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    Two volumes in one, 131 x 89 mm, bound in full burgundy morocco, panels ruled with triple gilt fillet, gilt filleted edges, interior gilt dentelle, flat spine with double gilt fillet bands, gilt fleurons in compartments, gilt title label and date at the foot to spine (modern pastiche binding); all edges gilt, marbled endpapers, two bookplates to front pastedown: “MK” and “Ex-libris Yves Refoulé”, the latter drawn by Georges Leone and engraved by Picard. Laid paper with a hardly legible watermark resembles Van Gelder’s beehive. Letterpress head- and tailpieces. Collation 6to: (24mo) t. 1: π3 A-L6 M5; t. 2: χ3 N-Z6 2A6, 2B5, 2 blanks, 100 plates (pl. 32 and 33 is one) within collation, but extraneous to pagination, thus uncounted — pp.: t. 1: [4] 1-48, t. 2: [4] 49-100, total 155 leaves or 310 pages, incl. plates and everything but two binder’s flyleaves at the front and two at the rear. Vigesimo-quarto, 24mo (13 x 9 cm) – typical Cazin’s book format. Title-page: LE | CABINET | DE | LAMPSAQUE, | OU | Choix d'Épigrammes érotiques des plus célebres | Poëtes François. | (in rules) TOME PREMIER/SECOND). | {fleuron putto 1/2} | A PAPHOS. | | 1784. || One hundred figures are executed by burin on a copper plate and attributed to Claude Louis Desrais (French, 1746 – 1816) or some Leclerc, who is unlikely to be Sébastien Leclerc (1637 – 1714), living 100 years earlier. The author of the text is unknown. Catalogue raisonné: Cohen p.197 – provides for 16mo; Dutel № A-171 – provides for 12mo, pagination as 1-50 and 51-100, and mentions the 1st edition in 1744, but does not provide a description of the latter. “Lampsacus was also notable for its worship of Priapus, who was said to have been born there”.
  • NEW
    Two volumes, 132 x 85 mm, uniformly bound in mottled calf, panel bordered with gilt garland, flat spine richly tooled in gilt, gilt lettered black label, blue endpapers, “MK” bookplate to front pastedown, gilt-ruled edges and dentelle inside, all edges gilt, an etching on india paper laid in; text and plates printed on laid paper, with tall ‘s’. Vol. 1: Collation 18mo: A-C-E-G12 B-D-F-H6 I10(I10 blank) (i.e. 82 leaves); pp. [1-5] 6-161 [3], plus 9 plates with tissue guards, extr. to collation; and a flyleaf at the front and at the rear. Title-page: THÉRESE | PHILOSOPHE, | OU | MÉMOIRES | Pour servir à l'Histoire de D. DIRRAG, & | de Mademoiselle ERADICE. | Nouvelle édition, augmentée d'un plus | grand nombre de figures que toutes les | précédentes. | (in rules) TOME PREMIER. | {fleuron} | A LONDRES. | — | M.DCC.LXXXV. || Vol. 2: Collation 18mo: ffl, π2 A-C-E6 B-D12 (D11,12 blank) ffl (i.e. 44 leaves); pp.: [4] [1] 2-80 [4], plus 11 plates with tissue guards, extr. to collation; and a flyleaf at the front and at the rear. Title-page: THÉRESE | PHILOSOPHE, | AVEC | L'HISTOIRE | DE | MME BOIS-LAURIER. | Nouvelle édition, augmentée d'un plus | grand nombre de figures que toutes les | précédentes. | (in rules) TOME SECOND. | A LONDRES. | M.DCC.LXXXV. || Twenty plates were executed in stipple engraving by an unknown engraver after François-Rolland Elluin (French, 1745 – 1810) after Antoine Borel (French, 1743 – 1810). Elluin’s plates are executed in etching and burin, besides: pl. 2 mirror image, pl. 5 and 6 mixed up, pl. 9 here is pl. 19 in the original, pl. 12 here is pl. 9 in the original, pl. 11 is 10, pl. 10 is 11, pl. 13 is p. 12, pl. 16 is pl. 13, pl. 14 does not have clocks, p. 14 corrected by hand to 15 and it is 15 indeed, pl. 17 is pl. 16, pl. 18 is pl. 17, pl. 19 is pl. 18, woman has no hat. The edition is legitimate; however, the plates are pirated copies. Catalogue raisonné: Dutel № 1092, p. 235/6. Contributors: Boyer d'Argens, Jean-Baptiste (French, 1703 – 1771)] Borel, Antoine (French, 1743 – 1810) « Eradice » – Cadière, Marie-Catherine (French, 1709 – ?) « D. Dirrag » – Girard, Jean-Baptiste (French, 1680 – 1733) Laid in sheet — illustration to Thérèse philosopher by Félicien Rops. Microphotographs of certain plates in this edition:  
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    Graphite and watercolour on wove paper, 220 x 277 mm, upper margin trimmed to cut heads of the characters. Pencil sketch and a blue ink stamp “Nachlaß O R SCHATZ", traces of hinges to verso. Artist: Otto Rudolf Schatz (Austrian, 1900 – 1961).