Literature illustrated with engravings, lithographs, photographs, first edition drawings, beautiful illustrated books and artists' books

First edition, one of 10 copies numbered and signed by Eugène Guillevic and Ania Staritsky in the limitation page. Printed on Verveine de Puymoyen paper specially designed for this work, ours being one of the few hors commerce copies, from the most limited deluxe issue (tirage de tête).

Illustrated with 5 original copper engravings in colour by Ania Staritsky.

A rare and pleasing copy, complete with its almond-green cloth chemise and slipcase, the spine of the chemise slightly yellowed.

As stated in the limitation page, our copy includes an original collage by Ania Staritsky and the six-line autograph manuscript poem signed by Eugène

First edition.
Publisher’s full brown grained sheepskin binding, orange top edge, smooth spine ruled in gilt.
Richly illustrated.
Copy complete with its dust jacket, acetate wrapper and soft slipcase.
Acetate wrapper slightly yellowed.

First edition, one of 35 numbered copies on B.F.K. de Rives paper, signed by Michel Seuphor and Ania Staritsky at the limitation page, our copy one of the few hors commerce.

Illustrated with original engravings by Ania Staritsky.

A rare and handsome copy, complete with its chemise and matching brown cloth slipcase.

Our copy, like the first 10 copies, exceptionally contains an original collage signed by Ania Staritsky, a 9-line manuscript text signed by Michel Seuphor, and a suite of all the engravings by Ania Staritsky. This association copy is also inscribed in pencil by Ania Staritsky to her collaborator Claude Nardin who he

First edition, one of 70 numbered copies on Holland paper, deluxe issue after 30 on Japan paper.

A handsome copy.

Illustrated work, with a frontispiece portrait of Joseph Delteil by Mariette Lydis.

Third edition, one of 200 numbered copies on handmade wove paper, the only large-paper issue. 

Bound in red half-shagreen, spine with five raised bands framed by gilt dotted fillets and gilt double fillets, marbled paper boards, sprinkled top edge, pastedowns and endpapers in marbled paper, original front wrapper preserved, lower edge and fore-edge uncut.

Corners with light wear.

Copy of the thirteenth printing of the first edition illustrated by the author.
Publisher's full bottle-green binding, smooth spine decorated in black with the title and author's name at the head and the publisher's name at the foot, upper board decorated in black with the title and author's name within a blind-stamped border, complete with its illustrated dust jacket. Author's inscription in blue ink on the first free endpaper, followed by a slightly faded ex-dono on the next: "I hope you will still feel like reading this. Love, Sisi."
Headcaps slightly bumped, losses, folds and tears to the dust jacket.

First illustrated edition, in the very first issue and complete in a single volume; a three-volume issue, more common and published later in the course of 1836, was subsequently produced. With a frontispiece title and 11 steel-engraved plates hors-texte on heavy wove paper, after Johannot, Boulanger, Raffet, Rogier & Rouargue, engraved by Finden, Staines… The work is attractively printed in an airy type with generous margins, closely following the original edition published in 1831. The plate entitled "De l'utilité des fenêtres" is present; according to Clouzot it is most often lacking, as it was printed later than the initial release of the work.
Contemporary full wine-coloured morocc

First edition, at one time attributed to Bernard Le Bouyer de Fontenelle, on the loves of a shepherd of illustrious lineage: Mirtil, son of Venus and Adonis. Complete copy with its engraved title page by Louis Legrand and its six plates drawn by Hubert François Gravelot and engraved by Louis Legrand.

Half marbled calf binding, spine with five raised bands decorated with dotted gilt fillets, five compartments richly gilt with fillets and fleurons, pebble-pattern marbled paper boards, red edges, pastedowns and e

Illustrated edition with 150 drawings by Riou.

Publisher's catalogue by FN bound in at the rear.

Hetzel publisher's binding "aux deux éléphants" type 3, full red percaline binding signed A. Lenègre, rear board type "e" as identified by Jauzac, original blue endpapers, all edges gilt. Manuscript inscription on the title page, upper right.

First edition of the French translation, one of 100 numbered copies on Arches wove paper, the only deluxe paper issue, our copy justified at the colophon by Raymond Mason as an artist’s copy, the sole large-paper issue.
Illustrated work, with an original engraving by Raymond Mason, signed and justified by him as an artist’s copy as frontispiece.
A scarce and pleasing copy.

First issue of the 250 wood-engraved compositions by Edmond Morin, one of 150 numbered copies on Holland paper.

The work is further illustrated with a frontispiece portrait of the author by Léopold Flameng.

Bound in half orange morocco over marbled boards with corners, spine with five raised bands ruled in gilt and richly tooled with double gilt compartments, covers framed with double gilt fillets, marbled endpapers, original wrappers preserved, top edge gilt, an elegant binding signed A. Bertrand.

A fine copy, impeccably presented.

Illustrated edition with colour drawings by Chas Laborde, one of the numbered copies printed on wove paper.

A pleasing copy.

On the half-title page, a signed autograph inscription from Colette: "A monsieur F. Porlier. Colette.", Colette having added after Claudine s'en va :  bon vent !

Illustrated edition with colour drawings by Chas Laborde, one of the numbered copies printed on wove paper.

A pleasing copy, notwithstanding a crease mark to the lower right corner of the upper cover.

Fine signed presentation inscription by Colette: "A monsieur F. Porlier ce vieux péché littéraire que je n'aime plus beaucoup. Colette."

Illustrated edition with colour drawings by Chas Laborde, one of the numbered copies printed on wove paper.

A pleasing copy, despite a small tear to the upper right margin of the front free endpaper.

On the page following the title, a fine signed autograph inscription by Colette: "A monsieur F. Porlier. Nantes, février 1933. Colette. J'aime beaucoup "et autres" ! Colette.", Colette having ironically circled the words "et autres" appearing in a paragraph outlining her alleged collaboration with her former husband Willy in the writing of the work.

Illustrated edition with colour drawings by Chas Laborde, one of the numbered copies on wove paper.

A pleasing copy.

Autograph signed inscription by Colette: "A monsieur F. Porlier en souvenir d'une passante. Colette."

First edition of the catalogue for the exhibition of works by Claude Monet held at the Galerie Bernheim-Jeune in Paris from 28 May to 8 June 1912.

Preface by Octave Mirbeau.

Bradel binding in half fawn morocco, smooth spine, date gilt at foot, minor rubbing to spine, boards of marbled paper framed with a gilt fillet, marbled endpapers and pastedowns, wrappers (a pink stain at the foot of the lower wrapper) and spine preserved, top edge gilt; contemporary binding signed L. Bernard.

The paintings were exhibited four years after Claude Monet’s sole journey to Venice.

Illustrated catalogue with 9 reproductions of paintings by Claude Monet.

Edition limited to 200 numbered copies on mould-made vellum paper and illustrated with 36 original lithographs by Louis Morin (including the wrapper).

Bradel binding in half orange morocco over marbled boards with corners, smooth spine featuring a gilt cartouche decorated with romantic gilt arabesques, gilt date at foot, gilt fillet frames to the marbled paper covers, a small snag to the lower left corner of the upper board, marbled endpapers and pastedowns, original wrappers and spine preserved, an elegant contemporary binding signed Alfred Farez.

A handsome copy, pleasingly bound.

New edition.

Illustrated with engravings by Jean Hugo.

A pleasing copy.

Fine signed autograph inscription from Anaïs Nin to the woman of letters Christiane Baroche: "Your poems should be in a book one can keep nearly and read now and then for substance. Anaïs Nin."

Illustrated edition with a frontispiece and 19 black vignette illustrations in the text by Marianne Clouzot, one of 675 numbered copies printed on vélin de lana.

Full caramel box binding, smooth spine, the illustrator’s name gilt at the foot, moiré-effect paper endleaves and doublures, cold-ruled fillet frames to the doublures, original covers and spine preserved, top edge gilt, slipcase with inner flaps in caramel box with bands, moiré-effect paper sides, the slipcase edged in caramel box with moiré-effect paper panels; binding slightly later, signed Gavallet.

Like the 50 numbered copies printed on Arches paper, our copy exceptionally includes, at the end of the volume, a bla

First edition printed in a small number of copies.
Half red morocco binding with corners, smooth spine decorated with a gilt panel and floral tools, enhanced with a grey mosaic morocco onlay, gilt date at foot, gilt fillet framing on the marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, gilt top edge, binding signed Charles Lanoë.
Illustrated with a fine frontispiece drawn and engraved by Félix Bracquemond.
An attractive copy, handsomely bound.

First edition, one of 605 numbered copies on pur fil d'arches, this copy being one of the 20 hors commerce lettered name copies, including an additional suite on papier à la main du moulin Richard de Bas.

A few minor foxing spots to the front wrapper; slipcase and chemises split at several joints.

17 woodcuts engraved with a knife by Lucien Jacques.

Our copy is complete with its additional suite of the 17 illustrations on papier à la main du moulin Richard de Bas.

Signed and dated 1968 by Jean Giono to Monsieur Lachaud.

First edition, one of 35 copies on Holland paper, the limited deluxe issue following 19 on China paper.

A fine copy, with a visiting card tipped in on a blank leaf bearing the manuscript note: "de ton beau-frère, un échantillon des éditions suisses".

Illustrated with headpieces and tailpieces by Marcel North.

First edition, one of 56 numbered copies on Arches laid paper, after only 11 on China paper and 14 on Japan paper.

Bradel binding in half navy blue morocco, smooth spine slightly faded, gilt date at foot, marbled paper sides, marbled endpapers and pastedowns, bookplate pasted to one pastedown, original wrappers and spine preserved, top edge gilt.

Upper cover illustrated with a wood engraving by Pierre Lissac.

First edition, one of the numbered copies on laid paper, the only issue after 1 copy on large Arches vellum, 50 on Japan paper, and 10 hors commerce.

The upper cover slightly and marginally toned; a pleasing copy.

Illustrated with wood engravings by Raoul Dufy.

Expanded new edition including a notice and an appendix providing a catalogue of the principal violin makers from the fifteenth to the nineteenth century, a description of the most sought-after violins, their dates of manufacture, their market value, and the distinguishing features by which they may be identified, by L. de Pratis.

Half chocolate-brown morocco binding with corners, spine with five raised bands ruled in black, gilt date at foot, marbled paper sides, marbled endpapers and doublures, illustrated wrappers and spine preserved (with a small loss at foot), gilt top edge, signed binding by H. Blanchetière.

A fine copy attractively bound in a signed binding.

First edition, illustrated with in-text and full-page black-and-white and colour drawings by Albert Robida.
Publisher’s original illustrated cloth binding in full green percaline, signed Engel, smooth spine, featuring a large polychrome illustration heightened with gold and palladium by Souze extending across the spine and boards; the original front cover in colour preserved; all edges gilt.
"Ceci qui va suivre sous un titre ambitieux pris simplement comme une étiquette en chiffres, n'est, bien entendu, pas une histoire, ni un tableau, ni un résumé, c'est une série d'esquisses, de croquis à la plume et à la mine de plomb, de portraits familiers de notre Siècle à différentes époques

First edition, one of 925 numbered copies on Artois vellum, the only issue including a sheet of butcher’s paper in tribute to General de Gaulle, together with 20 hors commerce copies and 75 on Marais paper.

Illustrated with headpieces and tailpieces.
Attractive copy.

Illustrated edition with a frontispiece by Ossip Zadkine, one of 60 numbered copies on B.F.K. Rives mould-made vellum, the only deluxe paper issue.

Rare and fine copy.

First edition illustrated with 80 plates hors texte. Each play is accompanied by one steel engraving and one wood engraving. The names appearing on the plates include Geoffroy, Verdeil, Rouargue, and Harvey, though most of the steel engravings — remarkably fine and often marked by a highly imaginative, at times visionary style — are unsigned.
Publisher’s original blue morocco-grain cloth binding, richly gilt, the spine lavishly decorated with a geometric interlace and foliate motifs; the boards with a large romantic blind-stamped frame and two distinct central designs, one depicting Falstaff, the other a composition with a lyre, a medallion, and related emblems. Slight damage at the up

First issue with three half-titles, three frontispieces, one heightened in gold, and richly illustrated with ornamental borders and in-text vignettes, together with fourteen full-page plates by Andrew Best Leloir and Levilly. Edition prepared from the 1704 text, revised and accompanied by a dissertation by Baron Silvestre de Sacy.
Rare publisher’s bindings in red half shagreen. Spines decorated with a large gilt ornamental panel featuring an oriental dancer at its centre, surrounded by multiple motifs inspired by the East. Large dark stain at the foot of volume two, as well as a narrow split to the leather measuring approximately 8 cm. Foxing and browning throughout. From p. 70 of volu

First-issue illustrated edition featuring 15 full-page plates and 100 in-text figures by Gustave Doré. This edition is considerably rarer than the well-known later Doré edition published by Garnier in folio format in 1873; moreover, the Garnier edition reused 98 illustrations from the Bry edition. Printed in two columns.
Twentieth-century half morocco binding with corners, in chocolate brown. Smooth spine decorated with gilt fillets. Brown calf title label. A good, fresh copy, with a few occasional scattered foxing.
"Cet ouvrage populaire est fort recherché aujourd'hui pour les puissantes compositions de Gustave Doré qui s'était fait la main pour son admirable illustration des Conte

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

First illustrated edition with 19 original lithographs by Miklos Bokor, printed in 175 numbered copies on Arches vellum, this copy being one of the 15 artist’s proofs signed and justified by the artist.

Autograph signatures of Yves Bonnefoy and Miklos Bokor at the colophon.

Signed autograph inscription by Yves Bonnefoy to a couple of close friends.

A fine copy, complete with its chemise and slipcase.

First edition entirely hand-painted by Jacques Capdeville and printed in 30 numbered copies on vellum, with a small number of hors-commerce copies also issued.

Rare and fine copy, complete with its full flexible paperboard slipcase and with the musical setting of the poem by John Supko, on tracing paper.

Handwritten signatures of Philippe Denis and Jacques Capdeville in the colophon.

First edition illustrated with 12 full-page plates by Françoise Gilot, one of only 115 numbered copies on Arches vellum, the deluxe issue.

Our copy is indeed accompanied by an original lithograph by Françoise Gilot on a separate leaf.

A very good copy.

Paul Éluard’s handwritten signature on the limitation page, lightly and partially shaded as on the facing page.

Folio edition of the Holy Bible illustrated by Gustave Doré in two volumes.
3/4 red calf, spine with five raised bands showing some scuffing, decorated with five blind-stamped panels framed in gilt, gilt roll on the bands and at top and bottom of spine, spine-ends rubbed, spine elaborately decorated with gilt tooling, title and volume number gilt-stamped, marbled paper boards framed in gilt, small losses of paper at upper margin of front board of both volumes, paper lifting at margin of lower cover of volume two, contemporary binding. Some foxing. 
Translated by J.J. Bourassé and P. Janvier.
A handsome edition with numerous monumental woodcuts after drawings by Gustave Do

Rare first edition of the French translation by Judith Gautier, printed on japon-style paper.
Slight restoration work to spine and a corner of the lower cover, wrappers slightly and marginally soiled as usual.
Illustrated throughout with full-page colour woodcuts by Yamamoto.

First edition, one of 50 numbered copies printed on Edogawa Japan paper, the deluxe issue.

A handsome copy, complete—as with all copies on Japan paper—with the author’s portrait frontispiece by Armand Rassenfosse.

Edition illustrated with 12 original colour watercolours by Gerda Wegener, printed hors texte, one of 400 numbered copies on Arches laid paper.

Spine and boards faintly sunned at the margins, otherwise a pleasing copy.

First edition, one of 330 numbered copies on Arches wove paper.

Minor tears to the head and tail of the spine; a pleasing copy.

With wood-engraved illustrations by François de Marliave, printed in several colours by E. Gasperini.

First edition, one of 45 numbered copies printed on Rajasthan jute paper, the only deluxe issue.

Manuscript signature of Emil Cioran at the colophon.

Spine very slightly faded, of no significance.

Rare and fine copy, complete with the three tantric paintings reproduced hors-texte in colour on cream paper.

First edition, limited to 59 numbered copies on Arches vellum, signed in pink pencil by André Masson beneath the limitation statement.
Rare and fine copy.
Illustrated with two original etchings by André Masson, printed full-bleed and issued hors texte.

First edition, one of 100 copies numbered on Arches wove paper, the only deluxe issue.

This exhibition catalogue devoted to the painter’s work at the Pierre Matisse Gallery in New York, marking his sixtieth birthday, is illustrated with three original lithographs (two double-page and one single-page) together with numerous black-and-white and colour reproductions.

Offsetting from the lithographs visible on the facing text leaves.

Autograph signature by Joan Miró, dated at the colophon number.

As stated in the limitation, this copy indeed includes its original lithograph, dated and signed by Joan Miró.

First edition, printed in 170 numbered copies on Holland paper, this copy being one of the 100 reserved for Robert J. Godet.

Illustrated with ten burin engravings by Gaston-Louis Roux.

A very good copy, with only a few negligible and faint spots to some leaves.

First edition, one of 170 numbered copies on vélin teinté de rives, the only issue following 40 copies on vélin blanc d'Arches, with an additional suite of the illustrations.

A fine copy.

Illustrated with three etchings by Alberto Giacometti.

Edition partly original, one of 90 numbered copies on hollande paper, the only issue following 10 on japon, 2 on Chapelle and 2 hors-commerce copies. Volume illustrated with 8 woodcuts by Manolo, four of which are full-page.

Manuscript signatures of Manolo and Pierre Reverdy on the colophon.

A

First edition, one of 35 numbered copies on vélin bleu, most limited deluxe issue (tirage de tête). Spine and boards marginally faded as usual, otherwise a handsome copy.

Illustrated with 8 black-and-white photolithographs after collages by Max Ernst.

A rare copy of this collection of surrealist tales by Leonora Carrington, which “recall, through their very ‘English’ humour, certain adventures of Ali

First illustrated deluxe edition, expanded with a foreword by Albert Gleizes, one of 400 numbered copies on Lana wove paper.

Volume illustrated with 7 original etchings or drypoints by Pablo Picasso

“L’homme au chapeau”, Jean Metzinger, Marie Laurencin, Albert Gleizes, Francis Picabia, Jacques Villon and Marcel Duchamp, together with 4 plates after Georges Braque, André Derain, Juan Gris and Fernan

A small book entirely in Chinese, from the series Chinese Spoken Language Readers for Lower Primary Schools.

Printed stamp of the Missions Museum S.J. Kirche "Am Hof" on the rear cover; a manuscript ink annotation at the head of the final page of text.

Numerous black-and-white illustrations within the text and one full-page colour illustration.

A rare and pleasing copy.

Illustrated edition with drawings by D. Rahoult and numerous wood engravings by E. Dardelet (Vicaire I, 812–813; Carteret III, 95–96).

Preface by George Sand. Grenoble, Rahoult et Dardelet, 1864–1874, issued in two parts bound in one volume, large quarto.

Half brown morocco over corners, spine with five raised bands decorated with gilt fleurons and blind tooling, minor rubbing to the spine, covers of marbled paper framed with double gilt fillets, surface wear to the boards, comb-marbled endpapers and pastedowns, gilt top edge.

The first part, issued in nine instalments between 1859 and 1864, consists of a poem in local patois on the flooding of Grenoble in 1733, first pu

First edition illustrated with 2 engraved plates of this rare anonymous collection of poems, recently and definitively attributed to the poet from Réunion Antoine de Bertin (1752-1790), and believed to constitute his earliest works (cf. Seth, Poète créoles, 304. Ryckebusch, Bibliographie… Réunion, 750. Conlon 71: 879.)

Contemporary-style half black sheep with corners, spine with five raised bands ruled in blind, comb-marbled paper boards, some rubbing to the covers, corners bumped, modern binding.

They were never included in subsequent editions of his Œuvres complètes.

Bertin alludes to his island in his “Vers à Jeannette. A l'Orient” (p. 68): « …Mais aur

First edition illustrated with 24 colour figures mounted within the text.

No copy recorded in the CCFr.

Occasional light foxing.

Publisher’s original full lemon-yellow percaline, smooth spine, upper cover decorated in red, minor spotting to the boards.

Pleasing album devoted to the monuments of ancient China, then undergoing rapid transformation at the beginning of the twentieth century.

The text was set before the Chinese Revolution of 1911 and the Great War.

On the half-title, this copy is enriched with a long dated autograph inscription by the American singer and society figure Tryphosa Bates-Batcheller (1876–1952) to Henry de Galard de Brass

Rare first edition comprising a suite of 12 lithographs printed in colour on tinted grounds, numbered 1–12.

This series by the painter and lithographer Charles-Edouard de Beaumont (1821–1888), lithographed by Jaime, addresses the theme of children compelled to work from a very early age, exposed to street trades and itinerant entertainments.

Publisher’s half brown cloth over beige paper-covered boards, title stamped on the upper cover.

Some small tears and rubbing to the cloth spine, light dampstaining to the margins of the boards, occasional foxing, a small black mark to the upper cover.

The suite may be read either romantically or socially; in both cases it conve

First edition, no copies printed on deluxe paper.

Publisher's full red boards, flat spine, complete with the illustrated dust jacket.

Illustrated with numerous photographs.

Fine signed autograph inscription by Daniel Pennac to his friend Franklin Rist on the title page, each group of words enclosed in a comic strip-style speech bubble: "Nemo par Pennac et POUR FRANKLIN / nom d'un chien / avec / mon / amitié / de toujours / et d'aujourd'hui. Je t'embrasse Daniel"; the inscription is completed with a drawing of a little figure in the style of the Titan Atlas, carrying a fountain pen.

First edition, one of 20 numbered copies on Japan paper, the smallest issue of the deluxe edition, along with 20 on Arches.

Spine and covers marginally faded and sunned as usual, with minor paper losses at the flaps.

Illustrated with 8 original lithographs by Georges Annenkoff.

As with all copies from the deluxe issue, this copy includes the complete double suite of illustrations on vellum and on China paper.

Illustrated edition by George Roux featuring 12 large chromotypographs, 2 maps, and numerous photographic views.
Publisher’s decorative binding by Hetzel, signed Engel, known as “au globe,” type 4, spine with the lighthouse design, lower cover of Engel type "h" as per Jauzac; all edges gilt.
Headcaps very slightly pushed without consequence, original blue endpapers faintly faded as often, a few occasional spots of foxing.
Les Frères Kip is a detective and adventure novel, likely inspired by a late 19th-century criminal case: the Rorique brothers.
Copy not recorded by Jauzac.

A new printing of the works issued by Houssiaux, who had acquired the Furne publishing stock under which the works were originally released. He expanded the series with three additional volumes (Théâtre, Contes drolatiques, etc.), which appeared for the first time within the collected works in 1855. The edition was entirely reprinted in 1855. Most volumes bear the date 1863.

Contemporary half shagreen bindings in brown, spines with five raised bands, decorated with four blind-stamped fleurons within compartments. Author, title and volume numbering gilt. Scattered foxing. One volume with the paper boards renewed. Signs of rubbing.

The set is illustrated with 138 plates hor

First edition of this important and very rare magazine, complete with 4 issues in 3 volumes. 

Complete collection of this luxurious Surrealist magazine, edited and funded by Lise Deharme and characterized by its emphasis on photography. Covers illustrated by Man Ray, illustrations in black.

Contributions by Salvador Dali, Hans Arp, Dora Maar, Oscar Dominguez, Brassaï, Lee Miller, Jacques Lacan, James Joyce, Georges Ribemont-Dessaignes, Ilarie Voronca, Nathalie Barney, Benjamin Fondane, Pierre Drieu La Rochelle, Alejo Carpentier, Eugène Jolas, Lise Hirtz [Lise Deharme], Raymond Queneau, Claude Sernet, Roger Vitrac, Robert Desnos, Jean Follain, Léon-Paul Fargue, Pierre

Very rare typographic edition published one year after the facsimile edition from the Montfaucon Research Center and without Sophie Podolski's consent.

This is why this edition was withdrawn from sale; it is illustrated with drawings and includes a preface by Philippe Sollers.

Spine and boards slightly and marginally lightened, otherwise a rare and handsome copy.