Gift Ideas – Rare Editions

Highly interesting collection attributed either to the geographer Georges-Louis Le Rouge (according to Polak), or to the civil engineer La Serre (based on a manuscript version held at the Municipal Library of Le Havre).

Contemporary half Havana calf binding, smooth spine richly decorated with five gilt fillets and blind-stamped naval anchors, some minor restorations to joints, small green vellum corners, marbled paper boards, endpapers and pastedowns marbled à la cuve. Binding dating from the mid-19th century.

The work comprises 35 engraved plates depicting the plans of 42 ports.

From north to south, and west to east: 1. Antwerp. – 2. Flushing. – 3. Ostend. – 4. Dunkirk...

First edition, no deluxe copies on fine paper were issued.

Spine and rear cover slightly soiled; a clean and attractive copy internally.

Illustrations.

Valuable signed presentation copy from General Gambiez: "A monsieur J. Debu-Bridel en bien cordial hommage cet envoi de synthèse sur la libération de la Corse cette île qui nous est si chère. Château de Vincennes 26 septembre 1974."

A moving relic of the Resistance and Gaullist legacy.

First edition, no grands papiers (deluxe) copies printed.
Half brown sheepskin, spine with four raised bands framed in blind and dec­orated with gilt floral motifs, some rubbing to the spine, marbled paper boards, marbled paper endpapers and flyleaves, modest contemporary bind­ing.

Rare signed and inscribed copy by Guy de Maupassant to the Baron de Vaux who inspired the character of Bel-Ami: “To Baron de Vaux / his friend / Guy de Maupassant”.

First edition of the French translation by Dominique Aubier, printed in 150 numbered copies on Rives wove paper, ours being one of 30 copies including the original print, numbered and signed by Louis Chavignier.

Our copy is one of only 10 exceptionally enriched with an additional suite on chine appliqué of the etching by Alberto Giacometti and the 14 burin engravings by Louis Chavignier.

The work is illustrated with an original etching as frontispiece by Alberto Giacometti, and 14 full-page original burin engravings by sculptor Louis Chavignier.

A handsome and rare copy.

Enclosed is the printed report, on Rives paper, of the...

First edition.

Official series not listed in Polak.

Full red morocco binding, smooth spine decorated with gilt Romantic arabesques, gilt roll-tooled bands at head and foot, elaborate gilt quadruple fillet frame, garland and lozenge design with gilt corner motifs on covers, gilt crowned monogram stamped in gilt at center of each board, blue moiré silk endleaves and doublures, gilt dentelle borders on doublures, gilt dotting on board edges, all edges gilt; a superb Romantic period binding.

Copy bearing the crowned monogram "FO" of Ferdinand Philippe, Duke of Orléans (1810–1842), eldest son of King Louis-Philippe. 

A very fine copy, beautifully preserved in an...

First edition, one of the 300 numbered copies printed on red “bouffant” paper, the only deluxe issue alongside 5 copies on hollande. Covers slightly and marginally soiled, two initials in red ink in the upper left corner of the front cover.

Illustrated with a “portrait de crotte de bique et couillandouille par eux-mêmes” [portrait of goat-dropping and dick-and-drumstick by themselves.]

Very famous work from the Dadaist canon, written by Pansaers one year before his untimely death — the...

First edition, printed in 500 numbered copies on Arches wove paper, adorned with 48 black illustrations within the text and 32 full-page plates after drawings by Iacovleff, printed in bistre and black. A superb album, produced under the direction of Jacques de Brunhoff with the collaboration of Sergueï Grigorievitch Elisseeff (1889–1975).

In 1917, the Russian painter Aleksander Evgenevitch Iacovleff (1887–1938) spent six months on the Japanese island of Izu Ōshima, following a stay in China. He would never return to Russia, where the Soviets seized power that same year, but emigrated to France, where he would pursue the rest of his career. He became the official painter of the...

First edition of this highly significant document on the state of Parisian hospitals at the end of Louis XVI's reign, written by Jacques Tenon (1724–1816), surgeon at the Salpêtrière, which remained an influential reference for French hospital policy through to the Third Republic.

The work is complete with its 17 folding plates (including 2 tables and 14 architectural plans and elevations of hospitals).

Some light foxing; the copy appears to have been rebound in this later binding.

Contemporary pastiche binding in half Havana sheep, flat spine with gilt fillets and the gilt cipher and arms of the Chodron de Courcel family, green paper-covered boards, marbled endpapers...

Unpublished political, scientific and historical archives

The complete manuscript unpublished papers of Louis, Chevalier de Sade (1753-1832), author of the Lexicon politique and cousin of the famous Marquis.
The important geopolitical, historical, and scientific archives of a learned aristocrat, a privileged witness of the end of the Ancien Régime, the French Revolution, the Consulate, Empire, and Restoration.
A unique fund of research on the implementation of a constitutional monarchy.

First collected edition. No deluxe paper copies issued.

Publisher’s binding in full green cloth, flat spines, with their dust jackets designed by Adam Rusak, showing only minor and insignificant marginal tears.

Rare presentation copy dated May 1, 1992 and signed by Solzhenitsyn to USSR émigré journalist and writer Sam Yossman, on the title page of the first volume.

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...

First edition (cf. Loukia Droulia 1817, Contominas 595, Blackmer 1372. Not in Atabey.)

Contemporary half blond calf, spine with five false raised bands adorned with gilt garlands, gilt tooling in compartments and blind fillets, gilt rolls at head and foot, marbled paper boards, marbled endpapers and pastedowns, marbled edges.

Scattered foxing.

Before becoming the well-known historian and committed republican, Edgar Quinet (1803–1875) was part of the short-lived scientific commission of the Morea in 1829.

This volume records his impressions, with the second part titled De la Nature et de l'Histoire dans leurs rapports avec les Traditions Religieuses et...

First edition, one of 30 numbered copies on alfa paper, the only large paper copies along with a few hors commerce also printed on alfa.

A fine copy of this work dedicated to the memory of Simone Weil: "qui, si elle était morte assassinée, aurait consacré son dernier instant à prier pour ses bourreaux."

Partly first edition, revised and corrected, of which no deluxe copies were issued; one of the review copies.

Spine and covers slightly and marginally sunned, as usual.
Rare and valuable signed presentation inscription from Robert Antelme to Geneviève Hirsch.

"Il n'y a pas d'espèces humaines, il y a une espèce humaine. C'est parce que nous sommes des hommes comme eux que les SS seront en définitive impuissants devant nous."
["There are no human races; there is only one human race. It is precisely because we are men like them that the SS will ultimately be powerless against us."]

This seminal work on the Nazi concentration...

First edition (a reprint was issued in 1963) of one of the two major works by Marcel Sarrazin, known as Vassal, now considered one of the leading French-speaking 'mentalists'—a modern term borrowed from English (cf. Fechner, p. 554). Only 2 copies listed in the CCF (BnF and Sainte-Geneviève).

Small stains to the lower right corner of the title page, otherwise a well-preserved copy.

Contemporary half tawny sheep binding, spine with four raised bands and gilt fleurons, minor rubbing to spine, marbled paper boards, marbled endpapers and pastedowns, original front wrapper preserved, sprinkled edges, very slight rubbing to corners.

Illustrated with in-text figures after...

First edition of the French translation by Marie Bonaparte, one of 70 numbered copies on pur fil, the only deluxe paper copies.

Covers slightly and marginally toned, otherwise a handsome and rare copy.

The text is preceded by a translation of the short story Gradiva by Wilhelm Jensen, rendered by E. Zak and G. Sadoul.

It is followed by a psychoanalytic study of the dream and the fascination experienced by the young archaeologist Norbert Hanold for the image of a young woman sculpted in a bas-relief from the collections of the Museum of Rome.

Complete set of the first quarter issues (11 April-12-19 July 1886) of the symbolist journal La Vogue, the most important literary review of the late nineteenth century, containing the first appearance in print of Rimbaud’s Illuminations. Issues 1-12, published weekly, were gathered under a quarterly wrapper and offered for sale in September 1886. No deluxe copies were issued for this first quarter of the journal, which had a very limited print run. Copy as published, spine restored, upper corner of the second cover lacking.

First edition, one of 249 numbered copies on B. F. K. de Rives, the only printing other than 1 copy on Hollande and 24 on vélin crème de Renage. Illustrated with 4 original colour lithographs by Rufino Tamayo.

This copy further contains an additional suite of the 4 lithographs by Rufino Tamayo, usually reserved for the deluxe copies. Printed stamps to the versos of each engraving: "Annulation d’estampille pour annulation de vente".

Autograph letter signed by Jean Cocteau, marked with his famous star, addressed to his great love, the actor Jean Marais. One page penned in black ink on a single sheet.
Traces of folds, horizontal creases inherent to mailing, two ink spots on the blank verso not affecting the text.
A magnificent love letter from Cocteau to Marais, who together formed one of the most iconic artistic couples of the 20th century. Set against the backdrop of turmoil and the German Occupation, their unbreakable bond is embodied in this letter of the writer, filled with desperate tones.

First edition in French, one of 1,000 numbered copies on Annonay rag paper, the only deluxe paper copies.

Illustrated with numerous photographs. Preface by Maurice Herzog. Foreword by the Duke of Edinburgh.

Publisher’s full flexible boards binding. Lacking slipcase, spine sunned with minor tears at head and foot.

Rare and handsome autograph inscription, dated and signed by General John Hunt: "A M. Robert Moch vous témoignant notre reconnaissance de nous avoir préparé la trace jusqu'au sommet du signal de l'Iséran le 3 janvier - et pour vous exprimer nos regrets de ne pas l'avoir suivie ! John Hunt...

First edition, one of 1,500 copies printed on vellum paper, this one unnumbered.

A handsome copy.

Illustrated with a frontispiece by Jean Berque.

Exceptional full-page signed presentation inscription from Abel Bonnard to Hubert Lyautey, the first Resident-General of the French Protectorate in Morocco: "A monsieur le maréchal Lyautey, qui, marmi tant d'autres illustres, a aussi sauvé la beauté du Maroc. En respectueux hommage. Abel Bonnard."

First edition on ordinary paper.
Small tears repaired at head and foot of spine.
Half black morocco binding, smooth spine, gilt date at foot, decorative abstract patterned paper boards, blue paper endpapers and pastedowns, original wrappers and spine preserved, binding signed Thomas Boichot.
Rare and precious autograph inscription signed by Charles De Gaulle on this text which he dedicated to Marshal Pétain: "A mon ami Louis Borel en souvenir de ses précieux conseils et de sa fidélité. Avec mon bien cordial témoignage. 7 octobre 1938. Charles." (To my friend Louis Borel in remembrance of his precious advice and his loyalty. With my most cordial testimony. October 7, 1938...

First edition, one of 150 numbered copies on Marais wove paper, the only deluxe-paper copies.
Illustrated by Edith Destouches.
A fine copy.

First edition, one of 50 numbered copies on pur fil paper, the only deluxe-paper issue (cf. Claude Menguy).

Endpapers slightly and partially toned.

A rare and attractive copy.

First edition, one of 50 numbered copies on ivory laid edition paper, the only deluxe-paper copies.

A rare and fine copy.

Signed autograph inscription from Eric Jourdan to a friend named Guy: "... ce livre qui vient de loin presque à des années lumières, mais que j'accepte tel qu'il est. En signe d'amitié de toujours. éric 19 février 1996."

First edition, one of 100 numbered copies on Lana wove paper, the only deluxe-paper copies.

A small tear at the head of the front panel of the dust jacket.
A pleasing copy.

First edition, one of 70 named and numbered copies on Madagascar paper.

Faint marginal crease marks to the lower right-hand corner of the front wrapper.

Illustrated with a frontispiece drawn and wood-engraved by Vassily Photiadès.
Signed presentation inscription from Joseph Kessel to Emmanuel Arago, for whom this copy was specially printed.

First edition in French, one of the ordinary paper copies.

A pleasant copy despite three small stains to the edges.

Signed presentation copy inscribed by Milan Kundera to Jacques Brenner, conveying his best wishes for 1990.

Edition published in the same year as the first edition, with edition statements in each volume.

Contemporary half brown shagreen bindings, spines with four raised bands ruled in black and decorated with double black compartments featuring gilt central tools, marbled paper boards, marbled endpapers and pastedowns, speckled edges; corners rubbed.

Occasional foxing, with minor nicks to the top edge of one volume.

A handsome copy, attractively bound at the time.

First edition, one of 15 lettered copies on Imperial Japan paper, the deluxe issue.

Full red morocco, spine with five raised bands decorated with triple gilt compartments, very minor rubbing to the bands, gilt date at foot, gilt rolls to the spine ends, boards framed with triple gilt fillets, sand-coloured polished calf endleaves and doublures, wrappers and spine preserved, all edges gilt, slipcase edged in red morocco and covered with decorated paper sides, an elegant binding signed by Devauchelle.

A fine copy superbly bound in full morocco by Devauchelle.

First edition, one of 90 numbered copies on pure wove paper, curiously the smallest deluxe paper issue prior to the 109 reimposed in-quarto tellière copies.
A handsome copy.

First edition, one of 30 numbered copies on Holland paper, the deluxe issue.
Front cover vertically creased.

First edition, one of 56 hors commerce name copies on Saint-Amand, the only deluxe issue with 32 copies on hollande.
A fine copy.

Name copy printed for Kessel's friend Eddy Marnay signed and inscrbied by Joseph Kessel beneath the limitation statement and his name: "... ou le zombie son ami Jef."

Born Edmond Bacri, he was a French lyricist and singer who wrote approximately 4,000 songs, including Les Amants de Paris for Edith Piaf.

First American edition.

Publisher's original brown paper-covered boards, flat spine, spine ends and corners lightly rubbed, complete with its illustrated dust jacket showing a few minor closed tears.

Profusely illustrated throughout.

An exceptionally important presentation copy inscribed Paul Bocuse to Lionel Poilâne: "A monsieur Poilane avec toutes mes amitiés gourmandes. Paul Bocuse 1978." [with all my gourmand sympathies]

New edition, with a spurious seventh edition statement.

Contemporary half brown shagreen over marbled boards, spine with four raised bands, ruled in black and decorated with double black panels enclosing gilt central fleurons, marbled endpapers, sprinkled edges.

Minor wear to the edges, lower corners lightly bumped, a small loss to the upper right corner of the title page.

A handsome copy attractively preserved in its contemporary binding.

Edition issued in the year of the first edition, bearing the fanciful statement of "Fourth Edition."

Contemporary half brown shagreen over marbled boards, spine with four raised bands ruled in black and decorated with double black panel compartments featuring gilt floral tools, marbled endpapers, sprinkled edges, contemporary binding.

Three small nicks to the edges.

A handsome copy attractively bound in a contemporary binding.

First French edition, one of 16 copies printed on Imperial Japan paper, our copy unnumbered but correctly justified as "japon" beneath the limitation statement and at the foot of the spine, from the deluxe issue.

A rare and handsome copy.

Edition published in the same year as the first edition, with the spurious statement of "Eleventh Edition" on the title page.

Contemporary half brown shagreen over marbled boards, spine with four raised bands ruled in black and decorated with double black panels featuring central gilt floral tools, marbled endpapers, sprinkled edges.

A few minor spots of foxing.

A handsome copy in an attractive contemporary binding.

Later edition, stated eighth edition.

Contemporary half brown shagreen over marbled paper boards, spine with four raised bands ruled in black and decorated with black double-panel compartments featuring gilt central floral tools, marbled endpapers, speckled edges, contemporary binding.

A few minor spots of foxing.

A handsome copy attractively bound in its contemporary binding.

Edition from the same year as the first edition, of remarkable rarity, bearing a fictitious statement of fifteenth edition, yet featuring correct colophon (1872) at the foot of p. 312: "1124-72". 

Binding in brown half sheepskin, spine with four raised bands ruled in black and decorated with double black compartments bearing central gilt fleurons, marbled paper boards, marbled endpapers and pastedowns, speckled edges, contemporary binding.

A few minor foxing spots of no consequence.

A fine copy attractivelyhoused in a contemporary binding, published the same year as the first edition.

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

An exceptionally rare complete collection in six issues of this important Dada journal, including the very rare sixth no. of July 1921 entitled "Invention et proverbe".

Contributions by Paul Eluard, André Breton, Céline Arnauld, Tristan Tzara, Philippe Soupault, Louis Aragon, Jean Cocteau, Francis Picabia, Jean Paulhan, Maurice Raynal, Georges Ribemont-Dessaignes, Jacques-Emile Blanche, Théodore Fraenkel, among others.

One of the most significant Dada journals published at the height of the movement with its very rare subscription leaflet.

Undoubtedly the finest example of poetic parody conceived by the Dadaists as a radical response...

First edition, one of 85 numbered copies printed on Arches wove paper, this being one of the 15 deluxe copies issued with an additional suite of the 7 original drypoints and 8 rejected drypoints on Auvergne paper, all individually numbered and signed in pencil by Brigitte Simon, from the deluxe issue.

The upper cover lightly and uniformly sunned.
Fine copy, complete with its original grey cloth chemise and slipcase.
Illustrated with 7 original drypoints by Brigitte Simon.
Claude Esteban and Brigitte Simon's handwritten signatures beneath the limitation statement.

Signed autograph inscription from Brigitte Simon to the...

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 175 numbered copies on alfa paper, being the only large-paper copies after 23 on pure laid and 155 on vellum.
A fine copy despite two small tears at the head and foot of the spine.

Autograph presentation inscription signed by Hervé Bazin to Robert Géry, accompanied by a small drawing of a viper with its forked tongue extended.

First edition, one of 110 numbered copies on vergé pur fil d'arches, the most limited deluxe issue.

A blue ballpoint pen mark to the upper cover, spine and boards lightly and partially sunned, as is often the case.
Untrimmed copy with wide margins, illustrated throughout.
A typed letter of thanks from Pierre Clostermann, signed by him and addressed to Henri Torrès, bound to the left margin of the half-title page.

Our copy exceptionally contains two original watercolours (14 x 10.5 cm) depicting two R.A.F. bomber aircraft flown by Pierre Clostermann: the Vickers-Armstrong "Wellington" and the Bristol...

Charming illustrated edition featuring, as the frontispiece to the first volume, a portrait of Alfred de Musset after the original painting by Charles Landelle, together with 28 drawings by Alexandre Bida; one of the numbered copies printed on laid paper.

Bound in full midnight-blue Russian morocco, spines with five raised bands gilt-tooled with garlands and decorated with gilt fillets and blind-stamped typographical ornaments, gilt rolls to the spine ends, gilt dates at the foot, a few joints slightly split at the head or tail, covers framed with quintuple gilt fillets, gilt armorial bearings stamped at the centres, red moiré silk endleaves and doublures, gilt dentelle border to...

First edition on ordinary paper for the second volume; statement of 1000th edition on the first volume.

Minor foxing to the top edges.

A handsome set, housed in a white paper covered chemise and slipcase.

Exceptional presentation copies signed by Marcel Pagnol to Maurice Druon on each volume: "à Maurice Druon, écrivain véritable, hommage du romancier amateur, son ami, MarcelPagnol. 1958" [to Maurice Druon, true writer, homage from an amateur novelist, his friend, Marcel Pagnol] and "Cher Maurice, puisque ça te plaît, voilà la suite. Mais rassure-toi, il n'y en a plus qu'un ! affectueusement, Marcel." [Dear Maurice, since you liked it...

Rare first edition. First volume published on 6 May 1867, the second on 27 July and the third the next year (28 January 1868). All of 18° format are first editions of Verne's novels.

Contemporary brown half shagreen bindings, spines with four raised bands ruled in black and decorated with double black panels featuring central gilt floral tools, marbled paper boards, marbled endpapers and pastedowns, two upper corners slightly bumped, speckled edges, contemporary bindings.

A handsome copy attractively housed in its contemporary bindings. In Search of the Castaways is the very first Verne novel to be adapted for the cinema. predating even...

Rare first edition. This first appearance of the text in book form was Jules Verne's preferred format, as Jauzac notes, instead of the more famous gilded publisher's bindings.

Contemporary brown half shagreen binding, spine with four raised bands ruled in black and decorated with double black panel compartments featuring central gilt floral tools, marbled paper-covered boards, marbled endpapers, speckled edges, a few small abrasions to one edge, contemporary binding.

A small black ink stain to the lower right margin of the opening leaves.

A handsome first edition copy attractively housed in a contemporary binding. This founding novel is considered one of, if...

Rare first edition. The first volume dated 4 August 1876, followed by the second volume published on 6 November with Un drame au Mexique bound in. All first editionswere published in 18° format. 

Half brown shagreen bindings, spines with four raised bands ruled in black and framed in black with with central gilt fleurons, marbled paper boards, paste-down endpapers and flyleaves of hand-marbled paper, sprinkled edges, contemporary bindings.

A handsome first edition copy of this celebrated Siberian adventure, attractively bound in contemporary bindings.

This first appearance of the text in book form was Jules Verne's preferred format, as Jauzac...

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

Spine slightly sunned.

A rare and pleasing copy.

First edition, one of 55 numbered copies on mould-made Arches wove paper, the only deluxe issue.

Rear cover slightly and marginally sunned, very faint offsetting to the head and foot of the endpapers.

First edition, one of 30 numbered copies on vergé pur fil, the only large-paper copies.
"Collection Goncourt" ex-libris pasted to a flyleaf.

"When Batouala was first published in Paris a half-century ago, it was not only an event of major literary importance, but also a turning point in both the intellectual and political history of contemporary Africa. A creation of Rene Maran, an Afro-Caribbean who had years of direct experience in Africa as an employee of France's colonial service, Batouala was the first great novel about Africa by a Black writer." (Donald E. Herdeck...

First edition, one of 10 numbered copies on Alfama paper, the only deluxe paper issue apart from a few hors commerce copies also printed on Alfama.

Minor, unobtrusive traces of corner creasing to the wrappers.

A rare and pleasing copy.

First edition, one of 47 numbered copies on pure wove paper, the only deluxe issue.

A handsome copy.

Complete set of uncorrected galley proofs dating from August–September 1935, comprising 65 pages on as many leaves numbered in pencil from 1 to 65.

First set of galley proofs for Henri Calet's debut novel La Belle Lurette (Gallimard, October 1935), forwarded to the author by Gallimard in the summer of 1935.

"On 15 June 1935, in a small room on the rue Edgar-Poe, close to the Buttes-Chaumont, Calet completed the writing of his first book, La Belle Lurette, which appeared in November of that same year with Gallimard, with the support of Jean Paulhan. The book met with little commercial success, yet Calet earned the esteem of distinguished...

First edition, one of 33 numbered copies on white Rivoli wove paper, the only deluxe issue.

Our copy is complete with the accompanying CD featuring excerpts from Huit quartiers de roture, radio broadcasts adapted from the work and aired on the Programme parisien in 1952.

The wrapper is illustrated with the reproduction of two postcards depicting the 19th and 20th arrondissements by Joseph Porphyre Pinchon, creator of Bécassine, taken from the series entitled "Les arrondissements de Paris illustrés en 20 cartes postales."

We are also including with our copy the complete set of 20 postcards, lacking only the original protective sleeve.

A handsome...

First edition, one of 35 numbered copies on Ingres d'Arches paper, this being one of 10 hors commerce copies.

Text established, with notes and preface by Jean-Pierre Barril; unpublished texts, letters and documents selected by Léon Aichelbaum and Jean-Pierre Barril.

A very fine copy.

First edition, one of 250 numbered copies, this being one of 10 numbered in Roman numerals, the deluxe issue.

Illustrated with original black engravings by Ania Staritsky.

A rare and very handsome copy, complete with its original school-style green flexible card chemise, marginally faded.

Manuscript pencil signatures of Michel Butor and Ania Staritsky at the colophon.

As stated in the limitation notice, our copy does indeed contain a manuscript page by Michel Butor and an original signed collage by Ania Staritsky.

First edition, one of 30 numbered copies on featherweight wove paper, the only issue after 15 copies on Lana wove paper.

Illustrated with 2 original engravings by Ania Staritsky, signed by her, together with drawings by Elsabeth Hellens and Léopold Survage.

A handsome copy.

First edition printed in 35 numbered copies on "vieux grès" rag paper from the Moulin de Larroque, this copy one of 10 hors commerce copies.

Illustrated with original color engravings by Ania Staritsky, who also devised the book’s original design with the collaboration of Claude Nardin.

A rare and very handsome copy preserved in its original full grey cloth slipcase.

Manuscript pencil signatures of Michel Butor and Ania Staritsky at the colophon.

Our copy is enriched with a two-page autograph letter, dated and signed, from Ania Staritsky to Claude Nardin concerning the making of this work.

First edition printed in 25 numbered copies on pure rag paper, pulled on Ania Staritsky’s press on the occasion of an exhibition of her works at Larroque.

Illustrated with 7 original engravings numbered and signed in justification by Ania Staritsky who also designed the original layout of the work with the collaboration of Claude Nardin.

A rare and handsome copy complete with the following 7 engravings : 

- Magical cockerel

- Fishing of flies

- Fire hamste

-...

First edition, one of 30 numbered copies on Larroque pure rag paper, this copy one of 10 hors commerce copies, from the deluxe issue.

Illustrated with original engravings by Ania Staritsky, who also designed the book’s original maquette with the collaboration of Claude Nardin.

A rare and very handsome copy, complete with its slipcase and chemise in full saffron cloth.

Our copy is enriched with a signed 10-line manuscript poem by Janine Mitaud, an original etching, and a second state of one of Ania Staritsky’s engravings.

Manuscript pencil signatures of Ania Staritsky and Janine Mitaud at the colophon.

A unique copy entirely transcribed by hand by Michel Butor for Claude Nardin; the paper, handmade by Georges Duchêne at the Moulin de Larroque, is on antique 15; the wrapper, made of "grès de larroque" rag paper, is adorned with an impression by Ania Staritsky.

The work is illustrated with original colour engravings by Ania Staritsky, who also devised the original layout of the book with the collaboration of Claude Nardin.

A rare and very fine copy, complete with its brown full moiré cloth slipcase, slightly and marginally faded.

Manuscript pencil signatures of Michel Butor and Ania Staritsky at the colophon.

Our copy is...

First edition, one of 110 numbered copies on alfa paper, the only deluxe paper copies.

Frontispiece with a photographic portrait of Léon Blum.

A pleasant copy.

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

A very slight loss to the head of the spine.

A rare and pleasing copy.

First edition of this work devoted to the oeuvre of Ania Staritsky.

Illustrated with an original work by Ania Staritsky on the cover.

A rare and very attractive copy, spine plain and unlettered, boards slightly and marginally sunned, without seriousness.

Copy enriched with an artist’s proof engraving, justified and signed by Ania Staritsky in pencil

First edition, one of 56 numbered copies on B.F.K. de Rives laid paper.

Illustrated with original engravings by Ania Staritsky.

A rare and very fine copy, complete with its slipcase and grey full-cloth chemise.

Pencil signatures of Ania Staritsky and Albert Dasnoy on the colophon.

Autograph inscription signed by Albert Dasnoy to Claude Nardin, enriched with the handwritten signature of Ania Staritsky.

First edition, one of 42 numbered copies on tabac du moulin paper, issued under limon de rocaille wrappers, our copy one of 12 hors commerce copies, the only issue after 15 copies on papier saumon des eaux claires.

Illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the work, with the collaboration of Claude Nardin, here in his first contribution.

Rare and very fine copy preserved in its full burlap chemise and slipcase (spine of the chemise and boards of the slipcase slightly sunned at the margins).

Pencil signatures of Jacques Lemaire and Ania Staritsky on the colophon.

...

First edition, one of 37 numbered copies on Nivôse rag paper.

Illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the work in collaboration with Claude Nardin.

Rare and very attractive copy, preserved in its original old-rose full cloth slipcase (spine slightly faded and two faint stains at the foot of the boards, not serious).

Manuscript pencil signatures of Michel Butor and Ania Staritsky at the colophon.

A unique copy, exceptionally enriched with two original gouaches by Ania Staritsky, both signed, a manuscript text by Michel Butor, an original collage by Ania Staritsky, as well as a...

First edition, printed in 40 numbered copies on hand-made pure rag paper from the Moulin de Larroque, this being one of the 10 hors commerce copies.

The work is illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the volume with the assistance of Claude Nardin.

A rare and very fine copy, complete with its full grey cloth slipcase, slightly discoloured at the edges, and its double chemise.

Manuscript pencil signature by Ania Staritsky at the colophon.

Our copy is further enriched with two original collages by Ania Staritsky, both signed.

First edition, one of 25 numbered copies on japon paper, deluxe issue.

Minor tears and two small losses at the foot of the spine at the level of the deckle edges, a stain in the left margin of the upper cover, a wide-margined copy.

Illustrated with a photographic portrait of the author as frontispiece.

First edition, one of 30 numbered copies printed on handmade pure rag paper.

Illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the work with the collaboration of Claude Nardin.

A rare and very fine copy, complete with its chemise and brown cloth slipcase.

Pencil signatures of Philippe Jones and Ania Staritsky at the colophon.

Inscribed by Philippe Jones to Claude Nardin at the colophon.

Our copy is enriched with a five-line autograph manuscript text by Philippe Jones, as well as an original collage by Ania Staritsky, signed by her.

First edition, one of 35 numbered copies printed on "mousse d'épave" paper, ours one of 10 copies hors commerce.

Illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the work in collaboration with Claude Nardin.

Rare and very fine copy, complete with its chemise and slipcase in full grey cloth (spine of the chemise slightly faded).

Manuscript pencil signatures of Jean-Claude Renard and Ania Staritsky at the colophon.

Our copy contains a manuscript text by the poet Jean-Claude Renard as well as an original collage by Ania Staritsky, signed by her.

Fine signed...

First edition, printed in 40 numbered copies on "citronnelle de lin troué" paper, this being one of the copies numbered from 11 to 30 (No. 30).

Illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the work with the assistance of Claude Nardin.

A rare and very fine copy, complete with its chemise and slipcase in full olive green cloth.

Pencil signatures of Jacques Izoard and Ania Staritsky at the colophon.

A unique copy, exceptionally enriched with a manuscript text by the poet Jacques Izoard, an original engraving by Ania Staritsky signed by her, as well as three engravings not retained for...

First edition of the French translation, one of 21 numbered copies on pur fil paper, deluxe issue.

Bradel binding in half blue percaline, smooth spine, floral motif, date and double gilt fillets at the foot, hazel morocco title label with some scuffing, marbled paper boards, covers and spine preserved, top edge gilt, contemporary binding.

The text by Friedrich Sieburg is followed by a letter from Bernard Grasset to the latter.

Fine dated and signed autograph inscription, from London, by Friedrich Sieburg to Monsieur de Fleuriau, then French ambassador in London: "... en le priant de ne voir dans ce livre que l'attrait que la France exerça sur son auteur...

First edition printed in 150 numbered copies on Licorne du Marais paper, our copy being one of a few hors commerce copies, justified and signed by Ania Staritsky at the colophon.

The work is illustrated with 16 colour illustrations, either in the text or full-page, by Ania Staritsky, who also designed the original layout of the volume.

A rare and fine copy, complete with its chemise and slipcase in full raspberry red cloth.

Manuscript pencil signature of Robert Droguet on the half-title.

First edition, one of 50 numbered copies on Holland paper, deluxe issue.

A very small chip at the foot of the spine.

A fine copy, with full margins and in double wrappers.

First edition, one of 10 numbered copies on Arches laid paper, deluxe issue.

A rare and very fine copy.

We include two invitation cards to the private view of the exhibition of works by Ania Staritsky held at Galerie Les Mains libres on 6 November 1975 between 6pm and 8pm.

Pencil signature of Michel Butor at the colophon.

As stated in the limitation page, our copy does indeed contain an original collage by Ania Staritsky, signed by her, as well as a manuscript text by Michel Butor.

Inscribed, dated and signed by Michel Butor to Claude Nardin, who was a collaborator of Ania Staritsky.