n. l.

First edition printed in small numbers at the author's expense. This book exists only in proof state with blank wrappers and was never commercially sold. There were no deluxe copies printed.

The author distributed to his friends this set of printed proofs, with blank wrappers. The first cover, also blank, bears a printed stamp "proofs".

Foxing to covers, joints lightly rubbed.

Exceptional presentation copy: "to Monsieur Mauge this clandestine book most cordially Jacques Chardonne."

Autograph letter dated and signed by Cécile Sorel, comprising 23 lines in blue ink on a bifolium bearing her monogram as Countess of Ségur by marriage.

Folds consistent with mailing.

The actress thanks her correspondent, a journalist at Théâtre, for his glowing review: "Vous savez combien tout ce qui vient de vous touche le plus sensible de mon coeur, jugez de ma joie en lisant les belles lignes que vous me consacrez."

As a token of her gratitude, she sent him flowers and invited him to visit her soon: "faites-moi la joie de venir déjeuner et causer avec moi de la pièce qui dort dans vos...

Partly original edition, enlarged with 7 additional chapters; this is the first complete edition.
Contemporary full brown calf binding. Spine with raised bands, richly gilt. Red morocco label. Small loss to head of upper joint. Three corners slightly rubbed. A good copy.
Manuscript ex-libris on title page: Denille.

Autograph letter signed to a friend named Alfred, 18 lines in black ink on a bifolium, in which the author urges him to help find employment for his brother, applying insistent pressure on his correspondent.

"Mon cher Alfred,
vous avez été excellent pour mon frère ... Il faut absolument qu'on le place. il est père de famille et sans emploi depuis un an. - Il y a 20 places qui auraient encore plus besoin de lui qu'il n'a besoin d'elles. Demandez formellement à votre illustre père un appui efficace et immédiat - pour un homme capable ... Votre père sera heureux de trouver une occasion de rendre service en rendant justice où je ne le connais pas. Tout à vous. Alph...

Fine autograph letter, dated and signed, addressed to his friend Pierre Louÿs; 7 pages in violet ink on two bifolia, with the original envelope preserved.

Folds from original mailing.

Soon to be on leave from the Moroccan Expeditionary Corps, Claude Farrère announces to his friend his imminent return to France following an Andalusian journey: "je pendrai au plus tardle train du 4 juin, à Algéciras ; lequel train, après escales à Grenade, Cordoue, Séville et Tolède, me déposera, le 11 au matin, à Toulon - Voilà !"

He mentions a book that struck him and evokes two women: "feuilletez, vous comprendrez l'in térêt que j'attache au cas, intérêt tout à...

Autograph note dated and signed by Henri Laurens, 7 lines in black ink, addressed to a Mr Fardel, most likely Gildas Fardel, the prominent art collector.

A handsome example.

Henri Laurens writes to postpone their appointment, as he will not be at his studio at the agreed time.

A major collector of abstract art, Gildas Fardel donated part of his collection to the Musée des Beaux-Arts in Nantes in 1958.

Exceptional illuminated manuscript of 35 poems by Stéphane Mallarmé, probably copied by Joris-Karl Huysmans on watermarked Hollande laid paper, after pre-first editions of the poems published in journals. Most of the poems are preceded by a separate title-page noting the source from which it is taken.

The manuscript includes a fine charcoal portrait of Mallarmé as a frontispiece by Charles Tichon, after a photographic portrait by Van Bosch. The portrait was published in the Mallarmé issue of Empreintes...

Original black and white photograph depicting Michel Polnareff in the street, standing opposite a security guard.

A handsome example. Signed by Michel Polnareff on a piece of paper mounted to the verso of the photograph.

Signed by Michel Polnareff in the upper part of the image.

Provenance : from the collection of renowned autograph collector Claude Armand.

Original inscribed photograph showing Yves Montand dressed as a cowboy and pointing a revolver in his right hand.

Yves Montand is slightly facing forward. Vintage silver gelatin print. 
On the verso, Yves Montand's name is misspelled twice.

Autograph inscription signed by Yves Montand at the bottom of the photograph: "Pour Michel amicalement Y.Montand."


 

Autograph letter signed by Roger de Beauvoir. One page in black ink on a bifolium of blue paper.
Discrete folds inherent to the mailing.
The writer and chronicler is preparing his Mémoires de Mademoiselle Mars, the immense actress who counted among his intimates. In this letter he invites his correspondent to go to the actress's residence with Alexandre Dumas to study her correspondence.

"Mon cher ami,
Hier soir à cinq heures j'ai appris une nouvelle si triste qu'elle a influé subitement sur ma santé ; j'ai combattu vainement cette impression, on m'a tant tourné le sang que je viens...

Autograph manuscript by André Breton initialed three times by his hand, written in black ink on two leaves. Multiple crossed-out and rewritten passages, annotations by his hand in pencil.
Pagination in blue pen on each of the leaves. Published in the review Medium, Paris, 1st series (sheet) no. 8, June 1953.
Breton delivers spirited literary and artistic chronicles for the Surrealist review Médium - and lashes out with great virulence against the "false witnesses" and "dubious witnesses" who criticize Surrealism.
The praise of Premier bilan de l'art actuel by his friend Robert Lebel becomes the occasion for a violent attack...

Autograph note by François René de Chateaubriand, 12 lines in black ink on a bifolium, addressed to Madame Amédée de Duras, rejoicing in her improved health.
A tear with loss, due to the seal having been broken to facilitate reading the note.
"Mde de CH[ateaubriand]. me dit de vous répondre: si je meurs, madame, ce sera à vos pieds le matin. Non pas à midi, mais à trois heures et demie. Je me porte à merveille chez ma soeur. Que cela ne soit pas vous, mais mde de Lévis qui m'ait vu perdre ma longue barbe er mon mouchoir turc. Ne venez pas, vous ne devriez pas venir. Mde de Ch[ateaubriand] est inconsolable... "

Original drawing in graphite and blue and pink colored pencils signed by Antoine de Saint-Exupéry, on a sheet of watermarked paper "Navarre". Horizontal fold.

One of Saint-Exupéry's quirky characters in a suit and bow tie, spawn from the baroque and overflowing imagination of the Little Prince's author. The writer-aviator-artist very rarely signed his graphic works.




 
 
 

Original drawing with graphite, blue and pink colored pencils signed by Antoine de Saint-Exupéry, on a sheet of watermarked paper “Navarre”. Hor­izontal fold, pencil annotation in the upper left margin, very small loss of paper in the lower right margin.

A remarkable caricature signed by Saint-Exupéry, akin to a cartoon character. The writer-aviator-artist very rarely signed his graphic works.

Autograph letter most probably unpublished signed addressed by Juliette Drouet to her lover Victor Hugo, four pages written in black ink on a bifolium. 
Transverse folds inherent to mailing, fold joining the two leaves reinforced with a fine strip of pasted paper barely perceptible.
Absent from the very complete online edition of Juliette Drouet's letters to Hugo by the Centre d'Études et de Recherche Éditer/Interpréter (University of Rouen-Normandy).
Very beautiful declaration of love and admiration by Juliette Drouet, the day after Hugo's plea defending his son. Charles Hugo had been brought before the assizes, and condemned despite his father's...

Autograph letter signed by Honoré de Balzac, addressed to his friend, the writer Charles de Bernard. One page written in black ink on a bifolium. On the verso of the second leaf appears the address of the recipient [Charles de Bernard du Grail], written in Balzac’s hand, along with postal stamps and the seal bearing the arms of the Balzac d’Entraigues family, which the author had appropriated.

A few minor holes not affecting the text; fold marks as usual from mailing.

Autograph card signed, 7 lines in black ink.
A stain in the left margin affecting the first letter of the third line.
In this note, Huysmans questions the address of Dom Besse, Benedictine monk, French writer and historian, which he had previously communicated to his correspondent and for which he seems to have made an error.
As a precaution, he details it to him again.

Manuscript note by Philippe Soupault, 22 lines in mauve ink on a sheet, headed with this inscription: "Les séances", devoted to the famous "sleep" sessions conducted in André Breton's studio consisting of oneiric writings or texts dictated by a dreamer.
The manuscript notes contain three deletions and corrections.
Philippe Soupault considers his attempts questionable and even labels them as imposture, distancing himself from any active participation in these practices: "Neither Aragon nor I participated actively in the experiments called sleep sessions, while Breton accepted with great interest Crevel's suggestion to engage in experiments he had discovered among...

Autograph poem signed by poet François Coppée entitled "Lied".
Light foxing to left margin of the leaf.
The signed poem, 14 lines in black ink on one leaf, was included in the collection "L'exilée" published in 1877 under the same title:
"Rougissante et tête baissée,
Je la vois me sourire encor.
Pour le doigt de ma fiancée*
Qu'on me fasse un bel anneau d'or.
Elle part, mais bonne et fidèle ;
Je vais l'attendre en m'affligeant.
Pour garder ce qui me vient d'elle
Qu'on me fasse un coffret d'argent.
J'ai sur le coeur un poids énorme ;
L'exil est trop dur et trop long.
Pour que je me repose et dorme
Qu'on me...

Two original photographic prints signed in blue ink by Mariette Lachaud, mounted onto a sheet of heavy paper. Autograph note by Max Philippe Delatte on the verso: "1951 Photographs taken by Braque's secretary and arranged thus, facing one another, by Braque himself." The adhesive used by Braque has lightened the verso of the sheet and a small besides the first photograph.

A rare double photographic portrait of Francis Ponge, taken in the studio of his friend Georges Braque by Braque's assistant and inscribed by the poet to Max-Philippe Delatte.

First edition, one of 22 copies of the deluxe issue numbered in Roman numerals, together with 9 presentation copies, the only copies to feature an original collage cover by Olivier O. Olivier.

Illustrated with 25 reproductions of works by Olivier O. Olivier.

Signed presentation inscription in pencil from Olivier O. Olivier to a friend named Lise.

Autograph letter dated 25 July 1918 and signed by Mistinguett, 15 lines in black ink and on her monogrammed stationery, addressed to a newspaper editor concerning a dispute.

Two small tears to the lower right-hand margin of the leaf, not affecting the text; fold marks from having been sent through the post.

"25 juillet 18,

monsieur le directeur, je vous serai très reconnaissante de bien vouloir faire insérer dans votre journal la lettre ci-jointe afin de mettre les choses au point. Avec mes remerciements anticipés, veuillez me croire votre tout dévoué. Mistinguett."

First edition on ordinary paper.

Spine very lightly sunned, a trivial defect.

Signed autograph inscription from Marcel Pagnol to Mr. R. Bouchard on the printed dedication page.

Photograph depicting Henri Calet with his young son Louis Nordmann seated on his lap.

Contemporary print.

Minor tears without significance to the left margin of the photograph.

The photograph was taken by Jean-Nicolas De Boé, the writer's nephew. 

Autograph card signed, dated 18 November 1984, 12 lines in blue ballpoint pen, addressed to her friend the woman of letters Christiane Baroche, in which she discusses her latest work "Plaisirs amers" and the friendship binding the two women writers.

Autograph envelope addressed to Christiane Baroche enclosed.

A fine and affectionate letter of thanks, written six days after the announcement of the Prix Renaudot awarded to Ernaux for La Place:

« Merci Christiane de ta lettre qui m'a fait très chaud au coeur, car les moments de "gloire" sont aussi ceux qu'on a envie de traverser avec les gens qu'on aime bien. Je t'embrasse. Annie. »

...

First edition, one of 250 numbered copies, this being one of 10 numbered in Roman numerals, the deluxe issue.

Illustrated with original black engravings by Ania Staritsky.

A rare and very handsome copy, complete with its original school-style green flexible card chemise, marginally faded.

Manuscript pencil signatures of Michel Butor and Ania Staritsky at the colophon.

As stated in the limitation notice, our copy does indeed contain a manuscript page by Michel Butor and an original signed collage by Ania Staritsky.

First edition printed in 35 numbered copies on "vieux grès" rag paper from the Moulin de Larroque, this copy one of 10 hors commerce copies.

Illustrated with original color engravings by Ania Staritsky, who also devised the book’s original design with the collaboration of Claude Nardin.

A rare and very handsome copy preserved in its original full grey cloth slipcase.

Manuscript pencil signatures of Michel Butor and Ania Staritsky at the colophon.

Our copy is enriched with a two-page autograph letter, dated and signed, from Ania Staritsky to Claude Nardin concerning the making of this work.

First edition printed in 25 numbered copies on pure rag paper, pulled on Ania Staritsky’s press on the occasion of an exhibition of her works at Larroque.

Illustrated with 7 original engravings numbered and signed in justification by Ania Staritsky who also designed the original layout of the work with the collaboration of Claude Nardin.

A rare and handsome copy complete with the following 7 engravings : 

- Magical cockerel

- Fishing of flies

- Fire hamste

-...

First edition, one of 30 numbered copies on Larroque pure rag paper, this copy one of 10 hors commerce copies, from the deluxe issue.

Illustrated with original engravings by Ania Staritsky, who also designed the book’s original maquette with the collaboration of Claude Nardin.

A rare and very handsome copy, complete with its slipcase and chemise in full saffron cloth.

Our copy is enriched with a signed 10-line manuscript poem by Janine Mitaud, an original etching, and a second state of one of Ania Staritsky’s engravings.

Manuscript pencil signatures of Ania Staritsky and Janine Mitaud at the colophon.

First edition, one of 56 numbered copies on B.F.K. de Rives laid paper.

Illustrated with original engravings by Ania Staritsky.

A rare and very fine copy, complete with its slipcase and grey full-cloth chemise.

Pencil signatures of Ania Staritsky and Albert Dasnoy on the colophon.

Autograph inscription signed by Albert Dasnoy to Claude Nardin, enriched with the handwritten signature of Ania Staritsky.

First edition, one of 37 numbered copies on Nivôse rag paper.

Illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the work in collaboration with Claude Nardin.

Rare and very attractive copy, preserved in its original old-rose full cloth slipcase (spine slightly faded and two faint stains at the foot of the boards, not serious).

Manuscript pencil signatures of Michel Butor and Ania Staritsky at the colophon.

A unique copy, exceptionally enriched with two original gouaches by Ania Staritsky, both signed, a manuscript text by Michel Butor, an original collage by Ania Staritsky, as well as a...

First edition, printed in 40 numbered copies on hand-made pure rag paper from the Moulin de Larroque, this being one of the 10 hors commerce copies.

The work is illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the volume with the assistance of Claude Nardin.

A rare and very fine copy, complete with its full grey cloth slipcase, slightly discoloured at the edges, and its double chemise.

Manuscript pencil signature by Ania Staritsky at the colophon.

Our copy is further enriched with two original collages by Ania Staritsky, both signed.

First edition, one of 30 numbered copies printed on handmade pure rag paper.

Illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the work with the collaboration of Claude Nardin.

A rare and very fine copy, complete with its chemise and brown cloth slipcase.

Pencil signatures of Philippe Jones and Ania Staritsky at the colophon.

Inscribed by Philippe Jones to Claude Nardin at the colophon.

Our copy is enriched with a five-line autograph manuscript text by Philippe Jones, as well as an original collage by Ania Staritsky, signed by her.

First edition, one of 35 numbered copies printed on "mousse d'épave" paper, ours one of 10 copies hors commerce.

Illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the work in collaboration with Claude Nardin.

Rare and very fine copy, complete with its chemise and slipcase in full grey cloth (spine of the chemise slightly faded).

Manuscript pencil signatures of Jean-Claude Renard and Ania Staritsky at the colophon.

Our copy contains a manuscript text by the poet Jean-Claude Renard as well as an original collage by Ania Staritsky, signed by her.

Fine signed...

First edition, printed in 40 numbered copies on "citronnelle de lin troué" paper, this being one of the copies numbered from 11 to 30 (No. 30).

Illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the work with the assistance of Claude Nardin.

A rare and very fine copy, complete with its chemise and slipcase in full olive green cloth.

Pencil signatures of Jacques Izoard and Ania Staritsky at the colophon.

A unique copy, exceptionally enriched with a manuscript text by the poet Jacques Izoard, an original engraving by Ania Staritsky signed by her, as well as three engravings not retained for...

First edition, one of 10 numbered copies on Arches laid paper, deluxe issue.

A rare and very fine copy.

We include two invitation cards to the private view of the exhibition of works by Ania Staritsky held at Galerie Les Mains libres on 6 November 1975 between 6pm and 8pm.

Pencil signature of Michel Butor at the colophon.

As stated in the limitation page, our copy does indeed contain an original collage by Ania Staritsky, signed by her, as well as a manuscript text by Michel Butor.

Inscribed, dated and signed by Michel Butor to Claude Nardin, who was a collaborator of Ania Staritsky.

First edition, one of 35 numbered copies on "mousse d'épave" paper, this being one of the 10 hors commerce copies.

Illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the work.

A rare and very fine copy, complete with its chemise and slipcase in old-rose full cloth.

Pencil signatures of Philippe Jones and Ania Staritsky on the colophon.

Our copy includes a manuscript text by the poet Jean-Claude Renard, as well as an original collage by Ania Staritsky, signed by her.

Framing his manuscript, an autograph inscription signed by Jean-Claude Renard to Claude Nardin, who...

First edition printed in 30 numbered copies on handmade rag paper, this copy unnumbered.

Illustrated with original colour engravings by Ania Staritsky, who also designed the book’s original layout.

A rare and very fine copy, complete with its chemise and brown cloth slipcase.

Pencil signatures of Philippe Jones and Ania Staritsky at the colophon.

As stated in the limitation page, this copy includes a manuscript text by the poet Philippe Jones as well as an original signed collage by Ania Staritsky.

Autograph card signed, dated 25 April 1987, 17 lines in black ballpoint pen, addressed to her friend, the woman of letters Christiane Baroche, in which she lavishes praise on her latest work entitled "L'hiver de beauté".

With the original envelope.

"Ma chère Christiane,

après tout, je me console : celui qui a fauché "L'Hiver de Beauté" a eu du nez, il a passé de bons moments, avec ta superbe Isabelle, ta non moins acide et volontaire Queria. Tu as réussi un très beau livre dans une langue que je trouve de plus en plus rigoureuse, la construction est remarquable et "fluent" comme on dit en anglais, c'est très naturellement qu'on passe de l'une...

First edition printed in 20 numbered copies on hand-made "papier rose jouvencelle" produced by Georges Duchêne.

Illustrated with original engravings by Ania Staritsky, who also designed the original layout of the work.

This copy is exceptionally enhanced with an original collage by Ania Staritsky, signed by her, and with an 8-line autograph manuscript text by Gaston Puel, together with an additional suite of the engravings by Ania Staritsky (one of which bears two small holes).

The spine of the chemise and the boards of the slipcase are slightly and marginally faded, without seriousness.

A rare and very fine copy, complete with its...

First edition, one of 35 copies printed on B.F.K. de Rives paper, numbered and signed by Michel Seuphor and Ania Staritsky at the colophon, our copy being one of the few hors commerce.

Illustrated with original engravings by Ania Staritsky, who also designed the original layout of the work.

A rare and pleasing copy, complete with its chemise and slipcase in full anise cloth.

Our copy is exceptionally enriched with an original collage signed by Ania Staritsky and an 8-line autograph manuscript text signed by Michel Seuphor,  

First edition printed in 100 numbered copies on wove paper, this copy unnumbered.

Rare and fine copy.

First edition. Text in Russian, one of a sole issue of 15 copies numbered by Ania Staritsky. Our copy is one of 5 on coton écru, followed by ten copies on cotton in various colours.

Produced in collaboration with Claude Nardin, comprising 14 cotton pages stamped with original engravings by Ania Staritsky, in which the text is fully integrated into the composition.

A masterwork of Lettrism, printed entirely on cotton, by the Russian-Belgian artist of Ukrainian origin Ania...

First edition, one of the only issue of 35 numbered copies on handmade "Olive" and "Coquillage" papers, our copy one of the 5 hors commerce copies signed and numbered in pencil by Ania Staritsky.

Original engravings by Ania Staritsky ; entirely hand-set by Arlette Albert-Birot after Ania Staritsky’s original design.

The "Olive" and "Coquillage" papers, as well as the cover, were designed by Georges Duchêne.

Our copy is complete with the original collage by Ania Staritsky, signed by the artist.

A rare and very attractive copy housed in its chemise and slipcase in olive-green cloth.

First edition of the French translation by Eugène Guillevic, printed in 35 copies numbered and signed in the colophon on japon ancien, ours one of the 10 hors commerce lettered copies.

Presentation copy, signed and inscribed by Hélène Iliazd to Claude Nardin in pencil in the colophon.

A rare copy complete with its folders and guards made of various papers, its folded parchment chemise with a large outward flap, and its blue cloth chemise and slipcase.

This first edition, conceived and produced by Hélène Iliazd and Ania Staritsky in memory of Iliazd, contains an unpublished poem by the Russian poet, with his autograph Russian...

First edition, one of 35 numbered copies on B.F.K. de Rives paper, signed by Michel Seuphor and Ania Staritsky at the limitation page, our copy one of the few hors commerce.

Illustrated with original engravings by Ania Staritsky.

A rare and handsome copy, complete with its chemise and matching brown cloth slipcase.

Our copy, like the first 10 copies, exceptionally contains an original collage signed by Ania Staritsky, a 9-line manuscript text signed by Michel Seuphor, and a suite of all the engravings by Ania Staritsky. This association copy is also inscribed in pencil by Ania Staritsky to her collaborator Claude Nardin who...

First edition. One of 10 copies on vélin de Lana (lettered G, around which Genet has signed in blue ink), signed by Genet at the limitation page, most limited deluxe issue, except for a unique copy. Complete with the loose leaf beginning with “Une brusque lassitude...”. With an autograph letter signed by Jean Genet, on one page with customary fold marks from mailing, published in Edmund White, Jean Genet, pp. 260-261.

Illustrated with 29 erotic lithographs by Jean Cocteau, and an original pencil drawing by Cocteau, as well as a suite of the illustrations...

Bronze cast of the Marquis de Sade’s skull by the master founder Avangini. One of a unique numbered edition of 99 bearing a reproduction of Sade’s signature, this one No. 30.

Also included is a certificate of authenticity signed by the Comtesse de Sade, with the family’s wax seal.

Provenance: family archives.

First edition of this important work, the fruit of nearly thirty years of research conducted in China by the Jesuit Léon Wieger (1856–1933), and which remains a valuable reference despite the narrowly confessional bias that frequently comes to the fore.

Contemporary half tan shagreen binding, faded spine with four raised bands ruled in blind, some rubbing to spine and joints, marbled paper boards, paste-paper endpapers and pastedowns, corners bumped.

Illustrated with figures in the text. 

First edition of the extract from the fourth part, devoted to geology and palaeontology, of Pierre de Tchihatcheff’s work entitled: Asia Minor. A Physical, Statistical and Archaeological Description of the Region.

Contemporary full beige paper-covered boards, smooth spine lettered in black with the author's name, title and author's name neatly inscribed in ink on the upper board, bumped corners.

Our copy brings together the five palaeontological papers by the naturalist Paul-Henri Fischer (1835-1893): Middle Tertiary Fauna. - Lacustrine Tertiary Fauna. - Upper Marine Tertiary Fauna (Steppe Limestone). - Quaternary Formation (Raised Beaches). - Microscopic Organisms...

Complete anonymous manuscript of 23 pages (plus title page and table), from the first half of the 19th century, entitled: Cap de Bonne Espérance. 1er cahier.

Our manuscript is presented in a navy blue half shagreen folder, marbled paper boards, housed in a slipcase edged with navy blue shagreen, marbled paper boards.

An account of a stopover at the Cape, a city under British rule, which, according to the anonymous author, retains many traces of its Dutch past.

Description of the town, its geographical setting, its buildings, churches and houses, whose cleanliness contrasts with the dirt and the smell of meat prevailing in most of the streets.

This...

Illustrated edition with a frontispiece by Ossip Zadkine, one of 60 numbered copies on B.F.K. Rives mould-made vellum, the only deluxe paper issue.

Rare and fine copy.