt; half red morocco chemise, spine in six compartments, date in gilt at foot of spine, lined in black felt; slipcase edged in red morocco, lined in ochre felt, binding signed by Duhayon.

A superb copy handsomely bound in a triple binding by Duhayon.

First edition, one of 25 numbered copies on vélin pur fil, this one n°1, the only large paper copies.
A very good copy.

First edition, one of 600 numbered copies on select paper, the only issue after 12 on alfa.
Fine autograph inscription signed by the author to Raymond Fournier.
Spine sunned, handsome interior condition.

The first collected edition, with a portrait frontispiece by Gabriel Henri Gaillard.
Contemporary full marbled calf binding. Smooth decorated spine. Red morocco title label and volume labels. Head of volume I worn, volumes V and VI partially worn. Upper joint of volume VI cracked at head. Some corners slightly bumped. Good copy.
One could hardly praise Belloy as a great dramatist despite the success of his plays, and especially the incredible national and popular success of the Siege of Calais. However, the interest of this edition on the world of theater and letters in the 18th century is important. Each of the author's plays is indeed accompanied by numerous elements, prefaces, memoirs, letters, notes and research which explain not only the public's reception, but also the quarrels with the philosophers' party, the support then disavowal of Voltaire. As a writer, Belloy seeks to revive classical tragedy, his essay on tragedy of which the public's taste was then approaching bears witness (Gluck had set Racine to music in his opera Iphigenia in Tauris); classical tragedy then became in the second part of the 18th century a nationalist literary model, a model however contemporary with the invention of a new theater, that of Diderot.

Rare and unique first edition, posthumous, of this play, which was composed around 1560.
At the colophon, a different address: Apresso Paulo Zanfretti. Printed in italics. A portrait of the author in medallion on the verso of the first leaf, within a rich frame. Dedication to Dom Césare d'Este. Printer's device on title page. Brunet, II, 1607.
Full glazed blonde calf binding of the 18th century. Smooth spine decorated with 5 small fleurons. Red morocco title label. Triple fillet frame on boards. Rubbing. Spine browned.
Tragedy in verse in 5 acts written on the classical model, with chorus. Euphimia, daughter of the King of Corinth, marries Acharisto, her father's servant, while she is loved by Philone, King of the Peloponnese. Her husband will sacrifice her to his quest for power.
19th-century engraved bookplate with a lawyer's cap and the motto: Nemini servias sed legi. G. F.

First edition, one of 14 numbered copies on Madagascar paper, the tirage de tête.
Scratching, not serious, to lower cover, three tiny tears to margins of the covers, a good copy.

First edition, one of 1040 numbered copies on héliona paper.
Publisher's binding after Paul Bonet's original design.
Spine very lightly sunned as usual, minimal foxing without significance affecting mainly the edges.

First edition, one of 8 numbered copies on Hollande, tirage de tête.
A very good and rare copy.

First edition on ordinary paper for each of the volumes.
Half chocolate brown morocco binding, spine with five raised bands showing traces of rubbing, marbled paper boards, a small marginal paper lack to the first board, marbled endpapers and pastedowns, marbled edges.
Autograph inscription signed by Emile Guiard to Jacques Ollendorff in the form of a six-line verse on the first volume.
Provenance: from the library of Paul Ollendorff.

New edition for the Siège de Calais, first edition for the two other texts. The five figures mentioned by some bibliographers seem to be lacking in Eugénie.
Full speckled blonde sheep binding. Smooth spine decorated with gilt compartments and fleurons, as well as a blonde sheep title label. All edges red. Top of spine slightly split, title label partially missing. Surface wear and lacks to boards. Corners slightly bumped. Two tiny marginal tears not touching text to first endpaper and final text leaf.
Contemporary manuscript notes on first endpaper giving details of the work's contents. Interesting collection of theatrical pieces with England as their subject. Among these three plays, one should note that Le siège de Calais, a patriotic piece, had resounding success despite reservations from Diderot and Voltaire.

First edition of the adaptation by Jean-Paul Sartre, one of 80 numbered copies on Hollande, the tirage de tête.
Two slight traces of insignificant sunning to head and foot of spine, a very good copy.

First edition, one of 28 numbered copies on pur fil, this one unnumbered but justified "pur fil", tirage de tête.
Two slight tears to foot of spine (to edges), a very good copy with edges preserved.

New edition printed on China paper in small numbers and established by the bibliophile Jacob of this play almost unknown to all theater historians.
Bradel binding in half mouse-gray cloth with corners, smooth spine decorated with a gilt floral motif, double fillet at tail, gray shagreen title-label, marbled paper boards, contemporary binding.

First edition, one of 32 numbered copies on nacré Japon, the tirage de tête.
Bound in full embossed khaki leather, smooth spine without lettering, the title of the work and the author's name in gilt on the front cover reproducing the calligraphy of the original wrapper, publisher’s name and place in gilt on the back cover likewise reproducing the calligraphy of the rear wrapper, endpapers and pastedowns of wood-grain effect almond paper, wrappers and spine preserved, top edge gilt; slipcase covered with wood-grain effect almond paper, echoing the binding and bearing on the covers the same features as the binding.
A few small spots of foxing on the spine and upper edge, slightly affecting the boards, internally very clean.
A rare copy, spectacularly and perfectly presented.

New edition, "more beautiful and more complete than that of 1725" (Brunet).
Half green sheep binding, nineteenth century. Smooth spines decorated with triple gilt fillets, gilt initials at foot. Some surface wear, edges and corners rubbed.
An author now forgotten, Boursault held an important place in the theatrical life of his time. He even took an active part in the quarrels with Molière and Boileau. Some of his comedies enjoyed great success, and one of his tragedies was compared by Corneille himself to those of Racine; but all his plays suffer from a lack of dramaturgy, they are juxtaposed scenes, without staging.

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.
Precious autograph inscription signed by Théodore de Banville to his close friend Edmond de Goncourt.

Edition limited to 250 copies, ours being one of the numbered copies on Holland paper (no. 6, printed for the library of M. Cros-Bonnel).
Slipcase rubbed in full brown percaline, gilt title and author's name stamped in blind on spine, decoration in the same style on front cover.
Our edition features 23 plates hors-texte sometimes in colors including several proofs before letters of the headpieces.
Some foxing and binding slightly detached.

Poster for the Théâtre d'Orléans, Sunday November 8, 1818 - theatrical performance: Coriolan au camp des Volsques, followed by Une journée à Versailles, and Les Perroquets de la Mère Philippe.
Wood engraving and typography on watermarked laid paper.

First edition, one of 45 numbered copies on Marais paper, the tirage de tête
This copy has a slipcase and chemise in half navy blue shagreen over marbled paper boards by T
Boichot, spine with title, author and date in palladium
A good copy
Rare.

First edition, admirably and finely illustrated with 3 figures, 15 headpieces, and 10 tailpieces, all by Eisen and engraved by de Launay the younger, Helman, Masquelier, Née and Ponce. Printed on deluxe paper.
Contemporary full mottled calf binding. Decorated spine with raised bands, gilt rolls at head and foot. Red morocco title label. Triple gilt fillet frame on covers. All edges gilt. Fragile headcap with lacks, same at foot. Very beautiful mottling on covers (green, red, beige). Despite small defects, handsome copy, in a luxury binding, and of great freshness.
The volume, besides the preliminary pieces, with essays on the dramatic genre by Marmontel, brings together three tragedies from 17th-century French theatre: Sophonisbe by Du Ryer, Scevole by Mairet and Venceslas by Rotrou. This first volume was to be followed by several others, but the project did not come to fruition. Very fine publication.
18th-century engraved bookplate, Laus de Boissy library. A second 19th-century bookplate: library of Count Alexis de Priest.

First edition, one of 31 numbered copies on pur fil paper, the only deluxe copies.
Iconography.
Boards very lightly and marginally sunned without gravity, handsome interior condition.

First edition printed in a small number of copies on vergé.
Tiny stains and three tiny angular lacks to the covers.

New edition, after the first published in 1758.
Full glazed blonde sheep binding. Spine with raised bands decorated with 4 fleurons in compartments; roulette at foot. Red morocco title label. Upper joint cracked. Corners slightly bumped. Headcap amateurishly restored.
This play, Diderot's second published work, after Le Fils naturel in 1757 (for which he was accused of plagiarizing Goldoni) and which would not be performed until 1761, marks a remarkable turning point in the history of theater. Advocating a natural and realistic plot, based on contemporary characters, Diderot, developing his ideas in the essay that follows the play, invents bourgeois drama and definitively disrupts traditional dramaturgy.

The finest and most complete edition of Regnard, when it properly contains the fifth and sixth volumes, printed in small numbers (as Cohen indicates), and which are rarely found together with the first four.
It is illustrated with a portrait of the author by Rigaud engraved by Tardieu and 11 fine figures by Moreau and Marillier, engraved by Delignon, Duponchel, etc. The remarks and prefaces are by Garnier.
Contemporary full tree calf binding. Spine with raised bands decorated with 4 stars and fillets. Red morocco title and volume labels. Framing fillet on covers. Lacking at foot of volume 1 and at head of volume 3. Joints of volume 2 cracked. Despite some defects, quite a handsome set.
Volume 1 is dedicated to travel narratives, volumes 2 to 4 to theater, and volumes 5 and 6 to Italian theater. This carefully produced edition, with fine printing and quality engravings, joins the great successes of editions produced by the Imprimerie de Monsieur (Racine, Corneille).

Publisher's composite collection, the title pages of the various pieces spanning from 1734 to 1742; the fourth volume being dated 1745. It should be noted that the first piece of the first volume comes after the general title page, without a particular title page, with no apparent lack in the collation; the same applies to volume II, the first piece being preceded only by a half-title, while all other pieces have a particular title page, this without any lack in the pagination and collation. The publisher added in each volume a leaf listing the titles of the various pieces contained in each volume. These particularities are inherent to the process employed by the publisher to form this collection of 16 pieces.
Contemporary marbled full calf binding. Smooth decorated spine. Title-label and volume label in red morocco. Triple fillet frame on covers. Headcap of volume I worn. Restoration at foot of volume II. Small lacks to upper joints of volumes I, II and IV. Scuffing on covers. Some corners slightly bumped. Paper more fragile on the first leaves of volume IV.
Destouches' plays had undeniable success in their time, some were immediately adopted by the Académie française. Destouches forms a figure of early eighteenth-century theater. Here is what Voltaire writes of him in "Le siècle de Louis XIV": "One does not find in his plays the strength and gaiety of Regnard, still less those depictions of the human heart, that naturalness, that true wit, that excellent comedy, which makes the merit of the inimitable Molière; but he has not failed to make a reputation after them. He has some plays that have been successful, although the comedy in them is somewhat forced. He has at least avoided the genre of comedy that is merely languid, of that kind of bourgeois tragedy, which is neither tragic, nor comic, a monster born of the impotence of authors and the satiety of the public after the golden days of the century of Louis XIV. His comedy Le Glorieux is his best work, and will probably remain in the theater, although the character of Le Glorieux is, it is said, flawed; but the other characters appear to be treated superbly."
The fourth volume (published in 1745) contains the entrance speech to the Académie française and Fontenelle's response.

First edition, illustrated with a figure by Corneille engraved by Mariette and a headpiece with armorial device.
Full glazed blonde calf binding. Raised band spine decorated. Red morocco title label. Double gilt ruled frame on boards. One slight tear at head. Roulette on edges. Small stains on lower board. 2 corners slightly bumped. Endpapers renewed late 19th century. Good copy.
This Jesuit and professor of rhetoric became interested in theatre quite early and was even an actor. Apart from Christian books and some literary works, he published archaeological works. His theatre, in Latin, features figures from Christian mythology.

New edition, illustrated with 32 figures by Punt and a title vignette repeated on all 4 volumes. Title pages in red and black. This appears to be the first edition to be fully illustrated, as previous editions presented only four frontispieces, however it should be noted that the figures bear the date 1742. The mention of third edition refers only to Dutch editions and is therefore not significant. Translation by Abbé Prévost and Aubert de la Chesnaye des Bois.
Contemporary full brown sheep binding. Decorated spine with raised bands. Red morocco title and volume labels. Head of volume I split at head. A lack at head of volume II. A lack to the upper joint at foot of volume I. Tailpiece partly missing on volume III. Corners slightly bumped. Rubbing. Scattered foxing.
Pamela was a veritable sensation in the literary world and achieved resounding success throughout Europe. Its principal merit is undoubtedly having given birth not only to the epistolary novel (Rousseau) but to Fielding who produced two satirical sequels: The Adventures of Joseph Andrews and Tom Jones. We know that Diderot was unstinting in his praise of this novel. Pamela is a novel of manners and a sentimental novel whose impact on 18th-century literature is indelible and enduring. It is often considered the first bourgeois novel of manners, and this shift of the action's setting from aristocracy to bourgeoisie had an enormous impact.

Statement of new edition, considerably expanded. Several volumes were indeed added to this edition, in addition to the illustrations. Illustrated with a portrait by Monet as frontispiece to volume I and 4 figures by Meon. Volume II: 4 figures by Meon. Volume III: 10 figures by Monnet. Very fine illustration, careful and refined. Remarkably executed edition.
Contemporary glazed blonde calf binding. Decorated spine with raised bands. Garnet morocco title label and red morocco volume labels (with roulettes). Roulette at tail and headcap. Triple fillet frame on boards. Upper joint fragile at tail of volume I; this volume also has a small tear with loss at tail. A loss of one cm at head of volume IV. Lower joint of volume III split at tail (three wormholes along this joint). A tear with loss to the head compartment of volume VI. Headcap of volume VII fragile at head. One corner bumped on volume VII. Despite these defects, handsome set with desirable appearance.
Although one cannot truthfully qualify Palissot's literary output as important, he was undoubtedly a major figure in the literary life of his time; thus the various plays, notes, remarks, letters that frame each comedy (the edition is very rich from this point of view) are remarkable regarding the literary life of the second half of the 18th century, notably concerning the famous quarrel of the philosophers which Palissot initiated, attacking them outrageously in his eponymous play (undoubtedly poorly conceived from a dramaturgical standpoint, but excellent in its writing, each mockery hitting its mark).
Besides the theater and the poem La Dunciade, the volumes contain the Mémoires littéraires (dictionary of literary figures), the correspondence with Voltaire (he was his protégé at the beginning of his career), the critiques of his contemporaries (Freron, Piron, Duclos...). One will discover with pleasure the critiques of his contemporaries on his own plays. Palissot was undoubtedly a social climber, with an incredible talent for controversy and mockery, and equally for flattery; this edition of his works retains the greatest interest for the world of Letters of the second part of the 18th century.

First edition, rare.

Contemporary glazed full calf binding. Spine with raised bands decorated with grotesques. Central fleurons on boards and corner ornaments. Top headcap worn away. Bottom headcap torn off. Lower joint split over 10 cm. Endpapers renewed late 19th century. 3cm tear on p. 3. Brown stains on first leaves.

Le Royer de Prade's third play was not intended by the author to be printed, as evidenced by the publisher's preface. This tragedy in alexandrine verse was long read in salons from 1650 onwards, and several testimonies report the esteem in which it was held, notably by Corneille.

First collected edition. One portrait frontispiece and 2 engravings by Marillier in the second volume (one of these engravings is often missing). Half-titles and titles in red and black.
Full blonde sheep binding, slightly later. Smooth spine decorated with compartments and rolls. Red morocco title label, and black morocco volume label with rolls. Some corners slightly bumped. A thin tear at head of volume I. Handsome copy.
The posthumous edition, two years after the author's death, is distributed as follows: Volumes I and II: Theatre and the Turkish Letters; Volumes III, IV, and V: Historical Essays on Paris; Volume VI: History of the Order of the Holy Spirit (of which Saint-Foix was appointed historiographer in 1764). One should not forget the character that was Saint-Foix, who served until age 36 in the Musketeers, seeking literary glory with his twenty or so plays, of a rough and quarrelsome spirit. His two historical books are naturally important and notable. The essays on Paris do not constitute a History of the capital, but an attempt to grasp as closely as possible, through history, the spirit of a people.

First collective edition on ordinary paper.
Bradel binding in half mouse-grey cloth, smooth spine decorated with a central gilt floral motif, date and double gilt fillets at foot, hazelnut shagreen title-label showing traces of rubbing, marbled paper boards, corners slightly bumped, original wrappers preserved, contemporary binding signed by Paul Vié.
Our copy is enhanced with a recto-verso autograph note by the author pasted onto an endpaper.

First collected edition. It is illustrated with a frontispiece, repeated in both volumes, a title vignette by Picart also repeated, and 10 unsigned figures, quite charming, showing the actors on stage.
Later full brown sheep binding (circa 1800). Spine with raised bands and fillets. Tan morocco title label. Headcaps worn.
Contemporaries saw in La Grange-Chancel the successor to Racine. He boasted of having the highest capacity for writing verse. His connections brought him to Louis XIV who asked Racine to read it, and the latter sponsored the author's first play. Many of his plays met with fine success, and the author represents, if not a great dramatist, the taste of an era for a certain kind of theater. Most of the subjects of his plays are drawn from the novels of Calprenède, whom he particularly favored.
The preface might more justly be called Memoirs of La Grange-Chancel, as he recounts his rise from childhood to the launch of his first play, Jugurtha.
19th-century engraved armorial bookplate: Le Proux.

First edition. Illustrated with two folding maps in the second volume, showing the states of Roman tribes.
Full grained calf binding. Smooth spine decorated. Red morocco title label and volume labels. A small lack to the cover of volume I. Pale and light yellow dampstain at beginning of work. Handsome copy.
These works contain a memoir on the life of Boindin by Boindin himself, his theatrical pieces, volume II containing various studies and research by the author: on the sounds of language (phonetic studies), on Roman names, on Roman tribes, and finally on ancient theatre. Boindin was an essential figure in 18th-century intellectual life, one of the central figures at café Procope where he was one of the principal debaters. His comedies enjoyed some success (the first was written in collaboration with Houdar de la Motte); the various memoirs that compose volume II were presented by the author when he joined the Royal Academy of Inscriptions and Medals.

First edition, one of 60 numbered copies on pure thread paper, the only deluxe copies along with 45 Marais.
We include with our copy three autograph letters signed by the author regarding the theatrical performances of "Le Roi Pêcheur," one page each and dated respectively July 26, 1990, December 28, 1990, and August 2, 1991 (Saint Florent le Vieil).
The letters, addressed to the administration of the Théâtre des Célestins, concern the theatrical performance of Le Roi Pêcheur, Julien Gracq's sole and only play, written in 1942-1943. In the first letter, the author gives his agreement regarding the conditions set by the Theatre concerning his rights on the performances, but declares himself "hostile to the exclusive authorization for all of France requested by the Théâtre des Célestins until December 31, 1993."
In the second letter, he requests a copy of the contract he signed with M. Lucet, then director of the Théâtre des Célestins.
In the third, Julien Gracq requests a modification of this contract on the clause concerning the duration of exclusive authorization, and provides practical indications regarding the payment of his rights. Date stamps from the administration. Manuscript notes in another hand in the margins of the last two letters (secretary).
Important manuscript correspondence concerning the first theatrical performances of this play since the failure of its creation in 1949.
Exceptional ensemble.

First collected edition. Title pages in red and black.
Contemporary full calf bindings with scale pattern. Decorated raised band spines. Red morocco title labels. Head caps slightly worn; same for 6 tail caps. Upper joints of volumes II, III, IV, V, VIII, IX and X partly cracked. Many corners bumped. Most half-titles were not bound into the volumes. Despite these defects, a set with good general appearance, decorative.
In addition to the poetic, dramatic, and critical works, and the fables, this edition contains various letters about De La Motte and his famous correspondence with the Duchess of Lambert at the end of his life. It should be noted that he was the author of L'Europe Galante and thereby introduced three innovations to opera: ballet, pastoral, and comedy-ballet. But more than for his fables or tragedies, although they enjoyed considerable success in their time, he should be remembered for his critical writings and the place the author occupied in the literary life of his time, notably in the Quarrel of the Ancients and Moderns, De La Motte having repeatedly defended the party of the Moderns, advocating the use of prose in theater and poetry, questioning any pre-established rule that might constrain creation.

First edition, one of the numbered copies from the first printing.
Small marginal stains on the first cover, two slight marginal tears at the head of the joints.

New edition of Raynouard's Templier, illustrated with a frontispiece representing the Grand Master of the Templars. The Cornelian grandeur of the play, which exalts liberty and virtue, earned it Napoleon's support, a triumph in theater and bookshop, and his entry into the French Academy in 1807
First edition of Dorat's Regulus, illustrated with a figure, a vignette and a tailpiece by Eisen, engraved by Longueil.
New edition of Voltaire's Irene, same year as the original but the title ornament is different, and the author's last play, at 84 years old.
New edition of Picard's Un jeu de la fortune.
First edition of Collin d'Harleville's Artistes, containing a signed inscription as well as the author's autograph signature.
First edition of Précis historique des Templiers.
Contemporary full marbled sheep binding. Smooth spine decorated with 3 tools and roulettes. Red morocco title and volume labels. Rubbing.

First edition.
Contemporary half calf bindings. Decorated spine with raised bands. Red morocco title label and brown sheep volume label. Lacks to headcaps of volume IV. A small lack to tail of volume III. Rubbing. Quite good copies, very fresh.
The complete set comprises 24 plays. Many of these plays were originally intended for the children of Orléans under the care of the Comtesse de Genlis. The roles are performed by children. Madame de Genlis thus inaugurated a new genre in theatre, a theatre made by and for children. In the final volume, the preface specifies that this volume is intended solely for the children of artisans and merchants. It goes without saying that none of the plays is without a certain moral lesson which it demonstrates.
Volume I: Agar dans le désert; La belle et la bête; Les flacons; L'isle heureuse; L'enfant gâté; La curieuse; Les dangers du monde. Volume II: L'aveugle de Spa; La colombe; Cécile ou le sacrifice de l'amitié; Les ennemies généreuses; La bonne mère; L'intrigante. Volume III: Le bal d'enfans; Le voyageur; Vathek; Les faux amis; Le magistrat. Volume IV: La rosière de Salency; La marchande de mode; La lingère; Le libraire; Le vrai sage; Le portrait.

Image d'Épinal, color lithograph, large format, printed on heavy paper.
Minor inconsequential stains to verso, otherwise fine condition, colors very well preserved.
These plates are cardboard constructions or models, on which a pattern was printed. This pattern must be cut out and then assembled to construct various objects or life scenes.
The Épinal imagery published several series of cut-out models including the "Grandes Constructions" in 39 x 49 cm format, the "Moyennes Constructions" and the "Petites Constructions". From 1880 to 1908, constructions were published featuring architecture, costumes, ships and various vehicles. During this same period, paper theaters or "home theater" also enjoyed great success. This type of toy developed and persisted until the Second World War.
Once sold by peddlers, the images d'Épinal owe their name to Jean-Charles Pellerin, who was the first printer to publish this type of image in series, and who lived in the town of Épinal (Vosges). The subjects are very varied but generally revolve around religion, history (French Revolution, battles, military uniforms), or drawn from successful novels. Épinal imagery has its origins in imagery, a popular art born in the 15th century intended mainly for the illiterate public of the countryside. Metz and Nancy are also cities where imagery centers with important production can be found.
Originally the image is engraved on a wooden plate and printing is done using a hand press. It is then colored using stencils. In the 19th century, lead castings were made from the engraved wood: stereotypes, which allowed production to be increased. In 1820, lithography was adopted, which induced a radical change in style, with finer drawings. In 1900, coloring was still done by stencil, thanks to a machine that could color 300 images per hour, the Aquatype.

Rare edition of the seven tragedies of Sophocles in Greek with notes at the end of the work by Thomas Johnson for Electra, Ajax, Antigone and the Trachiniae. Johnson's notes had previously appeared in 1705. This edition was also published in 2 volumes in 8vo, but in a lesser quality printing, this one distinguished by its quality which resembles Baskerville's printing.
Careful printing, with wide margins.
Contemporary speckled full calf binding. Smooth spine decorated with 5 tools and stars. Headcaps and corners restored. Triple-ruled frame. Gilt edges.

First edition. Illustrated with a handsome frontispiece title. This edition is distinguished by learned and studied typography, the text is in italics and the notes at the bottom of pages.
Contemporary full vellum binding with overlapping flaps. Smooth spine. Title label added to headcap and partly detached. Good overall condition. Very fresh copy.
Edition established by Marc Zuerius Boxhornius (1612-1653), celebrated Dutch critic and scholar who was professor of eloquence at 19 years old at Leiden and succeeded Daniel Heinsius in the chair of history.
Handsome and interesting edition by Hacke in Leiden.

First separate edition, this one banned for Belgium and foreign countries.
Half raspberry red shagreen binding, smooth spine decorated with gilt and blind fillets as well as gilt stars, red sheep boards, marbled endpapers and pastedowns, contemporary binding.
Copy free from foxing.

First edition of the French version, in verse and prose, established by Jean Richepin, one of the rare copies on salmon-colored paper of which no mention is made.
Light lacks to the spine, one joint cracked at foot, tears and small corner lacks to the boards, small lacks to some deckled edges, which is almost inevitable given the fragility of this paper.
Rare full-margined copy.

First edition of which there were no deluxe copies mentioned.
Handsome copy.

First edition printed in a small number of copies, only 10 Holland deluxe copies were printed.
Half cherry red shagreen binding with corners, spine with five raised bands decorated with gilt fillets, gilt fillets on marbled paper boards, marbled endpapers and pastedowns, top edge gilt.
Work illustrated with an engraved frontispiece drawn by Bracquemond.
Handsome and rare copy.

First edition.
Contemporary marbled sheep binding. Smooth spine decorated with 5 fleurons and roulettes. 2 corners slightly bumped. Good copy.
Memoirs of the very famous tragedienne Hyppolyte de la Tude Clairon (1723-1803), who was revered by the greatest figures (Diderot, Voltaire, Louis XV...). The actress was not content with her success alone but contributed to the profound regeneration of French theater. Marmontel was her lover and encouraged her to abandon the declamatory style. The portrait of Mlle Dumesnil, who was long her rival, contains great acrimony. The work is not composed like classical memoirs but rather as a succession of articles and chapters addressing different themes, more or less personal; one will find letters, critiques of plays...

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

First edition of this adaptation of Schiller's drama and its important preface established by Benjamin Constant.
Half hazel sheep binding, smooth spine decorated with gilt fillets slightly faded at foot, speckled edges, tiny wormhole at foot of one hinge.
Dampstain to head of final leaves, otherwise a handsome copy.

First edition of which there is no mention of leading copies.
Some small foxing affecting essentially the very first and last pages.
Binding half cardboard vellum style, past smooth back, title label of cherry shagreen with small traces of friction without gravity, marble paper plates, preserved cover, Contemporary binding.
Precious autograph signed by Oscar Méténier to Georges Feydeau.

First edition of this vaudeville comedy in one act.
Half black cloth binding, smooth spine decorated with two small gilt floral motifs, one joint cracked at head and foot, marbled paper boards, edges showing traces of rubbing, original wrappers preserved, contemporary binding.
Some light foxing.
Provenance: from the library of Maurice Clouard with his bookplate.

Belgian piracy edition published one year after the original.
Bradel binding in half sand-colored cloth with corners, smooth spine decorated with a gilt typographical motif, date at foot, navy shagreen title-label, original wrappers preserved, bookplate pasted to verso of front board.
Handsome copy free from foxing.

First edition of the translation by L. Tailhade, a Service de Presse (advance) copy.
Autograph inscription signed by Laurent Tailhade to his morphine-addicted friend Dominique Bonnaud.
Frontispiece by E. Gabard, charming head- and tailpieces in Art Nouveau style.
Spine sunned, some stains on the covers.

First edition, one of 45 numbered copies on vélin pur fil, the only large paper copies.
One small stain, not serious, to upper cover, a good copy.

The first three volumes of this collected edition appeared for the first time in 1662, volume IV, published in 1673, contains only pieces in first edition, namely: Laodice, Le baron d'Albikrack, La mort d'Annibal, La comtesse d'orgueil, Ariane, Teodate. The fifth volume contains in first edition La mort d'Achille, Circé, L'inconnu, Le comte d'Essex. The first three volumes each have a frontispiece title and continuous pagination, the other two volumes have separate pagination, with specific title pages for each piece. Each volume bears on its title page, part I, through V.
Contemporary full calf bindings, very ornate raised-band spines. Uniform binding on all 5 volumes. Upper headcap of volume 3 worn, and part of the headcap of volume 3 missing, lower headcap of volume 4 worn. Tear with loss to joint of volume 5. Despite the noted defects, the set constitutes a handsome series.
« Thomas Corneille left forty-two dramatic works and achieved great success in the theater: the most famous, Ariane, le Comte d'Essex, tragedies, le Festin de Pierre, versified comedy by Molière. Palissot later reproached him for his "romantic intrigues," and La Harpe for "flabby and incorrect versification," Boileau said of him that he was "merely a cadet from Normandy." Voltaire said that, with the exception of Racine, "he was the only one of his time who was worthy of being first below his brother." Voltaire said elsewhere that he was a "man who would have a great reputation if he had not had a brother." Thomas Corneille, a good grammarian, worked on the Dictionary, made a Dictionary of terms of arts and sciences in two volumes, a universal geographical and historical Dictionary in three volumes, in 1687, he published with his own notes a new edition of Vaugelas's Remarks, he also made translations. He belonged to the party of the moderns, fought La Bruyère, received Fontenelle, took an important part in the Furetière affair. He was a member of the Academy of Inscriptions. He died blind, on December 8, 1709. » Biography of the French Academy.

Edition of 800 numbered copies including 100 on Japan paper. No. 657 on white Marais vellum.
Half old red morocco with corners. Spine with raised bands richly decorated in the spirit of great 17th-century bindings. Gilt fillets to covers. A tear with loss to tail headcap and covers and edges and joints rubbed. Very handsome binding despite the defects. Superb interior condition.
5 large symbolist compositions by Albert Maignan engraved as etchings and printed on China paper. A frontispiece portrait. Ornaments and typographical execution very refined in the taste of the 17th century. Handsome work executed for the 1889 Universal Exhibition.
A bibliophilic gem.