Some Deluxe Paper Editions

First edition, one of 33 numbered copies on white Rivoli wove paper, the only deluxe issue.

Our copy is complete with the accompanying CD featuring excerpts from Huit quartiers de roture, radio broadcasts adapted from the work and aired on the Programme parisien in 1952.

The wrapper is illustrated with the reproduction of two postcards depicting the 19th and 20th arrondissements by Joseph Porphyre Pinchon, creator of Bécassine, taken from the series entitled "Les arrondissements de Paris illustrés en 20 cartes postales."

We are also including with our copy the complete set of 20 postcards, lacking only the original protective sleeve.

A handsome...

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Text established, with notes and preface by Jean-Pierre Barril; unpublished texts, letters and documents selected by Léon Aichelbaum and Jean-Pierre Barril.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, one of 60 numbered copies on mustard popset paper, the deluxe issue.
Illustrated with drawings by René Magritte.
A very good copy.
Our copy is complete with the additional suite of letters and drawings by René Magritte issued with the deluxe copies.

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 the copies specially printed on Corvol l'Orgueilleux paper for the Sequana selection.

Publisher's full sand paper-covered boards, smooth spine, lightly sunned, with wrappers specially designed for the Sequana selection and spine preserved, speckled edges.

A pleasing copy.

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.

First edition of the French translation established by Alexandre Vialatte, one of 50 numbered copies on pur fil, the only deluxe paper issue.

A handsome copy.

First edition of the French translation, one of 50 numbered copies on vellum, the only deluxe paper copies.

Illustrated wrappers.

A handsome copy.

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, 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 50 numbered copies on Rives mould-made wove paper, the only printing after 20 hors commerce copies on Sirène offset paper.

Illustrated with colour linocuts and woodcuts after collages by Ania Staritsky.

Minor offsetting from glassine onto the inner flaps, tears to the spine.

Pencil signatures of Jacques Lemaire and Ania Staritsky at the colophon.

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 25 numbered copies on japon paper, deluxe issue.

Minor tears and two small losses at the foot of the spine at the level of the deckle edges, a stain in the left margin of the upper cover, a wide-margined copy.

Illustrated with a photographic portrait of the author as frontispiece.

A fine large-paper copy on vellum of the 1796 edition, which contains several previously unpublished texts by the author, a frontispiece portrait, 13 illustrations and 2 maps, engraved by Pierre-Alexandre Tardieu, Claude-Nicolas Malapeau, P. F. Tardieu, A. Girardet, Jean Louis Charles Pauquet, François Denis Née, Emmanuel-Jean-Népomucène de Ghendt, Charles Emmanuel Patas, Noël Le Mire and Vincent-Marie Langlois (in order of appearance).

Contemporary half long-grain red morocco bindings, smooth spines divided by...

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 50 numbered copies on Holland paper, deluxe issue.

A very small chip at the foot of the spine.

A fine copy, with full margins and in double wrappers.

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 on Dutch paper.

Spine and covers lightly sunned, small tears to the spine, final endpapers browned.

Speeches by M. Chaumié, Anatole France and Abel Hermant.

Autograph inscription signed by Eugène Fasquelle to Marcel Batilliat, whose name he misspelled: "à M. Marcel Batillat."

The Symbolist novelist Marcel Batilliat was a close friend of Émile Zola and campaigned to preserve the memory of the author of the Rougon-Macquart cycle.

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, one of 48 numbered copies on Lana vellum paper, the only deluxe paper issue.

A fine copy.

Warmly inscribed, dated and signed by Pierre Nora to a close friend named Françoise : "Pour toi, Françoise, de toujours à toujours. Pierre."

New edition, one of 30 numbered copies on Marais wove paper, the only deluxe paper issue.

A fine copy.

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 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, one of 822 numbered copies on pur fil paper, the only deluxe paper issue after 109 reimposed copies.
A pleasing copy despite two small areas of sunning at the head and foot of the spine.

First edition of the French translation, one of 75 numbered copies on ivory offset paper, our copy one of the few hors commerce copies numbered in pencil by Antoni Tapies, the only deluxe paper issue.

A very small stain to the upper edge, otherwise a fine copy complete with its illustrated dust jacket.

Illustrated.

Handwritten signature of Antoni Tapies at the colophon.

First edition, one of 535 numbered copies on Navarre laid paper, the only issue together with 10 copies on Japan paper.

Illustrated with a portrait of the author as frontispiece by Man Ray.

A fine copy despite a small, minor tear at the head of the spine.

Signed autograph inscription by Jacques Baron: " à Jeanne, Pierre et Jacques et X Collet. De tout coeur. Vraiment. Jacques."

First edition printed in 100 numbered copies on wove paper, this copy unnumbered.

Rare and fine copy.

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...

First edition, one of 35 numbered copies on Rives paper, the deluxe issue.

At the colophon, manuscript signatures in pencil by Micheline Catti and Ghérasim Luca.

A rare and handsome copy.

As stated in the limitation, our copy is complete with the original drypoint by Micheline Catti and the original etching by Ghérasim Luca, both signed by them in pencil.

First edition, one of 300 numbered copies on Arches paper, the only issue after 15 copies on Japan paper and 25 on Holland paper.
Very attractive colour illustrated wrapper and illustrations hors-texte by Francis Picabia.
A handsome copy.

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.

Deluxe edition specially produced for members of the Club français du livre and printed in 1,000 numbered copies.

Publisher's special binding in full red cloth, smooth spine, housed in a black slipcase bearing at the foot of the upper cover the gilt statement : "cette édition de luxe a été spécialement réalisée pour les adhérents du Club français du livre".

Richly illustrated, with an essay by José Bergamin and the French translation prepared by Elisabeth Servan-Schreiber.

Nice copy.

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, one of the numbered copies on offset paper, the only issue after 42 copies on Arches vellum.

A pleasing copy.

First edition illustrated with 6 original lithographs by Pablo Picasso, one of 500 numbered copies on Lafuma paper.
A pleasing copy, complete with its "prière d'insérer" written by Paul Eluard.

First edition, one of 85 numbered copies and 3 hors commerce copies, ours one of the 70 on B.F.K. de Rives paper.

A fine copy complete with its chemise and slipcase in full black cloth, spine of the chemise slightly faded, a small tear at the foot of the lower panel of the slipcase.

Illustrated with 19 original photographs signed in pencil by Henri Maccheroni.

First edition, one of 250 numbered copies on vellum, the only printing after 25 copies on Holland paper.

Spine and boards slightly and marginally faded, as generally encountered.

Autograph inscription signed by Céline Arnauld to the poet Henri Hertz.

First edition, one of 10 copies numbered and signed by Eugène Guillevic and Ania Staritsky in the limitation page. Printed on Verveine de Puymoyen paper specially designed for this work, ours being one of the few hors commerce copies, from the most limited deluxe issue (tirage de tête).

Illustrated with 5 original copper engravings in colour by Ania Staritsky.

A rare and pleasing copy, complete with its almond-green cloth chemise and slipcase, the spine of the chemise slightly yellowed.

As stated in the limitation page, our copy includes an original collage by Ania Staritsky and the six-line autograph manuscript poem signed by Eugène...

First edition of the French translation, one of the numbered copies reserved for the friends, collaborators and subscribers of "Lettres Nouvelles".

Spine very slightly sunned, a pleasant copy.

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, one of 70 numbered copies on Holland paper, deluxe issue after 30 on Japan paper.

A handsome copy.

Illustrated work, with a frontispiece portrait of Joseph Delteil by Mariette Lydis.

First edition, one of 50 numbered copies on Arches wove paper, the only deluxe paper issue.
A fine copy despite a few spots of foxing in the right margin of the first free endpaper.

Third edition, one of 200 numbered copies on handmade wove paper, the only large-paper issue. 

Bound in red half-shagreen, spine with five raised bands framed by gilt dotted fillets and gilt double fillets, marbled paper boards, sprinkled top edge, pastedowns and endpapers in marbled paper, original front wrapper preserved, lower edge and fore-edge uncut.

Corners with light wear.

First edition, one of 100 numbered copies on vellum.

A small chip at the foot of the spine, a few foxing marks to the endpapers, otherwise a pleasant copy.

First edition, one of 119 numbered copies on edition paper, the only issue after 1 on chine, 10 on japon and 20 on hollande paper.

Contemporary half hazelnut shagreen with bands, smooth spine slightly faded, boards covered with wood-patterned paper, light rubbing to the corners and to the right margin of the upper board, wood-patterned endpapers and pastedowns, covers preserved and slightly discoloured at the margins.

A pleasing copy internally.

First edition, one of 35 numbered copies on vélin Rivoli, the only deluxe paper issue.

A very fine copy.

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 issue of the 250 wood-engraved compositions by Edmond Morin, one of 150 numbered copies on Holland paper.

The work is further illustrated with a frontispiece portrait of the author by Léopold Flameng.

Bound in half orange morocco over marbled boards with corners, spine with five raised bands ruled in gilt and richly tooled with double gilt compartments, covers framed with double gilt fillets, marbled endpapers, original wrappers preserved, top edge gilt, an elegant binding signed A. Bertrand.

A fine copy, impeccably presented.

First edition, one of 70 numbered copies on pur fil paper, the only deluxe paper issue.

Bound in blue-grey half morocco, spine in five raised bands, date gilt at foot, marbled paper boards, blue-grey endpapers and pastedowns, original wrappers and sun-faded spine preserved, top edge gilt, an elegant binding signed Boichot.

Valuable autograph inscription signed by Joseph Kessel, in violet pencil, on the front free endpaper: "A Charles Maurras cet exemplaire plus digne de lui" enhanced with the manuscript signature of Georges Suarez.

A fine copy, attractively bound

New edition, one of 65 numbered copies on alfa paper, the only deluxe paper issue.

A fine copy.

First edition, one of 12 copies numbered on Montval laid paper, the deluxe issue.

Light foxing to the upper cover and endpapers, with a small nick to the lower right corner of the rear cover.

First edition, one of 42 numbered copies on alfa paper, the only deluxe paper issue.

Minor, unobtrusive foxing to the foot of the upper cover, otherwise a pleasing copy.

Preface by Thierry Maulnier.

First edition of each volume, one of 15 numbered copies on chine, deluxe issue after 2 copies on peau de vélin.

Contemporary half blue morocco over marbled boards with corners, spine in five raised bands ruled in gilt and tooled with double gilt compartments, date gilt at foot, covers framed with gilt fillets, comb-marbled endpapers and pastedowns, ex-libris mounted on a pastedown, corners slightly rubbed, top edge gilt, signed contemporary binding.

A few minor spots of foxing, chiefly to the edges, a small nick to one band, light rubbing to the headcap.

New edition, limited to 2,000 numbered copies on Lafuma vellum.

Signed autograph presentation inscription by Henri Barbusse beneath the limitation statement: "A Marcel Granoux fraternellement. Henri Barbusse."

Included are an original photograph of Henri Barbusse (8.9 × 13.8 cm, from the G.L. Manuel Frères studio), showing him full face, together with two typed letters dated 28 April and 2 July 1930, signed by Henri Barbusse, concerning an article he was late in sending and a copy of Le Feu that he promises to inscribe and forward to his correspondent.

The first typed letter also bears two manuscript corrections by Henri...

First edition, one of 50 numbered copies on vélin de renage, most limited deluxe issue.

A fine copy.

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.

First edition, one of 16 numbered copies on pur fil, the deluxe issue following 6 copies on Montval paper.

Half hazelnut morocco binding, spine with four raised bands ruled in gilt and decorated with double gilt panel compartments, date gilt at the foot, sides of cat’s-eye paper, marbled endpapers and pastedowns, bookplate pasted to a pastedown, original wrappers and spine preserved, top edge gilt, untrimmed, contemporary signed binding by Albinhac.

A fine copy attractively bound.

First edition, one of 35 copies on Holland paper, the limited deluxe issue following 19 on China paper.

A fine copy, with a visiting card tipped in on a blank leaf bearing the manuscript note: "de ton beau-frère, un échantillon des éditions suisses".

Illustrated with headpieces and tailpieces by Marcel North.

First edition, one of 56 numbered copies on Arches laid paper, after only 11 on China paper and 14 on Japan paper.

Bradel binding in half navy blue morocco, smooth spine slightly faded, gilt date at foot, marbled paper sides, marbled endpapers and pastedowns, bookplate pasted to one pastedown, original wrappers and spine preserved, top edge gilt.

Upper cover illustrated with a wood engraving by Pierre Lissac.

First edition, one of 200 numbered copies on Holland paper, the only deluxe paper issue.

Shadowed endpapers.

Half chocolate-brown morocco binding with corners, smooth spine decorated with gilt panels enhanced with black morocco onlays, gilt date at foot, marbled paper boards, handmade paper endpapers and doublures, original wrappers and spine preserved, bookplate pasted to an endpaper, top edge gilt on untrimmed leaves, an elegant binding signed Pierre-Lucien Martin at the foot of the spine.

A fine, wide-margined copy beautifully bound by Pierre-Lucien Martin, one of the most gifted bookbinders of the second half of the twentieth century.

First edition, one of the numbered copies on laid paper, the only issue after 1 copy on large Arches vellum, 50 on Japan paper, and 10 hors commerce.

The upper cover slightly and marginally toned; a pleasing copy.

Illustrated with wood engravings by Raoul Dufy.

First edition of the French translation prepared by Jacques Schiffrin and André Gide, one of 80 numbered copies on alfa paper, the only deluxe paper issue, with a further 45 copies on pure rag.

A rare and fine copy.

First edition, one of 20 numbered copies on Japan paper, the only deluxe paper issue.

Bound in full burgundy morocco, spine with five raised bands ruled in black, gilt rolls to the headcaps, moiré-effect paper endleaves and doublures, inner boards framed with gilt fillets, dotted tools and corner fleurons, original wrappers and spine preserved, top edge gilt on witnesses, double gilt fillets to the turn-ins, slipcase edged in burgundy morocco with sides covered in moiré-effect paper, contemporary signed binding by Vauthrin-Pezet.

A fine, beautifully executed copy.

First edition, one of 30 numbered copies on Vélin de Rives, the only deluxe paper issue.

A fine copy.