A collection of sixteen engravings, including one of twelve color plates, the Title of 1669 and other works in the definitive state by Maurice Leloir and Edmond Hedouin.

The collection is provided with a complete provenance dating back to the issue of 1895 (including original issuance certificate), the collection title page, a separate list of engravings and certificate of authenticity.

Synopsis:
In The Miser (L'Avare), a five-act comedy in prose, we have the most typical product of Moliére's many-sided genius. In each of his other plays he had given special prominence to one of his qualities as a dramatist; here they are all laid under contribution in about equal degrees. Much of the power revealed in Don Juan is displayed side by side with the finest humor, the tenderest sentiment, the most exquisite ridicule, the most searching satire. Indebted to the Aulularia for the general conception of the piece, Moliére deviated from it in several important respects, and in the result left the comedy of Plautus far behind. Harpagon is preferable to Euclio, not only in being free from anything like extravagance, but in depth and force of characterization. He is generally regarded as the most vivid embodiment yet in existence of the sordid passion which absorbs his mind. Many of his actions and sayings have passed into proverbs. He is the bourgeois miser who steals the oats from his horses; who is distracted by the suspicion that his children intend to rob him; who, from a constitutional objection to the word "give," will only say "I lend you" good day; who will sacrifice his daughter to a stupid old man rather than give her a modest dowry; who, on finding it necessary to entertain ten persons at supper, provides for eight only; who counsels his gambling son to lend out at good interest the money he wins; whose love for a young woman yields in the end to avarice; and who, unlike Euclio, is anxious to increase as well as hoard what he possesses. Every scene in which he appears serves to throw fresh light upon his character. Yet, repulsive as is the vice he represents, his presence throws no gloom over the play, partly because he is held up to derision as well as hatred, and partly because all his surroundings are treated in the spirit of the liveliest comedy.

For the groundwork of the piece, which also differs from that of the Aulularia, we have a double love intrigue, the personages being numerous enough to bring on the stage the entire company of the Palais Royal. Many incidents and scraps of dialogue are borrowed from Plautus and from modern Italian farces. Moliére himself played Harpagon, though the increasing weakness of his chest; now shown in a chronic, hacking cough, rendered him unable, at least without a dangerous effort, to portray the anguish of the miser on discovering the loss of his treasure. Béjart, who was cast for La Fléche, the valet, was also laboring under an infirmity conspicuous enough to become a part of the play. Not long before, in the Place Royal, he had surprised two of his friends doing their best to run each other through the body. He impulsively rushed between them, and was so badly wounded in the foot as to make him lame for the rest of his life.

The Miser: Act III, Scene XII - One of twelve color plates from the collection, with the artist's signature is in the plate, with additional engraving contributions by etcher, Géry-Bichard, whose name is also signed in the plate.

The Miser: Title - Maurice Leloir served as delineator for the title engraving, enhanced from the original work of 1669.

The Miser: Title of 1669 - Maurice Leloir, as delineator, translated from the French, the original work of 1669.

The Miser: Dramatis Personé - Maurice Leloir, as delineator, translated from the French, the original work of 1668, a listing of the cast of characters.

The Miser: Act I, Scene III - Harpagon, in an accusatory manner, demands of La Fleche to: "Show me your hands!" Shown with a full page of dialog from the play.

The Miser: Act I, Scene VII - Scene depicting Elise, Harpagon and Valere, who says: "It sums up everything; and 'without a dowry' makes up for beauty, youth, birth, honor, wisdom, and probity."

The Miser: Act II, Scene II - Cleante, Harpagon, La Fleche and Mastér Simon are represented with a full page of dialog from the play.

The Miser: Act II, Scene VI - Harpagon and Frosine, who exclaims: "If I lose it, I am ruined!" The image shows a deep embossed impression behind the engraving, with the artist's monogram signed in the plate.

The Miser: Act III, Scene V - Engaged in conversation are Harpagon, Valere and Master Jacque, who says, "You have but to speak!"

The Miser: Act III, Scene XII - Cleante graciously forces Mariane to accept the ring which he has taken from his father's finger. The artist's signature is in the plate, with additional engraving contributions by etcher, Géry-Bichard, whose name is also signed in the plate.

The Miser: Act III, Scene XIV - Harpagon (having fallen on the floor) says to La Marluche: "Oh! I am killed!" The artist's monogram is signed in the plate and camoflaged in the arm of a chair.

The Miser: Act IV, Scene IV - Image shown with a full page of dialog from the play, depicts Cleante, Master Jacques and Harpagon, who demands: "Let me alone!"

The Miser: Act IV, Scene VII - The scene of the theft of Harpagon's (the miser) treasure box, which he had hidden in the garden.

The Miser: Act IV, Scene VII - Harpagon is shown in a state of anger over his "lost money". He points to the others and demands: "Is he not hidden among you?" The artist's monogram is signed in the plate.

The Miser: Act V, Scene V - Scene representing all of the characters, Harpagon, Seigneur Anselme, Valere, Mariane, Cleante, Elise and Frosine. Anselme (speaking to Harpagon): "He has robbed you!", whereupon the miser responds by saying: "Himself!"

The Miser: Harpagon - Fini - Harpagon kneels on the ground embracing his box of coin, with visions of winged gold-coin flying overhead. A skeleton with scythe watches from above.