Foreign Literature

First edition in French, one of 21 numbered copies on Arches vellum, ours one of 5 hors commerce copies, the deluxe edition after 8 on Japon impérial.
Handsome full-margined copy despite some light foxing to certain leaves.

First edition illustrated with 4 plates each with 4 medallion portraits on steel.
Contemporary raspberry half sheep with corners. Spine with 5 raised bands richly decorated, roulettes on the bands and headcaps. Black sheep title and volume labels. "Peacock tail" marbled paper on the boards, pastedowns and edges. Light rubbing on the boards and corners. Paper very fresh, free of foxing, however offsetting from the portraits on the title page of volume I, that of volume II having foxing caused by the tissue guard which was finally removed.

First edition.
Half red shagreen bindings, spines with five raised bands decorated with double gilt fillets and dotted gilt ornaments showing traces of rubbing, one joint of the first volume fragile, upper headcaps of volumes rubbed, marbled paper boards, marbled endpapers and pastedowns, speckled edges, contemporary bindings.
Pleasant interior condition.

First edition of this thesis.
Covers slightly and marginally soiled without significance, handsome interior condition.
Work illustrated with plates.

First edition of this issue entirely devoted to Anna Akhmatova, one of 105 numbered copies on Rivaldi satiné Ivoire, ours one of 25 copies lettered by hand and reserved for friends and collaborators of the review, deluxe issue.
Very fine copy.
Numerous contributions including those by Anna Akhmatova, Isaiah Berlin, Susan Amert, Boris Pasternak, Pierre Voélin, Petra Hesse, Boris Eïkhenbaum, Viktor Vinogradov, Nicolas Bouvier...
Issue illustrated with engravings by Henri Presset.
Our copy retains at the end, like the 105 copies of the deluxe issue, its original print justified and signed by the artist.

First edition, one of 200 numbered and signed copies, the only issue.
Work illustrated by Violeta Naranjo enhanced by hand and embellished with collages.
Our copy contains a beautiful autograph inscription dated and signed by Ariel Sigfredo to a French poetess.

New edition, one of 25 numbered copies on Japan paper, the only deluxe copies.
Half chocolate brown morocco binding, spine with five raised bands showing slight scuffs, marbled paper boards, pebbled paper endpapers and pastedowns, original wrappers and spine preserved, top edge gilt with deckled edges, scuffs with lacks to marbled paper on lower edges.
Work illustrated with a portrait of Charles Dickens as frontispiece.
Handsome copy.

First edition in French, of which there were no deluxe copies.
Handsome copy.
Autograph inscription signed by Jorge Amado to Daniel Odier.

First edition in French, one of 30 numbered copies on alfa paper, the only deluxe copies.
Handsome copy.

First edition of the translation in French, one of the 30 numbered copies on Alfa paper, the only deluxe copies ("grands papiers").
Rare and nice copy.

First edition in French, a Service de Presse (advance) copy.
Three stains at top of rear cover, three small light stains on front cover.
Precious signed autograph inscription from Lawrence Durrell to his friend Janine Brun: "For Janine Brun of Sauve in the Languedoc from Lawrence Durrell 40 rue de l'Université chez Julian. 1969" ["For Janine Brun of Sauve in the Languedoc from Lawrence Durrell 40 rue de l'Université chez Julian. 1969"] enhanced with a small drawn sun and a Greek frieze bordering the autograph inscription on its left.
Among the olive trees and under the Mediterranean sun, Lawrence Durrell met in the mid-1960s the young and vivacious "Jany" (Janine Brun), a woman from Montpellier in her thirties of devastating beauty, who worked at the Antiquities department of the Sorbonne in Paris. She was nicknamed "Buttons" in memory of their first meeting, where the young girl wore a dress covered with buttons. Henry Miller also fell under the charm of "Buttons," praising her beauty and eternal youth in exceptional unpublished letters. The three companions spent memorable Parisian evenings of which we keep precious autograph traces through their epistolary exchanges. Recommended by Durrell, she made numerous trips notably to England from where she received vast correspondence from the writer as well as original works of art signed with his artist pseudonym, Oscar Epfs.

Illustrated edition with 10 etchings as well as about a hundred vignettes by Maurice Leloir, one of 50 numbered copies on Japan paper.
Full navy blue morocco binding, spine with five raised bands set with gilt fillets decorated with triple gilt compartments embellished with floral motifs stamped in blind, gilt roulettes on headcaps, frames of quintuple gilt fillets on marbled paper boards, boards also decorated with a floral frieze stamped in blind, marbled endpapers and pastedowns, frame of gilt dentelle on pastedowns, double gilt fillets on leading edges, covers and spine preserved, all edges gilt, superb binding signed Chambolle-Duru.
Our copy contains a triple state of the etchings (a separate suite of in-text vignettes on Japan paper having been bound at the end) as well as an original wash drawing signed by Maurice Leloir as stipulated in the justification page.
Very handsome copy expanded with an original drawing and perfectly executed by Chambolle-Duru.

First edition of the French translation.
Handsome copy considering the poor quality of this post-war paper, with a crossed-out charm in the corner of the back cover.

First French edition translated by Madame Judith (with the authors' authorization).
Contemporary half black shagreen binding. Spine with flat false raised bands decorated with fillets. Light rubbing. Some pale foxing. One foxing stain to margin of title. Good copy.
A great and long friendship united the two successful writers as well as considerable collaboration in writing novels and plays. We find in L'abîme typically Dickensian themes while the book follows a typical Collins plot.

New edition of the French translation, one of 30 numbered copies on pure thread Marais paper, the only deluxe copies.
The French first edition having been published by Stock in 1912.
Endpapers slightly and partially shaded, a full-margined copy.

First edition one of the 144 numbered copies on pur chiffon d'oreiller, deluxe copies ("tirage de tête").
Nice copy.

First edition of the French translation, one of 25 numbered copies on pure laid paper, the only deluxe copies.
Pale stains to head of front cover, otherwise a handsome 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.

Rare French first edition. Title pages in red and black.
Contemporary full green vellum binding. Smooth Jansenist spine. Red morocco title and volume labels. Upper joint of volume I split for most of its length, from tail to near the head; the lower joint also split at head. Headcap of volume II worn away, upper joint split, lower joint split at head. Russet stains on the last leaf of volume II.
Bookplate: Bibliothèque de M. André de Champcourt, Chevalier de l'ordre royal et militaire de Saint Louis.
Jonathan Wild was the most famous criminal of the 18th century, and the most popular. Daniel Defoe composed a biography of him in 1725. Fielding writes a satirical biography of a man whose entire ambition is to be great. He thus establishes a vast satire of supposed greatness in 18th-century society, a renown that is by no means distant from our own.

First edition, of which no deluxe copies were printed.
Handsome copy.
Autograph inscription signed by Lawrence Durrell to his close friend Janine Brun.

After many years spent in Greece, Egypt and Rhodes, the travel writer Lawrence Durrell was forced to flee Cyprus following popular uprisings that led the island to its independence from the British crown. Rich only in a shirt and a typewriter but crowned with the success of his novel Bitter Lemons of Cyprus (Les citrons acides), he arrived in France in 1956 and settled in the Languedoc village of Sommières. In the "Tartès house," his large dwelling surrounded by trees, he wrote the second part of his work, his monumental Avignon Quintet, devoted himself to painting and received his illustrious friends, including the couple Henry Miller and Anaïs Nin, violinist Yehudi Menuhin, London publisher Alan G. Thomas, and his two daughters Penelope and Sappho.
Among the olive trees and under the Mediterranean sun, in the mid-1960s he met the young and sparkling "Jany" (Janine Brun), a woman from Montpellier in her thirties with devastating beauty, who worked in the Antiquities department of the Sorbonne in Paris. She was nicknamed "Buttons" in memory of their first meeting, where the young woman wore a dress covered with buttons. Henry Miller also fell under the charm of "Buttons," praising her beauty and eternal youth in exceptional unpublished letters. The three companions spent memorable Parisian evenings of which we keep precious autograph traces through their epistolary exchanges. Recommended by Durrell, she made numerous trips notably to England from where she received vast correspondence from the writer as well as original artworks signed with his artist pseudonym, Oscar Epfs.

First edition of the French translation, of which no deluxe copies were printed, a Service de Presse (advance) copy.
Spine and covers lightly and marginally spotted and sunned.
Autograph inscription signed by Lawrence Durrell to his close friend Janine Brun: "Janine pour Lawrence. Souvenirs 1968." ["Janine for Lawrence. Memories 1968."]

After many years spent in Greece, Egypt and Rhodes, the travel writer Lawrence Durrell was forced to flee Cyprus following popular uprisings that led the island to its independence from the British crown. Rich only in a shirt and a typewriter but crowned with the success of his novel Bitter Lemons of Cyprus (Les citrons acides), he arrived in France in 1956 and settled in the Languedoc village of Sommières. In the "Tartès house," his large dwelling surrounded by trees, he wrote the second part of his work, his monumental Avignon Quintet, devoted himself to painting and received his illustrious friends, including the couple Henry Miller and Anaïs Nin, violinist Yehudi Menuhin, London publisher Alan G. Thomas, and his two daughters Penelope and Sappho.
Among the olive trees and under the Mediterranean sun, in the mid-1960s he met the young and sparkling "Jany" (Janine Brun), a woman from Montpellier in her thirties with devastating beauty, who worked in the Antiquities department of the Sorbonne in Paris. She was nicknamed "Buttons" in memory of their first meeting, where the young woman wore a dress covered with buttons. Henry Miller also fell under the charm of "Buttons," praising her beauty and eternal youth in exceptional unpublished letters. The three companions spent memorable Parisian evenings of which we keep precious autograph traces through their epistolary exchanges. Recommended by Durrell, she made numerous trips notably to England from where she received vast correspondence from the writer as well as original artworks signed with his artist pseudonym, Oscar Epfs.

First edition in French, one of 109 numbered copies on Lafuma Navarre paper and reimposed in Tellière quarto format, deluxe copy.
Some light foxing.

New edition of the French translation printed in 1000 numbered copies on alfa paper.
Publisher's binding after Paul Bonet's original design.
Handsome copy despite a small tear to one lower corner.

First edition illustrated with numerous illustrations by Gregory Masurovsky.
Numerous contributions including Michel Butor, Georges Raillard, Grégory Masurovsky, Shirley Goldfarb...
Spine lightly sunned.
Autograph inscription dated and signed by Gregory Masurovsky to Georges Raillard.

Edition illustrated by Fontanarosa, one of the numbered copies on pure thread paper.
Publisher's full brown leather bindings, faded spines with four raised bands, front covers enhanced with Gothic lettering and a border of stylized floral motifs, owls stamped in blind on rear covers, top edges gilt.
Some small dark spots on the spines.
Handsome complete set with slipcases.

First edition in French, printed on ordinary paper.
Handsome copy despite a small marginal stain on the back cover.
Signed autograph inscription from Lawrence Durrell to Maurice Noël.
Provenance: from the library of Maurice Noël with his amusing bookplate pasted on an endpaper and his motto: "Adada sur mon bidet. Tout et rien !" ["Adada on my bidet. Everything and nothing!"]

First edition in French, a Service de Presse (advance) copy.
Handsome copy.
Signed autograph inscription from Lawrence Durrell to Maurice Noël.
Provenance: from the library of Maurice Noël with his amusing bookplate pasted on an endpaper and his motto: "Adada sur mon bidet. Tout et rien !" ["Adada on my bidet. Everything and nothing!"]

First edition.
Spine and boards slightly and marginally lightened, a fold mark at foot of front board.
Work illustrated with a portrait of Rabindranath Tagore as frontispiece.

An edition of 500 copies, this one of 100 copies on Japon imperial paper, with a black-and-white suite of Léon Carré's 20 color illustrations.
Publisher's blue paper covers with gilt arabesques in relief, spine very slightly creased and sunned, the chemise with a few tears, slipcase with slight tears to two edges.

Bell's Edition. The Poets of Great Britain Complete from Chaucer to Churchill,

At the Apollo Press, by the Martins, Edinburgh 1779 - 1804, In-18 (8.5 x 13.5 cm), 99 parts in 34 bound volumes

Very rare collation of volumes from the famous Bell edition of British poets in uniform binding, which adds up to 101 volumes here and whose printing was widely spread over time, the volumes being sold by author. Volume 8, which brought together parts 5 and 6 of Edmund Spencer's poetic works is unfortunately missing. Some volumes appear for the first time, others are second editions. This particularly important edition for British poetry brings together 39 poets from Chaucer to Charles Churchill and 99 figures (portraits and frontispieces). It is precious because many poets saw their first complete edition this way, notably John Donne.

English binding in contemporary blond sheepskin. Spine decorated with various finishing tools, including a kneeling King, with multiple filets Title piece in green morocco. Overall, clean paper, but some browned leaves with foxing, notably some engravings.

The first edition, of which there were no deluxe copies.
Handsome copy despite small rust stains at the staples.
Autograph inscription signed by Aaron Kramer to poet Charles Dobzynski.

First edition in French.
Small wormholes to the first leaves and at the foot of the second cover.
Issue illustrated with a McKenna cover.
Other contributions by Keith Laumer "Invasion mentale", William Ley "D'autres candidats pour l'espace ?", Philip José Farmer "Les blasphémateurs".

First edition in French.
Half green sheep binding, smooth warped spine decorated with triple gilt fillets, marbled paper boards with surface wear, marbled endpapers and pastedowns, corners slightly bumped, speckled edges, contemporary binding.
Occasional foxing, copy slightly trimmed.

First edition of this catalogue of the exhibition held at the Centre Georges Pompidou from July 12 to November 6, 1978.
Numerous contributions.
Iconography.
Handsome copy.

First edition of the French translation.
Small traces of film on the back and the boards, second board marginally exposed.
Rich iconography.
Autograph dedication signed by Miguel Angel Asturias to Charles Dobzynski: "... poet I admire ..."

First edition of this bilingual poetic anthology (Spanish-French) established by Josette and Georges Colomer for which it was not printed from large papers.
Publisher's binding in full black cardboard, smooth back, illustrated first cover.
Iconography and original drawings by Josep Castell.
Pleasant copy.
Beautiful autograph dedication signed by Georges Colomer enriched by the signature of his wife Josette to their friend the poet Charles Dobzynski: "... those painful poems that tell the tragedy of the Spanish Republic ..."

First edition for which it was not drawn from large papers.
Publisher's binding in full cardboard, smooth back.
Iconography.
Pleasant copy.
Autograph signed by Jacques Darras to Charles Dobzynski.

First edition, in paperback format, of the French translation and the presentation drawn up by Alain Suied.
Iconography.
Autograph shipment signed by Alain Suied to his friend the poet Charles Dobzynski.

First edition in French, of which there were no deluxe copies, an advance (service de presse) copy.
Spine lightly sunned, otherwise handsome copy.

New edition of the French translation established by Léon de Wailly.
Half red shagreen binding, spine with four raised bands decorated with blind-tooled compartments, headcaps with some rubbing, a small marginal tear to the first cover, contemporary binding.
Some light foxing.

First edition of the French translation, one of 56 numbered copies on pur fil paper, the only deluxe copies.
Spine and boards slightly and marginally faded, otherwise a handsome copy.

First edition.
Publisher's full blue cloth binding, smooth spine, red top edge, complete with its illustrated dust jacket discreetly reinforced on the interior.
Work decorated with illustrations by John Coleman Burroughs.

First edition.
Publisher's full blue cloth binding, smooth spine, red top edge, complete with its illustrated dust jacket.
Traces of removed labels on the inside of the endpapers.
Work illustrated by John Coleman Burroughs.

First edition.
Publisher's full blue cloth binding, smooth spine, red top edge, the illustrated dust jacket of our copy is not the original one.
Gift inscription in pen and a library shelving indication at the head of an endpaper.
Work illustrated by Studley O. Burroughs.

Edition of the year of the original published the same year in Chicago by A. C. McClurg & Co.
Publisher's full red cloth binding, smooth spine, copy complete with its illustrated dust jacket with some lacks and tears.

Edition of the year of the original published the same year in Chicago by A. C. McClurg & Co.
Publisher's full red cloth binding, smooth spine, red top edge, handsome copy complete with its illustrated dust jacket.
Work illustrated by J. Allen Saint-John.

First edition in French, one of 750 numbered copies on alfa paper, the only printing with 50 hors commerce copies also on alfa.
Spine slightly sunned, otherwise handsome copy.

First edition in French, one of the copies on alfa paper, the only deluxe copies with 50 on pur fil.
Fine copy.

New edition.
Publisher's binding in full bottle-green cloth, smooth spine, title and publisher's name in gilt repeated on front cover, black paper endpapers and pastedowns. Illustrations hors-texte including a frontispiece.
Some minor foxing.

First edition from which it was not drawn from large papers.
A tiny gri-gri of the dedicatee at the head of the first board, a pleasant copy.
Autograph signed by Eliane Lavaud to PJ Guinard, specialist in 18th century Spanish-speaking literature and the press.

First edition in French, one of 40 numbered copies on pure thread paper, the only deluxe copies with 5 Japan and 20 Holland. With a frontispiece photographic portrait of the author.
A handsome and rare full-margined copy.

First edition of the French translation, one of 792 numbered copies on pur fil paper, the only deluxe copies with 108 reimposed.
Worming affecting the very first and very last pages.

First edition in French, one of 325 numbered copies on Artois vellum, the only deluxe copies.
Handsome copy.

First edition in French, one of 265 numbered copies on alfa paper, the only deluxe copies.
Handsome copy.

New edition of the French translation.
Half red shagreen binding, smooth spine with minor traces of rubbing decorated with gilt floral motif, date at foot, top edge gilt.
Fine interior condition.

First edition of the French translation established by Leconte de Lisle.
Half red shagreen binding, spine with five raised bands decorated with gilt and blind fillets, traces of rubbing to joints and edges, small angular lack to head, original wrappers preserved.
Some occasional minor foxing.

First edition, one of 25 numbered copies on Alfa paper, only large papers.
Some small foxinges without gravity affecting the margins of certain pages, otherwise pleasant copy.
Autograph signed by Léon Lemonnier to André Lautier.

First edition in French, one of 108 numbered copies on Lafuma Navarre paper and reimposed in Tellière quarto format, deluxe copy.
Handsome copy.

First edition of the French translation, one of 100 numbered copies on Alfa paper, only large papers.
Beautiful copy.

First edition in French, one of 22 numbered copies on alfa paper, the only deluxe copies.
Foreword by Francis de Miomandre.
A rare and handsome copy.

Bibliothèque de La Pléiade edition printed on Bible paper.
Publisher's full green grained sheep binding, blue top edge, smooth spine decorated with gilt fillets.
Complete with its cellophane wrapper, dust jacket and soft slipcase.

New edition, illustrated with a frontispiece portrait and 10 steel-engraved plates by Johannot, Geoffroy. Translation by Amédé Pichot.
Contemporary glazed navy half-calf binding signed at foot (signature illegible). Smooth spine decorated with a long mirrored tool with central ornament. Title and volume number gilt. Decorative fillets on covers. Beautiful marbled paper in blue, white and gold. Top edge gilt. Spine slightly darkened. Some corners slightly bumped. Light traces of rubbing. Paper of superb freshness, uncut, completely free of foxing (except in the margins of some engravings due to tissue guards which have not been removed); rare condition.
"New edition augmented with a historical notice on Lord Byron, all unpublished pieces and notes by Moore, Walter-Scott, Campbell, Guiford, Jeffrey, E. Brydges, Coleridge, Southey, Wilson, Hobhouse, Hunt, Dallas, Milman, Lockhart, Bowles, Heber, Medwin, Gamba, Croly, Ugo Foscolo, Ellis, Kennedy, Parry, Bulwer, Galt, Nathan, Lady Blessington, Mrs. Shelley. Contained in the definitive edition recently published in London". Besides the poetical works, Miscellanies, Speeches, correspondence, and the famous novella: The Vampire.

Pléiade library edition printed on Bible paper.
Publisher's binding in full green grained sheep, smooth spine decorated with gilt fillets.
Spine of the cellophane wrapper and edge of the slipcase slightly yellowed.

First edition of the French translation established by Francis de Miomandre, one of the rare lettered copies on Japan paper, deluxe issue with 2 other numbered Japan copies.
Rare and handsome full-margined copy.

First edition of the French translation by Henri Parisot, one of 30 numbered copies on alfa paper, the only deluxe copies.
Handsome copy.

First edition, one of 484 numbered copies on alfa paper.
Handsome copy.

First edition in French, one of 77 numbered copies on Lana vellum, the only deluxe copies.
Handsome copy.

first edition.
Rare autograph dedication of the author of Carlos B. Quiroga to the Latin American Review.
Back slightly insolated, otherwise pleasant copy.

First edition in French, one of 95 numbered copies on alfa paper, the only deluxe copies.
Preface by François Mauriac, fine copy.

New edition of the French translation illustrated with 22 original copperplate engravings and 23 wood-engraved vignettes by Démétrios Galanis, one of 285 numbered copies on laid paper.
Handsome copy.

First French edition translated by F. d'Albert-Durade. Preliminary note by the author in English and French giving his consent to the translation. The first English edition was published in London in 1859.
Contemporary half wine-red sheep binding. Smooth spine decorated with series of fillets. Gilt title and volume number. Spine uniformly lightened. Some foxing at the beginning of the work, otherwise the whole very fresh.
George Eliot's first work which was immediately recognized as important despite a small print run, and which received Dickens' approval.

First edition of the French translation for which it was not printed from large papers.
Pleasant copy.
Handwritten signature of Günter Grass on the half title page.

First edition of the French translation, one of 50 numbered copies on vellum offset paper, the only deluxe copies.
Very handsome copy.
Cover illustrated by Max Ernst reproduced as frontispiece.

First edition of the theatrical adaptation by Albert Camus, one of 40 numbered copies on alfa paper reserved for the author, the most limited deluxe issue after 21 on Hollande paper.
We include on Gallimard editions letterhead, the printed slip "de la part de M. Albert Camus."
Spine and boards slightly and marginally sunned, a pale and small dampstain at foot of spine, a marginal crease to front board.

Edition of the year of the original.
Binding full carton vellum style, smooth back, title label of brown shagreen, boards struck at their centers of the golden arms of Count Paul Biver, guards and contreplats of handmade paper, covers and back preserved, gilded head, binding of l 'time.
Illustrated book of 21 wood and 143 initials of Adolfo de Carolis
Beautiful copy nicely drawn with the golden arms of Paul Biver.
Signed autograph dedication of Gabriele d'Annunzio to Count Paul Biver.

First edition of the French translation, one of 30 numbered copies on Rives laid paper, the only deluxe copies.
Spine split, faded and with small tears at head and foot, light foxing to some deckled edges.

New edition of the French translation illustrated with original illustrations by Léon Carré, one of 750 numbered copies on laid paper, the only issue after 160 various Japan papers.
A handsome copy.

First edition, one of 367 numbered copies on alfa paper, the only deluxe copies.
Handsome copy.

New edition of the French translation by Charles Baudelaire.
Fine copy despite the spine slightly sunned at head and foot, a marginal lack to the second cover.

Printed in a limited edition of 180 numbered copies on Japon Kozu-shi
Handsome copy with the Japanese Ogura paper covers well preserved.

First edition, one of the numbered copies on alfa paper.
Handsome copy despite two small tears at the foot of the spine at the joints.

First edition of the French translation, one of 330 numbered copies on alfa paper, the only deluxe copies after 40 on pur fil.
Spine slightly sunned.

First edition of the French translation by B. Ducos.
Illustrated with 3 frontispiece engravings to the volumes.
Full caramel calf bindings, smooth spines decorated with fleurons, stippling and gilt fillets, red morocco title and volume labels, gilt roulettes on headcaps completely faded, discreet restorations to joints, triple gilt fillets framing the boards, blue paper endpapers and pastedowns, gilt fillets on leading edges, all edges gilt, corners very slightly bumped, contemporary bindings.
Small light stains on boards, one stain and marginal tear affecting pages 185 to 200 of the second volume, some minor foxing, ink ownership inscription at head of each copy on endpaper.
Rare and handsome copy attractively presented.

First edition in French and published anonymously.
Half caramel calf bindings, smooth spines decorated with gilt garlands as well as fleurons and double fillets stamped in blind, gilt friezes at head and foot, discreet restorations to joints, marbled paper boards, marbled endpapers and pastedowns, marbled edges.
A rare and handsome copy handsomely bound.

First edition.
Half caramel calf bindings, smooth spines decorated with gilt garlands as well as fleurons and double fillets stamped in blind, gilt friezes at head and foot, discreet restorations to joints, marbled paper boards, marbled endpapers and pastedowns, marbled edges.
Some minor foxing and staining to certain leaves, printed reading room stamps on title pages of volumes.
Rare and handsome copy handsomely bound.

First edition of the French translation by M. de Hammer and M. Poujoulat.
Spine warped with tears and lacks, marginal lacks to first cover, handsome interior condition.
Rare.

First edition of the French translation by José Maria de Heredia.
Bindings in half brown morocco with corners, back with five nerves set with gilded nets and adorned with crossed golden swords overcoming a honorific golden distinction, golden dates in tails, framing of gilt fillets on marbled paper plates, guards and contreplats of paper in the tank, golden heads.
Signed autograph of José Maria de Heredia to Leon Charmolüe on the first volume.
A small snag on an upper corner of the third volume.
Nice copy pleasantly established.

New edition of the French translation illustrated with decorations by Jeanne-Henriette Tirman, one of 1000 copies on tinted laid paper.
Spine slightly discolored.
Signed gift inscription at the head of an endpaper.