Collection: Littérature XXe siècle

This tension continued throughout the century. Breton published his Manifeste du surréalisme (Manifesto of Surrealism)in 1924, while Malraux published La Tentation de l'Occident (The Temptation of the West) in 1926. With Voyage au bout de la nuit (Journey to the End of the Night), Céline brought the street into the French language and narrowly missed the Goncourt Prize by just two votes. The Hussards responded to existentialism in the 1950s. Duras and the Nouveau Roman reinvented the narrative while Prévert, for his part, enjoyed himself with fragments, songs, and poems. In 1984, L'Amant (The Lover)by Marguerite Duras (Les Éditions de Minuit), which won the Goncourt Prize, and Quartier perdu (Lost Quarter)by Patrick Modiano (Gallimard) were published: two books, two opposing styles, in the same year.

For the bibliophile, it's an opportunity: there's something for everyone, for lovers of classic French syntax as well as for those looking for a clear break. And rarity enthusiasts can rest assured, the 20th century is rich in wonders: it's the original print run and the history of the volume that speak. A common print run ofDu côté de chez Swann (Swann's Way)(Grasset, 1913) can be found for a few hundred euros, while a large paper copy of the same edition exceeds several thousand.

Our collection spans the entire century. Among the 1913 copies, Le Grand Meaulnesby Alain-Fournier (Emile-Paul Frères): one of the copies on satin alfa paper specially printed for the author, first issue, full brown morocco binding signed Alix, in a bordered slipcase. Locus Solusby Raymond Roussel (Alphonse Lemerre, 1914, printed in late 1913): one of the copies on Japanese paper, the only large paper of the print run, full prune morocco binding signed J.-P. Miguet, complete with the insert "La Critique et Raymond Roussel."

For the following decades: Breton's Manifeste du surréalisme (Manifesto of Surrealism)(Éditions du Sagittaire, 1924), common print run in iridescent khaki full box binding signed A. Devauchelle (2000); La Tentation de l'Occident (The Temptation of the West)by Malraux (Grasset, 1926), one of 11 copies on Japanese paper, second paper after 7 Chinese, in a half-morocco slipcase signed Carine Vilaine; Céline's Voyage au bout de la nuit (Journey to the End of the Night) (Denoël et Steele, 1932), one of 100 copies on Alfa paper, in a half-morocco slipcase signed Devauchelle. More recently: Le Hussard bleu (The Blue Hussar) by Roger Nimier (Gallimard, 1950), one of 50 out-of-commerce copies on chamois vellum from Navarre paper mills, enriched with an autographed inscription signed by the author to Raoul Simonson, Brussels bookseller and bibliographer, blue night morocco binding signed L. Gérard; La Pluie et le Beau Temps (Rain and Good Weather) by Jacques Prévert (NRF, Le Point du jour, 1955), one of 58 copies on Dutch paper, full black box binding signed Honnelaitre; L'Amant (The Lover) by Marguerite Duras (Les Éditions de Minuit, 1984), one of 106 copies on Arches vellum, the only large paper, Goncourt 1984, in a half-calf blue night slipcase signed P. Goy and C. Vilaine.

Members of SLAM since our founding in 2011, we apply the union's standards to each appraisal.

• Can a 20th-century book be rare?
  Yes. The mechanism is simple: a limited print run, then a sudden success, and the original on large paper becomes unobtainable. Les Racines du ciel (The Roots of Heaven) by Romain Gary (Gallimard, 1956): 80 copies on Lafuma-Navarre pure wire vellum before the Goncourt Prize. After the prize, reprints follow one another. The large paper of the original, however, is not reprinted.
• How do you distinguish an original edition from a reprint for a 20th-century book?
  By collation: exact pagination, printer's imprint, mention of the print run or its absence, original publisher. For major 20th-century authors, reference directories (Clouzot for modern authors, author bibliographies) can decide. We carry out this verification on each item before cataloging.
• Do 20th-century books keep well?
  It depends on the paper. Common editions from the mid-century, printed on acidic wood pulp, can yellow and become fragile. Large papers, Japanese, vellum, pure wire, cross the century without browning: we store our collection between 18 and 20 °C, with humidity maintained between 50 and 60%. This is why we prioritize them in our selection.
• How do I get a 20th-century book valued?
  Send a photograph of the title page, the justification of the print run if it exists, and the cover. As members of SLAM, we provide free valuations. For important libraries, we travel by appointment throughout France.