First Editions

Edition with some parts in first edition, containing 52 previously unpublished pieces out of 158. A portrait of Bilitis by Albert Laurens as frontispiece, after the polychrome bust in the Louvre Museum. One of 550 copies on vellum, no. 445.
Half brown shagreen binding with corners signed Champs-Stroobant at the top of the endpaper. Smooth spine with mosaic work, decorated with mirrored mosaic tooling in red and black, with Greek key roll borders. Fillet lines on boards. Top edge gilt. Spine uniformly faded. Traces of rubbing.
Very fresh copy, with original wrappers preserved, uncut paper, full margins.
Handsome copy.
Literary hoax in which Bilitis is presented in the translator Pierre Louys's preface as a young Greek woman from the 6th century who would have lived on the island of Lesbos where she would have been Sappho's rival. Pierre Louys pushed the hoax so far as to create false bibliographic references, and a large part of the critics were deceived by it. Debussy set 3 of these pieces to music as early as 1897. The poems and songs trace the life of a young virgin, her first erotic stirrings and her sapphic loves.

First edition, one of 25 numbered copies on alfa paper, the only deluxe copies.
Iconography.
Handsome copy.

First edition, one of 80 numbered copies on laid paper, the only deluxe copies after 20 on Holland paper.
Front cover vertically and slightly shaded in margin, otherwise handsome copy.

Two complete autograph manuscripts, on five perforated leaves, of 46 lines for the first and 52 lines for the second, written in blue ink, of the song entitled "Place Blanche" which exists in two versions both entitled "Place Blanche" but with varying text: the first beginning with "J'étais allé dimanche me promener" and the second with "Les amoureux l'dimanche vont deux par deux".
Each manuscript in our possession corresponds to one of the two versions and is extensively corrected, crossed out and reworked while remaining consistent with the final state of the song.
We include, on two perforated leaves (one mounted on flexible cardboard), a complete typescript for each version of "Place Blanche".
Also included are the printed score of this song for each instrument, another score of the song as well as a typescript of the American adaptation of "Place Blanche" and these few handwritten words from the translator, written in red ink addressed to Boris Vian: "Serai Paris mardi. Qu'en penses-tu Bobo, moi ça me plait beaucoup. Dis-moi vite. Merci Nicole." ["Will be Paris Tuesday. What do you think Bobo, I like it very much. Tell me quickly. Thanks Nicole."]
Fine ensemble of this song which was written in 1956 and whose music was composed by Henri Salvador.
Provenance: Fondation Boris Vian.

Complete autograph manuscript on one sheet (24 lines), written in blue ink, of the song entitled "T'as bien quinze ans passés", presenting the final text of this song.
Finally, we include, on two perforated sheets, one of which pasted on flexible cardboard containing, at the head, the handwritten title of the song in pencil and, at the end of the song, this addition also by Boris Vian: "... commence ! , commence ! " in blue ink, two complete typescripts of "T'as bien quinze ans passés".
Fine collection of this song which was written between 1954 and 1959 and which was never performed.
Provenance: Boris Vian Foundation.

First edition, of which there were no deluxe copies.
Handsome copy.
Fine signed autograph inscription from Louis Althusser: "Pour Jean Kahn (qu'il sache que j'estime plus que tout au monde le jugement d'un juriste : Marx aurait dû écrire : "le droit et l'idéologie juridique continuent l'anatomie (mot souligné) de toute l'idéologie bourgeoise) . Avec ma considération et mon amitié" ["For Jean Kahn (let him know that I value a jurist's judgment above all else in the world: Marx should have written: 'law and legal ideology continue the anatomy (word underlined) of all bourgeois ideology') . With my consideration and my friendship"].

First edition, one of 55 numbered copies on alfa paper, the only deluxe copies after 28 on pur fil, ours unnumbered.
Minor traces of sunning to head and foot of spine.

First edition in French, one of 60 numbered copies on alfa paper, the only deluxe copies.
Handsome copy.

First edition, one of 65 numbered copies on Holland paper, deluxe copies after 23 on Madagascar.
Bradel binding in full abstract-patterned grey and cherry red paper, smooth spine, mouse-grey morocco title label, original wrappers and spine preserved, binding signed by Thomas Boichot.
Handsome copy.

First edition.

A light dampstain to margins of covers having also affected all leaves at their feet, three minute corner lacks to covers.

Rare but in this condition.

Two complete autograph manuscripts, on seven perforated sheets, of 52 lines for the first and 75 lines for the second, written in blue ink, of the song entitled "Le fêtard" consisting, for the first, of the final state of the song and, for the second, of a draft very abundantly crossed out, corrected and presenting variants with the final text.
We include, on three sheets, two of which are perforated (one pasted on flexible cardboard), a complete typescript and two printed and photocopied scores of "Le fêtard".
Fine ensemble of this song which was written in 1958 and whose music was composed by Henri Salvador.
The latter performed "Le fêtard" ["The Party-goer"] as early as 1958.
Provenance: Boris Vian Foundation.

Two typescripts of 32 lines each of Boris Vian's song "Choisis ta route" on two perforated sheets, one of which is mounted on flexible cardboard.
We include the printed score of this song.
Boris Vian wrote the text in 1958, Henri Salvador composed the music.
Provenance: Boris Vian Foundation.

Two typescripts of 36 lines each of Boris Vian's song "Donne, donne, donne" on two perforated sheets, one of which is mounted on flexible cardboard.
Boris Vian wrote the text in 1958, Henri Salvador composed the music.
We include a reproduction of the manuscript score of this song.
"Donne, donne, donne" ["Give, give, give"] had several performers including Henri Salvador from 1960.
Provenance: Boris Vian Foundation.

Set of four working manuscripts, of nearly 90 lines on five perforated sheets written in blue ink and pencil, of the song entitled "Ou... Ou... Ou..." presenting differences from the final state of the song.
Each manuscript is crossed out, corrected and therefore presents variants, sometimes significant, from the final text.
Completing the set, a typescript of the song accompanies the manuscripts.
We include, on three sheets, the manuscript score of "Ou... Ou... Ou..." written by Henri Salvador.
A handsome set of this song which was written between 1957 and 1959 and whose music was composed by Henri Salvador.
Provenance: Boris Vian Foundation.

First edition, one of 85 numbered copies on pur fil, deluxe copies after 36 on Holland paper.

Handsome copy.

The first part of Féerie pour une autre fois having failed to achieve the expected success, Céline wished to surround the release of the second part - Normance - with maximum publicity and restore his reputation after his years of exile in Germany and Denmark. Wishing to distance himself from the solemn form of the publisher's slip, he proposed to Gaston Gallimard this eulogy written in the manner of an imaginary interview between himself and Professor Y alias Colonel Réséda, a prostatic old man. The text of this zany « interviouwe » would be published in several parts in the Nouvelle Revue française in 1954 before appearing in volume form in 1955. The writer speaks with fervor about his style, his conception of literature and vehemently criticizes the literary world and public taste.

First collected edition, one of 35 numbered copies on pure laid paper, the only deluxe copies.
Handsome copy.

First edition, one of 37 numbered copies on Holland paper, deluxe copy.
Worming to top edges, otherwise fine copy.
We include a membership bulletin for the Paul Claudel Society.

First edition in French, one of 16 numbered copies on Annam paper, this copy bearing number 1, from the deluxe edition.
Handsome and rare copy.

First edition on ordinary paper.
A small tear on the spine continuing onto the back board.
Signed autograph inscription from Jean de La Varende to Jean Fleury.

First edition published in a small number of copies.
Boards detached with small corner losses, black ink stains opposite the page where the autograph inscription was written.
Fine autograph inscription dated and signed by Achille Le Roy: "Au camarade Briollet rédacteur de "Vérités", témoignage confraternel de l'auteur "l'académicide" Achille Le Roy. Congrès du Havre 19 Sept. 1912" ["To comrade Briollet editor of "Vérités", fraternal testimony from the author "l'académicide" Achille Le Roy. Le Havre Congress 19 Sept. 1912"].
Rare but in this condition.

First edition on ordinary paper consisting of a set of proofs before correction and presented in sheets without cover.
Rare.

First edition, one of 100 numbered copies on pure laid paper, the only deluxe copies.
Fine illustrated cover.
Handsome copy despite the spine slightly creased as usual.

First edition, one of 40 numbered copies on deckle-edged vellum, ours being one of the few hors commerce copies, the only deluxe copies.
Spine very slightly sunned, handsome copy.
Autograph inscription dated and signed by Pierre Jean Jouve to Louise Blaizot, secretary of Mercure de France.

First edition, one of 50 numbered copies on deckle-edged vellum, ours being one of the few hors commerce copies, the only deluxe copies.
Spine very slightly sunned at head and tail, handsome copy.
Autograph inscription dated and signed by Pierre Jean Jouve to Louise Blaizot, secretary of Mercure de France.

First edition.
Work illustrated with a frontispiece portrait of the author etched by Just.
Bradel binding in half dark blue morocco with corners, smooth spine, date gilt at foot, marbled paper boards, pebbled paper endpapers and pastedowns, covers and spine preserved, top edge gilt, bookplate pasted at head of one pastedown, elegant unsigned binding.
Handsome copy attractively bound.

Autograph letter dated and signed, one page (10 lines) addressed to Jani Brun regarding an interview she requests with the philosopher then immersed in completing "un ouvrage difficile" ["a difficult work"] (Le Je-ne-sais-quoi et le Presque-rien, probably), envelope included.
Central fold inherent to the mailing.
"9 Avril 1981,
Madame, je préférerais, si un ajournement vous semble possible, remettre l'entretien que vous me proposez à la fin de mai ou au cours de juin. J'achève en ce moment un ouvrage difficile qui me prend beaucoup de temps.
Pourriez-vous à cette occasion, m'indiquer le nom (mot souligné) de la revue pour laquelle vous envisagez cet entretien ?
Veuillez croire, madame, à mes sentiments bien dévoués.
Vl. Jankélévitch
1 Quai aux fleurs IVe" ["April 9, 1981,
Madam, I would prefer, if a postponement seems possible to you, to defer the interview you propose to me to the end of May or during June. I am currently completing a difficult work that takes up much of my time.
Could you on this occasion indicate to me the name (underlined word) of the journal for which you are considering this interview?
Please believe, madam, in my devoted sentiments.
Vl. Jankélévitch
1 Quai aux fleurs IVe"].

The posthumous first edition, published in 1864 after Vigny's death by his literary executor Louis Ratisbonne. A frontispiece portrait sometimes missing, mounted on China paper on heavy vellum; this portrait was engraved after a photograph by Adam Salomon. Printed on vellum.
Contemporary half red shagreen binding. Spine with raised bands decorated with compartments with triple fillets. Signs of rubbing. 2 corners slightly bumped. Occasional foxing.
Les destinées contains 11 pieces, 7 of which were published from January 15, 1843 to January 15, 1864 in the Revue des deux mondes. The last piece in the collection, L'esprit pur, was written 14 days before the author's death. This is one of the most important poetic collections of the 19th century for the formal organization of its poems. While the rhetoric and narration are still Romantic, Vigny's bold innovations herald Symbolism.

First edition of this issue of the important humanist review founded by Emmanuel Mounier, one of 50 numbered copies on alma du Marais paper, the only deluxe copies.
Light foxing to spine.
Contributions by René Dumont "La commune de Ceylan et le chômage", Jacques Caroux "Les ouvriers aisés", other articles contained in this issue: "Les intellectuels russes et l'année Lénine, Lettre d'un hôpital spécial, Le procès de Nathalie Gorbanevskaïa, Qui est fou ? c'est à nous, psychaitres de le dire...

First edition of this issue of the important humanist journal founded by Emmanuel Mounier, one of 50 numbered copies on alma du Marais paper, the only deluxe copies.
Very light foxing to spine.
Contributions by Joseph Rovan "Treblinka", André Laude "Kateb Yacine", Maximilienne Jacques "La liberté de conception", other articles contained in this issue: "Les Chrétiens et les Juifs" by Joseph Hoffmann, Lucien Lazare and F. Lovsky, Arturo Serrano Plaja "Le chant de l'exil", Jean Meyer "Chili 1966"...

First edition of this issue of the important humanist journal founded by Emmanuel Mounier, one of 50 numbered copies on alma du Marais paper, the only deluxe copies.
Handsome copy.
Contributions by Marc Beigbeider "Théâtre philosophique ?", J.J. Brieux "La Chine de Mao Tse-Tung : I. Bilan du Kuomintang", J. Vialatoux and A. Latreille "christianisme et laïcité"...

First edition of this issue of the important humanist review founded by Emmanuel Mounier, one of 50 numbered copies on alma du Marais paper, the only deluxe copies.
Handsome copy.
Contributions by Pierre Lieulliette "Aventure d'un parachutiste" and Benoit Verhaegen "Le sous-développement" in the Algérie viable section, Gilles Ferry "Guerre scolaire ? ", Simone Lacouture "Gel de la culture en Egypte"...

First edition of this issue of the important humanist review founded by Emmanuel Mounier, one of 50 numbered copies on alma du Marais paper, the only deluxe copies.
Handsome copy.
Contributions by Etienne Jovignot "L'enfance inadaptée", Konrad Bieber "La casemate de l'Oncle Sam", Casamayor "Justice française ? ", Henri Lefebvre "Marxisme et technique"...

First edition of this issue of the important humanist review founded by Emmanuel Mounier, one of 50 numbered copies on alma du Marais paper, the only deluxe copies.
Handsome copy.
Contributions by F. Jeanson "Montaigne et l'expérience du soi", A. Serrières "De la Corée au Viet-Nam", A. Béguin "Massis historien", A. Bazin "Carné et la désincarnation", A. Dansette "L'église et l'Action française"...

First edition of this issue of the important humanist review founded by Emmanuel Mounier, one of 50 numbered copies on alma du Marais paper, the only deluxe copies.
Handsome copy.
Contributions by Lanza Del Vasto "Le problème de la bombe", Serge Mallet "Gaullisme et néo-capitalisme", Jean Rabaut & Madeleine Reberioux "Jean Jaurès", Ephraïm Tari "A propos du Dernier des justes"...

First edition of this issue of the important humanist review founded by Emmanuel Mounier, one of 50 numbered copies on alma du Marais paper, the only deluxe copies.
Handsome copy despite light worming to the first cover.
Contributions by Yves Bertherat "Ode numéro 9", Alfred Simon "Le T.N.P. de Vilar à Wilson", Henry Kissinger & Stanley Hoffmann "Les Etats-Unis dans le monde"...

First edition of this issue of the important humanist review founded by Emmanuel Mounier, one of 50 numbered copies on alma du Marais paper, the only deluxe copies.
Handsome copy.
Contributions by Alfred Simon "Le théâtre est-il mortel ?", Harry Bloom "Mort d'un nègre", Kostas Axelos "Politique planétaire", Marc Jussieu & Paul Thibaud "Crise financière, mouvements sociaux...

First edition of this issue of the important humanist review founded by Emmanuel Mounier, one of 50 numbered copies on alma du Marais paper, the only deluxe copies.
Handsome copy.
Contributions by Pierre Sourys "Langue et réification", Robert Marteau "Le lieu de la poésie", André Siniavski "La poésie de Pasternak", L'affaire Siniavski-Daniel...

First edition of this issue of the important humanist review founded by Emmanuel Mounier, one of 50 numbered copies on alma du Marais paper, the only deluxe copies.
Handsome copy.
Contributions by Paul Thibaud "Sur place ou innnovation ?" ["In Place or Innovation?"], Michel Winock "La contradiction du P.C.F." ["The Contradiction of the P.C.F."], François Fetjo "Le Lénine anti-stalinien" ["The Anti-Stalinist Lenin"], Candido Mendès "L'armé au Pérou" ["The Army in Peru"], Jacques Madaule "Antijudaïsme; antisémitisme, antisionisme" ["Anti-Judaism; Anti-Semitism, Anti-Zionism"]...

First edition of this issue of the important humanist review founded by Emmanuel Mounier, one of 50 numbered copies on alma du Marais paper, the only deluxe copies.
Handsome copy despite two stains on the first cover.
Contributions by Daniel Artigues "Qu'est-ce que l'Opus Dei ?" ["What is Opus Dei?"], Robert Marteau "Le message biblique de Chagall" ["Chagall's Biblical Message"], Henri Corbin "Un chemin sans écho" ["A Path Without Echo"], Roger Akriche "La paix entre Israël et les Arabes" ["Peace Between Israel and the Arabs"], Jean-Marie Domenach "Les anti-mémoires" ["The Anti-Memoirs"]...

First edition, of which there were no deluxe copies.
Work illustrated with plates.
A vertical crease to the front cover, spine very lightly sunned.
Autograph inscription signed by Paul Poiret to a lady.

First edition, a Service de Presse (advance) copy.
Precious autograph inscription signed by Elsa Triolet to Jean Paulhan.

First edition.
Bradel binding in orange half cloth, smooth spine, date gilt at foot, brown shagreen title-label, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, contemporary binding.
Work illustrated with a fine frontispiece by E. Loviot.
Our copy is enhanced with an original photograph of Paul de Saint-Victor mounted facing the frontispiece.
Precious signed autograph inscription from Alidor Delzant to Louise Read: "A mademoiselle Read hommage respectueux." ["To Miss Read, respectful homage."]

First edition, one of 49 numbered copies reimposed on imperial Japan paper, deluxe issue after 1 unique Japan and 19 old Japan copies.
Rare and handsome copy.
Work illustrated with a portrait of the author by Gorvel and 4 original etchings by Jean-Emile Laboureur.
Handsome copy complete with the double state of the etchings and a proof of the cancelled plates on Japan as stipulated in the justification of issue.

Edition with most parts in first edition, one of 49 copies reimposed and numbered on Japon impérial, deluxe copies after 1 unique Japon and 19 vieux Japon.
Rare and handsome copy.
Work illustrated with a portrait of the author by Edmond Marie and 4 original etchings hors-texte as well as numerous in-text drawings by Paul Valéry.
Handsome copy complete with the double state of the portrait engraving, the proof of the cancelled plate and the suite of etchings as stipulated in the justification of the issue.

First edition.
Handsome copy, numerous reading marks in pencil and rarer ones in black felt-tip pen on certain leaves by the dedicatee.
Autograph inscription dated and signed by Albert Rafols-Casamada, in Spanish, to Georges Raillard and his wife Alice.

Illustrated edition with 10 portraits of the most celebrated actresses of the time by Alexandre Lacauchie, printed outside the text.
Half red calf binding, spine with five raised bands decorated with garlands and double gilt compartments, some scuffs notably to the upper headcap, marbled paper boards, marbled endpapers and pastedowns, a small harmless nick to the top edge, contemporary binding.
Handsome interior condition without foxing.

First edition, of which there were no deluxe copies.
Two small tears to the spine and at the head of the front cover, light scuffs at the foot of the front cover, occasional foxing.

First edition. Fine edition, well printed on laid paper, complete with the errata leaf at the end.
Half emerald green morocco binding with corners ca 1860 signed on endpaper Champs. Smooth spine richly decorated with 6 successive Restoration-style tools. Gilt title and date at foot. Foxing to endpapers, some occasional foxing in the text on an otherwise clean copy. Full-margined copy, untrimmed.
Carteret: "Rare work, masterpiece of Hégésippe Moreau." The author is, despite himself, one of the cursed Romantic poets, who died at age 28 of tuberculosis, just as this first collection that would make him known was being published. 4 novellas or tales followed by poetry.

Complete autograph manuscript on four perforated sheets, approximately one hundred lines, written in pencil, of the song titled "Cours ta chance" very heavily crossed out and corrected, with the verso of one of the four sheets presenting variants from the final text.
Our collection is completed with a manuscript draft of 16 lines written in blue ink with numerous corrections, additions and crossings out, also providing variants from the final text.
Finally, we include, on two perforated sheets, one of which is pasted on flexible cardboard, two complete typescripts of "Cours ta chance".
Handsome collection of this song which was composed in 1958.
Provenance: Boris Vian Foundation.

First edition of this issue of the review consisting of two folded sheets.
Minor marginal tears of no consequence to the sheets.
On the first, a color woodcut depicting François Coppée by Emile Cohl.
On the following, text by Paul Verlaine in first edition titled "François Coppée".
Paul Verlaine, perpetually impecunious, would be the only contributor to the review whom Léon Vanier, its director, would agree to remunerate in order to provide him financial assistance.

First edition of this issue of the review consisting of two folded sheets.
Minor marginal tears of no consequence to the sheets.
On the first, a color woodcut depicting Edouard Dujardin by Louis Anquetin.
On the following, text by Théodore de Wyzewa in first edition titled "Edouard Dujardin".

First edition of this magazine issue consisting of two folded sheets.
Minor marginal tears to the sheets without significance.
On the first, a color woodcut representing Paul Bourget by Emile Cohl.
On the following, text by Jules Laforgue in first edition entitled "Paul Bourget".

First edition of this magazine issue consisting of two folded sheets.
Minor marginal tears to the sheets without significance.
On the first, a color woodcut representing Paul Adam by Zed.
On the following, text by Gustave Kahn in first edition entitled "Paul Adam".

First edition of this issue of the magazine consisting of two folded sheets.
Worming and marginal stains on the sheets.
On the first, a color lithograph depicting Sully-Prudhomme by Emile Cohl.
On the following ones, text by Paul Verlaine in first edition entitled "Sully-Prudhomme".
Paul Verlaine, always impecunious, would be the only contributor to the magazine that Léon Vanier, its director, would agree to pay in order to provide him with financial assistance.

First edition of this issue of the magazine consisting of two folded sheets.
Light marginal tears and minor lacks of no consequence to the sheets.
On the first, a color woodcut depicting Anatole Baju by Manuel Luque.
On the following ones, text by Paul Verlaine in first edition entitled "Anatole Baju".
Paul Verlaine, always impecunious, would be the only contributor to the magazine that Léon Vanier, its director, would agree to pay in order to provide him with financial assistance.

First edition of this issue of the magazine consisting of two refolded sheets.
Inevitable minor lacks of no consequence to the margins of the sheets.
On the first, a color woodcut representing Charles Le Goffic by Gaston Noury.
On the following ones, text by Charles Maurras in first edition entitled "Charles Le Goffic".

First edition of this issue of the magazine consisting of two refolded sheets.
Inevitable minor marginal tears of no consequence to the sheets.
On the first, a color woodcut representing Leconte de Lisle by Coll-Toc.
On the following ones, text by Paul Verlaine in first edition entitled "Leconte de Lisle" which is the first of twenty-seven contributions by Paul Verlaine to the magazine.
Paul Verlaine, always impecunious, will be the only contributor to the magazine that Léon Vanier, its director, will agree to remunerate in order to help him financially.

First edition of this issue of the review consisting of two folded sheets.
Inevitable minor marginal tears of no consequence to the sheets.
On the first, a color woodcut representing Henri de Régnier by Manuel Luque.
On the following ones, text by Léon Vanier, under the pseudonym Pierre et Paul, in first edition entitled "Henri de Régnier".

Autograph manuscript nearly complete, the first couplet of 4 lines being absent, on a perforated sheet, of 36 lines, written in pencil, of the song entitled "Ave Maria des pêcheurs".
On the entire verso of this manuscript, Boris Vian copied out, still in pencil, 9 quotations from Paul Valéry extracted from his "Mauvaises pensées & autres" ["Bad Thoughts & Others"] for which he indicated pagination: "Un chef est un homme qui a besoin des autres, 208" ["A leader is a man who needs others, 208"] - "Ce qui est simple est toujours faux. Ce qui ne l'est pas est inutilisable. (ib. p 143)" ["What is simple is always false. What is not is unusable. (ib. p 143)"] - "Le grand triomphe de l'adversaire est de vous faire croire ce qu'il dit de vous" ["The great triumph of the adversary is to make you believe what he says about you"] ib. p 82. - "Un homme sérieux a peu d'idées. Un homme d'idées n'est jamais sérieux. (ib. p 108)..." ["A serious man has few ideas. A man of ideas is never serious. (ib. p 108)"]...
Our set is completed, on a perforated sheet of the same dimension, by an autograph manuscript of about fifty lines of this song that Boris Vian abundantly corrected and which presents variants with the final text.
Finally, we include, on two perforated sheets, one of which pasted onto flexible cardboard, two complete typescripts of the "Ave Maria des pêcheurs" as well as a photocopy of the manuscript score.
Fine set whose music was composed by Henri Salvador between 1958 and which he performed in 1979.
Provenance: Fondation Boris Vian.

Two typescripts of 32 lines each of Boris Vian's song "Avec ton sourire" on two perforated sheets, one of which is mounted on flexible cardboard.
Boris Vian wrote the text in 1958, Alexandre Champigny composed the music and performed it only in 2007.
Provenance: Fondation Boris Vian.

First edition, one of 100 numbered copies on Holland paper.
Beautiful illustrated cover by Charles Martin.
Handsome full-margined copy despite a small tear at head of spine and a tiny lack at foot.

First edition, one of 99 numbered copies on Arches vellum, the only deluxe copies.
Handsome copy.

First edition strictly hors commerce printed in 50 copies numbered and justified by Francis Ponge.
Handsome and rare copy.
Precious autograph inscription signed by Francis Ponge to Jean and Jeannette Tortel: "Pour Jean et Jeannette ces pages griffonnées à Sidi-Madani - avec l'affection de leur Francis P." ["For Jean and Jeannette these pages scribbled at Sidi-Madani - with the affection of their Francis P."]

First edition, one of 32 numbered copies on pure rag paper, the only deluxe copies.
A very fine copy.

First edition of the French translation.
Handsome copy.
Issue illustrated with a cover by Gray Morrow.
Other contributions by John Brunner "Les bébés", Fred Saberhagen "Prisonnier de l'hypermasse", Gordon R. Dickson "Pour quelle guerre".

First edition in French.
Handsome copy despite some foxing on the first leaves.
Issue illustrated with a cover by Wenzel.
Other contributions by Christopher Anvil "Ceux d'Arcturus", Larry Niven "La face cachée de la terre", Gordon R. Dickson "Les mains nues".

First edition in French.
Handsome copy despite some foxing on the first leaves.
Issue illustrated with a cover by Pederson.
Other contributions by Daniel F. Galouye "La cité des sphères", William Tenn "Les escargots de Betelgeuse"...

First edition of the French translation.
Handsome copy despite some foxing on the first leaves.
Issue illustrated with a cover by Pederson.
Other contributions by John Brunner "Le secret de Gorgone", Algis Budrys "Le Veld", Jack Williamson "La planète masquée".

First edition published by Henri de Rothschild.
Minor lacks at head and foot of sunned spine, handsome interior condition.

Illustrated edition for each of the volumes.
Half tawny sheep binding, spine with four raised bands set with dotted lines and gilt fillets, significant rubbing to spine, one lack to lower headcap, marbled paper boards, marbled endpapers and pastedowns.
Some light foxing.
Rare.

First edition, one of 80 numbered copies on pur fil paper, deluxe copy.
Handsome copy.

First edition.
Handsome copy with the illustrated dust jacket.
Signed autograph inscription from Henri Troyat to René de Obaldia: "... ce portrait sans retouches d'un damné de l'écriture..."

The first edition, of which there were no deluxe copies.
Handsome copy.
Signed autograph inscription from Jacques Sternberg to René de Obaldia: "... concerto sans doute peu concertant..."

Autograph letter dated and signed, one and a half pages (26 lines) on letterhead of the Hôtel Majestic in Cannes, addressed by Jean Dutourd to the writer and polemicist Jean Rimeize, biographer of Robert Poulet, to facilitate his "entry" at Gallimard in order to place more quickly and efficiently the manuscript he intends to have published:

"Cher Jean Rimeize

Vous avez parfaitement raison de penser à Gallimard. Envoyez votre manuscrit de ma part à Mme Odette Laigle, à la N.R.F., 5 rue Sébastien Bottin, VIIe.

Elle est secrétaire du comité de lecture. Voyez-la même, à l'occasion. C'est une femme très gentille, qui ne vous fera pas languir pendant des semaines ou des mois en attendant une décision. Le programme "trop chargé" (mot illisible) est une bonne blague ! Si Gallimard ne prend pas votre livre, demandez à Mme Laigle de le passer au "Mercure de France" qu'il pourrait intéresser.

Tous mes voeux, et bien cordialement.

Jean Dutourd". ["Dear Jean Rimeize

You are perfectly right to think of Gallimard. Send your manuscript on my behalf to Mme Odette Laigle, at N.R.F., 5 rue Sébastien Bottin, VIIe.

She is secretary of the reading committee. Even see her, on occasion. She is a very kind woman, who will not keep you waiting for weeks or months pending a decision. The 'too busy' schedule (illegible word) is a good joke! If Gallimard does not take your book, ask Mme Laigle to pass it on to 'Mercure de France' which might be interested in it.

All my best wishes, and most cordially.

Jean Dutourd".].

First edition, one of 16 numbered copies on Japan paper, ours one of 6 hors commerce copies, deluxe issue.
Fine copy with full margins.

Typed letter dated and signed, half a page on Académie Française letterhead, addressed by Jean Dutourd to writer and polemicist Jean Rimeize, biographer of Robert Poulet, in which he points out a confusion by his correspondent regarding a fictional character, also thanking him for recently providing news of himself.

First edition of Benjamin Delaroche's translation. Notes and commentary by Walter Scott, Thomas Moore, etc. Printed on fine laid paper. The copy has been extra-illustrated with 39 steel engravings from the album "Women of Byron," a type of collection very fashionable at the time, as there were also "Women of Balzac," "Women of Walter Scott," and "Women of Shakespeare," in which the heroines of the novels were depicted in engravings by English artists, considered masters of the genre during this period. Life of Byron by John Galt.
Contemporary half polished navy calf binding. Spine with 4 flat raised bands decorated with fillets and compartments, roulettes at head and tail. Gilt title and volume number. Navy marbled paper with wave pattern. Marbled edges. Traces of rubbing. Overall the paper is in very fine condition, with occasional light foxing at the tissue guards, in the margins of the engravings, at the beginning or end of volumes. Traces of an old label in the last compartments. Corner fold to second board of volume 4.
Handsome copy.

First edition on ordinary paper.
Handsome copy.
Autograph inscription signed by Pierre Moinot to René de Obaldia and his wife Diane: "... ces récits au titre lugubre qui te diront ma fidèle amitié..." ["...these stories with their gloomy title that will tell you of my faithful friendship..."]

The first edition, published in a small number of copies of this offprint.
Light worming to boards, handsome interior condition.
Rare.

First edition.
Bound contemporary brown half-shagreen. Spine decorated with gilt fillets. Gilt title. Traces of rubbing to edges. Scattered foxing. A good copy.
This translation of Poe was published a few months before Baudelaire's first collection of poems, Les Fleurs du mal.
While we know how much E.A. Poe owes to Baudelaire, whose superb translation is known to even surpass the original work, we often overlook Baudelaire's own literary debt to his American model. More than an exercise in translation, Baudelaire found in reading Poe's extraordinary stories the very soul of his poems, which we still being written at the time.
Following the success of his first translation of Les Histoires Extraordinaires in 1856, Baudelaire added a unique preface to his Nouvelles histoires extraordinaires, which goes far beyond a simple presentation of Edgar Allan Poe's "dark and strange genius", and proves to be a true tribute to Poe by his humble translator who was about to become one of the greatest poets in history.
"From the bosom of a greedy world, starved of materialities, Poe darted into dreams. Smothered as he was by the American atmosphere, he wrote at the head of Eureka: "I offer this book to those who have put their faith in dreams as in the only realities!" [...] Poe, an Aristocrat by nature even more than by birth, a Virginian, a Southern man, a true Byron lost in a bad world, always retained his philosophical impassivity, and, whether he was defining the nose of the rabble, mocking the fabricators of religion, or mocking libraries, he remains what the true poet was and always will be, - a truth dressed in a bizarre way, an apparent paradox, who doesn't want to be elbowed by the crowd, and who runs to the far east when the fireworks go off at sunset." (Baudelaire in his foreword to his Nouvelles histoires extraordinaires)
Henry de la Madelène, a writer and friend of Baudelaire's, made no mistake when he urged his contemporaries to discover the poet through his translations of Poe: "Read them carefully, and you will at once have the secret of Baudelaire's soul and the secret of his works".

First edition on ordinary paper.
Work illustrated with reproductions of works by André Verdet and a photographic portrait of André Verdet as frontispiece.
Pleasant copy.
Autograph inscription signed by André Verdet: "Pour les Plon à pleine voile. Amitiés." ["For the Plons at full sail. Best wishes."] enriched with a large original four-color drawing representing a sailboat cutting through the waves under a radiant sun

First edition on ordinary paper.
Work illustrated with 7 drawings by André Masson.
Spine and boards slightly and marginally lightened.
Autograph inscription signed by Joaquim Vital to Véronique Charaire.

First edition, of which there were no deluxe copies.
Spine lightly sunned without damage with small tears at head and foot.
Autograph inscription signed by Vladimir Jankélévitch in Cyrillic.

First edition.
Small holes to top edge, copy lacking dust jacket.
Precious autograph inscription dated and signed by Lawrence Durrell to his friend Janine Brun: "For Janine Brun / from Lawrence Durrell /Sommières / 1968".
Among the olive trees and under the Mediterranean sun, Lawrence Durrell met in the mid-1960s the young and vivacious "Jany" (Janine Brun), a woman from Montpellier in her thirties of devastating beauty, who worked at the Department of Antiquities at the Sorbonne in Paris. She was nicknamed "Buttons" in memory of their first meeting, when the young woman wore a dress covered with buttons. Henry Miller also fell under the spell of "Buttons," praising her beauty and eternal youth in exceptional unpublished letters. The three companions spent memorable Parisian evenings of which we retain precious autograph traces through their epistolary exchanges. Recommended by Durrell, she made numerous trips notably to England from where she received vast correspondence from the writer as well as original works of art signed with his artist pseudonym, Oscar Epfs.

First edition in French translated by Philippe Delarbre in collaboration with the author, one of 750 numbered copies.
Handsome copy despite the spine and boards slightly and marginally sunned without consequence.
Work illustrated with wash drawings by Colette Deblé.
Signed autograph inscription from Abdelamir Chawki to poet Charles Dobzynski: "... avec qui j'ai vécu un voyage inoubliable..." ["...with whom I lived an unforgettable journey..."] accompanied by an 11-line handwritten postcard dated November 26, 1990 in which Abdelamir Chawki expresses his joy at seeing his friend again soon, notably for projects "relatifs à Rimbaud et au Yémen..." ["relating to Rimbaud and Yemen..."]

First edition printed in 250 numbered copies on ivoirine paper.
Work illustrated with japonisant butterfly compositions by Audrey Parr reproduced in white gouache by Jean Saudé, the properties of this ivoirine paper allowing one to discern the butterflies printed on both sides of the leaf, some white and the "shadows" of others showing through by transparency.
Handsome copy despite the cockling inherent to the quality of this paper and the fact that each leaf of the work is mounted.

First collected edition, an advance copy.
Spine split at head and lightly sunned, pale dampstains to margins at head of covers.
Precious signed autograph inscription from Armand Salacrou: "A Jacques Copeau tous ces vieux souvenirs avec mon amitié fidèle." ["To Jacques Copeau all these old memories with my faithful friendship."]

First edition, an advance copy.
Spine sunned with a small lack at foot, a marginal crease on the first cover.
Precious signed autograph inscription from Armand Salacrou: "Pour Jacques Copeau ces deux pièces qu'il n'a pas vues, et qu'il ne lira pas - mais qui lui porteront mon admiration et mon amitié." ["For Jacques Copeau these two plays that he has not seen, and that he will not read - but which will carry to him my admiration and my friendship."]

First edition, one of 790 numbered copies on pure thread paper, the only deluxe copies after the 108 reimposed.
Spine sunned with dampstaining, clumsily filled lack at foot of spine, foxing to covers and browning to interior.
Precious signed autograph inscription by Jules Romains: "A Jacques Copeau, qu'un an de travail commun n'a fait que me rendre plus cher, son Jules Romains. Juin 22." ["To Jacques Copeau, whom a year of working together has only made more dear to me, his Jules Romains. June 22."]

First edition, one of 30 numbered copies on pure thread paper, the only deluxe copies
Front cover marginally sunned, sunning to margin of first endpaper.