First Editions on Wove Paper

First edition, one of 2,000 numbered copies on wove paper.

Publisher's full burgundy morocco-grained sheepskin, smooth spine, covers framed with double gilt fillets, burgundy paper endpapers and pastedowns, top edge gilt, burgundy morocco-edged slipcase with sides covered in burgundy paper.

A few minor stains to the slipcase.

Illustrated with works by Joan Miro, Pablo Picasso, Max Ernst, André Masson, Henri Matisse, Wassily Kandinsky, Paul Klee, Paul Cézanne, Georges Braque...

An attractive copy.

Poignant signed presentation inscription from Louis Aragon: "A Jean-Pierre Lecointre le dernier livre de moi qu'Elsa aura lu. Aragon."

First collected edition, one of 260 numbered copies on tinted wove paper, the only deluxe issue after 45 copies on white Holland paper.
Some light spotting in the margins of a few leaves and on the endpapers. 

First edition, one of 50 numbered copies on vélin pur chiffon de lana, the only deluxe issue.

A fine copy, with a small nick at the head of the spine between the author's name and the title.

Presentation copy, inscribed by Patrick Chamoiseau to Maurice Marchaux: "... cette mémoire-langage qui invoque toutes les langues du monde. Avec mes amitiés créoles..." [this memory language invoking all of the world's languages] with a sketch formed from his initials.

First edition, one of 200 numbered copies on vélin alfama du Marais paper, the only large-paper copies.
A fine copy, complete with its dust jacket.

Pedigree was first serialized in the Brussels weekly Le Face à Main.

Taken to court by several people who recognized themselves in the novel, Simenon revised it for a new edition in 1948, leaving blank the passages challenged in the lawsuits. The Pléiade edition restored the full text in 2009.

A rare large-paper copy of this autobiographical novel. 

First edition, one of 50 numbered copies on pur fil wove paper, the deluxe issue.

A fine copy.

Introduction and notes by Pierre Caizergues.

First edition of the French translation, one of 28 numbered copies on Arches wove paper, the only deluxe copies.

Fine copy.

First edition, one of 280 numbered copies on mould-made wove paper, this copy one of 30 hors commerce copies in special wrappers reserved for the 30 private subscribers to all of Paul Valéry's works.

Fine copy.

Decorated with typographical ornaments by René Ben Sussan.*

Precious signed autograph presentation inscription from Paul Valéry to his friend, the bookseller, publisher and bibliophile Ronald Davis: "à Ronald Davis pour sa collection et avec les bons souvenirs de Paul Valéry."

First edition of Marthe Robert's French translation, one of 106 numbered copies on pur fil paper, the only large-paper issue.

Spine and boards slightly and marginally faded, as usual.

First edition of Alexandre Vialatte's French translation, one of 205 numbered copies on pur fil paper, the deluxe issue.

Spine and boards slightly and marginally faded, as usual.

First edition, one of 20 numbered copies on vat-made vellum reserved for the Société bibliophilique des XX, this copy being that of Georges Calmann-Lévy, from the hors-commerce deluxe issue.

Manuscript signature of the Comtesse de Noailles beneath the limitation statement.

Below, a signed autograph presentation inscription from the president of the Société bibliophilique des XX.

Rare and handsome copy, preserved in sheets under double wrappers and spine, housed in a chemise and slipcase of full mauve moiré silk.

As usual, some rubbing to the joints of the chemise and to the slipcase.

First edition of the French translation, one of 41 numbered copies on pur fil paper, the sole large-paper issue.

Spine and boards slightly and marginally faded, as often; two small spots of foxing in the left margin of the front board.

First edition, one of 35 numbered copies on Madagascar paper, the deluxe issue.

A rare and fine copy, with full margins.

First edition, one of 210 numbered copies on Lafuma Madagascar paper, this copy unnumbered.

A fine copy.

Fine presentation copy, warmly inscribed and signed by Paul Valéry to his friend Ronald Davis, bookseller, publisher and bibliophile: "A Ronald Davis, échange, selon le Magicien d'Aladin, d'une vieille lampe contre une neuve ! Paul Valéry."

First edition, one of 50 numbered copies on Marais Crèvecoeur paper, issued as part of the publisher’s deluxe limitation.

Spine and boards faintly sunned and toned as usual, with a small spot to the lower outer corner of the front board.

As stated in the limitation, this copy includes its original etching by Jacques Villon, signed in the plate.

First edition of the French translation, one of 26 lettered copies on Lana wove rag paper, issued as part of the tête-de-tirage.

A fine copy.

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, one of 25 numbered copies on pur fil, the only copies printed on deluxe paper.

Blood red morocco binding, gilt title lengthwise, gold stingray boards framed in morocco, gilt decorative paper endleaves, original wrappers preserved, top edge gilt, an elegant binding signed Boichot. Front free endpaper slightly toned, otherwise a handsome untrimmed copy.

First edition, printed on vélin d’Angoulême, with the usual typographical errors, and containing the six banned poems; one of the few author’s copies “intended for friends who render no literary services”.

Full bordeaux red morocco binding, spine with five raised bands richly decorated with multiple gilt- and blind-tooled fillets; third-state covers; boards framed with multiple blind-tooled fillets; marbled endpapers; gilt turn-ins; all edges gilt; marbled paper slipcase with morocco border; signed binding by Semet & Plumelle.

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 of the French translation, one of the scarce lettered copies printed on pur fil for private circulation, ours bearing the letter A, the only deluxe-paper copies together with 25 numbered copies on pur fil.
Wide-margined copy, boards and spine lightly and marginally sunned, a few scattered foxmarks affecting some leaves and deckle edges.

First edition, one of 40 numbered copies on Ingres paper, deluxe issue.

A fine copy.

New edition, one of 50 copies on deluxe paper (no. 29/500) and issued with a named dedication, ours specially printed for Baron Emmanuel-Alban Guillaume-Rey (1837–1916), orientalist and archaeologist specializing in medieval Syria.

Full rigid vellum binding, smooth spine decorated with gilt fillets and floral tools, brick-brown morocco title label, gilt place and date at foot, gilt cornerpieces on the covers, original wrappers preserved, contemporary binding.

A poetic account of the exploits of Peter I of Lusignan, King of Cyprus (1328–1369), written shortly after his death at the request of Charles V, and centered on the so-called “Alexandrian Crusade,” the ill-fated...

First edition, one of 500 copies on ordinary paper.
This copy has a chemise and slipcase.
A little light spotting, not serious, nice copy.
Retaining its advertising band and slip.
Handsome autograph inscription signed by René Char: “à Man Ray au voyant carnassier de tout cœur R. Char.” (“To Man Ray to the carnivorous fortune teller, with all my heart, R. Char.”)

First edition, one of 120 copies printed on pure laid paper.

Pleasant copy with wide margins throughout.

First edition, one of 220 numbered copies printed on Vélin du Marais.

Rubbing to the slipcase and chemise, otherwise a clean and attractive copy.

Illustrated with 25 intaglio engravings by Elisabeth-Mary Burgin.

First edition, one of 30 numbered copies on Ingres d'Arches paper, the deluxe issue.

A fine copy.

First bilingual edition, one of 50 numbered copies on Arches wove paper, the deluxe issue.

The French translation, printed opposite the English text, was prepared by Patrick Guyon and Marie-Claude White.

A rare and attractive 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, one of 15 numbered copies on pure wove paper, the only deluxe copies.

A very handsome copy.

First edition, one of 40 numbered copies on Lana wove paper, the only deluxe paper issue.

A handsome 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 of the French translation, one of 200 copies numbered on Marais vellum, the only deluxe paper issue.

Minor rubbing along the joints. A rare and attractive copy.

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, one of 500 numbered copies on pure wove paper.

Bound in full sienna morocco, flat spine with a slight snag at head, date gilt at foot, moiré endpapers and pastedowns, single gilt fillet framing the pastedowns, original wrappers and spine preserved, gilt edges, chemise edged in sienna morocco, slipcase of wood-grained boards lined with white felt, contemporary binding signed by Roger Arnoult.

Our copy is enriched with a signed autograph letter, one page, by Jean Cocteau mounted on a tab, dated April 1959, probably addressed to Pierre Benoit: "Nôtre Pierre fantôme... c'est autour de votre souvenir qu'on se réunit. C'est une chaîne bien étonnante que celle...

First bilingual edition, one of 270 copies on Arches Ingres paper, including a photographic portrait of Ratna Mohini by her husband Henri Cartier-Bresson.

Rare and handsome copy.

First edition, one of 50 numbered copies on pur fil.
Spine slightly sunned, a small scratch to the front cover, corner creases at the preserved margins.
Rare copy as issued.

First edition, one of 45 numbered copies on Vélin du Marais, ours one of 15 lettered copies not for sale, the only copies on deluxe paper.

Attractive copy despite a faint shadow along the margin of the upper cover.

First edition, one of 160 numbered copies on pur fil, the only deluxe paper issue.

Half red shagreen binding with corners, spine with four raised bands framed by black fillets, gilt date at foot, boards covered in moiré-effect paper, marbled endpapers and pastedowns, original wrappers and spine preserved, top edge gilt.

A handsome copy in an attractive binding.

First edition, printed on vellum paper in 260 numbered copies.

Bradel binding in half vellum-style boards, smooth spine, gilt title running lengthwise, gilt fillet framing the marbled paper covers, top edge gilt.

A long orange offset to the margin of the lower cover on the vellum-style board, light orange offsets to the margins of the white endpapers.

Illustrated with 68 plates reproducing drawings by Max Liebermann in facsimile.

This copy retains the two original etchings by Max Liebermann, each signed by him in pencil.

First edition of the French translation by Jean Dutourd, one of 86 numbered copies on pur fil, only grand papier (deluxe) copies. 

Anthracite morocco binding, gilt title lengthwise, date at the foot, black stingray boards framed in morocco, gilt decorative paper endleaves, original wrappers preserved, gilt edges, an elegant binding signed Boichot. Like most copies, two sunned spots to head and foot of spine, title-page and half-title slightly shaded due to the paper’s acidity.

Rare deluxe-paper copy of one of the most influential...

First edition, one of 950 copies on Vélin Vidalon signed by André Marchand, the only printing following 49 copies on Vélin d'Arches.

Bound in black morocco-backed boards with corners, smooth spine, gilt fillet borders on cat's eye paper-covered boards, marbled endpapers and pastedowns, original wrappers and spine preserved, all edges gilt. Slipcase edged in black morocco, marbled paper panels. Binding signed by D. Saporito.

Illustrated with 50 splendid original lithographs by André Marchand, printed by Mourlot.

Featuring previously unpublished texts by Georges Spyridaki, René Lacôte, Georges Hugnet, Gabriel Audisio, Raymond Queneau, David Herbert...

First edition, one of 300 numbered copies signed and justified by Frans de Geetere, reserved for the friends of La Marie-Jeanne, the only copies printed on deluxe paper.
As stated in the limitation, our copy is complete with a manuscript leaf from the work and an original drawing by the author depicting two reclining nude women, signed by him.
A desirable copy, complete with its rare promotional wraparound band: "le livre qu'aucun éditeur n'a osé publier".

First edition of the French translation, one of 31 numbered copies on pur fil, the only copies printed on deluxe paper.

Spine and covers slightly and marginally faded, a pleasant copy.

First edition, one of 800 numbered copies on Montgolfier paper.

Illustrated with two original hors-texte drypoints and in-text drawings by Jean Lurçat.

Spine and covers slightly and marginally faded, as usual; a well-preserved copy overall.

First edition, one of 35 numbered copies printed on vélin pur chiffon B.F.K. de Rives, the only limited deluxe issue.

A small tear at the top of the lower cover, barely noticeable.
Very handsome copy.

First edition, one of 50 copies numbered on pure white rag paper, deluxe printing.

Binding in red half-shagreen with corners, spine with five raised bands framed by black fillets, some small rubbing on a few of the bands, date in gilt at the tail, framed by black fillets on the boards of speckled paper, marbled endpapers and pastedowns, covers and spine preserved, top edge gilt on witnesses.

Illustrated with 60 heliogravure plates hors-texte.

Pleasant copy despite minor marginal spots of little significance on the endpapers.

Our copy is enriched with an autograph note dated June 1929 and signed by Pierre Abraham, mounted on tab, thanking Joseph Gabalda...

First edition, one of 35 copies on pure rag paper, this one not numbered but specified as a copy printed for Pierre Jean Jouve under the colophon, the only deluxe paper copies issued.

Three small spots on the lower cover.

A very good copy.

First edition, published in Paris in 1933 by Jules Meynial under the direction of Jacques de Brunhoff. Limited to 500 numbered copies on Arches paper. Illustrated with 48 drawings in black in the text and 32 hors-texte plates after Alexandre Iacovleff, printed in bistre and black.

Original printed wrappers with flaps. Small losses at head and foot of spine, with a restored tear at head; small tears and stains to the lower wrapper. Final endpaper lightly shadowed in places, with a few marginal spots of foxing. An attractive copy.

By the time...

First edition, numbered copies on vélin pur fil, most limited deluxe issue.

A handsome copy complete with the publisher’s announcement slip.

Rare and important presentation copy inscribed by Irène Némirovsky: "A Benjamin Crémieux hommage de l'auteur. Irène Némirovsky". Némirovsky died in Auschwitz in 1942, and Crémieux in Buchenwald in 1944.

Crémieux had published a glowing review of Némirovsky’s first novel, David Golder. Its film adaptation by Julien Duvivier was among the earliest French talkies. On this short stories collection fittingly titled Films parlés (Talking Films) Némirovsky, the émigré writer, paid homage  to Crémieux...