First edition, with no copies printed on deluxe paper.
A pleasant copy.
Entertaining signed and dated presentation inscription by San Antonio : « Pour monsieur Fernand Picherel, cette prose qui met les pieds dans le plat. En cordial hommage. San Antonio. »
First edition, illustrated with 32 color illustrations by Sureda and engraved by Aubert (full-page, headpieces and fine lettering), many of which are enhanced in gold or silver ink.
Limited edition of 400 copies. This one, marked H. C. V, is one of the rare first paper copies on the finest Japon (only 15 copies), containing every engraving in double state on Vieux Japon and Japon Impérial of all the woodcuts, covers and spine.
Signed and inscribed on the title page from the authors: "What a pleasure it is for you, O reader, if you enjoy La Fête arabe !" Jérôme and Jean Tharaud. December 1928."
Full morocco midnight blue binding with polychrome inlays depicting Orientalist compositions signed by Yseux, pupil of master bookbinder Simier. Gilt edges, illustrated covers and spine preserved. Blue paper slipcase lined with blue shagreen leather.
Spine slightly darkened. Brown trace over 3 cm on the blank reverse of one plate, moderate creasing/paper handling to the lower margin of another plate, slight paper defect appearing to be original in the inner margin of 1 or 2 other plates, minor light soiling on 2 white leaves. Wide margins, superb paper condition.
A wonderfully bound travel book of Arabia, one of the rarest copies of this edition with two sets of color illustrations
First edition.
A shadow left by a piece of postal label on an endpaper and on the facing page where the autograph inscription appears.
Publisher's binding in full black cloth, smooth spine, complete with its photographic dust jacket which has small marginal tears.
Autograph tribute dated and signed by Erika Ostrovsky in French to Nadine Nimier, widow and wife of Roger Nimier who, after the war, rehabilitated Louis-Ferdinand with French publishers: "Avec beaucoup d'amitiés. Erika Ostrovsky. Juin 1967."
We include a promotional bookplate from the "New york university press" enriched with Erika Ostrovky's signature.
First edition, a first impression copy numbered in the press.
Binding in half brown morocco, spine in five compartments, gilt date at the foot, geometric pattern paper boards and endpapers in the same paper, top edge gilt, wrappers and spine preserved in perfect condition, binding signed by T. Boichot.
Apollinaire's second major poetic work with bold graphic innovations and a portrait of Guillaume Apollinaire by Pablo Picasso as frontispiece.
“Some of the best war poems, all languages combined, are brought together in this collection, alongside experimental works such as Les Fenêtres (close to Cubism) and La Jolie Rousse, which were far ahead of their time” (Cyril Connolly, Cent livres-clés de la littérature moderne, n° 32).
A beautiful copy on non-brittle paper which is unusual, and a rare and surprising handwritten inscription signed by Guillaume Apollinaire: “à monsieur le critique littéraire de La Libre Parole, hommage de Guill. Apollinaire." (“To the literary critic of La Libre Parole, tribute by Guill. Apollinaire.”)
Who could be the recipient of this inscription, unnamed but addressed to a collaborator of the famous anti-Semitic newspaper founded by Édouard Drumont? The ostensibly philo-Semitic position of Guillaume Apollinaire is well-known. In an 1899 letter, he boasts to Toussaint Luca that he tried to provoke Henri Rochefort, who was reading La Libre Parole, by deploying L'Aurore in front of him but, as the young Dreyfusard regrets, without daring to engage the controversy. In 1902, he publicly marked his fraternity with the Jewish people with a new publication in La Revue blanche, “Le Passant de Prague": “I love Jews because all Jews suffer everywhere”. Then in Alcools, he will dedicate a poem to the Hebrew religion: "La Synagogue". But it is undoubtedly through his poem “Le Juif latin”, published in L'Hérésiarque et Cie that Apollinaire poetically reveals the essence of his particular link with Judaism: that he shares the condition of eternal stranger, the feeling of uprooting and the search for identity.
It may, therefore, seem very surprising that this poet, whose only trace of political commitment was in favor of Dreyfus, dedicated his work to a La Libre Parole journalist, even if he is a literary critic.
And in fact, La Libre Parole does not contain literary columns!
A few months before the poet's death, this laconic inscription thus proves to be a formidable and final scoff of poetic impertinence
to political intolerance...
