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Nobel Prize in Literature

434 results
  2. Cette chose étrange en moi - La vie, les aventures, les rêves du marchand de boza Mevlut Karatas et l'histoire de ses amis et Tableau de la vie à Istambul entre 1969 et 2012, vue par les yeux de nombreux personnages
    Ohran PAMUK
    Cette chose étrange en moi - La vie, les aventures, les rêves du marchand de boza Mevlut Karatas et l'histoire de ses amis et Tableau de la vie à Istambul entre 1969 et 2012, vue par les yeux de nombreux personnages
    Gallimard|Paris 2017|15 x 21.50 cm|broché
    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.
    €800
  4. Poèmes 1966-1984
    Seamus HEANEY
    Poèmes 1966-1984
    Gallimard|Paris 1988|14 x 20.50 cm|broché
    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.

    €1,200
  7. "... Il neige à Lyon... Ici, nous déjeunons encore dehors, sous les stores ensoleillés. Plus d'autos, plus de poussière, plus de phonos, plus de sirènes entre deux vagues... C'est le beau, clair et silencieux Cassis authentique, où rien ne gêne le travail..."
    Roger MARTIN DU GARD
    "... Il neige à Lyon... Ici, nous déjeunons encore dehors, sous les stores ensoleillés. Plus d'autos, plus de poussière, plus de phonos, plus de sirènes entre deux vagues... C'est le beau, clair et silencieux Cassis authentique, où rien ne gêne le travail..."
    Foodie and fun signed autograph letter addressed to her friend Alice Rim
    S. n.|Cassis 2 Novembre 1933|13.50 x 21.50 cm|une feuille
    Fine and amusing signed manuscript letter from Roger Martin du Gard addressed from Cassis to Alice Rim (3 and a half pages, 54 lines in black ink) in which he lyrically praises the benefits of the delicious Parisian confections that his correspondent sends him: "... Et quelles sucreries ! Si Dieu pouvait goûter ce que Boissier fabrique avec ses fruits, comme il serait honteux des grossiers produits de ses arbres, et comme il aurait envie de recommencer sa création..." ["... And what confections! If God could taste what Boissier makes with his fruits, how ashamed he would be of the crude products of his trees, and how he would want to begin his creation anew..."]
    He also praises the tranquility of Cassis without summer visitors: "Plus d'autos, plus de poussière, plus de phonos, plus de sirènes entre deux vagues... C'est le beau, clair et silencieux Cassis authentique, où rien ne gêne le travail..." ["No more cars, no more dust, no more phonographs, no more sirens between two waves... This is the beautiful, clear and silent authentic Cassis, where nothing disturbs work..."]and the pleasure of reading "Voilà", a magazine in which Carlo Rim collaborates as an illustrator: "... pas un moucheron de Cassis qui ne s'imagine avoir collaboré avec Carlo Rim, et son livre sera ici une oeuvre collective, nationale..." ["... not a single gnat in Cassis who doesn't imagine having collaborated with Carlo Rim, and his book will be here a collective, national work..."],a pleasure shared by all the residents of Cassis: "... je ne sais comment réagissent les puissants de Marseille qu'il égratigne si gaillardement. Mais, ici, ce ne sont que sourires quand on parle de "Carlo". Et j'imagine qu'un jour la population déboulonnera le Calendal de la jetée, pour hisser sur le socle un Carlo Rim de granit ou un M. Virgule en ciment armé..." ["... I don't know how the powerful people of Marseille react to his spirited scratches. But here, there are only smiles when we speak of "Carlo". And I imagine that one day the population will unbolt the Calendal from the pier, to hoist on the pedestal a Carlo Rim in granite or a M. Virgule in reinforced cement..."]
    In a final gourmand flourish Roger Martin du Gard thanks Alice Rim: "Veuillez agréer, chère madame, l'hommage de ma gourmandise reconnaissante..." ["Please accept, dear madam, the tribute of my grateful gluttony..."]
    Crease mark inherent to envelope folding.

    €450
  8. Le roman de Jean-Paul Sartre. Manuscrit autographe et tapuscrit complets.
    (Jean-Paul SARTRE) Maurice BLANCHOT
    Le roman de Jean-Paul Sartre. Manuscrit autographe et tapuscrit complets.
    S. n. • [ Paysage dimanche]|s. l. • (Paris) s. d. [1945]|11.50 x 22 cm|3 pages 1/2 in-4
    Autograph manuscript by the author, 3½ pages octavo, published in the October 21, 1945 issue (no. 19) of Paysage dimanche.
    Complete recto-verso manuscript, in very dense handwriting, with numerous deletions, corrections and additions.
    Literary chronicle published on the occasion of the publication of the first two volumes of Jean-Paul Sartre's trilogy Les chemins de la liberté: "L'Age de raison" and "Le Sursis".
    Together with the complete typescript, with one deletion and one autograph correction by the author.

    When this chronicle appeared in autumn 1945, Maurice Blanchot and Jean-Paul Sartre had already demonstrated their mutual interest in each other's respective work, in articles that were sometimes critical, sometimes laudatory, always attentive. Similarly, if Les chemins de la liberté aroused Blanchot's admiration, it was essentially through the philosopher's skillful use of the influence of two monuments of Anglo-Saxon literature, Virginia Woolf and John Dos Passos: « Ce qui nous paraît frappant, c'est le caractère d'œuvre d'art qu'en reçoit le livre, œuvre extrêmement composée, calculée avec un souci infiniment sûr des effets, où la confusion reste claire, où le désordre est perfection, et telle qu'on y reconnaît sans cesse la présence de l'écrivain le plus lucide, capable de tout obtenir du langage dont il est maître. » ["What strikes us as remarkable is the character of a work of art that the book receives, an extremely composed work, calculated with infinitely sure concern for effects, where confusion remains clear, where disorder is perfection, and such that one constantly recognizes the presence of the most lucid writer, capable of obtaining everything from the language he masters."]
    But this "Roman de Sartre" was above all an opportunity for Blanchot to raise the question of the links between literature and politics, on which the two men would have great difficulty agreeing in the following decades. Thus, Blanchot summarized Sartre's vision, evoking the problem of commitment: « Il est indéniable que l'art de Sartre atteint son plus grand pouvoir lorsqu'il décrit l'engloutissement des consciences par les choses qui les hantent et les débordent, et de laquelle elles coulent comme une pâte pleine d'odeurs. Le monde qu'il sent est celui d'une métamorphose, mais cette métamorphose n'est pas changement de forme, elle n'est pas la transformation d'un être en un autre être, fût-ce d'un homme en une vermine ; elle va plus loin, elle est irrémédiable, car c'est la conscience même qui devient un matériel, c'est la pensée qui se fige en une substance gluante, visqueuse, sans contour, sans apparence, un dedans triste et vague, que nous ne pouvons saisir et qui, pourtant, comme tel, continue désespérément à penser. Tel est l'univers dans lequel nous sommes jetés, tant que nous n'essayons pas de le reprendre par une action qui nous engage. » ["It is undeniable that Sartre's art reaches its greatest power when he describes the engulfing of consciousness by the things that haunt and overwhelm them, and from which they flow like a paste full of odors. The world he perceives is one of metamorphosis, but this metamorphosis is not a change of form, it is not the transformation of one being into another being, even of a man into vermin; it goes further, it is irreparable, for it is consciousness itself that becomes material, it is thought that freezes into a sticky, viscous substance, without contour, without appearance, a sad and vague interior that we cannot grasp and which, nevertheless, as such, continues desperately to think. Such is the universe into which we are thrown, as long as we do not try to reclaim it through an action that commits us."] The third volume of Les Chemins de la liberté, not yet published, left little doubt in Blanchot's eyes as to its content; and he summarized, somewhat sarcastically: « Ce qui suivra est facile à imaginer : nous aurons la guerre, l'occupation, nous aurons la résistance, l'obscur combat, la première victoire ; et nous risquons d'avoir l'aventure de personnages assez veules et désaxés qui cherchent la liberté [...] et finiront par la vivre en s'engageant pleinement dans une action collective qu'ils acceptent. » ["What will follow is easy to imagine: we will have war, occupation, we will have resistance, the dark combat, the first victory; and we risk having the adventure of rather weak and unbalanced characters who seek freedom [...] and will end up living it by fully committing themselves to a collective action they accept."]

    The manuscript contains important variants from the typescript, which testify to Blanchot's concern to use Sartrean concepts judiciously, the better to return to what preoccupied him: the use of language in literature's revolutionary vocation.
    €3,000
  9. Situations I, II, III, IV, V, VI, VII, VIII, IX & X - Ensemble en tirage de tête et complet en 10 volumes
    Jean-Paul SARTRE
    Situations I, II, III, IV, V, VI, VII, VIII, IX & X - Ensemble en tirage de tête et complet en 10 volumes
    Gallimard|Paris 1947-1976|12 x 19 cm|10 volumes brochés sous chemises-étuis
    Each volume in its first edition: one of 30 numbered copies on Pur fil paper for the first, one of 14 numbered copies on Hollande for the second and third, one of 36 numbered copies on Hollande from the fourth to the ninth, one of 35 numbered copies on Hollande for the tenth and last.
    Each work is presented in a brown half morocco slipcase, smooth spine slightly sunned, gilt date at the foot of spine, marbled paper boards, wood-like paper inside.

    A very nice complete set in 10 volumes and a very rare collection of first editions. There were only 14 copies ever printed on Hollande paper of the second and third volumes, meaning that there are possibly only 14 complete sets in existence.
    €4,500
  13. Requiem for a Nun [Requiem pour une nonne]
    William FAULKNER
    Requiem for a Nun [Requiem pour une nonne]
    Random House|New York 1951|12 x 19 cm|reliure de l'éditeur
    Requiem for a Nun
    Random House | New York 1951 | 12 x 19 cm | publisher's binding
    First edition, one of 750 numbered copies signed by the author, the only grands papiers (deluxe) copies.

    Publisher's binding in half black cloth, marbled paper boards.

    Autograph signature of William Faulkner on the justification page.

    A beautiful copy, complete with its original acetate dust jacket.
    €3,500
  15. Oeuvres complètes
    Ernest HEMINGWAY
    Oeuvres complètes
    André Sauret|Paris 1963|22.50 x 28.50 cm|8 volumes reliés
    First illustrated edition with color lithographs by André Masson, Fonatanarosa, Carzou, Commère, Luc Simon, Pelayo, Guiramand and Garbell. Each work, which generally occupies one volume, is illustrated by a painter. Imprimerie nationale, in Romain du roi 14-point. One of 4500 on watermarked Arches vellum, numbered 759.
    Deluxe publisher's binding in full havana shagreen. Smooth spine decorated with a pattern of H's. Author's signature on upper cover. Slipcase edged in havana shagreen. One edge of volume 3 slipcase split for 8cm, otherwise superb copy in near-mint condition, perfectly fresh.
    €1,200
  16. "... Je suis un peu confus de jouer ce rôle de vieille coquette qu'on gâte en la bourrant de pralines ; mais "un peu seulement", car la gourmandise l'emporte vite sur les sentiments de dignité que l'âge a fortement émoussés... "
    Roger MARTIN DU GARD
    "... Je suis un peu confus de jouer ce rôle de vieille coquette qu'on gâte en la bourrant de pralines ; mais "un peu seulement", car la gourmandise l'emporte vite sur les sentiments de dignité que l'âge a fortement émoussés... "
    Foodie and fun signed autograph letter addressed to her friend Alice Rim
    S. n.|Cassis 11 février 1934|13.50 x 21.50 cm|une feuille
    Beautiful and amusing signed manuscript letter from Roger Martin du Gard addressed from Cassis to Alice Rim (38 lines in black ink) in which he displays all his insatiable appetite for sweets.
    Fold mark inherent to postal mailing.
    "Cassis. February 11th, 34,
    Dear Madam,
    a certain Carlo, Comma, - whose infernal nerve you know - had the audacity to present himself alone (word underlined) in Cassis! (I must say that he had been conscious of the disappointment he was going to cause, and that he arrived with his arms loaded with sumptuous bags of fondant sweets and stuffed dates, from the most delicate confectioner) If anything could have consoled us for your absence, it was indeed this cargo of choice delicacies... The intention was so kind, that we did not dare reproach him for his widowhood, and that we concealed as best we could the melancholy of our regrets. I am a little ashamed to play this role of an old coquette whom one spoils by stuffing her with pralines; but "only a little," for gluttony quickly prevails over feelings of dignity that age has greatly dulled... And the said Carlo promised me, in compensation, that before the end of carnival - if by then, the sky has not fallen on our heads - you would both come to see Cassis again, and stay longer than tonight's meteoric appearance. (I would almost believe I dreamed it, if my room did not smell of pistachio and vanilla, and if my papers did not have this imposing confectioner's bag as a paperweight tonight...) May at least the Charentes be gentle to you, dear madam! I send you there, with my faithful respects, a thousand wishes for a joyful Fat Tuesday! Roger Martin du Gard".
    €450
  18. L'incroyable et triste histoire de la candide Erendira et de sa grand-mère diabolique
    Gabriel GARCÍA MÁRQUEZ
    L'incroyable et triste histoire de la candide Erendira et de sa grand-mère diabolique
    [The Incredible and Sad Tale of Innocent Eréndira and Her Heartless Grandmother]
    Grasset|Paris 1981|14 x 22.50 cm|broché
    New edition of the French translation, following the original 1977 edition.
    Covers and edges soiled, a small tear at the foot of the spine.
    Rare and precious dated and signed presentation copy from Gabriel Garcia Marquez to his friend Jean-Pierre Richard, the year of his Nobel Prize : "Para Jean-Pierre, en Mexico, el dia de la entrevista. Gabriel 82."

    Writer, filmmaker, translator and critic, Jean-Pierre Richard met Garcia Marquez through Salvador Allende, whose election he attended in November 1970. He became a close friend and one of the few journalists to whom the author revealed the secrets behind the composition of his masterpiece, One Hundred Years of Solitude.

    Shortly before, Garcia Marquez had sought his friend’s help for an old film project dear to him. Sixteen years earlier, he had written a screenplay entitled Erendira, the only copy of which had been lost in the hands of filmmaker Margot Benacerraf, to whom Garcia Marquez had entrusted it. Reworked into a short story in 1972, The Incredible and Sad Tale of Innocent Erendira and Her Heartless Grandmother would await Garcia Marquez’s encounter with Jean-Pierre Richard to return to its cinematic destiny. It was through his French friend, a film director, that the Colombian writer met producer Alain Quefféléan and director Ruy Guerra, for whom he rewrote a new script. Erendira, released in 1983, would remain the only film adaptation of Garcia Marquez’s work in which the author was directly involved.
    The “entrevista” between Richard and Garcia Marquez in August 1982 was thus an opportunity for the two friends to celebrate, in addition to Garcia Marquez’s Nobel Prize, the success of the Mexican shooting of Erendira starring Irene Papas.
    A moving autograph dedication to his French friend, who enabled him to finally bring to life this long-cherished cinematic dream, and which Garcia Marquez described as “the first film to truly capture the magical realism of his prose.”
    €1,500
  19. Carte postale adressée à son amie Alice Rim
    Roger MARTIN DU GARD
    Carte postale adressée à son amie Alice Rim
    S. n.|Cassis 13 Décembre 1933|9.50 x 14 cm|une feuille
    Humorous autograph postcard signed by Roger Martin du Gard addressed from Cassis to Alice Rim (21 lines in black ink) describing the Provençal winter.
    "Cassis. 13 dec.33,
    Dear Madam,
    Thank you for these few lively and friendly pages. Don't regret Cassis. It's freezing here. Not that it's as cold as elsewhere, but we don't know how to heat ourselves. The "Réserve" is empty. There we find a drowsy son-in-law, alone, roasting his shins by the big central stove stuffed like a locomotive and smoking just the same. The port is deserted. I believe the Mediterranean     (sic) is carrying ice floes. (To be verified...) Congratulations to Carlo Rim for the Marraine articles, of inimitable quality. I hope he will continue the series. I give him 20 out of 20! ... Give him all my friendship, to which I add my very sympathetic regards. R.M.G.""
    €100
  20. Carte postale autographe signée adressée à Emile Straus
    Frédéric MISTRAL
    Carte postale autographe signée adressée à Emile Straus
    Edition Marcheteau|Arles 8 juin 1906|8.70 x 16.60 cm|une carte postale
    Autograph postcard signed by Frédéric Mistral addressed to Emile Straus written in black ink on the reverse of a black and white photographic representation of an Arlésienne in profile.
    A great enthusiast of epistolary art, Emile Straus founded in 1899 La Carte postale illustrée, the newsletter of the association he had just launched, the International Poste-Carte Club.
    €180
  23. Precious Advance Copy, as Issued
    L'Etranger
    Albert CAMUS
    L'Etranger
    [The Stranger]
    Gallimard|Paris 1942|12 x 19 cm|broché sous chemise et étui

    First edition first issue for which no grand papier (deluxe copies) were printed, one of the rare service de presse (advance copies).
    Some very discreet restorations to spine, paper browned, some discreet traces folds at the bottom of some leaves.


    A handsome copy, as issued. The book is housed in a slipcase signed by Julie Nadot, reproducing the original design of the cover and spine.


    This first edition of L'Étranger was printed on 21 April, 1942 with a run of 4,400 copies: 400 advance copies (service de presse), 500 copies without statement and 3,500 copies with false statements from the second to eighth “edition”.
    The advance copies, not intended for sale, do not include the indi­cation of price [25 francs] on the back of the cover.

    €20,000
  46. Voyage au Congo suivi de Retour du Tchad
    André GIDE, Marc ALLÉGRET
    Voyage au Congo suivi de Retour du Tchad
    Nrf|Paris 1929|25.50 x 33.50 cm|relié
    Voyage au Congo suivi de Retour du Tchad
    Nrf | Paris 1929 | 25,5 x 33,5 cm | full calf & custom chemise and slipcase
    First collective edition of two journeys in Africa by André Gide published successively in 1927 and 1928. First edition, grand papier (deluxe copy) with 64 photographs by Marc Allégret printed in sepia and four maps. One of 28 numbered copies on japon impérial, the tirage de tête.
    Our copy includes the 1928 colophon of first issue copies on japon impérial. Copies printed on Arches bear the date 1929 (Bibliographie des écrits d'André Gide, Arnold Naville).
    The high ink absorption quality of papier japon and its affinity with color make it the ideal medium for Marc Allégret's famous sepia heliographed photographs.
    White aniline calf with gilt titanium joints, ink-painted boards and spine in green, yellow and red, colors of the Republic of the Congo-Brazzaville flag, decoration continuing edge-to-edge on the liners, loose endpapers on papier japon dyed with Kakishibu by the binder, title lengthwise on the spine, decorated chemise titled on the spine, and matching custom slipcase. Wrappers and spine preserved.
    Binding signed by Julie Auzillon, gilt title by Geneviève Quarré de Boiry and gilt top edge by Jean-Luc Bongrain (2022).
    Very scarce tirage de tête on papier japon of this masterpiece book of photographs and the first account of travel to these very remote territories of central Africa by an intellectual, and outspoken critic of colonialism.
    Unique copy set in a stunning art binding, in the colors of the Republic of Congo-Brazzaville.
    €20,000
  48. Les Thibault
    Roger MARTIN DU GARD
    Les Thibault
    Nrf|Paris 1922-1940|12 x 19 cm|11 volumes brochés
    First edition of each volume, with print runs varying from 297 to 1,250 numbered copies on pur fil paper, the only deluxe copies along with the reimposed editions.
    Spine of the fifth volume split, printed "nrf" mention scratched on the back cover of the first volume of the seventh part.
    Rare and handsome complete set with publisher's slip.
    Autograph inscription dated 1929 and signed by Roger Martin du Gard, on a loose leaf: tribute from the author, absent from Paris, to Robert de Saint-Jean.
    €2,500
  49. Fontaine, revue Mensuelle de la poésie et des lettres française. Numéro spécial : Ecrivains et Poètes des Etats-Unis
    Ernest HEMINGWAY, William FAULKNER
    Fontaine, revue Mensuelle de la poésie et des lettres française. Numéro spécial : Ecrivains et Poètes des Etats-Unis
    Fontaine|Paris 1945|16 x 24 cm|broché
    Second edition of this special issue devoted to American writers and poets.
    Handsome copy.
    Contributions by Thomas Stearns Eliot, Ernest Hemingway, John Steinbeck, William Faulkner, Gertrude Stein, William Saroyan, William Carlos Williams, Allen Tate, E.E. Cummings, Erskine Caldwell, André Gide, Julien Green...
    €50
  52. Hommage à André Gide
    André GIDE, COLLECTIF
    Hommage à André Gide
    Gallimard|Paris Novembre 1951|14.50 x 23 cm|broché
    First edition of this issue of N.r.f. entirely devoted to André Gide, one of 1200 copies on laid paper, the only deluxe copies after 100 on Holland paper.
    Contributions by André Gide with unpublished texts, by Saint-John Perse, Jean Giono, Paul Valéry, Jean Cocteau, Paul Léautaud, Jean Paulhan, Ernst Jünger, John Steinbeck, Giuseppe Ungaretti, Thomas Mann...
    Work illustrated with a photographic portrait of André Gide.
    Handsome copy despite small black spots on the second cover and occasional foxing on the fore edge.
    €50
  62. Isabelle
    André GIDE
    Isabelle
    Nrf|Paris 1911|10.50 x 16.50 cm|relié
    New "first edition", printed in 500 copies on laid Arches paper and consisting of the second printing of this text (completed on June 20, 1911).
    This edition, published less than a month after the original which appeared on May 29, 1911, is considered the first edition of this text, as the latter was almost entirely destroyed, André Gide being dissatisfied with the printing because three pages did not have the regular number of lines.
    Half brown morocco binding with corners, spine with five raised bands set with black fillets, date and binder's name gilt at foot, pebbled paper boards, combed paper endpapers and pastedowns, bookplate pasted on one pastedown, blue covers and spine unfaded as generally preserved, top edge gilt, elegant contemporary binding signed Huser.
    Precious autograph inscription signed by André Gide to the symbolist poet André Fontainas written at Cuverville on July 3rd.
    Handsome copy perfectly established.
    €1,500
  66. Cien años de soledad - Hyakunen no kodoku [Cent ans de solitude]
    Gabriel GARCÍA MÁRQUEZ
    Cien años de soledad - Hyakunen no kodoku [Cent ans de solitude]
    Shinchosha|Tokyo 1972|13 x 19.50 cm|relié
    First Japanese edition translated by Tadashi Tsuzumi.
    Full blue craft paper binding, with its printed dust jacket featuring an antique map, a tear at the top of the upper cover
    Very handsome copy containing a publisher's advertising leaflet.
    Very rare autograph inscription by Gabriel Garcia Marquez calligraphed vertically in the Japanese manner to actress Claudine Auger, the first French James Bond girl: "Para Claudine con un besote. Gabriel." ["For Claudine with a big kiss. Gabriel."]
    €1,500
  72. Les Poèmes du souvenir
    Paul-Emile COLIN, Pierre-Eugène VIBERT
    Les Poèmes du souvenir
    Editions d'art Edouard Pelletan|Paris 1910|23.50 x 29.50 cm|relié sous étui

    First edition illustrated with 11 original black woodcut engravings by Paul-Emile Colin and 15 original engravings and typographical ornaments printed in bistre by Pierre-Eugène Vibert, one of 25 numbered copies on Japan paper containing a collection of artist's proofs by both painter-engravers on China paper.
    Full mauve morocco binding, faded spine with five raised bands, gilt date at foot, some rubbing to bands and joints, watered silk endpapers in mauve, brown morocco doublure decorated with vegetal and floral frieze executed with brown and violet mosaic morocco pieces, covers and spine preserved, all edges gilt, slipcase with mauve morocco entry, faded, marbled paper boards, binding signed Canape.
    Copy perfectly executed in a full morocco binding with doublure by Canape.

    €1,500
  76. La tentative amoureuse
    André GIDE
    La tentative amoureuse
    Librairie de l'Art Indépendant|Paris 1893|15 x 19.50 cm|relié
    First edition printed in 162 copies, ours one of 150 numbered copies on tinted vellum, the only issue with 12 on Whatman.
    Bradel binding in half emerald green morocco, smooth spine stamped with gilt title lettered lengthwise, pebbled paper boards, front cover preserved, binding signed P. Goy and C. Vilaine.
    Signed autograph inscription from André Gide "au poëte Angiolo Orvieto en témoignage de sympathie" ["to the poet Angiolo Orvieto in testimony of sympathy"].
    Rare testimony to his relationship with Angiolo Orvieto, Florentine poet and librettist, who founded the periodical Il Marzocco in 1896, and devoted a study to the writer the following year.
    The two poets were united by their admiration for Chopin, who inspired Orvieto to write an opera and Gide his Notes sur Chopin (1948).
    €2,000
  77. Carte postale autographe signée à Friedrich Karl Roedemeyer
    Thomas MANN
    Carte postale autographe signée à Friedrich Karl Roedemeyer
    Munich 22 février 1922|8.70 x 13.70 cm|une carte postale
    Signed autograph postcard from Thomas Mann addressed to Friedrich Karl Roedemeyer, written on both sides in black ink.
    Professor Friedrich Karl Roedemeyer (1894-1947) taught linguistics at Frankfurt University where he invited Thomas Mann for the Goethe Festival.
    This is a letter of apology from the writer announcing that he will unfortunately not be able to give the lecture he was supposed to deliver.
    €2,300
  78. Manuscrit autographe de deux brouillons de réponses à des lecteurs de France Observateur
    Jean-Paul SARTRE
    Manuscrit autographe de deux brouillons de réponses à des lecteurs de France Observateur
    s. d. [1957]|21 x 27.20 cm|5 feuillets et une lettre tapuscrite
    Autograph manuscript of two draft responses to readers of France Observateur following the publication of the article entitled "Quand la police frappe les trois coups" written in blue ink on five ruled sheets. Deletions and corrections. The article, published in 1957, was reproduced in 1965 in Situations 7 Problèmes de marxisme 2. In this article, Sartre protests against the prefectural ban on performing La Reine de Césarée by Robert Brasillach, under pressure from resistance fighters, deportees and children of deportees, and against police pressures exerted against theatrical plays by Fabre-Luce and Jean Genet.
    Interesting drafts, in which the philosopher invites M. Ginsburgh to stage Le Balcon himself: "Mais puisqu'il ne dément rien de ce que j'ai dit, je me borne pour l'instant à considérer sa lettre comme une confirmation tacite de mon article. Par reste, M. Ginsburgh a l'occasion de me confondre avec éclat : que ne monte-t-il pas le Balcon ? Ce n'est pas un défi, c'est une proposition honnête : si le Balcon est joué sur la scène du théâtre d'Aujourd'hui, je ferai ici même des excuses à M. Ginsburgh et au directeur de l'Alliance Française." ["But since he does not deny anything I have said, I limit myself for now to considering his letter as a tacit confirmation of my article. Furthermore, M. Ginsburgh has the opportunity to confound me brilliantly: why doesn't he stage Le Balcon? This is not a challenge, it is an honest proposition: if Le Balcon is performed on the stage of the Théâtre d'Aujourd'hui, I will make apologies here to M. Ginsburgh and to the director of the Alliance Française."] Fabre-Luce himself seems to have also written to Sartre after the publication of the article: "Pour M. Fabre-Luce, même réponse : je le remercie de confirmer tacitement les informations que j'avais données sur sa pièce. Il n'ose nier la présence de la police. En témoignage de gratitude, je prends acte, il déclare simplement qu'il ne l'a pas appelée lui-même. [...] M. Fabre-Luce, fort de son succès antérieur, ne craignait rien. La préfecture de police, elle, qui devait être au courant de ce succès, craignait pour M. Fabre-Luce. On voudrait connaître les origines de cette touchante sollicitude. Ce qui compte, c'est beau." ["For M. Fabre-Luce, same response: I thank him for tacitly confirming the information I had given about his play. He dares not deny the presence of the police. As a token of gratitude, I take note, he simply declares that he did not call them himself. [...] M. Fabre-Luce, confident from his previous success, feared nothing. The police prefecture, however, which must have been aware of this success, feared for M. Fabre-Luce. One would like to know the origins of this touching solicitude. What matters is beautiful."]
    The two letters received by the philosopher were not attached to this draft response, but we have the letter from Gilles Martinet of France Observateur which forwards said readers' responses to Sartre.
    Important drafts, testimony to the care with which the Saint-Germain thinker responded to his commentators.
    €1,500
  79. Blast - Review of the Great English Vortex, n°1 et 2 June 1914 et July 1915
    COLLECTIF, Ezra POUND
    Blast - Review of the Great English Vortex, n°1 et 2 June 1914 et July 1915
    Bell & Cockburn • John Lane Company|New York • Toronto 1914-1915|23.50 x 31.50 cm|2 volumes reliés
    Blast – Review of the Great English Vortex, n° 1 & 2 June 1914 & July 1915
    John Lane Company & Bell & Cockburn | New York/Toronto 1914-1915| 23,5 x 31,5 cm | 2 volumes in Bradel binding
    First edition of this rare and short-lived Vorticist magazine published only twice.
    Rare.
    Full red cloth Bradel binding, spine with title and date in black, original wrappers preserved.
    €7,000
  80. Libération. Collection complète des vingt premières années du journal
    Jean-Paul SARTRE, Serge JULY
    Libération. Collection complète des vingt premières années du journal
    Liberation. Complete collection
    Libération|Paris 1973-2004|6200 numéros|en feuillets

    Complete run of the first twenty years of the newspaper Libération, founded in 1973 by Jean-Paul Sartre, Serge July, Philippe Gavi, Bernard Lallement and Jean-Claude Vernier.

    6,200 issues in pristine condition (never opened).

    This unique collection comprises 6,200 issues of Libération in impeccable condition (never opened), and is absolutely complete – including all the “numéros zéros”, promotional issues, special reports, thematic supplements (including the entire series of the celebrated “Sandwich” issues), and the commemorative twentieth anniversary album – from Monday 5 February 1973 to Monday 3 January 1994.  
    The collection is offered with its custom-made display unit (2.60 m high, 4.20 m wide, and 50 cm deep). It consists of 35 stackable compartments, each measuring 84 x 36.5 x 50 cm, each housing two sliding drawers. Each drawer holds approximately one hundred issues of the newspaper.
     
    Provenance: Frédéric Fredj Collection.

    €30,000
  82. Molloy, "personnage" de Beckett
    Samuel BECKETT, Janine BRUN
    Molloy, "personnage" de Beckett
    Université de Paris Sorbonne|Paris 1980|21 x 29.50 cm|broché
    Molloy, “personnage” de Beckett
    Université de Paris Sorbonne | Paris 1980 | 21 x 29.5 cm | original wrappers
    First edition of the master's thesis presented by Janine Brun under the direction of Robert Mauzi.
    A pleasant copy.
    Precious handwritten inscription dated and signed by Samuel Beckett to Janine Brun: “Pour Janine Brun, mes meilleurs vœux. Samuel Beckett. Paris Février 1981.” (“For Janine Brun, my best wishes. Samuel Beckett. Paris February 1981.”)
    €1,000
  83. Aux victimes de la guerre russo-japonaise
    Anatole FRANCE, SULLY PRUDHOMME
    Aux victimes de la guerre russo-japonaise
    Edouard Pelletan|Paris 1904|25.50 x 33 cm|relié
    First edition, one of the copies on Japon.
    Texts by Jules Renard, Anatole France, Sully-Prudhomme, Gustave Geffroy, Louis Tynaire, Gabriel Séailles, René Binet, Georges Renard...
    Lithographed or wood-engraved illustrations in red and black by Eugène Carrière, Félix Régamey, Carlos Schwabe, Georges Rochegrosse, Alfred Lenoir, Auguste and Georges Leroux, Daniel Vierge, Charles Fouqueray, Théophile-Alexandre Steinlen, Lucien Vogel, Charles Léandre, Henri Fantin-Latour, Eugène Grasset, Alexandre Lunois, Georges Scott...
    Bradel binding in full paper, palladium title on smooth spine, marbled endpapers and pastedowns, covers and spine preserved, top edge palladium.
    Handsome copy attractively bound.

    €300
  85. Marguerite
    Anatole FRANCE, Fernand SIMÉON
    Marguerite
    Plon|Paris 1920|16 x 26 cm|relié sous étui

    First edition, one of 450 numbered copies on Holland paper.
    Work illustrated with 35 original woodcuts by Fernand Siméon.
    Full brown morocco binding, smooth spine decorated with a vertical band of black mosaic morocco, black roulettes on the headcaps, slight rubbing to the upper headcap, gilt title struck to the center of the first cover, covers decorated with a large diamond and a wide horizontal band of black mosaic morocco, endpapers and pastedowns of paper with gilt floral motifs and moiré effect, frame of vertical and horizontal bands of black mosaic morocco on the pastedowns, covers and spine preserved, top edge gilt, double black fillets on the leading edges, slipcase with brown morocco entry, covers of paper with gilt floral motifs and moiré effect, perfect Art Deco binding signed A. Pinard-Lefort.
    Handsome copy perfectly executed in a beautiful Art Deco binding.

    €800
  87. Colas Breugnon
    André DESLIGNIERES, Romain ROLLAND
    Colas Breugnon
    Editions Mornay|Paris 1927|15 x 20.50 cm|relié sous étui
    Edition illustrated with 35 original two-tone wood engravings by André Deslignières, one of 895 numbered copies on Rives paper.
    Half chocolate brown morocco binding with corners, spine with five raised bands, gilt date at foot, gilt fillets framing the marbled paper boards, speckled paper endpapers and pastedowns, bookplate pasted on pastedown, covers and spine preserved, top edge gilt, morocco-backed chocolate brown slipcase, marbled paper boards, brown felt lining, elegant binding signed by Alix.
    Handsome copy perfectly executed.

    €350
  89. Les précurseurs
    Romain ROLLAND
    Les précurseurs
    Editions de l'Humanité|Paris 1919|21 x 20.50 cm|broché
    First edition, one of 100 numbered copies on Holland paper, the only deluxe copies.
    Light marginal tears to boards, endpapers partially shaded, bookplate pasted to verso of front board.
    Rare copy of this work dedicated: "To the memory of the martyrs of the New Faith: of the human International. To Jean Jaurès, Karl Liebknecht, Rosa Luxembourg, Kurt Eisner, Gustav Landauer, victims of ferocious stupidity and murderous lies, liberators of men, who killed them."
    €500
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