Literature illustrated with engravings, lithographs, photographs, first edition drawings, beautiful illustrated books and artists' books

First edition, one of 35 numbered copies printed on "mousse d'épave" paper, ours one of 10 copies hors commerce.

Illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the work in collaboration with Claude Nardin.

Rare and very fine copy, complete with its chemise and slipcase in full grey cloth (spine of the chemise slightly faded).

Manuscript pencil signatures of Jean-Claude Renard and Ania Staritsky at the colophon.

Our copy contains a manuscript text by the poet Jean-Claude Renard as well as an original collage by Ania Staritsky, signed by her.

Fine signed auto

First illustrated edition issued for the Club français des bibliophiles, one of the numbered copies.
Publisher’s full olive-green cloth bindings, smooth spines, gilt medallions in relief depicting General de Gaulle and Free France stamped at the centres of the upper covers, fine copies complete with their original glassine wrappers.
A complete set in three volumes, richly illustrated.
Autograph inscription dated and signed by Charles de Gaulle in the first volume, manuscript signatures dated in the second and third volumes.

First edition, one of 42 numbered copies on tabac du moulin paper, issued under limon de rocaille wrappers, our copy one of 12 hors commerce copies, the only issue after 15 copies on papier saumon des eaux claires.

Illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the work, with the collaboration of Claude Nardin, here in his first contribution.

Rare and very fine copy preserved in its full burlap chemise and slipcase (spine of the chemise and boards of the slipcase slightly sunned at the margins).

Pencil signatures of Jacques Lemaire and Ania Staritsky on the colophon.

First edition, one of 56 numbered copies on B.F.K. de Rives laid paper.

Illustrated with original engravings by Ania Staritsky.

A rare and very fine copy, complete with its slipcase and grey full-cloth chemise.

Pencil signatures of Ania Staritsky and Albert Dasnoy on the colophon.

Autograph inscription signed by Albert Dasnoy to Claude Nardin, enriched with the handwritten signature of Ania Staritsky.

First edition, one of 30 numbered copies printed on handmade pure rag paper.

Illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the work with the collaboration of Claude Nardin.

A rare and very fine copy, complete with its chemise and brown cloth slipcase.

Pencil signatures of Philippe Jones and Ania Staritsky at the colophon.

Inscribed by Philippe Jones to Claude Nardin at the colophon.

Our copy is enriched with a five-line autograph manuscript text by Philippe Jones, as well as an original collage by Ania Staritsky, signed by her.

First edition, printed in 40 numbered copies on hand-made pure rag paper from the Moulin de Larroque, this being one of the 10 hors commerce copies.

The work is illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the volume with the assistance of Claude Nardin.

A rare and very fine copy, complete with its full grey cloth slipcase, slightly discoloured at the edges, and its double chemise.

Manuscript pencil signature by Ania Staritsky at the colophon.

Our copy is further enriched with two original collages by Ania Staritsky, both signed.

First edition, one of 37 numbered copies on Nivôse rag paper.

Illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the work in collaboration with Claude Nardin.

Rare and very attractive copy, preserved in its original old-rose full cloth slipcase (spine slightly faded and two faint stains at the foot of the boards, not serious).

Manuscript pencil signatures of Michel Butor and Ania Staritsky at the colophon.

A unique copy, exceptionally enriched with two original gouaches by Ania Staritsky, both signed, a manuscript text by Michel Butor, an original collage by Ania Staritsky, as well as a c

First edition comprising 7 triptych fascicles, printed in 30 numbered copies on mould-made paper from the Larroque mill.

In addition to texts by Michel Butor, the work includes a Russian text excerpted from "1er janvier de l'année 1924" by Ossip Mandelstam.

Handwritten pencil signatures of Michel Butor and Michel Nitabah at the colophon.

As stated in the justification, our copy is complete with the graphisculpture on the cover by Paolo Boni, signed by him in pencil; the original signed collage by Esther Hess; the two original drypoints signed in pencil by Véra Pagava; and the cibachrome photograph of Ania Staritsky by Cuci White.

First edition, printed in 40 numbered copies on "citronnelle de lin troué" paper, this being one of the copies numbered from 11 to 30 (No. 30).

Illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the work with the assistance of Claude Nardin.

A rare and very fine copy, complete with its chemise and slipcase in full olive green cloth.

Pencil signatures of Jacques Izoard and Ania Staritsky at the colophon.

A unique copy, exceptionally enriched with a manuscript text by the poet Jacques Izoard, an original engraving by Ania Staritsky signed by her, as well as three engravings not retained for

First edition, one of 50 numbered copies on japon paper, the only deluxe issue.
Tawny half sheep binding  with corners, spine in three compartments with gilt fillets, typographical motif stamped in blind at the centre of the spine (faded), author’s label and title label in red Russian morocco, minor repair at head of spine along one joint, marble-covered paper boards, combed-paper endpapers, original wrappers and spine preserved, one upper corner slightly rubbed, contemporary binding.
Illustrated with 18 plates, here in double state as in the other japon paper copies; text illustrations also present.

2 frontispieces and 12 numbered engravings bound at rear of the second volume.
Small lack of paper to upper right corner and marginal restoration to the first volume's title page. Minor foxing, a light halo to the right margin of each of the 12 engravings at rear of the second volume.
Red half morocco binding, smooth spines with arabesques motifs in gilt, marbled paper boards, snags and rubbing to boards and edges, corners bent.
The book was first published as The Universal Cook in London in 1792; its fourth edition was translated into French

Deluxe first edition on Oikos paper, limited to 200 copies, this copy being one of 5 presentation copies signed by the publisher and enriched with unpublished documents relating to the discovery of the manuscript.

Swiss binding with exposed stitching, smooth cloth spine, illustrated boards and slipcase.

Original French translation of the last manuscript recovered from a deportee assigned to the Sonderkommandos.

Marcel Nadjary (1917-1971), a Greek Jew from Thessaloniki, deported to Auschwitz in the spring of 1944, was assigned to the Sonderkommando. He wrote a le

Seventh edition, expanded with new annotations and an appendix containing descriptive and historical details on all the monuments recently erected in the capital by J.-L. Belin, avocat.

Bound in contemporary half midnight-blue Russian morocco, flat spines gilt with romantic arabesques, gilt fillet framing the marbled-paper boards, marbled endpapers and pastedowns; one lower corner lightly rubbed, contemporary bindings.

Scattered foxing.

Illustrated with 58 plates (including 11 archaeological plates), together with 5 folding colour plans hors texte.

A handsomely preserved copy in a period romantic binding.

First edition, one of 50 numbered copies on Marais Crèvecoeur paper, issued as part of the publisher’s deluxe limitation.

Spine and boards faintly sunned and toned as usual, with a small spot to the lower outer corner of the front board.

As stated in the limitation, this copy includes its original etching by Jacques Villon, signed in the plate.

First edition, illustrated with an original etching as frontispiece and four hors-texte drawings by Henri Laurens, one of 324 numbered copies on Vélin du Marais.

Title page lightly toned, otherwise a pleasing copy.

Signed in pencil by Tristan Tzara and Henri Laurens beneath the limitation statement.

New edition.

Illustrated with engravings by Jean Hugo.

Signed autograph inscription from Anaïs Nin to her friend, the writer Christiane Baroche: "Christiane Baroche. Mais en ce jour damné décharné qui s’étire aux fenêtres 'c’est un peu moi j’assume...Anaïs Nin.'"

New edition.

Spine lightly toned.

Work illustrated with photomontages by Val Telberg.

Inscribed by Anaï Nin to her friend, the writer Christiane Baroche : "Christiane Baroche whose dreams are strong and have roots and bear fruit. Anaïs Nin."

First edition.

A pleasing copy.

Inscribed by Anaïs Nin to her friend, the writer Christiane Baroche: "Vos paroles Christiane Baroche : 'je veux cueillir le feu comme un dernier amant' amitié et concordances. Anaïs Nin."

New edition, illustrated with 111 drawings by Neuville and Riou. 7 plates some of which in color.
Publisher's gilt Globe binding, upper plate signed Blancheland, Engel relieur, spine with lighthouse, second plate of Engel H type, publisher's catalogue Y at end of volume.
Fine copy despite the last endpaper hinge partly split.
Undoubtedly the most famous of Jules Verne's novels, featuring the mythical figure of Captain Nemo and his legendary submarine, the Nautilus.

Edition published in the same year as the first.

Spine and covers faintly sunned, without seriousness.

Attractive presentation copy signed by Anaïs Nin to the writer Christiane Baroche: "Christiane Baroche vos paroles "je la sais qui m'attend jusque dans ma mémoire. Anaïs Nin."

First edition, totalling 240 numbered copies, ours one of 10 copies on japon à la forme, the deluxe issue, complete at the end of the volume with its additional complete suite of illustrations in black as stated in the limitation.

Illustrated with 17 splendid pochoir plates in black, white, and gold by George Barbier.

A rare and handso

New edition and the first printing of Jacques Tardi’s illustrations.
Publisher’s white boards, smooth spine.
A handsome copy.
Presentation inscription, dated and signed by Jacques Tardi to Joëlle Passani, with an original black-felt drawing depicting a sorrowful-faced Bardamu in a small vignette.
 

First French edition, illustrated by Arthur Rackham with 40 mounted colour plates on thick brown paper, each protected by a captioned tissue guard, along with 30 black-and-white line drawings within the text, one of the extremely rare 30 copies printed on japon, signed by Arthur Rackham on the limitation page; the deluxe issue.

Publisher’s Bradel binding in full vellum-style boards, smooth gilt-titled spine, upper board gilt-stamped with title and a tree design, top edge gilt; the silk tie on the lower board is lacking.

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Illustrated edition with compositions by Arthur Rackham, 13 in colour tipped in with captioned tissue guards, and 52 black-and-white illustrations in the text, one of 55 copies on japon, signed by Arthur Rackham on the limitation page, deluxe issue.

Publisher’s full vellum binding, flat spine gilt-lettered with gilt-stamped animals, upper cover gilt-stamped with the title and an illustration of animals, top edge gilt, uncut, lower cover silk ties preserved.

A fine copy

First collected edition of the works by the author of Les Étourdis ou le Mort supposé, a comedy that enjoyed great success just before the Revolution.

The set includes a portrait frontispiece in the first volume, four engraved plates, and ten engraved headpieces.

Bound in contemporary full polished and mottled brown calf, gilt decoration, smooth spines with six false raised bands highlighted with gilt fillets and repeated gilt floral tools, gilt fillet frames on covers bordered with a garland roll, gilt tooling to head- and tailpieces, green morocco spine labels, marbled endpapers and pastedowns, gilt edges on boards, marbled edges, contemporary bindings.

Some f

"New edition, with parts in first edition, incorporating an unpublished preface; the first edition had appeared in 1927 in Tokyo at the close of Claudel’s ambassadorship in Japan (1921–1927) and was issued in three fan-shaped quarto volumes. Work illustrated with Japanese characters calligraphed by Ikuma Arishima. Composed between June 1926 and January 1927, this essay (blending traditional calligraphy, haiku, and short Western-style verse) bears witness, among Claudel’s other creations, to the influence of the Far East on his poetic practice.

Moving and exceptional presentation inscription, signed and dated by Paul Claudel to his eldest daughter, Marie Claudel, known as "C

Illustrated edition with 13 colour plates on brown paper by Arthur Rackham tipped in with captioned tissue guards, together with 14 black-and-white illustrations in the text by Rackham, including a frontispiece portrait of Alice, one of the very rare 20 copies on japon, signed by Arthur Rackham on the limitation page, copy from the deluxe issue. A few name copies on the same paper were also issued.

Publisher’s full vellum binding, flat spine lettered in gilt with a gilt illustration of the Cheshire Cat, upper cover stamped in gilt with the title and an illustration of two fantastic c

Illustrated edition with 24 colour plates by Arthur Rackham tipped in with captioned tissue guards, 8 full-page black-and-white illustrations, together with numerous ornaments and vignettes in the text by Arthur Rackham, one of 300 copies printed on vélin à la forme, signed by Arthur Rackham on the limitation page.
Publisher’s Bradel binding in full bright white vellum, smooth spine lettered in gilt, upper cover gilt-stamped with the title and a design of fantastic animals within a vertical gilt rule, illustrated endpapers and pastedowns, top edge gilt, untrimmed edges preserved. 
A very well-preserved copy of Milton's baroque and Dionysian spectacl

First French edition of the 50 colour plates by Arthur Rackham, tipped in with captioned tissue guards, a black vignette on the title page, and a further black vignette hors texte by Arthur Rackham, one of 200 copies on Whatman paper.
Publisher’s full vellum, smooth spine gilt-lettered, upper cover gilt-stamped with the title and a gilt illustration of Rip Van Winkle, illustrated endpapers, top edge gilt, uncut, original silk ties preserved. Occasional light foxing.

A splendid copy, remarkably fresh, of Washington Irving’s fantastical tale profusely illustrated by Arthur Rackham.

First and only Franco-Chinese edition, illustrated with six etchings reproduced by Frédéric Chevalier.

A single copy recorded in the CCFr (Bulac).

Sole edition of this contemporary curiosity born of the French vogue for all things Oriental: born in 1831, Tin-Tun-Ling (or Ding Dunling) was a Chinese scholar from Shanxi and a political exile in France. Théophile Gautier met him in Paris, grew fond of him, and hired him to teach Chinese to his daughter Judith. Steeped in Far Eastern culture, she delighted in presenting herself as the reincarnation of a Chinese princess. Tin-Tun-Ling then lived in a pavilion built in the Chinese style, set in the garden of the Pré aux Oiseaux – Ju

Second edition, illustrated with a macabre engraved frontispiece (cf. Quérard II, 516; Cioranescu, XVIII, 13544, for the original 1712 edition).

Contemporary handwritten annotations on the title leaf.

Full brown calf binding, spine with five raised bands richly gilt in compartments with decorative tools, red morocco title label largely missing, gilt fillet framing the covers, sprinkled edges, corners rubbed, contemporary binding.

Headcaps worn down, some rubbing to spine and boards.

Second edition of this highly engaging work of early “libertine” philosophy, in the original sense of the term.

The project of the Réflexions was inspired by a remark fro

 Second issue of the first illustrated edition of Victor Hugo’s masterpiece, distinguished by the small bat vignette on the title-page.

Publisher’s neo-Gothic binding in full brown polychrome cloth, the smooth spine gilt-stamped with an allegory of Notre-Dame de Paris, the boards adorned with an extensive gilt and polychrome design (red, blue, and pink) depicting scenes from Notre-Dame de Paris, yellow endpapers and pastedowns, shaded white flyleaves, all edges gilt, a characteristic Romantic publisher’s cloth binding. Spine evenly faded. Minute split at the head of the upper joint. One leaf detached, two others working loose. Occasional marginal foxing.

Work embellished with

Composite edition combining seven volumes from the very first collected edition with others from various reissues published between 1836 and 1852. Volumes 15 to 30 (1839-1852) each include an engraved title with a vignette and two illustrated plates; the earlier editions, covering volumes 1 to 15 (1830-1836) did not contain illustrations.

Half polished calf bindings in Restoration style. Smooth spines decorated with a central panel richly gilt in grotesque design, gilt and blind-tooled motifs at head and foot of spine, also ruled in gilt. Small tear to the spine-ends of volumes 5 and 9. Volumes 25 and 26 show some surface loss to the leather on the boards.

A handsome set.

New edition, illustrated with drawings by Ferat, engraved by Brabant and with 6 full-color hors-texte plates, and 2 maps. A portrait of Jules Verne as frontispiece.
Publisher's binding "with an elephant, title in the fan" signed at bottom of the plate Engel, spine with lighthouse, second cover of type "i" according to Jauzac.
Superb first cover, with gleaming gilt. Spine very fresh but lighthouse vignette slightly soiled. Corners very straight and sharp. Second cover very good, but a small white mark of one cm along a black fillet. Some foxing on an otherwise fresh set. Internal hinge slightly opened 5 cm at top, without mechanical problem or fragility.

Very handsome copy, ra

First edition of the French translation, of which no deluxe paper copies were issued.

A fine copy.

Preface by Salman Rushdie, the work illustrated with drawings by the author.

Signed autograph inscription from Glen Baxter to Michel Crépu.

First edition of this issue of the review consisting of two folded sheets.
Marginal lacks very skillfully filled on the sheets.
On the first, a color woodcut representing Paul Signac by Georges Seurat.
On the following ones, text by Félix Fénéon in first edition entitled "Signac".
Very rare issue.

First edition, one of 10 lettered copies on Holland paper, the only deluxe copies.

Illustrated on the cover with a portrait of Max Jacob by Pablo Picasso.

A rare and handsome copy.

New edition of the French translation established by Amédée Pichot, partly original as it is enhanced with a historical notice on Lord Byron.

Half blue glazed calf bindings, spines partially faded with four raised bands framed by gilt garlands and richly decorated gilt compartments, navy blue glazed calf title and volume labels, blind-stamped floral tools at head and tail, marbled paper boards, gilt fillets at foot, marbled endpapers and pastedowns, marbled edges; a few lightly rubbed corners. Romantic bindings of the period.

Our copy contains 13 engraved plates, some serving as frontispieces.

Scattered foxing, a few leaves browned due to paper acidity.

A copy in a

First octavo edition illustrated with 92 engravings by Benett, including one folding map in colour: this marks the very first use of polychromy in an illustration for a Jules Verne novel.
Publisher’s Hetzel binding "aux deux éléphants" in full red cloth, signed by Lenègre, type 3, upper cover signed by Souze, lower cover Lenègre type “e” as described by Jauzac, original blue endpapers, all edges gilt, publisher’s EL catalogue at rear.
Spine slightly faded as usual, small black marks along the hinges, spine-ends softened as often, a pleasant copy almost free of any foxing.
“Deux ans de vacances” is a Robinson Crusoe-like novel featuring fourteen schoolboys from New Zealand.
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First edition, one of 220 numbered copies printed on Vélin du Marais.

Rubbing to the slipcase and chemise, otherwise a clean and attractive copy.

Illustrated with 25 intaglio engravings by Elisabeth-Mary Burgin.

First edition, one of 42 numbered copies on Japon paper, the leading copies after 8 hors commerce on Chine paper.
Elegant Bradel binding in half black calf over floral paper boards by P. Goy & C. Vilaine, covers preserved (lightly soiled at edges), top edge gilt.
With a frontispiece portrait of the author on Chine paper by Jean-Louis Forain.
One tiny foxing as well as a small, clear marginal dampstain touching frontispiece.
A very good copy nicely bound.

First edition and first printing of Lucien Laforge’s pacifist illustrations, one of 400 deluxe copies on special matte red paper from the Barthélémy paper mills, the only deluxe issue announced.
Some light wear, otherwise a very good copy of this fierce anti-militarist pamphlet in which runs "comme le grésillement du fer rouge marquant à vif la chair pâle et grasse du Bourgeois repu de morts" (Paul Vaillant-Couturier in L'Humanité).

Illustrated edition, limited to 68 copies. The illustrations comprise a title-frontispiece, 28 colored vignettes in the text and numerous colored wood-engraved tailpieces by Daragnès after pastels by Anna de Noailles, accompanied by the complete suite of thirty progressive states of a single plate, showing the color breakdown. 

Bound in full lemon morocco, mosaic boards composed of a border of brown morocco fillets in the form of stylized hearts, surrounding two concentric undulating gilt fillet frames, with hearts in brown and teal morocco fillets at the center of the boards, smooth spine with mosaic of br

New "À la bannière" edition with bevelled boards, violet on a red background, illustrated with 154 drawings by Férat engraved by Barbant.

Publisher’s decorative cloth binding "à la bannière" of type 6 signed by Lenègre, upper cover plate signed by Souze, lower cover of type e1 with central medallion on a black ground, framed with geometric motifs.
Attractive upper cover, with glossy percaline and sharp gilt, small black spots on the spine, head- and tailcaps collapsed as usual, some occasional foxing, small dark and light stains on the lower cover.
L’Île mystérieuse is linked, though not a sequel, to two other novels by Jules Verne, Vingt mille lieues sous les mer

First edition, large octavo, illustrated with 78 engravings together with 12 chromotypographic plates by George Roux and 2 coloured maps.
Publisher’s binding by Hetzel in full red cloth signed A. Lenègre, with the "portrait collé" design: the upper cover signed Souze, polychrome, depicting various means of transport (balloon, locomotive, ships), with a sepia-toned portrait of the author mounted at the centre, and various navigational instruments highlighted in gilt in the foreground; lower cover of type "e" as recorded by Jauzac; spine decorated with several gilt and coloured illustrations; original blue endpapers; one upper corner slightly crimped; all edges gilt. HF catalogue at the

First edition, one of 1,000 numbered copies on offset.

A fine copy.

Illustrated with 10 drawings by René Magritte.

The ‘Kehl edition’, the most renowned edition of Voltaire's works, illustrated and published on deluxe paper. It was printed on five different types of paper, and only the deluxe editions, such as ours on laid paper, feature engravings. These are naturally the most sought-after and rarest copies.

Binding in full painted sheep decorated with a “honeycomb” motif, smooth spine tooled with gilt fleurons, fillets and compartments, light beige calf lettering and volume pieces, gilt chain-roll border on covers, marbled endpapers, gilt roll on edges, all edges marbled, contemporary binding. Two volumes (nos. 50 and 70) with slight variations in gilt tools on the spines and

Illustrated edition with 57 wood engravings drawn and engraved by Frans Masereel, one of the numbered copies on English paper.

Minor tears without consequence at the head and foot of the spine, a pleasing copy exceptionally enriched with a second state (on Japan or China paper) of 9 of the engravings.

Edition adorned with 65 original pochoir coloured illustrations by George Barbier, one of 877 numbered copies on Rives.
Bound in half navy blue morocco, spine in four compartments, gilt date at the foot, marbled paper boards, iridescent effect paper endpapers, wrappers and spine preserved, top edge gilt, binding signed Semet & Plumelle.
Pleasant, attractively set copy.

Edition of wich no leading copies exists.
Binding of the editor in full black fabric.
Iconography.
Slips slightly warped in margins, the book that had stayed in a damp place previously, otherwise nice copy.

Rare autograph signed Kenzo Takada Gilles Brochard.

First edition of the translation by F. de Bretonne, assistant curator at the Sainte-Geneviève Library, based on a comparison of all earlier versions. The work is enriched with a suite of 10 vignettes by Charlet, retaining its original pink paper wrapper with vignette dated 1831; the volume also includes a portrait of Cervantes.

Half long-grain claret morocco binding with corners, signed at the head of the front endpaper S. David, late 19th century. Spine with four raised bands, decorated with complex and stippled tools within compartments. Gilt fillets on the bands. Double gilt ruling along boards and corners. Minor rubbing to some bands, joints, and corners. One corner slightly tur

Illustrated edition by Grandville, engraved by Geoffroy, comprising 29 hand-coloured plates hors-texte in the first volume, and in the second, 23 hand-coloured plates hors-texte along with 2 black botanical plates illustrating the physiology of plants, "Horticulture des dames" and "Culture des fleurs." For this edition, the plates were re-coloured by Maubert, with fresher and more vivid tones, considered superior to the first edition. Accompanied by 3 pages of sheet music for the romance Le myosotis. 
Contemporary half blue shagreen bindings. Spines with raised bands decorated with three gilt panels. Some scattered foxing, title-page of volume 2 with spotting. A few leaves slightly pro

First edition, one of 25 copies on handmade laid paper, numbered and justified by the publisher, the only deluxe issue.
 
Bradel binding in half chocolate-brown morocco with corners, smooth spine, gilt date at foot, marbled paper boards, marbled endpapers and pastedowns, illustrated wrappers by Manuel Orazi and backstrip preserved.
Work illustrated with 136 black and colour drawings, in- and out-of-text, by Georges Bottini.
 
Bookplate mounted.
 
Our copy is enriched with a full-page original drawing, signed by Georges Bottini and heightened in black ink, depicting Jacques Beaudarmon wearing a bowler hat and conversing with the « môme

First edition with 46 illustrations by Harry Furniss.
Publisher's binding over flexible paper boards, discreet and light repairs on the
joints, all edges gilt.
Autograph inscription dated and signed by Lewis Carroll to Mrs Cole.

First edition of this richly and exquisitely illustrated collection of songs. It comprises 122 songs (originally published in 84 installments), each accompanied by four fully engraved pages. Every song is preceded by a short introduction written by various authors, including the Bibliophile Jacob, and is followed by two pages of musical score. The volume also includes three frontispieces by Trimolet. The steel engravings are truly magnificent and rank among the finest produced in the 19th century. Illustrations by Daubigny, Trimolet, Meissonier...

Contemporary half black shagreen binding with corners. Spine with raised bands, compartments and gilt tooling. Triple gilt fillet along t