First edition of the French translation, one of 150 numbered copies on pur fil, the only deluxe copies issued after 25 copies on Holland paper.
A fine copy with all edges untrimmed.
First edition on ordinary paper of the French translation by Philippe Jaccottet.
A handsome copy of this work, which was adapted for the screen by Volker Schlöndorff in 1966.
First edition in French, of which there were no deluxe copies.
Foxing to spine and margins of boards, retaining the dust jacket which has small marginal tears.
Rare dated autograph inscription signed by William Styron to journalist Paule Villers.
Edition translated by Defaucompret. Each volume has an engraved title with a vignette and at least 2 steel engravings per work, the animated scenes are by Tony Johannot, the views are English engravings. 28 folding maps heightened in colors, including a large map of Scotland, at the end of the History of Scotland.
Half navy blue shagreen binding, slightly later, ca 1850. Spine with raised bands decorated with gilt compartments and thick and thin fillets, in blind and gilt. Spine uniformly and slightly darkened. Author, volume number and title gilt. Volume 1: trace of dampstain to one corner of p. 300 to the end. Volume 4: broad yellowing on title page to p.30. Volume 7: trace of dampst
First edition of the French translation by A. J. B. Defauconpret. Illustrated vignette on the title page of each volume, with two illustrations in each volume (60 in total) by Louis Marckl after Noël Bertrand.
Green half shagreen binding, spine with five raised bands elaborately framed in gilt and blind, spine-ends stamped with a gilt rosette bearing cabbalistic signs, marbled paper boards, marbled endpapers and pastedowns, speckled edges, contemporary bindings.
Spines slightly lightened, some corners slightly dulled, more pronounced foxing on some volumes, a tear not affecting text to pp. 303-304 of vol. 2, a restored tear and a marginal lack of paper not affecting text to pp. 2
First edition of the French translation.
Contemporary half red shagreen binding, spine with four raised bands tooled with gilt dotted fillets and decorated with double gilt panels featuring a scattered pattern of gilt stars, minor rubbing to the spine, marbled paper boards, marbled endpapers, speckled edges.
Occasional light foxing.
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 of the French translation, one of 1,000 numbered copies on pur fil paper, the only issue with 10 copies on Auvergne paper.
Frontispiece with an original portrait of Blaise Cendrars by Riera, covers illustrated with an original lithograph by Orfeo Tamburi.
Spine and boards slightly and marginally sunned, as usually.
First English edition, published one year after the first edition (American), complete with its illustrated dust jacket with unclipped price.
Publisher's pink-red cloth, title, author's name and publisher's imprint to the spine, all three in gilt.
Headcaps very slightly pushed, faint foxing to the boards, a fine copy. On the dust jacket, spine and boards sunned as is common, discreet wear and stains to the headcaps, boards and corners, marginal browning and a dampstain at the foot to the inside of the jacket.
First edition of the French translation, for which no deluxe paper copies were issued, with the correct "achevé d’imprimer" dated February 1939.
A fine copy, complete with its illustrated dust-jacket, as usual showing only slight rubbing and minor marginal tears, not affecting its overall appearance.
The work is illustrated, facing the title-page, with a map of the south-eastern United States during the Civil War.
First British edition of 1955 (the first edition of 1954 is American), complete with its dark pink dust jacket designed by Lynton Lamb, on which one of the two prizes received by A Fable in 1955 is mentioned: the Pulitzer Prize. This is the work on which William Faulkner laboured longest and which he considered his masterpiece.
Publisher's binding in candy-pink cloth, with title and author's name gilt in a false panel at the head of the spine, and publisher's name gilt at the foot. Galignani boo
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, one of 200 copies numbered on wove paper, the only issue after 25 copies on Normandy vellum.
Spine and boards slightly and marginally sunned, without seriousness.
First English edition, printed after the first edition published in Milan in 1959 and the American edition published that same year, on ordinary paper, complete with its original unclipped dust jacket.
Publisher's red cloth binding, title and names of author and publisher to spine in gilt. Manuscript inscription, dated February 1964, on the front free endpaper.
Spine of the dust jacket sunned as is often the case, joints of the front board very slightly split, small tears at the head of the front board and a few minute red offsetting to that same board.
Scattered foxing and light browning to the pastedowns and endpapers.
English reprint of 1955 — the first American edition was published in 1927 and the first English edition in 1928 — on ordinary paper, complete with its original illustrated unclipped dust jacket.
Publisher's binding in light blue cloth, title, author's name and publisher's device stamped in dark blue to spine, title repeated, also in dark blue, to head of upper board.
Spine ends and edges slightly sunned as is often the case, a
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 English edition of 1950 (the first edition, published the same year, is American) on ordinary paper, complete with its original illustrated unclipped dust jacket with gondola motif.
Publisher's binding in turquoise green cloth, to spine, a mock title label on red ground with palladium lettering and publisher's device also in palladium to foot, red central medallion to upper board echoing the gondola of the dust jacket, bottom edge untrimmed.
First edition of this poetry collection, which was awarded the Cholmondeley Prize on publication, complete with its dust jacket illustrated by Leigh Taylor.
Publisher's binding in brown half-cloth, title, author's name and publisher's device gilt to spine, bronze-coloured glossy paper to boards. To recto of rear endpaper, a manuscript quotation in black pen by a celebrated English poet: "the mind can only repose on the stability of truth... Samuel Johnson."
Later edition.
Publisher's full green cloth binding, smooth spine, copy complete with its illustrated dust jacket which shows a few small tears and minor losses.
The verso of the front panel of the dust jacket shows an angular loss affecting the printed price.
Dated and signed autograph inscription from Richard Wright to Ganan Bocca.
First edition, for which no deluxe paper copies were issued.
A pleasant copy.
Valuable signed autograph inscription from Susan Sontag to her friend Sonia Rykiel: "pour Sonia avec mes amitiés Susan Sontag 26 septembre 1995 Paris."
Copy of the thirteenth printing of the first edition illustrated by the author.
Publisher's full bottle-green binding, smooth spine decorated in black with the title and author's name at the head and the publisher's name at the foot, upper board decorated in black with the title and author's name within a blind-stamped border, complete with its illustrated dust jacket. Author's inscription in blue ink on the first free endpaper, followed by a slightly faded ex-dono on the next: "I hope you will still feel like reading this. Love, Sisi."
Headcaps slightly bumped, losses, folds and tears to the dust jacket.
1865 edition of Goethe's reimagining of Euripides' Iphigenia in Tauris.
Contemporary publisher's plum cloth binding, smooth spine lettered with title and author's name in gilt, blind-stamped decoration on boards.
Spine faded as often, slight loss of cloth at spine ends.
Minor scattered foxing.
First edition, containing 23 tales by Andersen translated by David Soldi, together with a biographical essay by Xavier Marmier.
Illustrated with 40 vignettes by Bertall, engraved by Jacques G. J. Midderich and Alphonse Minne.
Full blue cloth binding, flat spine, gilt-stamped title, faint rubbing to the joints, light scattered marks to the boards, contemporary binding.
A very rare copy of this collection of A
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 of the French translation of the Hao ch iu chuan, a novel by an anonymous author from the Ming period, regarded as one of the most celebrated works of imperial Chinese fiction.
Guillard d'Arcy was one of the pupils of Stanislas Julien.
Minor losses to the head and foot of the spine, a few foxing spots.
Fourth edition.
A pleasing copy.
Introduction by Harry T. Moore.
Presentation inscription signed by Anaïs Nin to the writer Christiane Baroche: "my friend love, Lawrence and i was the first woman i write abour him. Anaïs Nin."
Autograph letter signed by Thomas Mann, in French and on the headed paper of the Hôtel Regina, 2 place des Pyramides, Paris, addressed to the journalist (Claude Morgan).
10 lines in blue ink on a single leaf, a stain affecting the "14" of 14 May 1951, creases consistent with having been folded for mailing.
"14 Mai 1951
Cher monsieur,
ayant prolongé mon séjour à Paris d'un jour, je vous donnerais avec plaisir une courte interview ce soir à six heures trente. Avec l'expression de mes meilleurs sentiments. Thomas Mann."
First edition of the French translation, one of 350 numbered copies on alfa paper, the only deluxe paper issue.
A fine copy, despite a small area of sunning at head and tail of the spine.
First edition.
Original wrappers, complete with its color illustrated dust jacket.
Association copy, signed and inscribed: "A mon cher Georges Hugnet en souvenir de cette petite AMERICA '57 et de son ami Orfeo Tamburi / Paris 8.5.'68" [To my dear Georges Hugnet in remembrance of this little AMERICA '57 and his friend Orfeo Tamburi / Paris 8.5.'68]
Fine copy of this journey through the United States, with 37 illustrations by Tamburini from his travels to New York, Brooklyn, Chicago, New Orleans, Harrisburg, Milwaukee, Los Angeles, San Francisco, and Providence.
Hugnet and Tamburi collaborated on several artists' books: La Morale à Nicolas
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.
New edition of the French translation.
Spines slightly sunned, with minor tears at the foot.
Signed in manuscript by Thomas Mann on the endpapers of both volumes.
First edition of the French translation prepared by Alexandre Vialatte, one of the complimentary copies.
A manuscript ex-dono erased in the upper right corner of the half-title page, resulting in a small loss of paper.
Signed autograph inscription by Alexandre Vialatte to Albert Thibaudet.
First edition of the French translation by Élisabeth de Bon, gathering in 2 volumes the 4 parts of this anonymous English novel originally printed in 1809, which according to André Marc in his Dictionnaire des romans anciens et modernes of 1819, is the work of Anna Maria Porter, younger sister of the novelist Jane Porter. The Porter sisters, contemporaries of Jane Austen and famous before the Brontës, were close to the Scottish poet Walter Scott.
Contemporary full brown tree sheep, smoo
New edition of the translation by Alain-René Le Sage, revised by Pons-Auguste Alletz, some forty years after its initial publication. Two frontispieces decorate each volume. As we learn from the Avertissement, this classic, which flowed from the pen of the author nicknamed the "Divine Spaniard" by his compatriots, was then, in the 1770s, unknown to a large part of the French youth.
Contemporary binding in full brown tree calf, smooth gilt spine with four compartments separated by traditional and dotted
First collected edition of Paul Celan’s German translation of the poems of Ossip Mandelstam, whom he deeply admired.
Publisher’s original full white cloth, smooth spine, a copy complete with its dust jacket, which shows a few small tears at the head of the spine.
Valuable dated and signed autograph inscription from Paul Celan to his friend, the poet and translator of his works Lydia Kerr: "Für Lydia Kerr, herzlich, 12.2.1963. Paul Celan."
Later edition.
A pleasing copy, despite slight rubbing to the joints.
Rare dated and signed presentation inscription from Paul Celan to his friend, the poet and translator of his works Lydia Kerr.
First edition of the French translation, one of only 34 numbered copies printed on pure vellum paper, the sole deluxe paper issue.
A fine and rare copy.
New edition.
A handsome copy.
Fine inscribed copy, signed by Anaïs Nin to the writer Christiane Baroche: "Christiane Baroche my last novel before I began to edit the diaries and be drowned in them. Perharps because I had arrived at humor and could bear to make the journey backwards. Anaïs Nin."
First edition of the French translation by Edouard Chavannes of an extract from the Journal of the Peking oriental society.
Contemporary Bradel-style binding in full grey percaline, smooth spine decorated with a gilt fleur-de-lis, double gilt fillet at the foot, cherry shagreen lettering-piece with surface scuffing, partially toned endpapers.
This was the translator’s first scholarly publication devoted to this treatise, which forms the twenty-eighth chapter of the celebrated Shiji (Historical Records) by the first true Chinese historian, Sima Qian (145–86 BCE).
These records constitute the first systematic synthesis of Chi
First edition of the French translation (cf. Sabin 26375).
A defence of Catholic principles addressed to a Protestant minister (…) preceded by a notice on the author’s life and virtues. Translated from the English by Prince Augustin Galitzin. Paris, Ch. Douniol [printed by Simon Raçon et Comp.], 1856, 12mo.
Contemporary half navy blue shagreen, spine with four raised bands ruled and panelled in gilt, slight unobtrusive rubbing to the spine, marbled boards, marbled endpapers and pastedowns.
Scattered foxing.
A work of religious controversy; the preface offers interesting information regarding Prince Galitzin’s activities in the United States.
Bound after it: A
A small book entirely in Chinese, from the series Chinese Spoken Language Readers for Lower Primary Schools.
Printed stamp of the Missions Museum S.J. Kirche "Am Hof" on the rear cover; a manuscript ink annotation at the head of the final page of text.
Numerous black-and-white illustrations within the text and one full-page colour illustration.
A rare and pleasing copy.
A very rare Brescia imprint, dedicated to Prince Eugène and celebrating Napoleon’s successes in the German campaign of 1805.
No copy recorded in the CCF.
A dampstain to the upper right corner of the leaves.
Contemporary cream paper-covered boards, smooth spine without lettering with tears, boards soiled, title within a black frame on the upper board and address likewise on the lower board, tears with losses on the lower board, contemporary binding.
However, dated 26 November of that year, it could not yet include the victory of Austerlitz. Niccolo Bettoni (1770-1842) was a prominent figure of Italian typography at the beginning of the nineteenth century, and
First edition of the French translation, issued without any large-paper copies.
A handsome copy, complete with its original promotional band: "Calvino et la préhistoire-fiction."
Inscribed, dated, and signed by Italo Calvino to Pascal Pia.
First edition of the French translation, with false statement of second edition.
Full green cloth Bradel binding, flat spine decorated with a central gilt ornament, beige sheepskin title label, original wrappers preserved, contemporary binding signed in blind by Pierson. Some light foxing.
Very rare presentation copy dated and signed by Ivan Turgenev to Anatole France: "Monsieur Anatole France / hommage de l'auteur / 1876".
New edition, partially original as it is augmented with three new stories and the life of the author (previously published in 1744; before this date, editions included only 10 stories).
The false title of the second volume bears the title "Diverse Works," these two volumes, although sold separately, could be placed after the six-volume Don Quixote. The original title "Exemplary Novels" was used concurrently in other editions.
Translation by Abbé Martin de Chassonville. It is illustrated with a portrait of the author engraved by Gentot after Kent, and 13 plates, of which 12 are engraved by Aveline after Folkema, and one by Daudel. The engravings are charming and pleasing, with typica
First edition in French, one of 8 numbered copies on Imperial Japan paper, ours being one of 3 hors commerce copies, deluxe printing.
Some foxing to boards and certain deckled edges.
A rare full-margined copy.
