Wove paper, invented by James Whatman for the English publisher John Baskerville, is distinguishable by the absence of chain and wire lines in its overall finish.
It earned its French name “papier vélin” for its similar appearance to the ancient vellum skin that preceded the invention of paper. Over the centuries, some very rare copies were still printed on vellum calfskin, as a special order for distinguished patrons.
Smooth and satiny, generally perfectly white, wove paper is homogeneous, without grain or texture. The reader appreciates its clarity rather than its innate beauty. The frequently attached term "Pur fil", means "abundant" (but rarely an exclusive composition) in linen and hemp, like the rag papers of yesteryear. Its supple feel invites insatiable reading and is ideal for the discovery of unknown texts and new authors.
First edition illustrated with 15 original copperplate engravings, including 10 in color, by Maurice de Vlaminck, one of 250 numbered copies on Arches laid paper.
The work is also illustrated with 2 portraits by Amedeo Modigliani depicting Maurice de Vlaminck and his wife.
Full Empire green morocco binding, spine with two prominent raised bands extending as triangles in blind on the covers, spine decorated with three gilt lozenges with gilt title and separated by a transverse gilt bar, marbled paper endpapers and pastedowns, triple gilt fillets framing the pastedowns, covers and spine preserved, top edge gilt, Empire green morocco-edged slipcase, marbled paper boards, contemporary binding signed by the workshops of C. Muller, Nancy bookbinder.
Manuscript signature by Maurice de Vlaminck in pencil below his frontispiece portrait.
Spine slightly darkened, otherwise a handsome copy.
First edition printed from the Vatican archives, one of 27 numbered copies on pure linen paper, deluxe copy.
Rare and fine copy.
Commentary by Raymond Ritter.
First edition, one of 35 numbered copies on superior vellum, ours one of 5 hors commerce copies, the only deluxe copies.
Spine sunned, otherwise a handsome copy.
Rare.
First edition, one of 50 numbered copies on deluxe paper, the only deluxe copies.
Spine and boards marginally sunned, small lacks to the plastic film covering the boards at their margins.
First edition, one of 796 numbered copies on pur fil paper, the only grands papiers (deluxe copies) after 109 reimposed.
Full green board Bradel binding, title piece in glazed yellow calf, covers and spine preserved, contemporary binding.
Presentation copy inscribed by André Breton: “à Edmond Jaloux, hommage très dévoué. André Breton” “To Edmond Jaloux, a very devoted tribute. André Breton”.
Edmond Jaloux, who was one of the earliest promoters of surrealism, wrote at the release of this atypical novel and misunderstood by most of his contemporaries, the most laudatory article of the time, concluding with this admiring admission of the impotence of criticism in the face of the modernity of Breton's work; “this examination, I can sense it, remains outside the book and in no ways gives you the feeling of intense poetry, of great, free and true poetry which absolves Nadja and which affects your mind [...] like an extremely intoxicating alcohol, with this difference that no alcohol gives you dreams that stimulate the moving prose of Monsieur André Breton.”
Precious grand papier (deluxe) copy with a handwritten inscription from the author and filled with the original article by Edmond Jaloux pasted on two loose double leaves.
