Julie Nadot

First edition, one of 20 copies on Arches paper, most limited deluxe issue (tirage de tête).
Like all copies on Arches, it is wrapped in a double dust jacket in yellow and white, and bears the rare sanguine vignette drawn and engraved by Hans Bellmer.
Preface by Jean Paulhan.

Our copy is housed in a custom clamshell box featuring an original design signed by Julie Nadot.

Beautiful first edition copy of this masterpiece of erotic literature, in its most limited deluxe issue.

First edition, one of 55 numbered copies on pur fil paper, most limited deluxe issue.
Endleaves and half-title slightly and partially shaded.
Exceedingly rare and handsome copy of this seminal text of modern feminism.

Our copy is housed in a custom gray clamshell box, square spine titled in red, author's name and subtitles in black, first panel hollowed revealing a black and white photograph of Simone de Beauvoir as a young woman under a plexiglass, title in red, author's name, first volume number and subtitle in black, second panel hollowed revealing a color photograph of the author in her prime under plexiglass, titled in red, author's name, second volume number and subtit

First edition first issue for which no grand papier (deluxe copies) were printed, one of the rare service de presse (advance copies).
Some very discreet restorations to spine, paper browned, some discreet traces folds at the bottom of some leaves.

A handsome copy, as issued. The book is housed in a slipcase signed by Julie Nadot, reproducing the original design of the cover and spine.

This first edition of L'Étranger was printed on 21 April, 1942 with a run of 4,400 copies: 400 advance copies (service de presse), 500 copies without statement and 3,500 copies with false statements from the second to eighth “editi

First edition printed on vélin d'Angoulême. Complete copy with the six banned poems and every misprint on page 29, 31, 43, 45, 108, 110 and 217 specific to first edition copies, except for the error to "s'enhardissant" on page 12, corrected at the beginning of printing. Very rare cover in "first state" (Jean de Schelandre 1385-1636 on the second cover and the price of 3 frs on the spine). Small marginal tears to the covers, discreet restorations to the spine, rare and light scattered foxing attesting to the original condition of the copy, unwashed and unglued unlike most copies.
Our copy is housed in a custom clamshell box with the design of the original cover and spine, signed

Third edition, expanded with 25 new poems. One of the very few deluxe copies on hollande paper, only deluxe issue. In its original wrappers, as issued, skilfull restorations to spine and first cover, some letters of the spine title restored. Some foxing to the first few leaves. 
With a steel-engraved frontispiece portrait of the author by Nargeot and a lengthy introduction by the poet Théophile Gautier along with an addenda selected by Baudelaire containing articles and letters from 1857 by Barbey d'Aurevilly, Dulamon, Sainte-Beuve, Charles Asselineau, Custine, Edouard Thierry and Émile Deschamps.

Like all first issue copies, the cover is dated 1869.
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The second édition originale on ordinary paper. Fifteen hundred copies had been printed, plus 4 on chine paper, a few copies on hollande and on vélin. Complete with the portrait of the author by Félix Bracquemond (often missing), here in first state on papier chine pasted on the page (before letters, i.e. “L'Artiste” on top of the portrait).
A very rare copy with untrimmed margins and no foxing, preserved in its original soft cover; housed in a custom clamshell box with the design of the original cover and spine, signed by Julie Nadot.

Mistakenly considered as “partly original”, this edition was entirely revis

First edition, one of 100 numbered copies on alfa paper, this one of the few nominative hors commerce copies, printed specially for Jean Ballard, the only large paper copies with 10 on Arches paper, also nominative.

Handsome autograph inscription from Louis-Ferdinand Céline to Jean Ballard, director of Cahiers du Sud, which published extracts from Voyage just before its publication, as well as one of the longest reviews devoted to the work.

Few people recognized at first the importance of this debut novel. Céline pitched the manuscript to Gallimard, Bossart, Figuière and of course Denoël, who were the only ones to show any real enthusiasm. Nonetheless, they printed only 2,00