First editions, fine papers and deluxe printings of French and foreign literature, 16th to 21st century

First edition on ordinary paper, falsely stated third edition, qui fut utilisée pour le service de presse, il n'a été tiré que 5 Hollande en grands papiers.
Handsome full-page autograph inscription, dated, from the author to Marguerite Burnat-Provins.
Two tiny lacks, not serious, to head and to foot of the spine, clear stains to lower cover, occasional foxing.

First edition, one of 50 numbered copies on Arches, tirage de tête.

First edition of this offprint from the Psi review, one of 100 numbered copies, the only deluxe copies along with 20 others featuring a dust jacket enhanced with a watercolor by the artist.

Our copy is complete with its Psi review poster.

Handsome copy.

First edition of which no deluxe copies are mentioned.
Half black morocco binding, smooth spine, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved.
Signed autograph inscription from Jean Lorrain to his friend Jules Grasset.

First edition on ordinary paper, only 25 deluxe copies on alfa paper were printed.
Inscribed by the author.
Handsome copy.

First edition.
Half grey cloth binding, smooth spine dated at foot, shagreen title-label, original wrappers preserved. Minimal foxing.
Handsome copy.

First edition, one of 10 numbered copies on Hollande, the only large paper copies.
Cover illustration by Antoon van Welie.
Two slight tears to foot of joints near edges, occasional small spots essentially to ffep, but otherwise a good, well-margined copy.
Rare.

First edition in French, one of 47 numbered copies on pure linen paper, the only deluxe copies.
Spine and covers slightly and marginally faded as is often the case, otherwise a handsome copy.

First edition, one of the Service de Presse (advance) copies.
Fine autograph inscription from the author to Maria Casarès.
Spine sunned, two light dampstains affecting the head of the first cover and the foot of the second cover, without any damage to the interior condition.

First American edition printed in 1000 copies. Publication date stamped 17 Sept. 1940.
Publisher's full black cloth binding. Our copy retains the colored dust jacket with some small tears and lacks at head and foot.

First edition.
Contemporary full pasteboard binding, paper covered, smooth spine, red morocco title-label, blue pencil inscription on a blank page.
Historical satire presented in the form of long poems in the manner of Lamartine. Very rare.

First edition.
Half black calf binding decorated with gilt fillets, tiny chip at head and foot, minute lacks to margin of front board. Frontispiece illustration by Jephtali.
Copy lacking the author's portrait, light traces of dampstaining to margins of first pages, some foxing, pen annotations to title pages.

First editions of the first two volumes of this trilogy. Spines faded, front cover of first volume and first leaf loose with angular loss at foot, small marginal loss at head of back cover of second volume, handsome interior condition for each volume.

First edition on ordinary paper, with only 10 deluxe copies printed on Holland paper.
Contemporary half-green shagreen binding, spine with 5 raised bands, covers and spine preserved at front of volume, front cover illustrated in colors by Steinlen.
Our copy is enhanced with an autograph visiting card by the author mounted on stub on the half-title page.
Minor surface wear to headcaps, otherwise handsome copy.

First edition, one of 50 copies on laid paper, the only deluxe copies.
Half caramel gauffered shagreen binding with corners, spine with five raised bands decorated with double compartments and blind fillets, traces of rubbing to spine, two lacks to headcaps, marbled paper boards, endpapers and pastedowns, original wrappers preserved, top edge gilt.
Handsome interior condition almost entirely free from foxing.

First edition of which no deluxe copies are mentioned.
Fine autograph inscription signed by the author to Paul Léautaud, who wrote a date in pencil below, probably that of receiving this work.
Spine and covers slightly faded.

New edition.
Bradel binding in half raspberry cloth, smooth spine decorated with a central gilt fleuron, double gilt fillet at foot, navy sheep title-label, marbled paper boards.
Some minor foxing.
Rare.

First edition of the French translation established by Xavier Marmier with the author's authorization.
Half red sheep binding, spine with four thin raised bands set with gilt dotted lines showing minor traces of rubbing, marbled paper boards, marbled endpapers and pastedowns, contemporary binding.
Some minor foxing of no great consequence.
Rare.

First edition of Mario Proth's study.
Half dark green sheep binding, spine with four raised bands set with cold fillets and showing traces of rubbing, green paper boards with scratches, modest contemporary binding.
Illustrated work, with a frontispiece portrait of Sophie Monnier. Some foxing, an ink stain affecting the top of the last 80 pages.
Working copy.

First edition, false statement of fourth edition.
Half raspberry cloth binding, smooth spine decorated with a central gilt fleuron, double gilt fillet at foot, navy shagreen title-label with a scratch, marbled paper boards, marbled endpapers and pastedowns.
Handsome copy almost entirely free from foxing.

First edition on ordinary paper.
Bradel binding in half cherry red percaline, smooth spine very slightly faded decorated with a central gilt fleuron, gilt initials and double gilt fillet at foot, hazelnut shagreen title-label showing traces of rubbing, marbled paper boards, corners slightly bumped, original wrappers preserved, contemporary binding.
Very slight marginal lacks at foot of title page.

First edition.
Bradel binding in half mint green cloth, smooth spine decorated with gilt floral motif, double gilt fillet at foot, red sheep title-label showing minor rubbing, marbled paper boards, corners slightly bumped, minor rubbing to edges, original wrappers preserved, contemporary binding.
Jean de Mitty's copy, with his autograph ownership inscription at head of half-title page.
Some minor foxing, pale dampstain affecting head of certain pages.
Bookplate pasted to verso of front board.

First edition, one of 220 numbered copies on "uso mano", the only printing with 35 Japon.
A rare and good copy.

First edition on ordinary paper.
Half chocolate shagreen binding, spine with five raised bands showing minor rubbing, marbled paper boards, marbled endpapers and pastedowns.
Autograph inscription by André Theuriet.

First edition on ordinary paper.
Half chocolate shagreen binding with corners, smooth spine slightly faded decorated with a gilt cartouche, date at foot, marbled paper boards, moiré paper endpapers and pastedowns, original wrappers preserved, contemporary binding.

The first collected edition.
Spine faded, covers detached, small corner losses to covers, foxing.
Rare but in this condition.

First edition.
Our copy contains an autograph letter from the author, 1/2 page, pasted to the verso of the front cover.
Spine faded, two slight corner losses to front cover, handsome interior condition with virtually no foxing.

First edition of the French translation on ordinary paper, one of the Service de Presse copies.
Spine sunned, a pale dampstain to top margin of second cover also affecting, to a lesser extent, the preceding pages.

First edition.
Bound in half chocolate shagreen, spine with four raised bands decorated with cold fillets, minor rubbing to spine without consequence, marbled paper boards, corners slightly bumped, minor rubbing to edges without consequence, marbled endpapers and pastedowns, contemporary binding.
Rare autograph inscription from Albert Castelnau.
Occasional light foxing.

MARINETTI Filippo Tommaso
Mafarka le Futuriste
[Mafarka the Futurist]
Sansot & Cie, Paris 1909, 12,5 x 18 cm, original wrappers
First edition, of which there were no grand papier (deluxe) copies.
Autograph inscription from Filippo-Tommaso Marinetti.
Slight foxing mostly on the endpapers, otherwise internally good.
$ 1 250

First edition on ordinary paper; only a few deluxe Holland paper copies were printed.
Half hazel shagreen binding, faded spine with four raised bands decorated with gilt typographical motifs, marbled paper boards, minor rubbing traces on edges, marbled endpapers and pastedowns, contemporary binding.
Copy virtually free from foxing.

First collective edition on ordinary paper.
Bradel binding in half mouse-grey cloth, smooth spine decorated with a central gilt floral motif, date and double gilt fillets at foot, hazelnut shagreen title-label showing traces of rubbing, marbled paper boards, corners slightly bumped, original wrappers preserved, contemporary binding signed by Paul Vié.
Our copy is enhanced with a recto-verso autograph note by the author pasted onto an endpaper.

First edition with no mention of deluxe copies.
Bradel binding in half mouse-grey cloth, smooth spine decorated with a central gilt floral motif, gilt date and double fillet at foot, hazelnut shagreen title-label with traces of rubbing, marbled paper boards, upper corners slightly bumped, original wrappers preserved, contemporary binding signed by Paul Vié.
Signed autograph inscription from Maurice Donnay to Henri Lavedan.
Furthermore, our copy is enriched with an autograph note from the author addressed to the same recipient.

First edition printed on ordinary paper.
Bradel binding in half mouse-grey cloth, smooth spine decorated with a central gilt floral motif, gilt date and double fillet at foot, hazelnut shagreen title-label with traces of rubbing, marbled paper boards, lower corners slightly bumped, original wrappers preserved, contemporary binding signed by Paul Vié.
Our copy is enriched with an autograph note recto-verso by the author.
A small marginal tear skilfully repaired on the first page.

First edition, of which no deluxe copies are mentioned.
Bradel binding in half mouse-grey cloth, smooth spine decorated with a central gilt floral motif, gilt date and double fillet at foot, hazel shagreen title-label showing some rubbing, marbled paper boards, original wrappers preserved, contemporary binding signed by Paul Vié.
Inscribed by Maurice Donnay to Henri Lavedan.

First edition, one of 30 numbered copies on Holland paper, deluxe issue with 10 hors commerce copies on colored parchment reserved for the author.
Handsome copy.

First edition, one of 30 numbered copies on Lana paper, deluxe copy.
Spine sunned, small light marginal stains on boards, slight corner loss to front board, handsome interior condition despite minimal worming affecting some margins.

The first edition, of which there were no deluxe copies.
Signed autograph inscription by Pierre Jakez Hélias to a woman named Suzy.
Handsome copy retaining publisher's wraparound band.

First edition.
Bradel binding in half almond percale, smooth spine decorated with a gilt floral motif, double gilt fillet at foot, marbled paper boards, original wrappers preserved, binding signed in blind by Arné Asper, Genevan bookbinder.
Pleasant copy almost entirely free from foxing.

First edition.
Half pine-green shagreen binding, smooth spine decorated with triple blind-tooled compartments and three double gilt fillets at head and foot, pine-colored boards with minor scratches of no consequence, marbled endpapers and pastedowns, corners slightly bumped.
Occasional light foxing, gift inscription in ink on front endpaper.

First collected edition, illustrated with a frontispiece portrait (engraved by de Launay after Bérel) and 20 figures by Marillier engraved by Delvaux, de Ghendt, Croutelle, Patas, Langlois jeune, de Monchy, de Launay. Volumes 11 and 12 comprise the author's posthumous works and bear volume numbers 1 and 2 on the title page. A third volume of these posthumous works would appear in 1800.
Contemporary full speckled calf. Smooth spine decorated with urn tools and stars; roulettes. Framing frieze on boards. Morocco title and volume labels in black. Headcaps of volumes 1, 4, 5, 8, 11 and 12 worn or partially worn. Foot caps of volumes 1, 2, 4, 6, likewise. Title and volume labels of volume 4 largely missing. Half of the title label of volume 7 is also absent. Headcap of volume 11 partially torn.
The Count of Tressan did much, through his adaptations, for the rehabilitation of the Middle Ages and Renaissance literature (that inherited from the 15th century). It is clear that at the end of the 18th century, these works would have been unreadable to the public. This interest in the Middle Ages would fully emerge with Romanticism, the Empire having brought antiquity back into fashion.
Here is the content of the first 10 volumes, the last two being composed of various works (letters, essays...): vols. 1-2. Free translation of Amadis of Gaul, vols. 1-2 -- vol. 3. Free translation of Amadis of Gaul, vol. 3. Extract from Orlando Innamorato by Matheo-Maria Boyardo, Count of Scandiano -- vols. 4-6. Orlando Furioso, heroic poem by Ariosto. vols. 7-10. Body of extracts from chivalric romances: 7. Preliminary discourse. Tristan of Léonois. Artus of Brittany. Flores and Blanche-Fleur. Cléomades and Claremonde. Romance of the Rose. Pierre of Provence and beautiful Maguelone. 8. The flower of battles. Huon of Bordeaux. Guérin of Montglave. 9. Dom Ursino the Navarin. Little Jehan of Saintré. Gerard of Nevers. 10. Research on the origin of novels invented before the Christian era. History of Rigda and Regner Lodbrog. Zélie, or The ingenue

First edition, one of 50 numbered copies on Japan paper, ours unnumbered, the only deluxe copies.
Small tears without consequence to head and foot of spine.
Our copy is complete with the etching by Léopold Flameng here in double state as with all deluxe copies.
Rare and handsome full-margined copy.

First edition on ordinary paper.
Bradel binding in full blue boards, spine very slightly faded, navy shagreen title-label, covers and spine preserved (tiny marginal corner lacks restored on first cover and three lacks to spine).
Signed and inscribed copy from Pierre Louys to André Beaunier.

First edition, one of 105 numbered copies on pure thread paper, deluxe copies with 19 on Holland paper.
Two pale and very light traces of sunning in the middle of the spine and at the head of the first cover, handsome copy.

First collected edition. It is illustrated with a frontispiece, repeated in both volumes, a title vignette by Picart also repeated, and 10 unsigned figures, quite charming, showing the actors on stage.
Later full brown sheep binding (circa 1800). Spine with raised bands and fillets. Tan morocco title label. Headcaps worn.
Contemporaries saw in La Grange-Chancel the successor to Racine. He boasted of having the highest capacity for writing verse. His connections brought him to Louis XIV who asked Racine to read it, and the latter sponsored the author's first play. Many of his plays met with fine success, and the author represents, if not a great dramatist, the taste of an era for a certain kind of theater. Most of the subjects of his plays are drawn from the novels of Calprenède, whom he particularly favored.
The preface might more justly be called Memoirs of La Grange-Chancel, as he recounts his rise from childhood to the launch of his first play, Jugurtha.
19th-century engraved armorial bookplate: Le Proux.

First edition. Uncommon.
Half glacé calf with corners, 19th century, signed Petit succ de Simier. Raised spine decorated in compartments. Fillets on covers.
Etienne Barbazan (1694-1770) was a philologist specializing in medieval manuscripts, notably contributing to bringing forgotten texts back to memory and rehabilitating the Middle Ages in the field of research. L'ordene de chevalerie is a 13th-century text on the rules and ceremonies of chivalry, of which Barbazan would have had a manuscript in his hands. The work contains other 13th-century texts and a glossary.

First edition on ordinary paper.
Bradel binding in half flexible cardboard in vellum style, smooth spine faded and decorated with a floral motif, date at foot, marbled paper boards, marbled endpapers and pastedowns, original wrappers and spine preserved, red top edge, contemporary binding.
Inscribed by Romain Coolus to Gabriel Timmory.
Cover and illustrations in text by R. Préjélan.

First edition, one of the Service de Presse (advance) copies, no mention of deluxe copies.
Bradel binding in half flexible cardboard in vellum style, smooth spine faded and decorated with a gilt floral motif, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, red top edge, contemporary binding.
Inscribed by Romain Coolus to Gabriel Timmory.

First edition, one of the Service de Presse (advance) copies, with no mention of deluxe papers.
Bradel binding in half flexible cardboard with vellum-like finish, smooth spine decorated with a floral motif, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, red top edge, contemporary binding.
Our copy is enhanced with a pasted visiting card on which the author has added a few words for Gabriel Timmory.

First edition printed on ordinary paper, with only 5 Hollande deluxe paper copies printed.
Bradel binding in half flexible cardboard with vellum-like finish, smooth spine decorated with a floral motif, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, red top edge, contemporary binding.
Inscribed by Romain Coolus to Gabriel Timmory.
A light marginal dampstain at the foot throughout the entire text block, not affecting the text, diminishing through the pages.

First edition, an advance (service de presse) copy.
Half cherry-red morocco over marbled paper boards by Goy & Vilaine, spine in six compartments, marbled pastedowns and endpapers, covers (slightly wormed, spine sunned) preserved, top edge gilt. Endpapers and half-title faded, a few small marginal spots.
Important inscription from Colette to Viscountess Jeanne de Bellune: « Affectueux souvenir de sa vieille amie » (“affectionate remembrance from her old friend...”)

The Viscountess of Juromenha, this end of century darling, was the lover of several intellectual female figures in the early 20th century, such as Renée Vivien and Liane de Pougy, who described her as “little gnome”. There remains no image of this “most comical lesbian”(Jacques Ars) in public collections and the only portrait we know of is that sketched by Natalie Clifford Barney, that of a “drunkard with a red face and no beauty”.

A handsome copy in a nice binding with an exceptional provenance.

First edition, an advance (service de presse) copy.
An important inscription from Colette to her friend Louise Vallée "... à la chatte grise rayée et à madame Louise Vallée...[to the stripy grey cat and to Madame Louise Vallée]"
Spine faded, a small stain to upper cover, endpapers and half title sunned, otherwise internally good.

First edition in French, translated by Willy; no mention of large paper copies.
An important, superb inscription from Meg Villars, Willy's mistress while he was married to Colette, to Viscountess Jeanne de Bellune "... pour mon amie Jeannot de Bellune / en souvenirs de plaisirs (qu'on ose à peine qualifier de champêtres) partagés à Monte-Carlo...[for my friend Jeannot de Bellune / in memory of shared pleasures (that one would hardly dare call rural) in Monaco…].”
Cover illustrated in red by Garnier Salbreux.
A handsome copy with an exceptional provenance.

First edition printed in a small number on laid paper.
Publisher's binding in full cardboard covered with a chemise with flaps, spine faded.
Enigmatic inscription from G. de Montgomery to Madame in the form of a quatrain echoing the verses of the poem "Hommages" which appears in this collection, to herself.

First edition on ordinary paper.
Bradel binding in full blue cloth, smooth spine faded, navy shagreen title label, marbled paper boards, original wrappers preserved.
Precious autograph inscription signed by Théodore de Banville.
With frontispiece portrait of the author by G. Geoffroy.
Work preceded by a history of the ballad by Charles Asselineau.
Minor marginal worming without gravity where the inscription appears, otherwise handsome copy.

First edition, one of 200 numbered copies on Arches paper, the only deluxe copies.
Autograph inscription from Hughes Labrusse to a couple who were his friends.
Handsome copy.

First edition printed in 620 copies, ours one of 600 on ordinary paper.
Inscribed by the author to a couple of his friends.

First edition printed in a very small number of copies of this offprint.

Rare autograph inscription from Alfred Sauvy.

First edition, one of 700 numbered copies on alfa paper, the only deluxe copies along with 20 offset Lourmarin.
Signed and inscribed by Gérard Murail.
Work illustrated with drawings by Marc Hénard.
Spine and boards slightly and marginally faded, a small insignificant stain on the endpaper and its verso, handsome interior condition.

First edition, one of 47 numbered copies on pur fil paper, the only large paper copies.
Spine slightly warped, tiny traces of marginal tears to covers, with tiny lacks, not serious, rare spots mostly affecting endpapers.
A rare large paper copy.

First edition, one of 20 numbered copies on vélin d'Arches, the only large paper copies.
Spine and covers very slightly and marginally faded, not serious, otherwise a good copy.

First edition, one of 23 numbered copies on Arches vellum, the only deluxe copies.
Two light traces of sunning at head and foot of spine without consequence, endpapers very slightly and marginally aged without any concern, handsome copy.

First edition, one of 23 numbered copies on vélin d'Arches, the only large paper copies.
Two small traces of sunning, not serious, to head and to foot of spine, a good copy.

First edition, one of 22 numbered copies on vélin d'Arches, the only large paper copies.
Two small traces of sunning, not serious, to head and to foot of spine, a good copy.

First edition, one of 19 numbered copies on vélin d'Arches, the only large paper copies.
Two small traces of sunning, not serious, to head and to foot of spine, a good copy.

First edition, one of 22 numbered copies on vélin d'Arches, the only large paper copies.
Two small traces of sunning, not serious, to head and to foot of spine, a good copy.

First edition on ordinary paper, no deluxe copies were printed.
Autograph inscription from the author.
Complete with publisher's wraparound band.
Spine and covers very slightly faded without consequence, a tiny nick without loss at head of spine, handsome interior condition.

First edition, printed in very small numbers at the author's expense.
Inscribed by Marguerite Durand-Viel Rousseau.
Spine and boards very slightly and marginally faded, otherwise handsome copy.
We include with this copy an autograph letter of 2 pages recto-verso from the author providing explanations about the book's content and the poetic approach associated with it.
Rare ensemble.

First edition of the French translation on ordinary paper, with no mention of deluxe copies. A Service de Presse (advance) copy.
Inscribed by the translator, Pierre Roudy.
Handsome copy.

First edition. Illustrated with two folding maps in the second volume, showing the states of Roman tribes.
Full grained calf binding. Smooth spine decorated. Red morocco title label and volume labels. A small lack to the cover of volume I. Pale and light yellow dampstain at beginning of work. Handsome copy.
These works contain a memoir on the life of Boindin by Boindin himself, his theatrical pieces, volume II containing various studies and research by the author: on the sounds of language (phonetic studies), on Roman names, on Roman tribes, and finally on ancient theatre. Boindin was an essential figure in 18th-century intellectual life, one of the central figures at café Procope where he was one of the principal debaters. His comedies enjoyed some success (the first was written in collaboration with Houdar de la Motte); the various memoirs that compose volume II were presented by the author when he joined the Royal Academy of Inscriptions and Medals.

First edition of the French translation of which no deluxe copies were printed.
Rare French inscription from the author to Véronique and Georges Charaire enhanced with inscriptions from the translators Charles Dobzynski and Eugène Guillevic.
Publisher's full blue paper boards binding, complete with its dust jacket.

First edition, one of 60 numbered copies on pure thread paper, the only deluxe copies along with 45 Marais.
We include with our copy three autograph letters signed by the author regarding the theatrical performances of "Le Roi Pêcheur," one page each and dated respectively July 26, 1990, December 28, 1990, and August 2, 1991 (Saint Florent le Vieil).
The letters, addressed to the administration of the Théâtre des Célestins, concern the theatrical performance of Le Roi Pêcheur, Julien Gracq's sole and only play, written in 1942-1943. In the first letter, the author gives his agreement regarding the conditions set by the Theatre concerning his rights on the performances, but declares himself "hostile to the exclusive authorization for all of France requested by the Théâtre des Célestins until December 31, 1993."
In the second letter, he requests a copy of the contract he signed with M. Lucet, then director of the Théâtre des Célestins.
In the third, Julien Gracq requests a modification of this contract on the clause concerning the duration of exclusive authorization, and provides practical indications regarding the payment of his rights. Date stamps from the administration. Manuscript notes in another hand in the margins of the last two letters (secretary).
Important manuscript correspondence concerning the first theatrical performances of this play since the failure of its creation in 1949.
Exceptional ensemble.

First edition on ordinary paper.
Inscribed by the author.
Spine slightly sunned, annotations and reading marks by the dedicatee in ballpoint pen on some pages.

First edition, one of 1500 numbered copies on alfa mousse paper, the only deluxe copies together with 13 on pur fil.
Inscribed by the author to Véronique and Georges Charaire.
Handsome copy retaining publisher's wraparound band.

First edition, one of 240 numbered copies on antique laid paper, the only issue with 10 "Moyen-Age".
Autograph inscription by Jean Rousselot.
Spine and boards very slightly and marginally faded, tiny pinhole marks of no consequence on endpapers, handsome copy.

First collected edition, of which there were no deluxe copies.
Autograph inscription by the author.

First edition, of which there were no deluxe copies.
Author's inscription.
Iconography.
A small marginal crease mark to foot of front cover.

First edition, one of the numbered copies on bouffant paper, the only issue with 20 on Arches.
Author's inscription.
Minor foxing to spine, front cover and first endpaper, otherwise a handsome copy.

First French edition, of which there were no deluxe copies, a Service de Presse (advance) copy.
Inscribed by one of the translators.
Spine very lightly sunned, otherwise a handsome copy.

First edition, of which there were no deluxe copies.
Autograph inscription from the author enhanced with a manuscript correction in his hand regarding his already published works.

First edition, of which there were no deluxe copies.
Autograph inscription from the author.

First edition of which no deluxe copies were printed.
Full-page autograph inscription from the author.

First edition, one of the service de presse copies.
Inscribed by the author.
Two small stains at the foot of the spine, complete with publisher's slip.

First edition for which there were no large paper copies.
Affectionate autograph inscription from Claire Goll to a couple of his acquaintance.

First edition, one of 650 numbered copies on simili-Hollande paper, the only printing with 45 other deluxe copies.
Handsome copy.

First edition.
Contemporary half chocolate shagreen binding, spine with four raised bands showing minor rubbing, decorated with gilt dots and fleurons, gilt initials at foot, marbled paper boards, marbled endpapers and pastedowns.
Precious autograph inscription from the author to (Jules) Barbey d'Aurevilly.
Minor scattered foxing affecting mainly the first leaves.

First edition on ordinary paper.
Bradel binding in half lemon yellow shagreen with corners, smooth spine decorated with a mosaic decorative element in green, red, orange and brown morocco representing a cluster of fruit and leaves, date at foot, marbled paper boards, marbled endpapers and pastedowns, covers and spine preserved, contemporary binding signed in blind by Brisson.
Rare autograph inscription signed by Pierre Louys.
Handsome copy attractively bound.

First edition of which there were no deluxe copies.
Spine and covers marginally faded, paper yellowed, which is more than common given the very poor quality of this paper.
Rare.