Chambolle Duru (23 results)

Condition: New.

Condition: New.

Condition: New.

Condition: New.

In-4 ( 360 X 260 mm ) de 215 feuillets ( sans impression au verso de pages ), plein maroquin bleu-nuit, dos à nerfs orné de caissons richement dorés avec date dorée, toutes tranches dorées, triple filet doré d'encadrement sur les plats, coupes et coiffes filetées d'or, dentelle intérieure dorée, couvertures conservées ( Reliure signée de CHAMBOLLE-DURU ). Illustrations hors-texte d'Albert LYNCH. EDITION ORIGINALE, 1 des 50 exemplaires numérotés sur Chine ( N°33 ) sans impression au verso des pages, accompagnés d'une AUARELLE ORIGINALE signée d'Albert LYNCH sur le faux-titre, d'un frontispice spécial tiré en couleurs fac-similé d'aquarelle et d'une suite des planches en bistre avant la lettre tirées sur papier Japon. Très bel exemplaire, magistralement relié. Reliure Gravure Edition-Originale Littérature.

Couverture rigide. Condition: Très bon. Edition originale. Paris, Pour les amis du livre 1899, 1 volume grand in 8 25,5 x 17 cm de [8],VIII, 294 , Table, 8 et 1 pages , relié in fine la suite en noir sur chine. Première édition illustrée, ornée de 60 compositions Art nouveau d'Adolphe Giraldon, gravées sur bois par Désiré Quesnel et teintées en couleurs et en or par Durcoutioux et Huillard. 1 frontispice, 3 dessins à pleine page, 2 entêtes, 27 médaillons et 27 culs-de-lampe. Rare d'un tirage total à 120 exemplaires ici le 99. L'exemplaire a été relié pour le bibliophile Lehideux Vernimmen avec son ex- libris relié en tête du livre. La reliure est de plein maroquin vert avec des décors dorés sur les plats et au dos, une large grec encadrée de filets encadre les contre-plats. Toutes les tranches sont dorées La reliure est placée dans un étui bordé. Somptueuse reliure signée de Chambolle-Duru. "La notoriété qu'il avait aquise auprès des amateurs était due à son travail impeccable et à la recherche qu'il apportait dans ses compositions. " Flety dictionnaire des relieurs. Exemplaire des plus désirables de ce bel illustré, tiré pour les bibliophiles les plus exigeants. La société des amis du livre avait été fondée par Beraldi, et comprenait les plus grands bibliophiles du temps on retrouve dans la liste des membres Bordes, Barthou, Paillet, Hoe, Descamp Scrive.que de sompteuses bibliothèques.

Arnhem, apud Crisp. Passeeum chalcographium coloniense et Johannem jansonium typographium Arnhemiensem. 1607. Format small in-4°, (20 x 15 cm). Engraved title page with allegorical border + 3 unnumberd leaves (preface, chaos and homo ills.) + 132 lvs each with an illustration engraved by C.van de Passe, printed on top of the pages, underneath in two colums the Latin and the German text. All printed on the recto side only, on strong paper. (complete). Bound in a brown full morocco binding , without decoration (jansenist), all edges gilt. raised spine with gilt title, Marbled endpapers, pastedown within an intricate floral and straight fillet pattern. Some margins have been carefully restored (max. restored width only a few millimeter). Binding signed Chambolle-Duru. Very fine copy. Crispin van de Passe produced his series of engravings for an edition of 1602. This 1607 edition appeared with the addition of the bi-lingual epigrams (Latin & German). There exists also an edition with the epigrams in Latin and Dutch. Both edition are rare.

First Edition in French. 158 x 98 mm. (6 1/4 x 3 3/4"). [48] leaves.Translated from Italian into French by Jean du Thiers, seigneur de Beauvoir, Minister of Finance and Secretary of State for Foreign Affairs under Henri II of France. LOVELY RED CRUSHED MOROCCO, ELEGANTLY GILT, BY CHAMBOLLE-DURU (stamp-signed on front turn-in and dated 1865), covers framed by double gilt and dogtooth roll, elaborate lacy cornerpieces of curling lines and small tools, raised bands, spine compartments delicately tooled in gilt, gilt lettering, turn-ins with multiple decorative gilt rolls, marbled endpapers, all edges gilt over marbling. With loose ex-libris of Jean Bourdel laid in at front. Renouard, "Imprimeurs parisiens," p. 17; Brunet IV, 459; USTC 34736. âLower cover with one tiny (refurbished) gouge, text probably washed and pressed, but still a clean, fresh, copy internally, in an appealing binding glistening with gold. This is the first appearance in French of the 1541 Italian imitation of Erasmus' "In Praise of Folly" entitled "La Pazzia" ("The Madness"), offered here in a beautiful binding by a 19th century master. The text here uses Erasmus' famous satire as a basis for mock-praising not folly, but madness, claiming that it is the only thing that frees humans from the cruelties, boredom, anxieties, passions, and pains of life. But the work at heart is a call for a life of simplicity. The anonymous author--most likely Bolognese curial official Vianesio Albergati--derides the trappings of rational government and civilization. He says: "How happy people would be without these so-called wise men can easily be judged from the life and customs of the newly-discovered peoples of the West Indies," who "are happy without laws, without letters, without so-called wise men; they don't value gold or jewels; they don't know avarice, or ambition . . . they are nourished by what the ground produces without any cultivation. . . . As in the 'Republic' of Plato, everything is in common . . . they live in perpetual love and grace." The binding here is a perfect example of the kind of beautifully done French classical work produced by René-Victor Chambolle (1834-99), who was apprenticed at the age of 12 to the binder Delaunnay, then worked in the renowned Gruel atelier, before forming a partnership with Hippolyte Duru in 1861. He became sole proprietor of the workshop in 1863, but continued to sign his work "Chambolle-Duru" out of respect for the founder of the atelier. According to Flety, "The fame he acquired among collectors was due to his impeccable work and the research he brought to his compositions." This title was reprinted in 1567 and 1575, but our first edition is rare: we were able to trace just two copies sold at auction since 1975 (for â 3,658 in 2009 and â 3,690 in 2010).

230 x 140 mm. (9 x 5 1/2"). lxiv, 376 pp.With a biographical preface, notes, and other illustrations, by the Rev. Joseph Hunter, F.S.A. ESPECIALLY ATTRACTIVE MAROON MOROCCO, GILT, BY CHAMBOLLE-DURU (stamp-signed on front turn-in), covers with French fillet borders, raised bands, spine compartments with central flower bouquet, floral spray cornerpieces, gilt lettering, densely gilt turn-ins, marbled endpapers, all edges gilt. With coat of arms on title page, engraved frontispiece portrait after Holbein, and a woodcut of the More home, Barnborough, in the text. Keynes, p. 69; Lowndes II, 1603. âSpine and thin strip at top of front board sunned to brown, but AN ESPECIALLY FINE COPY, clean, fresh, and bright internally with extremely ample margins, in a lustrous binding with few signs of wear. This is a handsomely bound copy of the biography of the author of "Utopia" and a major figure in the political, ecclesiastical, and intellectual history of his time. A friend of Erasmus and a believer in church reform, Thomas More (1478-1535), served Henry VIII as chancellor, disagreed with the king's severance of ties with the Catholic Church, and was executed for his refusal to acknowledge Henry as Supreme Head of the Church of England. First printed in Douai between 1626 and 1631 without explicit attribution of authorship, this memoir had a rather vague original preface that gave the impression its author was More's great-grandson and namesake Thomas (1565-1625). Our edition sets the record straight, properly crediting another great-grandson, Cresacre More (1572-1649). DNB speculates that Cresacre, a recusant perhaps fearing retaliation, deliberately obfuscated the issue. An ardent Catholic, Cresacre dedicated his work to the French queen of Charles I, Henriette Marie. The biography, which includes a number of letters written by More to his family, has always been considered a principal source for More's career. The binding here is a perfect example of the kind of beautifully done French classical work produced for an extended period under the name of Chambolle. A rough contemporary of, and certainly the equal in technique to, binders like Trautz, Marius-Michel Père, Lortic, and Cuzin, the elder Chambolle served his apprenticeship under Hippolyte Duru and later formed a partnership with him, as is clear from the stamped signature on our two volumes. Duncan & De Bartha says that this collaboration began "at some point" and implies that the partnership was formed sometime after Chambolle established a premises at 20 rue de Savoie in 1873. Chambolle's son continued the business when his father retired in 1898; according to Duncan and De Bartha, although the firm "showed a cautious recognition of the . . . preoccupation with Art Nouveau," classical work was always the mainstay of the Chambolle bindery. Our Large Paper Copy is 20 mm. taller than the regular edition, as recorded by Keynes, and the spacious margins set off Pickering's printing very nicely. First Pickering Edition. ONE OF 12 LARGE PAPER COPIES.

258 x 185 mm. (10 x 7 1/4"). 67 pp. SPLENDID GARNET RED CRUSHED MOROCCO, EXUBERANTLY GILT AND ONLAID, BY CHAMBOLLE-DURU (stamp-signed in gilt on front doublure), covers framed by onlaid dark brown morocco strapwork with ornate rocaille gilt side ornaments, central panel with onlaid cornerpieces tooled with gilt latticework, raised bands, spine compartments with onlaid black frame tooled in gilt, a mandorla of garnet morocco at center, gilt lettering, DARK BROWN CRUSHED MOROCCO DOUBLURES with intricate dentelle gilt frame, garnet silk free endleaves, all edges gilt. In a suede-lined chemise trimmed with matching garnet morocco and matching slipcase. WITH 37 ORIGINAL WATERCOLORS IN THE TEXT SIGNED BY EDMOND MALASSIS and dated 1913. Verso of front free endleaf with monogrammed engraved bookplate of Henry Blumenfeld-Sciama; front flyleaf with ex-libris of Jean-Charles Lissarrague. A little rubbing near the gutter at front hinge, otherwise A PRISTINE COPY. This is a unique copy of Samain's tale of a lovelorn, blue-eyed faun, illustrated with original watercolors and handsomely bound by a leading Parisian workshop. Symbolist writer Albert Samain (1858-1900) was best known for his poems, but also wrote several short stories contemplating love in its various forms--here we find the passionate but unrequited variety. Malassis' charming watercolors bring the gentle faun Hyalis touchingly to life. The text was printed as a joint venture between the publisher and bookseller Auguste Blaizot and the binder René Kieffer, in an edition of 100 copies with 10 color etchings and 44 woodcuts by Charles Picart le Doux. It seems from the bookplate on the front free endpaper that this special copy--with those illustrations replaced by original watercolors--was likely created for Henry Blumenfeld-Sciama, a wealthy dealer in peacock feathers (then much in demand for ladies' fashions), whose company had celebrated its 100th anniversary in 1912. Our volume was not bound by Kieffer, but by his contemporary René Chambolle, son of the co-founder of Chambolle-Duru. Trained by the elder Chambolle, who had worked under the great Léon Gruel, René took over the workshop after his father's death in 1898. In "Modern Bookbindings," Sarah Prideaux says of her contemporary, "Chambolle most worthily continues the traditions associated with the name of his father. . . . To him are confided the classics of former times, which he clothes in the styles appropriate to them, keeping to a simplicity of ornamentation which reveals great taste and feeling for composition." As Prideaux suggests, our volume does not reflect the radical shifts afoot in French binding decoration, but neither is it marked by simplicity; rather, in keeping with Prideaux's assessment, it has an appropriateness to the subject matter of the text, reflecting in its elaborate and exuberant decoration the passion of the ardent central character. Considering that our volume was probably bound in 1913 (the date on the watercolors) or early 1914, it would have been one of Chambolle's last works, as he was called to serve in the army at the outbreak of the Great War, and died of anthrax in 1915. This copy was later owned by the French bibliophile and pharmacist Jean-Charles Lissarrague (1916-2005) who founded the pioneering skin care line RoC. UNIQUE COPY, WITH ORIGINAL WATERCOLOR ILLUSTRATIONS.

218 x 140 mm. (8 5/8 x 5 1/2"). Two volumes. Preface by René Vallery-Radot. SUPERB CRIMSON CRUSHED MOROCCO, GILT, BY CHAMBOLLE-DURU (stamp-signed on front turn-in), covers framed by floral roll with shell cornerpieces, raised bands, spine gilt in compartments with central floral sprig enclosed by volutes, gilt titling, gilt-framed pastedowns, beige moiré silk endleaves, all edges gilt. With decorative paper wrappers bound in. Housed in suede-lined, morocco-lipped, red marbled slipcases. WITH 63 ILLUSTRATIONS, ALL IN TWO STATES, by Adolphe LaLauze and engraved by Léon Boisson, 21 of these full-page plates. A breath of rubbing to leather, but AN EXTREMELY FINE COPY with virtually no signs of use, inside or out. Printed on luxurious Japanese vellum, charmingly illustrated, and opulently bound, this is an insider's look at the court of Versailles under Louis XVI, authored by a close confidante of the queen. Jeanne-Louise-Henriette Genêt Campan (17521822) first came to court as teacher to the daughters of Louis XV, and became a lady-in-waiting to Marie Antoinette when the young princess first arrived from Austria in 1770. She remained in that position until the storming of the Tuileries Palace by revolutionaries in 1792. Her engaging memoir recounts the glittering life that the Dauphine, then Queen, led at Versailles, as well as the terror of the revolution. Though she lost all her material possessions during the Terror, she held onto her life and was able to rebuild her career under Napoleon I, when she became a leader in the education of French girls, heading up a school founded to educate female relatives of recipients of the Legion of Honor. Our bindings come from one of the finest workshops active in France during the Belle Époque. A rough contemporary of, and certainly the equal in technique to, binders like Trautz, Marius Michel père, Lortic, and Cuzin, the elder Chambolle served his apprenticeship under Hippolyte Duru and later formed a partnership with him. Chambolle's son continued the business when his father retired in 1898, and in "Modern Bookbindings," Sarah Prideaux says of her contemporary, "Chambolle most worthily continues the traditions associated with the name of his father. As an interpreter of the past, he has a place apart and almost untouched by the main revolutionary movement that has penetrated nearly every atelier in Paris, and modified, if not overturned, its inherited traditions. To him are confided the classics of former times, which he clothes in the styles appropriate to them, keeping to a simplicity of ornamentation which reveals great taste and feeling for composition." Chambolle has done just that here, creating bindings that would have looked at home on Madame Campan's bookshelf. No. 69 OF 100 COPIES printed on Japanese Vellum.

Paris, Editions Jouast, Librairie des Bibliophiles, 1874, 2 vols. in-8°, [1] (8)pp(avec les lettres abcd) + xxxii pp + 171 pp. ; [2] 139 pp. avec 6 gravures hors-texte de Hédouin. ( on a ajouté une suite de 6 gravures - avant la lettre). (en total 12 gravures. Tiré à 200 exemplaires numérotés. Ceci est l'exemplaire n°8 (des 15) sur papier de Chine (premier papier). Relié en deux volumes plein maroquin bleue. Décor à la dentelle au plats, dos doré, double fillet sur les coupes, contre plats avec bordure composé de plusieurs fillets. Tranches dorées. Couvertures conservées. Reliure signée [Chambolle-Duru]. Dans une emboitage de protection en papier (moderne). Très bel exemplaire en parfait état. Quoi que le livre en deux volumes était facilement à reliér en un volume; le premier amateur a choisi de le faire reliér en deux volumes. Il y avait apparament pas de limite sur ses gouts bibliophiliques. (il reste inconnu; pas d'ex-libris !). En plus cette édition est une des plus estiméé de Jouast. Très beau témoin du gout raffiné de la bibliophilie française à la fin du 19e siècle (La Belle Epoque).

Recueil complet des 10 contes de Maupassant publiés par la Société des Bibliophiles de l'Académie des beaux-livres. Il se compose d'une couverture, d'un faux titre et d'un titre, accompagnés d'un frontispice en couleurs de Paul AVRIL d'après Félicien ROPS, suivis des 10 titres suivants, chacun avec sa couverture particulière :- Le Loup. Histoire de chasse. Novembre 1891. (2 ff.), 12 pp. Edition entièrement gravée, illustrée de 15 eaux-fortes relevées d'aquatinte par Everete Louis Von MUYDEN (1853-1922), dont une sur le titre, 12 bandeaux, une lettrine et un cul-de-lampe. Le texte a été gravé au burin par A. Leclère.- Hautot père & fils. 1892. (2 ff.), 20 pp., 3 planches. Edition illustrée de 12 compositions de Georges JEANNIOT, dont 3 hors texte, la plupart en couleurs, retouchées à l<'eau-forte et au burin par Henry Manesse et tirées en taille-douce polychrome par la maison Wittmann.- Allouma. 1892. (2 ff.), 30 pp., (1 f.). Edition illustrée de 2 têtes de chapitre en couleurs et de 2 culs-de-lampe en camaïeu, gravés par Paul AVRIL.- Mouche. Souvenir d'un Canotier. 1892. (2 ff.), 20 pp. Edition entièrement gravée, illustrée à chaque page d'une composition de Ferdinand GUELDRY gravée sur cuivre par Fillon. Le texte a été gravé au burin par A. Leclère.- La Maison Tellier. 1892. (2 ff.), 44 pp., (2 ff. dernier blanc). Edition illustrée de 25 aquarelles de Pierre VIDAL dans le texte, gravées par Hellé et Ruckert, et coloriées par Grenengaire.- Un Soir. 1892. (2 ff.), 27 pp. Edition illustrée de 28 compositions de Georges SCOTT, gravées sur bois par D. Quesnel et Duplessis.- Le Champ d'oliviers. 1892. (2 ff.), 34 pp., 3 planches. Edition illustrée de 9 compositions de Paul GERVAIS, dont 3 têtes de chapitre, 3 culs-de-lampe et 3 hors-textes, héliogravées et tirées en taille-douce par Boussod et Valadon.- Mademoiselle Fifi. 1892. frontispice, (2 ff.), 22 pp., (1 f.), 3 planches. Edition illustrée de 22 compositions d'A. Gérardin et Charles Morel dont 18 dans le texte, gravées sur bois par Jules Tinayre et 4 hors texte gravées sur cuivre par Hellé, dont une en couleurs. Exemplaire enrichi de la planche en couleurs qui était remise aux sociétaires après la publication.- L'Epave. 1892. (2 ff.), 17 pp., (1 f.). Edition non illustrée. Exemplaire enrichi des 6 lithographies d'Alexandre LUNOIS tirées sur japon, qui étaient remises aux sociétaires après la publication.- Une partie de campagne. 1892. (2 ff.), 18 pp., (1 f. blanc). Edition non illustrée. Exemplaire enrichi d'une eau-forte en couleurs d'Henri BOUTET, qui était remise aux sociétaires après la publication.Le tirage était, selon Vicaire, de 188 exemplaires sur vélin filigrané au nom de l'auteur et de la collection, non mis dans le commerce. Cet exemplaire porte le numéro 157, et fut spécialement imprimé pour le commissaire-priseur Léon Tual (1846-19.). Très bien relié par Chambolle-Duru, il comporte bien les deux plats et le dos de la couverture générale et les couvertures de tous les contes. On y trouve également le prospectus imprimé sur papier bleu envoyé aux sociétaires à propos de l'ouvrage.Exemplaire enrichi d'une L.A.S. de Maupassant montée en tête, 2 pages 1/2 in-16, non datée, adressée à "Ma chère cousine", à propos de son déplacement à Alger.

190 x 125 mm. (7 1/2 x 5"). 3 p.l., 239 pp. ELEGANT DARK BLUE CRUSHED MOROCCO, GILT, BY CHAMBOLLE-DURU (stamp-signed on front turn-in), covers with French fillet border, raised bands, spine compartments with centerpiece of two birds on a branch, scrolling cornerpieces with a tiny bird perched on top, gilt titling, turn-ins with flower-and-acanthus-leaf roll, plain and decorative gilt rules, marbled endpapers, all edges gilt. Original orange paper wrappers bound in. With two frontispiece portraits, engraved dedication page with portrait, and 41 WOOD-ENGRAVED VIGNETTES, 34 of these BY E. MEISSONIER. Ray, "The Art of the French Illustrated Book" 256; Carteret III, 156; Vicaire II, 387. Minor offsetting to title page from engraved portrait, one opening with offsetting from ribbon marker, isolated tiny rust spots, but QUITE A FINE COPY, clean, fresh, and bright internally with ample margins, IN A SPARKLING BINDING with no signs of wear. Handsomely bound and charmingly illustrated, this collection of "Tales of Rheims" is full of poetic praise for that French city, the surrounding countryside, and its best-known product, Champagne. Poet and raconteur Louis de Chevigné (1793-1876) was married to the only daughter of la Veuve Cliquot, head of the famed Champagne house, and he promotes the family wares enthusiastically here, beginning the work by proclaiming "The happiest country is that of Champagne! / Its exquisite wines perfume the mountains!" and ending with a verse that asks "Is there a wine more gay than Champagne? Happiness accompanies it everywhere." These effervescent verses are enriched with graceful vignettes, most of them by Ernest Meissonier (1815-91). According to Ray, "Meissonier is now remembered as a master of genre and military painting, but he was also a leading Romantic illustrator," as memorably demonstrated in the present work: "Chevigné's little stories in verse set in an earlier period are mild imitations of La Fontaine's Contes et nouvelles which feature for the most part the tribulations of old husbands and amorous priests. They would hardly be remembered today if it were not for Meissonier's delicate and precise vignettes. He had a style which made everything he touched interesting." Carteret agrees, calling this "one of the most beautiful romantic productions." The binding here is a perfect example of the kind of handsomely done French classical work produced for an extended period under the name of Chambolle. A rough contemporary of, and certainly the equal in technique to, binders like Trautz, Marius Michel père, Lortic, and Cuzin, the elder Chambolle served his apprenticeship under Hippolyte Duru and later formed a partnership with him, as is clear from the stamped signature on our volume. Chambolle's son continued the business when his father retired in 1898, and in her "Modern Bookbindings," Sarah Prideaux says of her contemporary, "Chambolle most worthily continues the traditions associated with the name of his father. . . . To him are confided the classics of former times, which he clothes in the styles appropriate to them, keeping to a simplicity of ornamentation which reveals great taste and feeling for composition." While copies of this work appear in the marketplace regularly, it is unusual to find one in such an attractive binding and in such desirable condition. Third Edition; First Edition with these Illustrations.

Bruxelles, Edmond Deman, Libraire-éditeur, 1893, grande in-8°, 27 x 17,5 cm, (8) pp nn + 197 pp + 7 pp ( tables) + (4) pp nn ( dont un blanc). Avec relié avant le titre un dessin colorié originale, à pleine page, signé et daté (1906) de C. Léandre, avec comme encart une lettre autographe de C. Léandre ( daté 1901). Les illustrations comportent 10 planches , 8 + 8 vignettes + 29 illustrations dans le texte. Toutes les illustrations en triple. Reliure en plein maroquin blue, triple filets sur les plats, double filets sur les coupes, dos à cinq nerfs avec décoration dorée; tranches dorées ; sur les plats intérieur papier marbré encadré d'une série de 6 filets ( floral, pointillé.). Signé dans la marge inférieure du plat intérieur supérieur [Chambolle-Duru]. Avec une emboitage en toile blue, étiquette en cuir sur le dos. Tiré à 110 exemplaires par Charles Hérissay à Evreux. Ceci est un des 35 exemplaires ( numerotés 11 - 45) de l'édition imprimée pour Edmond Deman , sur papier Japon , avec le numéro 20, avec les initiales autographes de E. Deman. Le livre contient une double suite en plus des illustrations, ainsi qu'une page de titre en plus avec l'adresse d' Emile Testard à Paris. Il y a aussi le dessin de Léandre et une lettre de lui. L'édition originale de ''La famille Cardinal '' date de 1883 et décrit une famille de la petite bourgeoisie parisienne. L'auteur est surtout connu pour sa participation aux nombreux livrets d'opéra et opérettes, e.g. La Belle Hélène de Jacques Offenbach ; Carmen de Georges Bizet. Exemplaire en très bel état, témoin royal de cette grande tradition bibliophilique du livre français illustré à la fin du 19e siècle ; avec une reférence latérale à la bibliophilie belge à Bruxelles. ( (Voyez : Adrienne et Luc Fontainas ; Edmond Deman éditeur, pp. 329 ; Vicaire IV, col. 10 ).

LeatherBound. Condition: New. BOOKS ARE EXEMPT FROM IMPORT DUTIES AND TARIFFS; NO EXTRA CHARGES APPLY. LeatherBound edition. Condition: New. Reprinted from 1797 edition. Leather Binding on Spine and Corners with Golden leaf printing on spine. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. Pages: 264 As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Pages: 264 Volume 2 Language: French.

LeatherBound. Condition: New. BOOKS ARE EXEMPT FROM IMPORT DUTIES AND TARIFFS; NO EXTRA CHARGES APPLY. LeatherBound edition. Condition: New. Reprinted from 1797 edition. Leather Binding on Spine and Corners with Golden leaf printing on spine. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. Pages: 282 As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Pages: 282 Volume 1 Language: French.

LeatherBound. Condition: New. BOOKS ARE EXEMPT FROM IMPORT DUTIES AND TARIFFS; NO EXTRA CHARGES APPLY. LeatherBound edition. Condition: New. Reprinted from 1885 edition. Leather Binding on Spine and Corners with Golden leaf printing on spine. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. Pages: 184 As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Pages: 184 Language: French.

Leather Bound. Condition: New. Language: French. Presenting an Exquisite Leather-Bound Edition, expertly crafted with Original Natural Leather that gracefully adorns the spine and corners. The allure continues with Golden Leaf Printing that adds a touch of elegance, while Hand Embossing on the rounded spine lends an artistic flair. This masterpiece has been meticulously reprinted in 2024, utilizing the invaluable guidance of the original edition published many years ago in 1885. The contents of this book are presented in classic black and white. Its durability is ensured through a meticulous sewing binding technique, enhancing its longevity. Imprinted on top-tier quality paper. A team of professionals has expertly processed each page, delicately preserving its content without alteration. Due to the vintage nature of these books, every page has been manually restored for legibility. However, in certain instances, occasional blurriness, missing segments, or faint black spots might persist. We sincerely hope for your understanding of the challenges we faced with these books. Recognizing their significance for readers seeking insight into our historical treasure, we've diligently restored and reissued them. Our intention is to offer this valuable resource once again. We eagerly await your feedback, hoping that you'll find it appealing and will generously share your thoughts and recommendations. Lang: - French, Pages: - 184, Print on Demand. If it is a multi-volume set, then it is only a single volume. We are specialised in Customisation of books, if you wish to opt different color leather binding, you may contact us. This service is chargeable. Product Disclaimer: Kindly be informed that, owing to the inherent nature of leather as a natural material, minor discolorations or textural variations may be perceptible. Explore the FOLIO EDITION (12x19 Inches): Available Upon Request. 184.

Leather Bound. Condition: New. Language: French. Presenting an Exquisite Leather-Bound Edition, expertly crafted with Original Natural Leather that gracefully adorns the spine and corners. The allure continues with Golden Leaf Printing that adds a touch of elegance, while Hand Embossing on the rounded spine lends an artistic flair. This masterpiece has been meticulously reprinted in 2025, utilizing the invaluable guidance of the original edition published many years ago in 1797. The contents of this book are presented in classic black and white. Its durability is ensured through a meticulous sewing binding technique, enhancing its longevity. Imprinted on top-tier quality paper. A team of professionals has expertly processed each page, delicately preserving its content without alteration. Due to the vintage nature of these books, every page has been manually restored for legibility. However, in certain instances, occasional blurriness, missing segments, or faint black spots might persist. We sincerely hope for your understanding of the challenges we faced with these books. Recognizing their significance for readers seeking insight into our historical treasure, we've diligently restored and reissued them. Our intention is to offer this valuable resource once again. We eagerly await your feedback, hoping that you'll find it appealing and will generously share your thoughts and recommendations. Lang: - French, Vol:- Volume 2, Pages:- 264, Print on Demand. If it is a multi-volume set, then it is only a single volume. We are specialised in Customisation of books, if you wish to opt different color leather binding, you may contact us. This service is chargeable. Product Disclaimer: Kindly be informed that, owing to the inherent nature of leather as a natural material, minor discolorations or textural variations may be perceptible. Explore the FOLIO EDITION (12x19 Inches): Available Upon Request. Volume 2 264.

Leather Bound. Condition: New. Language: French. Presenting an Exquisite Leather-Bound Edition, expertly crafted with Original Natural Leather that gracefully adorns the spine and corners. The allure continues with Golden Leaf Printing that adds a touch of elegance, while Hand Embossing on the rounded spine lends an artistic flair. This masterpiece has been meticulously reprinted in 2025, utilizing the invaluable guidance of the original edition published many years ago in 1797. The contents of this book are presented in classic black and white. Its durability is ensured through a meticulous sewing binding technique, enhancing its longevity. Imprinted on top-tier quality paper. A team of professionals has expertly processed each page, delicately preserving its content without alteration. Due to the vintage nature of these books, every page has been manually restored for legibility. However, in certain instances, occasional blurriness, missing segments, or faint black spots might persist. We sincerely hope for your understanding of the challenges we faced with these books. Recognizing their significance for readers seeking insight into our historical treasure, we've diligently restored and reissued them. Our intention is to offer this valuable resource once again. We eagerly await your feedback, hoping that you'll find it appealing and will generously share your thoughts and recommendations. Lang: - French, Vol:- Volume 1, Pages:- 282, Print on Demand. If it is a multi-volume set, then it is only a single volume. We are specialised in Customisation of books, if you wish to opt different color leather binding, you may contact us. This service is chargeable. Product Disclaimer: Kindly be informed that, owing to the inherent nature of leather as a natural material, minor discolorations or textural variations may be perceptible. Explore the FOLIO EDITION (12x19 Inches): Available Upon Request. Volume 1 282.

LeatherBound. Condition: New. BOOKS ARE EXEMPT FROM IMPORT DUTIES AND TARIFFS; NO EXTRA CHARGES APPLY. LeatherBound edition. Condition: New. Reprinted from 1653 edition. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. A perfect gift for your loved ones. Pages: 594 NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Pages: 594.

Leather Bound. Condition: New. Language: French. Presenting an Exquisite Leather-Bound Edition, expertly crafted with Original Natural Leather that gracefully adorns the spine and corners. The allure continues with Golden Leaf Printing that adds a touch of elegance, while Hand Embossing on the rounded spine lends an artistic flair. This masterpiece has been meticulously reprinted in 2024, utilizing the invaluable guidance of the original edition published many years ago in 1857. The contents of this book are presented in classic black and white. Its durability is ensured through a meticulous sewing binding technique, enhancing its longevity. Imprinted on top-tier quality paper. A team of professionals has expertly processed each page, delicately preserving its content without alteration. Due to the vintage nature of these books, every page has been manually restored for legibility. However, in certain instances, occasional blurriness, missing segments, or faint black spots might persist. We sincerely hope for your understanding of the challenges we faced with these books. Recognizing their significance for readers seeking insight into our historical treasure, we've diligently restored and reissued them. Our intention is to offer this valuable resource once again. We eagerly await your feedback, hoping that you'll find it appealing and will generously share your thoughts and recommendations. Lang: - French, Pages: - 465, Print on Demand. If it is a multi-volume set, then it is only a single volume. We are specialised in Customisation of books, if you wish to opt different color leather binding, you may contact us. This service is chargeable. Product Disclaimer: Kindly be informed that, owing to the inherent nature of leather as a natural material, minor discolorations or textural variations may be perceptible. Explore the FOLIO EDITION (12x19 Inches): Available Upon Request. 465.