What Artwork Editions Of My Little Prince Should Collectors Buy?

If I had to boil it down into a short, practical plan for collectors who care about the art in 'The Little Prince', here’s what I do: first, aim for an edition that reproduces Saint-Exupéry’s original watercolors faithfully — that’s the emotional core. If you want rarity, hunt for early printings (Gallimard for French or Reynal & Hitchcock for the U.S.) or a numbered/signed limited edition from a respected press. If you prefer something striking and modern, pick a contemporary artist’s limited edition or a deluxe Folio Society-style binding with archival paper and a slipcase.

Check condition closely: plates, dust jacket, and any foxing. Don’t forget to ask sellers about provenance and whether the colors are original or enhanced — some later reprints alter the palette. For storage, avoid sunlight and high humidity; use archival sleeves for dust jackets and consider a small display case for true rarities. Personally, I balance one investment-grade copy on a top shelf with one playful or artist-driven edition I actually open and enjoy — you can have both beauty and daily use without sacrificing either.

I love collecting quirky and artist-forward versions of 'The Little Prince', and my criteria are simple: emotional resonance, the quality of the reproductions, and whether the edition adds something new. If you’re on a budget but still want beautiful artwork, look for reprints that specifically advertise faithful reproductions of Saint-Exupéry’s watercolors — some modern printings really nail the paper texture and color fidelity. If you want something playful or modern, seek out artist reinterpretations: illustrators sometimes produce limited illustrated editions that take the story into fresh visual directions, trading fidelity for imagination.

For display and investment, I usually recommend two concrete buys: a deluxe, well-made binding (slipcase, sewn signatures, archival paper) from a respected press, and a small limited artist edition if you want to support contemporary illustrators. Pop-up and die-cut editions can be delightful if you collect tactile artbooks — they’re not for longevity like a leatherbound book, but they’re wonderful conversation pieces. When buying online, ask sellers for close-ups of the colour plates, the title page, and any publisher colophon so you can check if it’s a special press run or numbered copy. Also, translations can be works of art too — some foreign-language editions include unique art directions that collectors adore, so if you can read (or just admire) another language, those can be treasure finds.

A quick note from my own shelf-rotations: I rotate what’s in sunlight and keep my favorites in a cool, dry cabinet. I once rescued a bright little paperback that had beautiful reproduced watercolors and it instantly became my kid-sitter book at family gatherings — not every edition needs to be an investment-grade piece to be a collector’s joy. So think about whether you want display, investment potential, or hands-on enjoyment, and pick two complementary editions that satisfy those wants.

I still get a little thrill when I spot a gorgeous copy of 'The Little Prince' peeking out from a bookstore shelf, so here’s how I think collectors should approach the artwork editions. First off, if you can swing it and provenance matters to you, hunt for a first edition or a reputable facsimile of the 1943 edition. There are two collectible threads there: the original French prints (Gallimard) and the 1943 U.S. edition from Reynal & Hitchcock. Authentic early printings carry the real Saint-Exupéry watercolors — the original hues and sometimes the telling quirks of early colour reproduction — so they’re the holy grail for a traditional collector.

If you want something that looks jaw-dropping on a shelf without the astronomical price tag, prioritize these categories: a high-quality facsimile of the original watercolors, a finely bound special edition (think cloth or leather with gilt edges and a slipcase), and limited-numbered artist editions. The Folio Society and some boutique presses are famous for producing museum-grade bindings and faithful color reproduction, while leatherbound runs from presses like Easton Press or Franklin Library give you that tactile, heirloom vibe.

Practical tips I swear by: check the colour plates (are they tipped in or printed?), inspect the jacket and dust cover, and always confirm the publisher and print run. For restorations and repairs, ask for professional documentation — old watercolors can shift color with light, and humidity kills paper long-term. I tend to buy from reputable dealers, auction houses, or trusted marketplaces where a returns policy exists. For display, avoid direct sunlight and keep humidity stable; if it’s signed or a first printing, consider a conservation-grade sleeve or a wood-finished box to keep things safe. There’s a romance to chasing firsts, but a beautifully made facsimile or limited art edition can be just as emotionally rewarding when it sits on your coffee table and you open it with a good cup of tea.