Some Deluxe Paper Editions

First edition, one of 70 numbered copies on pur fil paper, the deluxe issue after 2 reimposed on pur fil vergé hors commerce reserved for Jacques Hébertot and 13 on holland paper.
A handsome and rare copy of this response by Albert Camus to Jean-Paul Sartre's "Les mains sales".

First edition, one of 41 numbered copies on Holland paper, the deluxe issue.
Bound in full jansenist dark green morocco, smooth spine very lightly sunned, grey suede endpapers and pastedowns, original wrappers and spine preserved, all edges gilt, housed in a slipcase trimmed with dark green morocco, paper-covered boards with a wood-grain effect, grey paper lining; a superb full morocco binding signed by A. Bourdet.
A pleasant copy, finely bound and preserved.
Provenance: from the library of the distinguished bibliophile François Ragazzoni, with his bookplate mounted on an endpaper.

First edition, one of 41 numbered copies on Hollande paper, deluxe issue.

Binding in half black morocco-grained shagreen with bands, smooth spine, gilt date at tail, gilt fillet frame on mouse-grey paper boards, guards and pastedowns of black paper, original wrappers and spine preserved, top edge gilt, others uncut, full black morocco-grained shagreen slipcase with black paper interior, binding signed Montécot.

A fine copy.

First edition illustrated with 48 color lithographs by the author, one of a few named copies on japon reserved for the principal collaborators of the publication, ours specially printed for the celebrated bibliophile Colonel Sickles, deluxe issue.

This copy is complete, as stipulated in the justification, with the duplicate set of lithographs in black and in color.

The work is also illustrated with 40 decorated initials designed by the prestigious bookbinder Paul Bonet.

This is Maurice de Vlaminck's most important illustrated book, which took him nearly ten years to complete.

A fine copy, complete with its slipcase and box.

First edition, one of 35 numbered copies on Holland paper, deluxe copy.
Minor worming to spine without significance.
Rare and handsome copy.

First edition, one of 796 numbered copies on pur fil paper, the only grands papiers (deluxe copies) after 109 reimposed.
Full green board Bradel binding, title piece in glazed yellow calf, covers and spine preserved, contemporary binding.
Presentation copy inscribed by André Breton: “à Edmond Jaloux, hommage très dévoué. André Breton” “To Edmond Jaloux, a very devoted tribute. André Breton”.
Edmond Jaloux, who was one of the earliest promoters of surrealism, wrote at the release of this atypical novel and misunderstood by most of his contemporaries, the most laudatory article of the time, concluding with this admiring admission of the impotence of criticism in the face of the modernity of Breton's work; “this examination, I can sense it, remains outside the book and in no ways gives you the feeling of intense poetry, of great, free and true poetry which absolves Nadja and which affects your mind [...] like an extremely intoxicating alcohol, with this difference that no alcohol gives you dreams that stimulate the moving prose of Monsieur André Breton.”
Precious grand papier (deluxe) copy with a handwritten inscription from the author and filled with the original article by Edmond Jaloux pasted on two loose double leaves.

Second edition, printed in a small number of copies on Hollande laid paper.

3/4 red morocco, five raised bands-spine,  gilt date at foot. Slight, superficial fading to spine, marbled paperboards, pebbled flyleaves and pastedowns, original covers and spine preserved, top edge gilt, A finely executed, unsigned binding from the late 19th to early 20th century.

Provenance: from the library of Simone and André Maurois, with their engraved bookplate on front pastedown.

Signed and inscribed copy by Paul Verlaine to the opera singer Marie-Blanche Vasnier : "A Madame Vasnier, hommage respectueux. P. Verlaine." [To Madame Vasnier, with respectful homage. P. Verlaine']

Marie-Blanche Vasnier was the muse of the young Claude Debussy, fourteen years her junior, to whom he dedicated numerous songs of love.

First edition, one of 50 copies printed anonymously on papier japon.
First edition, one of 50 copies printed anonymously on papier japon.
Illustrated with an erotic frontispiece by Félicien Rops on chine.
Custom chemise and slipcase in half morocco and paper boards signed Boichot, some discreet restorations to the spine and covers, some discreet restorations to the top margin of the frontispiece, not affecting the engraving.
“La Présidente”, honorary nickname given to Apollonie Sabatier (alias Aglaëe Savatier, her real name), was one of the most captivating Salon hostesses of the 19th century. She inspired an ethereal love in Baudelaire who composed his most mystical poems in Les Fleurs du Mal in her honor. The other artists who frequented the apartment on Rue Frochot, during her famous Sunday dinners, had more licentious feelings for this woman of surprising wit and beauty. The sculptor Clésinger portrayed her in his lascivious “woman stung by a snake”; Flaubert wrote sensual letters to her ending with “the very sincere affection of one who, alas, only kisses your hand”; she has long since been recognized as the model for Gustave Courbet's scandalous The Origin of the World.
Gautier sent her this letter in 1850. Sabatier made copies which she never published but privately distributed to her guests:
“In October 1850, Gautier sent her [this] very long letter, farcical and obscene, from Rome, commenting with Rabelaisian exaggeration what himself and his friend Cormenin had learned regarding sexuality during their travels. Gautier knew that his freedom of expression would not offend Madame Sabatier. He had long since accustomed her to it and he prided himself on his “smut” to brighten up the friendly social gatherings of the Rue Frochot.” (Dictionnaire des œuvres érotiques)
Honored indeed by this priapic attention, ‘La Présidente' gave copies to all her guests and the reading of Gautier's “indecent prose” became a popular event at Parisian soirées. However, the letter was ultimately published – luxuriously but confidentially – after the recipient's death in 1890.
After this first edition of 50 copies on papier japon, a second edition on papier vélin followed a few months later with a larger print run and without the Rops frontispiece.
A rare, beautiful and very sought after copy.

First edition, one of 90 numbered copies on laid Arches paper, the only deluxe copies (grand papier) after 10 Montval.

Beautiful copy.

First edition, one of 60 numbered copies on vergé d'Arches paper, deluxe copies ("tirage de tê").
Bound in brown half morocco, covers and spine preserved, top edge gilt, binding signed by Thomas Boichot.
Nice copy.

First edition of Cendrars's second book, printed in 150 copies on handmade Hollande paper and offered to subscribers.

According to Sonia Delaunay, Séquences, Pâques à New York and theTranssibérien were published at the author's expense, thanks to a small inheritance. The address given - Éditions Hommes nouveaux - 4, rue de Savoie, was in fact the small attic room that Blaise Cendrars occupied at that time.

A precious copy of Blaise Cendrars's early poems, exceptionally rare and in remarkable condition.

First edition, one of 30 numbered copies on pur fil paper, this copy one of 10 hors commerce, the only grand papier (deluxe) copies.
A nice copy despite the very slightly sunned spine.
Autograph inscription dated and signed by Marguerite Yourcenar to Maurice Bourdel, director of publishing house Plon, and his wife : "... cette Electre perdue dans "un monde où l'ordre n'est pas"