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  • Physiologie de l’homme marié … Illustrations de Marckl. by [PHYSIOLOGIES]. KOCK, Paul de. [PHYSIOLOGIES]. KOCK, Paul de. ~ Physiologie de l’homme marié … Illustrations de Marckl. Paris: Jules Laisné … Aubert et Cie … Lavigne … 1842.
    A nice collection of eleven physiologies, one of the many such little books illustrative of ‘the craze that swept Paris in the early 1840s for… (more)

    A nice collection of eleven physiologies, one of the many such little books illustrative of ‘the craze that swept Paris in the early 1840s for a series of small illustrated volumes marketed under the general title of physiologies [looking back, perhaps, to Brillat-Savarin’s bestselling Physiologie du goût (1826) and Balzac’s Physiologie du marriage (1830)]. Some 120 different physiologies were issued by various Parisian publishers between 1840 and 1842 (ranging alphabetically from the Physiologie de l’amant to the Physiologie du voyageur), and it is estimated that approximately half a million copies of these pocket-sized books were printed during the same two-year span’ (Sieburth, p. 163).

    Designed for mass consumption, these satirical guides to particular social types were based on ‘the witty interaction of image and text, drawing and caption, seeing and reading … Byproducts of the recent technological advances in printing and paper manufacturing which had made illustrated books more commercially feasible and analogous to the various dioramas and panoramas which enjoyed a considerable popularity during the period, these illustrated anthologies of urban sites and mores catered to the public’s desire to see its social space as a stage or gallery whose intelligibility was guaranteed both by its visibility as image and its legibility as text …

    ‘Quickly produced and marketed, consumed and discarded, … the physiologies (like the sensational tabloids or canards hawked on Paris streetcorners of the period) are early instances of the cheap, throwaway “instant book” whose appeal lies in its very topicality and ephemerality’ (op. cit., pp. 165–7).

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  • Physiologie de la femme la plus malheureuse du monde … Vignettes de Valentin. by [PHYSIOLOGIES]. LEMOINE, Édouard. [PHYSIOLOGIES]. LEMOINE, Édouard. ~ Physiologie de la femme la plus malheureuse du monde … Vignettes de Valentin. Paris: Aubert et Cie … Lavigne … [1841].
    A nice collection of eight physiologies, one of the many such little books illustrative of ‘the craze that swept Paris in the early 1840s for… (more)

    A nice collection of eight physiologies, one of the many such little books illustrative of ‘the craze that swept Paris in the early 1840s for a series of small illustrated volumes marketed under the general title of physiologies [looking back, perhaps, to Brillat-Savarin’s bestselling Physiologie du goût (1826) and Balzac’s Physiologie du marriage (1830)]. Some 120 different physiologies were issued by various Parisian publishers between 1840 and 1842 (ranging alphabetically from the Physiologie de l’amant to the Physiologie du voyageur), and it is estimated that approximately half a million copies of these pocket-sized books were printed during the same two-year span’ (Sieburth, p. 163).

    Designed for mass consumption, these satirical guides to particular social types were based on ‘the witty interaction of image and text, drawing and caption, seeing and reading … Byproducts of the recent technological advances in printing and paper manufacturing which had made illustrated books more commercially feasible and analogous to the various dioramas and panoramas which enjoyed a considerable popularity during the period, these illustrated anthologies of urban sites and mores catered to the public’s desire to see its social space as a stage or gallery whose intelligibility was guaranteed both by its visibility as image and its legibility as text …

    ‘Quickly produced and marketed, consumed and discarded, … the physiologies (like the sensational tabloids or canards hawked on Paris streetcorners of the period) are early instances of the cheap, throwaway “instant book” whose appeal lies in its very topicality and ephemerality’ (op. cit., pp. 165–7). Richard Sieburth, ‘Same difference: the French Physiologies, 1840–1842’, Notebooks in Cultural Analysis (Duke UP, 1984), pp. 163–200.

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  • Physiologie de l’étudiant … Vignettes de MM. Trimolet et Maurisset. by HUART, Louis. HUART, Louis. ~ Physiologie de l’étudiant … Vignettes de MM. Trimolet et Maurisset. Paris: Aubert et Cie … Lavigne … [1841].
    A satire on contemporary student life, addressing the traditional pursuits of the young denizens of the rue Saint Jacques — drinking, smoking, gaming, dancing and… (more)

    A satire on contemporary student life, addressing the traditional pursuits of the young denizens of the rue Saint Jacques — drinking, smoking, gaming, dancing and womanizing.

    This is one of the many such little Physiologies illustrative of ‘the craze that swept Paris in the early 1840s for a series of small illustrated volumes marketed under the general title of physiologies [looking back, perhaps, to Brillat-Savarin’s bestselling Physiologie du goût (1826) and Balzac’s Physiologie du marriage (1830)]. Some 120 different physiologies were issued by various Parisian publishers between 1840 and 1842 (ranging alphabetically from the Physiologie de l’amant to the Physiologie du voyageur), and it is estimated that approximately half a million copies of these pocket-sized books were printed during the same two-year span’ (Sieburth, p. 163).

    Designed for mass consumption, these satirical guides to particular social types were based on ‘the witty interaction of image and text, drawing and caption, seeing and reading … Byproducts of the recent technological advances in printing and paper manufacturing which had made illustrated books more commercially feasible and analogous to the various dioramas and panoramas which enjoyed a considerable popularity during the period, these illustrated anthologies of urban sites and mores catered to the public’s desire to see its social space as a stage or gallery whose intelligibility was guaranteed both by its visibility as image and its legibility as text …

    ‘Quickly produced and marketed, consumed and discarded, … the physiologies (like the sensational tabloids or canards hawked on Paris streetcorners of the period) are early instances of the cheap, throwaway “instant book” whose appeal lies in its very topicality and ephemerality’ (op. cit., pp. 165–7). Richard Sieburth, ‘Same difference: the French Physiologies, 1840–1842’, Notebooks in Cultural Analysis (Duke UP, 1984), pp. 163–200.

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  • Physiologie du tailleur … Vignettes par Gavarni. by HUART, Louis. HUART, Louis. ~ Physiologie du tailleur … Vignettes par Gavarni. Paris, Aubert et Cie … Lavigne … [1841].
    A satire on contemporary fashion, one of the many such little books illustrative of ‘the craze that swept Paris in the early 1840s for a… (more)

    A satire on contemporary fashion, one of the many such little books illustrative of ‘the craze that swept Paris in the early 1840s for a series of small illustrated volumes marketed under the general title of physiologies [looking back, perhaps, to Brillat-Savarin’s bestselling Physiologie du goût (1826) and Balzac’s Physiologie du marriage (1830)]. Some 120 different physiologies were issued by various Parisian publishers between 1840 and 1842 (ranging alphabetically from the Physiologie de l’amant to the Physiologie du voyageur), and it is estimated that approximately half a million copies of these pocket-sized books were printed during the same two-year span’ (Sieburth, p. 163).

    Designed for mass consumption, these satirical guides to particular social types were based on ‘the witty interaction of image and text, drawing and caption, seeing and reading … Byproducts of the recent technological advances in printing and paper manufacturing which had made illustrated books more commercially feasible and analogous to the various dioramas and panoramas which enjoyed a considerable popularity during the period, these illustrated anthologies of urban sites and mores catered to the public’s desire to see its social space as a stage or gallery whose intelligibility was guaranteed both by its visibility as image and its legibility as text …

    ‘Quickly produced and marketed, consumed and discarded, … the physiologies (like the sensational tabloids or canards hawked on Paris streetcorners of the period) are early instances of the cheap, throwaway “instant book” whose appeal lies in its very topicality and ephemerality’ (op. cit., pp. 165–7). Richard Sieburth, ‘Same difference: the French Physiologies, 1840–1842’, Notebooks in Cultural Analysis (Duke UP, 1984), pp. 163–200.

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  • Physiologie du bas-bleu … Vignettes de Jules Vernier. by SOULIÉ, Frédéric. SOULIÉ, Frédéric. ~ Physiologie du bas-bleu … Vignettes de Jules Vernier. Paris: Aubert et Cie … Lavigne …, [1841].
    A satire on educated women, one of the many such little books illustrative of ‘the craze that swept Paris in the early 1840s for a… (more)

    A satire on educated women, one of the many such little books illustrative of ‘the craze that swept Paris in the early 1840s for a series of small illustrated volumes marketed under the general title of physiologies [looking back, perhaps, to Brillat-Savarin’s bestselling Physiologie du goût (1826) and Balzac’s Physiologie du marriage (1830)]. Some 120 different physiologies were issued by various Parisian publishers between 1840 and 1842 (ranging alphabetically from the Physiologie de l’amant to the Physiologie du voyageur), and it is estimated that approximately half a million copies of these pocket-sized books were printed during the same two-year span’ (Sieburth, p. 163).

    Designed for mass consumption, these satirical guides to particular social types were based on ‘the witty interaction of image and text, drawing and caption, seeing and reading … Byproducts of the recent technological advances in printing and paper manufacturing which had made illustrated books more commercially feasible and analogous to the various dioramas and panoramas which enjoyed a considerable popularity during the period, these illustrated anthologies of urban sites and mores catered to the public’s desire to see its social space as a stage or gallery whose intelligibility was guaranteed both by its visibility as image and its legibility as text …

    ‘Quickly produced and marketed, consumed and discarded, … the physiologies (like the sensational tabloids or canards hawked on Paris streetcorners of the period) are early instances of the cheap, throwaway “instant book” whose appeal lies in its very topicality and ephemerality’ (op. cit., pp. 165–7). Richard Sieburth, ‘Same difference: the French Physiologies, 1840–1842’, Notebooks in Cultural Analysis, (Duke UP, 1984), pp. 163–200.

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  • Commonplace book. by HILLIARD, Lettice Elizabeth (née HALLETT). HILLIARD, Lettice Elizabeth (née HALLETT). ~ Commonplace book. England, early 19th century.
    Lettice Hallett (1787–1859) was the eldest daughter of the Radical reformer William Hallett of Denford Park, near Kintbury, in Berkshire. She married solicitor Nash Crosier… (more)

    Lettice Hallett (1787–1859) was the eldest daughter of the Radical reformer William Hallett of Denford Park, near Kintbury, in Berkshire. She married solicitor Nash Crosier Hilliard (1789–1844), of Grey’s Inn, in 1819. The three-page section of writing here, dated 20 November 1825, records ‘A list of the several person of the respective Families of Nash Crosier Hilliard and of Lettice Elizabeth Hilliard living at this Period’: Hilliards, Halletts, Nelsons, and Fowles. The first section, for which the book has been turned on its side, in oblong format, contains poetry: a 24-line poem ‘On Science’ (‘E’er yet the Morn of Science rose on Earth …’) by ‘W. D.’; ‘Lines found deeply engraved on the Bark of a large Tree in the Neighbourhood of Mentz [i.e. Mainz] in Germany’; ‘Music’ by William Strode (1598–1645; ‘When whispering strains do softly steal …’); ‘To a Friend in Distress’ (‘Shrink not to meet with adverse fate or part, / When black the scene, then bravely arm your heart …’); ‘The Morning before the Ball’, ‘The Morning after the Ball’, and extracts from ‘The Traveller’ and ‘The Deserted Village’ by Goldsmith.

    The other end of the book (for which the book has been flipped over to write) is taken up by a history of England, seemingly paraphrased, and expanded, by Lettice from Trusler’s Compendium of Useful Knowledge (1784 and later editions), from the Ancient Britons up to William the Conqueror and his sons.

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  • Physiologie de la lorette … Vignettes de Gavarny … by ALHOY, Maurice. ALHOY, Maurice. ~ Physiologie de la lorette … Vignettes de Gavarny … Paris: Aubert et Cie … Lavigne …, [ 1841].
    A nice pairing of physiologies, of the courtesan and the married man, illustrative of ‘the craze that swept Paris in the early 1840s for a… (more)

    A nice pairing of physiologies, of the courtesan and the married man, illustrative of ‘the craze that swept Paris in the early 1840s for a series of small illustrated volumes marketed under the general title of physiologies [looking back, perhaps, to Brillat-Savarin’s bestselling Physiologie du goût (1826) and Balzac’s Physiologie du marriage (1830)]. Some 120 different physiologies were issued by various Parisian publishers between 1840 and 1842 (ranging alphabetically from the Physiologie de l’amant to the Physiologie du voyageur), and it is estimated that approximately half a million copies of these pocket-sized books were printed during the same two-year span’ (Sieburth, p. 163).

    Designed for mass consumption, these satirical guides to particular social types were based on ‘the witty interaction of image and text, drawing and caption, seeing and reading … Byproducts of the recent technological advances in printing and paper manufacturing which had made illustrated books more commercially feasible and analogous to the various dioramas and panoramas which enjoyed a considerable popularity during the period, these illustrated anthologies of urban sites and mores catered to the public’s desire to see its social space as a stage or gallery whose intelligibility was guaranteed both by its visibility as image and its legibility as text …

    ‘Quickly produced and marketed, consumed and discarded, … the physiologies (like the sensational tabloids or canards hawked on Paris streetcorners of the period) are early instances of the cheap, throwaway “instant book” whose appeal lies in its very topicality and ephemerality’ (op. cit., pp. 165–7). Richard Sieburth, ‘Same difference: the French Physiologies, 1840–1842’, Notebooks in Cultural Analysis (Duke UP, 1984), pp. 163–200.

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  • This is no Caricature. by [HEATH, William]. [HEATH, William]. ~ This is no Caricature. London: John Doyle, Published by Thomas McLean, 26 Haymarket October 1st 1827.
    In 1827 Harriet Mellon, widow of the banker Thomas Coutts married William Beauclerk, 9th Duke of St Albans. The daughter of a family of travelling… (more)

    In 1827 Harriet Mellon, widow of the banker Thomas Coutts married William Beauclerk, 9th Duke of St Albans. The daughter of a family of travelling players, Harriet had become an actress at an early age and was spotted by Coutts while performing in London. As a young woman she was widely celebrated for her beauty, and was painted by George Romney and Sir Thomas Lawrence. She became wealthy (as a senior partner of Coutts bank) and was 23 years older than Beauclerk on their marriage, providing ample scope for unkind commentary and ammunition for the satirists. Nicknamed ‘The Jolly Duchess’ Harriett enjoyed her wealth, was a great collector and generous patron. She wrote to her friend Sir Walter Scott:

    ‘What a strange eventful life has mine been, from a poor little player child, with just food and clothes to cover me, dependent on a very precarious profession, without talent or a friend in the world – first the wife of the best, the most perfect being that ever breathed …and now the wife of a Duke! You must write my life… my true history written by the author of Waverley’. (Scott’s Journal, 30 June 1827).

    After her death, she left an allowance to the Duke but her fortune passed to step-grandaughter Angela Burdett-Coutts, whose philanthropic association with Dickens is well known. BM Satires 15461. 

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  • Les Soirées du Palais Royal; recueil d’aventures galantes et délicates, publié par un invalide du Palais Royal. by [CUISIN, P., attributed to]. [CUISIN, P., attributed to]. ~ Les Soirées du Palais Royal; recueil d’aventures galantes et délicates, publié par un invalide du Palais Royal. Paris: [Madame veuve Jeunehomme, rue Hauteville, no. 20, for] Plancher, 1815.
    First edition, rare, of this collection of racy tales from the Palais Royal, the fabled European capital of libertinism. Framed as a series of initiatory… (more)

    First edition, rare, of this collection of racy tales from the Palais Royal, the fabled European capital of libertinism. Framed as a series of initiatory narratives on the perils of loose women and gambling, Les Soirées actually contains several anecdotes of sociological interest. One involves a bragging libertine husband, who claims his wife would never cuckold him, only for the narrator to seduce her and to contrive a fitting punishment for his boasts. He arranges adjoining private rooms in a favourite Palais Royale restaurant, sending the husband to one with a complicit mistress, while he himself takes the libertine’s wife to another. As the couples make love, an opening between the two rooms allows them to see just enough of their neighbours to further inflame their desire. Only on leaving the chamber does the husband realise that it was his wife he has seen in flagrante in the other room, and with his friend. After an understandable outburst, a philosophical discussion ensues on the equivalence of female and male desire and morality (see Counter, The Amorous Restoration: Love, Sex, and Politics in Early Nineteenth-Century France, 2016, p. 137).

    The two plates were evidently printed on the same sheet, appearing as a folding frontispiece in some copies.

    Anonymous, it is attributed to Cuisin, who specialised in Palais Royale titillation and produced many similar works. The printer, the widow Jeunehomme is an interesting figure, one of a handful of female printers in Paris at this point and a Bonapartist who was later imprisoned for political reasons (Dictionnaire des femmes libraires en France, 1470-1870). Worldcat locates copies at Bn (without half-title), BL (with half-title) and Johns Hopkins (also 1815, but ‘Second edition’, perhaps an error, confounding this work with an earlier work with a similar title)

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  • Nouveaux Contes des fées. Par Madame D * *. by [AULNOY, Marie-Catherine Le Jumel de Barneville, baronne d’]. [AULNOY, Marie-Catherine Le Jumel de Barneville, baronne d’]. ~ Nouveaux Contes des fées. Par Madame D * *. La Haye: Meindert Uytwerf, 1700.
    Aulnoy’s fairy tales were first published in 1697-8 as Les Contes des fées by Barbin in Paris (in four volumes) and were followed later in… (more)

    Aulnoy’s fairy tales were first published in 1697-8 as Les Contes des fées by Barbin in Paris (in four volumes) and were followed later in 1698 by four volumes of new tales (also printed in Paris, by Catherine Legras and Nicolas Gosselin) entitled Contes nouveaux ou les Fées à la mode. Copies of these first editions are now almost unobtainable (even in libraries, and they are habitually described as ‘lost’ or ‘untraceable’ — though Volker Schröder of Princeton has recently traced the few known copies and fragments in a series of posts on his blog, Anecdota). Pirated editions bearing a false ‘Trévoux’ imprint appeared a few months later, with unrelated woodcuts from another source, and again surviving in less than a handful of copies.
    These editions were followed by La Haye editions by Uytwerf appearing between 1698 and 1700, of which ours is one and which are only fractionally less rare than the first editions. They were entitled Les Contes de fées (1698) and Nouveaux Contes des fées (1700). Our Nouveaux contes comprises the tales from volume 3 and 4 of the Paris Barbin editions, namely: I. Preface; Don Gabriel Ponce de Leon, nouvelle Espagnolle; Le mouton; Finette cendron; Fortunée; II. Babiolle; Don Fernand de Toledo; Le Nain jaune; Suite de Don Fernand de Toledo; Serpentin vert.
    The fine engraved headpiece illustrations are reproduced from the originals in the Barbin editions, but the engraved frontispieces are from an entirely new plate by Jan van Vianen, showing the striking figure of a female story teller (in the guise of Minerva) surrounded by fashionably-dressed listeners and with scenes from tales played out in the clouds above her head.
    Of the tales gathered here, Le Nain jaune (The Yellow Dwarf) was easily the most enduring, perhaps Aulnoy’s most significant literary legacy — later appearing in numerous European versions both in print and on the stage. A tale of mothers, daughters, suitors and matrimony, Le Nain jaune is the tragic tale of the restless and spoilt princess Toute-belle who rejects her noble suitors and ends up betrayed by her mother and betrothed to the hideous Yellow Dwarf, later dying while attempting to escape her fate. Its afterlife was considerable, in literature and beyond. A French card game is named after it, and it became a popular subject for the stage, especially in England in various adaptations of the Mother Bunch story, and was retold notably by Andrew Laing in The Blue Fairy Book. Worldcat: Kansas and Princeton (the Cotsen copy) only outside Europe, both lacking the first frontispiece and the latter noticeably trimmed.

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  • Point de lendemain, conte. by [DENON, Dominique Vivant]. [DENON, Dominique Vivant]. ~ Point de lendemain, conte. Paris: P. Didot, l’aïné, 1812.
    First edition in book form, printed for private circulation and exceptionally rare. This copy bound in contemporary blue morocco with a rare additional engraved autoportrait… (more)

    First edition in book form, printed for private circulation and exceptionally rare. This copy bound in contemporary blue morocco with a rare additional engraved autoportrait by the author (a plate known in a handful of copies and in no other copy of Point de Lendemain).
    Point de Lendemain is one of the great erotic classics of French literature. One summer night, a married woman initiates an encounter with a young ingénu ― and so begins a sophisticated and nuanced story of mutual seduction. ‘In merely thirty or so pages, the erotic conte [tale] Point de lendemain … captures the libertine essence of the French eighteenth century. It is often read, with a fondness not far from nostalgia, as a vignette for a certain idea of libertinage. With Point de lendemain, Denon celebrates the subtle seductions and the intense voluptés of vicomtes and marquises, set in rococo landscapes à la Watteau or in lavish interiors worthy of Du Barry. Point de lendemain is as graceful as a painting by Fragonard …’ (Marine Ganofsky).
    This 1812 text has been reprinted many times, usually with plates making explicit what is so subtly left implicit in the original. In its first incarnation the tale appeared in an issue of the Mélanges littéraires ou Journal des dames in 1777 — its authorship concealed under the initials ‘M.D.G.O.D.R.’ — but Denon later revised and republished anonymously in this definitive edition of 1812, the version in which it is known today. It was printed in very small numbers (perhaps just 25 copies) and privately distributed. Copies are highly prized, both in private and public collections and we find just 4 copies in public collections worldwide: the Bibliothèque nationale copy only is listed in the Catalogue collectif de France, while OCLC/Worldcat lists American copies at Yale and the University of California, Berkeley only. There is also a copy in the Bodleian Library. L’Enfer de la Bibliotheque 57; Brunet II, 599; Diesbach-Soultrait 40; Monglond IX, 1167 (the two copies listed, including that of the Reserve, do not contain a plate). Marine Ganofsky, Point de Lendemain (Literary Encyclopedia, University of Saint Andrews, online).

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  • Some Fruits of Solitude, in Reflections and Maxims relating to the Conduct of Human Life. The second Edition. by [PENN, William]. [PENN, William]. ~ Some Fruits of Solitude, in Reflections and Maxims relating to the Conduct of Human Life. The second Edition. London: for Thomas Northcott, 1693.
    Second edition (appearing in the same year as the first) of one of the best-loved works of William Penn, founder of Pennsylvania. After Penn’s departure… (more)

    Second edition (appearing in the same year as the first) of one of the best-loved works of William Penn, founder of Pennsylvania. After Penn’s departure from Pennsylvania in 1684, he returned to England. At the time of the Glorious Revolution, and James II’s exile he faced charges of high treason and was forced to remain in seclusion for three years. During that time he wrote Some Fruits of Solitude, a collection of maxims on such subjects as marriage, family, friendship, religion, and the temptations of wealth. Licensed on May 24 1693, the aphorisms were published anonymously (to avoid the author’s reimprisonment for disloyalty) and epitomize the simple Quaker truths upon which the Republic would be based, distilling the essence of Penn’s spiritual idealism, combining it with practicality and common sense. Wing P1369; Smith, Descriptive Catalogue of Friends’ Books, II, p. 309.

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  • The Sorrows of Seduction, in eight Delineations: with other Poems … Third Edition, considerably improved. by [MACKENZIE, ?William]. [MACKENZIE, ?William]. ~ The Sorrows of Seduction, in eight Delineations: with other Poems … Third Edition, considerably improved. London: Printed for Vernor, Hood, and Sharpe … and W. Gordon … 1810.
    Third edition. with new illustrations. Originally divided into six delineations (1805), two were added in the second edition (1806). Jackson attributes the present work to… (more)

    Third edition. with new illustrations. Originally divided into six delineations (1805), two were added in the second edition (1806). Jackson attributes the present work to one William Mackenzie, though it was advertised in the Monthly Magazine as being by a J. Mackenzie in 1817. Reviews were generally lukewarm, the Critical Review dismissing it as a bit of female fluff: ‘Its title its passport, this poem will probably form part of the furniture of many a lady’s dressing-room. With that let the author be content.’ As if to further this point, the only positive review we were able to locate came from The Lady’s Monthly Museum, which stated that the little volume ‘exhibits great elegance of taste, and warmth of feeling … and has many pathetic and beautiful passages.’ Jackson, p. 345. COPAC lists 4 copies (Bodley, BL, Cambridge, NLS), to which WorldCat adds 3 (McMaster, NYPL, Toronto).

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  • The Queen’s Wake: a legendary Poem. by HOGG, James. HOGG, James. ~ The Queen’s Wake: a legendary Poem. Edinburgh: by Andrew Balfour, for George Goldie in Edinburgh and Longman, Hurst, Rees, Orme and Brown in London, 1813.
    First edition of the ‘Ettrick Shepherd’s’ first major success, the work which placed him on a par with Scott and Byron as fashionable poets of… (more)

    First edition of the ‘Ettrick Shepherd’s’ first major success, the work which placed him on a par with Scott and Byron as fashionable poets of the 1810s. In dialect throughout, the poem imagines a return to Scotland of Mary Queen of Scots, and a poetical contest (the ‘Wake’) held in her honour at Holyrood. Jackson, p. 371.

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  • Le Corbeau. Poème. by POE, Edgar Allan. Charles BAUDELAIRE, translator. P[ierre]. B. Spalaïkovitch, illustrator. POE, Edgar Allan. Charles BAUDELAIRE, translator. P[ierre]. B. Spalaïkovitch, illustrator. ~ Le Corbeau. Poème. Nice: Art Press International, 1978.
    One of 99 copies (this being one of 89 on vélin de Rives) signed by the artist. A superb illustrated Raven by an artist. (more)

    One of 99 copies (this being one of 89 on vélin de Rives) signed by the artist. A superb illustrated Raven by an artist.

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  • Seul vers l’Asie. Quatre ans en camion automobile. by AMIGUET, Marcel. AMIGUET, Marcel. ~ Seul vers l’Asie. Quatre ans en camion automobile. Paris and Neuchatel: Victor Attinger, 1934.
    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,… (more)

    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.

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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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    View basket More details Price: £150.00
  • 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.

    (see full details)
    View basket More details Price: £150.00