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Les misérables by HUGO Victor - 1862

by HUGO Victor

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Les misérables by HUGO Victor - 1862

Les misérables

by HUGO Victor

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  • Hardcover
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  • first
Paris: Pagnerre, 1862. Fine. Pagnerre, Paris 1862, 14,5x23cm, 10 volumes reliés. - Pagnerre | Paris 1862 | 14.5 x 23 cm | 10 bound volumes   The true first French edition, which appeared at the same time as the one in Brussels. A handsome copy without edition statement. Contemporary half red shagreen over marbled paper boards, spine in five compartments with gilt flower motifs, discreet repairs to some joints, color retouched on spine, marbled endpapers and pastedowns.   This copy is enriched with a note, pasted in, bearing an autograph signed inscription by Victor Hugo to Alphonse Duchesne, journalist at the Journal de Paris, Diable boiteux, Rabelais and Figaro, of which he was the Secretary. Despite the amnesty of 1859, Victor Hugo was still exiled to Guernsey in 1862: ""I will take my part of the exile for freedom right to the end. When freedom will return, I will return."" He could not inscribe his books directly. He therefore, under separate cover, send inscription notes to several journalists: ""the double dispatch was prepared by the hand of the master, with the inscribed pages sent by post to friends and journalists"" (Jean-Marc Hovasse, Victor Hugo, Volume II, Pendant l'Exil). The sending of the copies themselves, for which Lacroix only has the date of 13 April, was thus slightly later so that the book would not be in circulation before it was available for sale: ""here, your gifts of copies have been strictly and punctually fulfilled, the same as in Paris."" As Hovasse notes, these ""inscriptions on a loose leaf are generally reduced to the most simple formula (to M. So-and-So/Victor Hugo)."" We can see notably the absence of a date, which leads bibliophiles to conjecture about the proper attribution of these notes.   The first edition of Les Misérables was legally printed by three different publishers, Pagnerre in France, Lacroix in Belgium and Steinacker in Germany, under the aegis of the official publisher A. Lacroix, Verboeckhoven & Cie. One of the two first editions published simultaneously in Brussels by Lacroix et Verboeckhoven and in Paris by Pagnerre.   The question of the precedence of one edition over another has preoccupied the world of bibliophiles for some time, and bibliographers remain divided over this thorny issue. Carteret and Vicaire for example, assert that the Paris edition had to have been first, while Vanderem and Clouzot gave precedence to the Belgian. More than a simple question of chronology, this bibliographical dispute shows the complexity of the notion of a first edition and its symbolic importance for literary history, especially for this masterful work that counts among the most important in world literature as a whole. Strangely, without this question having been properly resolved, the Brussels edition is today conventionally held to be anterior to the Paris one, while the Leipzig edition is simply ignored. Les Misérables would thus have been published either on the 30 or 31 March by Lacroix and 3 April by Pagnerre.   But the arguments in favor of this precedence of the Belgian edition are all refutable, and since 1936, Georges Blaizot has demonstrated their fragility.   The first argument rests on a letter from Victor Hugo to Lacroix in 1865 in which the poet himself describes the Belgian edition as ""princeps"": ""typographically, everything should be referred to the Belgian editio princeps of Les Misérables, expanding on it rather than restricting it"" he wrote in reference to The Toilers of the Sea, which appeared in 1866. But this designation by Hugo, as Blaizot explains, is by no means a bibliographical description. Georges Blaizot denounces the abusive interpretation of P. de Lacretelle and Dr Michaux: ""The poet sets down one point, a single, very simple, very clear, very precise point: the Belgian editio princeps (which is to say the first of the Belgian editions to appear) should serve as the source for future editions. He says that, exactly that, and no more than that"" (Georges Blaizot in Le Bulletin du bibliophile et du bibliothécaire, 1936). Essentially, the famous octavo edition was second to a more moderst duodecimo edition in October of the same year.   The second argument is more important. This relies on a letter from Adèle Hugo to her husband relating the extraordinary story of the publication of the French edition four days before the date foreseen.   This letter was in part reproduced in 1904 in the Complete Works published by Meurice et Simon, with the attributed date of ""[31 March 1862]"". In it, Adèle recounts why the French publishers were in such a rush. ""Auguste [Vacquerie] told us that Les Misérables would be out in three days. Shock mixed with satisfaction. Auguste told me that he had been intending to publish Les Misérables on 7 April; but that morning [Noël] Parfait had run panting to [Paul] Meurice to tell him that he had just seen, in the hands of [Paul] Siraudin, a copy of Les Misérables that he'd bought the night before in Brussels."" This testimony and the dating of the letter in the publisher's notes are without doubt at the root of the origin of the claim of precedence for the Belgian edition. And indeed, it is undeniable that at that point, the French edition had not yet appeared, since the printer, Claye, did not register the two Parisian volumes with the National Archives until the following day, 1 April 1862. The Lacroix edition should be thus, in this sense, genuinely the ""editio princeps"".   Adèle's letter was, however, not actually written on the 31 March but written over the course of three days: ""begun on Sunday (thus 30 March), and finished today, the first of April."" She thus assumed the existence of these paper-covered Brussels volumes from 29 March (and surely not the 30th, which was a Sunday). At the very same time, however, Hugo and Lacroix were in the midst of an exchange of letters to settle the delicate question of the next publication date: ""'My dear Sir,' Lacroix wrote on 30 March, we have brought everything together for 4 April...the work should appear in Paris the same week."" For his part Hugo, on 1 April, warned his publisher: ""it seems that the book which cannot appear in Paris until the 7th, will be published everywhere else on the 3rd: this would mean that Paris, the center of success, will get the book last. That would be a monumental error. Paris to be last in line, why it's an assault on success at its very source."" While in Paris Meurice, Vacquerie and Pagnerre hurried French publication to steal a march on the Belgians who ""tried to get one over"" the French, as Adèle reported to her husband, in Guernsey, Hugo raised the stakes in communicating to his publisher the importance of the French edition: ""Simultaneous publication, all right. But if one would come first, it should be Paris.""   What about the Brussels publication in March? There is no other mention of the Siraudin adventure (as related by Adèle who had it from Vacquerie, reporting Parfait's words to Meurice) to seriously back up this hypothesis. The Belgian papers were the principle preoccupation of the Parisian clan: ""the Paris papers will not bother to announce this book...after the Belgian papers and thus become their overflow and outlet"". The Paris papers had thus made no announcement of this eagerly-awaited book, unlike l'Indépendance Belge which announced in their turn on the 30 March: ""On sale in all bookshops,"" and, on 1 April: ""Tomorrow, the first part of Les Misérables will finally be published."" In keeping with Hugo's publishing strategy, the first extracts from the work were not published until 2 April, first and foremost in Le Temps, which had announced the night before a simultaneous publication in France and Belgium on 4 April, and in Journal des Débats, where the article signed Jules Janin was in fact from the pen of Meurice, because of the urgency described by Adèle: ""I cannot talk of this book this evening since I do not know it, says Janin, do it yourself, Meurice.""   Was there then really publication in Belgium in March, or are the few copies that no doubt ended up in circulation before the official simultaneous publication in France and Belgium nothing more than an isolated incident without real significance? An examination of Hugo's correspondence shows that rather than a nasty ""turn"" by the Belgians, this is nothing more than a case of confusion with the dates due to...Victor Hugo himself. It was in fact Hugo who passed on the erroneous intention of a simultaneous publication on 7 April to Vacquerie and Meurice, when he had pressed Lacroix to have everything ready on 4 April. He thus sowed doubt and incomprehension among the two publishers (cf. Bernard Leuilliot, Victor Hugo publie Les Misérables, p. 240) The first two volumes, entitled Fantine, were finally put on sale on 3 April in France, Belgium and Germany, as well as a number of other countries that had received copies printed by Lacroix. The copy that Siraudin had got hold of was no doubt one of the paper-covered advance copies to be sent to Latin America. Lacroix informed Hugo on 30 March: ""It's all printed, all sewed in covers and the copies for abroad partly sent.""   There is therefore no reason to suppose the precedence of one edition over another.   And it was in perfect harmony that Adèle, Charles, Paul de Saint-Victor, Vacquerie, Lacroix and Pagnerre, celebrated on the evening of 3 April at Meurice's the ""stunning simultaneous victory in all countries, on the same day as the book went on sale in Paris, Brussels, London, Milan, Naples, St Petersburg,"" as Lacroix wrote that same evening to the writer, who had just entered the pantheon of publishing history.   The success was so great for these two first volumes that, as Hugo feared, the printing (6,000 copies according to Hovasse and 7,000 according to L.C. Michel in la revue anecdotique of 15 April 1862) by Pagnerre was very quickly sold out: ""On the 6th, you had to go round all the bookshops of the left bank and of the right bank to find a copy."" They thus set aside 1,000 of the 5,000 Brussels copies that were destined for the Belgian and the foreign market in order to create a false French ""second edition"", which was in reality the first Belgian edition with a new title page. But from 10 April on, Pagnerre was obliged to undertake a new printing which was ready on the 17th, thanks to the impressions wisely taken by the printer Claye during the first printing. Only the title pages were printed ""on the fly"" in red and black with old capitals, ""one of the joys of his sets of type."" All in all, if we trust the no-doubt overly optimistic numbers (as reported by Hovasse) of the Revue anecdotique and the publishers' correspondence, the different printings of this first part made up 15,000 copies in Paris and 12,000 in Brussels, plus 3,000 copies in Leipzig, printed by Steinacker. The latter appeared in a small format, also from 3 April, and no doubt would merit greater attention, because not only is it part of the first editions, it also responded to a determined request of Hugo's to offer immediately a cheap edition to allow everyone to own the work, as he laid out to Lacroix not much later. The second and third parts, however, appeared with a slight delay, on 15 May in Paris and between 16 and 19 May in Paris, because of an unfortunate incident with a steam engine (cf. letter from Lacroix to Hugo of 11 May 1865). Fortunately, on 30 June, Paris and Brussels were perfectly synchronized in publishing the final four volumes. In any case, the concept of the First Edition is nothing more than a question of date and the proponents of the Belgian theory underline that it was to Brussels that the corrected proofs were sent and that as Vicaire paradoxically affirms, Pagnerre was nothing but the ""depository"" of the true and sole publisher, Lacroix et Verboeckhoven & Cie.   From 1936 onwards, Georges Blaizot pointed out in Le Bulletin du bibliophile that Pagnerre in no way took the work on deposit from Lacroix but that he ""truly set, printed and sold an edition of Les Misérables."" To reduce Pagnerre to a local distributor means failing to grasp the complexity of the publishing process of this major work, whose stakes were not simply a question of money to the exiled author. With Napoleon the Little and Castigations, Hugo had shown the Imperial powers that banishing someone in no way silenced them. Au contraire, this island exile was nothing if not an echo of an illustrious predecessor. The sole weapon left to the state was therefore censorship. It was nonetheless this Sword of Damocles that was to govern the publishing strategies of Hugo and his publishers. In 1856, the publication of The Contemplations was thus a general copy of Les Misérables: an association of publishers, simultaneous publication in France and Belgium, a single correction of proofs...Hugo even then dreamt of dividing the edition to dupe the censor: ""The first part appears; this is the first book, Dawn, a Georgic, bucolic, an eclogue. They will throw themselves on it ferociously, leading us to fear that it will be banned and it is more or less taboo. And what will the government do? Will they stop it? What? This book, Dawn? This delicate flower, this tender rose of a poem? It would be outrageous, fantastical, grotesque, a thing of ridicule. And at the same time the cost of the attempt for the publishers will be six times less, while the burden of the lesson will, for the Empire, be ten times as great.""   These precautions were no doubt useless for the wise collection of poems that is The Contemplations, but were nonetheless the framework for the publication of Les Misérables, an immense cry of alarm against inequality which could not but raise the hackles of the Imperial authorities. It was therefore necessary that Hugo's masterpiece be unleashed on the world in one great wave. If censorship prevented the work from appearing in Paris, it would come from all around elsewhere. If they closed the borders to it, it would already be in the capital. Multiple printing, synchronization, and division of the work were the key to the success of this skillful game of cat and mouse. To all this danger was added the more prosaic threat of piracy, which had to be nipped in the bud. A month after the appearance of Fantine, the first two volumes of the book, there were almost ten pirate editions circulating in Europe.   Albert Lacroix would have been keen to undertake this epic task by himself and distribute his copies in France as he did in the rest of the world. Hugo, despite the insistence of Hetzel -- who had been courting him for some time to obtain this Holy Grail -- would have explicitly chosen this young unknown and untried Belgian publisher, to the exclusion of his usual partners. Lacroix et Verboeckhoven would have been the sole publishers and made this known on each volume, whether French or Belgian. Thus, on the title page of the Parisian edition, it would have said: ""publisher: Lacroix et Verboeckhoven & Cie"". And the  Revue anecdotique would have commented: ""The first French edition in Paris was done only to avoid customs formalities.""   But the reality was more complex and if Lacroix could not print his address at the foot of the title page of the Parisian edition, it was because Pagnerre was not simply a subsidiary to the Belgian publisher. Quite the contrary: Pagnerre was in fact the holder of the first rights of publication of Les Misérables. Essentially, in 1832, Hugo had signed a contract with Gosselin, the publisher of Notre-Dame de Paris, promising him his next ""two volume octavo novel."" Then in 1848, they laid out together in a new contract, the title of this book: Les Misères, ""the rhythm [of the writing] of which has reached a phase of completion"" (Leuilliot, p.18). But the revolution of 1848 and the subsequent exile of the poet put a stop to the ""livre des Misères"", whose imminent publication Charles Hugo had announced in l'événement on 31 July 1848. Thus when 13 years later Hugo took up his work again with these words, ""14 February (1848) (here the French part is interrupted and the postscript continues:) 30 December 1860 Guernsey,"" he was still tied to his old publisher, whose successor was none other than Laurent Pagnerre. The heir of the Gosselin-Renduel publishing house was not, incidentally, unknown to Hugo, since he was one of the three partners (with Hetzel and Lévy) who had published The Contemplations and who was still the publisher of his son, François-Victor. Victor Hugo thus sold his novel to Lacroix and left it to him to negotiate with Pagnerre about the resale of the rights from the successor of Gosselin et Renduel. ""Today I sold Les Misérables to Messrs. A. Lacroix et Verboeckhoven et Cie, of Brussels, for 12 years at an average of 240,000 francs silver and the possibility of 60,000 more. They've acknowledged the Gosselin-Renduel agreement. The contract was signed tonight."" But rather than selling his rights, Pagnerre preferred to exchange with Lacroix his contract from 1832-1848 against the exclusive right of distribution in France. Thus, the symbolic value of the Pagnerre edition is in no way less than Lacroix's and the Parisian publisher is, by his very history, bound to the very origins of the book.  As for the proofs, they were corrected on the Belgian printing at the behest of Lacroix despite Hugo insisting: ""think of the advantage it would be for you to send me the proofs of the Paris edition"" (Letter to Lacroix 12 January 1862). Even if Lacroix pretended to ignore this proposition, he did not object to the corrected leaves being sent to Meurice to perfect the work: ""It is important that the Parisian edition be page for page identical to the Belgian one. The speed and certainty of the corrections demand it, and in this way Meurice can give the right ones to the printer. Otherwise, I shall be obliged to ask for the final proofs of every sheet."" Finally, a collection in the Victor Hugo archives tells us that the author explicitly demanded from Lacroix at the proof stage that the two publishers, in Paris and Brussels, be placed side by side on a shared title page: ""I believe that we should place them in two columns opposite each other, Paris Pagnerre | Bruxelles A. Lacroix and do the same on the Paris edition.""     And while Lacroix did not (voluntarily?) take up this proposition (though he did take into account the other corrections to the page), the significance of this note is clear: for Hugo, there were not two editions, but one single one, whose printing had to be divided into two strategic places for reasons that were at once political (the risk of censorship of this red-hot masterpiece), social (the international distribution of a work of universal significance), and economic (the risk of piracy of the greatest 19th century novelist).   Georges Blaizot concluded in 1936 that the two editions were twin sisters. In doing so, he refuted the old rumor that had it that in the Paris edition ""a certain number of phrases having appeared dangerous for France, were changed"" (Vicaire). This belief is nonetheless traceable to an unfortunate error by Hugo himself who, on 24 December 1865, wrote to Verboeckhoven: ""It is still to be taken as granted that if a word or a line seems dangerous for Paris, it must be eliminated, like we did for Les Misérables, in the Claye edition"". Georges Blaizot underlines that this is based on Hugo mis-remembering and that, thanks to a close re-reading by Meurice and Vacquerie, who ""insisted that the Paris edition should not be inferior to the other,"" there were no unilateral cuts. ""Victor Hugo must have ignored or forgotten this detail"" (Dr Michaux cited by G. Blaizot).   Nonetheless, there are differences (which escaped the attention of bibliographers) between the two editions, but these are not to the detriment of the Paris edition; on the contrary! It was in effect to his best friend and factotum Paul Meurice who, during the 18 years of exile was responsible for the publication, for re-reading and corrections of Hugo's works in France and thus the Pagnerre edition of Les Misérables, that the writer communicated his final corrections. These were not only formal corrections, but profound changes. These changes were also sent to Lacroix, but too late, and the Belgian publisher let Hugo know that they would appear only in the second edition.   It is thus that the Pagnerre edition ended up with two modest but important reflections that are not to be found in the Belgian edition, in the important Waterloo chapter: ""At heart this prodigious captain was the man who in his report to the Directory on Aboukir said: certain of our bullets killed six men""; ""Some parts of the battlefield devour more combatants than another, like those more or less spongy soils that drink up more or less quickly the water you throw on them. We are forced to spend there more soldiers than we would have liked. Unforeseen spending.""    More than twin sisters, then, the two printings are one and the same piece of publishing that bears and incarnates the ubiquitous nature of their great author. Alone on his rock, and at the same time omnipresent, Hugo invaded the public, poetic and political space with a novelistic tragedy of universal proportions that crosses continents (there were no fewer than nine translations in progress from April 1862 on). A real slap in the face for the Empire of Napoleon III, this work by Hugo immediately and irrevocably became a lay foundational myth illustrating the Republican motto of 1848 and then 1879: Liberté - Égalité - Fraternité.   A rare and handsome set without edition statement in a contemporary uniform binding enriched with an autograph inscription slip. - [FRENCH VERSION FOLLOWS] Véritable édition originale parue simultanément à Paris chez Pagnerre et chez Lacroix et Verbockhoven à Bruxelles, le 3 avril 1862. Précieux exemplaire sans mention. Reliures en demi chagrin cerise, dos à quatre nerfs ornés de motifs floraux dorés, plats de papier marbré, discrètes restaurations sur certains mors et dos avec reprise de couleur, gardes et contreplats de papier à la cuve, reliures de l'époque. Il a été monté dans notre exemplaire un billet de dédicace autographe signée de Victor Hugo à Alphonse Duchesne, journaliste au Journal de Paris, au Diable boiteux, au Rabelais et au Figaro dont il était le secrétaire. Malgré l'amnistie de 1859, Victor Hugo était toujours en exil à Guernesey en 1862 : « je partagerai jusqu'au bout l'exil de la liberté. Quand la liberté rentrera, je rentrerai. », il ne pouvait dédicacer directement les exemplaires. Il adressa donc, par courrier séparé, ses billets de dédicace à plusieurs journalistes : « le double lancement avait été préparé de main de maître, avec les pages de dédicace envoyées par la poste aux amis et aux journalistes » (Jean-Marc Hovasse, Victor Hugo, Tome II, Pendant l'exil). Les envois des exemplaires, dont Lacroix ne rend compte que le 13 avril, ont donc été légèrement plus tardifs pour ne pas faire circuler d'ouvrage avant la mise en vente : « ici, vos dons d'exemplaires ont été strictement et ponctuellement exécutés de même qu'à Paris ». Comme le note Hovasse, ces « dédicaces sur une feuille volante, sont généralement réduites à la plus simple expression (à M. Untel/Victor Hugo) ». On notera notamment l'absence de date qui contraint le bibliophile aux conjectures quant à la bonne attribution de ces billets. L'édition originale des Misérables fut légalement établie par trois éditeurs différents, Pagnerre en France, Lacroix en Belgique et Steinacker en Allemagne, sous l'égide de l'éditeur officiel A. Lacroix, Verboeckhoven & Cie. Une des deux éditions originales parues le 3 avril 1862 simultanément à Bruxelles chez Lacroix et Verboeckhoven et à Paris chez Pagnerre. La question de la prévalence d'une édition sur l'autre agite depuis longtemps le monde de la bibliophilie et les bibliographes sont restés divisés sur cette épineuse question. Carteret et Vicaire par exemple assuraient que l'édition parisienne devait être privilégiée, tandis que Vanderem et Clouzot donnaient la primeur à l'édition belge. Plus qu'une simple question de chronologie, cette dispute bibliographique révèle la complexité de la notion d'édition originale et l'importance symbolique qu'elle revêt pour l'histoire littéraire et en particulier pour cette œuvre magistrale qui compte parmi les plus importantes de la littérature mondiale. Etrangement, sans que cette question ait été réellement tranchée, l'édition de Bruxelles est aujourd'hui communément décrite comme antérieure à celle de Paris, tandis que l'édition de Leipzig est tout simplement ignorée. Les Misérables seraient donc parus le 30 ou 31 mars chez Lacroix et le 3 avril chez Pagnerre. Les arguments de cette antériorité belge sont cependant tous réfutables, et dès 1936, Georges Blaizot en avait démontré la fragilité. Le premier argument s'appuie sur une lettre de Victor Hugo adressée à Lacroix de 1865 et dans laquelle, le poète qualifia lui-même l'édition belge de « princeps » : « Typographiquement, il faut se régler en tout sur l'édition belge princeps des Misérables, en dilatant plutôt qu'en resserrant » écrit-il au sujet des Travailleurs de la mer qui paraîtront en 1866. Or cette désignation de Hugo n'est en aucun cas une indication bibliographique, comme l'explique Georges Blaizot, dénonçant l'interprétation abusive de P. de Lacretelle et du Dr Michaux : « Le poète précise un point, un seul, très simple, très clair, très précis : l'édition belge princeps (c'est-à-dire la première parue des éditions belges) doit servir de type aux éditions futures. Il dit cela, il dit bien cela, il ne dit que cela. » (Georges Blaizot in Le Bulletin du bibliophile et du bibliothécaire, 1936). En effet à la fameuse édition in-8 succèdera une plus modeste édition in-12 en octobre de la même année. Le second argument est plus important. Il s'appuie sur une lettre d'Adèle Hugo à son mari relatant la rocambolesque aventure de la publication française quatre jours avant la date prévue. Cette lettre sera partiellement reproduite en 1904 dans les œuvres complètes publiées par Meurice et Simon, avec la date supposée du « [31 mars 1862] ». Adèle y raconte les motifs de la précipitation éditoriale française : « Auguste [Vacquerie] nous apprend que Les Misérables paraissent sous trois jours. Étonnement mêlé de satisfaction. Auguste me raconte qu'ils comptaient faire paraître Les Misérables le 7 avril ; que le matin [Noël] Parfait était accouru effaré chez [Paul] Meurice lui dire qu'il sortait de voir aux mains de [Paul] Siraudin, un exemplaire des Misérables qu'il avait acheté la veille à Bruxelles. » Ce témoignage et la datation de la lettre dans ces notes de l'éditeur sont sans doute à l'origine de l'affirmation de l'antériorité de la publication belge. De fait, il est indéniable qu'à cette date, l'édition française n'a pas encore paru, puisque l'imprimeur Claye ne déposera les deux tomes parisiens aux Archives nationales que le lendemain, le 1er avril 1862. L'édition de Lacroix serait donc, en ce sens, véritablement « princeps ». La lettre d'Adèle, n'est en fait pas du 31 mars mais a été écrite sur trois jours : « commencée dimanche (donc le 30 mars) et finie aujourd'hui [mardi] premier avril ». Elle supposerait donc une existence de volumes brochés à Bruxelles dès le 29 mars (et sûrement pas le 30 qui était un dimanche). Or au même moment, Hugo et Lacroix étaient en pleine tractation épistolaire pour régler cette délicate question de la date de parution prochaine : « Mon cher maître, écrivait Lacroix le 30 mars, nous avons tout combiné pour le 4 avril, (...) il faut qu'à Paris l'ouvrage paraisse aussi cette semaine ». De son côté Hugo, le 1er avril, avertissait son éditeur : « on prétend que le livre qui ne peut (...) paraître à Paris que le 7, paraîtra le 3 partout ; de sorte que Paris, cœur du succès, serait servi le dernier. Ce serait là une faute incalculable. Paris servi après tout le monde, c'est le succès attaqué à sa source ». Tandis qu'à Paris, Meurice, Vacquerie et Pagnerre précipitent la parution française pour contrer les belges qui « ont tenté de jouer un tour » aux français, comme le rapporte Adèle à son mari, à Guernesey, Hugo hausse le ton auprès de son éditeur en martelant l'importance de l'édition française : « la simultanéité, bien ; mais s'il devait y avoir une priorité, c'était pour Paris. » Quid de la parution bruxelloise en mars ? Aucune autre mention que l'aventure de Siraudin (relatée par Adèle qui le tient de Vacquerie rapportant les propos de Parfait à Meurice) ne confirme sérieusement cette hypothèse. Les journaux belges, principale préoccupation du clan parisien : « les journaux de Paris ne se soucieraient pas d'annoncer ce livre (...) après les journaux belges et de devenir leur déversoir et leur succursale », ne font encore aucune relation de cette œuvre très attendue, sinon l'Indépendance Belge qui annonce tour à tour le 30 mars : « En vente chez tous les libraires » et le 1er avril : « Demain paraît enfin la première partie des Misérables ». Conformément à la stratégie éditoriale de Hugo, les premiers extraits de l'œuvre ne seront publiés que le 2 avril, notamment dans Le Temps qui annonce depuis la veille une parution simultanée en France et en Belgique le 4 avril, et dans Le Journal des Débats, où l'article signé Jules Janin est en fait de la main de Meurice, en raison de l'urgence décrite par Adèle : « Je ne puis parler du livre ce soir puisque je ne le connais pas, dit Janin, faites vous-même la chose, Meurice. ». Y a-t-il eu alors véritablement une publication belge en mars, ou les quelques exemplaires qui ont sans doute en effet circulé avant la parution officielle et simultanée en France et en Belgique ne sont qu'un accident isolé et sans signification ? L'étude de la correspondance de Hugo montre qu'en fait de mauvais « tour » des Belges, il s'agit simplement d'une confusion de dates imputables à ... Victor Hugo lui-même. C'est en effet Hugo qui a transmis de fausses intentions de parution simultanée le 7 avril à Vacquerie et Meurice, alors qu'il avait pressé Lacroix pour que tout fut prêt le 4 avril. Il a ainsi semé le doute et l'incompréhension chez les deux éditeurs. (cf. Bernard Leuilliot, Victor Hugo publie les Misérables, p. 240) Les deux premiers tomes, intitulés Fantine, seront finalement mis en vente le 3 avril, en France, en Belgique, mais également en Allemagne et dans de nombreux autres pays ayant reçu les exemplaires imprimés par Lacroix. Sans doute est-ce un de ces exemplaires brochés en avance pour être expédiés jusqu'en Amérique Latine que s'est procuré Siraudin. Lacroix informait justement Hugo le 30 mars : « tout est tiré, tout était broché et les expéditions pour l'étranger en partie faites ». Il n'y a donc pas lieu de supposer une quelconque antériorité d'une édition sur l'autre. Et c'est en parfaite entente qu'Adèle, Charles, Paul de Saint-Victor, Vacquerie, Lacroix et Pagnerre fêteront le 3 avril au soir chez Meurice l'« éclatante victoire simultanée en tous pays, le jour même de la mise en vente à Paris, à Bruxelles, à Londres, à Milan, à Naples, à St. Pétersbourg » comme l'écrit Lacroix le soir même à l'écrivain qui vient de le faire entrer dans l'histoire de l'édition. Le succès est tel pour ces deux premiers volumes que, comme le craignait Victor Hugo, le tirage (6.000 exemplaires selon Hovasse et 7.000 selon L.C. Michel in la revue anecdotique du 15 avril 1862) de Pagnerre est épuisé très rapidement : « Le 6, on eût battu toutes les librairies de la rive gauche et de la rive droite, pour en trouver un exemplaire ». On puise donc 1.000 exemplaires dans les 5.000 exemplaires de Bruxelles destinés au marché belge et étranger, pour créer une fausse « deuxième édition » française qui est en réalité l'édition originale belge avec une nouvelle page de titre. Mais dès le 10 avril, Pagnerre est obligé de réaliser un nouveau tirage, qui sera prêt le 17 grâce aux empreintes prudemment réalisées par l'imprimeur Claye lors du premier tirage. Seules les pages de titre sont réalisées « sur le mobile » en rouge et noir avec des capitales antiques « un des joyaux de son matériel typographique ». En tout, si l'on en croit les chiffres sans doute trop optimistes

We have 1641 copies available starting at A$1.55.

Volontés. Revue mensuelle. Collection quasi complète du N°1 au N°20 contenant la...
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Volontés. Revue mensuelle. Collection quasi complète du N°1 au N°20 contenant la pré-originale ""Cahier d'un retour au pays natal"" d'Aimé Césaire

by CESAIRE Aimé & SENGHOR Léopold Sédar & MILLER Henry & QUENEAU Raymond & KLOSSOWSKI Pierre & LEIRIS Michel

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Paris: Volontés, 1937. Fine. Volontés, Paris Décembre 1937 - Août 1939, 14x20cm, 20 numéros brochés en 20 volumes. - Edition originale de cette revue dirigée par Pierre Guégen, Eugène Jolas, Joseph Csaky et Frédéric Joliot. Nombreuses contributions dont celles de Le Corbusier, Henry Miller, Raymond Queneau, Eugène Jolas, Léonce Rosenberg, Jacques Audiberti, Jean Hélion, Armand Robin, Paul Guth, Roger Caillois, Joë Bousquet, Jean Follain, Jules Monnerot, Léopold Sédar Senghor, Pierre Klosssowski, Michel Leiris, Aimé Césaire... Le numéro 20 de la revue Volonté contient en édition originale, l'intégralité de ""Cahier d'un retour au pays natal"" d'Aimé Césaire, texte fondamental et fondateur de la ""Négritude"". Deux plats salis, sinon rare et agréable ensemble incomplet du rarissime et dernier numéro, le 21ème, imprimé en Avril 1940 et qui manque à la plupart des collections. [ENGLISH TRANSLATION FOLLOWS] Volontés.… Read More
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La guerra de las mariquitas
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La guerra de las mariquitas

by COPI Raul Damonte, dit

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s.l.|[Buenos Aires]: S.n.|[Eloisa Cartonera], 2012. Fine. S.n. [Eloisa Cartonera], s.l. [Buenos Aires] s.d. (circa 2012), 14,5x21,5cm, reliure artisanale. - Nouvelle édition de la traduction en espagnol de ""La guerre des pédés"" paru en français en1982, un des exemplaires numérotés à la main et enrichi d'une signature posthume de Copi en justification. En réalité, cette reliure artisanale est attribuable à la maison d'édition solidaire Eloisa Cartonera qui depuis la crise de 2003, recycle les cartons pour réaliser des reliures artisanales peintes à la main par des artistes maison. C'est donc également à eux que l'on doit cette fantaisie de pseudo ""firma del autor"" plus de 20 ans après sa mort. Reliure artisanale et unique réalisée par Eloisa Cartonera : les plats consistant en un morceau de carton recyclé plié sur lequel il a été peint le nom de l'auteur et le début du titre de l'ouvrage à l'aide de… Read More
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Proverbe - Feuille mensuelle. N°1
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Proverbe - Feuille mensuelle. N°1

by TZARA Tristan & PAULHAN Jean & SOUPAULT Philippe & ELUARD Paul & BRETON André

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Paris: Proverbe, 1920. Fine. Proverbe, Paris 1er Février 1920, 14x22,5cm, 1 numéro sur 1 double feuille. - Edition originale très rare du premier numéro de cette revue dadaïste qui en comptera six. Contributions de Tristan Tzara, Philippe Soupault, Jean Paulhan, Paul Eluard, André Breton, Louis Aragon, Francis Picabia, Maurice Raynal. Petits manques et déchirures en marges des plats, rousseurs. [ENGLISH TRANSLATION FOLLOWS] Proverbe. Feuille mensuelle. N°1 Proverbe | Paris 1st February 1920 | 14 x 22.5 cm | one issue on one double leaf The very rare first edition of the first issue of the Dadaist review which ran to a total run of six. Contributions from Tristan Tzara, Philippe Soupault, Jean Paulhan, Paul Eluard, André Breton, Louis Aragon, Francis Picabia, Maurice Raynal. Small lacks and tears to corners of covers, foxing.
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Portrait photographique de Victor Hugo à Hauteville-house
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Portrait photographique de Victor Hugo à Hauteville-house

by HUGO Victor

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Paris: A. Maurice, 1878. Fine. A. Maurice, Paris 1878, 10,6x16,4cm, une photographie. - Grande photographie originale sur papier albuminé, au format carte de cabinet, contrecollée sur un carton fort. Publicité du photographe au dos. Rare photographie de Victor Hugo dans sa maison de Hauteville, dans le fameux salon rouge Renaissance, la pièce préférée de l'écrivain, entièrement conçue par lui. On y voit l'écrivain assis, la main droite dans son gilet. De la pièce on peut voir le grand lustre à gaz, 4 sculptures porte-torchères et un miroir dans le fond. Au début de l'été 1878, Victor Hugo fait une attaque d'apoplexie à Paris et rejoint Hauteville pour sa convalescence durant les mois d'été. Le photographe André prendra alors de lui plusieurs clichés à Hauteville ; l'intérêt de ces photographies est qu'elles ne sont pas des photographies de studio. Les plaques de verre seront récupérés plus tard par Alexandre Maurice qui les tirera en 1891.… Read More
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Charles Baudelaire - Sa vie et son oeuvre
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Charles Baudelaire - Sa vie et son oeuvre

by ASSELINEAU Charles MANET Edouard & COURBET Gustave & DEROY Emile & BAUDELAIRE Charles

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Paris: Alphonse Lemerre, 1869. Fine. Alphonse Lemerre, Paris 1869, 12x18,5cm, relié. - Edition originale, imprimée sur papier fort, de la première biographie consacrée à Charles Baudelaire décédé deux ans plus tôt. Reliure à la bradel en demi maroquin bleu marine à coins, dos lisse légèrement assombri, date dorée en queue, plats de papier marbré, gardes et contreplats de papier caillouté, couvertures et dos conservés, reliure signée Alfred Farez. Nombreuses rousseurs. Notre exemplaire est bien complet des 5 portraits de Charles Baudelaire en eaux-fortes par Edouard Manet, Gustave Courbet, Emile Deroy et Charles Baudelaire lui-même. Edouard Manet grava les deux siens, Félix Bracquemond les trois autres. Envoi autographe signé de Charles Asselineau à l'éditeur bibliophile Léon Techener. [ENGLISH TRANSLATION FOLLOWS] Charles Baudelaire. Sa vie et son œuvre Alphonse Lemerre | Paris 1869 | 12 x 18.5 cm | half morocco First edition on thick paper, of the first biography… Read More
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Volontés. Revue mensuelle. Collection quasi complète du N°1 au N°20 contenant la...
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Volontés. Revue mensuelle. Collection quasi complète du N°1 au N°20 contenant la pré-originale ""Cahier d'un retour au pays natal"" d'Aimé Césaire

by CESAIRE Aimé & SENGHOR Léopold Sédar & MILLER Henry & QUENEAU Raymond & KLOSSOWSKI Pierre & LEIRIS Michel

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Paris: Volontés, 1937. Fine. Volontés, Paris Décembre 1937 - Août 1939, 14x20cm, 20 numéros brochés en 20 volumes. - Edition originale de cette revue dirigée par Pierre Guégen, Eugène Jolas, Joseph Csaky et Frédéric Joliot. Nombreuses contributions dont celles de Le Corbusier, Henry Miller, Raymond Queneau, Eugène Jolas, Léonce Rosenberg, Jacques Audiberti, Jean Hélion, Armand Robin, Paul Guth, Roger Caillois, Joë Bousquet, Jean Follain, Jules Monnerot, Léopold Sédar Senghor, Pierre Klosssowski, Michel Leiris, Aimé Césaire... Le numéro 20 de la revue Volonté contient en édition originale, l'intégralité de ""Cahier d'un retour au pays natal"" d'Aimé Césaire, texte fondamental et fondateur de la ""Négritude"". Deux plats salis, sinon rare et agréable ensemble incomplet du rarissime et dernier numéro, le 21ème, imprimé en Avril 1940 et qui manque à la plupart des collections. [ENGLISH TRANSLATION FOLLOWS] Volontés.… Read More
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La guerra de las mariquitas
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La guerra de las mariquitas

by COPI Raul Damonte, dit

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s.l.|[Buenos Aires]: S.n.|[Eloisa Cartonera], 2012. Fine. S.n. [Eloisa Cartonera], s.l. [Buenos Aires] s.d. (circa 2012), 14,5x21,5cm, reliure artisanale. - Nouvelle édition de la traduction en espagnol de ""La guerre des pédés"" paru en français en1982, un des exemplaires numérotés à la main et enrichi d'une signature posthume de Copi en justification. En réalité, cette reliure artisanale est attribuable à la maison d'édition solidaire Eloisa Cartonera qui depuis la crise de 2003, recycle les cartons pour réaliser des reliures artisanales peintes à la main par des artistes maison. C'est donc également à eux que l'on doit cette fantaisie de pseudo ""firma del autor"" plus de 20 ans après sa mort. Reliure artisanale et unique réalisée par Eloisa Cartonera : les plats consistant en un morceau de carton recyclé plié sur lequel il a été peint le nom de l'auteur et le début du titre de l'ouvrage à l'aide de… Read More
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Proverbe - Feuille mensuelle. N°1
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Proverbe - Feuille mensuelle. N°1

by TZARA Tristan & PAULHAN Jean & SOUPAULT Philippe & ELUARD Paul & BRETON André

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Paris: Proverbe, 1920. Fine. Proverbe, Paris 1er Février 1920, 14x22,5cm, 1 numéro sur 1 double feuille. - Edition originale très rare du premier numéro de cette revue dadaïste qui en comptera six. Contributions de Tristan Tzara, Philippe Soupault, Jean Paulhan, Paul Eluard, André Breton, Louis Aragon, Francis Picabia, Maurice Raynal. Petits manques et déchirures en marges des plats, rousseurs. [ENGLISH TRANSLATION FOLLOWS] Proverbe. Feuille mensuelle. N°1 Proverbe | Paris 1st February 1920 | 14 x 22.5 cm | one issue on one double leaf The very rare first edition of the first issue of the Dadaist review which ran to a total run of six. Contributions from Tristan Tzara, Philippe Soupault, Jean Paulhan, Paul Eluard, André Breton, Louis Aragon, Francis Picabia, Maurice Raynal. Small lacks and tears to corners of covers, foxing.
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Portrait photographique de Victor Hugo à Hauteville-house
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Portrait photographique de Victor Hugo à Hauteville-house

by HUGO Victor

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Paris: A. Maurice, 1878. Fine. A. Maurice, Paris 1878, 10,6x16,4cm, une photographie. - Grande photographie originale sur papier albuminé, au format carte de cabinet, contrecollée sur un carton fort. Publicité du photographe au dos. Rare photographie de Victor Hugo dans sa maison de Hauteville, dans le fameux salon rouge Renaissance, la pièce préférée de l'écrivain, entièrement conçue par lui. On y voit l'écrivain assis, la main droite dans son gilet. De la pièce on peut voir le grand lustre à gaz, 4 sculptures porte-torchères et un miroir dans le fond. Au début de l'été 1878, Victor Hugo fait une attaque d'apoplexie à Paris et rejoint Hauteville pour sa convalescence durant les mois d'été. Le photographe André prendra alors de lui plusieurs clichés à Hauteville ; l'intérêt de ces photographies est qu'elles ne sont pas des photographies de studio. Les plaques de verre seront récupérés plus tard par Alexandre Maurice qui les tirera en 1891.… Read More
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Charles Baudelaire - Sa vie et son oeuvre
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Charles Baudelaire - Sa vie et son oeuvre

by ASSELINEAU Charles MANET Edouard & COURBET Gustave & DEROY Emile & BAUDELAIRE Charles

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Paris: Alphonse Lemerre, 1869. Fine. Alphonse Lemerre, Paris 1869, 12x18,5cm, relié. - Edition originale, imprimée sur papier fort, de la première biographie consacrée à Charles Baudelaire décédé deux ans plus tôt. Reliure à la bradel en demi maroquin bleu marine à coins, dos lisse légèrement assombri, date dorée en queue, plats de papier marbré, gardes et contreplats de papier caillouté, couvertures et dos conservés, reliure signée Alfred Farez. Nombreuses rousseurs. Notre exemplaire est bien complet des 5 portraits de Charles Baudelaire en eaux-fortes par Edouard Manet, Gustave Courbet, Emile Deroy et Charles Baudelaire lui-même. Edouard Manet grava les deux siens, Félix Bracquemond les trois autres. Envoi autographe signé de Charles Asselineau à l'éditeur bibliophile Léon Techener. [ENGLISH TRANSLATION FOLLOWS] Charles Baudelaire. Sa vie et son œuvre Alphonse Lemerre | Paris 1869 | 12 x 18.5 cm | half morocco First edition on thick paper, of the first biography… Read More
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Les Misérables: PRESENTATION PAR RENE JOURNET
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Les Misérables: PRESENTATION PAR RENE JOURNET

by Victor Hugo

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9782080701268
ISBN 10
2080701266
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Toledo, Ohio, United States
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FLAMMARION. Mass Market Paperback. POOR. Noticeably used book. Heavy wear to cover. Pages contain marginal notes, underlining, and or highlighting. Possible ex library copy, with all the markings/stickers of that library. Accessories such as CD, codes, toys, and dust jackets may not be included.
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Les Miserables Volume One (Wordsworth Classics)
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Les Miserables Volume One (Wordsworth Classics)

by Victor Hugo

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9781853260858
ISBN 10
1853260851
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Wordsworth Editions Ltd, 8/4/1997 12:00:01 AM. paperback. Good. 1.2205 in x 7.7165 in x 5.0000 in. Crease on cover*YEAR 1994
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Les Misrables: A Novel
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Les Misrables: A Novel

by Victor Hugo

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ISBN 13
9780449300022
ISBN 10
0449300021
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Lynden, Washington, United States
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UsedAcceptable. Book contains highlighting and underlining. Pages may be slightly bent. Cover may shows sign of heavy usage. We offer 100% money back guarantee!
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Les Miserables (Barnes & Noble Classics)
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Les Miserables (Barnes & Noble Classics)

by Hugo, Victor

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ISBN 13
9781593080662
ISBN 10
1593080662
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Imperial, Missouri, United States
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Les Misérables: A Novel
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Les Misérables: A Novel

by Victor Hugo

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Abridged
ISBN 13
9780449300022
ISBN 10
0449300021
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Philadelphia, Pennsylvania, United States
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Fawcett. Abridged. Acceptable. Acceptable. Heavy wear. Ship within 24hrs. Satisfaction 100% guaranteed. APO/FPO addresses supported
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Les Miserables (A Stepping Stone Book)
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Les Miserables (A Stepping Stone Book)

by Hugo, Victor

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ISBN 13
9780679866688
ISBN 10
067986668X
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Imperial, Missouri, United States
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UsedGood. The item shows wear from consistent use, but it remains in good condition and works perfectly. All pages and cover are intact (including the dust cover, if applicable). Spine may show signs of wear. Pages may include limited notes and highlighting. May NOT include discs, access code or other supplemental materials.
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Les Miserables Volume One (Wordsworth Classics)
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Les Miserables Volume One (Wordsworth Classics)

by Victor Hugo

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ISBN 13
9781853260858
ISBN 10
1853260851
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Imperial, Missouri, United States
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UsedGood. The item shows wear from consistent use, but it remains in good condition and works perfectly. All pages and cover are intact (including the dust cover, if applicable). Spine may show signs of wear. Pages may include limited notes and highlighting. May NOT include discs, access code or other supplemental materials.
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Les Misrables: A Novel
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Les Misrables: A Novel

by Victor Hugo

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ISBN 13
9780449300022
ISBN 10
0449300021
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Imperial, Missouri, United States
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UsedGood. The item shows wear from consistent use, but it remains in good condition and works perfectly. All pages and cover are intact (including the dust cover, if applicable). Spine may show signs of wear. Pages may include limited notes and highlighting. May NOT include discs, access code or other supplemental materials.
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Les Misérables: A Novel
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Les Misérables: A Novel

by Victor Hugo

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Used - Acceptable
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Abridged
ISBN 13
9780449300022
ISBN 10
0449300021
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Philadelphia, Pennsylvania, United States
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Fawcett. Abridged. Acceptable. Acceptable. Ship within 24hrs. Satisfaction 100% guaranteed. APO/FPO addresses supported
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Les Misérables : A Novel
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Les Misérables : A Novel

by Hugo, Victor

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ISBN 13
9780449300022
ISBN 10
0449300021
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Mishawaka, Indiana, United States
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Random House Publishing Group. Used - Good. Former library book; may include library markings. Used book that is in clean, average condition without any missing pages.
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A New History of Japanese Cinema:  A Century of Narrative Film
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A New History of Japanese Cinema: A Century of Narrative Film

by Standish, Isolde

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ISBN 13
9780826417909
ISBN 10
0826417906
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Newton, Massachusetts, United States
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New York: Continuum, 2006. 8vo size trade paperback with black and white photo illustrated cover; 414 pages From back: "Cinema, which first arrived in Japan in 1896 with the Kinetoscope prototype, came at the very time that Japan was transforming its economic base and society into that of a major international power. The first cinema, the Asakusa Denikikan, was opened in Tokyo in 1903 and within 13 years 300 cinemas had sprung up throughout the country... (The author) focuses on the historical development of Japanese film, illustrated by a series of typical Japanese film posters. She details an industry and an art form shaped by the competing and merging forces of traditional culture and of economic and technological innovation." Edgewear, creases to bottom and bottom and top corners of front cover, soil on bottom and light soil to outside pages. We note pencilled underlining on at least 29 pages and pencilled marginalia on at least three pages and four creased page corners. Quotes… Read More
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Old Bones
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Old Bones

by Elkins, Aaron J

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Near Fine
Edition
1st Edition
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Hardcover
ISBN 13
9780892962624
ISBN 10
0892962623
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Ellensburg, Washington, United States
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Description:
New York, NY, U. S. A.: Mysterious Press, 1987. 1st Edition . Hardcover. Fine/Near Fine. New York, NY, U. S. A.: Mysterious Press, 1987. Fine in Near Fine jacket Signed by Author A Gideon Oliver Mystery, SIGNED on title pg. Edgar Award winner best mystery npc 197pp. Signed by Author. First Edition. Hard Cover. Fine/Near Fine. First Edition
Item Price
A$18.65
Starting With Flags : Forty-Three Drawings
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Starting With Flags : Forty-Three Drawings

by Parker, Kingsley

  • Used
  • Paperback
  • Signed
Condition
Used - Fine with no dust jacket
Edition
Limited Signed Edition
Binding
Paperback
Quantity Available
1
Seller
Williamsville, New York, United States
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This seller has earned a 5 of 5 Stars rating from Biblio customers.
Item Price
A$23.31

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Description:
New York: Private Printing. Fine with no dust jacket. 1976. Limited Signed Edition. Softcover. The artist's abstract and quite varied series of 43 drawings of flags, all printed monochrome on the recto of pages. Kingsley Parker has been exhibiting and represented by galleries since the mid-1970s and has a work in the collection of the Museum Of Modern Art in New York, NY. The artist is quite active with new works. Signed in ink "K. Parker/1976 ©" in the front matter where Parker explains his motivation for drawing the series of abstract flags. Copy 158 of a limited edition of 600, numbered in the colophon. Approximately 44 pages, unpaginated. Printed on fine, machine-made paper in brown wraps. The title and a flag drawing are framed on the front cover. In absolutely clean, Fine condition. ; Drawings; Square 24mo 5" - 6" tall; 44 pages; Signed by Artist .
Item Price
A$23.31
Dead in Dixie

Dead in Dixie

by Charlaine Harris

  • Used
  • as new
  • Hardcover
  • Signed
Condition
As New
Jacket Condition
As New
Binding
Hardcover
ISBN 13
9780739434710
ISBN 10
0739434713
Quantity Available
1
Seller
La Porte, Texas, United States
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This seller has earned a 5 of 5 Stars rating from Biblio customers.
Item Price
A$31.07

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Description:
New York: Science Fiction Book Club, 2003. Z2 - A Science Fiction Book Club Omnibus Edition hardcover book SIGNED by the Charlaine Harris in as new condition in as new dust jacket that is mylar protected. Dead Until Dark, Living Dead in Dallas, Club Dead. 8.5"x5.75", 612 pages. Satisfaction Guaranteed.. Signed by Author. Hardcover. As New/As New. 8vo - over 7¾" - 9¾" tall. Book Club (BCE/BOMC).
Item Price
A$31.07
Songs From Appledore
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Songs From Appledore

by Oscar Laighton

  • Used
  • Hardcover
  • Signed
Condition
Used - Very Good+
Binding
Hardcover
Quantity Available
1
Seller
Garland, Texas, United States
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A$31.07

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RARE. Collectible: 1916. Signed by the author. Cambridge MA: University Press. Very Good. Hardcover. Light soil to green cloth covered boards with gilt stamped title, author's name, and design. A bright solid, book - 27 pages; Inside covers are sunned. Pages clean and bright. Frontspiece. "View from Mrs. Thaxter's Garden Gate. 29 illustrations. Small book: 7" x 5"
Item Price
A$31.07
Religion In A World At War
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Religion In A World At War

by George Hodges

  • Used
  • very good
  • Hardcover
  • first
Condition
Used - Very Good
Jacket Condition
None
Edition
First
Binding
Hardcover
Quantity Available
1
Seller
Lubbock, Texas, United States
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This seller has earned a 5 of 5 Stars rating from Biblio customers.
Item Price
A$163.18A$40.80
Save A$78.75!

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To be a hundred year old book, it is in very good condition. Minimal wear to the cover. Pages are beginning to tan. Religion In A World At War deals with, very specifically, religions role, place, and cause in war history. it is a justification for all that is good about man, even though, we continue to fight, Another miracle, that this book was published during Word War I.
Item Price
A$163.18A$40.80
Save A$78.75 !
Maybe Tomorrow

Maybe Tomorrow

by Roberta Fleetwood O'Keefe

  • Used
  • very good
  • Hardcover
  • Signed
Condition
Used - Very Good
Jacket Condition
No Jacket
Binding
Hardcover
Quantity Available
1
Seller
La Porte, Texas, United States
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This seller has earned a 5 of 5 Stars rating from Biblio customers.
Item Price
A$38.84

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Description:
Burnet, Texas: Nortex Press, 1978. CL5 - A hardcover book SIGNED by author on the front free endpaper in very good condition that is cocked, some scattered light scratches and rubbing, light tanning and shelf wear with no dust jacket. Brown covered boards with gilt lettering. 8.5"x5.5", 84 pages. Satisfaction Guaranteed.. Signed by Author. Hardcover. Very Good/No Jacket. 8vo - over 7¾" - 9¾" tall.
Item Price
A$38.84
The DOs and DON'Ts of Yesterday
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The DOs and DON'Ts of Yesterday: Little Book of Early American Know-How

by Eric Sloane

  • Used
  • Hardcover
  • Signed
Condition
Like New
Jacket Condition
Very Good
Binding
Hardcover
Quantity Available
1
Seller
Orange, Virginia, United States
Seller rating:
This seller has earned a 3 of 5 Stars rating from Biblio customers.
Item Price
A$38.85

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Illustrated with pen/ink images Sloane is known for. (2) books,a yellow and an orange (18x12cm) with gilt title on covers and spines. Paper title on dark red slipcase with signature of author. Slipcase has very minor wear to bottom fore edge.
Item Price
A$38.85
Artemis.

Artemis.

by Stockwin, Julian.:

  • Used
  • first
Condition
Used
ISBN 13
9780340794753
ISBN 10
0340794755
Quantity Available
1
Seller
Lymm, Cheshire, United Kingdom
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Item Price
A$9.80

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Description:
London, Hodder & Stoughton, 2002.. 1st edition. The second book in the Thomas Paine Kydd series, in which Kydd is an able seaman aboard the frigate Artemis. Fine condition in a fine unclipped dustwrapper. unclipped dustwrapper.
Item Price
A$9.80
Scientific wonders of the atomic age.

Scientific wonders of the atomic age.

by Taylor, John W.R., editor.:

  • Used
  • Hardcover
Condition
Used
Binding
Hardcover
Quantity Available
1
Seller
Lymm, Cheshire, United Kingdom
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A$9.80

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Description:
London, Ariel Productions, c 1955.. Foreword by Sir John D. Cockcroft. Includes "High-speed flight" by Neville Duke, and "Rockets and Space flight" by Wernher von Braun. Large hardback in very good condition in a very good unclipped dustwrapper.
Item Price
A$9.80