First edition on ordinary paper.
A fold mark at the foot of the lower cover, otherwise a well-preserved copy.
With a fine signed autograph inscription by Tristan Bernard: "A Charles Cuvillier cette oeuvre capitale qui absorba quinze ans de ma vie. Bien affectueusement Tristan Bernard."
First edition, no copies printed on deluxe paper.
Publisher's full red boards, flat spine, complete with the illustrated dust jacket.
Illustrated with numerous photographs.
Fine signed autograph inscription by Daniel Pennac to his friend Franklin Rist on the title page, each group of words enclosed in a comic strip-style speech bubble: "Nemo par Pennac et POUR FRANKLIN / nom d'un chien / avec / mon / amitié / de toujours / et d'aujourd'hui. Je t'embrasse Daniel"; the inscription is completed with a drawing of a little figure in the style of the Titan Atlas, carrying a fountain pen.
First edition, with no deluxe copies printed.
A handsome copy of this work, which was adapted for the screen the following year.
Signed autograph inscription by Frédéric Dard, who also signed on behalf of Robert Hossein, to journalist and art critic Claude Richoz: "A Claude Richoz ce nouveau forfait de deux complices qui l'aiment de tout leurs coeurs. Frédéric D. et Robert H. (par procuration) 1985."
First edition, one of 38 numbered copies on alfa paper, the only deluxe copies issued.
A very handsome copy.
First edition on ordinary paper.
Contemporary red half morocco with corners, spine with five raised bands, gilt rules and triple gilt panels, date stamped in gilt at foot, minor rubbing to bands, gilt fillet borders on marbled paper sides, endpapers and pastedowns of comb-marbled paper, original wrappers and spine bound in, one upper corner lightly scuffed, binding signed by C. Septier.
Manuscript signature of one of the authors on the half-title page.
A handsome copy attractively bound in a period binding.
First edition of Pierre Drieu la Rochelle's first book, one of 150 numbered copies on Hollande laid paper, the only deluxe copies.
Precious autograph inscription signed by Pierre Drieu la Rochelle : « to Charles Maurras this anxious testimony. Pierre Drieu la Rochelle ex. sergeant in the 146th Infantry. October 1st, 1917. »
Important testimony of the young Drieu la Rochelle's admiration – then in full intellectual development – for the « master of Martigues » to whom he sends this copy of his war poems composed in 1916 after being wounded at Verdun.
Demobilized and disillusioned by a war for which he had enlisted hoping to wash away the defeat of 1870, Drieu oscillates between Aragon's communism and Maurras's integral nationalism. Having discovered the latter in adolescence, he considers him from then on as one of his intellectual masters alongside Maurice Barrès, Rudyard Kipling and Friedrich Nietzsche. In November 1918, he would write to him: « It is you, it is your prudent thought that destroyed in me, around 1915 or 1916, my Germanic conception of joyful war. Having fought in the infantry during the first winter, I already knew all too well that war was not joyful... »
Glorifying Maurras as « the greatest political thinker of the last century » (Gilles), he is – like many young people of his generation – seduced by the patriotic aura as well as the taste for action and morality embodied by the leader of Action Française. Throughout the 1920s, the ambivalent Drieu will hesitate on which political path to take, before evolving toward fascism, definitively abandoning Maurrassian conservative ideology.
First edition on ordinary paper.
Autograph inscription signed, in pencil, by Sacha Guitry to madame Simone Gerbert.
Very rare first edition printed in 25 numbered copies, ours being the unique copy printed on vellum and bearing No. 1, a deluxe copy.
Printed proof stamp on the half-title page: "E. Capiomont & Cie imprimeurs. 37, rue de Seine, Paris 30Janvier 188. Epreuve"
Full chocolate brown morocco binding, spine very slightly faded with four raised bands, gilt date and gilt "épreuves" notation at foot of spine, gilt roulettes on headcaps, marbled endpapers and pastedowns, frame of six gilt fillets on pastedowns, original wrappers preserved, top edge gilt, double gilt fillets on leading edges, bookplate pasted on one pastedown, slipcase with chocolate brown morocco borders, marbled paper boards, grey felt lining, magnificent binding signed by R. Aussourd.
Provenance: from the prestigious library of the great bibliophile Doctor Lucien-Graux with his bookplate pasted on one pastedown.
Very rare and handsome deluxe copy perfectly executed by René Aussourd.
First edition, with all the points of the first issue, including the misprint “Sénart” on the dedication leaf.
Bound in contemporary plum half morocco with corners by Georges Huser, spines with five raised bands, triple blind panels with a gilt floral tool at centres, dates in gilt at foot, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edges gilt, bookplates mounted on the versos of the upper boards. Complete with the publisher’s catalogue at the end of the first volume.
A very handsome copy, elegantly bound by Georges Huser, with the rare original wrappers preserved.
First edition in French, one of 8 numbered copies on Imperial Japan paper, ours being one of 3 hors commerce copies, deluxe printing.
Some foxing to boards and certain deckled edges.
A rare full-margined copy.
First edition, limited to 1,100 copies, divided into four fictitious editions within the same year, in order to create the illusion of commercial success. These were subsequently reissued with a new title-page bearing an edition statement and the author’s name, together with a volume designation on the half-titles (cf. Clouzot). Our copy carries the designation “third edition.” Contemporary bookplate traces on the upper pastedowns. Expert restorations to headcaps and joints, with a tiny loss at the foot of the lower joint of vol. I. A clean copy, entirely free of foxing.
Contemporary half chocolate calf bindings, smooth spines decorated with gilt fillets and romantic fleurons with gilt Gothic motifs, marbled paper boards, pebbled paper endpapers and pastedowns, marbled edges, strictly contemporary bindings.
The title-pages are illustrated with two wood-engraved vignettes after Tony Johannot by Poiret, showing Esmeralda offering water to Quasimodo (vol. I) and L’Amende honorable (vol. II).
A fine copy, in handsome period bindings and entirely without foxing, a state of preservation very seldom encountered. “This first edition, in fine condition, is the rarest of all the author’s works; it enjoyed worldwide renown, and is among the most difficult to obtain from the Romantic period” (Carteret).
First edition of this important and very rare magazine, complete with 4 issues in 3 volumes.
Complete collection of this luxurious Surrealist magazine, edited and funded by Lise Deharme and characterized by its emphasis on photography. Covers illustrated by Man Ray, illustrations in black.
Contributions by Salvador Dali, Hans Arp, Dora Maar, Oscar Dominguez, Brassaï, Lee Miller, Jacques Lacan, James Joyce, Georges Ribemont-Dessaignes, Ilarie Voronca, Nathalie Barney, Benjamin Fondane, Pierre Drieu La Rochelle, Alejo Carpentier, Eugène Jolas, Lise Hirtz [Lise Deharme], Raymond Queneau, Claude Sernet, Roger Vitrac, Robert Desnos, Jean Follain, Léon-Paul Fargue, Pierre Keffer, Jacques Baron, Gottried Benn, Céline Arnauld, Monny de Boully, Georgette Camille, André de Richaud, Jules Supervielle, Claire Goll, Paul Laforgue, David Herbert Lawrence, Marcel Jouhandeau, Paul Dermée, Jean Painlevé, Nadar, Pétrus Borel and Stendhal. Sunned spine on the No. 3/4 issue. Spine-ends and corners slightly rubbed, otherwise a wonderfully preserved copy.
A very fine example of this rare avant-garde magazine, which "came into being over the course of a few dinners that brought together the dissidents of Surrealism and other poets in this hospitable abode [of Lise Deharme]. Robert Desnos provided the title. Georges Ribemont-Dessaignes was the editor. Man Ray had designed the cover: a silhouette of a lighthouse against a photographic background of sailing boats. [...] It contains curiosities: a tale by Petrus Borel, a photo by Nadar, popular songs, an investigation into the neurosis of war, epitaphs taken from a cemetery of animals. Among other curiosities, a sonnet by the famous psychoanalyst Jacques Lacan. It is entitled Hiatus irrationalis." (Jacques Baron, Cahiers de l'Herne Raymond Queneau, p. 333).
First edition of this pamphlet, with contributions by Éluard, Tzara, Marcel Duchamp under his pseudonym Rrose Sélavy, Benjamin Péret, Erik Satie, Philippe Soupault, Georges Ribemont-Dessaignes, Vincente Huidboro, Walter Serner, Matthew Josephson, Théodore Fraenkel.
Three copies found in institutions (BnF, Thomas J. Watson Library, Princeton University Library, Ryerson & Burnham Libraries - Art Institute of Chicago).
Cover designed by Ilia Zdanevich (Iliazd) on a motif created out of 19th-century woodcuts: “The cover of Le Coeur à barbe is an emblematic image of the Dada aesthetic, where old engravings are combined with words to create visual puns and unpredictable associations.” (Princeton University Museum).
Extremely rare copy in excellent condition of the only published issue of this famous Dada journal - Tristan Tzara's counterattack to André Breton's criticism in the March 2, 1922 issue of Comœdia.
"For a few months now, we have been witnessing a regularised passive hunt for patriots, too highly noticed, it seems, at a time when risking their own life and that of their family's was not a shopfront item.
The odious thing about this way of acting is that it is strangely reminiscent of the Hitlerians. We dishonour, then we wait and see. Regardless of the esteem in which a person is regarded, a police visit always leaves a hint of ambiguity, it is believed. Vigilance more than ever, solidarity.” (7 December 1945 addressed by René Char to Francis Ponge)
The first and only edition of this legendary “Céreste Affair” poster printed by René Char with a very few copies and posted in the small village of Céreste, the heart of his resistance network. Paper slightly yellowed, some small marginal tears not affecting the text.
Extremely rare, this poster is absent from all institutions and auction houses. The Bibliothèque Nationale de France itself only has a reproduction offered by Pierre-André Benoit.
The famous placard marks the end of the loving and combative relationship between René Char and the village of Céreste which was nevertheless Captain Alexandre's HQ and the birthplace of one of his most moving romantic adventures with his lover nicknamed “la Renarde” (the Vixen).
First edition, one of the numbered copies on vellum, the only printing.
Publisher's binding executed after the original design by Paul Bonet.
Rich iconography.
Handsome copy complete with its illustrated dust jacket.
Precious autograph inscription signed by André Malraux: "Pour Georges Bataille André Malraux."
First edition on ordinary paper despite a mention of twelfth edition.
Paper yellowed and slightly brittle at the edges, a small insignificant lack at the head of the leaves of the first gathering which was poorly cut.
Beautiful autograph inscription signed by André Malraux on the half-title page: "A André Germain - cet ancien portrait de moi-même où je ne me reconnais guère que par endroits - avec le fidèle souvenir et la sympathie d'André Malraux." (To André Germain - this old portrait of myself in which I hardly recognize myself except in places - with faithful memory and the sympathy of André Malraux.)
First edition, one of 100 numbered copies on hollande paper, deluxe issue (only the first volume numbered).
Each volume includes a historical introduction by Philippe De Gaulle.
Ex-libris pasted to the front of each volume.
A very fine copy with wide margins, complete in twelve volumes of this important work, commencing in 1905 and concluding in April 1969.
First critical edition, with some parts of the text in first edition, illustrated with 10 portraits, 17 views and 10 facsimiles as well as the coats of arms of the Sévigné, Bussy, Grignan and Simiane families as frontispiece to the first volume.
Bound in half red calf, spines with four fine raised bands set with gilt friezes decorated with gilt fleurons and typographical motifs, gilt friezes at head and foot, owner's name gilt at foot of spines, red paper boards, marbled endpapers and pastedowns, elegant contemporary Romantic bindings.
Some foxing, manuscript ownership inscriptions in black ink at head of title pages.
Our copy is complete with the eleventh and twelfth volumes "Mémoires de M. de Coulanges suivis de lettres inédites de madame de Sévigné" published in 1820 at the initiative of M. de Monmerqué, editor of the marquise's letters and "Lettres inédites de madame de Sévigné, de sa famille et de ses amis" published in 1827 by the same publisher, which are always lacking to complete this set.
The eleventh volume is illustrated with 1 portrait, 3 facsimiles and 1 plate; the engravings of the twelfth having been bound and distributed throughout the first ten volumes.
Fine set, established in a charming and elegant uniform contemporary Romantic binding.
