First edition of the French translation, one of 40 numbered copies on alfa paper, the only copies printed on deluxe paper.
Handsome copy.
First edition of the French translation, one of 50 numbered copies on pur fil paper, the only deluxe issue.
Attractive copy, with minor foxing to the spine.
First collected edition of the French translation, one of 50 numbered copies on vélin alfa, the only copies printed on deluxe paper.
A handsome copy, with only a few insignificant foxing spots to the edges.
First edition of the French translation, one of 44 numbered copies on pur fil, the only copies printed on deluxe paper.
Spine very slightly sunned without consequence, bookplate affixed to the verso of the front cover, a handsome copy.
First edition, first issue, illustrated with 21 original etchings by Jules Lalauze. Printed in a limited edition following 220 copies on deluxe paper. One of 20 copies on Wattman paper, no. 40. Title pages printed in red and black. A fine impression. An exceptional copy with the engravings in four states (sometimes bound further within the volume), whereas even the copies on Japan paper contain only three states, two of which are proofs on Japan paper. Volume IV is unfortunately lacking in this set. Original wrappers and spines preserved.
Contemporary half orange morocco binding, signed by Canaps on the upper flyleaf. Spine with raised bands, tooled with four crosses composed of four tulips and circles in the corners. Gilt title, volume number and date. Double gilt fillets on covers. Untrimmed copy, with full margins, of pristine whiteness. Some traces of rubbing. Darker areas on certain boards.
A superb copy.
First edition of the French translation, one of 150 numbered copies on pur fil, the only deluxe copies issued after 25 copies on Holland paper.
A fine copy with all edges untrimmed.
First edition on ordinary paper of the French translation by Philippe Jaccottet.
A handsome copy of this work, which was adapted for the screen by Volker Schlöndorff in 1966.
First edition in French, of which there were no deluxe copies.
Foxing to spine and margins of boards, retaining the dust jacket which has small marginal tears.
Rare dated autograph inscription signed by William Styron to journalist Paule Villers.
Edition translated by Defaucompret. Each volume has an engraved title with a vignette and at least 2 steel engravings per work, the animated scenes are by Tony Johannot, the views are English engravings. 28 folding maps heightened in colors, including a large map of Scotland, at the end of the History of Scotland.
Half navy blue shagreen binding, slightly later, ca 1850. Spine with raised bands decorated with gilt compartments and thick and thin fillets, in blind and gilt. Spine uniformly and slightly darkened. Author, volume number and title gilt. Volume 1: trace of dampstain to one corner of p. 300 to the end. Volume 4: broad yellowing on title page to p.30. Volume 7: trace of dampstain in left margin p. 197 to the end. Volume XXIII, trace of pale yellow dampstain in upper margin slightly affecting the text throughout the volume. Some traces of rubbing. Scattered foxing. Very handsome set, well bound.
Important critical edition, with all the author's prefaces for the different editions, and notes.
Details of the edition: 1) Waverley 2) Guy Mannering 3) L'Antiquaire 4) Rob-Roy 5) Le Nain noir & Les Puritains d'Écosse 6) La Prison d'Édimbourg 7) La Fiancée de Lammermoor ; L'Officier de fortune 8) Ivanhoé 9) Le Monastère 10) L'Abbé 11) Kenilworth 12) Le Pirate 13) Aventures de Nigel 14) Peveril du Pic 15) Quentin Durward 16) Les Eaux de Saint-Ronan 17) Redgauntlet 18) Les Fiancés ou Le Connétable de Chester 19) Le Talisman ou Richard en Palestine 20) Woodstock 21) Chroniques de la Canongate 22) La Jolie Fille de Perth 23) Charles le Téméraire 24) Robert comte de Paris 25) Le Château périlleux & Histoire de la démonologie et de la sorcellerie 26, 27 & 28) Histoire d'Écosse 29 & 30) Romans poétiques
Scott's great dark novels have obscured the fact that he is a great ironist and keen observer of human psychology, closer to Dickens and Fielding than one might initially believe. Yet what the generation of Romantic authors, who were overwhelmed by the discovery of Walter Scott, retained was primarily the historical and romantic tragedy, and the literary use of Scottish legends. Scott, like so many other great authors of English literature, is unfortunately reduced in France to a few novels. The greater part remains unpublished today, which makes this edition all the more valuable.
First edition of the French translation by A. J. B. Defauconpret. Illustrated vignette on the title page of each volume, with two illustrations in each volume (60 in total) by Louis Marckl after Noël Bertrand.
Green half shagreen binding, spine with five raised bands elaborately framed in gilt and blind, spine-ends stamped with a gilt rosette bearing cabbalistic signs, marbled paper boards, marbled endpapers and pastedowns, speckled edges, contemporary bindings.
Spines slightly lightened, some corners slightly dulled, more pronounced foxing on some volumes, a tear not affecting text to pp. 303-304 of vol. 2, a restored tear and a marginal lack of paper not affecting text to pp. 213-214 of vol. 5.
Autograph letter signed by James Fenimore Cooper in French, bound in the first volume, written to Charles Gosselin, publisher of his complete works.
Slight folds to the corners of the leaf, pencil and pen notes by a previous bibliographer.
Handsomely bound set, exceptionally containing an autograph letter signed by the author to his publisher.
First British edition of 1955 (the first edition of 1954 is American), complete with its dark pink dust jacket designed by Lynton Lamb, on which one of the two prizes received by A Fable in 1955 is mentioned: the Pulitzer Prize. This is the work on which William Faulkner laboured longest and which he considered his masterpiece.
Publisher's binding in candy-pink cloth, with title and author's name gilt in a false panel at the head of the spine, and publisher's name gilt at the foot. Galignani bookshop label affixed to the foot of the front pastedown.
Colour very slightly faded to the headcaps, discreet staining to the foot of the spine and to the tail edge. To the dust jacket, the spine sunned as is common, losses to the upper and lower portions of the spine, wear to the margins of both boards, most notably to the upper board, and further wear to the board edges and corners, staining to the foot of the lower board, price-clipped.
First edition of the French translation by Eugène Guillevic, printed in 35 copies numbered and signed in the colophon on japon ancien, ours one of the 10 hors commerce lettered copies.
Presentation copy, signed and inscribed by Hélène Iliazd to Claude Nardin in pencil in the colophon.
A rare copy complete with its folders and guards made of various papers, its folded parchment chemise with a large outward flap, and its blue cloth chemise and slipcase.
This first edition, conceived and produced by Hélène Iliazd and Ania Staritsky in memory of Iliazd, contains an unpublished poem by the Russian poet, with his autograph Russian manuscript in facsimile along with its French translation by Eugène Guillevic.
The work is illustrated with 6 original copper plates by Staritsky, including 2 double-page plates; the artist also designed the book.
We include the invitation card for the opening presentation of the book by Hélène Iliazd at the Alexandre Loewy bookshop on Tuesday 1 February 1983.
Our copy exceptionally contains a signed autograph letter from Hélène Iliazd to Claude Nardin (two pages with its envelope), concerning the distribution of the work and an invitation to the gallery opening.
First edition, one of 200 copies numbered on wove paper, the only issue after 25 copies on Normandy vellum.
Spine and boards slightly and marginally sunned, without seriousness.
First American edition (the first edition, also from 1954, is English) complete with its original salmon-pink dust jacket.
Publisher's binding in black cloth, title, author and publisher's name gilt to spine. Blank bookplate to front endpaper.
Some slight loss of gilding to spine, light fading to spine ends and some edges, bumped corners. To the dust jacket, some minor chipping to spine ends and corners, slight fading to margins of boards, A faint blue ballpoint line to upper board and old folds to lower board, price-clipped.
First English edition, printed after the first edition published in Milan in 1959 and the American edition published that same year, on ordinary paper, complete with its original unclipped dust jacket.
Publisher's red cloth binding, title and names of author and publisher to spine in gilt. Manuscript inscription, dated February 1964, on the front free endpaper.
Spine of the dust jacket sunned as is often the case, joints of the front board very slightly split, small tears at the head of the front board and a few minute red offsetting to that same board.
Scattered foxing and light browning to the pastedowns and endpapers.
English reprint of 1955 — the first American edition was published in 1927 and the first English edition in 1928 — on ordinary paper, complete with its original illustrated unclipped dust jacket.
Publisher's binding in light blue cloth, title, author's name and publisher's device stamped in dark blue to spine, title repeated, also in dark blue, to head of upper board.
Spine ends and edges slightly sunned as is often the case, a few faint marks to lower board. To the dust jacket, some minor chipping to spine ends, joints and corners, old traces of adhesive tape to the inside of the flaps. A pleasing copy.
First edition of the French translation, one of the numbered copies reserved for the friends, collaborators and subscribers of "Lettres Nouvelles".
Spine very slightly sunned, a pleasant copy.
First English edition of 1950 (the first edition, published the same year, is American) on ordinary paper, complete with its original illustrated unclipped dust jacket with gondola motif.
Publisher's binding in turquoise green cloth, to spine, a mock title label on red ground with palladium lettering and publisher's device also in palladium to foot, red central medallion to upper board echoing the gondola of the dust jacket, bottom edge untrimmed.
Cloth very slightly faded to spine ends, old faint traces of adhesive tape to pastedowns, minor rubbing to spine ends, joints and corners of the dust jacket. A pleasing copy.
First edition of this poetry collection, which was awarded the Cholmondeley Prize on publication, complete with its dust jacket illustrated by Leigh Taylor.
Publisher's binding in brown half-cloth, title, author's name and publisher's device gilt to spine, bronze-coloured glossy paper to boards. To recto of rear endpaper, a manuscript quotation in black pen by a celebrated English poet: "the mind can only repose on the stability of truth... Samuel Johnson."
Head of spine very slightly pushed. To the dust jacket, head of spine and upper left corner slightly chipped, old crease to head of upper board, a tiny tear to lower board, price clipped.
Later edition.
Publisher's full green cloth binding, smooth spine, copy complete with its illustrated dust jacket which shows a few small tears and minor losses.
The verso of the front panel of the dust jacket shows an angular loss affecting the printed price.
Dated and signed autograph inscription from Richard Wright to Ganan Bocca.
First edition, for which no deluxe paper copies were issued.
A pleasant copy.
Valuable signed autograph inscription from Susan Sontag to her friend Sonia Rykiel: "pour Sonia avec mes amitiés Susan Sontag 26 septembre 1995 Paris."
1865 edition of Goethe's reimagining of Euripides' Iphigenia in Tauris.
Contemporary publisher's plum cloth binding, smooth spine lettered with title and author's name in gilt, blind-stamped decoration on boards.
Spine faded as often, slight loss of cloth at spine ends.
Minor scattered foxing.
First edition, containing 23 tales by Andersen translated by David Soldi, together with a biographical essay by Xavier Marmier.
Illustrated with 40 vignettes by Bertall, engraved by Jacques G. J. Midderich and Alphonse Minne.
Full blue cloth binding, flat spine, gilt-stamped title, faint rubbing to the joints, light scattered marks to the boards, contemporary binding.
A very rare copy of this collection of Andersen's tales, "the first translation of Andersen's tales into French directly from the Danish, which long remained the finest [...]. This translation achieved wide circulation and continues to be published to this day" (Poul Høybye, H.C. Andersen og Frankrig).
First edition of the French translation, one of 100 numbered copies on Arches wove paper, the only deluxe paper issue, our copy justified at the colophon by Raymond Mason as an artist’s copy, the sole large-paper issue.
Illustrated work, with an original engraving by Raymond Mason, signed and justified by him as an artist’s copy as frontispiece.
A scarce and pleasing copy.
First edition of the French translation of the Hao ch iu chuan, a novel by an anonymous author from the Ming period, regarded as one of the most celebrated works of imperial Chinese fiction.
Guillard d'Arcy was one of the pupils of Stanislas Julien.
Minor losses to the head and foot of the spine, a few foxing spots.
Fourth edition.
A pleasing copy.
Introduction by Harry T. Moore.
Presentation inscription signed by Anaïs Nin to the writer Christiane Baroche: "my friend love, Lawrence and i was the first woman i write abour him. Anaïs Nin."
Autograph letter dated June 10th (1929) and signed by Somerset Maugham addressed in French to the writer Marcel Prévost, who had just sent him an inscribed copy of his book "L'homme vierge".
27 lines in blue ink on one recto-verso page on Villa Mauresque letterhead from Saint-Jean-Cap-Ferrat, printed stamp of Marcel Prévost's library in the upper right corner of the letter.
Mailing folds as usual.
Somerset Maugham thanks him for the inscription and praises the innovative literary qualities of his correspondent: "... je vous remercie infiniment. Je l'avais lu quand il s'appelait Amal et suis très content de le posséder maintenant en forme plus permanente. Vous avez quelque chose d'extraordinaire, ce don de vous renouveller avec chaque oeuvre ; on ne commence jamais un de vos romans avec la sensation fatigante qu'on va lire quelque chose qu'on a déjà à peu près lu."
Somerset Maugham also expresses his admiration for the number of works published by Marcel Prévost: "Je viens de lire la liste de vos oeuvres ; c'est vraiment impressionnant, voilà le conteur né. Et qu'est-ce qu'il y a de plus rare ?"
Autograph letter signed by Thomas Mann, in French and on the headed paper of the Hôtel Regina, 2 place des Pyramides, Paris, addressed to the journalist (Claude Morgan).
10 lines in blue ink on a single leaf, a stain affecting the "14" of 14 May 1951, creases consistent with having been folded for mailing.
"14 Mai 1951
Cher monsieur,
ayant prolongé mon séjour à Paris d'un jour, je vous donnerais avec plaisir une courte interview ce soir à six heures trente. Avec l'expression de mes meilleurs sentiments. Thomas Mann."
First edition of the French translation, one of 200 numbered copies on white wove paper, the only deluxe paper issue.
Bound in full mouse-grey shagreen, spine with five raised bands ruled in black, covers framed with a single black fillet, endpapers and pastedowns in cat’s-eye patterned paper, wrappers (with a small loss at the foot of the lower cover) and spine preserved, top edge gilt.
A pleasing copy.
First edition of the French translation, one of 350 numbered copies on alfa paper, the only deluxe paper issue.
A fine copy, despite a small area of sunning at head and tail of the spine.
First edition.
Original wrappers, complete with its color illustrated dust jacket.
Association copy, signed and inscribed: "A mon cher Georges Hugnet en souvenir de cette petite AMERICA '57 et de son ami Orfeo Tamburi / Paris 8.5.'68" [To my dear Georges Hugnet in remembrance of this little AMERICA '57 and his friend Orfeo Tamburi / Paris 8.5.'68]
Fine copy of this journey through the United States, with 37 illustrations by Tamburini from his travels to New York, Brooklyn, Chicago, New Orleans, Harrisburg, Milwaukee, Los Angeles, San Francisco, and Providence.
Hugnet and Tamburi collaborated on several artists' books: La Morale à Nicolas (1964), and Le Buveur de rosée (1970), a collection of 25 poems for which Tamburi created 5 lithographs.
First edition, one of the numbered copies on laid paper, the only issue after 1 copy on large Arches vellum, 50 on Japan paper, and 10 hors commerce.
The upper cover slightly and marginally toned; a pleasing copy.
Illustrated with wood engravings by Raoul Dufy.
First edition of the French translation prepared by Jacques Schiffrin and André Gide, one of 80 numbered copies on alfa paper, the only deluxe paper issue, with a further 45 copies on pure rag.
A rare and fine copy.
New edition of the French translation.
Spines slightly sunned, with minor tears at the foot.
Signed in manuscript by Thomas Mann on the endpapers of both volumes.
First edition of the French translation prepared by Alexandre Vialatte, one of the complimentary copies.
A manuscript ex-dono erased in the upper right corner of the half-title page, resulting in a small loss of paper.
Signed autograph inscription by Alexandre Vialatte to Albert Thibaudet.
First edition of the French translation by Élisabeth de Bon, gathering in 2 volumes the 4 parts of this anonymous English novel originally printed in 1809, which according to André Marc in his Dictionnaire des romans anciens et modernes of 1819, is the work of Anna Maria Porter, younger sister of the novelist Jane Porter. The Porter sisters, contemporaries of Jane Austen and famous before the Brontës, were close to the Scottish poet Walter Scott.
Contemporary full brown tree sheep, smooth spines divided into compartments richly gilt in decorative rolls of laurels, annulets and lozenges, two compartments with a lozenge network formed by interlacing fillets with fleurons at the corners, red and green morocco lettering-piece and numbering-piece, blind-tooled fillet border to boards, gilt fillet to turn-ins, edges sprinkled red, marbled endpapers in pebbled pattern.
Some light surface wear and minor offsetting to boards, corners slightly worn. On volume 1, a charming error in the decorative roll at foot of spine, corrected by the binder. On volume 2, small piece of leather at the edge of the numbering-piece slightly detaching.
Scattered foxing and faint marginal damp-staining to upper margins. In volume 3, two minor marginal repairs to half-title and p. 8.
Several period textual corrections in brown ink and pencil: volume 1 p. 131, volume 2 p. 90, and volume 3 p. 21.
New edition of the translation by Alain-René Le Sage, revised by Pons-Auguste Alletz, some forty years after its initial publication. Two frontispieces decorate each volume. As we learn from the Avertissement, this classic, which flowed from the pen of the author nicknamed the "Divine Spaniard" by his compatriots, was then, in the 1770s, unknown to a large part of the French youth.
Contemporary binding in full brown tree calf, smooth gilt spine with four compartments separated by traditional and dotted fillets, red morocco lettering-piece and numbering-piece, blind fillet framing the boards, gilt fillet on board edges, red edges, shell-marbled paper pastedowns and endpapers.
Discreet old restorations, corners worn, scattered foxing. On the first volume, the upper board is slightly sprung and the spine is lightly split at the foot; on the second volume, the upper joint is slightly starting and there are a few minor losses to the red morocco of the spine. Internally in good condition. In the first volume, small holes to pp. 27 and 169, not affecting the text, and a small marginal tear to p. 227. In the second volume, a discrete red stain to the frontispiece and title-page, a small hole slightly affecting the text on p. 315, a marginal tear very slightly touching the text on p. 361, and another marginal tear, also to the margin, not affecting the text on p. 367.
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."
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 edition of the French translation, one of only 34 numbered copies printed on pure vellum paper, the sole deluxe paper issue.
A fine and rare copy.
New edition.
A handsome copy.
Fine inscribed copy, signed by Anaïs Nin to the writer Christiane Baroche: "Christiane Baroche my last novel before I began to edit the diaries and be drowned in them. Perharps because I had arrived at humor and could bear to make the journey backwards. Anaïs Nin."
First edition of the French translation by Edouard Chavannes of an extract from the Journal of the Peking oriental society.
Contemporary Bradel-style binding in full grey percaline, smooth spine decorated with a gilt fleur-de-lis, double gilt fillet at the foot, cherry shagreen lettering-piece with surface scuffing, partially toned endpapers.
This was the translator’s first scholarly publication devoted to this treatise, which forms the twenty-eighth chapter of the celebrated Shiji (Historical Records) by the first true Chinese historian, Sima Qian (145–86 BCE).
These records constitute the first systematic synthesis of Chinese history and served as the model for all subsequent dynastic annals.
The great sinologist Edouard Chavannes (1865–1918), who lived in China from 1889 to 1893, was moreover the first to undertake a complete translation of the Shiji (five volumes published between 1895 and 1905, unfortunately covering only 47 of the 130 sections of the original work).
Copy enriched with a signed presentation inscription to Georges Cogordan (1849–1904), French Minister Plenipotentiary in Peking from 1885 to 1894.
First edition of the French translation (cf. Sabin 26375).
A defence of Catholic principles addressed to a Protestant minister (…) preceded by a notice on the author’s life and virtues. Translated from the English by Prince Augustin Galitzin. Paris, Ch. Douniol [printed by Simon Raçon et Comp.], 1856, 12mo.
Contemporary half navy blue shagreen, spine with four raised bands ruled and panelled in gilt, slight unobtrusive rubbing to the spine, marbled boards, marbled endpapers and pastedowns.
Scattered foxing.
A work of religious controversy; the preface offers interesting information regarding Prince Galitzin’s activities in the United States.
Bound after it: Alexandre Pushkin, "Le faux Pierre III", printed in Paris by Plon in 1858 (2 ff.n.ch. and 192 pp.), being the first edition of the French translation by Prince Augustin Galitzin.
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.
A very rare Brescia imprint, dedicated to Prince Eugène and celebrating Napoleon’s successes in the German campaign of 1805.
No copy recorded in the CCF.
A dampstain to the upper right corner of the leaves.
Contemporary cream paper-covered boards, smooth spine without lettering with tears, boards soiled, title within a black frame on the upper board and address likewise on the lower board, tears with losses on the lower board, contemporary binding.
However, dated 26 November of that year, it could not yet include the victory of Austerlitz. Niccolo Bettoni (1770-1842) was a prominent figure of Italian typography at the beginning of the nineteenth century, and was nicknamed the "Italian Didot" by his Parisian admirers: having developed a passion for the art following a meeting with Bodoni, he first acquired the Tipografia dipartimentale di Mella (in Brescia, which became the finest printing house in Lombardy), before opening four further workshops in Padua (1808-1819), in Alvisopoli (1810-1813) and finally in Milan and Portogruaro (1819-1832).
In 1835 he secretly departed for Paris, where he died, somewhat forgotten and pursued by his creditors.
First edition of the French translation, with false statement of second edition.
Full green cloth Bradel binding, flat spine decorated with a central gilt ornament, beige sheepskin title label, original wrappers preserved, contemporary binding signed in blind by Pierson. Some light foxing.
Very rare presentation copy dated and signed by Ivan Turgenev to Anatole France: "Monsieur Anatole France / hommage de l'auteur / 1876".
New edition, partially original as it is augmented with three new stories and the life of the author (previously published in 1744; before this date, editions included only 10 stories).
The false title of the second volume bears the title "Diverse Works," these two volumes, although sold separately, could be placed after the six-volume Don Quixote. The original title "Exemplary Novels" was used concurrently in other editions.
Translation by Abbé Martin de Chassonville. It is illustrated with a portrait of the author engraved by Gentot after Kent, and 13 plates, of which 12 are engraved by Aveline after Folkema, and one by Daudel. The engravings are charming and pleasing, with typical interiors (pharmacy, hospital...).
Full mottled calf bindings, smooth spines adorned with gilded fleurons, gilded rolls at the tails, grenadine morocco title pieces, brown morocco volume number pieces, triple gilded fillet borders on the covers enriched with gilded angular fleurons, gilded dentelles on the endpapers, all edges gilded, one bumped corner, some rubbing on the joints and covers, contemporary binding.
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.
