They are called deluxe papers, limited editions, tirages de têtes or simply first editions. They were printed in small numbers on special paper and carefully preserved, from the very beginning, by the first readers and admirers of these literary geniuses. These copies are the origin of the work and its legacy.
Partly original edition, one of 25 numbered copies on Holland paper, the deluxe issue.
A few small creases to the margins of the boards, otherwise a fine copy.
Our copy is presented in a half grey morocco chemise, flat spine, date at the foot, doublures of velvet lambskin, in a slipcase of plain grey paper.
First edition, one of 70 numbered copies on Japan paper, comprising the deluxe issue.
A few spots of foxing to the boards, spines and some deckle edges.
Rare untrimmed copy, preserving the full margins, of the Tiger's philosophical testament.
First edition, one of 35 numbered copies on Lafuma pure rag paper, this copy one of 15 lettered hors commerce copies, the only deluxe-paper issue.
A rare and fine copy of this work, awarded the Prix Femina in 1971.
First edition, one of 32 numbered copies on Alfama paper.
A rare and fine copy.
First edition, one of 15 numbered copies on Arches wove paper, the only deluxe-paper copies.
A rare and fine copy.
The majority of the text in in first edition. One of 45 numbered copies on hollande, the most limited deluxe issue.
Full black morocco binding, flat spine, covers decorated with some hundred inlays of red, orange-red and orange morocco evoking the chromatic variations of a setting sun, white morocco frame on the red suede endleaves and doublures, monogram blind-stamped on one doublure, original wrappers and spine bound in, all edges gilt; matching chemise in half black morocco with flaps, flat spine, date gilt at the foot, marbled paper sides, beige suede lining, matching slipcase edged in black morocco, marbled paper sides, white felt lining, a splendid binding signed and...
First edition, with all the first issue features, including the misprint "Sénart" on the dedication leaf.
Elegant half hazel morocco bindings with corners by Blanchetière, spines with five raised bands, very slightly faded, dates gilt at foot, marbled paper sides, combed paper endleaves and pastedowns, original wrappers bound in, with the original spine preserved for the first volume, top edges gilt.
Complete with the publisher's catalogue at the end of the first volume.
Occasional light foxing.
A handsome and desirable copy, retaining its rare original wrappers and finely bound by Henri Blanchetière.
Rare first collected edition, and the only edition produced for this title, illustrated by George Roux with 30 full-page plates, some printed in chromolithography.
Publisher's binding known as the "À l'éventail à un éléphant" design, with the title set within the fan, lighthouse spine slightly faded as usual, Engel type i rear cover with the JH monogram in upright letters at the centre of the rosette, all edges gilt.
Spine ends slightly sagged, as often, a few minor spots of foxing.
A science-fiction novel whose protagonist, Storitz, acquires the power of invisibility by drinking a potion. The work appears to have been first written in the same year as the publication of H...
First edition, one of 20 numbered copies on Japan paper, the deluxe issue.
Spine slightly sunned, otherwise a very good copy.
Preface by Léon Bocquet.
First edition, one of 20 numbered copies on Johannot pure wove paper, the only deluxe issue.
Rare and attractive copy.
First edition, one of 22 copies of the deluxe issue numbered in Roman numerals, together with 9 presentation copies, the only copies to feature an original collage cover by Olivier O. Olivier.
Illustrated with 25 reproductions of works by Olivier O. Olivier.
Signed presentation inscription in pencil from Olivier O. Olivier to a friend named Lise.
First edition of the French translation, printed in an edition of 90 copies numbered on wove paper and signed by John Crombie and Sheila Bourne.
Illustrated throughout by Sheila Bourne.
A rare and fine copy of this artist's book created by Sheila Bourne and her husband, John Crombie.
First edition, false statement of ninth edition, no deluxe issue printed.
Small marginal tears without significance to the soiled boards.
Presentation copy signed by feminist activist Yvonne Netter of her important essay on the emancipation of women and their right to vote.
First edition, printed in a small number of copies, of these extracts from the Cahiers de la Pléiade.
A few stains to the boards, with small red ink stains on the first page of Michel Tapié's text.
Signed presentation inscription from Henri Michaux to his friend, the painter and draughtsman Bernard Saby: "Les hommes qui ne donnent pas leur adresse ne craignent pas les exorcismes. Mais tout de même où est-il ce Saby? H.M."
Inspired both by his investigations into serial music and by his use of mescaline and hashish, Bernard Saby's painting aroused keen interest among his contemporaries. In 1956, his friend Henri Michaux gave him space in...
First collected edition, partly first edition, one of 129 numbered copies on wove paper, enhanced with an original engraving by Pierre Alechinsky, signed and numbered by the artist; our copy is one of the first 10 to contain a manuscript leaf, as stated in the limitation notice.
Signed by Yves Bonnefoy beneath the limitation notice.
A rare and fine copy.
First edition of Anne Guérin's French translation, for which no deluxe copies were issued; one of the review copies.
A small, unobtrusive nick to the head of the spine.
Introduction by Daniel Guérin.
An attractive copy, complete with the publisher's printed notice.
First edition, one of the few copies printed on Japan paper.
A fine copy.
First edition, privately printed in a small number of copies as an offprint from issue No. 6 of the review Hermès, devoted to the theme of emptiness, of which Henri Michaux was the first editor-in-chief.
A few stains to the upper wrapper.
Signed autograph inscription by Henri Michaux to his friend, the painter and draughtsman Bernard Saby: "Quelques mots encore amicalement à Bernard Saby. Henri Michaux."
Inspired both by his investigations into serial music and by his experiments with mescaline and hashish, Bernard Saby's painting aroused keen interest among his contemporaries. In 1956, his friend Henri Michaux welcomed him into the pages of...
Very rare first edition, one of 150 copies signed at the colophon by Conrad Rooks. OCLC records only two copies at the American College of Greece and at Princeton University Library.
Spine and boards marginally sunned, two stains to the right margin of the rear board.
Presentation copy, inscribed, dated and signed "to Sueeva Viegand with appreciation for kind thoughts and friendship. Sincerely Conrad Rooks 5/7/1963 / Paris 26 rue Saint Beniot [Benoît] ’
Extremely rare first edition of Conrad...
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.
First edition, one of 35 numbered copies on "mousse d'épave" paper, this being one of the 10 hors commerce copies.
Illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the work.
A rare and very fine copy, complete with its chemise and slipcase in old-rose full cloth.
Pencil signatures of Philippe Jones and Ania Staritsky on the colophon.
Our copy includes a manuscript text by the poet Jean-Claude Renard, as well as an original collage by Ania Staritsky, signed by her.
Framing his manuscript, an autograph inscription signed by Jean-Claude Renard to Claude Nardin, who...
First edition printed in 30 numbered copies on handmade rag paper, this copy unnumbered.
Illustrated with original colour engravings by Ania Staritsky, who also designed the book’s original layout.
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.
As stated in the limitation page, this copy includes a manuscript text by the poet Philippe Jones as well as an original signed collage by Ania Staritsky.
First edition printed in 35 numbered copies on Antique 15 paper, our copy 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 book.
A rare and very fine copy, complete with its chemise with flaps, the spine slightly discoloured, and its grey cloth slipcase.
Pencil signatures of Michel Butor and Ania Staritsky on the colophon.
As stated in the limitation, our copy is enriched with a 19-line autograph manuscript by Michel Butor, together with an original drawing and a collage by Ania Staritsky.
The upper cover of...
First edition, one of 45 numbered copies, this being one of the rare hors commerce copies corresponding to the 8 deluxe paper copies on "Tabac du Moulin" vat paper, issued in "Tourbe de Varennes" wrappers.
The work is illustrated with 9 original colour engravings by Ania Staritsky, who also designed the original layout of the book.
A rare and very fine copy, complete with its chemise and slipcase in full saffron cloth.
Pencil signatures of Jean Follain and Ania Staritsky at the colophon.
As stated in the limitation page, our copy indeed includes a manuscript text by the poet Jean Follain as well as an original collage by Ania Staritsky...
First edition, one of 50 copies numbered on alfa paper, the only deluxe paper issue.
Bound in full beige sheepskin, spine ruled in black, gilt date at foot, minor rubbing to the edges of the boards, marbled endpapers, covers and spine preserved, top edge gilt.
Pencil annotations relating to the reading of the work.
Gift inscription by a former member of the José Corti publishing house: "A monsieur Marchaux en témoignage de sympathie ce tout premier livre publié par José Corti."
Above all else Damas's writing theatened conventional society. This pamphlet Retour de Guyane was bought in big numbers by the colonial authorities and burnt.
...First edition, one of 35 numbered copies on pur fil, most limited issue. In addition, 25 hors-commerce copies on vélin labeur.
A fine and rare copy.
First edition, one of 25 numbered copies on pur fil, the only deluxe copies.
A rare and fine copy.
"A thunderclap of a title, a bitter draught that rings out like "Blue Note" in jazz, like "Cuba libre" among Caribbean cocktails. Damas, the stammerer, sings of solitude, the fear of being abandoned by the woman he loves and waits for, the sorrow and cowardice of "whitening," as do the jazz musicians he venerates" (Kathleen Gyssels)
