Inscribed Books

First edition, one of 40 numbered copies on laid paper, deluxe issue after 10 on Holland paper.
Handsome copy.
Precious autograph inscription signed by Jean Martet to Léon Daudet: "... à qui j'ai bien souvent pensé en écrivant ce livre" ["to whom I have often thought while writing this book"] and his wife.

First edition, a Service de Presse (advance) copy.
Minor lacks to head and foot of spine, one stain to lower right corner of front cover.
Precious autograph inscription dated and signed by Maurice Martin du Gard to Léon Daudet: "... hommage intrépide et fidèle de son admirateur littéraire" ["intrepid and faithful homage from his literary admirer"].

New edition.
Small tears to right margin of front cover, one stain at head of page bearing the inscription.
Precious autograph inscription dated and signed by Charles Maurras to Léon Daudet.

First edition, one of the few nominative copies among the 75 numbered copies on laid paper, ours specially printed for Madame and Monsieur Léon Daudet.
Stains on the spine and in the margin of the second cover, a full-margined copy.
Precious dated and signed autograph inscription from Max Fischer to Léon Daudet and his wife.

First edition, a Service de Presse (advance) copy.
Stains on the sunned spine, a library shelving notation inscribed in blue pencil on the first cover, complete with publisher's (advertising) slip.
Precious autograph inscription dated and signed by Maurice Martin du Gard to Léon Daudet: "... qui trouvera ici quelques figures d'européens (dont la sienne - en Belgique...) avec toute l'admiration littéraire de Maurice Martin du Gard. ["... who will find here some European figures (including his own - in Belgium...) with all the literary admiration of Maurice Martin du Gard."]

Autograph letter signed by Joséphin Peladan addressed to Marius Richard, the father of Carlo Rim (46 lines in black ink, 2 pages on a recto-verso sheet) concerning the upcoming creation of a theatrical play, which will be Sémiramis, in the ancient amphitheatre of Nîmes which Marius Richard is organizing.
Light foxing in the margins of the letter, fold marks inherent to the folding for mailing.
"10, rue de la Vierge
Nîmes.
Mon cher confrère,
hier on m'a dit chez vous que vous ne reviendrez pas de la campagne avant un mois & je pars dans quelques jours. J'aurais bien voulu avancer le beau projet que vous avez conçu. Si, comme vous en avez eu la première idée, Nîmes veut monter aux arènes une oeuvre de moi ; il y a un intérêt extrême à ce que je m'y prenne très à l'avance pour apporter à cette représentation les soins spéciaux, différents des soins d'auteur. Des études spéciales me permettent de restituer dans ses détails lyriques la tragédie du temps de Périclès & ces restitutions constituent un spectacle d'un éclat nouveau. Veuillez lire la Prométhéide ; en tenant compte qu'elle sera réduite & d'une mythologie simplifiée. Béziers a donné une caricature du mythe titanique, Nîmes donnerait la trilogie du grand Eschyle. Je ne crois que les frais d'acteur aillent jusqu'à dix mille francs. Point de musique, que figurative (flûtes, crotales). J'ai calculé que le décor de Nîmes servirait en jetant des toiles peintes sur ce qui existe, en supprimant les temples du bas par des peintures de rochers. Il faudrait que nous nous voyons avant mon départ. Si vous ne pouvez venir, je viendrai. Avec ma reconnaissante sympathie, Péladan. Inutile de vous dire combien je vous suis redevable de vos articles pour une oeuvre qui fut trahie comme Oedipe, par les hommes & les choses." ["My dear colleague, yesterday I was told at your place that you will not return from the countryside for a month & I leave in a few days. I would very much have liked to advance the beautiful project you have conceived. If, as you first thought, Nîmes wants to stage a work of mine in the arena; there is extreme interest in my taking this very much in advance to bring to this performance the special care, different from the author's care. Special studies allow me to restore in its lyrical details the tragedy of the time of Pericles & these restorations constitute a spectacle of new brilliance. Please read the Prométhéide; bearing in mind that it will be reduced & with simplified mythology. Béziers gave a caricature of the titanic myth, Nîmes would give the trilogy of great Aeschylus. I don't believe the actor's fees would go up to ten thousand francs. No music, except figurative (flutes, crotales). I calculated that the Nîmes setting would serve by throwing painted canvases over what exists, by removing the lower temples with rock paintings. We would need to see each other before my departure. If you cannot come, I will come. With my grateful sympathy, Péladan. Needless to say how much I owe you for your articles for a work that was betrayed like Oedipus, by men & things."]

Draft autograph signed letter from Joséphin Peladan addressed to Marius Richard, the father of Carlo Rim (63 lines in black ink, 3 pages on two sheets, one recto-verso) regarding the upcoming creation of a theatrical play, which will be Sémiramis, in the ancient amphitheater of Nîmes which Marius Richard is handling.
Light foxing in letter margins, fold marks inherent to postal handling. Some passages have been crossed out in blue pencil but remain entirely legible.
"24. Rue A. de Neuville
Paris XVII
Mon cher confrère,
mille mercis des détails très précis que vous me donnez. Laissez-moi vous d'abord rectifier un point que j'ai dû mal exprimer. Je n'ai pas voulu dire que j'attribuais neuf mille francs aux interprètes mais à la totalité des frais. Pour les cinq acteurs, je vois mille francs pour Segond, & selon les prix d'Orange, six cents pour chacun des quatre autres, soit Albert Lambert Ferroux (Keth Aour & Zakir Iddin) & les deux mages X X. s'ils sont de la Comédie Française & permettent de dire & d'imprimer que la représentation est donnée par la dite Comédie, sinon les prix baissent de moitié : cela ne ferait donc au maximum que 3400 de cachet. Je tremble en pensant à ce que va faire M. Chambon. Il se peut pour des raisons locales qu'il soit inévitable mais il faut que son plan m'arrive & que je l'étudie & le fasse étudier, car cet homme est cher & ignore la plantation du décor. Mon idée est de faire économiquement, mais d'un autre côté, il y a le côté spectacle que vous m'avez signalé justement comme indispensable. Ce sont les figurants, leurs casques cuirasses & lances qui représentent une assez forte dépense. Incidemment, je vous indique trois détails : 1er emprunter les coulisses de verdure au théâtre municipal. 2e obtenir des clairons de la lyre & des trompettes de l'artillerie qui resteront dans la coulisse, donneraient des sonneries spéciales que je ferai composer. 3e une musique militaire réduite aux bois & également invisible. Enfin, si cela était possible, (je ne le crois pas) des soldats pour figurants guerriers & des enfants d'une école pour les cortèges. Je ne commencerai à négocier les choses c'est à dire à parler ouvertement que lorsque vous me ferez signe. Quand vous viendrez à Paris, faites moi le plaisir de venir dîner ou déjeuner, dîner vaut mieux pour causer, & en toute intimité. J'aurai plaisir à vous présenter à ma femme. il suffit que vous m'avertissiez la veille pour que fussions libres. J'espère que la neuralgie vous a déjà quittée. J'admire le beau début de l'entreprise & je crois que notre effort étroitement commun aboutira à une noble chose. Bien votre Péladan."

Edition with some parts in first edition as expanded with an unpublished preface.
Half marbled sheep binding, smooth spine decorated with gilt cartouche, some rubbing to spine, top headcap worn down, navy blue shagreen title label, marbled paper boards, beige paper endpapers and pastedowns, original wrappers preserved, top edge gilt, contemporary binding.
Precious signed autograph inscription by Maurice Barrès: "A Léon Daudet , son ami. Maurice Barrès." ["To Léon Daudet, his friend. Maurice Barrès."]

First edition printed in a small number on laid paper and offered by the author.
This is a speech given by Jules Lemaître on the singularity of the book collector.
Full pasteboard binding in vellum style, smooth spine, frame of blue painted fillets on marbled paper boards, some areas where the fillet paint has faded, moiré-effect endpapers and pastedowns, covers and spine preserved, all edges gilt, contemporary binding.
Autograph inscription signed by Jules Lemaître: "A Marthe Léon Daudet, son vieil ami. Jules Lemaître." ["To Marthe Léon Daudet, his old friend. Jules Lemaître."]

First edition.
Bradel binding in half brown cloth, smooth spine decorated with gilt fleuron, double gilt fillet at foot, dark blue shagreen title-label, marbled paper boards, blue paper endpapers and pastedowns, contemporary binding.
A black ink sketch depicting the face of a young girl at the foot of the endpaper.
Precious autograph inscription signed by Maurice Barrès: "A Léon Daudet , son ami. Maurice Barrès." ["To Léon Daudet, his friend. Maurice Barrès."]

Autograph letter signed by Joséphin Peladan addressed to Marius Richard, Carlo Rim's father (62 lines in blue ink, 4 pages on a recto-verso sheet). The Sâr recommends to his friend Marius Richard, in charge of programming at the amphitheatre of Nîmes, the Adonis created by the niece of one of his best friends:
Light foxing in the margins of the letter, fold marks inherent to being placed in an envelope.
"Villenoy par Meaux
Seine & Marne
Mon cher ami,
J'ai vu que vous alliez donner une oeuvre à l'amphithéâtre : vous ne doutez point qu'elle m'intéresse & je vous prie d'abord de m'envoyer la brochure puisque je ne pourrai pas vous applaudir. Je compte donc, au moins, vous lire : faites moi envoyer quelque compte rendu qui me donne la physionomie du spectacle & croyez que l'auteur de Semiramis sera avec vous, de coeur reconnaissant, le soir fatidique. Bien votre Peladan. Je rouvre ma lettre : ayant vu que vous faisez appel aux pièces en un acte de jeunes. On va jouer, à la Roseraie d'Haÿe, un Adonis en un acte d'une jeune fille du monde, mademoiselle Blanche de Villery. Son oncle est mon intime ami & je trouve très décorative & propre au grand cadre nimois cette mort d'Adonis qui va du reste se jouer parmi les huit mille variétés de roses de M. Groveraux. Je vais dire de vous envoyer cet acte : je l'ai entendu à la première répitition & j'en ai aimé les hymnes & les accents lyriques. Je ne crois pas qu'on vous offre mieux & je serais personnellement heureux de vous voir partager mon sentiment. En tout cas, je suis sûr que ma recommandation ne sera pas vaine & que vous lirez l'acte avec un peu de la partialité favorable que je souhaite. A vous.P. C'est Roch de la Comédie qui fera Adonis & pour des odéoniques que vous auriez à bon prix à moins que vous n'utilisiez votre troupe." ["Villenoy par Meaux Seine & Marne My dear friend, I have seen that you are going to present a work at the amphitheatre: you do not doubt that it interests me & I first ask you to send me the brochure since I will not be able to applaud you. I count therefore, at least, on reading you: have some review sent to me that gives me the character of the spectacle & believe that the author of Semiramis will be with you, with grateful heart, on that fateful evening. Truly yours Peladan. I reopen my letter: having seen that you are calling for one-act plays by young people. They are going to perform, at the Rose Garden of Haÿe, an Adonis in one act by a young lady of society, Mademoiselle Blanche de Villery. Her uncle is my intimate friend & I find this death of Adonis very decorative & suitable for the great setting of Nîmes, which will moreover be performed among the eight thousand varieties of roses of M. Groveraux. I am going to arrange for this act to be sent to you: I heard it at the first rehearsal & I loved its hymns & lyrical accents. I do not believe you will be offered better & I would be personally happy to see you share my sentiment. In any case, I am sure that my recommendation will not be in vain & that you will read the act with some of the favorable partiality that I wish. Yours. P. It is Roch from the Comédie who will play Adonis & for Odéon actors whom you would have at a good price unless you use your own troupe."]

Autograph letter signed by Joséphin Peladan addressed to Marius Richard, Carlo Rim's father (41 lines in black ink, 2 pages on a recto-verso sheet). The Sâr gives his final instructions for the creation of his Sémiramis in the ancient amphitheatre of Nîmes directed by Marius Richard.
Light foxing in the margins of the letter, fold marks inherent to being placed in an envelope.
"Mon cher confrère,
Je vous remercie de me rassurer enfin, sur la scène. Je vous écrivais ce matin encor à ce sujet. Voici l'indication pour les quatre spectacles le Sacrifice, la Fête de Tammuz, La Pyrrhique & l'Aruspice à intercaler dans la tragédie. Cela suffit au comité pour comprendre qu'il est le maître de cette partie & j'emploierai les moyens qu'on me donnera. Non, au II, Sémiramis arrive en blanc, après la fête de Tammuz & s'assied sur un banc qu'on empruntera au théâtre municipal. Je suis très heureux du choix des adjoints ; particulièrement de la présence de Placide. Vous voulez plus de figurants qu'à Orange ? Ce n'est pas à moi de le fixer. Dès que vous m'aurez dit le nombre je m'occuperai des costumes. J'entends bien qu'il faut faire bon marché & sans fignolage ; mais comme je dois les exercer avec leurs armes cela augmentera le prix. Comptez dix répétitions de figuration avant les trois d'ensemble avec les interprètes. Je calcule ma mise en scène sur les 20 mètres de décor en hauteur pour utiliser ce décor & ferai jouer partout , ce sera décoratif. D'après la maquette la scène aurait 37 mètres d'ouverture, celle d'Athènes n'en a que vingt cinq. J'aurai besoin d'une photographie du décor en place en hâte pour vous répondre par courrier. Tout votre Péladan." ["My dear colleague, I thank you for finally reassuring me about the stage. I was still writing to you this morning on this subject. Here are the instructions for the four spectacles the Sacrifice, the Festival of Tammuz, The Pyrrhic & the Haruspex to be inserted into the tragedy. This is sufficient for the committee to understand that it is the master of this part & I will employ the means given to me. No, in Act II, Sémiramis arrives in white, after the festival of Tammuz & sits on a bench that will be borrowed from the municipal theatre. I am very happy with the choice of assistants; particularly the presence of Placide. You want more extras than at Orange? It is not for me to decide. As soon as you have told me the number I will take care of the costumes. I understand that it must be done cheaply & without refinement; but as I must train them with their weapons this will increase the cost. Count on ten rehearsals for the extras before the three ensemble ones with the performers. I calculate my staging on the 20 metres of scenery in height to use this set & will have action everywhere, it will be decorative. According to the model the stage would have 37 metres of opening, that of Athens has only twenty-five. I will need a photograph of the set in place urgently to reply to you by post. All yours Péladan."]

First edition, one of 88 copies on laid paper, the first 82 being nominative, ours, No. 5, in the name of Léon Daudet.
Half chocolate brown morocco binding with corners, spine with four raised bands heavily rubbed, top headcap worn away, gilt date at foot, author's name and navy blue morocco title label, boards, endpapers and pastedowns of moiré-effect paper, covers and spine preserved, corners slightly bumped, top edge gilt on deckled edges.
Precious signed autograph inscription by Charles Maurras below the justification page: "A Madame Léon Daudet , respectueux hommage d'un admirateur, compère et ami. Charles Maurras." ["To Madame Léon Daudet, respectful homage from an admirer, colleague and friend. Charles Maurras."]

First edition on ordinary paper.
Small lacks to head of boards, one tear at foot of first endpaper having caused a hole on its verso.
Autograph inscription signed by Henry Bernstein to Léon Daudet: "... que je suis heureux d'avoir rencontré sur le terrain de l'amitié..." [... how happy I am to have met you on the terrain of friendship...]

First collected edition, one of the numbered copies from the first issue reserved for the author.
Bradel binding in half marbled sheep, smooth spine decorated with a gilt cartouche, top headcap worn, some rubbing to spine, navy blue shagreen title label, marbled paper boards, beige paper endpapers and pastedowns, original wrappers preserved, top edge gilt, contemporary binding.
Precious autograph inscription signed by Maurice Barrès: "A Léon Daudet , son ami. Maurice Barrès." [To Léon Daudet, his friend. Maurice Barrès.]

Autograph letter signed by Joséphin Peladan addressed to Marius Richard, Carlo Rim's father (29 lines in blue ink) asking him to publicize Paul Mounet, the Sâr's favorite actor whom he feels is not sufficiently recognized at his true worth.
Fold marks inherent to mailing, small marginal foxing.

Autograph letter signed by Joséphin Peladan addressed to Marius Richard, Carlo Rim's father (44 lines in blue ink on a recto-verso sheet). The Sâr is indignant about the pretensions, notably financial, of Paul Mounet and his brother, he also suggests to his correspondent the distribution of roles for the theatrical play on which he is collaborating.
Fold marks inherent to being placed in an envelope.
"Mon cher confrère,
J'ai vu par mes amis Placide que vous aviez été fort affairé, ces temps-ci, par les soins politiques. Et sans doute, vous attendiez d'avoir des choses précises pour m'écrire. Je voudrais non pas vous mettre en garde, mais que vous mettiez les membres du comité en garde contre les déclamations des Mounet. Paul de passage à Nîmes a déclaré que ni lui, ni son frère ne consentiraient à jouer aux Arènes, si on ne les coupait par le milieu & il a proposé un arrangement très coûteux & très absurde car ce grand acteur ne connait rien à l'économie du théâtre antique. C'est une matière où il ne faut pas innover, mais seulement suivre les anciens textes et monuments. Je prévois derrière tout cela la demande de gros cachets, les cachets d'Orange & en conséquence l'effroi du comité. Pour parer à tout cela, voulez-vous lire ma tragédie en quatre actes Semiramis. Tout peut se passer dans les jardins suspendus, c'est à dire dans votre fameux décor. Madame Segond Weber accepte de jouer Semiramis, & pour les cinq autres rôles, j'aurais des gens de la Comédie Française. Cela coûterait moitié moins que la Prométhéide. Certes rien ne la vaut, comme importance. Mais pratiquement, Semiramis donnerait un bénéfice certain à la caisse d'initiative. Si vous pouvez leur faire accepter Prométhée, j'en serai très heureux. Mais à défait, proposez leur Semiramis. j'espère avoir bientôt le plaisir de vous lire. Croyez moi tout votre Peladan. 24. rue A. de Neuville." ["My dear colleague,
I saw through my friends Placide that you had been very busy, recently, with political matters. And no doubt, you were waiting to have precise things to write to me about. I would like not to warn you, but for you to warn the committee members against the Mounet brothers' declarations. Paul, passing through Nîmes, declared that neither he nor his brother would consent to perform at the Arena, if they were not cut in half & he proposed a very costly & very absurd arrangement because this great actor knows nothing about the economy of ancient theater. It is a matter where one must not innovate, but only follow the ancient texts and monuments. I foresee behind all this the demand for large fees, the fees of Orange & consequently the committee's fright. To counter all this, would you read my four-act tragedy Semiramis. Everything can take place in the hanging gardens, that is to say in your famous set. Madame Segond Weber agrees to play Semiramis, & for the five other roles, I would have people from the Comédie Française. This would cost half as much as Prométhéide. Certainly nothing equals it, in importance. But practically, Semiramis would give a certain profit to the initiative fund. If you can make them accept Prométhée, I will be very happy. But failing that, propose Semiramis to them. I hope to soon have the pleasure of reading you. Believe me entirely yours Peladan. 24. rue A. de Neuville."]

First edition, one of the service de presse copies.
Small lack at foot of spine.
Autograph inscription signed by Pierre Benoit to François Daudet, son of Léon Daudet.

First edition, with service de presse stamp at end of volume.
Bradel binding in half brown cloth, smooth spine decorated with gilt fleuron, double gilt fillet at foot, navy blue shagreen title-label, marbled paper boards, one tear to lower edge, corners slightly bumped, contemporary binding.
Precious autograph inscription signed by Maurice Barrès: "A Léon Daudet, souvenir amical. Maurice Barrès."

First edition on ordinary paper.
Half marbled sheep binding, smooth spine decorated with a gilt cartouche showing some rubbing, navy blue shagreen title label, marbled paper boards, beige paper endpapers and pastedowns, original wrappers preserved, top edge gilt, contemporary binding.
Precious signed autograph inscription by Maurice Barrès: "A Léon Daudet , son vieil et reconnaissant ami. Maurice Barrès." ["To Léon Daudet, his old and grateful friend. Maurice Barrès."]

First edition on ordinary paper.
Minor lacks to spine and board margins.
Precious autograph inscription dated later and signed by Jérome & Jean Tharaud to Léon Daudet.

Edition illustrated with wood engravings by Pierre Gandon, one of 270 numbered copies on handmade laid paper, ours one of the few hors commerce copies.
Small marginal tears on spine very lightly sunned at foot.
Precious signed autograph inscription by Jacques Bainville: "A Léon Daudet, son ami depuis bientôt un quart de siècle. Jacques Bainville." ["To Léon Daudet, his friend for nearly a quarter of a century. Jacques Bainville."]

First edition.
Half black shagreen binding, spine with four raised bands set with gilt dots and ornamented with triple black and gilt compartments, light rubbing to joints, blue paper boards, marbled endpapers and pastedowns, corners slightly bumped.
Autograph inscription signed by Xavier Marmier: "A Mr le Cte de Tourgueneff". X.M.", the "M" having been slightly trimmed by the binder.
Provenance: from the library of Count Tourgueneff with his bookplate pasted on a pastedown.
This refers either to Alexandre Tourgueneff, historian and specialist in the dissemination of holy scriptures, or to his brother Nicolas, pioneer of serf emancipation. Both, broad and liberal minds, sojourned in France at this time.

Autograph letter signed by the composer Vincent Scotto, sent from Marseille to his great friend the Provençal writer, caricaturist and filmmaker Carlo Rim who was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of André Salmon and Max Jacob (16 lines in blue ink) regarding a joint project with the director of the Bouffes Parisiens Albert Willemetz, Raimu, Carlo Rim and Vincent Scotto.
Fold mark inherent to mailing.
"Mercredi le 2 septembre 1941,
Mon cher Carlo, as-tu vu Raimu ? Je pars vendredi matin pour Paris, j'aurais aimé avoir une réponse. Voici une nouvelle lettre de Willemetz pour toi. J'espère que tu seras content de ton collègue Vincent. Cordialement à ta femme et toi. V. Scotto." ["Wednesday, September 2, 1941,
My dear Carlo, have you seen Raimu? I leave Friday morning for Paris, I would have liked to have an answer. Here is a new letter from Willemetz for you. I hope you will be pleased with your colleague Vincent. Cordially to your wife and you. V. Scotto."]

First edition on ordinary paper.
Bradel binding in brown half cloth, smooth spine decorated with gilt floral motif, double gilt fillet at foot, black shagreen title-label with minor scratches, marbled paper boards, blue paper endpapers and pastedowns, original wrappers preserved, corners slightly bumped, contemporary binding.
Precious autograph inscription signed by Maurice Barrès at the head of the half-title page: "A Léon Daudet, son ami Maurice Barrès"

First edition, one of 500 numbered copies on laid Arches paper.
Bradel binding in half boards with vellum-style corners, smooth spine decorated with a gilt floral motif, double gilt fillet at tail, black shagreen title label with minor nicks, triple gilt fillet frame on marbled paper boards, speckled endpapers and pastedowns, original wrappers preserved, some rubbing to edges, contemporary binding.
Precious signed autograph inscription by Charles Maurras: "A madame Léon Daudet, en couleur de Pamprille petite fille, hommage de l'auteur, Charles Maurras." ["To Madame Léon Daudet, in the color of little Pamprille, tribute from the author, Charles Maurras."]

Edition published a few months after the first, of which there were no deluxe copies.
Some soiling to cover, otherwise handsome copy.
Autograph inscription signed by Michel Houellebecq to a man named Alexandre.

Autograph letter signed by Roger Martin du Gard addressed from Nice to his friends Rim (3 pages, 46 lines in black ink) great suppliers of sweets and other delicacies for the author of Les Thibault who seems to rediscover, under the Provençal sun and tranquility; a soothed sweetness and carefree spirit of living simply, the proximity of a school further facilitating this ideal peace :
"Nice. 1er novembre 34
Chers amis, pour si agréable qu'il soit, c'est un rôle bien gênant à tenir que celui du vieux monsieur qu'on gave de sucreries ! Je suis attendri jusqu'aux larmes que vous pensiez ainsi à me régaler à distance, et le coeur me fond dans la poitrine en même temps que les caramels dans la bouche... J'ai refusé autrefois de participer à l'érection d'un buste de Blasco Ibanez, sous le prétexte que les vrais bienfaiteurs de l'humanité, Gillette et Eversharp, n'avaient pas leurs statues sur toutes les places publiques de France. Je refuse aujourd'hui toute obole pour le monument du roi Alexandre, tant que Marseille reconnaissante n'aura pas fait à Castelmuro (pâtissier-chocolatier qui était une véritable institution marseillaise) la statue en pied, sur socle de nougat, qu'il mérite depuis longtemps ! Que devenez-vous ? Ou peut-on lire du Carlo Rim ? Mr Virgule me réjouit chaque semaine fidèlement ; mais la prose alerte et mordante, qui me donnait, de loin, l'impression d'avoir assisté aux fêtes de Paris, me manque. Et plus encore le volume substanciel que Rim pourrait nous donner tous les trois mois, s'il le voulait. Pour moi, j'ai trouvé à Nice le climat idéal. C'est seul coin du monde, je crois bien, où s'est réfugié la douceur de vivre d'avant-guerre. Nous y menons une vie "sans obligations ni sanctions" ; une vie laborieuse aussi, car j'y travaille bien, sans voir personne. Mes fenêtres s'ouvrent sur une école, et c'est la cloche des élèves qui règle mon lever, mon travail, mes repas. Pendant les récréations, je fume ma pipe, entre les deux coups de cloche. C'est admirable. C'est la vie de couvent, à domicile. Donnez-moi de vos nouvelles. Les nuages qui s'accumulent à l'horizon ne jettent-ils pas leur ombre sur votre irréductible bonne humeur ? Je vous souhaite mille prospérités ! Ne doutez pas de l'affectueuse fidélité de ma pensée, ni de ma gastronomique reconnaissance, Roger Martin du Gard." ["Dear friends, however pleasant it may be, it's quite an awkward role to play, that of the old gentleman who is stuffed with sweets! I am moved to tears that you think to treat me at a distance, and my heart melts in my chest at the same time as the caramels in my mouth... I once refused to participate in the erection of a bust of Blasco Ibanez, under the pretext that the true benefactors of humanity, Gillette and Eversharp, did not have their statues in all the public squares of France. I refuse today any contribution for the monument to King Alexander, as long as grateful Marseille has not given Castelmuro (pastry-chocolatier who was a true Marseille institution) the full-length statue, on a nougat pedestal, that he has long deserved! What are you up to? Where can one read Carlo Rim? Mr Virgule delights me faithfully every week; but the alert and biting prose, which gave me, from afar, the impression of having attended the festivities of Paris, I miss. And even more the substantial volume that Rim could give us every three months, if he wanted to. As for me, I have found the ideal climate in Nice. It's the only corner of the world, I believe, where the sweetness of pre-war living has taken refuge. We lead a life there 'without obligations or sanctions'; a laborious life too, for I work well there, seeing no one. My windows open onto a school, and it's the students' bell that regulates my rising, my work, my meals. During recess, I smoke my pipe, between the two bell strokes. It's admirable. It's convent life, at home. Give me your news. Don't the clouds gathering on the horizon cast their shadow on your irreducible good humor? I wish you a thousand prosperities! Do not doubt the affectionate faithfulness of my thoughts, nor my gastronomic gratitude, Roger Martin du Gard."]
Crease mark inherent to the folding for mailing.

Autograph letter signed by Roger Martin du Gard addressed from Cassis to his friend Alice Rim (3 pages, 48 lines in black ink) in which he savors his peaceful solitude in deserted Cassis. He thanks her for all the delicacies and confectioneries with which she supplies the Provençal hermit who only deplores the absence of his friends Carlo and Rim at his side :
"Cassis. 8 janvier 34
Chère madame, Et serait-ce de petites crottes de musaraignes dans du papier d'argent, que je serais déjà pénétré de reconnaissance par votre amicale attention ! Imaginez donc ce que je puis éprouver en décortiquant ces délicieux tortillons de La Rochelle, croquants et onctueux, insinuants comme des suppositoires, et qui laissent dans mon vieux palais toutes les saveurs de l'amitié ! Ce confiseur charentais a su donner à vos voeux une forme gastronomique qui en double le prix ; et même si ces voeux, comme tous ses pareils, ne se réalisent pas, je suis d'ores et déjà assuré d'en garder un inoubliable souvenir : mais pourquoi La Rochelle ? Si vous vouliez revoir la mer, pourquoi cette infidélité à notre grande Bleue ? Elle s'était faite accueillante pour vous recevoir : elle avait cessé de charrier ses banquises, retrouvé ses ondulations de soie et son peuplement de petites barques, sous le soleil quasi printanier. Mais les fêtes s'achèvent, et les Carlo Rim n'ont pas reparu... Je reste le seul "hivernant". On me montre du doigt aux enfants du port. Le Bestuan est désert. L'hôtel est vide. J'ai vu partir un à un tous les pensionnaires. Puis le personnel. Enfin les hôteliers. on m'a laissé seul, avec les clefs et une vieille fée Carabosse pour me faire la bouillabaisse. C'est simplement merveilleux. J'ai un poêle à essence qui vit aux dépens de mon oxygène, mais qui me préserve de la congestion par le froid, en m'asphyxiant lentement. Gendre, dans son local déserté, dort toute l'après-midi, roulé en boule sur la banquette, avec sa chienne en guise de chancelière. La vieille amie s'en est allée sans attirer l'attention, et la jeune ne trouble pas encore par ses yeux ce monde de marmottes, qui somnole en attendant votre retour. Je vous souhaite un hiver aussi calme que le mien, un quai de Passy aussi ensoleillé que celui du port. Partagez avec Carlo Rim et M. Virgule toutes mes amitiés fidèles, et croyez, chère madame, que je suis confus mais très heureux de vous avoir laissé le souvenir d'un vieux type gourmand ! Roger Martin du Gard." ["Cassis. January 8, 34
Dear Madam, Even if they were little shrew droppings in silver paper, I would already be filled with gratitude for your friendly attention! Imagine then what I might feel when peeling these delicious twists from La Rochelle, crunchy and creamy, insinuating like suppositories, and which leave in my old palate all the flavors of friendship! This confectioner from Charente has known how to give your wishes a gastronomic form that doubles their value; and even if these wishes, like all their kind, do not come true, I am already assured of keeping an unforgettable memory of them: but why La Rochelle? If you wanted to see the sea again, why this infidelity to our great Blue? She had made herself welcoming to receive you: she had stopped carrying her ice floes, rediscovered her silk undulations and her population of small boats, under the almost spring-like sun. But the festivities are ending, and the Carlo Rims have not reappeared... I remain the only 'winter resident'. I am pointed out to the children of the port. The Bestuan is deserted. The hotel is empty. I saw all the guests leave one by one. Then the staff. Finally the hoteliers. I was left alone, with the keys and an old fairy Carabosse to make me bouillabaisse. It is simply marvelous. I have a kerosene stove that lives at the expense of my oxygen, but which preserves me from congestion by cold, by slowly asphyxiating me. Gendre, in his deserted premises, sleeps all afternoon, curled up in a ball on the bench, with his dog as a foot-warmer. The old friend went away without attracting attention, and the young one does not yet trouble with her eyes this world of marmots, which slumbers awaiting your return. I wish you a winter as calm as mine, a quai de Passy as sunny as that of the port. Share with Carlo Rim and M. Virgule all my faithful friendships, and believe, dear madam, that I am embarrassed but very happy to have left you the memory of an old gourmand fellow! Roger Martin du Gard."]
Fold mark inherent to the mailing.

Autograph letter dated and signed by Maurice Chevalier from his property "La Louque" in Marnes-la-Coquette to Alice Rim, 7 lines in blue ink.
Fold marks inherent to postal handling.
The letter is addressed to Caro Canaille, pen name of Alice Rim, Carlo's wife:
"27 - 6- 56,
Chère Caro,
merci pour les "Truands" et bravo pour ce bouillonnement de joie que l'on sentait dans votre voix l'autre jour au téléphone. Maurice". ["27 - 6- 56, Dear Caro, thank you for the 'Truands' and bravo for that bubbling joy we could feel in your voice the other day on the phone. Maurice"]
Carlo Rim was a Provençal writer, author of "Ma belle Marseille", a caricaturist, a filmmaker and was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of Max Jacob and André Salmon whom he met in Sanary.

Autograph letter signed by Jean Anouilh addressed to the Provençal writer, caricaturist and filmmaker Carlo Rim who was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of André Salmon and Max Jacob (37 lines in blue ink) from his chalet in Chesières-sur-Ollon in Switzerland.
Two letters and one word having smudged: the "C" of dear Carlo Rim, the "L'" of the intermission and, just above the word "avec"
Jean Anouilh warmly thanks Carlo Rim who intervened in favor of his son-in-law, Alain Tesler, so that he would join the staff of the Marseillais filmmaker. He nevertheless recommends not to spare him, a way for Jean Anouilh to exorcise his thorny role as father-in-law:
"Les Ecovets Chesières-sur-Ollon
Dear Carlo Rim,
thank you for your kindness. I am sure that you will be pleased with him and the best service you can render him, him and me, is to keep him busy hard (word underlined). It's because of the "loafer" side of second assistant directors that I advised him against this phantom position he has already occupied. He (illegible word) well to direct but I maintain that it's as if one wanted to become a pretty woman and be kept and it's me who pushes him toward production with the worried feeling for the future of a Labiche father-in-law, which I took on with a jacket, on the wedding day... Dear Carlo Rim, if you have a daughter make her a nun, the role of father-in-law makes one stupid. Most affectionately yours. Thanks again and see you soon, (I'm struggling here with a damn play and don't dare return before the intermission for fear of being cut off forever.) We will fictitiously decorate Barsacq. Jean Anouilh."

First edition on ordinary paper.
Small stains on the covers.
Rare dated and signed autograph inscription by Gert Hofmann written from Edinburgh to a couple of friends.

New Year's card for 1973 illustrated with a lithograph by Emile Gilioli on the first cover and bearing this signed autograph inscription from the painter to his friend, art critic Georges Raillard, who is not named specifically:
"Bonne année 1973. Bonne santé. Bonne santé ! Babet et Emile Gilioli." ["Happy New Year 1973. Good health. Good health! Babet and Emile Gilioli."]
Small stains affecting mainly the back cover of the New Year's card.

First edition, one of 10 copies signed and numbered by the publisher on hollande paper, the only grand papier (deluxe) copies.
Small tears and minute losses of paper to the margins of the soft cover, a repaired joint at foot, some foxing. Untrimmed copy with wide margins slightly bent.
Cover illustrated by Ernest Brisset.
Inscribed copy, signed and dated by Jacques d'Adelswärd-Fersen to bookseller and publisher Léon Michaud : "... prince of the artist publishers."
Extremely rare.

Handwritten Bristol paper on letterhead of the Presidency of the Republic and under the true patronyme of Erik Orsenna, 5 lines in black ink, addressed to Nadine Nimier, wife and widow of Roger Nimier.
Envelope included.
"Bravo pour votre N°III. Quand venez-vous me voir ? 261 51 00. A bientôt Erik A/O." ["Congratulations on your issue III. When are you coming to see me? 261 51 00. See you soon Erik A/O."]
The letters b and i and bientôt having smudged.

First edition, a Service de Presse (advance) copy.
Spine lightly creased, without consequence.
Moving autograph inscription signed by Pierre Emmanuel, in which he evokes the Resistance, to Jacqueline and Gaston Baissette: "... en souvenir d'un temps où la face humaine était offensée, où quelques-uns, dont ils étaient, surent la défendre. Leur ami. Pierre Emmanuel." ["... in memory of a time when the human face was offended, when a few, among whom they were, knew how to defend it. Their friend. Pierre Emmanuel."]
Together with a card on which Pierre Emmanuel has added a few words.

Autograph letter signed and dated by Maurice Chevalier from his property "La Louque" in Marnes-la-Coquette to Alice Rim (34 lines in blue ink, envelope included) praising the sensitivity of his correspondent who compares herself to a cow. He also writes to her about savoring his freedom to be independent and manage his career alone.
Fold mark inherent to the mailing.
The letter is addressed to Caro Canaille, pen name of Alice Rim, Carlo's wife:
"5 - 5- 55,
Dear Caro,
thank you for your letter where sensitivity - warm sympathy - passes through the words like rays of life. I will be delighted to read your play which I am quite certain is not laid by a cow as you unjustly call yourself. One never feels the heart of real cows - one simply feels their kindness. I will be in Marnes for three weeks starting from the 16th of this month. Then I will sing for four weeks... in South Africa... to croon one last time in English before New York next September. The more I go on, the more I relish my independence as a singing craftsman and the responsibilities that I face - alone - working in my room. Very truly yours. Maurice".
Carlo Rim was a Provençal writer, author of "Ma belle Marseille", a caricaturist, a filmmaker and was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of Max Jacob and André Salmon whom he met in Sanary.

Autograph letter signed (22 lines in black ink on Echo de Paris letterhead) from the illustrator and caricaturist Sennep, addressed to his friend the Provençal writer, caricaturist and filmmaker Carlo Rim announcing his sudden departure from Paris and postponing the project that was to bring them together: "Mon cher Carlo Rim, je reçois votre petit mot. Vous savez que je compte sur cet échange dont je vous avais parlé, et que vous aviez bien voulu accepter. Malheureusement, je quitte Paris demain matin, et je ne sais pas exactement quand je repasserai par la capitale. Mais je vous ferai signe, à tout hasard quand je viendrai. Bien amicalement. J. Sennep." ["My dear Carlo Rim, I received your little note. You know that I am counting on this exchange I spoke to you about, and which you were kind enough to accept. Unfortunately, I am leaving Paris tomorrow morning, and I don't know exactly when I will pass through the capital again. But I will let you know, just in case when I come. Yours truly. J. Sennep."]
Fold inherent to the mailing, trace of a rusty paper clip at the head of the verso of the letter affecting, without severity, two letters at the end of two words.
Carlo Rim was a Provençal writer, author of "Ma belle Marseille", a caricaturist, a filmmaker and was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of Max Jacob and André Salmon whom he met in Sanary.

First edition, one of the Service de Presse (advance) copies.
A handsome copy.
Signed autograph inscription from André Dhôtel to Camille Lecrique and his wife.

First edition illustrated with drawings by André Verdet.
Handsome copy.
Dated autograph inscription signed by André Verdet to artist Philippe Collage: "Pour Philippe Collage, à l'ami sensible, mon salut étoilé" ["For Philippe Collage, to my sensitive friend, my stellar greeting"] enhanced with an original drawing representing Halley's comet passing near Earth.

First edition, one of 1000 numbered copies on Arches paper, the only edition after 10 copies on Japan paper.
Work illustrated with 10 wood engravings by Pierre-Eugène Vibert after drawings by Rouveyre which were subsequently destroyed by Rouveyre and whose text engraved on wood by Vibert was entirely burned.
Some foxing on the covers, a tiny hole in the lower right corner of the first cover, handsome interior condition.
Autograph inscription dated and signed by André Rouveyre to Jules Romains.

First edition, a Service de Presse (advance) copy.
Precious and handsome signed autograph inscription by Sylvain Bonmariage: "A Monsieur Paul Eluard dont j'admire les vers... et la fille, qui est l'un de ses plus beaux poêmes !" ["To Monsieur Paul Eluard whose verses I admire... and whose daughter is one of his most beautiful poems!"]

First edition, one of the rare copies on Holland paper of which no mention is made.
Handsome copy despite some very occasional light foxing.
Half red morocco binding with corners, spine very slightly faded with five raised bands, date gilt at foot, marbled paper boards, endpapers and pastedowns of combed paper, top edge gilt.
Precious and beautiful signed autograph inscription from Paul Delair to Coquelin cadet, major figure of late 19th-century theater: "A mon cher Coquelin - absent de l'interprétation, vous ne l'étiez pas de l'oeuvre, à laquelle ont contribué vos conseils, et vous savez que vous ne le serez jamais du coeur de l'auteur." ["To my dear Coquelin - absent from the performance, you were not absent from the work, to which your advice contributed, and you know that you will never be absent from the author's heart."]

The first edition, of which there were no deluxe copies.
Handsome copy.
Autograph inscription signed by Jean Baudrillard to a friend named Ginette.

First edition, of which there were no deluxe copies.
Amusing autograph inscription signed by Charles Hernu to Jenny and Pierre Viansson-Ponté, journalist and co-founder of L'Express: "... en bien fidèle hommage et en toute amitié. Charles Etternu 28 1 75" ["in faithful tribute and in complete friendship. Charles Etternu 28 1 75"].
Minister of Defense under François Mitterrand, Charles Hernu had to resign after the affair of the sinking of the Greenpeace ship, the Rainbow Warrior, by the French secret services.

First edition printed in a small number of copies of this offprint from the Mémoires de la Société des Sciences morales, des Lettres et des Arts de Seine-et-Oise.
Rare pamphlet presented under plain blue temporary covers with boards marginally and lightly soiled, handsome interior condition.
Autograph inscription signed by Jacques Chardon to his brother-in-law named Georges.

Bristol autograph in Brazilian and signed by Jorge Amado addressed to his friend and translator of his works into French Alice Raillard, 12 lines in blue ballpoint pen.
Handsome copy.

First edition.
Handsome copy.
Autograph inscription dated and signed by Frigide Barjot to a friend named Amélie: "... dédie avec émotion le Manuel de survie de la femme moderne pour savoir comment faire pour emmener transept à la une de Marie-Claire ! Mille baisers." ["...dedicates with emotion the Modern Woman's Survival Manual to know how to get transept on the cover of Marie-Claire! A thousand kisses."]

Autograph postcard signed by Maurice Béjart addressed to André-Philippe Hersin, written in violet felt-tip pen on the verso of a photomontage showing a belly dancer in front of a mosque which appears to be the Al-Azhar mosque.
"Voilà ma nouvelle étoile... Je pense à vous souvent. Affectueusement. Maurice" ["Here is my new star... I think of you often. Affectionately. Maurice"]
Journalist, dance critic and editor-in-chief of Les Saisons de la danse, Hersin was a great champion of Béjart's choreographic style and devoted laudatory articles to him in his magazine as well as monographic fascicles of his work.

The first edition, of which there were no deluxe copies.
Handsome copy.
Signed autograph inscription from Sarane Alexandrian to art critic Dominique Paulvé.

The first edition, of which there were no deluxe copies.
Second cover uniformly soiled.
Handsome autograph inscription dated and signed by Eduardo Manet to a man named Jean-Claude: "... qui a eu la gentillesse de trouver cette vieille pièce que j'aime bien." ["... who was kind enough to find this old play that I like very much."]

Autograph letter signed by Harry Mathews addressed to his love Claude Arthaud (14 lines in black ink) from the Huntington Hotel in San Francisco, envelope included.
Two small tears to the right margin of the letter affecting one word and one dash.
In this tender letter imbued with the melancholic sadness of separated hearts, Harry Mathews yearns to reunite with his love: "Tout se passe bien : tout se passe, tout passe. Mais au passage il ne reste peu de temps pour s'occuper des absents - de l'absente. Pourtant je pense à toi si souvent, avec des pointes de désir et d'amour..." ["Everything is going well: everything passes, everything goes by. But in passing there remains little time to think of the absent ones - of the absent one. Yet I think of you so often, with pangs of desire and love..."] and rejoices at seeing her soon: "Dans un petit mois je ferai de mon mieux pour combler toutes lacunes. Serre bien ton château de ma part. Je t'embrasse très fort. Harry" ["In a little month I will do my best to fill all gaps. Hold your castle tight on my behalf. I embrace you very strongly. Harry"]

Autograph letter signed by Joséphin Peladan addressed to Marius Richard, Carlo Rim's father (14 lines in black ink).
Fold marks inherent to postal handling, small marginal foxing.
From his Parisian residence, the Sâr Péladan thanks his correspondent for the energy he put into seeing Sémiramis mounted and performed, probably in the city of Nîmes: "... je vous rends grâce, comme je dois ; car sans savoir les épisodes et les péripéties, je suis sûr qu'il vous a fallu déployer cette volonté qui est votre originalité & sur laquelle je m'appuyerai encor..." ["... I give you thanks, as I must; for without knowing the episodes and turns of events, I am certain that you had to deploy that will which is your originality & on which I shall rely again..."]

Typed letter, dated June 29, 1983, signed by Léo Malet to photographer Bruno de Monès in which the writer thanks his photographer: "... multipliant autour de moi les images de ma "petite chérie" que j'éprouve le besoin de vous envoyer encore un bouquin..." ["... multiplying around me the images of my 'little darling' that I feel the need to send you another book..."] and takes the liberty of asking him for information about a glue and black paper he uses to create his collages, often of pornographic inspiration.
At the end of the typed letter, on letterhead from his Châtillon address, Léo Malet adds a handwritten "Bien à vous. Léon Malet." ["Yours truly. Léon Malet."]
Central fold marks inherent to mailing.

Photographic portrait of Yitzhak Shamir shown slightly in profile.
Handsome copy.
Manuscript signature of Yitzhak Shamir, in black ink at the foot of his portrait.

Photographic portrait of Shimon Peres shown facing front, posed before his library.
Handsome copy.
Manuscript signature by Shimon Peres, in blue ink at the foot of his portrait.

Reproduction of a photographic portrait of Léopold Sédar Senghor shown slightly in profile and wearing glasses.
Handsome copy.
Autograph inscription signed by Léopold Sédar Senghor, in blue ink at the foot of the portrait, to Frédéric Brion.

First edition on ordinary paper.
Handsome copy complete with dust jacket and publisher's slip.
Signed autograph inscription by Louis Calaferte to the writer and literary critic close to Gabriel Matzneff, Christian Giudicelli: "Pour vous cher Christian Giudicelli, - et j'ai été très heureux - et c'est vrai - de votre prix - c'est une merveille à votre âge. J'espère vous revoir. Amicalement. Calaferte." ["For you dear Christian Giudicelli, - and I was very happy - and it's true - about your prize - it's marvelous at your age. I hope to see you again. Warmly. Calaferte."]

Edition from the same year as the first edition.
Minor restorations to the spine.
Beautiful autograph inscription signed by Albert Camus to Irma Antonetto: "... pour lui rappeler nos promenades d'hiver et la fidèle pensée d'Albert Camus..." ["... to remind her of our winter walks and the faithful thoughts of Albert Camus..."]
Irma Antonetto was the founder and director of the Associazione Culturale Italiana. During her forty-six years at the head of the Association, she invited nearly 400 intellectuals and numerous Nobel Prize winners to give readings in Italy. In 1964, she was named Knight of Merit of the Italian Republic, before being honored twenty years later by France for her tireless work in favor of culture.

Portuguese first edition.
Handsome copy.
Signed autograph inscription, in French, from Nicolas Kryloff to Monsieur Fripier, then assistant director of the École Centrale.

The first edition, of which there were no deluxe copies.
Handsome copy.
Autograph inscription dated and signed by Georges Perec to the pataphysician Gilbert Lascault, art critic and specialist notably of the work of Jean Dubuffet, Pierre Alechinsky, Christian Boltanski: "A Gilbert Lascaux (sic) ce trompe l'oeil".

The first edition, of which there were no deluxe copies.
Handsome copy.
Dated and signed autograph inscription by Emmanuel Roblès: "A monsieur Cohen, cette tragédie de tous les temps..." ["To Mr. Cohen, this tragedy of all times..."]

The first edition, of which there were no deluxe copies.
Handsome copy despite a lack of plastic film at the foot of the spine.
Iconography.
Signed autograph inscription by Eric Tabarly to a man named Patrick.

First edition, with third edition statement.
Half orange morocco binding, smooth spine browned decorated with gilt typographical motifs, marbled paper boards, combed paper endpapers and pastedowns, covers preserved, top edge gilt.
On an endpaper, a visiting card of Edouard Herriot has been mounted on which he added these manuscript words: "Merci mon cher Richard, je vous lirai la plume à la main. Cordialement Edouard." ["Thank you my dear Richard, I will read you pen in hand. Cordially Edouard."]
Finally, we include two postcards dated December 8, 1918 addressed by Marius Richard to his father and representing two monuments of the city of Metz: the cathedral and the statue of Marshal Ney.
On the first, Marius Richard inscribed these historic words: "Souvenir de la réunion de Metz à la France" ["Souvenir of the reunion of Metz with France"], on the second: "Souvenir de la plus grande minute de tous les temps. Marius." ["Souvenir of the greatest moment of all time. Marius."]
A touching patriotic testimony immortalizing, in the full euphoria of the very recent armistice of November 11, 1918, the attachment of Alsace and part of Lorraine to France.

First edition in volume.
Publisher's full white paper boards, smooth spine, illustrated front cover.
Work illustrated with humorous drawings by Jacques Faizant.
Handsome copy despite small lacks to the laminated film on the joints.
Autograph inscription signed by Jacques Faizant to Jean Langlois.

The first edition, of which there were no deluxe copies.
Minor stains of no consequence to edges and spine, otherwise a handsome copy.
Work illustrated with a photographic gathering at the end of the volume
Autograph inscription signed by Jean Lacouture to Revue Esprit on the half-title page.

Edition with some parts in first edition.
Handsome copy.
Manuscript signature of Théodore Monod on the title page.

Pocket book format edition of the French translation.
Light foxing to edges.
Manuscript signature of Tahar Ben Jelloun in Arabic characters.

New edition of the French translation, of which there were no deluxe copies.
Covers marginally soiled, handsome interior condition.
Autograph inscription dated 1997 and signed by Carlos Fuentes to a man named Jean-Claude.

First edition on ordinary paper.
Handsome copy of this novel recounting the vicissitudes and struggle of a man trying to authenticate a Van Gogh painting discovered at a second-hand dealer's.
Inscribed by Georges Arnaud to Cécile Jachobien: "... ou tout est bien qui finit MAL... Cordialement Arnaud." ["... or all's well that ends BADLY... Cordially Arnaud."]

The first edition, of which there were no deluxe copies.
Preface by Jean-Claude Killy.
Inscribed by Guy Drut to a man named Jean.

First collected edition, of which there were no deluxe copies.
Coffee stains on the spine, covers, an endpaper and the edges.
Curious and fine signed autograph inscription from Bernard Frank to one of his close female friends named Micheline: "A Micheline, vingt ans avant on s'aimait déjà chût ! pas un mot à Monique son éternel amant Bernard le 25/6/2.002" ["To Micheline, twenty years ago we already loved each other shush! not a word to Monique her eternal lover Bernard 25/6/2.002"]

Pocket book edition of the French translation.
Manuscript signature by Juan Goytisolo on the title page.

New edition of the French translation, of which there were no deluxe copies.
A handsome copy.
Autograph inscription dated and signed by Vassilis Vassilikos to a man named Jean-Claude.

First edition, of which there were no deluxe copies.
Publisher's full blue paper boards, smooth spine.
Handsome copy complete with dust jacket which has two corner tears.
Signed autograph inscription from André Frossard to Jean Deneux.

First edition, one of the few numbered and nominative copies under sea-green wrappers reserved for advance sheets, ours for Léon Bérard.
Covers lightly soiled and spotted.
Signature of Jacques Lemarchand at foot of front cover.

First edition, of which there were no deluxe copies.
Handsome copy.
Autograph inscription signed by Georges Didi-Huberman to screenwriter and filmmaker Jean-Christophe Brianchon.

First edition, one of 500 numbered copies on snow-white offset paper.
Spine sunned, one stain to upper right margin of back cover, handsome interior condition.
Work illustrated with 3 drawings by Jacques Hérold.
Autograph inscription signed by Ghérasim Luca to gallerist Nane Stern enriched with a drawing representing the constellation of the Great Bear, thus linking their two names.

First edition of the French translation, of which there were no deluxe copies.
Handsome copy complete with its illustrated dust jacket.
Rare autograph inscription dated and signed, in French, by Orhan Pamuk to a woman named Florence.

First edition.
Unlettered grey cloth spine, the title of the work has been added, certainly by the dedicatee, in blue ballpoint pen, some angular creases on the boards.
Moving autograph inscription dated and signed by Louis Ferrand: "A mon ami Marcovitch Louis, mon frère de chaîne à Buchenwald. Fraternel souvenir des années sombres. 11 septembre 1966. Louis Ferrand matricule 81.106." [To my friend Marcovitch Louis, my chain brother at Buchenwald. Fraternal memory of the dark years. September 11, 1966. Louis Ferrand registration number 81.106.]
Communist militant and resistance fighter, Louis Ferrand was arrested on November 1, 1943 and severely tortured to the point of being momentarily paralyzed. He was finally deported to Buchenwald camp on August 22, 1944 where he actively participated in the clandestine resistance, notably by diverting food to feed the children and the weakest of his companions in dreadful misfortune. He also took part in the battles for the liberation of Buchenwald camp on April 11, 1945.
Upon his return to France, Louis Ferrand, as one of the principal leaders of the National Federation of Former Deportees and Interned Resistance Fighters and Patriots, was the tireless defender of the rights of his fellow deportees in their struggle to recover their health and live with dignity.
Precious and poignant copy.

New pocket book format edition of the French translation.
One endpaper appears to be missing.
Rare handwritten signature by Kenzaburo Oe on the title page.

New edition of the French translation of Janusz Glowacki's masterpiece.
An email address inscribed in the margin of the last endpaper, handsome copy.
Rare handwritten signature dated by Janusz Glowacki made in Warsaw.

First edition, one of 150 numbered copies on vélin alfama paper, the only deluxe copies.
Handsome copy despite the wrinkled spine, small marginal scratches on the boards.
Inscribed by Roger Gaillard to one of his friends named Yvonne.

New edition of the French translation, this one in paperback format.
Small creases at head of front cover.
Signed autograph inscription from Adolfo Bioy Casares to a man named Jean-Claude.
At foot of title page, Adolfo Bioy Casares' felt-tip pen made an involuntary mark.

First edition, of which there were no deluxe copies.
Handsome copy.
Signed autograph inscription from Roger Grenier to a man named Pierre: "... ce portrait d'un inconnu..." ["... this portrait of an unknown person..."]

First edition of the French translation, of which there were no deluxe copies.
Light worming to edges, boards soiled, complete with its illustrated dust jacket.
Manuscript signature dated and made in Paris by José Saramago.

First edition of Gébé's first work, consisting of a collection of his drawings.
Handsome copy complete with its illustrated dust jacket showing small corner tears.
Autograph inscription signed by Gébé to Pierre Courtois, journalist at L'Equipe: "A monsieur Courtois en l'invitant amicalement à un petit footing dans cette rue de la magie. Gébé." ["To Mr Courtois, cordially inviting him for a little jog in this street of magic. Gébé."]

First edition in French for which no deluxe copies were printed.
Boards very slightly and marginally soiled.
Rare autograph inscription dated and signed by Seamus Heaney, written from Paris, to a man named Jean-Claude.
Seamus Heaney, born in Ulster in County Derry and who died in Dublin, is one of the most important English-speaking poets of the 20th century and became, in 1995, the fourth Irish author to receive the Nobel Prize for Literature after William Butler Yeats, George Bernard Shaw and Samuel Beckett.

First edition illustrated with photographs.
Handsome copy.
Autograph inscription dated and signed by Etienne Smulevici, nicknamed "L'inoxydable monsieur Dakar", to a friend named Carole: "A Carole, quelques grains de sable, une tonne de souvenirs, de passion, d'émotion" ["To Carole, a few grains of sand, a ton of memories, passion, emotion"].
Indeed, rally driver Etienne Smulevici holds the record for the number of participations, 40, in the Paris-Dakar which he finished 27 times, which constitutes another record.