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

First edition, issued without any edition statement.
Contemporary half mottled fawn sheep bindings, smooth spines ruled in gilt with double fillets, red sheep lettering pieces bearing the author's name "Works of V. Hugo", sky-blue sheep title and volume labels, marbled paper-covered boards, decorative endpapers and pastedowns.
Some occasional foxing, small holes at the head of the half-title leaf of the first volume.
Widely regarded as Hugo's masterpiece in the realm of fiction, a dark and baroque work in which his poetic style, built upon antitheses and oxymora, is carried to its furthest limits, anticipating qualities later embraced by the Surrealists.

First edition, one of the press service copies.

Sun-faded spine, boards marginally faded and sunned, as is usually the case.

Precious signed autograph inscription by André Malraux: "A Pierre Mac Orlan, introuvable, en témoignage de gratitude et de vieille sympathie."
 

First edition, one of 85 numbered copies printed on Arches wove paper, this being one of the 15 deluxe copies issued with an additional suite of the 7 original drypoints and 8 rejected drypoints on Auvergne paper, all individually numbered and signed in pencil by Brigitte Simon, from the deluxe issue.

The upper cover lightly and uniformly sunned.
Fine copy, complete with its original grey cloth chemise and slipcase.
Illustrated with 7 original drypoints by Brigitte Simon.
Claude Esteban and Brigitte Simon's handwritten signatures beneath the limitation statement.

Signed autograph inscription from Brigitte Simon to the...

First edition, one of 500 numbered copies printed on Rives wove paper.

Illustrated with 1 original colour lithograph and 6 line drawings by Fernand Léger.

Three small spots of foxing to the spine, foxing to the lower cover, internally in pleasing condition.

First edition, one of 46 numbered copies on pure wove paper.

Minor tears at the head and foot of the spine, a pleasant copy with full margins.

First edition, one of 35 numbered copies on pure wove paper, the only deluxe paper issue.

A handsome copy.

Inscribed and signed by Alain Jouffroy to Monsieur Marchaux: "... en plein vol jusqu'au prochain..."

First edition, one of 52 numbered copies on Holland paper, the deluxe issue.

A handsome copy.

First edition, one of the press review copies.
Trimmed copy, joints soiled and restored, stain to the lower cover.
Humorous signed autograph inscription by Paul Morand: "Cher Caracalla, j'apprends que vous n'avez jamais reçu mon Fouquet ; en juin dernier je vous l'envoyais avec ma fidèle pensée. Que le diable patafiole le facteur ! Je vous renouvelle ici ma très amicale sympathie. Morand."

First edition, one of 25 numbered copies on alfa mousse paper, the only deluxe paper issue.
A pleasing copy.

Signed autograph inscription from Jean Freustié to Micheline Amar: "... this Marthe ou les amants tristes to which she will owe much..."

First edition, one of 24 numbered copies on Lana laid paper, the only deluxe paper issue.
A pleasing copy.

First edition, one of 24 numbered copies on pure wove paper, the deluxe issue.

Spine showing two small areas of sunning at the head and foot.

A rare and pleasing copy of this novel set against the backdrop of the French collapse during the Second World War.

First edition, one of 25 numbered copies on pure wove paper, the only deluxe paper issue.
Spine and boards lightly sunned.

First edition, without the mention “oeuvres complètes de Victor Hugo” (see Clouzot).

Contemporary red polished half calf bindings, spines slightly mellowed and decorated with four raised bands framed by gilt garland tools and gilt quintuple rules, marbled paper boards, marbled endpapers and pastedowns, marbled edges.

Very slight rubbing to the spines, a pleasing copy, lacking the preliminary preface leaf, attractively bound in a contemporary Romantic-style binding.

First edition, one of the numbered copies on vélin d'archers, the only large paper issue.

First endpaper, half-title and title pages slightly shadowed, with a few pencil annotations and reading marks in the margins of some leaves.

Rare and pleasing copy.

French first edition, one of 155 numbered copies on pure vellum, ours being one of the 75 reserved for the Club de l'édition originale, the only large paper issue after 20 Holland.
Pleasant copy despite the spine being very slightly sun-faded, without significance.

First edition, one of 500 numbered copies on white vellum,  after 1 copy on Japan paper, 13 on Arches paper, and 22 on marsh vellum.
A pleasing copy.

First edition, one of 210 numbered copies on Sirène, the only large-paper copies.
A fine copy.

First edition, one of 50 numbered copies on velin alfa paper, the only large-paper copies.

Boards with light, marginal tanning; pleasant interior condition.

Autograph presentation inscription signed by François Nourissier to Maurice Marchaux.

First edition, one of 35 numbered copies on hollande paper, top-of-edition issue.

A very fine copy.

First edition, illustrated with drawings by the author.

Publisher’s binding in full white boards, smooth spine, illustrated front cover, copy complete with its original insertion slip.

Amusing autograph inscription signed by Claire Brétécher to a friend named Richard: "A Richard baisers maniaco-dépressifs. Claire."

Very rare first edition, with second edition statement on title page.

Bradel binding in half blue-grey percaline, smooth spine decorated with a central gilt fleuron, double gilt fillet at tail, title label lacking, cat's-eye paper boards, original wrappers preserved with angular losses and discolouration, corners slightly rubbed, period binding.

Foxing, front wrapper and first free endpaper clumsily restored, small tears repaired on the first three leaves.

Rare presentation copy inscribed by Louise Michel: "... à de méchants amis que l'on aime quand même et toujours. LMichel." [to...

First edition on ordinary paper for the second volume; statement of 1000th edition on the first volume.

Minor foxing to the top edges.

A handsome set, housed in a white paper covered chemise and slipcase.

Exceptional presentation copies signed by Marcel Pagnol to Maurice Druon on each volume: "à Maurice Druon, écrivain véritable, hommage du romancier amateur, son ami, MarcelPagnol. 1958" [to Maurice Druon, true writer, homage from an amateur novelist, his friend, Marcel Pagnol] and "Cher Maurice, puisque ça te plaît, voilà la suite. Mais rassure-toi, il n'y en a plus qu'un ! affectueusement, Marcel." [Dear Maurice, since you liked it...

First edition, one of the press copies.

A few spots of foxing to the centre of the spine.

Presentation inscription signed by Raymond Queneau to Marcel Mithois.

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

A copy complete with its illustrated dust-jacket, which, as is often the case, shows a few small marginal tears; wrappers lightly soiled.

Rare presentation copy by Georges Brassens to Michel Soulié.

Rare first edition. First volume published on 6 May 1867, the second on 27 July and the third the next year (28 January 1868). All of 18° format are first editions of Verne's novels.

Contemporary brown half shagreen bindings, spines with four raised bands ruled in black and decorated with double black panels featuring central gilt floral tools, marbled paper boards, marbled endpapers and pastedowns, two upper corners slightly bumped, speckled edges, contemporary bindings.

A handsome copy attractively housed in its contemporary bindings. In Search of the Castaways is the very first Verne novel to be adapted for the cinema. predating even...

Rare first edition. This first appearance of the text in book form was Jules Verne's preferred format, as Jauzac notes, instead of the more famous gilded publisher's bindings.

Contemporary brown half shagreen binding, spine with four raised bands ruled in black and decorated with double black panel compartments featuring central gilt floral tools, marbled paper-covered boards, marbled endpapers, speckled edges, a few small abrasions to one edge, contemporary binding.

A small black ink stain to the lower right margin of the opening leaves.

A handsome first edition copy attractively housed in a contemporary binding. This founding novel is considered one of, if...

Rare first edition. The first volume dated 4 August 1876, followed by the second volume published on 6 November with Un drame au Mexique bound in. All first editionswere published in 18° format. 

Half brown shagreen bindings, spines with four raised bands ruled in black and framed in black with with central gilt fleurons, marbled paper boards, paste-down endpapers and flyleaves of hand-marbled paper, sprinkled edges, contemporary bindings.

A handsome first edition copy of this celebrated Siberian adventure, attractively bound in contemporary bindings.

This first appearance of the text in book form was Jules Verne's preferred format, as Jauzac...

First edition, one of the press review copies.
Spine with a small waterstain at the foot.
Signed autograph inscription from Jorge Semprun: "A Mr Pierre Pain, a good bookseller like good bread, in memory of a signing day and of a shared memory far richer. With warm regards. JSemprun."

 

First edition, one of the press service copies.

A faint waterstain affecting the centre of the final leaves.

Bradel binding in patterned paper-covered boards, smooth spine, black oasis morocco lettering-piece, wrappers and spine preserved.

Precious presentation inscription signed by Jean Genet to Claude Romain, who created the role of Maurice in this play: "à Claude Romain petit gamin et déjà grand comédien. Ton pote, Jean Genet."

High Surveillance was first performed in Paris at the Théâtre des Mathurins on 26 February 1949, directed by Jean Marchat, with Tony Taffin, Claude Romain, Robert Hossein and Jean-Marc Lambert in the cast.

Claude...

First edition, one of a limited issue for which no deluxe paper copies were produced.

Small stains to the lower left corner of the upper cover and to the top edge.

Presentation copy by Mohammed Khaïr-Eddine : "à M. Maurice Genevoix, écrivain et pêcheur comme moi, ces images d'un Maroc étrange, en hommage fraternel. Khaïr-Eddine."

First edition, one of 50 numbered copies on Arches wove paper, the sole deluxe issue.

Spine slightly sunned.

A rare and pleasing copy.

First edition, one of 38 copies printed, this being one of the 30 copies issued with a wash drawing by Marcel Dumont.

A fine copy.

Illustrated with an original wash drawing by Marcel Dumont.

Manuscript signatures of Marcel Dumont and François Cheng in pencil on the colophon.

First edition, one of 55 numbered copies on mould-made Arches wove paper, the only deluxe issue.

Rear cover slightly and marginally sunned, very faint offsetting to the head and foot of the endpapers.

First edition on ordinary paper.

Contemporary half burgundy sheep, smooth spine sunned and decorated with double gilt fillets, marbled paper boards, a few scratches to the lower board, marbled endpapers and pastedowns, a few small nicks to the edges, contemporary binding.

Scattered foxing.

Presentation inscription signed by Guy de Maupassant « à Monsieur [Amaury] Renoul », manager of the Librairie Nouvelle, established at 15 boulevard des Italiens. The bookshop's back room served as a literary salon frequented by many of the leading artistic and intellectual figures of the French capital.

First edition, one of 30 numbered copies on vergé pur fil, the only large-paper copies.
"Collection Goncourt" ex-libris pasted to a flyleaf.

"When Batouala was first published in Paris a half-century ago, it was not only an event of major literary importance, but also a turning point in both the intellectual and political history of contemporary Africa. A creation of Rene Maran, an Afro-Caribbean who had years of direct experience in Africa as an employee of France's colonial service, Batouala was the first great novel about Africa by a Black writer." (Donald E. Herdeck...

First edition of the French translation, one of the ordinary issue copies, as no deluxe paper copies were produced.

A very good copy.

Signed autograph inscription from Richard Wright to Pierre Descaves.

Edition published in the same year as the first edition, stated 43rd edition.

Autograph inscription dated by Panaït Istrati to Madame S. Ionesco.

First edition, one of the rare copies specially printed for the author on Holland paper.

Contemporary Bradel binding in half vellum-style paper boards, smooth spine slightly sunned and decorated with a central gilt ornament, marbled paper covers, wrappers preserved.

Fine signed autograph inscription by Binet-Valmer: "à Claude Farrère son admirateur, à Charles Bargonne, son ami reconnaissant, Binet-Valmer."

First edition.

Half morocco binding, spine with five raised bands tooled in black with gilt fleurons, marbled paper boards, marbled endpapers and pastedowns, sprinkled edges, contemporary binding.

Some minor foxing.

Presentation copy signed by Victor Hugo to René Heymann.

Victor Hugo most likely came to know René Heymann (1866-1944) through his beloved grandson, the future painter Georges Victor-Hugo. In the immediate aftermath of the great poet's death, two years after the publication of this penultimate series of La Légende des siècles, Heymann would receive from Georges a heartbreaking letter: "Do not come today. If you only knew...

First edition, one of the press service copies.
Minor tears to the margins of the covers, spine slightly sunned with a few small nicks.
Precious signed autograph inscription by Léo Ferré to Marie Bell and Jean Chevrier.

 

First edition, one of 2,270 numbered copies printed on alfa paper, the only printing.
A pleasing copy despite small marginal tears to the wrappers.

First edition, one of 10 numbered copies on Alfama paper, the only deluxe paper issue apart from a few hors commerce copies also printed on Alfama.

Minor, unobtrusive traces of corner creasing to the wrappers.

A rare and pleasing copy.

Complete set of uncorrected galley proofs dating from August–September 1935, comprising 65 pages on as many leaves numbered in pencil from 1 to 65.

First set of galley proofs for Henri Calet's debut novel La Belle Lurette (Gallimard, October 1935), forwarded to the author by Gallimard in the summer of 1935.

"On 15 June 1935, in a small room on the rue Edgar-Poe, close to the Buttes-Chaumont, Calet completed the writing of his first book, La Belle Lurette, which appeared in November of that same year with Gallimard, with the support of Jean Paulhan. The book met with little commercial success, yet Calet earned the esteem of distinguished...

First edition, one of 33 numbered copies on white Rivoli wove paper, the only deluxe issue.

Our copy is complete with the accompanying CD featuring excerpts from Huit quartiers de roture, radio broadcasts adapted from the work and aired on the Programme parisien in 1952.

The wrapper is illustrated with the reproduction of two postcards depicting the 19th and 20th arrondissements by Joseph Porphyre Pinchon, creator of Bécassine, taken from the series entitled "Les arrondissements de Paris illustrés en 20 cartes postales."

We are also including with our copy the complete set of 20 postcards, lacking only the original protective sleeve.

A handsome...

First edition, one of 35 numbered copies on Ingres d'Arches paper, this being one of 10 hors commerce copies.

Text established, with notes and preface by Jean-Pierre Barril; unpublished texts, letters and documents selected by Léon Aichelbaum and Jean-Pierre Barril.

A very fine copy.

First edition on ordinary paper.
A fine copy.
Inscribed and signed by François Cheng to a woman named Pascale.


 

First edition, one of the press service copies, with no deluxe paper issue.
Minor marginal foxing to the covers, bookseller's ink stamps at the head of the upper cover and foot of the lower cover.
 

First edition.

Contributions by Albert Valentin "Eugène Atget", Morely Callaghan "Une passion de rustre", E.L.T. Mesens "Hans Arp", Pierre Mac Orlan "L'aube", Denis Marion "La découverte de l'Amérique", Paul Fierens "Vénus et les mannequins", Franz Hellens...

Issue illustrated with photographs by Eugène Atget, Man Ray, Germaine Krull, Mylander and drawings by Marc-Eemans, Ramah, Frits van der Berghe, Hans Arp, Fernand Léger, Léopold Survage...

Spine and covers slightly and marginally sunned, not affecting the soundness of the copy, internally well preserved.

First edition.

Contributions by Pierre Mac Orlan "Accordéons", P.G. Van Ecke "L'envoûte ou la destinée des peintres", Denis Marion "A double tour", Gille Anthelme "Un aspect décisif des Ballets Diaghilew : Léonide Masside", Frans Vervoot "Nine, ou l'avant-propos", Albert Valentin "Aux soleils de minuit (IV)", Paul Fierens "Des rues et des carrefours", Franz Hellens...

Issue illustrated with photographs and drawings by Hans Arp, Jean de Bosschère, Marc Chagall, Gustave de Smet, Edgar Tytgat, Frits van der Berghe...

Spine and covers slightly and marginally sunned, small losses and tears to the spine, a pleasing copy internally.

First edition on ordinary paper.

A pleasing copy.

Signed autograph inscription from Yves Bonnefoy to François Erval.

First edition, one of the press service copies, no deluxe paper copies issued.

A dampstain to the lower edge of one textblock edge.

Precious signed autograph inscription from Casamayor: "à Jean Paul Sartre au nom de la réalité concrète avec la fidélité de Casamayor."

First edition, one of 60 numbered copies on mustard popset paper, the deluxe issue.
Illustrated with drawings by René Magritte.
A very good copy.
Our copy is complete with the additional suite of letters and drawings by René Magritte issued with the deluxe copies.

First edition, one of 100 copies specially printed on a quarto format (in-4 couronne), ours one of 64 numbered copies on annam de rives paper.

Two faint dampstains to the spine, internally in attractive condition.

Illustrated with 5 drawings by Giorgio de Chirico.

As stated in the limitation, our copy does indeed contain the two original etchings by Giorgio de Chirico, each signed and numbered by him in pencil.

First edition, one of the ordinary issue, with no deluxe paper copies noted.

Small angular losses at the upper margins of the first leaves, paper occasionally brittle in the margins of certain leaves.

Signed autograph inscription from Rachilde to Léon Frapié.

Rare first edition.

Some foxing, spine slightly cocked.

First edition, one of 250 numbered copies, this being one of 10 numbered in Roman numerals, the deluxe issue.

Illustrated with original black engravings by Ania Staritsky.

A rare and very handsome copy, complete with its original school-style green flexible card chemise, marginally faded.

Manuscript pencil signatures of Michel Butor and Ania Staritsky at the colophon.

As stated in the limitation notice, our copy does indeed contain a manuscript page by Michel Butor and an original signed collage by Ania Staritsky.

First edition, one of 30 numbered copies on featherweight wove paper, the only issue after 15 copies on Lana wove paper.

Illustrated with 2 original engravings by Ania Staritsky, signed by her, together with drawings by Elsabeth Hellens and Léopold Survage.

A handsome copy.

First edition printed in 35 numbered copies on "vieux grès" rag paper from the Moulin de Larroque, this copy one of 10 hors commerce copies.

Illustrated with original color engravings by Ania Staritsky, who also devised the book’s original design with the collaboration of Claude Nardin.

A rare and very handsome copy preserved in its original full grey cloth slipcase.

Manuscript pencil signatures of Michel Butor and Ania Staritsky at the colophon.

Our copy is enriched with a two-page autograph letter, dated and signed, from Ania Staritsky to Claude Nardin concerning the making of this work.

First edition printed in 25 numbered copies on pure rag paper, pulled on Ania Staritsky’s press on the occasion of an exhibition of her works at Larroque.

Illustrated with 7 original engravings numbered and signed in justification by Ania Staritsky who also designed the original layout of the work with the collaboration of Claude Nardin.

A rare and handsome copy complete with the following 7 engravings : 

- Magical cockerel

- Fishing of flies

- Fire hamste

-...

First edition, one of the copies specially printed on Corvol l'Orgueilleux paper for the Sequana selection.

Publisher's full sand paper-covered boards, smooth spine, lightly sunned, with wrappers specially designed for the Sequana selection and spine preserved, speckled edges.

A pleasing copy.

First edition, one of 30 numbered copies on Larroque pure rag paper, this copy one of 10 hors commerce copies, from the deluxe issue.

Illustrated with original engravings by Ania Staritsky, who also designed the book’s original maquette with the collaboration of Claude Nardin.

A rare and very handsome copy, complete with its slipcase and chemise in full saffron cloth.

Our copy is enriched with a signed 10-line manuscript poem by Janine Mitaud, an original etching, and a second state of one of Ania Staritsky’s engravings.

Manuscript pencil signatures of Ania Staritsky and Janine Mitaud at the colophon.

First edition, illustrated with a frontispiece portrait of Edouard Manet by Bracquemond and an etching by Edouard Manet after "Olympia".

Black half morocco over corners, spine with five raised bands ruled in blind, date gilt at foot, marbled paper boards, patterned endpapers and pastedowns, original wrappers preserved, binding signed by Stroobants.

A rare and handsome copy, attractively bound.

First edition.

Half green chagrin binding, flat spine with color restoration ruled in black and gilt, gilt frieze and date at foot, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved with restorations, binding of the period.

Presentation copy inscribed to Léon Richer.

Born into modest circumstances and having lost his father at an early age, Léon Richer founded in 1869 the weekly Droit des femmes, aimed at reforming women's legal rights, which enjoyed the renewed support of Victor Hugo: "I wholheartedly join in your useful endeavour. For forty years I have been pleading for the great social cause you devote...

First edition of the French translation established by Alexandre Vialatte, one of 50 numbered copies on pur fil, the only deluxe paper issue.

A handsome copy.

First edition of the French translation, one of 50 numbered copies on vellum, the only deluxe paper copies.

Illustrated wrappers.

A handsome copy.

A unique copy entirely transcribed by hand by Michel Butor for Claude Nardin; the paper, handmade by Georges Duchêne at the Moulin de Larroque, is on antique 15; the wrapper, made of "grès de larroque" rag paper, is adorned with an impression by Ania Staritsky.

The work is illustrated with original colour engravings by Ania Staritsky, who also devised the original layout of the book with the collaboration of Claude Nardin.

A rare and very fine copy, complete with its brown full moiré cloth slipcase, slightly and marginally faded.

Manuscript pencil signatures of Michel Butor and Ania Staritsky at the colophon.

Our copy is...

First edition of the French translation, for which no deluxe paper copies were issued.

A very slight loss to the head of the spine.

A rare and pleasing copy.

First edition of this work devoted to the oeuvre of Ania Staritsky.

Illustrated with an original work by Ania Staritsky on the cover.

A rare and very attractive copy, spine plain and unlettered, boards slightly and marginally sunned, without seriousness.

Copy enriched with an artist’s proof engraving, justified and signed by Ania Staritsky in pencil

First edition, one of 56 numbered copies on B.F.K. de Rives laid paper.

Illustrated with original engravings by Ania Staritsky.

A rare and very fine copy, complete with its slipcase and grey full-cloth chemise.

Pencil signatures of Ania Staritsky and Albert Dasnoy on the colophon.

Autograph inscription signed by Albert Dasnoy to Claude Nardin, enriched with the handwritten signature of Ania Staritsky.

First edition, one of 50 numbered copies on Rives mould-made wove paper, the only printing after 20 hors commerce copies on Sirène offset paper.

Illustrated with colour linocuts and woodcuts after collages by Ania Staritsky.

Minor offsetting from glassine onto the inner flaps, tears to the spine.

Pencil signatures of Jacques Lemaire and Ania Staritsky at the colophon.

First edition, one of 42 numbered copies on tabac du moulin paper, issued under limon de rocaille wrappers, our copy one of 12 hors commerce copies, the only issue after 15 copies on papier saumon des eaux claires.

Illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the work, with the collaboration of Claude Nardin, here in his first contribution.

Rare and very fine copy preserved in its full burlap chemise and slipcase (spine of the chemise and boards of the slipcase slightly sunned at the margins).

Pencil signatures of Jacques Lemaire and Ania Staritsky on the colophon.

...

First edition of this poetry collection, prepared posthumously by the author's former husband, Ted Hughes. Our copy is complete with its unclipped dust jacket.

Publisher's blue percaline in Bradel binding, smooth spine lettered in silver, with the title, author's name and publisher's imprint.

Lower headcap very slightly bumped, minimal wear to corners. To the dust jacket, upper headcap with a very slight split, and a faint...

First edition, one of 37 numbered copies on Nivôse rag paper.

Illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the work in collaboration with Claude Nardin.

Rare and very attractive copy, preserved in its original old-rose full cloth slipcase (spine slightly faded and two faint stains at the foot of the boards, not serious).

Manuscript pencil signatures of Michel Butor and Ania Staritsky at the colophon.

A unique copy, exceptionally enriched with two original gouaches by Ania Staritsky, both signed, a manuscript text by Michel Butor, an original collage by Ania Staritsky, as well as a...

First edition, printed in 40 numbered copies on hand-made pure rag paper from the Moulin de Larroque, this 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 volume with the assistance of Claude Nardin.

A rare and very fine copy, complete with its full grey cloth slipcase, slightly discoloured at the edges, and its double chemise.

Manuscript pencil signature by Ania Staritsky at the colophon.

Our copy is further enriched with two original collages by Ania Staritsky, both signed.

First edition, one of 30 numbered copies printed on handmade pure rag paper.

Illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the work with the collaboration of Claude Nardin.

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.

Inscribed by Philippe Jones to Claude Nardin at the colophon.

Our copy is enriched with a five-line autograph manuscript text by Philippe Jones, as well as an original collage by Ania Staritsky, signed by her.

First edition, one of 35 numbered copies printed on "mousse d'épave" paper, ours one of 10 copies hors commerce.

Illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the work in collaboration with Claude Nardin.

Rare and very fine copy, complete with its chemise and slipcase in full grey cloth (spine of the chemise slightly faded).

Manuscript pencil signatures of Jean-Claude Renard and Ania Staritsky at the colophon.

Our copy contains a manuscript text by the poet Jean-Claude Renard as well as an original collage by Ania Staritsky, signed by her.

Fine signed...

First edition, printed in 40 numbered copies on "citronnelle de lin troué" paper, this being one of the copies numbered from 11 to 30 (No. 30).

Illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the work with the assistance of Claude Nardin.

A rare and very fine copy, complete with its chemise and slipcase in full olive green cloth.

Pencil signatures of Jacques Izoard and Ania Staritsky at the colophon.

A unique copy, exceptionally enriched with a manuscript text by the poet Jacques Izoard, an original engraving by Ania Staritsky signed by her, as well as three engravings not retained for...

First edition on standard paper.

Bradel binding in full moiré silk with a leaf pattern, smooth spine decorated with a gilt fleuron and gilt date at the foot, green morocco lettering piece, fore-edge and tail edges untrimmed, binding signed in blind on the upper pastedown [E.T.] Pierson, the Goncourt brothers' binder of choice.
Silk at the headcaps slightly rubbed, corners worn, light rubbing to the lettering piece.

A fine copy, with a few very faint fox spots and one paragraph marked with a pencilled marginal bracket at p. 61.

First edition of the French translation, one of 21 numbered copies on pur fil paper, deluxe issue.

Bradel binding in half blue percaline, smooth spine, floral motif, date and double gilt fillets at the foot, hazel morocco title label with some scuffing, marbled paper boards, covers and spine preserved, top edge gilt, contemporary binding.

The text by Friedrich Sieburg is followed by a letter from Bernard Grasset to the latter.

Fine dated and signed autograph inscription, from London, by Friedrich Sieburg to Monsieur de Fleuriau, then French ambassador in London: "... en le priant de ne voir dans ce livre que l'attrait que la France exerça sur son auteur...

Partly original edition, with 8 of the 12 stories in this collection appearing here for the first time.
Contemporary half red shagreen binding, smooth spine decorated with black and gilt fillets, marbled paper boards, marbled endpapers, speckled edges.

A small angular loss to the headcap, light rubbing to the spine.

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 50 numbered copies on Holland paper, deluxe issue.

A very small chip at the foot of the spine.

A fine copy, with full margins and in double wrappers.

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.