Copies inscribed by the author, i.e. a handwritten dedication to a close friend. As moving accounts of the genesis of the book and the writer's links with the people of his time, inscriptions are a unique record of the author's life.
First edition, one of 75 numbered copies on surfine colored paper.
Work illustrated with 3 aquatints by Mimi Parent.
One scratch with three light stains on the first cover.
Handsome copy.
Precious and surrealist autograph inscription signed by José Pierre to Marie Cermínová Toyen: "A Toyen, les violons monégasques fabriqués secrètement dans les presbytères en partant de l'anémone de mer, José." (To Toyen, the Monégasque violins secretly manufactured in presbyteries starting from the sea anemone, José.)
Signatures of José Pierre and Mimi Parent below the justification page.
Definitive edition.
Spine slightly sunned and a little cocked, a few spots to the boards.
Signed autograph inscription from Vercors to François Triboudeau.
First edition, one of 250 numbered copies on vellum, the only printing after 25 copies on Holland paper.
Spine and boards slightly and marginally faded, as generally encountered.
Autograph inscription signed by Céline Arnauld to the poet Henri Hertz.
First edition printed in a small number of copies, being the seventh booklet of the first series of the Cahiers de l'Ecole de Rochefort.
A rare and pleasing copy.
Valuable autograph inscription signed by Maurice Fombeure to Jean Follain.
First edition on ordinary paper.
Spine and boards slightly and marginally sunned.
Inscribed, dated and signed by Tony Duvert to Alain Veinstein.
A further compilation bringing together several successes of the troubadour from Sète, including "Le temps ne fait rien à l'affaire", "Dans l'eau de la claire fontaine", "La traîtresse", "La ballade des cimetières"; "La complainte des filles de joie", "Tonton Nestor - La noce de Jeannette", "Le temps passé" and "La fille à cent sous".
A pleasant copy despite very slight rubbing to the margins of the sleeve.
A name and an initial in blue ballpoint pen at the head of the second panel of the sleeve.
Manuscript signature of Georges Brassens in the left margin of the front panel of the sleeve.
Later edition.
Publisher's full green cloth binding, smooth spine, copy complete with its illustrated dust jacket which shows a few small tears and minor losses.
The verso of the front panel of the dust jacket shows an angular loss affecting the printed price.
Dated and signed autograph inscription from Richard Wright to Ganan Bocca.
New edition, one of 26 numbered copies on Montval paper, the head of the edition.
A pleasing copy.
Fine autograph inscription signed by Colette to Mr P.A. Crozier: "... en souvenir de maint envoi de beaux fruits ; n'est-ce pas dire que je gagne à l'échange ? Les fruits de mon jardin sont de sec papier... Colette."
First edition, one of the numbered copies on alfa paper reserved for the press.
One joint slightly pinched along its length, otherwise a pleasant copy.
Autograph inscription signed by Colette to Michel Corday.
First edition, one of 100 hors commerce copies printed on deluxe paper, this copy specially printed for Louis Barthou.
A pleasant copy despite two sunning marks to the head and foot of the spine and to the margins of the rear board.
Henri Bergson's handwritten signature beneath the limitation statement.
New edition.
A pleasing copy.
Rare signed autograph inscription from Philippe Muray to a close acquaintance named Benoît.
First edition, for which no deluxe paper copies were issued.
A pleasant copy.
Valuable signed autograph inscription from Susan Sontag to her friend Sonia Rykiel: "pour Sonia avec mes amitiés Susan Sontag 26 septembre 1995 Paris."
First edition, one of the press review copies.
Precious signed autograph inscription by Eugène Guillevic: "à Tristan Tzara, ces trente et un sonnets qu'il n'aime pas, avec espoir quand-même et affection. Guillevic."
Rare first edition of this collection of poetry by a member of the Société des Bibliophiles français, issued in a very small number of copies and absent from non-European libraries.
Contemporary half red morocco, title gilt to the spine decorated with long gilt tools, boards covered in embossed paper, marbled pebble-pattern edges, endpapers and pastedowns.
Brown ink inscription by the author on the half-title, very likely to his son-in-law Joseph Maurice Le Sage d’Hauteroche, husband of his daughter Antoinette Denise: “a gift to Monsieur le Comte d’Hauteroche by the Marquis du Roure”. (our own translation)
Light scattered foxing.
Small contemporary correction in brown ink on p. 96, “siècle” struck through and replaced with “âge”.
First edition, illustrated with figures in the text (cf. Hage Chahine, 4405.)
Contemporary bradel binding in full beige percaline, smooth spine darkened, olive green shagreen lettering-piece, binding of the period.
Occasional foxing.
The sole edition of one of the earliest works by the numismatist Gustave-Léon Schlumberger (1844-1929), who specialised in the history of the Crusades and the Byzantine Empire.
Autograph inscription signed by Gustave-Léon Schlumberger to the archaeologist Alban-Emmanuel Guillaume-Rey (1837-1916), a specialist of medieval Syria.
Rare illustrated first edition, with 4 plates at the end of the volume, including two folding maps.
Small tears neatly repaired to the spine, minor angular losses to the boards, heavy foxing.
Joseph Lartigue (1791-1876), a naval captain, distinguished himself through his work in nautical meteorology and cartography.
Copy from the physicist Edmond Becquerel (1820-1891), member of the Académie des sciences, with an autograph signed presentation inscription from Joseph Lartigue at the head of the upper cover.
Booklet of the "Rabelaisian menu" offered on "diemenche 26 de oiteuvre 1952" [Sunday, 26 October 1952] on the menu of the Parisian restaurant Au Mouton de Panurge, gastronomic headquarters of the Amis de Rabelais et de La Devinière, whose walls were decorated by Albert Dubout, who is also the author of the illustrations featured here. On the final page appear several facsimile signatures of distinguished regulars of the establishment. Our booklet is enhanced by a gift inscription from one of these signatories, Albert Schweitzer: "to Andrée [Eekman, his goddaughter, also the niece of his close friend Tata (Adèle Herrenschmidt)] and her dear husband [the painter and engraver Nicolas Eekman] / Albert Schweitzer," as well as four further autograph signatures by Michel de Bry, publisher of the booklet, by a certain "Devilly," and finally by two unidentified names.
Faint vertical fold to the centre of the booklet.
(our own translation)
Press clipping comprising a photograph of Joséphine Baker in stage costume, signed and dated by her in black felt-tip.
A fine example.
Offprint from this prestigious publication directed by François Albert-Buisson, President and Perpetual Secretary of the "Académie des Sciences Morales & Politiques", and Claude Pellegrin, editor-in-chief and attaché to the Academy. The text featured here, Le problème de l'éthique dans l'évolution de la pensée humaine (The Problem of Ethics in the Evolution of Human Thought), is the work of a newly elected member of the Academy, who had been a member for only a few months when this offprint was published, having taken the seat previously held by Marshal Pétain; namely, Dr. Albert Schweitzer.
Our copy is enriched with an inscription by the latter in brown ink, written two years later, while he was in France for an extended period during which he frequently attended the Academy's sessions: "to Andrée Eekman [née Herrenschmidt, niece of his great friend Tata (Adèle Herrenschmidt) and wife of the painter-engraver Nicolas Eekman] my dear goddaughter Albert Schweitzer / 19 oct 1954."
Discrete marginal dampstaining to the wrappers. A fine copy, very slightly sunned.
(our own translation)
Printed calling card of G. Clemenceau bearing the following autograph addition: "avec tous mes remerciements. GC."
A fine copy.
First French edition.
Profusely illustrated.
Text by Edgar Morin, Georges Lois, Jean-Paul Gaultier, Eric Troncy, Jérôme Sans.
Valuable signed autograph inscription from Jean-Paul Goude to Sonia (Rykiel) in capital letters: "POUR SONIA QUE J'AIME."
Illustrated edition with colour drawings by Chas Laborde, one of the numbered copies printed on wove paper.
A pleasing copy.
On the half-title page, a signed autograph inscription from Colette: "A monsieur F. Porlier. Colette.", Colette having added after Claudine s'en va : bon vent !
Illustrated edition with colour drawings by Chas Laborde, one of the numbered copies printed on wove paper.
A pleasing copy, notwithstanding a crease mark to the lower right corner of the upper cover.
Fine signed presentation inscription by Colette: "A monsieur F. Porlier ce vieux péché littéraire que je n'aime plus beaucoup. Colette."
Illustrated edition with colour drawings by Chas Laborde, one of the numbered copies printed on wove paper.
A pleasing copy, despite a small tear to the upper right margin of the front free endpaper.
On the page following the title, a fine signed autograph inscription by Colette: "A monsieur F. Porlier. Nantes, février 1933. Colette. J'aime beaucoup "et autres" ! Colette.", Colette having ironically circled the words "et autres" appearing in a paragraph outlining her alleged collaboration with her former husband Willy in the writing of the work.
Illustrated edition with colour drawings by Chas Laborde, one of the numbered copies on wove paper.
A pleasing copy.
Autograph signed inscription by Colette: "A monsieur F. Porlier en souvenir d'une passante. Colette."
First edition, one of the copies printed on alfa paper.
A small split to the spine, a few light foxing spots.
Manuscript signatures of Joseph Kessel and Hélène Iswolsky.
Fourth edition.
A pleasing copy.
Introduction by Harry T. Moore.
Presentation inscription signed by Anaïs Nin to the writer Christiane Baroche: "my friend love, Lawrence and i was the first woman i write abour him. Anaïs Nin."
New edition.
Illustrated with engravings by Jean Hugo.
A pleasing copy.
Fine signed autograph inscription from Anaïs Nin to the woman of letters Christiane Baroche: "Your poems should be in a book one can keep nearly and read now and then for substance. Anaïs Nin."
First edition on ordinary paper.
Contemporary Bradel binding in red half morocco with corners, smooth spine, date gilt at foot, covers of marbled paper framed with blind fillets, marbled endpapers and pastedowns, original wrappers and spine preserved, top edge gilt; an attractive period binding signed Bernasconi.
Occasional foxing, chiefly affecting the opening leaves.
Signed autograph inscription from Claude Farrère to M. Briquet.
Facing the limitation page, this copy is enriched with an original watercolour signed by Henri Leclerc depicting the heroine of the work leaning against a ship’s bulwark, her suitor standing slightly behind.
First edition, one of 70 numbered copies on pur fil paper, the only deluxe paper issue.
Bound in blue-grey half morocco, spine in five raised bands, date gilt at foot, marbled paper boards, blue-grey endpapers and pastedowns, original wrappers and sun-faded spine preserved, top edge gilt, an elegant binding signed Boichot.
Valuable autograph inscription signed by Joseph Kessel, in violet pencil, on the front free endpaper: "A Charles Maurras cet exemplaire plus digne de lui" enhanced with the manuscript signature of Georges Suarez.
A fine copy, attractively bound
First edition, with no deluxe paper issue stated.
An attractive copy, complete with its publisher’s wraparound band; "Moi, dit Pierrot, je les mettrais pas entre toutes les mains..."
A few scuffs to the band.
Rare signed autograph inscription from Bertrand Blier to Germaine Beaumont.
Two years later, Bertrand Blier adapted his novel for the screen, starring Patrick Dewaere, Gérard Depardieu, Miou-Miou, Jeanne Moreau and Brigitte Fossey in the leading roles.
First edition on standard paper.
Spine very slightly sunned, without significance.
Rare signed autograph inscription from Fereydoun Hoveyda to Henri Brunet.
New edition, issued two months after the first.
Attractive copy, complete with its illustrated dust jacket.
Some signs of use (dog-eared pages) and pencil annotations by the dedicatee.
Signed autograph inscription from François Cheng to a couple of friends named Claudine and Noël, enhanced with a Chinese ideogram.
New edition, limited to 2,000 numbered copies on Lafuma vellum.
Signed autograph presentation inscription by Henri Barbusse beneath the limitation statement: "A Marcel Granoux fraternellement. Henri Barbusse."
Included are an original photograph of Henri Barbusse (8.9 × 13.8 cm, from the G.L. Manuel Frères studio), showing him full face, together with two typed letters dated 28 April and 2 July 1930, signed by Henri Barbusse, concerning an article he was late in sending and a copy of Le Feu that he promises to inscribe and forward to his correspondent.
The first typed letter also bears two manuscript corrections by Henri Barbusse.
A fine and cohesive ensemble.
Illustrated edition with a frontispiece and 19 black vignette illustrations in the text by Marianne Clouzot, one of 675 numbered copies printed on vélin de lana.
Full caramel box binding, smooth spine, the illustrator’s name gilt at the foot, moiré-effect paper endleaves and doublures, cold-ruled fillet frames to the doublures, original covers and spine preserved, top edge gilt, slipcase with inner flaps in caramel box with bands, moiré-effect paper sides, the slipcase edged in caramel box with moiré-effect paper panels; binding slightly later, signed Gavallet.
Like the 50 numbered copies printed on Arches paper, our copy exceptionally includes, at the end of the volume, a black suite with remarque impressions of the etchings.
At the beginning of the volume, this copy is further enriched with a signed autograph inscription by Marianne Clouzot to Madame Marcel Nicolle, accompanied by an original black-ink drawing depicting a couple of lovers kissing at the neck.
New illustrated edition with plates hors-texte.
Bindings in half red shagreen with corners, spines with four raised bands gilt with dotted tooling and decorated with double gilt compartments; some rubbing to the spines; two water stains, to the left margin of the upper board of the first volume and to the right margin of the lower board of the second volume; a few marks to the corners; boards of cat’s-eye paper framed with double gilt fillets; marbled endpapers and pastedowns.
At the head of the first volume, a signed autograph presentation inscription by Lazare-Hippolyte-Sadi Carnot to General Henri Joseph Brugère.
First edition, one of the publisher’s review copies.
Spine and boards very slightly and marginally sunned.
Fine dated and signed autograph inscription by Pierre Bost: "à Jean-Paul Sartre qui a connu le tiroir - et qui a même déjà lu ce livre. Avec l'amitié de Pierre Bost dec.45."
First edition, one of 605 numbered copies on pur fil d'arches, this copy being one of the 20 hors commerce lettered name copies, including an additional suite on papier à la main du moulin Richard de Bas.
A few minor foxing spots to the front wrapper; slipcase and chemises split at several joints.
17 woodcuts engraved with a knife by Lucien Jacques.
Our copy is complete with its additional suite of the 17 illustrations on papier à la main du moulin Richard de Bas.
Signed and dated 1968 by Jean Giono to Monsieur Lachaud.
First edition, standard issue.
Spine lightly faded as usual; some leaves with brittle margins resulting in minor losses.
Signed autograph inscription from Raymond Queneau to Yvon Belaval.
First edition, for which no deluxe paper issue is recorded.
Brittle paper to the margins of some leaves, resulting in a few small losses.
Signed autograph inscription by Oscar Venceslas de L. Milosz to the poet Pierre André-May : "à mon ami monsieur Pierre André-May avec ma pensée la plus fraternelle et mes sentiments les meilleurs."
First edition, limited to 500 copies, this being one of only 8 numbered, signed and justified by Jean Lurçat in the colophon, constituting the deluxe issue.
As is often the case, this copy lacks the original drawing by Jean Lurçat that accompanied each of the eight deluxe copies.
Bookplate pasted to the upper left corner of the inside of the front cover, a scarce and pleasing copy.
New edition of the French translation.
Spines slightly sunned, with minor tears at the foot.
Signed in manuscript by Thomas Mann on the endpapers of both volumes.
First edition, one of the 10 numbered and justified copies on japon paper, the only large-paper issue announced.
Contemporary half brown morocco binding in the Bradel style, smooth spine, marbled paper boards, handmade endpapers, bookplate affixed to the front pastedown, original wrappers and spine preserved, top edge gilt, period binding.
Signed and dated autograph inscription from Jean Puget to his publisher Pierre Briquet: "... en souvenir des jours héroïques..."
Provenance: from the personal library of publisher Pierre Briquet, with his bookplate affixed to the front pastedown.
Exceptionally rare copy featuring the censored passages restored in black ink, likely by the publisher, on pages 92 and 118.
First edition, one of the publisher’s press copies.
Spine slightly creased, minor unobtrusive spotting to the edges.
Signed presentation inscription by Françoise Sagan to Claude Bourdet.
First edition on standard paper.
A fine copy, complete with its promotional band.
Signed autograph inscription by Pascal Quignard to a friend named Nicolas: "A Nicolas en t'embrassant, Pascal."
First edition, printed in a limited run of 70 copies numbered on Montval paper and signed by Georges Hugnet.
Illustrated with a frontispiece etching by Stanley William Hayter.
Two poignant autograph inscriptions signed by Georges Hugnet—one to his father and one to his son—in blue and red pencil: "à Georges Hugnet mon père en souvenir des romans noirs dont il enchanta et peupla mon enfance. Georges Hugnet."; "Et maintenant vingt-ans après, à mon très cher fils Nicolas de la part de son grand-père qui l'aurait bien aimé de tout cœur son papa. G."
First edition, one of the press copies.
A pleasing copy.
Fine signed autograph inscription from René Char: "A Georges Hugnet affectueusement. René Char."
First edition of the French translation prepared by Alexandre Vialatte, one of the complimentary copies.
A manuscript ex-dono erased in the upper right corner of the half-title page, resulting in a small loss of paper.
Signed autograph inscription by Alexandre Vialatte to Albert Thibaudet.
First edition; one of the press copies.
A pleasing copy.
Signed autograph presentation inscription from Pierre Drieu la Rochelle to Germaine Fiévé.
First edition, one of 20 numbered copies on alfa paper, our copy lettered "A" among the 8 hors commerce lettered copies, the only deluxe paper issue.
A tear at the foot of the spine at the level of the sewing supports, otherwise a pleasant wide-margined copy.
Dated and signed autograph presentation by the publisher beneath the print statement: "Affectueusement reservé à mon admirable collaboratrice Suzanne qui est aussi la plus charmante & la plus précieuse des filleules - que dis-je ? la seule filleule qui compte ! Paris 18 octobre 1942."
First edition, for which no copies were issued on deluxe paper, this being one of the publisher’s review copies.
A small tear at the head of the upper cover, a crease at the foot of the lower.
A pleasing copy, complete with its promotional band.
Dated and signed autograph inscription by René Depestre to the writer Christiane Baroche.
First illustrated edition with 19 original lithographs by Miklos Bokor, printed in 175 numbered copies on Arches vellum, this copy being one of the 15 artist’s proofs signed and justified by the artist.
Autograph signatures of Yves Bonnefoy and Miklos Bokor at the colophon.
Signed autograph inscription by Yves Bonnefoy to a couple of close friends.
A fine copy, complete with its chemise and slipcase.
First collected edition of Paul Celan’s German translation of the poems of Ossip Mandelstam, whom he deeply admired.
Publisher’s original full white cloth, smooth spine, a copy complete with its dust jacket, which shows a few small tears at the head of the spine.
Valuable dated and signed autograph inscription from Paul Celan to his friend, the poet and translator of his works Lydia Kerr: "Für Lydia Kerr, herzlich, 12.2.1963. Paul Celan."
Later edition.
A pleasing copy, despite slight rubbing to the joints.
Rare dated and signed presentation inscription from Paul Celan to his friend, the poet and translator of his works Lydia Kerr.
First edition entirely hand-painted by Jacques Capdeville and printed in 30 numbered copies on vellum, with a small number of hors-commerce copies also issued.
Rare and fine copy, complete with its full flexible paperboard slipcase and with the musical setting of the poem by John Supko, on tracing paper.
Handwritten signatures of Philippe Denis and Jacques Capdeville in the colophon.
First edition illustrated with 12 full-page plates by Françoise Gilot, one of only 115 numbered copies on Arches vellum, the deluxe issue.
Our copy is indeed accompanied by an original lithograph by Françoise Gilot on a separate leaf.
A very good copy.
Paul Éluard’s handwritten signature on the limitation page, lightly and partially shaded as on the facing page.
New compilation of the celebrated songs by the troubadour from Sète, including "La mauvaise réputation", "Le parapluie", "Le petit cheval", "Le fossoyeur", "Le gorille", "Corne d'auroch", "La chasse aux papillons" and "Hécatombe".
Inevitable creasing and light rubbing along the margins of the record sleeve.
A small ballpoint pen doodle in blue ink on the lower cover.
Autograph signature of Georges Brassens in the lower right margin of the upper cover.
First edition, with no copies printed on deluxe paper.
A very good copy.
Inscribed by Maurice Druon to a friend named Henri: "... pour les souvenirs d'une année de travail qui devint une année d'amitié."
New edition.
A handsome copy.
Fine inscribed copy, signed by Anaïs Nin to the writer Christiane Baroche: "Christiane Baroche my last novel before I began to edit the diaries and be drowned in them. Perharps because I had arrived at humor and could bear to make the journey backwards. Anaïs Nin."
First edition printed on regular stock.
Small tears to the head and foot of the spine.
Fine presentation inscription, signed by Henri de Montherlant to Georges Bataille.
First edition, one of 50 numbered copies on Holland paper, being the only large paper issue.
Bradel binding with decorative paper featuring red and gold motifs, flat spine, small restorations to spine-ends and joints, brown shagreen title label with a corner skilfully restored, endpapers and pastedowns of blue paper with gilt motifs, soiled soiled covers and spine preserved, gilt top edge on deckle, contemporary binding.
Exceptional and precious presentation copy signed by Claude Farrère: "Pour Max-Anély que j'admire et pour mon ami Segalen. Claude Farrère." [For Max-Anély I admire and for my friend Segalen. Claude Farrère]
Later edition (the first was published three years earlier in 1906).
Bradel binding with marbled paper boards, smooth spine with some parts lacking paper, brown morocco lettering piece with some loss to margis, one joint split, handmade paper endpapers and pastedowns, original wrappers and spine preserved, contemporary binding.
Exceptional copy signed and inscribed on a mounted stub by Auguste Gilbert de Voisins to his celebrated writer friend and traveling companion on Chinese roads and rivers: "to Victor Segalen in thanks for speaking to me of the Orient. AGilbert de Voisins."
