Denoël

First edition on ordinary paper.

Half black long-grain morocco binding, smooth spine tooled in palladium with author, title, and date, anthracite-grey paper boards, original wrappers and spine preserved (the latter with two small stains at head and foot), endpapers and pastedowns of anthracite-grey paper, binding signed Thomas Boichot.

Precious and exceptional signed presentation inscription by Louis-Ferdinand Céline: "A Mac Orlan son admirateur et ami fidèle. LFerd"

First edition, one of 15 numbered copies on pure wove paper, the only deluxe copies.

A very handsome copy.

First edition, one of 100 numbered copies on alfa, the only grands papiers (deluxe copies) after 5 pur-fil paper.

Bound in half green morocco, paste paper boards, marbled paper endpapers, wrappers and spine preserved, top edge gilt, contemporary binding signed Lucie Weill.
Skilful and discreet repair to the top of a joint.
Illustrated with 6 vignettes by André Derain.

Handsome inscription signed by Antonin Artaud: “à Alice & à Carlo Rim que j'aime beaucoup parce que j'aime dans la vie tout ce qui est nature, franc et sans fard et la vie d'Héliogabale aussi est franche et sans fard et dans la ligne de la grande Nature. Antonin Artaud leur ami.” (“To Alice & Carlo Rim whom I love very much because I love in life all that is nature, frank and unvarnished and the life of Elagabalus is also frank and unvarnished and in line with the great Nature. Antonin Artaud their friend.”)

First edition on ordinary paper.

Paper slightly toned as usual, with a few insignificant spots on the edges.

Amusing and fine signed autograph presentation inscription from René Fallet to his friend Jean-Jacques Vaure; "Pour J.J. Vaure chantre mou d'Argenteuil 13 amicalemebt. René Fallet 16/11/51. Note de l'auteur : celui qui acceptera qu'on lui prête ce livre est un salaud. Pas tant que Vaure, mais presque."

First edition with all first printing  features, one of the press copies.

Exceptional presentation copy inscribed by the author to the famous singer Yvette Guilbert, to whom Céline himself sang and offered one of his scandalous compositions, “Katika la putain,” [Katika the Whore] later renamed “À Nœud coulant” [With a Slipknot"] "A madame Yvette Guilbert en témoignage de ma profonde admiration. LFCéline.” 

Beneath Céline's inscription, the actor Fabrice Luchini added: “A Yvette Guilbert in memoriam. FLuchini” ; and on the half-title, actor Jean-François Balmer wrote in turn: “Merci en bon voyage. JFBalmer.”

With pasted-in entry tickets to their respective performances of Voyage au bout de la nuit at the Comédie des Champs-Élysées for Luchini, and at the Théâtre de l’Œuvre for Balmer.

First edition of the French translation, one of 50 numbered copies on pur fil paper, the only deluxe issue.
Attractive copy, with minor foxing to the spine.

First edition of the French translation, one of 1,000 numbered copies on pur fil paper, the only issue with 10 copies on Auvergne paper.
Frontispiece with an original portrait of Blaise Cendrars by Riera, covers illustrated with an original lithograph by Orfeo Tamburi.
Spine and boards slightly and marginally sunned, as usually.

First edition on ordinary paper with all the features of the first printing. Includes its publisher's band expertly restored and the publisher's catalogue at rear. 

An exceptionally fresh copy, preserved with its rare red publisher's band quoting Molly's phrase "C'est le voyageur solitaire qui va le plus loin" ('he travels farthest who travels alone', translation by John H. P. Marks) followed by this text on the verso:

"One should not be misled by the tone of this extraordinary novel and take Journey to the End of the Night for a pamphlet by the violence of its sarcasm as well as its ever-present and particularly ferocious satire. The author aims to create a very faithful image of urban man with all his implied complexity, richness, and contradictions. In this book of prodigious variety and vividness, he has no other ambition than to approach life: unprejudiced minds will have to bow before the integrity of his testimony" (translation our own).

From December 1932, copies sported a new band printed on green paper: "Un formidable / succès / Prix Théophraste Renaudot".

First edition, one of 50 numbered copies on vélin de renage, most limited deluxe issue.

A fine copy.

First edition, one of 50 numbered copies on Renage vellum, the deluxe issue.

A fine copy.

First edition, one of 250 numbered copies on pure thread paper, the only deluxe copies after 60 on laid Arches paper.

Half apple green shagreen binding with corners, spine with five raised bands lightly faded set with blind fillets, gilt date at foot, frame of black fillets on marbled paper boards, pebbled paper endpapers and pastedowns.