First edition, one of 50 numbered copies on Japon paper, the deluxe issue.
Illustrated with a frontispiece portrait of the author by Christian Bérard.
A pleasing copy despite a slight shadow to the spine.
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.
First French edition, one of 35 numbered copies on pure wove paper, the only deluxe paper issue.
A fine copy.
First edition, one of 50 numbered copies on Montval paper, the deluxe issue.
A small chip at the head of the spine, otherwise a pleasant copy.
Illustrated by Pierre Devaux.
First edition, one of 49 numbered copies on deluxe pure wove paper, the only deluxe paper issue.
A fine copy.
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...
First edition, one of 500 numbered copies printed on Rives wove paper.
Illustrated with 1 original colour lithograph and 6 line drawings by Fernand Léger.
Three small spots of foxing to the spine, foxing to the lower cover, internally in pleasing condition.
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.
New edition of the French translation, one of 1,040 numbered copies printed on alfa paper.
Publisher's boards, bound to the original design by Mario Prassinos.
First edition, one of 35 numbered copies on pure wove paper, the only deluxe paper issue.
A handsome copy.
Inscribed and signed by Alain Jouffroy to Monsieur Marchaux: "... en plein vol jusqu'au prochain..."
First edition, one of 52 numbered copies on Holland paper, the deluxe issue.
A handsome copy.
First edition, one of 25 numbered copies on alfa mousse paper, the only deluxe paper issue.
A pleasing copy.
Signed autograph inscription from Jean Freustié to Micheline Amar: "... this Marthe ou les amants tristes to which she will owe much..."
First edition, one of 24 numbered copies on Lana laid paper, the only deluxe paper issue.
A pleasing copy.
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 25 numbered copies on pure wove paper, the only deluxe paper issue.
Spine and boards lightly sunned.
First edition, one of the numbered copies on vélin d'archers, the only large paper issue.
First endpaper, half-title and title pages slightly shadowed, with a few pencil annotations and reading marks in the margins of some leaves.
Rare and pleasing copy.
First edition, one of 210 numbered copies on Sirène, the only large-paper copies.
A fine copy.
First edition, one of 35 numbered copies on hollande paper, top-of-edition issue.
A very fine copy.
First edition, one of 110 numbered copies on vergé pur fil d'arches, the most limited deluxe issue.
A blue ballpoint pen mark to the upper cover, spine and boards lightly and partially sunned, as is often the case.
Untrimmed copy with wide margins, illustrated throughout.
A typed letter of thanks from Pierre Clostermann, signed by him and addressed to Henri Torrès, bound to the left margin of the half-title page.
Our copy exceptionally contains two original watercolours (14 x 10.5 cm) depicting two R.A.F. bomber aircraft flown by Pierre Clostermann: the Vickers-Armstrong "Wellington" and the Bristol...
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 38 copies printed, this being one of the 30 copies issued with a wash drawing by Marcel Dumont.
A fine copy.
Illustrated with an original wash drawing by Marcel Dumont.
Manuscript signatures of Marcel Dumont and François Cheng in pencil on the colophon.
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 30 numbered copies on vergé pur fil, the only large-paper copies.
"Collection Goncourt" ex-libris pasted to a flyleaf.
"When Batouala was first published in Paris a half-century ago, it was not only an event of major literary importance, but also a turning point in both the intellectual and political history of contemporary Africa. A creation of Rene Maran, an Afro-Caribbean who had years of direct experience in Africa as an employee of France's colonial service, Batouala was the first great novel about Africa by a Black writer." (Donald E. Herdeck...
First edition, one of the rare copies specially printed for the author on Holland paper.
Contemporary Bradel binding in half vellum-style paper boards, smooth spine slightly sunned and decorated with a central gilt ornament, marbled paper covers, wrappers preserved.
Fine signed autograph inscription by Binet-Valmer: "à Claude Farrère son admirateur, à Charles Bargonne, son ami reconnaissant, Binet-Valmer."
First edition, one of 2,270 numbered copies printed on alfa paper, the only printing.
A pleasing copy despite small marginal tears to the wrappers.
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.
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 175 numbered copies on pur fil wove paper, this being copy No. 1, specially printed for Madame General Frère, one of the deluxe issue.
Contemporary full red shagreen, spine with four raised bands decoratively tooled in blind with fillets and a coat of arms, light rubbing to the joints, gilt rolls to the spine ends, spotting to the boards, marbled endpapers and pastedowns, gilt fillet border to the pastedowns, gilt rules to the edges, corners slightly bumped, top edge gilt, others untrimmed.
General Aubert Frère was notably a hero of the French Resistance, serving as organizer and commander of the Resistance within the Army; he was arrested by the Nazis in...
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 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.
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 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.
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 925 copies numbered on Artois wove paper, the only issue including 1 copy on butcher’s paper in honour of General de Gaulle, 20 hors commerce copies and 75 on Marais paper.
Illustrated with headpieces and tailpieces.
Spine and boards slightly sunned, as often.
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, one of 50 numbered copies on vélin pur chiffon de lana, the only deluxe issue.
A fine copy, with a small nick at the head of the spine between the author's name and the title.
Presentation copy, inscribed by Patrick Chamoiseau to Maurice Marchaux: "... cette mémoire-langage qui invoque toutes les langues du monde. Avec mes amitiés créoles..." [this memory language invoking all of the world's languages] with a sketch formed from his initials.
First edition, printed in a small number 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 the scarce copies on Japon paper.
Work illustrated with 17 colour plates.
A fine copy with wide margins.
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, our copy one of 14 hors commerce copies, the only deluxe paper issue.
A rare and handsome copy.
First edition, one of 26 numbered copies on alfa paper, the only copies issued on deluxe paper.
A rare and attractive copy.
First edition of the French translation, 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 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 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 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, 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 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 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 edition of the French translation, one of 100 numbered copies on Arches wove paper, the only deluxe paper issue, our copy justified at the colophon by Raymond Mason as an artist’s copy, the sole large-paper issue.
Illustrated work, with an original engraving by Raymond Mason, signed and justified by him as an artist’s copy as frontispiece.
A scarce and pleasing copy.
First edition, 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
