First edition, one of the press service copies, no deluxe paper copies issued.
A dampstain to the lower edge of one textblock edge.
Precious signed autograph inscription from Casamayor: "à Jean Paul Sartre au nom de la réalité concrète avec la fidélité de Casamayor."
New edition.
A pleasing copy.
Inscribed and signed by Jean Raspail : "A M. Claude Fricker, des camp des amis (word underlined), avec ma fidèle et fraternel souvenir, Jean Raspail. 7 juin 1994."
Bilingual edition in Provençal with the French translation printed opposite.
Contemporary half brown shagreen, smooth spine sunned and decorated in gilt with floral tools and ornamental motifs, gilt initials at foot, cat’s-eye paper sides, comb-marbled endpapers and pastedowns, wrappers preserved.
A few minor foxing spots, the first gathering tending to loosen.
Precious dated autograph inscription signed by Frédéric Mistral in Provençal to his friend, the félibre poet Paul Arène.
First edition, one of the ordinary issue, with no deluxe paper copies noted.
Small angular losses at the upper margins of the first leaves, paper occasionally brittle in the margins of certain leaves.
Signed autograph inscription from Rachilde to Léon Frapié.
First edition, one of 250 numbered copies, this being one of 10 numbered in Roman numerals, the deluxe issue.
Illustrated with original black engravings by Ania Staritsky.
A rare and very handsome copy, complete with its original school-style green flexible card chemise, marginally faded.
Manuscript pencil signatures of Michel Butor and Ania Staritsky at the colophon.
As stated in the limitation notice, our copy does indeed contain a manuscript page by Michel Butor and an original signed collage by Ania Staritsky.
First edition, one of 30 numbered copies on featherweight wove paper, the only issue after 15 copies on Lana wove paper.
Illustrated with 2 original engravings by Ania Staritsky, signed by her, together with drawings by Elsabeth Hellens and Léopold Survage.
A handsome copy.
First edition printed in 35 numbered copies on "vieux grès" rag paper from the Moulin de Larroque, this copy one of 10 hors commerce copies.
Illustrated with original color engravings by Ania Staritsky, who also devised the book’s original design with the collaboration of Claude Nardin.
A rare and very handsome copy preserved in its original full grey cloth slipcase.
Manuscript pencil signatures of Michel Butor and Ania Staritsky at the colophon.
Our copy is enriched with a two-page autograph letter, dated and signed, from Ania Staritsky to Claude Nardin concerning the making of this work.
First edition printed in 25 numbered copies on pure rag paper, pulled on Ania Staritsky’s press on the occasion of an exhibition of her works at Larroque.
Illustrated with 7 original engravings numbered and signed in justification by Ania Staritsky who also designed the original layout of the work with the collaboration of Claude Nardin.
A rare and handsome copy complete with the following 7 engravings :
- Magical cockerel
- Fishing of flies
- Fire hamste
-...
First edition, one of 30 numbered copies on Larroque pure rag paper, this copy one of 10 hors commerce copies, from the deluxe issue.
Illustrated with original engravings by Ania Staritsky, who also designed the book’s original maquette with the collaboration of Claude Nardin.
A rare and very handsome copy, complete with its slipcase and chemise in full saffron cloth.
Our copy is enriched with a signed 10-line manuscript poem by Janine Mitaud, an original etching, and a second state of one of Ania Staritsky’s engravings.
Manuscript pencil signatures of Ania Staritsky and Janine Mitaud at the colophon.
First edition.
Half green chagrin binding, flat spine with color restoration ruled in black and gilt, gilt frieze and date at foot, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved with restorations, binding of the period.
Presentation copy inscribed to Léon Richer.
Born into modest circumstances and having lost his father at an early age, Léon Richer founded in 1869 the weekly Droit des femmes, aimed at reforming women's legal rights, which enjoyed the renewed support of Victor Hugo: "I wholheartedly join in your useful endeavour. For forty years I have been pleading for the great social cause you devote...
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...
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...
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 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...
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 of the French translation, one of 21 numbered copies on pur fil paper, deluxe issue.
Bradel binding in half blue percaline, smooth spine, floral motif, date and double gilt fillets at the foot, hazel morocco title label with some scuffing, marbled paper boards, covers and spine preserved, top edge gilt, contemporary binding.
The text by Friedrich Sieburg is followed by a letter from Bernard Grasset to the latter.
Fine dated and signed autograph inscription, from London, by Friedrich Sieburg to Monsieur de Fleuriau, then French ambassador in London: "... en le priant de ne voir dans ce livre que l'attrait que la France exerça sur son auteur...
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...
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...
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 50 copies numbered on alfa paper, the only deluxe paper issue.
Bound in full beige sheepskin, spine ruled in black, gilt date at foot, minor rubbing to the edges of the boards, marbled endpapers, covers and spine preserved, top edge gilt.
Pencil annotations relating to the reading of the work.
Gift inscription by a former member of the José Corti publishing house: "A monsieur Marchaux en témoignage de sympathie ce tout premier livre publié par José Corti."
Above all else Damas's writing theatened conventional society. This pamphlet Retour de Guyane was bought in big numbers by the colonial authorities and burnt.
...First edition, printed in a small number on Dutch paper.
Spine and covers lightly sunned, small tears to the spine, final endpapers browned.
Speeches by M. Chaumié, Anatole France and Abel Hermant.
Autograph inscription signed by Eugène Fasquelle to Marcel Batilliat, whose name he misspelled: "à M. Marcel Batillat."
The Symbolist novelist Marcel Batilliat was a close friend of Émile Zola and campaigned to preserve the memory of the author of the Rougon-Macquart cycle.
First edition printed in a small number of copies, being the sixth booklet of the first series of the Cahiers de l'Ecole de Rochefort.
A rare and pleasing copy. René Debresse’s address has been added in black ink opposite the autograph inscription.
A valuable autograph inscription signed by Luc Bérimont to Jean Follain.
First edition on ordinary paper, bearing the correct imprint date of 25 August 1978.
Spine yellowed and creased as usual, internally in pleasing condition.
Rare signed autograph inscription from Georges Pérec to Chantal Labre.
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 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.
First edition, one of the press copies.
Paper browned as usual.
Signed autograph inscription from André Dhôtel to the philosopher Raymond Bayer.
First edition, one of 48 numbered copies on Lana vellum paper, the only deluxe paper issue.
A fine copy.
Warmly inscribed, dated and signed by Pierre Nora to a close friend named Françoise : "Pour toi, Françoise, de toujours à toujours. Pierre."
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, one of the deluxe copies on alfa, this one an unnumbered hors commerce, only deluxe issue after 10 copies on Arches.
Full blue-gray morocco binding, spine with five raised bands, gilt date at foot, yellow box calf doublure, watered silk free endpapers, original wrappers including spine bound in, all edges gilt, half morocco chemise in panels, wood motif paper boards, slipcase edged in morocco, wood motif paper boards lined with blue felt, outstanding binding signed Hélène Alix.
Unrecorded...
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."
First edition, of which no deluxe paper copies were issued.
A pleasing copy.
Signed autograph inscription from Georges Didi-Huberman to a couple of friends named Dominique and Danielle: "... cette trace d'année ombre. Je n'oublie pas vos paroles de coeur..."
New edition, issued a few months after the first edition.
Copy complete with its wraparound band : """Prix Goncourt 1970 à l'unanimité"
Autograph inscription signed by Michel Tournier to Monsieur Deslignières.
Original albumen print photograph of Charles de Gaulle, wearing the Cross of Lorraine and the insignia of the Free French Forces, likely taken shortly after the Liberation. Studio stamp of Harcourt Paris within the photograph, under mat and light wood frame, with some minor damage to the frame.
Signed and inscribed by Charles de Gaulle below the portrait: "A M. Jules Guichet / Bien amicalement ! / 19.2.58 / C. de Gaulle".
First edition, one of 35 numbered copies on Rives paper, the deluxe issue.
At the colophon, manuscript signatures in pencil by Micheline Catti and Ghérasim Luca.
A rare and handsome copy.
As stated in the limitation, our copy is complete with the original drypoint by Micheline Catti and the original etching by Ghérasim Luca, both signed by them in pencil.
Definitive edition.
Spine slightly sunned and a little cocked, a few spots to the boards.
Signed autograph inscription from Vercors to François Triboudeau.
First edition, one of 56 copies numbered on Arches paper, deluxe issue.
A handsome copy complete with its brown full board slipcase.
As stated in the limitation page, our copy is complete with the metallic frontispiece signed by Nicolas Schoffer.
Foreword by Henri Chopin.
First edition of the French translation by Eugène Guillevic, printed in 35 copies numbered and signed in the colophon on japon ancien, ours one of the 10 hors commerce lettered copies.
Presentation copy, signed and inscribed by Hélène Iliazd to Claude Nardin in pencil in the colophon.
A rare copy complete with its folders and guards made of various papers, its folded parchment chemise with a large outward flap, and its blue cloth chemise and slipcase.
This first edition, conceived and produced by Hélène Iliazd and Ania Staritsky in memory of Iliazd, contains an unpublished poem by the Russian poet, with his autograph Russian...
First edition, one of 85 numbered copies and 3 hors commerce copies, ours one of the 70 on B.F.K. de Rives paper.
A fine copy complete with its chemise and slipcase in full black cloth, spine of the chemise slightly faded, a small tear at the foot of the lower panel of the slipcase.
Illustrated with 19 original photographs signed in pencil by Henri Maccheroni.
First edition, one of 250 numbered copies on vellum, the only printing after 25 copies on Holland paper.
Spine and boards slightly and marginally faded, as generally encountered.
Autograph inscription signed by Céline Arnauld to the poet Henri Hertz.
First edition, one of 10 copies numbered and signed by Eugène Guillevic and Ania Staritsky in the limitation page. Printed on Verveine de Puymoyen paper specially designed for this work, ours being one of the few hors commerce copies, from the most limited deluxe issue (tirage de tête).
Illustrated with 5 original copper engravings in colour by Ania Staritsky.
A rare and pleasing copy, complete with its almond-green cloth chemise and slipcase, the spine of the chemise slightly yellowed.
As stated in the limitation page, our copy includes an original collage by Ania Staritsky and the six-line autograph manuscript poem signed by Eugène...
First edition, one of 35 numbered copies on B.F.K. de Rives paper, signed by Michel Seuphor and Ania Staritsky at the limitation page, our copy one of the few hors commerce.
Illustrated with original engravings by Ania Staritsky.
A rare and handsome copy, complete with its chemise and matching brown cloth slipcase.
Our copy, like the first 10 copies, exceptionally contains an original collage signed by Ania Staritsky, a 9-line manuscript text signed by Michel Seuphor, and a suite of all the engravings by Ania Staritsky. This association copy is also inscribed in pencil by Ania Staritsky to her collaborator Claude Nardin who...
First edition printed in a small number of copies, being the seventh booklet of the first series of the Cahiers de l'Ecole de Rochefort.
A rare and pleasing copy.
Valuable autograph inscription signed by Maurice Fombeure to Jean Follain.
First edition on ordinary paper.
Spine and boards slightly and marginally sunned.
Inscribed, dated and signed by Tony Duvert to Alain Veinstein.
A further compilation bringing together several successes of the troubadour from Sète, including "Le temps ne fait rien à l'affaire", "Dans l'eau de la claire fontaine", "La traîtresse", "La ballade des cimetières"; "La complainte des filles de joie", "Tonton Nestor - La noce de Jeannette", "Le temps passé" and "La fille à cent sous".
A pleasant copy despite very slight rubbing to the margins of the sleeve.
A name and an initial in blue ballpoint pen at the head of the second panel of the sleeve.
Manuscript signature of Georges Brassens in the left margin of the front panel of the sleeve.
Later edition.
Publisher's full green cloth binding, smooth spine, copy complete with its illustrated dust jacket which shows a few small tears and minor losses.
The verso of the front panel of the dust jacket shows an angular loss affecting the printed price.
Dated and signed autograph inscription from Richard Wright to Ganan Bocca.
New edition, one of 26 numbered copies on Montval paper, the head of the edition.
A pleasing copy.
Fine autograph inscription signed by Colette to Mr P.A. Crozier: "... en souvenir de maint envoi de beaux fruits ; n'est-ce pas dire que je gagne à l'échange ? Les fruits de mon jardin sont de sec papier... Colette."
First edition, one of the numbered copies on alfa paper reserved for the press.
One joint slightly pinched along its length, otherwise a pleasant copy.
Autograph inscription signed by Colette to Michel Corday.
First edition, one of 100 hors commerce copies printed on deluxe paper, this copy specially printed for Louis Barthou.
A pleasant copy despite two sunning marks to the head and foot of the spine and to the margins of the rear board.
Henri Bergson's handwritten signature beneath the limitation statement.
First edition, for which no deluxe paper copies were issued.
A pleasant copy.
Valuable signed autograph inscription from Susan Sontag to her friend Sonia Rykiel: "pour Sonia avec mes amitiés Susan Sontag 26 septembre 1995 Paris."
First edition which supposedly had an issue of 500 numbered copies. “Gallimard donated the paper required for the production of this book, but only 258 copies could be printed, rather than the 500 announced in the justification” (from a note by Paul Éluard). A slight crease to the covers, slight marginal sunning primarily affecting the rear cover.
Illustrated with 11 photographs of Nusch Éluard by Man Ray and Dora Maar.
Le temps déborde is a collection of eleven poems published...
First edition, one of the press review copies.
Precious signed autograph inscription by Eugène Guillevic: "à Tristan Tzara, ces trente et un sonnets qu'il n'aime pas, avec espoir quand-même et affection. Guillevic."
First edition, one of 500 copies, dated 1867 on the wrapper.
3/4 brown morocco binding, spine with four raised bands framed in gilt and decorated with double gilt compartments adorned with small gilt tools at the corners and a large central floral tool at centre, marbled endpapers and pastedowns, original wrappers preserved with two minor restorations to the upper cover, gilt top edge, elegant binding signed by Bernasconi. A few minor foxing spots, slightly more pronounced on the first leaves.
Rare and precious autograph presentation...
Illustrated edition with colour drawings by Chas Laborde, one of the numbered copies printed on wove paper.
A pleasing copy.
On the half-title page, a signed autograph inscription from Colette: "A monsieur F. Porlier. Colette.", Colette having added after Claudine s'en va : bon vent !
Illustrated edition with colour drawings by Chas Laborde, one of the numbered copies printed on wove paper.
A pleasing copy, notwithstanding a crease mark to the lower right corner of the upper cover.
Fine signed presentation inscription by Colette: "A monsieur F. Porlier ce vieux péché littéraire que je n'aime plus beaucoup. Colette."
Illustrated edition with colour drawings by Chas Laborde, one of the numbered copies printed on wove paper.
A pleasing copy, despite a small tear to the upper right margin of the front free endpaper.
On the page following the title, a fine signed autograph inscription by Colette: "A monsieur F. Porlier. Nantes, février 1933. Colette. J'aime beaucoup "et autres" ! Colette.", Colette having ironically circled the words "et autres" appearing in a paragraph outlining her alleged collaboration with her former husband Willy in the writing of the work.
Illustrated edition with colour drawings by Chas Laborde, one of the numbered copies on wove paper.
A pleasing copy.
Autograph signed inscription by Colette: "A monsieur F. Porlier en souvenir d'une passante. Colette."
First edition, one of the copies printed on alfa paper.
A small split to the spine, a few light foxing spots.
Manuscript signatures of Joseph Kessel and Hélène Iswolsky.
Fourth edition.
A pleasing copy.
Introduction by Harry T. Moore.
Presentation inscription signed by Anaïs Nin to the writer Christiane Baroche: "my friend love, Lawrence and i was the first woman i write abour him. Anaïs Nin."
New edition.
Illustrated with engravings by Jean Hugo.
A pleasing copy.
Fine signed autograph inscription from Anaïs Nin to the woman of letters Christiane Baroche: "Your poems should be in a book one can keep nearly and read now and then for substance. Anaïs Nin."
First edition on ordinary paper.
Contemporary Bradel binding in red half morocco with corners, smooth spine, date gilt at foot, covers of marbled paper framed with blind fillets, marbled endpapers and pastedowns, original wrappers and spine preserved, top edge gilt; an attractive period binding signed Bernasconi.
Occasional foxing, chiefly affecting the opening leaves.
Signed autograph inscription from Claude Farrère to M. Briquet.
Facing the limitation page, this copy is enriched with an original watercolour signed by Henri Leclerc depicting the heroine of the work leaning against a ship’s bulwark, her suitor standing slightly...
First edition, one of 70 numbered copies on pur fil paper, the only deluxe paper issue.
Bound in blue-grey half morocco, spine in five raised bands, date gilt at foot, marbled paper boards, blue-grey endpapers and pastedowns, original wrappers and sun-faded spine preserved, top edge gilt, an elegant binding signed Boichot.
Valuable autograph inscription signed by Joseph Kessel, in violet pencil, on the front free endpaper: "A Charles Maurras cet exemplaire plus digne de lui" enhanced with the manuscript signature of Georges Suarez.
A fine copy, attractively bound
First edition on standard paper.
Spine very slightly sunned, without significance.
Rare signed autograph inscription from Fereydoun Hoveyda to Henri Brunet.
New edition, issued two months after the first.
Attractive copy, complete with its illustrated dust jacket.
Some signs of use (dog-eared pages) and pencil annotations by the dedicatee.
Signed autograph inscription from François Cheng to a couple of friends named Claudine and Noël, enhanced with a Chinese ideogram.
New edition, limited to 2,000 numbered copies on Lafuma vellum.
Signed autograph presentation inscription by Henri Barbusse beneath the limitation statement: "A Marcel Granoux fraternellement. Henri Barbusse."
Included are an original photograph of Henri Barbusse (8.9 × 13.8 cm, from the G.L. Manuel Frères studio), showing him full face, together with two typed letters dated 28 April and 2 July 1930, signed by Henri Barbusse, concerning an article he was late in sending and a copy of Le Feu that he promises to inscribe and forward to his correspondent.
The first typed letter also bears two manuscript corrections by Henri...
First edition, one of 605 numbered copies on pur fil d'arches, this copy being one of the 20 hors commerce lettered name copies, including an additional suite on papier à la main du moulin Richard de Bas.
A few minor foxing spots to the front wrapper; slipcase and chemises split at several joints.
17 woodcuts engraved with a knife by Lucien Jacques.
Our copy is complete with its additional suite of the 17 illustrations on papier à la main du moulin Richard de Bas.
Signed and dated 1968 by Jean Giono to Monsieur Lachaud.
First edition, for which no deluxe paper issue is recorded.
Brittle paper to the margins of some leaves, resulting in a few small losses.
Signed autograph inscription by Oscar Venceslas de L. Milosz to the poet Pierre André-May : "à mon ami monsieur Pierre André-May avec ma pensée la plus fraternelle et mes sentiments les meilleurs."
Rare first edition printed in a small number of copies.
Covers slightly faded and sun-toned at the edges, as is usually the case.
New edition of the French translation.
Spines slightly sunned, with minor tears at the foot.
Signed in manuscript by Thomas Mann on the endpapers of both volumes.
First edition, one of 500 copies on wove paper, after 13 copies on Auvergne and 60 on Rives.
Illustrated with four original photomontages.
Exceptionally inscribed by Georges Hugnet on the half-title page to the Dadaist Raoul Hausmann
First edition, one of the publisher’s press copies.
Spine slightly creased, minor unobtrusive spotting to the edges.
Signed presentation inscription by Françoise Sagan to Claude Bourdet.
First edition on standard paper.
A fine copy, complete with its promotional band.
Signed autograph inscription by Pascal Quignard to a friend named Nicolas: "A Nicolas en t'embrassant, Pascal."
First edition, printed in a limited run of 70 copies numbered on Montval paper and signed by Georges Hugnet.
Illustrated with a frontispiece etching by Stanley William Hayter.
Two poignant autograph inscriptions signed by Georges Hugnet—one to his father and one to his son—in blue and red pencil: "à Georges Hugnet mon père en souvenir des romans noirs dont il enchanta et peupla mon enfance. Georges Hugnet."; "Et maintenant vingt-ans après, à mon très cher fils Nicolas de la part de son grand-père qui l'aurait bien aimé de tout cœur son papa. G."
First edition on ordinary paper.
Bradel binding in chocolate-brown half shagreen, smooth spine, date gilt at the tail, contemporary leather boards japonisants, embossed and polychrome, decorated with gilded and colorful floral motifs, marbled paper endpapers and pastedowns, original wrappers and restored spine preserved, later binding.
Exceptional presentation copy signed by Emile Zola: "à Edmond de Goncourt son ami Emile Zola."
Below the presentation inscription, a manuscript gift inscription by Edmond de Goncourt: "Edmond de Goncourt à Pauline Zeller."
First edition, one of the press copies.
A pleasing copy.
Fine signed autograph inscription from René Char: "A Georges Hugnet affectueusement. René Char."
First edition of the French translation prepared by Alexandre Vialatte, one of the complimentary copies.
A manuscript ex-dono erased in the upper right corner of the half-title page, resulting in a small loss of paper.
Signed autograph inscription by Alexandre Vialatte to Albert Thibaudet.
First edition; one of the press copies.
A pleasing copy.
Signed autograph presentation inscription from Pierre Drieu la Rochelle to Germaine Fiévé.
First edition, one of 20 numbered copies on alfa paper, our copy lettered "A" among the 8 hors commerce lettered copies, the only deluxe paper issue.
A tear at the foot of the spine at the level of the sewing supports, otherwise a pleasant wide-margined copy.
Dated and signed autograph presentation by the publisher beneath the print statement: "Affectueusement reservé à mon admirable collaboratrice Suzanne qui est aussi la plus charmante & la plus précieuse des filleules - que dis-je ? la seule filleule qui compte ! Paris 18 octobre 1942."
First edition, for which no copies were issued on deluxe paper, this being one of the publisher’s review copies.
A small tear at the head of the upper cover, a crease at the foot of the lower.
A pleasing copy, complete with its promotional band.
Dated and signed autograph inscription by René Depestre to the writer Christiane Baroche.
First illustrated edition with 19 original lithographs by Miklos Bokor, printed in 175 numbered copies on Arches vellum, this copy being one of the 15 artist’s proofs signed and justified by the artist.
Autograph signatures of Yves Bonnefoy and Miklos Bokor at the colophon.
Signed autograph inscription by Yves Bonnefoy to a couple of close friends.
A fine copy, complete with its chemise and slipcase.
