New edition after the first, very rare, published in 1670. Huet's Treatise on the Origin of Novels, in the form of a letter to Segrais, appears at the end of the first part of Zaïde.
Armorial copy of Charlotte Emilie Le Fèvre de Caumartin de La cour de Balleroy, daughter of Louis-François Le Fèvre de Caumartin, lord of Boissy, and wife of the Marquis de la Cour de Balleroy. Feminine arms are rare and sought after, as few women formed libraries with their coat of arms. The Marquise de Balleroy, who died in 1749, settled in Normandy, and maintained an intense correspondence with the highest nobility from which she descended.
Full speckled brown calf bindings. Raised band spines with decorative tooling. Morocco title labels in tan, volume labels in speckled brown calf. Headcap of volume II split. A brown stain in corner of first 10 leaves of volume I, gradually fading, this stain recurring later, spreading then disappearing. A browner area at edge of right corner of volume I, on upper board. Despite some flaws, a handsome copy.
New edition. It is known that the first volumes 1 to 8 appeared in 1777, then the rest staggered until 1789. This edition does not contain Bachaumont's name on the title page, unlike the original. It is not known whether the address is fictitious or real, but the typographical material appears to be Dutch. Bachaumont wrote the first volumes but they were edited by Pidansat de Mairobert who continued writing the volumes until his death in 1779, then it was Moufle d'Angersville's turn. The complete collection contains 36 volumes.
Bindings in half chocolate sheep with corners. Spine with raised bands decorated with 3 fleurons. Title and volume numbering gilt. Boards rubbed.
19th-century armorial bookplate of F. de Lagotellerie.
The very rare first edition.
Full glazed red calf bindings, smooth spines ornately decorated with gilt vegetal motifs, black calf title labels, gilt tooling on the headcaps, frames of quadruple black and gilt fillets enhanced with gilt fleurons at the corners on marbled paper boards, pink paper endpapers and pastedowns slightly soiled at margins, all edges gilt, gilt fillets at head and tail of leading edges, contemporary bindings.
Some light rubbing to boards, some minor foxing.
A handsome and rare copy of this work dedicated to his friend Béranger bound in an elegant contemporary Romantic binding.
Rare and highly sought-after first edition (...) of which only a portion of the copies contains a preface (cf. Clouzot). The important account of the lawsuit concerning The Lily of the Valley that precedes the novel was not retained in subsequent editions and is often lacking in a number of the copies published by Werdet.
Copy complete with both the preface and the account of the lawsuit that opposed Balzac to the publisher François Buloz. Contemporary half green sheepskin bindings, smooth spines decorated with gilt romantic typographical motifs, gilt fillets at heads and tails, marbled paper boards, paste paper endpapers and pastedowns, marbled edges, contemporary romantic bindings. Some minor foxing, bookseller's descriptive label pasted at head of front pastedown of the first volume.
Exceptional copy in an elegant contemporary binding.
New édition after the first complete edition in 2 volumes of 1726, illustrated with a frontispiece and 12 charming and picturesque unsigned figures by Dubercelle. Title pages in red and black. Good impression. The frontispiece reproduces that of the first edition of 1707, it has been re-engraved.
Contemporary full glazed brown calf binding. Ornate spine with raised bands. Red morocco title label. Lower joint split at foot for 2 cm, otherwise handsome copy, very fresh.
It was this work that made Lesage a distinguished and immediately celebrated writer. The author had borrowed the framework from Guevarra, the devil carrying a mortal over the rooftops and observing scenes in the dwellings, a pretext for numerous discussions on the customs of Parisians, but it is an entirely original work in which the author's critical spirit excelled, since it is a satire of Parisian customs and manners, and which naturally transcends the Parisian microcosm to achieve social and philosophical criticism. This satirical work enjoyed great success until the end of the 19th century.
First illustrated edition with 3 title vignettes and 3 figures by Eisen in volume I (as well as 3 pages of engraved music) plus 3 tailpieces and 1 figure by Marillier, 2 by Barbier and 3 title vignettes by Marillier in volume II, plus 3 tailpieces. All engraved by Fessard, Longueil, Née, Delaunay and Halbou. Very fine illustration, very elegant.
Contemporary full calf binding with scale pattern. Spine with raised bands decorated. Red morocco title labels, and green morocco volume labels. Triple-ruled frame on boards. Edges gilt. Small lack to upper joint at head of volume I. Signs of rubbing. Pale scattered foxing. One lack to margin of p. 479. The binder has inverted the volume numbers.
Handsome copy.
Volume I: Salisbury, Varbeck, Le Sire de Crequy.
Volume II: Le Prince de Bretagne, La Duchesse de Chatillon, Le Comte de Strafford.
Most of Baculard d'Arnaud's narratives show an immoderate taste for true anecdotes (historical or picturesque and drawn from various regions: Italy, Germany, Spain) and the author is perfectly representative of this literature that would give rise to the gothic and dark novel. An exacerbated, sparkling sentimentalism animates the author's works, with a certain complacency in depicting evil and a rather morbid pleasure in emotions. Were it not for the framework that often defines the gothic novel, which is absent from d'Arnaud's works (except for Le Comte de Comminges), the author is very close to this movement in late 18th-century literature.
First edition, an ordinary paper copy.
Contemporary green half shagreen, marbled paper boards, spine with five raised bands and gilt flowers, speckled edges.
With the autograph signatures of every author of the "Médan group" involved in the writing of this famous collection of short stories: Guy de Maupassant, Emile Zola, Joris-Karl Huysmans, Léon Hennique, Paul Alexis and Henri Céard on the first endpaper.
A very good and rare copy in a strictly contemporary binding.
Revised and expanded edition by Paul-Louis Jacob and enhanced with an original literary notice by Charles Nodier, one of the rare copies printed on Dutch laid paper.
Half red morocco binding with corners, spine with four fine raised bands set with gilt garlands decorated with gilt compartments adorned in the grotesque style, triple black fillets on marbled paper boards, marbled endpapers and pastedowns, top edge gilt, elegant contemporary binding signed by Lebrun. A trace of a bookplate cleanly removed from one pastedown.
Rare and handsome copy beautifully bound.
New édition which conforms to that of 1851 corrected by Eugène Sue.
Half navy blue shagreen bindings, spines slightly faded with five raised bands decorated with gilt floral motifs, marbled paper boards, blue paper endpapers and pastedowns, some corners slightly bumped. Some light foxing.
Handsome set in charming uniform binding.
