First editions, fine papers and deluxe printings of French and foreign literature, 16th to 21st century

First edition, for which no deluxe paper copies were issued.

A pleasant copy.

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 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 w

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 t

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 the numbered copies on wove paper from the Papeteries de Savoie.
Illustrated with original artwork by Pierre-Marie Renet, also known as Frédéric Monnier.
Spine and boards marginally sunned, as often.

First edition, one of 70 numbered copies on alfa paper.
A very good 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 a small number of copies, being the sixth booklet of the first series of the Cahiers de l'Ecole de Rochefort.

A rare and pleasing copy. René Debresse’s address has been added in black ink opposite the autograph inscription.

A valuable autograph inscription signed by Luc Bérimont to Jean Follain.

First edition on ordinary paper, bearing the correct imprint date of 25 August 1978.

Spine yellowed and creased as usual, internally in pleasing condition.

Rare signed autograph inscription from Georges Pérec to Chantal Labre.

First edition.
Literary contributions by Paul Eluard, André Breton, Pierre Brasseur, Raymond Queneau, Giorgio de Chirico, Michel Leiris, Robert Desnos, Antonin Artaud, Benjamin Péret, ...
Pictorial or photographic contributions by Giorgio de Chirico, Pablo Picasso, André Masson, Max Ernst...
Upper cover with a few light marginal soiling to the left edge, a small tear at the foot of the spine, otherwise a good copy considering the fragility of this periodical.

First edition.
Literary contributions by Antonin Artaud, Paul Eluard, André Breton, Pierre Brasseur, Louis Aragon, Michel Leiris, Benjamin Péret, Ernest Gegenbach...
Pictorial or photographic contributions by Joan Miro, Yves Tanguy, Max Ernst, Man Ray...
Upper cover with a few marginal stains to the left margin, a small tear at the foot of the spine, otherwise a pleasing copy considering the fragility of this periodical.

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 the press service copies.
Two small tears at the foot of the spine, two traces of adhesive tape having caused two small losses of paper to the versos of the boards.



.

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 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 the press copies.

Paper browned as usual.

Signed autograph inscription from André Dhôtel to the philosopher Raymond Bayer.

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."

First edition, one of 355 numbered copies on wove paper, the only issue with 25 copies on Holland paper.
A pleasant copy.

New edition.

Illustrated with engravings by Jean Hugo.

A pleasing copy.

Inscribed and signed by Anaïs Nin to the writer Christiane Baroche.

First edition, with no deluxe paper copies issued.

Spine and covers lightly and marginally sunned, as is often the case, with a small loss at the foot of the spine.

A scarce and pleasing copy, considering the poor quality of the paper.

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.

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 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 60 numbered copies on Rives wove paper, the only issue after 10 copies on Arches.

A tear to the inner flap on the verso of the upper cover, a pleasant copy.

Illustrated with two original etchings by Jean-Gabriel Daragnès, including the frontispiece.

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 edition of an important work by Charles Sorel, historiographer of France and novelist, in which he surveys with severity and wit the literary production of his time, which he considered overly given to fiction.

 Complete with its eagle headpieces.

Contemporary full mottled brown calf, spine with five raised bands decorated with gilt compartments and gilt title, gilt roll on the board edges, red mottled e

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, of which no deluxe paper copies were issued.

A pleasing copy.

Signed autograph inscription from Georges Didi-Huberman to a couple of friends named Dominique and Danielle: "... cette trace d'année ombre. Je n'oublie pas vos paroles de coeur..."

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

Rare and fine copy.

First edition richly illustrated with reproductions of works by Francis Bacon in the second volume.

Text by Gilles Deleuze for the first volume.

The slipcase is lacking in our copy.

Spine and boards slightly and marginally sunned, as usual.

Inscribed copy signed by Gilles Deleuze to the art critic Gilbert Lascault in the first volume.

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 edition on ordinary paper.

A small stain at the foot of the upper cover.

Fine autograph inscription signed by Julien Gracq to Roger Schir: "...ce petit morceau de littérature discourtoise en m'excusant du peu de ménagements..."

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.

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

A pleasing copy.

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.
Publisher’s full brown grained sheepskin binding, orange top edge, smooth spine ruled in gilt.
Richly illustrated.
Copy complete with its dust jacket, acetate wrapper and soft slipcase.
Acetate wrapper slightly yellowed.

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 he

First edition printed in a small number of copies, being the seventh booklet of the first series of the Cahiers de l'Ecole de Rochefort.

A rare and pleasing copy.

Valuable autograph inscription signed by Maurice Fombeure to Jean Follain.

First edition on ordinary paper.

Spine and boards slightly and marginally sunned.

Inscribed, dated and signed by Tony Duvert to Alain Veinstein.

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 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."

First edition of this work published by the Société du Bout-du-Banc, the celebrated literary salon presided over by Mademoiselle Jeanne-Françoise Quinault and the Comte de Caylus. This intimate circle, originally comprising eight members, would gather on Mondays at dinner to exchange ideas and to write; at the close of each meal, every distinguished guest was required to set down a few lines — whether in the coarse poissard style or in a more refined vein — on paper. It was in this context that Les Fêtes roulantes, ou les regrets des petites rues came into being, in the wake of the celebrations

A further compilation bringing together several successes of the troubadour from Sète, including "Le temps ne fait rien à l'affaire", "Dans l'eau de la claire fontaine", "La traîtresse", "La ballade des cimetières"; "La complainte des filles de joie", "Tonton Nestor - La noce de Jeannette", "Le temps passé" and "La fille à cent sous".

A pleasant copy despite very slight rubbing to the margins of the sleeve.

A name and an initial in blue ballpoint pen at the head of the second panel of the sleeve.

Manuscript signature of Georges Brassens in the left margin of the front panel of the sleeve.

First edition, one of 2,000 numbered copies on alfa paper.

Manuscript initials at the head of the upper cover and of the title page serving as an ex-libris.

A pleasant copy.

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.

First edition, one of the numbered copies on alfa paper reserved for the press.

One joint slightly pinched along its length, otherwise a pleasant copy.

Autograph inscription signed by Colette to Michel Corday.

First edition, one of 100 hors commerce copies printed on deluxe paper, this copy specially printed for Louis Barthou.

A pleasant copy despite two sunning marks to the head and foot of the spine and to the margins of the rear board.

Henri Bergson's handwritten signature beneath the limitation statement.

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."

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 edition, one of the press review copies.

Precious signed autograph inscription by Eugène Guillevic: "à Tristan Tzara, ces trente et un sonnets qu'il n'aime pas, avec espoir quand-même et affection. Guillevic."

First edition of a play regarded as historically significant, performed for the first time nineteen days before the execution of Louis XVI, which set all of Paris and then France ablaze to the point of interrupting the King's trial, by a constitutional monarchist playwright.

Nineteenth-century Bradel binding in half brown percaline, smooth spine decorated with a gilt fleuron, red morocco lettering-piece, pebble-pattern marbled paper boards, edges lightly red-speckled.

First French edition, issued in Paris on 3 April 1862, simultaneously with the Belgian edition, here including the very rare suite of 20 engraved plates by Castelli and Neuville on heavy wove paper. This scarce suite was produced to illustrate the first edition of Les Misérables. It was sold separately, as a supplementary set, and is only very rarely encountered bound together with the volumes.
A particularly interesting copy, as it is composite, and perfectly illustrating the publisher’s commercial strategy, which divided publication into three issues (the first two volumes on 3 April, the following four on 15 May, and the final four on 30 June), as well as the story of the p

First edition, at one time attributed to Bernard Le Bouyer de Fontenelle, on the loves of a shepherd of illustrious lineage: Mirtil, son of Venus and Adonis. Complete copy with its engraved title page by Louis Legrand and its six plates drawn by Hubert François Gravelot and engraved by Louis Legrand.

Half marbled calf binding, spine with five raised bands decorated with dotted gilt fillets, five compartments richly gilt with fillets and fleurons, pebble-pattern marbled paper boards, red edges, pastedowns and e

First edition of a work by an Illuminist author, also a barrister at the Parlement, known for his licentious and libertine writings, including L'Histoire de Dom Bougre, portier des Chartreux. This work was also at one time attributed to Pierre Lambert de Saumery, who published under the pseudonym "de Mirone."

Midnight blue half morocco with corners, spine with five gilt raised bands decorated with compartments richly gilt with arabesques, fillets and small stars, marbled paper boards framed with gilt

First edition, one of 500 copies, dated 1867 on the wrapper.

3/4 brown morocco binding, spine with four raised bands framed in gilt and decorated with double gilt compartments adorned with small gilt tools at the corners and a large central floral tool at centre, marbled endpapers and pastedowns, original wrappers preserved with two minor restorations to the upper cover, gilt top edge, elegant binding signed by Bernasconi. A few minor foxing spots, slightly more pronounced on the first leaves.

Rare and precious autograph presentation inscrip