Theater

Edition illustrated with 14 hors-texte engravings and a folding genealogical table.
Half black shagreen bindings, spine with four raised bands set with gilt garlands decorated with quintuple gilt and black compartments, double gilt fillet frame on black paper boards, marbled endpapers and pastedowns, some corners slightly bumped without significance, a small crack in the joint of volume seven, speckled edges.
Handsome set in uniform binding.

First edition. Translation by Lesage.
Contemporary binding in full blonde sheep. Spine with five raised bands decorated with gilt compartments and fleurons. Gilt roulette on the edges and headcaps. Head restored, otherwise good copy.
This volume is the first that Lesage provides of Spanish plays from the Golden Age. We know that other French authors of the 17th century provided adaptations of Spanish theater, but the translations were nearly contemporary and one may question Lesage's project of adapting plays that might seem outdated in the eyes of the public. Lesage explains himself in the preface which is a sort of demonstration of his aesthetic project: to renovate the scene of French comedy through the contribution of foreign dramaturgy while preserving the study of characters proper to French writing. Now, the plays presented are indeed adaptations and not merely translations, Lesage moves from the three-act play of Spanish theater to the five acts of French comedy, he substitutes a prose style for the metrical style. The work contains the plays Le Traistre puni and Don Felix de Mendoce.

Reprint of the complete works given in 1776, established by Rigoley de Juvigny, illustrated with a portrait of the author by Aug. de Saint Aubin engraved by Billé. As very often, the eighth volume, comprising the Œuvres badines, is not included here.
Contemporary bindings in full tree calf. Smooth spines decorated with gilt fillets, dentelles and fleurons, as well as green morocco title and volume labels. Blind fillet on boards. All edges speckled.
Some rubbing, otherwise a handsome copy.
Author of numerous comedies and epigrams which he had made a true specialty, often against the authors of his time, notably Fréron and Voltaire. Many of his plays were successful, notably his greatest, La métromanie, of which Grimm said it would live as long as there is theater and taste in France. He also wrote libertine poetry which caused him not to be retained by the Académie Française.
Bookplate from the library of Louis Montaut.

First collected edition.
Bradel bindings in brown half morocco with corners, smooth lightened spines, black morocco title labels, marbled paper boards, marbled endpapers and pastedowns, top edges gilt, covers and spines preserved, bindings signed by Kaufmann.
Handsome set.

Edition from the year of the first.
Half dark green shagreen binding, spine with four raised bands set with gilt dots decorated with double compartments with centers decorated with gilt typographical motifs, dark green paper boards with light scratches of no consequence, marbled endpapers and pastedowns, speckled edges, contemporary binding.
Preface by Jules Janin.

first edition.
Binding half morocco mint green, back smoothes decorated with typographical motifs and a golden cartridge, chocolate brown morocco title document, time golden tail piece in a mosaic morocco chocolate brown, net gilded on the boards of marbled paper, guards and contreplats of handmade paper, gilded head, elegant binding signed the Petitot apoque.
Our copy is enriched with an original watercolor of a castle resembling the one in which the action takes place and the Jesters below which Miguel Zamacoïs added these words: "This document of the sixteenth century may well represent Castle Moat -Maupré where the action takes place these buffoons, if one refers to arms. Some deny its authenticity ... And me too. Miguel Zamacoïs. February 1935 ".
Pleasant beautifully drawn copy.

Edition decorated with 13 original illustrations by Maurice Leloir engraved with burin and etching by Léon Boisson, one of 125 numbered copies on vélin du Marais, the only deluxe copies after 75 Japan.
Foxing on spine and in margins of boards, handsome interior condition.

First edition.
Bradel binding in full pasteboard covered with decorative plant-motif paper, smooth sunned spine decorated with a gilt floral motif, chocolate brown shagreen title label, date and double gilt fillet at foot of spine, contemporary binding signed in blind by Pierson.
Handsome interior condition.

First edition, one of 28 numbered copies on Japon, tirage de tête.
Autograph inscription from François Mauriac to Louis Brun, director of Editions Grasset : "... mon pemier essai au théâtre..."
Louis Brun's ex-librisprinted in front of the half title.
A very good copy with good margins.

Illustrated edition with frontispiece drawing by Georges Antoine Rochegrosse printed on China paper.
Bradel binding in full red paper with floral motif and moiré effect, smooth spine, navy blue shagreen title-label with some scratches, original wrappers preserved, contemporary binding.
Handsome copy attractively bound.

Edition printed on the presses of Jean-Gabriel Daragnès in 150 numbered copies on Lana laid paper.
Work illustrated with a portrait of Cardinal Richelieu as frontispiece, a title vignette, headpieces and tailpieces by Jean-Gabriel Daragnès.
First cover partially and slightly shaded without consequence, a paper lack at foot of slipcase.
Rare and handsome copy.

first edition.
Binding blue half morocco with corners, back with five nerves decorated with gold set with double gilded coffered decorated in their centers dotted parts sand and red morocco mosaic depicting a flower pistil and enriched with gold typographical grounds in their petals, framing gilded nets on marbled paper plates, guards and contreplats of handmade paper, gilded head, elegant contemporary binding signed Vermorel.
autograph dedication of the author autograph signed and dated Henry Kistemaeckers to actress Madeleine Bouvier, wife of Henri Daniel-Rops Petiot alias: "To my lovely interpètre tomorrow (and after ...) Madeleine Danielrops (sic) until something better, its author very devoted. "
Beautiful copy well established in an elegant contemporary binding signed Vermorel.

Collected edition ornamented with a portrait of Joseph Chénier as frontispiece to the first volume of works by Horace Vernet.
Half bronze calf bindings, faded spines with four raised bands set with gilt friezes and undulating blind fillets decorated with romantic typographical motifs in blind, gilt friezes at head and foot, marbled paper boards, slight tears of no consequence to some joints, marbled endpapers and pastedowns, marbled edges, elegant unsigned contemporary romantic bindings.
Handsome copy perfectly established in charming uniform contemporary romantic binding.

First edition, one of 17 numbered copies on Hollande paper, the tirage de tête.
A very good copy.

First edition for "L'homme aux valises", one of 20 numbered copies on Hollande, tirage de tête.
A very attractive copy.

First edition.
Half blue-grey cloth Bradel binding over marbled paper boards by Champs, spine with gilt stylized floral motif, date and double gilt fillet to foot, navy blue shagreen title-piece with a small angular lack to top, covers preserved.
Autograph inscription signed by Victor Hugo to his friend, the literary critic Henri Trianon.
Small manuscript correction to the first page of the introduction, a few small wormtracks to the title and half-title.
Provenance : Morizet collection, collection of Raymond Boueil with his engraved ex libris, Maurice Escoffier (Le mouvement romantique N°1557), Robert Schumann, manuscript initials (1965, N°207) and Philippe Zoummerouff (2001, N°62).

The first edition, of which there were no deluxe copies.
Light dampstains, small lacks and marginal tears to spine and boards.
Rare but in this condition.

First edition, one of 28 numbered copies on pur fil, ours bearing No. 1, deluxe copy.
Small tears with tiny marginal lacks on covers, a lack at foot of spine at the level of deckled edges, first endpaper partially and lightly shadowed.
A full-margined copy.

First edition on ordinary paper.
Handsome autograph inscription from François Billetdoux to Marcel Aymé : "... très fidèlement..."

First edition, one of the copies of the press service.
Precious autograph signed by the author Marcel Ayme: "... with the fraternal admiration and sympathy for Pierre Gascar."
Back insolated, complete copy of his please insert.

First edition, one of 192 numbered copies on pure thread paper, ours being one of 12 hors commerce copies, deluxe issue.
Cover illustrated with a colored drawing by Jean-Denis Masclès.
A light dampstain at the foot of the spine.
Handsome copy.

First edition, one of 112 numbered copies on alfa paper, the only large paper copies after 28 on pur fil paper.
Small tears, not serious, to margins of the covers, otherwise a good copy.

Illustrated with 28 original lithographs by Maurice Berdon and printed in a numbered edition of 200 copies on handmade laid paper from the Rives mills.
A handsome copy, spine of the chemise lightly sunned without consequence.

Very rare post-incunabula edition of Seneca's tragedies, illustrated with 10 woodcut figures in-text (6.5 x 8 cm), at the head of each of the ten tragedies. Numerous initials in black or criblé. Text of the tragedy in a central column with commentaries distributed around it, in Roman type. Title within a large engraved floral border. The editio princeps of Seneca's tragedies is considered to be that of 1484 in Ferrara (Andreas Gallicum).
Colophon: "Impressum Venetiis per Bernardinum de Vianis de Lexona Vercellensem. Anno Domini M.D.XXII, die VI Novembris."

Contemporary full vellum binding, with a raised-band spine remade in old vellum (18th or early 19th century). Manuscript title in black ink. Lacking the endpaper before the first title leaf. Front board detached from the visible sewing. Last leaves frayed at right margin. Lack to edge on lower board. A copy of fine freshness, except for the title leaf, slightly faded.

Edition prepared by Girolamo Avanzi who brought together his own commentaries on Seneca's Tragedies (which initially appeared in 1507 in Venice), and those of Daniel Galetanus and Bernardino Marmitae from the 1498 edition of the same Tragedies of Seneca. This professor of philosophy and philology worked in Padua, he prepared several editions of ancient texts, notably Catullus, Ausonius... He was Aldus Manutius's assistant in preparing editions of several ancient texts.

Ten tragedies by the author have come down to us, two of which pose problems regarding their attribution, Octavia and Hercules Oetaeus. The Trojan Women is an adaptation of Euripides' Troades. Seneca's theater contains no scenic dramaturgy or intrigue, it is a theater where, as in Euripides - to whom the author is very close -, the word is sovereign and commands the tragic outcome. The plays thus appear as a succession of declamations where action is absent, Seneca concentrating his writing on the internal tragedy of his characters after the irremediable act that precipitated them into madness, thus Medea after her crimes, or Hercules after his infanticide. The influence of this writing would be great at the end of the 16th and beginning of the 17th century, notably in Garnier.

First edition, one of the copies of the press service.
Binding sheepskin half hazelnut, back with five nerves filetsnoirs crimped, flat timber so paper and spiral effect, guards and contreplats of handmade paper, preserved covers, red head.
Signed autograph of the author: "Henry original end Bidou teller, who would displease Racine unless displease Debates ..."
Frontispiece, a Racine portrait.
A little lack of paper heads white guards binding, nice interior state.

First edition illustrated with 20 hand-colored plates showing the main character of each play drawn by MM. Maurice Sand, Allouard and Adrien Marie.
Contemporary half red shagreen binding with corners. Spine with raised bands decorated, fillets on boards. Light rubbing. Fine copy, free from foxing and perfectly fresh.

First edition of the French translation on ordinary paper, only 50 copies were printed on deluxe paper.
Our copy is expanded with an invitation card to the first performance of this play.

First edition illustrated with a drawing by Georges Rochegrosse engraved as frontispiece.
Bradel binding in half almond green cloth, red morocco title label, date at foot, original wrappers preserved.
Autograph inscription signed by Théodore de Banville to Henri Lenoir on the half-title page.
Some marginal foxing and restorations with reinforcements to front wrapper.

Seconde separate edition.
Foxing.

First edition on ordinary paper, with only 11 deluxe copies printed.
Half brown morocco binding, spine with five raised bands, dated at foot, marbled paper boards, endpapers and pastedowns lined with combed paper, original wrappers preserved, top edge gilt, binding signed by P. Goy & C. Vilaine.
Precious signed autograph inscription from Léon Blum to Paul Reboux.
Fine copy perfectly executed.

First Edition, one of 14 numbered copies on "pur-fil" paper, only leading copies.
Small bites on the guards, back slightly insolated.
Rare and nice copy.

The first edition, of which there were no deluxe copies.
Beautiful signed autograph inscription from the author to a friend named Mireille.
A tiny tear of no consequence to the spine.

First French edition, expanded with an original preface by the author, printed in 1800 numbered copies on alfa paper.
Signed autograph inscription from Henri de Montherlant to Bernard Fleurot.
Handsome copy.

The first edition, published in a small number of copies.
Half fir-green morocco binding, spine slightly faded with five raised bands set with gilt dots decorated with gilt double compartments richly adorned with gilt typographical motifs, red morocco title, place and date labels, gilt fillet on marbled paper boards, marbled endpapers and pastedowns, contemporary binding.
Our copy is enhanced with a signed autograph note from the author in which he proposes to a person to postpone their meeting to another day.
Work illustrated with a beautiful frontispiece drawn and engraved by Félix Bracquemond.
Fine bookplate pasted above the reproduction of a photograph representing Charles Monselet also pasted on a pastedown.

First edition of the adaptation by Jean Ott, of which there were no deluxe copies
Illustrated with a frontispiece by David Ossipovitch Widhopff.
A light tear without gravity to the head of the front cover, handsome copy.

First edition of the adaptation by Jean Ott, of which there were no deluxe copies
Spine and covers slightly and marginally sunned, handsome copy.

First edition of the adaptation by Jean Ott, of which there were no deluxe copies
Work illustrated with a frontispiece by René Leverd.
Handsome copy.

New edition.
Half marbled caramel sheep binding, spine with two raised bands decorated with gilt central fleuron, gilt date and double fillet at foot, traces of rubbing to spine, chocolate shagreen title label, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt, contemporary binding.
Autograph inscription signed by Romain Coolus to the poet Jean Ott: "... en sympathie - sans le connaître - puisqu'il est ami d'Acremant..." ["... in sympathy - without knowing him - since he is a friend of Acremant..."]

First edition of the theatrical adaptation, one of 8 numbered copies on Holland paper, deluxe copy.
A tiny tear of no consequence at the head of the first cover, a very light shadow at the head of the justification page and on the facing page left by the numbering bookmark, handsome copy.

Reprint for the first play, hors commerce first editions for the three others.
Half marbled caramel sheep binding, faded spine with two raised bands decorated with gilt central fleuron, gilt date and double fillet at foot, olive sheep title label, traces of rubbing to spine, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved for each of the 4 volumes, top edge gilt, contemporary binding.
Signed autograph inscription from Jules Gringoire to the poet Jean Ott on each of the plays.
Rare collection of these plays not distributed in trade

First edition, an advance (service de presse) copy.
Autograph inscription signed by Albert Camus to Henri Gouhier.
Paper yellowed as usual, spine sunned, retaining its advertising slip.

First edition, a Service de Presse (advance) copy.
Spine slightly sunned, handsome interior condition.
Precious signed autograph inscription from Marcel Aymé to his daughter Colette: ".. bien affectueusement. / Marcel." [".. with much affection. / Marcel."]

First edition, a unique copy printed on pink paper, tirage de tête along with a pale green paper.
A rare and good copy.

First edition, one of 50 numbered copies on Japan, the only large paper copies.
A good and well-margined copy.

First edition, one of 25 numbered copies on Hollande, tirage de tête after 15 parcheminé azuré hors commerce reserved for the author.
A very good copy with good margins.

First edition, one of 36 numbered copies on Hollande, tirage de tête.
A good copy.

First edition, one of 45 numbered copies on wove paper, our copy unnumbered but properly justified on wove paper.
Spine very slightly faded as usual, otherwise a handsome copy.

First edition, one of 60 numbered copies on vélin du Marais, tirage de tête.
Two small marginal traces of fol to foot of spine and first cover, otherwise a very good copy.

First edition, one of 18 numbered copies on pur fil paper, the tirage de tête (deluxe copy).

Jansenist red morocco, spine in six compartments, gilt date to foot of spine, pastedowns and endpapers in black morocco, covers and spine preserved, all edges gilt; half red morocco chemise, spine in six compartments, date in gilt at foot of spine, lined in black felt; slipcase edged in red morocco, lined in ochre felt, binding signed by Duhayon.

A superb copy handsomely bound in a triple binding by Duhayon.

First edition, one of 25 numbered copies on vélin pur fil, this one n°1, the only large paper copies.
A very good copy.

First edition, one of 600 numbered copies on select paper, the only issue after 12 on alfa.
Fine autograph inscription signed by the author to Raymond Fournier.
Spine sunned, handsome interior condition.

The first collected edition, with a portrait frontispiece by Gabriel Henri Gaillard.
Contemporary full marbled calf binding. Smooth decorated spine. Red morocco title label and volume labels. Head of volume I worn, volumes V and VI partially worn. Upper joint of volume VI cracked at head. Some corners slightly bumped. Good copy.
One could hardly praise Belloy as a great dramatist despite the success of his plays, and especially the incredible national and popular success of the Siege of Calais. However, the interest of this edition on the world of theater and letters in the 18th century is important. Each of the author's plays is indeed accompanied by numerous elements, prefaces, memoirs, letters, notes and research which explain not only the public's reception, but also the quarrels with the philosophers' party, the support then disavowal of Voltaire. As a writer, Belloy seeks to revive classical tragedy, his essay on tragedy of which the public's taste was then approaching bears witness (Gluck had set Racine to music in his opera Iphigenia in Tauris); classical tragedy then became in the second part of the 18th century a nationalist literary model, a model however contemporary with the invention of a new theater, that of Diderot.

Rare and unique first edition, posthumous, of this play, which was composed around 1560.
At the colophon, a different address: Apresso Paulo Zanfretti. Printed in italics. A portrait of the author in medallion on the verso of the first leaf, within a rich frame. Dedication to Dom Césare d'Este. Printer's device on title page. Brunet, II, 1607.
Full glazed blonde calf binding of the 18th century. Smooth spine decorated with 5 small fleurons. Red morocco title label. Triple fillet frame on boards. Rubbing. Spine browned.
Tragedy in verse in 5 acts written on the classical model, with chorus. Euphimia, daughter of the King of Corinth, marries Acharisto, her father's servant, while she is loved by Philone, King of the Peloponnese. Her husband will sacrifice her to his quest for power.
19th-century engraved bookplate with a lawyer's cap and the motto: Nemini servias sed legi. G. F.

First edition, one of 14 numbered copies on Madagascar paper, the tirage de tête.
Scratching, not serious, to lower cover, three tiny tears to margins of the covers, a good copy.

First edition, one of 1040 numbered copies on héliona paper.
Publisher's binding after Paul Bonet's original design.
Spine very lightly sunned as usual, minimal foxing without significance affecting mainly the edges.

First edition, one of 8 numbered copies on Hollande, tirage de tête.
A very good and rare copy.

First edition on ordinary paper for each of the volumes.
Half chocolate brown morocco binding, spine with five raised bands showing traces of rubbing, marbled paper boards, a small marginal paper lack to the first board, marbled endpapers and pastedowns, marbled edges.
Autograph inscription signed by Emile Guiard to Jacques Ollendorff in the form of a six-line verse on the first volume.
Provenance: from the library of Paul Ollendorff.

First edition, one of 25 numbered copies on Holland paper, deluxe copy.
Half dark green shagreen binding with corners, sunned spine with five raised bands set with black fillets, one scratch at foot, marbled paper boards, marbled endpapers and pastedowns, top edge gilt on deckled edges, contemporary unsigned binding but attributable to Lancelin.
Signed autograph inscription from the author to Madame Paul Ollendorff.
Full-margined copy handsomely bound.
Provenance: from the library of Paul Ollendorff.

First edition with no mention of deluxe copies, false statement of fifth edition.
Half hazel morocco binding with corners, spine with four raised bands set with gilt garlands and black fillets, gilt friezes at head and foot, marbled paper boards, moiré-effect endpapers and pastedowns with a minor tear at foot, original wrappers preserved, top edge gilt retaining deckled edges.
Provenance: from the library of Paul Ollendorff.

New edition for the Siège de Calais, first edition for the two other texts. The five figures mentioned by some bibliographers seem to be lacking in Eugénie.
Full speckled blonde sheep binding. Smooth spine decorated with gilt compartments and fleurons, as well as a blonde sheep title label. All edges red. Top of spine slightly split, title label partially missing. Surface wear and lacks to boards. Corners slightly bumped. Two tiny marginal tears not touching text to first endpaper and final text leaf.
Contemporary manuscript notes on first endpaper giving details of the work's contents. Interesting collection of theatrical pieces with England as their subject. Among these three plays, one should note that Le siège de Calais, a patriotic piece, had resounding success despite reservations from Diderot and Voltaire.

First edition of the adaptation by Jean-Paul Sartre, one of 80 numbered copies on Hollande, the tirage de tête.
Two slight traces of insignificant sunning to head and foot of spine, a very good copy.

First edition, one of 28 numbered copies on pur fil, this one unnumbered but justified "pur fil", tirage de tête.
Two slight tears to foot of spine (to edges), a very good copy with edges preserved.

First edition, one of 15 numbered copies on Hollande, the only large paper copies.
Foxing in the margins to the covers and some extended edges.
A copy with good margins.

New edition published anonymously.
A rare and good copy in its original wrappers (no covers).

New edition printed on China paper in small numbers and established by the bibliophile Jacob of this play almost unknown to all theater historians.
Bradel binding in half mouse-gray cloth with corners, smooth spine decorated with a gilt floral motif, double fillet at tail, gray shagreen title-label, marbled paper boards, contemporary binding.

First edition.
Publisher's binding over yellow plain paper boards citron, dust jacket missing.
Richly illustrated.

First edition, one of 100 numbered copies on deluxe paper, from the deluxe issue.
As frontispiece, a portrait of the author by himself.
A tiny harmless stain at the head of the first board, a handsome and rare copy.

Complete autograph manuscript of 34 pages written on the recto in black ink, dated on the first page: Paris - December 9, 1933.
Comedy in verse, in 13 scenes, featuring three characters: Madelon, Benoît and Vincent.
Accompanied by the typescript of the play.

Complete and unpublished autograph manuscript of 62 pages written and foliated on the recto in black ink. Some autograph deletions and corrections by the author.
Dated Paris July 15, 1915, Mauves August 12-13, 1917 and Lapras August 28, 1917 on the autograph chemise.
Unpublished comedy in two acts and in verse, originally titled Le Bien et le Mal. The action takes place in Spain and features Leonore, her husband Cazalbas, her lover Ribaldos, and her attendant Ines.

Complete and unpublished autograph manuscript of 74 pages written and foliated in black ink on the recto and protected in a cardboard chemise indicating the title. Some autograph deletions and corrections by the author.
Unpublished drama in 4 acts and in verse.
The action takes place in Lydia in the 4th century BC. The play features Aesop, his mistress Rhodope, King Croesus and his ministers.
Accompanying is a small file of the play's scenario, in another hand or typewritten, probably relating to the opera libretto.

Complete autograph manuscript, 70 pages, in black ink, with and marked with their folio number to the recto.

Autograph manuscript of 6 pages written in black ink and foliated on the recto. Some manuscript corrections by the author, dated 14 March 1902 at top right of the first leaf.
Act I in verse featuring the mythological lovers Cephalus and Procris.

Autograph manuscript of 23 pages written in black ink and foliated on the recto. Autograph wrapper bearing the title, date and place: Paris - 24 October 1910.
First act of this tragicomedy in verse.
Accompanied by a small file of notes.

Autograph manuscript of 87 pages written in black ink and foliated on the recto. Numerous crossings-out and autograph corrections by the author.
Partial manuscript of this five-act drama in verse after Plutarch and Shakespeare, first performed at the Comédie française on 22 May 1921.
Accompanied by 4 tableaux in professional copy with corrections and important autograph additions.

Complete autograph manuscript of 44 pages written in black ink and foliated on the recto. Autograph wrapper bearing the title and several dates: Paris - Monday May 24, 1911, Paris - Thursday November 9, 1911 and Revision, Lapras - Tuesday August 20, 1911. Some autograph corrections by the author in pencil and blue pencil.
Complete manuscript of a three-act play which appears to have remained unpublished.

Complete autograph manuscript of 50 pages written in black ink and foliated on the recto. Fragment of autograph wrapper bearing the crossed-out title and two dates: Paris - Thursday March 9, 1911 and Paris - Saturday April 25, 1914. Some deletions and corrections.
This is an unpublished tragedy in verse.

Complete autograph manuscript of 49 pages written and foliated in black ink on the recto.
Some autograph corrections by the author. Autograph cover bearing the title and dates: Paris - 4 July 1929 and Lapras - 22 August 1929.
Unpublished adaptation of Sophocles' tragedy, in three acts and in verse.

Complete unpublished autograph manuscript of 67 pages written and foliated in black ink on the recto. Autograph cover bearing the title and dates: Paris - 25 October 1935 and Paris - 21 April 1937. Stage directions in red ink and some autograph corrections by the author.
Unpublished prose adaptation of Euripides' Greek tragedy.
Accompanied by a small folder of autograph notes and drafts in pencil, the Histoire d'Oreste, dated Lapras - 22 July 1922.

New edition, "more beautiful and more complete than that of 1725" (Brunet).
Half green sheep binding, nineteenth century. Smooth spines decorated with triple gilt fillets, gilt initials at foot. Some surface wear, edges and corners rubbed.
An author now forgotten, Boursault held an important place in the theatrical life of his time. He even took an active part in the quarrels with Molière and Boileau. Some of his comedies enjoyed great success, and one of his tragedies was compared by Corneille himself to those of Racine; but all his plays suffer from a lack of dramaturgy, they are juxtaposed scenes, without staging.

Second edition illustrated with 20 handsome full-length costumed portraits hand-colored by Geffroy, printed on heavy paper.
Half wine-red shagreen binding with corners. Spine with raised bands decorated with gilt compartments. Fillets on boards. Spine evenly sunned. Copy on very white paper, with a few very rare pale foxing spots.
Handsome copy.

First edition, of which there were no deluxe copies.
Bradel binding in half orange cloth, smooth spine decorated with a gilt floral motif, double fillet and gilt date at foot, navy shagreen title-label with slight harmless scratches, marbled paper boards, corners slightly bumped, wrappers preserved, contemporary binding.

Second edition.
Rare.

First edition printed on ordinary paper.
Signed autograph inscription from Charles Cluny.
Spine sunned, minor marginal tears without gravity on the front cover, light worming on the covers.
Rare.

Autograph manuscript of 70 pages written on the recto in black ink with important deletions, corrections and suppressions. Paper cover bearing the title, date and place (Paris 7 December 1897 - 6 January 1898).
Unpublished comedy in verse and prose, featuring Claridiane, Queen of Bohemia, Lélio, Prince Escalus, Arlequin, master of ceremonies, Colombine, lady-in-waiting, plus five ministers and Illyrian officers; the scene is set in Bohemia.

Complete and unpublished autograph manuscript of 77 pages written and numbered on the recto in black ink.
Paper cover bearing the title, date and place Paris 12 December 1899 - 12 January 1900. Some autograph corrections by the author.
Unpublished comedy in prose; the action takes place in the contemporary period, in Paris and in the forest of Fontainebleau; it features a dramatic author, a charming actress, a provincial journalist...

New edition.
Half bordeaux shagreen binding with corners, spine with four raised bands set with gilt dots decorated with double gilt compartments enhanced with gilt floral motifs, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt.
Precious autograph inscription signed by Théodore de Banville to his close friend Edmond de Goncourt.

Reissue of the 1775 edition, illustrated with 20 beautiful figures by Moreau le Jeune and Marillier, engraved by De Longueil, Née...

Contemporary full speckled calf binding. Smooth spine handsomely decorated. Pink morocco title label and black morocco volume label. Lacking at headcap of volume IV. 4 corners slightly bumped.

New edition, revised, corrected and expanded with several pieces, all similar to the Royal Printing House edition (quarto in 4 volumes published in 1757).
An engraved portrait of the author as frontispiece by Vander Schley.
Contemporary full brown sheep bindings. Spines with five raised bands decorated with compartments and small gilt floral tools. Red morocco title labels and volume labels. All edges red. The first and fourth volumes show lacks to spine with lacks to headcaps, two worn headcaps, wormholes, four corners slightly bumped. Some very minor bookworm damage in certain volumes, not affecting the text.
Edition bringing together the theatrical pieces, correspondence, as well as some poetic pieces.
Destouches wrote his first texts under the influence of Boileau and produced his first play in Switzerland. His subsequent plays earned him the protection and admiration of Philippe d'Orléans, as well as his entry into the French Academy in 1723.

First edition, illustrated with 14 lithographic compositions by Maurice Eliot.
Copy printed for M. E. Terré. Text within a border frame. Grand Velin.
Half chocolate morocco with corners signed Lortic. Jansenist spine with raised bands. Some pale foxing at beginning of work. Minor rubbing. Handsome copy.