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First edition, one of 100 copies on hollande, an illustrated travelogue of the author/ illustrator’s overland journey (1926-30) from Paris to Bombay, via Turkye, Syria, Iraq and Persia, in a purpose-built Renault truck. With four original signed etchings at rear.

A splendid piece of twentieth-century Medievalism, with miniaturist Lucy Boucher’s brilliant hand-finished colour plates inspired by tapestries and stained glass. Le Jeu de Robin et Marion is usually considered the earliest French secular play with music, written in around 1282 or 1283 — a dramatisation of a traditional genre of medieval French song, the pastourelle. The pastourelle typically tells of an encounter between a knight and a shepherdess, but Adam de la Halle’s version of the story places a greater emphasis on the activities of Marion, her lover Robin and their friends after she resists the knight’s advances.

One of 380 copies, this one of 246 ‘regular’ copies after copies with original drawings etc. Worldcat lists a single copy (University of Antwerp).

First edition with the Pottier illustrations, number 2 of 15 copies only with the woodcuts on chine, numbered and 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 Jeanniot’s illustrations, number 2 of 15 copies with the suite of original woodcuts 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, number 2 of 15 copies with the original wood engravings on chine. Hermann-Paul, with his sparse and economical style, was one of the most successful and effective of the French wood engravers of the twenties. He was already very well established by the time of the Great War, and turned to working on wood by necessity as metal for print making became scarce.

Fayard’s enterprise was one of democratisation — aiming to bring high-quality illustration, 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 woodblocks, with just 15 copies of each (as here) presented with an additional suite specially printed on fine paper from the original blocks.

First edition with the Baudier wood engravings, number 2 of 15 special copies with the suite of original woodcuts 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 of these three novellas, number 2 of 15 copies with the suite of original woodcuts, initialled by Dollian.

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 illustrated edition of this urbane novel of the Parisian life of a boulevardier (it first appeared in 1918).Number 2 of 15 copies only with the woodcuts on chine, numbered. 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 number 2 of 15 copies only with the woodcuts on chine, numbered and 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 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 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 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 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 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 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.