First edition of the French translation, one of 30 copies printed on Lana white chiffon paper.
A fine copy.
Preface by Eleanor Roosevelt.
First edition, one of 100 numbered copies on Annonay chiffon paper for the first volume, and one of 120 numbered copies on Johannot laid paper for the following two, the only deluxe paper copies for the first volume and the limited issue for the other two.
A very handsome and rare set of this trilogy, the first volume of which—winner of the 1948 Prix Goncourt—was masterfully adapted for the screen ten years later by Denys de La Patellière, with an illustrious cast including Jean Gabin, Pierre Brasseur, Bernard Blier and Jean Desailly, featuring dialogue by Michel Audiard.
First edition, one of 110 copies printed on Arches wove paper, deluxe issue.
Handsome copy, untrimmed, illustrated with photographs.
Fine autograph inscription signed by Pierre Clostermann: "... en cordial hommage d'un \"chasseur\" des FADL qui maniait plus facilement son avion que la dédicace. Pierre Clostermann."
First edition on ordinary paper.
A well-preserved copy.
Inscribed and signed by Gabriel Matzneff to his friend, the Belgian literary critic Pol Vandromme: "Pour Pol Vandromme, toujours si fraternel, ce pèlerinage aux sources, avec mon amitié. Gabriel Matzneff."
First edition, one of 54 copies on vergé de Lana, the only deluxe copies.
Head of spine slightly creased.
A handsome copy.
First so-called popular edition of these illustrated works by Balzac. The copy we offer here includes both volumes of the early works, which are almost always lacking. Printed in double columns. Richly illustrated with wood engravings by Daumier, Johannot, Beaucé, Nanteuil, Andrieux... The works are bound two volumes per tome, each with its own title page and half-title. However, none of the title pages indicate volume numbers; the sequence follows the original serialized issues. The two volumes of the early works are bound in volume V. The complete theatre is located at the end of the fourth volume. This edition was reissued by Michel Lévy in 1867, who had acquired the backlist from the publisher Maresq.
Contemporary red half shagreen binding. Flat spine with false raised bands, decorated with four gilt fleurons, broad gilt fillets in place of bands and dotted gilt lines, gilt titles and volume numbers. Boards covered in red grained paper. Rubbing marks. A few pale scattered spots, but overall a very fresh copy. A handsome set.
Second impression of the first illustrated edition of Victor Hugo's masterpiece.
Some light foxing.
Publisher's full black cloth binding, smooth spine decorated with a gilt allegory of Notre-Dame de Paris, covers adorned with elaborate gilt designs depicting scenes from Notre-Dame de Paris, yellow paper endpapers and pastedowns, shaded white flyleaves, all edges gilt. A fine example of the publisher's romantic binding.
Illustrated with plates by Charles François Daubigny, Valentin Foulquier, Thoedor Josef Hoffbauer, Tony Johannot, Aimé de Lemud, Ernest Meissonier, Célestin Nanteuil, Camille Roqueplan, Louis Henri de Rudder, and Louis Steinheil...
A splendid copy of Victor Hugo’s timeless masterpiece, preserved in a striking romantic publisher’s binding.
First edition, with no deluxe copies printed.
A handsome copy.
Inscribed by Gabriel Matzneff to the Belgian literary critic Pol Vandromme: "Pour vous, cher Pol Vandromme, ces cinquante ans de vie publique, en très amical souvenir."
Very rare first edition, printed in only 50 copies, issued as an offprint from the *Revue Indépendante*.
Bradel binding in full decorated paper with abstract motifs, smooth spine, restored corners on the original wrappers, binding signed by Thomas Boichot.
Inscribed and signed presentation copy from Charles Maurras to Eugène Manuel: "To Joseph Gayda, in memory of a report that was too laudatory but very encouraging, this slightly modified 'Aubanel'. Charles Maurras. Paris, 24 September 1889."
One handwritten correction by Charles Maurras in the margin of page 43.
New edition published the same year as the first, featuring the famous third cover characteristic of Éditions du Scorpion.
Bradel binding in full patterned paper with abstract motifs, smooth spine, author’s name and title stamped in palladium, covers and spine preserved; some folds and smudges to the covers. Binding signed by Boichot.
Rare signed presentation copy from Boris Vian: "Pour Jean Minier, le traducteur. Boris Vian."
Second edition, the first having appeared in 1714 (with identical collation: 6 unnumbered preliminary leaves and 298 pages).
Illustrated with 8 finely engraved plates (cf. Gay, 2858bis).
Complete title: Relation du voyage du royaume d'Issyny, Côte d'Or, Païs de Guinée en Afrique. La description du païs, les inclinations, les moeurs, & la religion des habitans : avec ce qui s'y est passé de plus remarquable dans l'établissement que les François y ont fait. Le tout exactement recueilli sur les lieux, par le R. Pere Godefroy Loyer, préfet apostolique des Missions des FF. Prêcheurs, aux Côtes de Guinée en Afrique, Religieux du Convent de Bonne-nouvelle de Rennes en Bretagne.
Contemporary half brown sheep, spine with five raised bands ruled and decorated in gilt, gilt head- and tail-pieces, red morocco label, marbled paper-covered boards with some rubbing, marbled endpapers and pastedowns, heraldic bookplate pasted to the front pastedown, edges tinted red (faded in parts); the spine has been expertly restored in period style and tooling.
Scattered minor foxing, front endpaper starting to detach, final two blank leaves soiled.
Godefroy Loyer (born in Rennes in 1660, died in Paris in 1715) was Apostolic Prefect of the Dominican missions on the Guinea coast and a friar of the Bonne-Nouvelle convent in Rennes, Brittany. He spent two years in Assinie (part of present-day Côte d’Ivoire) from June 1701 to March 1703 and served as the first Apostolic Prefect of this region of West Africa, where the French briefly established Fort Saint-Louis, which was abandoned in 1704 due to economic concerns, as merchants favored the slave trade over the gold trade. A new fort was then established at Ouidah (now Benin), which became the largest European settlement on the Slave Coast.
“This account is of great value, in that it provides an in-depth view of a small region in Guinea, previously undescribed by any traveler (…) The customs and practices of Issyny share general traits with other peoples of Guinea, but many nuances set this small kingdom apart, and the author captures them remarkably well.” Cf. Boucher de La Richarderie, IV, 143.
The account of the Assinians' (called Issynians in the text) warrior customs includes a passage on the roles of black slaves serving local princes (pp. 260–261). Over the course of his career, Godefroy Loyer traveled to Martinique, Grenada, the Caribbean, and Africa. On his return to France, he stopped in Brazil, where illness forced him to remain for a full year [pp. 283–284]. Once recovered, he sailed aboard the Setouval, part of the Brazil fleet commanded by Captain Antoine Sauza.
Provenance: from the library of John Perceval, 1st Earl of Egmont (1683–1748), of the Irish peerage, with his handsome dated armorial bookplate (1736) pasted to the front pastedown.
Very rare first edition published by the French Committee for the Defense of Immigrants, in tribute to and in memory of the 23 members of the "Manouchian-Boczov-Rayman Group" executed by the Nazis on 21 February 1944 at Mont Valérien.
Preface by Justin Godart (President of the French Committee for the Defense of Immigrants); afterword by Charles Tillon (Commander-in-Chief of the F.T.P.F.).
Illustrations.
Two horizontal shadows on the upper cover, spine very slightly sunned, minor tears and marginal losses to the pages of the final gathering.
First edition printed on alfa paper.
Minor marginal tears to the covers, not affecting the integrity of the binding.
Fine signed autograph inscription by Albert Londres: "Donc, Ahasvérus, le vieux marcheur ose présenter ses hommages à Madame Vanéry. Albert Londres."
First edition illustrated with 101 drawings by Benett and a map. BR catalogue for 1884 at the end.
Publisher’s pictorial cloth binding known as "Aux deux éléphants" in fir green (design signed by Souze, Lenègre binder at foot of spine). A very bright front cover with brilliant gilt. Rear cover with signs of rubbing. The percaline cloth retains its sheen. Rubbing to corners, edges, spine ends and joints. Internally clean and free of foxing. A handsome copy, scarce in this color.
First edition, one of the copies printed on alfa paper and reserved for the press service.
A pleasant copy.
Inscribed and signed by André Gide to the literary critic and historian Fortunat Strowski.
Rare first edition.
A few small spots of foxing, mainly affecting the edges.
Contemporary chocolate-brown full morocco bindings, spines with five raised bands framed by triple black fillets, minor rubbing to some bands, gilt dates and armorial stamps at the foot of the spines, gilt roll tooling to the caps, triple black fillet borders on the boards with gilt armorial decorations at the corners, marbled endpapers and pastedowns, gilt lace-style border framing the pastedowns, double gilt fillets to the edges, all edges gilt; fine period bindings in full morocco bearing the arms of Baron Schikler.
Inscribed by Jules Delaborde to Baron Schikler at the head of the first volume.
A handsome copy, finely bound in full morocco with the Schikler family monogram, a prominent Protestant banking family from the Gironde region.
New edition, augmented with an original afterword by Francis Jeanson.
Spine slightly sunned, otherwise a pleasing copy.
First edition, no copies printed on deluxe paper.
Publisher's full white boards, a fine copy complete with the illustrated dust jacket.
Inscribed by Emmanuel Le Roy Ladurie to G. Charbonnier: "... en souvenir d'une sympathique rencontre à France Culture, amicalement..."
Illustrated edition with drawings by J. Férat, engraved by Barbant.
Rare publisher's navy blue cloth binding known as "aux deux éléphants", signed by Lenègre, type 1, spine with three gilt compartments, lower cover without medallion, gilt mention "Engel rel." at foot of spine, brown endpapers and pastedowns, all edges gilt.
Rubbing to spine ends, small loss of cloth at foot of spine, white discoloration spots on pastedowns, slightly bumped corners, scattered light foxing, scuffing along the fore-edge margin of lower cover.
One of the author's most celebrated adventure novels, in which Michel Strogoff, courier of the Tsar of Russia, must travel from Moscow to Irkutsk (capital of Eastern Siberia) to warn the Tsar's brother of the approaching Tartar hordes intent on invading Siberia.
Illustrated edition featuring 172 vignettes by Riou, engraved by Pannemaker.
Publisher’s royal blue cloth over red boards, known as “à la bannière”, with front cover plaque signed by Souze, bevelled boards of type 7, cold-stamped Lenègre type 3 cover, binding signed Lenègre at foot of spine, HF catalogue at the end of the volume.
Headcaps slightly compressed as often, corners and lower edge a little frayed, occasional foxing, first gathering starting to loosen.
A pleasant copy.
The plot of this work, one of the author’s great classics, follows two children in search of their shipwrecked father, from Scotland to New Zealand via the Canary Islands, Cape Verde, the Strait of Magellan, the Andes, the Argentine pampa, the Cape of Good Hope, Amsterdam Island, and Australia.
First edition, with no deluxe copies printed.
Bradel binding in navy blue half shagreen, smooth spine, sides covered with 'cat's eye' patterned paper, original wrappers preserved.
Inscribed and signed by Emil Michel Cioran in green ink to Georges Linhent.
First illustrated edition, first issue, published in a single volume; a more common three-volume edition appeared later the same year, in 1836. With an engraved frontispiece title and 11 full-page steel engravings printed on heavy wove paper by Johannot, Boulanger, Raffet, Rogier & Rouargue, and engraved by Finden, Staines... The typography is spacious, with wide margins, and closely follows the original 1831 edition. The plate "De l'utilité des fenêtres" is present, as it should be—Clouzot notes it is often missing due to its later printing relative to the book’s first issue.
Bound circa 1860 in navy blue half morocco. Spine with raised bands, gilt compartments, and navy morocco lettering-pieces. Top edge gilt. A few occasional spots, notably on the frontispiece, but overall a fresh copy, with the engravings particularly well-preserved as they are often found browned. A handsome copy.
New edition illustrated with 79 engravings by Riou and De Montaut, and a double-page map.
Publisher’s red cloth binding known as “Aux initiales”; first issue in this binding and with this newly designed cover, following the earlier “bouquets of roses” editions. Charles Magnier credited as binder at foot of spine. Rear cover of type Magnier C1, with black Greek key borders framing the central medallion and black concentric circles delimiting the ornamental bands.
Some foxing.
Some minor black marks on the spine, slightly rubbed at head and foot as often; a faint light spot to the left margin of the rear cover, which also shows a few tiny black specks along the right edge; two corners of the rear cover lightly worn. Occasional scattered foxing. Two small labels on the front pastedown, one of which is partially detached.
A handsome copy.
Cinq semaines en ballon was the first novel by Verne published by Hetzel. It offered a compelling summary of contemporary knowledge of Africa, much of which remained unknown to the public at the time. The author laid the groundwork for his future work, skilfully blending adventurous narrative with scientific and technical information. A learned explorer and his hunter companion travel across East Africa_
First collected edition, in 12mo format, partly original, published in the author's collected works at the same time and by the same publisher as the 8vo edition (see Clouzot, Le guide du bibliophile, page 84).
Some light foxing.
In this three-volume 12mo edition, the numerous previously unpublished poems occupy the entirety of the third volume (see Clouzot, Le guide du bibliophile, page 84).
Contemporary bindings in black Russian half morocco with marbled paper boards, gilt fillet borders, smooth spines decorated with gilt rolls and floral tools, marbled endpapers, bindings executed in the Romantic revival style and signed by Yseux, successor to Simier.
Our copy lacks one of the four plates, but is otherwise illustrated with vignettes on the title pages and within the text.
This first, handsome and highly regarded collected edition of the poetical works, finely bound in a pastiche Romantic binding by Yseux, presenting many previously unpublished poems, is the preferred edition among collectors of first editions.
First edition, one of 100 numbered copies on Japan paper, the only deluxe copies issued after 25 on China paper.
Some minor marginal tears to the covers, not affecting the overall appearance.
A pleasing copy of this album of drawings portraying the characters involved in a late 19th-century fraud trial.
First edition of the inaugural issue of this review, directed in part by Albert Camus and René Char.
Contributions by Albert Camus, “Le meurtre et l’absurde”; René Char, “Recherche de la base et du sommet”; Georges Braque, “Suite aux cahiers”; Herman Melville, “Dialogue sur le créateur et la critique”; Jean Grenier, “L’histoire a-t-elle un sens?”; Louis Guilloux, “En mon bel âge”; Yves Battistini, “Empédocle”...
Covers slightly and marginally soiled.
New edition, one of 1,000 numbered copies printed on Arches wove paper.
Full red shagreen binding, smooth spine featuring at the foot a black shagreen onlay in the shape of a triangle; minor, unobtrusive rubbing to spine. Boards decorated with a geometric Art Deco design composed of three black shagreen inlaid bands extending across the spine, and gilt fillets culminating in gilt circles and triangles. Moiré and gilt-patterned felt endpapers and pastedowns, original wrappers preserved, top edge gilt. A fine Art Deco binding of the period.
Housed in a custom slipcase covered with marbled paper.
Precious presentation copy inscribed and signed by Francis Carco to his friend Raoul Dufy, who is not explicitly named: "A monsieur Raoul avec tous les sourires de F. Carco. P.L.V."
First edition on regular paper.
A faint dampstain to the upper margin, two traces of adhesive tape facing the half-title page.
Inscribed and signed by André Malraux to Edouard Caen.
Complete first edition of the first series of the most important literary journals of the late 19th century, containing the pre-publication of Rimbaud's Illuminations. No deluxe issues of this magazine printed, except for five copies of the last issue on Japon.
Bradel bindings in half brown cloth, smooth spines decorated with a central gilt flower, twice ruled at foot, gilt date at foot of first volume, red sheepskin title labels with slight scratches, bent upper spine-ends, rubbed paper boards, original covers preserved for each issue, lower edges rubbed, bookseller's labels pasted to the endpapers of the first volume, contemporary bindings.
First ever printed appearance of Rimbaud's Illuminations published in La Vogue, a periodical which welcomed poètes maudits or “cursed poets” and introduced Walt Whitman to French readers. The journal contains the most important collection of Rimbaud's poems ever published during his lifetime, the majority printed here for the first time.
Numerous contributions, including Paul Verlaine, Stéphane Mallarmé, A uguste Villiers de L'Isle Adam, Charles Morice, Paul Adam, René Ghil, Jules Laforgue, Léo d'Orfer, Stendhal, Charles Henry, Stuart Merrill, Edouard Dujardin, Joris-Karl Huysmans, Félix Fénéon, Paul Bourget, Walt Whitman, Théodore de Wyzewa, Fedor Dostoïevski, Porphyre Kalouguine, Charles Vignier, Alfred Dehodencq, Jean Ajalbert, Jacques Casanova de Seingalt, and Emile Verhaeren.
First edition on ordinary paper.
Spine very slightly sunned, not affecting the overall condition.
The following year, the book was adapted for the screen by the author himself, starring Jean Rochefort, Jacques Perrin, Jacques Dufilho, and Claude Rich.
Handsome signed presentation copy from Pierre Schoendoerffer to a friend named Violette: "A Violette qui sait ce qu'est la marine. Une histoire d'alsacien, de chats, de bretons... et de mer - bien sûr ! Avec mon amitié."
New edition published a few months after the first.
A handsome copy.
Fine signed autograph inscription by Henri Charrière to René Lafon, founder in 1927 of the legendary Montparnasse restaurant "La Coupole": "René Lafon, to be named Lafon may not always carry much resonance, but that this Latour should be the founder of 'La Coupole' is a title of great distinction. For at 'La Coupole', one not only eats well, but the service, the welcome, the spirit, and the attentiveness are exceptional — and all of that, the public owes to you. I congratulate you. Papillon."
First edition, with no deluxe paper copies issued.
Clippings laid in; two small blue ink stains to lower edge; a label affixed to the lower right margin of the front free endpaper. A well-preserved copy.
Fine presentation copy, inscribed and signed by Robert Badinter: "Pour monsieur Charles Carré cette vie d'un grand défenseur des Droits de l'homme, en toute amitié, R. Badinter," further signed by Élisabeth Badinter.
First edition, one of three or four copies printed on vellum skin, the most limited issue. A few copies printed on japon, 12 on Whatman, 12 on chine, and 350 copies on laid paper. Edited by Philippe Burty, the book features 42 sonnets and as many original etchings.
Contemporary full dark purple morocco binding, slightly recolored spine with five raised bands, gilt title, purple watered-silk pastedowns and endleaves followed by vellum endleaves, inner gilt dentelle, sides and spine-ends framed in gilt, all edges gilt, marbled paper slipcase bordered in purple morocco, binding signed by Auguste Petit.
Only two other vellum copies recorded: Melot and Delteil mention “two or three copies,” while Carteret lists four. One from the library of Philippe Burty (still in loose leaves at the time of his sale, later bound between 1891 and 1897 by Marius Michel, now in the MAK Museum, Vienna). The second was once in the collection of Raphaël Esmerian (bound by Marius Michel around 1895-1900, now in the Wormsley Library). Our copy was bound at the time by Auguste Petit.
An exceptional copy of this luxurious book-album entirely printed on vellum skin — ”the first livre d'artiste in the spirit of what would become a tradition in France, from Ambroise Vollard to André Maeght and Henri Kahnweiler” (Roselyne Pirson). Solely consisting of original etchings by the greatest masters of the time such as Manet, Corot and Millet, accompanying the poetic revival of the sonnet led by Parnassians poets, notably Paul Verlaine, José Maria de Heredia, and Théodore de Banville.
This work remains the most ambitious project by Philippe Burty - passionate collector, executor of Eugène Delacroix's will, leading critic of Gazette des Beaux-Arts, and a regular commentator on engravings at the Paris Salon. Burty championed the etching as an art form at a time when it had fallen into disfavour.
The book opens with a charming title engraved by Manet's engraver Alfred Prunaire, after a composition by Édouard Renard. Numerous headbands, letters and culs-de-lampe also by Prunaire. Throughout the forty-two diptychs, poets and painters engage in a remarkable dialogue — sometimes poems inspire images or vice versa. Solicited by Burty himself, every artist etched directly onto the copper plate. 41 are original engravings, the only exception to the rule being Coutry's etching after an original ink by Victor Hugo. The collection also contains the very first published etching by Gustave Doré, a magnificent lion illustrating a poem by Cladel. Among the book's greatest masterpieces are Edouard Manet's famous Manola inspired by Goya's Caprichos, and a Normandy landscape by Camille Corot. The “nature painters” are well represented, with Jongkind and Jean-François Millet, the latter illustrating a poem dedicated to him. Other notable artists include Edmond Morin, Giacomotti, Célestin Nanteuil, Léopold Flameng, Bacquemond, and Daubigny.
Many of the poets chosen for the collection belong to Parnassian circles: Paul Verlaine, José Maria de Hérédia, Théodore de Banville, Anatole France, Leconte de Lisle, Sully Prudhomme, Catulle Mendès and Albert Mérat. Other poems are written by influential 19th century poets including Théophile Gautier, Jean Aicard, Joseph Autran, Antoni and Émile Deschamps, Arsène Houssaye, Victor de Laprade, Laurent-Pichat, Sainte-Beuve, Joséphin Soulary and Armand Sylvestre.
Burty solicited the finest artists and poets for this collection, yet the project soon exceeded his ambitions—and led to some controversial editorial choices that excluded famous poet Stéphane Mallarmé. Although not published in the book, his celebrated Sonnet in -yx was originally written for this project. This Mallarméan Symbolist masterpiece will later be regarded as a veritable “etching in prose” (Emmanuel Martin). Cazalis was furious at Burty's refusal to publish it: “the impresario of this silly affair now had more sonnets than aquafortists, and would no longer accept any, even a sonnet by God himself. I replied that he was a fool” (letter to Mallarmé), demonstrating the importance of being included in this poetic anthology.
The book's creation had numerous twists and turns, notably with Victor Hugo who declined the offer to write a preface. He contributed as a draughtsman rather than a poet although “This drawing, too, is poetry,” wrote Paul Mantz in Gazette des Beaux-Arts, referring to the magnificent ink by Hugo illustrating the poem written by his friend Paul Meurice. The book's title indeed breaks from Hugolian poetic legacy. Sonnets et Eaux-Fortes may seem a very prosaic title today; however, it was a resolutely modern statement for Burty and the artists contributors. The use of two art forms neglected since the Renaissance reflects a radical break from Romantic tradition: “Victor Hugo did not write sonnets. He is not one of those willing captives who enjoy confining themselves to a narrow cell” wrote Mantz. On the other hand, “Baudelaire's shadow looms over this rare book (he had died the year before), absent among the poets, yet present in spirit, he had greatly contributed to the revival of the sonnet and the celebration of etching in the 1860s” (Joël Dalançon). While his death prevented him from taking part in the book, he is nonetheless replaced by his poetic successor: a 24-year-old Paul Verlaine with just one published collection to his name.
Far more than a mere description of its contents, Sonnets et Eaux-Fortes is a manifesto title—a pioneering encounter between artists of modernity: “These two forms, the new poetry and the new etching, could not long remain strangers to one another” wrote Paul Mantz. The invention of the livre d'artiste where Art and Poetry are not merely illustrative or secondary to one another but exist in a fruitful, reciprocal exchange — much like Théophile Gautier's poem inspired by an etching by Leys: “Hence was born the collection we are announcing and which is likely to make some noise in Paris by the novelty of the spectacle it presents to the eye and the interest it awakens in our mind” (Paul Mantz, Gazette des Beaux-Arts, January 1869).
This rare copy on vellum is emblematic of the Parisian bibliophilic reaction against industrial mass production in the late 19th century. The large-scale reproduction of photography in books paradoxically triggered a wave of luxurious publications true to traditional manufacturing.
The few vellum copies were no doubt reserved for publisher Lemerre and editor Burty and intended to elevate the book to artwork status. They are a direct legacy of the medieval Book of Hours, which already united illumination and calligraphy. Most precious copies were made on these inalterable vellum skins – ensuring by their very nature the immortality of the words and images they kept within their pages. This quality of conservation is of vital importance here, since the original copperplates were destroyed after publication and many of the book's copies on laid paper were dismantled by collectors for individual prints.
Even the “regular” edition of 350 copies was intended for the happy few; this nearly unique issue on vellum — so exclusive it is not even mentioned in the imprint — embodies the height of fin-de-siècle bibliophilic refinement. One cannot help but recall Des Esseintes's obsession with copies of Barbey d'Aurevilly and Mallarmé poems printed on this exquisite and decadent material. Through his extravagant editorial pursuits, Burty himself was compared to the Goncourt brothers and the infamous aesthete of Huysman's À Rebours.
Rarest and most precious copy of this illustrated anthology, an extraordinary display of visual and poetic talent regarded as a landmark in the history of the book and of modern art. This is the only known copy on vellum housed in a contemporary binding.
First edition, rare first issue copy (printing error in the Grasset imprint, original soft cover dated 1913, publisher's catalog in-fine, no table of contents) for the first volume; first issue of à l'ombre des jeunes filles en fleurs without statement of edition, one of about 500 copies, the 2000 later issued copies bearing a false statement of edition on the cover, pasted label "majoration temporaire cinquante pour cent" on the spine of the preserved soft cover; first editions on pur fil for the following volumes, the only grands papiers (deluxe copies) with réimposés quarto copies.
Famous misprint known as "la faute à Grasset": most important printer's error, only present on service de presse (advance copies) and very first issue copies of Swann. A vertical bar | had slipped between Grasset's E and T on the lower part of the title-page and was quickly removed during printing. 17 deluxe copies - 5 on japon and 12 on hollande - were printed after first issue corrections.
No statement of edition: true feature of first issue copies of à l'ombre des jeunes filles en fleurs. Although dated 30 November 1918, the 128 "réimposés" copies were only printed in 1919 along with deluxe copies of the Swann second edition.
The complete first edition, first issue of à la recherche du temps perdu includes the first two volumes on ordinary paper with the above-mentioned particularities, then deluxe copies for the following volumes. These deluxe copies on pur-fil are of the same format than the first two volumes.
Discreet restorations to the first volume, spine slightly wrinkled as usual for the second volume, a small stain to the spine of the third volume, two slight lacks of paper at the bottom of the third and fourth volumes, some minor foxing to some edges.
This complete collection of In Search of Lost Time includes the following titles: Du Côté de chez Swann, A l'ombre des jeunes filles en fleurs, Le Côté de Guermantes (2 volumes), Sodome et Gomohrre (3 volumes), La Prisonnière (2 volumes), Albertine disparue (2 volumes) and Le Temps retrouvé (2 volumes).
Precious set, as issued, all in first edition.
