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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.

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.

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.

First edition. ‘... born at Calais, author of lively, licentious novels, widely read about 1800 (the favourite reading of Miss Crawley in Thackeray’s Vanity Fair)... During a riotous, dissipated youth this author returned to Calais on one occasion to find that his disgusted father had published notice of his death’ (Oxford Companion to French Literature).

Monsieur Botte was reprinted several times and seems to have found favour in 1803 adapted for the stage as M. Botte; ou, Le négociant anglais comédie en trois actes et en prose, imitée du roman de Pigault-Lebrun by Servières and Sutton de Clonard. The Critical Review describes an English edition of 1804 published by William Lane (of the Minerva Press), but if it was indeed published by Lane, we can find no trace of it in the usual catalogues.

First edition in French of The Banished Man (1794). Smith’s republican sympathies are well-known, but this novel marked a shift in her enthusiasm for the Revolution — it opens in 1792 with the impact of the Revolutionary wars and covers the execution of King Louis XVI in January 1793 as well as the radical period of the Terror. The introduction to Marquand’s translation serves as a retrospective review of Smith’s remarkable popularity in France. Worldcat lists the copy at Illinois as the only copy outside continental Europe. The UK’s Libraryhub (formerly COPAC) adds a copy at Birmingham.

A group reliures japonisantes on a series of Edinburgh-printed ‘Author’s Edition’ copies of these two American authors. This style of binding, with characteristic embossed gilt paper covers in Japanese style became a bibliophilic vogue in the 1880s, reflecting the tremendous enthusiasm for all things Japanese in contemporary Paris. It is most unusual to find them in this context, on a group of popular American titles:

HOLMES, Oliver Wendell. The Autocrat of the Breakfast Table. 1883. pp. xlviii, 212; 256, (without half-titles) [and] HOWELLS, William D. Their Wedding Journey and A Chance Acquaintance. 1882, pp. 320; 303, [1]; The Undiscovered Country, 1882, pp. 250; 4 pages of ads, 269, [1]; The Lady of Aroostook. 1882, pp. 204 191, [1]; The Rise of Silas Lapham. 1885, pp. 330; 320, [2]; A Forgone Conclusion. A Counterfeit Presentment and The Parlour Car. 1882, pp. 316; 228.

A series of anonymous watercolours, with numerous floral borders and vignettes, but also including 20 lovely compositions with books, journals, bundles of letters, music, a writing desk, a watercolour stand, inkwells and pocket books. The style is very much in the Empire taste, and the flower painting is exquisite. The volume appears to have been bound from loose sheets, many of which may have been destined as title pages for some uncompleted album project: a few have tiny marginal notes in ink giving a volume number and several are ruled in pencil for the addition of text.

Many bear the monogram ‘AD’ and some the name Délie, together with dedications ‘À toi’ or ‘À elle’, as though all were in some way dedications to a sweetheart or perhaps a child. There is a slightly morbid air to some, towards the end, which depict tombs, memorials and a deathbed scene. Among other subjects are a billiard room, a pet dog in a basket and two most inviting beds.

A modern manuscript note loosely inserted connects the album to Jules Lardin (1787-71), poet, musician and dilettante. Lardin is known to have created designs for tickets and publicity for concerts and to have made several albums, so this attribution is quite possible. The identity of ‘Délie’ is another question.

A very rare Swiss almanac, including four superb woodcuts and news reports from all over Europe. The Postillion was issued simultaneously in French and German issues: Der Kriegs- und Friedens-Postillion, but both are very rare, recorded in only a handful of copies each of any yearly issue. The woodcut on the first leaf depicts the postillion riding through an emblematic landscape, the three others are: a spectacular sea battle between a French and English ship; the deathbed of Elisabeth II or Russia (folding, c. 185 × 320 mm); and two murders (one from a tragic account from Ireland), each with accompanying descriptions in the text. The news reports have been gleaned from a wide variety of sources. Added them are the familiar elements of an amanac: calendars, astronomical, astrological and meteorological data, with typically charming woodcut vignettes.

First edition in French. A European success, Lafontaine was as popular in France as in his native Germany and the book was evidently read in French in England (copies were imported by De Boffe). The Monthly Review of December 1813 contained the following notice: ‘This novel betrays many incongruities; among which may be reckoned the description of the Dutch naval captain who talks metaphysics, and that of a prudent mother who forbids her daughter’s marriage because the lovers had not sufficient courage to elope. Some of the female characters exhibit an infantine simplicity, which the author seems to have mistaken and substituted for the innocence of youth...’ Worldcat: Yale and Iowa only outside Europe. No UK copies in JISC/COPAC.

First edition. An account of the author’s ‘pilgrimage’ to the Palace of Holyrood in Edinburgh, where French monarch Charles X had taken refuge (for the second time) following his deposition by the July Revolution in 1830. The object of his pilgrimage was not so much Charles himself, but his young nephew Henri, son of the Duke and Duchess de Berri, named regent of French in exile. A detailed report of this extraordinary young man is given, together with the striking lithograph portrait. The ‘Récit’ of the meeting is followed by various reflections on the author’s return journey through London, and then by a ‘rêve’ in which he dreams of a return to Paris and restoration of the monarchy under the young Henri.

First edition. A very rare work, published for the author, La Serrie of the Vendée, who published a series of little books at the opening of the nineteenth century, in small editions for distribution among his friends, with illustrations engraved by himself. These are naive but accomplished and often very striking devotional compositions. They are almost all captioned, almost invariably with the letter ‘N’ in reverse. No copies located in Worldcat.

First edition of this very rare and notorious catalogue for the sale of the library of the comte de Fortsas in Mons, 1840. In that year, booksellers, librarians and collectors were surprised to receive copies of a sale catalogue for a remarkable library, containing just 52 books, each purporting to be a work or edition existing in a single copy only. The catalogue introduction explains that the comte collected only these otherwise unrecorded books and that if he subsequently found reference to any in bibliographies and catalogues he would deaccession them by selling, donation or even destruction. There are also helpful annotations to some lots from the comte’s own notes and some condition statements.

Converging on the small town of Binche on August 10th, hopeful bidders were surprised to find the notary’s office in which the sale was to be held did not actually exist and later, to learn that there was no library of unique books, and no comte de Fortsas. The hoax had been perpetrated by Renier Hubert Ghislain Chalon, an antiquarian who enjoyed playing elaborate pranks on intellectuals. This copy also contains the exceptionally rare ‘Avis’ sheet (officially stamped) bound at the end - the notice issued by Chalon stating that the sale was cancelled and that the books had been acquired en bloc by the public library of the town of Binche.

132 copies only of the catalogue were printed, and 73 copies of the Avis. It was reprinted very quickly, but the first edition is very rare and is recognised by the word ‘rue’ as the first word of the eighth line on the title (the earliest reprint has that word at the end of the line above): W. Klinefelter, The Fortsas Bibliohoax (1941)

First edition in French of An authentic Account of Forgeries and Frauds of various kinds, committed by Charles Price, otherwise Patch or (alternatively) Memoirs of a Social Monster (1786), a sensational work which had run to six English editions within a year. Price, a highly successful forger of banknotes and a confidence trickster, notorious for engraving his own very plausible banknotes printed on paper of his own manufacture complete with watermarks, became something of a celebrity in eighteenth century London. He took his own life in Bridewell prison in 1786 and was the subject of numerous popular memoirs and ballads. Rochedieu, p. 368. Worldcat: Cambridge, Leeds, University of London, V & A, Cornell, UCLA and Yale outside continental Europe. Rochedieu, p. 368.

First published anonymously in May 1744, Moore’s Fables for the Female Sex had at least seventeen other editions in the eighteenth century, four of which were American; it was translated into French in 1764 and German in 1772. Three of the fables are actually by Henry Brooke. Hayman’s illustrations incorporate numerous elements from Francis Barlow’s sequence of the previous century; his original drawings of 1744 are preserved in the Rothschild collections at Waddesdon. Foxon, M428.

The Supernatural Philosopher is a reissue of The History of the Life and Adventures of Mr. Duncan Campbell (1720) with the addition of ‘Verses to Mr. Campbell. On the History of his Life and Adventures’ and ‘A remarkable passage of an apparition. 1665’.
The author evidently lodged for a while in the same London house as the Scots-born soothsayer Duncan Campbell (d. 1730), who was a well-known figure in the city. Deaf and mute, he was probably educated at Glasgow using the finger system devised by John Wallis in the seventeenth century. The History of the Life was persistently attributed until relatively recently to Defoe even though it was reissued here under Bond’s name.