First Editions on Wove Paper

First edition printed in 100 numbered copies, ours one of the hors commerce copies.
A handsome copy.

First edition, one of 10 numbered copies on madagascar paper, deluxe copy.
Work illustrated with wood engravings by Démétrios Galanis.
Very fine and rare full-margined copy.

First edition, one of 350 numbered copies on handmade paper, ours unnumbered, the only deluxe copies.

Half-shagreen red binding, spine with five raised bands highlighted with gilt dotting and decorated with double gilt fillets, small stains on spine, marbled paper boards, endpapers and pastedowns, front cover preserved, corners very slightly bumped, speckled top edge, contemporary binding.

 

Precious autograph inscription dated and signed by Marcel Bleustein, who took the pseudonym Blanchet during the Resistance, to Paul Verneyras.
Press man, union activist and politician, Paul Verneyras joined the Resistance from 1940 by participating in the development of the Libération-Nord movement with Gaston Tessier. For his action during the occupation, Paul Verneyras was decorated with the rosette of the Resistance and made officer of the Legion of Honor.

Moving tribute from one Resistant to another Resistant.

 

First edition, one of 50 numbered copies on Lafuma pure white laid paper, the only deluxe copies.
Half-shagreen red binding, spine with four raised bands decorated with gilt fleuron, rubbing to spine, marbled paper boards, endpapers and pastedowns, front cover preserved, speckled top edge, contemporary binding.
Study by Gaston Bachelard on the work of Jean Cavaillès.
Philosopher and epistemologist, Jean Cavaillès was one of the principal military leaders of the internal Resistance. Companion of the Liberation and co-founder of the Libération resistance movement, he distanced himself from it and created, at the instigation of Colonel Passy in April 1942, the espionage and sabotage network Cohors, while continuing to teach at the Sorbonne. Arrested several times, detained in a camp then tortured during his third and fourth detentions, in Paris, he gave up no names.
He was shot at Arras on April 4, 1944.

First edition, one of 120 numbered copies on grand vélin d'Arches, the only copies after 15 japon and 10 hors commerce.
Work illustrated with two original linocuts by Max Papart, one in colors, as well as 10 photographs reproduced in phototype by André Villers.
Preface and poem by Georges Ribemont-Dessaignes.
At the head of the work, autograph signatures of Andrée Caraire, Georges Ribemont-Dessaignes, Max Papart and André Villers.
Some minor worming to boards and endpapers, otherwise handsome copy complete with its full saffron cloth slipcase.

First edition, one of 75 numbered copies on Arches vellum, deluxe copies after 25 other Arches.
Work illustrated with reproductions of works in black and also in color by Pierre Lesieur.
We include an invitation card to the opening of the exhibition of Pierre Lesieur's works at Galerie Coard on Wednesday April 27, 1977. A vertical fold on the card which also has a small tear without loss. The 27 of the date is circled in blue ballpoint pen.
Handsome copy complete, as stipulated in the justification page, with the two original engravings by Pierre Lesieur which he signed.

First edition, one of 62 numbered copies on pure rag Rives paper, the only deluxe copies.
Very handsome copy.

Rare first edition printed in 200 copies numbered and justified by Paul Claudel.
Some foxing to margins of leaves.

First edition, one of 250 numbered copies on handmade laid paper, the only deluxe copies.
Half-red shagreen binding, spine with five raised bands dotted in gilt and decorated with double gilt fillets, marbled paper boards, marbled endpapers and pastedowns, front wrapper preserved, top edge speckled.
Handsome copy.

First edition, one of 100 numbered copies on pure linen, the only deluxe copies.
Handsome copy.

First edition printed in 33 numbered copies on vellum, the only deluxe copies.
Handsome copy of this text written for the exhibition of painter Olivier Debré at the Knoedler gallery in February 1963.
Manuscript signatures of Francis Ponge and Olivier Debré at the colophon.
Copy complete with its original double-page engraving by Olivier Debré, which he has signed.

First edition, one of 110 numbered copies on pure Lana rag paper, deluxe copy.
Some sunning to head and foot of spine, otherwise a handsome copy with full margins.

First edition magnificently decorated by Paul Avril with a title vignette, 54 illustrations printed in green, pink, blue, sepia framing the text, tailpieces and engraved titles.
The print run of this work is estimated at 750 copies on vellum and 100 on Japan paper.
Handsome copy with fine covers on Japan paper.

First edition, one of 200 numbered copies on handmade laid paper, the only deluxe copies.
This work curiously bears a statement of fifth edition.
Binding in half red shagreen, spine with five raised bands decorated with gilt dots and adorned with double gilt fillets, marbled paper boards, marbled endpapers and pastedowns, front wrapper preserved, top edge speckled.
Handsome copy.

First edition, one of 125 numbered copies on snow-white vellum, the only deluxe copies.
Half navy blue morocco binding with corners, spine very lightly darkened with four raised bands, moiré-effect paper boards, marbled endpapers and pastedowns, original wrappers and spine preserved, top edge gilt.
Handsome copy attractively bound.

First edition printed in 89 numbered copies on Arches vellum.
Work illustrated with 12 original linocuts by Jean Leppien.
At the colophon, manuscript signatures in pencil by Gilles Plazy & Jean Leppien.
One scratch at the head of the slipcase and a small discoloration stain in the left margin, otherwise a handsome copy complete with its slipcase and chemise.

First edition printed in 140 numbered copies on Arches vellum.
Work illustrated with 20 original lithographs by Apel·les Fenosa.
At the beginning of the work, manuscript signatures, in pencil, by Roger Caillois & Apel·les Fenosa.
Some light foxing stains on the first cover of the slipcase, otherwise a handsome copy.

First edition, one of 100 numbered copies on pur fil vellum, the only deluxe copies.
Half red shagreen binding, spine with five raised bands set with gilt dots and decorated with double gilt fillets, marbled paper boards, marbled endpapers and pastedowns, first cover preserved, top edge speckled.
Handsome copy.

First edition, one of 898 numbered copies on pur fil paper, the only deluxe copies after the 110 reimposed.
Half brown shagreen binding, spine with four raised bands set with black fillets, covers and spine preserved, top edge gilt.
Autograph inscription signed by Roger Martin du Gard to Joseph Breitbach enhanced with a passage from the work: "pardonnez ses intarissables bavardages au vieux sacristain qui a émis cette pensée profonde : Faut jamais laisser la vérité à la portée d'un imbécile ...[P.99]" (forgive the endless chatter of the old sacristan who uttered this profound thought: Never leave the truth within reach of an imbecile...)

First edition entirely recopied by hand by Michel Butor and printed in 2 numbered copies.
The work, adorned with original paintings by Joël Leick, consists of two folded sheets forming eight pages, each with one page cut out.
In pencil, autograph signatures of Michel Butor and Joël Leick at the colophon.

First edition, one of 119 numbered copies on Lafuma Navarre paper and reimposed in Tellière quarto format, deluxe copy.
Half dark blue morocco with corners, spine with five raised bands, date gilt at foot, cat's-eye paper boards, combed paper endpapers and pastedowns, original wrappers and spine preserved, top edge gilt, elegant binding signed by Devauchelle.
Handsome copy perfectly executed.

First edition, one of 100 numbered copies on handmade vellum, the only deluxe copies.

Bound in half-red shagreen, spine with five raised bands decorated with gilt dots and ornamented with double gilt fillets, marbled paper boards, marbled endpapers and pastedowns, front cover preserved, top edge speckled.

Preface by General Roques.

Handsome copy complete with its folding map at the end of the volume.
 

First edition, one of 75 numbered copies on laid paper, the only deluxe copies.
Half-cherry red shagreen binding, spine with five raised bands decorated with gilt stippling and ornamented with double gilt fillets, marbled paper boards, marbled endpapers and pastedowns, front wrapper preserved, top edge speckled.
Iconography.
Handsome copy, complete with its folding map at the beginning of the volume.

Rare first edition, one of 145 numbered copies on laid paper, ours one of 20 hors commerce copies numbered in Roman numerals, the only deluxe copies.
Spine and boards slightly and marginally sunned.

First edition, one of 40 numbered copies on bouffant vellum, the only deluxe copies.
Handsome copy.
Autograph inscription dated and signed by Jean-Pierre François to Bernard Kouchner.

First edition in French, one of 40 numbered copies on alfa paper, the only deluxe copies.
Handsome copy despite minor foxing to spine.

First edition in French, one of 40 numbered copies on alfa paper, the only deluxe copies.
Handsome copy of this work which was adapted for cinema in 1965 by Portuguese filmmaker Manuel Guimarães.

First edition, one of 100 numbered copies on green paper, the only deluxe copies together with copies reserved for the "Amis des beaux livres".
Spine and boards marginally sunned, otherwise handsome copy complete with its addenda leaf.
Precious autograph inscription signed by E. Gallut: "A mon second fils Raymond Artignan, à ma fille chérie, Odette, ce livre que j'ai écrit en pensant beaucoup à eux." (To my second son Raymond Artignan, to my dear daughter, Odette, this book that I wrote thinking much of them.)

First edition, one of 70 numbered copies on pure B.F.K. de Rives paper containing a suite of the etchings before lettering also on B.F.K. de Rives, deluxe copies after 9 other Rives and 9 Japon impérial variously enhanced.
Endpapers lightly and marginally shaded without gravity.
Work illustrated with 18 original etchings by Valdo Barbey.
A handsome copy complete with the suite of illustrations as stipulated in the justification of the print run.

First edition, one of 15 numbered copies on Arches laid paper, the only deluxe copies.
Foxing.
Original preface by Louis-Ferdinand Céline.
Very rare deluxe copy.

First edition, one of 850 numbered copies on vélin labeur.
Publisher's boards after an original design by Paul Bonet.
Handsome copy with its original rhodoid see-through dust jacket.

First edition, one of 111 numbered copies on chiffon de Lana paper, the only deluxe copies.
Handsome copy.

First French edition, one of 77 numbered copies on pur fil, only deluxe issue.

Preface by Albert Camus.

Nice copy housed under a chemise and slipcase by Devauchelle.

First edition printed in 200 numbered copies.
Preface by Christian Funck-Brentano.
Light foxing to the title page, some stains to the silk chemise with flaps decorated with African motifs.
Work illustrated with 10 drawings by Eliane Jalabert-Edon presented under mats.

First edition, one of 100 numbered copies on pur fil paper, the only deluxe copies.
First endpaper marginally and slightly shaded, otherwise pleasant copy.

First edition printed in 1,350 copies on châtaignier paper.
Small tears at head of spine, boards marginally soiled, pleasant interior condition.
Copy with the correct colophon dated May 19, 1942.

Parisian counterfeit of the first edition under this title, the previous ones were indeed entitled Lettres de deux amans (of which the original appeared in 1761). The publisher Duchesne took the liberty of changing the original division of the letters (Volume 1: 65 letters, volume 2: 48 letters, volume 3: 26 letters and volume 4: 24 letters). Title pages in red and black. It is illustrated with a frontispiece by Cochin and twelve fine hors-texte plates engraved by Le Mire with borders by Gravelot. These figures are the same as those of the original edition, except the twelfth. In reality this is the first illustrated edition containing these figures because the original edition was published initially without figures, a collection of prints being published separately. This edition contains the two prefaces, notably the famous second dialogue.
There exist two Duchesne editions dated 1764, one octavo more carefully produced and the other duodecimo with substantially different typographical material; thus, if the title pages appear similar at first glance, they are in fact different, the first line is bolder, the second line in red is solid and its letters are not composed like the octavo of small circles.
Contemporary full brown marbled calf bindings, smooth spines decorated with havana and pale green morocco title and volume labels, triple gilt rules framing the boards, gilt fillets on edges and headcaps, marbled endpapers and pastedowns, all edges red. Volume I: Headcap partially lacking, upper joint cracked at head, one lack at tail, 4 corners bumped. Volume III: lacks at head and tail, 3 corners bumped and lacks at lower edges on upper board. Volume IV: Lacks at tail and head, micro crack to upper joint at head, 2 tears along lower joint. Set rather fresh, one dampstain in margin of frontispiece of volume III, some leaves more yellowed.

This great sentimental novel enjoyed very lively success from its publication, 4000 copies of the original edition were printed and the work had no fewer than 70 editions between 1761 and 1800. Demand became so strong that publishers began renting volumes by the day and even by the hour. The work was placed on the Index in 1806 for offense to church values. The Duchesne edition seems to have had a print run of 750 copies.

First edition, one of 300 numbered copies on Montgolfier paper, the only printing along with 8 copies on Japan paper.
The work is illustrated with a frontispiece featuring an unpublished photographic portrait of Jacques Rigaut by Man Ray.
A very fine copy.

First edition, one of 130 numbered copies on Arches vellum, deluxe copy.
Handsome full-margined copy.

First edition, one of 50 numbered copies on pur fil du marais paper, the only deluxe copies.
Handsome illustrated copy with a frontispiece photographic portrait of André and his daughter at Paestum in 1950.

First edition, one of 50 numbered copies on gothic paper, the only deluxe copies.
Handsome copy.

First edition, one of 100 numbered copies on pur fil paper, the only deluxe copies.
First page shaded due to the presence of the Nrf bulletin inserted at the beginning of the review.
Handsome copy despite small red stains on the lower edge.
Other contributions by Raymond Radiguet "Poèmes", Soeren Kierkegaard "Journal", Dominique Aury "Histoire de trois vocations", Noël Devaulx "Bal chez Alféoni"...

First edition, one of 100 numbered copies on pure rag paper, the only deluxe copies.
First page shaded due to the presence of the NRF bulletin inserted at the beginning of the review.
Handsome copy.
Other contributions by Katherine Mansfield "Lettres", André Pieyre de Mandiargues "Les Pierreuses", Marcel Jouhandeau "Nouveaux éléments", René Etiemble "D'un Orphée séminale"...

First edition, one of 30 numbered copies on laid Vizille paper, the only deluxe copies.
Handsome copy

First edition, one of 30 numbered copies on Vizille laid paper, the only deluxe copies.
Fine copy

First edition of the French translation, one of 1000 numbered copies on centaure ivory paper, the only deluxe copies.
Handsome copy.

First edition, one of 125 numbered copies on handmade laid paper, the only deluxe copies after 3 proof copies.
Endpapers very lightly and marginally shaded, without consequence.
A handsome full-margined copy.
Work illustrated with a wood engraving by Albert Decaris.

First edition, one of 140 numbered copies on wove paper, the only deluxe copies after 16 on laid paper.
Bradel binding in full marbled paper, smooth spine, gilt date at foot, black sheep title-label, endpapers and pastedowns of combed paper, top edge gilt, covers and spine preserved, contemporary binding.
Handsome copy.
Work illustrated with 24 photographic reproductions hors-texte.

First edition, one of 200 numbered copies on Arches paper, the only printing along with 10 on Japan and 10 on Turner.
Handsome copy.

First edition entirely hand-copied by Michel Butor and printed in 4 numbered copies.
The work is illustrated, as frontispiece, with a copperplate engraving by Julius Baltazar.
In pencil, manuscript signatures of Michel Butor and Julius Baltazar at the colophon.

First edition entirely hand-copied by Michel Butor and printed in 10 numbered copies.
The work is illustrated with a double-page copperplate engraving by Julius Baltazar.
In pencil, autograph signatures of Michel Butor and Julius Baltazar at the colophon.

First edition entirely hand-copied by Michel Butor and printed in 6 numbered copies.
The work is adorned with original paintings by Julius Baltazar including the covers.
In pencil, manuscript signatures of Michel Butor and Julius Baltazar at the colophon.

First edition printed in 13 copies on vellum and entirely calligraphed by Michel Butor's hand.
The work is illustrated with an original engraving on PVC by Julius Baltazar printed in black on double page.
Autograph signatures of Michel Butor and Julius Baltazar in pencil at the colophon.

First edition entirely handwritten and printed in 6 copies on vellum.
The work is entirely illuminated by Julius Baltazar.
Autograph signatures of Michel Butor and Julius Baltazar at the colophon.

First edition, one of 100 numbered copies on tinted helio paper, printed after 25 normandy vellum.
Work illustrated, as frontispiece, with an image by Mario Prassinos.
Handsome copy.

First edition, one of 10 numbered copies on normandy vellum, deluxe copy.
Handsome copy.

First edition, a Service de Presse (advance) copy.
Small repaired tear at foot of spine, foxing on top edge.
Iconography, complete with publisher's slip, its two folding maps placed at end of volume and its publisher's slip, bibliophile's blind stamp in lower right margin of first endpaper.
Autograph inscription dated and signed by Jean de Lattre de Tassigny to Maurice Berthon.

First edition, one of 24 numbered copies on madagascar paper, ours one of the 18 hors commerce copies, the only deluxe copies along with 32 on vélin d'Arches.
Very handsome copy illustrated with 87 photographs by Karel Egermeier.

First edition strictly hors commerce printed in 110 numbered copies on grand vélin de rives.
A very handsome copy.

First edition, one of 30 copies on wove paper, deluxe copy.
Minute worming to the front cover, otherwise a handsome copy.

First edition printed in a very small number on pure rag paper.
A vertical shadow in the right margin of the second cover.
Rare and handsome copy of this offprint.
Provenance: from the library of the great bibliophile Lucien Graux with his bookplate pasted on the verso of the first cover.

First edition, one of 150 numbered copies on Arjomari laid paper.
Work illustrated with drawings by Enrico Baj.
Handsome copy complete with publisher's slip.
Autograph inscription signed by Joyce Mansour to a couple of friends enriched with an original drawing in black felt-tip pen by Enrico Baj representing Joyce Mansour's face in profile.

First edition, one of 20 strictly hors commerce copies numbered on chamois vellum, the most limited deluxe paper issue before 26 Japan copies in trade.
Very handsome copy.

First edition, one of 10 numbered copies on Madagascar paper reserved for the author, the most restricted deluxe paper printing after the 2 reimposed on pur fil, also hors commerce, printed for Jacques Hébertot.
Very fine copy.

First deluxe edition of this masterpiece of Resistance literature, one of 100 numbered copies on coated paper, the only deluxe copies.
A small fold at the foot of the first cover also affecting the following leaves, minute foxing in the right margin of the first cover.
First published, probably simultaneously, in the northern zone as a leaflet by "Les éditions de Minuit" and in the southern zone, as a handmade brochure (the cover was wallpaper) inaugurating the famous "Bibliothèque française," this long poem would subsequently appear for the first time in volume form in October 1943 before it was decided to finally produce a deluxe edition (sold for 100 francs instead of 10 francs for the ordinary edition) "intended to honor the financial contributions of Resistance bibliophiles."

Le Musée Grévin, considered upon its publication as "Les Châtiments of 1943" (Les étoiles, Dec. 1943, no. 14), would remain with Paul Éluard's Liberté "one of the masterpieces of clandestine literature." In L'Intelligence en guerre published in 1945, Louis Parrot would write about it: « ce poème, traversé d'images éblouissantes, est en même temps qu'une condamnation sans appel des traîtres, une prière, un acte de fois envers leurs malheureuses victimes. Il peint en termes vengeurs, les misérables qui les livrèrent aux bourreaux et évoque le visage de tant de femmes françaises torturées. »
This pivotal poem is indeed one of the very first public evocations, and the first literary one, of the Auschwitz camp: « Aux confins de Pologne, existe une géhenne dont le nom siffle et souffle une affreuse chanson. Ausschwitz ! Ausschwitz ! Ausschwitz ! ô syllabes sanglantes ! Ici l'on vit, ici l'on meurt à petit feu. On appelle cela l'exécution lente. Une part de nos cœurs y périt peu à peu ».

Exceptional copy printed on fine paper, a true act of war whose perilous operation to procure luxury paper in a France where the Nazis controlled printing paper production through the Comité d'organisation des industries, arts et commerces du livre (COIACL) can only be imagined.

First edition printed in 1700 numbered copies, ours one of the 200 hors commerce copies.
Spine and covers marginally sunned, some worming.
Work illustrated with 4 original compositions by Douking.
Autograph inscription dated and signed by Jean de Beer to Frédéric Lefèvre.

First edition, one of 13 numbered copies on vélin du marais paper, the only deluxe copies.
A handsome copy.

First edition, one of 940 numbered copies on wove paper, the only deluxe copies with 120 reimposed.
Spine and boards very slightly sunned as often, some minor foxing.

First edition of some parts and illustrated with 6 original drawings by Henri Matisse, one of 1150 numbered hors commerce copies on laid paper.
Handsome copy.

First edition, one of 1150 numbered copies on ivory laid paper.
Publisher's binding executed after the original design attributed to Paul Bonet.
A very handsome copy complete with its soft cardboard slipcase.

First edition, one of 106 numbered copies on vergé de Vizille, only deluxe issue.

Nice copy of this 1999 Goncourt Prize winner.

First edition, one of 31 numbered copies on Madagascar paper, ours being No. 2 of the 6 hors commerce copies, deluxe issue.
Very handsome copy.

First edition, one of 60 numbered copies on laid paper, the only deluxe copies.
Very handsome copy.

First edition, one of 60 numbered copies on deckle-edged laid paper, the only deluxe copies.
A very fine copy.

First edition, one of 30 numbered copies on vellum, the only deluxe copies.
Handsome copy complete with its illustrated dust jacket which has two small stains on the back panel.
The work, the author's second after "Jeux interdits", begins on February 6, 1934, the day of anti-parliamentary demonstrations outside the Chamber of Deputies in Paris that were organized by right-wing groups, veterans' associations and extreme right-wing leagues to protest against the dismissal of police prefect Jean Chiappe following the Stavisky affair.

First edition, one of 200 numbered copies on vellum d'Arches.
Work illustrated with 10 etchings by Jules Chéret.
Handsome copy despite the endpapers lightly and partially shadowed.

Illustrated edition with 35 original lithographs by Roméo Dumoulin, one of 90 numbered and named copies on Holland paper containing two states of all illustrations, deluxe copy.
Preface by J.H. Rosny.
Slipcase split, spine and boards of the work marginally sunned, otherwise handsome copy.
We include an autograph letter dated and signed by Roméo Dumoulin, of 17 lines, demanding his due from the subscriber of this copy who was soon to face expenses.

First edition, one of 200 numbered copies on laid paper, ours unnumbered, the only printing after 50 on Japan paper.
Work illustrated with in-text and full-page illustrations by Charles Huard engraved on wood by Georges and Camille Beltrand.
Handsome copy.

First edition, one of 100 numbered copies on deluxe paper, the only deluxe copies.
Rare and handsome copy with beautiful illustrated cover.

First edition, one of 55 numbered copies on pur fil, the only deluxe copies.
Handsome copy of this novel which describes, hour by hour, the day of March 22, 1968 at the University of Nanterre.

First edition, one of 80 numbered copies on pur fil paper, the only deluxe copies after 20 on Holland paper.
Handsome copy.

First edition, one of 15 numbered copies on pur fil van gelder, the only deluxe copies.
Very handsome copy.

First edition, one of 100 numbered copies on pur fil, the only deluxe copies.
One joint lightly rubbed.
Rare copy, beautiful illustrated cover.

First edition, one of 50 numbered copies on deluxe paper, the only deluxe copies.
Iconography.
Some foxing to the chemise and slipcase.
Handsome copy presented with double wrappers and cream white slipcase.

First edition, one of 940 numbered copies on pur fil, the only deluxe copies after the 120 reissued.
Spine sunned with a small tear at foot.
Dated autograph inscription signed by André Salmon to Robert de Wotrenge: "Peinture d'un monde à la veille d'une guerre faite au lendemain de cette guerre signée pour mon cher Robert de Wotrenge au long - si long - d'une autre guerre. Ah ! la belle époque ! Mais la poésie n'a pas d'âge. A vous, de toute mon amitié. André Salmon Paris / II / 1949" ("Painting of a world on the eve of a war made in the aftermath of this war signed for my dear Robert de Wotrenge during the long - so long - course of another war. Ah! the beautiful era! But poetry has no age. To you, with all my friendship. André Salmon Paris / II / 1949").

First edition, one of 300 numbered copies on handmade paper with deckle edges.
Handsome copy despite two tiny lacks at head and foot of spine.

First edition, one of 1040 numbered copies on pur fil paper, the only deluxe copies after the 120 reimposed.
Spine sunned with two small lacks, dampstain to lower right corner of final leaves.
Autograph inscription dated and signed by André Salmon to Robert de Wotrenge: "Cher Robert de Wotrenge, vous me demandez de vous signer, à l'instant de votre départ, hélas, ce livre que je n'ai pu vous offrir dans l'instant heureux de votre arrivée. Que ce roman de jeunesse vous montre ce qui survit aux écroulements, nous nous retrouvons ! A bientôt, de tout coeur. André Salmon Paris / II / 1943" (Dear Robert de Wotrenge, you ask me to sign for you, at the moment of your departure, alas, this book that I could not offer you in the happy moment of your arrival. May this novel of youth show you what survives the collapses, we shall meet again! See you soon, wholeheartedly. André Salmon Paris / II / 1943).

First edition, one of 212 numbered copies on pure thread paper, deluxe copy.
Last gathering coming loose, final endpaper partially creased, light foxing on first endpaper and some deckled edges.
Handsome copy with full margins.