Writers' testimonies and interviews, autobiographical accounts, literary essays and criticism

First edition of which there were no large paper copies.
Autograph inscription from Georges Dumézil.
A good copy.

First edition, one of 13 numbered copies on pur fil paper, the only large paper copies
Spine very lightly sunned at head and foot, not serious
A very good and rare copy.

First edition of which there were no large paper copies.
Spine very slightly and insignificantly faded, ex-dono to head of first free endpaper.

The first edition, of which there were no deluxe copies, a Service de Presse (advance) copy.
A pale dampstain on the final endpaper which has slightly warped the boards.

Tenth edition but first in parts, as reviewed and expanded.
Contemporary half navy blue morocco over marbled paper boards by E. Babouot, spine in six compartments with gilt dots and double gilt compartments richly decorated with gilt motifs, gilt fillet frame to covers, some corners slightly bumped, marbled endpapers and pastedowns, ex libris of Victor Hugo pasted to versos of upper covers.
Handsome autograph inscription signed by Arsène Houssaye to Victor Hugo, "au maître des maîtres / à mon cher Victor Hugo / Arsène Houssaye [To the master of masters / my dear Victor Hugo / Arsène Houssaye]”, on a leaf bound in at start of first volume.
The page with the inscription has a small angular lack, a few spots mostly affecting the endpapers.

First edition. According to the preface, it was intended to complement L'Encyclopédie méthodique published by Panckoucke.
Contemporary full brown sheep binding. Raised band spine decorated with fillets. Red morocco title-label. Small lacks to head and tail. Rubbing. Traces of old restorations to corners and tail. First three leaves (including endpaper) creased.
The Anas, which were particularly popular in the 17th century, are collections of various thoughts, anecdotes and witticisms, arranged in the greatest disorder and intended for the public as intellectual entertainment. The originality of this work lies in having assembled them in dictionary form, though without citing the authors. The whole forms a monumental ana which can thus be browsed from beginning to end, with pleasure, surprise and instruction: it should be noted that history and historical figures are given pride of place.

First edition, a numbered copy on sorel Moussel paper.
Preface and notes by Charles Léger.
A good copy.

First edition, one of 1100 numbered copies on Rives paper.
With a photographic portrait of the author as frontispiece.
A good copy.

First edition, one of 56 numbered copies on pur fil, the only large paper copies.
A fine copy.

First edition, a Service de Presse (advance) copy.
Signed autograph inscription from A. Pieyre de Mandiargues to a couple who were his friends, enhanced with the signature of F. Mallet.
Handsome copy.

The definitive edition, a numbered copy on pur fil paper.
Small stains and spots to foot of upper cover, otherwise a good copy with good margins.

First edition.
Small tears with lacks to head of spine, spots to upper cover, marginal tears to lower cover, foxing.

First edition published anonymously.
Author's name and dat in ink to upper cover and title page, a little light spotting, not serious.

First edition, one of 62 numbered copies on alfa, the only printing after 18 pur fil.
Autograph inscription from Paul Morand.
Small marginal spots to covers and endpapers, otherwise a good copy.

First edition for each volume.
Full brown morocco bindings, smooth spines double framed in gilt, headpieces lined in gilt, boards elaborately framed in gilt, beige morocco pastedowns framed in gilt, brown moiré silk free endpapers, following free endpapers in mould made paper, all edges gilt, original soft covers preserved, superb contemporary bindings signed by M. Lortic.
The first volume contains two original ink drawings by Prosper Mérimée: the first, captioned and signed in the lower right corner depicting the Duke of Brunswick, the second a tree and a wooded landscape with a handwritten inscription in Russian "Grâce à Dieu" and "Gloire à Dieu, gloire à vous".
A very fine set, magnificently bound by M. Lortic.

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

First edition.
Upper cover débroché, joints cracked en têtes and en pieds, internally good.

Edition first in part on ordinary paper.
A good copy.

New edition.
Contemporary full speckled blonde sheep bindings. Smooth spines decorated with blonde and black morocco title and volume labels, with gilt compartments and fleurons. All edges red. Head joint cracked on the second volume. Headcaps rubbed. Surface wear. One half-title leaf probably lacking. A small wormhole affecting the first leaves of the second volume. A work of pedagogy and morality consisting in the education of young girls.

New edition in French, published the same year as the first edition.
A good copy.

First edition, one of 105 numbered copies on vélin aravis, the only large paper copies.
A rare and good copy.

First edition printed to 500 numbered copies.
A very good copy.

First edition of which there were no large paper copies.
A good copy.

First edition of which there were no large paper copies.
Spine slightly faded, a good copy.

First edition.
Contemporary full brown calf binding. Spine with raised bands decorated with 5 fleurons. Red morocco title-label. Triple gilt fillet frame on boards. Rubbing to headcaps, joints, edges and corners. 2 corners slightly bumped. Good copy.
Treatise on the courtier, and the manner of conducting oneself with princes.

Fragility of the courtier's position and utility of diplomacy.

New edition, printed in 500 copies on laid paper, and reprinted from the very rare Hamburg edition of 1809.
Bradel binding in full paper, smooth spines, green shagreen title-labels, original wrappers preserved with lacks at feet.
Work illustrated with 2 engraved frontispieces.
Endpapers toned, otherwise handsome copy.

New edition, conforming to the first edition published in 1763, one of 10 numbered copies on Arches paper, the only deluxe copies.
Bradel binding in full paper, smooth spine, hazelnut shagreen title-label with minor marginal scratches, original wrappers preserved, contemporary binding.
Work illustrated with a frontispiece portrait of the author.
Introduction and bibliography by Radeville and Deschamps.

First edition.
Half fir green shagreen binding, spine with five raised bands showing minor rubbing, gilt date at foot, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt, contemporary binding.
One small harmless tear without loss at head of first endpaper.

The first edition, with no mention of deluxe copies.
Bradel binding in half mouse-grey cloth with corners, smooth spine decorated with a gilt floral motif, double gilt fillet at foot, marbled paper boards, pink paper endpapers and pastedowns, covers and spine preserved, contemporary binding signed by Vermorel.
Work illustrated with a photographic frontispiece.
Preface by Octave Gréard.
Handsome copy.

First edition, one of 300 numbered copies on tinted Arches paper, deluxe copy.
Signed autograph inscription by Reybaz.
Work illustrated with 33 original compositions by Hautot and a frontispiece reproducing "Le légionnaire" by Steinlen.
Spine slightly faded, some minor foxing affecting mainly the endpapers, as well as the half-title and title pages.
Rare.

First edition.
Illustrated cover by Brecht.
Preface by Hector France.
A good copy.

First edition, one of 25 numbered copies on Rives, deluxe copy.
Full havana shagreen binding, spine with five raised bands set with black fillets, small and light marginal stains on the front cover, original wrappers preserved.
Handsome copy.

First edition, one of 12 numbered copies on Japan paper, deluxe copy.
A small tear and light worming to spine, gift inscription from a previous owner, two tiny corner creases at foot of boards, an interior repair using an adhesive piece to verso and at foot of front board.

First edition, one of 200 numbered copies on pure Rives laid paper, the only deluxe copies after 50 Lana and 100 hors commerce.
Half burgundy morocco binding with bands, smooth spine, gilt date at foot, light superficial scuffs to joints without significance, boards, endpapers and pastedowns of moiré-effect paper, covers and spine preserved, top edge gilt, elegant binding signed by Bellevallée.
Handsome copy expertly bound.

Edition with some parts in first edition, not offered for sale.
Small restoration to foot of spine otherwise handsome copy as issued, bookplate pasted in.
Rare work according to most bibliographers.

Illustrated with original etchings by Eugène Corneau, and printed in 210 copies on pure Lana laid paper, ours being one of 20 numbered copies including a suite in black, deluxe copies after 10 other Lana copies.
Our copy is complete with its suite in black at rear.
Worming to the chemise as well as to the very first pages of the work, otherwise handsome interior condition.

Stated the second edition (but we have been unable to locate a previous edition, though it's possible it was published in one volume in the same year), considerably enlarged. The illustrations include an appliqué frontispiece portrait on China paper and 116 color plates of costumes (hand-painted and laid down).
Half red shagreen, spine decorated with compartments, fillets to covers, spines uniformly sunned. Corners bumped. Rubbing. Faint spotting to silk-paper guards of first volume and occasionally to margins near silk paper guards, but overall a very fresh copy.
A handsome work covering more than 80 religious and lay orders. Special pagination for the military-religious orders. Fine and very varied illustrations.

First edition, rare. A frontispiece depicting Isaac Meïo as frontispiece by the author, as well as a figure created by the same. Title page in red and black.
Contemporary full glazed calf binding. Spine with four raised bands decorated with a red morocco title-label. All edges speckled. Headcaps worn, joints cracked and corners slightly bumped. Some faint dampstains and a small tear at the bottom of page 15.
A worthy representative of the Age of Enlightenment, Boyer d'Argens is a philosophical writer, skeptic and pamphleteer; his series of critical and epistolary books, in the manner of the Persian Letters (Jewish Letters, Chinese Letters, Cabalistic Letters) made him famous. In the epistle, the author confesses his motivations in writing this novel: a Jewish usurer having deceived him during his military period, he claims to paint here an honest Jew. The work is in fact a libertine novel recounting the loves of the Count de Vaxere, initially destined for the ecclesiastical state. Love for a Venetian Jewish woman will lead him to conversion.

New edition.
Full glazed caramel calf binding, smooth spine decorated with gilt tools, fillets and stamps, gilt friezes at head and foot, gilt rolls on the headcaps, covers framed with a gilt fillet and blind tooled dentelle, gilt edges on the cuts, marbled endpapers and pastedowns, marbled edges, contemporary bindings.
Handsome copy in an attractive contemporary binding.

New edition.
Full glazed caramel calf binding, smooth spine decorated with gilt tools, fillets and stamps, gilt friezes at head and foot, gilt rolls on the headcaps, covers framed with a gilt fillet and blind tooled dentelle, gilt edges on the cuts, marbled endpapers and pastedowns, marbled edges, contemporary bindings.
Some minor foxing.
Handsome copy in an attractive contemporary binding.

First edition.
Extracted from the Revue des deux mondes.
In sheets, under chemise.

First edition.
Extract from the Revue des deux mondes.
In sheets, under chemise.

First edition.
Extract from the Revue des deux mondes.
In sheets, under chemise.

New edition, with some parts in first edition, printed in a small number of copies on laid paper.
Half brown shagreen binding, spine with four raised bands decorated with double gilt cartouche ornamented with gilt and blind typographical motifs, dark green shagreen title-label, headcaps worn, joints rubbed, gilt fillet on moiré paper boards, moiré paper endpapers and pastedowns, bookplate pasted to verso of front board, original wrappers preserved, top edge gilt.
Preface by Paul Bourget.
Frontispiece portrait of the author engraved by Abot as an etching.

First collected edition.
Contemporary half tawny calf binding, lightened spine with four raised bands set with gilt friezes decorated with stippling and blind typographical motifs, gilt friezes at head and foot, black title label and author's name showing traces of rubbing and partially faded, marbled paper boards, marbled endpapers and pastedowns, marbled edges, contemporary binding.
Work illustrated with an engraved frontispiece.
Scattered foxing.

Second edition revised and corrected from the manuscripts and expanded with a historical notice by M. Daunou.
Half mint green cloth bindings, smooth spines decorated with blind fillets, gilt "société de lecture" lettering at foot of spines, some headcaps very lightly rubbed without consequence, a tear at head of upper headcap of volume 10, marbled paper boards, some boards with minor surface abrasions, some tears to certain leading edges.
Work illustrated with a portrait of the author as frontispiece to the first volume.
Printed library stamps on title pages.
Very rare set that is difficult to find complete due to the fact that the stock of the last five volumes disappeared in the fire at the publisher's warehouse.

First edition.
Richly illustrated.
A very good copy retaining its dust jacket and its plastic wrappers.

First separate edition.
Half lemon yellow shagreen binding, smooth spine decorated with arabesques and gilt floral tooling, marbled paper pastedowns and endpapers, contemporary binding.
Numerous engraved illustrations in the text by Tony Johannot, preface by P.-J. Stahl.
From the collection of the Nouveau Magazine des Enfants.*
A handsome copy in a charming Romantic binding.

First edition.
Full bronze calf binding, spine with four raised bands richly decorated with gilt fillets and dentelles and cold-stamped tools on the compartments, important cold-stamped plates composed of a rich frame of dentelles and fillets, four rosettes at corners, a diamond-shaped cartouche decorated with gilt arabesques and rosettes at center of boards, corners slightly bumped, gilt roll on leading edges and headcaps, gilt dentelles framing the pastedowns, some surface wear, all edges gilt, strictly contemporary binding, signed by Martin. Our copy is complete with the frontispiece and the facsimile of the signatures of Molière and his daughter.
Some foxing.
A handsome copy in a desirable romantic binding.

New edition of the French translation established by Filleau de Saint-Martin.
Half navy glazed calf bindings, smooth spines decorated with central floral motifs, gilt friezes at head and foot, traces of rubbing on spines, spine of the sixth volume with a marginal lack of leather, red morocco work title, olive morocco volume labels, upper headcaps rubbed, marbled paper boards bordered with a blind floral frieze, marbled endpapers and pastedowns, some corners slightly bumped, marbled edges, slightly later Romantic bindings.
Work illustrated, as frontispieces to the 6 volumes, with a portrait of Miguel de Cervantes engraved by Lefèvre after Devéria, as well as 5 other engravings after Devéria.
Some light foxing.

New edition, after the original published in 1530. Printer's device on the title page. The same edition also appeared from Le Bé's press on the same date, and many times in the 16th century. A second title page bears the title: Meditationes graecanicae in artem grammaticam (p.273).
Full blonde calf binding from the 17th century. Spine with raised bands decorated with a pattern of fleur-de-lys in each compartment. Boards decorated with a pattern of fleur-de-lys and rich decorative gilt board-edges with the inscription in gilt letters on the upper board: Academie d'arras. Edges gilt. Tail headcap torn off. Lower joint split at tail. One corner cut. Missing marbled endpaper pasted to the first blank endpaper, at beginning and end of volume. 2 pale dampstains on title page and some yellow dampstains in margins; top and left margins of about twenty leaves frayed by 0.5 cm due to old dampstaining that weakened the paper. Rubbing, some surface wear on boards. Copy trimmed rather short. Rich 17th-century binding, but with defects.
Famous work that enjoyed immense popular success of this Greek grammar by the philologist Nicolas Clénard, whose master was Henri Estienne. The Latin is in roman characters and the Greek in italics.

First edition.
Richly illustrated.
A very good copy complete with plastic wrappers.

First edition.
Richly illustrated.
A very good copy complete with plastic wrappers.

New edition with some parts in first edition as it is expanded with unpublished letters to madame d'Houdetot.
Half green sheep bindings with small corners, spine slightly faded with four fine raised bands richly decorated with gilt and blind typographic motifs, marine sheep title and volume labels, mint cardboard boards with some light surface wear, some corners slightly bumped, marbled edges, Romantic bindings.
Some minor foxing of no consequence.

New edition, with some parts in first edition, as revised and completed from the original London edition of 1810.
Half chocolate shagreen bindings, spine with five raised bands decorated with gilt floral motifs, marbled paper boards, marbled endpapers and pastedowns, corners slightly bumped, contemporary bindings.
Some foxing.

New edition.
Half hazel shagreen binding, smooth spine decorated with dotted and cold fillets, marbled paper boards, marbled endpapers and pastedowns.
Some minor foxing.
Handsome copy.

First edition, one of the Service de Presse (advance) copies.
Autograph inscription from the author.
Light marginal foxing to covers, complete with publisher's slip.

New edition.
Half hazel shagreen binding, spine with five raised bands, marbled paper boards, marbled endpapers and pastedowns, top edge gilt, binding signed by Bonleu.
Handsome copy, beautifully executed.

First edition printed in 206 copies, ours one of the numbered copies on Arches paper.
Full burgundy morocco binding, spine with 6 raised bands decorated with gilt fillets, gilt collection letter and number at head and foot, pastedowns lined with burgundy box calf and morocco frame, endpapers lined with burgundy box calf, original wrappers and spine preserved, top edge gilt retaining deckled edges, binding signed Charles Benoit.
Fine copy perfectly executed.

First edition, one of 244 numbered copies on Arches, the only printing with 6 copies on Japan paper.
Full burgundy morocco binding, spine with 6 raised bands decorated with gilt fillets, gilt letter and collection number at head and foot, turn-ins lined with burgundy box calf and morocco framing, endpapers lined with burgundy box calf, original wrappers and spine preserved, top edge gilt retaining deckled edges, binding signed Charles Benoit.
Fine copy perfectly executed.

First edition published in a small number of copies, ours on laid paper.
Bradel binding in full brown boards, smooth spine, date in gilt at foot.
Work illustrated with a portrait of P. Borel as frontispiece etched by Ulm.
Handsome copy.

First edition, one of 100 numbered copies on alfa paper, the only deluxe copies.

Inscribed by Gonzague Truc.

Some light foxing mainly at the beginning and end of the volume, otherwise a handsome copy.

First edition, one of 470 numbered copies on Holland paper, the only deluxe copies with 59 on China paper.
Bradel binding in full fir green morocco, smooth spine, date at foot, gilt roulettes on headcaps, gilt corner stamps on leading edges, frames of quintuple gilt fillets and fir green morocco on endpapers, marbled paper endpapers and pastedowns, covers and spine preserved, top edge gilt, contemporary binding signed Creuzevault.

First edition in French, one of the Service de Presse copies.
Bradel binding in half pink cloth, faded spine with stains in the middle, hazelnut shagreen title-label, marbled paper boards, original wrappers and spine preserved, contemporary binding.
Inscribed by the translator Michel Dumesnil de Gramont to Lucien Descaves.

First edition, one of 111 numbered copies on chiffon de Lana, the only large paper copies.
A fine copy.

Second edition of the French translation of Sophocles' tragedies established by Leconte de Lisle.
Half black shagreen binding, spine with five raised bands showing traces of rubbing, a small tear to the upper headcap, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt.
Handsome copy almost entirely free from foxing.

First edition.
Half fir green shagreen binding, spine faded with four raised bands decorated with triple gilt compartments showing traces of rubbing, slight lack to lower headcap, marbled paper boards, marbled endpapers and pastedowns, bookplate pasted at head of one endpaper.
Foxing.
Rare.

New edition printed from Cazin's 1781 edition.
Bradel binding in half midnight blue cloth, smooth spine decorated with a gilt fleuron, green morocco title-label, some surface wear and stains on boards, endpapers foxed. Work illustrated on the title page with an engraving by A. M. Lynen, as well as tailpieces and an initial letter.
This work was condemned on May 19, 1815 and November 16, 1816; it contains the story of President Dubois, a non-conformist, which led the bookseller Merigot to the Bastille.

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

First edition, of which there were no deluxe copies.
Autograph inscription signed by Léopold Sédar Senghor with an additional fine inscription by Geneviève Lebaud.
Some reading marks in black ink in the text, photographic cover.

First edition, one of 57 numbered copies on pur fil, the only large paper copies.
Spine slightly sunned, otherwise a good copy.

First edition, one of 60 numbered copies on pure laid Johannot paper, the only deluxe copies with 5 Renage.
Work illustrated with a frontispiece photograph of B. Cendrars.
Light sunning to the top of the justification page and its verso, handsome copy.

First edition, one of the numbered copies on laid paper.
Work illustrated with 4 etchings by J. Boullaire.
Handsome copy.

First edition.
Extracted from the Revue des Deux Mondes.
Rare.
In plain wrappers.

First edition.
Extracted from the Revue des Deux Mondes.
Rare.
In plain wrappers.

First edition.
Extracted from the Revue des Deux Mondes.
Rare.
In plain wrappers.

First edition on ordinary paper.
Inscribed by the author.
Spine sunned, minor tears at head and foot of joints.

First edition printed in 200 hors commerce copies.
Signed by the author, with a manuscript correction by the author regarding his address on the back cover.
Work illustrated with 12 humorous drawings by the author.
A rare and handsome copy.

Second edition, ostensibly published by the same publisher as the first in 1759, with the same collation. Novel published anonymously and purported to be translated from English (it would later be translated by Frances Brooke, with whom the author was acquainted).
Contemporary marbled sheep binding. Spine with raised bands, decorated. Red morocco title label. One corner bumped and worn. Rubbing.
Marie-Jeanne Riccoboni (1713-1792) was, after being a mediocre actress by necessity, a novelist highly appreciated in her time, to such an extent that her peers refused to acknowledge that the author was a woman. Her first novel was an immediate success and the following ones were even better received, praised for the fineness of style and interest of details, placing Madame Riccoboni among the best novelists of the 18th century.

NB: This work is available at the bookshop on request within 48 hours.

First edition dans le commerce, one of 32 numbered copies on vélin, the tirage de tête with 21 Hollande.
A rare and good copy.

First French edition, translated by Isabelle de Montolieu. Illustrated with a frontispiece by Le Cerf. The half-title of volume 1 is normally replaced by two catalogue leaves.
Contemporary full speckled calf bindings. Smooth spines decorated with two Grotesque compartments, urn tools and multiple fillets. Red title label and black volume labels. Charming, decorative set. Some surface wear, small lack to one headcap.
Caroline Pichler was born in Vienna in 1769. She was very early classified among child prodigies, and her first novel appeared in 1799, but it was with Agathocles (1808) that she quickly achieved success and was translated throughout Europe. Here is what can be found in Michaud's universal bibliography about her: "This book, which appeared at the time of the publication of Chateaubriand's Martyrs, rests on the same foundation, and is only the development of the same idea in a different form. Nothing is more curious and interesting than comparing these two works composed for the same purpose and at the same time, in such different languages and countries." (see the translator's note which exonerates Madame Pichler from any possible imitation). Caroline Pichler was for a long time the center of Viennese literary life thanks to her salon, she published her last novel in 1840.

New edition for the first volume, first edition for the second.
Publisher's full brown cloth binding, smooth unlettered spine, title and author's name gilt-stamped on front board. At the beginning of our copy has been tipped in the second volume, text of a lecture given by the author in Boston in 1938, expanded with 3 original photographs with manuscript annotations by the work's previous owner.
Furthermore, tipped in at the end, our copy is expanded with an autograph letter from Cardinal Villeneuve to his correspondent regarding the true birthplace of Christopher Columbus (Calvi instead of Genoa).
Unique ensemble.

First edition of each volume.
Half olive calf binding, smooth spine decorated with gilt and blind fillets, gilt friezes at head and foot, red morocco title label, marbled paper boards, light rubbing to joints, marbled endpapers and pastedowns.
Some foxing.

First edition. One of 350 copies on Alfa-Vergé paper, after 25 deluxe copies. Original wrappers preserved.
Half marbled red calf. Spine with raised bands decorated with fillets on the bands. Rubbing to headcap. The front cover is detached.
Good copy.

NB: This work is available at the bookstore upon request within 48 hours.

First edition of the French translation established by E. Boudot-Lamotte, a Service de Presse (advance) copy.
Fine inscription from the translator.
Spine slightly sunned with two small tears at head and foot.