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  • Le Jeu de Robin et Marion. by BOUCHER, Lucy, illustrator. Adam de la HALLE. BOUCHER, Lucy, illustrator. Adam de la HALLE. ~ Le Jeu de Robin et Marion. Nice: [Cannes: Ateliers d’Art Ryp for] Éditions Sefer, [ 1962].
    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… (more)

    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).

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  • Francesca da Rimini. Traduit par Marcel Schwob. Drame en cinq actes dont un prologue. Représenté au Théâtre Sarah-Bernhardt, le 22 avril 1902. by CRAWFORD, Francis Marion. Marcel SCHWOB, translator. CRAWFORD, Francis Marion. Marcel SCHWOB, translator. ~ Francesca da Rimini. Traduit par Marcel Schwob. Drame en cinq actes dont un prologue. Représenté au Théâtre Sarah-Bernhardt, le 22 avril 1902. Paris: [L. Maretheux for] Librairie Charpentier et Fasquelle, 1902.
    Presentation copy, signed by Crawford and inscribed from the translator, Marcel Schwob to the manager of the Théâtre Sarah-Bernhardt, Maurice Bernhardt (Sarah’s son). The play… (more)

    Presentation copy, signed by Crawford and inscribed from the translator, Marcel Schwob to the manager of the Théâtre Sarah-Bernhardt, Maurice Bernhardt (Sarah’s son). The play was first performed there in 1902, with Sarah Bernhardt in the title role. Though published in English in 10 copies only to secure copyright, the English edition was not published for circulation until 1980.

    Best known for his supernatural and fantastic fiction, Italian-born American Crawford had studied successively at St Paul’s School, Concord, New Hampshire, Cambridge University the Universities of Heidelberg and Rome. Francesca da Rimini was his only play, commissioned by his friend Sarah Bernhardt. Then 58, she played the 32-year old Francesca to only modest acclaim through 25 performances. The critics were unkind — one writing later: ‘it seems Sarah Bernhardt is incontrovertibly dead. Last year in ‘L'Aiglon’ and this year in ‘Francesca da Rimini,’ she offered convincing proof of her decease’. After its Paris premier, it transferred to the Garrick Theatre in London, for just 8 performances.

    This is a large paper copy one of 20 on japon.

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  • Le Pays natal. by BORDEAUX, Henry. René POTTIER, illustrator. BORDEAUX, Henry. René POTTIER, illustrator. ~ Le Pays natal. Paris: Fayard, Le Livre de Demain, [1925].
    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… (more)

    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.

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  • BOURGET, Paul. Georges JEANNIOT, illustrator. ~ Tragiques remous. Fayard: Fayard, Le Livre de Demain, [1925].
    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… (more)

    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.

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  • Victime expiatore. by CORTHIS, André. HERMANN-PAUL, illustrator. CORTHIS, André. HERMANN-PAUL, illustrator. ~ Victime expiatore. Paris: Fayard, Le Livre de Demain, [1926].
    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… (more)

    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.

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  • La Fin d’un beau jour. by JALOUX, Edmond. Paul BAUDIER, illustrator. JALOUX, Edmond. Paul BAUDIER, illustrator. ~ La Fin d’un beau jour. Paris: Fayard, Le Livre de Demain, [1926].
    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… (more)

    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.

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  • Morte la Bète... La Fugue — Un Soir de pluie... ouvrage inédit. by DUVERNOIS, Henri. Guy DOLLIAN, illustrator. DUVERNOIS, Henri. Guy DOLLIAN, illustrator. ~ Morte la Bète... La Fugue — Un Soir de pluie... ouvrage inédit. Paris: Fayard, Le Livre de Demain, [1924].
    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… (more)

    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.

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  • Crapotte by DUVERNOIS, Henri. Achille OUVRÉ, illustrator. DUVERNOIS, Henri. Achille OUVRÉ, illustrator. ~ Crapotte Paris: Fayard, Le Livre de Demain, [1926].
    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… (more)

    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.

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  • La Cigale. by DELARUE-MARDUS, Lucie. RENEFER, illustrator. DELARUE-MARDUS, Lucie. RENEFER, illustrator. ~ La Cigale. Paris: Fayard, Le Livre de Demain, [1923].
    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… (more)

    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.

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  • Le Pardon Prématuré. by CORTHIS, André. Paul VIGOUREUX, illustrator. CORTHIS, André. Paul VIGOUREUX, illustrator. ~ Le Pardon Prématuré. Paris: Fayard, Le Livre de Demain, [1925].
    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… (more)

    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.

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  • Giséle, La Guitare et le jazz-band. by DUVERNOIS, Henri. Berthe MARX, illustrator. DUVERNOIS, Henri. Berthe MARX, illustrator. ~ Giséle, La Guitare et le jazz-band. Paris: Fayard, Le Livre de Demain, [1924].
    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… (more)

    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.

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  • La Bataille. by FARRÈRE, Claude. A. ROUBILLE, illustrator. FARRÈRE, Claude. A. ROUBILLE, illustrator. ~ La Bataille. Paris: Fayard, Le Livre de Demain, [1923].
    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… (more)

    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.

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  • Marie-Claire. by AUDOUX, Marguerite. Paul-Émile COLIN, illustrator. AUDOUX, Marguerite. Paul-Émile COLIN, illustrator. ~ Marie-Claire. Paris: Fayard, Le Livre de Demain, [1925].
    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… (more)

    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.

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  • Grangoujon. by BENJAMIN, René. A. ROUBILLE, illustrator. BENJAMIN, René. A. ROUBILLE, illustrator. ~ Grangoujon. Paris: Fayard, Le Livre de Demain, [1925].
    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… (more)

    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.

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  • Je vous ai désirée un soir... by BOYLESVE, René. Paul BAUDIER, llustrator. BOYLESVE, René. Paul BAUDIER, llustrator. ~ Je vous ai désirée un soir... Paris: Fayard, Le Livre de Demain, [1925].
    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.… (more)

    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.

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  • Gaspard. by BENJAMIN, Réné. RENEFER, illustrator. BENJAMIN, Réné. RENEFER, illustrator. ~ Gaspard. Paris: Fayard, Le Livre de Demain, [1923].
    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,… (more)

    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.

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  • La Divine Chanson. by HARRY, Myriam. Ch. J. HALLO, illustrator. HARRY, Myriam. Ch. J. HALLO, illustrator. ~ La Divine Chanson. Paris: Fayard, Le Livre de Demain, [1925].
    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… (more)

    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.

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  • Les Amants tourmentés. by RENEFER, illustrator. VIOUX, Marcelle. RENEFER, illustrator. VIOUX, Marcelle. ~ Les Amants tourmentés. Paris: Fayard, Le Livre de Demain, [1925].
    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… (more)

    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.

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  • La Randonnée de Samba Diouf. by FALKÉ, Pierre, illustrator. Jérome and Jean THARAUD. FALKÉ, Pierre, illustrator. Jérome and Jean THARAUD. ~ La Randonnée de Samba Diouf. Paris: Fayard, Le Livre de Demain, [1926].
    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… (more)

    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.

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  • [The New Foundling Hospital for Wit, fragment]. by FUGITIVE PIECES (spine and cover title). FUGITIVE PIECES (spine and cover title). ~ [The New Foundling Hospital for Wit, fragment]. [London: J. Almon, 1771].
    An eighteenth-century homemade binding of a portion of a popular literary and satirical miscellany, a reminder that not all reading from perfect copies. The New… (more)

    An eighteenth-century homemade binding of a portion of a popular literary and satirical miscellany, a reminder that not all reading from perfect copies. The New Foundling Hospital for Wit appeared from 1768-7) and was a vehicle for John Wilkes and his radical bookseller John Almon, each issue audacious satirical engravings. This one includes, as a frontispiece, ‘A Citizen of the World searching for a Wise Prince’ in which blindfolded man walks an empty street carrying a lantern and wearing a long, furred civic gown. On a sign board overhead is a portrait of Augusta, Princess Dowager of Wales and a jackboot, the emblem of the Earl of Bute. Below is a quote from Shakespeare: ‘Who says ‘Alack, there lies more peril in thine eye than twenty of their swords (Romeo and Juliet).

    Among the various verses we find Richard Berenger’s ‘On the Birth-Day of Shakespeare’ originally included in The World.

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