Printed in small numbers, illicitly passed out, sought-after, forgotten, found again, major works or confidential texts... Some of these works are extremely rare today ; here are a few of them.
First edition, one of 110 numbered copies on alfa paper, the only deluxe paper copies.
Frontispiece with a photographic portrait of Léon Blum.
A pleasant copy.
First edition of the French translation, for which no deluxe paper copies were issued.
A very slight loss to the head of the spine.
A rare and pleasing copy.
First edition of this work devoted to the oeuvre of Ania Staritsky.
Illustrated with an original work by Ania Staritsky on the cover.
A rare and very attractive copy, spine plain and unlettered, boards slightly and marginally sunned, without seriousness.
Copy enriched with an artist’s proof engraving, justified and signed by Ania Staritsky in pencil
First edition, one of 56 numbered copies on B.F.K. de Rives laid paper.
Illustrated with original engravings by Ania Staritsky.
A rare and very fine copy, complete with its slipcase and grey full-cloth chemise.
Pencil signatures of Ania Staritsky and Albert Dasnoy on the colophon.
Autograph inscription signed by Albert Dasnoy to Claude Nardin, enriched with the handwritten signature of Ania Staritsky.
First edition, one of 42 numbered copies on tabac du moulin paper, issued under limon de rocaille wrappers, our copy one of 12 hors commerce copies, the only issue after 15 copies on papier saumon des eaux claires.
Illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the work, with the collaboration of Claude Nardin, here in his first contribution.
Rare and very fine copy preserved in its full burlap chemise and slipcase (spine of the chemise and boards of the slipcase slightly sunned at the margins).
Pencil signatures of Jacques Lemaire and Ania Staritsky on the colophon.
...
First edition, one of 37 numbered copies on Nivôse rag paper.
Illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the work in collaboration with Claude Nardin.
Rare and very attractive copy, preserved in its original old-rose full cloth slipcase (spine slightly faded and two faint stains at the foot of the boards, not serious).
Manuscript pencil signatures of Michel Butor and Ania Staritsky at the colophon.
A unique copy, exceptionally enriched with two original gouaches by Ania Staritsky, both signed, a manuscript text by Michel Butor, an original collage by Ania Staritsky, as well as a...
First edition, printed in 40 numbered copies on hand-made pure rag paper from the Moulin de Larroque, this being one of the 10 hors commerce copies.
The work is illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the volume with the assistance of Claude Nardin.
A rare and very fine copy, complete with its full grey cloth slipcase, slightly discoloured at the edges, and its double chemise.
Manuscript pencil signature by Ania Staritsky at the colophon.
Our copy is further enriched with two original collages by Ania Staritsky, both signed.
First edition, one of 30 numbered copies printed on handmade pure rag paper.
Illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the work with the collaboration of Claude Nardin.
A rare and very fine copy, complete with its chemise and brown cloth slipcase.
Pencil signatures of Philippe Jones and Ania Staritsky at the colophon.
Inscribed by Philippe Jones to Claude Nardin at the colophon.
Our copy is enriched with a five-line autograph manuscript text by Philippe Jones, as well as an original collage by Ania Staritsky, signed by her.
First edition, one of 35 numbered copies printed on "mousse d'épave" paper, ours one of 10 copies hors commerce.
Illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the work in collaboration with Claude Nardin.
Rare and very fine copy, complete with its chemise and slipcase in full grey cloth (spine of the chemise slightly faded).
Manuscript pencil signatures of Jean-Claude Renard and Ania Staritsky at the colophon.
Our copy contains a manuscript text by the poet Jean-Claude Renard as well as an original collage by Ania Staritsky, signed by her.
Fine signed...
First edition, printed in 40 numbered copies on "citronnelle de lin troué" paper, this being one of the copies numbered from 11 to 30 (No. 30).
Illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the work with the assistance of Claude Nardin.
A rare and very fine copy, complete with its chemise and slipcase in full olive green cloth.
Pencil signatures of Jacques Izoard and Ania Staritsky at the colophon.
A unique copy, exceptionally enriched with a manuscript text by the poet Jacques Izoard, an original engraving by Ania Staritsky signed by her, as well as three engravings not retained for...
First edition of the French translation, one of 21 numbered copies on pur fil paper, deluxe issue.
Bradel binding in half blue percaline, smooth spine, floral motif, date and double gilt fillets at the foot, hazel morocco title label with some scuffing, marbled paper boards, covers and spine preserved, top edge gilt, contemporary binding.
The text by Friedrich Sieburg is followed by a letter from Bernard Grasset to the latter.
Fine dated and signed autograph inscription, from London, by Friedrich Sieburg to Monsieur de Fleuriau, then French ambassador in London: "... en le priant de ne voir dans ce livre que l'attrait que la France exerça sur son auteur...
1825 edition, here lacking its title page, in which the celebrated lyricist claimed for the first time, explicitly and in writing, to be the sole composer of La Marseillaise, that is, the author of both the music and the words. He would make this claim on only one other occasion, in a letter of 5 January 1829 to M. Beuchot. In its early years, France's national anthem was the subject of a genuine controversy over its authorship, particularly regarding the musical composition, that would persist long after 1825, notwithstanding the declarations contained in this edition. Hector...
First edition printed in 150 numbered copies on Licorne du Marais paper, our copy being one of a few hors commerce copies, justified and signed by Ania Staritsky at the colophon.
The work is illustrated with 16 colour illustrations, either in the text or full-page, by Ania Staritsky, who also designed the original layout of the volume.
A rare and fine copy, complete with its chemise and slipcase in full raspberry red cloth.
Manuscript pencil signature of Robert Droguet on the half-title.
First edition, one of 10 numbered copies on Arches laid paper, deluxe issue.
A rare and very fine copy.
We include two invitation cards to the private view of the exhibition of works by Ania Staritsky held at Galerie Les Mains libres on 6 November 1975 between 6pm and 8pm.
Pencil signature of Michel Butor at the colophon.
As stated in the limitation page, our copy does indeed contain an original collage by Ania Staritsky, signed by her, as well as a manuscript text by Michel Butor.
Inscribed, dated and signed by Michel Butor to Claude Nardin, who was a collaborator of Ania Staritsky.
First edition, one of 35 numbered copies on "mousse d'épave" paper, this being one of the 10 hors commerce copies.
Illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the work.
A rare and very fine copy, complete with its chemise and slipcase in old-rose full cloth.
Pencil signatures of Philippe Jones and Ania Staritsky on the colophon.
Our copy includes a manuscript text by the poet Jean-Claude Renard, as well as an original collage by Ania Staritsky, signed by her.
Framing his manuscript, an autograph inscription signed by Jean-Claude Renard to Claude Nardin, who...
First edition printed in 30 numbered copies on handmade rag paper, this copy unnumbered.
Illustrated with original colour engravings by Ania Staritsky, who also designed the book’s original layout.
A rare and very fine copy, complete with its chemise and brown cloth slipcase.
Pencil signatures of Philippe Jones and Ania Staritsky at the colophon.
As stated in the limitation page, this copy includes a manuscript text by the poet Philippe Jones as well as an original signed collage by Ania Staritsky.
First edition printed in 35 numbered copies on Antique 15 paper, our copy being one of the 10 hors commerce copies.
The work is illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the book.
A rare and very fine copy, complete with its chemise with flaps, the spine slightly discoloured, and its grey cloth slipcase.
Pencil signatures of Michel Butor and Ania Staritsky on the colophon.
As stated in the limitation, our copy is enriched with a 19-line autograph manuscript by Michel Butor, together with an original drawing and a collage by Ania Staritsky.
The upper cover of...
First edition, one of 45 numbered copies, this being one of the rare hors commerce copies corresponding to the 8 deluxe paper copies on "Tabac du Moulin" vat paper, issued in "Tourbe de Varennes" wrappers.
The work is illustrated with 9 original colour engravings by Ania Staritsky, who also designed the original layout of the book.
A rare and very fine copy, complete with its chemise and slipcase in full saffron cloth.
Pencil signatures of Jean Follain and Ania Staritsky at the colophon.
As stated in the limitation page, our copy indeed includes a manuscript text by the poet Jean Follain as well as an original collage by Ania Staritsky...
First edition, one of 35 numbered copies on pur fil, most limited issue. In addition, 25 hors-commerce copies on vélin labeur.
A fine and rare copy.
First edition, one of 25 numbered copies on pur fil, the only deluxe copies.
A rare and fine copy.
"A thunderclap of a title, a bitter draught that rings out like "Blue Note" in jazz, like "Cuba libre" among Caribbean cocktails. Damas, the stammerer, sings of solitude, the fear of being abandoned by the woman he loves and waits for, the sorrow and cowardice of "whitening," as do the jazz musicians he venerates" (Kathleen Gyssels)
First edition, one of 50 numbered copies on vélin pur chiffon de lana, the only deluxe issue.
A fine copy, with a small nick at the head of the spine between the author's name and the title.
Presentation copy, inscribed by Patrick Chamoiseau to Maurice Marchaux: "... cette mémoire-langage qui invoque toutes les langues du monde. Avec mes amitiés créoles..." [this memory language invoking all of the world's languages] with a sketch formed from his initials.
First edition printed in a small number of copies, being the sixth booklet of the first series of the Cahiers de l'Ecole de Rochefort.
A rare and pleasing copy. René Debresse’s address has been added in black ink opposite the autograph inscription.
A valuable autograph inscription signed by Luc Bérimont to Jean Follain.
First edition printed in 20 numbered copies on hand-made "papier rose jouvencelle" produced by Georges Duchêne.
Illustrated with original engravings by Ania Staritsky, who also designed the original layout of the work.
This copy is exceptionally enhanced with an original collage by Ania Staritsky, signed by her, and with an 8-line autograph manuscript text by Gaston Puel, together with an additional suite of the engravings by Ania Staritsky (one of which bears two small holes).
The spine of the chemise and the boards of the slipcase are slightly and marginally faded, without seriousness.
A rare and very fine copy, complete with its...
First edition, one of 35 copies printed on B.F.K. de Rives paper, numbered and signed by Michel Seuphor and Ania Staritsky at the colophon, our copy being one of the few hors commerce.
Illustrated with original engravings by Ania Staritsky, who also designed the original layout of the work.
A rare and pleasing copy, complete with its chemise and slipcase in full anise cloth.
Our copy is exceptionally enriched with an original collage signed by Ania Staritsky and an 8-line autograph manuscript text signed by Michel Seuphor,
First edition, one of 37 numbered copies on handmade paper "Ecume de cépage" under "Chaume de Juillet" wrappers, the only issue after 8 copies on handmade paper "Tabac du moulin".
The work is illustrated with 9 original colour engravings by Ania Staritsky, who also designed the original layout of the book.
A rare and very fine copy, complete with its chemise and slipcase in full orange cloth.
Pencil signatures of Jean Follain and Ania Staritsky on the colophon.
First edition, with no deluxe paper copies issued.
Spine and covers lightly and marginally sunned, as is often the case, with a small loss at the foot of the spine.
A scarce and pleasing copy, considering the poor quality of the paper.
First edition, one of 100 copies numbered on alfa paper, the only copies on deluxe paper.
Photographic vignette on the upper cover.
A rare and handsome copy.
First edition, one of 26 numbered copies on alfa paper, our copy one of 14 hors commerce copies, the only deluxe paper issue.
A rare and handsome copy.
First edition, one of 26 numbered copies on alfa paper, the only copies issued on deluxe paper.
A rare and attractive copy.
First edition of the French translation.
Contemporary half red shagreen binding, spine with four raised bands tooled with gilt dotted fillets and decorated with double gilt panels featuring a scattered pattern of gilt stars, minor rubbing to the spine, marbled paper boards, marbled endpapers, speckled edges.
Occasional light foxing.
First edition printed in 112 copies, ours one of the 90 numbered copies on Arches laid paper.
A pleasant and scarce copy.
Illustrated with 5 original lithographs by Juan Gris.
Manuscript signatures of Armand Salacrou and Juan Gris at the colophon.
First edition of this lecture delivered to the Groupe d'Etude Sociales de Montpellier, for which no deluxe paper copies were issued.
A rare and pleasing copy.
Author's signed presentation inscription by Dr R. Vargas at the head of the upper cover: "A l'auteur de l' "Amour libre" affecteux hommage mon camarade, Dr Vargas (chez Mr Galtié Bd Henri IV, 18, Montpellier.)
Rare first edition.
Small tears and losses to the head and foot of the spine, spine and covers marginally sunned.
Signed autograph inscription from Jacques Mesnil to Charles Albert.
Some manuscript corrections and reading marks in blue pencil in the margins of certain paragraphs.
First edition, with no deluxe paper copies issued.
Two small, unobtrusive tears at the head and foot of a joint.
A scarce and pleasing copy.
First edition printed in 100 numbered copies on wove paper, this copy unnumbered.
Rare and fine copy.
First edition richly illustrated with reproductions of works by Francis Bacon in the second volume.
Text by Gilles Deleuze for the first volume.
The slipcase is lacking in our copy.
Spine and boards slightly and marginally sunned, as usual.
Inscribed copy signed by Gilles Deleuze to the art critic Gilbert Lascault in the first volume.
First edition on ordinary paper.
A small stain at the foot of the upper cover.
Fine autograph inscription signed by Julien Gracq to Roger Schir: "...ce petit morceau de littérature discourtoise en m'excusant du peu de ménagements..."
First edition. Text in Russian, one of a sole issue of 15 copies numbered by Ania Staritsky. Our copy is one of 5 on coton écru, followed by ten copies on cotton in various colours.
Produced in collaboration with Claude Nardin, comprising 14 cotton pages stamped with original engravings by Ania Staritsky, in which the text is fully integrated into the composition.
A masterwork of Lettrism, printed entirely on cotton, by the Russian-Belgian artist of Ukrainian origin Ania...
Likely first edition of a theological and juridical work, unrecorded on WorldCat, complete with its woodcut title-page bearing multiple allusions to the Franciscan Order, including the cord and the arms of the Order. The lay members of the Confraternity of the Cord of Saint Francis, to whom the papal indulgences confirmed herein are addressed, were thereby enabled to associate themselves spiritually with the Franciscan Order without taking religious vows. Several preliminary pieces accompany the treatise, attractively embellished throughout with foliate, zoomorphic, and figural headpieces and...
Rare first edition.
Small tears to the slightly sunned spine and to the margins of the covers.
First edition of this lecture delivered before the Russian Workers’ Society in Paris on 15 January 1887.
Minor corner losses to the boards, not affecting the integrity of the copy.
Rare.
First edition, one of the only issue of 35 numbered copies on handmade "Olive" and "Coquillage" papers, our copy one of the 5 hors commerce copies signed and numbered in pencil by Ania Staritsky.
Original engravings by Ania Staritsky ; entirely hand-set by Arlette Albert-Birot after Ania Staritsky’s original design.
The "Olive" and "Coquillage" papers, as well as the cover, were designed by Georges Duchêne.
Our copy is complete with the original collage by Ania Staritsky, signed by the artist.
A rare and very attractive copy housed in its chemise and slipcase in olive-green cloth.
First edition, one of 56 copies numbered on Arches paper, deluxe issue.
A handsome copy complete with its brown full board slipcase.
As stated in the limitation page, our copy is complete with the metallic frontispiece signed by Nicolas Schoffer.
Foreword by Henri Chopin.
First edition of the French translation by Eugène Guillevic, printed in 35 copies numbered and signed in the colophon on japon ancien, ours one of the 10 hors commerce lettered copies.
Presentation copy, signed and inscribed by Hélène Iliazd to Claude Nardin in pencil in the colophon.
A rare copy complete with its folders and guards made of various papers, its folded parchment chemise with a large outward flap, and its blue cloth chemise and slipcase.
This first edition, conceived and produced by Hélène Iliazd and Ania Staritsky in memory of Iliazd, contains an unpublished poem by the Russian poet, with his autograph Russian...
First edition of the French translation and adaptation prepared by Edmond Haraucourt, one of 10 numbered copies on Holland paper, the only deluxe paper issue.
Bradel binding in half tobacco percaline, smooth spine decorated with a gilt floral motif, date and double gilt fillet at foot, hazelnut shagreen title label showing some rubbing, marbled paper boards, wrappers with small marginal losses at corners and spine preserved, contemporary binding.
A few small foxing spots.
Music by Gabriel Fauré.
First edition adorned with illustrations and photographs.
Minor losses without seriousness at the foot of a few leaves.
An attractive and rare copy.
Texts by Jean Jaurès, Walt Whitman among others.
First edition, one of 35 numbered copies on B.F.K. de Rives paper, signed by Michel Seuphor and Ania Staritsky at the limitation page, our copy one of the few hors commerce.
Illustrated with original engravings by Ania Staritsky.
A rare and handsome copy, complete with its chemise and matching brown cloth slipcase.
Our copy, like the first 10 copies, exceptionally contains an original collage signed by Ania Staritsky, a 9-line manuscript text signed by Michel Seuphor, and a suite of all the engravings by Ania Staritsky. This association copy is also inscribed in pencil by Ania Staritsky to her collaborator Claude Nardin who...
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.
Rare first edition. No copies located in U.S. libraries (not listed in WorldCat).
Spine and boards slightly and marginally sunned, without seriousness.
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.
First edition, one of 16 numbered copies on pur fil paper, the deluxe issue.
A very good copy despite a tiny stain on the upper cover beneath the printed title.
First edition which supposedly had an issue of 500 numbered copies. “Gallimard donated the paper required for the production of this book, but only 258 copies could be printed, rather than the 500 announced in the justification” (from a note by Paul Éluard). A slight crease to the covers, slight marginal sunning primarily affecting the rear cover.
Illustrated with 11 photographs of Nusch Éluard by Man Ray and Dora Maar.
Le temps déborde is a collection of eleven poems published...
First edition of the French translation, one of 100 numbered copies on Arches wove paper, the only deluxe paper issue, our copy justified at the colophon by Raymond Mason as an artist’s copy, the sole large-paper issue.
Illustrated work, with an original engraving by Raymond Mason, signed and justified by him as an artist’s copy as frontispiece.
A scarce and pleasing copy.
First edition (cf. Cordier, "Sinica", 1610.)
Publisher’s original full green cloth, smooth spine, marbled endpapers, red-speckled edges, decorations partly faded on spine and covers.
A few pencil annotations, chiefly at the end of the volume.
This is the pocket edition of the "Chinese and English Vocabulary" by George Carter Stent, first published in Shanghai in 1871 (3rd ed. 1898).
A good copy.
Rare collection of pamphlets printed in Toulon or Marseille, notably during the Restoration period, several of which implicate senior military figures of the First Empire.
The first item is: "Ordonnance du Roi, Portant règlement sur les Franchises du Port de Marseille et Suite de l'Ordonnance..." printed in Toulon, by Alx (sic) Curet, (1815), 16 pages, comprising an extract from the Moniteur of 24 February 1815.
Bound in half ivory vellum with corners, smooth spine, manuscript inscription in black ink to spine, blue pasteboards with some surface abrasions, contemporary binding.
Some foxing. A few nicks to the edges.
Bound in continuation:
1)...
Rare first edition, illustrated with 17 folding maps or plates.
Small tears with minor losses to the spine, light marginal spotting to the boards, library classification in blue pencil in the left margin of the upper cover.
Pavel Passalsky (1870-1900) was appointed observer at the Meteorological Observatory of the University of Odessa in 1894, where he devoted himself primarily to magnetic measurements; this posthumous work, prefaced by Boris Weinberg, is the result.
Krivoi Rog, now in Ukraine and known as Kryvyi Rih, has, since Tsarist times, been a major industrial and metallurgical centre in a mining region.
The city extends over some fifty kilometres...
First edition.
No copies recorded in the CCF.
A very rare small guide intended for English travellers in the Kingdom of Naples. It opens with an itinerary from Rome to Naples via the monastery of Monte Cassino.
Some foxing, small losses to the spine which also shows a tear at the foot.
Complete year for 1787, with 50 issues, of this health journal with continuous pagination (pagination error between nos. 48 and 49).
Contemporary half marbled sheep, smooth spine, bronze sheep lettering-piece, rubbing to the spine, domino-patterned paper boards, a few scuffs to the boards, corners worn and small nicks to the edges, red edges, contemporary binding.
The journal, founded in 1773 by Jean-Jacques Gardane, doctor-regent of the Faculty of Medicine of Paris, would run for 17 years, with one volume per year, except for the years 1773-1774.
Jean-Jacques Gardane distinguished himself in the establishment in Paris of treatment houses for the poor and in the...
First edition (cf. Sinkankas 3165. Lorenz X, p. 8.)
Contemporary-style binding in half tobacco calf, smooth spine decorated with gilt and blind fillets as well as blind fleurons, black morocco title label, marbled paper boards, wrappers partially soiled and preserved, modern binding signed Laurenchet.
Some foxing.
Crystallization, the diamond in antiquity, characteristics, composition, origin, attempts at artificial production, deposits (India, Oceania, Brazil, the Cape, various mines), cutting, trade, paragons or principal known diamonds.
Henri Jacobs, born in Antwerp, was a diamond merchant in Paris.
First edition (cf. Mendelssohn I 696; not recorded by Gay.)
Some foxing.
Contemporary half tawny sheep, spine in five compartments with raised bands, bands tooled with gilt dotted rolls and decorated with gilt fillets and fleurons, blue shagreen title-piece, author"s name in green shagreen, marbled paper boards, marbled endpapers, top edge red, period binding.
Auguste Haussmann (Winterzenheim 1815 – Alger-Mustapha 1874), a diplomat, was appointed French consul at the Cape of Good Hope, where he collected traditions still current among the descendants of the French Huguenots who had settled at the Cape after the Revocation of the Edict of Nantes.
Pages 1 to 134...
First edition (cf. Cordier, Sinica, 2558).
Only one copy recorded in the CCF (BnF).
The First Convention of Peking (18 October 1860) was one of those unequal treaties through which the Western powers sought to impose their conception of international law upon China, which remained reluctant to comply with its provisions.
The clauses addressed in this brief memorandum concern, in particular, the full freedom of practice of the various Christian denominations as stipulated in Article 13.
Loss at the foot of the spine, marginal loss at the foot of the upper cover, minor spotting to the covers.
First edition.
Publisher's full blue pebbled cloth binding, smooth spine lettered in gilt to the centre of the upper cover, double blind-ruled frames to covers, some discoloration to covers.
Leaves 2, 8, 12, 14, 16 and 18 have been interleaved.
No copies traced in the CCF or WorldCat. Extremely rare.
Founded in 1864, this Indo-British lodge was affiliated with the Order of Mark Master Masons, established in 1769, a society connected with Freemasonry.
Rare first edition illustrated with a portrait frontispiece and a plate printed on a separate leaf with tissue guard depicting the Taj Mahal.
No copies recorded in the CCF.
Small tears to the unlettered spine, boards slightly soiled.
A very rare small travel guide to the city of the Taj Mahal (now in the state of Uttar Pradesh).
Manuscript bookplate "E. Miroir 8 February 1911" in the upper left corner of the title page.
An unrecorded edition of the first of the nine geographical booklets published by Marc Bonifas, known as Du Carla (1738-1816), between 1779 and 1780.
At the end of the volume, the work is illustrated with a folding plate.
A light dampstain to the upper margins of the final leaves.
Bradel binding in full blue paper-covered boards, smooth spine, date at foot, navy blue sheep title-piece, modern binding.
Ordinary editions bear the Geneva imprint, and the pagination is more extensive.
The author is chiefly known for having been the first to advocate the use of contour lines for the representation of terrain, extending to topography techniques already employed...
First edition, no copy recorded in the CCF.
Modern bradel binding in full burgundy cloth, spine ruled in gilt.
First leaf restored to the right margin with an adhesive repair, some light foxing, dampstain to the upper margin of the opening leaves.
A native of the Briançonnais (Villeneuve-la-Salle), like many booksellers who settled beyond the Alps, Yves Gravier established himself in Genoa in the second half of the eighteenth century, first in partnership with Louis Fantin, and subsequently on his own.
His parents Jean, Thomas and Simon Gravier were likewise active in Italy (Thomas in Rome itself).
In 1839, the firm was placed into liquidation.
...Extremely rare first edition of this work comprising a course intended for students of Arabic at the University of Turin.
No copies recorded in the CCF or the CCI. The title refers to Thomas Van Erpe’s Grammatica arabica [= Erpennio in Italian], published in Leiden in 1613.
Contemporary-style half black cloth over marbled paper boards, smooth spine, unrestamped and restored, bookplate pasted to front pastedown, modern binding.
In 1861, Colonel Luigi Calligaris (1808-1870), who had served from 1833 as an instructor to the beylical army of Tunisia, was permanently recalled to Piedmont and, in recognition of his expertise in Oriental languages, was appointed professor of...
Second edition, partly original as revised and expanded.
No copy recorded in the CCFr.
Publisher's flexible black cloth binding, smooth spine lettered in black at the centre of the upper cover.
Born in Canton itself, James Dyer Ball (1847-1919) was the son of an American missionary; he pursued his secondary education partly in Canton and partly in Great Britain before entering the British civil service in Hong Kong. He was long regarded as the finest European speaker of Cantonese, for which he moreover advocated a romanization system comparable to that used for Vietnamese.
A few minor foxing spots, slight angular losses to the covers.
Complete anonymous manuscript of 23 pages (plus title page and table), from the first half of the 19th century, entitled: Cap de Bonne Espérance. 1er cahier.
Our manuscript is presented in a navy blue half shagreen folder, marbled paper boards, housed in a slipcase edged with navy blue shagreen, marbled paper boards.
An account of a stopover at the Cape, a city under British rule, which, according to the anonymous author, retains many traces of its Dutch past.
Description of the town, its geographical setting, its buildings, churches and houses, whose cleanliness contrasts with the dirt and the smell of meat prevailing in most of the streets.
This...
First edition.
Minor spotting to the boards.
Our copy is preserved in its original wrappers, under plain white provisional covers.
Then French minister to the Court of Saint Petersburg, Louis-Philippe de Ségur (1753-1830) intervened in the constitutional debate that was stirring the National Assembly concerning the attribution of the right to declare peace and war (to the King? to the Assembly?).
First edition illustrated with a folding lithographed plate.
No copy recorded in the CCF.
Minor tears with small losses to the margins of the boards and to the spine.
Autograph inscription, in French, by José Vicente Barbosa do Bocage on the half-title.
José Vicente Barboza (Barbosa) du (do) Bocage (1823–1908), Portuguese statesman and zoologist, served as director of the National Museum of Zoology in Lisbon. He is unrelated to his namesakes, the French geographers of the Barbier du Bocage family.
Bound in, and by the same author: "Noticia acerca da descoberta nas costas de Portugal d'um zoophyto da familia hyalochaetides, Brandt...
First edition, one of 50 numbered copies on Renage vellum, the deluxe issue.
A fine copy.
First edition, one of 13 numbered copies on imperial Japan paper, deluxe issue.
Spine and boards very lightly and marginally sun-toned, without significance.
Rare and pleasing copy, with full margins and uncut.
Illustrated first edition, with a frontispiece portrait of Talleyrand.
A few light spots of foxing, mainly affecting the opening leaves.
Contemporary full caramel polished calf, spine with five raised bands ruled in gilt and decorated with double gilt compartments, author’s name in red morocco, title label in dark blue morocco, gilt date at foot, gilt rolls to the headcaps, covers framed with a double gilt fillet, a few small stains and light scuffs at the upper edges of the boards, marbled endpapers and pastedowns, gilt dentelle border to the turn-ins, double gilt fillets to the edges, gilt top edge. An elegant binding of the period.
A fine, attractively bound...
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, one of 60 numbered copies on Hollande paper, the deluxe issue after 30 copies on Japan paper.
Full red morocco binding, spine slightly toned with five raised bands ruled in black, gilt date at foot, minor unobtrusive rubbing to the bands, gilt rolls to the headcaps, marbled endpapers and pastedowns, gilt dentelle frame and double gilt fillet to the inside covers, original wrappers and spine preserved, gilt stippling to the edges, top edge gilt.
A fine copy, attractively bound.
First edition, one of 200 numbered copies on Japanese vellum, the deluxe issue.
Illustrated with 3 engravings and 1 map.
Brown half shagreen morocco binding with corner pieces; spine with five raised bands ruled in black, gilt date at foot; minor rubbing to the spine; marbled paper sides; marbled endpapers and pastedowns; original wrappers and spine preserved; corners slightly bumped; gilt top edge.
A pleasing copy.
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 13 numbered copies on Imperial Japan paper, from the deluxe issue.
A rare and fine copy.
First edition, one of 110 numbered copies on deluxe paper, our copy unnumbered, the only large-paper issue.
With a photographic portrait of Léon Blum as frontispiece.
Some scattered foxing, notably to the edges and endpapers; minor marginal tears to the covers, without significance.
First edition, one of 40 numbered copies on alfa paper, our copy not specifically numbered, issued as the only deluxe paper copies.
A few small spots of foxing, mainly affecting the edges and the endpapers, which show two small traces of adhesive paper.
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 of the French translation, one of only 34 numbered copies printed on pure vellum paper, the sole deluxe paper issue.
A fine and rare copy.
First edition in book form, issued for the centenary of the birth of Pierre Jean Jouve; one of 33 numbered copies on pure wove vellum, the deluxe issue.
A fine copy.
Rare first edition of the French translation by Judith Gautier, printed on japon-style paper.
Slight restoration work to spine and a corner of the lower cover, wrappers slightly and marginally soiled as usual.
Illustrated throughout with full-page colour woodcuts by Yamamoto.
First edition, printed in small numbers, of this offprint from the “Journal de la Société des Américanistes”. No deluxe issue printed. Skilful restauration to cover.
Rare presentation copy signed by Claude Lévi-Strauss to Simone de Beauvoir: “Cet humble aspect de la malédiction féminine, en amical hommage de Claude Lévi-Strauss” (“this humble aspect of the feminine curse, in friendly homage”) on the upper cover. This fieldwork study of the Nambikwara from Lévi-Strauss’ 1938 ethnographic expedition directly influenced Beauvoir, who...
First edition.
Our copy is preserved in its original plain pink paper waiting wrappers.
Ink annotations to the front cover, a few short tears; internally a clean and agreeable copy.
As it was never ratified, this concordat never came into effect, and France therefore remained under the regime of the Concordat of 1801 until the Law on the Separation of Church and State in 1905.
First public edition of this text written under the pseudonym François la Colère, one of 50 numbered copies on Madagascar paper, the deluxe issue.
Rare and fine copy.
First edition.
Spine and boards slightly and marginally faded.
A rare and pleasing copy.
First edition, limited to 59 numbered copies on Arches vellum, signed in pink pencil by André Masson beneath the limitation statement.
Rare and fine copy.
Illustrated with two original etchings by André Masson, printed full-bleed and issued hors texte.
