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First edition, with no deluxe-paper copies issued, one of the review copies.
A pleasant copy.
Precious signed presentation copy inscribed by Claude Simonnet to Jean Giono.
First edition on ordinary paper.
A transverse crease to the upper edge of the front wrapper.
Illustrated.
Rare dated and signed presentation inscription from Fernand Legros to the journalist Brigitte Kantor: "... avec ma gratitude pour un journaliste objectif et attentif..."
First edition of the catalogue for this exhibition, held from 25 October to 10 November 1923 at the Galerie du Nouvel Essor, rue des Saint-Pères, Paris.
Contributions by Jean-Emile Laboureur, Alfred Latour, Lespinasse, Ludovic Rodo, Mathurin Méheut, Louis Moreau, Morin-Jean, Paul-Emile Pissarro, Pierre Noury, Quillivic, Siméon, Philippe Burnot, Jules Galand and Pierre Gusman.
Rare and attractive copy, illustrated with 9 engraved vignettes.
Edition published two months after the first edition; no deluxe-paper copies were issued.
Fine copy complete with its illustrated dust jacket.
Amusing dated and signed presentation inscription from Frédéric Beigbeder to Paul Chauzi: "... ce roman qui coûte 99 francs parce que je le vaux bien ? ..."
In 2007, Jan Kounen adapted the novel for the screen, with Jean Dujardin, Jocelyn Quivrin and Vahina Giocante in the leading roles.
First edition of the French translation; no deluxe-paper copies were issued.
A very good copy.
Signed presentation inscription from Jim Harrison to a woman named Gabrielle.
First edition of the French translation, one of the review copies.
Complete with its illustrated dust jacket, which has a few small marginal tears and is partially faded on the rear panel.
Rare dated and signed presentation inscription, in French, from Iris Murdoch to the writer, publisher and literary critic Christian Giudicelli.
First edition on ordinary paper.
Spine slightly sunned, with a few small nicks.
Signed presentation copy from Léo Ferré to a woman named Véronique.
First edition of the French translation, printed in an edition of 90 copies numbered on wove paper and signed by John Crombie and Sheila Bourne.
Illustrated throughout by Sheila Bourne.
A rare and fine copy of this artist's book created by Sheila Bourne and her husband, John Crombie.
First public edition of this foundational text of the intellectual Resistance.
Handwritten ownership inscription recording the volume as a gift, small tears and one snag to the spine, rear cover creased along the right-hand edge.
First edition of the French translation, illustrated with an engraved frontispiece and a folding plate.
Bradel binding in half red morocco-grained shagreen with small corners, smooth spine richly decorated in the grotesque style, orange paper-covered boards with a few small areas of paper loss and some staining, yellow edges.
A few minor spots of foxing.
After witnessing the plight of enslaved Black people in the West Indies, the Danish botanist Paul Erdmann Isert returned from his travels as a fervent abolitionist. His writings prompted Prince Frederick of Denmark to abolish the triangular trade throughout his dominions in 1803.
First edition, false statement of ninth edition, no deluxe issue printed.
Small marginal tears without significance to the soiled boards.
Presentation copy signed by feminist activist Yvonne Netter of her important essay on the emancipation of women and their right to vote.
Later edition published only a few months after the first edition.
An attractive copy of this work, which won the 2001 Prix Goncourt and was adapted for television a few years later.
Dated and signed presentation inscription from Jean-Christophe Rufin to a woman named Muriel, to whom he also wishes a merry Christmas.
New edition, partly original.
Publisher's full grey cloth, smooth spine, a pleasant copy complete with its illustrated dust jacket.
Richly illustrated.
Signed presentation inscription from Yves Bonnefoy to Jacques Hartmann and his wife Nancy.
First edition, printed in a small number of copies, of these extracts from the Cahiers de la Pléiade.
A few stains to the boards, with small red ink stains on the first page of Michel Tapié's text.
Signed presentation inscription from Henri Michaux to his friend, the painter and draughtsman Bernard Saby: "Les hommes qui ne donnent pas leur adresse ne craignent pas les exorcismes. Mais tout de même où est-il ce Saby? H.M."
Inspired both by his investigations into serial music and by his use of mescaline and hashish, Bernard Saby's painting aroused keen interest among his contemporaries. In 1956, his friend Henri Michaux gave him space in...
First collected edition, partly first edition, one of 129 numbered copies on wove paper, enhanced with an original engraving by Pierre Alechinsky, signed and numbered by the artist; our copy is one of the first 10 to contain a manuscript leaf, as stated in the limitation notice.
Signed by Yves Bonnefoy beneath the limitation notice.
A rare and fine copy.
First edition of Anne Guérin's French translation, for which no deluxe copies were issued; one of the review copies.
A small, unobtrusive nick to the head of the spine.
Introduction by Daniel Guérin.
An attractive copy, complete with the publisher's printed notice.
First edition, extensively illustrated with reproductions of works by Speedy Graphito.
Text by Jean Seisser.
On the final free endpaper, a signed presentation inscription from Speedy Graphito to a man named François, surrounded by an original drawing.
First edition, one of the few copies printed on Japan paper.
A fine copy.
First edition of the French translation, one of 210 numbered copies on pur fil paper, the deluxe issue.
Spine and boards lightly faded at the margins, as is often the case.
First edition, privately printed in a small number of copies as an offprint from issue No. 6 of the review Hermès, devoted to the theme of emptiness, of which Henri Michaux was the first editor-in-chief.
A few stains to the upper wrapper.
Signed autograph inscription by Henri Michaux to his friend, the painter and draughtsman Bernard Saby: "Quelques mots encore amicalement à Bernard Saby. Henri Michaux."
Inspired both by his investigations into serial music and by his experiments with mescaline and hashish, Bernard Saby's painting aroused keen interest among his contemporaries. In 1956, his friend Henri Michaux welcomed him into the pages of...
First edition, one of the review copies.
Signed presentation inscription from Violette Leduc to Claude Couffon, a specialist in and translator of the leading Spanish-language writers of the second half of the twentieth century: "... après un chaleureux entretien et mon souvenir intact de son article pour ce livre..."
First edition, one of 150 numbered copies on Marais wove paper, the only deluxe-paper copies.
Illustrated by Edith Destouches.
A fine copy.
Original albumen print photograph of Auguste Rodin, cabinet card format, mounted on stiff card. Nadar's signature in red in the lower margin. Advertisements in red on the verso. A small white area in the upper left margin, with a few imperfections from the glass plate in the same area, not affecting the portrait. Foxing to the margins.
Iconic portrait of the sculptor with close-cropped hair and pince-nez, staring fixedly into the lens.
Original albumen print photograph depicting Louis Pasteur, in cabinet card format, mounted on thick card with Chalot's imprint, photographer, 18 rue de Vivienne, Paris.
A photograph mounted on thick card, with the photographer's address printed in red in the lower margin.
A fine copy.
New illustrated edition with 43 drawings by Jules Férat, engraved by Charles Brabant for Les Indes noires; and by Edouard Riou and Jules Férat for the two other titles.
Catalogue CR at end.
Publisher's full polychrome cartonnage by Lenègre, type 3, known as the “Deux Éléphants” binding, on a red ground; headcaps slightly softened, as almost always; upper cover decorated with a plate by A. Souze featuring a fan-shaped design, with the title printed on two lines and no mention of Martin Paz; lower cover of Lenègre type “e”, with central medallion on a black ground; gilt lettering at foot of spine: Hetzel éditeur and A. Lenègre relieur (partly rubbed away).
Some...
First edition, one of 50 numbered copies on pur fil paper, the only deluxe-paper issue (cf. Claude Menguy).
Endpapers slightly and partially toned.
A rare and attractive copy.
Red-medallion Steamer binding edition (single volume), illustrated with 48 drawings by Léon Benett (40 for the first title and 5 for the second).
Catalogue FX at end.
Publisher’s full polychrome pictorial boards signed Charles Magnier, headcaps slightly sagging as almost always, upper-cover plaque signed Paul Souze, a few small foxing spots.
A pleasing copy, the binding retaining fine freshness.
Two heirs, one French and one German, divide 500 million francs between them. Each builds a city in keeping with his dreams: the Frenchman an hygienist city, the German a city of steel.
First edition, first issue, illustrated with an engraved frontispiece printed on mounted China paper and 120 wood-engraved plates by Grandville. From 1839 onwards, subsequent printings incorporated the wood engravings within the text and the frontispiece was printed on ordinary paper. Two issues were published by Fournier in 1838. The first issue may be identified by the captions to the engravings ending with a full stop; on page XIII of the Life of Aesop, the capital letter N is formed of looping lines, whereas in the second issue it is composed of small black-and-white squares. This distinction between the two issues is seldom noted. Our copy combines features of both issues: all the...
First edition, one of the review copies.
Spine sunned, small losses to the spine and covers, paper brittle in the margins of the leaves.
A fine and rare signed autograph inscription by Roger Nimier, in the purest Hussard manner: "Pour Henry Grave et le Colonel Monier avec les claquements de talons et un arrière goût de rhum blanc du Cavalier Nimier".
Second edition, with a thousand-copy statement.
Spine warped and faded, small tears without consequence to the margins of the covers, a pale dampstain at the foot of the final leaves, occasional foxing.
Rare signed and dated autograph inscription from Joseph Zobel to Madame de Bruycker: "... ce premier reflet de ma province antillaise..."
First edition, on ordinary paper, of the French translation by Boris Vian.
A pleasing copy, considering the poor quality of this post-war paper.
First edition, one of 50 numbered copies on ivory laid edition paper, the only deluxe-paper copies.
A rare and fine copy.
Signed autograph inscription from Eric Jourdan to a friend named Guy: "... ce livre qui vient de loin presque à des années lumières, mais que j'accepte tel qu'il est. En signe d'amitié de toujours. éric 19 février 1996."
First edition on ordinary paper.
Publisher's full black cloth, smooth spine, black endpapers and pastedowns.
Illustrated with 100 photographs by Pierre Molinier, with text by Pierre Bourgeade.
A very good copy.
New edition, one of 50 numbered copies on Dutch laid paper, the only deluxe-paper copies.
A very good copy.
First editions of eight plays bound in one volume.
Arioste gouverneur ou Le Triomphe du génie, written by Jean-François Roger in collaboration with Jean-Louis Brousse-Desfaucheret, is accompanied by a musical score.
The last three plays in the collection, signed under the pseudonym MM ***, were the result of Jean-François Roger’s collaboration with Auguste Creuzé de Lesser.
Half fawn basane binding, smooth spine richly gilt-decorated, fawn long-grain morocco spine label, speckled paper boards, marbled edges.
Boards rubbed, some scuffing to the leather, corners bumped, minor soiling to the leaves, a marginal tear with no loss of text on page 43 of the...
First edition, one of 100 numbered copies on Lana wove paper, the only deluxe-paper copies.
A small tear at the head of the front panel of the dust jacket.
A pleasing copy.
First edition, with no deluxe-paper copies issued.
A fine copy.
New edition, one of 50 numbered copies on pur fil paper, the only deluxe-paper copies.
A fine copy.
The first edition, published two years earlier, included no deluxe-paper issue.
First edition, one of the press copies.
Work illustrated with 57 reproductions of collages by Jacques Prévert.
A precious copy belonging to the actor Pierre Brasseur, Prévert's friend and collaborator, containing:
First edition, one of 70 named and numbered copies on Madagascar paper.
Faint marginal crease marks to the lower right-hand corner of the front wrapper.
Illustrated with a frontispiece drawn and wood-engraved by Vassily Photiadès.
Signed presentation inscription from Joseph Kessel to Emmanuel Arago, for whom this copy was specially printed.
Rare first edition for which no large-paper copies were printed, one of the press copies.
Spine and boards lightly sunned as usual, a few light dampstains to the spine.
Illustrated with 32 photographic plates.
Precious autograph inscription signed by Michel Leiris to Gabrielle Gras, a discreet yet prolific critic for the Revue Europe, close to Surrealist circles and to numerous writers and artists.
First edition, one of 250 numbered copies on alfa paper reserved for presentation and review.
A pleasing copy.
Signed presentation inscription from Jean Giraudoux to Maurice Martin du Gard, additionally signed by Jean-Louis Barrault and Madeleine Renaud, who created the roles of the imperial prosecutor Blanchard and Lucile Blanchard.
First issue, illustrated with 28 original burin engravings by Camille Paul Josso, one of 375 copies on vélin de Lana.
Cream wrappers with folded-in flaps, red suede cloth publisher's chemise and slipcase.
Chemise and slipcase somewhat soiled and scratched, corners bumped, a few edges chipped.
First edition, one of 25 copies on Japon. A name copy printed for Delanier, his name inscribed by the publisher in pen, with his signature.
Illustrated with 8 original etchings by Jean-Adrien Mercier in two or three states, with an exceptionally added original pencil drawing by the artist.
Red half-chagrin Bradel binding, flat spine, author and title gilt-lettered on spine, marbled paper boards, marbled endpapers and flyleaves, original wrappers preserved, top edge gilt, binding signed M. Godillot.
Corners lightly rubbed, a few faint marks on the leather of the front board, trivial soiling to the...
First edition of the opera libretto.
Full red morocco binding, spine with five raised bands and panels stamped with fleurs-de-lys, boards framed three times in gilt, stamped at center with the arms of the Marquis de Louvois and de Courtenvaux, gilt roll-tooling to the edges, marbled paper endpapers and pastedowns, contemporary binding.
A few scuffs to the lower cover, binding with light spotting.
Illustrated with a superb frontispiece by Berin (Berain), who also designed the opera's sets, etched by Jean Dolivar, depicting the destruction of Armide's palace by the demons at the close of the work.
A superb copy of...
First edition, no deluxe-paper copies having been issued, one of the review copies.
Two minor losses at the foot of the spine, with faint crease marks to the margins of the covers.
Signed presentation inscription from Henri Michaux to Mr Rio.
First edition, actually printed in Nantes by Malassis despite the Paris imprint on the title-page, as revealed by a manuscript note by Mangourit himself cited by Barbier.
An anonymously published pamphlet, with a typographical vignette on the title-page.
Copy preserved in its original stitched state and therefore without wrappers, with a pencilled manuscript note on the title-page identifying the author.
Our...
First edition in French, one of the ordinary paper copies.
A pleasant copy despite three small stains to the edges.
Signed presentation copy inscribed by Milan Kundera to Jacques Brenner, conveying his best wishes for 1990.
First collected edition, one of 30 copies on alfa paper, this copy unnumbered but duly identified as printed on alfa at the foot of the spine and in the limitation statement, the only deluxe-paper copies.
Albert Camus's foreword appears here for the first time.
A pleasant copy.
Edition published in the same year as the first edition, with edition statements in each volume.
Contemporary half brown shagreen bindings, spines with four raised bands ruled in black and decorated with double black compartments featuring gilt central tools, marbled paper boards, marbled endpapers and pastedowns, speckled edges; corners rubbed.
Occasional foxing, with minor nicks to the top edge of one volume.
A handsome copy, attractively bound at the time.
First edition, one of 455 numbered copies on pur fil paper, the only deluxe-paper copies after 170 on Holland paper.
A fine copy despite some minor foxing, chiefly to the top edge.
First edition, printed in 400 copies and dedicated in particular to the memory of the Armenians who were massacred because their industrious people stood in the way of German ambitions.
Spine and covers lightly and marginally sunned, small tears to the inside flaps of the wrappers, two small holes at the foot of the lower cover, unlettered spine.
Inscribed presentation copy, dated and signed by Antoine Poidebard to Vice Admiral Lejay, Grand Officer of the Legion of Honour.
First edition, superbly illustrated with 200 full-page plates and 120 in-text vignettes by Grandville. Second-issue printing, with the errors corrected. It may be identified by the fact that, in the first issue, the opening third of the volume was printed on tinted wove paper, whereas this second issue was entirely printed on uniform white paper; the frontispiece no longer bears the title Badigeneographie but instead Des affiches seront, d'après ses ordres....
Publisher's original full green ribbed percaline binding, decorated with special blocking tools commissioned by Hetzel specifically for this edition. Smooth spine stamped with tortoise, butterfly and beetle...
First edition, one of 15 lettered copies on Imperial Japan paper, the deluxe issue.
Full red morocco, spine with five raised bands decorated with triple gilt compartments, very minor rubbing to the bands, gilt date at foot, gilt rolls to the spine ends, boards framed with triple gilt fillets, sand-coloured polished calf endleaves and doublures, wrappers and spine preserved, all edges gilt, slipcase edged in red morocco and covered with decorated paper sides, an elegant binding signed by Devauchelle.
A fine copy superbly bound in full morocco by Devauchelle.
First edition.
Wrappers illustrated by Louis Icart.
Exceptional signed autograph inscription by Louis Icart: "à mon ami, au peintre Edouard Chimot \"Gouverneur de... Javea\" - ces scènes rapportées d'Espagne ! En hommage cordial. Louis Icart."
First edition, illustrated with a frontispiece in each volume and a folding plate at the end of the first volume.
Bradel-style bindings in brown half cloth with small corners, smooth spines very slightly faded and ruled in gilt, marbled-paper boards with a few minor scuffs, blue-grey endpapers and pastedowns, marbled edges, bookplates pasted to the front pastedowns.
Some foxing, as usual.
Our copy is complete with all three engravings: a view of St Peter's in Rome and a plan of the remains of ancient Rome in the first volume, and Trajan's Column in the second.
It also includes a second state of the plan of the remains of ancient Rome, with slight variations...
First edition, one of 90 numbered copies on pure wove paper, curiously the smallest deluxe paper issue prior to the 109 reimposed in-quarto tellière copies.
A handsome copy.
First edition, one of 80 numbered copies on Montval paper, the deluxe issue.
A handsome copy with wide margins.
First edition, one of 75 numbered copies on Montval paper, the deluxe issue.
A pleasing wide-margined copy.
First edition, one of 30 numbered copies on Holland paper, the deluxe issue.
Front cover vertically creased.
First edition, one of 45 numbered copies on hollande, most limited deluxe issue.
Contemporary full red morocco, spine with four raised bands framed with black fillets, date gilt at foot, taupe morocco doublures, red silk endleaves, gilt fillets and dots to board edges, all edges gilt, slipcase, an elegant binding signed Favre-Petit-Mermet.
A fine copy, handsomely bound in full morocco with morocco doublures by Favre-Petit-Mermet.
First edition on ordinary paper, with the correct imprint date of 25 September 1951, false "fifth thousand" statement of edition on the title page.
A small restored tear to the margin of the front cover, joints skilfully restored.
Presentation copy, signed and inscribed by Julien Gracq to Madame Renaudon: "...in memory of her smiling kindness amid the work of disasters..."
First edition, one of 56 hors commerce name copies on Saint-Amand, the only deluxe issue with 32 copies on hollande.
A fine copy.
Name copy printed for Kessel's friend Eddy Marnay signed and inscrbied by Joseph Kessel beneath the limitation statement and his name: "... ou le zombie son ami Jef."
Born Edmond Bacri, he was a French lyricist and singer who wrote approximately 4,000 songs, including Les Amants de Paris for Edith Piaf.
First edition, one of 50 numbered copies on Japon paper, the deluxe issue.
Illustrated with a frontispiece portrait of the author by Christian Bérard.
A pleasing copy despite a slight shadow to the spine.
Autograph card signed and dated by Marguerite Yourcenar, 12 lines in black ink written on both sides, addressed to Jane Bathori.
The ink has slightly faded.
With the original manuscript envelope addressed to Jane Bathori.
"6-III-54,
Dear Madam, I thought of you this morning as I was passing through your neighbourhood, and was reminded of the charming welcome you gave me last month. I did not have the time to try to call on you, but these flowers will at least convey my warm remembrance and friendly regards. Marguerite Yourcenar."
Jane Bathori was a French mezzo-soprano, choir director, teacher, theatre...
First edition, one of 300 numbered copies on alfa paper reserved for the press service.
A few spots of foxing, chiefly affecting the endpapers and edges, small tears to the boards at the edges, a small loss at the foot of the spine, which also shows slight sunning at the head.
Presentation inscription signed by Marguerite Yourcenar to Mr. Van Melle.
The first Paris edition, published simultaneously with the Brussels edition.
Most of the volumes bear a statement of fourth, seventh, or eighth edition.
Some foxing to several volumes.
Contemporary half tawny speckled sheep bindings, smooth spines decorated with double gilt fillets, red sheep lettering-pieces lettered "Oeuvres de V. Hugo", sky-blue sheep title and volume labels, volume label lacking from the fifth volume, three others partially lifting, marbled paper-covered boards, decorative endpapers and pastedowns.
New edition of the French translation first published in the author’s collected works, one of 550 numbered copies on pure wove paper, the only issue after 80 copies on Arches wove paper.
Contemporary forest green half morocco over marbled boards, corners, spines lightly sunned with four raised bands, gilt decorative rolls and richly gilt compartments, marbled endpapers, original upper wrappers preserved, top edges gilt.
First edition of this celebrated illustrated issue featuring artwork by Le Barbier, with the plates engraved under his supervision. Engraved frontispiece portrait of the author by Le Mire and 15 finely engraved full-page plates after drawings by Le Barbier.
Contemporary full glazed red Russia leather binding, attributable to Bozérian l'aîné. Smooth spine tooled with four small concentric ornaments and gilt rules. Gilt fillet border to covers. Wine-coloured tabis silk endpapers. Gilt inner dentelles. All edges gilt. Light rubbing to the binding. Small loss of paper at the upper right corner of the title page in Volume I. Occasional foxing, particularly in the margins of several...
New edition, revised, corrected and enlarged.
Bound in full red morocco, spine with five raised bands ruled in double black fillets, boards framed with double black fillets, wide gilt dentelle border to the red morocco doublures, following endpapers of combed paper, bookplate pasted to an endpaper, gilt fillets to the board edges, all edges gilt, superb signed Duru binding dated 1848.
With an introductory history of satire in France by Viollet Le Duc.
A very handsome copy in an elegant red morocco doublure binding by Duru.
Illustrated edition with 20 original black engravings by Marianne Clouzot, one of 675 copies printed on Lana wove paper.
Slipcase spine sunned, joints rubbed, boards uniformly and lightly toned, internally in very good condition.
Illustrated edition featuring 20 original colour engravings by Marianne Clouzot, issued in a limited edition of 375 copies on Rives wove paper.
Spine of the chemise and boards of the slipcase lightly sunned at the margins, as is usually the case, the boards evenly and lightly toned, a fine copy internally.
Our copy is further enhanced by an original blue ballpoint drawing by Marianne Clouzot depicting the profile of a nun, accompanied by a signed autograph inscription to Etienne Crémieu-Alcan.
Illustrated edition featuring 25 original colour watercolours by Lucien Boucher, printed in an edition of 750 copies on Rives wove paper.
As is usually the case, the chemise spine and the slipcase boards are lightly sunned at the edges, the boards uniformly and lightly toned; a fine copy internally.
Illustrated edition with original colour engravings by Marianne Clouzot, one of 575 copies printed on Rives wove paper.
As is generally the case, the chemise spine and the slipcase boards are lightly sunned, the boards evenly and slightly toned, otherwise a fine copy internally.
Illustrated edition with 16 original colour engravings by Emilio Grau Sala, printed in an edition of 350 copies on Rives wove paper.
Spine of the chemise and boards of the slipcase marginally sunned, as is usually the case, boards evenly and lightly toned, a fine copy internally.
Revised and expanded edition, corrected throughout and supplemented with previously unpublished documents, preceded by a biographical notice of the author and followed by notes by Edmond Biré.
Contemporary half red shagreen binding, smooth spine richly decorated with gilt Romantic arabesques, marbled paper boards framed with a gilt fillet, marbled endpapers, top edge gilt, signed binding by Flammarion.
Illustrated with 59 etchings engraved by Adolphe Lalauze after the watercolours of Eugène Lami.
A pleasing copy, attractively bound.
New edition, with a spurious seventh edition statement.
Contemporary half brown shagreen over marbled boards, spine with four raised bands, ruled in black and decorated with double black panels enclosing gilt central fleurons, marbled endpapers, sprinkled edges.
Minor wear to the edges, lower corners lightly bumped, a small loss to the upper right corner of the title page.
A handsome copy attractively preserved in its contemporary binding.
Edition issued in the year of the first edition, bearing the fanciful statement of "Fourth Edition."
Contemporary half brown shagreen over marbled boards, spine with four raised bands ruled in black and decorated with double black panel compartments featuring gilt floral tools, marbled endpapers, sprinkled edges, contemporary binding.
Three small nicks to the edges.
A handsome copy attractively bound in a contemporary binding.
First French edition, one of 16 copies printed on Imperial Japan paper, our copy unnumbered but correctly justified as "japon" beneath the limitation statement and at the foot of the spine, from the deluxe issue.
A rare and handsome copy.
Edition published in the same year as the first edition, with the spurious statement of "Eleventh Edition" on the title page.
Contemporary half brown shagreen over marbled boards, spine with four raised bands ruled in black and decorated with double black panels featuring central gilt floral tools, marbled endpapers, sprinkled edges.
A few minor spots of foxing.
A handsome copy in an attractive contemporary binding.
Later edition, stated eighth edition.
Contemporary half brown shagreen over marbled paper boards, spine with four raised bands ruled in black and decorated with black double-panel compartments featuring gilt central floral tools, marbled endpapers, speckled edges, contemporary binding.
A few minor spots of foxing.
A handsome copy attractively bound in its contemporary binding.
Edition from the same year as the first edition, of remarkable rarity, bearing a fictitious statement of fifteenth edition, yet featuring correct colophon (1872) at the foot of p. 312: "1124-72".
Binding in brown half sheepskin, spine with four raised bands ruled in black and decorated with double black compartments bearing central gilt fleurons, marbled paper boards, marbled endpapers and pastedowns, speckled edges, contemporary binding.
A few minor foxing spots of no consequence.
A fine copy attractivelyhoused in a contemporary binding, published the same year as the first edition.
First edition, one of 1,040 numbered copies on chestnut paper.
Publisher's boards after the original design by Mario Prassinos.
Spine very lightly sunned, otherwise a fine copy.
First edition, one of 1,040 numbered copies printed on Navarre alfa paper.
Publisher's paper-covered boards after Paul Bonet's original design.
Endpapers fully shaded throughout, as often encountered.
First edition, one of the press service copies.
Spine sunned and lightly soiled.
Exceptional and highly desirable signed autograph presentation inscription from Louis de Vilmorin to her lover, the French sport shooter, businessman and politician Jean de Beaumont: "A Jean de Beaumont T(endrement) F(idèlement) T(on) A(imée), (the calligraphic capital letters enclosing the remainder of each word) Louise". 20 June 1960. I am leaving for Switzerland today. I shall be staying in Geneva with Sacha de Manziarly. If by any chance you should happen to pass through... Afterwards you will find me with the André family from 23 July until 10 August...
First edition, one of 350 numbered copies on alfa paper reserved for the press.
Spine slightly cocked.
A touching and highly desirable signed autograph inscription from Louise de Vilmorin to her lover, the French sports shooter, businessman and politician Jean de Beaumont: "à mon Jean chéri que j'aime toujours davantage sa mendiante de baisers. Louise", enhanced with a drawing of a four-leaf clover enclosing the name Louise.
First French edition, one of 35 numbered copies on pure wove paper, the only deluxe paper issue.
A fine copy.
