491 - GAUTIER (Théophile). *Théâtre de poche*. Paris: Librairie Nouvelle, 1855. In-16, 255-[1] pp., green sheepskin, ribbed spine, author’s name and title in gold, date at the bottom, cover and spine preserved (modern binding). Ex-libris with the initials “CB” illustrated with a woodcock. A few rare foxing spots.

GAUTIER (Théophile). *Théâtre de poche*. Paris: Librairie Nouvelle, 1855. In-16, 255-[1] pp., green sheepskin, ribbed spine, author’s name and title in gold, date at the bottom, cover and spine preserved (modern binding). Ex-libris with the initials “CB” illustrated with a woodcock. A few rare foxing spots. A largely original edition, bringing together: *Une Larme du diable*, *Une Fausse conversion*, *Pierrot posthume*, *Le Tricorne enchanté*, the *Prologue de Falstaff*, the *Prologue de réouverture de l'Odéon*, and *Pierre Corneille*. Most of the plays had already appeared separately or in the press; the last two prologues, *Prologue de réouverture de l’Odéon* and *Pierre Corneille*, appear here for the first time in book form. This collection is characteristic of Gautier’s whimsical theater, blending mystery, farce, brawls, and occasional plays, and reflecting his taste for the tradition of the commedia dell’arte and poetic theater. Vicaire specifies: “A note in the Monselet catalog […] states that this work was ‘banned shortly after its publication, reportedly due to the Empress’s scruples’; a similar note appears in the Catal. Philippe Burty […] According to the latter catalog, it was because of *Une Larme du diable* that the edition was seized. Mr. F. Drujon […] makes no mention of this detail. The Viscount de Spoelberch de Lovenjoul writes to me on this subject, ‘that there was never a seizure, but that the publisher withdrew the work from sale.’” (Vicaire III, 916.)