Gallimard (1911 - )

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, with no deluxe paper copies issued, and retaining the correct printer's colophon despite the spurious third edition statement.
The first edition of The Stranger was printed in 4,400 copies on 21 April 1942 and divided into eight fictitious "editions" of 550 copies each.
A small repaired tear at the head of the slightly toned spine, boards lightly and marginally soiled, small marginal tears to the rear cover.

First edition, one of 71 numbered copies on pure rag wove paper, the only deluxe paper copies apart from 61 copies on Holland paper.

A scarce and attractive copy.

First edition, one of 35 numbered copies on pure wove paper, the only deluxe paper issue.

A handsome copy.

Inscribed and signed by Alain Jouffroy to Monsieur Marchaux: "... en plein vol jusqu'au prochain..."

First edition, one of 24 numbered copies on pure wove paper, the deluxe issue.

Spine showing two small areas of sunning at the head and foot.

A rare and pleasing copy of this novel set against the backdrop of the French collapse during the Second World War.

First edition, one of the press review copies.
Trimmed copy, joints soiled and restored, stain to the lower cover.
Humorous signed autograph inscription by Paul Morand: "Cher Caracalla, j'apprends que vous n'avez jamais reçu mon Fouquet ; en juin dernier je vous l'envoyais avec ma fidèle pensée. Que le diable patafiole le facteur ! Je vous renouvelle ici ma très amicale sympathie. Morand."

New edition of the French translation, one of 1,040 numbered copies printed on alfa paper.

Publisher's boards, bound to the original design by Mario Prassinos.

Definitive edition with a foreword by the author, one of 12 numbered hors commerce copies on alfa paper, the only deluxe paper issue.

The first edition of 1935 was not issued on deluxe paper.

A rare and pleasing copy.

Signed autograph inscription from Jacques Debû-Bridel to Monsieur and Madame Claude Gallimard.

Published one month after the first edition.
A pleasing copy.
Signed autograph inscription from Jacques Borel to François Escoube in this work, which was awarded the Prix Goncourt in 1965.

First edition, one of 15 numbered copies on pur fil paper, the only deluxe paper issue.

A rare and handsome copy.

First edition on ordinary paper.

A pleasing copy, complete with its illustrated dust jacket.

Important presentation copy inscribed by Romain Gary to the jeweller Alexandre Reza: "To Alexandre Reza, in memory of the precious stones of our youth. Romain Gary, 1 December 1970."

Loosely inserted in a folded sheet of tracing paper is an original colour drawing by the jeweller Alexandre Reza depicting a ring and captioned 'Jonquille" No. 33'

French first edition, one of 155 numbered copies on pure vellum, ours being one of the 75 reserved for the Club de l'édition originale, the only large paper issue after 20 Holland.
Pleasant copy despite the spine being very slightly sun-faded, without significance.

First edition, one of the numbered copies on vélin d'archers, the only large paper issue.

First endpaper, half-title and title pages slightly shadowed, with a few pencil annotations and reading marks in the margins of some leaves.

Rare and pleasing copy.

First edition, one of 25 numbered copies on pure wove paper, the only deluxe paper issue.
Spine and boards lightly sunned.

First edition, one of the numbered copies bound to Paul Bonet's original design.
Publisher's full cream cloth, smooth spine lightly sunned, lacking its illustrated dust jacket.
Profusely illustrated.
Inscribed, dated and signed by André Malraux to Nicole Briquet.
 

First edition, one of 35 numbered copies on hollande paper, top-of-edition issue.

A very fine copy.

First edition of the author's third book, with no copies printed on deluxe paper, here a review copy.

Spine very lightly sunned, without seriousness, faint spotting to the board edges.

Rare and desirable presentation copy signed by Patrick Modiano to the woman of letters Christiane Baroche: "Pour Christiane ces boulevards de ceinture avec lesquels elle est bien indulgente. Avec l'amitié de Patrick."

First edition, one of 35 numbered copies on Rivoli vellum, the only deluxe-paper issue.

A particularly handsome copy

First edition, one of 24 numbered copies on Vélin Rivoli, the only deluxe issue.

A particularly handsome copy.

First edition, one of 36 copies on pure-wire vellum, the only copies printed on deluxe paper.

A particularly attractive copy.

First edition of the French translation, for which no deluxe paper copies were issued.

A handsome copy, complete with its photographic dust jacket showing a tiny tear at the head of the spine, with illustrations.

Inscribed and signed by Julio Cortázar to the writer Christiane Baroche: "Pour toi, Chirstiane, avec toute mon amitié. Julio."

First edition on standard paper.

A handsome copy, complete with its publisher’s wraparound band.

Fine presentation inscription signed by Milan Kundera: "Paris 1998. Pour Michel Tournier avec l'amitié fidèle de Milan Kundera."

First edition, with no deluxe paper issue, one of the review copies.

A pleasing copy.

Inscribed, dated and signed by Annie Ernaux to her friend, the writer Christiane Baroche.

First edition on ordinary paper.

Pages 10–11 lightly sunned owing to the presence of a newspaper clipping.

Fine presentation inscription signed by André Pieyre de Mandiargues: "à  Michel Tournier en très cordiale sympathie. André PM."

First edition, with no deluxe paper issue.

A fine copy.

Dated and signed presentation inscription from Annie Ernaux to the woman of letters Christiane Baroche: "Pour Christiane, très amicalement. Annie. 24/03/93."

New edition and the first printing of Jacques Tardi’s illustrations.
Publisher’s white boards, smooth spine.
A handsome copy.
Presentation inscription, dated and signed by Jacques Tardi to Joëlle Passani, with an original black-felt drawing depicting a sorrowful-faced Bardamu in a small vignette.
 

"New edition, with parts in first edition, incorporating an unpublished preface; the first edition had appeared in 1927 in Tokyo at the close of Claudel’s ambassadorship in Japan (1921–1927) and was issued in three fan-shaped quarto volumes. Work illustrated with Japanese characters calligraphed by Ikuma Arishima. Composed between June 1926 and January 1927, this essay (blending traditional calligraphy, haiku, and short Western-style verse) bears witness, among Claudel’s other creations, to the influence of the Far East on his poetic practice.

Moving and exceptional presentation inscription, signed and dated by Paul Claudel to his eldest daughter, Marie Claudel, known as...

First edition, one of 26 copies on pure wove paper, the only deluxe-paper issue.

A rare and handsome copy.

Antoine Tudal was the son-in-law and close confidant of Nicolas de Staël, who confided to him a few days before his death: "Tu sais, je ne sais pas si je vais vivre longtemps. Je crois que j'ai assez peint. Je suis arrivé à ce que je voulais..."

First edition, one of 45 numbered copies on Holland paper, the deluxe issue.

Full chocolate-brown morocco binding, spine with five raised bands framed with black fillets, date gilt at foot, gilt rolls on the caps, marbled paper endpapers and doublures, gilt double fillet borders on the doublures, gilt fillets along the edges, original wrappers and spine preserved, all edges gilt, slipcase edged with matching chocolate morocco, sides in marbled paper, interior lined with grey felt. A splendid binding signed by Semet & Plumelle.

A very handsome copy, perfectly bound in full morocco by Semet & Plumelle.

First edition, one of 30 numbered copies on Holland paper, the deluxe issue.
Bound in full ebony morocco, smooth spine decorated with small inlays of garnet morocco and pearl-grey box calf, the latter framing the author’s initials and the title; the first numeral of the date, given in Roman numerals, appears within a square of pearl-grey box calf. Morocco boards framed with wide panels of chocolate suede, the upper cover with a large granulated paper panel lettered with the title and date of the edition set in garnet morocco, the initials framed by a rectangle of paper taken from a map of Haute-Savoie; bluish paper...

First edition, with no deluxe paper copies issued (except for No. 7) for each volume.
Our complete set comprises:
Céline Notebooks 1: Céline and the Literary Scene 1932–1957.
Céline Notebooks 2: Céline and the Literary Scene 1957–1961.
Céline Notebooks 3: Semmelweis and Other Medical Writings.
Céline Notebooks 4: Letters and Early Writings from Africa 1916–1917.
Céline Notebooks 5: Letters to Female Friends.
Céline Notebooks 6: Letters to Albert Paraz 1947–1957.
Céline Notebooks 7: Céline and Current Events 1933–1961.
Céline Notebooks 8: Progress followed by Works for Stage and Screen.
Illustrations.
Rare complete set.

First edition, one of 50 copies numbered on pure wove paper, the only deluxe issue.

A fine copy.

First edition, one of 69 numbered copies on pur fil, the only deluxe paper copies.

A very handsome copy.

First edition of the French translation by Isabelle Rivière, one of 33 numbered copies on pur fil de Voiron, ours being one of 5 hors commerce copies, reimposed in quarto Tellière format, the only deluxe copies.

A handsome and rare copy.

First edition on ordinary paper.

A pleasant copy.

Precious signed autograph inscription from André Pieyre de Mandiargues: "A Henri Michaux le coeur de son vieil ami André Pieyre de Mandiargues" enriched with Yvonne Caroutch’s handwritten signature.

First edition of the French translation, one of 75 numbered copies on pur fil, the only deluxe paper issue.

Half brown morocco with bands, smooth spine, date gilt at foot, marbled paper boards, endpapers and pastedowns, original wrappers and spine preserved, gilt top edge. An elegant binding signed Alix.

A handsome and carefully bound copy.

First edition for each volume.

Fine copy of Du côté de chez Swann in first edition, second printing, with all identifying points (front cover dated 1913, table of contents present, no publisher's catalogue at end); copy in first edition bearing the mention "quatrième édition" for À l'ombre des jeunes filles en fleurs (with the correct colophon dated November 30, 1918); although bearing the same colophon dated November 30, 1918, the 128 reimposed copies were not actually printed until a year later, together with the large paper copies of the Swann reissue; for the following 11 volumes...

First edition dedicated to Louis Jouvet, one of 108 numbered copies on Lafuma Navarre laid paper, reimposed in quarto tellière format, deluxe issue.
Half red morocco-backed marbled boards, spine with five raised bands framed with blind fillets, date gilt at foot, marbled paper sides, comb-marbled endpapers and pastedowns, covers and spine preserved, top edge gilt, binding signed by D.H. Mercher.
Premiered by Louis Jouvet at the Comédie des Champs-Élysées on 14 December 1923. The actor also oversaw the staging and set design; in 1933, the play was later adapted for the screen by Roger Goupillières, again starring Louis Jouvet in the leading role.

First edition on ordinary paper.

Small defects skillfully restored at the head and tail of the spine.
Rare inscribed presentation copy signed by Albert Cohen to Denise Mercier.

First edition, one of 60 numbered copies on pure wove paper, the only deluxe copies after 17 on Hollande.

Bradel binding in full beige cloth, smooth spine, red morocco title-piece, upper wrapper preserved, sprinkled edges, modest binding.

First edition, an advance (service de presse) copy.
Covers and spine very skillfully repaired.
Handsome autograph inscription from Pierre Drieu La Rochelle to Henri Béraud.

First edition, one of 10 numbered copies on imperial japon, ours one of 3 hors commerce lettered copies, a deluxe issue following 6 on chine.

Bound in full sienna morocco, flat spine, gilt date at foot, moiré-effect endpapers and pastedowns, gilt fillet border on pastedowns, original wrappers and spine preserved (spine restored and backed), gilt edges, chemise edged in sienna morocco, slipcase in wood-effect board with white felt lining, contemporary binding signed by Roger Arnoult.

Our copy is enriched with a one-page signed autograph letter by Jean Cocteau, mounted on a guard, written from La Roche-Posay in Vienne, probably addressed to Pierre Benoit, in which he...

First edition, an advance (service de presse) copy.
Half mustard-colored morocco over marbled paper boards by P. Goy & C. Vilaine, spine in six compartments, brown paper endpapers and pastedowns, covers and spine (sunned) preserved, top edge gilt.
Handsome autograph inscription signed by Robert Desnos to Colette Clément, whose name he plays on: "A Madame Colette Clément / Clément Marot non Jacques Clément (ces mots barrés) / non / hommage de l'auteur Robert Macaire."
Ex libris of recipient pasted in underneath justification.

First edition on ordinary paper, without edition statement, bearing the correct colophon dated 30 November 1918.

The 128 deluxe paper copies would only be issued six months later, during the summer of 1919.

Light spotting to the margins of the endleaves, small l and a faint dampstain to the title page and following leaves, a bluish stain to the margins of pp. 339-340 inherent to the quality of the paper.

Bound in contemporary half forest-green morocco over corners, spine with five raised bands ruled in black, gilt date at foot, cat’s-eye patterned paper boards, comb-marbled endpapers and pastedowns, original wrappers and spine preserved, top edge gilt, binding signed...

First edition printed in 2,000 numbered copies, ours preserved in its original wrappers with Gallimard's resale label.

Fine autograph inscription signed by Jules Roy: "A Jean-Paul Bonnafous ces vieux chants d'un temps de misère, cordialement, Jules Roy."

First edition, a Service de Presse (advance) copy.
Some worming to margins of covers.
Precious autograph inscription signed by Marcel Aymé: "A monsieur Valery Larbaud en sincère hommage. Marcel Aymé." ["To Mr. Valery Larbaud with sincere homage. Marcel Aymé."]
 

First edition, one of the review copies.

Some light foxing to the spine and along the edges of the covers, a pleasing copy given the poor quality of the paper.

Inscribed by Raymond Queneau to Dominique Aury.

First collected edition of which there were no grand papier (deluxe) copies, an advance (service de presse) copy.
A nice copy despite a tiny tear to foot of upper cover.
Rare autograph inscription signed by Robert Desnos to Pierre Berger: " ces feuilles déjà bien vieilles..."

First edition, one of 55 numbered copies on pure wove paper, the only deluxe paper issue.
Bound in half brown morocco, spines with five raised bands, gilt dates at foot, boards covered with abstract patterned paper, endleaves and doublures of brown paper, original wrappers and backstrips preserved, gilt edges, bindings signed by Thomas Boichot.
A precious copy of this foundational text of modern feminism.