First edition for which no grand papier (deluxe) copies were printed.
Small marginal pieces missing at the top of the first board, a clear remnant of adhesive paper at the bottom of the first endpaper.
Copy complete with the facsimile at the end of the volume.
Precious handwritten inscription signed by Gabriele d'Annunzio to Natalie Clifford Barney: « à miss Barney et au Temple de l'Amitié attentive, cette légère torpille ‘sine litteris' est offerte par la ‘tête d'ivoire'. Gabriele d'Annunzio » (“To Miss Barney and the attentive Temple of Friendship, this light ‘sine litteris' torpedo is offered by the ‘ivory head'. Gabriele d'Annunzio”
Very beautiful testimony to the friendship between Gabriele d'Annunzio and Natalie Clifford Barney, who probably met through the painter Romaine Brooks, temporary lover of the “ivory head” but also of the Amazon for more than fifty years.
In 1909, Natalie Clifford Barney acquired the Temple of Friendship at 20 Rue Jacob and set up her literary salon, which would be held every Friday and would welcome the greatest literary and artistic personalities of the time: Salomon Reinach, Auguste Rodin, Rainer Maria Rilke, Colette, James Joyce, Paul Valéry, Pierre Louÿs, Anatole France, Robert de Montesquiou, Gertrude Stein, Somerset Maugham, T. S. Eliot, Jean Cocteau, Max Jacob, André Gide, Nancy Cunard, Peggy Guggenheim, Marie Laurencin, Paul Claudel, Adrienne Monnier, Sylvia Beach, Scott and Zelda Fitzgerald, Truman Capote, Françoise Sagan, Marguerite Yourcenar... and, of course, Gabriele d'Annunzio whom she greatly admired.
She paid tribute to him by devoting a chapter of her Aventures de l'esprit (1929) to him: “D'Annunzio, a precious little old ivory object, works with the constancy of a monk who watches over his God.”
A small book entirely in Chinese, from the series Chinese Spoken Language Readers for Lower Primary Schools.
Printed stamp of the Missions Museum S.J. Kirche "Am Hof" on the rear cover; a manuscript ink annotation at the head of the final page of text.
Numerous black-and-white illustrations within the text and one full-page colour illustration.
A rare and pleasing copy.
Rare first edition of this address delivered by Paul Celan on the occasion of the award of the"Georg Büchner Prize" which he received in 1960.
A fine copy.
Signed autograph inscription by Paul Celan to his friend, the poet and translator of his works Lydia Kerr: "Für Lydia Kerr, herzliche, 12.2.63. Paul Celan."
Later edition.
A pleasing copy, despite slight rubbing to the joints.
Rare dated and signed presentation inscription from Paul Celan to his friend, the poet and translator of his works Lydia Kerr.
First collected edition of Paul Celan’s German translation of the poems of Ossip Mandelstam, whom he deeply admired.
Publisher’s original full white cloth, smooth spine, a copy complete with its dust jacket, which shows a few small tears at the head of the spine.
Valuable dated and signed autograph inscription from Paul Celan to his friend, the poet and translator of his works Lydia Kerr: "Für Lydia Kerr, herzlich, 12.2.1963. Paul Celan."
Deluxe first edition on Oikos paper, limited to 200 copies, this copy being one of 5 presentation copies signed by the publisher and enriched with unpublished documents relating to the discovery of the manuscript.
Swiss binding with exposed stitching, smooth cloth spine, illustrated boards and slipcase.
Original French translation of the last manuscript recovered from a deportee assigned to the Sonderkommandos.
Marcel Nadjary (1917-1971), a Greek Jew from Thessaloniki, deported to Auschwitz in the spring of 1944, was assigned to the Sonderkommando. He wrote a letter to dear friends to bid them farewell and describe the horrific work he was forced to carry out. He then buried his clandestine manuscript in the soil of Birkenau. This document was recovered thirty-six years later, on October 24, 1980.
This testimony, written at "the epicenter of the catastrophe," is published here for the first time in French translation, together with a second manuscript that Marcel Nadjary wrote in 1947 to preserve a record of his experience at the heart of the Birkenau inferno.
Texts by Serge Klarsfeld, Nelly Nadjary, Alberto Nadjary, Fragiski Ampatzopoulou, Georges Didi-Huberman, Tal Bruttmann, Loïc Marcou, and Andreas Kilian accompany and illuminate these two exceptional documents.
Translated from Greek by Loïc Marcou
New edition.
A fine copy.
Attractive presentation inscription signed by Anaïs Nin to Christiane Baroche’s wife: "Christiane Baroche this book I offer with uneasiness because I wrote it for american students, and France is the source and will only recognize the déjà vu. Your faithful friend. Anaïs Nin." (Christiane Baroche, je vous offre ce livre avec gêne car je l'ai écrit pour des étudiants américains, et la France est la source et n'y reconnaîtra que du déjà-vu. Votre amie fidèle, Anaïs Nin)".
New edition.
Illustrated with engravings by Jean Hugo.
Signed autograph inscription from Anaïs Nin to her friend, the writer Christiane Baroche: "Christiane Baroche. Mais en ce jour damné décharné qui s’étire aux fenêtres 'c’est un peu moi j’assume...Anaïs Nin.'"
Collective edition, partly original, issued without any deluxe copies.
A pleasing copy.
Author's signed presentation inscription from Elias Canetti to his cousin: "Meiner liebsten Kusine Matica, der einziger, die geblieben ist, was sie immer war, begabt, klug, offen in Liebe und Freundschaft. Elias Canetti. Paris, September 1962" ("A ma chère cousine, la seule qui est reste ce qu'elle a toujours été, douée, intelligente, ouverte, en amour et en amitié)."
New edition.
Spine lightly toned.
Work illustrated with photomontages by Val Telberg.
Inscribed by Anaï Nin to her friend, the writer Christiane Baroche : "Christiane Baroche whose dreams are strong and have roots and bear fruit. Anaïs Nin."
First edition of the French translation, one of 80 numbered copies on alfa paper issued in a special "du monde entier" wrapper, the only deluxe copies together with 35 on pur fil.
A handsome copy.
First edition.
A pleasing copy.
Inscribed by Anaïs Nin to her friend, the writer Christiane Baroche: "Vos paroles Christiane Baroche : 'je veux cueillir le feu comme un dernier amant' amitié et concordances. Anaïs Nin."
First edition, exceedingly scarce, of this light-hearted and engaging introduction to the principal ancient myths, prepared for a Polish aristocrat. Annopol (today Anopal) is a locality now situated in Belarus.
No copies recorded in the CCF. A single copy located in WorldCat (National Library of Poland, Biblioteka Narodowa, Warsaw).
Contemporary-style half sheep binding in brown, the smooth spine ruled with alternating thick and thin gilt fillets, marbled paper boards, comb-marbled endpapers and pastedowns; modern binding.
Losses to the title-page expertly filled and restored; the final two leaves also restored.
First edition of the French translation, for which no deluxe paper copies were issued.
A handsome copy, complete with its photographic dust jacket showing a tiny tear at the head of the spine, with illustrations.
Inscribed and signed by Julio Cortázar to the writer Christiane Baroche: "Pour toi, Chirstiane, avec toute mon amitié. Julio."
First edition of the French translation, with no issue on deluxe paper.
Minor surface scuffs along the margins of the front wrapper.
With a fine signed presentation inscription by Italo Calvino: "A Michel Tournier avec le souvenir de Italo Calvino. Mai 1974."
First edition of this almanac of the Neue Dichtung published by Kurt Wolff, featuring the first book-form appearance of Kafka’s short story "Vor dem Gesetz" (pp. 126-128). Covers sunned, tear to spine not lacking paper, chipping to spine-ends, and corners rubbed.
First edition of the short story "Vor dem Gesetz" (Before the Law), later published verbatim in Kafka’s masterpiece "Der Proceß" (The Trial).
Edition published in the same year as the first.
Spine and covers faintly sunned, without seriousness.
Attractive presentation copy signed by Anaïs Nin to the writer Christiane Baroche: "Christiane Baroche vos paroles "je la sais qui m'attend jusque dans ma mémoire. Anaïs Nin."
New edition.
Foreword by Wayne McEvilly.
Spine and boards faintly and marginally toned, without consequence.
Handsome presentation inscription signed by Anaïs Nin to the writer Christiane Baroche : "Christiane Baroche écrit : "Ici j'entends germer le monde. Et je m'invente au jour le jour. L'infame imaginaire que mon rêve a du vivre a l'inverse de ma vie. Anaïs Nin."
First edition of the French translation.
Our copy is issued in its original state, preserved in a blue paper temporary wrapper and housed within a double chemise and slipcase in navy half-shagreen, smooth spine, marbled-paper boards; a modern binding signed by Devauchelle.
A rare and appealing copy.
Recorded in the CCF only at the BnF.
Sole edition of this theatrical jeu d’esprit, which bears little relation to China despite the purported setting of the action: "La scène se passe à Pé-King, l’an du monde 100, 857, et de Con-Fou-Tsée 6550". In reality, it is a play about the destructive nature of gambling, for which there was no real need to summon China as a pretext; moreover, the characters speak and behave like perfectly typical French petits bourgeois."
First edition of the French translation, one of 25 numbered copies on pur fil, the only copies printed on deluxe paper.
Blood red morocco binding, gilt title lenghtwise, gold stingray boards framed in morocco, gilt decorative paper endleaves, original wrappers preserved, top edge gilt, an elegant binding signed Boichot. Front free endpaper slightly toned, otherwise a handsome untrimmed copy.
Illustrated with original woodcuts by Jean-Gabriel Daragnès.
First edition of the French translation, issued without any large-paper copies.
A handsome copy, complete with its original promotional band: "Calvino et la préhistoire-fiction."
Inscribed, dated, and signed by Italo Calvino to Pascal Pia.
Illustrated edition with 24 colour plates by Arthur Rackham tipped in with captioned tissue guards, 8 full-page black-and-white illustrations, together with numerous ornaments and vignettes in the text by Arthur Rackham, one of 300 copies printed on vélin à la forme, signed by Arthur Rackham on the limitation page.
Publisher’s Bradel binding in full bright white vellum, smooth spine lettered in gilt, upper cover gilt-stamped with the title and a design of fantastic animals within a vertical gilt rule, illustrated endpapers and pastedowns, top edge gilt, untrimmed edges preserved.
A very well-preserved copy of Milton's baroque and Dionysian spectacle, superbly illustrated by Rackham.
Provenance: manuscript ex-libris on the half-title of Maurice Feuillet, a renowned press illustrator, particularly noted for major court cases, as well as an art critic and founder of the Figaro artistique. Feuillet is remembered for his courtroom sketches during the trials of Émile Zola in 1898 and Alfred Dreyfus in 1899.
First edition of the French translation, one of the scarce lettered copies printed on pur fil for private circulation, ours bearing the letter A, the only deluxe-paper copies together with 25 numbered copies on pur fil.
Wide-margined copy, boards and spine lightly and marginally sunned, a few scattered foxmarks affecting some leaves and deckle edges.
Very rare first edition of the Japanese translation, accompanied by Taiichi Ogawa’s annotated commentary.
Illustrated with a frontispiece portrait of Alphonse Daudet.
Spine with two tears at head and foot, soiling to the wrappers, a few minor spots internally.
First Japanese edition of Alphonse Daudet’s masterpiece. Harshly received in Provence upon its publication in 1872, despite the support of Frédéric Mistral, the novel soon came to be regarded as one of the landmarks of French literature, and the character of Tartarin became the emblem—and finest ambassador—of the city of Tarascon.
First and only Franco-Chinese edition, illustrated with six etchings reproduced by Frédéric Chevalier.
A single copy recorded in the CCFr (Bulac).
Sole edition of this contemporary curiosity born of the French vogue for all things Oriental: born in 1831, Tin-Tun-Ling (or Ding Dunling) was a Chinese scholar from Shanxi and a political exile in France. Théophile Gautier met him in Paris, grew fond of him, and hired him to teach Chinese to his daughter Judith. Steeped in Far Eastern culture, she delighted in presenting herself as the reincarnation of a Chinese princess. Tin-Tun-Ling then lived in a pavilion built in the Chinese style, set in the garden of the Pré aux Oiseaux – Judith’s home in Saint-Enogat. After Gautier’s death in 1872, Tin-Tun-Ling married a Frenchwoman, Caroline Julie Liégeois, who later accused him of bigamy (he was in all likelihood already married in China); following a trial in 1873, he was nevertheless acquitted. A triple photographic portrait of Tin-Tun-Ling by Nadar survives, taken in 1874, one year before the publication of this work.
This copy is preserved in its original state, in flexible yellow cloth wrappers showing small spots and, as often, minor marginal tears.
First edition, one of 24 numbered copies on alfa paper, the only deluxe issue.
With sections devoted in particular to Cesare Pavese and Alberto Moravia...
A rare and attractive copy of Dominique Fernandez’s first published work.
First illustrated edition, with a frontispiece portrait of the author and a plate of music inserted at the end.
Not listed in Schwab.
Contemporary binding in half polished Havana calf, smooth spine decorated with gilt fillets, chain motifs and floral tools, saffron paper boards, marbled edges.
Joints split at foots and slightly at heads, a pleasant copy overall.
An important work by the renowned Austrian orientalist (1774–1856) devoted to ancient Persian poetry, containing a large number of extracts translated into German and an extensive index.
The work, dedicated to the great French orientalist Silvestre de Sacy, was carefully printed in Gothic type; the Persian translations are presented in two columns.
A handsome, large-margined copy in a period binding.
Composite edition combining seven volumes from the very first collected edition with others from various reissues published between 1836 and 1852. Volumes 15 to 30 (1839-1852) each include an engraved title with a vignette and two illustrated plates; the earlier editions, covering volumes 1 to 15 (1830-1836) did not contain illustrations.
Half polished calf bindings in Restoration style. Smooth spines decorated with a central panel richly gilt in grotesque design, gilt and blind-tooled motifs at head and foot of spine, also ruled in gilt. Small tear to the spine-ends of volumes 5 and 9. Volumes 25 and 26 show some surface loss to the leather on the boards.
A handsome set.
First edition of the French translation by Georges Sautreau, review copy punch on the lower cover.
Spine slightly sunned, otherwise a pleasant copy.
Signed autograph inscription by Georges Sautreau, in Norwegian, to the philologist and literary historian Gunnar Fougner Høst, wishing him a joyful winter solstice: "Til Gunnar Høst glaedelig Jul Georges Sautreau Paris Nöel 1932;"
First edition of the French translation prepared by Jean-Nicolas Jouin de Sausseul (see Quérard VII, 330, who erroneously lists 4 parts; Cioranescu XVIII, 59 618; not in Sabin).
Full mottled fawn calf binding, smooth spines divided into compartments and decorated with gilt fleurons, some rubbing, light brown morocco title labels, green morocco volume labels, gilt rolls slightly faded at the headcaps, single gilt fillet framing the boards, gilt fillets along the edges, bumped corners, red edges, contemporary bindings.
Two small patches of missing leather to the lower cover of the second volume.
The original English edition appeared in 1781 under the title Emma Corbett.
One of the earliest English novels inspired by the loss of the American colonies; it enjoyed great success in Britain. Samuel Jackson Pratt (1749–1814) was a prolific man of letters whose works achieved a popularity comparable to that of Mme Cottin, a writer of a similar period and sensibility.
First edition of the French translation, of which no deluxe paper copies were issued.
A fine copy.
Preface by Salman Rushdie, the work illustrated with drawings by the author.
Signed autograph inscription from Glen Baxter to Michel Crépu.
New edition of the French translation.
Half saffron percaline Bradel binding, smooth spine slightly sunned and decorated with a central gilt motif and double gilt fillet at foot, brown shagreen title label with a few scuffs, marbled "cat’s-eye" paper boards, preserved wrappers, lightly rubbed corners, contemporary binding.
First edition in French, for which there were no large paper copies.
A good copy.
Autograph inscription dated and signed by Ernst Jünger to Madeleine Clouzot : "... après notre excellent déjeuner..."
Second edition of the French translation prepared by François-Victor Hugo.
Half red shagreen bindings, slightly faded spines with four raised bands numerously framed in gilt and central gilt tooled motif, marbled paper boards, marbled endpapers, speckled edges, contemporary bindings.
Some occasional foxing, minor black specks on a few spines, upper corners of volume 10 slightly damaged.
Our set, attractively bound uniformly in contemporary bindings, is complete in 18 volumes including the often lacking final three volumes of apocryphal writings.
New edition of the French translation established by Amédée Pichot, partly original as it is enhanced with a historical notice on Lord Byron.
Half blue glazed calf bindings, spines partially faded with four raised bands framed by gilt garlands and richly decorated gilt compartments, navy blue glazed calf title and volume labels, blind-stamped floral tools at head and tail, marbled paper boards, gilt fillets at foot, marbled endpapers and pastedowns, marbled edges; a few lightly rubbed corners. Romantic bindings of the period.
Our copy contains 13 engraved plates, some serving as frontispieces.
Scattered foxing, a few leaves browned due to paper acidity.
A copy in an attractive decorative and romantic period binding.
A fine set of the first four volumes of the French intégrale edition, identical to the original American structure. Volume 1 is housed in a metal case with embossed lettering and a folding map of Westeros. It is a copy of the highly sought-after very first French collector's edition of the series published in 2012. Volumes 2 and 3 followed in 2013, and volume 4 in 2014.
Each volume signed by George R.R. Martin on the title page. The signatures were obtained during the author's only public signing session for French readers, held in Dijon on July 3, 2014. (Volume 5 was not published until 2015.)
Colour pictorial wrappers with flaps. Slight rubbing to corners, minor handling wear to spines of vols. 2 and 3, crease marks to upper board of vol. 3, lower board of vol. 4, and front flap of vol. 3; edges of volumes 2, 3 and 4 lightly toned. Light rubbing to spine and boards of metal case.
First bilingual edition, one of 50 numbered copies on Arches wove paper, the deluxe issue.
The French translation, printed opposite the English text, was prepared by Patrick Guyon and Marie-Claude White.
A rare and attractive copy.
First edition of the French translation by Isabelle Rivière, one of 33 numbered copies on pur fil de Voiron, ours being one of 5 hors commerce copies, reimposed in quarto Tellière format, the only deluxe copies.
A handsome and rare copy.
First edition of the French translation, one of 75 numbered copies on pur fil, the only deluxe paper issue.
Half brown morocco with bands, smooth spine, date gilt at foot, marbled paper boards, endpapers and pastedowns, original wrappers and spine preserved, gilt top edge. An elegant binding signed Alix.
A handsome and carefully bound copy.
First edition of the French translation, one of 200 copies numbered on Marais vellum, the only deluxe paper issue.
Minor rubbing along the joints. A rare and attractive copy.
“In his cosmogony, every thing, every being—plant, animal or human—deserves the same respect. For all are confronted with the same iron law: solitude.” (Luc Desbenoit).
“Marc Trivier’s photographs write a tragedy of light, one that only receives beings—humans, trees, or beasts—by burning them, before disappearance.” (Xavier-Gilles, Le Monde Libertaire).
“After thirty-five years of photographic practice, of obsessions, perhaps what remains is this: a singular way of recording the burning of light, unfolding from one image to the next, a succession of propositions that resemble each other and yet each is as singular as the fraction of time to which it refers.” (Marc Trivier).
“Photography says only one thing: ‘It was.’ We fix only what has been. If there is a tragedy, it lies there.” (Marc Trivier)
“(...) rather than being one more portraitist of writers and artists, he sets himself apart through his method: under the pretext of adjustments, he makes his models wait, posing for several minutes, which gives them a weary look. He perhaps awaits a more natural behavior. And so we find ourselves before Francis Bacon in precarious balance, Samuel Beckett, Jean Dubuffet or Michel Foucault slumped more or less in their chairs. Intimate images.” (Sylvie Rousselle-Tellier, “Une image de fatigue chez Marc Trivier,” Marges, 2004).
“I was reading Genet; for me Genet was just letters on a page. Then one day I saw his portrait—it was like a fracture. How was it possible that these signs were also someone? To make a portrait is to rejoin the name and the face.” (Marc Trivier).
“What interested me was not simply photographing a body or a face, but that particular situation that is someone taking the photograph of someone else.” (Marc Trivier).
First French edition, no deluxe paper copies issued.
Minor, insignificant spotting to the edges.
A handsome copy.
First edition, one of 42 numbered copies on Japan Barjon paper, one of the deluxe issue, with 8 additional copies on Japan reserved for the author.
Introduction by Francis Scarfe and preface by Jean-Jacques Mayoux.
Rare and attractive copy of Kenneth White’s first book, complete with two photographs by Marie-Claude White.
First edition of the French translation, one of 51 numbered copies on pure wove paper, the only copies printed on deluxe paper.
Spine and boards slightly and marginally sunned, as often.
Rare and handsome copy of this work, splendidly adapted for the screen in 1967 by Richard Brooks, with Robert Blake, Scott Wilson, John Forsythe, and John MacLiam in the leading roles.
Richard Brooks even went so far as to film in the actual house where the crime took place, as well as in the same courthouse, where 7 of the 12 jurors played their own roles.
First bilingual edition, one of 270 copies on Arches Ingres paper, including a photographic portrait of Ratna Mohini by her husband Henri Cartier-Bresson.
Rare and handsome copy.
Illustrated edition of the first series which had previously appeared in 1836. Rare. Very fine printing on tinted laid paper, of great modernity when compared to French printings of the same period. Third edition statement on title page.
Preface to the first and second edition. 2 frontispieces and 7 plates on heavy laid paper in each volume by George Cruikshank. John Ruskin declared that after Rembrandt, no one had engraved scenes so fine. Although it is noted in manuscript on the endpaper "First illustrated edition", this is doubtless an error since the first series in first edition and the second were equally illustrated by Cruikshank.
Late 19th-century English bindings in full blonde calf signed July File. Spines with raised bands decorated with gilt compartments. Red morocco title labels, red morocco volume labels. Complex shaped frames on boards. Top edge gilt. Brown marbled paper slipcase with tan morocco borders. A few small brown spots on spines, otherwise exceptional copy with immaculate paper, of perfect freshness, which is of very great rarity for Dickens's works, notably the engravings. The paper used is different from those habitually used for Dickens's works and resembles a deluxe paper printing, thicker.
Dickens's first published book, most of the sketches appeared previously in different newspapers under the pseudonym Boz.
First edition; no copy recorded in the CCF or Worldcat, with a single copy held at the Real Academia Española.
Full red shagreen portfolio, smooth spine without lettering, double gilt and blind-tooled fillet borders with gilt garlands and rosettes at the corners on the covers, gilt title lettered in the center of the upper cover, moiré white silk endleaves and pastedowns, contemporary binding.
Inscribed and signed by Albertus Frederik Johan Reiger to Baron Joseph Louis Heinrich Alfred Gericke van Herwynen (1814–1899), Minister of the King of the Netherlands to the Court of Brussels, accompanied by an autograph signed note addressed to the same, dated 12 December 1881 and sent from Lunteren (Gelderland).
First edition of the French translation, one of 325 numbered copies on alfa paper, the only deluxe issue together with a few alfa mousse copies not for sale.
Minor tears without loss at the head of the spine, which also shows slight sunning at the foot, final endpaper partially shaded.
A rare and pleasing copy.
« Hierbei sollst du meiner gedenken, denn alles habe ich ernstlich gemeint. R. W. »
[At this you shall remember me, for I have meant everything seriously].
First edition of the translation by F. de Bretonne, assistant curator at the Sainte-Geneviève Library, based on a comparison of all earlier versions. The work is enriched with a suite of 10 vignettes by Charlet, retaining its original pink paper wrapper with vignette dated 1831; the volume also includes a portrait of Cervantes.
Half long-grain claret morocco binding with corners, signed at the head of the front endpaper S. David, late 19th century. Spine with four raised bands, decorated with complex and stippled tools within compartments. Gilt fillets on the bands. Double gilt ruling along boards and corners. Minor rubbing to some bands, joints, and corners. One corner slightly turned in. Occasional spotting in an otherwise fresh copy.
Original wrappers and spines preserved. Binding executed on untrimmed paper gatherings.
A very handsome copy.
Second issue, printed in March-April 1917, one month after the first edition published in February of the same year.
Publisher's red cloth.
Exceptional inscribed copy signed by H.G. Wells to André Citroën: “To André Citröen who has to do his share in making a new world out of a very shattered old one. From H. G. Wells.”
The inscription echoes the chapter of the book entitled New arms for old ones, in which Wells describes the armament factory created by Citroën to remedy the French artillery weakness. Reconverted at the end of the war, the factory will become the first Citroën automobile manufacturer.
First edition of the French translation. No grands papiers (deluxe copies) were printed.
Some loss of plastic film on the spine, two light damp-stains on the upper and lower edges.
Signed and dated by Andy Warhol with an original drawing on three pages: verso of the first cover, endpaper and title page.
Second complete edition of Krylov's Fables with a preface by the poet and highly regarded literary critic Piotr Pletnev (1792-1866).
Half tan goatskin binding with corners, smooth spine decorated lengthwise in rocaille style in blind with tears and losses, joints fragile, gilt fillet framing the red pebbled paper boards, gilt Cyrillic inscription at the center of the upper cover, grey edges, rubbed corners, chips and losses along the edges, contemporary binding.
Foxing, library stamps and markings.
Prize book "Pour Succès et Bonne Conduite".
Manuscript ex-libris in ink, in Russian, on the front endpaper, dated Vilnius, 6 August 1857, and on the verso in Latin characters: Ch. Josephson Vilna. Bold stamp indicating the same provenance within the volume and blind stamp CRJJ.
First edition with 46 illustrations by Harry Furniss.
Publisher's binding over flexible paper boards, discreet and light repairs on the
joints, all edges gilt.
Autograph inscription dated and signed by Lewis Carroll to Mrs Cole.
First edition, one of 500 numbered copies on Featherweight, the only deluxe issue.
Small loss and foxing to the headcap and upper edge, a crease and minor tears to the front cover, endpapers slightly toned without consequence.
Exceptional signed autograph presentation from Benjamin Fondane: « A Jacques Prévert cordialement. B. Fondane. Paris / 3 / 33. »
First collective edition, for which no deluxe paper copies were issued, one of the press service copies.
Preface by Louis Aragon.
Precious autograph inscription signed by Louis Aragon to his friend Charles Dobzynski, whose wedding witness he was, along with Elsa Triolet: "A Dob, Louis."
Edition illustrated with 16 original watercolours by Auguste Leroux, engraved on copper by Delzers and Feltesse, one of 90 numbered copies on Imperial Japan paper.
Bound in navy blue half morocco with corners, spine with four raised bands decorated with gilt pointillé and triple gilt panels with typographic motifs, gilt date at foot, gilt fillet borders on marbled paper boards, marbled endpapers and pastedowns, original wrappers and spine preserved, gilt edges, contemporary binding signed by Bernasconi.
As stated in the justification of the print run for the copies on Imperial Japan paper, our copy is complete with its two suites: one in colour with remarques and the other in colour.
In addition, our copy is exceptionally enriched with 2 original drawings by Auguste Leroux, one heightened with watercolour, signed with his initials and placed at the beginning of the volume, just after the justification of the print run.
A fine copy, perfectly bound and enriched with two original drawings.
Rare translation into Berber Tamasheq (spoken mainly by the Tuaregs of Mali) by Abdelkader ben El Hadj Ahmed.
Some of Saint-Exupéry’s original illustrations have been reused, others redrawn.
As often, a trace of vertical crease runs along the red cloth strip used for the binding; otherwise a handsome copy.
