Gallimard (1911 - )

First edition, of which there were no large paper copies, a service de presse (advance) copy.

With an exceptional inscription from André Breton to André Malraux: “à André Malraux avec confiance et espoir. André Breton [For André Malraux with confidence and hope. André Breton]”.
A surprising meeting of two writers who were “by nature fundamentally dissimilar.” Nonetheless, Malraux's and Breton's destinies crossed at least twice. The first time was in 1924 when Malraux, then a young and practically unknown author, was arrested over the Angkor affair. Breton received Clara Malraux at his home and offered her his help in getting Malraux out, making his case in “Nouvelles littéraires”: “We learned from the paper that the young author of Lunes en Papier [Paper Moons]…has pleaded “guilty” of the appropriation of two or three stone dancers in a practically unknown temple on the outskirts of Angkor. But who really concerns themselves with the conservation, in their country of origin, of these works of antiquity? I don't want to know, but I can well imagine without exaggeration that…André Malraux…will find himself…prevented from creating a more valuable work than the one he endangered.”
It was in 1934 that the two men met following the riots on the 6^th February. André Malraux signed the “Call to Arms” and “Inquiry into Unity of Action” put forth by Breton against the “very real Fascist menace which showed itself in France on the 6^th February.” His taking this stand led to the creation of a “Committee of Vigilance of Anti-Fascist Intellectuals,” to which both writers belonged. From this shared engagement was born a discreet but lasting friendship. Breton, thus, quoted Malraux's speech to the Congress of Soviet Writers more than once. After the war, he paid homage to Malraux twice, calling him “one of the best qualified spirits of the age.”
A handsome inscription that makes reference to their shared struggle and a Surrealist premonition of the title of Malraux's forthcoming great anti-Fascist novel.

First edition of which there were no large paper copies.
A tiny tear to head of upper cover, a good copy.

First edition, an advance (service de presse) copy.
Two small tears to margins without lack to foot of upper cover, otherwise a good copy.

First edition of which there were no large paper copies, one advance (service de presse) copy.
With an autograph inscription from Emil Michel Cioran.
Covers and spine lightly and marginally sunned as usual, copy retaining its advertising slip.

First edition.
Contributions from M. Chagall, B. Frank, R. Judrin, P. Moinot, F. Ponge...
A good copy.

Published the same year as the first edition, falsely stated the 8th edition.
A good copy.

First edition in French, one of 13 numbered copies on pur fil paper, the tirage de tête.
A good copy.

First edition, one of 70 numbered copies on Hollande, tirage de tête after 21 Japon.
Two tears glued to head and to foot of spine, tiny foxings, not serious, on the spine, internally good.

Original issue for which it was not derived great papers and having the correct one colophon, false entry of seventh edition.
Very rare autograph dedication signed by the author on the original edition of the masterpiece of Albert Camus.
The first edition of the Stranger was pulled to 4400 copies 21 April 1942 and divided into eight dummy "editions" of 550 ex. Camus, who was then living in Oran "received a copy - one for his author's copies were lost en route." (See "Albert Camus" by H. Lottman). It was not until August 1942, when he arrived in France, to cure his tuberculosis he could autograph a few copies in its retirement Panelier near Chambon sur Lignon.
We could not identify the relationship between the dedicatee, Nelly Albon, and Albert Camus, it is not possible to say that the dedication of the book is contemporary. however, the dedications on the same post abroad are a rarity badge.
Our copy is presented shirt and bag: back of the shirt red morocco, marbled paper plates, golden tail date lined case the same morocco and marbled paper covered with the same elegant signed set of P. & C. Goy Vilaine .

First edition printed to 1220 numbered copies on alfa.
A very good copy.

First edition on ordinary paper.
A good copy.

Edition first in part as corrected and reviewed of which there were no large paper copies.
A good copy.