Novels, Short Stories and Tales

First edition, one of the 81 numbered copies on Holland paper, the only deluxe issue.

A handsome copy.

First edition, one of 65 copies on Arches wove paper, pure rag; our copy is unnumbered but correctly justified "vergé d’Arches" at the foot of the lower cover, the only deluxe papers issued.

Two slight sunning marks at head and tail of the backstrip, which is also lightly pinched at the foot.

A pleasing copy.

First edition.

With press clippings laid in.

Half bronze sheep binding, spine with four raised bands framed with gilt pointillé and decorated with double gilt fillets, red sheep lettering-piece, a few small black spots and a light scratch to the spine, marbled paper boards, cat’s-eye patterned endpapers and pastedowns, contemporary binding.

A pleasing copy.

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 on standard paper.

A handsome copy, complete with its publisher’s wraparound band.

Fine presentation inscription signed by Milan Kundera: "Paris 1998. Pour Michel Tournier avec l'amitié fidèle de Milan Kundera."

First edition, with no deluxe paper issue, one of the review copies.

A pleasing copy.

Inscribed, dated and signed by Annie Ernaux to her friend, the writer Christiane Baroche.

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."

First edition on ordinary paper.

A vertical crease along the right margin of the upper cover, which also shows a tiny blemish at the head; a complete copy retaining its publisher’s wraparound band.

Fine presentation inscription signed by Pascal Quignard: "Pour Michel Tournier cette terrasse à Rome, avec mon meilleur souvenir. Pascal Quignard."

First edition on ordinary paper.

Pages 10–11 lightly sunned owing to the presence of a newspaper clipping.

Fine presentation inscription signed by André Pieyre de Mandiargues: "à  Michel Tournier en très cordiale sympathie. André PM."

First edition, with no deluxe paper issue.

A handsome copy, with the promotional leaflet loosely inserted; the verso is creased and shows a tear.

Fine dated and signed presentation inscription from Annie Ernaux to the writer Christiane Baroche: "Pour Christiane,qui m'a fait "naître" dans le bonheur il y a dix ans. Annie. 3/02/84."

First edition, one of 12, 13, or 14 numbered copies on Whatman paper depending on the volume, the only deluxe paper copies. The first three volumes had no limited deluxe paper issue and are from an edition of 3,000 copies each. The Whatman copies are as follows:
- 12 copies for volumes seven, eight, nine, twelve, and thirteen,

- 13 copies for volumes four, five, six, ten, and eleven,

- 14 copies for the final four volumes.
Half dark brown morocco with bands, smooth spines, author, title, and volume numbers tooled in palladium, vellum-style boards, plain endpapers and pastedowns, original wrappers preserved for every volume, top edges in palladium (uncut for the Whatman copies), bindings signed by René Kieffer (binder’s stamp and label on the first endpaper of each volume). Head of vol. 2 lightly rubbed.

Copy belonging to Charles Péguy’s collaborator André Bourgeois, administrator of the Cahiers de la quinzaine (literary magazine which published this novel). It exceptionally contains valuable bound-in manuscript notes by Romain Rolland and Péguy.

This exceedingly rare set in first edition is handsomely bound by the great René Kieffer. It contains every volume issued on deluxe paper - these being "deuxième exemplaire de souche", i.e. name copies of the administrator after Charles Péguy's copy and before the printer's.

First edition, one of the review copies.
Spine just lightly rubbed.
Inscribed and signed by Patrick Modiano to the writer Christiane Baroche.
 

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, black 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 on ordinary paper.

A pleasing copy, with only a few insignificant spots at the foot of the spine.

Warm presentation copy signed by Jean Echenoz to his friend, the writer, screenwriter, and filmmaker Jérôme Beaujour, also a specialist in Marguerite Duras’s cinema: "Pour mon cher Jérôme avec ma vive affection, Jean. 2.VI.10"

First edition, with no deluxe paper issue.

A fine copy.

Dated and signed presentation inscription from Annie Ernaux to the woman of letters Christiane Baroche: "Pour Christiane, très amicalement. Annie. 24/03/93."

First edition, with no deluxe paper issue.

A well-preserved copy.

Fine dated presentation inscription signed by Annie Ernaux to the writer Christiane Baroche: "Pour Christiane, avec notre vieille amitié, de tendre pensées 'fraternelles' AErnaux 16/01/92."

First edition, one of 70 numbered copies on Arches wove paper.

Our copy is enriched with the autograph signatures of Jacques Prévert — who signed as Jacques Rêve-vert (with the word “vert” highlighted in green) — and of André Pozner, each accompanied by two small drawings: a little cat for Jacques Prévert and a camel’s hump for André Pozner.

A fine copy, complete with its slipcase.

First trade edition, one of only 50 numbered copies printed on alfa paper, the only deluxe issue.
Rare and very attractive copy in original condition.

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.

First collected edition of the works by the author of Les Étourdis ou le Mort supposé, a comedy that enjoyed great success just before the Revolution.

The set includes a portrait frontispiece in the first volume, four engraved plates, and ten engraved headpieces.

Bound in contemporary full polished and mottled brown calf, gilt decoration, smooth spines with six false raised bands highlighted with gilt fillets and repeated gilt floral tools, gilt fillet frames on covers bordered with a garland roll, gilt tooling to head- and tailpieces, green morocco spine labels, marbled endpapers and pastedowns, gilt edges on boards, marbled edges, contemporary bindings.

Some foxing to a few leaves of volume IV and to the endpapers, with minor surface abrasions to the covers.

Poet and playwright F.-G.-J.-S. Andrieux (1759–1833) was for a time drawn to politics under the Consulate.

He is remembered for his famous retort to Bonaparte, who reproached him for his opposition in the Tribunate: « Citoyen Premier Consul, on ne s'appuie que sur ce qui résiste ».

In literature, however, his ultra-classical tastes prevented him from recognizing the genius of Balzac, of whom he said, after hearing Cromwell: « Ce jeune homme doit faire quoi que ce soit, excepté de la littérature ». A splendid copy in Bradel-Derome le jeune bindings (cf. Coligny, Bradel-Derome, type A-T2), bearing a printed label on the pastedown of the first volume and, beneath it, the bookplate of the library of Vicomte E. de Bourbon-Busset (1799–1863).

First edition printed on ordinary paper.

A pleasing copy.

Affectionate signed presentation inscription from Jean Echenoz to his friend, the writer, screenwriter and filmmaker Jérôme Beaujour, also a specialist of Marguerite Duras’s cinema: "Pour Jérôme je t'embrasse, Jean. 6.XI.15"

First edition, one of 26 copies on pure wove paper, the only deluxe-paper issue.

A rare and handsome copy.

Antoine Tudal was the son-in-law and close confidant of Nicolas de Staël, who confided to him a few days before his death: "Tu sais, je ne sais pas si je vais vivre longtemps. Je crois que j'ai assez peint. Je suis arrivé à ce que je voulais..."

Illustrated edition with 13 colour plates on brown paper by Arthur Rackham tipped in with captioned tissue guards, together with 14 black-and-white illustrations in the text by Rackham, including a frontispiece portrait of Alice, one of the very rare 20 copies on Japon, signed by Arthur Rackham on the limitation page, copy from the deluxe issue. A few name copies on the same paper were also issued.
Publisher’s full vellum binding, smooth spine lettered in gilt with a gilt illustration of the Cheshire Cat, upper cover stamped in gilt with the title and an illustration of two fantastic creatures, illustrated endpapers, top edge gilt. Occasional light foxing.
A handsome copy of the most sought-after of Rackham’s illustrated works, one of the exceedingly rare copies on Japon paper.

Provenance: manuscript ex-libris on the half-title of Maurice Feuillet, celebrated press illustrator, notably for major legal trials, as well as art critic and founder of the 'Figaro artistique'. Feuillet remains renowned for his courtroom sketches during the trials of Émile Zola in 1898 and Alfred Dreyfus in 1899.

First French edition of the 50 colour plates by Arthur Rackham, tipped in with captioned tissue guards, a black vignette on the title page, and a further black vignette hors texte by Arthur Rackham, one of 200 copies on Whatman paper.
Publisher’s full vellum, smooth spine gilt-lettered, upper cover gilt-stamped with the title and a gilt illustration of Rip Van Winkle, illustrated endpapers, top edge gilt, uncut, original silk ties preserved. Occasional light foxing.

A splendid copy, remarkably fresh, of Washington Irving’s fantastical tale profusely illustrated by Arthur Rackham.

First edition on ordinary paper.

A pleasing copy.

Fine signed presentation inscription from Jean Echenoz to the writer, screenwriter, and filmmaker Jérôme Beaujour, also a specialist in Marguerite Duras’ cinema: "Pour Jérôme (qui m'a donné quelque chose p.109 à Pondichéry) et pour Elisabeth avec toute mon affection, Jean."

New edition, revised, corrected, and considerably enlarged.

Contemporary bindings in half mottled fawn calf over corners, smooth spines gilt with fillets, morocco title and volume labels, brown paper-covered boards, sprinkled edges.

Some minor rubbing to the spines, a few corners slightly bumped.

L'Esprit des lois occupies volumes I to IV; La Défense de l'Esprit des lois volume V (with a general index); Lettres persanes volume VI; volume VII gathers the Considérations and related pieces; volume VIII contains the posthumous works.

This collected edition of Montesquieu's works offers no particular bibliographical peculiarities in its contents but constitutes a very rare Zweibrücken printing bearing the false Saarbrücken imprint: Deux-Ponts was in fact an autonomous and conveniently located printing centre (by virtue of its proximity) for introducing into France titles that could not otherwise evade censorship.

First edition on ordinary paper.

Half black long-grain morocco binding, smooth spine tooled in palladium with author, title, and date, anthracite-grey paper boards, original wrappers and spine preserved (the latter with two small stains at head and foot), endpapers and pastedowns of anthracite-grey paper, binding signed Thomas Boichot.

Precious and exceptional signed presentation inscription by Louis-Ferdinand Céline: "A Mac Orlan son admirateur et ami fidèle. LFerd"

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, printed on thick wove paper.
Bound in contemporary half brown shagreen, smooth spines decorated with black typographic motifs, marbled paper boards, hand-marbled endpapers and pastedowns, modern slipcase edged in brown morocco with matching marbled paper sides and olive-green felt lining. 
Some occasional foxing, the note "Henri Beyle" in black ink at the upper corner of the title page of the first volume, final catalogue leaf present at the end of the second volume, small corner restorations to four leaves of the first volume.
"Very rare and extremely sought after. Usually quite simply bound at the time. Often foxed" (Clouzot). "This work is of great rarity in fine condition" (Carteret).
A handsome and very rare copy, large-margined and attractively bound at the time, of this masterpiece by Stendhal—rarer still than Le Rouge et le Noir.

First edition of this periodical, the inaugural volume of which appeared in 1776. Publication continued until 1789 and ultimately comprised 112 volumes; sets are consequently very difficult to assemble, particularly in uniform bindings.

Copy bearing unidentified arms.

Contemporary full brown sheep. Smooth gilt-decorated spine. Red morocco lettering-piece and volume label. Upper cover stamped with armorial devices. Headcaps defective in five places. Various abrasions. A few early cracks at the head of the joints.

First edition, one of 45 numbered copies on Holland paper, the deluxe issue.

Full chocolate-brown morocco binding, spine with five raised bands framed with black fillets, date gilt at foot, gilt rolls on the caps, marbled paper endpapers and doublures, gilt double fillet borders on the doublures, gilt fillets along the edges, original wrappers and spine preserved, all edges gilt, slipcase edged with matching chocolate morocco, sides in marbled paper, interior lined with grey felt. A splendid binding signed by Semet & Plumelle.

A very handsome copy, perfectly bound in full morocco by Semet & Plumelle.

 Second issue of the first illustrated edition of Victor Hugo’s masterpiece, distinguished by the small bat vignette on the title-page.

Publisher’s neo-Gothic binding in full brown polychrome cloth, the smooth spine gilt-stamped with an allegory of Notre-Dame de Paris, the boards adorned with an extensive gilt and polychrome design (red, blue, and pink) depicting scenes from Notre-Dame de Paris, yellow endpapers and pastedowns, shaded white flyleaves, all edges gilt, a characteristic Romantic publisher’s cloth binding. Spine evenly faded. Minute split at the head of the upper joint. One leaf detached, two others working loose. Occasional marginal foxing.

Work embellished with illustrations by Charles François Daubigny, Valentin Foulquier, Thoedor Josef Hoffbauer, Tony Johannot, Aimé de Lemud, Ernest Meissonier, Célestin Nanteuil, Camille Roqueplan, Louis Henri de Rudder, and Louis Steinheil...

A handsome copy of Victor Hugo’s timeless masterpiece, preserved in its polychrome Romantic cloth binding.

First edition, one of 100 numbered copies on Outhenin-Chalandre pure wove paper for each volume, the only deluxe paper issue after 10 copies on Japon and 30 on Hollande.

In original wrappers. Very good overall condition; two covers show a few minor surface marks.
Pleasant and uncommon set, untrimmed and with full margins, complete in 27 volumes.

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 steel engravings; the earlier editions, covering volumes 1 to 15 (1830–1836), were unillustrated.

Half polished calf bindings in Restoration style. Smooth spines decorated with a central panel richly gilt in grotesque design, gilt and blind-tooled rolls at head and tail, and gilt fillets. Small tear to the headcaps 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, 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, one of 750 numbered copies on vélin paper, this not justified, the only printing along with 50 on Japan.

A good copy.
Aesthetic Surrealist autograph inscription by Benjamin Péret: '...Pourquoi la chevelure, me direz-vous? Oui, pourquoi? Parce que les cheveux remplacent les parapluies...' to his friend Léo Malet.

First edition, one of 52 copies printed on Montval paper, ours being the second of 12 hors commerce copies, a deluxe issue.

Half anthracite-grey long-grained morocco, smooth spine lettered with the author’s name, title, date, and the palladium-stamped inscription “EXEMPLAIRE J. KESSEL”, abstract patterned paper boards, dove-grey paper endpapers and pastedowns, original wrappers and spine preserved, binding signed by Thomas Boichot.

Some light foxing mainly affecting the first and last leaves.

Exceptional and deeply moving full-page signed presentation inscription from Maurice Druon to Joseph Kessel: “Il fallait bien, mon grand Jef, que le premier livre que je t'envoie depuis que tu es Immortel soit les mémoires de Zeus. Je remercie les Destins de m'avoir donné un tel oncle et d'avoir permis que nous nous aimions si bien. Je t'embrasse. Maurice Mai 1963.”

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..."

First edition, one of the numbered copies on alfa paper reserved for the press.

Spine very slightly sunned, otherwise a well-preserved copy.
Signed autograph inscription from Irène Némirovsky to Charles Laval.

First edition, one of 95 hors commerce copies on pure wove paper, the only deluxe paper issue.

Half fawn morocco binding, smooth spine with gilt lettering of the author's name, title, date, and the mention “EX. J. KESSEL”, fawn paper boards, rust-colored endpapers and pastedowns, original covers and spine preserved, binding signed by Thomas Boichot.

Some foxing mainly affecting the covers as well as the first and last leaves.

Exceptional and moving signed autograph inscription from Maurice Druon to Joseph Kessel: "A toi mon grand Jef, prince des Cavaliers, avec la joie de t'avoir rejoint parmi les Immortels, cette histoire de famille en t'embrassant pour tous les jours des hommes. Maurice 1967."

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.

First edition, one of 120 copies printed on pure laid paper.

Pleasant copy with wide margins throughout.

First octavo edition illustrated with 92 engravings by Benett, including one folding map in colour: this marks the very first use of polychromy in an illustration for a Jules Verne novel.
Publisher’s Hetzel binding “with the two elephants” in full red cloth, signed by Lenègre, type 3, upper cover signed by Souze, lower cover Lenègre type “e” as described by Jauzac, original blue endpapers, all edges gilt, publisher’s EL catalogue at the end of the volume.
Spine slightly faded as usual, small black marks along the hinges, head- and tailcaps softened as often, a pleasant copy virtually free of foxing.
“Deux ans de vacances” is a Robinsonade featuring fourteen schoolboys from New Zealand.
 

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 edition, one of 220 numbered copies printed on Vélin du Marais.

Rubbing to the slipcase and chemise, otherwise a clean and attractive copy.

Illustrated with 25 intaglio engravings by Elisabeth-Mary Burgin.

First edition, one of 50 numbered copies on alfa, only deluxe copies. Some light foxing, mainly on the endpapers.

Rare signed presentation copy in French: “To my friend René Jasinski, in token of gratitude and friendship, these few scenes of Jewish life in New York. T. Twersky”, with a sentence in Hebrew translated by the author in French on a laid-in leaf: “Translation of the Hebrew inscription: sixth day of the week ‘Pekoudè’, year 5692 since the creation of the world, in the holy community of Paris”, (Friday, 4 March 1932 according to our calculation).

First edition of the third series of Andersen’s tales. Two parts in one volume, published respectively on 30 March and 23 November 1872, each bearing an inscription by Andersen. He mentions the first in his diary (H. C. Andersens dagbøger, vol. IX, p. 247) and the second is recorded by Henry Tuxen (Anderseniana, vol. 4, 1958-59, p. 155).

Red cloth half binding, smooth spine faded with gilt title and ruled in black, black cloth boards. First board with a slight lenghtwise crack, spine-ends and corners rubbed, small lack of material at the margin of the first board.

Rare collection of tales exceptionally inscribed twice by Hans Christian Andersen to his friend the celebrated dancer and choreographer Auguste Bournonville, called here “Balletdigter” (poet of ballet) in homage to his talent. The inscriptions appear on the half-title page of each part: "Vennen, Balletdigteren A. Bournonville fra hans Beundrer H.C. Andersen" [To the friend, the poet of ballet A. Bournonville from his admirer H.C. Andersen] and "Balletdigteren min geniale, trofaste Ven Hr. Balletmester Bournonville Hjerteligst H.C. Andersen" [To the poet of ballet, my brilliant and faithful friend the ballet-master Mr. Bournonville / Sincerely H.C. Andersen].

The dancer and ballet director of the Royal Danish Theatre remained one of Andersen’s greatest role-models: Andersen, who had aspired to be a dancer in his youth, but like many of his fairy-tale protagonists was born in “the wrong body” - relinquishing that career path, the now-famous storyteller made use of his writing talents for the stage, and collaborated on several occasions with Bournonville.

New edition.

A handsome copy.

Signed presentation inscription from Albert Cossery to a friend: "Pour Jean-Pierre à qui je souhaite une vie de miel. Albert Cossery."

New edition published three months after the first.

A pleasant copy.

Inscribed and signed by Boualem Sansal to a woman named Suzan.

New edition.

Pleasing copy.

Fine signed autograph inscription from Albert Cossery to a friend: "Pour Jean-Pierre que Dieu le garde des imbéciles. Albert Cossery."

First edition, one of 15 numbered copies on pure wove paper, the only deluxe copies.

A very handsome copy.

First edition, one of 2,080 numbered copies on alfa paper.

Publisher’s binding designed from the original layout by Mario Prassinos.

Spine faded as usual.

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 for each volume.

Fine copy of Du côté de chez Swann in first edition, second printing, with all identifying points (front cover dated 1913, table of contents present, no publisher's catalogue at end); copy in first edition bearing the mention "quatrième édition" for À l'ombre des jeunes filles en fleurs (with the correct colophon dated November 30, 1918); although bearing the same colophon dated November 30, 1918, the 128 reimposed copies were not actually printed until a year later, together with the large paper copies of the Swann reissue; for the following 11 volumes, numbered copies on pur fil (wove paper), the only large paper copies apart from the reimposed ones.

The complete first edition of À la recherche du temps perdu comprises the first two volumes on ordinary paper with the particularities mentioned above, followed by deluxe copies for the subsequent volumes. These deluxe copies on pur fil are in the same format as the first two volumes.

Restorations with losses filled on the spine and boards of the first and second volumes, spine of third volume browned, small tears or slight losses of no consequence at foot of certain spines, rear board of fifth volume partially sunned, some foxing on fore-edge of sixth volume, manuscript ex-libris inscriptions in upper right corners of front cover and title page of first volume. This complete set of La Recherche comprises the following titles: Du côté de chez Swann, À l'ombre des jeunes filles en fleurs, Le Côté de Guermantes (2 volumes), Sodome et Gomorrhe (3 volumes), La Prisonnière (2 volumes), Albertine disparue (2 volumes), and Le Temps retrouvé (2 volumes).

Fine complete set, all volumes in first edition as published.

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.

First edition on ordinary paper.

Small defects skillfully restored at the head and tail of the spine.
Rare inscribed presentation copy signed by Albert Cohen to Denise Mercier.

First edition, one of the review copies stamped "M.F." on the front cover and numbered in the colophon.

Small restored tears to the spine and upper part of the front cover, slight traces of creasing to the margins of the front cover.

Precious inscribed copy signed by Louis Pergaud to J.H. Rosny jeune, one of the historic members of the Goncourt Prize jury. Pergaud had won the 1910 Goncourt for his collection of short stories De Goupil à Margot.

First edition, no deluxe paper copies issued.

Complete copy with its illustrated dust jacket, showing as usual a few small marginal tears, two repaired tears at the foot of the spine, and a faint dampstain on the verso of the rear cover.

Rare signed and inscribed copy by Georges Brassens: "à yoyo amical souvenir georges brassens." 

First French edition, no deluxe paper copies issued.

Minor, insignificant spotting to the edges.

A handsome copy.

First edition, one of 340 numbered copies on Holland paper, the only deluxe paper issue.
Bound in brown half morocco with corners, smooth spine, marbled endpapers, original wrappers preserved.

Some discreet restorations to the spine and joints.
Our copy, with full margins, retains the folding genealogical table of the Rougon-Macquart.

First edition on ordinary paper.

Half black shagreen binding, spine with five raised bands framed by gilt garlands, gilt date at foot, marbled paper boards, comb-marbled endpapers and pastedowns, gilt top edge.

Scattered foxing, a few reading marks in red and blue pencil in the margins of certain paragraphs, printed stamp of the Armand Colin bookshop on the title page.

First edition, of which no copies were printed on deluxe paper.

Half black shagreen binding, spine with five raised bands decorated with gilt garlands, gilt date at foot, marbled paper boards, combed paper endpapers and pastedowns, gilt top edge, original wrappers preserved.

Scattered foxing, some reading marks in red and blue pencil in the margins of certain paragraphs, ink stamps of the Etienne Vion bookshop and stationery in Amiens on the title page, a library shelfmark at the head of the title page.