First edition, with no copies printed on deluxe paper.
A pleasant copy.
Entertaining signed and dated presentation inscription by San Antonio : « Pour monsieur Fernand Picherel, cette prose qui met les pieds dans le plat. En cordial hommage. San Antonio. »
First edition, illustrated with 32 color illustrations by Sureda and engraved by Aubert (full-page, headpieces and fine lettering), many of which are enhanced in gold or silver ink.
Limited edition of 400 copies. This one, marked H. C. V, is one of the rare first paper copies on the finest Japon (only 15 copies), containing every engraving in double state on Vieux Japon and Japon Impérial of all the woodcuts, covers and spine.
Signed and inscribed on the title page from the authors: "What a pleasure it is for you, O reader, if you enjoy La Fête arabe !" Jérôme and Jean Tharaud. December 1928."
First edition.
A shadow left by a piece of postal label on an endpaper and on the facing page where the autograph inscription appears.
Publisher's binding in full black cloth, smooth spine, complete with its photographic dust jacket which has small marginal tears.
Autograph tribute dated and signed by Erika Ostrovsky in French to Nadine Nimier, widow and wife of Roger Nimier who, after the war, rehabilitated Louis-Ferdinand with French publishers: "Avec beaucoup d'amitiés. Erika Ostrovsky. Juin 1967."
We include a promotional bookplate from the "New york university press" enriched with Erika Ostrovky's signature.
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First edition, a first impression copy numbered in the press.
Binding in half brown morocco, spine in five compartments, gilt date at the foot, geometric pattern paper boards and endpapers in the same paper, top edge gilt, wrappers and spine preserved in perfect condition, binding signed by T. Boichot.
Apollinaire's second major poetic work with bold graphic innovations and a portrait of Guillaume Apollinaire by Pablo Picasso as frontispiece.
“Some of the best war poems, all languages combined, are brought together in this collection, alongside experimental works such as Les Fenêtres (close to Cubism) and La Jolie Rousse, which were far ahead of their ti
