Paris

first edition of which he was not drawn large paper, review copy.
Signed autograph of Roger Caillois Gabriel Marcel.

first edition on the current paper.
Signed autograph Gide in Franc-Nohain.
A slight shadow around autograph dedication of the author manuscript.

Edition of wich no leading copies exists.
Signed autograph Eric Losfeld his friend Paul Aveline: "... holding the triangle in this sentimental éric losfeld Jazz band, fraternally."
Photo coverage.

First edition, review copy.
Bound in red half shagreen with corners, back with four nerves set with black nets, plates, guards and contreplats, marbled paper, wrappers and back preserved and bound in, gilded head on witnesses, contemporary binding.
Signed autograph Henri Barbusse to Frantz Funck-Brentano.
Nice copy.

Original color lithograph, one of 15 proofs on Japon impérial paper reserved for the artist and his collaborators, the only printing with 20 more on Japon and 250 on Arches paper. Unsigned proof, as all proofs in this series, other than the frontispiece.
A superb proof on Japon paper specially made for The Story of Exodus, published in 1966, for which Chagall made 24 hors-text lithographs printed by Mourlot.
An exceedingly rare original proof on Japon paper, the most attractive and best for color lithographs.

Fernand Mourlot was undoubtedly the finest lithographic printer of the 20th century and was thus the friend and printer to the leading artists of his day. “Picasso, Matisse, Chagall, Miró, Braque, Dubuffet, Léger, Giacometti…added to their own expression and contemporary art a new field of research. With Mourlot, and thanks to him, lithography acquired both a personality and a future” (Pierre Cabanne, in Cinquante années de lithographie).
Having already printed two volumes of the Bible illustrated by Chagall, Mourlot contributed to the artist's lithographic training in the 1950s. It was during this period that Chagall began to visit Mourlot's workshop regularly in order to learn lithographic techniques and that he developed bonds of friendship with the staff of the workshop, most notably Charles Sorlier.
It was thus at the peak of his powers that Chagall made this story of Exodus, which coincided with the termination of his immense lithographic and pictoral work on the Bible, undertaken in 1930 at the urging of Ambroise Vollard. This decorative cycle, entitled Le Message Biblique [The Biblical Message] was in fact the basis for the creation of the Chagall Museum, originally called the Musée national du message biblique Marc-Chagall.

Original color lithograph, one of 15 proofs on Japon impérial paper reserved for the artist and his collaborators, the only printing with 20 more on Japon and 250 on Arches paper. Unsigned proof, as all proofs in this series, other than the frontispiece.
A superb proof on Japon paper specially made for The Story of Exodus, published in 1966, for which Chagall made 24 hors-text lithographs printed by Mourlot.
An exceedingly rare original proof on Japon paper, the most attractive and best for color lithographs.

Fernand Mourlot was undoubtedly the finest lithographic printer of the 20th century and was thus the friend and printer to the leading artists of his day. “Picasso, Matisse, Chagall, Miró, Braque, Dubuffet, Léger, Giacometti…added to their own expression and contemporary art a new field of research. With Mourlot, and thanks to him, lithography acquired both a personality and a future” (Pierre Cabanne, in Cinquante années de lithographie).
Having already printed two volumes of the Bible illustrated by Chagall, Mourlot contributed to the artist's lithographic training in the 1950s. It was during this period that Chagall began to visit Mourlot's workshop regularly in order to learn lithographic techniques and that he developed bonds of friendship with the staff of the workshop, most notably Charles Sorlier.
It was thus at the peak of his powers that Chagall made this story of Exodus, which coincided with the termination of his immense lithographic and pictoral work on the Bible, undertaken in 1930 at the urging of Ambroise Vollard. This decorative cycle, entitled Le Message Biblique [The Biblical Message] was in fact the basis for the creation of the Chagall Museum, originally called the Musée national du message biblique Marc-Chagall.

Edition illustrated with 8 original lithographs in colors of Andre Beaudin, one of 90 numbered copies on Rives, one draw after 10 and 12 Japan Chapel.
Written signatures of Georges Limbour and Andre Beaudin to the justification of the draw.
Nice copy.

First edition of the françaie Translation by Serge Persky and for which there is no mention of leading copies.
Binding to bradel half red calico, smooth back, as part of shagreen blue with scratches, name of the author of shagreen brown, net gilded on the boards of marbled paper, upper corners bumped, contemporary binding.
autograph dedication of the author autograph signed and dated by Serge Persky in A. Brisson.

First edition of the French translation, one of 990 numbered copies on pure vellum ful only leading copies after 125 reimposed.
Bound in half red shagreen with corners, back with four nerves crimped nets cold decorated triple cold boxes, golden tail date gilded nets coaching marbled paper plates, guards and contreplats marbled paper, wrappers and back preserved and bound in , gilded head.
Rare spots without gravity, nice copy.

First edition of the French translation by Louis Fabulet.
Signed autograph of Louis Fabulet Pierre Hamp.

Second edition, one of 50 copies numbered on Arches paper, ours bearing the No. 1, only leading copies.
Signed autograph Eric Losfeld his friend Paul Aveline.
Nice copy.

first edition for which there is no mention of leading copies.
Our copy is enriched by an autograph letter of a signed and dated page Jean-Pierre Brisset at Henri-Buriot Darsiles about this book and requesting from him an article for its latest publications.
Nice copy.

first edition on the current paper.
Signed autograph of Georges Bataille to filmmaker Jean Grémillon.
Back insolated, yellowed paper as usually.