First painters' books and invention of lithography, steel engraving and end-grain wood engraving

First edition of this important first-hand account of the deportation and enforced stay in French Guiana of the counter-revolutionary journalist and songwriter Louis-Ange Pitou (1767–1846), placed under “preventive” arrest after the Directory’s coup d’état of 18 Fructidor, Year V [4 September 1797], sentenced to transportation, and released from exile only after 18 Brumaire (cf. Fierro, 1170. Sabin 63057. Leclerc 3445.)

The work is illustrated with two folding engraved frontispieces: La détention des déportés sur la frégate La Décade and Le désert de Konanama dans la Guyane.

Contemporary bindings in fawn calf, half-bound with small vellum corners, smooth spines decorated with dentelle tools and double gilt fillets, cherry morocco lettering- and volume-labels, with an inlaid green morocco piece on the volume labels, some rubbing to the spines, marbled paper boards, speckled edges; period bindings.

A pleasing copy preserved in its contemporary bindings.

New edition, partly original, expanded with a survey of Persia from the earliest times to the present day, together with annotations by the Orientalist and librarian Louis-Mathieu Langlès (cf. Quérard II, 133; Schwab p. 18; lacking in Blackmer and Atabey).

Contemporary full mottled calf, smooth spines gilt with decorative rolls and tools, black morocco-style shagreen lettering- and volume-pieces, gilt rolls on the caps (partly faded), gilt dentelle borders on the boards, marbled endpapers and pastedowns, marbled edges.

For the folio atlas: contemporary half calf in fawn, smooth spine gilt with rolls and tools, brown lettering-piece, spine with some rubbing and restorations, red morocco title-label on the upper board, marbled paper sides, marbled edges.

In the first text volume, pagination skips from pp. 235 to 256 without loss; pp. 213–220 are transposed; all the plates in the atlas, including portrait and map, have been renumbered in blue ink stencil from 1 to 65; some occasional foxing on the plates.

Our atlas volume contains 1 portrait, 1 folding map, and 83 views and figures on 63 plates (numbered [1] to 82, including one 81bis, with some numbering errors). Most figures are full-page; several plates include two or more subjects; nine plates are large folding plates.

A pleasing copy, attractively bound at the time, with the atlas in a different contemporary binding.

Seventh edition, expanded with new annotations and an appendix containing descriptive and historical details on all the monuments recently erected in the capital by J.-L. Belin, avocat.

Bound in contemporary half midnight-blue Russian morocco, flat spines gilt with romantic arabesques, gilt fillet framing the marbled-paper boards, marbled endpapers and pastedowns; one lower corner lightly rubbed, contemporary bindings.

Scattered foxing.

Illustrated with 58 plates (including 11 archaeological plates), together with 5 folding colour plans hors texte.

A handsomely preserved copy in a period romantic binding.

Rare first edition illustrated with 10 folding plates, including 5 grammatical tables and 5 plates of calligraphy.

Not recorded in Blackmer, Atabey or Hage Chahine.

Half olive-green calf, spine with four raised bands framed with gilt garlands and decorated with small blind-stamped floral tools, black morocco title and author labels, marbled paper boards, comb-marbled endpapers and pastedowns, modern binding.

Spine slightly darkened, small paper losses to the upper right corners of the first leaves not affecting the text, some foxing mainly at the end of the volume. Much better known for his role in the mission sent by Napoleon to the Shah of Persia to negotiate a counter-alliance against Turkey, Amédée Jaubert (1779–1847) was a distinguished orientalist, professor of Persian at the Collège de France, and of Turkish at the École des langues orientales, of which he became president in 1838.

First edition of this splendid lithographed album by A. Bayot, Eugène Cicéri, and Morel Fatio, comprising a lithographed title on a tinted background, a line-engraved map by Avril, and 15 color lithographs on tinted grounds.

Contemporary black half shagreen binding with corners, spine with five raised bands and blind-stamped double fillets, cherry-red shagreen title label (with minor losses) mounted on the upper cover, black paper-covered boards, white moiré silk endpapers and pastedowns, endpapers slightly foxed and creased, all edges gilt, the binding recently restored.

Scattered foxing, a few faint marginal dampstains, one stain at the head of the final plate.

Second illustrated edition, with five plates, including one hand-coloured, one partly coloured, and one aquatint (cf. Sinkankas 4286; Borba de Moraes 542; not in Sabin).

Half beige sheep binding, smooth spine with some rubbing, marbled paper boards, marbled endpapers and pastedowns; modern binding signed Houdart.

Some light foxing; numerical notes in the upper right corner of the half-title.

An interesting work, largely devoted to the diamonds of Brazil.

First published in 1813 and reprinted in 1815, this edition—despite the statement on the title page—would thus be the third rather than the second (cf. Borba de Moraes). “Largely concerns Brazilian diamonds and their comparison with stones found elsewhere” (Maggs).

The plates depict: “Colored Stones” (hand-coloured frontispiece), “Peculiar Diamonds” (partly coloured), various types of diamonds (black plates nos. I and II), and “Diamond cutter [and] Diamond polisher” (two aquatint vignettes).

Composite edition combining seven volumes from the very first collected edition with others from various reissues published between 1836 and 1852. Volumes 15 to 30 (1839-1852) each include an engraved title with a vignette and two illustrated plates; the earlier editions, covering volumes 1 to 15 (1830-1836) did not contain illustrations.

Half polished calf bindings in Restoration style. Smooth spines decorated with a central panel richly gilt in grotesque design, gilt and blind-tooled motifs at head and foot of spine, also ruled in gilt. Small tear to the spine-ends of volumes 5 and 9. Volumes 25 and 26 show some surface loss to the leather on the boards.

A handsome set.

First edition of the first of Étienne Geoffroy Saint-Hilaire’s essays on “Philosophie anatomique.”

Illustrated with 10 folding plates drawn by Huet and engraved by Plée père, containing 116 figures (cf. Agassiz III, p. 29, no. 51; British Museum (Natural History) II, p. 656; Engelmann I, p. 263; Quérard III, 320; DSB V, 355-358; Cahn (Th.), La vie et l’œuvre d’Étienne Geoffroy Saint-Hilaire, pp. 81-112).

Bradel binding in full marbled paper boards, smooth spine with black morocco title label, modern binding signed by Thomas Boichot.

Some foxing to the plates.

Based on a meticulous examination of the various anatomical structures of the respiratory organs in vertebrate animals, the author formulates several principles concerning their organization, the most important being that of the Unity of Composition. According to this principle, all vertebrate species share the same structural elements in equal number. Despite Cuvier’s criticisms, this theory gained traction and was later refined through embryology and paleontology. The work is divided as follows: 1. On the gill cover in fish, hitherto known as the operculum […] and on the four corresponding bones of the auditory canal in air-breathing animals, called the stapes, incus, lenticular and malleus. – 2. On the bones forming the external framework employed in the mechanics of respiration, or the bones of the sternum. – 3. On the anterior bones of the chest, or the hyoid. – 4. On the inner bones of the chest […] including, in air-breathing animals, the elements of the larynx, trachea and bronchi, and in fish, those of the branchial arches, gill teeth and cartilaginous lamellae of the gills. – 5. On the bones of the shoulder, with respect to their determination and their role in the phenomena of respiration. “Geoffroy revitalized comparative anatomy in France and created scientific teratology, experimental embryology, and the concept of paleontological evolution […]. He and his friend Lamarck lived too early to be completely understood” (DSB, V, p. 358).

Two further essays were later published: “Des monstruosités humaines” (1822) and “Fragmens sur la structure et les usages des glandes mammaires des cétacés” (1834).

A precious copy printed on deluxe paper (the two other essays were issued only on regular paper). The text is identical to the octavo edition published the same year, except for the errata, which here contains 12 lines (versus 20 in the regular edition).

New edition of the French translation established by Amédée Pichot, partly original as it is enhanced with a historical notice on Lord Byron.

Half blue glazed calf bindings, spines partially faded with four raised bands framed by gilt garlands and richly decorated gilt compartments, navy blue glazed calf title and volume labels, blind-stamped floral tools at head and tail, marbled paper boards, gilt fillets at foot, marbled endpapers and pastedowns, marbled edges; a few lightly rubbed corners. Romantic bindings of the period.

Our copy contains 13 engraved plates, some serving as frontispieces.

Scattered foxing, a few leaves browned due to paper acidity.

A copy in an attractive decorative and romantic period binding.

First illustrated edition, with four folding plates bound at the end of the volume (cf. Tailliart 1979).

Contemporary half green calf binding, flat spine faded and yellowed, decorated with a gilt cartouche and ornamental tooling at head and tail, caps trimmed, joints fragile, marbled paper boards, hand-marbled endpapers and pastedowns, sprinkled edges, period binding.

Some foxing.

In fact, this pamphlet was intended as the first of a series, hence the general title; however, only this installment was ever published. The secondary title specifies the subject of the volume: "Relation d'une excursion de Bône à Guelma et à Constantine, par sir Grenville Temple et le chevalier Falbe, délégués de la société établie à Paris pour l'exploration de Carthage. Premier fascicule de l'ouvrage, accompagné d'un recueil d'inscriptions et de quatre planches représentant des monumens antiques, des mosaïques et des peintures à fresque découvertes à Carthage."

The two archaeologists had in fact accompanied the French divisions during the second expedition to Constantine, and their account combines scholarly and military perspectives, characteristic of the early period of French colonization in Algeria.

Provenance: Copy from Honoré-Théodoric d'Albert, 8th Duke of Luynes (1802–1867), with the bookplate of the Château de Dampierre affixed to a pastedown.

First edition of the French translation prepared by A. J. B. Defauconpret (see Brunet III, 555; Quérard IV, 230; not in Field).

The work is illustrated with 20 charming aquatint plates, 6 of them hand-coloured, and a folding plan. The English first edition contained only 13 aquatints.

Contemporary Bradel bindings in full sand-coloured paper boards, red morocco spine labels for title and volume numbers (partly faded), flat spines gilt with a central floral tool, light rubbing to spines, upper caps slightly worn, two corners bumped, entirely uncut. Period bindings.

Pleasant, clean internal condition.

Johnson was a British officer in India who chose to return to England by land. His narrative offers numerous observations on the social life, customs, religion, and dress of the peoples he encountered along the way.

Second edition; the first having been destroyed by the author himself. Cf. Louandre et Bourquelot, III, p. 149: "Il y a eu de cet ouvrage une première édition anéantie par l'auteur avant toute émission, et dont il n'est peut-être pas échappé un exemplaire." "(L'auteur) s'est efforcé de rendre avec fidélité les impressions qu'il a éprouvées, et les renseignemens qu'il a obtenus ont été puisés aux sources les plus respectables."

Half calf bindings in light brown, smooth spines decorated with double gilt fillets, black morocco title and volume labels, a small hole at the foot of the spine of the first volume, marbled paper boards, upper corners slightly rubbed, sprinkled edges, contemporary bindings; the atlas volume is in original wrappers.

Some minor losses and small tears to the corners of the atlas, which also shows light restorations.

The latter is complete with its large folding map with coloured boundaries and its ten lithographed plates: eight views and two hand-coloured costume plates.

The eight picturesque views depict scenes near Jönköping, Stockholm, Rosendal, Drottningholm, Ornös (Arendt Pehrson’s house), Falun (the opening of the mine), Wexiö, and Solfvitsborg; the two remaining plates show Dalarna costumes at Leksand and Småland costumes at Wörend.

Some scattered foxing.

Fine copy of the illustrated new edition of 1820, printed in 4 volumes, enriched with The Influence of Women during the Empire and historical notes by Charles Nodier.

Half burgundy embossed shagreen, smooth spine decorated with gilt friezes and fillets, marbled paper boards, yellow-stained edges. Corners of headcaps rubbed, wear to joints and some foxing. Scratch to spine of volume 2.

This copy contains 4 frontispieces engraved by Ad. Godefroy after drawings by Chasselat. The title pages of the four volumes bear a contemporary manuscript ex-libris: "Louis Perrot."

Some defects within this copy: in volume 2, edges slightly damaged; in volume 3, old restorations to the title page; in volume 4, one leaf folded at upper left corner p. 70, small corner chips to pp. 125 and 139 (not affecting text), slight corner tears to pp. 213 and 267, 4 pages stuck together (pp. 241, 242, 243, 244) and a wormhole p. 261.

First edition in book form; the rare original edition was issued in parts between 1845 and 1856 (Brunet, I, 1707. Garrison and Morton reference three works by Cazenave on skin diseases).

Illustrated with 60 large and striking hand-colored plates.

Contemporary half red shagreen binding, spine with five raised bands adorned with double gilt and black fillets, sides covered in marbled “cat’s eye” paper, some rubbing to the upper portion of the front board, endpapers and pastedowns in combed marbled paper, corners a bit worn; later binding.

Minor foxing, a pleasing copy overall.

First edition illustrated with wood engravings in the text by Gavarni, Daumier, D'Aubigny...
Bradel binding in full beige percaline, smooth spine with a black paper label, front cover decorated with an oil painting after the frontispiece, signed lower right "A. Dangleterre d'après document d'époque". Headcaps and joints skillfully restored.
A rare publication on Paris under Louis-Philippe. The work proceeds by subjects and articles: the wet-nurses’ office, flower sellers, baths, streetlamps, pavements, theatre outings, beards and moustaches, the Luxembourg Gardens, the Opera Ball, the auctioneers’ hall, lorettes and courtesans (Alexandre Dumas), restaurants and cheap eateries, the pawnshop, Monographie de la presse parisienne (Balzac), Jockey Club, etc.
"A very important work, remarkable for the fine gathering of writers and artists of the Romantic period who contributed to it." Carteret (Le trésor du bibliophile romantique et moderne).

First edition and definitive and posthumous edition, arranged in strict chronological order, of a very rare iconographic series whose publication had begun as early as 1806 in somewhat disorderly instalments, but was never completed (only 49 instalments had appeared at the author’s death).

Cf Brunet V, 1453.

Work illustrated with 300 plates: lithographed and watercoloured title-frontispiece and 149 engraved plates, most finely hand-coloured, for the first volume; 150 plates for the second.

Contemporary bindings in half cherry-red morocco-grained shagreen with corners, spines with five raised bands decorated with blind fillets and panels, some minor rubbing to spines and joints, one joint of volume 1 split at foot, double blind fillet border on marbled paper boards, comb-marbled endpapers and pastedowns, bindings of the period. 

Pleasing copy, complete with its 300 plates.

First edition of this important and early collection of 50 superb lithographs of Algiers printed on china paper mounted on heavy wove, executed by the two painters Emile-Aubert Lessore (1805–1876), a pupil of Ingres, and William Wyld (1806–1889), a friend of Vernet. The work was originally issued in five parts: buildings, landscapes, figures, scenes, etc.

See: Bibliothèque algérienne de Gérard Sangnier, no. 207. Not in Blackmer. Playfair, 517. Tailliart, 896. Gay, 919. Brunet III, 1018.

Contemporary binding in half green shagreen, flat spine with triple gilt fillets and blind-stamped fleurons, gilt decorative bands at head and foot of spine, the upper band partially faded; marbled paper-covered boards with some marginal discoloration. Contemporary binding.

Spine restored, occasional scattered foxing.

Complete set of 115 copper-engraved plates with an additional plate (116 plates), all printed on either laid or wove paper, all hand-colored with watercolor. Two entirely different plates 39 follow each other, in first issue: "Les Titus et les cache-folies" was published in the 1817 and 1822 sets, and the other "La Politicomanie" appeared in 1827. This is the most complete series, which also includes the 11 new plates published from 1818 to 1822, numbered 105 to 115.

According to Vicaire, the plates were probably all printed between 1801 and 1822, and only the text preceding the plates was reprinted in 1827.

3/4 long-grained cherry half-morocco, smooth spine elaborately framed in gilt lentghwise, gilt tooled center of spine, gilt lettered title at head of spine framed in gilt, marbled boards, marbled paper endpapers and flyleaves. Minor brown spots are mainly confined to the 24 pp. of text, with very few on the plates, mainly on the margins and versos.

A rare and famous collection of costumes, genre and entertainment scenes from the French First Empire and Restoration eras, with very wide margins and magnificently hand-colored at the time. A veritable encyclopedia of thrills, pleasures and pageantry, published by Pierre de la Mésangère, leading fashion editor at the turn of the century. This copy includes two versions of plate 39, both of which are extremely scarce.
 

First edition of the translation by F. de Bretonne, assistant curator at the Sainte-Geneviève Library, based on a comparison of all earlier versions. The work is enriched with a suite of 10 vignettes by Charlet, retaining its original pink paper wrapper with vignette dated 1831; the volume also includes a portrait of Cervantes.

Half long-grain claret morocco binding with corners, signed at the head of the front endpaper S. David, late 19th century. Spine with four raised bands, decorated with complex and stippled tools within compartments. Gilt fillets on the bands. Double gilt ruling along boards and corners. Minor rubbing to some bands, joints, and corners. One corner slightly turned in. Occasional spotting in an otherwise fresh copy.

Original wrappers and spines preserved. Binding executed on untrimmed paper gatherings.

A very handsome copy.

First edition of this richly and exquisitely illustrated collection of songs. It comprises 122 songs (originally published in 84 installments), each accompanied by four fully engraved pages. Every song is preceded by a short introduction written by various authors, including the Bibliophile Jacob, and is followed by two pages of musical score. The volume also includes three frontispieces by Trimolet. The steel engravings are truly magnificent and rank among the finest produced in the 19th century. Illustrations by Daubigny, Trimolet, Meissonier...

Contemporary half black shagreen binding with corners. Spine with raised bands, compartments and gilt tooling. Triple gilt fillet along the edges of the covers. Occasional light foxing, otherwise a clean and fresh copy. Minor rubbing. A handsome copy.

The extremely rare wrappers—among the scarcest of the Romantic period—are present. In the first volume, instead of being green, the wrappers are blue, representing an initial trial in this color. All the covers were printed on chamois paper and include engravings within gilt chromolithographed borders.

First edition of this fine collection comprising 72 numbered copper-engraved plates. (cf. Katalog der Ornamentstichsammlung Berlin, 2744. Brunet, V, 199 lists the author's name as Scheult).

Contemporary half calf binding with vellum-tipped corners, recently rebacked with a smooth spine decorated with gilt ornamental rolls and fleurons, olive green morocco label. Some rubbing to the spine, marbled paper-covered boards.

Scattered foxing, light dampstain to the upper outer corner of most leaves.

First and only edition of this beautiful album, illustrated with a double-page map and 12 mounted plates after drawings by the author, including 11 aquatints offering spectacular views of the island.

The half-title page bears the following title: Voyage pittoresque aux îles Hébrides.

Some occasional spotting, otherwise a pleasing copy of this album.

Contemporary full purple shagreen binding, spine with four raised bands, compartments decorated with blind-ruled panels, minor rubbing to spine, covers framed with double blind fillets and scrollwork, marbled endpapers and pastedowns, gilt dentelle border on pastedowns, gilt dots along the edges, all edges gilt. Half-title: Voyage pittoresque aux îles Hébrides, title, 32 pp., a double-page map and 12 mounted plates after drawings by the author, including 11 aquatints depicting striking island views.

Publisher Charles-Louis-Fleury Panckoucke (1780–1844), son of the renowned Charles-Joseph, recounts a journey to the islands of Skye, Iona, and Staffa from Glasgow, with particular emphasis on the latter. Staffa is famed for its basalt cave, known as "Fingal's Cave" in homage to Ossian and his pseudo-Gaelic creations, which in the 19th century drew numerous writers and artists enchanted by the wild majesty of its interior.

First edition, illustrated with 11 lithographed plates by Théodule Devéria and printed by Kaeppelin.

Some occasional foxing.

Rare.

First edition of this exceptionally rare complete set of twelve dance scores, each comprising a color-printed wrapper and five leaves (title page, four numbered pages of engraved music, and one blank leaf). All covers were lithographed and hand-colored using stencil techniques by Adolphe Cathelin, whose name appears on the title pages.

The musical works are by composers Alexandre Croisez, Alexandre Artus, Eugène Dupuis, Camille Michel, Alphonse Leduc, Émile Waldteufel, Voctir-Auguste Dolmetsch, Félix Joufferoy, and Antony Lamotte.

Contemporary half green calf binding, smooth spine decorated with gilt and blind-stamped fillets and dotted lines, joints rubbed; granite-patterned paper boards framed with double gilt fillets (thick and thin), gilt monogram "C.B." at center of front board, marbled endpapers and pastedowns, bumped corners, marbled edges, bookplate mounted on one pastedown. Contemporary binding.

Some foxing, mainly at the end of the volume.

A handsome and exceptionally rare period-bound collection.

First edition of this beautifully lithographed album after various artists, alternating picturesque views with architectural details. (Not listed in the Ornamentstischsammlung catalogue, Berlin.)

This splendid album contains 51 lithographed plates outside the text, our copy with two additional duplicate plates bound in.

Contemporary binding in half black morocco, smooth spine decorated with gilt typographic motifs, original black moiré paper boards with gilt title on upper cover preserved, original delivery wrappers bound in, corners rubbed, some marginal tears and wear to board edges, modern binding.

Some occasional foxing.

First edition and first issue of the illustrations, without the table of plates which was later printed at the bottom of page XLIII and the beginning of page XLIV of the text volume (cf. Louandre et Bourquelot, I, p. 46. Blackmer, 33, mentions a large folding map bound in the atlas which, in fact, does not belong to the work).

The atlas volume contains the complete set of 10 plates, including 4 lithographs engraved by Faure after drawings by Préaux and lithographed by Langlumé.

Text volume bound in contemporary full tree calf, flat spine gilt with double fillets and naval anchors, red morocco label, gilt roll tooling to head- and tailpieces, gilt rolls framing the boards, marbled endpapers and pastedowns, red edges, gilt fillets on board edges.

Atlas volume bound in contemporary half marbled calf, flat spine with gilt double fillets, red morocco label, marbled paper-covered boards.

Some minor foxing to the atlas, small restoration to the title-page of the text volume.

A rare and appealing set.

First and only illustrated edition with 12 engraved plates on India paper, under serpents.

Restored spine with minor tears, slight marginal tears on the boards, a crease on the corner of the second board, otherwise in pleasant interior condition.

The eighth Duke of Luynes (1802-1867) gained a significant reputation as an archaeologist, numismatist, and art collector.

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.

First edition, illustrated with a portrait of the author after Sir Thomas Lawrence in the text volume, and, in the atlas volume, with 1 engraved map (numbered 1) and 74 lithographed plates (numbered 2 to 75; plate 27 misnumbered 17), including 8 hand-coloured plates: plates 28 (Fresco of Dieudonné de Gozon), 41 (Tomb of Fabrice Caretti), and 61 to 66 (Frescoes from the crypts of Our Lady of Philerme).

See Atabey 1056. Blackmer 1450. Loukia Droulia 1474. Weber, I, 163.

Text volume bound in contemporary green half shagreen, spine with four raised bands adorned with gilt garlands and floral tools, marbled paper boards, marbled endpapers, rubbed corners; atlas volume in contemporary red half calf with corners, flat spine with gilt fillets, rubbed, marbled paper boards with scratches, some wear to edges and corners.

Some foxing, stains at foot of plate no. 10 in the atlas, and minor foxing on some other engravings.

Brunet, IV, 1415: "Ouvrage curieux et dont les planches sont fort belles".

The lithographs, after drawings by Witdoeck, depict the coastlines of the island of Rhodes, the harbour, fortifications, and principal buildings and monuments, some in ruins: the gates of Saint Catherine, Saint Paul and Saint John, the site and reconstruction of the Colossus, the interior of the palace, Fort Saint Nicholas, Garden of Auvergne, Street of the Knights, tomb of Robert de Julliac, castellany, convent, Lodge of Saint John, priories of France, Spain, Portugal, Italy and England, Church of Saint Mark, bishop's palace, façade and interior of Saint Stephen, Admiralty, watchtower of the Knights, Church of Our Lady of Philerme with its frescoes, etc. After studying at the University of Louvain, Bernard Eugène Antoine Rottiers (Antwerp, 1771 – Brussels, 1858) joined the Dutch army in 1789. He fought at the Battle of Jemappes and sailed to England in 1795 with Stadtholder William V. He then served in the British army before leaving for Russia, where he joined the Georgian army. Promoted to colonel, he later returned to the Netherlands. A man of letters and archaeologist, he was entrusted in 1825 with a scientific mission to the Levant: "In January 1826, I departed with one of my sons and my painter, Mr. P.-J. Witdoeck. After stopping in Santorini, we landed in Rhodes, and barely arrived, we began our work. It was as dangerous as it was laborious. The Turks had never permitted anyone, until us, to draw the monuments of the island, especially the interiors of churches and other buildings... These dangers recurred everywhere. We had to brave them again for the drawings of the fortifications, the harbour, the tombs. But the goal was well worth the risk to attain it..." (pp. 15–16).

Rare work.

Extremely rare volume illustrated with 12 fine full-page lithographs by Ferdinand Perrot.

Contemporary binding in aubergine half shagreen, flat spine decorated with gilt fillets and dotted lines, some rubbing to the spine, marbled paper-covered boards, marbled endpapers and pastedowns, corners slightly bumped.

Scattered foxing, some leaves toned due to paper acidity, author's name handwritten in white ink at the head of the spine.

Bookplate of A. Hennique mounted on a blank endpaper, with the motto "la vie est un voyage".

For the first three volumes, first edition, complete with all 84 parts published between February 1842 and October 1843 of this "admirable publication printed on thick vellum paper [...] one of the finest of the 19th century, justly esteemed and comparable to the beautifully illustrated books of the 18th century" (Carteret), (see Carteret III, 143–153; Vicaire II, 234–248).

The first three volumes are bound in full violet morocco, spines with five raised bands bordered with gilt pointillé tooling, compartments richly gilt with double gilt frames, gilt rolls on caps, covers framed with quintuple gilt fillets, gilt monogram MG at the corners, comb-marbled endpapers and pastedowns framed in gilt dentelle, double gilt fillets on board edges, all edges gilt. Splendid bindings signed by Dunezat, active between 1870 and 1895.

Illustrated by Charles François Daubigny, Ernest Meissonier, Anthelme Trimolet, Adolphe Steinheil, Gustave Staal, Emy, Louis-Léopold Boilly, Charles Edouard de Beaumont, among others.

Texts by Marc-Antoine Desaugiers, Fabre d'Églantine, Pierre-Jean Béranger, André Chénier, Florian, Sedaine, Constance de Salm, Jean-Joseph Vadé, etc., set to music by various composers, including André Grétry, Jean-Jacques Rousseau, Étienne Nicolas Méhul, and François-Adrien Boieldieu.

The complete collation is as follows: 1) 5 preliminary leaves (half-title, engraved title-frontispiece, list of songs, introduction by Delloye) and 28 parts of 4 unnumbered leaves each (28 songs, each including a 2-page note, 4 pages of text with illustrations, and 2 pages of music—i.e., 4 unnumbered leaves per song); 2) 5 preliminary leaves and 27 parts of 4 unnumbered leaves each, except for La Parodie de la Vestale, which includes 10 unnumbered leaves; 3) 5 preliminary leaves and 28 parts; 4) 2 unnumbered leaves, engraved frontispiece, xxiv and 224 pages.

The general series wrappers were not bound in this copy, which shows several first-issue points.

Enclosed: bound in violet half morocco with corners, Chansons populaires des provinces de France. Notices by Champfleury. Piano accompaniment by J. B. Wekerlin. Paris, Lécrivain et Toubon, booksellers, 1860, 2 unnumbered leaves, engraved frontispiece, xxiv and 224 pp.

Binding in violet half morocco with corners, spine with five raised bands bordered with gilt pointillé tooling, richly gilt compartments framed in double gilt fillets, marbled paper-covered boards, comb-marbled endpapers and pastedowns, a few scuffs to board edges and extremities, all edges gilt, an elegant unsigned binding likely attributable to Dunezat, active between 1870 and 1895.

A very handsome set, perfectly bound.

Highly interesting collection attributed either to the geographer Georges-Louis Le Rouge (according to Polak), or to the civil engineer La Serre (based on a manuscript version held at the Municipal Library of Le Havre).

Contemporary half Havana calf binding, smooth spine richly decorated with five gilt fillets and blind-stamped naval anchors, some minor restorations to joints, small green vellum corners, marbled paper boards, endpapers and pastedowns marbled à la cuve. Binding dating from the mid-19th century.

The work comprises 35 engraved plates depicting the plans of 42 ports.

From north to south, and west to east: 1. Antwerp. – 2. Flushing. – 3. Ostend. – 4. Dunkirk. – 5. Gravelines. – 6. Calais. – 7. Boulogne. – 8. Dieppe. – 9. Valléry-en-Caux and Fécamp. – 10. Le Havre. – 11. Le Tréport and Honfleur. – 12. Rouen. – 13. Caen. – 14. Cherbourg. – 15. Granville. – 16. Port-Malo and Saint-Servan. – 17. Brest. – 18. Lorient. – 19. Port-Louis. – 20. Nantes. – 21. Les Sables-d'Olonne. – 22. Saint-Martin-de-Ré. – 23. La Rochelle. – 24. Rochefort. – 25. Concarneau, Mont-Saint-Michel and Oléron. – 26. Bordeaux. – 27. Bayonne. – 28. Saint-Jean-de-Luz. – 29. Port-Vendres and Collioure. – 30. Cette [Sète]. – 31. Marseille. – 32. Villefranche and La Ciotat. – 33. Toulon. – 34. Antibes and Saint-Tropez. – 35. Gibraltar.

Some minor and insignificant foxing.

A very rare first edition of 15 lithographed views in bistre tint, mounted in an accordion pleat, forming a panorama of 6.75 ft and showing the Parisian procession of the return of Napoleon's mortal remains (his "ashes" used here as a metaphor since he was not cremated). The parade started from the Arc de Triomphe to his resting place in Invalides. In the lower margin, the caption presents the different groups forming the procession: Ajaccio delegation, Paris Municipal Council, Prince of Joinville Commission of Saint-Helena...in the centre of the panorama stands the spectacular funeral car. Without mention of the publisher, this impressive document was undoubtedly printed by Aubert, famous publisher of Parisian panoramas published during the same era and also illustrated by Adrien Provost.
Publisher's half cloth black Bradel binding, goffered silk boards framed with double gilt fillets, the first with the gilt title “convoi de l'Empereur” stamped in the centre.
“In the distance is seen, in the mist and the sunlight, against the grey and russet background of the trees in the Champs-élysées, beyond the great white phantom-like statues, a kind of golden mountain slowly moving. All that can be distinguished of it as yet is a sort of luminous glistening, which makes now stars, now lightening sparkle over the whole surface of the car. A mighty roar follows this apparition. It would seem as though this car draws after it the acclamation of the whole city, as a torch draws after it its smoke. (Victor Hugo, Choses Vues, “15 décembre 1840. Funérailles de l'Empereur. Notes prises sur place.”)

Handsome Greek printing of the Psalter according to the Septuagint, followed by traditional Biblical hymnology and a weekly recitation guide.

Illustrated with a charming woodcut depicting David.

Contemporary black cloth-backed marbled boards, spine unlettered and slightly faded, blue endpapers and pastedowns.

Occasional foxing, otherwise clean and well-preserved throughout.

Rare first edition including a general map of Africa, compiled from the most reliable observations and the latest discoveries, as well as 8 finely engraved plates (cf. Clozel 505; Gay 2897).

The 8 illustrations comprise: one folding view, three folding maps and plans, a key chart for the plan of Gorée, and three portraits of indigenous figures.

Some restorations and water stains affecting a few leaves.

Contemporary half calf binding, smooth spine decorated with gilt garlands, floral tools, and urns; red morocco title and volume labels, marbled edges.

Born in Colmar, Sylvain-Meinrad-Xavier de Golbéry (1742–1822) spent his entire military career in the Corps of Engineers.

The journey he recounts here—published belatedly—was commissioned by Louis XVI and took him through regions corresponding to present-day Senegal and The Gambia.

First edition, illustrated with 18 copper-engraved plates in the first volume and 22 copper-engraved plates in the second.

Contemporary bindings in green half shagreen, spines with four raised bands, decorated with blind-ruled fillets and double gilt panels with ornamental cornerpieces; minor rubbing to the spines, boards in green paper-covered cardboard with blind-stamped frames and a few minor surface abrasions, heavily bumped corners. Endpapers and pastedowns of white moiré silk slightly soiled at margins as often, all edges gilt.

Foxing.

A compilation of selected excerpts from the most celebrated travel narratives.

Jacques-Bernard Hombron (1798–1852), a naval surgeon, was a close companion of Dumont d’Urville, with whom he circumnavigated the globe aboard the Astrolabe.

New edition of the Fables, more complete than previous ones, illustrated with a hand-coloured vignette on the title page and 110 hand-coloured half-page illustrations in the text, for a total of 111 engraved and coloured plates (cf. Rochambeau 305. Després, p. 142, no. 63).

Full olive calf binding, spine with gilt fillets, numerously tooled in gilt, gilt tooling to spine-ends, boards framed in gilt, marbled endpapers and pastedowns, inner gilt dentelle on pastedowns, all edges gilt, 20th-century binding.

Spine and covers faded, some foxing, a snag at head of rear cover. Lower right corners of pp. ix-xi restored.

An exceptional and finely watercoloured copy of this abundantly illustrated edition of the "Fables." The famous illustrations by Jean-Baptiste Oudry were recut and modified for this publication and are accompanied by explanatory notes intended for young readers.

The title vignette was also created from a fragment of the frontispiece of the first edition illustrated by Oudry.

Very rare first edition illustrated with 40 lithographs (cf. Colas 1581, Mayfair, Algeria, 751, Tailliart, 1001, *Iconographie de l'Algérie*).

A few minor spots of foxing; the front free endpaper is slightly creased at the margin, not affecting the text.

The 40 plates, printed on 37 leaves, are arranged as follows: 37 black lithographs including one plan and one folding map (plates 11–12, [37–38], and [39–40] are printed on single leaves).

Among the rarest and most beautiful illustrated albums devoted to Algeria, this edition comprises 40 lithographic plates printed in black across 37 leaves. The map of the Regency of Algiers and the views of Algiers and Constantine, being in a larger format, each count as two. So rare is this album that even Esquer, author of the monumental *Iconographie de l'Algérie*, was only able to consult a copy containing 35 plates.

Contemporary binding in half green Russia morocco, flat spine with blind double fillets, marbled paper-covered boards with some light spotting, green vellum corners slightly rubbed.

Lithographed by Simon fils after drawings by Robert Jungmann, the plates depict costumes and views of Algeria. The author, who presents himself as a Polish refugee, explains in the preface that he served for nearly four years in the Armée d’Afrique and that the purpose of his work is "to provide a short but accurate account of Algiers and its surroundings, a region that is increasingly drawing our interest".

The text is divided into four chapters: Geographical overview; historical notes; costumes, manners and customs of the native populations, their methods of warfare, etc.; and the state of industry, commerce, arts and sciences. It includes precise descriptive information on Algiers, Blida, Médéa, Oran, Tlemcen, and Constantine, as well as commentary on history, climate, agriculture, and colonization. The illustrations include a map of the Regency of Algiers with hand-colored outlines also showing a large part of the Regency of Tunis; a portrait of Hussein Pasha, the last Dey of Algiers; picturesque views (View of Algiers, viewpoint near Mustapha Pacha in Algiers, partial view of Algiers' main square, Bab-el-Oued gate, marabout of Sidi-Yakoub, a fountain near Algiers, views of Constantine and Bône); and plates depicting inhabitants in traditional dress: Arab horsemen, Bedouins, Moorish women, Kabyles, Kouloughlis, Jewish men and women of Algiers, marabouts, Algerian corsairs, Zouaves, etc.

First edition, illustrated with a folding map and 11 tinted lithographic plates (cf. Gay 3137).

Contemporary half aubergine sheep, smooth spine ruled and lettered in gilt, some rubbing to hinges, one joint fragile, marbled paper-covered boards, marbled endpapers, speckled edges.

Some repairs to the spine, occasional foxing.

Arbousset, a Protestant missionary and explorer, recounts the discovery of the Mont des Sources and offers vivid descriptions of the peoples among whom he lived: Bastaards or mixed-race communities, Hottentots, Bushmen, Kaffirs, etc.

Rare.

First edition of the French translation based on the second English edition, with additions drawn from Robert Adams's narrative in Africa, 1810. (cf. Gay 2788.)

Illustrated with 10 plates, including a frontispiece portrait of Mungo Park and a map showing his route from Kayee on the Gambia to Boussa on the Niger.

Contemporary full marbled tan sheep, smooth spine decorated with gilt fillets, garlands and fleurons, cream title labels, gilt dentelle and fillet frames on boards, marbled endpapers and pastedowns, gilt fillets on board edges, speckled edges.

Some wear with minor losses at head and foot of one joint, a few scuffs to the covers, occasional foxing, otherwise a pleasant and sound copy.

This volume includes Mungo Park's journal up to 16 November 1805, as well as the narrative of Isaac, a Mandingo priest who accompanied him on his journey, which would be his last—Park having drowned near Boussa in the Niger River, which he had been one of the first Europeans to explore upstream.

French edition translated from the English by Charles Athanase Walcknaer, illustrated with 8 folding maps inserted out of text: 5 in the first volume, 3 in the second (see Gay 2996).

Contemporary half purple sheep bindings, flat spines faded and decorated with gilt garlands, joints with some repairs, marbled paper boards, marbled endpapers, printed stamps to endpapers, occasional light foxing.

Very rare edition comprising the independent pre-publication of the first part of the major geological expedition to the Antilles and the islands of Tenerife and Fogo, a seven-volume quarto work also covering Guadeloupe, Martinique, and others.

Illustrated with 9 lithographed plates, including a folding map of the Cape Verde Islands and 6 tinted views.

Not recorded by Sabin in his entry on the Voyage.

Bound after, by the same author: Recherches sur les principaux phénomènes de météorologie et de physique générale aux Antilles, printed in Paris by Gide and J. Baudry in 1849.

Bradel binding in full black textured cloth, smooth spine decorated with blind fillets, small losses to spine ends, hinges rubbed, double blind-ruled frame on boards, yellow endpapers and pastedowns, sprinkled edges, corners slightly rubbed; contemporary binding.

Charles Deville (1814–1876), known as Sainte-Claire Deville, was a geologist born in the Antilles on the island of Saint Thomas, a member of the Académie des Sciences and professor at the Collège de France.

Some occasional foxing, remains of a removed ex-libris on the pastedown.

His body of work remains little known, likely due to the extreme rarity of his publications.

Illustrated edition featuring 6 charming lithographs, including 5 costume plates, executed by Madame Veuve Jobard in Dijon.

No copy listed in the CCF; not recorded by Vicaire or Colas.

Contemporary half brown sheepskin binding, spine slightly faded, gilt double fillets and decorative gilt rolls at head and foot, marbled paper boards, sprinkled edges.

Scattered foxing, small paper flaw on half-title.

A rare, wide-margined copy in period binding.

First edition, complete with the 15 etched portraits by Jeanron.
At the beginning of the volume, the index listing the engraved portraits has been discreetly marked in pencil in the left margin beside each name.
Scattered light foxing.

Contemporary red half shagreen binding, spine with four raised bands framed by double gilt fillets and broad black rules, some rubbing to the spine, marbled paper-covered boards faintly and very marginally faded, marbled endpapers and pastedowns, one split to an edge.

New edition, with 58 illustrated full-page plates including a frontispiece, all after P. A. Varin.
Full green velvet binding with silver edges, elaborately decorated with gilt gauffered rocaille motifs, and some blind stamped, with abundant onlays of blue, purple, cream and red vel­vet ; upper board with silver engraved crowned A[ve] M[aria] initials at center, "RGP" silver engraved initials at center of second board, both initials inside a wide red velvet inlay bordered with gilt gauffered motifs displaying the sheep­skin of the Order of the Golden Fleece at bottom, spine elaborately decorated with gilt rocaille motifs, silver engraved title label, silver clasps with pierced leafy designs and central roundel, light blue watered silk pastedowns and end­papers elaborately decorated with gilt rocaille gauffered motifs, all edges gilt. Contemporary binding. Scattered foxing throughout.

A masterful piece of Rocaille book-making in velvet and silver, op­ulently gauffered and heavily gilt, in exceptional condition.

Very rare first edition, illustrated with two frontispieces, eighteen plates, and a folding map table bound at the end of the second volume.

Scattered foxing.

Half black shagreen bindings, smooth spines tooled in blind with fillets and small ornaments, gilt lettering at the foot of the spines showing some rubbing, marbled paper boards, marbled endpapers and pastedowns, light rubbing to the extremities, sprinkled edges, contemporary bindings.

Born at Versailles in 1809, Anne Jean-Baptiste Raffenel entered the Naval administration in 1825.

After several voyages, notably to Africa, the West Indies and the United States, he was posted to Senegal and from 1843 explored the Falémé river together with the regions of Bondou and Bambouk.

The account of this expedition was published in 1846 under the title Voyage dans l'Afrique occidentale (1 vol. in-8 and 1 atlas in-4). That same year, the Ministry of the Navy entrusted Raffenel with a more ambitious mission: to cross the African continent from west to east, from Senegal to Egypt via the sources of the Nile.

Armed with detailed instructions from the Académie des Sciences and provided with significant funding, he reached the upper Senegal basin in 1847, travelled through Kaarta on the right bank of the river, but was refused access to the Niger by El-Hadj Omar.

Reaching the borders of Ségou, he was betrayed by his guides and handed over to the Bambara, who held him captive for eight months. He returned to France in June 1848.

During his captivity he gathered the material for his Nouveau voyage dans le pays des Nègres: "Non seulement cette relation renferme un tableau complet de l'état social, moral et politique du Soudan occidental, mais elle contient en outre d'utiles réflexions sur les réformes et améliorations à introduire dans le gouvernement du Sénégal" (Hoefer).

Different issue from the one dated An XI (1803), which itself is not firmly established as the true first edition (cf. Monglond VI 139–140; Quérard VI 326).

The work is illustrated with an etched frontispiece entitled « Frémissez ! voilà du joueur le sort inévitable !! » depicting a gambler blowing his brains out in a gaming room, amid general indifference.

Our copy is preserved in its original publisher’s wrappers, with a blank marbled paper provisional cover showing small losses at the corners.

A pleasing copy.

First edition, issued in a very small number as an offprint from the Bulletins de la Société d'encouragement pour l'industrie nationale, t. CXCI et CXCII.

Not recorded by Quérard.

The pamphlet is illustrated with three folding technical plates, engraved by Normand fils.

Bradel binding in paper-covered boards entirely clad in blue paper, with a black vertical spine label showing minor losses; a modern binding.

The work describes the apparatus devised by the chocolatier Auger, which made it possible to reduce any animal, vegetable or mineral substance to "poussières impalpables, aériformes ou éthérées".

Héricart de Thury, Chief Engineer in the Royal Corps of Mines, also sets out the various applications of this machine in medicine, pharmacy, chemistry, painting, dyeing, and related fields.

First edition of the treatise "qui comprend la structure et les fonctions de la bouche, l'histoire de ses maladies, les moyens d'en conserver la santé et la beauté, et les opérations particulières à l'art du dentiste" (cf. Crowley 846. David p. 125. Poletti p. 49.)

Half brown calf binding, the smooth spine decorated with double gilt fillets and gilt panels; rubbing to the spine and joints; marbled paper boards, marbled endpapers and pastedowns; late 19th-century binding.

A few minor spots of foxing.

Illustrated with an engraved title-page, an allegorical frontispiece, and 13 copper-engraved plates printed hors texte.

First illustrated edition with 5 plates (cf. Coll. Émile Brouwet, II (2), 168).

Half black shagreen binding, smooth spine decorated with gilt and blind fillets, title lettered lengthwise in gilt, joints and caps rubbed, title repeated on the upper cover, paper labels pasted to the lower left corner of the upper cover and the upper left corner of the inside back cover, bookplate pasted to the inside back cover, original front wrapper preserved, corners worn, mid-19th-century binding.

Some light foxing.

The five finely line-engraved plates by Cavelier and Pierron after drawings by Pierre-Paul Prud’hon bring together a selection of pieces of imperial furniture.

The first set — a firescreen, a dressing table with its mirror, an armchair, and a washstand — was executed in vermeil with lapis inlays and presented to Empress Marie-Louise on 15 August 1810. This important commission was the joint work of the chaser-founder Thomire, awarded a gold medal at the Exhibition of 1806, and the silversmith Odiot. The three plates devoted to it preserve its memory, as the ensemble was largely melted down in 1832.

The final two plates depict the celebrated cradle of the King of Rome, in vermeil, mother-of-pearl and burgau shell — the fruit of the same two craftsmen — which was presented by the City of Paris on 5 March 1811, before the arrival of the imperial child, and is now preserved in Vienna.

Thomire alone later produced a second example in elm burr and gilt bronze, following the same design and faithfully reproducing certain elements such as the two bas-reliefs of the Seine and the Tiber. This second cradle is now at the Château de Fontainebleau.

Provenance: from the library of Prince Demidoff (San Donato stamp), then from that of Prince Roland Bonaparte, with his bookplate and label N.

First edition of this treatise, long regarded as the finest French-language work in its field (cf. Wellcome II, 305; Garrison & Morton 5853).

Contemporary-style half calf over marbled boards, the spine smooth and gilt with decorative garlands at head and tail, a reused black calf lettering-piece, marbled paper sides, blue-sprinkled edges, bookseller’s ticket of a distinguished firm mounted to a pastedown; a later binding.

Illustrated with 4 folding plates.

Foxing and some dampstaining to the plates, otherwise a clean and agreeable copy.

Carron du Villards (1801–1860), the son of a military physician distinguished during the Napoleonic campaigns, taught ophthalmology at the Paris Faculty of Medicine.

First edition, with three folding plates and numerous hieroglyphs in the text.

A copy preserved in its original wrappers with temporary green paper covers, a title label affixed at the head of the spine.

Occasional foxing.

The German traveller and Orientalist Julius von Klaproth (1783–1835), one of the foremost linguists of his time, devoted himself chiefly to the languages of Asia, which he spoke almost all.

In this vehement critique of Champollion, published six months after the latter’s untimely death, he seeks—though not entirely in good faith—to call into question the method and results of the scholar from Grenoble, disputing in particular the priority and the significance of his discovery.

Complete set of 13 original lithographs by Eugène Delacroix, in first edition, first issue with the letter, one of 20 copies on Chine paper pasted on laid paper:

"It was originally printed in a few proofs on Chine, the format of which exceeds the square line by one or two centimeters. They are highly sought-after, even though they bear the letter" (Robaut).

Bound in the original publisher's brown half-shagreen binding, title gilt stamped on first board, original first cover wrapper preserved. Small restored tear to the margin of the wrapper over 5 cm, sunned spine, joints and corners rubbed, scattered foxing and a dampstain to the lower part of the laid paper on which the lithographs are pasted on, without affecting the lithographs themselves.

Exceptional and rare set of original lithographs by Eugène Delacroix on Chine paper, illustrating Shakespeare's masterpiece.
A cornerstone of Romantic art, this series was "made at M. Delacroix's personal expense. Only 80 copies were printed, 60 on blanc and 20 on chine, and these were sold out at the time of the author's death" (Henri Béraldi).  It is now esteemed as Delacroix's most accomplished graphic undertaking, which took him more than ten years to achieve and generally considered to be one of the first modern livres de peintre.

First edition of this complete suite of 18 numbered intaglio plates enhanced in colour, on 'J. Honig & Zoonen' laid paper, depicting 72 merchants accompanied by captions beneath each figure.
First printing, subsequent editions will feature individually numbered figures surrounded by a border.

Bound in half sienna morocco with corners, smooth spine, title stamped in gilt throughout, tiger patterned paper boards, combed paper endpapers and flyleaves, first cover retained, gilt head.
 
Extremely rare and the earliest known suite of prints depicting itinerant merchants and pedlars in Spain. Each figure is accompanied by the profession or advertisement shouted by the vendor in Castilian dialect.

New illustrated edition with vignettes by Tony Johannot. Single-volume reprint by Dubochet of the 1835 Paulin edition, with some new vignettes, notably on the title page. 800 Vignettes.

Contemporary full navy blue shagreen binding. Spine with false flat raised bands decorated with grotesque compartments. Boards stamped in blind with a large central decorative frame with multiple borders, in blind, with triple gilt fillets, bold... Interior frieze. Edges gilt. Signs of rubbing. One upper corner pushed in. White watered silk endpapers darkened. Apart from 2 leaves in the preface on Molière that are browned, paper very white and fresh. Dubochet used different paper for his edition whereas the 2-volume edition is almost systematically always foxed.
Handsome copy in full contemporary binding.