Celticism and Breton traditions: Armorican folklore, Celtic legends, maritime heritage and Loire culture

First edition, of which no copies were issued on deluxe paper.

Publisher’s binding in full black cloth, smooth spine, a fine copy complete with its illustrated dust jacket.

Illustrations.

Inscribed and signed by Pierre Jakez Hélias to friends named Fanny and André.

First edition of this significant work on the customary law of Maine. Divided into sixteen parts, it also includes two valuable alphabetical indexes: one listing the main subjects covered in this Custom of Maine as well as in the revised Customs of Anjou and Paris, and the other listing key subjects found in the remarks and observations on this custom.

Marginal dampstaining to a few leaves, occasional foxing.

Contemporary ownership inscription on the title page: Berthereau.

Contemporary full mottled calf, spine with six raised bands, gilt double compartments with decorative tooling, red morocco title label, gilt rolls on somewhat faded caps, marbled endpapers and pastedowns, double gilt fillets on board edges, red edges, corners slightly rubbed.

Album comprising 44 plates of Breton costumes, the first two drawn in pencil, the others delicately watercoloured, mounted on heavy paper, some with captions, unsigned.

Bound in contemporary half green sheep, spine decorated with gilt and black fillets, gilt garlands and fleurons, some rubbing to the spine, embossed cherry-red cloth boards, bumped corners, a few scuffs along the edges.

A handsome album of Breton costumes in the manner of Hippolyte Lalaisse and his Galerie armoricaine of 1848.

Particularly focused on the Breton-speaking departments (Western Morbihan and Finistère): 1. [Seated bagpipe player]. – 2. [Peasant dance]. – 3. Woman from the Auray area (Morbihan). – 4. Young shepherd from Morbihan. – 5. Woman from Plouay (Morbihan). – 6. Man from Faouët (Morbihan). – 7. Women from Josselin (Morbihan). – 8. Woman from Pluméliau (Morbihan). – 9. Women from Ploemeur (Morbihan). – 10. Woman from Ploërmel and nearby farmer (Morbihan). – 11. Woman from Auray (Morbihan). – 12. Woman from Lanzac (Morbihan). – 13. Man from Lanzac. – 14. Woman from Guémené near Pontivy (Morbihan). – 15. Woman from Elven (Morbihan). – 16. Milkmaid from St-Paterne in Vannes (Morbihan). – 17. Woman from Douarnenez (Finistère). – 18. Man from Pont-l’Abbé (Finistère). – 19. Woman from Pont-l’Abbé. – 20. Fisherman from Douarnenez (Finistère). – 21. Milkmaid from Douarnenez. – 22. Bride from Kerfeunteun (Finistère). – 23. Man from Châteauneuf-du-Faou (Finistère). – 24. Women from Plougastel, near Brest (Finistère). – 25. Man from Plougastel. – 26. Woman from Locmaria, near Quimper, and farmer from Elliant (Finistère). – 27. Peasant from Riec (Finistère). – 28. Young girl from Bannalec (Finistère). – 29. Man from Saint-Thégonnec (Finistère). – 30. Women from the area of Pont-Lannay (Finistère). – 31. Bride and groom from Kerlouan (Finistère). – 32. Men and women from the area of Pontcroix (Finistère). – 33. Farmer from Saint-Évarzec (Finistère). – 34. [Woman and two children]. – 35. [Presentation of a newborn at a calvary]. – 36. Woman from Ploëne near Moncontour (Côtes-du-Nord). – 37. Woman from Antrain (Ille-et-Vilaine). – 38. Man and woman from Cancale (Ille-et-Vilaine). – 39. Woman from Saint-Servan and Dinan, near Saint-Malo (Ille-et-Vilaine). – 40. Young ladies from Pornic (Loire-Inférieure). – 41. Man from Bourg-de-Batz in festive costume (Loire-Inférieure). – 42. Woman from Bourg-de-Batz in festive costume. – 43. Bride and groom from Bourg-de-Batz. – 44. Young salt-workers in working attire.

Copy from the library of Léon Noël, with his ex-libris label pasted on the front endpaper.

Rare first edition of this predominantly folkloric and literary work: the Forest of Bréchéliant, also known as the Forest of Paimpont, is traditionally identified in Breton folklore with the mythical Forest of Brocéliande from Arthurian legend.

Illustrated with 14 full-page plates in the first volume and 21 in the second.

Our copy was uniquely extra-illustrated at the time with 59 postcards and 2 original photographs mounted on thin cardboard and bound into the volumes.

Contemporary half black shagreen bindings, flat spines with gilt compartments and decorative gilt typographic motifs, marbled paper-covered boards, comb-marbled endpapers and pastedowns, gilt top edges, original wrappers preserved.

The author of this text had no particular intention of reinforcing the authority of a location now regarded as such—if one may speak of a myth layered upon a myth. Trained as a chemist, Félix Bellamy (1828–1907) of Rennes eventually abandoned retorts to embrace the arcane.

A handsome copy, remarkably enriched.

Autograph postcard signed and addressed to his friend Ariel Denis from his summer residence in Vendée, 22 lines in black ink.

The postcard shows a general view of the coastal cliffs of Saint-Hilaire-de-Riez in Vendée.

Julien Gracq expresses his satisfaction with the advice he had given his friend, while lamenting the petty calculations of administrative life: "j'avais décidément raison de vous recommander une saine stratégie syndicale : faute ce cet appui je crains qu'il n'y ait plus de belle carrière dans l'enseignement ! J'espère tout de même que la stabilité au moins va venir couronner vos efforts (il y en a un de ma part sous le beau style ! malgré les vacances)"

The writer then mentions a televised adaptation of Wagner's *Das Rheingold* he recently watched: "bonne direction d'acteurs, costumes qui en définitive ne gênent pas, décors plutôt catastrophiques, aussi bien le barrage style Génie Rural, que le Walhalla dont on espère tout de même qu'il n'a pas épuisé l'imagination du décorateur. Mis à part l'excellent jeu des acteurs, que la télévision met en relief, il n'y pas de quoi se récrier. (Comme vous je ne pourrai voir le reste du Ring, et je m'en consolerai ! )"

Julien Gracq ends with a final recommendation to his friend: "tâchez d'aller voir Saint François du Désert que j'ai manqué autrefois et dont Barrès dit merveille."

Scarce new edition, illustrated with a folding plate printed on a separate leaf.

According to the CCF, copies are recorded only under the date 1826.

Bound in full fawn marbled paper boards, smooth spine, unlettered; modern binding.

A rare edition, though not the first: the approval printed at the end of the volume is dated 30 August 1766 for the censor’s permission (yet no public holding records a copy earlier than 1799). Contemporary manuscript ex-libris of Gabory Dodin, dated 24 July 1817.

Very scarce first edition, issued in a small printing, of this offprint from the Annales des Sciences naturelles for September 1828 (cf. Engelmann I, 315).

This paper is preceded by "Extrait du rapport fait à l’Académie royale des sciences sur le mémoire présenté par MM. Audouin et Milne-Edwards, par MM. Cuvier et Duméril".

The CCF records only two copies, in Paris (Muséum) and Montpellier.

The author of several entomological papers published from 1821 onwards, Victor Audouin also took an interest in marine biology: in 1826, 1828 and 1829 he undertook, together with Henri Milne-Edwards, three field trips to Brittany and Normandy.

The present article summarises the observations made by the two young naturalists on Ascidians, Flustra, Pennatulidae, Alcyonaria, Sponges, Polyps, etc.

The preliminary report by Cuvier and Duméril expresses a highly favourable opinion of their research.

A handsome copy, bearing on the upper wrapper a presentation inscription in the hand of Henri Milne-Edwards: « Monsieur Dutrochet, de la part des auteurs ».

A physician, botanist and physiologist, Henri Dutrochet (1776–1847) is remembered for his discovery of osmotic phenomena: his « Nouvelles recherches sur l’endosmose et l’exosmose » appeared in 1828.

First and only edition. This copy is one of the rare examples complete with the 64 full-page plates. The work is also illustrated with a title vignette depicting the artist Ambroise-Louis Garneray in a small boat, sketching the entrance to the port of Brest.

Contemporary binding of half tan sheep with corners, smooth spine richly decorated in gilt and blind with multiple large typographic tools, discreet restorations to the joints, marbled-paper boards, marbled endpapers and pastedowns.

A magnificent work on the ports of France, and one of the finest collections ever produced on the subject.

The author of these highly precise engravings joined the navy at the age of thirteen and thereby witnessed numerous naval battles. From 1806 he was imprisoned for eight years in Portsmouth, using his captivity to study drawing and painting and to record the scenes he had observed during his voyages. Upon his return from the United Kingdom, Garneray became painter to the Duke of Angoulême, then Grand Admiral of France, later serving as director of the Rouen museum, and entering the Sèvres manufactory where he executed numerous maritime subjects.

His work, of remarkable delicacy and realism, was praised by Melville in Moby-Dick: "Who Garneray the painter is, or was, I know not. But my life for it he was either practically conversant with his subject, or else marvellously tutored by some experienced whaleman. The French are the lads for painting action." 

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.