Paris

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.

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.

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.

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.

First edition, one of 188 numbered copies on wove paper, the only deluxe copies.
Work illustrated with original color illustrations by Valentine Hugo.
Handsome copy unfortunately lacking the suite of illustrations as specified in the justification page.

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.

First edition.
Contemporary half blue cloth over marbled paper boards, double gilt fillets to spine, red shagreen title-piece, corners bumped.
Rare autograph inscription signed by Jules Vallès to Madame Bonniaire.
A little scattered foxing.

First edition, review copy.
Signed autograph of René Laforgue to Fraigneau.
spine and marginally insolated boards, some spots mainly affecting the margins of the leaves.

First edition of 106 copies, this one of 99 numbered copies on Rives peper.
With a previously unpublished poem by Tita Reut set in Garamond and specially written based on original drawings by Arman, for this album.
With 4 original lithographs and a collage cover, all signed and numbered by Arman .
Marginal dampstains to collage cover.
Cloth case (some yellowing) with Pounou mask drawn by Arman to centre of upper cover. Internally very good.

Edition for which he was not drawn large paper, review copy.
Signed autograph of Roger Quilliot Claude Gallimard.
Illustrated cover of a photograph of Albert Camus, complete copy of his prayer to insert.

first edition on the current paper.
Signed autograph Jules Romains Ernest La Jeunesse
Small tears minor on the back and flat margins.

First edition, review copy.
Signed autograph of Jean Giraudoux Guy Lavaud.
Back slightly insolated.

first edition on the current paper.
Signed autograph of Rosemonde Gérard Violette Favre: "... wearing a name so fragrant ...
Back slightly insolated and with a lack in the lead.

First edition printed on vergé paper; the two first volumes were published by Dolin, but were immediately taken up by Alexandre Cadot with a reworked title page. The two final volumes appear to have been published directly by Cadot. A bibliographical curio, this copy has the extremely rare titles with Dolin’s address.
Contemporary Romantic half coral-red sheep over cloth (partly faded), spine with gilt arabesques in the fashion of the time, gilt tools with the emblem of George Tudor to foot, a little light rubbing, marbled endpapers and pastedowns, armorial ex libris of George Tudor to pastedowns.
Tear without lack to pp. 141-142 of volume 4.
A rare copy, almost entirely without spotting, in a charming contemporary binding.

first edition on the current paper.
Signed autograph Andree Chedid to Aron.
A small trace of crease Length of the first flat.

First edition, printed stamp press service of the head of the second flat.
Signed autograph of Jean-Richard Bloch Francis Crucy.
A glued tear in foot of the back, slightly curled copy.

First edition of the French translation, one of 40 numbered copies on pure rag Marais reserved to the bookstore Flammarion, drawing in the big smaller papers.
Rare autograph signed Ernst Glaeser, French, Louis Thalmann.
Small gaps in the top and bottom of the back.

First edition, review copy.
Signed autograph of Jean Cayrol to a friend: "To you, dear Albert, my companion who wants to walk the same pace as me and what a road!"

CHODERLOS DE LACLOS Pierre-Ambroise-François
Les Liaisons dangereuses [Dangerous Liaisons]
Chez Durand neveu, Paris 1782, in-12 (9,5 x 17 cm), 248 pp; 242 pp & 231 pp; 257 pp., 4 volumes bound in 2, contemporary full calf
First edition, a ‘C' issue copy, known as the à la roue dentée issue, with all the characteristics as stated by Max Brun. Issues A, B, and C were printed one after the other and it is only from issue D onwards that there were significant differences.
Contemporary brown marbled calf, spine in six compartments richly gilt with fleurons as well as red morocco title-pieces, gilt fillet to edges of covers, all edges red. Foot of spines rubbed and slightly damaged, foot of spine of volume I partly missing. Four corners bumped. Volume labels rubbed. Very faint insignificant marginal dampstaining, a very small hole to top of p. 141 of volume I and a tear without lack to p. 191 of volume II.
$ 4 400

First edition of this issue devoted to jazz and Louis Armstrong.
Contributions Chambelland Guy, Jack Kerouac, Gaston Criel, Jacques Reda, François Valorbe, Alain Simon ...
Signed autograph Alain Simon to a couple of friends "? ... Or virtuoso esthete"
Back slightly thinned.

First edition in French, an advance (service de presse) copy.
Spine very slightly sunned, some traces of fold to the covers.

First edition for which there were no large paper copies, an advance (service de presse) copy.
A good copy despite a slight sunning to the spine.

First edition of the French translation by Jean Cassou and Mathilde Pomès, review copy.
Signed autograph of Jean Cassou Guy Lavaud enriched rare handwritten signature of Miguel de Unamuno.
Back slightly insolated, complete copy of his prayer to insert.

First edition on ordinary paper.
With a frontispiece portrait of the author by Robert Delaunay.
Spine slightly sunned.

Later edition, mention of the 425th thousand.
Handsome autograph quotation signed by Edmond Rostand on the half-title and dated December 1916:
"Bref dédaignant d'être le lierre parasite
Alors même qu'on est pas le chêne ou le tilleul
Ne pas monter bien haut peut-être mais tout seul [In short, don't deign to be the parasitic ivy, even though you're not the oak tree or the elm, rise not so high, maybe, but be there all alone!]"
Small tear laid down to foot of spine, a good copy.
Inscriptions on this work are very rare and sought-after.

First edition, one of 520 numbered copies on Hollande paper, the only large paper copies after 130 on Japan paper.
A good, well-margined copy.

first edition printed 500 copies on vellum and with the English translation in-fine.
Binding of full black cardboard editor, smooth back, title tag pasted on the back.
autograph dedication of the author autograph signed and dated by Jean de Bosschère, the name of the dedicatee was deleted: "... so he will not forget the way to my attic until I have a tour ..."
We enclose a printed business card of Jean de Bosschère on which he said his address in black ink.
Illustrated book of John Bosschère portrait by Wyndham Lewis and prints 14 black inset.

Genuine first edition for which there were no large paper copies.
Spine slightly wrinkled as usual.

Edition of wich no leading copies exists.
Bel autograph signed almost full page of Jean de Bosschère Guy Lavaud.

First edition printed on vélin paper.
Drawings by Chas Laborde.
A good copy. 

 

New edition published in the complete works of the author, one of 1240 numbered copies on laid Navarre, ours unjustified.
Binding half morocco burgundy with corners, back with four nerves set with dotted gold adorned with quintuple gilded boxes, marbled paper plates, guards and contreplats of handmade paper, bookplate pasted on a contreplat, wrappers and back preserved and bound in, head golden, contemporary binding signed Kauffmann & Horclais.
Signed autograph of Georges Courteline: "To the great" Jenny ", the artist to artist, friend to friend Wholeheartedly.."
Some spots affecting mainly the first guard and some margins of some leaves.
Copy nicely established.

First edition, review copy.
Signed autograph of Louis Aragon Daniel Jerruel.
Back insolated, dirty boards, nice interior state.

First edition, one of 112 numbered copies on bulk and reserved in the library of Editions de Minuit.
Signed autograph Leonie Bruel Pierre Aveline.
Nice copy.

First collected edition on ordinary paper.
With illustrations by Christiane alanore.
A good copy.

First edition on ordinary paper.
Handsome autograph inscription from Jean Blot to alexandre Vialatte.