A selection of precious, original and rare books for a unique and affordable gift!
First edition for which no deluxe paper copies were issued.
Spine slightly sunned with small losses at head and foot, a slight marginal loss and a transverse crease to the lower cover.
A rare copy of Alexandra David-Néel's second work.
Deluxe edition specially produced for members of the Club français du livre and printed in 1,000 numbered copies.
Publisher's special binding in full red cloth, smooth spine, housed in a black slipcase bearing at the foot of the upper cover the gilt statement : "cette édition de luxe a été spécialement réalisée pour les adhérents du Club français du livre".
Richly illustrated, with an essay by José Bergamin and the French translation prepared by Elisabeth Servan-Schreiber.
Nice copy.
First edition of the French translation and adaptation prepared by Edmond Haraucourt, one of 10 numbered copies on Holland paper, the only deluxe paper issue.
Bradel binding in half tobacco percaline, smooth spine decorated with a gilt floral motif, date and double gilt fillet at foot, hazelnut shagreen title label showing some rubbing, marbled paper boards, wrappers with small marginal losses at corners and spine preserved, contemporary binding.
A few small foxing spots.
Music by Gabriel Fauré.
First edition adorned with illustrations and photographs.
Minor losses without seriousness at the foot of a few leaves.
An attractive and rare copy.
Texts by Jean Jaurès, Walt Whitman among others.
First edition, one of 200 copies numbered on wove paper, the only issue after 25 copies on Normandy vellum.
Spine and boards slightly and marginally sunned, without seriousness.
First edition, one of the numbered copies on offset paper, the only issue after 42 copies on Arches vellum.
A pleasing copy.
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 of the French translation, one of the numbered copies reserved for the friends, collaborators and subscribers of "Lettres Nouvelles".
Spine very slightly sunned, a pleasant copy.
First edition of this issue entirely devoted to Louis Marcoussis.
Small tears and minor spotting to the margins of the covers.
Literary contributions by Tristan Tzara "Marcoussis
First edition.
Publisher’s full brown grained sheepskin binding, orange top edge, smooth spine ruled in gilt.
Richly illustrated.
Copy complete with its dust jacket, acetate wrapper and soft slipcase.
Acetate wrapper slightly yellowed.
First edition of the French translation, one of 110 numbered copies on alfa paper, the only deluxe paper issue after 10 on Holland and 20 on pur fil.
A fine copy.
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.
First edition, one of 70 numbered copies on Holland paper, deluxe issue after 30 on Japan paper.
A handsome copy.
Illustrated work, with a frontispiece portrait of Joseph Delteil by Mariette Lydis.
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.
First edition, one of 2,000 numbered copies on alfa paper.
Manuscript initials at the head of the upper cover and of the title page serving as an ex-libris.
A pleasant copy.
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.
New edition.
A pleasing copy.
Rare signed autograph inscription from Philippe Muray to a close acquaintance named Benoît.
First edition, one of 35 numbered copies on vélin Rivoli, the only deluxe paper issue.
A very fine copy.
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 of the French translation, one of 100 numbered copies on Arches wove paper, the only deluxe paper issue, our copy justified at the colophon by Raymond Mason as an artist’s copy, the sole large-paper issue.
Illustrated work, with an original engraving by Raymond Mason, signed and justified by him as an artist’s copy as frontispiece.
A scarce and pleasing copy.
Press clipping comprising a photograph of Joséphine Baker in stage costume, signed and dated by her in black felt-tip.
A fine example.
Printed calling card of G. Clemenceau bearing the following autograph addition: "avec tous mes remerciements. GC."
A fine copy.
First French edition.
Profusely illustrated.
Text by Edgar Morin, Georges Lois, Jean-Paul Gaultier, Eric Troncy, Jérôme Sans.
Valuable signed autograph inscription from Jean-Paul Goude to Sonia (Rykiel) in capital letters: "POUR SONIA QUE J'AIME."
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.
Edition limited to 200 numbered copies on mould-made vellum paper and illustrated with 36 original lithographs by Louis Morin (including the wrapper).
Bradel binding in half orange morocco over marbled boards with corners, smooth spine featuring a gilt cartouche decorated with romantic gilt arabesques, gilt date at foot, gilt fillet frames to the marbled paper covers, a small snag to the lower left corner of the upper board, marbled endpapers and pastedowns, original wrappers and spine preserved, an elegant contemporary binding signed Alfred Farez.
A handsome copy, pleasingly bound.
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."
New edition, one of 65 numbered copies on alfa paper, the only deluxe paper issue.
A fine copy.
First edition, one of 42 numbered copies on alfa paper, the only deluxe paper issue.
Minor, unobtrusive foxing to the foot of the upper cover, otherwise a pleasing copy.
Preface by Thierry Maulnier.
First edition of each volume, one of 15 numbered copies on chine, deluxe issue after 2 copies on peau de vélin.
Contemporary half blue morocco over marbled boards with corners, spine in five raised bands ruled in gilt and tooled with double gilt compartments, date gilt at foot, covers framed with gilt fillets, comb-marbled endpapers and pastedowns, ex-libris mounted on a pastedown, corners slightly rubbed, top edge gilt, signed contemporary binding.
A few minor spots of foxing, chiefly to the edges, a small nick to one band, light rubbing to the headcap.
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.
First edition of the French translation, one of 350 numbered copies on alfa paper, the only deluxe paper issue.
A fine copy, despite a small area of sunning at head and tail of the spine.
First trade edition, with the title page printed in black and red, issued after the exceedingly rare original edition limited to 10 copies.
Half navy blue shagreen binding, spine slightly faded with five raised bands, gilt date at the foot, marbled paper boards, marbled endpapers and pastedowns, original wrappers sunned and restored spine, preserved, gilt top edge.
Pleasant copy illustrated with ornamental initials, headpieces, and tailpieces.
First edition, one of the publisher’s review copies.
Spine and boards very slightly and marginally sunned.
Fine dated and signed autograph inscription by Pierre Bost: "à Jean-Paul Sartre qui a connu le tiroir - et qui a même déjà lu ce livre. Avec l'amitié de Pierre Bost dec.45."
First edition, one of 50 numbered copies on vélin de renage, most limited deluxe issue.
A fine copy.
First edition, one of 50 numbered copies on Renage vellum, the deluxe issue.
A fine copy.
First edition printed in 500 copies on rag vellum, numbered and signed by Ferdinand Bac.
A pleasing and scarce copy, with a bookplate and a bibliophile’s label pasted to the verso of the upper cover.
Autograph signed inscription by Ferdinand Bac to Maître Gilbrin in violet ink: "... en souvenir de l'aimable visite à la \"surintendance\" de Compiègne, le nonagénaire Ferdinand Bac mai 1949." enhanced with an original pencil drawing depicting Napoleon III in profile, overlooking the signed inscription.
First edition printed in a small number of copies.
Half red morocco binding with corners, smooth spine decorated with a gilt panel and floral tools, enhanced with a grey mosaic morocco onlay, gilt date at foot, gilt fillet framing on the marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, gilt top edge, binding signed Charles Lanoë.
Illustrated with a fine frontispiece drawn and engraved by Félix Bracquemond.
An attractive copy, handsomely bound.
First edition, one of the numbered copies on laid paper, the only issue after 1 copy on large Arches vellum, 50 on Japan paper, and 10 hors commerce.
The upper cover slightly and marginally toned; a pleasing copy.
Illustrated with wood engravings by Raoul Dufy.
First issue of Albert Dubout’s colour illustrations, printed in 600 named and numbered copies on vélin de Rives.
Bradel-style binding in half chocolate-brown morocco with corners, smooth spine, gilt date at foot, moiré-effect paper boards, marbled endpapers and pastedowns, original wrappers and spine preserved, gilt top edge, contemporary signed binding by Bernasconi.
A few light spots of foxing.
A fine, attractively bound copy of the first work illustrated by Albert Dubout.
First edition of the French translation prepared by Jacques Schiffrin and André Gide, one of 80 numbered copies on alfa paper, the only deluxe paper issue, with a further 45 copies on pure rag.
A rare and fine copy.
Expanded new edition including a notice and an appendix providing a catalogue of the principal violin makers from the fifteenth to the nineteenth century, a description of the most sought-after violins, their dates of manufacture, their market value, and the distinguishing features by which they may be identified, by L. de Pratis.
Half chocolate-brown morocco binding with corners, spine with five raised bands ruled in black, gilt date at foot, marbled paper sides, marbled endpapers and doublures, illustrated wrappers and spine preserved (with a small loss at foot), gilt top edge, signed binding by H. Blanchetière.
A fine copy attractively bound in a signed binding.
First edition, one of 20 numbered copies on Japan paper, the only deluxe paper issue.
Bound in full burgundy morocco, spine with five raised bands ruled in black, gilt rolls to the headcaps, moiré-effect paper endleaves and doublures, inner boards framed with gilt fillets, dotted tools and corner fleurons, original wrappers and spine preserved, top edge gilt on witnesses, double gilt fillets to the turn-ins, slipcase edged in burgundy morocco with sides covered in moiré-effect paper, contemporary signed binding by Vauthrin-Pezet.
A fine, beautifully executed copy.
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."
First edition, one of 925 numbered copies on Artois vellum, the only issue including a sheet of butcher’s paper in tribute to General de Gaulle, together with 20 hors commerce copies and 75 on Marais paper.
Illustrated with headpieces and tailpieces.
Attractive copy.
Rare first edition printed in a small number of copies.
Covers slightly faded and sun-toned at the edges, as is usually the case.
First edition, one of 30 numbered copies on Vélin de Rives, the only deluxe paper issue.
A fine copy.
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."
Illustrated edition with a frontispiece by Ossip Zadkine, one of 60 numbered copies on B.F.K. Rives mould-made vellum, the only deluxe paper issue.
Rare and fine copy.
First edition, one of 30 numbered copies on pur fil paper, this copy one of five not for sale.
A rare and fine copy.
Original photograph depicting a sculpted bust of Tristan Bernard, vintage print.
Printed stamp on verso "Universal press agency", some foxing.
Manuscript annotations by Carlo Rim on verso in blue ink: Tristan Bernard-Nicolas Wahl 1934.
Carlo Rim was a Provençal writer, author of "Ma belle Marseille", a caricaturist, and filmmaker who was notably a friend of Fernandel, Raimu and Marcel Pagnol, as well as Max Jacob, Tristan Bernard and André Salmon whom he met in Sanary.
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 edition in book form, issued for the centenary of the birth of Pierre Jean Jouve; one of 33 numbered copies on pure wove vellum, the deluxe issue.
A fine copy.
New compilation of the celebrated songs by the troubadour from Sète, including "La mauvaise réputation", "Le parapluie", "Le petit cheval", "Le fossoyeur", "Le gorille", "Corne d'auroch", "La chasse aux papillons" and "Hécatombe".
Inevitable creasing and light rubbing along the margins of the record sleeve.
A small ballpoint pen doodle in blue ink on the lower cover.
Autograph signature of Georges Brassens in the lower right margin of the upper cover.
First edition, with no copies printed on deluxe paper.
A very good copy.
Inscribed by Maurice Druon to a friend named Henri: "... pour les souvenirs d'une année de travail qui devint une année d'amitié."
First edition.
Our copy is preserved in its original plain pink paper waiting wrappers.
Ink annotations to the front cover, a few short tears; internally a clean and agreeable copy.
As it was never ratified, this concordat never came into effect, and France therefore remained under the regime of the Concordat of 1801 until the Law on the Separation of Church and State in 1905.
First edition, one of 50 numbered copies printed on Edogawa Japan paper, the deluxe issue.
A handsome copy, complete—as with all copies on Japan paper—with the author’s portrait frontispiece by Armand Rassenfosse.
First public edition of this text by Jean Cassou, written under the pseudonym Jean Noir, one of 50 numbered copies on Madagascar paper, from the deluxe issue.
A fine copy.
First collected edition, one of 13 numbered copies on pur fil paper, our copy being one of 3 hors commerce, the only copies on deluxe paper.
A fine copy.
First edition, for which no copies were issued on deluxe paper.
Spine lightly wrinkled, a small loss at the foot of the lower board; otherwise a pleasing copy.
Signed autograph inscription by Maurice Genevoix.
First edition, one of 170 numbered copies on deluxe paper.
Fine copy preserved in its double wrapper.
First public edition of this text by Elsa Triolet, written under the pseudonym Laurent Daniel, one of 58 numbered copies on Madagascar paper, the deluxe issue.
Fine copy.
First edition.
Spine and boards slightly and marginally faded.
A rare and pleasing copy.
First edition of the French translation, one of 230 numbered copies on alfa paper.
With a preface by Romain Rolland.
A fine copy, the spine very slightly toned.
Published in the year of the first edition, one of 950 numbered copies on wove paper.
Publisher’s binding after the original design by Paul Bonet.
Attractive copy, complete with its original flexible cardboard slipcase.
First edition, one of 647 numbered copies on pure rag paper, being the only deluxe paper issue after 109 reimposed copies.
Fine copy.
New edition.
Publisher’s full red percaline binding, smooth spine ruled in blind, title and imprint stamped in gilt on the upper cover, speckled edges.
A slightly shaken copy, with some rubbing to the covers.
The first edition appeared in 1843, and the collection was again issued in 1910.
Théodore Roland de Bussy (1810–1873) pursued an administrative career in the colony, rising to the post of conseiller de préfecture, and was highly active in the field of language studies, publishing some ten bilingual lexicons, including the celebrated Idiome d'Alger (1838), likewise reissued on numerous occasions. See Gaudin (François); Mahtout (Mahfoud): Histoire culturelle et linguistique des dictionnaires bilingues en Algérie pendant la période coloniale : 1830-1930 in Synergies (2013).
Printed bookseller’s stamp of a Tunis bookshop at the foot of the title-page.
Rare first edition (cf. Sabin, 24009. Ryckebusch, 3167.)
Our copy is presented in wrappers, preserved in a modern marbled paper chemise, with a printed title label mounted on the upper cover.
Red ink stamps on certain leaves.
Staining and dampmarking to the first and last pages.
For the pastor de Félice (1803-1871), there exist "three very distinct classes of abolitionists: apparent abolitionists, the temporisers, and those who are called pure abolitionists", a category in which he places himself.
In correspondence with Schoelcher and Bissette, whose efforts he supports, Guillaume de Felice advocates an "immediate and complete" abolition and criticises the lack of dynamism among French abolitionists.<
First edition on ordinary paper.
A fold mark at the foot of the lower cover, otherwise a well-preserved copy.
With a fine signed autograph inscription by Tristan Bernard: "A Charles Cuvillier cette oeuvre capitale qui absorba quinze ans de ma vie. Bien affectueusement Tristan Bernard."
Autograph envelope addressed by André Breton to his friend Géo Dupin, curator of the La Cour d'Ingres art gallery at 17 quai Voltaire, from whom the Pope of Surrealism acquired several paintings.
The address is written in black ink (some letters slightly smudged).
A well-preserved example.
