SUE Eugène [et] DICKENS Charles:Livre Rare Book
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18515883Paris, [J. Bry], 1851. In-4 de [2]-344p. + 40p. demi-basane bleu nuit, dos lisse orné de petits fers romantiques (épidermures, coiffes frottées).
184566187Edition illustrée par Gavarni, 4 vol. in-4 reliure de l'époque demi-chagrin bordeaux, dos à 5 nerfs, Paulin, Paris, 1845, 2 ff., 331 pp., 2 ff., 332 pp. ; 2 ff., 327 pp. ; 2 ff., 352 pp. avec vignettes, carte dépliante et 80 planches hors texte sur 83 (23, 20, 20, 17) d'après Gavarni, K. Girardet et Pauquet
49365Paris.Paulin.1845.4 vols,gds.in-8 en percaline éditeur décorée.Illustrations de Gavarni.Frontispice.Planches.Carte rempliée dans le Tome III.Près de 600 vignettes in-texte et 84 planches.La reliure romantique est ornée de fers spéciaux.Les plats sont décorés de plaques avec au centre les portraits de personnages dorés dans des encadrements floraux.Dos à l'identique avec caractères dorés.Percaline noire en très bel état.Tranches dorées.Pratiquement sans défauts avec très peu de rousseurs.
15785Paris, Paulin, 1845. Quatre tomes en quatre volumes in-4, (4)-331-(1), (4)-332, (4)-327-(1) et (4)-352 pp., reliure à la Bradel signée Emile Carayon, demi percaline tabac, non rogné, couverture et dos conservés, chemise demi maroquin corail, le tout sous étui double.
184594549Paris, Paulin, Libraire-éditeur 1845 4 volumes. In-4 26,5 x 19 cm. Reliures de l’époque demi-chagrin vert foncé, dos à nerfs ornés de roulettes et encadrés de filets dorés, 331-332-327-352 pp. Première édition illustrée par Gavarni de 83 planches hors-texte et de 600 vignettes in-texte, ainsi que d'une carte repliée. Reliures légèrement frottées, rousseurs marginales. Bon ensemble.
06687Paris: Chez Bauger 1834. Midnight in Paris - Gavarni and the Secret Theater of Carnival<br /> <br /> A Superb Hand-Colored Copy of Le Carnaval à Paris in the Original Publisher's Binding<br /> Together with the Very Rare and Complete Suite of Les Bals Masqués<br /> <br /> GAVARNI Paul pseudonym of Guillaume Sulpice Chevallier. Le Carnaval à Paris. February 1841 - February 1842. and Les Bals Masqués. Paris: Chez Bauger Rue du Croissant 16; variously printed by Aubert & Cie. and Kaeppelin February 1834.<br /> <br /> Folio 13 1/8 x 9 7/8 inches; 333 x 251 mm. A superb carnival album containing twenty-eight magnificent hand-colored lithographs heightened throughout with gum arabic including the complete suite of seven plates from Les Bals Masqués together with an additional related carnival plate "Bal Masqué No. 8" all bound after the first twenty hand-colored lithographs of Le Carnaval à Paris. Eight-page Aubert et Cie. catalog bound in at end.<br /> <br /> Publisher's quarter maroon calf over red patterned boards front cover decoratively lettered in gilt: "Le Carnaval à Paris" smooth spine. A remarkably fresh and well-preserved copy the plates with exceptionally bright contemporary hand-coloring and luminous gum-arabic heightening the binding with only minor wear at extremities. An unusually handsome survival.<br /> <br /> The Les Bals Masqués sequence forms a brilliant miniature drama of Parisian carnival life. <br /> <br /> 1. C'est toi mauvais sujet! "It's you you wicked creature!" A masked reveler in dazzling Oriental costume leans intimately toward a richly dressed young woman whose expression balances amusement and suspicion amid the crowded ballroom. <br /> <br /> 2. T'en souviens tu friponne. "Do you remember you little minx" This plate captures a moment of flirtatious accusation between a masked cavalier dressed in vivid blue and his companion the theatrical gesture and conspiratorial proximity perfectly conveying the coded language of carnival seduction.<br /> <br /> 3. Vois mon mari derrière! "Look - my husband is behind us!" Gavarni brilliantly stages bourgeois panic and comic intrigue as a masked woman urgently warns her companion while curious revelers peer from the theater box above. <br /> <br /> 4. Les apprêts du bal. "Preparations for the Ball" shifts backstage to the private preparations before the festivities two young women dressing in Pierrot-inspired white costumes beneath heavy green drapery the quiet intimacy contrasting sharply with the social theater of the ballroom itself.<br /> <br /> 5. Un cabinet chez Pétron. "A Private Room at Pétron's" - the mood darkens delightfully when an exhausted young woman reclines dreamily in a private dining cabinet while her companion smokes and pours wine after the night's excesses. <br /> <br /> 6. Un souper de carnaval. "A Carnival Supper" - a masked beauty bends toward her seated admirer in a dim attic interior littered with dishes and bottles one of Gavarni's most psychologically suggestive images of post-ball intimacy.<br /> <br /> 7. Le retour du bal masqué. "The Return from the Masked Ball" - this plate is from the series Fantaisies the emotional climax of the suite is undoubtedly portrayed where a pale and utterly exhausted reveler collapses into a chair while attendants remove her costume after the night's pleasures and deceptions have run their course. The theatricality fatigue and melancholy glamour of Carnival Paris are distilled here with extraordinary elegance and humanity.<br /> <br /> 8. The additional hand colored lithograph "Bal Masqué No. 8" C'est vieux et laid mon cher; tu es volè comme dans un bois. "It's old and ugly my dear! You've been robbed as if in a forest" - this plate is from the series Fantaisies and serves almost as an epilogue to the series: a weary bourgeois gentleman trapped between two masked women whose expressions suggest equal measures of intrigue manipulation and amusement. Framed within an elaborate ornamental border it possesses the sharp observational wit characteristic of Gavarni at his finest.<br /> <br /> A visually dazzling and socially revealing document of Parisian carnival life during the July Monarchy Le Carnaval à Paris ranks among the most evocative lithographic productions of the great age of French caricature. Combining theatricality fashion illustration social satire and romantic intrigue the plates capture the masked balls flirtations backstage preparations clandestine suppers exhausted dawn returns and coded erotic freedoms of carnival Paris with extraordinary wit and elegance.<br /> <br /> Paul Gavarni was among the supreme interpreters of nineteenth-century Parisian society standing beside Honoré Daumier and Grandville as one of the defining graphic artists of the period. Yet where Daumier's art often bites with political ferocity Gavarni's genius lay in psychological nuance gesture costume flirtation and the delicate ambiguities of urban social performance. His carnival subjects remain among the most sophisticated visual chronicles of Parisian pleasure culture produced during the nineteenth century.<br /> <br /> The present copy is especially desirable for its rich contemporary hand-coloring lavish gum-arabic enhancement and survival in the original binding. The gum arabic was applied to heighten reflective surfaces and luxurious fabrics producing a shimmering effect intended to imitate satin silk velvet candlelight and theatrical costume textures. Such deluxe issues were considerably more expensive than ordinary tinted or uncolored impressions and survive far less frequently today.<br /> <br /> A splendid and highly decorative survival from the golden age of Parisian lithography - simultaneously theatrical satirical elegant and deeply evocative of the secret life of Carnival Paris.<br /> <br /> Le Carnaval à Paris. February 1841 - February 1842. Plates 1-20.<br /> <br /> 1. Nèfie-loi Coquardeau! si tu ne finis pas de t'amuser comme ca on va te fich'au violon. "Watch it Coquardeau! If you don't stop carrying on like this they'll throw you in jail."<br /> 2. Rue Coquenard au cinquième; une porte jaune. Ton portier fait des chaufferettes et tu joues de la flûte ainsi! "Rue Coquenard fifth floor; a yellow door. Your porter makes foot-warmers and you play the flute - like this!"<br /> 3. -Il n'est pas ici! Madame. -Il y viendra! Madame. "He isn't here Madam. - He'll come Madam."<br /> 4. Qu'est-ce Les gens de Qualité se commettent-ils maintenant avec ceux de votre sorte Pandour! "What's this People of quality mix nowadays with people of your sort Scoundrel!"<br /> 5. -Jai un mal à la tète de chien! -C'est le champagne. -Ah! Dieu je ne bois jamais de vin; c'est le rhum. "I've got a splitting headache! It's the champagne. Oh God I never drink wine; it's the rum."<br /> 6. -Qui diable ca peut-il être -Voyons mon Oncle: ma cosine Claire. . . . a la migraine; Madame; Madame d'Asté est en deuil; ma sœur a horreur des bals masqués d'abord; Madame Debry. . . . Philippe défend à sa femme d'y venir; ma tante Clèmence. . . . - Ta tante est couchée. . . . Mais qui diable ca peut-il être "Who the devil can it be Let's see Uncle: my cousin Claire. has a migraine Madam; Madame d'Asté is in mourning; my sister detests masked balls anyway; Madame Debry. Philippe forbids his wife to come; my Aunt Clémence. Your aunt is in bed. But who the devil can it be"<br /> 7. -Parbleu! si vous deviez les èpouser toutes mauvais sujets! les oncles n'y suffiraient pas. -Ni les neveux non plus mon oncle. "Good heavens! If you had to marry all of them you rogues there wouldn't be enough uncles to go around! Nor nephews either Uncle."<br /> 8. -Tu vois bien la blonde d'henri là! qui parle à ce grand avec une barbe. . . . -Cà! . . . . c'est la femme de Clément. . . . -Éh! bien oui c'est cà. . . . tu vois elle va souper avec le petit Russe. . . . eh! bien mon Nini Chèvrier l'attend au café anglais. . . . un si brave garçon! . . . . -Cà c'est pas gentil. "You see Henri's blonde over there talking to that tall fellow with the beard. That one . that's Clément's wife. Well yes that's her. you see she's going to supper with the little Russian. and meanwhile my dear Nini Chèvrier is waiting for her at the Café Anglais. such a nice fellow too!<br /> That's really not nice."<br /> 9. "On désire cèder Monsieur avec tous les avantages y attachès Sàdresser à Monsieur." "Wanted to transfer Sir together with all attached advantages. Apply to Monsieur."<br /> 10. -Prête-moi vingt frances Guillemain j'ai le Domino rose à dèjeûner. -Je l'ai eu à souper mon pauvre bonhomme et je n'ai plus le sou. "Lend me twenty francs Guillemain; I've got the Pink Domino coming for breakfast.I had her for supper my poor fellow and I haven't a sou left."<br /> 11. -Les rats couchés nous sommes venus. -Et. . . . vos petits voisins de l'entresol. . . . vous ne les avez pas débauchés -Eux des poules comme çà! çà se couche à minuit en carnival et puis çà vient vous dire que le carnival est triste. -Epiciers! "Once the old rats were in bed we came out. And your little neighbors on the mezzanine. you didn't lead them astray Them Chickens like that! They go to bed at midnight during Carnival then come and tell you Carnival is dull. Grocers!"<br /> 12. Oh! hè! Dufrène oh! hè les pistons oh! èh! affûetz vos becs: faut de l'harmonie aux flambards de la chouette harmonie! "Hey! Dufrène! Hey there brass players! Sharpen your beaks - the torchbearers need music splendid owl-like music!"<br /> 13. Voilà la petite avec le brun qui l'amène toujours: le blond qui la remmène toujours va venir. "There's the little brunette with the dark-haired fellow who always brings her; the blond who always takes her home will be here soon."<br /> 14. -C'est donc comme çà que ça mène la joie les houzards de ce règiment là -Turlututu mon ange nous sortons d'en prendre et toi "So this is how the hussars of that regiment enjoy themselves Turlututu my angel we've just come from having a drink - and you"<br /> 15. -C'est un diplomate. . . -C'est un epicier. . . -Non! c'est un mari d'une femme agréable. -Non! Cabocher mon ami vous avez donc bu. . . que vous ne voyez pas que Mosieu est un jeune homme farceur comme tout déguise en un qui sembête à most. . . . le roué masque! "He's a diplomat. He's a grocer. No! He's the husband of an attractive woman. No Cabocher my friend you must be drunk. can't you see that the gentleman is just a practical joker disguised as one of those dreadfully boring fellows. the sly masked rogue!"<br /> 16. -Reflèchissez mon cher ange. . . .: une couchette de noyer toute neuve! et la commode. . . . et quatre belles petites chaises. . . . avec les rideaux jannes et la flèche. . . . cest un aveniur çá! -Je ne dis pas! Mosieu Coquardeau; mais jaime mieux Henri sans rien. "Think about it my dear angel. a brand-new walnut bed! And the chest of drawers. and four lovely little chairs. with yellow curtains and the canopy. that's a future for you! I'm not saying otherwise Monsieur Coquardeau; but I prefer Henri with nothing."<br /> 17. Veux-tu te Sauver Sauvage! "Get lost savage!"<br /> 18. Tenez Clara je suis contrairé comme tout! c'est ma bête de femme qui est partie avec le numéro de mon paletot et ma clef! à prèsent faut que j'attende le jour et que jáille aux Batignolles pour avior ma clef. . . . je suis contraire comme tout. "Look Clara I'm furious! My idiot wife went off with the number tag for my overcoat and my key! Now I have to wait until daylight and go all the way to Batignolles to get my key. I'm absolutely beside myself."<br /> 19. A sept heures ma fille se lève; le temps de faire ses quinze tours il est bien huit heures; faut travailler son piano; on déjeune à neuf; à dix c;est son anglais; ma fille chante sur les midi; et puis sa mère veut qu'elle couse qu'elle fasse un peu de cuisine un peu de tout: bon! la maitresse de paysage arrive à trois hèures; et puis nous avons des serins faut nettoyer çà les fleurs des pots n'importe quoi; les uns et les autres viennent: arrivent cing heures. Et le soir c'est Monsieu Marritou qui lui fait repasser son orthographe. . . . et après çà vous croyez qu'une jeunesse a beaucoup le temps de s'amuser vous! "At seven my daughter gets up; by the time she's done her fifteen turns it's already eight; then she must practice the piano; breakfast is at nine; at ten she has English lessons; around noon she sings; and then her mother wants her to sew do a little cooking a bit of everything; good! the landscape drawing teacher arrives at three; then we have canaries that need cleaning flowers in pots goodness knows what; visitors begin arriving around five. And in the evening Monsieur Marritou makes her review her spelling. and after all that you think young people have much time for amusement!"<br /> 20. . . . . Elle ètait donc censée garder sa tante Grayet qui tenait le lit. . .depuis le Rois pour ses dameuses coliques quand un soir je monte au Grand-Vainqueur pour voir un peu: qu'est-ce'que je vois . . . . mon èspouse en Garde-Française! ! ! !. . . . . ".So she was supposedly staying home to care for her Aunt Grayet who had been bedridden since Twelfth Night with dreadful colic when one evening I went up to the Grand-Vainqueur just to have a look: what do I see . my wife dressed as a French Guardsman!!!".<br /> <br /> Armelhault & Bocher 397-409 Le Carnaval a Paris; 2058 2057 2065 2060 2061 also see pp. 87/88 Les Bals Masques; & 1726 Fantaisies. Paris: Chez Bauger, 1834 unknown
184560586Paris: En vente au bureau du Charivari et au bureau du Journal pour Rire Lith. de Destouches Paris 1845. 4to 13 x 10 inches. 2 volumes: 25 full-page lithographs with captions in each volume complete each with the imprint: "Chez Aubert & Cie. Imp. d'Aubert & Cie.". Title from letterpress on each plate: "Oeuvres nouvelles du Gavarni." Gavarni 1804-1866; nom-de-plume of Sulpice Guillaume Chevalier began his career taking drawing classes while working as a mechanic in a machine factory turning to his vocation as an artist in his early thirties. "His sharp and witty pencil gave to generally commonplace and unartistic figures a life-likeness and an expression which soon won for him a name in fashionable circles for his lithographed sketches portraying the most striking characteristics foibles and vices of the various classes of French society" Wikipedia. A popular series of mid-nineteenth century lithographs picturing costume ball guests issued in various formats some hand-colored; this edition seems to be scarce as we could locate no complete copy i.e. both volumes on OCLC. Very good. Original printed glossy yellow wrappers soiled some wear at extremities light foxing in margins of some plates. #7792. <br/><br/> En vente au bureau du Charivari et au bureau du Journal pour Rire (Lith. de Destouches, Paris) unknown books
04-1792Paris: Le Charivari 1842. Lithograph. Image: 19.5 x 15.5 cm. Sheet: 36.5 x 24 cm. Armelhault & Bocher no. 409. Published in Le Charivari text verso. Foxing upper right corner of sheet. Paris: Le Charivari, 1842. unknown
55-0004Paris: Le Charivari 1840. Lithograph. Image: 19 x 15 cm. Sheet: 36.5 x 25 cm. Armelhault & Bocher no. 427. Published in Le Charivari text verso. Paris: Le Charivari, 1840. unknown
04-1801Paris: Le Charivari 1839. Lithograph. Image: 19 x 15 cm. Sheet: 36.5 x 24 cm. Armelhault & Bocher no. 425. Published in Le Charivari text verso. Paris: Le Charivari, 1839. unknown
1845300821845. Paris J. Hetzel 1845. Un fort vol. au format in-4 265 x 188 mm de 1 f. bl. 2 ff. n.fol. 1 frontispice gravÂŽ n.fol. xxxii - 380 pp. Reliure de l'ÂŽpoque de demi-veau olive dos ˆ nerfs ornÂŽ de filets gras en noir doubles filets dorÂŽs roulette dorÂŽe sur les nerfs piÂce de titre de maroquin rouille titre dorÂŽ filet en pointillÂŽs dorÂŽs en tÂte et queue tranches mouchetÂŽes. Edition originale agrÂŽmentÂŽe de trÂs nombreuses gravures sur bois dans le texte venant illustrer cette vasque fresque de Paris et des Parisiens sous le 2nd Empire. Le texte trÂs variÂŽ est dž aux plus grands ÂŽcrivains de l'ÂŽpoque. Un des plus cÂŽlÂbres illustrÂŽs de la pÂŽriode romantique. Lequel ''ne devait comprendre ˆ l'origine qu'un seul volume''. in Carteret. Il sera suivi en 1846 par la parution d'un second ouvrage formant le complÂŽment du prÂŽsent volume. Vicaire III Manuel du Libraire et de l'amateur de livres 242-243 ; Brivois Bibliographie des ouvrages illustrÂŽs du XIXÂme siÂcle 124-128 ; Carteret III Le TrÂŽsor du bibliophile romantique et moderne pp. 203-207. Quelques altÂŽrations superficielles affectant la reliure. Quelques rousseurs dans le texte. Deux feuillets prÂŽsentent quelques t‰ches claires. Du reste bonne condition. b42961 unknown
18463650Paris: J. Hetzel 1846. First edition. Two large octavo volumes 10 3/8 x 6 7/8 inches; 263 x 175 mm. Contemporary half black hard-grain morocco ruled in gilt over black morocco-grain paper over boards. Smooth spines decoratively tooled in gilt and blind and lettered in gilt. Marbled edges and endpapers. Minor rubbing to extremities head of spine of Volume II expertly and almost invisibly repaired front hinge of Volume I cracked but sound. Minimal foxing and soiling. Small area of surface abrasion to upper blank margin of plate Artistes -6 facing page 160 in Volume II where it was once adhered to the facing page. Bookplate Bibliothèque de A. Vautrain on front pastedown of each volume. Collating 4 xxxii 380; 4 lxxx 364. Wood- engraved title vignette in each volume 212 wood-engraved plates 208 after Gavarni and four after Bertall with tissue guards and numerous wood-engraved head- and tail-pieces vignettes and initials. This copy with a duplicate of the plate facing in Volume I. Music. Overall an excellent copy.<br /> <br /> "The book appeared in part-issues at the rate of one or two a week between April of 1843 and December of 1845. The major attraction of Le diable à Paris resides in Gavarni's plates which are of even greater interest than the 320 wood engravings of his Oeuvres choisies 207. The engraving is superior for the most part and they are new conceptions not versions of his lithographs. He limits himself almost entirely to single figures or pairs evoked with his usual concentration and psychological subtlety. He had a free hand with his subjects since his designs are quite unrelated to Hetzel's text. As usual he arranged them as series some of which those devoted to writers and politicians for example are largely unprecedented in his previous repertory. He invaded Daumier's world with success in the fifteen plates of 'Bourgeois' exampled in the self-satisfied worthy reproduced II 328" Ray.<br /> <br /> Hiler 237. J. Hetzel unknown
184512442AB1845. Paris Hetzel 1845. 26 : 175 cm. XXXII 380 pages 3 leaves With ca. 400 woodcuts and 98 woodcut-plates after Gavarni Bertall a.a. Contemporary cloth boards and spine richly illustrated in gold edges gilt. Firste edition. - One of the most famous works about Paris and the Parisiens with contributions of the most popular poets of that time illustrated with many caracteristic illustratins mostly by Gavarni and Bertall. - In 1846 there ws published a second volume. - As always some foxing otherwise a fine copy in the rare original editor's binding. - Carteret II 203 ff; Sander 232; Vicaire III 241. hardcover
1272641880.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1845169114Paris: Hetzel 1845. hardcover. very good. Paris et les Parisiens. 2 volumes 380pp 363pp numerous text vignettes and full page woodcut illustrations scattered foxing original 1/2 black calf ornately gilt spine marbled boards rubbed and endpapers. Paris: J. Hetzel 1845-6. First Edition. Very Good.<br/> <br/> The texts made up of stories and dialogues with Parisian subjects are by well known writers including Balzac Gautier de Musset and Georges Sand.<br/> <br/> Hetzel unknown
1853LRB96Paris: Maresq et Havard 1853 GAVARNI - BERTAL - Le diable à Paris texte et gravures. Paris Maresq et Havard 1853 . in-4 environ 500 pp. Reliures demi-chagrin vert bouteille dos lisses. Les 3 volumes. Belle réunion des planches du fameux ouvrage le Diable à Paris. Avec 25 hors-texte et 149 vignettes de Jean-Jacques Grandville. Illus. by Jean-Jacques Grandville. Couverture rigide. Satisfaisant. Maresq et Havard hardcover
184555923Paris:: J. Hetzel 1845-1846. First edition. old half green morocco over marbled boards; gilt spines. A few minor scuffs to bindings; clean tight and sound. An attractive set. . Large 8vo. Illustrations throughout by Gavarni and others. J. Hetzel, hardcover
1845SKU004<p>> LE DIABLE À PARIS - PARIS ET LES PARISIENS</p><p><strong>Author:</strong> Gavarni P.-J. Stahl George Sand Théophile Gautier Balzac and others collective work</p><p><strong>Publisher:</strong> J. Hetzel Paris</p><p><strong>Publication Date:</strong> 1845-1846</p><p><strong>Edition:</strong> First Edition Original Edition</p><p><strong>Language:</strong> French</p><p><strong>Binding:</strong> Contemporary half calf binding in ochre with gilt decorations on spine</p><p><strong>Size:</strong> 26.5 cm x 17.5 cm Large octavo</p><p><strong>Volumes:</strong> 2 volumes complete</p><p><strong>Pages:</strong> Volume 1: 380 pages / Volume 2: 364 pages</p><p>DESCRIPTION</p><p>Rare and complete first edition of this magnificent illustrated work depicting Parisian life in the 1840s. A collaborative masterpiece featuring texts by prominent French authors including George Sand Théophile Gautier Honoré de Balzac P.-J. Stahl and others with exceptional illustrations by the renowned artist Gavarni.</p><p>ILLUSTRATIONS > <strong>212 full-page wood engravings by Gavarni:</strong> > Volume 1: 99 illustrations by Gavarni Volume 2: 108 illustrations by Gavarni 4 by Bertall <strong>800 wood-engraved vignettes</strong> throughout the text All illustrations present and in excellent condition</p><p>Gavarni's satirical and elegant depictions of Parisian society are among the finest examples of 19th-century French illustration.</p><p>CONDITION</p><p><strong>Good to Very Good</strong></p><p>> <strong>Binding:</strong> Contemporary half calf in ochre with gilt ornamental spine decorations. Some wear to corners and extremities spine in good condition overall <strong>Interior:</strong> Complete text with all pages present. Pages remain beautifully white with minimal aging <strong>Minor defects:</strong> Light scattered foxing age spots throughout typical for the period <strong>No tears holes or missing pages</strong></p><p>This is an exceptionally well-preserved copy considering its age 180 years. The whiteness of the pages and clarity of the illustrations are remarkable for a work from 1845.</p><p>PROVENANCE & SIGNIFICANCE</p><p>Published by J. Hetzel one of the most important French publishers of the 19th century. "Le Diable à Paris" is a cornerstone work of French illustrated literature offering a satirical yet affectionate portrait of Parisian life during the July Monarchy. The collaboration between leading literary figures and Gavarni's masterful illustrations makes this a highly sought-after work among collectors of French literature and illustrated books.</p><p>REFERENCES</p><p>Complete two-volume set in original contemporary binding. A desirable copy for collectors of:</p><p>> 19th-century French illustrated books Gavarni illustrations Romantic period literature Parisian social history</p><p><strong>Keywords:</strong> Gavarni Le Diable à Paris French illustrated books 1845 J. Hetzel wood engravings Parisian life original edition Balzac George Sand</p> J. Hetzel hardcover
186838020Paris J. Hetzel 1868. Lex8vo. Contemp. hcloth. 42284196. Richly textillustr. and many plates. Internally clean and fine. hardcover
0274480018.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1372192034.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1845g9599Paris: J. Hetzel. VG : in very good condition without dust jacket. Respined. Covers faded. Some browning. Aeg. Heraldic book-plate on paste-downs. 1845. First Edition. Red hardback cloth cover. 270mm x 180mm 11" x 7". xxxii 380pp; lxxx 364pp. Numerous b/w illustrations. '. tableau complet de leur vie privée publique politique artistique littéraire industrielle etc etc.' Volume 2 published in 1846. Heraldic book-plate of George Charles Bright M.D. 'Post Tenebras Lucem'. N.B.: Heavy set - extra shipping needed for overseas. . J. Hetzel hardcover
18455089Paris: J. Hetzel 1845. First edition. Very nice copy. Two volumes. Half dark blue leather with gilt decoration. Buckram boards. The edges of the spine are a little scuffed but overall in good clean condition. Internally in excellent condition throughout. Small closed tear has been repaired to the bottom edge of the frontis illustration. The inside boards of each volume hold the armourial bookplate of the Swiss naturalist Camille Pictet. 212 engravings after Garvarni & Bertall. 800 vignettes. xxxii 380. Lxxx 364. pages. 28cm x 18.5cm. . Première édition. Très bel exemplaire. Deux volumes. Cuir bleu foncé rigide avec décorations dorées. Plaques de bougran. Les bords du dos sont un peu éraflés mais l'ensemble est en bon état. L'intérieur est en excellent état. Les plats intérieurs de chaque volume portent l'ex-libris armorié du naturaliste suisse Camille Pictet. 212 gravures d'après Garvarni & Bertall. 800 vignettes. xxxii 380 Lxxx 364 pages. 28cm x 18.5cm. J. Hetzel hardcover
1024563073.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
DADAX0274480018Wentworth Press 2018-08-01. hardcover. New. 6.14x1.75x9.21. Buy with confidence. Excellent Customer Service & Return policy. Wentworth Press hardcover
