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 critic
First edition printed in 500 numbered copies on Japan paper.
Work illustrated with drawings by Job after pencil sketches.
Handsome copy despite light worming of no consequence to the boards.
Manuscript signatures of Job and Stéphen Liégeard below the justification page.
First edition, strictly hors commerce and printed in a small number of copies.
Rare and handsome copy.
Beautiful autograph inscription signed by Pierre Guyotat:
"B
E
A
Pour Francis Ponge, ce B.A. = BA de l'écriture, où s'intercale le "E" de l'étouffement, Pierre Guyotat, le 19 Avril 1973." ["For Francis Ponge, this B.A. = the ABC of writing, where the "E" of suffocation intercedes, Pierre Guyotat, 19 April 1973."]
Autograph letter signed by Philippe Sollers addressed to his friend Jani Brun (8 lines in black ink) advising her on works by Samuel Beckett: "... Il faut prendre Molloy, je crois, si tu veux un "personnage" et montrer comment tout va vers l'Innommable (plus de "personnage", ça parle et reparle et déparle tout seul, pour toujours..." ["... You should take Molloy, I think, if you want a 'character' and show how everything moves toward The Unnamable (no more 'character', it speaks and speaks again and speaks away by itself, forever..."]
Envelope included on which Philippe Sollers simply indicated the surname and first name of his correspondent, a date i
Original drawing dated and signed by Louis Pons, to his friend art critic Georges Raillard, specialist in the works of Joan Miro and Antoni Tapies, which he dedicated to him on the invitation card for the opening of the exhibition of his works at the Château de Vascoeuil on Saturday, March 29, 2008.
Louis Pons drew, in black ink, on the recto and verso, a curious bird: a magpie huddled in on itself and apparently convalescent surmounted by this manuscript dedication: "Paris ? ? Mars 2008, j'espère que ta santé est meilleure. Amitiés de Nelly et Louis Pons." ["Paris ? ? March 2008, I hope your health is better. Friendship from Nelly and Louis Pons."]
