Notre-dame (Over 9,100 results)

First edition, first printing, first issue, of Hugo's gothic masterpiece, in a contemporary binding. "This first edition. is the rarest of all the works of Victor Hugo; it has had a resounding impact worldwide, and is one of the most difficult titles of the Romantic period to obtain" (Carteret). Copies of this issue preserved in contemporary bindings are exceedingly scarce. Published on 16 March 1831 in an edition of 1,100 copies, the first printing was issued in four separate groups of 275 each, with the subsequent three issues being fictitiously labelled as the second, third and fourth editions on their respective title pages. "The success of this darkly moving novel was immediate, establishing Hugo as the premier historical novelist of his time. Lamartine called him 'the Shakespeare of prose fiction'" (The New Oxford Companion to Literature in French). Clouzot 86-87: "Les exemplaires de la premiere tranche, sans mention d'edition et sans nom d'auteur sont extremement rares"; Carteret Romantique I, 400; Lhermitte 317; Ray French Illustrated Book 180; Vicaire IV, 256. Two volumes, octavo (200 x 120 mm). Contemporary tree sheep, spines gilt with red morocco lettering- and numbering-pieces. Housed in marbled slipcase. With half-titles. Wood-engraved title vignettes by Tony Johannot. Provenance: Juste Daniel Olivier, 1807-1876, Swiss poet (calligraphic gift inscription signed "Olivier" with red wax seal on front flyleaf, dated 19 April 1832, recipient illegible). Joints and extremities discreetly restored, joints rubbed at head, some pale foxing, a very good copy.

Condition: Near Fine. First Edition. First edition, first printing, first issue. [8], 404; [4], 536 pp. Bound in modern gilt armorial stamped morocco green leather bindings with marbled endpapers; wood-engraved title vignettes by Tony Johannot. Near Fine with light toning and minor patches of foxing throughout else fine. Victor Hugo's Gothic French masterpiece printed by Gosselin in a run of 1,100 copies on March 16, 1831; this first printing was distributed into four separate issues of 275 copies each, the subsequent three issues being designated as "second edition," "third edition," and "fourth edition" respectively on the title-pages. "This first edition is the rarest of all the works of Victor Hugo; it has had a resounding impact worldwide, and is one of the most difficult titles of the Romantic period to obtain" (Carteret).

First edition, first issue with no subsequent edition statement on the title page. Two volumes, exquisitely bound by Cuzin in mid-nineteenth century full green morocco with raised bands to the spine and geometric border design to covers and spine compartments. Titled in gilt, with gilt dentelles and edges and marbled endpapers. 212mm x 130mm (page size). Engraved title pages to both volumes, complete with half titles. A fine, tall set, barely trimmed with many leaves uncut, all beautifully clean with no chips or tears. Two inconspicuous book-labels to the front blank. The binding has been retained in sparklingly fine condition. A superb example of this rarity of Gothic literature in a fine Parisian binding. The author's first full length novel, that is now one of the key works of nineteenth century literature, and upon which much of the author's reputation rests. The first edition was published in an edition of 1100 copies which was subdivided into four issues with a different edition statement on the title page. Thus there are only 275 copies of the first issue. The book has subsequently been published in English under the title, "The Hunchback of Notre Dame". Francisque Cuzin (1836-1890) was regarded as the finest bookbinder in the world at the time. "If you want a volume bound in the highest style of art the man to go to is M. Cuzin of the Rue Séguier. who took early to bookbinding, and is now at the head of the handicraft in Paris, and perhaps the world." - The Pall Mall Gazette (December 1886). "This first edition, in fine condition, is the rarest of all the works of Victor Hugo; it has had a resounding impact worldwide, and is one of the most difficult titles of the Romantic period to obtain" (Translated from Carteret - Le Trésor du Bibliophile Romantique et Moderne) Carteret I 402.

First edition, first printing of Hugo's masterpiece, one of only 1,100 examples. Octavo, 2 volumes, bound in half calf. The publisher Charles Gosselin published the novel on 16 March 1831 in an edition of 1,100 copies as was his usual practice. It was such a sensation that an additional three printings had to be published the same year. The first impression of 1100 copies was separated into four groups, each bearing a fictitious edition statement on the title-page, a scheme designed to make the public believe that the novel was selling rapidly. "This first edition is the rarest of all the works of Victor Hugo; it has had a resounding impact worldwide, and is one of the most difficult titles of the Romantic period to obtain" (Carteret). In near fine condition. Housed in a custom half morocco clamshell box. Rare and desirable. â The Hunchback of Notre Dame was a revelation of what an historical novel could beâ (Reid, 296). First published in 1831 as Notre-Dame de Paris, Hugoâ s book is â a stunning novelistic representation of late-medieval Paris and its central pointâ ¦ [While it] firmly rejects the idealization of the Middle Ages frequent among Romantic apologists for the ancien rà gimeâ ¦ Hugoâ s novel was a hugely influential revelation of the descriptive intensity of Romantic proseâ (Hollier, 662). The book has seen numerous screen adaptations, including director William Dieterleâ s 1939 version starring Charles Laughton and Maureen Oâ Hara (the most expensive RKO production to that date) and the 1996 animated feature from Disney Studios.

2 volumes. Limited issue of the Édition Nationale, one of only 250 copies printed on Japon of a total edition of only 1000 copies. Illustrated with large engraved pictorial head-pieces by Luc-Olivier Merson each provided in two states, one in place and one on an adjacent plate and with a number of full page engraved plates also by Merson and also provided in two states, an engraved portrait of Hugo in each volume, printed by Gery-Bichard. Large 4to, lusciously bound by Charles Muenier, one of his 'Cuir Incisé' bindings and a fine, large example. The bindings are of full chocolate morocco, laid into the boards are large panels incorporating alternative materials, with elaborate and laid designs of gargoyles, leaves, angels and griffons worked within the framework of a Rose Window. In the center of each window are large circular inlays featuring; a portrait of Quasimodo, a goat, a gargoyle and a spider on its web. The spines feature tall raised bands ruled in blind with handsome gilt lettering and a red and brown morocco inlay portrait of Quasimodo, the inside boards are finished in brown crushed levant with an elaborate gilt and blind panel design, the flies are of marbled paper backed in silk, a.e.g. Each volume has a matching chocolate morocco chemise trimmed with fine marbled paper, the spines are with raised bands matching those of the volumes and with gilt lettering and with rose-window tooling. There are matching marbled paper and morocco slipcases for each volume. The publisher's original printed wrappers to the books have been preserved inside these magnificent bindings. 371, (1); 424, (8) pp. A superb copy with both volumes in extremely fine condition. A MAGNIFICENT BELLE ÉPOQUE SIGNED AND DATED BINDING BY CHARLES MUENIER IN HIS FINEST 'CUIR INCISÉ' FASHION. In this binding style in which a panel of incised leather is worked and molded and then sunk into thick boards of traditional morocco. To succeed in this technique requires great delicacy of handling, but when done correctly provides an equally great scope for emblematic treatment. Meunier was one of the small handful of masters in this technique. Effective and daring, Muenier brought this craft created by Grolier to a new more latter-day aesthetic. he particularly aimed to achieve an artistic and psychological interpretation of the contents of every book he bound. A studentand thinker, as well as a craftsman, he believed that the chaste and formal bindings to which we are all accustomed were impersonal and inexpressive. He held that that they seldom or never bore the slightest relation to the text they held within. In short, Muenier wanted us to be able to judge a book by its cover. To achieve this, Meunier combined the restrained craftsmanship of the early masters with the bolder inventions of the nouveau style.

Grand in-folio manuscrit (56 x 37 cm) de (2)-220-(6) pp. sur parchemin, index, 8 portées par page à l?encre rouge soulignées par le texte latin à l?encre brune, nombreuses initiales peintes à l?encre rouge, bleue ou dorée, 5 lettrines enluminées, veau brun sur ais de bois, dos à sept nerfs, deux cabochons au centre et quatre pièces d?angle de cuivre, ornés, ciselés et cloués sur chaque plat, traces de fermoirs (reliure de l?époque). Graduel sur parchemin avec notation musicale grégorienne carrée établi à la fin du XVIIe siècle pour la chapelle Notre-Dame-de-Bonsecours à Nantes.« À Nantes ce présent livre dit Graduel a été fait par les soins de Messieurs Michel Thevenin et Julien Renard, étant alors Prévosts de la Vénérable Confrérie de Notre Dame de Bon Secours sur les Ponts. Escrit et notté par Estienne Sallé voiturier par eau d?Orléans 1696 ».Livre de choeur qui rend hommage à Notre Dame de Bonsecours vénérée à Nantes depuis le XVème siècle, qui comprend outre les graduels, des chants liturgiques destinés à la messe, tels les introïts et communions ; les fines lettrines peintes marquent le début des textes pour les célébrations importantes du calendrier liturgique (fêtes du Christ, de la Vierge et des Apôtres) - la principale fête à Notre-Dame de Bonsecours consistant en une neuvaine qui se terminait le 21 novembre. Deux titres encadrés à l?encre bleue, rouge et dorée dont le second en latin : « Graduale Pro Omnibus Festivitatibus Beatae Mariae Virginis ad usum Sacelli Beatae Mariae Auxiliatricis. A Nantes, Ce présent livre a été donné par les Sieurs Prevosts de la Vénérable Confrérie de Nostre Dame de Bon Secours en l?an de grâce 1696. Ex scripturaire Stephani Sallé Nature Aurelianensis ». Le livre en entier fut écrit et noté par le scribe professionnel Étienne Sallé «voiturier par eau d'Orléans», mentionné au titre et dans la dédicace en vers placée en fin d?ouvrage « Aux serviteurs et servantes de la S.V. Nôtre D.e de bon Secours. Chrétiens qui admirez par vos regards dévots / Ce livre fait par les soins de Messieurs les Prévôts / De cette Confrérie de Bon Secours la Dame / Vous la prierez pour eux par un zèle de flamme (?) / Qu?elle conserve leurs biens, leurs garçons et leurs filles / Tous Voituriers par eau de Nantes et d?Orléans / Vous prierez Notre Dame de Bon Secours séans / POUR ÉTIENNE SALLÉ QUI A ÉCRIT CE LIVRE (?) 1696.» Charpentier à bateaux d'Orléans et homme pieux, Étienne Sallé est connu des historiens pour son journal manuscrit enluminé où, en 1710, il reporta prières et hymnes religieux et dans lequel il expliqua qu'il fut marchand voiturier par eau avant « ses disgrâces » ; son journal ne fut pas publié avant 1898 quand il apparut sous le titre «Livre de Sallé, charpentier en bateaux et voiturier par eau» dans les "Mémoires de la société d?agriculture, sciences, belles-lettres et arts d?Orléans", tome 36, 1898, pp. 203-208 (Bourgeois André, VIII, 7864).« La Vénérable Confrérie de Notre Dame de Bon Secours sur les Ponts » fait référence à la confrérie nantaise de l?aumônerie de Toussaints située sur les bords de la «boire de Toussaints» (bras de la Loire) du XIVe au XVIIe siècle, fondée par Charles de Blois afin d'y édifier un établissement destinée à soigner les malades et héberger les voyageurs pauvres. La confrérie de Notre-Dame-de-Bon-Secours disparut en 1768 tandis que l?aumônerie qui dépendait alors de la paroisse de l'église Sainte-Croix, fut vendue en 1790, avant d'être désaffectée, puis démolie en 1846.« La chapelle Notre-Dame-de-Bon-Secours de Nantes fut construite en 1443-1444 par les pêcheurs de l?île de la Saulzaie, qui n?avaient pas de lieu de culte à proximité de leur travail. La chapelle dépendait de la paroisse Sainte-Croix, dépendant elle-même de l?abbaye de Marmoutiers (Tours) depuis le XIIe siècle. À partir du XVIIe siècle, elle fut desservie par des prêtres irlandais en exil. Elle a été intégralement reconstruite dans le style classique entre 1776 et 1780. Confisquée comme bien national en 1796, elle n?est plus affectée au culte catholique. Les prêtres irlandais (non obligés d?être assermentés) purent y réciter l?office jusqu?à cette date. Malgré ses réaffectations, l?édifice présente encore des traces de son architecture originelle. Même si la fabrique de l?ancienne chapelle a conservé peu d?archives, la fin de l?Ancien Régime semble avoir vu un culte très dynamique. Les membres de la confrérie Sainte-Anne reçurent l?indulgence plénière (1664), et les rois de France, de Louis XIII à Louis XVI, favorisèrent le sanctuaire, notamment par l?entretien ou la restauration de la statue de Notre-Dame-de-Bon-Secours. Celle-ci fut d?ailleurs refaite dans la première moitié du XVIIIe siècle. Une « foule extraordinaire » fut mentionnée dans un rapport au roi en 1721, et la chapelle fut entièrement reconstruite en 1776-1780. Une quinzaine d?années plus tard, elle fut vendue comme bien national. Le culte de Notre-Dame de Bon-Secours fut alors déplacé dans l?église Sainte-Croix. » (Inventaire des Sanctuaires et Lieux de Pèlerinage Chrétiens en France, Maxime Bolard, Notre-Dame de Bon-secours, n°1).Ex-libris manuscrits anciens "R.J. Uriner chapelain de Notre Dame, de Bon Secours de la Ville de Nantes et Ch[anoi]ne de l?église Royale et Collégiale de Notre Dame de Nantes, 1788" (premier contreplat) ; "Guillaume Boleyn" (?) en regard du titre ; "François Pépin" et "Mathurin de la Valade" (colophon). Mors fendus, coiffes manquantes, quelques pâles mouillures et salissures marginales.Exceptionnel graduel manuscrit XVIIe conservé dans sa première reliure ornée, archive rare et précieuse pour l?histoire de Nantes.

First edition, third issue. Johannot, Tony. First edition, third issue. Title vignettes by Tony Johannot. [viii], 404; [iv], 536 pp. 2 vols. 8vo. First edition, third issue, of Hugo's first great success as a novelist, The Hunchback of Notre-Dame, in a fine retrospective binding by René Aussourd. Though styled the "Troisème Édition" on the title-page, this is in fact the third issue of the first edition. The entire edition consisted of four separate issues of 275 copies each, with each issue designated as a separate edition on the title-page. Notre-Dame de Paris is more commonly known in English as The Hunchback of Notre-Dame, the title under which the first English translation by Frederic Shoberl appeared in 1833. Set in 15th-century Paris, the novel introduces a memorable cast of Romantic characters; some, such as the hunchback Quasimodo and the gypsy girl Esmérald, have so permeated our culture that they've reached the status of archetypes. Hugo hoped that his novel would reverse the sad neglect of Gothic architecture in his country, much of which had fallen into ruin or been brutally altered. Indeed, Hugo created a depiction of Notre-Dame "so erudite and familiar that it caused a revolution in architectural taste. The success of this darkly moving novel was immediate, establishing Hugo as the premier historical novelist of his time" (Oxford Companion to Literature in French). In a fine retrospective French romantic binding by René Aussourd, recalling the work of Simier or Thouvenin. Aussourd studied under his uncle Charles Meunier and was first gilder at Chambolle-Duru before starting his own business in 1912 (Devauchelle III, p. 243). Carteret I, p. 402 Bound to style in the early 20th-century in red half morocco and embossed paper over boards, smooth spines stamped in gilt and blind to cathedral design, t.e.g., the rest uncut, by René Aussourd (signed in gilt at foot of spine and on front free endpaper). Slight rubbing to extremities, expert paper repair to lower outside corner of vol. I half-title, and repairs to a few other paper faults throughout. In a custom gilt-ruled full brown morocco slipcase and chemise by R. Patron Title vignettes by Tony Johannot. [viii], 404; [iv], 536 pp. 2 vols. 8vo.

Quatrième édition. Paris: Charles Gosselin, Libraire, 1831. First edition, first printing, fourth issue ("Quatrieme édition"), of Hugo's gothic masterpiece. It is generally accepted that the publisher indiscriminately printed different editions on the title-page of all copies to make the book seem as if it was now in four editions, however the text is all identical. Two octavo volumes (8 1/2 x 5 3/8 inches; 214 x 135 mm.). [8], 404; [4], 536 pp. With half-titles in both volumes. Wood-engraved title vignettes after Tony Johannot. Contemporary quarter marbled sheep over marbled paper boards. Spines with three black morocco spine labels. Labels stamped and lettered in gilt. All edges uncut. Corners a bit bumped. Back board of volume II with minor abrasions. Previous owner's old ink signature on top margin of title-page in each volume. Some occasional spotting and thumb-soiling, but generally internally very clean. Overall, an excellent copy. "This first edition, in fine condition, is the rarest of all the works of Victor Hugo; it has had a resounding impact worldwide, and is one of the most difficult titles of the Romantic period to obtain" (Carteret). Gosselin brought out the novel on 16 March 1831 in an edition of 1,100 copies, as was his general practice. This first printing was distributed into four separate issues of 275 copies each, the subsequent three issues being designated as "second edition," "third edition," and "fourth edition" respectively on the title-pages. "Johannot's title-page vignettes for the first edition of Notre-Dame de Paris show Quasimodo in the pillory receiving a drink from Esmeralda (Volume I) and Esmeralda escorted to the gallows (Volume II)" (Ray). Ray, The Art of the French Illustrated Book, 180. Vicaire IV, cols. 256-257. HBS 68800. $12,500.

Leather. Condition: Good. Various (illustrator). First edition. The first illustrated edition of one of Victor Hugo's best known books, in the original French, inscribed by Hugo himself. The first illustrated edition, first issue, and the first edition complete in one volume.Inscribed note from Victor Hugo adhered before the half-title. 'A mon bien cher ami . Victor Hugo'.Very uncommon to find a copy of Notre-Dame dedicated or inscribed by Hugo.We believe this was dedicated at the time of publication.Illustrated with an engraved title, and ten plates.This is an early copy without the plate 'De l'utilité des fenêtres', as is common, as the plate was not yet ready when the work was published.In the original French.'Notre-Dame' is one of the most famous French novels written. It is a Gothic novel, set in Paris in 1482, surrounding the cathedral of Notre Dame. The story follows the gypsy Esmeralda, as she captures the heart of Quasimodo, the bellringer of Notre-Dame.Written by Victor Hugo, a Romantic novelist, best known for this work and for the epic 'Les Miserables'.Illustrated after Louis Boulanger, Alfred Johannot, Tony Johannot, Denis Auguste Marie Raffet, and Camille Rogier.Bookplate of Oliver Brett to the front paste down. The 3rd Viscount Esher, Brett was notable for being a chairman for the National Trust for 25 years, and being involved in many important cultural and artistic charities. In a quarter morocco binding with paper to the boards. Externally, generally smart. Rubbing to the boards, resulting in two chips of loss of paper to the front board. Light rubbing to the extremities and spine. Minor discolouration to the boards. A few minor marks to the boards and spine. Very light bumping to the extremities. Bookplate to the front paste down. Clipping pasted to the verso of the front endpaper. Internally, firmly bound. Pages are bright and generally clean with the occasional spot. Tide mark to the top edge and fore edge of the engraved title, and fainter to the title page, and to plates facing pages 61, 124, 261, 299, 424, 462, and 511. Good. signed by author. book.

Two vols, 8vo, pp. I: [8], 404; II: [4], 536; pp. 439 and 491 mispaginated '339' and '391', both vols with half-titles; woodcut vignettes to title-pages by Tony Johannot; vol. I half-title lightly foxed, a very light dampstain to upper corners of vol. I (not touching text); otherwise a handsome set in twentieth-century gilt-ruled half morocco with blue marbled sides, raised bands, spine lettered directly in gilt, marbled endpapers, ribbon place-markers; spines sunned; modern pencil notes to endpapers.First edition, third issue, of Victor Hugo's great historical novel The Hunchback of Notre Dame, one of 275 copies pri nted.Notre-Dame de Paris, Hugo's first full-length novel, was critical in cementing his reputation as one of France's most celebrated writers. The first edition was published on 16 March 1831 in an edition of 1100 copies all from the same sheets, divided into four issues of 275 copies each and arbitrarily classified by the publisher '[first]', 'second', 'third', and 'fourth' editions on their respective title-pages in an attempt to convince the public of the novel's runaway success. Hugo had agreed to write Notre-Dame de Paris in 1828, but little progress had been made by the summer of 1830, by which time Gosselin had already granted the author two extensions. Faced with the termination of his contract or a fine of 1000 francs per week should he fail to complete the work by February 1831, Hugo worked on the novel ceaselessly, allegedly locking away all his clothes save for a large shawl in an attempt to resist the allure of the outside world. He finished the work on 15 January 1831, mere weeks before the deadline set by Gosselin. Carteret I, 402 ('Cette edition originale, en bel état, est la plus rare de toutes les oeuvres de l'auteur [ ] c'est une des plus difficiles à se procurer de la période romantique'); Vicaire IV, cols 256-7. Language: French.

Hardcover. Condition: Fine. Dust Jacket Condition: Fine. 1st Edition. First Edition, First Printing SIGNED by Victor Hugo on a handwritten letter laid into the book. This First American Edition is one of 1000 sets printed. A wonderful copy bound in the ORIGINAL publisher's blue cloth over drab boards. This (2) Volume set is in great shape. Both books have ALL the First Issue points. The bindings are tight with some wear to the spine and edges. A lovely copy of this First American Edition with custom clamshell slipcase for preservation. We buy SIGNED Victor Hugo First Editions. Signed by Author(s).

Couverture rigide. - les Cahiers de la Quinzaine, Paris 1913, 13x19,5cm, relié. - Édition originale, un des 15 exemplaires numérotés sur Whatman, seuls grands papiers. Reliure en plein maroquin chocolat, dos à cinq nerfs, roulettes dorées sur les coiffes, contreplats en plein maroquin marron, couvertures et dos conservés, toutes tranches dorées, doubles filets dorés sur les coupes, superbe reliure en plein maroquin doublé signée Huser. Très bel exemplaire à toutes marges magnifiquement établi en plein maroquin doublé de Huser [ENGLISH TRANSLATION FOLLOWS] First edition, one of 15 numbered copies on Whatman, the only large paper copies Superb morocco-lined chocolate-colored morocco by Huser, spine in six compartments, gilt roulettes to head- and tail-pieces, pastedowns in chocolate-covered morocco, covers and spine preserved, all edges gilt, double gilt fillets to edges of covers A fine, well-margined copy magnificently bound in morocco-lined chocolate-colored morocco by Huser.

Couverture rigide. - Eugène Renduel, Paris 1836, 13x21,2cm, 631pp., relié. - Première édition illustrée dite "édition Keepsake" en tout premier tirage et en un seul volume. Un titre frontispice et 10 hors-texte sur acier imprimés sur Chine appliqué de Louis Boulanger, Camille Rogier, Alfred et Tony Johannot. Elle est bien imprimée dans une typographie aérée à grandes marges, et proche de l'édition originale parue en 1831. La planche «?De l'utilité des fenêtres?» est absente, comme dans la plupart des exemplaires de première émission car cette planche n'était pas encore prête lors de l'impression. Reliure d'éditeur "Rocaille" en plein maroquin brun d'époque signée Boutigny en queue, la signature a été fautivement frappée à l'envers, dos lisse comportant des traces de décolorations, orné de fers en miroir, plats frappés à froid d'un encadrement avec ornements et feuillages, titre en éventail sur le premier plat et chiffre d'Eugène Renduel sur le second estampés à l'or, frise intérieure, toutes tranches dorées. Rousseurs éparses sur la majorité des feuillets. Eugène Renduel a fait réaliser pour cette nouvelle édition, sans doute la plus belle de Notre-Dame de Paris, plusieurs exemplaires de luxe sous différentes reliures d'éditeur "à la Cathédrale" ou en "style Rocaille" réalisées par Boutigny. La nôtre, en "maroquin du Levant, gros grain, avec plaque en or et en noir" est la plus luxueuse de ces reliures, vendue 30 fr. d'après le catalogue de l'éditeur. Particularité rare, notre exemplaire, comporte de surcroît, le chiffre d'Eugène Renduel - le célèbre éditeur de toute la génération romantique et celui de Victor Hugo en particulier - frappé à l'or au centre du deuxième plat, caractéristique que nous n'avons pas retrouvé sur les autres exemplaires de luxe. Très bel exemplaire établi dans la plus luxueuse des reliures d'éditeur. [ENGLISH TRANSLATION FOLLOWS] Notre-Dame de Paris [The Hunchback of Notre-Dame] Eugène Renduel, Paris 1836, 13x21,2cm, 631pp., bound. First illustrated edition known as "Keepsake edition", first issue, in a single volume. A steel-engraved frontispiece title and 10 full-page plates printed on papier de chine appliqué by Alfred & Tony Johannot, Louis Boulanger, Camille Rogier. Well printed in a spaced typography with large margins, similar to the first edition published in 1831. Without the plate "De l'utilité des fenêtres" [On the usefulness of windows] like most first issue copies, as it was not finished when printing began. Publisher's "Rocaille" binding in brown morocco, signed Boutigny at bottom of spine, the signature has been mistakenly stamped upside down, covers with ornaments and foliage motifs stamped in blind, central gilt title on the upper cover and gilt cipher of Eugène Renduel on the lower, all edges gilt, traces of discoloration to the spine, scattered foxing on most leaves. For this new and perhaps most beautiful of edition of Notre-Dame de Paris, Eugène Renduel commissioned several deluxe copies in cathedral and "rocaille" bindings made by Boutigny. This one in "maroquin du Levant, gros grain, avec plaque en or et en noir" [Levant morocco, large grain, paneled in gilt and blind] is the most luxurious, sold for 30 fr. according to the publisher's catalog. Our copy also includes a rare particularity: a cipher of Eugène Renduel - famous publisher of the whole generation of Romantic writers and of Victor Hugo in particular - gilt stamped in the center of the lower cover, a particular feature we did not find on the other deluxe copies. A very nice copy in the most luxurious publisher's binding. 631pp.

A detailed original illustration by King. Pen and ink drawing on vellum, approximately 22.5cm x 15.5cm. Signed in full on the lower right hand corner of the image, with distinctive title lettering in the lower left hand corner. In addition there is an ink dedication by King below the image which reads, "To WF Forrester Esq with greetings from the ARTIST, Jessie M King". The image is in lovely condition with the vellum clean and fresh. A charming study of Notre Dame in Paris done for one of Jessie's Paris sketch books. Between 1911 and 1914 Jessie King and her husband, E. A. Taylor, lived and worked in Paris. During her time there Jessie made detailed sketches of some of her favourite Paris landmarks. She had hoped to make a book of them and indeed one or two were published in "Paris Past and Present", which was published by the Studio in 1915 and edited by E. A. Taylor.

Oblong 4to (290 x 156 mm). With lithographed double-page title (in French and Dutch) and 20 lithographed plates (3 folded). Contemporary giltstamped cloth with the giltstamped arms of Pope Gregory XVI on both covers. All edges gilt. Illustrations for the cavalcade celebrating the 850th anniversary of the arrival of a miraculous statue of the Virgin Mary on a boat in Hanswijk. The statue was transferred to Mechelen in 1273 and became the protector of the city, housed in the Basilica of Our Lady of Hanswijk. From 1738 onwards a grand procession was staged every twenty-five years. The illustrations show soldiers and women on horseback, floats including the kingdom of the saints and the famous giant figures. - Lithographed by Jos. Coomans after drawings by J. J. Vervloet (1790-1869, cf. Thieme/Becker XXXIV, 306). Slight browning and brownstaining; some loss to spine cover, otherwise in good condition. - Lipperheide Sl 22. OCLC 78418091.

Leather. Condition: Very Good. None (illustrator). A bright copy of Montagut's scarce Histoire de Notre-Dame du Mont-Serrat. Bound in calf leather with gilt lettering and spine decoration. This work is written in the French. The New Edition, Revised, Corrected, with a Description of the Abbey, the Mountain and the Hermitage. This work is a history of Our Lady of Montserrat, including the Benedictine abbey, and the Shrine, which is a site of pilgrimage. The origin of the devotion to Our Lady at the shrine of Montserrat according to the earliest written records dates from 932. The Monastery of Montserrat, located near the top of the 4.000-foot mountain, is home to about 80 monks. The binding is tight and firm. The hinges are just starting, and the front inner hinge is strained. There is some wear to the extremities, including some bumping and rubbing. Internally the pages have slight browning and intermittent spots. There are ink inscriptions in French on the title page Very Good. book.

Meryon, Charles (illustrator). Meryon, Charles. LE POMPE NOTRE DAME. Etching, 1852. 6 11/16 x 9 7/8 inches; 172 x 252 mm. S. 26 State x/x, D/W 31, State ix/ix, with the intials "CM" at top right, the numeral 8 at bottom left, the title and the date printed bottom, center, and the name and address of Delatre, the printer, bottom right. Per Schneiderman and Delteil, this is one of an edition of 30 copies printed in 1861 (an edition of 600 had been printed of D/W's state vii, Schneiderman's state viii, and published in L"Artiste in 1852. A strong impression, printed on Hudelist paper with margins of about 3 1/2 inches all around(".many of the most beautiful impressions are found on fine quality paper. The most common is a fine light cream laid paper, with the Hallines or Hudelist watermark." Schneiderman, p. 16). In excellent condition, except with a very small spot of foxing in the lower margin, right, about two inches below the plate mark.

Hardcover. Condition: Very Good. 1st Edition. First edition, second printing in English of The Hunchback of Notre Dame. Translated expressly for this edition. With a sketch of  the life and writings of the author, Victor Hugo, by Frederick Shoberl. In good + condition with wear to boards and extremities. Bookplate on the front end paper. Hinges lightly cracked. Stains on half title and title page otherwise clean contents. 8vo 466pp plus advertisements.

In-8 de (46)-338 ff. (mal chiffrés 335, nombreuses erreurs de pagination), vélin souple à rabats, lacets (reliure de l'époque). Édition originale très rare. « Citons celui qui le premier de tous a voulu tenter de réformer l'orthographe de la langue française, dans nos contrées flamandes, où parmi les indigènes il n'en était presque aucun qui sût écrire en vrai français à l'époque de notre prétentieux réformateur. Celui-ci s'appelait André Du Croquet, et avait nom Croquetius dans le monde savant de son temps ; né à Douai au commencement du XVIe siècle, docteur en théologie, prieur de la célèbre abbaye d'Hasnon, il passait de son vivant pour un prédicateur fameux. Sa réputation commença à Valenciennes, lorsque, pendant les troubles de religion qui désolèrent les Pays-Bas, les moines de l'abbaye d'Hasnon se réfugièrent en cette ville sous la conduite du digne Jacques Froye, leur abbé. Du Croquet y prêcha la parole de Dieu pendant deux ans et demi, les jours de fête et les dimanches, non sans attirer un grand concours de fidèles. C'est par la publication bizarre d'un choix de ses sermons sur les psaumes de la pénitence que ce religieux a fait connaître sa réforme orthographique. Ayant supporté longtemps, dit-il, le déplaisir de l'incertitude et de la variation de l'orthographe d'une langue aussi simple, aussi belle et douce que la langue française, j'espère qu'on me pardonnera d'avoir osé lui enlever ses lettres inutiles en la rapprochant de la prononciation usitée de tout temps par les doctes et nobles personnes. Ce livre singulier de Du Croquet est donc un monument précieux qui nous a consacré la prononciation des habitants instruits et bien élevés des provinces des Pays-Bas pendant le XVIe siècle. Il nous montre qu'elle se rapproche beaucoup, pour certains mots, de celle aujourd'hui en usage parmi les villageois de la même contrée, gens simples et primitifs, qui conserveront longtemps encore le langage et les traditions des temps passés. Suivant son orthographe, Du Croquet supprime entièrement la lettre h comme inutile ; il ne la conserve que dans les noms propres qu'il croit devoir respecter; il se sert de la diphtongue latine ? pour remplacer eu, et de tous les é fermés il fait des è ouverts pour se conformer à la prononciation du pays que beaucoup de Valenciennois d'aujourd'hui, vrais partisans des ouvrages traditionnels, ne manquent jamais de prononcer ainsi. C'est principalement cette singularité de l'orthographe, jointe à une certaine excentricité d'idées, et à une grande bizarrerie d'expression, qui fait rechercher des curieux le livre des sermons de Du Croquet » (Duthilloeul, Galerie douaisienne ou Biographie des hommes remarquables de la ville de Douai, p. 135).Ex-libris : Anno 1672. Ad Instruendam Bibliothecam Seminarii Episcopaus Tornacensis in niversitate Duacensis, me donavit D. Petrus Masureel Gandensis, I. U. L. Canonicus Ecllesiae Cathedralis Tornacensis. Bon exemplaire, grand de marges ; vélin froissé.Brunet, II, 430 : « Ce livre peu commun est remarquable par la singulière orthographe qu'on y a employée » ; Duthilloeul, Bibliographie douaisienne, n°44.

2 vols. text, x, 535, viii, 663 pp. history and description of the Gothic cathedral and its rich sculptural decoration and works of art, extensive notes including bibliographic information, inscriptions, index, profusely illustrated throughout with 274 text illustrations and 111 fine plates divided between the two vols. Considerable foxing throughout. Large 4to. Cloth portfolios, contents loose as issued, a bit rubbed and shaken. Amiens (Yvert & Tellier)/Paris (Picard) 1901-1903. (Mémoires de la Société des Antiquaires de Picardie). The monumental work on the important Medieval cathedral, with detailed illustrations of the building, sculptures, chapels, doors, stained glass windows, choir stalls, etc.

Couverture rigide. Condition: Bon. Édition illustrée. In-8 (154 x 210 mm), 2 ff. bl., 24 ff. n. ch., 4 ff. bl. Vélin blanc, plats aquarellés d'un grand motif central, au premier plat la Vierge à l'enfant en grand habit, au plat inférieur la basilique Notre-Dame des Miracles, dos lisse, lacet central, mouillure au dos et sur les bords des plats, plats légèrement empoussiérés et épatés, gardes de moiré vert et or (reliure de l'époque). Beau manuscrit enluminé, consacré à l'histoire de la basilique Notre-Dame-des-Miracles à Mauriac en Auvergne, dans le diocèse de Saint-Flour, et au pèlerinage qui y a cours. Le manuscrit a été confectionné pour la fête de Marie, en mai 1928. Il s'achève sur des hymnes latines. Le manuscrit, écrit en gothique sur papier simili Japon, est illustré de 2 aquarelles sur les plats, d'une aquarelle à pleine page représentant la chapelle du Puy st Mary, d'un décor aquarellé en bandeau à chaque page (soit 18 bandeaux et un cul-de-lampe) et d'initiales rubriquées et majuscules peintes. Le hors-texte aquarellé est signé I. Nugam 1927. L'église romane de Notre-Dame des Miracles fut construite au XIIe siècle près du monastère bénédictin Saint-Pierre et de la Chapelle Notre-Dame des miracles, qu'on dit fondés par Théodechilde, fille de Clovis, à qui la Vierge Marie était apparue. Signe de son importance, le 13mai 1855, la Vierge a été couronnée et parée d'un diadème d'or et de pierreries, offert par le Pape Pie IX et l'église venait d'être érigée en basilique mineure par le Pape Benoît XV en octobre 1921. Sur une garde, note manuscrite à l'encre : "Diocèse de Saint-Flour, Imprimatur Sancti-Fleri die 18 octobris 1927. Vaulx (?). Ecclesia I. St Flour ". Exemplaire unique.

Photographie,vintage print, Format du carton: 36 x 45 cm // Circa 1860 // Tirage albuminé // Format (cm): 26x36.

Photographie,vintage print, // Circa 1850 // Papier salé // Format (cm): 21,5x16.

Photographie,vintage print, // Circa 1850 // Papier salé // Format (cm): 22x16.

Hand-coloured aquatint engraving by Havell from J.Gendall's drawing after Pugin. Printed on wove paper. In excellent condition with the exception of a expertly mended tear on the bottom margin. Image size: 13 7/8 x 18 7/8 inches. A highly dynamic view, emphasizing the cathedral of Notre Dame's position at the heart of the city of Paris Notre Dame, before the addition of Violett le Duc's central spire, is shown dominating the skyline in this view taken from the south side of the Ile de St. Louis, looking north west upriver to the Pont la Tournelle with the Cathedral beyond. The foreground includes a number of barges loaded with timber, probably for furl, bargees wrestle with the newly arrived vessels, positioning them using long poles, unloading of the moored barges is already underway, with workmen trudging up well-worn paths in the river bank. Much activity can be seen on the wide "beach" of the far left bank. "Pugin (1762-1832), architect, archæologist, and architectural artist, was born in France, and claimed descent from a distinguished French family. Driven from his country either by the horrors of the revolution or by private reasons connected with a duel, he came to London about 1798, and soon found employment as a draughtsman in the office of John Nash. To increase his powers as an artist, he entered the schools of the Royal Academy. He further revived acquaintance with Merigot, an aquatint engraver, who formerly had been a drawing-master to his father's family, and studied under him with advantage. Nash, who treated his pupils and assistants with great kindness and hospitality, discovered in Pugin a valuable subordinate. The truthfulness of Pugin's drawings in form and colour at once attracted attention. A change was then coming over water-colour art. The old style of brown or Indian ink outline with a low-toned wash was giving way to the more modern practice of representation in full colour, and Pugin, though he limited his palette to indigo, light red, and yellow ochre, was an active supporter of the new movement, and to his influence its ultimate predominance was largely due. In 1808 Pugin was elected an associate of the Old Water-colour Society, which had been founded in 1805, and he was a frequent exhibitor at the annual exhibitions held first in Lower Brook Street and subsequently in Pall Mall. About the same time Pugin was employed on Ackermann's publications, notably the 'Microcosm,' for which he supplied the architectural portions of the illustrations, Rowlandson executing the figures. Meanwhile Nash and his works were not altogether neglected. Pugin in 1824 was asked to make the drawings for a volume illustrating the Brighton Pavilion, and while he was engaged upon the work George IV, who came to watch, accidentally upset the colour-box, and, mindful perhaps of illustrious parallels in the past, picked it up with an apology that greatly gratified the artist." (DNB). The present separately issued plate led to a latter publication "Views of Paris and Environs," (London: 1828-1831), with plates of similar subjects but published in a much smaller quarto format.

Condition: Good / Bien. EDICION LIMITADA Y NUMERADA.- Londres: Sampson Low, Marston, Searle, et Rivington Editeur (Imp. en Cambridge, U.S.A., Univ. Press. John Wilson and Son), [s.a., ca. 1895].- 2 Tomos (1 h., 354 p.; 1 h., 420 p.): Con ilustraciones en negro y finas láminas a todo color; 4º (23,5 cm); Esmerada impresión sobre papel Japón, sin tonsurar, conservando todas sus barbas; portada a dos tintas, amplios márgenes; Texto en francés; Enc. en rústica original.- EDICION DE 25 EJEMPLARES NUMERADOS EN PAPEL JAPON, SIENDO ESTE EL Nº 6. Se hizo además una tirada de 250 ejemplares en papel satinado.- RARISIMA Y BELLISIMA EDICION DE BIBLIOFILO. Las cubiertas ligeramente fatigadas y la última hoja en blanco del tomo 1º con unas pequeñas manchas de óxido, por lo demás en magnífico estado. Livre en français LITERATURA Y ESTUDIOS LITERARIOS EXTRANJEROS DE LOS SIGLOS XVI-XXI.

Relié. 1 volume. In-8. 36 pp. Sous étui bordé. Reliure plein maroquin marron. Dos à nerfs finement orné. Filets dorés en encadrement sur les plats. Tranches dorées sur témoins. Cadre intérieur de même maroquin avec filets et rinceaux dorés, doublures et gardes de soie brochée, couverture et dos conservés. Reliure signée Ch. Lanoë Successeur de P. Ruban. Ornée par Charles JOUAS de 30 eaux-fortes originales dont 9 à pleine page. Piqures éparses. Très bel état. Collection de l'Académie des Goncourt.TIRAGE LIMITE à 350 exemplaires numérotés. Celui-ci un des130 exemplaires sur vélin, celui-ci avec 3 états des eaux-fortes dont un état avec remarque.

Grande estampe gravée sur bois (90 x 40 cm). En 1782, Urbain Roiné, cartier, laissait sa manufacture à son fils aîné Pierre-Vincent (1761-1826) qui continua la fabrique de cartes. Ce dernier céda sa fabrique à son fils Pierre (1784-1817). Pierre-Vincent laissa alors la maison de la Basse-Grande-Rue à sa belle-fille, qui s'associa au cartier Dumoutier et continua le commerce de cartes de son mari au 2, quai Cassard. C'est en 1817 que Pierre-Vincent commença à éditer des images qui portent l'adresse : Roiné père et Dumoutier. Vers 1820, Philibert le second fils rejoint la fabrique dont les productions portent le nom de : Roiné père, Dumoutier et Roiné fils, puis seulement Roiné père et fils au moment du décès de Dumoutier en 1823. Pierre-Vincent décède en 1826 et Philibert poursuit seul la production puis s'associe à la veuve de son frère aîné "Vve Roiné ainé & Roiné Fils " jusqu'en 1834. Puis continuation pendant deux ans la production Vve Roiné aîné, enfin revend le fonds à Noël, associé de son fils Hippolyte Roiné. Ce dernier continue la production sous le nom de Roiné Aîné.

Couverture rigide. - Léon Vanier, Paris 1894, 12x18,5cm, relié. - Edition collective, en partie originale, imprimée à petit nombre et pour laquelle il n'a pas été tiré de grands papiers. Reliure à la bradel en demi percaline bleue, dos lisse orné d'un fleuron central doré, date et double filet dorés en queue, pièce de titre de chagrin noisette comportant de petites traces de frottements, plats de papier marbré, couvertures conservées, coins émoussés, reliure de l'époque. Quelques petites rousseurs sans gravité affectant principalement les gardes. Rare. [ENGLISH TRANSLATION FOLLOWS] Collected edition, first in parts, published in a small number of copies and for which there were no large paper copies. Contemporary half blue cloth Bradel binding over marbled paper boards, central gilt fleuron to spine, date and double gilt fillet to foot, brown shagreen title-piece (slightly rubbed), covers preserved, corners bumped. A little light insignificant spotting, mostly to endpapers. Rare.

Hardcover. First Edition; First Printing. Included Les Miserables (volumes 1 & 2 & 3) Notre Dame De Paris, Toilers of the Sea, The Man Who Laughs, Ninety-Three, The Last Day of a Condemned, hans of Iceland, Claude Gueux: Complete 8 Volume Collection. All 8 Volumes Very Good in red cloth. Scarce.