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

The first edition, of which there were no deluxe copies.
Handsome copy retaining publisher's wraparound band.

First edition.
Handsome copy despite two small tears and two slight lacks at head and foot of spine.
Precious signed autograph inscription by Joachim Herlant: "A monsieur Bergson professeur au Collège de France, hommage de respectueuse reconnaissance. Joachim Herlant." ["To Mr. Bergson professor at the Collège de France, tribute of respectful recognition. Joachim Herlant."]

The first edition, of which there were no deluxe copies.
Iconography.
Amusing autograph inscription signed by Auguste Le Breton to Roger Colombani "... en souvenir d'un mauvais souvenir. Ah ! ces truands à la con !" ["... in memory of a bad memory. Ah! those damn crooks!"]

First edition.
Handsome copy.
Autograph inscription signed by Françoise Parturier to Boris Kidel.

The first edition, of which there were no deluxe copies.
Fine copy.
Autograph inscription signed by Honoré Gévaudan to Roger Colombani.

First edition, one of 125 numbered copies on alfa paper, ours one of 25 hors commerce copies, the only deluxe copies after 15 Holland and 40 pur fil.
Spine and margins of covers skilfully restored.
Autograph inscription signed by Louis-Ferdinand Céline "A Madame Marthe Pujol Bien affectueusement L.F. Céline".
Precious deluxe copy with an autograph inscription by the author.

First French edition printed 80 years after the extremely rare first edition published in London and directly written in English while the author was in exile in England, of which there were no deluxe copies.
Handsome copy.

First edition in French, a Service de Presse (advance) copy.
Three stains at top of rear cover, three small light stains on front cover.
Precious signed autograph inscription from Lawrence Durrell to his friend Janine Brun: "For Janine Brun of Sauve in the Languedoc from Lawrence Durrell 40 rue de l'Université chez Julian. 1969" ["For Janine Brun of Sauve in the Languedoc from Lawrence Durrell 40 rue de l'Université chez Julian. 1969"] enhanced with a small drawn sun and a Greek frieze bordering the autograph inscription on its left.
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 Antiquities department of the Sorbonne in Paris. She was nicknamed "Buttons" in memory of their first meeting, where the young girl wore a dress covered with buttons. Henry Miller also fell under the charm of "Buttons," praising her beauty and eternal youth in exceptional unpublished letters. The three companions spent memorable Parisian evenings of which we keep 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, one of 25 numbered copies on Rives paper, deluxe issue. Illustrations in text.
Copy in mint condition.

First edition, one of 30 numbered copies on Hollande, only deluxe copies issued.
Bound in cornered red morocco, spine with compartments tooled in black, gilt date at the foot of the spine, marbled paper boards, original wrappers preserved, binding signed Devauchelle.
Illustrated with a frontispiece portrait of the author by Louis Anquetin bearing the autograph signature of Paul Verlaine on the lower part.
Provenance: Charles Hayoit library (bookplate on the pastedown endpaper).

First edition.
Literary contributions by Georges Braque “Pensées et réflexions sur la peinture”, Guillaume Apollinaire “Chant d'amour”, Léonard Pieux “Clameurs”, Vincent Huidobro “Poème”, Paul Dermée “Poème”, Roch Grey “Ténare”, J. Frantz Simon “Chanteuse” and Pierre Reverdy “Galeries”.
A small mark at the foot of the page featuring “Clameurs” by Léonard Pieux, first leaves slightly turned down at the foot.
Rare copy of this significant Dada magazine.

First edition.
Literary contributions by Dermée “Un prochain âge classique” and “Poème”, Pierre Reverdy “Rien” and “Lumière”, Léonard Pieux “Cap Yzidis”, Max Jacob “Invention de la lampe empire” and “A toi, toujours”, Philippe Soupault “Antipodes”, Roch Grey “Les véhicules pratiques”.
A corner tear at the top of the first board also with some light foxing.
Rare copy of this significant Dada magazine.

First edition, one of 300 copies on offset, the only issue after 40 on pur fil.
Boards very lightly and marginally sunned at head, pleasant and rare copy.
Preface by Claude Sernet, autograph inscription signed by Claude Sernet, at the end of his preface, to Charles Dobzynski.

First edition, one of the advance copies.
Signed autograph inscription from Pierre Drieu la Rochelle to Léon Bérard: "... avec confiance..." ["with confidence..."] on the endpaper.
Spine sunned, endpaper with small tear at foot, paper yellowed.

First edition, a Service de Presse (advance) copy.
Two adhesive paper marks at foot of spine which also has a lack and a tear.
Signed autograph inscription from André Dhôtel to Maître Maurice Garçon.

First edition on ordinary paper, statement of fourth edition.
A red stain at foot of first cover, paper yellowed.
Signed autograph inscription from Jean Cassou to Jacques-Henri Jouheaud.

First edition, a service de presse (advance) copy.
Spine and boards soiled with small tears or corner lacks.
Rare signed autograph inscription from Raymond Queneau to Jacques-Henry Jouheaud on this text.

The first edition, of which there were no deluxe copies.
Handsome copy retaining the illustrated dust jacket.
Signed and dated autograph inscription from Alain Mabanckou to Michel Serres.

First edition, one of 125 numbered copies on Vidalon paper.
Half black morocco binding with corners, spine with five raised bands, gilt date at foot, gilt fillets on marbled paper boards, marbled endpapers and pastedowns, covers and spine preserved, top edge gilt, binding signed Laurent.
Handsome copy beautifully executed.
Work illustrated, as frontispiece, with an original lithograph by Edouard Vuillard representing the author.

First edition, one of 220 numbered copies on Vosges laid paper, the only deluxe copies.
Handsome copy despite foxing affecting the top edges.

The first edition, of which there were no deluxe copies.
Work illustrated with drawings by Roland Topor.
Autograph inscription signed by Roland Topor to Cécile Barthelemy enriched with the manuscript signature of Nicolas Topor.

First edition, one of 15 lettered copies on Marais vellum, deluxe issue.
A shadow left by a bookmark on the justification page and its verso.
Handsome full-margined copy.

First edition, one of the 15 lettered copies on vélin du Marais, deluxe copies ("tirage de tête").
First endpaper slightly and fully shaded.
Nice copy wide-margined.

Edition en partie originale ornée illustrations d'Alain Gauthier.
Agréable exemplaire.
binding à la bradel de l'éditeur en plein cartonnage, spine lisse, plats illustrés.
Envoi autographe daté et signé de Michel Tournier : "Pour Florence en souvenir du premier jour de printemps. Michel Tournier..."

First edition, one of 13 numbered copies on laid paper, the most limited deluxe edition with 13 tinted paper copies.
Bradel binding in full marbled paper, smooth spine, brown morocco title-label, top edge gilt on deckled edges, modern binding signed Thomas Boichot.
Signed autograph inscription by Jules Noriac, below the justification page, to Edouard Delessert.
Work illustrated with 70 illustrations in and hors-texte by Armand-Dumarescq, G. Janet, Pelcoq, Morin and Deuxétoiles.
Our copy is exceptionally expanded with all the proofs of the illustrations printed on China paper.
Occasional light foxing and marginal stains at foot of some leaves.
Unique copy.

First edition of the French translation.
Handsome copy considering the poor quality of this post-war paper, with a crossed-out charm in the corner of the back cover.

First paperback edition published the same year as the first edition.
Handsome copy.
Signed autograph inscription from François Mitterrand to Simone Denizet.

First edition, a Service de Presse (advance) copy.
Spine slightly wrinkled.
Fine and important autograph inscription signed by René Etiemble to Emmanuel Mounier: "Pour E. Mounier à qui on ne saurait marchander de l'écriture. Etiemble" ["To E. Mounier to whom one cannot haggle over writing. Etiemble"]

The first edition, of which there were no deluxe copies.
Slight sunning to head and foot of spine, otherwise a handsome copy.
Autograph inscription dated and signed by Henri Queffelec to M. Jouheaud.

The first edition, with no mention of deluxe copies, a Service de Presse (advance) copy.
Spine slightly sunned, bibliophile's printed stamp at head of title page.
Dated and signed autograph inscription from Henri Thomas to César Santelli.

First edition, one of 150 numbered copies on handmade laid paper, the only deluxe copies.
Handsome copy despite slight sunning to head and foot of spine and to upper margins of boards.

First French edition translated by Madame Judith (with the authors' authorization).
Contemporary half black shagreen binding. Spine with flat false raised bands decorated with fillets. Light rubbing. Some pale foxing. One foxing stain to margin of title. Good copy.
A great and long friendship united the two successful writers as well as considerable collaboration in writing novels and plays. We find in L'abîme typically Dickensian themes while the book follows a typical Collins plot.

First edition, one of 25 numbered copies on alfa vellum paper, the only deluxe copies.
Handsome copy.
Handsome signed autograph inscription from Camille Lemercier: "A mon amie Régine Deforges dont j'admire le talent et la beauté, bref qui est la séduction même ! Ce dimanche de la Pentecôte 1986. Camille L. Dutourd." ["To my friend Régine Deforges whose talent and beauty I admire, in short who is seduction itself! This Pentecost Sunday 1986. Camille L. Dutourd."]

First edition printed on ordinary paper.
Handsome copy despite a small lack at foot of spine and three stains at head of first endpaper.
Autograph inscription signed by René Fallet: "Pour madame Virmaux cet amour en miettes et les plus amicales et entières pensées de René Fallet." ["For Mrs. Virmaux this love in pieces and the most friendly and complete thoughts of René Fallet."]

First edition printed on ordinary paper.
Spine slightly sunned otherwise handsome copy.
Autograph inscription signed by Jorge Semprun: "A madame Lelièvre ce roman ne pouvant servir à rien (qu'à passer le temps)." ["To Mrs. Lelièvre this novel which can serve no purpose (other than to pass the time)."]

First edition of the translation in French, one of the 26 numbered copies on pur fil, deluxe copies ("tirage de tête").
Nice copy despite a small slight stain on the second cover.

First edition, one of the 45 numbered copies on Holland paper, the "tirage de tête" (first deluxe copies).
Nice copy.

First edition one of the 144 numbered copies on pur chiffon d'oreiller, deluxe copies ("tirage de tête").
Nice copy.

First edition, one of the 25 numbered copies on Alfa paper, the only deluxe copies ("grand papier").
Very nice copy.

First edition, one of 109 numbered copies on alfa paper, ours one of the 25 nominative copies, the only deluxe copies after 26 Marais vellum hors commerce and 34 pure thread.
Handsome copy.
Autograph inscription signed by Michel de Saint-Pierre below the justification page.

First edition illustrated with 11 original watercolor by Jane Pécheur, one of the 190 numbered copies on vélin crèvecoeur.
Nice copy.

First edition, one of the numbered copies on alfa vellum.
Introduction by Henri Miller.
Handsome copy.
Autograph inscription dated and signed by Brassaï to Alex and Nadia Bloch.

First edition, one of 20 numbered copies on Rives vellum, deluxe copy.
Handsome copy.

First edition printed at the author's expense on laid paper.
Handsome and rare copy.
Precious autograph inscription signed by Jehan Rictus to Jules Clarétie.

First edition on ordinary paper.

Publisher’s full cloth binding, flat spine, minor inconsequential wear to headcaps and corners.

Illustrations.

Rare and valuable presentation copy to Odette and Francis Ponge.

 

 

First edition, one of the 80 numbered copies on vergé Ingres de Lana, the only deluxe copies ("grands papiers").
Nice copy.

First edition, one of the 80 numbered copies on vergé Ingres de Lana, le nôtre non justifié, the only deluxe copies ("grands papiers").
Nice copy.

First edition, an advance copy.
Spine and covers lightly soiled without significance.
Very precious autograph inscription signed by Marcel Jouhandeau: "Pour Pablo Picasso avec mon souvenir ému. Marcel Jouhandeau." ["For Pablo Picasso with my fond remembrance. Marcel Jouhandeau."]

First edition printed on ordinary paper.
Handsome copy retaining publisher's wraparound band: "This book, by explaining it, will enhance the pleasure of your cinema evenings".
Work illustrated with 5 photographs and drawings by Claude Dalbanne.

First edition, a Service de Presse (advance) copy.
Handsome copy.
Signed autograph inscription from Marcel Aymé to Germaine Rouanet.

First edition of the French translation, one of 25 numbered copies on pure laid paper, the only deluxe copies.
Pale stains to head of front cover, otherwise a handsome copy.

First edition of which there were no deluxe copies.
Nice copy.
Cover illustrated by Piem.
Signed handwritten inscription by Boris Vian to Christine Gouze-Raynal : "... avec toute mon amitié et mes respectueux hommages..."

First edition, one of the 245 numbered copies on Alfa paper, the only deluxe copies ("grand papier").
Nice copy.

First illustrated edition with 101 drawings by Benett including a frontispiece engraved by Meaulle, and 2 full-page maps. GK catalogue at the end.
Polychrome boards known as "au portrait collé", a portrait of the author taking place in a cartouche on a board with a world map. Plaque signed Paul Souze on a cannonball. A. Lenègre on the ink. Fine upper board with some traces at the top of the binding. The 2 lower corners slightly bumped. Spine faded with dulled gilt. Head slightly sunken. Rear board bearing 3 fine scratches and scraped areas along the joint. Pale browning on the endpaper and title page, thereafter occasional browning.
Adventure and science fiction novel set in India. The steam house is a sort of train whose locomotive is a steam elephant, the engine runs without rails and can even be amphibious.

First edition, one of the 120 numbered copies on vergé pur fil, ours unnumbered, and re-imposed in quarto Tellière format, deluxe copies ("tirage de tête").
Important foreword by Marcel Proust.
Rare.

First edition printed on laid paper.
Half navy blue morocco-grained shagreen binding, spine with five raised bands, date at foot, top edge gilt, binding signed Goy & Vilaine.
Precious and handsome autograph inscription signed by Jean Lorrain: " A Charles Maurras aëde de la mer thyrenienne (sic), un bohémien de forêt bleue"

First edition printed in a small number on laid paper.
Half bottle-green morocco binding, spine with five raised bands, date at foot, top edge gilt, binding signed Goy & Vilaine.
Precious signed autograph inscription from Paul Claudel to Charles Maurras.

First edition of which there were no deluxe copies ("grands papiers"), statement of second edition on the first cover and no statement of edition on the title page.
Binding in half morocco, signed by Goy & Vilaine.
Rare handwritten inscription dated and signed by Raymond Roussel to Monsieur Pally.

First collected edition on ordinary paper, sixth edition statement.
Paper yellowed.
Fine autograph inscription signed by Jean Paulhan to Maurice Garçon: "La pampa du Brésil abonde en rhinocéros, animal que l'on peut imaginer si l'on a vu des licornes. (Thévenet, singularités de la France antarctique, 1585). A Maurice Garçon, ces quelques causes célèbres (ou licornes choisies) avec amitié. Jean Paulhan. 19.3.1950." ["The Brazilian pampas abound in rhinoceros, an animal one can imagine if one has seen unicorns. (Thévenet, singularities of Antarctic France, 1585). To Maurice Garçon, these few famous cases (or chosen unicorns) with friendship. Jean Paulhan. 19.3.1950."]

First edition of the adaptation and French translation established by Ventura Gassol printed in 1100 numbered copies on cream laid paper.
Handsome copy.
Precious signed autograph inscription from Ventura Gassol to Marcel Herrand.

The first edition, of which there were no deluxe copies, a Service de Presse (advance) copy.
Handsome copy.
Rare autograph inscription signed by Maxime Alexandre on this text to Marcel Arland: "Est-il rien sur la terre qui soit plus surprenant que la grande misère du pauvre Juif errant ? (la complainte). Hommage de ma sympathie respectueuse." ["Is there anything on earth more surprising than the great misery of the poor wandering Jew? (the lament). Tribute of my respectful sympathy."]

First edition, one of the advance copies.
Handsome copy.
Signed autograph inscription from François Fejtö to Jean Blanzat.

First edition, one of 120 numbered copies on pure thread paper, the only deluxe copies after 36 Holland.
Handsome copy.

First separate edition, illustrated by Gavarni with 20 plates and 40 vignettes. The text had originally appeared in Le diable à Paris, a collective volume to which Balzac contributed several texts.
First edition of Louis Huart's work illustrated with 50 vignettes by Cham, published without date in 1846.
Contemporary half red shagreen binding. Spine with false raised bands handsomely decorated. Head and tail rolls. Corners slightly rubbed, one turned in. Some pale foxing on half-titles and indexes. Tinted paper for Paris marié, white for Paris au bal. Good copy.
Satirical and humorous writings in the style of physiologies.

First edition on ordinary paper. Drawings and watercolors by Rossi and Myrbach. Figaro edition.
Contemporary half navy blue morocco with corners. Spine with raised bands richly decorated with bouquets of foliage. Original wrappers preserved. Gilt fillets on boards. Top edge gilt. Spine sunned, uniformly turning blue-green. Micro crack to upper joint at head. Scratch to upper right corner, bumped and re-colored. Foxing spots on dedication otherwise perfectly fresh throughout.
Armorial bookplate: Count de Launac.
One of Pierre Loti's great successes, which would inspire Puccini to compose the famous Madame Butterfly.

New edition published a few days after the first edition.
Some small foxing to spine, covers and edges.
Autograph inscription signed by Anna Langfus to Madame Goasguen: "... en souvenir de notre "bizarre rencontre" et de tout coeur..." ["... in memory of our "strange encounter" and with all my heart..."]

First edition illustrated with a frontispiece by Victor Brauner and an hors-texte by Jacques Hérold.
Spine and boards slightly and marginally lightened as usual.

First edition, a Service de Presse (advance) copy.
Handsome copy despite the spine being very slightly sunned.

First edition, of which no deluxe copies were printed.
Handsome copy.
Autograph inscription signed by Lawrence Durrell to his close friend Janine Brun.

After many years spent in Greece, Egypt and Rhodes, the travel writer Lawrence Durrell was forced to flee Cyprus following popular uprisings that led the island to its independence from the British crown. Rich only in a shirt and a typewriter but crowned with the success of his novel Bitter Lemons of Cyprus (Les citrons acides), he arrived in France in 1956 and settled in the Languedoc village of Sommières. In the "Tartès house," his large dwelling surrounded by trees, he wrote the second part of his work, his monumental Avignon Quintet, devoted himself to painting and received his illustrious friends, including the couple Henry Miller and Anaïs Nin, violinist Yehudi Menuhin, London publisher Alan G. Thomas, and his two daughters Penelope and Sappho.
Among the olive trees and under the Mediterranean sun, in the mid-1960s he met the young and sparkling "Jany" (Janine Brun), a woman from Montpellier in her thirties with devastating beauty, who worked in the Antiquities department of the Sorbonne in Paris. She was nicknamed "Buttons" in memory of their first meeting, where the young woman wore a dress covered with buttons. Henry Miller also fell under the charm of "Buttons," praising her beauty and eternal youth in exceptional unpublished letters. The three companions spent memorable Parisian evenings of which we keep 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 artworks signed with his artist pseudonym, Oscar Epfs.

First edition of the French translation, of which no deluxe copies were printed, a Service de Presse (advance) copy.
Spine and covers lightly and marginally spotted and sunned.
Autograph inscription signed by Lawrence Durrell to his close friend Janine Brun: "Janine pour Lawrence. Souvenirs 1968." ["Janine for Lawrence. Memories 1968."]

After many years spent in Greece, Egypt and Rhodes, the travel writer Lawrence Durrell was forced to flee Cyprus following popular uprisings that led the island to its independence from the British crown. Rich only in a shirt and a typewriter but crowned with the success of his novel Bitter Lemons of Cyprus (Les citrons acides), he arrived in France in 1956 and settled in the Languedoc village of Sommières. In the "Tartès house," his large dwelling surrounded by trees, he wrote the second part of his work, his monumental Avignon Quintet, devoted himself to painting and received his illustrious friends, including the couple Henry Miller and Anaïs Nin, violinist Yehudi Menuhin, London publisher Alan G. Thomas, and his two daughters Penelope and Sappho.
Among the olive trees and under the Mediterranean sun, in the mid-1960s he met the young and sparkling "Jany" (Janine Brun), a woman from Montpellier in her thirties with devastating beauty, who worked in the Antiquities department of the Sorbonne in Paris. She was nicknamed "Buttons" in memory of their first meeting, where the young woman wore a dress covered with buttons. Henry Miller also fell under the charm of "Buttons," praising her beauty and eternal youth in exceptional unpublished letters. The three companions spent memorable Parisian evenings of which we keep 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 artworks signed with his artist pseudonym, Oscar Epfs.

First edition in French, one of 109 numbered copies on Lafuma Navarre paper and reimposed in Tellière quarto format, deluxe copy.
Some light foxing.

First edition, one of 30 numbered copies on bibliophile vellum, the only deluxe copies.
Handsome copy.

First edition, one of 1100 numbered copies on alfa paper.
Handsome copy.
Autograph inscription signed by Jacques Chardonne to Claude Martine: "... avec beaucoup de considération..." ["... with much consideration..."]

First edition in French, of which there were no deluxe copies.
Handsome copy.
Autograph inscription dated and signed by two of the translators Lucile and Georges Nivat to Mr. and Mrs. Toboul.

First edition, a Service de Presse (advance) copy.
Handsome copy.
Autograph inscription signed by Arthur Adamov to Marcel Arland.

First edition, a Service de Presse (advance) copy.
Handsome copy.
Autograph inscription signed by Arthur Adamov to Marcel Arland.

First edition, one of 527 numbered copies on vellum.
Handsome copy.
Work illustrated with 2 etchings by Démétrios Galanis.

First edition, one of 105 numbered copies on pur fil, the only deluxe copies.
Handsome copy.
Autograph inscription signed by Roger Grenier on the half-title page.

First edition, one of 25 numbered copies on alfa, ours one of 10 hors commerce, the only deluxe copies.
Spine browned.

First edition, one of 105 numbered copies on pur fil, the only deluxe copies after 30 Holland.
Handsome copy.

First edition, one of 135 numbered copies on wove paper, the only deluxe copies.
Two bookplates pasted on an endpaper.
Handsome copy.
Signed and inscribed by José Cabanis to Monsieur Régnier.

First edition, one of 135 numbered copies on wove paper, the only deluxe copies.
Handsome copy.

First edition on ordinary paper.
Spine sunned with a tiny tear at foot, small stains on boards.
Work illustrated with reproductions of works by Jean Lurçat.
Fine autograph inscription signed by Jean Marcenac to the poet Charles Dobzynski: "A mon frère Charles que j'aime pour les raisons du coeur et de la terre..." ["To my brother Charles whom I love for reasons of the heart and of the earth..."] enriched with an autograph inscription signed by Jean Lurçat.

First edition on ordinary paper.
A small stain at the foot of the first cover.
Autograph inscription dated and signed by Jean-Pierre Luminet to the poet Charles Dobzynski: "... grand-maître de l'opéra comique..." ["... grand master of comic opera..."]

First bilingual Spanish-German edition.
Handsome copy illustrated with drawings by Guillermo Nunez.
Dated and signed autograph inscription from Guillermo Nunez to Georges Raillard and his wife Alice with an original drawing.

First edition.
Contributions by Albert Rafols-Casamada, Carles H. Mor, Benet Rossell, Victoria Comballa.
Issue illustrated with drawings by Maria Helguera, Silvia Gubern, Dolors Dalmau, Jordi Colomer, Jaume Ribas, Maria Girona, Sindria Segura, Francesca Llopis, Gemma Sin...
Handsome copy.

First edition.
Contributions by Santi Pau, Antoni Mari, Albert Rafols-Casamada, Benet Rossell, Victoria Comballa, Jaume Pont.
Issue illustrated with drawings by Antoni Tapies, Xavier Valls, Jordi Teixidor, Ferran Garcia Sevilla, Sindria Segura...
Handsome copy.

First edition.
Contributions by Carles H. Mor, Alfonso Alegre Heitzmann, Angl Vilalta, Francesc Prat, Victoria Comballa, Albert Rafols-Casamada, Antoni Munné.
Issue illustrated with drawings by Frederic Amat, Josep Lluis Jubany, Maria Helguera, J. Hernandez Pijuan, Dieter Roth...
Handsome copy.

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.
Contributions by Stringfellow Barr "L'amérique est déprimée" ["America is depressed"], Georges Friedmann "De Boston au Mississipi" ["From Boston to Mississippi"], other contributions by Rabi "Méditations au sortir des ténèbres" ["Meditations on emerging from darkness"], V. Siebrecht "La situation sociale en Allemagne" ["The social situation in Germany"]...
Occasional light foxing.