[Pairault & Cie] La Souris Blanche.
Moreau, Hegésippe

104pp. One of a series of miniature books from this well-known Paris firm, published at the turn of the century. All volumes in the series are illustrated by contemporary French artists, this story with black & white images by Henri Pille. Fine in green printed wrappers, with a glassine dust wrapper and uncut pages. (Gumuchian 4138). (1 1/2 by 1 3/8; 38x30mm).

[Pairault & Cie] Le Petit Poucet.
Perrault, Charles

64pp. Contains four full-page plates. All the titles in this turn-of-the-century miniature series of children's books were illustrated in black & white by contemporary French artists, in this case Théophile Steinlen, the Art Nouveau artist best known for his iconic poster for Le Chat Noir. Bound in gray printed wrappers, with a glassine dust wrapper and uncut pages. (Gumuchian 4138; Welsh 5525). (1 1/2 by 1 1/8; 39x28mm).

[Pairault & Cie] Boum-Boum.
Claretie, Jules

64pp. One of 150 copies. All volumes in this turn-of-the-century miniature series are illustrated in black & white by contemporary French artists, in this case Charles Jouas. Bound in printed rose wrappers with a glassine dust wrapper. Some light toning to title page and final page from the glassine, else fine, with the pages uncut. (Spielmann, 96; Gumuchian 4138). (1 1/2 by 1 3/16; 38x29mm).

[Calendar] Calendrier de touts les Saintes: Avril.
N/A

(16)ff. Each page is fully engraved with an illustration showing the designated saint for each day of the month, this one being April. Bondy noted that these calendars, originally produced in twelve-volume sets, are of such great rarity that in thirty years he had seen only one copy of one volume. Exquisitely bound in gilt-decorated green morocco with raised bands and a gilt circular design to the front cover. A fine copy. A.e.g. (MBN 8:4, Bondy 51; See Houghton sale 49, 50). (7/8 by 3/4; 23x20mm).

[Calendar] Calendrier de touts les Saintes: Février.
N/A

(15)ff. Each page is fully engraved with an illustration showing the designated saint for each day of the month, this one being February. Bondy noted that these calendars, originally produced in twelve-volume sets, are of such great rarity that in thirty years he had seen only one copy of one volume. Exquisitely bound in gilt-decorated brown morocco with raised bands and a gilt flower to the front cover. A fine copy. (MBN 8:4, Bondy 51; See Houghton sale 49, 50). (7/8 by 3/4; 23x20mm).

[Kempis, Thomas Á] De Imitatione Christi: Libri Quatuor.
Kempis, Thomas Á

509pp. Editio stereotypa. Very legibly printed in tiny 2-point type. Bound in black morocco with four raised bands on the spine, with gilt turn-ins and marbled endpapers. A fine copy in an elegant binding. A.e.g. From the collection of Arthur A. Houghton, Jr., with his booklabel. (See Spielmann 481A; Welsh 3700; Mikrobiblion 234). (2 1/4 by 1 5/8; 57x42mm).

[Theatrical Make-up] L' Art du Maquillage.
Bitterlin, Professeur A.

Octavo. xvi, 133, + (17)pp. ads. First edition. An extensive manual on make-up for personal beauty, the theater, cinema, and even shop-window mannequins. The author was a student of the famous Mme. Valentin, founder of the first French "Institut de Beauté." Illustrated with 80 text figures and sixteen tipped-in vividly hand-colored lithographs. These show make-up for various theatrical characters, from "Peau-Rouge" (Redskin) to Mephisto, Frochard, Henri IV, and Crainquebille. Among the faces depicted are Mistinguett, a famous actress, and Bécassine, the first known female clown. Max-Hardine, a well-known "comique excentrique," is shown "au naturel" and "en travesti." Make-up for the severed head of John the Baptist might have been used for Wilde's "Salome." Detailed instructions and lists of materials are provided. These are prize-winning creations by named make-up artists who took their art seriously. With seventeen pages of ads (unopened) for theatrical wig-makers, cosmetics, wax mannequins, and various kinds of beauty establishments. In printed wrappers and a glassine dust wrapper. Spine ends of book and glassine chipped, front hinge slightly split, else a very good copy.

Les Liaisons Dangereuses.
De Laclos, Choderlos

Two quarto volumes. 276; 262pp. One of 1,000 copies printed by Harry Crosby in several colors. Illustrated with fourteen full-page illustrations by Alastair. Translated into English by Ernest Dowson. Bound in printed wrappers, covered in glassine. Very good and unopened, with light foxing to edges and chipped glassine on both volumes. Volume Two is split along spine, with minor loss to foot of spine. Lacking slipcases.

The Drunken Boat.
Rimbaud, Arthur

(13)ff. One of twenty copies, signed by Jan & Jarmila Sobota, who designed, published, and bound the book. An English translation of Arthur Rimbaud's famous poem, artistically bound. The covers are comprised of three layers: two layers are covered in blue goatskin, with a layer of silver leather between them that is revealed on the edges. The front cover has a cut-out window, in which hangs an undulating, sculptural piece of metal representing a sail. The flyleaf behind the window is silvery metallic paper, reflecting the shape of the sail. A silver spine label bears the title. Housed in a box covered with blue paper evocative of waves, with a label printed in silver to the spine. As new. (2 1/8 by 2 1/8; 54x54mm).

Vous les Gosses.
Quiko

Quarto. (10)ff. A collection of wise, wry poems for children, brightly illustrated in bold red, blue, green, and yellow by Boucard Moinet. The illustrations depict scenes of children at play: spinning around on a carousel, sailing boats on a pond in the park, and waving at an airplane flying overhead. The author explains in his Preface that when one opens the windows of life at the age of four to have a look around, "vous traduisez tout ce qui vous étonne d'une façon tellement naïve et imprévue," which inevitably confounds adults. These verses attempt to illustrate this view of the world. Bound in white pictorial wrappers, which show some light soiling. Front hinge starting to separate slightly from where it was adhered, else fine.

[Officina Bodoni] The Garden Party and Other Stories.
Mansfield, Katherine

Quarto, (x), 315pp. One of 1,200 copies designed by Hans Mardersteig and printed at the Officina Bodoni. Illustrated with sixteen original color lithographs by Marie Laurencin. Bound in paste-paper-covered boards with a gilt-stamped cloth label on spine. Faintest scattered foxing, minimally affecting a couple of the plates, small booklabel inside front cover, else about fine in printed dust wrapper, which is lightly toned to spine and has a slight outward crease. Housed in a numbered slipcase, which is cracked at the head and foot of spine.

Les métamorphoses de Melpomene et de Thaile, ou, Caracteres dramatiques de comédies françois et italienne.

Octavo. (2)ff., + 23ff. of full-page engraved portraits. First edition. The engravings are portraits of prominent French actors in costume for their most famous roles, below which is printed the name of the character and the play and excerpted lines from that role. Portrayed here are Mesdemoiselles Clarion, Duménil, and Favart, and Messieurs Molé, Bellecour, and Le Kain in roles ranging from Sophocles to Racine. This copy has been augmented, not only by the elaborate hand-coloring, but also by manuscript notations facing each portrait. These notes explain when the actor began his or her theatrical career and give a brief description of the run of a particular production. Long seen as a rare book, there has only been one copy of the 1770 edition at auction in the last twenty-five years, and it was defective. Some mild internal spotting, else near fine in contemporary mottled calf, which shows an older, discreet rebacking and slight rounding to corners.

THE LORD'S PRAYER.
Anonymous

A very tiny version, printed in a circle not more than 2mm. in diameter and mounted on a powerful magnifying lens of the same size. Set into an ivory cylinder, turned to resemble a tiny telescope. The text can be seen by looking through the scope. This sort of miniature peep-show is called a "Stanhope." Fine. (1 by 1/4; 25x6mm).

Ver-Vert suivi de La Chartreuse, l'Abbaye et Autre Pièces.
Gresset, (Jean Baptiste Louis)

160pp. A rare copy of the eighteenth century Jesuit poet's work, printed on pink paper. This "dainty little edition," as Bondy describes it, or "Edition Mignardise," is printed in beautifully clear and amazingly small type created by the Fonderie Laurent et Deberny in Paris. Very fine in full brown morocco, with gilt dentelles on the turn-ins and lovely gilt-accented floral endpapers. Spine gilt-titled and divided into five compartments with raised bands. A.e.g. (See American Art Sale 117, Bondy p.92, Welsh 3174, Mikrobiblion 114). (2 1/4 by 1 11/16; 58x43mm).

Oeuvres (Works by Mme. de Riccoboni).
Riccoboni, Madame de

28pp. One of a series of tiny books containing quotations from five prominent women writers, the "Petite Bibliothèque des dames françaises." Bondy describes the tomes as "A very interesting 'feminist' series of very small volumes printed in minute type," and suggests that these "finely produced volumes" might have been given to ladies with the purchase of chocolates. In flexible, printed boards, and housed in mirrored, brass and tortoise shell case lined with pink satin. The lining shows some wear and adhesive spotting, else a fine copy in an elegant presentation. A.e.g. (Welsh 5992; Bondy p.92). (1 7/8 by 1 1/4; 47x32mm).

Alphabet Inutile, by William-Anthony Caswell.
Caswell, William-Anthony

(64)ff., frenchfold. One of 26 lettered copies, signed by the artist. Each letter is illustrated with two pages of etchings by Righi: one bearing an abstract shape, and another with decorative, hand-etched text. An alphabet book in French, featuring comically nonsensical definitions of words that begin with each letter. Printed on Japanese paper and stab-bound. Housed within a slipcase and a black cloth chemise, which has etched copper printing plates mounted to the covers. The plates are for the two pages that accompany the letter "W" in the book. (2 1/4 by 1 3/4; 56x45mm).

Paul et Virginie.
Saint-Pierre, Jacques Henri Bernardin de

244pp. Bondy calls Marpon et Flammarion's editions "remarkable early examples of a really excellent process of photographic reduction." Bound in contemporary green crushed morocco, with corner floral devices in gold, gilt dentelles, and tiny red leather inlays. Slight fading to binding, ribbon bookmark. T.e.g. (3 by 2 1/4; 76x55mm).

Hiroshima Mon Amour: Synopsis.
Duras, Marguerite

Folio. (15)ff. One of 50 copies, signed by Ann Sperry, who illustrated the volume with handmade paper paintings. Pink papers have been fused with dark gray and rose paper designs, some touched with gold, and others sculpted, cut, and folded. Sperry's designs capture the seriousness, sadness, and sensuality of Hiroshima Mon Amour, a film about a French woman and a Japanese man who meet and become lovers in Hiroshima fourteen years after the atomic bomb. The film's screenplay was written by Duras, and the film itself is considered one of the first examples of French New Wave cinema. An extremely fine example of one of Kaldewey's most stunning books, in a gray cloth clamshell box with Kaldewey's tower logo on the front and the title on the spine in gilt.

Apophthegmatum ex Optimis Utriusque Linguae Scriptoribus.
Lycosthenes, Conrad (Konrad Wolffhart)

Octavo. (24), 1130, (22)pp. First Lyon edition of Wolffhart's encyclopedic collection of apothegms from Classical sources. This edition appears one year after the first edition, which was published by his brother-in-law in Basel, and it is one of a handful of editions that appeared within Wolffhart's lifetime. He died in 1561. The publisher Frellon is noted for printing the 1547 edition of Icones Historiarum Veteris Testamenti, with Holbein's woodcuts, as well as for introducing John Calvin to the Spanish ecclesiastical fugitive Michael Servetus in 1546. Rare: only four institutional holdings of this edition have been recorded worldwide, three of which are in the United States. Occasional underlining and sporadic marginalia. Light marginal wrinkling and few chips to extremities of title page, else a fine copy. In a later binding of full vellum over boards.

"All Sails Up."

One of 250 pieces. A stunning Art Deco-style hand mirror designed by Erté and cast using the lost wax technique at the Joel Meisner & Co. Foundry. Erté, whose fashion images adorned the pages of Harper's Bazaar from 1932 to 1937, was one of the most prominent French illustrators of the Art Deco period. Although he is best known for his fashion illustrations and magazine cover designs, Erté also enjoyed designing and sculpting three-dimensional objects from an early age. Erté explains in his artist's statement: "Since my boyhood in fashion, theater and the decorative arts, I have designed three-dimensional pieces. As a medium of expression, I have always enjoyed sculpting as one of my favorite means of expression." This mirror fits perfectly within his stylish aesthetic: the back of the piece is graced with a glamorous woman dressed in the fashion of the 1930s, wearing draping strands of golden beads. Long earrings and an elegant coif surmounted by a large golden comb complete her ensemble, as she gazes out at a vignette of a sailing ship on aqua-blue seas. Golden clouds frame the ship, almost like a theatrical curtain, and the scene is topped with the phrase "Toutes Voiles Dehors" ("All Sails Up"). The mirror's face is round with elegantly beveled glass. Including the slender, tapered handle, the piece measures approximately thirteen inches in length by seven inches in width. Housed in a stately wood case lined with green satin and velvet, this fine example of Erté's decorative work is in very fine condition.

Crosses of Gold: A Book of Verse.
Crosby, Caresse

16mo. 93pp. One of 100 copies. This is the first edition of Caresse Crosby's first book, illustrated with twenty-nine bright, hand-colored plates by Daniel-Girard. A few of the decorative devices are drawn by hand. This intimate book of romantic poems and short prose pieces is dedicated to Crosby's husband Harry: the first poem is an acrostic on his name, and the letters have been drawn in and decorated by hand. Many of the pieces are set in France, celebrating the Crosbys' experiences as American expatriates in the 1920s. Both Harry and Caresse dedicated themselves to the literary arts. The Crosbys first began publishing books in order to see their own work in print, and Crosses of Gold is the second book they published. In 1927 Harry and Caresse began to pursue this career more seriously and founded Éditions Narcisse. A year later they changed the name to Black Sun Press. Bound in full tree-calf, with the spine decorated in gilt and a red morocco label. This was the binding that the Crosbys used for copies given to their friends. Small splits to front outer hinge, light rubbing to corners, else a near fine copy of this passionate tribute.

Estelle.
Florian, Jean Pierre de

(iv), 228pp. Frontispiece and six full page plates from engravings. Florian's pastoral is printed here by Firmin Didot Frères. In a superb unsigned binding of brown morocco with panelled onlays of blue morocco. Each panel bears a repeating pattern of fritillaria flowers tooled in gilt with tiny red onlays for the petals. Spine in five compartments with gilt title and four fritillaria with dark blue onlaid petals. Edges tooled in gilt. Gilt floral turn-ins. Metallic silver doublures and endleaves with a repeating pattern of fuschia fleurs-de-lys. A.e.g. A fine copy of a famous miniature in sumptuous binding. (Welsh 2843; American Art Association 105; Mikrobiblion 98). (2 5/8 by 2; 62x52mm).

[Almanac]. Petit-Poucet Année 1818.
Anonymous

64pp. An exquisite little "Hop o' My Thumb" calendar for children, entirely engraved. Contains songs and poems, and eight delightful illustrations. One shows a father giving Le Petit-Poucet to his son, saying "pour mieux vous plaire/ point de gros volume indiscret./ Je donne ... ma muse légère/ la grandeur du petit poucet." We see children falling out of apple trees, picking violets, and giving alms. The book ends with a little song in praise of science, "qui fait le charme de nos jours, loin de l'insipide ignorance." Fine in a red leather binding with gold-tooled borders and a lyre in the center of each side. Housed in a little gold-paper slipcase and book-style box by Wilbur Macey Stone. A.e.g. With bookplates of two of the most important miniature book collectors of the early twentieth century, Wilbur Macey Stone and James D. Henderson. (Spielmann 406A; Grolier Club 101). (1 1/16 by 13/16; 28x20mm).

Nouvelle Imitation de la Très Sainte Vierge.
Anonymous

191pp. This elegant book of prayers to the Virgin Mary is illustrated with an engraved frontispiece of the nativity. Printed by Firmin-Didot in black and red with red rules. Gilt floral decoration on the interior with blue and gold pastedowns. Some minor creasing to several leaves along fore-edge; one page has a 1/2-inch tear to outer margin. Nearly fine overall, bound in contemporary blue morocco with elaborate gilt border decorations on covers and turn-ins. A.e.g. A rare miniature, unrecorded in all reference sources, and in a handsome binding. (3 1/16 by 2 1/4; 78x57mm).

El Libro de Misa de Los Niños.

120pp. A book of prayers for children in Spanish and Latin, with engraved title and five plates. Light foxing to plates and light soil to red silk doublures, else fine. Bound in leather-backed black lacquer boards, inlaid with tiny cherubs, cross, and mitre in colored lacquers, now faded. A.e.g. (2 by 1 3/8; 50x35mm).

Am. Sam. Gram.
Maby

Oblong quarto. (13)ff., interleaved with twelve plates colored in pochoir. First edition. A poignant fable about the escapades of a magpie & whose body is made of a pinecone & and three little pinecone chicks as they leave the mantel of the fireplace on which they live to venture out into the world. With illustrations by Maby, about whom little is known. Am, Sam, and Gram are the names of the three little birds, who, despite their journey into the exciting territory of a woodland stream, apparently cannot escape their ultimate fate as fireplace kindling. Following the story is an explication of the Moral in the tradition of Aesop and other fable literature. The gorgeous illustrations, with their strong, simple pochoir coloring, are stylistically akin to the work of Theodor Van Hoytema. Bound in linen-backed, pochoir-illustrated boards, which show minor overall soiling and two faint, small stains to the upper right corner. Scattered light foxing to page edges and outer margins of text leaves. A near fine copy of a rare pochoir picture book.

Ubu Roi: Drame en Cinq Actes, by Alfred Jarry.
Jarry, Alfred

Large quarto. (6), 61, (13)pp. One of 150 copies. An important work of absurdist and surrealist theater based loosely on Shakespeare's Macbeth. It is illustrated with eight colored etchings and a "pop-up" theater by the Chilean expressionist artist, Roberto Sebastian Matta. The etchings depict Pere Ubu and other characters from the play, done in the style of comic strips and Mayan carvings. Georges Leroux, one of the important twentieth century French bookbinders, chose vermillion calf as a palette to bind Ubu Roi. He sculpted relief figures depicting Father and Mother Ubu on the front and rear covers. Modeled after 1950s style Japanese robots, Leroux incorporated a series of gears, springs, and clock wheels in the chest cavities of both figures. He added multi-colored wires, metal widgets, sheet plastic and marbles to the figures and has Father Ubu's holographic eyes spinning in his head. The spine is lettered in gray calf onlays; the flyleaves and doublures are red suede. Book label of noted collector Jan Van Der Marck, whose 1997 work The Art of Contemporary Bookbinding features this work. Van Der Marck writes, "Attracted to the incongruous, like the Surrealists, Leroux indulges his love of tinkering by analyzing, dissecting, and reproducing the most salient imagery and features of a given text and illustration," often using irony and "tongue-in-cheek visual rhymes." For Ubu Roi, he drew on Matta's bold color palette, and the spiral clock spring inside of Father Ubu's chest plays on the characteristic, distinctive spiral designs used both in Matta's illustrations and in Jarry's original depiction of the greedy ruler. Extremely fine, housed in a chemise and slipcase. A complete tour-de-force accompanied by a reproduction of the tin toy, "Chief Robotman," which is battery powered and was the influence for Leroux's design. (Van Der Marck, The Art of Contemporary Bookbinding, p. 29-31; 73).

The Decorated Letter from the VIIIth to the XIIth Century.
Van Moé, Emile-A.

Quarto. 120pp. Illustrated with facsimilies of initials and manuscript pages, which reveal the elaborate beauty of these decorated letters. In off-white boards gilt lettered on spine and front cover. Lacking the dust jacket, else very fine.

Le Bateau Ivre (The Drunken Boat).
Rimbaud, Arthur

Folio. (86)ff. One of 250 copies. Signed by the artist and designer, Thierry Despont. Text in French, with an English translation by Louise Varèse, the English set below the French on the page. Contains twenty-eight drawings by Despont, printed using offset lithography by Susan Medlicott. Type and printing by Michael and Winifred Bixler and Luke Pontifell. Printed on heavy, sumptous cotton rag paper. This copy has been bound by Sylvia Rennie in full blue calf with a design of seven stiff, curvilinear shapes of polished blue, black, and white calf mounted to the front cover as a sculptural element evoking waves and sails. The endpapers are reddish brown brushed suede, very heavy, and the top edge of the book is stained black, with subtle swirling patterns in the stain that pick up the theme of one of the illustrations. The spine letters are onlays of black leather, and this is repeated on the spine of the book's clamshell box, which is specially designed to house this sculptural binding. Sylvia Rennie was a student of Hugo Peller, the Swiss master binder, and her work has been shown in a one-woman show at Kroch and Brentano in Chicago, in the Guild of Book Workers traveling exhibitions, at the Minnesota Center for the Book Arts, and other universities and galleries. A very fine copy of an elegant production, both inside and out.

The National Dresses of Macedonia.
Klickova, Vera

Folio. (42), xiv pp. + (62) ff. Illustrated with forty-six full-page color plates showing women's bridal costumes, men's costumes, and accessories. Also with sixteen supplemary plates with black and white diagrams showing the construction of the clothes. The first color plate is a map of the country, with forty small inset illustrations of people engaged in domestic and agricultural activities, attired in various styles of national dress. A list of the plates, with commentary on each, is followed by an introduction in three states -- Macedonian, French, and English -- and finally the plates. Introduction by Vera Klickova, Director of the Ethnological Museum in Skpoje. The list of plates is perfect bound, the introduction and plates loose as issued. All components collected in a cloth-edged folding chemise with large color illustration on the front panel, and housed in a cardboard slipcase with fore-edge flap. Couple faint smudges and mild toning to front cover of plates list, two closed tears to interior paper lining of chemise at folds, else fine. The bold and colorful plates are printed on stiff, heavy paper suitable for framing.

Boum-Boum.
Claretie, Jules

64 pp. One of fifty deluxe copies with the plates in two states, both black & white and color. Contains ten full-page plates. Pages largely unopened. The volumes in this turn-of-the-century miniature series for children were all illustrated by contemporary French artists, in this case Charles Jouas. About fine in light green printed wrappers. (1 1/2 by 1 3/16; 38x29mm.).

Le Noble Jeu de L'oie en France, de 1640 à 1950 / La Vie Quotidienne a Paris de 1820 à 1824.
D'allemagne, Henry-René

Quarto. 237pp., + 48 plates, nine of which are in color. One of 700 copies. This authoritative text and bibliography on the French "Game of the Goose" and its derivatives is illustrated throughout with images relating to the game, including many whimsical geese. The plates are printed across two-page spreads, showing examples of game boards. The "Game of the Goose" is a circular race game similar to "Snakes and Ladders" with its origins in sixteenth-century Italy. The game was very popular and quickly evolved from a gambling game played by adults in taverns to a form of family entertainment. Bound in paper-covered boards printed with the design of a game board, the edges and corners of which show some discoloration and wear; else fine, with some uncut pages.

PETIT MOIS DE SAINTE JOSEPH, TOGETHER WITH PETIT MOIS DU SACRÉ-COEUR AND PETIT MOIS DE MARIE.
Saint Joseph

Three 16mo. volumes, each with an engraved frontispiece of Christ on the Cross. 124; 124; 124pp. The text blocks are bordered on two sides by engraved devices with a floral and animal motif. The first and third volumes are beautifully bound in blue morocco with strips of red onlay to both boards, while the second volume is in brown morocco with blue onlays. The boards and dentelles bear intricate gilt-tooled decorations, and the spines are ornamented with gilt floral devices in four compartments; a fifth compartment is lettered in gilt. The blue or red endpapers are printed with patterns in gold. Very fine. A.e.g. Housed in a black hardshell case fitted with a cloth-lined tray consisting of three compartments, one for each book, with a rope border; the underside of the box's cover is cloth lined as well, and padded. Box with a push-button clasp and thin gilt border to top cover. Some slight chipping to edges and corners of box, else a handsome accompaniment to these lovely volumes.

L'Art Dans La Decoration Exterieure Des Livres en France et a L'Etranger.
Uzanne, Octave

Small quarto. vi, 272pp. One of 1,000 copies. A study of illustrated, publisher, and designer bookbindings of the period, with numerous reproductions of book covers and bindings issued in France and elsewhere. Designed and illustrated in Art Nouveau style, with decorative initials adorned with flowers and painter's palates, and chapter headings featuring books and tools used in book arts intertwined with branches and flowers. Both are by Léon Rudnicki, a French painter and set designer who collaborated with Uzanne on several occasions. Also illustrated throughout with many monochromatic examples of book covers and decoration subsequent to text. In keeping with the subject matter, the book opens with two variations on the title page design, and the original pictorial wrappers have been preserved in the rear. Bound in quarter green morocco and green cloth, with morocco corner pieces. Gilt floral decorations to leather portion of boards and to spine. Title in gilt on spine. Lightly marbled endpapers. Some offsetting to endpapers, minor spotting to preliminaries, toning to spine, corners slightly bumped, else fine. T.e.g. With the bookplate of famed collector and businessman extraordinaire Stanley Marcus.

Alphabet Gothique par Midolle.

Octavo. (26)ff. A manuscript alphabet book of calligraphic paintings, signed by the artist. Includes title page, twenty-four letters, and "Fin." A renowned nineteenth-century Swiss calligrapher and miniature-painter, Midolle executed his alphabets in the gothic style of lettering to resemble the text of a medieval manuscript, and often decorated his work elaborately. Although a leading figure in the field of chromolithography, Midolle also handcolored his work in the fashion of the miniature paintings found in fifteenth-century French illuminated books. Entirely hand drawn, Alphabet Gothique is executed in such a style, with each elaborately detailed letter rendered in bright colors that have retained their vibrancy to a remarkable degree. Multi-colored flowers, birds, and serpents are prevalent as compositional motifs, intertwined with the letters themselves. Bound in brown morocco with a cover design by noted American collector Cornelius Hauck. The design depicts an oak tree in brown and green morocco onlays. The tree is situated behind three arched and spired portals in gilt that suggest a cathedral. The spine also incorporates portions of the design. Gilt dentelles and silk endpapers complete this handsome binding, which is a fitting complement to the exquisite artwork inside. A.e.g. Very fine.

The Love Books of Ovid.
Ovid

Octavo. 216pp. One of 3,000 copies. With numerous color and black & white engravings by Jean de Bosscèhre. Ovid's three-part treatise on erotic love, translated from the Latin by J. Lewis May and beautifully bound in painted vellum by Parisian binder G. G. Levitzky. The front cover illustration depicts a seduction scene with Cupid hovering above. The illustration is set within an elaborate border of rods and garlands, the top corners of which contain rams' heads. A grisaille frieze depicting a procession runs along the top of the border, and marbled endpapers shimmer with gold. Interior pages show scattered foxing throughout, primarily around edges, and two pages have small tears to the outer margins. In a slipcase covered with marbled paper. Book and slipcase about fine. T.e.g.

Le Petit Paroissien de la Jeunesse.

96 pp. Printed by Firmin Didot, but with Marcilly imprint. With engraved half-title and five plates, the finely executed illustrations depict scenes from the life of Christ. The prayers are arranged for special occasions: morning prayers, evening prayer, prayers for communion and vespers. This tiny prayer book for children was very popular and issued over a long period of time in a variety of printings and bindings. Text in Latin. This copy is in red morocco, with ornamental borders in gilt. Light rubbing to extremities, else fine. Housed in a matching slipcase. A.e.g. (Bondy, p.77; see Grolier 99; Spielmann 404; Welsh 5607). (1 5/8 by 1 1/8; 40x29mm.).

Les Cris de Paris. Texte de Robert Giraud. Quinze eaux-fortes de Lars Bo.

Octavo. (32) ff. One of 150 copies, signed by the author and the artist. Fifteen light-hearted etchings show Parisian street-vendors: the herb-seller; the chestnut-roaster; the strong man, and others. Unbound, as issued, with tissue guards, in pictorial wrappers. Housed in a linen clamshell box with title printed on spine. Very fine.

Poetica. Chants d'Esperance-Hope Song (en 5 langues)+.

22pp. One of 2,000 copies printed by Impremerie Seit. An anthology, with five illustrations. The authors of the "songs of hope" are Ronsard, Hebbel, Tamayo, Dante, and Poe. Bound by hand in cream boards stamped in gilt. Together with a magnifying glass. Housed in a fitted box lined with purple satin and covered in gold paper. (3/8 by 5/16; 10x8mm).

Le Petit Paroissien de L'Enfance.

80pp. A beautiful children's prayer book, illustrated with five engraved plates and an engraved title page. The plates depict scenes from the life of Christ to inspire fervent young readers. These were put out over time in various bindings, but this copy is bound in embossed teal leather with silk endleaves. Page edges slightly ruffled, else fine. A.e.g. (Spielmann 403; Bondy 77-78). (1 1/8 by 13/16; 29x21mm).

Voix de Noël.
Frechette, Louis

Quarto. (10) pp. One of 200 copies printed at the Grabhorn Press. Introduction by Nathan van Patten. Color frontispiece of the Virgin and Child by Judson Starr. A fine copy bound in limp brown boards.

Sonnets Pour Helene.
Ronsard, Pierre de

Folio. 152 pp. From an edition of 258 copies, this one of 225 on papier vergé. Illustrated with a woodcut portrait of the author on the title-page as well as numerous woodcut headlines, tail pieces, and initial letters all by Louis Jou. Specially bound in full vellum over boards, most likely by Jou (he at least provided the design), although the binding may have been a collaboration with Georges Cretté. The title is calligraphed on the upper cover, surrounded by a swirling, floral gilt pattern. A simple, elegant floral border on the lower cover surrounds a central roundel with a double gilt border, the author's name and the initials "LJ" calligraphed within. A fine copy in an unusual binding. Housed in a matching slipcase.

La Cuisine est un Jeu D'Enfants.
Oliver, Michel

Spiral folio. 48 ff. With a Preface by Jean Cocteau. Color illustrations by the author. A bright and colorful cookbook for children with French text. Recipes include soups, hors-d'oeuvres, meat and poultry, sauces, vegetables, eggs and fish, and desserts. Some wear to front and back covers, spiral binding, else fine.

(French Sand-Operated Automaton).
Anonymous

Cased stipple-engraved picture, hand-colored, with cut-out figures. Image is circular and measures seven inches in diameter, within a frame that measures 12 by 14 by 3 inches. The picture shows a boy playing the pipe and drums, while activating a pair of dancing dolls on a plank of wood with his foot. This tableau is set by the wall of a dwelling, and three children look on, one of whom leans out the window of the dwelling. Turning the piece around feeds the fine sand into the mechanism, causing the boy to bang his drum and tap his right foot, both of which are hinged. This is accomplished via a system of wheels and levers. A printed label on the glass-covered mechanism reads "Tableaux Mecaniques Circulaire Brevete" and contains brief operating instructions in French. Several old repairs to black frame, which is worn at corners, crack to glass covering mechanism, few small areas of color rubbed in image.

Le Petit Conteur.

126 pp. With title page vignette and four full page engravings. Selections in French on such topics as "Exemple célèbre d'Amour Filial", "Un Trait du Grand Frédéric", and "Molière et ses Amis". Light soiling to printed paper boards and page edges, else fine. (Welsh 5558; Gumuchian 4120). (3 1/16 by 2 1/8; 78x53mm.).

In Our Time.
HEMINGWAY, ERNEST

30pp. First edition. One of 170 copies. Illustrated with a frontispiece author portrait by Henry Strater, an American painter and fellow expatriate who became friends with Hemingway in Paris. This is the author's second book, published in a smaller edition than his first, a pamphlet of which 300 copies were printed. The sixth and final volume of a series of works by important modern writers, edited by Ezra Pound, titled "The Inquest into the State of Contemporary English Prose." The book contains eighteen terse, untitled chapters, which Edmund Wilson called "dry compressed little vignettes." A book with the same title was published in the US the following year containing fifteen short stories for which the chapters in the present edition served mainly as introductory vignettes. Only two vignettes from this book were titled and used as full stories: "A Very Short Story" and "The Revolutionist." Most reviewers saw an affinity to Gertrude Stein in Hemingway's spare prose style, and F. Scott Fitzgerald felt "a sort of renewal of excitement at these stories wherein Ernest Hemingway turns a corner into the street." In tan boards, printed in red with a pattern of clippings from newspapers in several languages, and the title in black. Slight wear to extremities, else a very fine copy. Housed in a leather-backed slipcase with chemise, which shows some wear.

Le Petit Magicien Animé.
Bouret, Germaine

Small quarto. 7ff. With bright, colorful illustrations by Germaine Bouret and six movable illustrations animated by Robert de Longchamp, all in working order. Text, in French, of "un voyage fantastique au pays mystérieux des illusions." This movable book of magic tricks demonstrates feats of legerdemain, like a card trick and the pulling of a rabbit from a box. Bouret was a well-known French illustrator whose work focused on children. Her postcards, prints, and advertisements could be found in households all across France. Fine in bright pictorial boards.

Les Fables D'Ésope, mises en françois, avec le sens moral en quatre vers, & des figures à chaque fable.
Aesop

Octavo. c, 314pp. A new edition, according to the title page, revised and expanded to include a lengthy, illustrated biography of Aesop by Planudes. With a large woodcut portrait of the author and numerous woodcuts throughout illustrating scenes from the fables. This version of Aesop's fables is intended for and dedicated to young people. Mended tears on a few pages and ownership inscription on front endpaper, else a very nice copy in speckled calf, richly gilt to spine. All edges red.

Oeuvres (Works of Mme. de Stael).
Stael, Madame de

28pp. One of a series of tiny books excerpted from women writers. Light smudging to printed cream wrappers, else fine. (Welsh 6501; Bondy p. 92). (1 7/8 by 1 1/4; 47x32mm.).

Oeuvres (Works of Mme. de Lambert).
Lambert, Madame de

28pp. One of a series of tiny books excerpted from women writers. Light smudging to printed blue wrappers, else fine. (Welsh 4269; Bondy p. 92). (1 7/8 by 1 1/4; 47x32mm).