Latest Acquisitions

First edition.
Half midnight blue calf binding, spine with 4 raised bands decorated, tiny tears, corners slightly bumped.

first edition on current paper.
Publisher's binding in full white canvas, smooth back.
Beautiful complete copy of his jacket.
Referent autograph signed by Jean-Jacques Gautier to Georges Simenon.

First edition for which no deluxe copies are mentioned.
Work illustrated by V. Le Campion.
Spine and front cover uniformly sunned, back cover marginally sunned.

First edition from which it was not drawn from large papers.
A tiny gri-gri of the dedicatee at the head of the first board, a pleasant copy.
Autograph signed by Eliane Lavaud to PJ Guinard, specialist in 18th century Spanish-speaking literature and the press.

First edition, one of 109 numbered copies on Lafuma Navarre paper and reimposed in Tellière quarto format, deluxe issue.
Our copy is presented in chemise and slipcase of vellum-style boards, marbled paper covers.
Fine copy.

First edition, one of 35 numbered copies on pure Arches laid paper, deluxe issue.
Iconography.
Light crease without significance to front cover, handsome copy.

Illustrated edition of original woods by Emile Bernard, one of 700 numbered copies on Arches paper vellum.
Pleasant copy.

first edition on current paper.
Pleasant copy.
Autograph signed by Paul Fort to Armand Godoy.

First edition, one of 26 numbered copies on Marais vellum, the only deluxe copies.
Handsome copy.

Fifteenth edition. Half chocolate shagreen bindings, spines with four raised bands set with gilt dotted lines decorated with gilt fillets as well as double blind compartments, blind fillet frames on hazel paper boards, marbled endpavers and pastedowns. Some light foxing affecting mainly the margins. Handsome complete set in 4 volumes.

First edition, of which no deluxe copies were printed.
Half mint green morocco binding, spine slightly faded with five raised bands set with gilt stippling, date at foot, marbled paper boards, marbled endpapers and pastedowns, preserved lined covers (with corner restoration), top edge gilt, binding attributed to the Laurenchet workshop.
Copy nearly free from foxing, handsomely bound.

First edition, one of 230 numbered copies on white wove paper, ours one of 30 out of trade, only large papers.
Autograph signed by André Salmon to René Jouglet.
Book illustrated with a frontispiece and Savignac bands.
Beautiful copy.

First edition, one of 262 numbered copies on "pur-fil" paper including a page of the manuscript of the book .
Pleasant copy wide-margined very complete of its genealogical table leaflet in fine.

First edition, one of 77 numbered copies on "pur-fil" paper, head print after 35 Holland paper.
Beautiful and rare copy wide-margined.

first edition on current paper.
Autograph signed by Marcel Arnac to Félicien Champsaur.
Illustrated book of drawings by the author, nice copy.

First edition, one of the 69 numbered copies on Holland paper, deluxe copies ("tirage de tête").
Very nice copy wide-margined and complete in five volumes.

First edition, one of 62 numbered copies on deluxe paper, only the first volume being justified.
Handsome copies, unbound, presented in double chemises and red skyvertex slipcases.

First edition, one of 115 numbered copies on "pur-fil" paper, only deluxe copies ("grand papier") after 43 Holland paper.
Beautiful copy.

First edition, one of 40 numbered copies on Holland paper, deluxe copy ("tirage de tête").
Very nice copy.

First edition, one of 52 numbered copies on Montval paper, the deluxe issue.
Bookplate pasted on an endpaper.
Handsome full-margined copy.

First edition, one of 40 numbered copies on Arches paper, the deluxe issue after 20 Holland.
Handsome copy.

First edition, one of 65 numbered copies on wove paper, the only deluxe copies.
A handsome copy.

First edition, one of 28 copies on wove paper, ours unnumbered, deluxe copy.
A handsome copy despite a small angular tear repaired on the rear cover.

First edition not distributed commercially. Iconography.
A small stain at foot of spine, fine copy.

First edition, one of 109 numbered copies on Lafuma Navarre and reimposed in tellier quarto format, head print.
Autograph signed by Gabriel Audisio to Robert Vitrant.
Tiny bites on the back and the second board, marginally and very slightly shaded guards.

First edition of the translation, notes and presentation by Jean Markale, of which there were no deluxe copies.
Preceded by "Braise au trépied de Keridwen" by André Breton.
Handsome copy.

First edition in French, one of 40 numbered copies on pure thread paper, the only deluxe copies with 5 Japan and 20 Holland. With a frontispiece photographic portrait of the author.
A handsome and rare full-margined copy.

First edition, one of 100 numbered copies on laid Arches paper, the only deluxe copies.
A handsome full-margined copy.

First edition of the French translation, one of 792 numbered copies on pur fil paper, the only deluxe copies with 108 reimposed.
Worming affecting the very first and very last pages.

First edition, one of 200 numbered copies on Johannot paper, deluxe issue.
Iconography, handsome copy.
Press cuttings included.

First edition despite a fanciful mention of a thousand at the top of the first cover, one of 50 numbered copies on Alfa paper, the only large papers.
Rare autograph shipment signed by Francisco Contreras to André Lautier .
Freckles mainly affecting the margins of certain pages.

First edition for which it was not drawn from large papers.
Pleasant copy.
Autograph shipment signed by Jacques Laurent.

First edition, one of 600 numbered copies on tinted laid paper, the only issue with 30 Van Zonen copies.
Spine sunned, as is generally the case.

First edition in French, one of 325 numbered copies on Artois vellum, the only deluxe copies.
Handsome copy.

First edition, one of 65 numbered copies on pur fil, ours one of the 5 hors commerce copies, the only deluxe copies.
Handsome copy.

Autograph signed calling card addressed to Jani Brun, written in black felt-tip pen and bearing some stains.
The writer informs his young French mistress of an imminent departure to London, where he frequently visited his publisher: "Je suis chez Alan Thomas. 16 Holbury St. Chelsea. Faites moi signe quand tu veux [sic] Love, Larry" ["I am at Alan Thomas's. 16 Holbury St. Chelsea. Let me know when you want [to meet]. Love, Larry"].

After many years spent in Greece, Egypt and Rhodes, the travel writer Lawrence Durrell was forced to flee Cyprus following popular uprisings that led the island to its independence from the British crown. Rich only with a shirt and a typewriter but crowned with the success of his novel Bitter Lemons of Cyprus (Les citrons acides), he arrived in France in 1956 and settled in the Languedoc village of Sommières. In the "maison Tartès," his large house surrounded by trees, he wrote the second part of his work, his monumental Avignon Quintet, devoted himself to painting and received his illustrious friends, including the couple Henry Miller and Anaïs Nin, the violinist Yehudi Menuhin, the London publisher Alan G. Thomas, and his two daughters Penelope and Sappho.
Among the olive trees and under the Mediterranean sun, he met in the mid-1960s the young and sparkling "Jany" (Janine Brun), a thirty-something woman from Montpellier of devastating beauty, who worked in the Department of Antiquities at the Sorbonne in Paris. She was nicknamed "Buttons" in memory of their first meeting, where the young woman wore a dress covered with buttons. Henry Miller also fell under the charm of "Buttons," praising her beauty and eternal youth in exceptional unpublished letters. The three companions spent memorable Parisian evenings of which we keep precious autograph traces through their epistolary exchanges. Recommended by Durrell, she made numerous trips notably to England from where she received extensive correspondence from the writer as well as original works of art signed with his artist pseudonym, Oscar Epfs.

First edition.

 

Half-shagreen binding of the late 19th century. Smooth spine decorated with repeated romantic tooling, title and date in gilt. Top edge gilt. Spine uniformly sunned. Light scattered foxing. 

Bookplate with crowned cipher, Alfred and Blanche de Curzon.  Alfred de Curzon was a French painter, deceased in 1895.

This collection contains important short stories by the author, including Mateo Falcone, L'enlèvement de la Redoute, Vision de Charles XI, Le vase étrusque...

Autograph postcard by Lawrence Durrell addressed to Jani Brun. A few lines in ink. Envelope included.
The ink has slightly smudged, the envelope having presumably been dampened.
The writer addresses this card from Sommières, his Languedoc retreat, to his lover Janine Brun: "Janine est-ce que vos dates sont fixés [sic] ? Je ne sais pas si je suis de retour de Londres avant le 10 samedi - écris moi pour me dire - Love, Larry" ["Janine are your dates fixed? I don't know if I'll be back from London before Saturday the 10th - write to tell me - Love, Larry"]

After many years spent in Greece, Egypt and Rhodes, the travel writer Lawrence Durrell was forced to flee Cyprus following popular uprisings that led the island to its independence from the British crown. Rich only with a shirt and a typewriter but crowned with the success of his novel Bitter Lemons, he arrived in France in 1956 and settled in the Languedoc village of Sommières. In the "maison Tartès," his large house surrounded by trees, he wrote the second part of his work, his monumental Avignon Quintet, devoted himself to painting and received his illustrious friends, including the couple Henry Miller and Anaïs Nin, violinist Yehudi Menuhin, London publisher Alan G. Thomas, and his two daughters Penelope and Sappho.
Among the olive trees and under the Mediterranean sun, he met in the mid-1960s the young and vivacious "Jany" (Janine Brun), a woman from Montpellier in her thirties of devastating beauty, who worked in the Department of Antiquities at the Sorbonne in Paris. She was nicknamed "Buttons" in memory of their first meeting, where the young woman wore a dress covered with buttons. Henry Miller also fell under the charm of "Buttons," praising her beauty and eternal youth in exceptional unpublished letters. The three companions spent memorable Parisian evenings of which we keep precious autograph traces through their epistolary exchanges. Recommended by Durrell, she made numerous trips particularly to England from where she received extensive correspondence from the writer as well as original artworks signed with his artist pseudonym, Oscar Epfs.

Edition illustrated with 52 original compositions by Adrien Marie.
Publisher's binding in full polychrome boards, smooth spine richly decorated with gilt ornamental motifs, front cover also enhanced with gilt decoration, blue paper endpapers and pastedowns, all edges gilt.
Some light foxing affecting mainly the very last pages of the work.
Handsome copy presented in boards of beautiful freshness.

First edition printed in 600 copies on laid paper.
Work illustrated with a portrait of C. Baudelaire as frontispiece (the portrait in our copy is detached).
Spine and covers lightly soiled, handsome interior condition, two tiny corner lacks to front cover.

New edition partly original because augmented by the correspondence of Balzac and Madame de Berny, one of the few numbered and justified copies by the publisher on Holland papere , head print.
Book decorated with inset illustrations.
Back and boards slightly and marginally insolated without gravity, pleasant copy at all margins.

First edition, one of the rare numbered copies on pure linen paper, the print run is not specified, there is no mention of other deluxe copies.
Covers very lightly and marginally sunned without consequence, handsome copy.

Autograph postcard signed by Lawrence Durrell addressed to Jani Brun, written in black felt-tip pen, on the verso of a view of the banks of the Vidourle at Sommières.
Admirable and humorous confession by the writer to his young lover: "Tout le monde cherche quelqu'un de fidèle tout en restant 'libre' en échange ! Bientôt je serai impuissant et le problème n'existera plus !" ["Everyone is looking for someone faithful while remaining 'free' in return! Soon I will be impotent and the problem will no longer exist!"]. Durrell reflects on his numerous feminine conquests ("Pour l'instant je suis comblé de belles et j'en profite - pourquoi pas !" ["For now I am overwhelmed with beauties and I'm taking advantage of it - why not!"]) and gives precious advice to his addressee, who had chosen to remain independent despite the writer's entreaties: "Tu n'es pas heureuse en amour parce que tu es intéressée - tu cherche [sic] des combines toujours au lieu de te donner sans réserve ni réservation ! C'est quand on deviens [sic] esclave qu'on est vraiment heureux !" ["You are not happy in love because you are self-interested - you are always looking for schemes instead of giving yourself without reserve or reservation! It's when one becomes a slave that one is truly happy!"]


After many years spent in Greece, Egypt and Rhodes, the traveler-writer Lawrence Durrell was forced to flee Cyprus following popular uprisings that led the island to its independence from the British crown. Rich only in a shirt and a typewriter but crowned with the success of his novel Bitter Lemons of Cyprus, he arrived in 1956 in France and settled in the Languedoc village of Sommières. In the "maison Tartès," his large house surrounded by trees, he wrote the second part of his work, his monumental Avignon Quintet, devoted himself to painting and received his illustrious friends, including the couple Henry Miller and Anaïs Nin, violinist Yehudi Menuhin, London publisher Alan G. Thomas, and his two daughters Penelope and Sappho.
Among the olive trees and under the Mediterranean sun, he met in the mid-1960s the young and sparkling "Jany" (Janine Brun), a thirty-something from Montpellier of devastating beauty, who worked at the Department of Antiquities at the Sorbonne in Paris. She was nicknamed "Buttons" in memory of their first meeting, when the young woman wore a dress covered with buttons. Henry Miller also fell under the charm of "Buttons," praising her beauty and eternal youth in exceptional unpublished letters. The three companions spent memorable Parisian evenings of which we retain precious autograph traces through their epistolary exchanges. Recommended by Durrell, she made numerous trips notably to England from where she received extensive correspondence from the writer as well as original works of art signed with his artistic pseudonym, Oscar Epfs.

Autograph postcard signed by Lawrence Durrell addressed to Jani Brun, written in blue felt-tip pen, on the verso of a Nietzsche quotation underlining a humorous image.

After many years spent in Greece, Egypt and Rhodes, the travel writer Lawrence Durrell was forced to flee Cyprus following popular uprisings that led the island to its independence from the British crown. Rich only in a shirt and a typewriter but crowned with the success of his novel Bitter Lemons of Cyprus, he arrived in France in 1956 and settled in the Languedoc village of Sommières. In the "Tartès house," his large residence surrounded by trees, he wrote the second part of his work, his monumental Avignon Quintet, devoted himself to painting and received his illustrious friends, including the couple Henry Miller and Anaïs Nin, violinist Yehudi Menuhin, London publisher Alan G. Thomas, and his two daughters Penelope and Sappho.
Among the olive trees and under the Mediterranean sun, he met in the mid-1960s the young and sparkling "Jany" (Janine Brun), a woman from Montpellier in her thirties of devastating beauty, who worked in the Antiquities department at the Sorbonne in Paris. She was nicknamed "Buttons" in memory of their first meeting, where the young woman wore a dress covered with buttons. Henry Miller also fell under the charm of "Buttons," praising her beauty and eternal youth in exceptional unpublished letters. The three companions spent memorable Parisian evenings of which we keep precious autograph traces through their epistolary exchanges. Recommended by Durrell, she made numerous trips notably to England from where she received vast correspondence from the writer as well as original works of art signed with his artist pseudonym, Oscar Epfs.

First edition, one of 50 numbered copies on laid paper, the only deluxe copies after 10 on Holland paper.
Spine lightly sunned without consequence, handsome copy with full margins.

First edition.
Illustrated cover.
Booklet decorated with illustrations depicting views of this famous theater.
Rare and handsome copy.

First edition, one of 50 numbered copies on pur fil paper, the only deluxe copies.
An angular fold mark at the head of the second cover, handsome copy.

First edition, one of the numbered copies on laid paper.
Copy in original wrappers, the justification page at the end has been neatly removed, endpapers very lightly and partially shaded.

First edition from which it was not drawn from large papers, one of the review copies service.
Envoiautograph signed by Louis Pauwels to the historian Parias.
Pleasant copy.

first edition on current paper.
Publisher's binding in full cardboard, full copy of its illustrated jacket which includes small marginal tears without gravity.
Autorgaph autograph dedication of the author signed by André Maurois to the historian Parias.
Iconography, nice copy.

first edition on current paper.
Slightly curled copy.
Autograph signed by Georges Blond to Maurice Gaït.
Complete copy of his illustrated jacket.

First edition, one of 1000 numbered copies on B.F.K. de Rives.
Work illustrated with original drypoints by Lucien Madrassi.
Handsome copy.

First edition, one of the numbered copies.
Pleasant copy.

First edition, one of the numbered copies on laid paper.
Half mint green shagreen binding with corners, spine with four raised bands, date at foot, marbled paper boards, olive paper endpapers and pastedowns, covers and spine preserved.
Handsome full-margined copy.

New edition illustrated by Daniel Vierge and engraved by Clément Bellenger, one of 1000 numbered copies on "Perfection" paper, the only printing with 50 on China paper.
Bradel binding in half vellum-style boards, smooth spine, marbled paper boards, covers and spine preserved, marbled endpapers and pastedowns, contemporary binding.
Handsome copy.

Soft vellum portfolio with flaps and tie. Blind-ruled borders on covers and flap.
The portfolio contains a 29-page booklet inside. 10 pages have been torn out. Some leaves contain tabs intended for photos or cards, added in the 19th century. The paper bears a watermark of a bell and 2 D's on either side.
Good condition. Some soiling to the vellum. A small damage to the flap measuring 1 cm.
Rare.

Pléiade library edition printed on Bible paper.
Publisher's binding in full green grained sheepskin, blue top edge, smooth spine decorated with gilt fillets, complete with its glassine, dust jacket and soft slipcase.

First edition.
Richly illustrated.
Handsome copy complete with its dust jacket, glassine wrapper and soft slipcase.

First edition.
Publisher's full brown grained sheepskin binding, orange top edge, smooth spine decorated with gilt fillets.
Richly illustrated.
Handsome copy complete with its glassine wrapper and slipcase.

New edition with clarifications and historical notes by Pierre-René Auguis, illustrated with 2 folding plates located in the volumes dedicated to music, volume 16 contains the complete score of Devin du Village.
Half navy blue calf bindings, smooth spines decorated with gilt and blind fillets, marbled paper boards, pastedowns and endpapers.
Spines very lightly faded and rubbed, headcaps rubbed, sometimes significant foxing.

first edition printed in small numbers on Alfa paper.
Binding in half red shagreen, back with five nerves, date in tail, preserved covers, Contemporary binding.
Double autograph dedication of the author of the authors (the first has been partially trimmed by the bookbinder) to Armand Godoy.
Pleasant copy.

First edition, one of the numbered copies on Alfa paper.

First edition, one of 105 numbered copies on Marais vellum.
Handsome copy.

First edition in French, one of 265 numbered copies on alfa paper, the only deluxe copies.
Handsome copy.

first edition on current paper.
Pleasant copy.
Autograph signed by Jacques Audiberti to Mr. Méa.

first edition in paperback format, one of the review copies service.
Back and boards slightly and marginally exposed.
Autograph shipment dated and signed by Michel Butor to his friend the art critic and specialist in the New Roman Georges Raillard embellished with a small original collage formed by eight pastilles from perforations of postcards.
Notes of the dedicatee in pencil and black marker in the text.

New edition, rare, after the original published in 1694. A folding plan as frontispiece.
Full vellum binding ca 1860. Smooth unlettered spine decorated with 5 fleurons and fillets. Title label on upper cover in black morocco. Soiling.
Description of the Seigneurie du Pré-aux-Clercs, its houses, dependencies, its chapels... This memoir was deemed necessary by the alienation suffered by this possession of the University of Paris, not only by Queen Marguerite de Valois who made a park from part of it and by various neighboring abbeys such as that of Saint-Germain.

First edition, rare and sought after. Printed on Holland paper.
Modern half caramel box binding with corners made over uncut pamphlet, with original wrappers preserved. Smooth spine decorated with 5 fleurons and roulettes, in the romantic taste. Good freshness of paper.
Very handsome copy.
Engraved bookplate of F. M. Caye, famous collector of romantics.

First edition. The original text dates from 1606. The illustration comprises a frontispiece, a title vignette (Bologna behind a she-wolf) and 20 figures as well as 16 vignettes placed at the end of certain cantos depicting the countryside around Bologna, all by Giuseppe Maria Crespi. A folding plate in the annotations. Fine printing. Portrait of Croce at the end of the preliminary pages. One of the major publications of Bologna in the 18th century.
Full vellum binding from the 19th century ca1880. Spine with raised bands decorated with grotesque compartments. 2 black sheep title labels. Gilt fillet frame on boards and corner fleurons. Gilt edges. Slight crack to upper joint at head over 0.5cm. Stains and soiling. Fresh overall, some leaves frayed at lower margin. Handsome copy.
Giulio Cesare Croce (1550-1609), born in the province of Bologna, came from a poor family, studied medicine then launched into a literary career, then died poor. Bertoldino and Cacasenno are two emblematic and extremely popular characters of Italy, they have become types, Bertoldino is a cunning and crafty character, who opposes the simplicity and rusticity of Cacasenno; Bertoldino and Cacaseno being the sons of a cunning peasant, Bertoldo, who would become advisor to the king. The two companions thus (like Don Quixote) became more famous than the book from which they came. Croce's burlesque poem is composed of 20 cantos, themselves divided into stanzas of 8 verses. An opera was made from it at the end of the 18th century with a libretto by Goldoni.
The second part of the work consists of commentaries and notes by G. A. Barotti.
Giuseppe Maria Crespi was one of the principal Bolognese painters of the early 18th century. The MOMA in New York has original red chalk drawings of the engravings from the work.

First edition from which it was not drawn from large papers.
Publisher's binding in full purple moiré cardboard, smooth back.
Copy tending to derail and complete with its dust jacket, the second board of which has gaps and spots.
Admirative signed autograph, in French, from Wanda Scona to Georges Simenon.

First edition.
Half blonde calf binding, smooth spine decorated with stripes and double gilt fillets, shagreen title label, trace of rubbing to headcap, corners slightly bumped.
Inscription from a previous owner of the work as a gift.
Illustrations by E. Lorsay.
Life in a 19th-century college: The return to school, recreation, the refectory, the dormitory, the infirmary, the supervisor, the prize distribution at the Sorbonne.

first edition on current call.
second board slightly and marginally passed at the head, pleasant copy.
Autograph signed by Jean Rousselot to Georges and Véronique Charaire.

New edition of the French translation.
Half red shagreen binding, smooth spine with minor traces of rubbing decorated with gilt floral motif, date at foot, top edge gilt.
Fine interior condition.

First edition, with "deuxième mille" statement.
Bradel binding in full cardboard covered with marbled paper, smooth spine, chocolate shagreen title-label with minor rubbing, covers preserved with small marginal lacks and one stain.
Two stains affecting the back board as well as the final leaves, otherwise handsome interior condition.

First edition of the French translation established by Leconte de Lisle.
Half red shagreen binding, spine with five raised bands decorated with gilt and blind fillets, traces of rubbing to joints and edges, small angular lack to head, original wrappers preserved.
Some occasional minor foxing.

First edition, one of 60 numbered copies on alfa paper, the only deluxe copies.
Half caramel sheep binding with corners, spine with five raised bands showing slight traces of rubbing, fir green shagreen title-label, light scratches to upper corners.
Some minor foxing, the last leaf poorly cut without affecting the text.

Second edition, partly original because it has been modified by the author, one of the copies on Alfa paper, ours specially printed for a close friend of the author for the first volume; first edition "carefully" printed in 200 copies for the second.
Binding in half burgundy morocco with corners, back four nerves, golden date at the tail, framing of golden threads on the plates of marbled paper, guards and counterplates of paper in the tank, golden head, covers and back preserved for the first volume.
Affectionate autograph signed by the author to a close friend below the justification for the printing of the first volume.
Two small holes at the bottom of all the sheets of the first volume.
Beautiful set pleasantly established.

New edition printed on laid paper, revised and annotated by Charles d'Héricault.
Full red paper board bindings, smooth spines slightly faded, blind-ruled frames to boards.
Handsome copies almost entirely free from foxing.
From the Bibliothèque elzévirienne.

first edition.
Binding in full black cardboard, smooth back decorated with cold fillets, boards covered with paper in the tank, Contemporary binding.
Small scattered foxing.
Rare autograph signed by Fernandez de Rodella, in French, to Henri Dessalles.

First edition, of which there were no deluxe copies.
Half chocolate brown shagreen binding, spine slightly faded with five raised bands, marbled paper boards marginally and slightly faded, marbled endpapers and pastedowns, covers and spine preserved, top edge gilt.
Small worming to endpapers, otherwise handsome interior condition.

first edition on current paper.
Pleasant copy.
Bradel binding in half cardboard, vellum style, smooth back, golden date and initials at the tail, piece of mustard sheepskin slightly and marginally scuffed, boards covered with mustard paper, preserved covers (first board with a slight angular lack at the top) , golden head.
Autograph dedication signed by René-Louis Doyon to a very close friend.

First edition, one of the numbered copies on bouffant paper, the only deluxe copies along with 100 copies on Holland paper.
Contemporary Bradel binding in half old rose cloth, smooth spine slightly faded, chocolate shagreen title label with minor rubbing marks, marbled paper boards, original wrappers and spine preserved.
Copy complete with its errata leaf.

First edition, one of 100 luxury numbered copies, ours not justified, only large papers.
Autograph shipment signed by Marie Mauron.
Rare and beautiful complete copy of his illustrated jacket which includes some tears and marginal gaps.

First edition, one of 8 numbered copies on Lafuma paper subscribed by Champion bookshop for the Society of Bibliophile Physicians, the most restricted deluxe paper issue.
A handsome copy with full margins.

First edition, one of 30 numbered copies on alfa paper, ours being one of 18 hors commerce copies, the only deluxe copies.
A very handsome copy.

First edition, one of 20 numbered copies on pure rag paper, the only deluxe copies.
A handsome copy.

First edition, one of 24 numbered copies on alfa paper, ours one of 14 hors commerce copies, the only deluxe copies.
Fine copy.

First edition, one of 100 of the "Good Sheets" under numbered cream cover on beautiful paper, only large papers with 59 "pur-fil" paper.
Autograph dedication signed by Claude Mauriac to Maurice Noël at the foot of the first board.
Tiny marginal bites at the bottom of the first board, a small trace of angular bending at the bottom of the second board, pleasant interior condition.

Definitive edition with illustrations by Uzès.
Half red shagreen binding, spine with five raised bands decorated with gilt fleurons, gilt initials at foot, marbled paper boards, covers lightly rubbed without significance, marbled endpapers and pastedowns, contemporary binding.
Handsome copy almost entirely free from foxing.