First printing of the 109 colored wood miniatures by Henry Lemarié, one of the numbered copies on Rives laid paper for each of the volumes.
Small tear at foot of spine of the Bluebeard slipcase, very light rubbing without significance to the slipcases, two small tears at foot of second board of the silent wrapper encasing Cinderella.
We include the illustrated catalogue of Jean Porson editions as well as the catalogue, printed on Rives, announcing the collection of Charles Perrault tales illustrated by Henry Lemarié. This descriptive catalogue is decorated with the frontispiece of Sleeping Beauty in black, two vignettes and two in-text illustrations by Henry Lemarié
First edition, one of 48 copies on pur fil, the only deluxe copies.
Work decorated with illustrations by Jean Hugo.
Light rubbing to extremities of the slipcase.
Superb binding in dark exotic wood marquetry signed Pierre-Lucien Martin, dated 1962.
Binding in chocolate brown box leather with bands, smooth spine, gilt title lengthwise, first cover formed of a mosaic arrangement of dark wood pieces, with grain arranged in opposite directions, bearing the title engraved vertically and the author's name revealed in acrostic, second co
Bibliothèque de La Pléiade edition printed on Bible paper.
Rhodoïd slightly yellowed as sometimes occurs.
Rich iconography.
Publisher's full brown grained sheepskin binding, orange top edge, smooth spine decorated with gilt fillets.
Fine copy complete with its rhodoïd, dust jacket and soft slipcase.
First edition, one of 75 numbered copies on surfine colored paper.
Work illustrated with 3 aquatints by Mimi Parent.
One scratch with three light stains on the first cover.
Handsome copy.
Precious and surrealist autograph inscription signed by José Pierre to Marie Cermínová Toyen: "A Toyen, les violons monégasques fabriqués secrètement dans les presbytères en partant de l'anémone de mer, José." (To Toyen, the Monégasque violins secretly manufactured in presbyteries starting from the sea anemone, José.)
Signatures of José Pierre and Mimi Parent below the justification page.
Edition illustrated by Julien Le Blant with 7 hors-texte etchings and a portrait of the author as frontispiece. Small print run on vellum. Fine engravings engraved by Champollion. Ornaments (initials, headpieces...) by Giacomelli.
Copy with the monogram G. A., unidentified. Interlaced English initials.
Contemporary full tender green morocco binding signed at bottom of front pastedown Bonleu. Smooth spine decorated with a fleuron at head and a special tool, the whole within elegant frames. Triple fillet frame on boards. Monogram at center of upper board. Wide inner decorative border. Top edge gilt. Light traces of rubbing. Spine having turned uniformly to light brown.
A unique copy entirely transcribed by hand by Michel Butor for Claude Nardin; the paper, handmade by Georges Duchêne at the Moulin de Larroque, is on antique 15; the wrapper, made of "grès de larroque" rag paper, is adorned with an impression by Ania Staritsky.
The work is illustrated with original colour engravings by Ania Staritsky, who also devised the original layout of the book with the collaboration of Claude Nardin.
A rare and very fine copy, complete with its brown full moiré cloth slipcase, slightly and marginally faded.
Manuscript pencil signatures of Michel Butor and Ania Staritsky at the colophon.
Our copy is enrich
First edition of this work devoted to the oeuvre of Ania Staritsky.
Illustrated with an original work by Ania Staritsky on the cover.
A rare and very attractive copy, spine plain and unlettered, boards slightly and marginally sunned, without seriousness.
Copy enriched with an artist’s proof engraving, justified and signed by Ania Staritsky in pencil
First edition, one of 56 numbered copies on B.F.K. de Rives laid paper.
Illustrated with original engravings by Ania Staritsky.
A rare and very fine copy, complete with its slipcase and grey full-cloth chemise.
Pencil signatures of Ania Staritsky and Albert Dasnoy on the colophon.
Autograph inscription signed by Albert Dasnoy to Claude Nardin, enriched with the handwritten signature of Ania Staritsky.
First edition, one of 50 numbered copies on Rives mould-made wove paper, the only printing after 20 hors commerce copies on Sirène offset paper.
Illustrated with colour linocuts and woodcuts after collages by Ania Staritsky.
Minor offsetting from glassine onto the inner flaps, tears to the spine.
Pencil signatures of Jacques Lemaire and Ania Staritsky at the colophon.
First edition, one of 42 numbered copies on tabac du moulin paper, issued under limon de rocaille wrappers, our copy one of 12 hors commerce copies, the only issue after 15 copies on papier saumon des eaux claires.
Illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the work, with the collaboration of Claude Nardin, here in his first contribution.
Rare and very fine copy preserved in its full burlap chemise and slipcase (spine of the chemise and boards of the slipcase slightly sunned at the margins).
Pencil signatures of Jacques Lemaire and Ania Staritsky on the colophon.
First edition, one of 37 numbered copies on Nivôse rag paper.
Illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the work in collaboration with Claude Nardin.
Rare and very attractive copy, preserved in its original old-rose full cloth slipcase (spine slightly faded and two faint stains at the foot of the boards, not serious).
Manuscript pencil signatures of Michel Butor and Ania Staritsky at the colophon.
A unique copy, exceptionally enriched with two original gouaches by Ania Staritsky, both signed, a manuscript text by Michel Butor, an original collage by Ania Staritsky, as well as a c
First edition, printed in 40 numbered copies on hand-made pure rag paper from the Moulin de Larroque, this being one of the 10 hors commerce copies.
The work is illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the volume with the assistance of Claude Nardin.
A rare and very fine copy, complete with its full grey cloth slipcase, slightly discoloured at the edges, and its double chemise.
Manuscript pencil signature by Ania Staritsky at the colophon.
Our copy is further enriched with two original collages by Ania Staritsky, both signed.
First illustrated edition issued for the Club français des bibliophiles, one of the numbered copies.
Publisher’s full olive-green cloth bindings, smooth spines, gilt medallions in relief depicting General de Gaulle and Free France stamped at the centres of the upper covers, fine copies complete with their original glassine wrappers.
A complete set in three volumes, richly illustrated.
Autograph inscription dated and signed by Charles de Gaulle in the first volume, manuscript signatures dated in the second and third volumes.
First edition, one of 30 numbered copies printed on handmade pure rag paper.
Illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the work with the collaboration of Claude Nardin.
A rare and very fine copy, complete with its chemise and brown cloth slipcase.
Pencil signatures of Philippe Jones and Ania Staritsky at the colophon.
Inscribed by Philippe Jones to Claude Nardin at the colophon.
Our copy is enriched with a five-line autograph manuscript text by Philippe Jones, as well as an original collage by Ania Staritsky, signed by her.
First edition, one of 35 numbered copies printed on "mousse d'épave" paper, ours one of 10 copies hors commerce.
Illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the work in collaboration with Claude Nardin.
Rare and very fine copy, complete with its chemise and slipcase in full grey cloth (spine of the chemise slightly faded).
Manuscript pencil signatures of Jean-Claude Renard and Ania Staritsky at the colophon.
Our copy contains a manuscript text by the poet Jean-Claude Renard as well as an original collage by Ania Staritsky, signed by her.
Fine signed auto
First edition, printed in 40 numbered copies on "citronnelle de lin troué" paper, this being one of the copies numbered from 11 to 30 (No. 30).
Illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the work with the assistance of Claude Nardin.
A rare and very fine copy, complete with its chemise and slipcase in full olive green cloth.
Pencil signatures of Jacques Izoard and Ania Staritsky at the colophon.
A unique copy, exceptionally enriched with a manuscript text by the poet Jacques Izoard, an original engraving by Ania Staritsky signed by her, as well as three engravings not retained for
First edition comprising 7 triptych fascicles, printed in 30 numbered copies on mould-made paper from the Larroque mill.
In addition to texts by Michel Butor, the work includes a Russian text excerpted from "1er janvier de l'année 1924" by Ossip Mandelstam.
Handwritten pencil signatures of Michel Butor and Michel Nitabah at the colophon.
As stated in the justification, our copy is complete with the graphisculpture on the cover by Paolo Boni, signed by him in pencil; the original signed collage by Esther Hess; the two original drypoints signed in pencil by Véra Pagava; and the cibachrome photograph of Ania Staritsky by Cuci White.
First edition printed in 150 numbered copies on Licorne du Marais paper, our copy being one of a few hors commerce copies, justified and signed by Ania Staritsky at the colophon.
The work is illustrated with 16 colour illustrations, either in the text or full-page, by Ania Staritsky, who also designed the original layout of the volume.
A rare and fine copy, complete with its chemise and slipcase in full raspberry red cloth.
Manuscript pencil signature of Robert Droguet on the half-title.
First edition, one of 10 numbered copies on Arches laid paper, deluxe issue.
A rare and very fine copy.
We include two invitation cards to the private view of the exhibition of works by Ania Staritsky held at Galerie Les Mains libres on 6 November 1975 between 6pm and 8pm.
Pencil signature of Michel Butor at the colophon.
As stated in the limitation page, our copy does indeed contain an original collage by Ania Staritsky, signed by her, as well as a manuscript text by Michel Butor.
Inscribed, dated and signed by Michel Butor to Claude Nardin, who was a collaborator of Ania Staritsky.
First edition, one of 35 numbered copies on "mousse d'épave" paper, this being one of the 10 hors commerce copies.
Illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the work.
A rare and very fine copy, complete with its chemise and slipcase in old-rose full cloth.
Pencil signatures of Philippe Jones and Ania Staritsky on the colophon.
Our copy includes a manuscript text by the poet Jean-Claude Renard, as well as an original collage by Ania Staritsky, signed by her.
Framing his manuscript, an autograph inscription signed by Jean-Claude Renard to Claude Nardin, who w
First edition printed in 30 numbered copies on handmade rag paper, this copy unnumbered.
Illustrated with original colour engravings by Ania Staritsky, who also designed the book’s original layout.
A rare and very fine copy, complete with its chemise and brown cloth slipcase.
Pencil signatures of Philippe Jones and Ania Staritsky at the colophon.
As stated in the limitation page, this copy includes a manuscript text by the poet Philippe Jones as well as an original signed collage by Ania Staritsky.
First edition printed in 35 numbered copies on Antique 15 paper, our copy being one of the 10 hors commerce copies.
The work is illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the book.
A rare and very fine copy, complete with its chemise with flaps, the spine slightly discoloured, and its grey cloth slipcase.
Pencil signatures of Michel Butor and Ania Staritsky on the colophon.
As stated in the limitation, our copy is enriched with a 19-line autograph manuscript by Michel Butor, together with an original drawing and a collage by Ania Staritsky.
The upper cover of t
First edition, one of 45 numbered copies, this being one of the rare hors commerce copies corresponding to the 8 deluxe paper copies on "Tabac du Moulin" vat paper, issued in "Tourbe de Varennes" wrappers.
The work is illustrated with 9 original colour engravings by Ania Staritsky, who also designed the original layout of the book.
A rare and very fine copy, complete with its chemise and slipcase in full saffron cloth.
Pencil signatures of Jean Follain and Ania Staritsky at the colophon.
As stated in the limitation page, our copy indeed includes a manuscript text by the poet Jean Follain as well as an original collage by Ania Staritsky,
First edition, one of 925 copies numbered on Artois wove paper, the only issue including 1 copy on butcher’s paper in honour of General de Gaulle, 20 hors commerce copies and 75 on Marais paper.
Illustrated with headpieces and tailpieces.
Spine and boards slightly sunned, as often.
First edition, one of the numbered copies on wove paper from the Papeteries de Savoie.
Illustrated with original artwork by Pierre-Marie Renet, also known as Frédéric Monnier.
Spine and boards marginally sunned, as often.
First edition.
Literary contributions by Paul Eluard, André Breton, Pierre Brasseur, Raymond Queneau, Giorgio de Chirico, Michel Leiris, Robert Desnos, Antonin Artaud, Benjamin Péret, ...
Pictorial or photographic contributions by Giorgio de Chirico, Pablo Picasso, André Masson, Max Ernst...
Upper cover with a few light marginal soiling to the left edge, a small tear at the foot of the spine, otherwise a good copy considering the fragility of this periodical.
First edition.
Literary contributions by Antonin Artaud, Paul Eluard, André Breton, Pierre Brasseur, Louis Aragon, Michel Leiris, Benjamin Péret, Ernest Gegenbach...
Pictorial or photographic contributions by Joan Miro, Yves Tanguy, Max Ernst, Man Ray...
Upper cover with a few marginal stains to the left margin, a small tear at the foot of the spine, otherwise a pleasing copy considering the fragility of this periodical.
First edition printed in 20 numbered copies on hand-made "papier rose jouvencelle" produced by Georges Duchêne.
Illustrated with original engravings by Ania Staritsky, who also designed the original layout of the work.
This copy is exceptionally enhanced with an original collage by Ania Staritsky, signed by her, and with an 8-line autograph manuscript text by Gaston Puel, together with an additional suite of the engravings by Ania Staritsky (one of which bears two small holes).
The spine of the chemise and the boards of the slipcase are slightly and marginally faded, without seriousness.
A rare and very fine copy, complete with its
First edition, one of 35 copies printed on B.F.K. de Rives paper, numbered and signed by Michel Seuphor and Ania Staritsky at the colophon, our copy being one of the few hors commerce.
Illustrated with original engravings by Ania Staritsky, who also designed the original layout of the work.
A rare and pleasing copy, complete with its chemise and slipcase in full anise cloth.
Our copy is exceptionally enriched with an original collage signed by Ania Staritsky and an 8-line autograph manuscript text signed by Michel Seuphor,
First edition, one of the scarce copies on Japon paper.
Work illustrated with 17 colour plates.
A fine copy with wide margins.
First edition, one of 37 numbered copies on handmade paper "Ecume de cépage" under "Chaume de Juillet" wrappers, the only issue after 8 copies on handmade paper "Tabac du moulin".
The work is illustrated with 9 original colour engravings by Ania Staritsky, who also designed the original layout of the book.
A rare and very fine copy, complete with its chemise and slipcase in full orange cloth.
Pencil signatures of Jean Follain and Ania Staritsky on the colophon.
New edition.
Illustrated with engravings by Jean Hugo.
A pleasing copy.
Inscribed and signed by Anaïs Nin to the writer Christiane Baroche.
First edition printed in 112 copies, ours one of the 90 numbered copies on Arches laid paper.
A pleasant and scarce copy.
Illustrated with 5 original lithographs by Juan Gris.
Manuscript signatures of Armand Salacrou and Juan Gris at the colophon.
First edition of the French translation, one of 75 numbered copies on ivory offset paper, our copy one of the few hors commerce copies numbered in pencil by Antoni Tapies, the only deluxe paper issue.
A very small stain to the upper edge, otherwise a fine copy complete with its illustrated dust jacket.
Illustrated.
Handwritten signature of Antoni Tapies at the colophon.
First edition, one of 60 numbered copies on Rives wove paper, the only issue after 10 copies on Arches.
A tear to the inner flap on the verso of the upper cover, a pleasant copy.
Illustrated with two original etchings by Jean-Gabriel Daragnès, including the frontispiece.
First edition of the French translation, one of 1,000 numbered copies on pur fil paper, the only issue with 10 copies on Auvergne paper.
Frontispiece with an original portrait of Blaise Cendrars by Riera, covers illustrated with an original lithograph by Orfeo Tamburi.
Spine and boards slightly and marginally sunned, as usually.
First edition, one of 535 numbered copies on Navarre laid paper, the only issue together with 10 copies on Japan paper.
Illustrated with a portrait of the author as frontispiece by Man Ray.
A fine copy despite a small, minor tear at the head of the spine.
Signed autograph inscription by Jacques Baron: " à Jeanne, Pierre et Jacques et X Collet. De tout coeur. Vraiment. Jacques."
