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.
Second edition, with a thousand-copy statement.
Spine warped and faded, small tears without consequence to the margins of the covers, a pale dampstain at the foot of the final leaves, occasional foxing.
Rare signed and dated autograph inscription from Joseph Zobel to Madame de Bruycker: "... ce premier reflet de ma province antillaise..."
First edition, one of 50 numbered copies on ivory laid edition paper, the only deluxe-paper copies.
A rare and fine copy.
Signed autograph inscription from Eric Jourdan to a friend named Guy: "... ce livre qui vient de loin presque à des années lumières, mais que j'accepte tel qu'il est. En signe d'amitié de toujours. éric 19 février 1996."
Rare first edition for which no large-paper copies were printed, one of the press copies.
Spine and boards lightly sunned as usual, a few light dampstains to the spine.
Illustrated with 32 photographic plates.
Precious autograph inscription signed by Michel Leiris to Gabrielle Gras, a discreet yet prolific critic for the Revue Europe, close to Surrealist circles and to numerous writers and artists.
First edition, actually printed in Nantes by Malassis despite the Paris imprint on the title-page, as revealed by a manuscript note by Mangourit himself cited by Barbier.
An anonymously published pamphlet, with a typographical vignette on the title-page.
Copy preserved in its original stitched state and therefore without wrappers, with a pencilled manuscript note on the title-page identifying the author.
Our...
First edition in French, one of the ordinary paper copies.
A pleasant copy despite three small stains to the edges.
Signed presentation copy inscribed by Milan Kundera to Jacques Brenner, conveying his best wishes for 1990.
First collected edition, one of 30 copies on alfa paper, this copy unnumbered but duly identified as printed on alfa at the foot of the spine and in the limitation statement, the only deluxe-paper copies.
Albert Camus's foreword appears here for the first time.
A pleasant copy.
Edition published in the same year as the first edition, with edition statements in each volume.
Contemporary half brown shagreen bindings, spines with four raised bands ruled in black and decorated with double black compartments featuring gilt central tools, marbled paper boards, marbled endpapers and pastedowns, speckled edges; corners rubbed.
Occasional foxing, with minor nicks to the top edge of one volume.
A handsome copy, attractively bound at the time.
First edition, printed in 400 copies and dedicated in particular to the memory of the Armenians who were massacred because their industrious people stood in the way of German ambitions.
Spine and covers lightly and marginally sunned, small tears to the inside flaps of the wrappers, two small holes at the foot of the lower cover, unlettered spine.
Inscribed presentation copy, dated and signed by Antoine Poidebard to Vice Admiral Lejay, Grand Officer of the Legion of Honour.
First French edition, one of 75 numbered copies on Arches wove paper, the deluxe issue.
A rare and handsome copy.
This copy is complete with the original silkscreen by Victor Vasarely, numbered and signed in justification by the artist.
First edition, one of 90 numbered copies on pure wove paper, curiously the smallest deluxe paper issue prior to the 109 reimposed in-quarto tellière copies.
A handsome copy.
New edition, with a spurious seventh edition statement.
Contemporary half brown shagreen over marbled boards, spine with four raised bands, ruled in black and decorated with double black panels enclosing gilt central fleurons, marbled endpapers, sprinkled edges.
Minor wear to the edges, lower corners lightly bumped, a small loss to the upper right corner of the title page.
A handsome copy attractively preserved in its contemporary binding.
Edition issued in the year of the first edition, bearing the fanciful statement of "Fourth Edition."
Contemporary half brown shagreen over marbled boards, spine with four raised bands ruled in black and decorated with double black panel compartments featuring gilt floral tools, marbled endpapers, sprinkled edges, contemporary binding.
Three small nicks to the edges.
A handsome copy attractively bound in a contemporary binding.
First French edition, one of 16 copies printed on Imperial Japan paper, our copy unnumbered but correctly justified as "japon" beneath the limitation statement and at the foot of the spine, from the deluxe issue.
A rare and handsome copy.
Edition published in the same year as the first edition, with the spurious statement of "Eleventh Edition" on the title page.
Contemporary half brown shagreen over marbled boards, spine with four raised bands ruled in black and decorated with double black panels featuring central gilt floral tools, marbled endpapers, sprinkled edges.
A few minor spots of foxing.
A handsome copy in an attractive contemporary binding.
Later edition, stated eighth edition.
Contemporary half brown shagreen over marbled paper boards, spine with four raised bands ruled in black and decorated with black double-panel compartments featuring gilt central floral tools, marbled endpapers, speckled edges, contemporary binding.
A few minor spots of foxing.
A handsome copy attractively bound in its contemporary binding.
Edition from the same year as the first edition, of remarkable rarity, bearing a fictitious statement of fifteenth edition, yet featuring correct colophon (1872) at the foot of p. 312: "1124-72".
Binding in brown half sheepskin, spine with four raised bands ruled in black and decorated with double black compartments bearing central gilt fleurons, marbled paper boards, marbled endpapers and pastedowns, speckled edges, contemporary binding.
A few minor foxing spots of no consequence.
A fine copy attractivelyhoused in a contemporary binding, published the same year as the first edition.
First edition, one of 15 numbered copies on pur fil paper, the only deluxe paper issue.
A rare and handsome copy.
Edition limited to 100 numbered copies on laid paper.
Bradel binding in half vellum-style paper boards with corners, smooth spine very lightly toned, black date lettered at foot, blue paper-covered boards with a few small stains, endpapers partially foxed, pasted bookplate.
Original edition of Marcel Schwob's introduction and facsimile reproduction of the Stockholm manuscript.
First edition, one of 85 numbered copies printed on Arches wove paper, this being one of the 15 deluxe copies issued with an additional suite of the 7 original drypoints and 8 rejected drypoints on Auvergne paper, all individually numbered and signed in pencil by Brigitte Simon, from the deluxe issue.
The upper cover lightly and uniformly sunned.
Fine copy, complete with its original grey cloth chemise and slipcase.
Illustrated with 7 original drypoints by Brigitte Simon.
Claude Esteban and Brigitte Simon's handwritten signatures beneath the limitation statement.
Signed autograph inscription from Brigitte Simon to the...
Definitive edition with a foreword by the author, one of 12 numbered hors commerce copies on alfa paper, the only deluxe paper issue.
The first edition of 1935 was not issued on deluxe paper.
A rare and pleasing copy.
Signed autograph inscription from Jacques Debû-Bridel to Monsieur and Madame Claude Gallimard.
First edition, one of 24 numbered copies on pure wove paper, the deluxe issue.
Spine showing two small areas of sunning at the head and foot.
A rare and pleasing copy of this novel set against the backdrop of the French collapse during the Second World War.
First edition, one of 175 numbered copies on alfa paper, being the only large-paper copies after 23 on pure laid and 155 on vellum.
A fine copy despite two small tears at the head and foot of the spine.
Autograph presentation inscription signed by Hervé Bazin to Robert Géry, accompanied by a small drawing of a viper with its forked tongue extended.
First edition, one of 50 numbered copies on velin alfa paper, the only large-paper copies.
Boards with light, marginal tanning; pleasant interior condition.
Autograph presentation inscription signed by François Nourissier to Maurice Marchaux.
Rare first edition. First volume published on 6 May 1867, the second on 27 July and the third the next year (28 January 1868). All of 18° format are first editions of Verne's novels.
Contemporary brown half shagreen bindings, spines with four raised bands ruled in black and decorated with double black panels featuring central gilt floral tools, marbled paper boards, marbled endpapers and pastedowns, two upper corners slightly bumped, speckled edges, contemporary bindings.
A handsome copy attractively housed in its contemporary bindings. In Search of the Castaways is the very first Verne novel to be adapted for the cinema. predating even...
Rare first edition. This first appearance of the text in book form was Jules Verne's preferred format, as Jauzac notes, instead of the more famous gilded publisher's bindings.
Contemporary brown half shagreen binding, spine with four raised bands ruled in black and decorated with double black panel compartments featuring central gilt floral tools, marbled paper-covered boards, marbled endpapers, speckled edges, a few small abrasions to one edge, contemporary binding.
A small black ink stain to the lower right margin of the opening leaves.
A handsome first edition copy attractively housed in a contemporary binding. This founding novel is considered one of, if...
Rare first edition. The first volume dated 4 August 1876, followed by the second volume published on 6 November with Un drame au Mexique bound in. All first editionswere published in 18° format.
Half brown shagreen bindings, spines with four raised bands ruled in black and framed in black with with central gilt fleurons, marbled paper boards, paste-down endpapers and flyleaves of hand-marbled paper, sprinkled edges, contemporary bindings.
A handsome first edition copy of this celebrated Siberian adventure, attractively bound in contemporary bindings.
This first appearance of the text in book form was Jules Verne's preferred format, as Jauzac...
First edition, one of 50 numbered copies on Arches wove paper, the sole deluxe issue.
Spine slightly sunned.
A rare and pleasing copy.
First edition, one of 55 numbered copies on mould-made Arches wove paper, the only deluxe issue.
Rear cover slightly and marginally sunned, very faint offsetting to the head and foot of the endpapers.
First edition, one of 10 numbered copies on Alfama paper, the only deluxe paper issue apart from a few hors commerce copies also printed on Alfama.
Minor, unobtrusive traces of corner creasing to the wrappers.
A rare and pleasing copy.
First edition, one of 47 numbered copies on pure wove paper, the only deluxe issue.
A handsome copy.
Complete set of uncorrected galley proofs dating from August–September 1935, comprising 65 pages on as many leaves numbered in pencil from 1 to 65.
First set of galley proofs for Henri Calet's debut novel La Belle Lurette (Gallimard, October 1935), forwarded to the author by Gallimard in the summer of 1935.
"On 15 June 1935, in a small room on the rue Edgar-Poe, close to the Buttes-Chaumont, Calet completed the writing of his first book, La Belle Lurette, which appeared in November of that same year with Gallimard, with the support of Jean Paulhan. The book met with little commercial success, yet Calet earned the esteem of distinguished...
First edition, one of 35 numbered copies on Ingres d'Arches paper, this being one of 10 hors commerce copies.
Text established, with notes and preface by Jean-Pierre Barril; unpublished texts, letters and documents selected by Léon Aichelbaum and Jean-Pierre Barril.
A very fine copy.
First edition, one of 10 numbered copies on Holland paper, the only deluxe issue.
Contemporary half tawny marbled sheepskin binding, spine slightly sunned with five raised bands and gilt floral tooling, a few rubs to the spine, marbled paper boards, marbled endpapers and pastedowns, wrappers preserved.
Included is a handwritten biographical note concerning the author and the subject of the work.
First edition of the English translation, published in the same year as the first edition (in German). OCLC records only 8 copies in public libraries.
Original sewn wrappers with a pasted vignette to the upper cover, the title in English and Chinese surrounded by representations of chess pieces. Covers with sunned margins, small marginal tears at the spine folds.
Profusely illustrated with 80 in-text examples of chess games, as well as a photograph depicting monks engaged in a game of chess.
An exceptionally rare treatise on Chinese chess, published in Peking in 1937 by the only German-language publishing house in China before the Second World...
Rare first edition.
Small tears at the head and foot of the spine, a few angular losses to the partially soiled covers, foxing.
First edition, one of the ordinary issue, with no deluxe paper copies noted.
Small angular losses at the upper margins of the first leaves, paper occasionally brittle in the margins of certain leaves.
Signed autograph inscription from Rachilde to Léon Frapié.
First edition, one of 250 numbered copies, this being one of 10 numbered in Roman numerals, the deluxe issue.
Illustrated with original black engravings by Ania Staritsky.
A rare and very handsome copy, complete with its original school-style green flexible card chemise, marginally faded.
Manuscript pencil signatures of Michel Butor and Ania Staritsky at the colophon.
As stated in the limitation notice, our copy does indeed contain a manuscript page by Michel Butor and an original signed collage by Ania Staritsky.
First edition, one of 30 numbered copies on featherweight wove paper, the only issue after 15 copies on Lana wove paper.
Illustrated with 2 original engravings by Ania Staritsky, signed by her, together with drawings by Elsabeth Hellens and Léopold Survage.
A handsome copy.
First edition printed in 35 numbered copies on "vieux grès" rag paper from the Moulin de Larroque, this copy one of 10 hors commerce copies.
Illustrated with original color engravings by Ania Staritsky, who also devised the book’s original design with the collaboration of Claude Nardin.
A rare and very handsome copy preserved in its original full grey cloth slipcase.
Manuscript pencil signatures of Michel Butor and Ania Staritsky at the colophon.
Our copy is enriched with a two-page autograph letter, dated and signed, from Ania Staritsky to Claude Nardin concerning the making of this work.
First edition printed in 25 numbered copies on pure rag paper, pulled on Ania Staritsky’s press on the occasion of an exhibition of her works at Larroque.
Illustrated with 7 original engravings numbered and signed in justification by Ania Staritsky who also designed the original layout of the work with the collaboration of Claude Nardin.
A rare and handsome copy complete with the following 7 engravings :
- Magical cockerel
- Fishing of flies
- Fire hamste
-...
First edition, one of 30 numbered copies on Larroque pure rag paper, this copy one of 10 hors commerce copies, from the deluxe issue.
Illustrated with original engravings by Ania Staritsky, who also designed the book’s original maquette with the collaboration of Claude Nardin.
A rare and very handsome copy, complete with its slipcase and chemise in full saffron cloth.
Our copy is enriched with a signed 10-line manuscript poem by Janine Mitaud, an original etching, and a second state of one of Ania Staritsky’s engravings.
Manuscript pencil signatures of Ania Staritsky and Janine Mitaud at the colophon.
A unique copy entirely transcribed by hand by Michel Butor for Claude Nardin; the paper, handmade by Georges Duchêne at the Moulin de Larroque, is on antique 15; the wrapper, made of "grès de larroque" rag paper, is adorned with an impression by Ania Staritsky.
The work is illustrated with original colour engravings by Ania Staritsky, who also devised the original layout of the book with the collaboration of Claude Nardin.
A rare and very fine copy, complete with its brown full moiré cloth slipcase, slightly and marginally faded.
Manuscript pencil signatures of Michel Butor and Ania Staritsky at the colophon.
Our copy is...
First edition, one of 110 numbered copies on alfa paper, the only deluxe paper copies.
Frontispiece with a photographic portrait of Léon Blum.
A pleasant copy.
First edition of the French translation, for which no deluxe paper copies were issued.
A very slight loss to the head of the spine.
A rare and pleasing copy.
First edition of this work devoted to the oeuvre of Ania Staritsky.
Illustrated with an original work by Ania Staritsky on the cover.
A rare and very attractive copy, spine plain and unlettered, boards slightly and marginally sunned, without seriousness.
Copy enriched with an artist’s proof engraving, justified and signed by Ania Staritsky in pencil
First edition, one of 56 numbered copies on B.F.K. de Rives laid paper.
Illustrated with original engravings by Ania Staritsky.
A rare and very fine copy, complete with its slipcase and grey full-cloth chemise.
Pencil signatures of Ania Staritsky and Albert Dasnoy on the colophon.
Autograph inscription signed by Albert Dasnoy to Claude Nardin, enriched with the handwritten signature of Ania Staritsky.
First edition, one of 42 numbered copies on tabac du moulin paper, issued under limon de rocaille wrappers, our copy one of 12 hors commerce copies, the only issue after 15 copies on papier saumon des eaux claires.
Illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the work, with the collaboration of Claude Nardin, here in his first contribution.
Rare and very fine copy preserved in its full burlap chemise and slipcase (spine of the chemise and boards of the slipcase slightly sunned at the margins).
Pencil signatures of Jacques Lemaire and Ania Staritsky on the colophon.
...
First edition, one of 37 numbered copies on Nivôse rag paper.
Illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the work in collaboration with Claude Nardin.
Rare and very attractive copy, preserved in its original old-rose full cloth slipcase (spine slightly faded and two faint stains at the foot of the boards, not serious).
Manuscript pencil signatures of Michel Butor and Ania Staritsky at the colophon.
A unique copy, exceptionally enriched with two original gouaches by Ania Staritsky, both signed, a manuscript text by Michel Butor, an original collage by Ania Staritsky, as well as a...
First edition, printed in 40 numbered copies on hand-made pure rag paper from the Moulin de Larroque, this being one of the 10 hors commerce copies.
The work is illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the volume with the assistance of Claude Nardin.
A rare and very fine copy, complete with its full grey cloth slipcase, slightly discoloured at the edges, and its double chemise.
Manuscript pencil signature by Ania Staritsky at the colophon.
Our copy is further enriched with two original collages by Ania Staritsky, both signed.
First edition, one of 30 numbered copies printed on handmade pure rag paper.
Illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the work with the collaboration of Claude Nardin.
A rare and very fine copy, complete with its chemise and brown cloth slipcase.
Pencil signatures of Philippe Jones and Ania Staritsky at the colophon.
Inscribed by Philippe Jones to Claude Nardin at the colophon.
Our copy is enriched with a five-line autograph manuscript text by Philippe Jones, as well as an original collage by Ania Staritsky, signed by her.
First edition, one of 35 numbered copies printed on "mousse d'épave" paper, ours one of 10 copies hors commerce.
Illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the work in collaboration with Claude Nardin.
Rare and very fine copy, complete with its chemise and slipcase in full grey cloth (spine of the chemise slightly faded).
Manuscript pencil signatures of Jean-Claude Renard and Ania Staritsky at the colophon.
Our copy contains a manuscript text by the poet Jean-Claude Renard as well as an original collage by Ania Staritsky, signed by her.
Fine signed...
First edition, printed in 40 numbered copies on "citronnelle de lin troué" paper, this being one of the copies numbered from 11 to 30 (No. 30).
Illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the work with the assistance of Claude Nardin.
A rare and very fine copy, complete with its chemise and slipcase in full olive green cloth.
Pencil signatures of Jacques Izoard and Ania Staritsky at the colophon.
A unique copy, exceptionally enriched with a manuscript text by the poet Jacques Izoard, an original engraving by Ania Staritsky signed by her, as well as three engravings not retained for...
First edition of the French translation, one of 21 numbered copies on pur fil paper, deluxe issue.
Bradel binding in half blue percaline, smooth spine, floral motif, date and double gilt fillets at the foot, hazel morocco title label with some scuffing, marbled paper boards, covers and spine preserved, top edge gilt, contemporary binding.
The text by Friedrich Sieburg is followed by a letter from Bernard Grasset to the latter.
Fine dated and signed autograph inscription, from London, by Friedrich Sieburg to Monsieur de Fleuriau, then French ambassador in London: "... en le priant de ne voir dans ce livre que l'attrait que la France exerça sur son auteur...
First edition printed in 150 numbered copies on Licorne du Marais paper, our copy being one of a few hors commerce copies, justified and signed by Ania Staritsky at the colophon.
The work is illustrated with 16 colour illustrations, either in the text or full-page, by Ania Staritsky, who also designed the original layout of the volume.
A rare and fine copy, complete with its chemise and slipcase in full raspberry red cloth.
Manuscript pencil signature of Robert Droguet on the half-title.
First edition, one of 10 numbered copies on Arches laid paper, deluxe issue.
A rare and very fine copy.
We include two invitation cards to the private view of the exhibition of works by Ania Staritsky held at Galerie Les Mains libres on 6 November 1975 between 6pm and 8pm.
Pencil signature of Michel Butor at the colophon.
As stated in the limitation page, our copy does indeed contain an original collage by Ania Staritsky, signed by her, as well as a manuscript text by Michel Butor.
Inscribed, dated and signed by Michel Butor to Claude Nardin, who was a collaborator of Ania Staritsky.
First edition, one of 35 numbered copies on "mousse d'épave" paper, this being one of the 10 hors commerce copies.
Illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the work.
A rare and very fine copy, complete with its chemise and slipcase in old-rose full cloth.
Pencil signatures of Philippe Jones and Ania Staritsky on the colophon.
Our copy includes a manuscript text by the poet Jean-Claude Renard, as well as an original collage by Ania Staritsky, signed by her.
Framing his manuscript, an autograph inscription signed by Jean-Claude Renard to Claude Nardin, who...
First edition printed in 30 numbered copies on handmade rag paper, this copy unnumbered.
Illustrated with original colour engravings by Ania Staritsky, who also designed the book’s original layout.
A rare and very fine copy, complete with its chemise and brown cloth slipcase.
Pencil signatures of Philippe Jones and Ania Staritsky at the colophon.
As stated in the limitation page, this copy includes a manuscript text by the poet Philippe Jones as well as an original signed collage by Ania Staritsky.
First edition printed in 35 numbered copies on Antique 15 paper, our copy being one of the 10 hors commerce copies.
The work is illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the book.
A rare and very fine copy, complete with its chemise with flaps, the spine slightly discoloured, and its grey cloth slipcase.
Pencil signatures of Michel Butor and Ania Staritsky on the colophon.
As stated in the limitation, our copy is enriched with a 19-line autograph manuscript by Michel Butor, together with an original drawing and a collage by Ania Staritsky.
The upper cover of...
First edition, one of 45 numbered copies, this being one of the rare hors commerce copies corresponding to the 8 deluxe paper copies on "Tabac du Moulin" vat paper, issued in "Tourbe de Varennes" wrappers.
The work is illustrated with 9 original colour engravings by Ania Staritsky, who also designed the original layout of the book.
A rare and very fine copy, complete with its chemise and slipcase in full saffron cloth.
Pencil signatures of Jean Follain and Ania Staritsky at the colophon.
As stated in the limitation page, our copy indeed includes a manuscript text by the poet Jean Follain as well as an original collage by Ania Staritsky...
First edition, one of 50 copies numbered on alfa paper, the only deluxe paper issue.
Bound in full beige sheepskin, spine ruled in black, gilt date at foot, minor rubbing to the edges of the boards, marbled endpapers, covers and spine preserved, top edge gilt.
Pencil annotations relating to the reading of the work.
Gift inscription by a former member of the José Corti publishing house: "A monsieur Marchaux en témoignage de sympathie ce tout premier livre publié par José Corti."
Above all else Damas's writing theatened conventional society. This pamphlet Retour de Guyane was bought in big numbers by the colonial authorities and burnt.
...First edition, one of 35 numbered copies on pur fil, most limited issue. In addition, 25 hors-commerce copies on vélin labeur.
A fine and rare copy.
First edition, one of 25 numbered copies on pur fil, the only deluxe copies.
A rare and fine copy.
"A thunderclap of a title, a bitter draught that rings out like "Blue Note" in jazz, like "Cuba libre" among Caribbean cocktails. Damas, the stammerer, sings of solitude, the fear of being abandoned by the woman he loves and waits for, the sorrow and cowardice of "whitening," as do the jazz musicians he venerates" (Kathleen Gyssels)
First edition, one of 50 numbered copies on alfa paper, the only copies issued on deluxe paper.
A rare and handsome copy.
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, the only copies issued on deluxe paper.
A rare and attractive copy.
First complete edition of the French translation.
Contemporary red half morocco, spine with four raised bands tooled with gilt dotted rules and decorated with double gilt compartments filled with a semé of gilt stars, minor rubbing to spine, marbled paper boards, marbled endpapers and pastedowns, 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. 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.
