Search Results: Authors starting with P from WALDEN Rarebooks

Alès, PAB, (March) 19671 vol. (260 x 335 mm) of 34 p. and [2] f. Leaves, cover with flaps, in slipcase signed by Julie Nadot.
First edition, illustrated by Picasso.
The artist has enriched the text with four original full-page cartalégraphies [1966], depicting telluric masks.
One of 60 copies on Rives, signed by Picasso and PAB (no. 12).
Enriched with another print of the first of the 4 cartalégraphies, on Rives vellum: here, exceptionally, it is signed in grease pencil by Picasso.
A very fine copy, preserved in a delicate slipcase with window and flaps by Julie Nadot.
From the library of R. & B. Loliée library (bookplate and sale, 2016, no. 168).
The PAB edition is the last to be given of the Transparents, which have been the subject of numerous reprints since their first publication in 1949, at Mercure de France. Before Picasso, Louis Fernandez, Vieira da Silva, Nicolas de Staël had ventured into this field. The Transparents, in Char's eyes, were the characters of his childhood, gradually… 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

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

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