First editions and first French translations of great international literary works

Pléiade library edition printed on Bible paper.
Publisher's full brown grained sheep binding, smooth spine decorated with gilt fillets.
Iconography.
Handsome copy complete with its glassine wrapper and slipcase.

First edition.
Publisher's binding in full brown grained sheep, orange top edge, smooth spine decorated with gilt fillets.
Rich iconography.
Fine copy complete with its cellophane wrapper and soft case.

Rare first edition illustrated with 40 plates by Phiz (H. K. Browne) including a frontispiece portrait of Dickens with his signature. The printing contains all the errors of the first issue, except the first point: P. 123, "sister" corrected to "visiter". P. 245 l. 10 "flys" for "flies", uncorrected. "Visiters" instead of "Visitors" p. 272. l.2. ; P. 297. l.22 "incontestible" instead of "Inconstable" ; P. 586. l. 24 "suprise" for "surprise". All illustrated editions of Dickens were the result of close collaboration between the author and the illustrator.
Contemporary English half black glazed calf binding with corners. Spine with false raised bands decorated with cold grotesque ornaments and long tools on the false bands. Burgundy calf title label. Traces of rubbing to headcaps, joints, bands and corners, as well as on the boards. Text paper clean and fresh, the engravings showing browning in frame within the margins. Plate 13 p.196 clumsily cut at right margin.
Good copy.
The author's third great novel and a typically Dickensian work with its humor, multiple characters, deus ex machina and social and societal satire. The latest film adaptation dates from 2002 and the work had a theatrical adaptation by the Royal Shakespeare Company in 1980 in an 8-hour version.

First edition of the French translation, one of 10 numbered copies on Lafuma wove paper, ours unnumbered, printed on deluxe paper.
A rare and handsome copy, uncut, of one of the landmark works of the literary and poetic movement "Harlem Renaissance," which strove for the recognition of African-American culture.
Controversial since its publication owing to its title, the novel recounts the adventures of a young couple from Harlem, in the cabarets and soirées of the New York neighborhood. Van Vechten tirelessly supported African-American artists and writers, even after the decline of the movement that had drawn so many white intellectuals to Harlem.

First edition printed in a small number of copies of this offprint from the Mémoires de la Société des Sciences morales, des Lettres et des Arts de Seine-et-Oise.
Rare pamphlet presented under plain blue temporary covers with boards marginally and lightly soiled, handsome interior condition.
Autograph inscription signed by Jacques Chardon to his brother-in-law named Georges.

Autograph letter signed by Harry Mathews addressed to his love Claude Arthaud (14 lines in black ink) from the Huntington Hotel in San Francisco, envelope included.
Two small tears to the right margin of the letter affecting one word and one dash.
In this tender letter imbued with the melancholic sadness of separated hearts, Harry Mathews yearns to reunite with his love: "Tout se passe bien : tout se passe, tout passe. Mais au passage il ne reste peu de temps pour s'occuper des absents - de l'absente. Pourtant je pense à toi si souvent, avec des pointes de désir et d'amour..." ["Everything is going well: everything passes, everything goes by. But in passing there remains little time to think of the absent ones - of the absent one. Yet I think of you so often, with pangs of desire and love..."] and rejoices at seeing her soon: "Dans un petit mois je ferai de mon mieux pour combler toutes lacunes. Serre bien ton château de ma part. Je t'embrasse très fort. Harry" ["In a little month I will do my best to fill all gaps. Hold your castle tight on my behalf. I embrace you very strongly. Harry"]

New edition of the French translation, of which there were no deluxe copies.
Covers marginally soiled, handsome interior condition.
Autograph inscription dated 1997 and signed by Carlos Fuentes to a man named Jean-Claude.

First French edition translated by P. Lorrain with the authorization and approval of the author contained in Charles Dickens's bilingual preface, dated January 17, 1857.
Contemporary half red shagreen binding. Spine with false flat raised bands decorated with gilt and blind fillets. Gilt titles and volume numbers. Boards rubbed. 4 signatures slightly proud in volume 1. Signature 251 with 2 loose pages in the second volume. Corners bumped. Some foxing.
It was in 1856 that Louis Hachette acquired the rights to Charles Dickens's works, with P. Lorrain as collection director and translator, he would greatly develop the offering of foreign literature in France, and notably English literature with Lorrain's help. Many of Dickens's works had indeed not yet been translated into French while they had achieved success in Germany for example. Thus, Nicholas Nickleby had not yet received a complete translation although the work dates from 1839.

New edition of the French translation, of which there were no deluxe copies.
A handsome copy.
Autograph inscription dated and signed by Vassilis Vassilikos to a man named Jean-Claude.

First edition of the French translation, of which there were no deluxe copies.
Handsome copy complete with its illustrated dust jacket.
Rare autograph inscription dated and signed, in French, by Orhan Pamuk to a woman named Florence.

New pocket book format edition of the French translation.
One endpaper appears to be missing.
Rare handwritten signature by Kenzaburo Oe on the title page.

New edition of the French translation of Janusz Glowacki's masterpiece.
An email address inscribed in the margin of the last endpaper, handsome copy.
Rare handwritten signature dated by Janusz Glowacki made in Warsaw.

New edition of the French translation, this one in paperback format.
Small creases at head of front cover.
Signed autograph inscription from Adolfo Bioy Casares to a man named Jean-Claude.
At foot of title page, Adolfo Bioy Casares' felt-tip pen made an involuntary mark.

First edition of the French translation, of which there were no deluxe copies.
Light worming to edges, boards soiled, complete with its illustrated dust jacket.
Manuscript signature dated and made in Paris by José Saramago.

First edition in French for which no deluxe copies were printed.
Boards very slightly and marginally soiled.
Rare autograph inscription dated and signed by Seamus Heaney, written from Paris, to a man named Jean-Claude.
Seamus Heaney, born in Ulster in County Derry and who died in Dublin, is one of the most important English-speaking poets of the 20th century and became, in 1995, the fourth Irish author to receive the Nobel Prize for Literature after William Butler Yeats, George Bernard Shaw and Samuel Beckett.

New edition of the French translation.
Preface by André Maurois.
Two fold marks at upper corner of front cover and lower corner of back cover, small stains on bottom edge.
Rare bilingual autograph inscription signed by Norman Mailer: "To Jean-Claude merci pour les bons mots. Cheers Norman Mailer".

First bilingual edition, the text in Romanian with, facing, the English translation.
Publisher's binding in full flexible tan boards, smooth spine.
Autograph inscription dated and signed by Cezar Ivanescu to Charles Dobzynski.

New edition.
A handsome copy.
Autograph inscription dated and signed by Allen Ginsberg to Jean-Claude Geisberg enriched with a small drawing depicting a flower growing from a buried human skull.

First UK edition.
Blue cloth publisher's binding.
Nice copy with its dust jacket. Slight traces rubbing at the foot and at the head of the dust jacket.
Corner missing at the foot of the first flap of the dust jacket, with a small trace of adhesive.

The two short stories were first published in the New Yorker in 1955 and 1959.

First edition.
A small crease mark at the upper right corner of the front cover, two light dampstains at the head of the verso of the covers.
Rare autograph inscription signed by Edward Lucie-Smith, in French, on the half-title page: "... si vous commencez votre connaissance de la poésie anglaise chez moi, j'ai peur que ça sera la fin en même temps que le commencement ! " ["... if you begin your knowledge of English poetry with me, I fear that it will be the end at the same time as the beginning!"].
Manuscript signature of Edward Lucie-Smith on the title page.

First edition, illustrated with an engraved title with vignette, 39 plates by H. K. Browne including 10 mezzotints, including the frontispiece. All the drawings were executed according to very precise recommendations by Dickens, the mezzotint engravings expressing despair and the dark sides of the novel while the caricatural figures express joy and humor. As with all of Dickens's works, this novel first appeared in serial form (March 1852 to September 1853). First printing points: "elgble" p19, line 6; "chair" p209, line 23; "counsinship" p275, line 22
English binding in half burgundy shagreen with small corners. Spine with false raised bands richly decorated. Brown shagreen title label. Traces of rubbing to joints, headcaps, bands, corners and edges. Boards also rubbed. While the text paper is rather clean, despite yellowing of some margins near the figures, that of the engravings constantly shows browning, sometimes heavy, mainly in the margins, an almost systematic case in Dickens editions due to the use of more acidic paper for the engravings. A few small stains or foxing in the text. Good copy, well bound, a rare case for these popular editions.
The ninth novel published by Dickens and the first of the great panoramic novels depicting society, Bleak House came to life in France in 1858 under the title: La maison d'âpre-vent. A profound originality at the time, the novel uses two narrators, one in the third person, the other in the first. The opposition of the two narrations stigmatizes the relationship of the individual to the functioning of society. Many critics see it as one of the author's finest creations.
Bookplate of Syan Siennen.

The first edition, of which there were no deluxe copies.
A few words of thanks written in green ink at the head of the half-title page, otherwise a handsome copy.
Manuscript signature by Graham Swift on the title page.

Rare first edition, of which there were no deluxe copies, of the French translation established by Paul Claudel.
Handsome copy despite some occasional light foxing.

First edition published in 2900 copies, ours being one of the copies on Alfa paper.
Handsome copy despite some light foxing on the edges.
Literary contributions by Federico Garcia Lorca: "Le martyre de sainte Eulalie", Valery Larbaud: "Une nonnain", Liam O'Flaherty: "L'aviron, traduction de Valery Larbaud", Marcel Jouhandeau "La Bosco", Rudolf Kassner: "La chimère"...
Commerce, a literary review founded by Marguerite Caetani, took the form of twenty-nine "quarterly issues published under the supervision of Valéry, Fargue and Larbaud" between 1924 and 1932. Its publication formed part of the competitive tradition of French reviews of the 1920s and did not merely promote the most prominent authors of French literature: it played the role of "discoverer" of young talents and unearthed forgotten seminal texts.

First edition published in 2900 copies, ours being one of the copies on Alfa paper.
Handsome copy despite some light foxing on the edges.
Literary contributions by Paul Claudel: "Les cinq premières plaies de l'Egypte", Jacques Prévert: "Tentative de description d'un dîner de têtes à Paris-France", Georges Ribemont-Dessaignes: "Faust", Robert Desnos "Siramour", Rudolf Kassner: "L'individu ert l'homme collectif"...
Commerce, a literary review founded by Marguerite Caetani, took the form of twenty-nine "quarterly issues published under the supervision of Valéry, Fargue and Larbaud" between 1924 and 1932. Its publication formed part of the competitive tradition of French reviews of the 1920s and did not merely promote the most prominent authors of French literature: it played the role of "discoverer" of young talents and unearthed forgotten seminal texts.

First edition published in 2900 copies, ours being one of the copies on Alfa paper.
Handsome copy.
Literary contributions by Paul Valéry: "Réponse", Valery Larbaud: "Le vaisseau de Thésée", Thomas Stearns Eliot: "Difficulté d'un homme d'état, traduction de Georges limbour", Georges Garampon "Réveil du début de l'été", Henri Michaux: "Nous autres", Georges Roditi: "L'abdication du matin", William Falkner "Une rose pour Emily, traduction de Maurice-Edgar Coindreau", Bernard Groethuysen...
Commerce, a literary review founded by Marguerite Caetani, appeared in the form of twenty-nine "quarterly notebooks published under the supervision of Valéry, Fargue and Larbaud" between 1924 and 1932. Its publication forms part of the competitive tradition of French reviews of the 1920s and does not merely showcase the most prominent authors of French literature: it plays the role of "discoverer" of young talents and unearths forgotten seminal texts.

« Books ! Books form America ! They have traveled all the way over the Ocean from where the sun sets behind the tower of the Woolworth Building to where the sun rises behind the spine of Notre-Dame. They bring us a whiff of the atmosphere of the New World, a pulse of its thought, a ray of its beauty. »


The rare first edition of the inaugural speeches for the American library at the Sorbonne, December 13, 1920.
One page of photographic portraits of the authors.

« Sartre affirmait que la grande révélation pour les lecteurs français de l'entre-deux guerres fut celle des romanciers américains, Hemingway, Faulkner, Dos Passos, Steinbeck. C'est au cours des mêmes années que l'histoire américaine fit sa percée dans les Universités françaises, tout en se limitant, à la différence du roman, à des cercles très étroits et spécialisés. Elle s'imposa dans un petit nombre d'institutions Collège de France, Sorbonne, Ecole des Hautes-Etudes... » ["Sartre claimed that the great revelation for French readers of the inter-war period was that of American novelists, Hemingway, Faulkner, Dos Passos, Steinbeck. It was during these same years that American history made its breakthrough in French Universities, while limiting itself, unlike the novel, to very narrow and specialized circles. It established itself in a small number of institutions: Collège de France, Sorbonne, Ecole des Hautes-Etudes..."] (Fohlen Claude. Les débuts de l'histoire américaine en France. In: Revue Française d'Etudes Américaines, N°13, février 1982. Historiens français des Etats-Unis. pp. 27-40.)
Founded the same year as the American Library in Paris, thanks to a donation from the Carnegie Foundation, the American Library, attached to that of the Sorbonne, marks the official beginning of American History studies in France: « Deux mille livres, choisis parmi les plus représentatifs et les meilleurs, dans les catégories de l'histoire, de la biographie et des mémoires, des documents originaux, de la géographie humaine, économique et sociale, de la religion et de la morale, de la pédagogie, du droit, et enfin de la littérature, offrent aux professeurs et aux étudiants les sources principales où ils peuvent puiser la connaissance exacte (...) de la nation américaine » ["Two thousand books, chosen from among the most representative and the best, in the categories of history, biography and memoirs, original documents, human, economic and social geography, religion and morals, pedagogy, law, and finally literature, offer professors and students the main sources from which they can draw exact knowledge (...) of the American nation"].
This important gift was originally intended to support Charles Cestre's efforts in his teaching of American civilization and to guarantee, after the First World War, Franco-American understanding and friendship: « The knowledge of America's historical, moral and literary record will be the best warrant that no misunderstanding creeps in between her and France » (Speech by Charles Cestre)
Published in a very small number of copies reserved for members attending the Inauguration Ceremony, this rare booklet honors American culture in France's most prestigious university, while at the same time and two streets from the Sorbonne, Sylvia Beach was welcoming in her Latin Quarter bookshop the writers of the Lost Generation who would revolutionize French and Anglo-Saxon literature.

First edition of the French translation, of which there were no deluxe copies.
Very slight tears to spine, not serious.
Signed autograph inscription from the translator, Roger Giroux, to Michel Mohrt.

New edition of the French translation of which there were no deluxe copies.
Handsome copy.
Fine autograph inscription dated and signed by Vassilis Vassilikos to friends named Tina, Max and David presenting his wishes for the new year 1990: "... Ton "manifeste" Max est à point, simple, direct et efficace..." ["... Your "manifesto" Max is just right, simple, direct and effective..."]

First edition in French, one of 32 numbered copies on vellum, the only deluxe copies.
A crack reglued at head of spine, otherwise handsome copy.

The first edition, of which there were no deluxe copies.
Publisher's full dark blue boards, complete with its dust jacket which has no defects.
A very handsome copy.
Manuscript signature by James Ellroy on an endpaper.

First edition in French.
Two vertical fold marks on the covers.
Work illustrated with drawings by Tomi Ungerer.
Autograph inscription signed by Tomi Ungerer to a young man named Thomas.

First edition of Jean Lébédeff's compositions printed in 350 numbered copies on strong vellum.
Calligraphy and colored images by Jean Lébédeff, signed by him on the justification page.
Shadows from the folded-over cover, very fine copy in publisher's chemise and slipcase.
Signed autograph inscription from Jean Lébédeff to André Goukowsky.

First edition of the French translation, a service de presse (advance) copy.
Spine lightly sunned, rear cover with a small stain at head.
Precious autograph inscription dated and signed by Erskine Caldwell: "To the Queneau's with the best wishes of their quest. Erskine Caldwell. Paris. August 1947."

First edition.
Handsome copy.
Bradel binding in full grey cloth, smooth spine, complete with dust jacket which has three small spots and a minor tear to the front cover.
Precious autograph inscription signed by Thomas Stearns Eliot to Raymond Queneau.

First edition of the French translation established by Victor Henry.
Spine with lacks, front board detached, lacks to boards, some light foxing.
Rare.

First collected edition of the French translation by Javelin Pagnon.
Some foxing.
Texts preceded by a life of Chatterton by A. Callet.
Half black shagreen binding, spine with four raised bands decorated with double black compartments, traces of rubbing to spine, black paper boards, marbled endpapers and pastedowns, speckled edges.
Rare copy of the complete works of Thomas Chatterton, talented English mystifying poet who preferred to absorb arsenic rather than die of hunger, thus becoming, for the Romantics, the archetype of the misunderstood genius poet.

First edition of the French version, in verse and prose, established by Jean Richepin, one of the rare copies on pink paper of which no mention is made.
Rare and handsome full-margined copy despite small angular tears of no consequence.

First edition of the catalogue of works donated by Tomi Ungerer to the Museum of the city of Strasbourg, the artist's birthplace.
Handsome copy.
Very rich iconography.
Signed autograph inscription from Tomi Ungerer to a couple of friends whose surname he enigmatically does not cite in full: "Pour Marie Jane et Jean H....d herzlich" ["For Marie Jane and Jean H....d heartily"] accompanied by a small drawing depicting a heart pierced by an arrow.

New edition of the French translation.
Handsome copy.
Work illustrated with drawings by Tomi Ungerer.
Autograph inscription signed by Tomi Ungerer to a young man named Eliott.

First edition of the French translation, of which there were no deluxe copies, a Service de Presse (advance) copy.
A handsome copy.

The first edition, of which there were no deluxe copies.
Signed autograph inscription from Kenneth White to François Nourissier: "... le paysage antérieur..." ["... the anterior landscape..."]

First edition in French, one of 792 numbered copies on pur fil paper, the only deluxe copies with 108 reimposed.
Fine copy.

New edition of the French translation.
Handsome copy.
Work illustrated with drawings by Tomi Ungerer.
Autograph inscription signed by Tomi Ungerer to a young lady named Manon.

New edition of the French translation.
Handsome copy.
Work illustrated with drawings by Tomi Ungerer.
Autograph inscription signed by Tomi Ungerer to a young lady named Manon.

Pléiade library edition printed on Bible paper.
Publisher's binding in full blue grained sheep, blue top edge, smooth spine decorated with gilt fillets.
Handsome copy complete with its protective film but lacking its dust jacket and soft slipcase.

First edition in French.
A light circular stain to lower left corner of front cover.
Work illustrated with drawings by Tomi Ungerer.
Autograph inscription signed by Tomi Ungerer to a young lady named Adélaïde.

First edition in French, of which no deluxe copies are mentioned.
Half navy blue shagreen binding, spine with four raised bands underlined with gilt fillets, a trace of discoloration at foot of spine, marbled paper boards, marbled endpapers and pastedowns.
Some foxing, a name inscribed in ink on the title page.

First edition on ordinary paper.
A right-angle lack to the front cover, a tear at the foot of the front cover.
Precious autograph inscription signed by Elsa Triolet: "A Rita et à Vercors, un début de voyage... Elsa." ["To Rita and to Vercors, a beginning of a journey... Elsa."]

Pléiade edition printed on India paper.
Publisher's binding in full green grained sheep, grey top edge, smooth spine decorated with gilt fillets.
Fine copy complete with its glassine wrapper but lacking its slipcase.

Bibliothèque de La Pléiade edition printed on Bible paper.
Publisher's full brown grained sheep binding, orange top edge, smooth spine decorated with gilt fillets.
Handsome copy complete with its glassine wrapper but lacking its soft slipcase.

Pléiade library edition printed on India paper.
Publisher's bindings in full green grained sheep, grey top edges, smooth spines decorated with gilt fillets.
Fine complete set retaining its cellophane wrappers but lacking its soft cases.

First edition in French, printed on ordinary paper, with mention of third edition.
One tear repaired with adhesive strip at foot of spine.
Signed autograph inscription from William Goyen to Christian Giudicelli: "To Christian with affection and friendship."

Pléiade library edition printed on Bible paper.
Publisher's full blue grained sheep binding, blue top edge, smooth spine decorated with gilt fillets.
Copy complete with its cellophane wrapper but lacking dust jacket and slipcase.

First edition in French, one of 15 numbered copies on Japon impérial paper, from the deluxe issue.
Discreet restorations at head and foot of spine, handsome copy.
Illustrated with a frontispiece by Max Ernst.

Bibliothèque de La Pléiade edition printed on Bible paper.
Publisher's bindings in full brown grained sheep, orange top edges, smooth spines decorated with gilt fillets.
Handsome copies complete with their cellophane but lacking their dust jackets and slipcases.

Rare autograph letter dated January 25, 1975 and signed by William Goyen, in French (with some errors) to Christian Giudicelli thanking him for his kindness and availability (24 lines in black ink).
Fold marks inherent to mailing.
Sometimes addressing him formally, sometimes informally, William Goyen warmly thanks his correspondent: "Merci de votre entretien que me plait beaucoup. C'est dommage qu'on a abrégé, mais tu peut à en user plus tard, n'est-ce pas ?" ["Thank you for your interview which pleased me very much. It's a pity that it was shortened, but you can use more of it later, can't you?"]
William Goyen regrets not being able to correspond as regularly as he would like with Christian Giudicelli: "trop de mois sont passé sans nouvelles de vous, mais nous ne pouvions écrire à faute de la grève. Mon cher ami. Que nous pouvions parler : il y a tant de choses que je voudrais prendre part à toi... je vous remerciez mille fois les tendresses et les bontés quand j'étais la avec toi et mon ami de grand prix Maurice Coindreau." ["too many months have passed without news from you, but we couldn't write because of the strike. My dear friend. How we could talk: there are so many things I would like to share with you... I thank you a thousand times for the tenderness and kindness when I was there with you and my dear friend Maurice Coindreau."]

Requiem for a Nun
First edition, one of 750 numbered copies signed by the author, the only grands papiers (deluxe) copies.

Publisher's binding in half black cloth, marbled paper boards.

Autograph signature of William Faulkner on the justification page.

A beautiful copy, complete with its original acetate dust jacket.

Bibliothèque de La Pléiade edition printed on Bible paper.
Publisher's full blue grained sheep bindings, blue top edges, smooth spines decorated with gilt fillets.
Fine complete set retaining protective wraps but lacking dust jackets and slipcases.

Bibliothèque de La Pléiade edition printed on Bible paper.
Publisher's binding in full brown grained sheep, orange top edges, smooth spines decorated with gilt fillets.
Handsome complete set with its rhodoids but incomplete with its slipcases.

Autograph signed bristol card from Harry Mathews addressed to his close friend Claude Arthaud (24 lines in black ink) from his country retreat in Lans-en-Vercors, Isère, envelope included.
In this note filled with tender nostalgia, Harry Mathews shares with his correspondent the sadness he felt at not being able to reach her when she was in Paris and the difficulty of contacting her: "Je t'ai appelé trois fois à Paris aux dates que tu m'avais indiquées. La troisième fois une vois (sic) extraordinairement émilienne a prononcé la formule si familière : "c'est de la part de qui ? Madame, elle est n'est pas là, monsieur." ["I called you three times in Paris on the dates you had given me. The third time an extraordinarily Emilian voice pronounced the so familiar formula: 'who shall I say is calling? Sir, madam is not here.'"]
Before going to New York, Harry Mathews hopes to finally be able to speak with Claude Arthaud: "... je passerai quelques jours à Paris. Y seras-tu pour qu'on se parle (au moins) enfin?" ["... I will spend a few days in Paris. Will you be there so we can talk (at least) at last?"]
Despite a melancholy that surfaces in this letter, the American writer exudes joie de vivre: "Je suis heureux dans ma nouvelle vie, malgré mes idées sur les choses de ce monde. Tout ce qui m'arrive (lire : ce que j'ai voulu) me semble à la fois incroyable et incroyablement naturel." ["I am happy in my new life, despite my ideas about the things of this world. Everything that happens to me (read: what I wanted) seems to me both incredible and incredibly natural."]
The note ending with an affectionate: "Je t'embrasse - Harry." ["I embrace you - Harry."]

Sophie's Choice
First English edition.
Publisher's binding in full black cloth. Complete of its printed jacket illustrated with the photographic portrait of the author, with two small missing pieces at the top of the spine.

Surprising autograph inscription signed and dated by Meryl Streep, a year before she played the title role in the movie adaptation by Alan J. Pakula, for which she won the Oscar for Best Actress in 1983: "For Keith, thanks for an interesting afternoon, 16/10/1981, London"
This "Keith" could very well be Keith Barish, producer of the Pakula film, who bought the rights from Styron as soon as the novel was published. Meryl Streep will not be casted for the role of Sophie until the summer of 1981, as reported by the New York times of July 22, 1981:
"After a two-year search, Meryl Streep and Kevin Kline have been chosen to play the doomed lovers in the film version of William Styron's novel about a survivor of Auschwitz, ''Sophie's Choice.'' How and why they got the roles casts a certain amount of light on the way things are done in Hollywood.
Mr. Styron's novel was purchased for approximately $750,000 in May 1979 by Keith Barish, a multimillionaire land developer who had decided to go into the movie business. It was the first property he acquired, and he bought it for the director Alan Pakula, who received an Academy Award nomination for ''All The President's Men.''

By mid-July, Lord Grade's Marble Arch Productions had agreed to make the book into a $10 million to $12 million motion picture. None of the three men most involved – Mr. Barish, Mr. Pakula and Martin Starger, president of Marble Arts – were exploiting a popular novel. All three saw the book as an important – perhaps great-motion picture. »
The "interesting afternoon" in "London" mentioned in this letter by Meryl Streep in her autograph inscription could therefore be the closing of this agreement in the offices of Lord Grade in London whose Marble Arch Productions financed the 14 million dollars film.

Despite the absence of an explicit surname, the circumstances, date, and location mentioned in this surprising and very early dedication make it possible to determine with certainty its recipient as one of the people primarily responsible for casting in Sophie's Choice. More precisely Keith Barish, who weighed in on the choice of Meryl Streep against the opinion of Pakula who preferred Magda Vasaryova to her.

Unique presentation copy undoubtedly bearing the first significant inscription by Meryl Streep on this masterpiece which will become one of the greatest films of her career.

First edition.
Half brown sheep bindings, smooth spines decorated with triple gilt fillets and gilt decorative motifs, gilt friezes at head and foot, marbled paper boards, combed paper endpapers and pastedowns, covers (soiled, with black ink stains, lacks or corner restorations, significant lack to the rear board of the first volume) and spine preserved, modern pastiche bindings.
Foxing, one stain at the foot of the leaves in the first half of the second volume not affecting the text.
Very rare autograph inscription signed by François René de Chateaubriand on the half-title page of the first volume to his secretary and faithful friend [Bernard Jean Erhard Desmousseaux] de Givré.

First edition of this translation by Léopold Comte de Bohm.
Copy with the cipher A. D.
Contemporary full green crosshatched morocco binding. Smooth spine decorated with 5 mirror-image Restoration tools, series of triple gilt fillets and cold roulette. Cipher AD stamped in gilt on covers. Wide frame on covers composed of complex monastic tools in the corners. Rich interior border. Lemon endpapers. Gilt edges. One tear with loss along the upper joint. One corner slightly bumped, the others rubbed. Scattered browning.
Very fine copy.
This incredible translation was completed at age 13 and achieved great success when published upon the translator's death at 22. This work is found in numerous noble libraries because the completion of this translation by a 13-year-old pupil confirmed the superiority of the chosen education and noble birth.

First edition in French, of which there were no deluxe copies, a Service de Presse (advance) copy.
Boards slightly soiled.
Rare and precious autograph inscription signed by Ilya Ehrenburg, in Cyrillic, to Nathalie Sarraute.

First edition of the French translation established by Boris Vian, a Service de Presse (advance) copy.
Spine slightly sunned as usual.
Amusing signed autograph inscription from Boris Vian: "Pour le gars Chalugimot, avec les compliments du coétagiste de service." ["For the guy Chalugimot, with compliments from the service co-tenant."]

First edition in French, one of 135 numbered copies on alfa paper, the only deluxe copies.
Bradel binding in half fir green morocco, smooth spine, speckled pattern paper boards, covers and spine preserved, binding signed P. Goy and C. Vilaine.
Handsome copy.

Paz en la Guerra
First edition of the first work by Miguel de Unamuno.

Binding in full marbled cloth, spine in five compartments set with gilt stippling and adorned with gilt fleurons, title pieces and name of the author in olive green sheep, some scratches on the spine ends and in the margins of the boards, marbled endpapers.
Two restored tears affecting the text to pages 305-306 and 319-320, ex-dono in purple pencil by a former owner of the work on the half-title page, library stamp printed on the title page.

Rare autograph presentation signed by Miguel de Unamuno: “A J. M. Robledo sin amigo Miguel de Unamuno.”

First edition.
Two small tears with lacks to the sunned spine.
Other contributions by Marc Bernard "Zig-zag", Ramon Fernandez "Molière et Copeau", Julien Benda, Jean Giono "Un de Baumugnes (I)"...

First edition.
Publisher's binding in full black cloth, smooth spine, complete with its illustrated dust jacket featuring a spider web on the front cover.
Some asterisks in blue ballpoint pen at the head of certain paragraphs.
Rare autograph inscription signed by Jack Pallam to a man named Jacques.

First edition in French, a Service de Presse (advance) copy.
A stain to upper left corner of back board, a small tear at foot of slightly sunned spine.
Rare autograph inscription dated and signed by William Humphrey in French to Christian Giudicelli.

Bibliothèque de La Pléiade edition printed on Bible paper.
Publisher's full brown grained sheep bindings, orange top edges, smooth spines decorated with gilt fillets.
Fine complete set with its protective covers but lacking dust jackets and slipcases.

First edition printed in 600 numbered copies on papel de hilo.
Full burgundy flexible boards binding, smooth spine with light superficial scuffs to joints, front board stamped in center with a blind-stamped bird reproducing the illustration from the front cover, marbled endpapers and pastedowns, decorative gilt board-edges on pastedowns, original wrappers preserved, all edges gilt.
Rare autograph inscription signed by José Bergamin: "A Willsen amigo JBergamin." ["To Willsen friend JBergamin."] enriched with a drawing representing a small bird between two flowers.

First edition of the French translation, of which there were no deluxe copies, a Service de Presse (advance) copy.
Spine and covers marginally and lightly yellowed, complete with publisher's slip.
Rare autograph inscription dated and signed by John Fowles to Christian Giudicelli.

First edition in French, of which there were no deluxe copies, an advance copy.
Handsome copy.
Autograph inscription signed by Adolf Rudnicki to Jacques Duchâteau.

New edition of the French translation established by A. Perreau.
Half tan sheep binding, spine with five raised bands set with gilt dots decorated with double gilt compartments embellished with gilt floral motifs, one joint cracked at foot with lack, gilt fillet on marbled paper boards, marbled endpapers and pastedowns, armorial bookplate pasted to verso of front board, binding signed by Bernon.
Handsome copy despite some light foxing.

First edition of the French translation, of which there were no deluxe copies.
Handsome copy despite two creases to lower corners of boards.
Signed autograph inscription from Severo Sarduy to Georges Raillard and his wife.

New edition of the French translation of this novel set among gold prospectors in the Americas.
Half dark green shagreen binding, spine slightly browned with four raised bands set with black fillets, marbled paper boards, marbled endpapers and pastedowns, contemporary binding.
Some minor foxing of no consequence.

First edition, on ordinary paper, of the French translation by Albert Savine.
Printed stamp at head of an endpaper.
Handsome copy.

First edition of the French translation on ordinary paper.
Boards marginally and slightly soiled
Autograph inscription dated and signed by Saul Bellow to his friend Nadine Nimier, wife and widow of Roger Nimier: "For Nadine with apologiers for the sad eyes and much love. Saul."

First edition in French, of which there were no deluxe copies, a Service de Presse (advance) copy.
Spine sunned with a tear at head.
Rare autograph inscription signed by Ilya Ehrenburg to the Provençal writer, caricaturist and filmmaker Carlo Rim who was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of Max Jacob.

First edition, of which there were no deluxe copies.
Handsome copy despite three creases to the lower left corner of the second board.
Manuscript signature by James Ellroy on the half-title page for a man named Denis.

First edition translated by Louis Viardot and illustrated by Tony Johannot in first printing. Two frontispieces printed on China paper, two engraved title pages, and 800 large text vignettes.
Half chocolate morocco binding ca 1880. Raised band spine decorated with richly ornamented compartments with central roundel. Chocolate morocco title and volume labels. Double fillet border on boards. Top edge gilt. Light traces of rubbing to edges. Copy of exceptional freshness, perfectly white and free from foxing, for an edition that is always foxed. Uncut set, with full margins.
Famous Romantic illustrated book; one of Johannot's finest productions, along with Voyage où il vous plaira and Roland furieux. Johannot is less renowned than Grandville, undoubtedly because he is more typically Romantic, in Hugo's sense, both gentle and sentimental, then whimsical and morbid to the point of grotesque. There is more mystery and terror in his work than in his counterpart's.
"One of the finest illustrated books of the 19th century" Vicaire.

First edition in French, one of 17 hand-numbered copies, the only deluxe copies.
Handsome full-margined copy.

New edition of the French translation, following the original 1977 edition.
Covers and edges soiled, a small tear at the foot of the spine.
Rare and precious dated and signed presentation copy from Gabriel Garcia Marquez to his friend Jean-Pierre Richard, the year of his Nobel Prize : "Para Jean-Pierre, en Mexico, el dia de la entrevista. Gabriel 82."

Writer, filmmaker, translator and critic, Jean-Pierre Richard met Garcia Marquez through Salvador Allende, whose election he attended in November 1970. He became a close friend and one of the few journalists to whom the author revealed the secrets behind the composition of his masterpiece, One Hundred Years of Solitude.

Shortly before, Garcia Marquez had sought his friend’s help for an old film project dear to him. Sixteen years earlier, he had written a screenplay entitled Erendira, the only copy of which had been lost in the hands of filmmaker Margot Benacerraf, to whom Garcia Marquez had entrusted it. Reworked into a short story in 1972, The Incredible and Sad Tale of Innocent Erendira and Her Heartless Grandmother would await Garcia Marquez’s encounter with Jean-Pierre Richard to return to its cinematic destiny. It was through his French friend, a film director, that the Colombian writer met producer Alain Quefféléan and director Ruy Guerra, for whom he rewrote a new script. Erendira, released in 1983, would remain the only film adaptation of Garcia Marquez’s work in which the author was directly involved.
The “entrevista” between Richard and Garcia Marquez in August 1982 was thus an opportunity for the two friends to celebrate, in addition to Garcia Marquez’s Nobel Prize, the success of the Mexican shooting of Erendira starring Irene Papas.
A moving autograph dedication to his French friend, who enabled him to finally bring to life this long-cherished cinematic dream, and which Garcia Marquez described as “the first film to truly capture the magical realism of his prose.”

First edition of the French translation, one of 38 numbered copies on pur fil paper, the deluxe copies after 21 on vélin d'Arches.
Very handsome copy.

Edition with some parts in first edition. Second edition expanded by Cardonne, of the first translation by Antoine Galland which had appeared in 1724.
Full marbled and glazed calf binding, smooth spine decorated. Red morocco title-label and volume label. Red edges. 2 corners slightly bumped. Signs of rubbing, notably to headcaps and joints.
These fables of Bidpai (or Pilpai) are extracted from the "Panchatantra" attributed to Pandit Vishnu Sarma, who would have lived in the 3rd century BC. They were translated into Persian and Arabic, and spread throughout the Orient. These are the oldest fables that we know. It is not sufficiently known but this was one of the sources of La Fontaine's Fables, who acknowledges his debt in the preface to his second collection of Fables.