Colour Paris, Signed (7 results)

Hardcover. Condition: Very Good. No Jacket. Guillard, Michel (Photography) (illustrator). Light normal use wear; a nice copy overall. Book.

Blue Cloth Hardback. Condition: Very Good. Barday (illustrator). First Thus. 1928. 173 pp. With a preface by Victorien Sardou. Black pattern to front board. Gilt lettering to spine. Cloth partly faded. Small stain to spine. Light foxing to boards, edges and spine. Gilt top edge. With 8 beautiful colour (signed by Barday) and 48 B&W illustrations. Slight foxing and dust to top of some pages, otherwise, contents very clean. A very nice copy. Signed by Illustrator(s).

Hardcover. Condition: As New. Dust Jacket Condition: As New. 1st Edition. A collection of four short listed books for the 2025 Giller Prize. THE PARIS EXPRESS: Canadian first edition and first printing, signed and dated (November 1, 2025 ), in the year of publication, by Emma Donoghue on the title page. The author has also written with her signature the last sentence of the book, "He took the shot." Signing event provenance laid in. A very scarce, uniquely signed and collectible copy. Published by Harper Collins Canada, 2025. ISBN: 9781443474238. WE LOVE YOU, BUNNY: Canadian first edition and first printing, signed and dated (October 8, 2025), in the first month of publication, by Mona Awad on the title page. The author has also written with her signature the first sentences from "Cupcake", Chapter 1, "Hi there, Bunny. Remember me?" Signing event provenance laid in. A very scarce, uniquely signed and collectible copy. Published by Scribner Canada, 2025. ISBN: 9781668098486. THE LIFE CYCLE OF THE COMMON OCTOPUS: Canadian author, Emma Knight's debut novel. Trade paperback, Canadian first edition and first printing. Signed on the title page and dated March 26, 2025, in the year of publication by Emma Knight. Along with her signature the author has written from the first sentence of the book, "but mostly, it's females who carry the future." Purchased new and unread - in AS NEW condition. Signing event provenance laid in. Very scarce signed and in first printing. Published by Penguin Canada, 2025. ISBN: 9780735248724. Soft cover first edition. PICK A COLOUR: Canadian first edition and first printing; signed by Souvankham Thammavongsa on the title page and dated "September 7, 2025". The author has also written with her signature on the title page, the first line of the book, "Everyone is ugly." Purchased new and unread. Signing event provenance is laid in with the book - signed at Eden Mills three weeks prior to the publication release date. Published by Knopf Canada, 2025. ISBN: 9781039058453. A one of a kind collection of 2025 Giller Prize shortlisted books. Signed by Author(s).

Pictorial Cloth. Condition: Near Fine. Yoshio Markino (illustrator). 1st American Edition. The COLOUR of PARIS, HISTORIC, PERSONAL & LOCAL, by Messieurs Les Académiciens Goncourt, under the général editorship of M. Lucien Descaves. ACADEMIE GONCOURT Original gilt red pictorial cloth by the Japanese artist, Markino, signed by Markino. many full color plates of paintings by Markino, with tissue guards, top edge gilt, except for a bump to bottom of one board, a fine copy, in the pretty gilt and crimson binding. a deluxe copy Size: 4to. Private Press.

Soft cover. Condition: Very Good. ALS on blue note paper (9th June 1974) & colour picture postcard (undated, likely later), featuring an illustration of a woman on a bicycle, with 'Cycles Omnium, Paris,' both written in a clear hand in black ink and signed, "Mavis Gallant"/ "Mavis G.": single fold to ALS, which is starting at its right-hand edge, some creasing; gentle edgewear and creasing at corners to postcard, Crosland's identification in pencil, "Mavis Gallant". Good+/ VG Two brisk, but not unfriendly, hand-written responses from the Canadian short story writer, Mavis Gallant, to the British literary biographer and translator, Margaret Crosland; the TLS lets Crosland know that Gallant is "leaving on Wednesday for Corsica & the South & probably won't be back until late August." She shares her number and invites Crosland to call in the autumn. The undated postcard (likely a later date) opens: "How kind of you to have remembered Maclaren-Ross" and goes on to say that she has "found virtually everything except a collection of stories called THE STUFF TO GIVE THE TROOPS*" (his first collection, published by Jonathan Cape in 1944) and adds down the side: "*I don't think it exists anywhere now". Gallant closes with mention of "the throat infection that has [taken over?] Paris". Gallant (1922-2014) had moved to Europe in the early 1950s, and eventually settled in Paris, to allow her write full-time. She published 116 stories in The New Yorker across her career. From Margaret Crosland's archive. Crosland (1920-2017) was an important and prolific British literary biographer and translator of French and Italian authors, "who pioneered Cocteau" in Britain (Owen, 2009). She was the French literature consultant for the British publisher Peter Owen, who issued many of her biographies and translations, and thus she played a crucial role in introducing French authors, such as Jean Cocteau and Colette, as well as the Marquis de Sade, Apollinaire and Anaïs Nin, to mid-century British audiences. Owen observed that Crosland was "very important in advising us on books to publish. It was Margaret who pioneered Cocteau [. and] led us to Dalí, as she knew his novel Hidden Faces" (ibid). Her biographical subjects included both Colette and Jean Cocteau (titles much under discussion in her archive), Simone de Beauvoir, Raymond Radiguet and Edith Piaf, and she translated works by writers including Sade, Emile Zola, Edmond de Goncourt and Cesare Pavese, as well as Colette and Cocteau. She was also a voluminous correspondent, literary broker and networker, as her letters evidence in rich and fascinating detail. Peter Owen (2009) Interview with Steven Fowler, Vice Magazine. Signed by Author(s).

Sizes (image / photosheet) from 13 x 13 cm / 15 x 15 cm to 21,5 x 22 cm / 30 x 24 cm, often with wide white margin at the bottom (smaller at sides and top). - 20 photos bear the manuscript title by the photographer in English and Hebrew in the bottom margin, 1 carries his name-and-address stamp at front, 3 are signed next to the title, 17 carry his - mostly round - name-and-adress stamp at the back, 2 with stamp 'proof copy', the 'untitled' ones #1, #4, #5 and #6 with shop-sticker at verso of Tal's german Gallery-Agent in London (The Mall Arcade, Camden Passage) around the year 2000; more details below. . . *** INTIMATE AND EXHAUSTIVE COLLECTION FROM HIS LONDON SALES-AGENT AROUND THE LAST TURN-OF-THE-CENTURIES, still complete as received from the agent; but may be sold singlewise or in sections upon request. - THE DETAILS (abbreviations 'sm'=narrow margin, 'mm'=medium margin, 'wm'=wide mainly-bottom margin; 'gl.'=glossy paper, 'm-gl.'=medium glossy paper; 'rps'=round photographer's copyright and address stamp at rear): 1) untitled (13x13/15x15 cm, sm m-gl.) with fragmentary sales-agent's sticker at rear. / 2) 'THE BLESSING' (13x13/17x16 cm, mm m-gl. rps) w. stamp 'proofprint' at rear; slight crease in lower-left margin and top-right corner (margin). / 3) 'MY FIRST WIFE' (11x11/18x13 cm, wm gl.) with Tal's address-stamp at front. / 4) untitled (13x13/20,5x19,5 cm, wm m-gl.). / 5) untitled 13x13/22x18 cm, wm m-gl.). / 6) untitled 13x13/23x18 cm, wm m-gl.). / 7) 'STUDY OF MALE & FEMALE' (up tp #19: 16x16/25x19 cm, wm gl. rps). / 8) 'WHEN DANA PLAYS THE OBOE'. / 9) 'STUDY FOR ALEGORY'[!]. / 10) 'CONDOMINIUM'. / 11) 'AFTER VAN-GOGH'. / 12) 'WITH MY FAMILY, PIÉTA', minimal crease at top-right corner. / 13) 'WITH MY FAMILY, PIÉTA II', minimally bent at top-right corner. / 14) 'FIGURE WITH A NARCISSUS'. / 15) 'COUPLE WITH A VASE', slightly spotty in the wide bottom margin. / 16) 'THREE GRACES'. / 17) 'AFTER THE BATH'. / 18) 'THE DOUBT'. / 19) 'THE SOURCE'(since #7: 16x16/25x19 cm, wm gl. rps). / 20) untitled ['WHEN DANA PLAYS THE OBOE', larger] (21x21/23x23 cm, sm m-gl.). / 21) SEATED MASKED [BLEEDING] WOMAN (16,5x16,5/25x21 cm, wm m-gl.) signed at front, with 'proof print' and address-stamp at verso; top-left and -right and bottom-right with fragments of former-mounting tape, bottom-corners slightly creased. / 22) '8 STUDY OF MALE & FEMALE' (18x18/24x20,5 cm, mm m-gl.) holograph ''c BOAZ TAL'' at verso. / 23) untitled (25x25 cm, nm m-gl.), slight crease at lower-half left-, minimal at right corner. / 24) 'STUDY FOR >THE JUDGMENT OF PARIS<' (like #10; 13x13/31x20 cm, w+m m-gl. rps), signed at front; bottom corners slightly creased. / 25) 'STUDY OF MALE AND FEMALE' (like #7; 25x25/30x26 cm, m-gl. rps) signed at front, 'proof print'- and date-stamp '7.08.1990' at verso; top-left slightly frayed on 3-cm, right lower side slightly creased, top-right and bottom left corner as well. / 26) '7 COUPLE WITH A VASE' (21,5x22/30x24 cm, wm m-gl.), top corners minimally creased, bottom corners slightly wavy. - THE FRAGILE BOOKLET 'ALLEGORY' very good; as well as THE 2 IDENTICAL COLOUR SELF-PORTRAITS (postcard-size): Tal standing with crossed arms in front of 2 large photographs of a 'sitting naked woman next to a kitchen stove'. --- A BEAUTIFUL COLLECTION.

Large 4to. Pp. xii, 119, (4). Wide margins. Preface by Léonce Bénédite. With thirty (fifteen doublicates) drypoint etchings of which fifteen are watercolours, signed Zilcken. All protected by tissue guards. A few quires starting to loosen. Original printed wrappers housed in a slipcase. From an edition of 120 this is one of only eight copies on Japon with a suite of etchings water coloured by the artist, this is number 3. A few leaves with a tiny marginal stain but overall a lovely and crisp copy of a very attractive work.A wonderful collection of etchings depicting views, landscapes, houses, and people from different parts of Algeria. Zilcken presents an exotic land with appealing and harmoniously colourful images. Philip Zilcken (1857-1930) was a Dutch graphic artist, painter and writer. He was taught by Klinkenberg and Anton Mauve at the Drawing Academy in the Hague. As a printmaker, Zilcken achieved considerable fame, particularly through his reproduction of etchings of works by 17th century masters such as Vermeer. He made several journeys to Algeria and Egypt. An interesting introduction by Léonce Bénédite praising the work ( Il nous dit luimême son enchantement en mettant le pied dans cette "Casbah fantastique").