First Editions

First edition.
Bradel binding in full orange cloth, smooth spine, brown shagreen title label with a loss, front cover preserved.
Gift inscription in blue ink on the half-title page and on the front cover as a present, printed stamp on the half-title page.

The first edition, of which there were no deluxe copies.
Signed autograph inscription from Henri Massis to Jean Buisson.

First edition of the French translation by Jean Thibaudeau, of which there were no deluxe copies.
Spine sunned, light foxing to boards.
Rare dated and signed autograph inscription by Edoardo Sanguineti, in French, to philosopher and sociologist Lucien Goldmann, additionally with a signed autograph inscription by Jean Thibaudeau.

First edition of the script dedicated to Jules Dassin printed in 500 numbered copies.
Handsome copy.
The film adaptation of this one-act play which was to be brought to the screen in 1953 was banned.
Edouard Molinaro would finally adapt it, almost 20 years later, in 1971 with Roger Hanin, Philippe Noiret, Marc Porel and Caroline Cellier.
Autograph inscription signed by Georges Arnaud to Jacques Panijel.

The first edition, of which there were no deluxe copies.
Amusing dated autograph inscription signed by François Gibault to his niece Marielle: "... son parrain avare et lâcheur, très affectueusement..." ["... her stingy and unreliable godfather, very affectionately..."]

The first edition, of which there were no deluxe copies.
Signed and inscribed by Jérome Mesnager to a friend named Jean-Pascal, with an original drawing depicting the famous skeleton silhouette with arms stretched toward the sky that has conquered urban landscapes.

First edition in French, one of 164 numbered copies on pur fil paper, the only deluxe copies.
Handsome copy despite a small repaired tear at the foot of one joint.

First edition, one of 110 numbered copies on alfa paper, the only deluxe copies after 25 Arches.
Iconography.
Handsome copy.

First edition, one of 95 copies on pur fil paper, the only deluxe copies after 35 on Holland paper and a few hors commerce copies.
Handsome copy.

First edition, one of 101 numbered copies on pure linen paper.
Handsome full-margined copy.
Autograph inscription signed by René Benjamin on a printed visiting card pasted on an endpaper.

The first edition, of which there were no deluxe copies, a Service de Presse (advance) copy.
Iconography.
Handsome copy.
Signed autograph inscription from Arthur Adamov to Alain Bosquet.

First edition.
Handsome copy despite a small tear at the foot of the first cover.
Signed autograph inscription from Georges Lambrichs to Jacques Panijel.

First edition on ordinary paper.
Autograph inscription signed by Jean Dutourd to Jacques Ourévitch.

First edition on ordinary paper.
Two small tears at foot of spine, three stains at foot of first cover.
Autograph inscription signed by Sacha Guitry to Germaine Gay.

The first edition, of which there were no deluxe copies.
Handsome copy, iconography.
Autograph inscription signed by Arletty to a gentleman named André.

First edition printed in 2020 numbered copies on Téka paper.
Spine slightly wrinkled and lightened as usual, handsome copy.

First edition on ordinary paper, with third edition statement.
Handsome copy.
Signed autograph inscription from Michel de Saint-Pierre to Maurice Clavel.

The first edition, of which there were no deluxe copies, an advance copy.
Dust jacket with minute lacks to headcaps, otherwise handsome copy.
Signed autograph inscription from François Mitterrand to Geneviève Dindin "en amical témoignage" ["in friendly testimony"].

First edition, one of 470 numbered copies on Holland paper, the only deluxe copies with 59 on China paper.

Full violet morocco binding, spine with five raised bands uniformly sunned, date and place gilt at foot, double gilt fillet on edges and headcaps, endpapers and pastedowns - framed with wide gilt dentelle - of paste paper, all edges gilt on witnesses, covers and spine preserved, binding signed David. Upper corner of first cover lightly rubbed.

Bookplate pasted on front pastedown.
Handsome copy of this collection containing three fantastic tales: "L'entrevue", "Le Pavillon fermé" and "Marceline ou la punition fantastique".

First edition, one of 13 copies on Holland paper, ours one of the 10 copies numbered in Roman numerals, deluxe copy.
Fine copy despite a small inconsequential tear at the foot of the upper cover joint.

First edition, one of 17 copies on Holland van Gelder paper, deluxe copy.
Handsome copy.

First edition, one of 13 copies on Holland Van Gelder paper, ours being one of 10 copies numbered in Roman numerals, deluxe copy.
Handsome copy.

The first edition, of which there were no deluxe copies.
Bradel binding in full blue cloth, smooth spine uniformly faded.
Our copy is presented in a half blue morocco chemise, smooth spine and paste-paper boards, paper lining, slipcase of the same paper and bordered in blue morocco, signed by P. Goy and C. Vilaine.
Dedicatee's bookplate pasted on a pastedown.
Rare autograph inscription dated and signed by Benjamin Fondane on this important text: "A Renaud de Jouvenel en témoignage de bonne amitié, avec l'hommage de Benjamin Fondane."

First edition printed in 162 copies, ours one of 150 numbered copies on tinted vellum, the only issue with 12 on Whatman.
Bradel binding in half emerald green morocco, smooth spine stamped with gilt title lettered lengthwise, pebbled paper boards, front cover preserved, binding signed P. Goy and C. Vilaine.
Signed autograph inscription from André Gide "au poëte Angiolo Orvieto en témoignage de sympathie" ["to the poet Angiolo Orvieto in testimony of sympathy"].
Rare testimony to his relationship with Angiolo Orvieto, Florentine poet and librettist, who founded the periodical Il Marzocco in 1896, and devoted a study to the writer the following year.
The two poets were united by their admiration for Chopin, who inspired Orvieto to write an opera and Gide his Notes sur Chopin (1948).

First edition, one of 13 copies on Hollande paper, ours one of 4 copies numbered in Roman numerals, deluxe issue.
Handsome copy.

First edition, one of 13 copies on Holland paper, ours one of 4 copies numbered in Roman numerals, deluxe copy.
Handsome copy.

Book published for the launch of Bruno Aveillan's film and printed on heavy coated paper.
Work illustrated with magnificent full-page compositions in black, red and gold and accompanied by seven envelopes containing Cartier models.
Press kit containing the history of the Cartier house which announces, for the brand's 165th anniversary, the release of the film "L'Odyssée de Cartier".
Copy in mint condition, the interior pouches have never been opened.

First edition, one of 60 copies on Holland paper, the only deluxe copies after 17 on Japan paper.
Half havana shagreen binding, smooth spine, paste-paper boards, combed paper endpapers and pastedowns, original wrappers and spine preserved, binding signed by Courty.

First edition printed in a numbered edition of 500 copies.
Handsome copy.

The first edition, of which there were no deluxe copies.
A handsome copy despite a small discolored band in the margin of the second cover.
Signed autograph inscription from Arletty to a couple of friends: "A Monsieur et Madame Goumy en souvenir de Belle-Isle, Arletty" ["To Mr. and Mrs. Goumy in memory of Belle-Isle, Arletty"]

First edition, one of 20 numbered copies on pure Arches laid paper, deluxe copy.
Handsome copy.

First edition, one of 90 numbered copies on pur fil d'Arches, deluxe copy.
Handsome copy despite two scratches to the center of the spine and three fold marks to the margins of the back cover.

First edition, one of 13 numbered copies on pur fil, deluxe copy.
Handsome copy.
Handsome full-page autograph inscription dated and signed by Marcel Jouhandeau to the art dealer Ernest de Frenne: "Pour Ernest de Frenne, cette petite plaquette aurait dû être dédiée à un prêtre anglais le P. Burdett, Francis Burdett. Au moins aurais-je écrit son nom sur cet exemplaire. C'est lui qui est à l'origine de cette annotation. Bien sympathiquement. Marcel Jouhandeau." ["For Ernest de Frenne, this little booklet should have been dedicated to an English priest, Father Burdett, Francis Burdett. At least I would have written his name on this copy. He is at the origin of this annotation. Most cordially. Marcel Jouhandeau."]

First edition, one of 65 numbered copies on pur fil paper, the only deluxe copies.
Very light adhesive paper offset, without consequence, at head and foot of endpapers.
Handsome copy.
Autograph inscription signed by Louis Pauwels to Henri Rameau: "... ces archétypes du rêve éveillé." ["... these archetypes of waking dream."]

First edition, one of 200 numbered copies on Marais crèvecoeur paper, the only deluxe copies after 10 copies reserved for the author.
Handsome copy.
Foreword by Jean Paulhan.

First edition, one of 60 numbered copies on Rives laid paper, the deluxe issue after 10 copies on Japan paper.
Occasional light worming to some deckled edges.
A handsome full-margined copy.
Autograph inscription signed by Jean Prévost to M(arcel) Schneider.

The first edition, of which there were no deluxe copies.
Spine faded, small lacks to the plastic film covering the boards.
Autograph inscription signed by Pierre Gripari to the great Céline scholar Pierre Monnier: "Pour Pierre Monnier, avec tous mes voeux pour la publicité de Ferdinand Furieux et pour beaucoup, beaucoup de livres édités à la suite." ["For Pierre Monnier, with all my wishes for the publicity of Ferdinand Furieux and for many, many books to be published afterwards."]

First edition.
Signed autograph inscription from Victor Hugo to Mélanie Foucher: "A Madame Victor Foucher Hommages (?) V." ["To Madame Victor Foucher Respects (?) V."]
Bradel binding in full pebbled paper, smooth spine decorated with a burgundy morocco label, title lengthwise, binding signed Thomas Boichot.
Some very minor worming.
Handsome copy.

First edition.
Autograph inscription from Victor Hugo to Mélanie Foucher: "à ma précieuse soeur Mélanie" ["to my precious sister Mélanie"]
Bradel binding in full paste paper, smooth spine decorated with a black morocco label, title lengthwise, binding signed Thomas Boichot.
Inscription slightly trimmed. Some very minor worming.

First edition, posthumous, on Holland paper.
Contemporary full marbled brown calf binding. Spine with raised bands, decorated. Red morocco title label, black morocco volume label. A slight lack to the lower joint at the tail. Signs of rubbing. Scuffing to the upper board with a lack of leather. One corner slightly bumped. Pages 247 and 257, lacking the right corner of the margin. Paper generally fresh. This copy has been bound in a single volume, following the 1772 edition of Diderot's Works in 6 volumes (Volume VI, II). Good copy.
The introductory text, in memory of Diderot, is by Jakob-Heinrich Meister, friend of Necker and successor to Frédéric Melchior Grimm at the Correspondance littéraire.
The novel, conceived from 1765, appeared in serial form in this review from 1778 to 1780. The published version was not, however, definitive, since Diderot constantly expanded it until his death, and the work which, in 1771, counted 125 pages, reached 200 in 1778, 208 in 1780, 287 in 1783. Yet the work, well before its French publication, was already known in Germany thanks to Schiller's translation (in 1787 in his review Thalia). Following this version, Doray de Longrais gave a French version of the same story. In 1792, Germany discovered the complete text thanks to a new translation, that of Mylius. Finally, in 1796 the original text was published in France, from a copy presumably provided by Grimm or Goethe.
An unclassifiable work that freed itself from all novelistic rules, the book draws its plot from the picaresque novel and inherits the freedom of a book that profoundly influenced Diderot: The Life and Opinions of Tristram Shandy, by Sterne.

First edition, one of 50 numbered copies on pure thread paper, the only deluxe copies after 10 Holland.
Full black morocco binding, spine with four raised bands, front board decorated with a beautiful repousse calf plaque representing Joan of Arc in profile with her signature and arms engraved in the upper corners, double fillet stamped in blind framing the plaque, painted and gilt paper pastedowns lined with black morocco decorated with rich gilt dentelle framing on three sides, painted and gilt paper endpapers, gilt dentelle on the leading edges and headcaps, covers and spine preserved, top edge gilt on deckled edges, elegant unsigned binding.
Fine copy established in a rare repousse leather binding.

First edition printed with 200 copies on vellum, illustrated with a frontispiece and 12 colour intaglio engraved plates by Willette, printed in bistre in the text and in colour for the insets by Vigna-Vigneron, comprising the frontispiece in 7 versions including 4 for the decomposition of the colour and 12 insets in 2 versions, that is black and white and colour.

Bound in pale pink suede, spine in two false compartments, multicoloured patchwork garland glued to the boards, comb-patterned endpapers, shimmering covers and spine preserved, all leaves have been mounted on guards, brown cloth slipcase, binding signed D. M. and dated 2015.

"Belle publication côtée, une des meilleures de l'artiste, qui mérite plus d'attention. Vigna, habile artiste restaurateur de gravures anciennes, a innové un artistique procédé de reproduction en couleurs qui respecte l'original" (Carteret). “Beautiful popular publication, one of the artist's best, which deserves more attention. Vigna, a skilled artist restorer of old engraving, invented an artistic colour reproduction process that respects the original” (Carteret).

First edition, one of 13 copies on Holland paper, ours one of 4 copies numbered in Roman numerals, deluxe copy.
Handsome copy.

First edition on ordinary paper.
Handsome copy.

First edition. Artisanal production supposedly limited to 300 numbered copies, ours unnumbered.
Photocopied from Théodore Koenig's personal computer, under color offset covers.
Precious and unique collection of all the letters addressed to his friend Théodore Koenig by the famous photographer and Dadaist visual artist, nicknamed Der Dadasophe.
A handsome and rare copy.

First edition illustrated with eight color etchings by Marie Laurencin, printed in 300 numbered copies on Arches laid paper.
Spine of chemise sunned and some minor rubbing to the pink paper slipcase.
Handsome copy.

Ot Sezanna do Suprematizma Kriticheskii otcherk
[From Cézanne to Suprematism. A critical essay]
Extremely rare first edition.
Small split at the foot of the spine, purple stamp with the price on the second board and a small mark on the first board of the stamp of another copy.
A very beautiful copy.
Published two years after his masterpiece White on White, this manifesto composed from his previous theoretical treatise On new systems on Art in 1919 is one of Malevitch's major writings. Written at the height of his artistic research, this summary of Malevitch's creative thought lays the theoretical foundations of Suprematism, understood not as a break with the past but, on the contrary, as the result of a history of Art freed from the “illusions of the sensitive world”. Thus, Malevitch establishes an intellectual genealogy taking its roots in the work of Cézanne, Van Gogh and Monet, crossing Cubism and Futurism to result in Suprematism, this “statement of the total sovereignty of painting as it is , of the triumph of colour which in its very materiality, in its resonances, its intrinsic energy, discloses the abyssal reality in which objects merge until they disappear.” (Jean-Claude Marcadé, postscript in De Cézanne au suprématisme, 1993).
Known for his pictorial work, Malevitch was also a genius theorist. However, unlike others, his artistic reflection does not precede his work, it accomplishes it. He also abandoned creation between 1919 and 1920 to devote himself to this theoretical work, which would remain abstruse for many of his contemporaries. The Marxist journal Petchat' i révolyoutsiya will view From Cézanne to Suprematism only as “a collection of inept sentences”.
However, it is correct that this short treatise, enhancing Suprematist ambition, contains noticeable omissions, perhaps attributable to official censorship. But these reservations could also be down to Malevitch himself. Indeed, published by the “Commissariat du peuple à l'Éducation”, directed by his friend and great defender of the arts, Anatoli Lounatcharski, this booklet is much more than a simple summary of Malevitch's theoretical work.
As Jean-Claude Marcadé highlights, this “brochure printed in Moscow was destined to have greater distribution in artistic circles than [...] the small artisan copies of the Ecole de Vitebsk where Malevitch tried to impose his aesthetics, his pedagogy and his methodology under the label of the Affirmation du Nouveau Art (OUNOVIS). His fundamental dispute with official materialism, and especially figurative art, gives way [here] to an analysis of the origins of total non-figurative art (Cézanne, Cubism, Futurism) which aims to demonstrate to the adversaries of abstract art, the seriousness, the scientific character, the unwavering logic and the legitimacy [...] of the evolution of the visual arts. [...] From Cézanne to Suprematism is less an offensive work than a demonstration of the inevitable character of the Suprematist “deduction”.
The brevity of this booklet thus contributes to raising it to the rank of Manifesto, in the service of a revolutionary desire for collective metamorphosis of “human demonstrations”.
This auctorial intention is served by the reduced size of the volume and the Suprematist composition of the white cover with the eloquent title printed in quincunx, which poses Russian modernity as heir to the European pictorial revolution and white as a “deduction” from colour.
This title summarising Malevitch's thinking will, precisely, be chosen by his biographers for the complete publication of his writings in 1993.
Extremely rare and in good condition, this fragile brochure, the result of Suprematist theory, brings to a close the search for perfection by the painter-philosopher who will then return to symbolic and figurative painting.
“The place occupied by the text in Malevitch's work is immense, at the same time as an education, as a personal reflection on painting and art in general, and on a strategic basis. [...] We discover the intellectual development of the artist and what led him to Suprematism. Far from being only an aesthetic theory, Suprematism is a political philosophy and commitment, aimed at the freedom of the individual.

The first edition, of which there were no deluxe copies.
Handsome copy.
Inscribed by Roger Caillois to his friend René Etiemble: "... avec l'estime et la réelle amitié de votre acolyte." ["... with the esteem and real friendship of your acolyte."]

First edition, a Service de Presse (advance) copy.
Handsome copy.
Inscribed by Roger Caillois to his friend René Etiemble: "Pour Etiemble avec la fidèle amitié de Roger Caillois" ["For Etiemble with the faithful friendship of Roger Caillois"]

The first edition, of which there were no deluxe copies.
Two small stains at head of first endpaper and on verso of front board facing it, slight tear without loss at foot of title page.
Autograph inscription signed by Georges Dumézil to René Etiemble.

The first edition, of which there were no deluxe copies.
Handsome copy.
Autograph inscription dated and signed by Georges Dumézil to René Etiemble.

Rare first edition, printed in 500 copies, of the French translation of this Indian tale established by Gérard de Nerval and G. Méry on ordinary paper, only 2 copies would have been printed on colored paper in deluxe format.
Modern half black sheep binding, smooth Jansenist spine. Title and date in gilt. Black, gold and brown paper boards. Uncut copy, full-margined. Scattered foxing. Good copy.

First edition on ordinary paper.
Spine slightly sunned as usual.
Autograph inscription dated and signed by Albert Paraz to Madame Paret-Guérin.

First edition on ordinary paper.
Spine lightly sunned as usual.
Autograph inscription dated and signed by Albert Paraz to Geneviève Gallibert: "... qui trouvera la musique de Petrouchka un peu académique..."

First edition on ordinary paper.
Preface by Marshal Juin.
Publisher's full brown sheep binding, smooth spine, complete with its illustrated dust jacket which shows small tears and lacks as usual.
Autograph inscription dated and signed by Albert Paraz to Noël Bayon: "... qui est l'homme à apprécier l'adorable métisse qui ne croit pas aux guérisseurs..."

First edition printed on ordinary paper.
One tear without loss and not touching the text on the last page of the text which was poorly cut.
Unpublished text established by Gilbert Lély who also signed the preface and annotations of this work.
Signed autograph inscription from Gilbert Lély to Jean Amrouche.

First edition printed in 350 numbered copies.
Handsome copy.

First edition in French, of which there were no deluxe copies.
Full blue cardboard binding, smooth spine.
Handsome copy complete with its illustrated dust jacket which has no defects.

First edition, one of the numbered copies on vellum from the Savoie paper mills.
Work decorated with original illustrations by Pierre-Marie Renet alias Frédéric Monnier.
Fine copy.

First edition of the French translation, printed on ordinary paper.
Two small stains on the first cover, handsome copy.

Edition with most parts in first edition, one of 50 numbered copies on pure laid paper, the only deluxe copies.
Handsome copy.

First edition illustrated with 14 hors-texte illustrations obtained through photography.
Spine and boards slightly and marginally lightened, two pale dampstains at foot of first board, light stains on second board, pleasant interior condition.
Rare.

First edition, of which there were no deluxe copies.
Light worming to boards.
Precious autograph inscription dated and signed by Pierre Bourgeade to his friend Régine Deforges: "Régine de tout mon coeur." ["Régine with all my heart"] enriched with a drawing depicting a heart within a frame and a heart outside a frame.
Provenance: from the library of Régine Deforges.

First edition on ordinary paper.
Handsome copy complete with publisher's slip.
Precious dated and signed autograph inscription from Pierre Bourgeade to his friend Régine Deforges: "A Régine Deforges, le libertin et la mystique... petit instant d'hésitation entre ciel et enfer, dans l'or du temps... A toi, Pierre" ["To Régine Deforges, the libertine and the mystic... small moment of hesitation between heaven and hell, in the gold of time... To you, Pierre"].
Provenance: from the library of Régine Deforges.

First edition, one of 110 numbered copies on pure thread Lafuma vellum.
Handsome full-margined copy despite the endpapers being partially shaded.
Precious and beautiful full-page autograph inscription dated June 18, 1984 and signed by Maurice Bardèche, to Régine Deforges: "Chère Régine Deforges, voici une horrible témoignage sur ma noirceur d'âme que je vous adresse en tremblant dans l'espoir insensé que vous le lirez avec indulgence en raison de mon affection et de mon admiration pour vous. François Mauriac a écrit à propos de ce livre que j'étais un fou égaré par la douleur qui criait "Heil Hilter" sur la place de la Concorde. Je trouve aujourd'hui ce grognement de 200 pages timide, trop prudent, pauvrement documenté. Enfin, l'impénitence finale. Mais vous êtes un ange très gai et très sceptique : c'est la meilleure espèce d'ange. Maurice Bardèche 18 Juin 1984." ["Dear Régine Deforges, here is a horrible testimony to my darkness of soul that I send you tremblingly in the insane hope that you will read it with indulgence because of my affection and admiration for you. François Mauriac wrote about this book that I was a madman led astray by grief who cried 'Heil Hitler' on the Place de la Concorde. I find this 200-page growling today timid, too cautious, poorly documented. Finally, the final impenitence. But you are a very cheerful and very skeptical angel: that's the best kind of angel. Maurice Bardèche June 18, 1984."]
Provenance: from the library of Régine Deforges.

First edition, of which there were no deluxe copies.
Work illustrated with drawings by Atlan.
Handsome copy.
Precious signed autograph inscription from François Cavanna to his friends Régine Deforges and Wiaz: "... ces petites choses..." ["... these little things..."]
Provenance: from the library of Régine Deforges.

First edition, of which there were no deluxe copies.
Illustrated with drawings by Cabu.
Handsome copy complete with its wraparound band: "Touche pas à ma planète !" ["Don't touch my planet!"].
Precious autograph inscription signed by François Cavanna to his friends Régine Deforges and Wiaz: "A Régine, à Wiaz, qui le liront ensemble ou se le raconteront..." ["To Régine, to Wiaz, who will read it together or tell it to each other..."]
Provenance: from the library of Régine Deforges.

First edition, of which there were no deluxe copies.
Publisher's rose pink paper boards, smooth spine.
Handsome copy of this children's book.
Illustrated with drawings by Charles Matton-Pasqualini.
Precious autograph inscription signed by Sonia Rykiel to her close friend Régine Deforges: "Pour toi, Régine, ma douce. Sonia." ["For you, Régine, my sweet. Sonia."]
Provenance: from the library of Régine Deforges.

Edition illustrated with drawings by Noëlle Le Guillouzic.
Preface by Michel Marmin.
Handsome copy of this children's book.
Precious and beautiful autograph inscription signed by Léo Malet to Régine Deforges: "A Régine Deforges, qui, comme l'île au trésor, fait rêver. Avec mes meilleurs voeux pour l'an qui vient. Léo Malet." ["To Régine Deforges, who, like treasure island, makes us dream. With my best wishes for the year to come. Léo Malet."]
Provenance: from the library of Régine Deforges.

First edition, one of 58 numbered copies on Holland paper, deluxe issue with 25 Madagascar hors commerce copies.
Handsome full-margined copy.

First edition in French translation, on ordinary paper, for each of the volumes.
Spine of the second volume slightly sunned and with a small lack, a small tear at the foot of the first cover of the first volume.

First edition, with no mention of deluxe copies.
Some minor foxing affecting mainly the endpapers.
Precious autograph inscription signed by Catulle Mendès to José Maria de Heredia.

First edition of the French translation established by Paul Arène of the Provençal drama by Théodore Aubanel, no deluxe copies mentioned.
Precious signed autograph inscription from Paul Arène to Rodolphe Salis in pencil.

Second edition with some parts in first edition, as 46 pieces appear here for the first time.
A small lack to head of spine, foxing to boards, some light marginal foxing.
Rare signed autograph inscription from Charles Cros to Gustave Ollendorff.

First edition, one of 50 numbered copies on laid paper, deluxe copy.
Spine and boards slightly faded without consequence, otherwise a handsome copy.

First edition, one of 35 numbered copies on Holland paper, deluxe copy.
A handsome and rare full-margined copy.

First edition, one of 30 numbered copies on Hollande paper, the only deluxe copies after 20 Japan.
Some deckled edges and the final endpaper marginally and partially shaded, some minor foxing.
Manuscript thought by Robert de Montesquiou on the entirely shaded half-title page: "L'abeille porte en soi la piqûre & le miel." ["The bee carries within itself both the sting and the honey."]

The first edition, of which there were no deluxe copies.
Handsome copy.
Precious signed autograph inscription from Pierre Bourgeade to his friend Régine Deforges: "Pour toi, chère Régine, avec ma fidèle pensée. Pierre" ["For you, dear Régine, with my faithful thoughts. Pierre"]
Provenance: from the library of Régine Deforges.

The first edition, of which there were no deluxe copies.
Handsome copy.
Precious signed autograph inscription from Pierre Bourgeade to his friend Régine Deforges: "A Régine Deforges, pour toi, chère Régine, la nature du roman c'est quoi ? Si on le savait, on rirait peut-être ?... A toi, Pierre. 10.5.93." ["To Régine Deforges, for you, dear Régine, what is the nature of the novel? If we knew, perhaps we would laugh?... To you, Pierre. 10.5.93."]
Provenance: from the library of Régine Deforges.

First edition, of which there were no deluxe copies.
Handsome copy.
Precious signed autograph inscription from Pierre Bourgeade to his friend Régine Deforges: "Pour Régine Deforges "histoire du Ganot". Tendrement. Pierre." ["For Régine Deforges 'story of Ganot'. Tenderly. Pierre."]
Provenance: from the library of Régine Deforges.

First edition, one of 15 numbered copies on alfa paper, the only deluxe copies.
Handsome copy of this book of memories.

First edition, one of 220 numbered copies on alfa paper, the only deluxe copies after 55 on Lana vellum.
Handsome copy.

First edition, one of 35 numbered copies on alfa paper, the only deluxe copies after 15 on Lana vellum.
Fine copy.

First edition of the French translation established by Milos Sova, one of 10 lettered copies on Holland paper.
Preface and adaptation by Jean Marcenac.
Publisher's yellow cardboard binding, smooth spine, fine copy complete with its dust jacket matching the covers.

First edition illustrated with 12 original compositions outside the text by Pierre Fonteinas colored by stencil, one of 839 numbered copies on B.F.K. de Rives paper.
Half blue morocco binding with corners, spine lightly darkened with four raised bands decorated with a red mosaic morocco piece representing a wave emerging from gilt wavelets rising up to gilt stars, gilt fillets on the marbled paper boards, endpapers and pastedowns of another marbled paper, covers and spine preserved, top edge gilt, binding signed P. Nichon.
The work is also illustrated with 8 initial letters and 1 tailpiece by Pierre Fonteinas.
Handsome copy.

First edition, one of 50 numbered deluxe copies, the only deluxe copies.
Spine of the second chemise slightly sunned, worming to the boards of the slipcase.
Handsome copy presented in sheets, under double chemise and slipcase.
Iconography.