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Paris

Paris

Local nameParis
CountryFrance
Name Variants
  • Barbès-Rochechouart
  • Batignolles
  • Bikini

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58908 results
  1. "... Willemetz demande, dans notre intérêt, que Edith Piaf soit épaulée par une vedette homme faisant affiche. Si nous avons Raimu ou Charpin, nous sommes sûrs d'un succès."
    Vincent SCOTTO

    "... Willemetz demande, dans notre intérêt, que Edith Piaf soit épaulée par une vedette homme faisant affiche. Si nous avons Raimu ou Charpin, nous sommes sûrs d'un succès."Autograph postcard signed to his great friend Carlo Rim concerning a film project with Edith Piaf and Raimu or Charpin

    S. n.|Paris 16 septembre 1941|14.50 x 10.50 cm|une feuille
    Autograph postcard dated and signed by composer Vincent Scotto, addressed from his Parisian home, to his great friend the Provençal writer, caricaturist and filmmaker Carlo Rim who was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of André Salmon and Max Jacob (15 lines in black ink)
    "Le 16 sept. 41
    Mon cher Carlo,
    Il faudrait que nous ayons au plus tôt une réponse soit de Raimu soit de Charpin ou bien encore de Delmont quoique pour ce dernier l'affaire sera difficile à Paris car Willemetz demande, dans notre intérêt, que Edith Piaf soit épaulée par une vedette homme faisant affiche. Si nous avons Raimu ou Charpin, nous sommes sûrs d'un succès. il faudrait activer car tu ne l'ignores pas, on présente à Willemetz environ 2 pièces par semaine. Ecris-moi au plus tôt et reçois ainsi que ta femme mes bonnes amitiés."     ["September 16, 1941
    My dear Carlo,
    We need to have an answer as soon as possible either from Raimu or Charpin or even from Delmont although for the latter the matter will be difficult in Paris because Willemetz asks, in our interest, that Edith Piaf be supported by a male star who draws audiences. If we have Raimu or Charpin, we are assured of success. We should hurry because as you know, about 2 plays per week are presented to Willemetz. Write to me as soon as possible and receive, as well as your wife, my warm friendship."]


    €200
  2. Lettre autographe signée adressée à Carlo Rim concernant ses écrits sur le cinéma ravivant la mémoire de Jacques Audiberti
    Jacques AUDIBERTI

    Lettre autographe signée adressée à Carlo Rim concernant ses écrits sur le cinéma ravivant la mémoire de Jacques Audiberti

    S. n.|Paris 25 décembre 1959|21 x 27 cm|une feuille
    Autograph letter dated and signed by the playwright Jacques Audiberti addressed to Carlo Rim (19 lines in blue ink) about his film chronicles acting as a memory box for Jacques Audiberti:
    "25 décembre 1959,
    Cher Carlo Rim, avec bien de l'amusement je lis vos souvenirs de cinéma dans "France Soir". Il m' été piquant de retrouver, dans vos souvenirs, l'idée d'une pièce, où vous présentez Mistinguett, que j'ai écrite et fait jouer aux "Noctambules" - ah ! qu'André ryba y brillait ! - quelque part vers 1947     ["25 December 1959,
    Dear Carlo Rim, with great amusement I read your cinema memoirs in "France Soir". It was piquant for me to find, in your memories, the idea of a play, where you present Mistinguett, which I wrote and had performed at the "Noctambules" - ah! how André Ryba shone there! - somewhere around 1947 "] (actually 1950, it was "Le mal court" which was created in 1947 at the "Noctambules"). Il y tenait le rôle de la "vieille". L'histoire était exactement celle que vous racontez. La pièce s'appelait, et s'appelle, "Sa peau". Mistinguett n'y était pas présente, sauf que (mot illisible) à la fin, elle tuait son jeune "double". Ravi de cette occasion de me rappeler à vous, cher Carlo Rim, croyez-moi, je vous prie, très amicalement votre. Jacques Audiberti. 3 bis rue des Lyonnais Paris V." ["He played the role of the "old woman". The story was exactly the one you tell. The play was called, and is called, "Sa peau". Mistinguett was not present in it, except that (illegible word) at the end, she killed her young "double". Delighted by this opportunity to remind you of me, dear Carlo Rim, believe me, I beg you, very amicably yours. Jacques Audiberti. 3 bis rue des Lyonnais Paris V."]
    Fold marks inherent to being placed in an envelope.
    Carlo Rim was a Provençal writer, author of "Ma belle Marseille", a caricaturist, a filmmaker and was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of Max Jacob and André Salmon whom he met in Sanary.
    €200
  3. "... L'interprète idéal eu été Raimu. Je le lui avais demandé fin 42. Il parait que c'est impossible. Alors qui verriez-vous dans le rôle ? Qui exigeriez-vous si vous aviez fait le film? Pourriez-vous, en même temps, me donner une liste des meilleurs artistes méridionaux ?
    Roland DORGELÈS

    "... L'interprète idéal eu été Raimu. Je le lui avais demandé fin 42. Il parait que c'est impossible. Alors qui verriez-vous dans le rôle ? Qui exigeriez-vous si vous aviez fait le film? Pourriez-vous, en même temps, me donner une liste des meilleurs artistes méridionaux ?Signed autograph letter addressed to Carlo Rim to whom he asks advice for the role of Tartarin, after Raimu withdrew from his film adaptation of Tartarin in the Alps

    Paris 8 février 1943|21 x 27 cm|une feuille
    Autograph letter signed by Roland Dorgelès addressed to Carlo Rim, written in blue ink (50 lines in blue ink) seeking advice from the latter for the casting of his film adaptation of "Tartarin dans les Alpes":
    "Cher Carlo,
    vous êtes retiré, m'a-t-on dit dans les Alpes. Moi dans les Pyrénées. D'une montagne à l'autre je vous dit bonjour. J'ai besoin d'un conseil que vous seul pouvez me donner. Il s'agit de Tartarin dans les Alpes, dont j'ai fait l'adaptation (nous aurions été encore marseillais que je vous aurai demander de collaborer...) L'interprète idéal eu été Raimu. Je le lui avais demandé fin 42. Il parait que c'est impossible. Alors qui verriez-vous dans le rôle?"     ["Dear Carlo,
    you have retired, I'm told, to the Alps. I'm in the Pyrenees. From one mountain to another I say hello. I need advice that only you can give me. It concerns Tartarin dans les Alpes, which I have adapted (if we were still Marseillais I would have asked you to collaborate...) The ideal interpreter would have been Raimu. I asked him at the end of '42. It seems that's impossible. So who would you see in the role?"] (sentence entirely underlined) Qui exigeriez-vous si vous aviez fait le film? Pourriez-vous, en même temps, me donner une liste des meilleurs artistes méridionaux ? (J'ai déjà indiqué Delmont pour Castelcade, Charpin pour Bezuquet, peut-être Maupi pour Bravida, en raison de sa taille). Je vous demande cela tout simplement comme je l'aurais fait devant un pastis, sur le port de Cassis - ce pauvre Cassis - Mon meilleur souvenir à Alice - Si la guerre dure encore longtemps, je retrouverai Babou agrégé de lettres, champion de crawl ou vedette de cinéma... Des deux mains Roland Dorgelès". ["Who would you demand if you had made the film? Could you, at the same time, give me a list of the best southern artists? (I have already indicated Delmont for Castelcade, Charpin for Bezuquet, perhaps Maupi for Bravida, because of his height). I ask you this simply as I would have done over a pastis, on the port of Cassis - poor Cassis - My best regards to Alice - If the war lasts much longer, I'll find Babou with a literature degree, swimming champion or film star... With both hands Roland Dorgelès"].
    Central fold mark, a year written (43) in pencil by Carlo Rim.


    €300
  4. Album Aymé
    (Marcel AYMÉ) COLLECTIF

    Album Aymé

    Gallimard|Paris 2001|10.50 x 17.50 cm|reliure de l'éditeur sous étui souple
    First edition published in the Pléiade library.
    Iconography.
    Publisher's binding in full brown grained sheep, smooth spine decorated with gilt fillets.
    Handsome copy complete with its cellophane wrapper as well as its soft slipcase.
    €80
  5. Album Aragon
    (Louis ARAGON) Jean RISTAT

    Album Aragon

    Gallimard • , Bibliothèque de La Pléiade|Paris 1997|10.50 x 17.50 cm|reliure de l'éditeur sous étui
    First edition.
    Rich iconography.
    Spine of the rhodoid slightly yellowed.
    Handsome copy complete with its rhodoid and slipcase.
    €70
  6. Lettre autographe signée de Julien Gracq adressée au journaliste Jean-Claude Lamy à propos d'un article accompagné de photographies : "Rappelez vous notre conversation : une seule photo pour illustrer votre texte (j'aurais préféré" aucune ! malgré le talent très grand de Robert Doisneau)"
    Julien GRACQ

    Lettre autographe signée de Julien Gracq adressée au journaliste Jean-Claude Lamy à propos d'un article accompagné de photographies : "Rappelez vous notre conversation : une seule photo pour illustrer votre texte (j'aurais préféré" aucune ! malgré le talent très grand de Robert Doisneau)"

    Paris 24 octobre 1985|14.50 x 10.50 cm|quatre feuilles + une enveloppe
    Autograph letter signed, on a Bristol card, by Julien Gracq, 15 lines in black ink, addressed to journalist Jean-Claude Lamy, regarding the text of an article for which he gives his approval and an album of photographs concerning another writer.
    Apart from a few modifications he intends to make, notably on the fact of not being photographed, even by Robert Doisneau, he authorizes the publication of this interview.
    We include the envelope addressed by Julien Gracq from his Parisian home.
    We also include the text of three pages of the article with corrections and crossings-out by Jean-Claude Lamy and four modifications and corrections in Julien Gracq's hand.
    A few letters have smudged without consequence, a handsome copy.
    "Paris 24 octobre
    Cher monsieur.
    Merci de m'avoir soumis le texte que je vous retourne : il correspond en gros aux propos tenus et je ne vois à vous soumettre que deux ou trois formulations un peu différentes. Je regarde avec plaisir les photos de l'album que vous l'aimable pensée de m'adresser : il s'agit là d'un écrivain qui ne m'a jamais laissé indifférent. Rappelez vous notre conversation : une seule photo pour illustrer votre texte (j'aurais préféré" aucune ! malgré le talent très grand de Robert Doisneau) Avec mon bon souvenir. J. Gracq."     ["Paris 24 October
    Dear sir.
    Thank you for submitting the text which I return to you: it corresponds roughly to the remarks made and I see only two or three slightly different formulations to submit to you. I look with pleasure at the photos in the album which you had the kind thought to send me: this concerns a writer who has never left me indifferent. Remember our conversation: only one photo to illustrate your text (I would have preferred none! despite Robert Doisneau's very great talent) With my kind regards. J. Gracq."]
    €580
  7. "Si j'aime Daumier et ses amis ?... Vous verrez cela ! "
    Lucien DESCAVES

    "Si j'aime Daumier et ses amis ?... Vous verrez cela ! "Signed autograph letter addressed to a writer who recently wrote a biography of Honoré Daumier

    Paris 20 avril 1934|13.50 x 21 cm|une feuille
    Autograph letter signed, on letterhead of the periodical "Le journal", by Lucien Descaves, 15 lines in blue ink, probably addressed to Raymond Escholier who published at Floury, in 1934, a biography of Honoré Daumier.
    Fold mark inherent to envelope insertion.
    "20 avril 34
    Cher ami.
    Je suis désolé de vous avoir, oh !, bien involontairement contrarié, mais je rendais compte de votre livre, comme je parlerai de celui que vous allez m'envoyer et que j'attends avec impatience. Alors, je dirai ce que Daumier vous doit et ne doit pas à Suarès. Si j'aime Daumier et ses amis ?... Vous verrez cela ! A bientôt, cher ami, le plaisir de dîner ensemble, et cordialement vous. Lucien Descaves."     ["20 April 34
    Dear friend.
    I am sorry to have, oh!, quite involuntarily upset you, but I was reviewing your book, as I will speak of the one you are going to send me and which I await with impatience. So, I will say what Daumier owes you and does not owe to Suarès. If I love Daumier and his friends?... You will see that! See you soon, dear friend, for the pleasure of dining together, and cordially yours. Lucien Descaves."]
    €100
  8. Lettre autographe signée à son ami Carlo Rim
    Jean SENNEP

    Lettre autographe signée à son ami Carlo Rim

    S. n.|Paris s. d. [circa 1940]|13.50 x 21 cm|une feuille recto-verso
    Autograph letter signed (22 lines in black ink on Echo de Paris letterhead) from the illustrator and caricaturist Sennep, addressed to his friend the Provençal writer, caricaturist and filmmaker Carlo Rim announcing his sudden departure from Paris and postponing the project that was to bring them together: "Mon cher Carlo Rim, je reçois votre petit mot. Vous savez que je compte sur cet échange dont je vous avais parlé, et que vous aviez bien voulu accepter. Malheureusement, je quitte Paris demain matin, et je ne sais pas exactement quand je repasserai par la capitale. Mais je vous ferai signe, à tout hasard quand je viendrai. Bien amicalement. J. Sennep." ["My dear Carlo Rim, I received your little note. You know that I am counting on this exchange I spoke to you about, and which you were kind enough to accept. Unfortunately, I am leaving Paris tomorrow morning, and I don't know exactly when I will pass through the capital again. But I will let you know, just in case when I come. Yours truly. J. Sennep."]
    Fold inherent to the mailing, trace of a rusty paper clip at the head of the verso of the letter affecting, without severity, two letters at the end of two words.
    Carlo Rim was a Provençal writer, author of "Ma belle Marseille", a caricaturist, a filmmaker and was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of Max Jacob and André Salmon whom he met in Sanary.
    €120
  9. Correspondance : Volume II : 1851-1858
    Gustave FLAUBERT

    Correspondance : Volume II : 1851-1858

    Gallimard • , Bibliothèque de La Pléiade|Paris 1980|12 x 18.50 cm|reliure de l'éditeur sous étui souple
    Pléiade library edition printed on India paper.
    Publisher's full grained green sheep binding, blue top edge, smooth spines decorated with gilt fillets.
    Fine copy complete with its glassine, dust jacket and slipcase.

    €40
  10. La Carte et le Territoire
    Michel HOUELLEBECQ

    La Carte et le Territoire

    Flammarion|Paris 2010|13.50 x 21 cm|broché
    First edition, of which there were no deluxe copies, with the correct imprint of July 2010.
    A handsome copy retaining publisher's wraparound band.



    €200
  11. Des trottoirs et des fleurs
    André DHÔTEL

    Des trottoirs et des fleurs

    Gallimard|Paris 1981|14 x 20.50 cm|broché
    First edition, one of the Service de Presse (advance) copies.
    A handsome copy.
    Signed autograph inscription from André Dhôtel to Camille Lecrique and his wife.
    €80
  13. Le Chat noir N°176 de la quatrième année du samedi 21 mai 1885
    Albert SAMAIN, Alphonse ALLAIS

    Le Chat noir N°176 de la quatrième année du samedi 21 mai 1885

    Au cabaret Le Chat noir|Paris 1885|31 x 45 cm|en feuillets
    First edition, one of the rare copies printed on laid paper.
    The issue consists of 4 pages and is illustrated with a comic strip by Uzès: "There is no drawing this week".
    Literary contributions by Alphonse Allais "Modernisme", two poems by Albert Samain "Le chat noir" and "Biscuit", Louis Marsolleau "La mort de mon grand-père", Rodolphe Salis...
    Handsome copy.
    Le Chat noir is a weekly review created by Rodolphe Salis and Emile Goudeau, published from 1882 to 1897, with the aim of promoting the famous cabaret of the same name, of which it intended to be the record. It published texts recited during performances. It is, moreover, an important literary and artistic testimony of the end of the 19th century, centered around bohemia and the Parisian effervescence that was characteristic of it.
    €80
  14. Le Chat noir N°239 de la cinquième année du samedi 7 août 1886
    Charles CROS, CARAN D'ACHE

    Le Chat noir N°239 de la cinquième année du samedi 7 août 1886

    Au cabaret Le Chat noir|Paris 1886|31 x 45 cm|en feuillets
    First edition, one of the rare copies printed on laid paper.
    The issue consists of 4 pages and is illustrated with a comic strip by Théophile Alexandre Steinlen: "La rose".
    Literary contributions by Charles Cros "Un drame interastral", Caran d'Ache "Carnet de la semaine", Albert Tinchant, Rodolphe Salis "Comment fut parachevée l'église saint-Pierre de Poictiers" dedicated to Guy de Maupassant...
    Handsome copy despite minor worming.
    Le Chat noir is a weekly magazine created by Rodolphe Salis and Emile Goudeau, published from 1882 to 1897, with the aim of promoting the famous cabaret of the same name, of which it serves as the memory. It publishes the texts recited during the performances. It is, furthermore, an important literary and artistic testimony of the late 19th century, around bohemian life and the Parisian effervescence that characterizes it.
    €120
  15. Le Chat noir N°270 de la sixième année du samedi 12 mars 1887
    Alphonse ALLAIS, Théophile Alexandre STEINLEN

    Le Chat noir N°270 de la sixième année du samedi 12 mars 1887

    Au cabaret Le Chat noir|Paris 1887|31 x 45 cm|en feuillets
    First edition, one of the rare copies printed on laid paper.
    The issue consists of 4 pages and is illustrated with a comic strip by Théophile Alexandre Steinlen dedicated to Alphonse Allais.
    Literary contributions by Alphonse Allais "Idylle", Rodolphe Salis, Georges Auriol, Pierre Mille ...
    Handsome copy.
    Le Chat noir is a weekly magazine created by Rodolphe Salis and Emile Goudeau, published from 1882 to 1897, with the aim of promoting the famous cabaret of the same name, serving as its memory. It published texts recited during the shows. It is, moreover, an important literary and artistic testimony of the end of the 19th century, around bohemian life and the Parisian effervescence that characterized it.
    €60
  16. Tristan Corbière
    Charles MORICE

    Tristan Corbière

    Albert Messein|Paris 1912|16.50 x 20.50 cm|broché
    First edition printed for the benefit of the monument dedicated to Tristan Corbière, one of the rare copies on Holland paper of which no mention is made.
    Some interior foxing, a full-margined copy.
    Work illustrated, as frontispiece, with a photographic portrait of Tristan Corbière.
    €100
  17. Requiem pour les cosmonautes - Ballade pour la comète de Halley
    André VERDET

    Requiem pour les cosmonautes - Ballade pour la comète de Halley

    Edition du Palais de la découverte|Paris s. d. [circa 1988]|12 x 22.50 cm|broché
    First edition illustrated with drawings by André Verdet.
    Handsome copy.
    Dated autograph inscription signed by André Verdet to artist Philippe Collage: "Pour Philippe Collage, à l'ami sensible, mon salut étoilé" ["For Philippe Collage, to my sensitive friend, my stellar greeting"] enhanced with an original drawing representing Halley's comet passing near Earth.
    €120
  18. "Je ne saurais oublier que vous avez été le bon sourcier de cette oasis inattendue qui s'est dressée vers mes pas à l'heure de la soif - dans ce sombre désert du cinéma dans lequel je m'avance en solitaire depuis 8 ans ! "
    Abel GANCE

    "Je ne saurais oublier que vous avez été le bon sourcier de cette oasis inattendue qui s'est dressée vers mes pas à l'heure de la soif - dans ce sombre désert du cinéma dans lequel je m'avance en solitaire depuis 8 ans ! "Lyrical Signed Autograph Letter of Thank You to Carlo Rim

    Paris 18 décembre 1952|21 x 27 cm|une feuille
    Grateful and beautiful signed autograph letter from Abel Gance addressed to Carlo Rim, 25 lines in blue ink in which the director of "Napoleon" praises the salvific friendship that the author of "Ma belle Marseille" has always shown him: "Je ne saurais oublier que vous avez été le bon sourcier de cette oasis inattendue qui s'est dressée vers mes pas à l'heure de la soif - dans ce sombre désert du cinéma dans lequel je m'avance en solitaire depuis 8 ans ! " , "Grâce à vous & mes confrères, j'y reprendrai des forces pour aller défricher plus loin - et, peut-être est-ce là ma providence & ma fatalité - je veux espérer que "lorsque le grand froid aura pris mes vertèbres" comme dit Cyrano, on trouvera le petit chemin utile et lumineux tandis qu'il me faut continuer tout seul à marcher dans le noir." ["I could not forget that you have been the good water diviner of this unexpected oasis that rose toward my steps at the hour of thirst - in this dark desert of cinema in which I have been advancing alone for 8 years!" , "Thanks to you & my colleagues, I will regain strength there to go clear land further - and, perhaps this is my providence & my fatality - I want to hope that 'when the great cold has taken my vertebrae' as Cyrano says, we will find the small useful and luminous path while I must continue alone to walk in the dark."]
    Folds inherent to the mailing, a small stain in the right margin of the letter not touching the text.
    Carlo Rim was a Provençal writer, author notably of "Ma belle Marseille", a caricaturist, a filmmaker: "Justin de Marseille", "L'armoire volante", "La maison Bonnadieu", and was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of Max Jacob and André Salmon whom he met in Sanary.
    €400
  19. Phèdre
    André ROUVEYRE, Pierre-Eugène VIBERT

    Phèdre

    Mercure de France|Paris 1910|22.50 x 28 cm|broché
    First edition, one of 1000 numbered copies on Arches paper, the only edition after 10 copies on Japan paper.
    Work illustrated with 10 wood engravings by Pierre-Eugène Vibert after drawings by Rouveyre which were subsequently destroyed by Rouveyre and whose text engraved on wood by Vibert was entirely burned.
    Some foxing on the covers, a tiny hole in the lower right corner of the first cover, handsome interior condition.
    Autograph inscription dated and signed by André Rouveyre to Jules Romains.




    €170
  20. L'adversaire
    Alfred CAPUS, Emmanuel ARÈNE

    L'adversaire

    Charpentier • Fasquelle|Paris 1904|12 x 19 cm|broché
    First edition, one of 10 numbered copies on Japan paper, ours bearing the N°, the only deluxe copies.
    Covers very lightly soiled and spotted, handsome copy.
    €120
  21. Lendemain des amours - Exemplaire de Paul Eluard
    (to Paul ÉLUARD) Sylvain BONMARIAGE

    Lendemain des amours - Exemplaire de Paul Eluard

    Edgar Malfère|Paris 1939|12 x 19 cm|broché
    First edition, a Service de Presse (advance) copy.
    Precious and handsome signed autograph inscription by Sylvain Bonmariage: "A Monsieur Paul Eluard dont j'admire les vers... et la fille, qui est l'un de ses plus beaux poêmes !" ["To Monsieur Paul Eluard whose verses I admire... and whose daughter is one of his most beautiful poems!"]



    €150
  22. Garin
    Paul DELAIR

    Garin

    Paul Ollendorff|Paris 1880|15.50 x 24.50 cm|relié
    First edition, one of the rare copies on Holland paper of which no mention is made.
    Handsome copy despite some very occasional light foxing.
    Half red morocco binding with corners, spine very slightly faded with five raised bands, date gilt at foot, marbled paper boards, endpapers and pastedowns of combed paper, top edge gilt.
    Precious and beautiful signed autograph inscription from Paul Delair to Coquelin cadet, major figure of late 19th-century theater: "A mon cher Coquelin - absent de l'interprétation, vous ne l'étiez pas de l'oeuvre, à laquelle ont contribué vos conseils, et vous savez que vous ne le serez jamais du coeur de l'auteur." ["To my dear Coquelin - absent from the performance, you were not absent from the work, to which your advice contributed, and you know that you will never be absent from the author's heart."]



    €150
  23. Lettre autographe signée adressée à son ami Carlo Rim à propos notamment de la reprise d'Iphigénie en Tauride de Christoph Willibald Gluck
    Georges AURIC

    Lettre autographe signée adressée à son ami Carlo Rim à propos notamment de la reprise d'Iphigénie en Tauride de Christoph Willibald Gluck

    S. n.|Paris 17 octobre 1965|14 x 19.50 cm|une feuille
    Autograph letter dated and signed by Georges Auric addressed to his friend Carlo Rim, 23 lines in blue ink on letterhead of the Réunion des théâtres lyriques nationaux et du théâtre de l'Opéra de Paris, in which he asks for his friend's indulgence as he is overwhelmed with work: "Pardonne-moi si je ne t'ai pas répondu encore : tu peux imaginer sans trop de peine ce qu'est devenue mon existence ! ... je viens d'avoir à préparer la reprise d'Iphigénie en Tauride - opéra des plus nobles et que "notre" public n'avait pas eu l'occasion d'écouter depuis 1931 " ["Forgive me if I haven't answered you yet: you can imagine without too much trouble what my existence has become! ... I have just had to prepare the revival of Iphigénie en Tauride - one of the noblest operas and one that "our" public has not had the opportunity to hear since 1931"]; a revival in which Georges Auric places great hope: "... En tout cas, je veux espérer que nous dépasserons les deux répétitions de 1931... ["... In any case, I want to hope that we will exceed the two performances of 1931..."]
    He also rejoices in the diversity of projects that occupy him, thus transcending styles and periods: "Glück, Iphigénie : nous sommes fichtrement loin de Vincent Scotto. Mais je franchis allégrement siècles et styles pour te dire combien je suis heureux de me trouver, dans ce "comité d'honneur" , associé aux respectables et déjà vieux amis dont tu connais les noms ! " ["Gluck, Iphigénie: we are damn far from Vincent Scotto. But I cheerfully leap across centuries and styles to tell you how happy I am to find myself, in this 'honorary committee,' associated with the respectable and already old friends whose names you know!"]
    Folds inherent to mailing.
    Carlo Rim was a Provençal writer, author notably of "Ma belle Marseille," a caricaturist, a filmmaker: "Justin de Marseille," "L'armoire volante," "La maison Bonnadieu," and was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of Max Jacob and André Salmon whom he met in Sanary.
    €400
  24. "... L'arlésienne ne pourra pas se faire parce que monsieur gendre Prouvost et cie sont des couillons. Et des gens sans aucune descisions"
    RAIMU

    "... L'arlésienne ne pourra pas se faire parce que monsieur gendre Prouvost et cie sont des couillons. Et des gens sans aucune descisions"Virulent signed autograph letter addressed to his great friend Carlo Rim about an aborted film project

    S. n.|Paris 13 juin 1941|14 x 19.50 cm|trois feuilles recto-verso
    Autograph letter dated June 13th (Carlo Rim having specified in pencil at the head of the first leaf 1941) and signed by Raimu addressed to his great friend Carlo Rim, 98 lines in black ink, on three leaves recto-verso.
    Folds inherent to mailing.
    Raimu rails against the incapacity and indecision of those responsible for a film project entitled l'Arlésienne (quite a symbol!) of which Carlo Rim was part: "L'arlésienne ne pourra pas se faire parce que monsieur gendre Prouvost et cie sont des couillons. Et des gens sans aucune descisions. Donc affaire morte." ["l'Arlésienne cannot be made because monsieur son-in-law Prouvost and company are fools. And people without any decisions. So the matter is dead."], "... tous les mois il change d'idées et dieu sait s'il en a, mais tout cela se termine par des idées... jamais il ne tournera pas plus le tien, que celui des autres, il a peut-être de l'argent mais il ne veut pas le sortir. Genre, Prouvost." ["... every month he changes his mind and God knows he has ideas, but all this ends with ideas... he will never shoot yours any more than those of others, he may have money but he doesn't want to spend it. That's Prouvost for you."]
    Raimu, ever so irascible, does not calm down and drowns his friend's last hopes about the forthcoming realization of l'Arlésienne: "Mon vieux Carlo à l'heure actuelle les deux pauvres studios de Nice sont pris jusqu'à fin septembre par des gens qui eux prennent les descisions, et qui verse de l'argent... donc tu vois, mon pauvre vieux, ce sont tous des bonimenteurs Honnebelle - Prouvost... des gens plein aux as mais ils ne veulent pas les sortir..." ["My dear Carlo at present the two poor studios in Nice are booked until the end of September by people who do make decisions, and who put up money... so you see, my poor friend, they are all smooth talkers Honnebelle - Prouvost... people loaded with money but they don't want to spend it..."], "... il trouvera 100 excuses pour ne pas tourner et elles lui seront faciles..." ["... he will find 100 excuses not to shoot and they will come easily to him..."]and ends his epistolary diatribe with this glacial criticism:"Mon Carlo, il n'y a plus rien à faire en province que de la barraque et à écarter les marchands de boniments... because que depuis la fille du puisatier je n'ai entendu que des bobards... En plus il faudrait faire des films à la noix..." ["My Carlo, there is nothing left to do in the provinces but fairground shows and to ward off the peddlers of smooth talk... because since la fille du puisatier I have heard nothing but tall tales... Plus we would have to make trashy films..."]
    Carlo Rim was a Provençal writer, author notably of "Ma belle Marseille", a caricaturist, a filmmaker: "Justin de Marseille", "L'armoire volante", "La maison Bonnadieu", and was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of Max Jacob and André Salmon whom he met in Sanary.
    €1,200
  25. Le crime parfait
    Jean BAUDRILLARD

    Le crime parfait

    Galilée|Paris 1995|13.50 x 21.50 cm|broché
    The first edition, of which there were no deluxe copies.
    Handsome copy.
    Autograph inscription signed by Jean Baudrillard to a friend named Ginette.
    €180
  26. Soldat-citoyen - Essai sur la défense de la France et la sécurité de la France
    Charles HERNU

    Soldat-citoyen - Essai sur la défense de la France et la sécurité de la France

    Flammarion|Paris 1975|14 x 20 cm|broché
    First edition, of which there were no deluxe copies.
    Amusing autograph inscription signed by Charles Hernu to Jenny and Pierre Viansson-Ponté, journalist and co-founder of L'Express: "... en bien fidèle hommage et en toute amitié. Charles Etternu 28 1 75" ["in faithful tribute and in complete friendship. Charles Etternu 28 1 75"].
    Minister of Defense under François Mitterrand, Charles Hernu had to resign after the affair of the sinking of the Greenpeace ship, the Rainbow Warrior, by the French secret services.
    €50
  27. Réception par le Sénat de l'aviateur américain Charles Lindbergh et de son excellence M. Myron T. Herrick, amabassadeur des Etats-Unis à Paris (27 mai 1927)
    (Charles LINDBERGH) COLLECTIF

    Réception par le Sénat de l'aviateur américain Charles Lindbergh et de son excellence M. Myron T. Herrick, amabassadeur des Etats-Unis à Paris (27 mai 1927)

    Groupe sénatorial de l'aviation|Paris 1927|16.50 x 24 cm|agrafé
    First edition illustrated with photographs.
    Two small dampstains to upper right corners of boards.
    Rare pamphlet printed in honor of Charles Lindbergh's feat of crossing the North Atlantic non-stop and solo: taking off from New York on May 20, 1927, Charles Lindbergh landed 33 hours later at Le Bourget where he was triumphantly welcomed.
    €400
  28. Photographie originale - Christopher Street Liberation Day March, New York - Master and Slave
    Jean-Pierre LAFFONT

    Photographie originale - Christopher Street Liberation Day March, New York - Master and Slave

    Paris 1970|19.50 x 30 cm|une photographie

    "On June 28, 1970, I attended the first New York Gay Pride March. The date marks the first anniversary of the Stonewall riots, which launched the LGBTQ+ liberation movement in the U.S. We left from Christopher Street, a gay cultural mecca in Greenwich Village, and walked up 6th Avenue to Central Park. To end the day, a kissing contest was held in the middle of the park! It was a great moment of joy, love and freedom. This couple, who kissed for hours under an umbrella, obviously didn't care about photographers" (Interview with Clément Thierry, 2021)

    Original photo from Christopher Street Liberation Day March, New York - "Master and Slave"
    Original black and white silver print ; with the stamp of Jean-Pierre Laffont for the Gamma agency, and a lengthy mimeographed caption for the French press.
    Original prints from this event are extremely rare, as museums and galleries only have modern reprints.
    A touching and vivid account of the first Gay Pride March, in the aftermath of the Stonewall riots that became the cradle of the modern LGBTQ+ rights movement and subsequent gay liberation movements around the world.
    On June 28, 1969, police raided Stonewall, a mafia-owned dance bar in Greenwich Village catering primarily to gay and transgender people. The city had revoked the liquor licenses of gay bars and police officers regularly hassled its customers because of their sexual orientation. That night at Stonewall was one too many: cornered by Village residents and customers, the police were forced to retreat inside the bar and the riot lasted seven days. On June 6, 2019, nearly 50 years after the historic uprising, the New York Police Department has apologized for its role in the events.
    Now considered to be the origin of the gay liberation movement, Stonewall led to the creation of some of the first gay rights activist organizations, such as the Gay Liberation Front and Street Transvestite Action Revolutionaries (better known as STAR and founded by two of the most prominent transgender activists: Marsha P. Johnson and Sylvia Rivera). The uprising called for a new kind of movement. With this purpose, the Christopher Street Liberation Day March was held on June 28, 1970, one year to the day after Stonewall. Only a few brave groups first gathered at Sheridan Square (Greenwich village), before other people started joining in on their way to Sheep Meadow in Central Park, finally attracting more than 10,000 demonstrators. Annual Pride events were subsequently held in the summer in NYC and other major U.S. cities before reaching other continents after a few years, with hundreds of millions of people gathering for what has become one of the most prominent human rights demonstrations around the world.
    This beautiful picture shows a couple of young women sitting in the grass and wearing two matching t-shirts "Master" and "Slave". One is holding a flyer announcing the Harmonyville Music Festival, a major Woodstock-inspired event planned for August 1970 which never took place.

    Jean-Pierre Laffont first arrived in the U.S. in 1965 and began his career as a photojournalist in New York for Status Magazine and then as U.S. correspondent for the French agency Reporters Associés. He became Senior Foreign Correspondent for Gamma Press and in 1969 opened the Gamma Presse Images office in the U.S with his wife Eliane. Laffont covered major American historical events- the Civil Rights movement and social protests against racial discrimination, the Vietnam War, demonstrations for Peace, women's rights, and gay liberation, etc. Initially intended for the press, his artworks have now reached iconic status and are featured in international photographic collections.
    €1,500
  29. Photographie originale - Christopher Street Liberation Day March, New York - "Perverts' Union for Gay Liberation"
    Jean-Pierre LAFFONT

    Photographie originale - Christopher Street Liberation Day March, New York - "Perverts' Union for Gay Liberation"

    Paris 1970|19.50 x 30 cm|une photographie

    "On June 28, 1970, I attended the first New York Gay Pride March. The date marks the first anniversary of the Stonewall riots, which launched the LGBTQ+ liberation movement in the U.S. We left from Christopher Street, a gay cultural mecca in Greenwich Village, and walked up 6th Avenue to Central Park. To end the day, a kissing contest was held in the middle of the park! It was a great moment of joy, love and freedom. This couple, who kissed for hours under an umbrella, obviously didn't care about photographers" (Interview with Clément Thierry, 2021)

    Original photo from Christopher Street Liberation Day March, New York - "Perverts' Union for Gay Liberation"
    Original black and white silver print ; with the stamp of Jean-Pierre Laffont for the Gamma agency, and a lengthy mimeographed caption for the French press.
    Original prints from this event are extremely rare, as museums and galleries only have modern reprints.
    A touching and vivid account of the first Gay Pride March, in the aftermath of the Stonewall riots that became the cradle of the modern LGBTQ+ rights movement and subsequent gay liberation movements around the world.
    On June 28, 1969, police raided Stonewall, a mafia-owned dance bar in Greenwich Village catering primarily to gay and transgender people. The city had revoked the liquor licenses of gay bars and police officers regularly hassled its customers because of their sexual orientation. That night at Stonewall was one too many: cornered by Village residents and customers, the police were forced to retreat inside the bar and the riot lasted seven days. On June 6, 2019, nearly 50 years after the historic uprising, the New York Police Department has apologized for its role in the events.
    Now considered to be the origin of the gay liberation movement, Stonewall led to the creation of some of the first gay rights activist organizations, such as the Gay Liberation Front and Street Transvestite Action Revolutionaries (better known as STAR and founded by two of the most prominent transgender activists: Marsha P. Johnson and Sylvia Rivera). The uprising called for a new kind of movement. With this purpose, the Christopher Street Liberation Day March was held on June 28, 1970, one year to the day after Stonewall. Only a few brave groups first gathered at Sheridan Square (Greenwich village), before other people started joining in on their way to Sheep Meadow in Central Park, finally attracting more than 10,000 demonstrators. Annual Pride events were subsequently held in the summer in NYC and other major U.S. cities before reaching other continents after a few years, with hundreds of millions of people gathering for what has become one of the most prominent human rights demonstrations around the world.
    This fine photograph shows three young women holding a sign "Perverts' Union for Gay Liberation" and another that reads "Gay Pride".
    Jean-Pierre Laffont first arrived in the U.S. in 1965 and began his career as a photojournalist in New York for Status Magazine and then as U.S. correspondent for the French agency Reporters Associés. He became Senior Foreign Correspondent for Gamma Press and in 1969 opened the Gamma Presse Images office in the U.S with his wife Eliane. Laffont covered major American historical events- the Civil Rights movement and social protests against racial discrimination, the Vietnam War, demonstrations for Peace, women's rights, and gay liberation, etc. Initially intended for the press, his artworks have now reached iconic status and are featured in international photographic collections.
    €1,200
  30. Photographie originale - Christopher Street Liberation Day March, New York - Militant en fauteuil roulant
    Jean-Pierre LAFFONT

    Photographie originale - Christopher Street Liberation Day March, New York - Militant en fauteuil roulant

    Paris 1970|19.50 x 30 cm|une photographie

    "On June 28, 1970, I attended the first New York Gay Pride March. The date marks the first anniversary of the Stonewall riots, which launched the LGBTQ+ liberation movement in the U.S. We left from Christopher Street, a gay cultural mecca in Greenwich Village, and walked up 6th Avenue to Central Park. To end the day, a kissing contest was held in the middle of the park! It was a great moment of joy, love and freedom. This couple, who kissed for hours under an umbrella, obviously didn't care about photographers" (Interview with Clément Thierry, 2021)

    Original photo from Christopher Street Liberation Day March, New York - "Activist in a Wheelchair"
    Original black and white silver print ; with the stamp of Jean-Pierre Laffont for the Gamma agency, and a lengthy mimeographed caption for the French press.
    Original prints from this event are extremely rare, as museums and galleries only have modern reprints.
    A touching and vivid account of the first Gay Pride March, in the aftermath of the Stonewall riots that became the cradle of the modern LGBTQ+ rights movement and subsequent gay liberation movements around the world.
    On June 28, 1969, police raided Stonewall, a mafia-owned dance bar in Greenwich Village catering primarily to gay and transgender people. The city had revoked the liquor licenses of gay bars and police officers regularly hassled its customers because of their sexual orientation. That night at Stonewall was one too many: cornered by Village residents and customers, the police were forced to retreat inside the bar and the riot lasted seven days. On June 6, 2019, nearly 50 years after the historic uprising, the New York Police Department has apologized for its role in the events.
    Now considered to be the origin of the gay liberation movement, Stonewall led to the creation of some of the first gay rights activist organizations, such as the Gay Liberation Front and Street Transvestite Action Revolutionaries (better known as STAR and founded by two of the most prominent transgender activists: Marsha P. Johnson and Sylvia Rivera). The uprising called for a new kind of movement. With this purpose, the Christopher Street Liberation Day March was held on June 28, 1970, one year to the day after Stonewall. Only a few brave groups first gathered at Sheridan Square (Greenwich village), before other people started joining in on their way to Sheep Meadow in Central Park, finally attracting more than 10,000 demonstrators. Annual Pride events were subsequently held in the summer in NYC and other major U.S. cities before reaching other continents after a few years, with hundreds of millions of people gathering for what has become one of the most prominent human rights demonstrations around the world.
    This fine picture shows a man in a wheelchair with a sign that reads "Gay Pride" in the middle of the crowd.
    Jean-Pierre Laffont first arrived in the U.S. in 1965 and began his career as a photojournalist in New York for Status Magazine and then as U.S. correspondent for the French agency Reporters Associés. He became Senior Foreign Correspondent for Gamma Press and in 1969 opened the Gamma Presse Images office in the U.S with his wife Eliane. Laffont covered major American historical events- the Civil Rights movement and social protests against racial discrimination, the Vietnam War, demonstrations for Peace, women's rights, and gay liberation, etc. Initially intended for the press, his artworks have now reached iconic status and are featured in international photographic collections.
    €1,200
  31. Lettre dactylographiée signée adressée à son grand ami Carlo Rim à en-tête de son théâtre de l'Athénée
    Louis JOUVET

    Lettre dactylographiée signée adressée à son grand ami Carlo Rim à en-tête de son théâtre de l'Athénée

    Paris 1er août 1939|20.50 x 27 cm|une feuille
    Typed letter signed by Louis Jouvet addressed, on letterhead from his Athénée theater, to his great friend Carlo Rim, expressing joy and reassurance at receiving news from him: "What are you doing so far from me in Sanary? I had no more news from you, which made me confide to Charles that you must have disowned me, or that at least you were ashamed when thinking of me." He also mentions his state as a caregiver being at the bedside of his suffering wife. Finally, Louis Jouvet questions the silence of Carlo Rim's wife and son, from which he seems to suffer: "You tell me nothing about the bambino nor his mother: would you have disowned them too? or could it be that they would be them (word added by hand by Louis Jouvet) angry with me?"
    Louis Jouvet signing by hand at the end of the typed letter.
    Carlo Rim was a Provençal writer, author notably of "Ma belle Marseille," a caricaturist, a filmmaker: "Justin de Marseille," "L'armoire volante," "La maison Bonnadieu," and was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of Max Jacob and André Salmon whom he met in Sanary.



    €120
  32. Photographie originale signée - Christopher Street Liberation Day March, New York - "Gay People This Is Your Church"
    Jean-Pierre LAFFONT

    Photographie originale signée - Christopher Street Liberation Day March, New York - "Gay People This Is Your Church"

    Paris 1970|19.50 x 30 cm|une photographie

    "On June 28, 1970, I attended the first New York Gay Pride March. The date marks the first anniversary of the Stonewall riots, which launched the LGBTQ+ liberation movement in the U.S. We left from Christopher Street, a gay cultural mecca in Greenwich Village, and walked up 6th Avenue to Central Park. To end the day, a kissing contest was held in the middle of the park! It was a great moment of joy, love and freedom. This couple, who kissed for hours under an umbrella, obviously didn't care about photographers" (Interview with Clément Thierry, 2021)


    Original black and white silver print ; with the stamp of Jean-Pierre Laffont for the Gamma agency, and a lengthy mimeographed caption for the French press.
    Original prints from this event are extremely rare, as museums and galleries only have modern reprints.
    A touching and vivid account of the first Gay Pride March, in the aftermath of the Stonewall riots that became the cradle of the modern LGBTQ+ rights movement and subsequent gay liberation movements around the world.
    On June 28, 1969, police raided Stonewall, a mafia-owned dance bar in Greenwich Village catering primarily to gay and transgender people. The city had revoked the liquor licenses of gay bars and police officers regularly hassled its customers because of their sexual orientation. That night at Stonewall was one too many: cornered by Village residents and customers, the police were forced to retreat inside the bar and the riot lasted seven days. On June 6, 2019, nearly 50 years after the historic uprising, the New York Police Department has apologized for its role in the events.
    Now considered to be the origin of the gay liberation movement, Stonewall led to the creation of some of the first gay rights activist organizations, such as the Gay Liberation Front and Street Transvestite Action Revolutionaries (better known as STAR and founded by two of the most prominent transgender activists: Marsha P. Johnson and Sylvia Rivera). The uprising called for a new kind of movement. With this purpose, the Christopher Street Liberation Day March was held on June 28, 1970, one year to the day after Stonewall. Only a few brave groups first gathered at Sheridan Square (Greenwich village), before other people started joining in on their way to Sheep Meadow in Central Park, finally attracting more than 10,000 demonstrators. Annual Pride events were subsequently held in the summer in NYC and other major U.S. cities before reaching other continents after a few years, with hundreds of millions of people gathering for what has become one of the most prominent human rights demonstrations around the world.
    Wonderful full-length portrait of Rev. Robert Clement, wearing his cassock and proudly holding a sign that reads "Gay people this is your church". In 1970, he founded the Church of the Beloved Disciple, the first “gay church” in New York City, not only welcoming gay parishioners, but also the first to include openly gay pastors. Rev. Clement created and celebrated the first "Holy Unions" – same-sex religious marriage ceremonies.
    Jean-Pierre Laffont first arrived in the U.S. in 1965 and began his career as a photojournalist in New York for Status Magazine and then as U.S. correspondent for the French agency Reporters Associés. He became Senior Foreign Correspondent for Gamma Press and in 1969 opened the Gamma Presse Images office in the U.S with his wife Eliane. Laffont covered major American historical events- the Civil Rights movement and social protests against racial discrimination, the Vietnam War, demonstrations for Peace, women's rights, and gay liberation, etc. Initially intended for the press, his artworks have now reached iconic status and are featured in international photographic collections.
    €1,800
  33. Carte de la nouvelle route de Villa de San-José do Porto-Allègre à Minas-Novas - Voyage au Brésil, Dans les années 1815, 1816 et 1817, par S. A. S. Maximilien, Prince de Wied-Neuwied.
    Maximilien de WIED-NEUWIED

    Carte de la nouvelle route de Villa de San-José do Porto-Allègre à Minas-Novas - Voyage au Brésil, Dans les années 1815, 1816 et 1817, par S. A. S. Maximilien, Prince de Wied-Neuwied.

    Chez Arthus Bertrand|Paris 1822|52 x 36.40 cm|une feuille
    Fine original engraved map in folio format. It comes from the atlas of the French first edition of this travel account to Brazil, first published in 1820-1821 under the title Reise nach Brasilien in den Jahren 1815 bis 1817 and illustrating the account of the first voyage to Brazil by Maximilian, Prince of Wied-Neuwied.
    Some worming and minor marginal tears.
    €350
  34. La chute
    Albert CAMUS

    La chute

    Gallimard|Paris 1956|11.50 x 18 cm|reliure de l'éditeur sous étui souple
    First edition, one of 1,050 numbered copies on laid paper.
    Publisher's binding after the original design by Mario Prassinos.
    Handsome copy despite a slight tear to the cellophane at the head of the spine, slipcase slightly sunned and marginally worn.
    €1,200
  35. The landmark work of the "Harlem Renaissance" in a deluxe edition
    Le paradis des nègres
    Carl VAN VECHTEN, Paul MORAND (pref.)

    Le paradis des nègres [Nigger Heaven]

    Editions Kra|Paris 1927|20 x 21 cm|broché
    First edition of the French translation, one of 10 numbered copies on Lafuma wove paper, ours unnumbered, printed on deluxe paper.
    A rare and handsome copy, uncut, of one of the landmark works of the literary and poetic movement "Harlem Renaissance," which strove for the recognition of African-American culture.
    Controversial since its publication owing to its title, the novel recounts the adventures of a young couple from Harlem, in the cabarets and soirées of the New York neighborhood. Van Vechten tirelessly supported African-American artists and writers, even after the decline of the movement that had drawn so many white intellectuals to Harlem.
    €1,800
  37. Manuel de survie de la femme moderne
    Frigide BARJOT, Basile de KOCH

    Manuel de survie de la femme moderne

    Presses de la renaissance|Paris 2007|14 x 19 cm|broché
    First edition.
    Handsome copy.
    Autograph inscription dated and signed by Frigide Barjot to a friend named Amélie: "... dédie avec émotion le Manuel de survie de la femme moderne pour savoir comment faire pour emmener transept à la une de Marie-Claire ! Mille baisers." ["...dedicates with emotion the Modern Woman's Survival Manual to know how to get transept on the cover of Marie-Claire! A thousand kisses."]
    €50
  38. Carte de la Côte de l'Est du Brésil - Voyage au Brésil, Dans les années 1815, 1816 et 1817, par S. A. S. Maximilien, Prince de Wied-Neuwied.
    Maximilien de WIED-NEUWIED

    Carte de la Côte de l'Est du Brésil - Voyage au Brésil, Dans les années 1815, 1816 et 1817, par S. A. S. Maximilien, Prince de Wied-Neuwied.

    Chez Arthus Bertrand|Paris 1822|35.40 x 52 cm|une feuille
    Fine original engraved map in intaglio and heightened in colors in folio format. It comes from the atlas of the French first edition of this travel account to Brazil, first published in 1820-1821 under the title Reise nach Brasilien in den Jahren 1815 bis 1817 and illustrating the account of Maximilian, Prince of Wied-Neuwied's first voyage to Brazil.
    Plate lightly and entirely shaded, some marginal creases.
    €450
  39. Portrait photographique dédicacé d'Alfred Dreyfus
    (Alfred DREYFUS) Charles GERSCHEL

    Portrait photographique dédicacé d'Alfred Dreyfus

    Gerschel|Paris s. d. [1899]|10.70 x 16.30 cm|une photographie au format carte-cabinet
    Original albumen print, cabinet card mount with the stamp of the Gerschel studio. Bottom margin skillfully restored, a trace a folding in the left corner.
    Extremely rare signed inscription by Alfred Dreyfus in the top margin: “Souvenir reconnaissant et affectueux. A. Dreyfus” (“Grateful and affectionate souvenir”).
    This portrait was taken by Charles Gerschel on September 27, 1899 in the garden of Dreyfus' brother-in-law Joseph Valabrègue in Carpentras. A week after his official pardon, the captain had come to Carpentras seeking isolation and rest while awaiting his rehabilitation.
    We have only been able to locate one other copy of this photograph, inscribed to Bernard Lazare, now in the Musée de Bretagne. This same museum has a letter from Charles Gerschel to the captain's wife Lucie Dreyfus proving the rarity of these portraits: “I did not put any prints out there other than to give (and not to sell, I insist on this point) to a few faithful and devoted friends. As for the portraits of the captain [Dreyfus], I learned that one of my employees took the liberty of giving them to a dealer. By telephone I immediately had this traffic stopped.”
    Original photographic portraits of Dreyfus are rare and this one was printed in small numbers for Alfred Dreyfus and probably as a gift to his supporters.
    Provenance: library of Anselme Weill.

    Dr. Anselme Weill was charged with the difficult task of announcing to the Dreyfus family the news of Alfred's life sentence and formal degradation. In his book Affaire Dreyfus, L'Honneur d'un patriote, Vincent Duclert writes: “Mathieu [Dreyfus, Alfred's brother] had asked a relative of the Hadamard family, Dr. Weill, to wait for the announcement of the verdict and to bring the news to the apartment on rue de Châteaudun, where a small group of friends and family members was waiting. He arrived at half past seven in the evening.” He also reveals that Anselme Weill had testified on behalf of Alfred Dreyfus at his trial: “Other allegations could be rejected, for example those directed towards Dr. Weill, whose wife was a third cousin of Lucie Dreyfus. 'I attest, as the very frequent, almost daily relations that I had with him as a relative, as a doctor and as a friend, allow me to do so, I attest that Dreyfus was always a perfect husband, and that I never knew him to be a gambler nor a libertine. However, it is just the opposite that I am made to say, and I protest against these allegations. I have nothing to add', he declared to the court.”
    €10,000
  40. Importante lettre autographe signée adressée à Carlo Rim à propos d'un différend regardant le droit de propriété intellectuelle du film "Hercule"
    RAIMU

    Importante lettre autographe signée adressée à Carlo Rim à propos d'un différend regardant le droit de propriété intellectuelle du film "Hercule"

    Paris 5 avril 1938|20.50 x 26.50 cm|une feuille
    Autograph letter signed by Raimu addressed from his Parisian home to Carlo Rim, 25 lines in black ink, assuring him of his support and providing his epistolary testimony, being unable to be physically present at a legal appointment concerning the film Hercule for which Carlo Rim claims authorship: "Je regrette de ne pouvoir me rendre en tant que témoin, à l'arbitrage que tu as solliciter (sic) de la société des auteurs. Mais ce que je puis te rappeler c'est que je connais Hercule depuis que je te connais toi même. Que tu m'as toujours parlé de ce film que tu me destinais d'ailleurs et que les évènements ne m'ont pas permis de tourner. Et surtout que tu m'as donné lecture de ton scénario sur ma demande à Jacques Feyder et à Loureau ... qui voulaient faire un film avec moi il y a 4 ans." ["I regret not being able to appear as a witness at the arbitration you have requested from the society of authors. But what I can remind you is that I have known Hercule since I have known you yourself. That you have always spoken to me about this film that you intended for me and that events did not allow me to shoot. And above all that you read me your screenplay at my request to Jacques Feyder and Loureau... who wanted to make a film with me 4 years ago."]
    Carlo Rim appears to have won his case against director Jacques Feyder, certainly thanks to this letter from Raimu who had initially been chosen by Carlo Rim to create the eponymous role of Hercule.
    The film, a satire of the Parisian press, would finally be released on March 5, 1938 and was jointly directed by Alexandre Esway and Carlo Rim with Fernandel as Hercule, and Gaby Morlay, Jules Berry and Pierre Brasseur in the main roles.
    Central folds inherent to postal folding.
    Carlo Rim was a Provençal writer, author notably of "Ma belle Marseille", a caricaturist, a filmmaker: "Justin de Marseille", "L'armoire volante", "La maison Bonnadieu", and was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of Max Jacob and André Salmon whom he met in Sanary.
    €600
  41. "... des détails insignifiants s'aggravent souvent avec les nerfs des femmes ! "
    Abel GANCE

    "... des détails insignifiants s'aggravent souvent avec les nerfs des femmes ! "Signed autograph letter addressed to Carlo Rim regarding Nelly Kaplan and Abel Gance's wife

    Paris 1960|21 x 27 cm|une feuille
    Autograph letter signed by Abel Gance, from his Parisian home, addressed to Carlo Rim, 19 lines in black ink, requesting Carlo Rim's discretion in order to spare the sensitivities of Nelly Kaplan and Abel Gance's wife : "Cher Carlo, soyez gentil - & je compte sur votre discrétion totale, de ne rien dire à Nelly Kaplan au sujet de la demande que je vous ai faite pour mad.e Gance - Des détails insignifiants s'aggravent souvent avec les nerfs des femmes !" ["Dear Carlo, be kind - & I count on your complete discretion, to say nothing to Nelly Kaplan about the request I made to you for Mrs. Gance - Insignificant details often become aggravated with women's nerves!"]
    Abel Gance, caught up in the pharaonic project of his film "Austerlitz" (released in 1960 with Pierre Mondy, Jean Marais and Martine Carol) is not certain of appearing at the Cannes festival: "J'essaierai de venir à Cannes les 2-3 derniers jours - Cela dépendra de la finition de ma copie d'Austerlitz mais je ne crains de terminer que le 21 mai". ["I will try to come to Cannes the last 2-3 days - It will depend on finishing my copy of Austerlitz but I fear I won't finish until May 21st."]
    Central folds inherent to mailing, light tears and marginal folds of no consequence to the letter's margins.
    Carlo Rim was a Provençal writer, notably author of "Ma belle Marseille", a caricaturist, a filmmaker: "Justin de Marseille", "L'armoire volante", "La maison Bonnadieu", and was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of Max Jacob and André Salmon whom he met in Sanary.
    €400
  42. "... c'est un film épatant et merveilleusement mis en scène..."
    Jacques BECKER

    "... c'est un film épatant et merveilleusement mis en scène..."Complimentary signed autograph letter addressed to Carlo Rim about his film "La maison Bonnadieu"

    Paris 30 novembre 1951|20.50 x 26.50 cm|une feuille
    Autograph letter signed by Jacques Becker addressed to Carlo Rim, 8 lines in black ink, congratulating him for his latest film "La maison Bonnadieu" : "Carlo, j'ai vu hier soir "La maison Bonnadieu". C'est un film épatant, et merveilleusement mis en scène - Permettez-moi de vous féliciter. Jacques Becker." ["Carlo, I saw "La maison Bonnadieu" last night. It's a wonderful film, and marvelously directed - Allow me to congratulate you. Jacques Becker."]
    Central folds inherent to postal handling.
    Carlo Rim was a Provençal writer, author notably of "Ma belle Marseille", a caricaturist, a filmmaker: "Justin de Marseille", "L'armoire volante", "La maison Bonnadieu", and was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of Max Jacob and André Salmon whom he met in Sanary.
    €150
  43. Affectueuse lettre autographe signée adressée son grand ami Carlo Rim à propos du droit d'auteur au cinéma
    Marcel PAGNOL

    Affectueuse lettre autographe signée adressée son grand ami Carlo Rim à propos du droit d'auteur au cinéma

    Paris 19 mai 1959|21 x 27 cm|une feuille

    Touching autograph letter signed by Marcel Pagnol addressed from Monte Carlo to his great friend Carlo Rim, 9 lines in blue ink, : "Petit Carlo, Où es-tu? Donne-moi ton adresse, car il faut que je t'écrive sérieusement à propos du droit d'auteur au cinéma. C'est urgent, et important pour tous. Je t'embrasse et aussi Alice, Marcel. Monte Carlo" ["Little Carlo, Where are you? Give me your address, as I need to write to you seriously about film copyright. It's urgent, and important for everyone. I embrace you and also Alice, Marcel. Monte Carlo"]
    Central folds inherent to postal handling, Carlo Rim having inscribed a date in pencil, probably that of receiving the letter. He also indicated below, still in pencil: 27 mai ass.ger. SACD à Pleyel.
    Carlo Rim was a Provençal writer, author notably of "Ma belle Marseille", a caricaturist, a filmmaker: "Justin de Marseille", "L'armoire volante", "La maison Bonnadieu", and was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of Max Jacob and André Salmon whom he met in Sanary.
    Tutor to the aspiring baccalaureate candidate Jean Marius, future Carlo Rim, the very young graduate Marcel Pagnol preferred to teach him cup-and-ball, mocking the uselessness of the baccalaureate.
    This was the beginning of an unshakeable friendship between the two artists whose literature, theater and films contributed to the fame of the land of cicadas.


    €450
  44. Bristol autographe signé adressé à sa grande amie Alice Rim
    Louis JOUVET

    Bristol autographe signé adressé à sa grande amie Alice Rim

    Paris s. d. [circa 1950]|13 x 10.50 cm|une feuille
    Autograph signed card by Louis Jouvet addressed, on letterhead of his Athénée theatre, to his great friend Alice Rim, 12 lines in blue ink : "Ma petite Alice. J'ai été fâché de ne pouvoir aller à Cassis l'autre jour et dîner avec toi - Nous avons tous été retenus ici par un arrivage !! J'espère que Carlo t'es arrivé. J'espère pousser jusque là-bas dès que ma voiture sera arrangée - Le Babou est magnifique ! Je t'embrasse affectueusement. Louis J." ["My little Alice. I was sorry not to be able to go to Cassis the other day and dine with you - We were all held up here by an arrival!! I hope Carlo reached you. I hope to push on down there as soon as my car is fixed - The Babou is magnificent! I embrace you affectionately. Louis J."]
    Provenance: from the Carlo Rim collection.
    Carlo Rim was a Provençal writer, author notably of "Ma belle Marseille", a caricaturist, a filmmaker: "Justin de Marseille", "L'armoire volante", "La maison Bonnadieu", and was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of Max Jacob and André Salmon whom he met in Sanary.



    €200
  45. Lettre autographe signée adressée à son ami Carlo Rim lui présentant ses voeux pour l'année 1934 et enrichie d'un humoristique dessin original légendé représentant un guérillero cubain tirant au pistolet
    Jean EFFEL

    Lettre autographe signée adressée à son ami Carlo Rim lui présentant ses voeux pour l'année 1934 et enrichie d'un humoristique dessin original légendé représentant un guérillero cubain tirant au pistolet

    Paris 1934|21 x 31 cm|une feuille
    Autograph letter signed addressed to his friend Carlo Rim presenting his wishes for the year 1934, 4 lines in black ink : "Je tiens à souhaiter, à Carlo Rim, une bonne année 1934. Je lui dois un heureux 1933. Jean Effel." ["I wish to wish Carlo Rim a good year 1934. I owe him a happy 1933. Jean Effel."]
    On the left side of the letter has been glued an original signed drawing by Jean Effel in black and orange felt-tip pens, blue pencil and white correction fluid depicting a Cuban guerrilla firing a pistol which he captioned thus: "A Cuba les gouvernements changent trop vite : on n'a même plus le temps de viser !" ["In Cuba governments change too fast: there's no time left to aim!"]
    Small marginal tears to the letter not affecting the text and original drawing, fold mark inherent to placing in envelope.
    Carlo Rim was a Provençal writer, author notably of "Ma belle Marseille", a caricaturist, a filmmaker: "Justin de Marseille", "L'armoire volante", "La maison Bonnadieu", and was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of Max Jacob and André Salmon whom he met in Sanary.



    €250
  46. Le soleil des eaux, spectacle pour une toile des pêcheurs
    René CHAR, Georges BRAQUE

    Le soleil des eaux, spectacle pour une toile des pêcheurs

    Henri Matarasso|Paris 1949|23 x 28.50 cm|Relié

    First edition, one of 170 numbered copies on vélin du Marais, the only issue after 30 copies on Arches.

    Custom chemise and slipcase, chemise in half blue box calf, flat spine with blind and palladium-stamped lettering, date in palladium at foot, patterned paper boards, slipcase edged in blue box calf, patterned paper boards, sides and spine in petrol blue paper, signed by Boichot.
    A very fine copy.
    Illustrated with 3 original etchings in black by Georges Braque and one in black and grey as frontispiece.
    Signed by René Char and Georges Braque on the colophon.

    €2,300
  47. Lettres d'hivernage
    Léopold Sédar SENGHOR, Marc CHAGALL

    Lettres d'hivernage

    Seuil|Paris 1973|23 x 28.50 cm|Relié

    First edition, one of 180 numbered copies on Arches.

    Housed in a custom chemise and slipcase, chemise in half raspberry-red morocco, flat spine with title gilt-stamped lengthwise, author gilt-stamped at head and illustrator stamped horizontally at foot, modern marbled paper boards, slipcase edged with raspberry morocco at head and foot, modern marbled paper boards and spine, chemise and slipcase signed by Boichot.
    A very fine copy.
    Illustrated with 9 original full-page lithographs in black and colors by Marc Chagall including one on the cover.
    Signed by Léopold Sédar Senghor and Marc Chagall at the colophon.

    €3,000
  48. L'instinct de mort
    Jacques MESRINE

    L'instinct de mort

    Jean-Claude Lattès|Paris 1977|14 x 22.50 cm|broché
    The first edition, of which there were no deluxe copies.
    Gift inscription in blue pen from a previous owner at head of an endpaper.
    Rare and handsome copy.
    €300
  49. L'aventure en soi - Autobiographie
    Sarane ALEXANDRIAN

    L'aventure en soi - Autobiographie

    Mercure de France|Paris 1990|14 x 20.50 cm|broché
    The first edition, of which there were no deluxe copies.
    Handsome copy.
    Signed autograph inscription from Sarane Alexandrian to art critic Dominique Paulvé.

    €80
  50. Holocaustum ou le borgne
    Eduardo MANET

    Holocaustum ou le borgne

    Gallimard|Paris 1972|11 x 16.50 cm|broché
    The first edition, of which there were no deluxe copies.
    Second cover uniformly soiled.
    Handsome autograph inscription dated and signed by Eduardo Manet to a man named Jean-Claude: "... qui a eu la gentillesse de trouver cette vieille pièce que j'aime bien." ["... who was kind enough to find this old play that I like very much."]
    €50
  51. "je rejoins régulièrement, chaque premier mardi de mois, un groupe d'amis en la fameuse et fumeuse Closerie des Lilas..."
    Georges POLTI

    "je rejoins régulièrement, chaque premier mardi de mois, un groupe d'amis en la fameuse et fumeuse Closerie des Lilas..."Signed autograph letter addressed to his friend the poet Jean Ott

    Paris 22 février 1914|14.50 x 19 cm|une feuille
    Autograph letter signed by Georges Polti addressed to Jean Ott, written in black ink (24 lines) praising the latter's qualities as a literary critic: "... Quelle joie d'apprendre que l'Ephèbe vous a plu que vous l'allez lire, en les termes que vous savez trouver, vous dont la sympathie d'esprit m'est un tel réconfort..." ["... What joy to learn that the Ephebe pleased you and that you will read it, in the terms you know how to find, you whose sympathy of spirit is such a comfort to me..."] and inviting him to join the poetic gatherings he attends monthly at the Closerie des Lilas: "... je rejoins régulièrement, chaque premier mardi de mois, un groupe d'amis en la fameuse et fumeuse Closerie des Lilas. Si jamais vous passez par là ce jour entre six heures et minuit, poussez donc la porte... je serai si heureux de vous voir ! " ["... I regularly join, every first Tuesday of the month, a group of friends at the famous and smoky Closerie des Lilas. If you ever pass by there on that day between six o'clock and midnight, do push the door open... I would be so happy to see you!"]
    Central fold mark inherent to the mailing.


    €120
  53. Lettre tapuscrite signée de Léo Malet à son ami le photographe Bruno de Monès
    Léo MALET, Bruno de MONES

    Lettre tapuscrite signée de Léo Malet à son ami le photographe Bruno de Monès

    S. n.|s. l. • [Paris] 1983|21 x 29.50 cm|une feuille
    Typed letter, dated June 29, 1983, signed by Léo Malet to photographer Bruno de Monès in which the writer thanks his photographer: "... multipliant autour de moi les images de ma "petite chérie" que j'éprouve le besoin de vous envoyer encore un bouquin..." ["... multiplying around me the images of my 'little darling' that I feel the need to send you another book..."] and takes the liberty of asking him for information about a glue and black paper he uses to create his collages, often of pornographic inspiration.
    At the end of the typed letter, on letterhead from his Châtillon address, Léo Malet adds a handwritten "Bien à vous. Léon Malet." ["Yours truly. Léon Malet."]
    Central fold marks inherent to mailing.
    €150
  54. Carte postale autographe signée adressée à son ami le poète Jean Ott
    Georges POLTI

    Carte postale autographe signée adressée à son ami le poète Jean Ott

    Paris 31 décembre 1912|14 x 9 cm|une carte postale
    Autograph postcard signed by Georges Polti addressed to Jean Ott, written in black ink (8 lines) on the verso of the photographic reproduction of a painting by Nicolas Lancret entitled "L'été".
    Georges Polti wishes a prompt recovery as well as an excellent year 1913 to his fellow poet Jean Ott: "... Je vous envoie toujours un peu de soleil : cela ne peut nuire. Belle et saine et triomphale année ! " ["... I always send you a little sunshine: it cannot harm. A beautiful and healthy and triumphant year!"]
    A black ink stain in the upper left corner of the postcard.

    €100
  55. Lettre autographe signée adressée à son ami le poète Jean Ott
    Georges POLTI

    Lettre autographe signée adressée à son ami le poète Jean Ott

    Paris 24 Mars 1914|14.50 x 19 cm|une feuille
    Lyrical autograph letter signed by Georges Polti addressed to Jean Ott, written in black ink (35 lines) in which he does not hide his enthusiasm for the community of spirit they share and the quasi-mediumistic clairvoyance of his correspondent regarding his work: "... Et je suis de plus en plus effaré par cette parenté inexplicable de nos esprits, qui vous fait lire le mien jusqu'au fond. J'en serais presque révolté d'effroi sans cette sympathie qui y apporte avec la lumière la plus éclatante la chaleur la plus vivifiante et la plus douce..." ["... And I am more and more astounded by this inexplicable kinship of our minds, which enables you to read mine to its depths. I would almost be revolted with terror were it not for this sympathy which brings with the most brilliant light the most vivifying and sweetest warmth..."], "... Vous me donnez le sentiment que, si je mourrais, rien de moi ne mourrait, tout continuerait à se développer en vous, avec vous. Il se produirait que vous auriez deux âmes, et voilà tout." ["... You give me the feeling that, if I were to die, nothing of me would die, everything would continue to develop in you, with you. It would happen that you would have two souls, and that is all."]
    Finally, Georges Polti praises his friend's soul: "... la plus belle, la plus vaillante, la plus divinatrice..." ["... the most beautiful, the most valiant, the most prophetic..."] and greets him by invoking the spirits of their illustrious predecessors: "Je vous serre les mains, ô ami fantastique, avec une émotion que seuls un Nerval, un Novalis ou un Edgard (sic) Poe auraient pu comprendre..." ["I clasp your hands, O fantastic friend, with an emotion that only a Nerval, a Novalis or an Edgar Poe could have understood..."]
    Central fold mark inherent to the mailing.
    Remarkable letter imbued with a poetic lyricism bordering on esotericism.

    €200
  56. Dessin original au crayon de papier rehaussé aux feutres noir, rouge et jaune représentant Mistinguett; l'esquisse d'un portrait d'Antonin Artaud figurant au dos
    Carlo RIM

    Dessin original au crayon de papier rehaussé aux feutres noir, rouge et jaune représentant Mistinguett; l'esquisse d'un portrait d'Antonin Artaud figurant au dos

    Paris s. d. [circa 1950]|15 x 20.50 cm|une feuille
    Original drawing in pencil heightened with black, yellow and orange red felt-tip pens by Carlo Rim depicting Mistinguett in profile, hands crossed over her belly.
    On the verso, a sketch of a portrait of Carlo Rim's close friend Antonin Artaud has been executed with blue ink stains; above, the names of the following celebrities have been inscribed in pencil: "Simenon - Jeanson - Pagnol - Achard - Anouilh - Jos. Baker.", all framed by blue pen scribbles.
    Carlo Rim was a Provençal writer, author notably of "Ma belle Marseille", a caricaturist, a filmmaker and was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of Max Jacob and André Salmon whom he met in Sanary.
    €100
  57. Lettre autographe signée adressée à Carlo Rim alors mobilisé comme infirmier militaire dans un hôpital du Gard
    Roland DORGELÈS

    Lettre autographe signée adressée à Carlo Rim alors mobilisé comme infirmier militaire dans un hôpital du Gard

    Paris s. d. [1939]|13.50 x 18 cm|une feuille
    Autograph letter signed by Roland Dorgelès addressed to Corporal Jean Richard, alias Carlo Rim, written in blue ink (23 lines) in which he evokes the famous comic strip character created by Carlo Rim: "... Que ce M. Virgule (tel qu'en lui-même enfin...) est donc séduisant..." ["... How seductive this M. Virgule is (such as he is at last...)..."] but also his next assignment related to the war that is beginning and which will not allow him to see him soon: "je rentre en Armée de l'Est (correspondant de guerre en principe) et vais repartir dans quelques jours. Dommage que votre petit hôpital ne soit pas dans le secteur..." ["I am returning to the Army of the East (war correspondent in principle) and will leave again in a few days. Too bad your little hospital is not in the sector..."]
    Finally, Roland Dorgelès pities his friend, far from his family and his pleasant civilian occupations: "... comme vous avez été maheureux, sans Alice et sans Babou, sans le soleil de Sanary, les boules de Saint-Cloud, tout ce que nous aimions et qui manque plus encore dès qu'on l'a perdu.." ["... how unhappy you have been, without Alice and without Babou, without the sun of Sanary, the bowls of Saint-Cloud, all that we loved and which is missed even more once it is lost..."]
    Central fold mark, two dates inscribed on the verso of the letter: "4. oct.39." and 12 février 40, certainly the date on which the letter was written and that on which Carlo Rim received it.
    Fine autograph letter from a former WWI soldier to a WWII mobilized soldier


    €150
  58. Du Cinéma - Revue de critique et de recherches cinématographiques N°1 de la 1ère série
    Jean Georges AURIOL, Pierre KÉFER

    Du Cinéma - Revue de critique et de recherches cinématographiques N°1 de la 1ère série

    Librairie José Corti|Paris Décembre 1928|24 x 29 cm|agrafé
    First edition of this important cinema review founded by Pierre Kéfer and Jean George Auriol (under the pseudonym Jacques Niel).
    Two tears repaired with adhesive pieces at head of verso of covers, two small angular lacks to second cover, printed collection stamp at head of first page.
    Contributions by Philippe Soupault "Quand Chaplin apparut", the editors "Avez-vous peur du cinéma?", Jean George Auriol "Le cinéma et les moeurs : la fenêtre magique", Bernard Brunius "Le cinéma et les moeurs : le cinéma et l'amour", André Delons "Chronique des films perdus", Louis Chavance "Le décorateur et le métier", Pierre Audard and Jean George Auriol "La critique des films", André R. Mauge "Vieux frère gramophone".
    Issue illustrated with photographs.
    Very rare issue of this review which would have only three under this name and which ranks among the first and most important reviews devoted to cinema and nascent surrealism.

    €1,200
  59. Promenade dans un parc
    Louis CALAFERTE

    Promenade dans un parc

    Denoël|Paris 1987|14 x 20.50 cm|broché
    First edition on ordinary paper.
    Handsome copy complete with dust jacket and publisher's slip.
    Signed autograph inscription by Louis Calaferte to the writer and literary critic close to Gabriel Matzneff, Christian Giudicelli: "Pour vous cher Christian Giudicelli, - et j'ai été très heureux - et c'est vrai - de votre prix - c'est une merveille à votre âge. J'espère vous revoir. Amicalement. Calaferte." ["For you dear Christian Giudicelli, - and I was very happy - and it's true - about your prize - it's marvelous at your age. I hope to see you again. Warmly. Calaferte."]
    €120
  60. L'été
    Albert CAMUS

    L'été

    Gallimard|Paris 1954|12 x 18.50 cm|broché
    Edition from the same year as the first edition.
    Minor restorations to the spine.
    Beautiful autograph inscription signed by Albert Camus to Irma Antonetto: "... pour lui rappeler nos promenades d'hiver et la fidèle pensée d'Albert Camus..." ["... to remind her of our winter walks and the faithful thoughts of Albert Camus..."]
    Irma Antonetto was the founder and director of the Associazione Culturale Italiana. During her forty-six years at the head of the Association, she invited nearly 400 intellectuals and numerous Nobel Prize winners to give readings in Italy. In 1964, she was named Knight of Merit of the Italian Republic, before being honored twenty years later by France for her tireless work in favor of culture.
    €2,500
  61. Zénothémis, anecdote marseilloise
    François-Thomas-Marie de Baculard d' ARNAUD

    Zénothémis, anecdote marseilloise

    Le Jay|Paris 1773|15.50 x 23.50 cm|relié
    First edition illustrated with two out-of-text vignettes and a frontispiece engraving.
    Half red morocco binding, spine very slightly faded with five raised bands, gilt date at foot, marbled paper boards, marbled endpapers and pastedowns.
    Occasional light foxing, light rubbing to corners of boards, amusing biographical note concerning the author pasted to head of one pastedown.
    €250
  62. Mémoire pour servir à une nouvelle histoire de Louis XII, le père du peuple
    Pierre-Louis ROEDERER

    Mémoire pour servir à une nouvelle histoire de Louis XII, le père du peuple

    Imprimerie de Firmin Didot|Paris 1819|13.50 x 21 cm|broché
    First edition in original wrappers.
    Library stamp on title page, foxing.
    Copy presented under blue temporary covers, title label pasted at head of spine, small lacks and corner tears to boards.
    Provenance: from the library of Count de Montalembert with his manuscript ownership inscription at head of half-title page.
    €70
  63. Un cabinet d'amateur
    Georges PEREC

    Un cabinet d'amateur[A collector's cabinet]

    Balland|Paris 1979|13 x 20 cm|broché
    The first edition, of which there were no deluxe copies.
    Handsome copy.
    Autograph inscription dated and signed by Georges Perec to the pataphysician Gilbert Lascault, art critic and specialist notably of the work of Jean Dubuffet, Pierre Alechinsky, Christian Boltanski: "A Gilbert Lascaux (sic) ce trompe l'oeil".
    €800
  64. Montserrat
    Emmanuel ROBLÈS

    Montserrat

    Seuil|Paris 1954|12.50 x 18.50 cm|broché
    The first edition, of which there were no deluxe copies.
    Handsome copy.
    Dated and signed autograph inscription by Emmanuel Roblès: "A monsieur Cohen, cette tragédie de tous les temps..." ["To Mr. Cohen, this tragedy of all times..."]


    €60
  65. Du tour du monde à la transat
    Eric TABARLY

    Du tour du monde à la transat

    Editions du Pen Duick|Paris 1976|15.50 x 23 cm|broché
    The first edition, of which there were no deluxe copies.
    Handsome copy despite a lack of plastic film at the foot of the spine.
    Iconography.
    Signed autograph inscription by Eric Tabarly to a man named Patrick.
    €150
  66. Les barons de Flesheim, histoire allemande, qui n'est pas tirée de l'allemand
    PIGAULT-LE-BRUN [Charles-Antoine-Guillaume PIGAULT de L'ÉPINOY]

    Les barons de Flesheim, histoire allemande, qui n'est pas tirée de l'allemand

    Barba • Ouvrier|Paris An VI & An VII (1798)|10 x 17.50 cm|4 volumes reliés en 2
    First edition illustrated with an engraving as frontispiece to each of the four volumes.
    Half red shagreen bindings, spines with four thin raised bands set with gilt garlands and decorated with broad black fillets, gilt friezes at head and foot, marbled paper boards, two joints slightly cracked.
    On the fourth volume: a filled gap at foot of pages 41-42 (not touching text) and a marginal tear without loss on pages 211-212 with slight damage to text.
    Charles-Antoine-Guillaume Pigault de l'Épinoy, known as Pigault-Lebrun, was a French novelist and playwright born in 1753 in Calais and died in 1835 at La Celle-Saint-Cloud. Pigault Lebrun is at the very source of French popular fiction which flourished in the 19th century with Alexandre Dumas and Eugène Sue. He made the fortune of publisher Barba who wrote his biography.
    Rare.

    €450
  67. Les plantes insectivores
    Charles DARWIN

    Les plantes insectivores

    C. Reinwald & Cie|Paris 1877|14.50 x 23.50 cm|reliure de l'éditeur
    Rare first edition of the French translation established by Edmond Barbier.
    Biographical introduction and additional notes by Charles Martins.
    Publisher's full green cloth binding, smooth spine, headcaps skillfully restored, blind-ruled frame on boards, grey paper endpapers and pastedowns.
    Some foxing, gift inscription dated in blue ballpoint pen at head of half-title page.
    Work illustrated with 30 figures in the text.
    €1,200
  68. L'autre revanche - Exemplaire de Jean Richard, père de l'auteur et grand-père de Carlo Rim
    Marius RICHARD

    L'autre revanche - Exemplaire de Jean Richard, père de l'auteur et grand-père de Carlo Rim

    Boivin & Cie|Paris 1916|12 x 18.50 cm|relié
    First edition, with third edition statement.
    Half orange morocco binding, smooth spine browned decorated with gilt typographical motifs, marbled paper boards, combed paper endpapers and pastedowns, covers preserved, top edge gilt.
    On an endpaper, a visiting card of Edouard Herriot has been mounted on which he added these manuscript words: "Merci mon cher Richard, je vous lirai la plume à la main. Cordialement Edouard." ["Thank you my dear Richard, I will read you pen in hand. Cordially Edouard."]
    Finally, we include two postcards dated December 8, 1918 addressed by Marius Richard to his father and representing two monuments of the city of Metz: the cathedral and the statue of Marshal Ney.
    On the first, Marius Richard inscribed these historic words: "Souvenir de la réunion de Metz à la France" ["Souvenir of the reunion of Metz with France"], on the second: "Souvenir de la plus grande minute de tous les temps. Marius." ["Souvenir of the greatest moment of all time. Marius."]
    A touching patriotic testimony immortalizing, in the full euphoria of the very recent armistice of November 11, 1918, the attachment of Alsace and part of Lorraine to France.


    €150
  69. Le revolver à cheveux blancs
    André BRETON

    Le revolver à cheveux blancs

    Edition des cahiers libres|Paris 1932|14.50 x 19.50 cm|broché
    First edition, one of 1000 numbered copies on alfa paper, the only issue after 10 on Japan paper.
    Handsome copy.

    €200
  70. ... La nature des choses
    Jacques FAIZANT

    ... La nature des choses

    Denoël|Paris 1984|17.50 x 20.50 cm|reliure de l'éditeur
    First edition in volume.
    Publisher's full white paper boards, smooth spine, illustrated front cover.
    Work illustrated with humorous drawings by Jacques Faizant.
    Handsome copy despite small lacks to the laminated film on the joints.
    Autograph inscription signed by Jacques Faizant to Jean Langlois.


    €50
  71. Pierre Mendes France
    Jean LACOUTURE

    Pierre Mendes France

    Seuil|Paris 1981|17.50 x 20.50 cm|broché
    The first edition, of which there were no deluxe copies.
    Minor stains of no consequence to edges and spine, otherwise a handsome copy.
    Work illustrated with a photographic gathering at the end of the volume
    Autograph inscription signed by Jean Lacouture to Revue Esprit on the half-title page.


    €50
  72. Essai sur l'origine de l'écriture, sur son introduction dans la Grèce et son usage jusqu'au temps d'Homère, c'est-à-dire jusqu'à l'an mille avant notre ère
    Agricol-Joseph, marquis de FORTIA D'URBAN

    Essai sur l'origine de l'écriture, sur son introduction dans la Grèce et son usage jusqu'au temps d'Homère, c'est-à-dire jusqu'à l'an mille avant notre ère

    H. Fournier jeune|Paris 1832|13 x 21.50 cm|relié
    Rare first edition.
    Full glazed fawn calf binding, spine with four raised bands decorated with gilt and blind-stamped typographical motifs, title and author labels lacking, gilt friezes at head and foot, one joint cracked at head, gilt roulettes (faded) on headcaps, frame of gilt frieze on boards struck at their centers with a blind-stamped mandorla, some angular rubbing to boards, marbled endpapers and pastedowns, corners slightly bumped, gilt edges at head and foot of leading edges, marbled edges, contemporary romantic binding.
    Foxing.
    Work decorated with one engraving as well as 4 folding plates hors-texte (the first of these with a tear in its left margin), two leaves of manuscript notes relating to the work have been bound at the end of the volume.
    €450
  73. La Montagne - Notices historiques et philosophiques sur les principaux membres de la Montagne
    Jean-Barthélémy HAURÉAU

    La Montagne - Notices historiques et philosophiques sur les principaux membres de la Montagne

    J. Breauté|Paris 1834|16 x 24 cm|broché
    First edition illustrated with 15 etched portraits engraved by Jeanron; the portrait of Camille Desmoulins is before letters.
    At the beginning of the volume, the index listing the engraved portraits has been marked with blue ink in the left margin of each name.
    Some foxing, three lacks at head and foot of spine, small tears and marginal lacks to the dusty angular boards, two portraits (out of 15) are missing from our copy: that of Robespierre jeune and that of Georges Couthon.
    €300
  74. Les plantes insectivores
    Charles DARWIN

    Les plantes insectivores

    C. Reinwald & Cie|Paris 1877|14.50 x 23.50 cm|reliure de l'éditeur
    First edition of the French translation established by Edmond Barbier.
    Biographical introduction and supplementary notes by Charles Martins.
    Publisher's full green percale binding, smooth spine, head caps lightly rubbed, blind fillet frame on covers, grey paper endpapers and pastedowns.
    Some minor foxing of no consequence.
    Work illustrated with 30 figures in the text.
    Very rare and handsome copy.
    €1,500
  75. Sortie de secours
    Théodore MONOD

    Sortie de secours

    Seghers|Paris 1991|14 x 19.50 cm|broché
    Edition with some parts in first edition.
    Handsome copy.
    Manuscript signature of Théodore Monod on the title page.
    €120
  76. Londres
    Louis-Ferdinand CÉLINE

    Londres

    Gallimard|Paris 2022|15 x 21.50 cm|broché
    First edition, one of 310 numbered copies on rivoli vellum, the only deluxe copies.
    Edition established by Régis Tettamanzi.
    Copy in mint condition.
    €2,800
  77. De la phtisie pulmonaire
    Adolphe LERAY

    De la phtisie pulmonaire

    Henri Gautier|Paris s. d. [circa 1890]|12 x 18 cm|agrafé
    First edition.
    A handsome and rare pamphlet.
    €50
  78. L'enfant de sable
    Tahar BEN JELLOUN

    L'enfant de sable

    Seuil|Paris 1985|10.50 x 18 cm|broché
    Pocket book format edition of the French translation.
    Light foxing to edges.
    Manuscript signature of Tahar Ben Jelloun in Arabic characters.


    €50
  79. Zone sacrée
    Carlos FUENTES

    Zone sacrée

    Gallimard|Paris 1981|11.50 x 18.50 cm|broché
    New edition of the French translation, of which there were no deluxe copies.
    Covers marginally soiled, handsome interior condition.
    Autograph inscription dated 1997 and signed by Carlos Fuentes to a man named Jean-Claude.

    €150
  80. Lumière de soufre
    Georges ARNAUD

    Lumière de soufre

    Julliard|Paris 1954|12 x 19 cm|broché
    First edition on ordinary paper.
    Handsome copy of this novel recounting the vicissitudes and struggle of a man trying to authenticate a Van Gogh painting discovered at a second-hand dealer's.
    Inscribed by Georges Arnaud to Cécile Jachobien: "... ou tout est bien qui finit MAL... Cordialement Arnaud." ["... or all's well that ends BADLY... Cordially Arnaud."]
    €60
  81. L'or et l'argent
    Guy DRUT

    L'or et l'argent

    Denoël|Paris 1979|14 x 22.50 cm|broché
    The first edition, of which there were no deluxe copies.
    Preface by Jean-Claude Killy.
    Inscribed by Guy Drut to a man named Jean.
    €50
  82. Vingt ans avant - Chroniques du Matin de Paris
    Bernard FRANK

    Vingt ans avant - Chroniques du Matin de Paris

    Grasset|Paris 2002|14 x 22.50 cm|broché
    First collected edition, of which there were no deluxe copies.
    Coffee stains on the spine, covers, an endpaper and the edges.
    Curious and fine signed autograph inscription from Bernard Frank to one of his close female friends named Micheline: "A Micheline, vingt ans avant on s'aimait déjà chût ! pas un mot à Monique son éternel amant Bernard le 25/6/2.002" ["To Micheline, twenty years ago we already loved each other shush! not a word to Monique her eternal lover Bernard 25/6/2.002"]
    €80
  83. Vie et aventures de Nicolas Nickleby
    Charles DICKENS

    Vie et aventures de Nicolas Nickleby

    Chez L. Hachette et Cie|Paris 1857 (S.d)|10.50 x 17.50 cm|2 volumes reliés
    First French edition translated by P. Lorrain with the authorization and approval of the author contained in Charles Dickens's bilingual preface, dated January 17, 1857.
    Contemporary half red shagreen binding. Spine with false flat raised bands decorated with gilt and blind fillets. Gilt titles and volume numbers. Boards rubbed. 4 signatures slightly proud in volume 1. Signature 251 with 2 loose pages in the second volume. Corners bumped. Some foxing.
    It was in 1856 that Louis Hachette acquired the rights to Charles Dickens's works, with P. Lorrain as collection director and translator, he would greatly develop the offering of foreign literature in France, and notably English literature with Lorrain's help. Many of Dickens's works had indeed not yet been translated into French while they had achieved success in Germany for example. Thus, Nicholas Nickleby had not yet received a complete translation although the work dates from 1839.
    €400
  84. Voyage au Chili, au Pérou, et au Mexique
    Capitaine BASIL HALL

    Voyage au Chili, au Pérou, et au Mexique

    Arthus Bertrand|Paris 1825|13 x 21.30 cm|2 volumes reliés
    First French edition translated by Leroy, illustrated with a folding map.
    Contemporary half green glazed calf binding. Smooth spine decorated with roulettes and 4 blind-tooled ornaments. Green bronze title and volume labels. Traces of rubbing. Narrow split to lower joint at head of volume I with a small lack at head. Some pale scattered foxing. Part of the map's margin absent without consequence. Good copy.
    Appointed commander of the Conway, Captain Hall was charged by the British Crown with an exploratory voyage along the coasts of South America. He travelled to Chile via Cape Horn, to Peru, Panama, and finally to Mexico following the coastline. The captain possessed a very lively and engaging narrative sense which he put to the test in other voyages he undertook on his own account, notably in North America.
    €700
  85. Nouvelles récréations physiques et mathématiques
    Edme-Gilles GUYOT

    Nouvelles récréations physiques et mathématiques

    Chez Gueffier|à Paris 1769 - 1770|12 x 20.30 cm|4 volumes reliés
    First edition illustrated with 72 folding plates of which 68 have been finely hand-colored. One folding table. At the end of the first three volumes, 4 plates of prices for recreations found at Guyot's.
    Contemporary full glazed lavallière calf binding. Smooth spine handsomely decorated. Red morocco title labels, green morocco volume labels. Triple-ruled frame. Upper joint of volume I rubbed, with a hole, split at foot. Lower joint of second volume narrowly split at foot. Headcap of volume IV worn, tailcap partially worn. The corner of one board exposed. Signs of rubbing. 3 holes to half-title of volume II, in volume I p241 at the end, trace of pale dampstaining to corner, otherwise fresh throughout on white paper. Despite some defects, a handsome copy in a quality binding.
    A collection composed of scientific amusements designated under the term recreations. (Caillet, 4900, "Collection infinitely more complete than all those published since, including Robert Houdin's"). These recreations would later be called magic tricks, Guyot here provides the mathematical, physical, chemical and optical methods; for make no mistake, these recreations are today a manual of magic. The first volume deals with mathematics, magnets, mechanics and numbers. The second volume covers geometry, light, optics and electricity. The third volume contains "recreations" around magnets, sleight of hand and catoptrics. And the last, fourth volume consists of chapters on mechanics, on occult writing, magnets, water, fire and air... (with "tricks" involving the camera obscura).
    €2,500
  86. “The dreadful misfortune” of Maximilien Luce
    Lettre autographe signée inédite adressée à Maximilien Luce
    Camille PISSARRO (à Maximilien LUCE)

    Lettre autographe signée inédite adressée à Maximilien LuceUnpublished Autograph Letter Signed, Addressed to Maximilien Luce

    Paris 3 septembre 1895|13.50 x 21 cm|1 page sur un double feuillet remplié

    Autograph letter signed by Camille Pissarro, one page on a folded bifolium. A few tears along the horizontal and vertical fold lines, not affecting the text; small paper loss to the margin of the blank leaf.
    Unpublished letter from Camille Pissarro, written in an especially graceful hand, addressed to his friend the painter Maximilien Luce.

    €1,800
  87. Lettre autographe signée à M. Wustemberg
    Giuseppe VERDI

    Lettre autographe signée à M. WustembergAutograph letter signed by composer Giuseppe Verdi, written from his sumptuous apartment on the Champs Elysees.

    Paris 18 décembre 1866|13 x 20.50 cm|une page sur un bifeuillet remplié
    Autograph letter signed by composer Giuseppe Verdi, written from his sumptuous apartment on the Champs Elysées. 12 lines in ink on a folded leaf. Some foxing at the top of the first leaf. Pencil note by the addressee at the bottom of the first page, piece of paper pasted over a note by the addressee in ink on the verso of the blank folio. Small piece of paper missing at foot of blank page, some traces of folding.
    Handsome autograph letter signed by the famed composer of La Traviata, Rigoletto and Aida.
    €1,800
  88. Jean la Croûte
    Georges LETERVANIC

    Jean la Croûte

    Librairie Blériot|Paris s. d. [1900]|12 x 18.50 cm|broché
    First edition.
    Rare and handsome copy despite slight marginal worming to the boards.


    €60
  89. Poésie 43 N°XIII
    Georges BRAQUE, Jean PAULHAN

    Poésie 43 N°XIII

    Seghers|Paris 1943|17 x 21.50 cm|broché
    First edition of this illustrated issue with 5 reproductions of works by Georges Braque.
    Spine slightly warped with a small tear at foot.
    Contributions by Jean Paulhan: "Braque, le patron", André Frénaud: "Noël 39", Robert Ganzo: "Poèmes", Georges Ribemont-Dessaignes "Le grand désert", Gabriel Audisio: "Paris, la poésie"...

    €50
  90. Les royaumes déchirés
    Juan GOYTISOLO

    Les royaumes déchirés

    Stock|Paris 1995|11 x 18 cm|broché
    Pocket book edition of the French translation.
    Manuscript signature by Juan Goytisolo on the title page.

    €40
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