Romantic Illustrated Books (1800-1860)

Le cuisinier anglais universel, ou le nec plus ultra de la gourmandise [The Universal Cook], Tardieu, Paris 1810, 13,5x22cm, 2 bound volumes.
Rare first French edition.
2 frontispieces and 12 numbered engravings bound at rear of the second volume.
Small lack of paper to upper right corner and marginal restoration to the first volume's title page. Minor foxing, a light halo to the right margin of each of the 12 engravings at rear of the second volume.
Red half morocco binding, smooth spines with arabesques motifs in gilt, marbled paper boards, snags and rubbing to boards and edges, corners bent.
The book was first published as The Universal Cook in London in 1792; its fourth edition was translated into French and published in 1810.
The Universal Cook is the work of two famous chefs, Francis Collingwood and John Woollams, who worked in the most famous establishments on the London Strand: the London Tavern and The Crown and Anchor, known for serving members of the Whig-club.
This edition is one of the few examples of British cuisine making inroads into French gastronomic culture. The latter was to exert an almost unchallenged hegemony for a long time to come. The Universal Cook's publication was considered a curiosity in French culinary circles, as the publisher's preface indicates; it was also seen as a real risk, according to the great bibliographer Oberlé: "Let us admire the courage of the publisher Tardieu, who, in 1810, at a time when we had no enemies more hated than the English, dared to have translated a book praising the culinary splendors of the perfidious Albion". However, this rare publication was in response to demand from an Anglophile gourmet public: it's no coincidence that one of the first luxury restaurants in Paris was christened La Grande Taverne de Londres (The Great London Tavern) due to the renown attached, from the end of the 18th century, to fine dining as it was practiced in England. The book was issued during post-revolutionary France, where cooking had outgrown aristocratic circles. Former cooks in the service of now emigrated nobles opened restaurants, where they developed a true "culinary science" like their English counterparts.
Recipes in this book illustrate changes in English culinary culture at the turn of the 19th-century. The hierarchy of prestige, previously held by French cuisine with its rôts and potages, gave way to puddings and tarts. There are only fourteen "French-style" preparations: fricandeau, duck, mauviettes, sole, turbot, cookies, "selle de mouton [pullets] à la Saint-Menehould", "soupe lorraine"... For a short while, the city of London had replaced French court as center and driving force of culinary change.
A very rare appearance of English cuisine in French gastronomy, during an era of intense hostilities between the two countries as Napoleon waged war on Europe.

First edition, rare, which can be translated under the title Hokusai's Sketches, volume 1. 15 volumes were indeed published covering Hokusai's work. The first was published in 1814 and the last posthumously in 1878. The final volume is considered apocryphal by some art historians. The volume contains approximately 30 subjects, most on double pages in black, grey and flesh tones. The preface to this first volume was written by Hanshi Sanjin, who presents the master's visit to Nagoya. It is essential to add that one cannot determine whether this is the first printing or a later printing, because on this subject, there was no difference for the Japanese, and the publisher reprinted volumes as needed, the notion of first printing not being relevant with regard to Japanese books. We know however that the publisher made a second printing of this book between 1828 and 1878. Later printings do not have the same publisher's name and often possess a date, which is not the case with earlier printings. Later printings do not have the same publisher's name and often possess a date, which is not the case with earlier printings.
Accordion volume, bound by stitching. Turquoise cover with title label and red writing on white ground. One stitch detached, without consequence for solidity. Small wormhole damage to lower margin of the first 3 leaves. Fine copy, very fresh, quite rare in this condition.
The Hokusai manga treat varied subjects, scenes from daily life, but also battle scenes, also scenes from typically Japanese legends, animals and flowers. It is generally considered that, after a period of intense production, Hokusai very carefully selected his sketches, and even redrew a certain number of them, arranging them in the order we know today. However, Michener maintains that the layout of the different sketches on a given plate was actually decided by the engravers and publishers, and not by Hokusai himself. We should recall that the technique of Japanese printmaking is very close to the original drawing, since the ink drawing was applied to a piece of wood that the engraver hollowed out, precisely following the lines of the drawing, itself destroyed by this operation.
Volume devoted to figures and animals.

First edition illustrated with 15 etched portraits engraved by Jeanron; the portrait of Camille Desmoulins is before letters.
At the beginning of the volume, the index listing the engraved portraits has been marked with blue ink in the left margin of each name.
Some foxing, three lacks at head and foot of spine, small tears and marginal lacks to the dusty angular boards, two portraits (out of 15) are missing from our copy: that of Robespierre jeune and that of Georges Couthon.

Illustrated edition with 31 plates, including 6 portraits, 18 views, 2 maps and 6 music plates, initials, tailpieces, headpieces and numerous in-text vignettes. Handsome edition beautifully decorated with romantic motifs. Each title page with an in-text vignette.
Contemporary half blue glazed calf bindings with corners, smooth spines decorated with gilt romantic tools, gilt volume numbers and gilt friezes at foot, some headcaps slightly worn, marbled paper boards, one upper joint of volume 2 with a tear, two tears to lower corners of volume 10, marbled endpapers and pastedowns, marbled edges, labels pasted to versos of first boards and bibliophile stamps on half-title pages, contemporary romantic bindings. Scattered browning as usual, some pages with micro spotting. Traces of rubbing. Spines slightly faded. Some corners bumped.
Set established in elegant romantic bindings.
Contents: I. Les Destinées de la poésie. Premières méditations poétique. La Mort de Socrate; II. Nouvelles méditations poétiques. Le Dernier chant du Pèlerinage d'Harold. Épîtres; III-IV. Harmonies poétiques et religieuses. Pièces diverses; V-VIII. Voyages en Orient; IX-X. Jocelyn. The last 3 volumes which contain La chute d'un ange and Les recueillements poétiques published later are absent from our set as is often the case.

Rare first edition, fifth volume of Hokusai's Mangas or Sketch Books. 15 volumes were published between 1815 and 1878, the fifth volume contains approximately 30 subjects, most on double pages in black, grey and flesh tones.
Accordion-fold volume, bound with stitching, black cover, some creasing to board edges, rubbing and small lacks. The red printed label is lacking to this copy. The first and last pages detached from boards. Creases, small lacks and discolouration to boards. Minor soiling.
Hokusai's mangas treat various subjects, the artist depicts Japan of the period, from everyday scenes to amusing moments, combining a great variety of subjects: the present volume focuses on temple architecture, their ceremonies, contemplative scholars, ladies from the Heian period (784-1192), nobles, samurai lords as well as divinities and onis (demons). One will also note a magnificent view of Mount Fuji and an impressive storm scene at sea. These different subjects were intended to serve as learning manuals for use by young artists, they would also serve as model collections for artisans and would even become a sort of illustrated encyclopedia of life and daily living in Japan during the Edo period (1603-1868).
We should recall that the technique of Japanese printmaking is very close to the original drawing, since the ink drawing was applied to a piece of wood that the engraver hollowed out, following precisely the lines of the drawing, which was itself destroyed by this operation.

Fifth edition and first printing of the 425 drawings by Gustave Doré.
Half brown sheep binding, smooth spine decorated with gilt and black fillets, traces of rubbing to spine, joints slightly cracked at head and foot, marbled paper boards, marbled endpapers and pastedowns, one upper corner slightly bumped.
Some minor foxing.

New edition illustrated with an engraved frontispiece in each volume.
Binding in half green Russia morocco with small almond-green corners, smooth spine decorated with gilt friezes and fleurons, blind roulettes on headcaps, green paper boards, blind fillets on edges, contemporary binding.
Some foxing, some rubbing to spine.
Rare edition of this emblematic work of the Age of Enlightenment denouncing intolerance and all forms of fanaticism.

First edition illustrated with 101 lithographs by Daumier and 2 frontispieces by Nanteuil. Each issue contains 3 pages of text and one captioned lithograph. The volumes dated 1840 are reprints. These lithographs were originally published separately from 1836 to 1838, and were reduced in size for this volume.
Contemporary half calf binding with lavender tint. Smooth spine decorated with mirror rococo tooling. Spine uniformly darkened. Joints cracked. One scratch on the upper cover. Evidence of rubbing. Lithograph 36 has a repaired tear running lengthwise across the entire page. Very light scattered foxing. Small dampstain to lower margin of lithographs 48 to 57. Paper generally somewhat browned.
Satire of society through the character of Robert Macaire, an unscrupulous businessman

The rare first edition, complete in 2 volumes. The first volume contains a colored frontispiece and 13 double-page plates. The second volume has 12 double-page plates and a black frontispiece. All plates are in black and grey wash. The volumes are undated but note a location: Nihonbashi dori, the bridge avenue in Edo. They bear the name of Ichiyusai, one of Kuniyoshi's first artistic names. The date is therefore indicative and has been determined according to various criteria; however, according to the preface, the books were in production at the time of Kuniyoshi's death and the frontispiece of the second volume is the work of Utagawa Sadahide. One of the master's last works in which he rediscovers the elements that ensured his renown.
Volumes in accordion format, bound by stitching. Title label. Green covers. The second volume with a lower cover speckled with whitish stains, a few on the upper cover of volume 1. In volume 2, 3 leaves with a folded corner. Good interior condition.
Kuniyoshi was one of the last great masters of traditional Japanese printmaking and one of the great painters of Japan alongside Hokusai and Hiroshige, where he is justly celebrated. In 1811 he was admitted to Toyokuni's workshop, becoming one of his principal pupils. He thus inscribed himself in the tradition of the Utagawa School. Kuniyoshi remains primarily the draughtsman of legendary characters, heroes and often strange or even fantastical scenes. Kuniyoshi's talent and personality forged a work of great quality, clearly distinct from those of his predecessors and contemporaries. Like Hokusai, he remained throughout his life an artist in search of new themes. He was a creator, seeking innovation useful to the progress of his art and its understanding. The artist benefited from a major retrospective at the Grand Palais in Paris in 2015.
The innovative aspect of these prints consists in a marked accentuation of fantastical elements, in a dark atmosphere with spectral apparitions, and in the depiction of tattoos, which would launch a veritable trend at the time.

New edition illustrated with a frontispiece engraving in each volume.
Bindings in half bottle-green Russia morocco, spines with five fine raised bands decorated with typographical motifs and gilt friezes showing slight rubbing, apple-green cardboard boards, marbled paper endpapers and pastedowns, marbled edges, contemporary bindings.
Foxing, two spines faded.

Edition with some parts in first edition, illustrated with 100 (of 103) vignettes after drawings by Daubigny, Johannot, Charlet, Raffet, Scheffer, Devéria...
Half red calf bindings with corners, spines slightly faded with one raised band decorated with gilt and black romantic arabesques, gilt friezes at head and foot, gilt fillet frames on marbled paper boards, marbled endpapers and pastedowns, speckled edges, some corners slightly bumped, contemporary bindings.
Some foxing, four vignettes lacking in our copy.
However, our copy is complete with the two portraits of Béranger and the facsimile of a 4-page manuscript letter, all placed at the beginning of volume I.

Second edition, bringing together in 2 volumes the 4 volumes of the New Testament published in 1793 and The Acts of the Apostles which is always missing from this edition, in 1798. It is illustrated with 112 numbered figures by Moreau Le Jeune. The plates are clean and well printed, with good inking. Complete with the binder's notice.
Empire binding in full black Russia leather. Smooth spine decorated with 2 grotesque compartments with various motifs, roulettes and other tools. Gilt title and volume labels. 2 framing roulettes on boards. Interior border. Gilt edges. Signs of rubbing. Small fragments of leather missing at head of volume 1. Small light dampstain at corner of pages 22 to 27 affecting two engravings. Some foxing in margins but overall clean
19th-century armorial bookplate: Edouard Milner, with the motto Addit prena feris

First edition illustrated with 15 etched portraits by Jeanron. The portrait of Camille Desmoulins appears before letters.
A few discreet marginal pencil annotations, likely in Champfleury’s hand.
Some occasional foxing.
Bradel binding in olive green half cloth, flat spine decorated with a gilt fleuron, double gilt fillet and date at foot, tan shagreen label, marbled paper boards, original wrappers preserved despite some marginal losses, corners rubbed.
This copy includes all 15 engravings depicting the most illustrious figures of the Montagne.
Provenance: From the library of Champfleury (no. 519 in the catalogue published by Léon Sapin in 1890), then from the library of Archibald Philip Primrose, fifth Earl of Rosebery, with his engraved bookplate mounted on a pastedown: "Honi soit mal y pense" and his "Rosebery / Durdans" stamp at the top right of the title page. He served as Prime Minister of the United Kingdom.

Illustrated edition with first printing of a title vignette, 140 half-page vignettes, all by Tony Johannot, engraved by Brevière. Moorish-style bandeaux and drop capitals. Text framed with a double black fillet.
The original frontispiece has been replaced by an original signed watercolor by Adolphe Lalauze (1838-1906) for an illustration of Le Diable boiteux, and an original ink drawing by the painter and illustrator Henri Pille (1844-1897), dedicated to his friend Dr. Laffont and dated May 3, 1896. Furthermore, the copy has been enhanced with 9 etchings engraved by Louis Monziès after drawings by Henri Pille for the Lemerre edition of 1879, in two states, on vellum before letters and on chine before letters (the 9 proofs on chine bear Pille's autograph signature); and with a portrait of the author and 7 etchings by Adolphe Lalauze for the Jouaust edition of 1880, before letters on laid paper (each proof has been signed in red by the artist). Copy assembled by Dr. Laffont, dedicatee of Henri Pille's drawing, who noted in his hand the list of added pieces opposite the cover. The binding was also executed at his request by Charles Meunier in 1899.
Full lavender morocco binding signed Charles Meunier at the bottom of the pastedown (with morocco-edged slipcase). Spine with raised bands decorated with 2 tools and the same mirrored in the center. Covers with a wide frame repeating the motif used on the spine. Decorative border frame inside on the pastedowns. Edges gilt. Covers and spine preserved. Some pale foxing only from p. 304 to 312. Traces of rubbing to joints and headcaps. Some offsetting from the engravings.
Superb copy in very rare condition.

First edition.
Publisher's binding in full black boards, smooth spine, spine and covers richly decorated with polychrome and gilt decorative motifs, covers ruled in blind, yellow paper endpapers and pastedowns, contemporary Romantic binding.
Some foxing.
Work illustrated with 8 color drawings hors-texte.
Handsome copy presented in its contemporary Romantic binding.

First edition under this title and the most accomplished definitive version of this licentious story attributed to Antoine Bret (and previously to Claude Villaret), whose first version appeared in Amsterdam in 1745 under the title Galanteries de Thérèse.
Half red shagreen binding, spine with four raised bands set with gilt dotwork and decorated with gilt compartments, red pasteboard boards with black stains, marbled endpapers and pastedowns.
Rare work illustrated with 2 frontispiece engravings.

A delightful little libertine novel, supposedly autobiographical, of a young courtesan who recounts her apprenticeship in the profession by her mother and, naturally, her flourishing. But the particularity of the work is to maintain confusion between titillating fiction and supposedly authentic narrative. The preface itself is signed by the presumed authoress, who justifies the presence of her portrait as frontispiece, through argumentation of pure misogyny: "The essential thing about a woman is beauty; wit and virtues are only accessory qualities; the first does not always give as much pleasure as it seems to promise, the second, however respectable and boring, rather resembles those curiosities which, being of no use in the commerce of life, are good at most for display."
Republished in the bibliophile's collection at the end of the century, the novel was preceded by an erudite preface, revealing the true author and analyzing the secular success of this work:
"Even its morality is quite indicative. Thérèse does not display profound, disappointing, or even merely troublesome philosophy, but she knows how to find picturesque, colorful, rapid traits of observation; she abounds in practical reflections that are wisely practical. And finally she recommends herself above all by a good heart, one of those kindnesses that facilitate life, and more particularly gallant life. All these qualities suffice to make the reading of these short memoirs both endearing and attractive, which truly depict, without great rhetoric, the rapid stages of existence of a girl who has of herself devoted herself to giving pleasure, sparing neither her body nor her heart."

First edition.
Publisher's binding in full black paper boards, smooth spine, spine and covers richly decorated with gilt ornamental motifs, blind-ruled frame on covers, yellow paper endpapers and pastedowns, contemporary Romantic binding.
Some light foxing.
Work illustrated with 12 engravings devoted to the different regions of France.

First edition illustrated with 14 armorial plates in chromolithography.
Full vellum-style paper boards binding, spine with five raised bands set with double gilt fillets and gilt garlands and decorated with gilt fleurons, gilt roulettes on headcaps, frame of gilt floral frieze on boards, front board stamped in the center with the Coussemaker family coat of arms, endpapers and pastedowns of speckled paper, frame of gilt dentelle on pastedowns, gilt fillets on leading edges.
Two small stains at head of back board and at foot of front board.
The work contains 280 coats of arms in chromolithography distributed across 14 plates; the Coussemaker family coat of arms has unfortunately been cut out from the third plate.

First edition translated by Louis Viardot and illustrated by Tony Johannot in first printing. Two frontispieces printed on China paper, two engraved title pages, and 800 large text vignettes.
Half chocolate morocco binding ca 1880. Raised band spine decorated with richly ornamented compartments with central roundel. Chocolate morocco title and volume labels. Double fillet border on boards. Top edge gilt. Light traces of rubbing to edges. Copy of exceptional freshness, perfectly white and free from foxing, for an edition that is always foxed. Uncut set, with full margins.
Famous Romantic illustrated book; one of Johannot's finest productions, along with Voyage où il vous plaira and Roland furieux. Johannot is less renowned than Grandville, undoubtedly because he is more typically Romantic, in Hugo's sense, both gentle and sentimental, then whimsical and morbid to the point of grotesque. There is more mystery and terror in his work than in his counterpart's.
"One of the finest illustrated books of the 19th century" Vicaire.

First edition illustrated with 44 figures, 2 maps and one music plate. "Work decorated with forty-four plates, most executed after original unpublished drawings, made on location".
Contemporary full speckled brown sheep binding. Smooth spine decorated with fillets. Red morocco title label, other title label in brown morocco. 2 tears on volume 2 in the first compartment. Split to lower joint at head. Both volumes are noticeably warped. Vol. 2 p. 35, cuts to upper margin caused by wormholes; p. 40 to 64? wormhole track in left margin, as well as on one plate. One tear in volume 1, p. 17. P. 85 to 101 in volume 1, wormhole track in center. Occasionally small cuts to upper margin on certain leaves in volume 2. Offsetting of first signature in volume 1.
Esteemed monograph on Senegal. Geoffroy de Villeneuve traveled from 1785 to 1788 in Senegal with the Chevalier de Boufflers. His account L'Afrique ou Histoire, mœurs, usages et coutumes des Africains, Le Sénégal, published by Nepveu in 1814, is one of the sources for Jules Verne's Cinq semaines en ballon when he speaks of the shipwrecks of Saugnier and Brisson, which constitute the beginning of the work on Senegal. It also contains the description of a slave ship, and a vocabulary of the Wolof language.

The first edition, published in a small number of copies.
Half red morocco with corners, spine with five raised bands set with gilt and black fillets, gilt fillet on combed paper boards, marbled endpapers and pastedowns, top edge gilt, contemporary binding.
The work illustrated with a beautiful frontispiece drawn and engraved by Félix Bracquemond.
Handsome copy attractively bound.

First edition, illustrated with a repeated frontispiece and 30 plates by Gavarni engraved on steel by Geoffroy. Printed on fine vellum. Copy from the deluxe issue with plates finely heightened in watercolor; These engravings are presented in very beautiful frames with lace-cut margins. Illustrated orange-tinted covers preserved (spine and back covers with advertisements also preserved).
Half lemon yellow morocco binding with corners, late 19th century. Spine with false raised bands richly decorated with roses in compartments ornamented with stars and other decorations. Red morocco title labels, second title labels in soft green shagreen. Some rubbing. Small brown spots on the leather of the upper cover. Uncut copy, shorter titles in margins. Some occasional foxing.
Handsome copy.
Méry's texts are short stories centered around a precious stone or jewel. The engravings illustrate various feminine adornments, in the first volume around jewels, pearl, reliquary, pendant, rosary, sapphire, bracelet... in the second volume, shawl, muff, mantilla, turban, bouquet, crown...

First illustrated edition with 64 plates by Philippoteaux. Clouzot erroneously announces 1863 for this first illustrated edition by Dufour, Mulat and Boulanger, confusing it with the edition published by Legrand and Boulanger. Placement sheet for the engravings at the end of volume 2.
Contemporary half black shagreen binding. Spine with false raised bands decorated with blind-tooled compartments and gilt fillets. Gilt title and volume number. Traces of rubbing. A tear at the foot of volume 1. Lower corners bumped. Scattered foxing. Lower edges rubbed.
Novel inspired by the life of Count Cagliostro, whose goal, at the head of a secret organization, is to overthrow the French monarchy. The work is dominated by the Illuminist current and animal magnetism which the Count uses as a great power. One encounters Jean-Jacques Rousseau, Swedenborg and Marat. Behind the secret organization, Dumas draws a portrait of Freemasonry. Count Cagliostro is one of the most captivating characters created by Dumas, a Machiavellian Don Juan of superior intelligence with quasi-supernatural powers.
The work would later be adapted for television by André Hunnebelle starring Jean Marais. Like all of Dumas's novels on each historical period, although each novel is conceived as a complete work, Joseph Balsamo is the first part of a tetralogy where the same characters intersect even though the story is different each time: Le collier de la reine, Ange Pitou, and la Comtesse de Charny.

First edition and first issue, illustrated with 16 hors-texte engravings by Paul Gavarni engraved on steel by Charles Geoffroy and heightened in colors. Each plate features lace-cut decorative borders standing out against a pink paper background.
Publisher's full pictorial boards, original yellow paper endpapers and pastedowns somewhat soiled at margins as usual. Some corners slightly rubbed, as well as the headcaps; rear joint very slightly opened. Scattered foxing more pronounced on certain leaves.
Very handsome publication preserved in its romantic pictorial boards.

First edition illustrated with 200 plates and 120 vignettes by Grandville, engraved by Brévière. One plate missing from volume 2 ("Tous l'aimaient éperdument..." in the chapter entitled "Les peines de coeur d'une chatte française". In volume 1, the plates from pages 241 and 378 are incorrectly bound at pages 140 and 275. The frontispiece of the first volume is different in the first volume from most other copies, however the usual frontispiece has been placed further along.
Contemporary half red calf bindings, smooth spines decorated with large uniformly faded gilt tools, marbled paper boards with some minor rubbing as well as on the bindings overall, pebbled paper endpapers and pastedowns. A few very rare foxing spots.
Pleasant copy of this satire of society under the Second Empire.

First edition, admirably illustrated with 201 plates and 120 vignettes by Grandville. This first volume correctly has the first third of the work printed on tinted paper while the rest is on white paper, a characteristic of the first printing; most copies are from a second printing as the leaves are also white like the rest of the work. Moreover, Hetzel's publisher's preface, usually absent, is present here before the prologue. Most copies begin directly with the prologue. The frontispiece of volume 1 has been placed facing p. 32, the engraved half-title entitled Scène de moeurs serving as frontispiece; this half-title is often absent from most copies. The frontispiece and engraved title of volume 2, as well as an engraved half-title also entitled 2e partie have been preserved without the title page of the second volume which has not been bound in this copy. These 2 half-titles, in the first volume Scène de moeurs, in the second volume 2e partie are very often absent from copies.
Near-contemporary half red shagreen bindings with corners. Spines with raised bands with 3 decorated compartments, gilt title and volume number. Separation fillets on boards. Combed edges, echoing the pattern of the endpapers. Signs of rubbing. On the upper board of volume 1, a 2 cm area exposing the cardboard. Superb freshness of the paper, completely free from foxing.
Handsome copy.
This famous publication needs no introduction, a satire of contemporary Parisian society under the Second Empire, an enterprise due to Hetzel, who under the pseudonym Stahl signed several texts and commissioned texts from the most famous writers of the time: Balzac, Musset, Sand, La Bedollière... The last chapter recounts the imprisonment of the various writers who can be seen in enclosures at the Jardin des plantes, where we see Grandville from behind drawing them. One of Grandville's great works of imagination, full of verve and fantasy.

First printing of this important Romantic publication issued in 10 parts in 8 volumes.
Literary contributions by Ernst Theodor Amadeus Hoffmann "Le conseiller Krespel", Charles Dickens "Le baron de Grogzwig", Matthias Emmich "Geneviève de Brabant", Sâvitrî "Episode du Mahabharata", Homer "Le combat des rats et des grenouilles", Gottfried August Bürger "Lénore", Paul Gavarni "Madame Acker", Marie de France "Lai des deux amants" and "Lai du Bisclaveret", Ludwig Tieck "La réconciliation", Henri Blaze "Rosemonde" correctly containing 34 pages, which identifies the first printing as opposed to the second which contains only 24.
This collection is illustrated with 10 frontispieces drawn and etched by Penguilly, Jacque, Trimolet, Jeanron, Féart and Daubigny as well as 62 in-text engravings including 57 woodcuts and 5 etchings by Louis, Soyer, Lavieille, Guilbaut...
Our copy is complete with the plate, not listed in the table, for Sâvitrî and the vignettes for "Rosemonde" and "Madame Acker" which are sometimes lacking.
Handsome copy in green part wrappers, to which we add the general cover.
The whole is presented in a half blue long-grain morocco chemise, spine with four raised bands set with gilt garlands enriched with red mosaic morocco pieces, spine also decorated with gilt quadruple compartments embellished with red mosaic morocco pieces, gilt date at foot, marbled paper boards, pebbled paper endpapers and pastedowns, slipcase with blue morocco borders, marbled paper boards, pebbled paper interior, signed G. Mercier and dated 1923.
Three bookplates pasted on the pastedown including that of Maurice Robert.
One joint of the chemise and slipcase slightly rubbed at foot, small marginal tears on some green covers.
Rare and handsome copy of this work, one of the most important of the 19th century according to Carteret.

First edition of the new French translation by Christian, illustrated with first printing of 10 plates by Gavarni on wood and multiple vignettes, initials, tailpieces by the same. Preface on Hoffmann by Christian.
Half lemon yellow morocco binding with corners, late 19th century, signed Champs at the top of the first endpaper. Raised bands spine richly decorated. Red morocco title label. Decorative fillets on boards. Peacock eye paper on boards. Top edge gilt. Small dark spots on upper board. Small dent at foot over 2 mm. Fresh tinted paper free from foxing, rare condition for this edition usually covered with foxing and browning.
Very handsome copy.
17 tales (Salvator Rosa, Antonia's Song, Coppelius...), including The heroic story of the famous minister Klein-Zach, nicknamed Cinnabar, in ten chapters.

First and only edition of this wonderful romantic illustrated book. It is profusely illustrated with woodcuts after Bertall, 50 hors-texte, including the frontispiece, and 310 vignettes.
Modern cloth boards inspired by romantic bindings, signed at the top of the title page by A. Lavaux. Romantic-style gilt spine. Title label in orange shagreen. Top edge gilt. Very rare illustrated covers and the spine preserved, restored to the corners, spine with missing parts has been strenghtened. Spine slightly lightened. One leaf at the beginning and one at the end (half-title page and p. 332) have a slight restoration to the spine in the margin. Perfectly white, immaculate paper. Uncut copy, with all margins. Superb copy, very rare in this condition.
"Book illustrated with spirit by Bertall, whose compositions wonderfully complement a text full of humor. There was only one edition which is very rare." (Carteret III, 48). Balzac would be sketched three times in this work which received the wrath of the female readership for its mysogyny.

First edition of this posthumous work illustrated with 15 insert steel-engraved plates by Charles Geoffroy and enhanced in color, including two frontispieces and a portrait of Grandville.

Publisher's binding with full historiated cream boards, first board illustrated, browned endpapers as is usual for this period.
Rare interior foxing.

Superb publication, arguably one of Grandville's most poetic, in which – as for his Fleurs animées – the artist represents celestial bodies with young women.

First illustrated edition, by Bertall. Eight plates hors texte (on China paper mounted on heavy paper), including a portrait of the author, engraved by Ch. Geoffroy and numerous figures in the text engraved by Midderigh. Introduction and biography by Alphonse Karr.
Contemporary half brown shagreen binding with marbled paper boards. Spine with raised bands decorated with compartments in blind and blind fleurons. Traces of rubbing. Some pale scattered foxing. Handsome copy.
Delightful and humorous illustration.

First edition and first printing of the engravings.
Contributions by Théophile Gautier, Laurent-Jan, Léon Gozlan, Auguste Lireux and Jules Hetzel under the pseudonym P.-J. Stahl among others.
Contemporary publisher's binding in full black shagreen. Smooth spine decorated with 3 ornate compartments, blind and gilt fillets. Large rocaille composition on boards, thick triple fillet frame. Interior frieze. White watered silk endpapers. All edges gilt. Perimeter of watered silk endpapers brown-stained. Tailcap of volume 2 with a loss. Traces of rubbing. Thin scratch on the upper board of volume 1, lower board of volume 2. Some very occasional foxing on clean white paper. The binder inverted volumes 1 and 2, and volumes 3 and 4 (the error stemming from the fact that the 4 series are not numbered by volume). Very handsome copy.
Work illustrated with a general frontispiece, 14 vignettes including one repeated and 320 plates, all wood-engraved.
References: Vicaire, III, 953-955; Brivois pp.168-171; Carteret, III-260-264: "Cet ouvrage est fort rare en belle condition."
Remarkable copy of superb freshness in full contemporary Romantic binding.

New illustrated edition with 8 etchings by Tony Johannot bearing the artist's name engraved with the point, on China paper mounted. These illustrations belong to the first illustrated edition of 1845, 2 are artist's proofs without Johannot's name added by him. Printed on laid paper.
Half old red shagreen binding with corners signed Petit at the top of the first endpaper. Spine with raised bands richly decorated with elaborately gilt compartments. Red shagreen title label. Top edge gilt. Uncut copy, full-margined, perfectly fresh. Spine slightly faded.
Handsome copy from the sale of Jacques Crépineau's library, without his bookplate but with a bookmark from L'Etude Ader reproducing the bookplate (11/10/2021). Director of the Michodière theater and theater historian, he held a famous collection of Romantic books.
List of tales: Trilby - Le songe d'or - Baptiste Montauban - La fée aux miettes - La combe de l'homme mort - Inès de las sierras - Smara - La neuvaine de la chandeleur - La légende de la soeur Béatrix.

Bilingual illustrated edition in first printing, translated by Charles Nodier with the English text facing. Notice by Charles Nodier. 10 plates by Johannot on heavy laid paper before letters and more than one hundred vignettes. Printed on fine tinted laid paper. A frontispiece on China paper mounted on heavy laid paper. Text within ruled borders.
Full glazed midnight blue calf binding. Smooth spine decorated with long mirror tools. Boards stamped in blind with a large Cathedral plate with foliate scrollwork (motifs that seem to reproduce the front cover). Edges gilt. Interior border. Fresh overall, but foxing on the frontispiece and title leaf. Traces of rubbing. One upper edge slightly bumped over 0.5cm. The figure p. 341 is missing. Captioned tissue guards present.
Handsome copy in a full contemporary binding. The plate used for the boards seems particularly well suited to the work (cathedral motifs softened by ornaments, foliage and other elements).

Very rare and sought-after first edition, according to Clouzot, printed in only 300 copies.
Full red morocco binding, spine with five raised bands decorated with black fillets, gilt date at foot, gilt roulettes on headcaps, marbled endpapers and pastedowns, frame of gilt dentelle on pastedowns, double gilt fillets on edges, top edge gilt, original wrappers preserved, full marbled paper slipcase with marbled paper lining, perfect binding signed by Thivet, a binder who worked during the last quarter of the 19th century.
Bookplate pasted on one pastedown, bibliophilic notes in pencil on an endpaper by a previous owner of the work.
Handsome copy of one of the rarest "Romantics," complete with the frontispiece on China paper, drawn and engraved by Célestin Nanteuil.

Reprint of the so-called Keepsake edition published by Renduel in 1836. Furne had bought out the Renduel bookshop and quickly exploited its stock. The illustration contains a portrait of Victor Hugo as frontispiece, 2 title vignettes (these illustrations are new) and 11 steel engravings printed on strong paper by Johannot, Boulanger, Raffet, Rogier & Rouargue engraved by Finden, Staines... It is well printed in airy typography with large margins, and close to the original published in 1831. These two volumes that could be purchased separately formed the head of collection of the new collected edition at Furne, which explains the presence of Victor Hugo's portrait. Half-title before the titles, but which do not display, as for most copies of 1840: Oeuvres complètes de Victor Hugo.
Full straight-grained wine-colored morocco binding of the period with the cipher C.F. stamped in blind on the covers. Smooth spine decorated with long rococo tools and fillets. Gilt title and volume number. Covers with a wide border with fillets and rococo tools and the central cipher C. F. Wave fillet on the leading edges, interior frieze. White moiré endpapers. Edges gilt. Pale and yellow foxing scattered on paper that has remained white. The engravings are browned by the framing of the tissue guards, which are themselves browned. Spines have become uniformly blond. Traces of rubbing.
Fine copy. Notre-Dame de Paris, moreover like all the great novels of the period, is very rare in full contemporary binding, especially in straight-grained morocco.

First edition, illustrated with a repeated frontispiece and 30 steel-engraved plates by Gavarni engraved by Geoffroy on China paper laid down. Printed on fine white wove paper. Blue or neutral tissue guards. Illustrated orange-tinted covers preserved (spine and back covers with advertisements also preserved).
Half lavender morocco binding with corners and long grain signed Mercier (1920) at the top of the first endpaper, in Romantic style. Spine with false raised bands richly decorated with two complex mirrored tools in each compartment, blind fillets and rolls on the bands. Separation fillets on the boards. Uncut copy, full-margined. Perfect paper freshness. Light rubbing traces, impact at foot of the Parures volume with a dent of 0.8cm.
Very handsome copy, rare in this condition.
Blue leather bookplate P. Villeboeuf, with his gilt monogram also at top of pastedowns.
Méry's texts are short stories centered around a precious stone or jewel.

First edition and first printing of the illustrations by Tony Johannot, Paul Gavarni and Jean Gigoux.
Half chocolate brown morocco binding with corners, spine with five raised bands set with gilt dots and decorated with gilt typographical motifs set within double gilt compartments, gilt date at foot, gilt friezes at head and foot, gilt fillet frame on pebbled paper boards, combed paper endpapers and pastedowns, top edge gilt, handsome romantic covers and spine (lined and with slight lacks of no importance at head and foot) preserved, elegant binding signed David.
Occasional foxing.
Handsome copy perfectly executed.

Illustrated edition with first printing of vignettes by Tony Johannot, Baron, Celestin Nanteuil, Grandville, Geoffroy and 32 plates by the same artists.
Half chocolate brown morocco with corners, late 19th century, signed Bertault at the top of the first endpaper. Smooth spine richly decorated with mirror-pattern tools in Romantic style, roulette at head and tail, frame fillets. Separating fillets on boards. Top edge gilt. Covers and spine preserved. Uncut copy with full margins. Paper perfectly fresh, immaculate. Spine slightly sunned. Some traces of rubbing.
Very handsome copy of this rare illustrated Romantic work.

Les Français peints par eux-mêmes. Encyclopédie morale du dix-neuvième siècle – Le Prisme [with] Les Anglais peints par eux-mêmes [The French painted by themselves – The English painted by themselves]
First edition, one of the grand papier (deluxe) copies with two states of the illustrations for the 8 volumes of Les Français peints par eux-mêmes: one in black on tinted paper, and one enhanced by hand using the so-called “coloris gommé” technique with watercolour and varnish on white paper. Les Anglais peints par eux-mêmes includes the engravings in black. No deluxe copies in colour have been made for this rare set of Les Français.

Bound in half brown morocco, spine in five compartments enhanced with stipple engraving and double gilt panels richly decorated with gilt floral motifs framing a mosaic medallion of green morocco with a gilt rose stamped in the center, cartouches at the top decorated with a gilt garland framing the place and publication date, some light minor rubbing on some compartments, gilt fillets on the marbled paper boards, comb-patterned endpapers, top edges gilt. Elegant late nineteenth century bindings signed Durvand-Thiret.

Complete with all engravings along with added engravings, i.e. 930 engravings including 415 in colour. Title pages dated 1841 for all volumes of Les Français except for volume 5 of Les Parisiens and volume 3 of La Province dated 1842. Les Français peints par eux-mêmes has 415 engravings in black (including that of Napoleon on horseback) instead of the 405 announced and 415 in colour including a double page map of France in volume III of the Province. The English volume illustrated by Kenny Meadous is complete with 100 plates in black.

This unique set contains in total almost a thousand black and coloured engravings and more than 1500 in-text illustrations.
Famous gallery of woodcut portraits depicting the social classes of the 19th century by the greatest artists of the time: Gavarni, Daumier, Delacroix, Grandville, Johannot, Bellangé, Charlet, Daubigny, etc... The portraits are all accompanied by original texts from the most famous Romantic authors, including: Balzac, Nodier, Gautier, Nerval, Gozlan, Janin, Karr, etc...
Scarce foxing affecting mainly the Prism and the Anglais.

The texts and illustrations of the book paint a lively picture of inhabitants and their trade in metropolitan France and its colonies. It sets the tone for panoramic literature – a new genre coined by Walter Benjamin in Charles Baudelaire. A lyric poet at the height of capitalism. In addition to these portraits of the Français, “the contribution of a whole areopagus of great and small authors and illustrators” (S. Le Men, “La 'littérature panoramique' dans la genèse de la Comédie Humaine: Balzac et Les Français peints par eux-mêmes”, L'Année balzacienne 2002/1 (No. 3) CAIRN) includes some of the most renowned authors and cartoonists of the time, each of whom made an original creation for the project.

This protean fresco was directed by editor Léon Curmer, already known for the publishing success of Paul et Virginie between 1836 and 1838. Curmer is represented here by an article, “L'éditeur” in volume IV written by Elias Regnault. The latter takes example in Louis-Sebastien Mercier's Tableau de Paris, published in 1781, whose vision is even further extended by the representation of French provinces in Les Français. Thanks to Curmer the work finds an even deeper meaning: “the editor has widened his frame, and instead of letting a few fleeting portraits get lost in the immense daily whirlwind that engulfs all things, he has sought to bring together the most salient physiognomies of that time.” (S. Le Men, Ibid.)
Curmer selected the authors and illustrators closest to the ones they depict: “It is therefore a question of calling upon authors and illustrators who are well selected according to the 'types' they will have to portray.” (S. Le Men, Ibid.).
Les Français was published in fascicules – a common format at the time, allowing for a greater investment by the public whose opinion and subscription would count for the orientation of future articles. Readers were called upon to contribute, as shown by the “Correspondance des Français” preserved in our copy of Prisme, where the editor responds to readers' suggestions for articles: “Le Coiffeur [hairdresser] de M. Paul Tén... is a most spiritual article. We regret that the Coiffeur type having already been published we cannot accept it.” (Prisme, Issue 84)

The book is lavishly illustrated in the text with vignettes and culs-de-lampe, but it is above all the full-page figure in a landscape opposite the page of the text (so-called “types”) which constitute a novelty in the history of the illustrated book.

These portrayals in traditional settings and various occupations are close to the science of physiology popular at the time. Studying social groups, it aims to determine a representation of an individual who would be the prime example of his group, inevitably leading to a form of caricature.
This “project of a moral encyclopaedia which summarises the whole of society” (Léon Curmer) is the accomplished testimony of an era. Curmer's contemporaries found in the work “a sort of collective self-portrait in which “Paris” and “the provinces” follow one another, and in which each group will be able to recognise itself in one issue or another. (Ségolène Le Men, Ibid.). From its conception its main objective was to capture a fleeting present that lives according to the Baudelairian fashion, in order to “make a portrait of contemporary manners, amusing for the present, instructive for the future.” (Ségolène Le Men, Ibid.)

An important and rare copy of a masterpiece of the romantic illustrated book. A deluxe edition with Le Prisme with the addition of Les Anglais peints par eux-mêmes set in perfect uniform and mosaic bindings signed Durvand Thivet.

New translation by A. Mazuy. The 3 volumes are illustrated with a portrait of Ariosto as frontispiece and 85 wood-engraved figures printed on China paper and mounted on strong paper. They are numbered from 1 to 85. The 3 volumes properly contain the placement sheets for the engravings at the end and the errata. This beautiful illustration, a romantic vision of the chivalrous Middle Ages, is the work of Meissonnier, Baron, Français, Girardet...
Contemporary full glazed calf binding in violet. Smooth spine decorated with Rocaille tools in long and mirror patterns. Gilt title. Boards stamped in blind with a large ornamental plate in Renaissance style. Gilt framing fillets. Interior frieze. Lemon-yellow endpapers. Tissue guards present. Some occasional scattered foxing on an otherwise clean set, the tissue guards often browned or foxed. Signs of rubbing. Cracks on one lower joint at foot. Spine uniformly blue-green.
Very handsome copy, rare in this condition.
The work is completed with several studies by the translator, notes on chivalric romances, oriental traditions, chronicles, songs of the trouvères and troubadours. An index of proper names in Orlando Furioso.

Le Panorama des boudoirs, ou l'Empire des Nairs
One of the first great but almost unknown feminist books, admired by Schiller, Goethe, Godwin, Burr and which influenced Carlisle, Percy and Mary Shelley, Suzanne Volquin and Flora Tristan.

First edition of an extraordinary rarity, with a new title page with the Pigoreau address and enriched with four color-enhanced frontispieces, including one folding.

Contemporary bindings in half blonde sheep, spines decorated with gilt finishing tools and fillets and title pieces and volume labels in red morocco, marbled paper boards. A tiny worm hole at the foot of the first volume, the joint at the top of the outer board of which is very slightly split.

This long novel, made up of an erotic collection, is actually one of the most important feminist texts of the early 19th century. Despite a chaotic editorial adventure heavily hampered by censorship, this work written in French by a young Englishman, claiming to be a follower of Mary Wollstonecraft, will have a considerable influence on some of the most prominent European minds, including Percy and Mary Shelley, Goethe, Schiller, Aaron Burr, Thomas Carlyle and Flora Tristan.

Although it was published in three versions, German, French and then English, each one being a complete rewriting of the work by the polyglot author, this major and subversive work was very quickly removed from bookshop catalogs, and its author disappeared from literary history from 1840 to the end of the 1970s. “Today, after having long been known only by Shelley specialists, Lawrence begins to gain visibility within work on English radicalism. [...] He features prominently among the radical English feminists of the 1790s and [...] is considered as one of the precursors, with Shelley and Owen, to the fight against marriage and for sexual reform.” (Anne Verjus, Une société sans pères peut-elle être féministe ? L'Empire des Nairs de James H. Lawrence.)
Despite dozens of editions published in the 19th century, we have not found any copy offered on the international market.

Lawrence was barely 18 years old when he wrote a first essay on the 'system' of the Nairs, a matrilineal society situated on the Malabar Coast, in India, in which marriage and paternity had been abolished. Enthused by the critical success his essay encountered, in 1800 James Lawrence wrote a first novel version illustrating his thesis. On reading the manuscript, Friedrich von Schiller would have encouraged him to translate it into German. It is, therefore, in this language that, in 1801, the first version of the novel was published under the title Das Paradies der Liebe.

Present in France in 1803, James Lawrence became a prisoner like the majority of the English and was then held at Verdun for several years. It was under these circumstances that he started the complete rewriting of his novel directly into French. It was entitled L'Empire des Nairs, ou le Paradis de l'amour and was published in 1807 by Maradan, the publisher of Wollstonecraft and Hays.
Barely off the press, the work was seized by the police, considered “detrimental to good morals”. The copies were returned only on the condition that the entire edition was exported. The work was then distributed in Germany and in Austria where he had Johann Wolfgang von Goethe as an ambassador, whom Lawrence met in 1799, when the romantic poet invited him to Weimar for the performance of Voltaire's Mahomet. In his memoirs, Frédéric Soret will report Goethe's criticism of his friend's work: “According to Goethe, this is the work of a madman with a great mind and he would pay much more attention to Lawrence's writing if his approach to gender relations had not become a sort of fixed idea.” (Soret, Conversations avec Goethe, 1932) The friendship between the two men will not be affected by this “obsession” and in an 1829 letter to Thomas Carlyle, Goethe again referred to Lawrence as a “long-time friend”. Goethe was also the sponsor of the only portrait of J. Lawrence, undertaken at the philosopher's request by Johann Joseph Schmeller.

The first English version, “translated, with considerable alterations, by the author” was published in London in 1811 with a much more explicit title than the French version: The Empire of the Nairs; or, The Rights of Women. An Utopian Romance, in Twelve Books. It was republished in 1824 with a new title: The Empire of the Nairs; or, the Panorama of Love, Enlivened with the Intrigues of Several Crowned Heads; And with Anecdotes of Courts, Brothels, Convents, and Seraglios; The Whole Forming a Picture of Gallantry, Seduction, Prostitution, Marriage, And Divorce in All Parts of the World.

In France, it was not until 1814, after the fall of Napoléon, that Maradan was authorized to sell his copies repatriated from abroad, of which he replaced the title page, nonetheless specifying the date of the completed printing 1807 at the foot (erroneously printed “1087”). Even after the lifting of the censorship, distribution was so modest that today there are no copies with the 1807 date, and only a few rare 1814 copies in the major European and American institutions.

Indeed, in 1817, Pigoreau, Maradan's heir, still held enough copies to consider a new sale. (Quérard announced 1816, but this was clearly an error) He decided to use a ruse. Taking the original 1807 copies, he again changed the title page and replaced it this time with a very suggestive title: Le Panorama des boudoirs which it illustrates in frontispieces of four erotic engravings superbly enhanced in color, thus insinuating a completely different literature.
The first French edition published, therefore, under three separate title pages in 1807, 1814 and 1817. After a ban, an expatriation, a first resale, it is only at the price of this last subterfuge that the final copies of this too progressive work were sold. This idea will be weakened in several ways since in 1831 the Baron d'Hénin publishes a 16-page rewriting of the text with religious emphasis: Les Enfants de Dieu ou la Religion de Jésus réconciliée avec la philosophie (incidentally, he announces in the preface that the copies of the first edition are still available). Then, in 1837, the novel is modified again by the author and this time appears with a vaudeville title: Plus de maris ! plus de pères ! ou le Paradis des enfants de Dieu.

In fifty years, this multifaceted work has known at least seven publications in French – and a dozen in all three languages. However, we have been able to reference only two copies that have been put up for sale of the French edition (one from 1814 and one 1817), presented as erotic works following the faulty notice of Gay-Lemonnyer's Bibliographie des ouvrages relatifs à l'amour.
These editorial shifts as well as the almost total disappearance of the copies and the erasure of this author of literary history, testify to the obstacles raised in the face of the emergence of a consciousness which would become the challenge of centuries to come: the necessary and still unfinished struggle for equality and rights for women.

If France chooses to simply ban the work by invoking its immorality and the danger it represents for French readers, England, already grappling with the writings of Mary Wollstonecraft, authorises the publication of this new red-hot book, but unleashes criticism. In 1811, The Critical Review devotes several scathing pages, expecting that its readers, and especially its female readers, reject with “degust and indignation” a text so “absurd, improbable, indecent, immoral and only good for the fire”.

Thus, thanks to these manoeuvres the work will pass almost unnoticed by the general public, despite international distribution. The circulation of Lawrence's novel will, therefore, be restricted, but its influence will be major in progressive intellectual circles.

The first convert was no doubt the son-in-law of Mary Wollstonecraft, the poet Percy Shelley. Part of his work, in particular Queen Mab (1813), Laon and Cythna (1817) and Rosalind and Helen (1819), would be inspired by this praise of free love and even more specifically some of the novel's scenes. Perhaps he recommends reading it to his new conquest and future wife, the very young Mary Godwin Wollstonecraft who cites the work in her diary of 27 September 1814 and in her reading list in 1814, that is to say, just after her meeting with Percy Shelley.

Far from sharing the enthusiasm of her young companion, the young 17-year-old girl is very critical of James Lawrence's work. The future Mary Shelley is no less deeply moved by this novel which will be of major significance in the writing of her masterpiece, Frankenstein. In his study, The Paradise of the Mothersons: “Frankenstein” and “The Empire of the Nairs”, published in the Journal of English and Germanic Philology, (1996), D. S. Neff analyses James Lawrence's influence over Mary Shelley and shows “that a close reading of both novels reveals that even though Mary appears to have borrowed some key plot and thematic elements from Nairs, she nevertheless felt compelled to write an “anti-Nairs”, a monstrous parody of Lawrence's romance, whereas Percy Shelley used Nairs as a source of inspiration for his poems written during the writing of Frankenstein.”

Anne Verjus, for her part, recounts the many other effects of this publication: “The American Aaron Burr, a hero of the War of Independence, a competitor to Jefferson in the 1800 presidential election, and also an admirer of Wollstonecraft's educational principles, recounts in his travel journal that, during his stay in London, he had the book loaned to him by his friend [the philosopher William] Godwin, [father of Mary Shelley and friend to Lawrence since 1796]. After having spent two nights reading it, he went to Lawrence's home to discuss it, concluding that they will certainly see each other again. Lawrence, flattered by such a visit, recounts that the American invited him to return with him to the United States to establish a Naira republic. On the other hand, Burr having recommended it to his friend Mrs Thorpe, was told that, although she admired the liberality of his ideas on the education of women, it was an “abominable” system and that no one would certainly want such rights for women. Several years later, at the very end of 1828, The Lion by Richard Carlile published large extracts of the introduction to L'Empire des Nairs. According to specialists on Carlile, he would have read L'Empire des Nairs well before publishing these extracts. Many details suggest that he was inspired by Lawrence in writing his book Every Woman's book in 1826.”

Finally, it is undoubtedly on the Saint-Simon feminists that James Lawrence will exert the greatest influence, leaving many marks in their writing, as noted by Anne Verjus. Thus in 1832, Suzanne Volquin described L'Empire des Nairs at length in L'Apostolat des femmes; in 1833, Claire Demar quotes the novel four times in Ma loi d'avenir. Similarly, in 1834, Mrs E.A. Casaubon in Le Nouveau Contrat social, ou Place à la femme, reproduced a large extract of the 1831 version of Les Enfants de Dieu, while Flora Tristan (the famous feminist, socialist and Gauguin's grand-mother), invoked Lawrence in a petition in 1838 (petition against the death penalty, To the members of the Chamber of Deputies).

Despite the lineage of his thoughts on the first feminists and, generally, on the most prominent representatives of the progressive European intelligentsia in the early 19th century, almost nothing is known of this early defender of girls' right to education and the recognition of gender equality.
The unusual editorial history of this work, from its primary prohibition to its multiple distortions and its slow but inexorable disappearance from memory, is no doubt as instructive as the ideas defended by its author on the phallocrat power at work in society.
And it would be wrong to believe that 200 years after its publication, James Lawrence's text, advocating the desecration of marriage, filiation and romantic relations, has lost its subversive power: “Well! Let this word 'father' be removed from our institutions, and be marked with a sign of reform, as well as those of husband and spouse, let them be only preserved in our dictionaries to explain the usages and remind us of the simplicity of past centuries. Let every child be left in the care of its mother, and let him have no other heritage than that which she will pass on to him. May every women be freed without restriction from the domination of men, and be able to exercise all the rights that they exclusively have enjoyed until now. May she be able to change lovers at will, and take them indiscriminately from all classes of society.”

His 71-page long preliminary speech proves to be a real essay setting out his project of an egalitarian society and denouncing a system in which, despite perfect intellectual parity, women are raised more than educated in order to keep them in an artificial inferiority: “The many needleworks [...] will never allow her ideas to flourish. She sees no other men than her masters. [...] The moment finally comes when she enters the world; but freedom, so dear to all hearts, flees before her like a shadow: it exists even less for her than for a 10-year-old boy. [...] Man has decided, as absolute master, that ignorance would consolidate his authority [...] Now, if she is born with as much mind as he, why should woman obey man, rather than man obey woman? It is true that, according to Moses, during the first centuries she was regarded only as the servant of her proud partner: but if instead of having been written by a man, the bible had been written by a woman, we could have had a very different narrative.”

Exceptional and extremely rare first edition of one of the first great feminist works of the 19th century, which, despite its considerable influence, was perfectly erased from literary and intellectual history. The few copies remaining in major institutions are mostly classified in the department of erotic books!

New illustrated edition in first printing of 159 plates, 68 in volume 1, 66 in volume 2, and 29 in the third volume. Text in 2 columns within a frame, engravings in an ornate frame.
Contemporary half cherry red glazed calf binding. Spine with false flat raised bands richly decorated with cold and hot Restoration tooling, multiple cold and hot rolls on the bands, at tail and head. Title-label and volume label of brown glazed calf. Traces of rubbing to joints at head and tail, headcaps, covers. One corner bumped on volume 2, 2 on volume 3. Some foxing, some pages and engravings browned. Handsome copy.
Translation from the Vulgate by Lemaître de Sacy. Throughout the 19th century, this translation prevailed among writers for its literary qualities, notably Victor Hugo, Rimbaud...

"Vade mecum" edition illustrated with 55 engravings drawn by Forest.
Full brown Russia morocco binding, spine with four raised bands set with black garlands decorated with gilt double compartments and gilt typographical motifs, gilt date and place at foot, gilt roulettes on headcaps, quintuple gilt fillet frame with gilt fleurons at corners on boards, marbled endpapers and pastedowns, gilt dentelle frame on pastedowns, all edges gilt, double gilt fillets on edges, two corners slightly bumped, covers and spine preserved, superb binding signed Mercier successor to Cuzin.
Fine copy perfectly executed in a full morocco binding by Mercier.

This illustrated edition originally appeared from Curmer but the frontispieces of each tale were only printed in black whereas they have been printed in bistre in this edition. The text of the tales is entirely engraved in italics and superbly printed on strong laid paper. The illustrations in the text are finely engraved on steel, they are due to the imagination of Pauquet, Marvy, Jeanron, Jacque, Beaucé, Jules Compagnon, and engraved by Monin.
The 15-page notice on the life and works of Perrault by Paul Jacob appeared for the first time in the 1836 edition, the same is true for the dissertation in fine on fairy tales.
One general title in bistre and 9 frontispieces in bistre; each page of each tale entirely engraved with text and composition framing the text or as headpieces, tailpieces...
Publisher's binding in half dark green shagreen. Spine with false raised bands richly decorated with ornate compartments. All edges gilt. White glazed watered paper for the endpapers. Signs of rubbing. 2 frontispieces partly detached. Some small scattered foxing on paper that is quite white with full margins. A handsome copy.
"It is one of the most beautiful illustrated books of the 19th century and perhaps the rarest in fine condition..." Carteret (Le trésor du bibliophile romantique et moderne). This edition is very rare and is encountered only very infrequently, just like the one published by Curmer, it found itself, as Carteret affirms, in the hands of children with little bibliophilic sense.

First edition of this tale. 15 comic tales were published in this series bringing together the writer Tanezaku and the painter Utagawa Toyokuni Kunisada. One color illustration on double page and embossed paper, 2 on double page in grey and black wash, 15 in black and white on double page, 2 single page.
Japanese accordion binding. Sky blue cover with wheel and flower motifs. Title label. 1cm wormhole affecting the last 10 leaves. Soiling to left corner corresponding to the thumb that handled the leaves across several pages.
Very fine illustration by one of the masters of printmaking, Kunisada.

Illustrated edition with 10 portraits of the most celebrated actresses of the time by Alexandre Lacauchie, printed outside the text.
Half red calf binding, spine with five raised bands decorated with garlands and double gilt compartments, some scuffs notably to the upper headcap, marbled paper boards, marbled endpapers and pastedowns, a small harmless nick to the top edge, contemporary binding.
Handsome interior condition without foxing.

Very rare and sought-after first edition, according to Clouzot, printed in only 300 copies.

Half red morocco binding with corners, smooth spine decorated with gilt romantic arabesques, gilt date at foot, gilt fillet frame on marbled paper boards, pebbled paper endpapers and pastedowns, original wrappers preserved and lined, elegant pastiche romantic binding signed by Devauchelle.

Fine copy of one of the rarest "Romantics", complete with the frontispiece on China paper, drawn and engraved by Célestin Nanteuil.

First edition.
Half red shagreen binding, spine with four raised bands decorated with gilt fillets and ornate triple gilt compartments with gilt stars at their centers, red paper boards marginally faded, speckled paper endpapers and pastedowns, contemporary binding.
Some foxing.
Very rare copy complete with its 46 engraved plates and 4 folding maps at the end of the volume.

First collected edition. First illustrated edition and the only edition acknowledged by the author. 6 charming figures by Barth, Garnier, engraved by Saint-Aubin and Choffart. The extremely rare first edition of Atala dates from 1801. René first appeared in Le génie du christianisme in 1802.
Contemporary blonde calf binding with tree calf effect. Smooth spine richly decorated with 2 compartments with grotesque motifs (waves), 2 daisy tools, rolls at foot. Long-grained morocco title-label. Edges gilt. Decorative border on boards with series of framing fillets. Decorative gilt board-edges. Slight surface wear to upper joint at head, traces of rubbing, nibbled area along lower joint at title-label level. Very fine paper freshness.
Definitive text carefully revised by the author. According to Carteret, this edition would not be, as is often claimed, the first authorized by the author.

First edition illustrated by Tony Johannot, second part of the story of Jérôme Patureau, the first being: Jérôme Patureau à la recherche d'une position sociale, illustrated by Grandville. 30 plates outside the text and 200 wood-engraved vignettes in the text.
Half old-red straight-grained morocco binding, near-contemporary, signed on the first marbled endpaper by Prosper Charon. Spine with flat false raised bands decorated with ornate compartments with black framing around the compartments and emphasizing the bands. Elegant binding. Rubbing to boards, edges and corners. Scattered foxing, mainly in the margins, on good white paper.
Rare illustrated covers preserved. The frontispiece has been placed before the front cover.
Handsome copy.

First edition never put into commerce, intended for members of the royal family and state dignitaries. It is printed on strong vellum, the only issue with 6 on China paper. Work illustrated with 200 vignettes in the text and 40 out-of-text figures engraved on wood, printed before letters on applied China paper, by Raffet, Decamps, Dauzat. Our copy is complete with its folding map at the end (Route de Philippeville à Alger). Fine work very well printed, with high quality engravings.
Publisher's Bradel binding covered with chamois paper, chamois slipcase (probably later). Smooth spine with beige calf title label. Spine slightly darkened with damage to the title label and at two places on the spine. Rubbing at foot revealing the white underneath. Some occasional foxing, notably to tissue guards, on perfectly white paper. The captions for the plates are found at the bottom of the tissue guards.
Book recounting the Duke of Orléans' expedition to Algeria in 1839. It was written by the writer Charles Nodier, based on notes taken by the young prince. Major account of the conquest of Algeria.
Handsome copy, full-margined, in its original boards.

First edition, one of 13 numbered copies on laid paper, the most limited deluxe edition with 13 tinted paper copies.
Bradel binding in full marbled paper, smooth spine, brown morocco title-label, top edge gilt on deckled edges, modern binding signed Thomas Boichot.
Signed autograph inscription by Jules Noriac, below the justification page, to Edouard Delessert.
Work illustrated with 70 illustrations in and hors-texte by Armand-Dumarescq, G. Janet, Pelcoq, Morin and Deuxétoiles.
Our copy is exceptionally expanded with all the proofs of the illustrations printed on China paper.
Occasional light foxing and marginal stains at foot of some leaves.
Unique copy.

First edition illustrated with 36 steel engravings outside the text by Wilhelm Von Kaulbach, including 17 engraved by Rudolfe Rahn, 17 by Adrian Scheich, one by Steifendand and one last unsigned. One engraved half-title. Text within a border. Gothic typeface. Head- and tailpieces. Not only do the engravings approach perfection, but Kaulbach's animal compositions are among the finest of their kind. The human personification of the animals is indeed highly developed and perfectly staged, one must see the incredible orgy on page 125, the most complete scene of debauchery where intoxication, gluttony and eroticism seize upon the most diverse animals.
Spectacular publisher's binding in full glazed pink calf. Spine decorated with a large plate of interlaced ornaments. Large plate on the upper cover with Renard in armor at the center, conducted on a chariot drawn by griffons and multiple ornaments. White watered endpapers. On the lower cover, a central blind medallion and a wide border with learned interlaced ornamental compositions, in imitation of the first cover. Spine sunned, uniformly lightened. A thin split in the leather at the upper joint at the head extending 0.5cm; the leather is also very narrowly split at the lower joint at the foot extending 3 cm. Traces of rubbing on the edges. Scattered foxing on particularly white paper. This foxing is often concentrated at the location of the tissue guards which remain present. Despite the defects, a very handsome copy.
Goethe wrote his own version of the romance of Reynard in 1794, a collection of medieval texts featuring Reynard the Fox. The term Renard which became established indeed comes from Reineke.

First separate edition, illustrated by Gavarni with 20 plates and 40 vignettes. The text had originally appeared in Le diable à Paris, a collective volume to which Balzac contributed several texts.
First edition of Louis Huart's work illustrated with 50 vignettes by Cham, published without date in 1846.
Contemporary half red shagreen binding. Spine with false raised bands handsomely decorated. Head and tail rolls. Corners slightly rubbed, one turned in. Some pale foxing on half-titles and indexes. Tinted paper for Paris marié, white for Paris au bal. Good copy.
Satirical and humorous writings in the style of physiologies.

First edition, richly illustrated with 75 figures, 40 in volume 1 (including the frontispiece) and 35 in volume 2 (including the frontispiece) and with a folding map of Palestine. Entirely printed on watermarked laid paper "Vie de J.C.". "Fine edition of this esteemed work; it is adorned with 75 rather attractive engravings, made after the principal paintings of the three schools which relate to the text. The first printing is particularly sought after" (Brunet).
Full straight-grained navy morocco binding of the period, slightly later, ca 1825, Restoration, attributable to Thouvenin according to the stamp on the upper cover (Roth, Catalogue N°9, 1946, N°256). Smooth spines richly decorated with different gilt ornamental motifs in 2 compartments with a small central cross and blind border, with gilt roulettes at tail and head. Covers decorated with a large central blind Restoration stamp, a first gilt border with various stamps, a second blind border with palmettes. Roulette on the headcaps, stamps and roulettes on the leading edges and rich interior border. Edges gilt. Title and volume labels gilt. Splendid condition, in the rarest state, apart from very slight traces of sunning on the spine of volume 2, the joints of volume 2.
Sumptuous unsigned master binding perfectly executed, attributable to Thouvenin.
Father François de Ligny, of the Society of Jesus created this paraphrase on the life of Jesus based on the Gospels, and ancient texts, adding his reflections and commentaries.

First edition illustrated with 50 plates (7 for volume 1, 12 for volume 2, 13 for volume 3, 5 for volume 4 and 13 for volume 5).
Half black Russia morocco bindings, smooth spines richly decorated with gilt fleurons and blind-stamped motifs, pebbled paper endpapers and pastedowns.
Scattered foxing.

Edition illustrated with 25 hors-texte engravings.
Half brown Russia morocco binding, smooth spine slightly faded decorated with a gilt decorative motif representing the roof of a Russian church, apple-green paper boards decorated with geometric motifs stamped in blind, orange watered silk endpapers and pastedowns, edges gilt.
Some foxing affecting the engravings, black ink offset at head of one endpaper on verso of first board.
Provenance: from the library of Bourg d'Iré, property of Count de Falloux with reproductions of his bookplate pasted on the spine of the binding and his bookplate pasted on a pastedown.

New edition, entirely revised and considerably expanded. Illustrated with 21 steel engravings (Vicaire lists only 18) by Staal, engraved by Delanoy...
Half wine-red shagreen. Spine with raised bands decorated with roulettes and a large central mirrored ornament. Top edge gilt. Spine uniformly lightened. Minor scuffing to tail. Very good copy, particularly fresh. Printed on fine laid paper.
The excerpts are structured around qualities acknowledged as specifically feminine (prudery, modesty, jealousy, beauty, coquetry...).

Edition decorated with 39 original full-page illustrations by Théodore de Jolimont.
Two tears with tiny lacks at head of spine of first volume, spine of second volume split with a lack at foot, some light foxing.
Rare.

First edition.
Half blonde calf binding, smooth spine decorated with stripes and double gilt fillets, shagreen title label, trace of rubbing to headcap, corners slightly bumped.
Inscription from a previous owner of the work as a gift.
Illustrations by E. Lorsay.
Life in a 19th-century college: The return to school, recreation, the refectory, the dormitory, the infirmary, the supervisor, the prize distribution at the Sorbonne.

New edition.
Full black shagreen binding, smooth spine decorated with gilt romantic arabesques, gilt roulettes slightly faded on headcaps, gilt fillet frame on covers richly decorated with romantic arabesques stamped in blind, marbled edges, gilt edges at head and tail of boards, publisher's binding.
Work illustrated with a title vignette and three plates, one of which has been placed as frontispiece by the binder.
Le Mans bookseller's label pasted at head of pastedown.

Illustrated edition of 11 original etchings by Eugène Béjot, one of 300 numbered copies on laid Arches paper, only one print after 25 imperial Japan, variously enriched.
Bindings in fawn half sheepskin, smooth backs adorned with golden romantic arabesques, small losses and slight friction in the back tails, joints slightly split in heads and in tails, marbled paper boards, guards and counterplates of paper in the tank, speckled edges , bindings of the time.
Some foxinges.
Illustrated book of three frontispiece portraits and 6 autographed facsimiles.
Our copy is enriched with a handwritten autograph letter dated February 15 (1826) from ARP Allysan de Chazet in which he reminds his correspondent, a high official, who has not yet "this unhappy Madame d'Anthenay, his payment advice for the year 1826 ... "for which he is confused in praise:" ... I hasten to remind you that it is impossible to find a more interesting woman, in terms of misfortune, principles and character ... "

First edition and first printing of the 320 wood engravings. Publication of the 4 volumes from 1846 to 1848, which explains why they are found separately.
Contributions by Théophile Gautier, Laurent-Jan, Léon Gozlan, Auguste Lireux and Jules Hetzel under the pseudonym P.-J. Stahl among others.
Contemporary half black shagreen bindings. Flat false raised bands spine decorated with ornate compartments. Gilt titles and volume labels. Gilt edges. Blind ruling frame on boards. A. Gaillard at foot. Roulettes on bands. Very fine gold and grey decorative endpapers. Pale scattered foxing on very white paper.
Work illustrated with a general frontispiece, 14 vignettes including one repeated and 320 plates, all engraved on wood.
References: Vicaire, III, 953-955; Brivois pp.168-171; Carteret, III-260-264.
"Important work, presenting an original work drawn anew by the artist from his lithographs; the whole gives a good idea of Gavarni's talent and the customs of his time.
This work is very rare in fine condition." Carteret.

New edition preceded by a notice on the life and works of this author.
Half bottle-green shagreen bindings, spines with four raised bands decorated with gilt compartments, gilt fillets on marbled paper boards, marbled endpapers and pastedowns, bindings signed Vernier-Reitz at foot of spines.
Work illustrated with plates.
Occasional light foxing.
Handsome set in charming signed bindings.

First printing of Grandville's illustration. A frontispiece on flying China paper and 450 wood-engraved vignettes in-text, and 5 hors texte, the four titles of the four voyages and the literary allegory as frontispiece to the notice. New translation, biographical and literary notice on Jonathan Swift by Walter Scott.
Contemporary grey glazed calf half-binding in Romantic style. Smooth spine with a long Romantic tool and 2 mirrored tools, with fillets. Light traces of rubbing. Some scattered foxing, mainly marginal. Handsome copy.
"This complete illustration occupies one of the first ranks in Grandville's work." (Carteret, III, 578). This very beautiful illustrated Romantic work is extremely rare in fine condition. It is printed on tinted laid paper." Carteret III, 578.

First edition, rare, illustrated with 3 maps and 2 plans, including the general map of Crimea and the plan of the capital of the Don Cossacks. Rare first French edition, translated by Emmanuel de Laubespin, which was withdrawn from sale. Quérard: "The [French] government did not permit the sale of this translation; only a few copies were distributed".
Contemporary full brown calf binding. Smooth spine decorated with 4 quatrefoil tools and multiple fillets. Red morocco title and volume labels. Decorative border on the board doubled with gilt fillet. Interior fillet. Wear to spine and boards. Volume 2 label scraped with loss of leather. 3 corners slightly bumped. Some rare and pale foxing. Despite defects, handsome copy overall.
English mineralogist and archaeologist teaching at Cambridge University where he became librarian. Clarke was an tireless traveler throughout his life, first in Italy, Scandinavia, Greece, Russia, Turkey, Egypt and the Holy Land; travels which allowed him to collect many minerals and make precise observations of physical and human geography. Besides his critical observations, notably on Tsar Paul, which earned him a ban from the French government, Clarke's journey (1799-1802) is particularly interesting since he traveled beyond the European limits of Russia and dealt with the Don Cossacks whose life, organization and customs he describes. He then descended to the Sea of Azov, traveled in Crimea, to Odessa, and to Constantinople. The author's principal quality is his gift of observation and his multiple interests, as much for insects, venomous snakes as for the customs of Russians and Cossacks or commerce on the Black Sea.

First edition of the illustrated version by Tony Johannot, preceded by a historical notice by Jules Janin. 18 plates on China paper laid down on heavy paper and 90 in-text vignettes; frontispiece in camaïeu by Wattier. On the title page, the title displays Manon Lescaut in white letters, a detail indicating a first printing. Beautiful typographical ornaments inspired by the 17th century. The copy is complete with the two half-titles separating the two parts, with a gilt cartouche. Uncut copy with full margins.
Binding in half cherry red glazed calf with marbled decoration. Smooth spine decorated with 2 mirrored tools joined by fillets. Gilt title. Superb handmade wave-patterned paper in yellow, black and pink. Scattered foxing in the margins, on fine white paper. Tissue guards present.
Handsome copy, with fine and typically Romantic illustration, and particularly careful printing.

First edition.
Bradel binding in green morocco with small corners, smooth spine faded and richly decorated with gilt stylized birds and compartments decorated with grotesques, lacking to lower headcap, green cardboard boards, orange paper endpapers and pastedowns, bookplate pasted on one pastedown, corners slightly bumped, contemporary binding.
Occasional light foxing, library stamp on title page.
Complete copy with its 2 folding tables as well as its 12 colored plates at end of volume.

First edition by Curmer and first printing.
Publisher's so-called "Oriental" binding, commissioned from Simier. Full red shagreen. Smooth spine decorated with a plate featuring orientalist motifs. Boards richly stamped with a large plate with a 6-pointed star at its center. Edges gilt. One missing stitch at the internal joint after the first board, without consequence. One missing stitch at the internal joint of the upper board causing slight play at the bottom of the first board, without consequence. Scattered foxing, unevenly distributed. Paper remained white. Tissue guards present. The endpaper covered with white moiré paper is detached at the end of the volume.
Old restoration to head, otherwise perfect condition of this famous and rare publisher's binding.

Unquestionably one of the finest books produced by Romanticism, this is one of those editions that made the glory of the romantic book. Abundantly but elegantly illustrated, endowed with careful typography. 29 wood engravings on China paper by Tony Johannot and 450 vignettes by Huet, Meissonier, Français. 7 portraits engraved on steel, one colored map. Sainte-Beuve's notice comprises 9 lines against 8 in most copies on p. LII. See Vicaire... Copy from rue Richelieu. The engraving of the "bonne femme" p. 418 is missing as in all copies of the first printing. However, while the copy corresponds to several characteristics of the first printing, it does not possess them all.
Rare copy in its "Oriental" publisher's binding by Simier.

Illustrated edition in first printing with 2 color chromolithographic frontispieces and 38 plates on chine appliqué including one facsimile in chromolithography. Typographical ornaments.
Publisher's full black morocco binding signed Boutigny at foot. Smooth spine decorated with rich Rococo design. Boards stamped with a large blind plate with Rococo motifs, birds and 2 cherubs mounted on griffins, wide gilt border fillet. Edges gilt. Rubbing to lower part of upper board of volume 2, as well as on certain parts of the joints sometimes chipped. One leaf slightly protruding in volume 1, 2 in volume 2.
Magnificent copy in its rich publisher's binding by Boutigny.
Engraved bookplate F.M. Caye. Engraved bookplate Paul Gavault. Bookplate R. Petit.
Study and translation by Oddoul of the Letters of Abelard and Heloise, from the manuscripts of the royal library. Historical essay by Guizot. Several contributions by writers such as Michelet (extract from his History of France on the subject); Edgar Quinet, Chateaubriand... The collection also contains the letters of Peter the Venerable in favor of Abelard. Fine romantic edition of these famous medieval letters.

First edition illustrated with a frontispiece drawn by Schmit and engraved by Hilaire Guesnu, with 37 color plates hors-texte (instead of 38) and vignettes by Schmit, Gavarni, Nanteuil and Schlesinger.
Half green shagreen binding, faded spine with four raised bands set with gilt cartouches and gilt compartments decorated with typographical corner motifs, double gilt fillets framing the green boards, yellow paper endpapers and pastedowns, edges gilt.
Some occasional foxing, one gathering entirely yellowed (pages 26 to 35), one color plate and one gathering foxed, one color hors-texte engraving is missing.
Handsomely illustrated first edition.

First edition illustrated with 5 plates (a figure of a Mameluke on horseback, a view of Mourat-Bey's palace, a plan, an elevation and a cross-section of the pyramids of Giza) after the author's drawings and a large folding map of Cairo.
Modern half marbled tawny calf binding with small corners. The spine is a skillful and deceptive pastiche of the original binding. The boards are period, unchanged. Smooth spine decorated with roulettes. Gilt title. Boards and corners rubbed. The map is detached. The 2 single plates are shorter on the outer margin. A handsome copy.
Just after Bonaparte's Egyptian Campaign, Grobert was placed as commander at Giza. He provides us with one of the first Western descriptions of the pyramids with very fine details and measurements, as well as their histories. The work also contains a description of the city of Cairo. The volumes of the Description de l'Égypte would not appear until 1810 (dated 1809).

First illustrated edition with a frontispiece on China paper and 24 hors-texte plates as well as numerous vignettes by Tony Johanot. Fine Romantic illustrated work.
Publisher's binding in full red shagreen with special tools. Spine richly decorated with a large ornamental panel along its length, the publisher's name at foot. Upper cover with a special panel depicting the author in chains, large rocaille ornamental border tools, blind fillets. Lower cover decorated with a large central tool and rocaille border tools. Interior frieze. Gilt edges. White moiré silk endpapers. Spine gilt slightly faded, otherwise light scattered foxing, mainly on the endleaves and at the beginning, then in the margins. Small brown stains on the lower cover.
Very handsome copy in its rich publisher's binding.
My Prisons is the memoir of a man incarcerated by arbitrary power. Following the Neapolitan and Piedmontese revolution against the Austrian occupiers, all prominent figures including Silvio Pellico were imprisoned for ten years at Spielberg in Moravia. Once published, the text achieved great success due to its pious character, Pellico having found hope only through the Catholic religion. The work also contains poetry.

First octavo edition and first under this new title. The work had been published under the title Voyage aux eaux des Pyrénées in 1855, in a small format and with 64 wood engravings by Gustave Doré; in this edition, 9 of the woodcuts published in 1855 are not included, so there are 332 new woodcuts (Louis Dézé).
Contemporary binding in half midnight blue shagreen, spine with four raised bands decorated with gilt compartments, fillets and stippling, paper boards in cardboard style, endpapers and pastedowns of watered paper, all edges gilt.
Some rubbing to head and foot of spine, two corners slightly rubbed, endpapers and pastedowns somewhat darkened.
Two bookplates pasted on front pastedown.
Handsome copy entirely free from foxing.

Illustrated edition with wood engravings by Edouard Kretzschmar.
Half red shagreen binding, spine with four raised bands decorated with gilt fillets, gilt monogram of Alcide de Beauchesne at foot of spine, some rubbing to spine, marbled paper boards, marbled endpapers and pastedowns, corners slightly bumped, contemporary binding.
Foxing.
Provenance: from the library of Alcide de Beauchesne with his gilt monograms stamped at foot of spines.

Revised and truly new edition, it has been incorrectly described as a new edition, it is ultimately a recast edition, with some parts in first edition and better than those which preceded it, expanded with illustrations. 60 lithographic plates after drawings by Jacques Arago. The book bears for the first time a new title: Souvenirs d'un aveugle, whereas Arago was afflicted with this infirmity in 1837, the previous editions are under the title: Promenade autour du monde.
Contemporary half black shagreen binding. Spine with raised bands decorated with blind compartments and thick fillets. Gilt title and volume number. Signs of rubbing. Scattered pale foxing. Handsome copy, good set.
Engaged as draftsman aboard the Uranie under the command of Frayssinet between 1817 and 1820, Arago accomplished his dream of circumnavigation which he relates at the beginning of the work. This scientific voyage was decided by the government of Louis XVIII, and led the expedition from the Canaries to Brazil, then from New Holland to New Guinea and the Sandwich Islands, with considerable time spent in the Hawaiian Islands (majority of the third volume), in New South Wales and in Western Australia. The undeniable success of this voyage owes everything to Arago's pen and his talents as a draftsman, and certain plates are to say the least eccentric. On the sole merit of the narration, this travel account is unequaled, it is a colorful, living tableau, bearing witness to multiple amusing dialogues.

Amyot, Paris 1860, 11.5 x 18.5 cm, bound
First edition published the same year the Aosta Valley became part of Italy. The work is illustrated with 97 wood engravings in the text, 33 steel insert engravings, 6 chromotypographies and a map.
Bound in half red shagreen, spine decorated with blind tooling, “Palais de Compiègne” gold stamped at the head of the spine, Napoleon III's monogram gold stamped on the spine, marbled paper boards, marbled endpapers, contemporary binding. Some minor foxing.
"Bibliothèque de la Couronne - Compiègne” stamp on the title page. Our copy, unlike those placed in the national collection when the Palais de Compiègne library disbanded, does not have the “dépôt de l'État 1891” stamp. The Palais de Compiègne library, entirely refurnished by Napoleon III, was a truly sociable venue for the emperor's guests who borrowed novels, magazines and newspapers. An entertaining hand-written loan register has been digitized by the National Library of France.
After the fall of the Second Empire, the third Republic allowed the library, which was then open to the Compiègne public, to remain for sometime, according to the memories of Jules Troubat, the former Sainte-Beuve secretary and the last librarian at the Palais. The decree of 16 January 1888 ordered the library to be permanently closed and emptied of its contents. One part of the collection - around 10,000 works - are given to the Compiègne municipal library in 1891. In March 1918, the town of Compiègne was bombed and evacuated; the books were then left open to the elements. It was not until the end of May 1918 that a librarian acting with the army evacuated the works that remained intact, but was unable to deal with the books that had suffered damage. This part of the collection will later be sorted and sold by weight.
We have only been able to find one work from the Palais de Compiègne library on public sale, a Description of Egypt auctioned in 2014.

Beautiful and rare copy, of renowned provenance, with Napoleon III's monogram and one of the rare works to have not made it to the national collection when the Palais de Compiègne library was dismantled in 1891.

First edition, illustrated with 48 hors-texte engravings including the frontispiece, several in-text woodcuts, all after drawings by the author and engraved by Girardet, Français, Daubigny... With a notice by Sainte-Beuve.
Publisher's polychrome binding in full navy blue percaline cloth. Superb first cover decorated with a large polychrome plate (blue, red, cream, green, yellow and gold) featuring a walker tipping his straw hat in nature. Lenègre bindery at bottom of the plate. Spine decorated with a large polychrome plate with somewhat faded colors, notably the blue, but the golds remain bright. Handsome second cover decorated with a gilt landscape on beige ground within rich ornament. Discreet restoration to headcaps, particularly at the joints, relatively invisible. Some leaves standing slightly proud.
Very handsome copy of this publisher's binding, with perfectly fresh paper, completely free from foxing.

Fourth edition revised from the first edition for the first volume, first edition for the second refuting the thesis that this novel is by Madame de La Fayette.
Handsome copy.
Full green morocco binding, spine with five raised bands set with gilt dots and decorated with double gilt compartments richly decorated, date and place gilt at center of spine, gilt roulettes on headcaps, frame of triple gilt fillets on boards, small black spots on first board, marbled endpapers and pastedowns, frame of gilt dentelle on pastedowns, lower corners very slightly bumped, double gilt fillets on leading edges, very elegant binding signed by Hardy.
Our copy is complete, as frontispiece, with two portraits of Madame de Sévigné and Madame de La Fayette engraved by Riffaut on China paper, with two folding facsimiles and its folding music plate at end of volume.

Sixth edition and second printing of the 425 compositions by Gustave Doré. "masterpiece where each vignette is a discovery" (Béradi)
Full red long-grained morocco binding signed Thivet (at the top of the first endpaper). Richly decorated spine with raised bands. Gilt title. Triple gilt ruling on boards. Rich inner gilt border. All edges gilt. Spine slightly faded.
Scattered foxing.
Superb copy, very rare in full binding, moreover in full morocco.
"The idea of illustrating these texts had been suggested by the Bibliophile Jacob, Paul Lacroix, who had been commissioned by Balzac's widow for the philological revision of the text. The illustrations fall within a caricatural and 'droll' vein; they reveal Gustave Doré's immense talent, his attraction to landscape and his ease in portraying grotesque characters as well as in capturing burlesque scenes. 'This illustration is like no other in its powerful originality: it is Gaulish, Rabelaisian, and sparkling with wit. Doré certainly lavished the best of his talent on the Contes drolatiques. They had no success however and the entire edition was marked down. Today, it is one of Doré's most sought-after works" (Leblanc).

First edition of this historical novel written by Antony Thouret while incarcerated in the prisons of Saint-Waast.
Binding in half morocco green morocco, smooth back decorated with a central and gilded floral pattern, golden date tail, marbled paper plates, guards and contreplats of handmade paper, blankets (dirty and doubled) preserved, binding of XIXth posterior of a few decades at work.
Rare book illustrated with a portrait of the author and an off-text figure engraved on wood by Eugene Forest.
Our copy is enriched by a signed autograph letter of three pages Antony Thouret to his publisher Ladvocat in which it is particularly question a second edition of the book which will be enriched with a second preface, some scenes main and a quantity of interesting notes.

New edition, illustrated with a frontispiece, an engraved title and 18 plates, all on steel, and very numerous wood engravings (headpieces, tailpieces, vignettes) after Turner, Birket Foster & John Gilbert. Several facsimiles. Edition with notes, additions and remarks by J. G. Lockhart. Fine careful printing in 2 columns. Each work contains a half-title, an appendix. Clear and well-structured edition, perfectly illustrated with Scottish landscapes and historical scenes.
Publisher's binding in full beveled ultramarine gilt cloth. Smooth spine decorated with a large ornamental composition evoking medieval illuminated books. Large decorative blue and gold plate, very rich, with central cartouche, the whole evoking medieval illuminations. All edges gilt. Spine slightly faded. Headcaps rubbed with micro cuts. Corners rubbed and bumped. Internal hinge of lower board with tears, but the volume remains well bound and cohesive, without play. Copy on fine tinted vellum paper, completely free of foxing, perfectly fresh. Tissue guards still present. A protective covering has been added to protect the binding, we have left it in place.

First edition of the French translation by Alexandre Sosson.
Publisher's binding, smooth navy blue shagreen spine decorated with gilt and decorated cartouches, sky blue watered silk boards marginally discolored and decorated at corners with romantic arabesques stamped in blind, discoloration stains on front board, yellow paper endpapers and pastedowns, edges gilt.
Work illustrated with its 73 views after drawings by Thomas Allom.
Some light foxing.

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