Writers of the Académie française

First edition, without edition statement, published simultaneously with the Paris edition issued by Pagnerre.

Contemporary red half-morocco bindings, smooth spines decorated with double gilt fillets, broad blind fillets and gilt floral tools, gilt rolls at head and foot, slight rubbing to two headcaps, red cloth boards decorated with blind-stamped floral motifs, marbled endpapers and pastedowns, a few corners slightly bumped, a few minor nicks to some edges, contemporary bindings.
Some foxing and pale marginal staining, as usual, a small black ink stain in the margins of one gathering in the second volume, a slight loss to the upper right-hand corner of the first leaves of the...

Illustrated edition with in-text and full-page woodcuts.
Publisher's bindings in red half shagreen, spines with four small raised bands decorated with gilt double compartments set with gilt ornaments, publisher's name gilt at foot of spines, blind-ruled frame on red paper boards, marbled endpapers and pastedowns, sprinkled edges, contemporary bindings.
Some damage to the bindings, rubbing and scuffing to some volumes, light foxing.

Edition illustrated with two frontispieces, one of them a portrait of Fénelon, and twenty-four full-page plates, one for each of the twenty-four books of the Avantures de Telemaque. Copy printed on thick Dutch laid paper.

Bound in full red straight-grain morocco, covers framed with dotted borders, smooth spines decorated with seven dotted fillets, gilt titles and volume numbers, dotted rule on board edges, gilt inner roll-tooled borders, marbled paper pastedowns, all edges gilt. Some very slight rubbing and soiling to bindings, spines sunned, some foxing, offsetting from the plates onto the half-titles.

Bookplate of Thomas Pares (1716-1805), a lawyer in...

Illustrated edition of Victor Hugo's speeches and political writings.

Wide-margined copy on chine, numbered (6), unopened.

Illustrated wrappers with some soiling, water stains and minor tears to the margins, spine split, occasional foxing to the leaves.

First edition, one of 280 numbered copies on mould-made wove paper, this copy one of 30 hors commerce copies in special wrappers reserved for the 30 private subscribers to all of Paul Valéry's works.

Fine copy.

Decorated with typographical ornaments by René Ben Sussan.*

Precious signed autograph presentation inscription from Paul Valéry to his friend, the bookseller, publisher and bibliophile Ronald Davis: "à Ronald Davis pour sa collection et avec les bons souvenirs de Paul Valéry."

Rare first edition.

Our copy is issued in its original state, unbound and preserved in wrappers.

Not recorded by Oberlé. Only two copies located in the CCFr (Cherbourg and Montpellier).

Alexandre Lesdos (1813-1865) was a member of the Société d'Agriculture and of the Société Académique de Cherbourg.

In this work, he devotes an entire chapter to the wines of Saint-Émilion, noted for their "bouquet as delicate as that of the violet." (our own translation)

First edition, with no copies printed on deluxe paper, one of the publisher’s review copies.

Pleasing copy, complete with its publisher’s printed slip.

Autograph presentation inscription signed by Paul Valéry to Germaine Fiévé: "... petit souvenir d'une collaboration sans mauvaises pensées et autres..."

First edition, one of 35 numbered copies on Rivoli vellum, the only deluxe-paper issue.

A particularly handsome copy

First edition, one of 24 numbered copies on Vélin Rivoli, the only deluxe issue.

A particularly handsome copy.

First edition, one of 36 copies on pure-wire vellum, the only copies printed on deluxe paper.

A particularly attractive copy.

Autograph manuscript signed of Victor Hugo’s “Ballade du fou,” sung by the jester Elespuru in his play Cromwell (IV, 1). Two pages on a folded leaf backed with green glazed paper.

Exceptional autograph manuscript of Victor Hugo’s most celebrated poetic song, performed by the jester Elespuru in his resounding drama Cromwell.

Both grotesque and exalted, this piece embodies the freedom of Romantic drama championed by Hugo in the play’s famous preface: as noted by the Bibliothèque nationale de France, this song “is the only passage in the play as equally famous as its...

New edition, revised, corrected, and considerably enlarged.

Contemporary bindings in half mottled fawn calf over corners, smooth spines gilt with fillets, morocco title and volume labels, brown paper-covered boards, sprinkled edges.

Some minor rubbing to the spines, a few corners slightly bumped.

L'Esprit des lois occupies volumes I to IV; La Défense de l'Esprit des lois volume V (with a general index); Lettres persanes volume VI; volume VII gathers the Considérations and related pieces; volume VIII contains the posthumous works.

This collected edition of Montesquieu's works offers no particular bibliographical peculiarities in its...

First edition, one of 45 numbered copies on Holland paper, the deluxe issue.

Full chocolate-brown morocco binding, spine with five raised bands framed with black fillets, date gilt at foot, gilt rolls on the caps, marbled paper endpapers and doublures, gilt double fillet borders on the doublures, gilt fillets along the edges, original wrappers and spine preserved, all edges gilt, slipcase edged with matching chocolate morocco, sides in marbled paper, interior lined with grey felt. A splendid binding signed by Semet & Plumelle.

A very handsome copy, perfectly bound in full morocco by Semet & Plumelle.

Rare and sought-after first edition, first issue.

Includes the subscribers' list and the foreword, later removed when the remainder of this edition passed into the hands of another publisher, Dion-Lambert. It also features the pagination error in volume two: page 164 instead of 364. 

Black half-morocco bindings, smooth spines with double gilt fillets and double blind-stamped compartments, black paper boards...

First edition of William Shakespeare, published in 1864 by A. Lacroix, Verboeckhoven & Cie.

Contemporary half aubergine calf, smooth spine decorated with gilt and blind fillets, gilt ornamental bands at head and foot, marbled paper boards, marbled endpapers and pastedowns. A few small areas of foxing.

A highly significant copy, with a signed autograph presentation inscription from Victor Hugo to Camille Berru, added on a leaf of blue paper:

“To my brave and dear companion in adversity...

First edition.
Contemporary half red shagreen over marbled paper boards, (a few discreet repairs), spine in six compartments, date to foot, marbled paper-lined endpapers and pastedowns, covers preserved, top edge red.
A very handsome autograph inscription signed by Victor Hugo to Alphonse Daudet.
Mrs. Daudet's collection stamp to first endpaper.

Victor Hugo represented for Alphonse Daudet, as for the other writers of his generation, the incontestable master of the Pantheon of the arts. His benevolent attention runs through Daudet's work, often listed side by side with Rousseau, Byron, Sand and Delacroix.
If during Daudet's childhood and youth, Hugo, an...

The ‘Kehl edition’, the most renowned edition of Voltaire's works, illustrated and published on deluxe paper. It was printed on five different types of paper, and only the deluxe editions, such as ours on laid paper, feature engravings. These are naturally the most sought-after and rarest copies.

Binding in full painted sheep decorated with a “honeycomb” motif, smooth spine tooled with gilt fleurons, fillets and compartments, light beige calf lettering and volume pieces, gilt chain-roll border on covers, marbled endpapers, gilt roll on edges, all edges marbled, contemporary binding. Two volumes (nos. 50 and 70) with slight variations in gilt tools on the spines and...

First edition, printed in a small number of copies, of this offprint from the April 1958 issue of Critique.

Minor tears at head and tail of spine.

Rare and appealing copy.

First edition on ordinary paper.

A small nick on the spine, slightly split at the foot.
Precious signed autograph inscription from Jean Giraudoux to André Gide: "... avec gratitude..."

First edition.

Contemporary Romantic bindings in half green Empire calf, flat spines slightly faded, richly gilt with Romantic decorative motifs, marbled paper-covered boards, marbled endpapers and pastedowns; Romantic period bindings.

A few light spots of foxing; a discolouration mark on a blank endpaper of the first volume.

New edition, adorned with a portrait of the author by Daullé, three headpieces by de Sève engraved by Juste Chevillet, twelve plates engraved by Jacques Aliamet, Jean-Jacques Flipart, Noël Le Mire, Louis-Simon Lempereur, Dominique Sornique, and Jacques-Nicolas Tardieu, and thirteen vignettes and sixty tail-pieces, all by de Sève engraved by Jean-Charles Baquoy, Jean-Jacques Flipart, and Louis Legrand.

A superb copy of the first luxury edition of Racine, among the most sought-after, bound in the most sumptuous red morocco.

Contemporary full red morocco, spine with five raised bands and gilt compartments, triple gilt fillet border, corner fleurons, yellow...

First edition, one of 35 numbered copies on alfa paper, the only copies printed on deluxe paper.

A handsome copy, despite slight and marginal fading to the spine and covers.

First edition, printed in a small number of copies, of this excerpt from the Magasin de zoologie, d'anatomie comparée et de paléontologie, published by M. Guérin-Méneville in October 1845.

Contemporary bottle green full shagreen binding, flat spine with gilt fillets and no lettering, single gilt fillet frame on covers, title gilt-stamped in the center of the upper cover.

Illustrated with 3 hand-colored plates numbered 59–61 at the end of the volume.

This is the last text published during the lifetime of the great naturalist Jean-Baptiste Bory de Saint-Vincent (who died on 22 December 1846); L'Exploration scientifique de l'Algérie appeared largely...

First edition, complete with the large folding map — often missing — and the facsimile in Arabic. Copy originally issued in plain temporary wrappers, therefore without the printed covers, as specified by the publisher’s sale notice.
Contemporary green half sheep binding. Smooth spine decorated with three gilt tools and fillets. Rubbing; hinges of volume 1 mostly cracked along the upper joint with some small losses. Internally very fresh. Untrimmed copy bound as issued in quires.

The supporting documents occupy pages 217 to 370 of volume 3.

Collected edition, partly first edition, of the plays of Pierre Corneille, printed in Rouen by Laurens Maurry and sold in Paris by Augustin Courbé and Guillaume de Luyne. Illustrated with three allegorical engraved frontispieces and 23 full-page copper-engravings, largely designed by François Chauveau and engraved by artists including Jérôme David, Mathéus and Louis Spirinx.

All three frontispieces are dated 1660. The title-pages and privileges of the first and third volumes are likewise dated 1660, while those of the second volume bear the date 1664. The second volume therefore belongs to the 1664 reissue...

First edition, one of 41 numbered copies on Hollande paper, the leading issue.

A fine copy.

Autograph note by François René de Chateaubriand, 12 lines in black ink on a bifolium, addressed to Madame Amédée de Duras, rejoicing in her improved health.
A tear with loss, due to the seal having been broken to facilitate reading the note.
"Mde de CH[ateaubriand]. me dit de vous répondre: si je meurs, madame, ce sera à vos pieds le matin. Non pas à midi, mais à trois heures et demie. Je me porte à merveille chez ma soeur. Que cela ne soit pas vous, mais mde de Lévis qui m'ait vu perdre ma longue barbe er mon mouchoir turc. Ne venez pas, vous ne devriez pas venir. Mde de Ch[ateaubriand] est inconsolable... "

Autograph letter most probably unpublished signed addressed by Juliette Drouet to her lover Victor Hugo, four pages written in black ink on a bifolium. 
Transverse folds inherent to mailing, fold joining the two leaves reinforced with a fine strip of pasted paper barely perceptible.
Absent from the very complete online edition of Juliette Drouet's letters to Hugo by the Centre d'Études et de Recherche Éditer/Interpréter (University of Rouen-Normandy).
Very beautiful declaration of love and admiration by Juliette Drouet, the day after Hugo's plea defending his son. Charles Hugo had been brought before the assizes, and condemned despite his father's...

First edition of André Gide's French translation of Typhoon, completed in print on 25 June 1918 by the Éditions de la Nouvelle Revue Française, in the small blue-wrapper series devoted in particular to Gide's own works and translations. One of 300 numbered copies on Rives paper, the sole deluxe issue, this copy no. 250.

Half black morocco with bands, signed Creuzevault at the head of the front free endpaper. Smooth spine with longitudinal title, title and top edge in palladium. Original wrappers and spine preserved. Some rubbing to the boards and corners, with slight rubbing to the joints. A rare...

Edition illustrated with 36 watercolours by Pierre Laprade, one of 30 hors commerce copies printed on Arches laid paper and issued in special wrappers for the 30 private subscribers to all of Paul Valéry's works.

A fine copy.

Precious signed presentation copy from Paul Valéry to his friend, the bookseller, publisher and bibliophile Ronald Davis : "Exemplaire de Ronald Davis, the only man in the world who possesses all that has published. Paul Valéry."

New edition, one of 20 hors commerce copies printed on pur fil laid paper and issued in special grey Ingres wrappers, reserved for the 20 private subscribers to all of Paul Valéry's works.

Spine and covers very slightly yellowed, with no serious effect; internally in pleasing condition.

Precious signed presentation inscription from Paul Valéry to his friend, the bookseller, publisher and bibliophile Ronald Davis: "Exemplaire de Ronald Davis qui a déjà tant d'écriture de moi que ce n'est pas la peine d'en remplir encore cette belle page !  Paul Valéry."

First collected edition, one of the press copies.

A very good copy.

Signed presentation copy from Paul Claudel to Luc Estang.

First public edition, one of 238 numbered copies on Arches paper, the only issue after 6 copies on Japon and 6 on blue paper.

Spine and boards slightly and marginally faded, as usual.

Fine signed presentation inscription from Paul Valéry to his friend, the bookseller, publisher and bibliophile Ronald Davis: "Exemplaire de Ronald Davis offert par l'auteur Paul Valéry."

First edition, one of 210 numbered copies on Lafuma Madagascar paper, this copy unnumbered.

A fine copy.

Fine presentation copy, warmly inscribed and signed by Paul Valéry to his friend Ronald Davis, bookseller, publisher and bibliophile: "A Ronald Davis, échange, selon le Magicien d'Aladin, d'une vieille lampe contre une neuve ! Paul Valéry."

Amusing autograph letter signed and addressed to Thierry Maulnier, some twenty lines in blue ink written on a sealed letter, celebrating his election to the Académie française on 13 February 1964, the day before this letter was written.

The address, the recipient's name and the sender's name are cast in the form of a quatrain :

"A Thierry l'Immortel

 Dont Jacques est l'origine

 Ce billet temporel

 Afin qu'un oeil devine : au figaro rond-point des Champs-Elysées Paris."

Jacques Audiberti congratulates his friend : "... moi l'un de tes plus anciens...

Typed letter dated 16 September 1971 and signed by Joseph Kessel, responding favourably to a request from the Geneva autograph collector Claude Arnaud.

"Monsieur, je vous remercie de votre lettre, et c'est avec plaisir que je vous adresse cette signature."

Accompanied by the original typed envelope.

First edition.

Half brown-red chagrin binding, brown marbled paper sides, spine with four raised bands, blind-tooled panels between the bands, gilt author and title, green marbled paper doublures. Binding rubbed, with surface losses and abrasions, headcap torn away, spine sunned, leaves browned at the margins, occasional foxing.

Valuable autograph inscription signed by Maxime Du Camp to Charles de La Rounat on the half-title: "à Charles de la Rounat son tout dévoué Maxime Du Camp".

Long, rancorous manuscript note, dated October 1871 and signed C. de la Rounat, on a front free endpaper.

First edition.

Contemporary full tree-grained sheepskin, spine with five raised bands, gilt compartments and fleurons between the bands, blond leather lettering-pieces, gilt fillet to the board edges, shell-paper pastedowns, red edges. Some rubbing and losses, corners lightly bumped, upper corner of the rear board damaged, a manufacturing flaw to the pastedowns, minor foxing and soiling.

The fundamental work of sensualist philosophy, in a strictly contemporary binding.

 Autograph letter signed by Eugène Delacroix, with autograh date "29 December 1856", one and a half pages on a bifolium, with usual folds. 

A precious letter by Delacroix to his celebrated colleague, who laid out the squares, avenues, and gardens of the capital while the painter adorned its ceilings.

Delacroix here addresses the architect responsible for the embellishment of the Champs-Élysées, the Place de la Concorde, and the Avenue de l'Étoile. As architect to the City of Paris and to the Government, he who drew up the plans for the vast renovations in the Bois de Boulogne and its two lakes. He moved within the painter's circle (his name...

First complete edition.

It is illustrated with two frontispieces, twenty-four full-page engravings, and a folding map of Telemachus's travels. The portrait of Fénelon serving as frontispiece to the first volume is signed Baillieul and Duflos; the second frontispiece, together with the plates, is signed Bonnart fils and Giffart, while the map is drawn by Rousset and engraved by Berey. A few head-pieces, bandeaux, and ornamental initials. 

Bindings in full red morocco signed Chambolle-Duru, richly decorated covers, spine with five raised bands ruled in gilt, gilt panels and fleurons between the bands, author, title, volume number, place and date lettered in gilt on...

First true edition as an earlier, truncated and inaccurate edition of this book had already appeared the same year in Brussels.
Copy in the original wrappers, as issued. Trace of a crease to the lower right corner of the front wrapper.

One of Hugo's masterpieces, containing some of the most powerful and sarcastic poems of the century. The emperor so reviled is treated here more mercilessly, if that is possible, than in Napoléon le Petit.

First editions of eight plays bound in one volume.

Arioste gouverneur ou Le Triomphe du génie, written by Jean-François Roger in collaboration with Jean-Louis Brousse-Desfaucheret, is accompanied by a musical score.

The last three plays in the collection, signed under the pseudonym MM ***, were the result of Jean-François Roger’s collaboration with Auguste Creuzé de Lesser.

Half fawn basane binding, smooth spine richly gilt-decorated, fawn long-grain morocco spine label, speckled paper boards, marbled edges.

Boards rubbed, some scuffing to the leather, corners bumped, minor soiling to the leaves, a marginal tear with no loss of text on page 43 of the...

First edition, one of 15 lettered copies on Imperial Japan paper, the deluxe issue.

Full red morocco, spine with five raised bands decorated with triple gilt compartments, very minor rubbing to the bands, gilt date at foot, gilt rolls to the spine ends, boards framed with triple gilt fillets, sand-coloured polished calf endleaves and doublures, wrappers and spine preserved, all edges gilt, slipcase edged in red morocco and covered with decorated paper sides, an elegant binding signed by Devauchelle.

A fine copy superbly bound in full morocco by Devauchelle.

First edition, one of 300 numbered copies on alfa paper reserved for the press service.
A few spots of foxing, chiefly affecting the endpapers and edges, small tears to the boards at the edges, a small loss at the foot of the spine, which also shows slight sunning at the head.
Presentation inscription signed by Marguerite Yourcenar to Mr. Van Melle.
 

The first Paris edition, published simultaneously with the Brussels edition.

Most of the volumes bear a statement of fourth, seventh, or eighth edition.

Some foxing to several volumes.

Contemporary half tawny speckled sheep bindings, smooth spines decorated with double gilt fillets, red sheep lettering-pieces lettered "Oeuvres de V. Hugo", sky-blue sheep title and volume labels, volume label lacking from the fifth volume, three others partially lifting, marbled paper-covered boards, decorative endpapers and pastedowns.

First edition, issued without any edition statement.
Contemporary half mottled fawn sheep bindings, smooth spines ruled in gilt with double fillets, red sheep lettering pieces bearing the author's name "Works of V. Hugo", sky-blue sheep title and volume labels, marbled paper-covered boards, decorative endpapers and pastedowns.
Some occasional foxing, small holes at the head of the half-title leaf of the first volume.
Widely regarded as Hugo's masterpiece in the realm of fiction, a dark and baroque work in which his poetic style, built upon antitheses and oxymora, is carried to its furthest limits, anticipating qualities later embraced by the Surrealists.

First edition, one of a limited issue for which no deluxe paper copies were produced.

Small stains to the lower left corner of the upper cover and to the top edge.

Presentation copy by Mohammed Khaïr-Eddine : "à M. Maurice Genevoix, écrivain et pêcheur comme moi, ces images d'un Maroc étrange, en hommage fraternel. Khaïr-Eddine."

A fine large-paper copy on vellum of the 1796 edition, which contains several previously unpublished texts by the author, a frontispiece portrait, 13 illustrations and 2 maps, engraved by Pierre-Alexandre Tardieu, Claude-Nicolas Malapeau, P. F. Tardieu, A. Girardet, Jean Louis Charles Pauquet, François Denis Née, Emmanuel-Jean-Népomucène de Ghendt, Charles Emmanuel Patas, Noël Le Mire and Vincent-Marie Langlois (in order of appearance).

Contemporary half long-grain red morocco bindings, smooth spines divided by...

First edition on standard paper.

Bradel binding in full moiré silk with a leaf pattern, smooth spine decorated with a gilt fleuron and gilt date at the foot, green morocco lettering piece, fore-edge and tail edges untrimmed, binding signed in blind on the upper pastedown [E.T.] Pierson, the Goncourt brothers' binder of choice.
Silk at the headcaps slightly rubbed, corners worn, light rubbing to the lettering piece.

A fine copy, with a few very faint fox spots and one paragraph marked with a pencilled marginal bracket at p. 61.

First edition, one of 48 numbered copies on Lana vellum paper, the only deluxe paper issue.

A fine copy.

Warmly inscribed, dated and signed by Pierre Nora to a close friend named Françoise : "Pour toi, Françoise, de toujours à toujours. Pierre."

Second edition, partly original, notably augmented with several additional pieces, complete with the caricature  woodcut portrait of the widow Oudot as frontispiece, printed in green, as is the title. According to Barbier, the burlesque portrait was engraved by one of the authors, the comte de Caylus himself.

Contemporary full mottled brown calf, smooth spine richly gilt with fleurons, palms and scrollwork, brown-red morocco lettering-piece, triple gilt fillet bordering the boards with fleurons at corners, gilt...

First edition, one of 100 hors commerce copies printed on deluxe paper, this copy specially printed for Louis Barthou.

A pleasant copy despite two sunning marks to the head and foot of the spine and to the margins of the rear board.

Henri Bergson's handwritten signature beneath the limitation statement.

First edition, one of 35 numbered copies on vélin Rivoli, the only deluxe paper issue.

A very fine copy.

First edition of a play regarded as historically significant, performed for the first time nineteen days before the execution of Louis XVI, which set all of Paris and then France ablaze to the point of interrupting the King's trial, by a constitutional monarchist playwright.

Nineteenth-century Bradel binding in half brown percaline, smooth spine decorated with a gilt fleuron, red morocco lettering-piece, pebble-pattern marbled paper boards, edges lightly red-speckled.

First edition of the French translation prepared by Jacques Schiffrin and André Gide, one of 80 numbered copies on alfa paper, the only deluxe paper issue, with a further 45 copies on pure rag.

A rare and fine copy.

A fine edition complete with all 12 steel engravings with tissue guards after paintings by Jean-Louis-Ernest Meissonier, Bartolomé Esteban Murillo, Philippe de Champaigne, and Hyacinthe Rigaud, and its chromolithographic title page. Leafs containing the Discourse on Universal History  framed by floral, zoomorphic, figural and armorial interlaced borders. This copy is further enhanced with elaborate decorated initials and tailpieces, and a black-and-white frontispiece opening each part.

Rare and sought-after first edition, first issue, with exceptionally added plates from the first illustrated edition, published that same year. 34 full-page engravings after Demoraine, Gagnier, Staal and engraved by F. Delannoy.

Includes the subscribers’ list and the foreword, which will be removed for the second issue when the remainder of this edition was bought by another publisher, Dion-Lambert. It also features the pagination error in volume two: page 164 instead of 364.

With a scribal letter...

First edition, one of 1,045 and one of 1,246 numbered copies on deluxe paper, the only large-paper issues after the 118 and 120 reimposed copies.

A pleasing set.

First edition, limited to 1,100 copies, divided into four fictitious editions within the same year, in order to create the illusion of commercial success. These were subsequently reissued with a new title-page bearing an edition statement and the author’s name, together with a volume designation on the half-titles (cf. Clouzot). Our copy carries the designation “third edition.” Contemporary bookplate traces on the upper pastedowns. Expert restorations to headcaps and joints, with a tiny loss at the foot of the lower joint of vol. I. A clean copy, entirely free of foxing.

Contemporary half chocolate calf bindings...

Autograph note signed by Victor Hugo in ink on a newspaper cutting:

"Par le Ph.[are] de la L[oire] d'aujourd'hui j'apprends que je suis un traître j'en prends acte"

This modest yet powerful note is emblematic of the mythic Hugolian tradition of the "copeaux", or little "shavings" of paper. As an outlet, a catharsis for this overflow of thoughts and agitation, the writer accumulated ill-fated fragments: "Hugo's writing also has its wild, untamed side. Hugo was a graphomaniac: for him, writing was an imperious gesture, bound to no place or hour. Words, phrases...