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First edition with the illustrations by Vigoureux. Number 2 of 15 copies with the suite of all 20 wood engravings on chine, all initially by the artist. Fayard’s Livres de demain brought examples of the current revival in woodcut and wood engraving to a wide audience at a reasonable price. Accordingly, the illustrations of the regular volumes were printed in large numbers from phototype metal blocks made from the prints, with just 15 copies of each (as here) presented with an additional suite of the original woodcuts specially printed on fine paper.

First edition with the illustrations by Drouart. Number 2 of 15 copies with the suite of all 29 wood engravings on chine, all initially by the artist. Fayard’s Livres de demain brought examples of the current revival in woodcut and wood engraving to a wide audience at a reasonable price. Accordingly, the illustrations of the regular volumes were printed in large numbers from phototype metal blocks made from the prints, with just 15 copies of each (as here) presented with an additional suite of the original woodcuts specially printed on fine paper.

First edition with the illustrations by Berthe Marx. Number 2 of 15 copies with the suite of all 29 wood engravings on chine, all initially by the artist. Fayard’s Livres de demain brought examples of the current revival in woodcut and wood engraving to a wide audience at a reasonable price. Accordingly, the illustrations of the regular volumes were printed in large numbers from phototype metal blocks made from the prints, with just 15 copies of each (as here) presented with an additional suite of the original woodcuts specially printed on fine paper.

First edition with the Roubille illustrations. Number 2 of 15 copies with the suite of all 29 wood engravings on chine, all initially by the artist. Fayard’s Livres de demain brought examples of the current revival in woodcut and wood engraving to a wide audience at a reasonable price. Accordingly, the illustrations of the regular volumes were printed in large numbers from phototype metal blocks made from the prints, with just 15 copies of each (as here) presented with an additional suite of the original woodcuts specially printed on fine paper.

First edition with Grillon’s illustrations. Number 2 of 15 copies with the suite of all 29 wood engravings on chine, all initially by the artist. Fayard’s Livres de demain brought examples of the current revival in woodcut and wood engraving to a wide audience at a reasonable price. Accordingly, the illustrations of the regular volumes were printed in large numbers from phototype metal blocks made from the prints, with just 15 copies of each (as here) presented with an additional suite of the original woodcuts specially printed on fine paper. 1913

First edition with the Colin illustrations of Audoux successful autobiography of a humble rural upbringing (1911).

Number 2 of 15 copies with the suite of all 21 wood engravings on chine, all initially by the artist. Fayard’s Livres de demain brought examples of the current revival in woodcut and wood engraving to a wide audience at a reasonable price. Accordingly, the illustrations of the regular volumes were printed in large numbers from phototype metal blocks made from the prints, with just 15 copies of each (as here) presented with an additional suite of the original woodcuts specially printed on fine paper.

First edition with Bruyer’s illustrations (the book was first published unillustrated in 1913), number 2 of 15 copies with all the wood engravings present in a signed suite on chine.

Fayard’s Livres de Demain brought examples of the current revival in woodcut and wood engraving to a wide audience at a reasonable price. Accordingly, the illustrations of the regular volumes were printed in large numbers from phototype metal blocks made from the prints, with just 15 copies of each (as here) presented with an additional suite of the original woodcuts specially printed on fine paper.

First edition with Falké’s illustrations, number 2 of 15 copies with all the wood engravings present in a signed suite on chine.

Fayard’s Livres de Demain brought examples of the current revival in woodcut and wood engraving to a wide audience at a reasonable price. Accordingly, the illustrations of the regular volumes were printed in large numbers from phototype metal blocks made from the prints, with just 15 copies of each (as here) presented with an additional suite of the original woodcuts specially printed on fine paper. The series was very popular and ran for several years, with some titles reprinted in successive editions.

First edition with the illustrations by Roubille, one of 15 copies with all the wood engravings present in a signed suite on chine.

Fayard’s Livres de Demain brought examples of the current revival in woodcut and wood engraving to a wide audience at a reasonable price. Accordingly, the illustrations of the regular volumes were printed in large numbers from phototype metal blocks made from the prints, with just 15 copies of each (as here) presented with an additional suite of the original woodcuts specially printed on fine paper. The series was very popular and ran for several years, with some titles reprinted in successive editions.

First edition. Fayard’s Livres de Demain brought examples of the current revival in woodcut and wood engraving to a wide audience at a reasonable price. Accordingly, the illustrations of the regular volumes were printed in large numbers from phototype metal blocks made from the prints, with just 15 copies of each (as here) presented with an additional suite of the original woodcuts specially printed on fine paper. The series was very popular and ran for several years, with some titles reprinted in successive editions.

First edition of the first of Fayard’s important Livre de Demain series, one of 15 copies with the illustrations in an additional suite on chine, signed. Benjamin’s Prix Goncourt novel of 1915 was written in hospital while recovering from injuries sustained at Verdun in September 1914 (and first published by Fayard). The wood engravings are among Renefer’s most evocative war illustrations.

Fayard’s Livres de Demain brought examples of the current revival in woodcut and wood engraving to a wide audience at a reasonable price. Accordingly, the illustrations of the regular volumes were printed in large numbers from phototype metal blocks made from the prints, with just 15 copies of each (as here) presented with an additional suite of the original woodcuts specially printed on fine paper. The series was very popular and ran for several years, with some titles reprinted in successive editions.

First edition with the illustrations by Hallo, number 2 of 15 copies with the suite of all 28 wood engravings on chine, all signed by the artist. Louÿs’ novel set in Seville (’The Woman and the Puppet’) first appeared in 1898. It saw several later editions and no less than five film adaptations, including Duvivier’s 1959 classic starring Brigitte Bardot.

Fayard’s Livres de demain brought examples of the current revival in woodcut and wood engraving to a wide audience at a reasonable price. Accordingly, the illustrations of the regular volumes were printed in large numbers from phototype metal blocks made from the prints, with just 15 copies of each (as here) presented with an additional suite of the original woodcuts specially printed on fine paper.

First edition with the illustrations by Hallo, number 2 of 15 copies with the suite of all 23 wood engravings on chine, all initialled by the artist. Fayard’s Livres de demain brought examples of the current revival in woodcut and wood engraving to a wide audience at a reasonable price. Accordingly, the illustrations of the regular volumes were printed in large numbers from phototype metal blocks made from the prints, with just 15 copies of each (as here) presented with an additional suite of the original woodcuts specially printed on fine paper.

First edition with Renefer’s illustrations of an evocative Montparnasse-set novel first published in 1923. Number 2 of 15 copies with the suite of all 29 wood engravings on chine, all signed by the artist. Fayard’s Livres de demain brought examples of the current revival in woodcut and wood engraving to a wide audience at a reasonable price. Accordingly, the illustrations of the regular volumes were printed in large numbers from phototype metal blocks made from the prints, with just 15 copies of each (as here) presented with an additional suite of the original woodcuts specially printed on fine paper.

First edition with Daragnès’s illustrations, number 2 of 15 copies with the suite of all 27 wood engravings on chine, all numbered. Daragnès was both an artist and publisher in his own right, producing some of the most stylish illustrated books of the interwar period. Fayard’s Livres de demain brought examples of the current revival in woodcut and wood engraving to a wide audience at a reasonable price. Accordingly, the illustrations of the regular volumes were printed in large numbers from phototype metal blocks made from the prints, with just 15 copies of each (as here) presented with an additional suite of the original woodcuts specially printed on fine paper.

First edition with Renefer’s illustrations, number 2 of 15 copies with the suite of all 22 wood engravings on chine, all signed by the artist. Elder’s novel of the sea had won the 1913 Prix Goncourt (against both Proust and Alain Fournier). Renefer had made his name as a war artist during the Great War. Fayard’s Livres de demain brought examples of the current revival in woodcut and wood engraving to a wide audience at a reasonable price. Accordingly, the illustrations of the regular volumes were printed in large numbers from phototype metal blocks made from the prints, with just 15 copies of each (as here) presented with an additional suite of the original woodcuts specially printed on fine paper.

First edition with the Falké illustrations, number 2 of 15 copies only with the woodcuts on chine, numbered and initialled by the artist. A colonialist novel in which a young Senegalese fisherman finds himself enlisted in the army, fighting with the French in the trenches of the Great War. It first appeared in 1922. Fayard’s Livres de demain brought examples of the current revival in woodcut and wood engraving to a wide audience at a reasonable price. Accordingly, the illustrations of the regular volumes were printed in large numbers from phototype metal blocks made from the prints, with just 15 copies of each (as here) presented with an additional suite of the original woodcuts specially printed on fine paper.

14 rare belle époque cards, including: ‘Au Pompe-Dard — Pumping Fashion’; ‘Position du tireur debout — Standing fashion’; ‘Enviander les Brancards — Between the Shafts’, etc.

A series of witty and finely executed erotic miniatures, presumably a Paris souvenir made with an anglophone audience in mind, most likely the American servicemen in Paris after 1945.

First edition (presumed first issue, being bound concertina style). A very rare and influential kimono design book by the Rinpa master, Kamisake Sekka. Koromogae (literally ‘change of clothes’) consists of 100 striking modernist fabric designs for kimonos, on double leaves. Sekka was an influential advocate for the wearing and design of the kimono among early twentieth-century Japanese women, encouraging the modernisation of its decoration and a closer liaison between producer and consumer.

Sekka is important for having fused traditional Japanese design with European modernism, the latter experienced first hand in his visit to the Glasgow International Exhibition of 1901. At the age of 36, Sekka travelled to Europe on behalf of the Kyoto local government to attend the Glasgow Exhibition. He stayed in Europe about six months researching European craft and design before returning to Kyoto where he served as an instructor at the School of Art and Design. ‘Kamisaka Sekka (1866-1942) was one of Japan’s leading artists, designers and art instructors. His bold, visually dynamic designs and innovative approach to production made him one of the great visionaries of modern Japanese art and design’ (Kamisaka Sekka: Dawn of modern Japanese Design, 2012). Libraryhub (formerly COPAC) lists the BL copy only (and a copy of vol. 1 only at Manchester). Worldcat adds National Diet Libryyr (Tokyo) and University of Cincinnati only.