Gift Ideas – Inscribed Copies

First edition of which there were no grand papier (deluxe) copies, an advance (service de presse) copy.
Bradel binding, spine slightly faded with a small spot to head, small stains on the covers, covers and spine preserved,
Contemporary binding signed by M.P. Trémois.
Exceptional and handsome autograph inscription signed by André Breton to Man Ray: “à Man Ray, dans la lumière qu'il a recréée, de tout cœur. André Breton” (“To Man Ray, in the light that he recreated, with all my heart. André Breton”)

First edition, printed in 1,500 copies on bouffant paper.

Includes numerous contributions by Marcel Béalu, Pierre Béarn, Blaise Cendrars, Jean Follain, Paul Fort, Max Jacob, Pierre Jean Jouve, Pierre Mac Orlan, Michel Manoll, Pierre Reverdy, André Salmon, Jules Supervielle...

A minor tear without consequence at the foot of the spine, which shows light sunning.

A fine and moving signed autograph inscription from Dominique de Roux, founder of the Cahiers de l'Herne, to his brother Xavier: "Pour Xavier qui est à l'origine de [L'Herne] ce premier cahier dont le second verra son nom au comité en témoignage de mon affection reconnaissante son vieux et fidèle Dominique. 8 Mai 1961."

First edition, of which no copies were issued on deluxe paper.

Publisher’s binding in full black cloth, smooth spine, a fine copy complete with its illustrated dust jacket.

Illustrations.

Inscribed and signed by Pierre Jakez Hélias to friends named Fanny and André.

First edition, on ordinary paper, of the French translation.
A small tear restored at the foot of the spine, a pleasing copy.
Letter-preface by Jean Cocteau, preface by Somerset Maugham.
Illustrated cover with a portrait of the Aga Khan by Kees Van Dongen, with iconography.

Rare and precious signed autograph presentation from the Aga Khan to Madame Avrillier.

 

First edition, one of the review copies.

Some light foxing to the spine and along the edges of the covers, a pleasing copy given the poor quality of the paper.

Inscribed by Raymond Queneau to Dominique Aury.

First edition on ordinary paper with the correct colophon dated 22 June 1999.

Pleasant copy despite two light spots on the right margin of the lower cover.

Inscribed and signed by Jean Echenoz to Jean-Pierre Métais.

First edition on ordinary paper.

A moving and appealing copy.

Fine signed autograph presentation inscription from Dominique de Roux to his brother: "Pour mon cher Xavier père et maître des circonvolutions de ce récit. Et sans qui la vie n'aurait aucun sens. Affection fraternelle. Dominique."

First edition on ordinary paper.

Small pale dampstains on the spine.

Inscribed, signed and dated by Maurice Genevoix to Nicole and Philippe Derez.

First edition, for which there was not printed any grand papier (deluxe) copies.
Publisher's binding in full grey cloth.
Illustrations.

Copy complete of its dust jacket illustrated by Jimmy Ernst, the dust jacket being in a poor state with several tears and corners missing.

Very precious handwritten dedication signed by Harriet Janis to Boris Vian: “To Boris Vian with Paris greetings for Rudi Blesh & myself, Harriet Janis. May 1953.”

First collected edition of which there were no grand papier (deluxe) copies, an advance (service de presse) copy.
A nice copy despite a tiny tear to foot of upper cover.
Rare autograph inscription signed by Robert Desnos to Pierre Berger: " ces feuilles déjà bien vieilles..."

First edition, a numbered copy on alfa du Marais paper, this one not included in the justification.
Handsome autograph inscription signed and dated by Aimé Césaire to Raymond Queneau: “Très sympathique hommage de ces bucoliques de sang et de soleil... [a very affectionate homage of these bucolics of blood and sunshine...]”
Covers and spine slightly sunned at edges (but not seriously).

First edition, one of 85 numbered copies on pur fil paper, this one of 10 hors commerce lettered copies, the tirage de tête.
This copy is lettered “f”, specially printed for Raymond Queneau.
Handsome autograph inscription signed and dated by Youki Desnos to Raymond and Janine Queneau : "... La rue Lacretelle - le gras double du petit déjeûner...[…Rue Lacretelle – the double pleasures of breakfast…]", also with an inscription by René Bertelé : "... avec l'hommage bien amical du copiste...[with the copyist's best wishes]."
A very good copy.

Rare first edition.

A pleasing copy.
Contemporary full black cloth, spine gilt-stamped with a floral tool, double gilt fillet at foot of spine, red shagreen lettering-piece, blue paper endpapers and pastedowns, sprinkled edges, slightly frayed corners, contemporary binding.
Very rare signed and inscribed copy by Georges Gilles de la Tourette: "A mon cher confrère et ami le Dr Diamantberger. Gilles de La Tourette."

Dr. Mayer Saül Diamantberger was assistant physician at the Rothschild Hospital in the 1890s and regarded as one of the pioneers of rheumatology in France.  

One of the very few copies bearing an autograph inscription—fewer than ten are recorded—of this first edition, containing the Marseillaise.
First edition illustrated with an engraved frontispiece by Charles-Étienne Gaucher after Jean-Jacques Le Barbier and four pages of engraved musical score at the end of the volume. La Marseillaise appears here in its true first edition, having first been pre-published in the Almanach des Muses in 1793 and circulated as separate leaves.
Contemporary half-sheepskin binding, smooth spine gilt-decorated with compartments, fleurons and fillets, red morocco title-piece, black pasteboard sides. Several manuscript and pasted ex-libris on the pastedown and endpapers. Spine restored, some foxing. The last two letters of the dedicatee’s name have been trimmed in the binding.
The work is enriched on the half-title with an exceptional autograph presentation by Rouget de L’Isle to a fellow artist of the Revolution: “M de La Chabeaussiè[re] / de la part de l'auteur.”
Rouget de Lisle and Poisson de la Chabeaussière, the recipient of the dedication, both embodied the revolutionary fervour and left their mark on the republican history of France through their writings.
La Marseillaise is presented here alongside other poems and songs. This first edition delivers the celebrated anthem in its original form: six quatrains, as written by Captain Rouget de L’Isle for the Army of the Rhine in April 1792, and proclaimed the national anthem in 1795 by the decree of 26 Messidor Year III.
As lyricists and men of letters, Rouget de L’Isle and La Chabeaussière were zealous servants of the Revolution but also victims of its excesses. At the time of this inscription, in Year V of the Republic, the two men were at the height of their glory: one as the author of the national anthem that thrilled revolutionary France, the other as the writer of the most widely disseminated republican catechism of the Revolution. Indeed, La Chabeaussière composed another major work of revolutionary heritage: a Catéchisme républicain, philosophique et moral, reprinted eighty-two times up to the Third Republic, which earned him a seat on the Commission exécutive de l’instruction publique. Like Rouget de L’Isle, he also achieved success as a lyricist and librettist, notably for the comic operas of Nicolas Delayrac. The history of La Marseillaise from its creation is interwoven with that of La Chabeaussière and of the composer Delayrac, whose heroic drama Sargines ou l’Élève de l’amour presents striking similarities with the anthem.
Neither La Chabeaussière nor Rouget de L’Isle, despite the fame of the Marseillaise, escaped the terrors of the Revolution. Declared “suspects,” they were both imprisoned in 1793, respectively at the prisons of the Madelonettes and of Saint-Germain-en-Laye. After these dark hours, they resumed a more peaceful existence and continued to collaborate actively with the Almanach des Muses, which first published La Marseillaise in volume form.
Upon La Chabeaussière’s death in 1820, the copy embarked on a most romantic history. It still bears the inscription of its second owner, Édouard Gendron: “Ce livre a été acheté en 1821 – à un carrefour près la place de l’école de médecine, parmi un tas de ferraille.”
First publication by its composer of the most celebrated symbol of the French Republic: La Marseillaise. Its precious presentation brings together revolutionary poets whose intertwined destinies left an indelible mark on the history of France.

Edition of wich no leading copies exists.
Binding of the editor in full black fabric.
Iconography.
Slips slightly warped in margins, the book that had stayed in a damp place previously, otherwise nice copy.

Rare autograph signed Kenzo Takada Gilles Brochard.

Press clipping illustrated with a photograph depicting Josephine Baker on stage.

Horizontal central fold, minor tears of no consequence along the right margin of the clipping.

Inscribed and signed by Josephine Baker in black felt-tip pen a few months before her passing: "A Claude Armand ami de Jospéhine Baker 1975".

First edition printed in 51 copies numbered and initialled by the author on Whatman.
Playful and striking signed presentation inscription from Jean Ajalbert to Henry Fèvre: "... ex-écrevisse de rempart, ces vers de l'auteur des bastions..."
Illustrated with an original lithograph by Paul Signac as frontispiece.
Minor spots on the lower cover, a rare and handsome copy.

First edition, with no mention of deluxe paper copies.
Precious signed autograph inscription from Octave Mirbeau to his friend Jules Renard.
Blue pencil mark by Jules Renard on the front cover.
Our copy is further enriched with Jules Renard's celebrated ex-libris, designed and engraved by Henri de Toulouse-Lautrec.

First edition of the French translation. No grands papiers (deluxe copies) were printed.
Some loss of plastic film on the spine, two light damp-stains on the upper and lower edges.
Signed and dated by Andy Warhol with an original drawing on three pages: verso of the first cover, endpaper and title page.

Second edition, first for some parts, one of 100 copies on vergé blanc paper.
Contemporary Bradel half dark-green cloth over marbled paper boards, the spine with gilt fleuron, date and double gilt fillets at foot, upper corners rubbed, covers preserved.

An attractive copy in a pleasant binding.
Handsome autograph inscription from Paul Verlaine to Alice Densmore.

First edition for which no grand papier (deluxe) copies were printed.
Small marginal pieces missing at the top of the first board, a clear remnant of adhesive paper at the bottom of the first endpaper.
Copy complete with the facsimile at the end of the volume.

Precious handwritten inscription signed by Gabriele d'Annunzio to Natalie Clifford Barney: « à miss Barney et au Temple de l'Amitié attentive, cette légère torpille ‘sine litteris' est offerte par la ‘tête d'ivoire'. Gabriele d'Annunzio » (“To Miss Barney and the attentive Temple of Friendship, this light ‘sine litteris' torpedo is offered by the ‘ivory head'. Gabriele d'Annunzio”

Very beautiful testimony to the friendship between Gabriele d'Annunzio and Natalie Clifford Barney, who probably met through the painter Romaine Brooks, temporary lover of the “ivory head” but also of the Amazon for more than fifty years.
In 1909, Natalie Clifford Barney acquired the Temple of Friendship at 20 Rue Jacob and set up her literary salon, which would be held every Friday and would welcome the greatest literary and artistic personalities of the time: Salomon Reinach, Auguste Rodin, Rainer Maria Rilke, Colette, James Joyce, Paul Valéry, Pierre Louÿs, Anatole France, Robert de Montesquiou, Gertrude Stein, Somerset Maugham, T. S. Eliot, Jean Cocteau, Max Jacob, André Gide, Nancy Cunard, Peggy Guggenheim, Marie Laurencin, Paul Claudel, Adrienne Monnier, Sylvia Beach, Scott and Zelda Fitzgerald, Truman Capote, Françoise Sagan, Marguerite Yourcenar... and, of course, Gabriele d'Annunzio whom she greatly admired.
She paid tribute to him by devoting a chapter of her Aventures de l'esprit (1929) to him: “D'Annunzio, a precious little old ivory object, works with the constancy of a monk who watches over his God.”

New edition.
Contemporary binding in half green shagreen, spine in four compartments set with gilt stippling, gilt fillets and gilt fleurons in the corner pieces, multiple blind tooled frames on the boards, white iridescent paper endpapers, all edges gilt.
Some leaves shorter in the bottom margin.

Handwritten inscription signed by George Sand on the first endpaper: “à mon bon ami Edmond Plauchut. G. Sand".

Today the only outsider to the family buried in the cemetery of the Nohant house, is Lucien-Joseph-Edmond Plau
chut (1824-1909) who began an epistolary relationship with George Sand in the autumn of 1848 when he was a voluntary expatriate after the fall of the Republic. Leaving for Singapore, he was shipwrecked off the coast of the Cape Verde Islands and was able to save only one cassette containing Sand's letters that he had preciously bound. These missives were his salvation: they allowed him to be collected, fed and laundered by a rich Portuguese admirer of the Lady of Nohant, Francisco Cardozzo de Mello.

After several journeys toward the Far East, and several exotic presents sent to his distant and yet so close friend, Plauchut finally met George Sand in
1861. In 1870, she paid a vibrant tribute to him in the preface of her novel Malgrétout.

Despite everything, she recounts the shipwreck of which he was a victim and expresses with emotion her friendship for this courageous friend. Plauchut, much loved by the Sand family – and particularly George's granddaughters who nicknamed him Uncle Plauchemar – was an integral part until his death in January 1909.

The handwritten signed inscriptions on La Mare au Diable are very rare, this one is from a superb provenance.

First edition, of which no copies on deluxe paper were issued.

Spine slightly faded as usual.
Precious signed presentation inscription from Eugène Ionesco to Raymond Queneau: "Pour Raymond Queneau, le Satrape, avec mon admiration affectueuse (et que tant je voudrais revoir plus que de temps à autre). Eugène Ionesco."

First edition with 46 illustrations by Harry Furniss.
Publisher's binding over flexible paper boards, discreet and light repairs on the
joints, all edges gilt.
Autograph inscription dated and signed by Lewis Carroll to Mrs Cole.

Rare first edition.

Small tears and corner losses to the spine and boards.

Signed autograph inscription from Joseph Louis Trouessart to Sainte-Beuve on the half-title.

Rare first edition.

Spine and boards slightly sunned along the margins.

Dated and signed autograph inscription from C. Martin Saint-Léon to Baron Hulot, Secretary General of the Société de Géographie, on the front free endpaper.

The character and spirit of the Vietnamese as seen from a French perspective.

First edition of the French translation, for which no deluxe copies were issued.
Precious autograph presentation inscription signed by Italo Calvino to his friend, the Argentine photographer José María “Pepe” Fernández.
Our copy is further enriched with an original photograph by Pepe Fernández depicting Italo Calvino leaning on a stack of books.
Signed by the photographer at the foot of the image, with handwritten notes and Pepe Fernández’s stamp on the verso.
Double autograph signature of Pepe Fernández on the front endpaper and the title page as presentation inscriptions, spine faded.

First edition on ordinary paper.

Some scattered foxing.
Bradel binding in full combed paper, smooth spine, navy morocco lettering-piece framed with gilt fillets, elegant pastiche binding signed by Thomas Boichot.
Rare and precious autograph inscription signed by Hector Malot: "A Guy de Maupassant, son dévoué confrère."

First edition on ordinary paper, with no mention of large paper copies.

Occasional light spotting, a small angular lack to half-title.
Elegant pastiche marbled paper Bradel binding by Thomas Boichot, brown morocco title label, covers preserved.
Handsome autograph inscription signed by the author: "A Guy de Maupassant, son ami [For Guy de Maupassant, his friend]."

First edition on ordinary paper.

A small nick on the spine, slightly split at the foot.
Precious signed autograph inscription from Jean Giraudoux to André Gide: "... avec gratitude..."

First edition, one of 100 numbered copies on alfa, the only grands papiers (deluxe copies) after 5 pur-fil paper.

Bound in half green morocco, paste paper boards, marbled paper endpapers, wrappers and spine preserved, top edge gilt, contemporary binding signed Lucie Weill.
Skilful and discreet repair to the top of a joint.
Illustrated with 6 vignettes by André Derain.

Handsome inscription signed by Antonin Artaud: “à Alice & à Carlo Rim que j'aime beaucoup parce que j'aime dans la vie tout ce qui est nature, franc et sans fard et la vie d'Héliogabale aussi est franche et sans fard et dans la ligne de la grande Nature. Antonin Artaud leur ami.” (“To Alice & Carlo Rim whom I love very much because I love in life all that is nature, frank and unvarnished and the life of Elagabalus is also frank and unvarnished and in line with the great Nature. Antonin Artaud their friend.”)

First edition, one of the review copies.

Spine slightly sunned, minor marginal spots on the front cover.
Precious autograph inscription signed by Maurice de Vlaminck to his Montmartre friend Pierre Mac Orlan: "... son vieux copain..."

First edition on ordinary paper.
A vertical shadow along the entire length of the lower cover, otherwise a very good copy.
Illustrated wrapper with a drawing by Claude Cahun.
Precious signed autograph inscription from the author Georges Ribemont-Dessaignes to André Breton: "... au grand chanteur / à la sirène / au ........ hélas".

First edition on ordinary paper, despite a false statement of third edition.
Handsome autohgraph inscription from Marcel Proust to René Boylesve.
This copy has a chemise and slipcase (with flaps) of half kaki morocco over marbled paper boards, spine very slighlty faded with bibliophilical gilt inscriptions to the foot, lined with liht green paper.
One very pale angular dampstain Mouillure angulaire très pâleto the first leaves.
Provenance : Heilbronn's library, with his ex libris.

René Boylesve découvre l'œuvre de Marcel Proust en 1913, à l'occasion de la parution du premier volume de la Recherche. D'abord dérouté par l'écriture proustienne, il se montre bientôt dithyrambique : « Notre œuvre, à nous, est ruinée par celle-là. Nous avons travaillé en vain. Proust supprime la littérature des cinquante dernières années. » (cité par GERARD-GAILLY Émile, « Note liminaire », dans BOYLESVE René, PROUST Marcel, Quelques échanges et témoignages, 1931, p. 24). Quant à Proust, l'admiration à l'égard de son aîné évoquée dans notre envoi n'est pas feinte ; ainsi quelques mois avant sa mort louait-il les romans de Boylesve, célébrant non seulement un « art en apparence si simple et qui dit tout » mais aussi « un perfectionnement suprême de technique » (PROUST Marcel, Correspondance, t.XX et XXI, 1991, p. 332 et 778).
Les deux hommes n'étaient pas proches mais correspondirent à partir de 1917. En faisant parvenir à Boylesve un exemplaire de ses Pastiches et mélanges, Proust dut le ravir : quand il n'écrivait pas, Boylesve était bibliophile. Ainsi, à propos d'un autre de ses ouvrages, Proust eut cette délicate attention : « J'avais une hésitation en ce qui concerne votre exemplaire. D'habitude, ceux qui sont tirés pour moi sans marque d'édition, sont un peu mieux que les "originales". Cette fois-ci, le "mieux" ne m'apparaît pas ; et comme je suis incapable de distinguer le "pur fil" du reste, je ne sais pas, des deux sortes d'exemplaires, ce qui est préférable. [...] Vous seriez mille fois gentil de me dire ce que vous voulez. C'est parce que je vous sais bibliophile que vous écris à propos d'un livre de moi, chose de peu d'importance [...]. » (PROUST Marcel, op. cit., t.XXII, p. 156-157)

First edition printed on alfa paper.

A small tear at the foot of one joint discreetly restored, a pleasant copy.
Precious autograph inscription signed by Philippe Soupault to René Crevel in pencil.

Edition from the year of the original, stating 78th thousand.
Copy complete with its wraparound band announcing the award of the 1965 Prix Renaudot.
A minute tear without consequence at the foot of one joint.

Autograph inscription signed by Georges Perec to Jean Berthou and his wife.

First edition, one of 500 numbered copies on Featherweight, the only deluxe issue.
Small loss and foxing to the headcap and upper edge, a crease and minor tears to the front cover, endpapers slightly toned without consequence.
Exceptional signed autograph presentation from Benjamin Fondane: « A Jacques Prévert cordialement. B. Fondane. Paris / 3 / 33. »

First edition on ordinary paper, issued after the destruction of the 1923 printing following a dispute between Tzara and the publisher.
Double autograph inscription, signed and dated by Tristan Tzara, first to Paul Éluard – « à Paul Éluard. Tristan Tzara. Juillet 1929 » – then, after striking through this initial dedication, to René Char in September 1934: « à René Char avec toute l'amitié grande de Tristan Tzara ». This second inscription is further embellished with a small drawing by Tzara, a hand pointing with its index finger to Char’s name.

First edition, one of 100 numbered copies on vellum, ours unnumbered, the only deluxe papers after 15 copies on Japon.
Illustrated with a frontispiece drawing by Salvador Dalí.
Precious signed autograph presentation from Paul Eluard to René Char : « Exemplaire de mon ami René Char. Paul Eluard. »

First collective edition, for which no deluxe paper copies were issued, one of the press service copies.
Preface by Louis Aragon.
Precious autograph inscription signed by Louis Aragon to his friend Charles Dobzynski, whose wedding witness he was, along with Elsa Triolet: "A Dob, Louis."

 

First edition, consisting of the facsimile of the author’s autograph manuscript.
Publisher’s binding in full white boards, smooth spine, covers illustrated with drawings by Oscar Niemeyer.
A handsome copy, complete with its illustrated dust jacket showing very minor tears and insignificant losses.
Work illustrated with drawings by Oscar Niemeyer.
Rare presentation copy, dated and signed by Oscar Niemeyer to Georges and Alice (Raillard).
Georges Raillard was an art critic and a close friend of Antoni Tàpies and Joan Miró; his wife Alice translated into French the leading Brazilian authors of the second half of the 20th century, such as Jorge Amado.
 

First edition.
Publisher’s full white boards, smooth spine.
A fine copy, complete with its illustrated dust jacket bearing very minor, inconsequential tears.
Illustrated with drawings by Oscar Niemeyer.
Rare signed presentation inscription from Oscar Niemeyer to Henri (Raillard).
 

First edition on ordinary paper.

Paper slightly toned as usual, with a few insignificant spots on the edges.

Amusing and fine signed autograph presentation inscription from René Fallet to his friend Jean-Jacques Vaure; "Pour J.J. Vaure chantre mou d'Argenteuil 13 amicalemebt. René Fallet 16/11/51. Note de l'auteur : celui qui acceptera qu'on lui prête ce livre est un salaud. Pas tant que Vaure, mais presque."

First edition, one of 20 deluxe copies on Holland paper, the only large-paper issue, reimposed in octavo format (the ordinary edition being in duodecimo).

Cf. Vicaire III, 305-306. Carteret I, 222.

Contemporary full stiff ivory vellum, smooth spine, marbled endpapers and pastedowns.

Fine copy.

Bibliographers mention 25 copies, which seems difficult to account for, as the limitation is clearly stated on the verso of the half-title. This procedure was customary for the author (Les Six aventures, 1857, was issued in the same dual printing).

Precious presentation copy inscribed and signed by Maxime Du Camp to the celebrated critic Jules Janin (1804–1874), who later affixed his engraved bookplate to the front endpapers.

Second edition only one month after the first edition.
Spine lightly wrinkled, small signs of folding in the margins of the boards, a light mark on the second board.

Claude Couffon, a French specialist and translator of the major Spanish-speaking writers of the second half of the 20th century, translated Chronicle of a Death Foretold a few years later.
On the last page, below the colophon, Gabriel García Márquez specified an address in Barcelona, that of his famous literary agent for Spain: “c/o Agencia Carmen Ballcells Urgel 241, Barcelona, 11.”

Rightly considered as one of the most important works op the Spanish language, the novel by García Márquez, however, had difficult beginnings after a first refusal by the avant-garde Barcelona publisher Seix Barral: “This novel will not be successful [...], this novel is useless.”
García Márquez sent it from Mexico to the Argentinian publisher Francisco Porrúa who immediately perceived the power of this unknown Colombian writer: “It wasn't a question of getting to the end to find out if the novel could be published. The publication was already decided from the first line, in the first paragraph. I simply understood what any sensible publisher would have understood: that it was an exceptional work.”
Finished printing in May 1967, Cien Años de Soledad appeared in bookshops in June with 8,000 copies selling out in a few days. The second print on 30 June will have the same success, as will the editions that follow week after week. More than half a million copies were sold in three years.

Several copies were later inscribed by Gabriel García Márquez who over the years has become one of the most famous South American writers, translated into 25 languages. However, contemporary autograph inscriptions on the first prints are extremely rare, even more so to one of his French translators who will contribute largely to his international renown.

First edition.
Half beige cloth Bradel binding, flat spine, date at foot, black shagreen title-piece skillfully restored, marbled paper boards, contemporary binding.
Inscribed by Guy de Maupassant to his friend the writer Catulle Mendès.
A fine copy, attractively bound.
Provenance: from the library of Arthur Christian with his bookplates on the front pastedown.