First edition illustrated with 6 original lithographs by Pablo Picasso, one of 500 numbered copies on Lafuma paper.
A pleasing copy, complete with its "prière d'insérer" written by Paul Eluard.
First edition, one of 15 numbered copies on Hollande Van Gelder paper and signed with the publisher's initials.
Full green morocco, the spine in five compartments, the first cover inlayed with a large and superb plate by Marguerite Lecreux of a horn sculpted in Cameo, featuring a sailboat with its sails unfurled, on the calm sea appears an engraved silverfish set under the plate of the horn and visible in transparency, pastedown in silk decorated with a submarine pattern (coral, jellyfish, starfishes and algae) framed in morocco embellished with quintuple gilt fillets, endpages of iridescence cloth, the following pages in marbled paper, the headband highlighted with a
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
Rare and sought-after first edition.
Half-black shagreen binding, spine in four compartments, marbled paper boards, pebbled endpapers and pastedowns, speckled edges, contemporary binding.
Some occasional light foxing as usual.
Rare copy in strictly contemporary binding.
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 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 of this poetry collection, prepared posthumously by the author's former husband, Ted Hughes. Our copy is complete with its unclipped dust jacket.
Publisher's blue percaline in Bradel binding, smooth spine lettered in silver, with the title, author's name and publisher's imprint.
Lower headcap very slightly bumped, minimal wear to corners. To the dust jacket, upper headcap with a very slight split, and a faint offse
American edition based on the 1929 translation by the poet William Carlos Williams of Philippe Soupault's 1928 post-Surrealist work, Les Dernières Nuits de Paris. Enriched with illustrations, an introduction by the author written in 1980, "William Carlos Williams in Paris. By Day and by Night," translated into English for the present edition by Ron Padgett, a publisher's note, and a reprinted epigraph.
Complete with its violet dust jacket, with the price indicated on the rear pa
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 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 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, illustrated with an original etching as frontispiece and four hors-texte drawings by Henri Laurens, one of 324 numbered copies on Vélin du Marais.
Title page lightly toned, otherwise a pleasing copy.
Signed in pencil by Tristan Tzara and Henri Laurens beneath the limitation statement.
First edition of the French translation, one of 26 lettered copies on Lana wove rag paper, issued as part of the tête-de-tirage.
A fine copy.
First edition, totalling 240 numbered copies, ours one of 10 copies on japon à la forme, the deluxe issue, complete at the end of the volume with its additional complete suite of illustrations in black as stated in the limitation.
Illustrated with 17 splendid pochoir plates in black, white, and gold by George Barbier.
A rare and handso
A rare first edition, of which no subsequent reprint exists, complete with all his Neo-Latin poems, chiefly composed in Rome. The volume also contains two Greek poems at ff. 60 and 62, together with a poem which inspired the celebrated sonnet Happy he who like Ulysses.
Modern binding in full limp vellum, smooth spine, red edges, white pastedowns and endleaves.
Some defects within: discreet restoration to inner margin of title verso; small tear without loss at foot of ff. 2-3; dampstaining to lower margin of ff. 25-28 and 45-48; minimal marginal defect to f. 44, not affecting
Autograph manuscript poem in Russian, entitled “Ананасы в шампанском,” signed by Igor Severyanin, twelve lines in three quatrains on a single leaf, with minor punctuation variations from the text originally published under the title Ouverture (Увертюра)
Rare edition printed on laid paper, very likely produced in a small run for Picard bibliophiles (cf. Hage Chahine, 4071).
Listed in the CCF only at Arras, Amiens, and Compiègne.
A few minor spots.
Half cherry morocco binding, spine lightly faded and raised on five bands, a few rubs to the spine, marbled paper sides, comb-marbled endpapers and pastedowns, gilt top edge, a period binding signed by Petit, successor to Simier.
Robert de Clari (c. 1170 – after 1216) was a Picard knight, vassal to the castellan Pierre d’Amiens.
He took part in the Fourth Crusade alongside his lord Pierre d’Amiens. After the deaths in 1205 of his direct suzerains Pierre d’Amiens and
First edition, printed on vélin d’Angoulême, with the usual typographical errors, and containing the six banned poems; one of the few author’s copies “intended for friends who render no literary services”.
Full bordeaux red morocco binding, spine with five raised bands richly decorated with multiple gilt- and blind-tooled fillets; third-state covers; boards framed with multiple blind-tooled fillets; marbled endpapers; gilt turn-ins; all edges gilt; marbled paper slipcase with morocco border; signed binding by Semet & Plumelle.
"New edition, with parts in first edition, incorporating an unpublished preface; the first edition had appeared in 1927 in Tokyo at the close of Claudel’s ambassadorship in Japan (1921–1927) and was issued in three fan-shaped quarto volumes. Work illustrated with Japanese characters calligraphed by Ikuma Arishima. Composed between June 1926 and January 1927, this essay (blending traditional calligraphy, haiku, and short Western-style verse) bears witness, among Claudel’s other creations, to the influence of the Far East on his poetic practice.
Moving and exceptional presentation inscription, signed and dated by Paul Claudel to his eldest daughter, Marie Claudel, known as "C
First illustrated edition, with a frontispiece portrait of the author and a plate of music inserted at the end.
Not listed in Schwab.
Contemporary binding in half polished Havana calf, smooth spine decorated with gilt fillets, chain motifs and floral tools, saffron paper boards, marbled edges.
Joints split at foots and slightly at heads, a pleasant copy overall.
An important work by the renowned Austrian orientalist (1774–1856) devoted to ancient Persian poetry, containing a large number of extracts translated into German and an extensive index.
The work, dedicated to the great French orientalist Silvestre de Sacy, was carefully printed in Gothic type; t
First edition on vélin d'Angoulême (laid paper), complete with all six banned poems, with the usual typographical errors.
Contemporary red half sheepskin binding, spine with four raised bands framed in gilt adorned with gilt fleurons, red glazed calico boards, marbled endpapers, speckled edges.
New edition, one of 50 copies on deluxe paper (no. 29/500) and issued with a named dedication, ours specially printed for Baron Emmanuel-Alban Guillaume-Rey (1837–1916), orientalist and archaeologist specializing in medieval Syria.
Full rigid vellum binding, smooth spine decorated with gilt fillets and floral tools, brick-brown morocco title label, gilt place and date at foot, gilt cornerpieces on the covers, original wrappers preserved, contemporary binding.
A poetic account of the exploits of Peter I of Lusignan, King of Cyprus (1328–1369), written shortly after his death at the request of Charles V, and centered on the so-called “Alexandrian Crusade,” the ill-fated expediti
First edition, one of 500 copies on ordinary paper.
This copy has a chemise and slipcase.
A little light spotting, not serious, nice copy.
Retaining its advertising band and slip.
Handsome autograph inscription signed by René Char: “à Man Ray au voyant carnassier de tout cœur R. Char.” (“To Man Ray to the carnivorous fortune teller, with all my heart, R. Char.”)
First collective edition on ordinary paper.
Pleasing copy.
Valuable presentation copy signed by Louis Aragon: "A Maurice Druon, pour n'en pas perdre l'habitude. Louis."
First edition of this important account of Buffon, providing insights into his private life, his character, and his relationships with those around him; it also contains numerous references to his scientific work (cf. Quérard I, 119: "Lyon, Grabit, 1788"; Dureau, "Notice sur Joseph Aude," p. 15).
Half vellum binding, smooth spine with a red morocco title label in vertical layout, marbled paper boards, slightly rubbed corners, sprinkled edges.
Stains in the margins of the title page and final leaf.
The memoirs proper end on page 55.
The following pages contain the poems announced in the title.
The rarity of this volume was already noted by Dureau in 1868...
First appearance of the 18 poems by Charles Baudelaire published on pages 1079–1093 of the Revue des Deux Mondes, showing numerous variations from the text of the first edition issued in 1857 by Poulet-Malassis & De Broise.
Full black shagreen binding, smooth spine, double blind-ruled borders on covers, comb-marbled endpapers and pastedowns, slightly later binding.
A rare and attractive copy.
First edition.
Publisher’s binding, smooth olive-green cloth spine partially faded, upper headcap trimmed, cream boards speckled with pink, bumped corners, shadowed endpapers.
Signed autograph inscription by Thomas Nelson Page at the head of the title page.
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.
First edition, one of 10 lettered copies on Holland paper, the only deluxe copies.
Illustrated on the cover with a portrait of Max Jacob by Pablo Picasso.
A rare and handsome copy.
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 a
First edition, one of the rare copies printed on laid paper.
This issue consists of 4 pages and includes a comic strip by Achille Lemot alias Uzès : "L'honneur est satisfait".
Literary contributions by Albert Samain ("Une"), Rodolphe Darzens with the poem "Crainte d'aimer", George Auriol ("La mort du démon d'oubli"), Paul Cary ("Les deux sorties de ma tante"), Rodolphe Salis...
A handsome copy despite a few faint marginal dampstains.
Le Chat noir was a weekly magazine founded by Rodolphe Salis and Emile Goudeau, published from 1882 to 1897, intended to promote the famous cabaret of the same name, of which it served as a record. It featured texts performed during the s
First edition, one of 50 copies numbered on pure wove paper, the only deluxe issue.
A fine copy.
First bilingual edition, one of 50 numbered copies on Arches wove paper, the deluxe issue.
The French translation, printed opposite the English text, was prepared by Patrick Guyon and Marie-Claude White.
A rare and attractive copy.
A remarkable autograph poem of youth by André Breton dedicated to Guillaume Apollinaire entitled «Décembre». 20 verses in ink on vergé d'Arches paper, composed in December 1915. This manuscript was copied between March 1917 and the beginning of 1918.
This poem is presented in a chemise and case with paper boards decorated with abstract motifs, the spine of the chemise in green morocco, pastedowns and endpapers of beige suede, a sheet of flexible plexiglass protecting the poem, case lined with green morocco, piece of green paper with caption «poème autographe» to bottom of upper cover of case, the whole by Thomas Boichot.
Key poem of the author's pre-Dadaist peri
First edition, review copy.
Nice copy.
Signed autograph Andre Suares Georges Le Cardonnel: "... that should all read & do not think less ..."
First edition, one of 42 numbered copies on Japon paper, the leading copies after 8 hors commerce on Chine paper.
Elegant Bradel binding in half black calf over floral paper boards by P. Goy & C. Vilaine, covers preserved (lightly soiled at edges), top edge gilt.
With a frontispiece portrait of the author on Chine paper by Jean-Louis Forain.
One tiny foxing as well as a small, clear marginal dampstain touching frontispiece.
A very good copy nicely bound.
The first edition for large parts of the text, printed in 550 copies with the correct date of 1891 on the title.
Contemporary paper boards with blindstamped floral motifs, spine very slightly browned, brown shagreen title-piece, gilt date to foot of spine, covers preserved.
Biographical press clippings bound in at end, bookseller's description laid down on head of one endpaper, leaving a mark on the opposite page.
This copy is complete with the original preface by Rodolphe Darzens, removed from most copies of this printing.
A good copy in a contemporary binding, which is rare, according to Clouzot.
Third edition, partly original, expanded with 25 poems, along with a lengthy introduction by the poet Théophile Gautier and several articles and letters by Barbey d'Aurevilly, Dulamon, Sainte-Beuve, Charles Asselineau, Custine, Edouard Thierry et Émile Deschamps selected by Baudelaire.
With a steel-engraved frontispiece portrait of the author by Nargeot.
One of the rare first issue copies with the correct date of 1868 on the title and without statement of edition.
This comprehensive edition contains 25 unpublished poems, totaling 151 poems (100 poems in the 1857 edition). Among the new poems, eleven are from Les Épaves.
Although wishe
First edition printed on vélin d'Angoulême. Complete copy with the six banned poems and the usual misprints.
Half shagreen binding, spine with four raised bands twice ruled in gilt with gilt fleurons, marbled paper boards, marbled pastedowns and flyleaves, contemporary binding. Some foxing scattered foxing.
Illustrated edition, limited to 68 copies. The illustrations comprise a title-frontispiece, 28 colored vignettes in the text and numerous colored wood-engraved tailpieces by Daragnès after pastels by Anna de Noailles, accompanied by the complete suite of thirty progressive states of a single plate, showing the color breakdown.
Bound in full lemon morocco, mosaic boards composed of a border of brown morocco fillets in the form of stylized hearts, surrounding two concentric undulating gilt fillet frames, with hearts in brown and teal morocco fillets at the center of the boards, smooth spine with mosaic of br
First edition, with no deluxe paper copies issued.
Half aubergine shagreen binding, spine with four raised bands decorated with triple gilt compartments, marbled paper boards, marbled endpapers and pastedowns, speckled edges. Contemporary binding.
This collection of poems is followed by essays on Henry Murger by Théophile Gautier, Jules Janin, Arsène Houssaye, and Paul de Saint-Victor.
Our copy is enriched with an autograph note signed by Henry Murger, informing his correspondent that he will visit him soon.
First edition on ordinary paper.
Half red morocco binding, spine with five raised bands framed with gilt fillets and decorated with double gilt panels, gilt lettering at the foot of the spine reading "Ex. de Sainte-Beuve", double gilt fillets on the marbled paper boards, small black spots on the covers, comb-marbled endpapers and pastedowns, original wrappers preserved, gilt edges.
Scattered foxing.
Precious autograph inscription signed by Auguste Brizeux: "A Sainte-Beuve, au poète et à l'ami. A. Brizeux."
First edition.
Contemporary half red shagreen over marbled paper boards, (a few discreet repairs), spine in six compartments, date to foot, marbled paper-lined endpapers and pastedowns, covers preserved, top edge red.
A very handsome autograph inscription signed by Victor Hugo to Alphonse Daudet.
Mrs. Daudet's collection stamp to first endpaper.
Victor Hugo represented for Alphonse Daudet, as for the other writers of his generation, the incontestable master of the Pantheon of the arts. His benevolent attention runs through Daudet's work, often listed side by side with Rousseau, Byron, Sand and Delacroix.
If during Daudet's childhood and youth, Hugo, an
First edition, one of 42 numbered copies on Japan Barjon paper, one of the deluxe issue, with 8 additional copies on Japan reserved for the author.
Introduction by Francis Scarfe and preface by Jean-Jacques Mayoux.
Rare and attractive copy of Kenneth White’s first book, complete with two photographs by Marie-Claude White.
First edition on ordinary paper.
Bradel binding in half grey percaline, smooth spine decorated with a central gilt ornament, gilt double fillet and date at foot, brown shagreen title-piece, cat's-eye patterned paper boards, blue paper endpapers and pastedowns, contemporary binding.
Precious signed autograph inscription from Jean Richepin to Léon Deschamps.
First edition printed in 245 numbered copies, the only printing after 10 copies on heavy paper.
Bradel binding in half blue cloth, smooth spine decorated with a gilt floral motif, double gilt fillet at foot of spine, red morocco title label with a very small defect, marbled paper boards, wrappers preserved, contemporary binding.
Inscribed and signed by Paul Fort.
First edition, one of the review copies.
Slight sunning at head and foot of spine, without seriousness.
Precious signed presentation from Francis Ponge: "Pour Marthe et Henri Calet leur ami. Francis Ponge."
First edition, published at the author’s expense and in a small print run.
A few minor spots of foxing.
Bradel binding in full paper echoing the work’s gilt checkered cover, smooth spine, red morocco lettering-piece, fragile original wrappers preserved, gilt edges, binding signed by Thomas Boichot.
Rare signed autograph inscription from Auguste Villiers de l’Isle-Adam to the Marquis de Monthec.
First edition, one of 1,000 numbered copies on offset.
A fine copy.
Illustrated with 10 drawings by René Magritte.
The ‘Kehl edition’, the most renowned edition of Voltaire's works, illustrated and published on deluxe paper. It was printed on five different types of paper, and only the deluxe editions, such as ours on laid paper, feature engravings. These are naturally the most sought-after and rarest copies.
Binding in full painted sheep decorated with a “honeycomb” motif, smooth spine tooled with gilt fleurons, fillets and compartments, light beige calf lettering and volume pieces, gilt chain-roll border on covers, marbled endpapers, gilt roll on edges, all edges marbled, contemporary binding. Two volumes (nos. 50 and 70) with slight variations in gilt tools on the spines and
Illustrated edition with 57 wood engravings drawn and engraved by Frans Masereel, one of the numbered copies on English paper.
Minor tears without consequence at the head and foot of the spine, a pleasing copy exceptionally enriched with a second state (on Japan or China paper) of 9 of the engravings.
Edition with some parts in first edition.
Half green straight-grained morocco with corners, smooth spines faded and decorated with gilt romantic arabesques, gilt friezes at head and foot, almond paper boards, covers and spine preserved, top edges gilt, handsome pastiche romantic bindings.
The Poésies nouvelles and the Oeuvres posthumes are here in first edition, and the Comédies et proverbes in edition with some parts in first edition.
This set comprises: "Oeuvres posthumes" (2 volumes), "Poésies nouvelles" (3 volumes), "Poésies complètes", "Mélanges de littérature & de critique", "Contes", "Comédies et proverbes" (2 volumes).
Some light foxing of no consequenc
First edition, an advance (service de presse) copy.
Half mustard-colored morocco over marbled paper boards by P. Goy & C. Vilaine, spine in six compartments, brown paper endpapers and pastedowns, covers and spine (sunned) preserved, top edge gilt.
Handsome autograph inscription signed by Robert Desnos to Colette Clément, whose name he plays on: "A Madame Colette Clément / Clément Marot non Jacques Clément (ces mots barrés) / non / hommage de l'auteur Robert Macaire."
Ex libris of recipient pasted in underneath justification.
First bilingual edition, one of 270 copies on Arches Ingres paper, including a photographic portrait of Ratna Mohini by her husband Henri Cartier-Bresson.
Rare and handsome copy.
First edition printed in 2,000 numbered copies, ours preserved in its original wrappers with Gallimard's resale label.
Fine autograph inscription signed by Jules Roy: "A Jean-Paul Bonnafous ces vieux chants d'un temps de misère, cordialement, Jules Roy."
First edition; no copy recorded in the CCF or Worldcat, with a single copy held at the Real Academia Española.
Full red shagreen portfolio, smooth spine without lettering, double gilt and blind-tooled fillet borders with gilt garlands and rosettes at the corners on the covers, gilt title lettered in the center of the upper cover, moiré white silk endleaves and pastedowns, contemporary binding.
Inscribed and signed by Albertus Frederik Johan Reiger to Baron Joseph Louis Heinrich Alfred Gericke van Herwynen (1814–1899), Minister of the King of the Netherlands to the Court of Brussels, accompanied by an autograph signed note addressed to the same, dated 12 December 1881
First edition, one of the review copies.
Some light foxing to the spine and along the edges of the covers, a pleasing copy given the poor quality of the paper.
Inscribed by Raymond Queneau to Dominique Aury.
First collected edition of which there were no grand papier (deluxe) copies, an advance (service de presse) copy.
A nice copy despite a tiny tear to foot of upper cover.
Rare autograph inscription signed by Robert Desnos to Pierre Berger: " ces feuilles déjà bien vieilles..."
First edition, a numbered copy on alfa du Marais paper, this one not included in the justification.
Handsome autograph inscription signed and dated by Aimé Césaire to Raymond Queneau: “Très sympathique hommage de ces bucoliques de sang et de soleil... [a very affectionate homage of these bucolics of blood and sunshine...]”
Covers and spine slightly sunned at edges (but not seriously).
