Search Results: Holiday edition 23 from WALDEN Rarebooks

Paris, Gallimard, coll. La Méridienne, (mai) 1948.1 vol. (130 x 188 mm) de 374 p. et [1] f. In wrappers.
First edition of the French translation.One of the first 34 on vélin pur fil (no. 30).
George Orwell's 1984 is a myth that goes beyond literature, depicting a world of permanent control, where language itself is the site of conditioning. We follow the story of Winston Smith, in a London set in the dystopian universe of Oceania, a world where the past tends to dissolve in the eternal present of mass media. "Novlangue", "thought police", "Big Brother": the key concepts of 1984 have become essential references for understanding the totalitarian forces at work in contemporary societies, in a world where remote surveillance has become widespread, where digitization has given unprecedented impetus to the power of big companies and the arbitrariness of governments.
Orwell's masterpiece.A very nice copy in wrappers.
Paris, Gallimard, coll. La Méridienne, (mai) 1948.1 vol. (130 x 188 mm) de 374 p. et… Read More

[1990-2000].60 original sketches (210 x 280 mm), in ink, felt pen, graphite or watercolor.
A collection of 60 fashion sketches and drawings for the latest collections, produced between 1990 and 2000.
The story of Kenzo Takada is that of the first Japanese designer to make his mark on the Paris fashion scene. Born in 1939 in Himeji, Japan, Kenzo developed an early interest in fashion. Opposing his parents' decision to pursue literary studies, he enrolled at Tokyo's Bunka Fashion College, where he was one of the first male students to be admitted to the fashion and textile department. In 1965, he left his homeland to pursue his dream in the fashion capital of the world: Paris. "Every wall, every corner of the sky and every passer-by in the city inspires me to imagine my collections", said Kenzo Takada of his adopted city. He had moved there to learn from the greats, with the idea of returning to Japan afterwards. In love with the City of Light, with the feeling of being at home and the desire to… Read More

Marcel PROUSTPlacard d'épreuves pour La Bible d'Amiens
S.l.n.d. [circa February 1903]. 12 p. in-8, mounted on paper to form a large 49 x 130 cm sheet, bearing around 90 autograph corrections, as many typographical corrections.
Rare proofs of passages from La Bible d'Amiens, for publication in the literary journal La Renaissance latine on February 15, 1903.
Numerous autograph corrections, including several previously unpublished variants, testify to Proust's meticulous attention to detail in this translation, the success of which encouraged him to take up the exercise a second time with Le Sésame et les Lys two years later.
Marcel Proust began to take an interest in Ruskin's works in the autumn of 1899, as soon as he returned from Evian-les-Bains, immersing himself in the intensive reading of the man he called "this great man" after discovering the chapter entitled "The Lamp of Memory" in The Seven Lamps of Architecture. A few months later, he learned of the death of the art critic in the Figaro of… Read More

[Leysin, Alpes Vaudoises, January 1948]Vintage silver print (90 x 120 mm), handwritten on the back, framed.
Original and unique original proof photo print of the "portrait of Leysin".
René Char's copy, with his initials on verso, and this note:
"Albert Camus jeune homme", with the initials "R.C." on top, from Char's hand.
The latter was then 35 years old. It was January 1948, and Albert Camus had to be treated for tuberculosis.
He went to the Grand Hôtel sanatorium in Leysin, Switzerland (canton of Vaud), where he joined Michel Gallimard, who was staying for the same reason; the two men, accompanied by Michel Gallimard's wife, Janine, stayed there from January 19 to February 8. It was during this period that Camus completed L'État de siège and began writing Les Justes.
This famous portrait, a countertype of which was later returned to the Gallimard archives, was used by the publisher after the Nobel Prize was awarded; it was enlarged several times (175 x 230 mm) and released to the press at the… Read More

S.l.n.é. [Londres], [Hoberkon pour Jean Nourse], 1759. 1 vol. (105 x 165 mm) de 299 p. et [1] f. Maroquin rouge foncé, dos à nerfs orné de filets à froid, titre doré, date en pied, tranches dorées, doublures de maroquin bleu encadré du même maroquin rouge, large dentelle d'encadrement dorée, étui bordé, double filet sur les coupes (reliure signée de E[mile] et A[ndré] Maylander).
Bibliographers have identified 17 different editions of Candide, published with the same title page, on the same date, without the name of a town or mention of a printer or publisher, and in the same format. Which edition is the princeps has long been "one of the most controversial problems in Voltairian bibliography" (Bengesco, I, p. XVII).
Giles Barber, like André Morize, asserts that the problem of textual variants is only a chronological problem in the history of the Genevan edition and that all the 1759 editions are from a single source (cf Giles Barber, Modèle genevois et modèle européen. Le cas de… Read More

Barcelona, Galeries d'Art Catalonia, October 1, 1934. Minuscule (35 x 8 mm). Paperback.
Josep Dalmau gallery catalog; Dali's second exhibition in Barcelona. Rare Josep Dalmau gallery catalog; Dali's second exhibition in Barcelona.
In 1934, Dali exhibited at the Exposition du Cinquantenaire at the Salon des Indépendants in the Grand Palais in Paris, disregarding the opinion of the rest of the Surrealists who had decided not to take part, a fact that practically led to his expulsion from the group led by Breton. He then held his first solo exhibition at the Zwemmer Gallery in London, before embarking with Gala on the Champlain for his first trip to the United States.
Two of Dalí's solo exhibitions were held there: one at the Julien Levy Gallery and the other at the Avery Memorial at the Wadsworth Atheneum, Harord (Connecticut).
But five of the paintings would be shown a few months earlier in Barcelona: from October 2 to 4, Josep Dalmau i Rafel, one of the key figures of the Spanish avant-garde since… Read More

S.l.n.d. [circa 1937]
6 pages en 6 feuillets (210 x 270 mm) à l'encre noire | in black ink, numbered in graphite and in another hand; folds of mailing paper.
A beautiful, long unpublished text on the desert, its oases and its people: a foretaste of Terre des hommes, which contains in its middle - and probably for the first time - three terms that sum up Saint-Exupéry's work itself: wind, sand and stars.
These words will be the subtitle of the exhibition organized by Gallimard in 2019, as well as that of the editions of the complete works published in 2021, in the Quarto collection:
"Antoine de Saint-Exupéry's work is made of wind, sand and stars: therein lies his profound humanity" (Alban Cerisier, in Présentation de l'exposition Gallimard).
These three words were originally the title of the novel for which these notes were written. In December 1938, at the printing works in Lagny-Sur-Marne, Saint-Exupéry changed the title Étoile par grand vent on the proofs to Terre des hommes, which his cousin… Read More

[NOTICE EN FRANÇAIS À LA SUITE]
Paris, Louis Broder, collection " Écrits et Gravures ", n° 2, (24 October) 1956. 1 vol. (190 x 255 mm) of 122 p. and [1] f. In wrappers and its original slipcase.
FIRST EDITION.
Printed by :
Imprimerie Union for the text and typography
Atelier Desjobert for the lithographs
Atelier Georges Leblanc for the drypoints
Georges Aubert for the woodcuts.
Print run
First issue printed at 170 copies on vergé de Montval, of which :
30 copies with the suite on old japon (1-30) - which contain the lithograph of the frontispiece and the 3 drypoints [the justification of the print run announces only the frontispiece without the suite] ;
120 numbered copies (31-150);
20 extra numbered copies in Roman numerals (I-XX).
All signed by the artist, only in the justification.
Our copy is one of the first 30, with the 3 drypoints on japon ancien and the frontispiece suite (copy no. 2).
Note the existence of a unique hors commerce copy, produced for and by the publisher Louis Broder,… Read More

[NOTICE EN FRANÇAIS À LA SUITE]
Paris, Louis Broder, collection " Écrits et Gravures ", n° 2, (24 October) 1956. 1 vol. (190 x 255 mm) of 122 p. and [1] f. Garnet morocco, cold fillet decoration on the boards, repetition of the decoration on the spine, blue morocco lining, silk endpapers, gilt title, gilt edges on witnesses, illustrated cover preserved, lined folder and case (binding signed by Semet et Plumelle, 1960).
FIRST EDITION.
UNIQUE COPY PRINTED ON JAPON. THE EDITOR'S ONE, WITH ORIGINAL DRAWING BY PICASSO AND UNIQUE EXTRA SUITE.
Printed by :
Imprimerie Union for the text and typography
Atelier Desjobert for the lithographs
Atelier Georges Leblanc for the drypoints
Georges Aubert for the woodcuts.
Print run
First issue printed at 170 copies on vergé de Montval, of which :
30 copies with the suite on old japon (1-30) - which contain the lithograph of the frontispiece and the 3 drypoints [the justification of the print run announces only the frontispiece without the suite] ;
120 numbered… Read More

[NOTICE EN FRANÇAIS À LA SUITE]
Paris, Gallimard, (6 février) 1958. 1 vol. (120 x 190 mm) de 69 pp. et 3 ff. In wrappers. As published.
First edition. This is a service de presse copy.
Inscribed : "to Jean Schlumberger, in faithful and friendly thought, Albert Camus".
Nice copy given to Jean Schlumberger, one of the four founders of the Nouvelle revue française in 1908, together with Gide, Copeau and Ruyters, before being joined by Gaston Gallimard to the destiny that we know. Camus, since L'Etranger in 1942, has published all his works with this publisher.
The copy is enriched with a photograph of Camus, congratulated by the Swedish King Gustav VI Adolph, at the gala dinner of December 10th 1957 in Stockholm. Several passages of the text are underlined in pencil, probably by Jean Schlumberger.
These speeches (since there are three of them) were written with some advice from Martin du Gard, for whom Camus had accepted to preface his complete works in La Pléiade the previous year. Martin du Gard… Read More

First edition.
A first issue copy with the "achevé d'imprimer" dated 8 November 1913, on the verso of page 523, and all the characteristics given by Max Brun in Le Livre et l'Estampe.
The copy does indeed belong to the first tranche of 1750 copies printed in 523 pages - apart from the absence of the "error" in the " espace levée " raised at GRASSE|T, which has either been corrected (or has not yet occurred): on this subject, the mystery remains complete, despite the assertions that have been made on the subject for almost a century. Several copies in strict period bindings also have the famous "fault" and a cover from the second printing (see Brun, page 33).
Finally, it should be noted that there is an intermediate state between the first and second editions (the one with 528 pages): a table of contents printed on the back of p. 523 of some copies, instead of the "achevé d'imprimer" (as in the Edouard Loewy copy or that of Docteur Cottet), but this presentation was considered too summary and only… Read More

Fashion sketch for Tiziani
[Rome, circa 1965]1 felt-tip drawing (300 x 400 mm) with 3 stapled fabric coupons (711 top left). Model of a white and black skirt suit.
From 1963 to 1969, Karl Lagerfeld began his career at the Tiziani fashion house run by the American designer Evans Richard. Six years of creations and collections for Italian women and the brand's prestigious clients, from Elizabeth Taylor to Doris Duke and Gina Lollobrigida. In 1965, after his second collection at Tiziani, Fendi brought Lagerfeld into the company, for a collaboration that would only continue to grow, creating the brand's logo as soon as he arrived. It lasted until Lagerfeld's death, despite his other commitments for other houses (Jean Patou, Chloé and Chanel, of which he became artistic director in 1983).
Fifteen years earlier, he had won the prize of the International Wool Secretariat, organised by the Woolmark brand - ex-aequo with Yves Saint Laurent: a fashion design competition that opened the door to his first… Read More

Paris, GLM, 1935.
1 vol. (185 x 240 mm) non paginé. Reliure à emboîtage avec plats à bandes de soie noir et de cuir argenté, titre gravé au laser sur le premier plat et gardes en papiers poncés (reliure signée de Tamara Lise).
First Edition.1/1200 copies printed on velin (n° 450).Inscribed: [in french]: "To Marcel Adéma, who has for poetry the respect due to the young and the old ones, Paul Eluard".
In 1935, Man Ray took a series of photographs of Nusch, Paul Éluard's second wife, whom he had met in 1929. It was on these images that the poet wrote the love poems for Facile, published in a masterly layout by the poet-typographer Guy Levis Mano. Man Ray followed very closely all the stages of the production of this refined book, one of the most beautiful surrealist books illustrated by photography.
Pierre-Marcel Adéma, Apollinaire's first true biographer, had built up an extensive library, obviously on his favourite author, but more generally on the French poetry of the first half of the… Read More

Paris, Revue de Paris, (10, 17 and 31 April) 1833. 1 vol. (165 x 245 mm) of 352 p., then 34 p. and 1 f. of table. Half vellum, plain spine, handwritten title in ink "Revue de Paris | 48", untrimmed (contemporary binding).
Pre-original edition of Ferragus, leader of the Dévorants [Les Treize], which appears on pages 126 to 131, 156 to 200, 289 to 332 of the three issues forming volume 48 of the "Revue de Paris". It has been bound in an offprint, paginated 1 to 34, which contains the last part of the fundamental text, with an afterword and conclusion. The general table has also been preserved and bound at the very end.
A copy bound and made up at the time, probably for its director, Amédée Pichot.
The copy is enriched with an autograph leaf signed by Honoré de Balzac:
"the manuscript will be delivered within ten days".
The manuscript, completed by Balzac in February 1833, consists of 104 pages (Bibliothèque de l'Institut, Fonds Lovenjoul, A 99): the first two chapters are characterised by careful… Read More

Barcelona, en la impressa de Mathevat, 1684 et 1686. 2 volumes in 1 vol. (145 x 205 mm) of [4], 87, [12] and 198 pp; modern vellum, smooth spine, title in black ink (modern binding).
A rare edition printed in Barcelona and the first complete edition, the first volume appearing in the same year as the edition published in Madrid by Villadiego.
This is a detailed account of the first years of the Second Austro-Turkish War (1683-1699), intended to exalt the House of Habsburg. Its author, Fabio Bremundan, of Flemish or Burgundian origin, went down in history as the founder of the Gazeta de Madrid, which championed the cause of Prince John Joseph of Austria (legitimized child of Philip IV of Spain) - of whom. Bremunda was the prince's personal secretary, who dreamed of one day acceding to the Spanish throne, in competition with the only legitimate heir to the throne, the future Charles II.
Palau, 86152 (for the Madrid edition).
A good copy, with wide margins.
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FLORO HISTÓRICO, DE… Read More

Paris, Émile Lévy, 1912-1913.
8 issues in 2 volumes (245 x 200 mm) of 255 pp. + illustrations. Bradel half vellum with corners, smooth spine painted with Art Nouveau decoration, gilt head, covers of n° 1 and 5 preserved (binding signed by Terquem).
Complete collection of the first 8 issues (November 1912 - March-June 1913) in continuous pagination.
10 plates per issue (numbered I-X), for a total of 80 lithographed or zincographed, stencil-colored color plates out of text, including 3 on double-page spreads, with numerous other drawings and sketches in the text, also in color for these first two years.
Beautiful collection of the first 8 issues (November 1912 - March-June 1913) of the famous magazine, in perfect condition, well established at the time by the Terquem company: this family business, located at the corner of Boulevard Haussmann and Rue Scribe, had been offering all the library necessities needed by book lovers since the end of the 19th century: "a very versatile business, very close to… Read More

Éditions de la Galerie Simon, (August 9) 19391 vol. (120 x 170 mm) of 59 pp. and [1] f. Sanded gray calf decorated with rounded forms, horizontal filleting in palladium borders, title in orange oeser, lining of same sanded calf, orange velvet endpapers, covers and spine preserved, lined slipcase and chemise (binding signed François Brindeau, 2003).First edition. One of 90 copies on Arches laid paper (no. 84).16 black lithographs by André Masson, including one for the cover, 1 double-page and 2 hors texte. The copy is signed by the author and illustrator at the justification.Inscribed: "À monsieur Yves Poupard-[Lieussou], avec toute la sympathie de Michel Leiris" (To Mr. Yves Poupard-[Lieussou], with all the sympathy of Michel Leiris).
In 1924, Antonin Artaud was the director of the Bureau des recherches Surréalistes: it was he who asked Michel Leiris to prepare "a glossary of the marvelous", the first "linguistic fictions" of which appeared in n° 3, 4 and 6 of La Révolution Surréaliste. It… Read More

S.l.n.d. [circa 1940]
12 pages in 13 sheets (210 x 270 mm) in black ink, numbered in graphite and in another hand; folds of mailing paper.
Unpublished film script, one of seven known drafts, of which only three are autographed.
Important manuscript, in which the author of The Little Prince creates gloomy characters on borrowed time in a down-and-dirty atmosphere - or rather, a bilge atmosphere - during a Rio-Lisbon crossing.
Like all young people of his generation, Saint-Exupéry was a film buff. His inclinations as a screenwriter were evident between 1931 and 1936, during which time he wrote seven screenplay projects and participated in the adaptation of some of his books for the cinema. Only three of these are autographs, the other four only exist as corrected typescripts. Close to an earlier screenplay entitled Igor, it tells a story that is the antithesis of the novelistic universe of The Little Prince, a dark story populated by hoodlums and prostitutes that begins in the underworld of Rio and… Read More

Henri CARTIER-BRESSONHyères
[1932].
1 black silver print (36 x 25 cm), signed in ink in the lower right margin. Modern print [circa 1990]. Framed.
Precious photograph, signed by Cartier-Bresson in the margin.
An iconic image from the french Master photographer.
"Hyères" was taken at the very beginning of Cartier-Bresson's photographic career, after his return from a trip to Africa in 1931. He stood at the top of a staircase on rue Edith-Warton, triggering his 50mm Leica, purchased a few days earlier in Marseille, at the fleeting passage of a cyclist.
Around 1931," said Cartier-Bresson, "I saw a photograph by Martin Munkàcsi [...] three black children running in the waves. I must say that it was this photo that set the world on fire. There is in this picture such an intensity, such a spontaneity, such a joy of living". He then abandoned his initial training - painting and literature - and devoted himself to photography. At the beginning of 1932, he was in Hyères - where he took this photo.
A… Read More

Paris, Claude Chapplet, 1611
1 vol. (105 x 145 mm) of 1 f., [4], 189, [3] pp. and 1 f. Brown calf entirely strewn with fleurs-de-lys, three old-style gilt fillets framing the covers, gilt coat of arms in the center, gilt fillet running along the edges, all edges gilt with the great coat of arms of Louis XIII, King of France & Navarre: crowned coupled shields, accompanied by the crowned royal cipher "L", and surrounded by the collars of the king's orders. Full tan morocco box.
Double royal provenance :
A copy bearing the royal coat of arms [Louis XIII], and and an exceptional handwritten dedication by the author, Pierre Coton, to Anne of Austria, Queen of France.
It also bears the handwritten bookplate of Henriette de France (1609-1669), daughter of Henri IV and heiress to Queen Anne.
It is dedicated by its author, Father Pierre Coton: a Jesuit, he had been Henri IV's preacher and confessor and the Dauphin's preceptor, before also becoming his confessor; for nearly fifteen years, he remained one of… Read More