Barnebys

First edition, one of 55 numbered copies on pur fil paper, the only large paper copies with 50 on alfa paper.
A good copy.

With seven photographs and three facsimiles.
Rare autograph inscription signed by Stefan Zweig.
Publisher's half brown cloth, yellow paper boards, slightly rubbed.

Later edition.
Publisher’s dark green cloth, with its flexible paper slipcase, lightly sunned at edges.
Rare autograph inscription from Stefan Zweig.
Manuscript ex dono from a former owner to one endpaper.

First edition on ordinary paper.
Autograph inscription from André Dhôtel.
Spine slightly sunned and wrinkled.

First edition.
Other contributions from G. Charles, M. Arland...
Spine and covers slightly and marginally sunned, not serious.

First edition, one of 40 numbered copies on pur fil, the only large paper copies.
A very good copy.

First edition of which there were no large paper copies.
Spine very slightly and insignificantly faded, ex-dono to head of first free endpaper.

First edition of the French translation by Marcel Proust, a first impression copy numbered in the press.
Contemporary Bradel binding in half cloth, covers preserved, chemise-slipcase in morocco signed by P. Goy & C. Vilaine.
Handsome autograph inscription from the author to his young frien, the writer Max Daireaux.

First edition, a service de presse (advance) copy.
Autograph inscription from Paul Leautaud to Frédéric Lefèvre.

First edition of this 5 languages catalogue.
Iconography.
A very good copy.

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, one of 67 numbered copies on alfa paper, the tirage de tête.
A very good copy.

First edition, one of 26 numbered copies on alfa, the only large paper copies.
A good copy.

Autograph manuscript with original watercolors. . A unique manuscript of 28 pages written in ink on rectos, on strong paper, with an ink and watercolor drawing of Coquelin (laid down as a frontispiece), a full-page watercolor and twelve other smaller watercolors at the start of the various chapters. The original watercolors are by Guillaumot Fils after those by Santiago Arcos.
Autograph inscription signed by Jacques Normand to title, dated 1917.
Half morocco-effect red shagreen over marbled paper boards, a little scratched.
A friend of Alexandre Dumas fils and Maupassant, Jacques Normand collaborated with the latter on the creation of a number of smaller works and adapted his short story “Musotte” for the stage (1891).
A unique manuscript with watercolors.

First edition.
Illustrations.
A good copy.

Second edition.
Retaining its 164 plates, some in color.
A small number of plates with slight marginal traces of adhesive paper, not serious.
A rare and good set, retaining its 164 plates on Registre Navarre de Voiron paper.

New edition.
Spine slightly sunned, a good copy.

First edition in French, a numbered copy on alfa satiné paper, the only large paper copies.
A good copy.

First edition on ordinary paper, false mention of edition.
A good copy.

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

New edition on ordinary paper.
A good copy.

Second edition.
Illustrated with original woodcuts in color by Jules Germain.
A good copy.

First edition of 1000 numbered copies.
With 4 plates hors texte in color.
A good copy.

First edition.
One small tear to head of spine, internally good.
Marked service de press (advance copy) to foot of lower cover.

First edition on ordinary paper.
With 100 original photographs by Jean-Marie Marcel.
A good copy.

First edition of which there were no large paper copies.
A very good copy.

First edition printed in a very small number of copies.
Autograph inscription from Ionel schein.
A rare and good copy.

First edition.
Spots to margin of the covers, a few small spots, not serious.

First edition.
Spine and upper cover uniformly faded, a faint spot to foot of upper cover.
Rare.

First edition, one of the numbered copies on alfa.
A good copy.

First edition, a numbered copy on vergé paper.
Spine and covers marginally sunned as usual.

First edition.
Illustrated with 44 plates hors texte.
A very good copy.

First edition, one of 1000 numbered copies on vélin Montgolfier.
Spine slightly warped and faded, not serious.

First edition on ordinary paper.
With a photographic frontispiece portrait of Colette.
A good copy.

First edition of the complete sixteen year run.
Publisher's boards, spine with large gilt fleuron at foot, upper cover illustrated in colors with an art nouveau motif, top edge gilt. Staining to the covers of a few volumes, otherwise a very good set.
Richly illustrated in black and white and colors. Each issue bears a colored photograph of a fashionable actor or actress.
Photographs by Nadar, Félix, Boyer, Pierre Sanitas, Boissonnas
Taponier and so on.
A monthly review published between 1898 and 1914, le Théâtre was the brainchild of Michel Manzi and provided a summary of the plays presented each month both in Paris and abroad.
Please contact us for shipping abroad.

First edition.
Faint dampstain to head of upper cover, internally good.

First edition on ordinary paper.
A good copy.

First edition.
A good copy.

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

First edition, one of 600 copies on vélin du Marais paper, this not justified, the only printing along with 35 on Japan and 115 on Madagascar paper.
Half light brown sheep over marbled paper boards, spine in five compartments with a central gilt floral motif, marbled endpapers and pastedowns, covers preserved, clear dampstain to top edge, but not serious and not touching text.
With 45 original lithographs in colors by Milivoj Uzelac.
Textual contributions by J. Ajalbert ""L'automobile"", R. Maran ""Le rugby"", C.H. Hirsch ""L'escrime"", P. Wolf ""La boxe"", J. Prévost ""Le lancer du poids"", T. Bernard ""Le cyclisme sur piste"", H. Duvernois ""Le golf"", F. Divoire ""Le hockey"", R. Dieudonné ""La chasse"", H. de Montherlant ""La tauromachie"", and others.
A very good and rare copy.

New edition.
Illustrated with 27 plates in color with numerous figures.
A good copy.

New edition.
A small tear, not serious, to foot of spine, slightly sunned, not serious.

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

First edition, one of 1500 numbered copies on vélin supérieur paper, the only large paper copies with 30 on vélin du marais paper.
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.
Small tears and marginal lacks to covers, occasional foxing.
Rare.

New edition.
Retaining its advertising band.
Some small spots, not serious, to upper cover.

First edition.
A good copy.

First edition.
A good copy retaining its advertising band.

First edition.
Iconography and illustrations to and hors texte.
A good copy retainings its advertising slip.

First edition.
Illustrated with original woodcuts by Paul Devaux & Georges Derat.
A good copy.

First edition, a numbered copy on bouffant paper.
Spine sunned as usual, one small spot, not serious, to head of an endpaper.

First edition.
With 14 plates at end.
Spots to covers, internally good.

First edition.
Illustrated with photographs to and hors texte.
A good copy retaining its advertising band.

First edition.
With 22 figures to text and 13 plates at end.
A good copy.

First edition.
A good copy.

First edition printed in a small number of copies.
Joints slightly cracked to head and foot, a good copy.
Rare.

First edition.
Illustrated to and hors texte.
A good copy.

First edition.
With drawings by R. Génermont, reproductions hors texte and maps.
A good copy.

New edition.
Imitation spine repaired, spots to foot of upper cover, occasional internal foxing.
A rare copy, sold as is.

New edition.
A good copy.

First edition.
Handsome autograph inscription from the author, in French, tto Nathalie sarraute.
A good copy.

First edition.
With drawings by Baron engraved.
A few small spots, not serious.

First edition on ordinary paper, there were only 50 pur fil paper large paper copies.
A good copy.

First edition.
With 82 figures to text.
Imitation covers and spine, otherwise a good copy.
Rare.

First edition.
A good copy.

First collected edition on ordinary paper.
A good set.

First edition.
With 1274 etchings after drawings by Paride Weber.
Some spots to covers, otherwise a good copy.

First edition.
Illustrated with 71 and 61 illustrations.
A good set.

First edition.
A good copy retaining its advertising band.

First edition.
Illustrated with 71 illustrations.
A good copy.

First edition.
Illustrated with 120 figures colored.
A good copy.

First edition.
Un travail de rongeur ayant a marginal lack to head de tout le corps de l'ouvrage sans atteinte au texte.
Rare mais sold as is.

First edition.
With a photographic portrait of the author as frontispiece.
A good copy.

First edition of which there were no large paper copies.
A clear dampstain to head of spine, otherwise a good copy.

First edition printed on alfa paper, the only printing with 5 on Japan paper and 10 on Lafuma paper.

A good copy.

Later collected edition, first in part since the author corrected both texts.
Rare autograph inscription signed by Prosper Mérimée on half-title.
Covers and spine restored and reinforced, marginal repairs to half-title.
A light and clear marginal dampstain to head of second page, almost no spotting.
With a brown cloth slipcase lined in beige felt.

First edition.
Illustrated with 48 photographs and one map hors texte.
A good copy.

New edition, falsely stated the 1000th.
Preface by J.H. Fabre.
With 16 plates hors texte.
A good and rare copy.

New edition of which there were no large paper copies.
Autograph inscription from Léo Malet.
A good copy.

Later edition.
Half black shagreen over vellum-effect paper boards (slightly rubbed), spine in five compartments with blindstamped fillets, slight insignificant rubbing to joints, marbled endpapers and pastedowns, ex libris to one endpaper.
Rare autograph inscription signed by Alphonse de Lamartine.
Scattered foxing.

First edition.
Richly illustrated.
A good copy.

First edition.
Contributions from P. Vaillant Couturier, A. Colomer, Monique, J. Ryeul.
Illustrated by M. Gromaire, P. Prudhomme...

First edition of the third part appeared in 1654 (first 30 chapters) and following the third and fourth published in 1656. The first two books were published simultaneously in 1651. A frontispiece and 20 figures etched intaglio of after David H. and R. Du Clos for the first book volume II and 47 of the same figures for the second book volume III. Beautiful and fine prints including many scenes of martyrs and torture. The series of engravings are particularly beautiful.
Full morocco bindings brown-black late ^eighteenth signed Smeers. Back with nerves decorated with 4 small florets; dates tail and golden shares. Grand central medallion on the dishes, coaching cold with angle irons. Large inner lace. Gilt edges. Some minor scratches. Upper border of Volume III partly rubbed. Only downside to add to the description the two volumes are the volume numbers II and III.
This translation and paraphrase verse of the Imitation shook the French Christian world and had a lasting influence on the spiritual life in the seventeenth ^century.
Very nice copy, well established, and a beautiful freshness.