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2742 results
  3. Les A propos de societé de ou chansons de M. L*** (suivi de) Les a propos de la folie ou chansons grotesques, grivoises et annonces de parade
    LAUJON, MOREAU LE JEUNE
    Les A propos de societé de ou chansons de M. L*** (suivi de) Les a propos de la folie ou chansons grotesques, grivoises et annonces de parade
    S. n.|s. l. 1776|12.50 x 20 cm|3 volumes reliés
    First edition, illustrated with 3 engraved titles with frames and figures, 3 handsome frontispieces as well as a figure repeating a frontispiece by Moreau le jeune and engraved by Monnet, Simonon, Launay and Duclos.
    The work is also decorated with vignettes (including a vignette with a camera obscura) and tailpieces.
    Bound in half havana calf with corners, spines with four raised bands set with double gilt fillets and decorated with double gilt compartments and angularly decorated with gilt typographical motifs, navy blue morocco title and volume labels, light rubbing to spines, blind-ruled frames on marbled paper boards, combed paper endpapers and pastedowns, some corners slightly bumped.
    A light dampstain at the foot of the first leaves of the second volume also affecting the binding boards at the foot, occasional foxing.
    Collection of songs composed for "celebrations and social events" (anniversaries, births, marriages, love, old age, drunkenness...) and dealing with risqué and light subjects or current events of this second half of the 18th century.
    The texts are accompanied by airs and refrains in musical notation.
    Handsome copy attractively bound, complete with its errata leaf bound at the end of the third and final volume.
    €1,000
  4. Inauguration de la bibliothèque américaine de l'Université de Paris
    Charles CESTRE, André HONNORAT
    Inauguration de la bibliothèque américaine de l'Université de Paris
    S. n.|s. l. • (Paris) 1920|13.50 x 18.50 cm|broché

    « Books ! Books form America ! They have traveled all the way over the Ocean from where the sun sets behind the tower of the Woolworth Building to where the sun rises behind the spine of Notre-Dame. They bring us a whiff of the atmosphere of the New World, a pulse of its thought, a ray of its beauty. »


    The rare first edition of the inaugural speeches for the American library at the Sorbonne, December 13, 1920.
    One page of photographic portraits of the authors.

    « Sartre affirmait que la grande révélation pour les lecteurs français de l'entre-deux guerres fut celle des romanciers américains, Hemingway, Faulkner, Dos Passos, Steinbeck. C'est au cours des mêmes années que l'histoire américaine fit sa percée dans les Universités françaises, tout en se limitant, à la différence du roman, à des cercles très étroits et spécialisés. Elle s'imposa dans un petit nombre d'institutions Collège de France, Sorbonne, Ecole des Hautes-Etudes... » ["Sartre claimed that the great revelation for French readers of the inter-war period was that of American novelists, Hemingway, Faulkner, Dos Passos, Steinbeck. It was during these same years that American history made its breakthrough in French Universities, while limiting itself, unlike the novel, to very narrow and specialized circles. It established itself in a small number of institutions: Collège de France, Sorbonne, Ecole des Hautes-Etudes..."] (Fohlen Claude. Les débuts de l'histoire américaine en France. In: Revue Française d'Etudes Américaines, N°13, février 1982. Historiens français des Etats-Unis. pp. 27-40.)
    Founded the same year as the American Library in Paris, thanks to a donation from the Carnegie Foundation, the American Library, attached to that of the Sorbonne, marks the official beginning of American History studies in France: « Deux mille livres, choisis parmi les plus représentatifs et les meilleurs, dans les catégories de l'histoire, de la biographie et des mémoires, des documents originaux, de la géographie humaine, économique et sociale, de la religion et de la morale, de la pédagogie, du droit, et enfin de la littérature, offrent aux professeurs et aux étudiants les sources principales où ils peuvent puiser la connaissance exacte (...) de la nation américaine » ["Two thousand books, chosen from among the most representative and the best, in the categories of history, biography and memoirs, original documents, human, economic and social geography, religion and morals, pedagogy, law, and finally literature, offer professors and students the main sources from which they can draw exact knowledge (...) of the American nation"].
    This important gift was originally intended to support Charles Cestre's efforts in his teaching of American civilization and to guarantee, after the First World War, Franco-American understanding and friendship: « The knowledge of America's historical, moral and literary record will be the best warrant that no misunderstanding creeps in between her and France » (Speech by Charles Cestre)
    Published in a very small number of copies reserved for members attending the Inauguration Ceremony, this rare booklet honors American culture in France's most prestigious university, while at the same time and two streets from the Sorbonne, Sylvia Beach was welcoming in her Latin Quarter bookshop the writers of the Lost Generation who would revolutionize French and Anglo-Saxon literature.




    €300
  6. Humoristique lettre autographe datée et signée à son ami Carlo Rim enrichi d'un autoportrait original à la Légion d'Honneur : "... enfin vieux républicain, tu sauras que je suis un bonapartiste de gauche, et qu'à ce titre, je mets au dessus de toute autre décoration, la Légion d'Honneur, ordre fondé par le Petit Homme ! "
    Jean SENNEP
    Humoristique lettre autographe datée et signée à son ami Carlo Rim enrichi d'un autoportrait original à la Légion d'Honneur : "... enfin vieux républicain, tu sauras que je suis un bonapartiste de gauche, et qu'à ce titre, je mets au dessus de toute autre décoration, la Légion d'Honneur, ordre fondé par le Petit Homme ! "
    S. n.|Marseille 1968|13.50 x 21 cm|une feuille

    Autograph letter dated and signed (25 lines in black ink) from the illustrator and caricaturist Sennep, addressed to his friend the Provençal writer, caricaturist and filmmaker Carlo Rim, thanking him while teasing him after having been decorated with the Legion of Honor: "Merci, gros jaloux ! mais, d'abord, je n'ai pas les cheveux aussi blancs ! ensuite, ma cravate est d'un bleu de ciel, qui évoque le ruban des "Enfants de Marie", beaucoup plus que l'ordre du Saint-Esprit..." ["Thank you, big jealous one! but, first, I don't have hair that white! then, my tie is sky blue, which evokes the ribbon of the "Children of Mary", much more than the order of the Holy Spirit..."]


    A self-portrait in black felt-tip pen and heightened with blue pencil represents the illustrator, freshly honored, with his decoration around his neck.


    Fold inherent to mailing.


    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
  7. Journal du siège de Carthagène en Amérique
    ANONYME
    Journal du siège de Carthagène en Amérique
    Diary of the Siege of Cartagena in America
    S. n.|Paris septembre 1741|19.50 x 25 cm|relié
    Journal du siège de Carthagène en Amérique [Diary of the Siege of Cartagena in America]
    n.p., Paris September 1741, 4° (19,5x25cm), 16 pp., bound.
    First edition of the French translation. Originally published in Spanish a month before. Translated by Luis Reggio Branciforte and Colonna (Prince of Campoflorido) Spanish ambassador in France.
    Later half camel cloth binding, boards in caillouté paper, the first one with a gilt black morocco label. Spine-top a little rubbed, white end-papers shaded. Contemporary handwritten notes on the upper part of the title page.
    Extremely rare copy of this diary about one of the greatest naval campaigns of the British Navy, and its bitter defeat against the Spanish Treasure Fleet (“West Indias Fleet”).
    €3,000
  8. "... Il neige à Lyon... Ici, nous déjeunons encore dehors, sous les stores ensoleillés. Plus d'autos, plus de poussière, plus de phonos, plus de sirènes entre deux vagues... C'est le beau, clair et silencieux Cassis authentique, où rien ne gêne le travail..."
    Roger MARTIN DU GARD
    "... Il neige à Lyon... Ici, nous déjeunons encore dehors, sous les stores ensoleillés. Plus d'autos, plus de poussière, plus de phonos, plus de sirènes entre deux vagues... C'est le beau, clair et silencieux Cassis authentique, où rien ne gêne le travail..."
    Foodie and fun signed autograph letter addressed to her friend Alice Rim
    S. n.|Cassis 2 Novembre 1933|13.50 x 21.50 cm|une feuille
    Fine and amusing signed manuscript letter from Roger Martin du Gard addressed from Cassis to Alice Rim (3 and a half pages, 54 lines in black ink) in which he lyrically praises the benefits of the delicious Parisian confections that his correspondent sends him: "... Et quelles sucreries ! Si Dieu pouvait goûter ce que Boissier fabrique avec ses fruits, comme il serait honteux des grossiers produits de ses arbres, et comme il aurait envie de recommencer sa création..." ["... And what confections! If God could taste what Boissier makes with his fruits, how ashamed he would be of the crude products of his trees, and how he would want to begin his creation anew..."]
    He also praises the tranquility of Cassis without summer visitors: "Plus d'autos, plus de poussière, plus de phonos, plus de sirènes entre deux vagues... C'est le beau, clair et silencieux Cassis authentique, où rien ne gêne le travail..." ["No more cars, no more dust, no more phonographs, no more sirens between two waves... This is the beautiful, clear and silent authentic Cassis, where nothing disturbs work..."]and the pleasure of reading "Voilà", a magazine in which Carlo Rim collaborates as an illustrator: "... pas un moucheron de Cassis qui ne s'imagine avoir collaboré avec Carlo Rim, et son livre sera ici une oeuvre collective, nationale..." ["... not a single gnat in Cassis who doesn't imagine having collaborated with Carlo Rim, and his book will be here a collective, national work..."],a pleasure shared by all the residents of Cassis: "... je ne sais comment réagissent les puissants de Marseille qu'il égratigne si gaillardement. Mais, ici, ce ne sont que sourires quand on parle de "Carlo". Et j'imagine qu'un jour la population déboulonnera le Calendal de la jetée, pour hisser sur le socle un Carlo Rim de granit ou un M. Virgule en ciment armé..." ["... I don't know how the powerful people of Marseille react to his spirited scratches. But here, there are only smiles when we speak of "Carlo". And I imagine that one day the population will unbolt the Calendal from the pier, to hoist on the pedestal a Carlo Rim in granite or a M. Virgule in reinforced cement..."]
    In a final gourmand flourish Roger Martin du Gard thanks Alice Rim: "Veuillez agréer, chère madame, l'hommage de ma gourmandise reconnaissante..." ["Please accept, dear madam, the tribute of my grateful gluttony..."]
    Crease mark inherent to envelope folding.

    €450
  9. Un roman de Jarry. Manuscrit autographe et tapuscrit signé complets
    Maurice BLANCHOT (Alfred JARRY)
    Un roman de Jarry. Manuscrit autographe et tapuscrit signé complets
    S. n. • [ Journal des débats]|s. l. • (Paris) s. d. [1944]|13.50 x 21.50 cm|2 1/2 pages in-8
    Autograph manuscript by the author, 2½ pages octavo, published in the April 13, 1944 issue of the Journal des Débats.
    Complete recto-verso manuscript, in very dense handwriting, with numerous deletions, corrections and additions.
    Together with the complete signed typescript.
    Chronicle published on the occasion of the publication of Jarry's posthumous novel, La Dragonne.

    In this chronicle devoted to Alfred Jarry and Père Ubu, Maurice Blanchot was interested in the confusion between one and the other and its consequences: « [...] on peut penser que Jarry, en s'entêtant à être le Père Ubu, a pendant sa vie gaspillé une partie de ses ressources d'écrivain et après sa mort égaré le jugement littéraire sur sa véritable valeur. » ["[...] one can think that Jarry, by persisting in being Père Ubu, wasted during his lifetime part of his resources as a writer and after his death misled literary judgment about his true value."] Yet this confusion testifies to the author's coherence: « Chez Jarry, le choix d'un masque aussi peu flatteur a un sens fort clair. Il y a d'abord une volonté de mettre à mal tout sérieux et particulièrement cette volonté même ; il n'est pas question de tracer des frontières au ridicule ; on rit d'abord de soi, on en rit parce que ce rire n'est qu'un écho du vide. Et puis ce double grotesque que l'auteur revendique comme une représentation dont il est fier, affirme sa complicité, pleine de défi, avec les travers qu'il caricature. » ["In Jarry, the choice of such an unflattering mask has a very clear meaning. There is first a will to undermine all seriousness and particularly this very will; there is no question of drawing boundaries to the ridiculous; one first laughs at oneself, one laughs at it because this laughter is only an echo of the void. And then this grotesque double that the author claims as a representation of which he is proud, affirms his complicity, full of defiance, with the flaws he caricatures."]
    La Dragonne, the last work by Ubu's father that Gallimard was then publishing, would therefore surprise Blanchot for « le sérieux avec lequel Jarry a accepté son métier de romancier » ["the seriousness with which Jarry accepted his profession as novelist"], who would also praise « les soudains mouvements d'imagination poétique qui dérangent le plan » ["the sudden movements of poetic imagination that disrupt the plan"].

    The only monographic text devoted by Blanchot to Jarry.

    Between April 1941 and August 1944, Maurice Blanchot published 173 articles on recently published books in the "Chronique de la vie intellectuelle" of the Journal des Débats. In half a page of newspaper (about seven octavo pages), the young author of "Thomas l'obscur" took his first steps in the field of literary criticism and thus inaugurated a theoretical work that he would later develop in his numerous essays, from "La Part du feu" to "L'Entretien infini" and "L'Écriture du désastre". From the first articles, Blanchot demonstrated an acuity of analysis far exceeding the literary current events that motivated their writing. Oscillating between classics and moderns, first-rate writers and minor novelists, he established, in his chronicles, the foundations of a critical thought that would mark the second half of the 20th century. Transformed by writing and by war, Blanchot broke, through thought exercised "in the name of the other," with the violent Maurrassian certainties of his youth. Not without paradox, he then transformed literary criticism into a philosophical act of intellectual resistance to barbarism at the very heart of an "openly Maréchaliste" newspaper: "Brûler un livre, en écrire, sont les deux actes entre lesquels la culture inscrit ses oscillations contraires" ["To burn a book, to write one, are the two acts between which culture inscribes its contrary oscillations"] (Le Livre, In Journal des Débats, January 20, 1943). In 2007, the Cahiers de la NRF brought together under the direction of Christophe Bident all the literary chronicles not yet published in volumes with this pertinent analysis of Blanchot's critical work: "romans, poèmes, essais donnent lieu à une réflexion singulière, toujours plus sûre de sa propre rhétorique, livrée davantage à l'écho de l'impossible ou aux sirènes de la disparition. (...) Non sans contradictions ni pas de côté, et dans la certitude fiévreuse d'une œuvre qui commence (...) ces articles révèlent la généalogie d'un critique qui a transformé l'occasion de la chronique en nécessité de la pensée." ["novels, poems, essays give rise to a singular reflection, always more sure of its own rhetoric, delivered more to the echo of the impossible or to the sirens of disappearance. (...) Not without contradictions or sidesteps, and in the feverish certainty of a work that begins (...) these articles reveal the genealogy of a critic who transformed the occasion of the chronicle into the necessity of thought."] (C. Bident). Autograph manuscripts by Maurice Blanchot are extremely rare.
    €3,000
  10. Le roman de Jean-Paul Sartre. Manuscrit autographe et tapuscrit complets.
    (Jean-Paul SARTRE) Maurice BLANCHOT
    Le roman de Jean-Paul Sartre. Manuscrit autographe et tapuscrit complets.
    S. n. • [ Paysage dimanche]|s. l. • (Paris) s. d. [1945]|11.50 x 22 cm|3 pages 1/2 in-4
    Autograph manuscript by the author, 3½ pages octavo, published in the October 21, 1945 issue (no. 19) of Paysage dimanche.
    Complete recto-verso manuscript, in very dense handwriting, with numerous deletions, corrections and additions.
    Literary chronicle published on the occasion of the publication of the first two volumes of Jean-Paul Sartre's trilogy Les chemins de la liberté: "L'Age de raison" and "Le Sursis".
    Together with the complete typescript, with one deletion and one autograph correction by the author.

    When this chronicle appeared in autumn 1945, Maurice Blanchot and Jean-Paul Sartre had already demonstrated their mutual interest in each other's respective work, in articles that were sometimes critical, sometimes laudatory, always attentive. Similarly, if Les chemins de la liberté aroused Blanchot's admiration, it was essentially through the philosopher's skillful use of the influence of two monuments of Anglo-Saxon literature, Virginia Woolf and John Dos Passos: « Ce qui nous paraît frappant, c'est le caractère d'œuvre d'art qu'en reçoit le livre, œuvre extrêmement composée, calculée avec un souci infiniment sûr des effets, où la confusion reste claire, où le désordre est perfection, et telle qu'on y reconnaît sans cesse la présence de l'écrivain le plus lucide, capable de tout obtenir du langage dont il est maître. » ["What strikes us as remarkable is the character of a work of art that the book receives, an extremely composed work, calculated with infinitely sure concern for effects, where confusion remains clear, where disorder is perfection, and such that one constantly recognizes the presence of the most lucid writer, capable of obtaining everything from the language he masters."]
    But this "Roman de Sartre" was above all an opportunity for Blanchot to raise the question of the links between literature and politics, on which the two men would have great difficulty agreeing in the following decades. Thus, Blanchot summarized Sartre's vision, evoking the problem of commitment: « Il est indéniable que l'art de Sartre atteint son plus grand pouvoir lorsqu'il décrit l'engloutissement des consciences par les choses qui les hantent et les débordent, et de laquelle elles coulent comme une pâte pleine d'odeurs. Le monde qu'il sent est celui d'une métamorphose, mais cette métamorphose n'est pas changement de forme, elle n'est pas la transformation d'un être en un autre être, fût-ce d'un homme en une vermine ; elle va plus loin, elle est irrémédiable, car c'est la conscience même qui devient un matériel, c'est la pensée qui se fige en une substance gluante, visqueuse, sans contour, sans apparence, un dedans triste et vague, que nous ne pouvons saisir et qui, pourtant, comme tel, continue désespérément à penser. Tel est l'univers dans lequel nous sommes jetés, tant que nous n'essayons pas de le reprendre par une action qui nous engage. » ["It is undeniable that Sartre's art reaches its greatest power when he describes the engulfing of consciousness by the things that haunt and overwhelm them, and from which they flow like a paste full of odors. The world he perceives is one of metamorphosis, but this metamorphosis is not a change of form, it is not the transformation of one being into another being, even of a man into vermin; it goes further, it is irreparable, for it is consciousness itself that becomes material, it is thought that freezes into a sticky, viscous substance, without contour, without appearance, a sad and vague interior that we cannot grasp and which, nevertheless, as such, continues desperately to think. Such is the universe into which we are thrown, as long as we do not try to reclaim it through an action that commits us."] The third volume of Les Chemins de la liberté, not yet published, left little doubt in Blanchot's eyes as to its content; and he summarized, somewhat sarcastically: « Ce qui suivra est facile à imaginer : nous aurons la guerre, l'occupation, nous aurons la résistance, l'obscur combat, la première victoire ; et nous risquons d'avoir l'aventure de personnages assez veules et désaxés qui cherchent la liberté [...] et finiront par la vivre en s'engageant pleinement dans une action collective qu'ils acceptent. » ["What will follow is easy to imagine: we will have war, occupation, we will have resistance, the dark combat, the first victory; and we risk having the adventure of rather weak and unbalanced characters who seek freedom [...] and will end up living it by fully committing themselves to a collective action they accept."]

    The manuscript contains important variants from the typescript, which testify to Blanchot's concern to use Sartrean concepts judiciously, the better to return to what preoccupied him: the use of language in literature's revolutionary vocation.
    €3,000
  11. Carte de visite sur laquelle Gaston de Pawlowski a ajouté quelques mots évoquant ses souvenirs de régiment puis de la guerre de 1914-1918
    Gaston de PAWLOWSKI
    Carte de visite sur laquelle Gaston de Pawlowski a ajouté quelques mots évoquant ses souvenirs de régiment puis de la guerre de 1914-1918
    S. n.|Paris 1920|12 x 19 cm|une feuille
    Visiting card with his Parisian and Orsay addresses on which Gaston de Pawlowski has added a few words apologizing for not having time to visit his friend in Champagne.
    The mention of Champagne brings back his memories as a conscript and of the 1914-1918 war: "... il fallait m'inviter en 1895 lorsque je me promenais avec le 132e dans vos environs ou en 1914 lorsque je battais en retraite par Epernay..." ["... you should have invited me in 1895 when I was walking with the 132nd in your area or in 1914 when I was retreating through Epernay..."]
    €100
  12. Lettre dactylographiée et signée à son grand ami et biographe Carlo Rim à propos de sa filmographie et d'un article écrit par Alice Rim, la femme de Carlo, que Fernandel n'a toujours pas "digéré"
    FERNANDEL
    Lettre dactylographiée et signée à son grand ami et biographe Carlo Rim à propos de sa filmographie et d'un article écrit par Alice Rim, la femme de Carlo, que Fernandel n'a toujours pas "digéré"
    S. n.|Marseille 9 Janvier 1952|21 x 27 cm|une feuille
    Typed letter dated and signed in blue ink by Fernandel, addressed from his Marseilles property "Les milleroses" to his great friend the Provençal writer, caricaturist and filmmaker Carlo Rim, who was also his biographer.
    (24 lines, creases inherent to folding for mailing as well as in the left margin).
    Fernandel first conforms to the courtesies of New Year wishes: "Obligé de commencer ma lettre comme la tienne (par correction), je te présente mes meilleurs voeux pour toi et tous ceux que tu aimes." ["Obliged to begin my letter like yours (out of courtesy), I present my best wishes for you and all those you love."] before signifying that he will not delay in sending him the exhaustive list of his filmography, Carlo Rim wishing to write a biography of his friend Fernandel: "... afin que tu puisses avoir des choses vraies à raconter..." ["... so that you can have true things to tell..."]
    Finally, Fernandel returns to an article published in Cinémonde and written by Alice, Carlo Rim's wife, for whom he harbors vindictive memories: "... dis-lui de ma part, qu'on ne peut pas écrire de plus grandes conneries, car d'après son papier, j'ai été imposé dans le film d'Aron... et qui m'avait démandé si cela ne me faisait rien d'avoir Gaby Morlay comme partenaire..." ["... tell her from me, that one cannot write greater nonsense, because according to her article, I was imposed in Aron's film... and who had asked me if it didn't bother me to have Gaby Morlay as a partner..."], Fernandel concluding his letter with a peremptory: "... mon cher Carlo, je te supplie de ne pas prendre ta femme comme collaboratrice pour le livre, car alors..." ["... my dear Carlo, I beg you not to take your wife as collaborator for the book, because then..."]
    Manuscript signature in blue ink by Fernandel at the foot of the letter.
    €150
  13. Billet autographe signé à son ami Carlo Rim le félicitant pour la croix de l'ordre de la Légion d'Honneur enrichi d'un dessin original
    Jean SENNEP
    Billet autographe signé à son ami Carlo Rim le félicitant pour la croix de l'ordre de la Légion d'Honneur enrichi d'un dessin original
    S. n.|Marseille 24 Avril 1962|21 x 27 cm|une feuille
    Typed letter dated and signed in blue ink by the illustrator and caricaturist Sennep, on Figaro letterhead, addressed to his friend the Provençal writer, caricaturist and filmmaker Carlo Rim, congratulating him on the Cross of the Legion of Honor which was recently awarded to him.
    April 24, 1962,
    all my most affectionate congratulations! J. Sennep", these few words being accompanied by an original drawing by Sennep showing himself applauding the Cross of the Legion of Honor that was awarded to his friend.
    €100
  14. Mémoires d'Anne de Gonzagues, Princesse Palatine
    Impératrice de Russie MARIA FEODOROVNA, Gabriel SÉNAC DE MEILHAN
    Mémoires d'Anne de Gonzagues, Princesse Palatine
    S. n.|A Londreset [London] • se trouve à Paris 1786|12 x 19.60 cm|relié
    First edition.

    Binding with central arms of Maria Feodorovna, Empress of Russia, née Duchess Sophie Dorothea of Württemberg-Montbéliard (1759-1828), wife of Paul I, and mother of Alexander I and Nicholas I. Double-headed eagle with Russian and Württemberg state symbols, set within the ribbon of the Order of Saint Catherine.

    Contemporary Russian binding in full red morocco, central arms of the Empress. Small black mark on the bottom of the first board, slightly bumped corner. Crisp paper with a few spotting and browning to the endpapers' margins.

    Provenance: Pavlovsk Palace library with its storage label on the first pastedown endpaper.

    Catherine II of Russia gave this estate – built from 1782 to 1786 – to her only son Paul I to celebrate the birth of his first child. Maria Feodorovna furnished the rooms and acquired with her husband numerous pieces of European furniture, books, tapestries, making this sumptuous palace one of the most beautiful properties in Russia. She created in Pavlovsk her own literary salon and organized theatrical and musical evenings for her entourage. As an avid reader, she built up an important library set in wonderful red morocco bindings bearing her coat of arms. After the death of Catherine II, Empress Maria Feodorovna strongly supported the arts and created numerous charities as well as the very first schools for women in Russia. She lived in Pavlovsk Palace until her death in 1828.
    After the revolution of 1917, part of her books and art collections were sold by the Soviet government, and the palace was heavily looted by the Nazis during its occupation in September 1941.

    A superb copy of the memoirs of “Princess Palatine” Anna Gonzaga of Cleves of an illustrious provenance. Important figure of the Fronde, the Princess was initially destined for monastic life and ran an important literary salon. Her tumultuous life was punctuated by secret love affairs, cross-dressing, and conspiracy.
    €8,000
  15. Ensemble complet du manuscrit et des tapuscrits de la chanson de Boris Vian intitulée "Adélaïde blues"
    Boris VIAN
    Ensemble complet du manuscrit et des tapuscrits de la chanson de Boris Vian intitulée "Adélaïde blues"
    S. n.|s. l. s. d. [1957]|21.10 x 27 cm|trois feuilles perforés et deux feuillets encollé sur carton
    Complete set of Boris Vian's manuscript and working typescripts, genesis of the song "Adélaïde blues".
    - three perforated white sheets handwritten in blue ballpoint pen by Boris Vian with numerous deletions and corrections
    - two perforated sheets typed on machine and mounted on cardboard, fair copy of the manuscript.
    This humorous love serenade was never performed by an interpreter.

    Adélaïïïïïde lui dis-je
    Je vous aime d'amour
    Mon oeil timiiiiide
    Vous doit son plus beau jour
    Question vocabulaire, c'est pas brillant
    Adélaïïïïïde
    Faites-moi signe et j'accours !...

    ["Adélaïïïïïde I tell her / I love you with love / My shy eye / Owes you its most beautiful day / As for vocabulary, it's not brilliant / Adélaïïïïïde / Give me a sign and I'll come running!..."]

    Provenance: Boris Vian Foundation.
    €2,000
  16. Ensemble complet du manuscrit et du tapuscrit de la chanson de Boris Vian intitulée "Premier bal"
    Boris VIAN
    Ensemble complet du manuscrit et du tapuscrit de la chanson de Boris Vian intitulée "Premier bal"
    S. n.|s. l. 1958|13.50 x 21 cm|3 feuillets
    Complete set of Boris Vian's manuscript and working typescripts, genesis of the song "Premier bal".
    - two perforated white sheets, slightly creased, handwritten in blue ballpoint pen by Boris Vian with numerous deletions and corrections
    - one perforated sheet typed on machine, fair copy of the manuscript.
    This waltz was never performed by an interpreter.

    Elle est devant sa coiffeuse
    Dans sa robe à falbalas
    Les yeux pleins d'éclat
    Et l'air si heureux
    Premier bal...grand gala

    ["She stands before her dressing table / In her dress with flounces / Eyes full of sparkle / And looking so happy / First ball...grand gala"]

    Provenance: Boris Vian Foundation.
    €1,200
  17. Ensemble complet du manuscrit et du tapuscrit de la chanson de Boris Vian intitulée "Un bateau"
    Boris VIAN
    Ensemble complet du manuscrit et du tapuscrit de la chanson de Boris Vian intitulée "Un bateau"
    S. n.|s. l. 27 mars 1958|20.90 x 27 cm|2 feuillets et 2 autres contrecollés sur carton
    Complete set of the working manuscript and typescript by Boris Vian, genesis of the song "Un bateau".
    - two perforated white sheets handwritten in blue ballpoint pen by Boris Vian on the verso of "Jazz-Programmes" letterhead paper with numerous deletions and corrections
    - two perforated sheets typed and mounted on cardboard, fair copy of the manuscript.
    This song had no interpreter during Boris's lifetime, but was sung in 2009 by the group Les Marche-Pied.

    Un bateau
    Et de l'eau
    Et du vent pour gonfler la grand'voile
    Une amie
    Près de moi
    Sur les mers de saphir tout là-bas



    Provenance: Boris Vian Foundation.
    €1,800
  18. Ensemble complet du manuscrit et du tapuscrit de la chanson de Boris Vian intitulée "Demandez à l'intérieur"
    Boris VIAN
    Ensemble complet du manuscrit et du tapuscrit de la chanson de Boris Vian intitulée "Demandez à l'intérieur"
    S. n.|s. l. s. d. [entre 1954 et 1959]|21.30 x 27 cm|2 feuillets et 2 autres contrecollés sur carton
    Complete set of the working manuscript and typescript by Boris Vian, genesis of the song "Demandez à l'intérieur".
    - two perforated squared sheets handwritten in blue ballpoint pen by Boris Vian with numerous deletions and corrections
    - one perforated sheet typed and mounted on cardboard, fair copy of the manuscript.
    This song, evoking crustaceans and a sexually transmitted disease received from a young waitress, was never performed.

    Demandez à l'intérieur
    C'que vous n'voyez pas en d'vanture
    Venez tenter l'aventure
    Nos produits sont les meilleurs



    Provenance: Boris Vian Foundation.
    €2,200
  19. Politically incorrect - poetically incorrigible
    Une bonne paire de claques. Important manuscrit autographe en partie inédit complet du tapuscrit et de la partition de cette chanson irrévérencieuse interprétée notamment par Salvador, Mouloudji, Les Charlots et Boris Vian lui-même.
    Boris VIAN
    Une bonne paire de claques. Important manuscrit autographe en partie inédit complet du tapuscrit et de la partition de cette chanson irrévérencieuse interprétée notamment par Salvador, Mouloudji, Les Charlots et Boris Vian lui-même.
    S. n.|s. l. s. d. [1958]|21.20 x 27 cm|5 feuillets (13,5x21cm) + 1 feuillet (20,8x27,1cm) + 2 feuillets cartonnés (20,9x27,9cm) + 2 feuillets de partition (19,9x27,5cm)
    Complete set of the working manuscript and typescript by Boris Vian, genesis of the song "Une bonne paire de claques".
    - five perforated sheets of white paper     written in blue ballpoint pen in Boris Vian's hand presenting the complete text of the song. Numerous deletions and corrections.
    - one perforated sheet of graph paper written in blue ballpoint pen in Boris Vian's hand of an unpublished verse never added to the song.
    - two perforated sheets mounted on cardboard, transcriptions of the complete text and the unpublished verse.
    - two sheets of piano-vocal score printed by Éditions de la Lyre in 1962.
    This song, whose gentle melody contrasts with the violence of the lyrics, was performed by numerous artists: Louis Massis (1959), Anne Gacoin (1960), Les Charlots (1969), Mouloudji (1976), Henri Salvador (1979), L'Orchestre du Grand Turc (1990), Les Poubelles Boys (1994 and 1999), Les Victor Racoin (1999), Fabienne Déroche (2009), Les Bisons Ravis (2010).
    « En 1957, un certain Henry Cording enregistre "Rock and Roll Mops". [...] D'ailleurs derrière Henry Cording se cache en fait le chanteur Henri Salvador, et les auteurs de la chanson sont Michel Legrand pour la musique et Boris Vian pour les paroles. Ils récidiveront l'année suivante avec le « Blues du dentiste » et « Une bonne paire de claques dans la gueule ». » ["In 1957, a certain Henry Cording recorded 'Rock and Roll Mops'. [...] Actually behind Henry Cording was the singer Henri Salvador, and the song's authors were Michel Legrand for the music and Boris Vian for the lyrics. They would do it again the following year with 'Blues du dentiste' and 'Une bonne paire de claques dans la gueule'."] (J.-L. Calvet, La bande-son de notre histoire)
    The manuscript of the song presents some differences from the typescript version. The « Tiens, salope ! » ["Take that, bitch!"] from both versions was completely abandoned in the song.
    On the graph paper sheet, titled « Modification pour « Une bonne paire de claques » » ["Modification for 'Une bonne paire de claques'"], appears a savory verse that was never added to the final song: « Les compliments, ça fatigue et ça lasse / Et puis c'est rare que ça soye (sic) bien tourné / Une vraie raclée qui vous laisse quelques traces / C'est plus sincère et toujours apprécié. » ["Compliments are tiring and wearisome / And besides it's rare that they're well turned / A real beating that leaves you some marks / Is more sincere and always appreciated."]


    Une bonn'paire de claques dans la gueule
    Un bon coup d'savate dans les fesses
    Un marron sur les mandibules
    Ca te f'ra une deuxième jeunesse



    Provenance: Fondation Boris Vian.

    €3,500
  20. Ensemble complet des manuscrits et du tapuscrit de la chanson de Boris Vian intitulée "Mambo mon coeur"
    Boris VIAN
    Ensemble complet des manuscrits et du tapuscrit de la chanson de Boris Vian intitulée "Mambo mon coeur"
    S. n.|s. l. s. d. [entre 1956 et 1959]|21.30 x 27 cm|trois feuilles perforées
    Complete set of Boris Vian's working manuscripts and typescripts, genesis of the song "Mambo mon coeur".
    - one perforated squared sheet written in pencil in Boris Vian's hand. Numerous deletions.
    - one perforated white sheet written in blue ink also by Boris Vian.
    - a fair copy typed on a typewriter on a perforated white sheet.
    This love song was never performed.

    Cela fait bien longtemps que je te connaissais, mon coeur
    Cela fait bien longtemps que je te connaissais
    Et tu ne savais pas ce que c'est que d'aimer, mon coeur
    Et tu ne savais pas ce que c'est que d'aimer

    ["It's been a long time since I knew you, my heart
    It's been a long time since I knew you
    And you didn't know what it means to love, my heart
    And you didn't know what it means to love"]

    Provenance: Fondation Boris Vian.
    €2,500
  21. Ensemble complet du manuscrit et du tapuscrit de la chanson de Boris Vian intitulée "Le Quatrième Homme"
    Boris VIAN
    Ensemble complet du manuscrit et du tapuscrit de la chanson de Boris Vian intitulée "Le Quatrième Homme"
    S. n.|s. l. s. d. [entre 1950 et 1954]|21.20 x 27 cm|trois feuilles perforées
    Complete set of Boris Vian's working manuscripts and typescripts, genesis of the song "Le Quatrième Homme".
    - two perforated and slightly creased sheets written in green ink in Boris Vian's hand. Some annotations, also in his hand, in blue ballpoint pen in the margin.
    - one sheet of machine-typed text on onionskin paper. Manuscript annotations in pencil at top right: "ne figure pas au catalogue SACEM. Manque 1 ligne demander à Ursula." ["not listed in the SACEM catalogue. Missing 1 line ask Ursula."] Other annotations notably indicating the chorus text in green felt-tip pen.
    This song, referring to the music composed and recorded by Anton Karas for Carol Reed's The Third Man in 1949, was never set to music or performed.

    Le premier homme était mort
    Le deuxième homme aussi
    Mais le troisième, increvable
    Jouait d'la cithare tout' la nuit

    [...]

    Et vive la cithare
    Et son rythme bizarre

    [...]

    Il avait vingt-neuf cithares
    Qu'il traînait derrière lui
    Coiffé d'un bonne tartare
    Comme Orson Welles en Russie

    ["The first man was dead
    The second man too
    But the third, indestructible
    Played the zither all night long

    [...]

    Long live the zither
    And its strange rhythm

    [...]

    He had twenty-nine zithers
    That he dragged behind him
    Wearing a Tartar cap
    Like Orson Welles in Russia"]

    Provenance: Fondation Boris Vian.
    €2,500
  22. Ensemble complet du manuscrit et du tapuscrit de la chanson de Boris Vian intitulée "Si tu m'aimais" [Quelle surprise]
    Boris VIAN
    Ensemble complet du manuscrit et du tapuscrit de la chanson de Boris Vian intitulée "Si tu m'aimais" [Quelle surprise]
    S. n.|s. l. s. d. [1958]|21.80 x 27.20 cm|deux feuilles perforées
    Complete set of Boris Vian's working manuscript and typescript, genesis of the song "Si tu m'aimais".
    - one perforated squared sheet handwritten by Boris Vian with numerous crossings-out and corrections
    - one perforated sheet typed on machine, clean copy of the manuscript.
    This love song was set to music by Spartaco Andreoli and Jacques Gallicier, but never performed.

    Si tu m'aimais
    Si c'était vrai
    Quelle surprise
    Si tu voulais
    Si tu venais
    Quelle surprise
    Si j'entendais
    Dans l'escalier
    Tes pas timides
    Tes pas rapides
    Qui se décident



    Provenance: Boris Vian Foundation.
    €1,400
  23. "Piano-bar ou Piano cocktail. Ensemble complet du manuscrit et du tapuscrit de cette chanson jamais interprétée avant 2012
    Boris VIAN
    "Piano-bar ou Piano cocktail. Ensemble complet du manuscrit et du tapuscrit de cette chanson jamais interprétée avant 2012
    S. n.|s. l. s. d. [entre 1954 et 1959]|21.20 x 27 cm|trois feuilles perforées
    Complete set of Boris Vian's working manuscript and typescript, genesis of the song "Piano-bar ou Piano cocktail".
    - two perforated white sheets handwritten in blue ballpoint pen by Boris Vian with numerous crossings-out and corrections
    - one perforated sheet typed on machine, clean copy of the manuscript.
    This song, whose title recalls the famous "Pianocktail" from L'Ecume des jours, was not performed during the author's lifetime. The hip hop fanfare NMB Brass Band only gave a version of it in 2012.

    Dans un quartier fréquenté par des gens argentés
    Où le client ne boit que du whisky cent pour cent
    Y'a un p'tit bar genre acajou ciré et le soir
    Y'a un piano avec un pianiste




    Provenance: Boris Vian Foundation.
    €2,500
  27. Carte postale photographique dédicacée à Alice Rim représentant l'Empire State Building à New York
    Maurice CHEVALIER
    Carte postale photographique dédicacée à Alice Rim représentant l'Empire State Building à New York
    S. n.|New York 17 Octobre 1955|9.50 x 14 cm|une feuille
    Photographic postcard inscribed by Maurice Chevalier to Alice Rim showing the imposing Empire State Building in New York.
    The postcard is addressed, from New York, in telegraphic form, to Caro Canaille, pen name of Alice Rim, Carlo's wife:
    "Première manche - la scène - gagnée - Il reste la TV - épreuve capitale - le 4 Déc. Mille pensées amicales. Maurice. Waldorf Astoria N.Y." ["First round - the stage - won - TV remains - crucial test - Dec 4th. A thousand friendly thoughts. Maurice. Waldorf Astoria N.Y."]
    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.
    €150
  28. Lettre autographe signée adressée à Alice Rim lui présentant ses voeux pour l'année 1955
    Maurice CHEVALIER
    Lettre autographe signée adressée à Alice Rim lui présentant ses voeux pour l'année 1955
    S. n.|Marnes-la-Coquette 3 Janvier 1955|21 x 27 cm|une feuille + une enveloppe
    Autograph letter dated and signed by Maurice Chevalier addressed from his property "La Louque" in Marnes-la-Coquette to Alice Rim (10 lines in blue ink, envelope included).
    Crease mark inherent to folding for mailing, letter with letterhead featuring Maurice Chevalier's famous boater hat in upper left corner.
    The letter is addressed to Caro Canaille, pen name of Alice Rim, Carlo's wife:
    "3 - 1- 55,
    Chère Caro,
    merci de la pensée. J'arrive de Londres où j'ai fonctionné à la T.V. et me prépare à roucouler içi - la - et la bas     (sic) Que 1955 vous apporte santé - travail - amour. Ami. Chevalier". ["Dear Caro, thank you for the thought. I'm coming from London where I worked on T.V. and am preparing to coo here - there - and over there. May 1955 bring you health - work - love. Friend. Chevalier"]
    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.
    €150
  29. "Je ne compte pas ce que j'ai fait et continue de faire pour de vieux copains dans le malheur. Votre radin et ami Maurice"
    Maurice CHEVALIER
    "Je ne compte pas ce que j'ai fait et continue de faire pour de vieux copains dans le malheur. Votre radin et ami Maurice"
    Humorous Signed Autograph Letter Addressed to Alice Rim
    S. n.|Marnes-la-Coquette 12 Décembre 1954|21 x 13.50 cm|une feuille + une enveloppe
    Autograph letter dated and signed by Maurice Chevalier addressed from his property "La Louque" in Marnes-la-Coquette to Alice Rim (20 lines in blue ink, envelope included).
    Fold mark inherent to envelope insertion.
    The letter is addressed to Caro Canaille, pen name of Alice Rim, Carlo's wife:
    "12 - 12- 54,
    Chère Caro,
    Pour ne pas qu'il y ait d'obscurités dans ce que vous me proposez si affectueusement de faire savoir au public - vous pouvez absolument dire que "entre ce que j'ai gagné par mes concours aux galas que j'organisais - entre ce que j'ai obtenu d'amis généreux - entre ce que j'ai souvent versé de ma propre poche pour - la maison de retraite de Ris Orangis - le dispensaire du spectacle - et le comité du coeur de la Sacem - nous en sommes - et facilement - à cent millions d'aujourd'hui en 1954. Je ne compte pas ce que j'ai fait et continue de faire pour de vieux copains dans le malheur. Votre radin et ami Maurice".
    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.
    €250
  30. Des maladies de la grossesse
    Nicolas CHAMBON DE MONTAUX
    Des maladies de la grossesse
    S. n.|Paris 1785|10 x 17 cm|relié
    First edition.
    Very slightly later binding in half camel sheep, smooth spine decorated with red paper title and volume labels, gilt roulettes and fleurons, boards of paper in matching color. Head of spine rubbed with some losses, spine sunned and rubbed. Interior fresh. A second copy of page 131 of the second volume has been erroneously bound at the beginning of this same part.
    Chambon de Montaux was appointed physician to the Salpêtrière hospital in Paris in 1786. He remained there only a few years before becoming mayor of Paris during the Revolution, succeeding Jérôme Pétion de Villeneuve.
    €150
  31. Lettre autographe datée et signée de remerciements adressée à son ami Christian Giudicelli
    William GOYEN
    Lettre autographe datée et signée de remerciements adressée à son ami Christian Giudicelli
    S. n.|s. l. 29 Janvier 1975|14 x 24.50 cm|une feuille + une enveloppe
    Rare autograph letter dated January 25, 1975 and signed by William Goyen, in French (with some errors) to Christian Giudicelli thanking him for his kindness and availability (24 lines in black ink).
    Fold marks inherent to mailing.
    Sometimes addressing him formally, sometimes informally, William Goyen warmly thanks his correspondent: "Merci de votre entretien que me plait beaucoup. C'est dommage qu'on a abrégé, mais tu peut à en user plus tard, n'est-ce pas ?" ["Thank you for your interview which pleased me very much. It's a pity that it was shortened, but you can use more of it later, can't you?"]
    William Goyen regrets not being able to correspond as regularly as he would like with Christian Giudicelli: "trop de mois sont passé sans nouvelles de vous, mais nous ne pouvions écrire à faute de la grève. Mon cher ami. Que nous pouvions parler : il y a tant de choses que je voudrais prendre part à toi... je vous remerciez mille fois les tendresses et les bontés quand j'étais la avec toi et mon ami de grand prix Maurice Coindreau." ["too many months have passed without news from you, but we couldn't write because of the strike. My dear friend. How we could talk: there are so many things I would like to share with you... I thank you a thousand times for the tenderness and kindness when I was there with you and my dear friend Maurice Coindreau."]
    €300
  33. Carte postale photographique dédicacée à Alice Rim représentant un policier de la garde royale montée canadienne
    Maurice CHEVALIER
    Carte postale photographique dédicacée à Alice Rim représentant un policier de la garde royale montée canadienne
    S. n.|Montréal [Montreal] 2 Avril 1956|9 x 14 cm|une feuille
    Photographic postcard inscribed by Maurice Chevalier to Alice Rim depicting a Canadian Mounted Police guard.
    The postcard is addressed, from Montreal, to Caro Canaille, pen name of Alice Rim, Carlo's wife.
    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.
    €100
  34. Photographie originale représentant Edith Piaf et Alice Rim sur un pédalo dans le port de Cassis en 1942
    (Edith PIAF)
    Photographie originale représentant Edith Piaf et Alice Rim sur un pédalo dans le port de Cassis en 1942
    Original photograph depicting Edith Piaf and Alice Rim on a pedalo in the port of Cassis in 1942
    S. n.|s. l. • [Cassis] 1942|13.50 x 8.50 cm|une feuille
    Original photograph depicting Édith Piaf and Alice Rim on a pedalo in the port of Cassis in 1942
    [Cassis] 1942 | 13,5 x 8,5 cm | one photograph
    Original photograph taken by Carlo Rim depicting his wife Alice sitting on a pedalo next to Edith Piaf, the latter raising her right hand to shield her face from the sun, contemporary silver print.
    Details handwritten in black felt tip by Carlo Rim on the back of the photograph: “Alice [et] Edith Piaf à Cassis 1942.” , other annotations in pencil and red pencil.


    In its newspaper Le Grenier d'Arlequin 1916-1940, Carlo Rim recounts the first Édith Piaf concert he attended: “9 December 1935. La môme Piaf, at Gerny's where the smart set begin to flock to listen to her. Some small woman, humble and pitiful in her cheap black dress. The hounded air of someone who has just received a good beating. But we barely only see, in the brutal light of the spotlight, her huge white forehead, her child-like hands clenched on her chest or pressed against her thighs like a starfish. Muffled, as if choked with tears, her voice elevates, rises, tears off into an interminable cry of a mortally wounded animal, an almost inhuman voice that takes you by the throat, grabs your heart – a voice that feels misery and disturbance. And in that moment, la môme Piaf becomes the most beautiful girl in the world.”


    Provenance: Carlo Rim, then his son Jean-Pierre Richard. A Provençal writer, caricaturist and filmmaker, Carlo Rim was the friend and confident of many of the greatest artists and authors of the 20th century: Antonin Artaud, Marcel Pagnol, Fernandel, Raimu, Max Jacob, Tristan Bernard, Jacques Prévert...
    €1,000
  35. Photographie originale représentant Edith Piaf enlacée par Norbert Glanzberg aux côtés d'Alice et Carlo Rim dans le port de Cassis en 1940
    (Edith PIAF) Norbert GLANZBERG
    Photographie originale représentant Edith Piaf enlacée par Norbert Glanzberg aux côtés d'Alice et Carlo Rim dans le port de Cassis en 1940
    Original photograph depicting Edith Piaf embraced by Norbert Glanzberg next to Alice and Carlo Rim in the port of Cassis in 1940
    S. n.|s. l. • [Cassis] 1940|8.50 x 13.50 cm|une feuille
    Original photograph depicting Édith Piaf embraced by Norbert Glanzberg next to Alice and Carlo Rim in the port of Cassis in 1940
    [Cassis] 1940 | 8,5 x 13,5 cm | one photograph
    Original photograph depicting Edith Piaf embraced and kissed on the neck by the composer Norbert Glanzberg, then a refugee in France, with, to their right, Alice and Carlo Rim, the latter slightly set back, the first three being perched on a low wall, contemporary silver print. While Edith Piaf and Alice Rim are all smiling, Carlo Rim is the only one to take an ironically solemn break, standing almost to attention and with his eyes closed.

    Back in France, to the free zone, after having been demobilised from the Polish army, Norbert Glanzberg met Félix Marouani who hired him for Édith Piaf's tours. This is the beginning of a fruitful and intense collaboration, Norbert Glanzberg composed the music of several of Edith Piaf's most famous songs, such as “Padam, padam”... and “Mon manège à moi”.
    Details handwritten in pencil by Carlo Rim on the back of the photograph: “Édith Piaf, Norbert Glansberg [sic], Alice Carlo Rim, Carlo Rim à Cassis 1940.”
    In its newspaper Le Grenier d'Arlequin 1916-1940, Carlo Rim recounts the first Édith Piaf concert he attended: “9 December 1935. La môme Piaf, at Gerny's where the smart set begin to flock to listen to her. Some small woman, humble and pitiful in her cheap black dress. The hounded air of someone who has just received a good beating. But we barely only see, in the brutal light of the spotlight, her huge white forehead, her child-like hands clenched on her chest or pressed against her thighs like a starfish. Muffled, as if choked with tears, her voice elevates, rises, tears off into an interminable cry of a mortally wounded animal, an almost inhuman voice that takes you by the throat, grabs your heart – a voice that feels misery and disturbance. And in that moment, la môme Piaf becomes the most beautiful girl in the world.”
    Provenance: Carlo Rim, then his son Jean-Pierre Richard. A Provençal writer, caricaturist and filmmaker, Carlo Rim was the friend and confident of many of the greatest artists and authors of the 20th century: Antonin Artaud, Marcel Pagnol, Fernandel, Raimu, Max Jacob, Tristan Bernard, Jacques Prévert...
    €1,000
  36. Carte postale photographique dédicacée à Alice Rim représentant sa propriété "La Louque" à Marnes-la-Coquette
    Maurice CHEVALIER
    Carte postale photographique dédicacée à Alice Rim représentant sa propriété "La Louque" à Marnes-la-Coquette
    S. n.|Marnes-la-Coquette 10 Octobre 1954|10.50 x 10.50 cm|une feuille
    Photographic postcard inscribed by Maurice Chevalier to Alice Rim depicting his property "La Louque" at Marnes-la-Coquette:
    "Chère Caro" ["Dear Caro"] (le pseudonyme de plume d'Alice Rim était Caro Canaille) ["the pen name of Alice Rim was Caro Canaille"] ,
    vous savez que je suis surchargé de travail et qu'en plus je ne pas très bien le bonhomme des cocktails ou expositions ou autres signatures. Je n'y suis jamais à l'aise. Je suis très heureux de notre nouvelle sympathie et suis certain que la vie nous permettra de le confirmer."     ["you know that I am overloaded with work and that furthermore I am not very good at being the fellow for cocktails or exhibitions or other signings. I am never comfortable there. I am very happy about our new friendship and am certain that life will allow us to confirm it."]
    €100
  37. Lettre manuscrite adressée à Carlo Rim
    Jeanne MARÉCHAL
    Lettre manuscrite adressée à Carlo Rim
    S. n.|Paris 31 juillet 1963|13.50 x 21 cm|une feuille
    Autograph letter dated and signed by Jeanne Maréchal, co-founder, with her husband Maurice and caricaturist Henri-Pierre Gassier, of the famous weekly political-satirical publication "Le Canard enchaîné", addressed to the Provençal writer, caricaturist and filmmaker Carlo Rim, 11 lines in blue ink, the letter on Le Canard enchaîné letterhead.
    Jeanne Maréchal thanks Carlo Rim for his kind letter and for the vivid memory he retains of Maurice Maréchal, founder with his wife Jeanne and illustrator Henri-Pierre Gassier, of the famous Canard enchaîné. : "Hé oui, Maurice en aurait bien ri et je vous en remercie de vous en souvenir..." ["Oh yes, Maurice would have had a good laugh and I thank you for remembering him..."]

    €80
  38. Bristol autographe signé adressé à son amie Claude Arthaud
    Harry MATHEWS
    Bristol autographe signé adressé à son amie Claude Arthaud
    S. n.|Lans-en-Vercors 17 Octobre 1976|14.70 x 11.70 cm|une feuille + une enveloppe
    Autograph signed bristol card from Harry Mathews addressed to his close friend Claude Arthaud (24 lines in black ink) from his country retreat in Lans-en-Vercors, Isère, envelope included.
    In this note filled with tender nostalgia, Harry Mathews shares with his correspondent the sadness he felt at not being able to reach her when she was in Paris and the difficulty of contacting her: "Je t'ai appelé trois fois à Paris aux dates que tu m'avais indiquées. La troisième fois une vois (sic) extraordinairement émilienne a prononcé la formule si familière : "c'est de la part de qui ? Madame, elle est n'est pas là, monsieur." ["I called you three times in Paris on the dates you had given me. The third time an extraordinarily Emilian voice pronounced the so familiar formula: 'who shall I say is calling? Sir, madam is not here.'"]
    Before going to New York, Harry Mathews hopes to finally be able to speak with Claude Arthaud: "... je passerai quelques jours à Paris. Y seras-tu pour qu'on se parle (au moins) enfin?" ["... I will spend a few days in Paris. Will you be there so we can talk (at least) at last?"]
    Despite a melancholy that surfaces in this letter, the American writer exudes joie de vivre: "Je suis heureux dans ma nouvelle vie, malgré mes idées sur les choses de ce monde. Tout ce qui m'arrive (lire : ce que j'ai voulu) me semble à la fois incroyable et incroyablement naturel." ["I am happy in my new life, despite my ideas about the things of this world. Everything that happens to me (read: what I wanted) seems to me both incredible and incredibly natural."]
    The note ending with an affectionate: "Je t'embrasse - Harry." ["I embrace you - Harry."]
    €300
  42. Rapport sur la reprise des quatre places de la frontière du Nord qui avoient été envahies par l'ennemi, présenté à la Convention Nationale, au nom du comité de salut public, par Carnot, l'un de ses membres ; le premier Vendémiaire, l'an troisième de la République une & indivisible
    Lazare CARNOT
    Rapport sur la reprise des quatre places de la frontière du Nord qui avoient été envahies par l'ennemi, présenté à la Convention Nationale, au nom du comité de salut public, par Carnot, l'un de ses membres ; le premier Vendémiaire, l'an troisième de la République une & indivisible
    S. n.|s. l. • (Paris) s. d. [1794]|13.50 x 21 cm|broché
    First edition of this speech delivered by Lazare Carnot, the Organizer of Victory, to the assembly of the National Convention.
    A rare and handsome copy presented in its original stitched wrappers.
    €150
  45. Généalogie de la famille de Coussemaker et de ses alliances
    ANONYME
    Généalogie de la famille de Coussemaker et de ses alliances
    S. n.|Lille 1858|24.50 x 31.50 cm|relié
    First edition illustrated with 14 armorial plates in chromolithography.
    Full vellum-style paper boards binding, spine with five raised bands set with double gilt fillets and gilt garlands and decorated with gilt fleurons, gilt roulettes on headcaps, frame of gilt floral frieze on boards, front board stamped in the center with the Coussemaker family coat of arms, endpapers and pastedowns of speckled paper, frame of gilt dentelle on pastedowns, gilt fillets on leading edges.
    Two small stains at head of back board and at foot of front board.
    The work contains 280 coats of arms in chromolithography distributed across 14 plates; the Coussemaker family coat of arms has unfortunately been cut out from the third plate.








    €500
  46. Poème manuscrit signé du Chant de la paix - La ronde autour du monde dédicacé à Carlo Rim [Si tous les gars du monde]
    Paul FORT
    Poème manuscrit signé du Chant de la paix - La ronde autour du monde dédicacé à Carlo Rim [Si tous les gars du monde]
    Handwritten signed poem of the Chant de la paix - La ronde autour du monde dedicated to Carlo Rim
    S. n.|s. l. s. d. [circa 1930]|13.50 x 21 cm|une feuille
    Handwritten signed poem of the Chant de la paix – La ronde autour du monde dedicated to Carlo Rim
    [Si tous les gars du monde]
    [ca 1930] | 13,5 x 21 cm | one leaf
    Handwritten signed poem by Paul Fort: 13 lines in black ink, three tercets entitled “Chant de la paix – La ronde autour du monde”.

    “If all the girls of the world wanted to hold hands, all around the sea they could make a circle / If all the guys of the world wanted to be sailors, with their boats they would make a nice bridge on the water: Then we could make a circle around the world, if all the guys of the world wanted to hold hands.”
    Handwritten inscription dated and signed by Paul Fort to Carlo Rim in green pencil beneath the poem: “Pour Carlo Rim, Très amical souvenir de la kermesse aux [a drawing of a star].”
    A superb manuscript, in Paul Fort's elegant calligraphy, of one of the most famous hymns to peace, taken up in songs, films, expressions and ritornellos throughout the 20th century, until it became a real popular “meme” whose origin has been lost in the collective unconscious.
    €800
  48. Lettre autographe signée à Carlo Rim à propos de démarches épistolaires à entreprendre auprès des Archives Françaises du Film (A.F.F.)
    René CLAIR
    Lettre autographe signée à Carlo Rim à propos de démarches épistolaires à entreprendre auprès des Archives Françaises du Film (A.F.F.)
    S. n.|s. l. 29 Novembre 1951|13.50 x 21 cm|une feuille
    Autograph letter signed by René Clair addressed to his friend the Provençal writer, caricaturist, screenwriter and filmmaker Carlo Rim.
    (14 lines in black ink),     fold marks inherent to being placed in an envelope.
    "29 Nov. 51
    Dear Carlo I thank you for your letter. Yes, I think it would be good for you to send a letter in the name of the A.F.F. to the Director General, a letter which could be inspired by the one signed by de Sica and by me. That would help us greatly. Thank you in advance and no less very affectionately René Clair."



    €150
  49. Laudative lettre autographe signée adressée à Carlo Rim à propos de ce qu'il a écrit sur l'affaire Stavisky
    Léo LARGUIER
    Laudative lettre autographe signée adressée à Carlo Rim à propos de ce qu'il a écrit sur l'affaire Stavisky
    S. n.|s. l. s. d. [circa 1934]|21 x 27 cm|une feuille
    Autograph letter signed by Léo Larguier addressed to Carlo Rim, 14 lines written in black ink, congratulating him on a recent newspaper article he devoted to the Stavisky affair.
    Fold marks inherent to posting, a tear in the left margin of the letter at the fold level.
    "Mon bon ami. Je viens de lire dans Vu votre article. Stavisky et je veux vous dire combien il m'a touché. C'est très fort ces raccourcis, ces ellipses cruelles, et c'est un art inouï si ce n'est pas naturel. Dans l'un ou l'autre cas, vous êtes un écrivain que j'avais deviné et je m'y connais un peu, vous savez. J'ai voulu vous le dire. Vous pouvez ficher ma lettre au feu. Hommages et affections. Léo Larguier." ["My good friend. I have just read your article in Vu. Stavisky and I want to tell you how much it moved me. These shortcuts, these cruel ellipses are very powerful, and it is an extraordinary art if it is not natural. In either case, you are a writer that I had sensed and I know a little about it, you know. I wanted to tell you so. You can throw my letter in the fire. Regards and affections. Léo Larguier."]
    Carlo Rim, author of Ma belle Marseille, was a Provençal writer, caricaturist and filmmaker and friend of Fernandel, Raimu and Marcel Pagnol but also of André Salmon and Max Jacob.
    €100
  50. Carte de voeux lithographiée dédicacée à Georges Raillard
    Émile GILIOLI
    Carte de voeux lithographiée dédicacée à Georges Raillard
    S. n.|s. l. 1979|10.50 x 15 cm|une feuille
    New Year's greetings card for 1979 illustrated with a lithograph by Emile Gilioli on the front cover and bearing this autograph inscription signed by the painter to his friend, art critic Georges Raillard, who is not named:
    "Merci de vos voeux l'article était très bien. Bonne année 1979. Bonne santé. Babet et Emile Gilioli." ["Thank you for your wishes, the article was very good. Happy New Year 1979. Good health. Babet and Emile Gilioli."]
    Fine copy.
    €150
  51. Lettre autographe signée adressée à Marius Richard "... vous m'avez excité dans mon désir de voir Jaurès..."
    Joséphin PÉLADAN
    Lettre autographe signée adressée à Marius Richard "... vous m'avez excité dans mon désir de voir Jaurès..."
    S. n.|s. l. s. d. [circa 1900]|17.50 x 22.50 cm|une feuille
    Autograph letter signed by Joséphin Peladan addressed to Marius Richard, Carlo Rim's father (12 lines in black ink). Fold marks inherent to mailing. Tiny lacks to lower right corner of the sheet, marginal foxing.
    Interesting letter in which the occultist writer expresses his wish to meet Jean Jaurès, fervent admirer of Sâr Peladan's writings, through Marius Richard, Jean Jaurès's faithful companion.
    "Dear confrère of the soul, you have excited my desire to see Jaurès. Would you, if there is still time, obtain an appointment with him for me. In haste & will write to you one of these days. Your Péladan. 24 Rue A. de Neuville"

    €400
  52. Billet autographe signé à son grand ami le metteur en scène Carlo Rim "... tu auras ainsi tous les détails depuis ma naissance et mes différents métiers  avant d'être un artiste (du moins je le crois)..."
    FERNANDEL
    Billet autographe signé à son grand ami le metteur en scène Carlo Rim "... tu auras ainsi tous les détails depuis ma naissance et mes différents métiers  avant d'être un artiste (du moins je le crois)..."
    S. n.|Carry-le-Rouet 18 Septembre 1951|16.50 x 10.50 cm|une feuille
    Autograph signed letter card from Fernandel, on letterhead from his property L'Oustau de la Mar at Carry-le-Rouet, addressed to his great friend the Provençal writer, caricaturist and filmmaker Carlo Rim, who was also his biographer.
    (10 lines in turquoise ink, the ink having smudged on three words).
    "18 Sept 1951
    My dear Carlo,
    I leave tomorrow for Italy, but I haven't forgotten you. You will receive documentation and manuscript pages "My memoirs" published by "Ce soir" in 1938, you will thus have all the details from my birth and my different jobs before being an artist (at least I believe so). Affectionately Fernandel."


    €400
  53. Lettre autographe signée adressée à Carlo Rim : "... Je suis allé voir votre Jamet. C'est un bien gentil garçon. J'ai vu sa galerie de tableaux. Cet homme candide accomplit, avec une grande foi, une oeuvre de démolition assez féroce, dont il n'a aucunement conscience !"
    Gus BOFA
    Lettre autographe signée adressée à Carlo Rim : "... Je suis allé voir votre Jamet. C'est un bien gentil garçon. J'ai vu sa galerie de tableaux. Cet homme candide accomplit, avec une grande foi, une oeuvre de démolition assez féroce, dont il n'a aucunement conscience !"
    S. n.|s. l. s. d. [circa 1930]|20.50 x 26.50 cm|une feuille
    Autograph letter signed by Gus Bofa addressed to his friend Carlo Rim (10 lines written in black ink).
    Amusing thank-you letter for the sending of charcuterie also mentioning the painter Henri Jamet: "[...] votre dernière lettre fait bien de l'honneur à cette rosette. Je vous remercie pour elle. J'espère que vous faites provision de bon air pur en notre beau pays. Je ne vous savais pas, aussi, jurassien. En vieillissant je commence à découvrir combien il me manque d'avoir un pays natal ! [...] Je suis allé voir votre Jamet. C'est un bien gentil garçon. J'ai vu sa galerie de tableaux. Cet homme candide accomplit, avec une grande foi, une oeuvre de démolition assez féroce, dont il n'a aucunement conscience !" ["[...] your last letter does great honor to this sausage. I thank you for it. I hope you are taking in plenty of good fresh air in our beautiful country. I didn't know you were also from the Jura. As I age I'm beginning to discover how much I lack having a native land! [...] I went to see your Jamet. He's a very nice fellow. I saw his gallery of paintings. This candid man accomplishes, with great faith, a rather fierce work of demolition, of which he has no consciousness whatsoever!"]
    Carlo Rim, author of "Ma belle Marseille," was a Provençal writer, caricaturist and filmmaker and friend of Fernandel, Raimu and Marcel Pagnol as well as André Salmon and Max Jacob.
    €150
  54. "... Ton livre, je te le dis tout net, était le meilleur et j'ajoute le mieux capable de "porter le prix" D'abord c'est un livre de poète servi par l'art d'un vrai romancier. J'attends sans patience le film que tu dois en tirer..."
    André SALMON
    "... Ton livre, je te le dis tout net, était le meilleur et j'ajoute le mieux capable de "porter le prix" D'abord c'est un livre de poète servi par l'art d'un vrai romancier. J'attends sans patience le film que tu dois en tirer..."
    Signed autograph letter addressed to Carlo Rim
    S. n.|s. l. 13 avril 1954|21 x 27 cm|une feuille
    Autograph letter signed by André Salmon addressed to his great friend Carlo Rim. 41 lines written in black ink. Fold marks inherent to being placed in an envelope, a tear in the left margin of the letter at the level of the fold.
    Fine letter in which Salmon apologizes for his silence after the publication of a work, probably Mélisande et l'automate: " Cher Carlo, tu entreprends assez, sans toujours trop d'aises, pour, je l'espère, me comprendre et me pardonner. Tu voudras bien aussi penser que ramant comme je rame, je le fais en vieux rameur. Tout ça pour t'exprimer, en quête d'excuses, ma confusion de ne pas t'avoir écrit plus vite mon ravissement à la lecture de ton livre. J'envie (mot illisible) d'avoir été plus libre que moi. Président malgré moi, j'ai dû m'incliner devant un règlement inexistant, mais certaines considérations : le temps manquait à la plupart de lire le livre non envoyé "au titre de la candidature" outre que deux membres non parisiens n'en pouvaient avoir aucune connaissance. Il y avait beaucoup à dire sur les votes par correspondance dont la valeur n'est à reconnaître, selon moi, qu'au premier jour. Ton livre, je te le dis tout net, était le meilleur et j'ajoute le mieux capable de "porter le prix". D'abord c'est un livre de poète servi par l'art d'un vrai romancier. J'attends sans patience le film que tu dois en tirer. Avec ce livre, cher Carlo, tu fais revivre tout un printemps poétique dont il reste ... quoi ?... Un vieux bourgeon, si j'ose cette image, ton vieil ami ! Il est malséant de parler de soi, pourtant c'est le plus commode pour s'exprimer sans phrase : quand, moins de trente pas, j'écrivis les Fééries ça n'était pas pour le Châtelet, mais les fééries du quotidien. A te lire, j'ai moins de trente ans... alors tu peux concevoir l'effet que ça me fait ! Et c'est bien joliment écrit. Nous allons partir aux champs, vers le midi, par un détour... à déterminer encore." ["Dear Carlo, you undertake enough, without always too much comfort, for, I hope, you to understand and forgive me. You will also want to think that rowing as I row, I do it as an old rower. All this to express to you, seeking excuses, my confusion at not having written you more quickly my delight in reading your book. I envy (illegible word) having been freer than me. President despite myself, I had to bow before a non-existent regulation, but certain considerations: most lacked the time to read the book not sent "as candidacy material" besides the fact that two non-Parisian members could have no knowledge of it. There was much to say about correspondence votes whose value is to be recognized, in my opinion, only on the first day. Your book, I tell you frankly, was the best and I add the most capable of "carrying the prize". First it is a poet's book served by the art of a true novelist. I await impatiently the film you must draw from it. With this book, dear Carlo, you revive an entire poetic spring of which there remains... what?... An old bud, if I dare this image, your old friend! It is unseemly to speak of oneself, yet it is the most convenient way to express oneself without phrasing: when, under thirty paces, I wrote the Fééries it was not for the Châtelet, but the fairy tales of everyday life. Reading you, I am under thirty... so you can conceive the effect it has on me! And it is so prettily written. We are going to leave for the countryside, towards the south, by a detour... still to be determined."]
    Carlo Rim, author of "Ma belle Marseille", was a Provençal writer, caricaturist and filmmaker and friend of Fernandel, Raimu and Marcel Pagnol but also of André Salmon and Max Jacob.
    €200
  55. Bristol autographe signé adressé à Carlo Rim
    Jean PAULHAN
    Bristol autographe signé adressé à Carlo Rim
    S. n.|s. l. s. d. [circa 1935]|11.50 x 9 cm|une feuille
    Autograph signed card from Jean Paulhan addressed to Carlo Rim (10 lines written in black ink)
    "4.VIII
    Cher Carlo Rim une cravate, je vois très bien ce qu'on peut en faire. Mais une plaque ? Je me sens très embarrassé. J'en ferai cadeau à Nîmes, à mon prochain voyage. Merci de votre souvenir, et à vous tout amicalement. Jean Paulhan."     ["Dear Carlo Rim, a tie, I can see very well what one can do with it. But a plaque? I feel quite embarrassed. I will give it as a gift in Nîmes, on my next trip. Thank you for thinking of me, and to you most cordially. Jean Paulhan."]
    Carlo Rim, author of "Ma belle Marseille", was a Provençal writer, caricaturist and filmmaker and friend of Fernandel, Raimu and Marcel Pagnol but also of André Salmon and Max Jacob.
    €100
  56. Lettre autographe signée adressée à son ami Carlo Rim à propos de la lecture du "Grenier d'arlequin", les mémoires de Carlo Rim
    Félicien MARCEAU
    Lettre autographe signée adressée à son ami Carlo Rim à propos de la lecture du "Grenier d'arlequin", les mémoires de Carlo Rim
    S. n.|Neuilly-sur-Seine 3 octobre 1981|21 x 30 cm|une feuille
    Dated and signed manuscript letter from Félicien Marceau addressed to Carlo Rim (19 lines in blue ink) about his enthusiastic reading of his memoir Le grenier d'Arlequin.
    Fold marks inherent to postal mailing. Carlo Rim having inscribed Félicien Marceau in the upper left corner in pencil.
    "Neuilly, October 3rd, 81",
    "Dear Sir,
    your Grenier d'Arlequin delighted me. I read it with extreme pleasure (and often bursting into laughter, so skillfully do you express - with the talent of a dialogue writer - the replies you have noted) and also with extreme interest. These snapshots give an excellent portrait of an era, of a society, and an anecdote, a cry from the heart can enlighten us about this or that great man more than pages of an essay. In thanking you, I beg you to believe, dear sir, in my cordial sympathy. Félicien Marceau."
    €120
  57. "... Je suis un peu confus de jouer ce rôle de vieille coquette qu'on gâte en la bourrant de pralines ; mais "un peu seulement", car la gourmandise l'emporte vite sur les sentiments de dignité que l'âge a fortement émoussés... "
    Roger MARTIN DU GARD
    "... Je suis un peu confus de jouer ce rôle de vieille coquette qu'on gâte en la bourrant de pralines ; mais "un peu seulement", car la gourmandise l'emporte vite sur les sentiments de dignité que l'âge a fortement émoussés... "
    Foodie and fun signed autograph letter addressed to her friend Alice Rim
    S. n.|Cassis 11 février 1934|13.50 x 21.50 cm|une feuille
    Beautiful and amusing signed manuscript letter from Roger Martin du Gard addressed from Cassis to Alice Rim (38 lines in black ink) in which he displays all his insatiable appetite for sweets.
    Fold mark inherent to postal mailing.
    "Cassis. February 11th, 34,
    Dear Madam,
    a certain Carlo, Comma, - whose infernal nerve you know - had the audacity to present himself alone (word underlined) in Cassis! (I must say that he had been conscious of the disappointment he was going to cause, and that he arrived with his arms loaded with sumptuous bags of fondant sweets and stuffed dates, from the most delicate confectioner) If anything could have consoled us for your absence, it was indeed this cargo of choice delicacies... The intention was so kind, that we did not dare reproach him for his widowhood, and that we concealed as best we could the melancholy of our regrets. I am a little ashamed to play this role of an old coquette whom one spoils by stuffing her with pralines; but "only a little," for gluttony quickly prevails over feelings of dignity that age has greatly dulled... And the said Carlo promised me, in compensation, that before the end of carnival - if by then, the sky has not fallen on our heads - you would both come to see Cassis again, and stay longer than tonight's meteoric appearance. (I would almost believe I dreamed it, if my room did not smell of pistachio and vanilla, and if my papers did not have this imposing confectioner's bag as a paperweight tonight...) May at least the Charentes be gentle to you, dear madam! I send you there, with my faithful respects, a thousand wishes for a joyful Fat Tuesday! Roger Martin du Gard".
    €450
  58. Carte postale autographe signée adressée à Emile Straus
    Ernest LA JEUNESSE
    Carte postale autographe signée adressée à Emile Straus
    S. n.|Paris 2 février 1904|14 x 9 cm|une carte postale

    Autograph postcard signed by Ernest La Jeunesse addressed to Emile Straus: "Je crois, mon vieux, que vous aimerez cette carte-là. A vous, Ernest La Jeunesse" ["I believe, my old friend, that you will like this card. Yours, Ernest La Jeunesse"]
    A great enthusiast of epistolary art, Emile Straus founded in 1899 La Carte postale illustrée, the bulletin of the association he had just launched, the International Poste-Carte Club.

    €70
  59. Carte postale autographe signée adressée à Emile Straus
    Ernest LA JEUNESSE
    Carte postale autographe signée adressée à Emile Straus
    S. n.|Paris février 1904|14 x 9 cm|une carte postale

    Autograph postcard signed by Ernest La Jeunesse addressed to Emile Straus: "Voici, cher ami, avec mes meilleurs sentiments. Annoncez des séries napoléoniennes, républicaines et autres fantaisies socialistes, votre Ernest La Jeunesse" ["Here, dear friend, with my best regards. Announce Napoleonic series, republican and other socialist fantasies, your Ernest La Jeunesse"]
    A great enthusiast of epistolary art, Emile Straus founded in 1899 La Carte postale illustrée, the bulletin of the association he had just launched, the International Poste-Carte Club.

    €70
  60. Carte de visite dédicacée de Paul Colin à son ami Carlo Rim
    Paul COLIN
    Carte de visite dédicacée de Paul Colin à son ami Carlo Rim
    S. n.|Paris s. d. [circa 1950]|11.50 x 9 cm|une feuille
    Printed visiting card of the painter and illustrator Paul Colin to which he added, in red and blue felt-tip pens, for his friend Carlo Rim: "COMPLIMENTS MEILLEURS VOEUX" ["COMPLIMENTS BEST WISHES"]
    Handsome copy.
    Provenance: from the library of the Provençal writer, filmmaker and caricaturist Carlo Rim who was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of André Salmon and Max Jacob.

    €80
  61. Carte de visite dédicacée de Georges Auric à Carlo Rim
    Georges AURIC
    Carte de visite dédicacée de Georges Auric à Carlo Rim
    S. n.|Paris s. d. [circa 1965]|9.50 x 7 cm|une feuille
    Printed calling card of composer Georges Auric, then administrator of the Réunion des Théâtres Lyriques Nationaux, to which he added, in blue ballpoint pen, for his friend Carlo Rim: "Merci pour tes affectueuses félicitations que je trouve à mon retour à Paris et crois-moi bien fidèlement à toi" ["Thank you for your affectionate congratulations which I find upon my return to Paris and believe me faithfully yours"]
    Handsome copy.
    Provenance: from the library of the Provençal writer, filmmaker and caricaturist Carlo Rim who was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of André Salmon and Max Jacob.

    €150
  62. Lettre autographe signée adressée à son ami Carlo Rim
    JAQUE [Christian Christian Albert François MAUDET]
    Lettre autographe signée adressée à son ami Carlo Rim
    S. n.|Cassis 7 Janvier 1940|21 x 13.50 cm|une feuille
    Signed manuscript letter from the director and stage director, then mobilized, addressed to his friend and collaborator Carlo Rim (27 lines in black ink)
    "Sunday 7 - 1 - 40",
    "Mon cher collègue (car moi, aussi je suis caporal ! ). Un nouveau calendrier a été accroché au mur ! .. Puisse-t-il nous rendre à chacun tout le bonheur que nous avons laissé loin derrière nous ! A toi, vieux frère, je souhaite une bonne santé... de la patience... et une mise en affectation spéciale pour tout terminer. Ces mêmes-voeux je les adresse à Alice et Babon que tu embrasseras pour moi. Quant à "Tourelle 3" j'ai bien l'impression que ce n'est pas cette année qu'on y mettra le mot "fin" ! Les recettes des salles ne sont pas suffisantes, paraît-il, pour amortir le devis d'un film... actuellement - Je n'y comprends rien, car , lors de ma permission de 10 jours j'ai pu constater qu'à Paris, les salles de spectacle étaient assez bien remplies ! Enfin, suivant une formule consacrée "sachons attendre" Un petit mot de toi me fera toujours plaisir - je t"embrasse mon vieux Carlo. Christian Jaque. Simone est partie jouer "Jazz" de Pagnol et le "Greluchon délicat" avec Harry Baur, en Tunisie, Algérie et Maroc, elle sera de retour vers le 10 de ce mois. Elle a eu très chaud sous le soleil d'Afrique..." par contre... moi j'ai actuellement ici 22 au dessous de zéro ! Ca ne te dit rien... mignon !" ["My dear colleague (because I, too, am a corporal!). A new calendar has been hung on the wall!.. May it bring back to each of us all the happiness we left far behind us! To you, old brother, I wish good health... patience... and a special assignment to finish everything. These same wishes I address to Alice and Babon whom you will embrace for me. As for 'Tourelle 3' I have the strong impression that this is not the year we will put the word 'end' to it! The box office receipts are not sufficient, it seems, to cover the budget of a film... currently - I understand nothing of it, because, during my 10-day leave I was able to observe that in Paris, the theaters were quite well filled! Finally, following a consecrated formula 'let us know how to wait' A little word from you will always give me pleasure - I embrace you my old Carlo. Christian Jaque. Simone left to perform 'Jazz' by Pagnol and 'Le Greluchon délicat' with Harry Baur, in Tunisia, Algeria and Morocco, she will return around the 10th of this month. She was very hot under the African sun... on the other hand... I currently have 22 below zero here! That doesn't appeal to you... sweetheart!"]
    €250
  63. Carte de Visite dédicacée de René Clair à Carlo Rim
    René CLAIR
    Carte de Visite dédicacée de René Clair à Carlo Rim
    S. n.|s. l. s. d. [circa 1950]|10.50 x 8 cm|une feuille
    Printed visiting card of the director, theater director and writer René Clair on which he has added for the attention of his friend Carlo Rim: "Merci cher Carlo. Je t'embrasse." ["Thank you dear Carlo. I embrace you."]
    Handsome copy.
    Provenance: from the library of the Provençal writer, filmmaker and caricaturist Carlo Rim who was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of André Salmon and Max Jacob.

    €60
  64. Photographie originale en couleurs représentant André Salmon interviewé par son grand ami Carlo Rim
    André SALMON, Carlo RIM
    Photographie originale en couleurs représentant André Salmon interviewé par son grand ami Carlo Rim
    S. n.|Sanary-sur-Mer 1967|9 x 9 cm|une feuille
    Original color photograph depicting the poet André Salmon, comfortably seated in a deck chair at his Sanary-sur-Mer property "La Hune," alongside his great friend Carlo Rim who is smiling slightly and leaning in his direction to hear his voice.
    The photograph is captioned on the back by Carlo Rim: "C.R. et A.S. (enregistrant un dialogue) / La Hune Sanary 1967." ["C.R. and A.S. (recording a dialogue) / La Hune Sanary 1967."] in blue ballpoint pen.
    Handsome copy.
    Provenance: from the library of the Provençal writer, filmmaker and caricaturist Carlo Rim who was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of André Salmon and Max Jacob.

    €80
  65. Lettre autographe signée de trois pages à son grand ami Carlo Rim : " la page des théâtres est en général absolument hilarante par l'incompréhension absolue de M. Martin (du Gard). Il a d'ailleurs été très gentil pour moi, mais il s'y connait autant que moi en peinture..."
    Marcel PAGNOL
    Lettre autographe signée de trois pages à son grand ami Carlo Rim : " la page des théâtres est en général absolument hilarante par l'incompréhension absolue de M. Martin (du Gard). Il a d'ailleurs été très gentil pour moi, mais il s'y connait autant que moi en peinture..."
    S. n.|s. l. s. d. [1930]|14 x 21.50 cm|trois feuilles
    Signed autograph letter of three pages by Marcel Pagnol addressed to his great friend the Provençal writer, caricaturist and filmmaker Carlo Rim, pseudonym of Jean Marius Richard, one of his oldest accomplices.
    (33 lines in blue ink on Théâtre des Variétés letterhead).
    Folding traces inherent to being placed in an envelope, a date inscribed in pencil by Carlo Rim, probably that of the receipt of this letter.
    In this very fine letter of indulgent and touching tenderness for his old friend Carlo Rim with whom he is slightly at odds, Marcel Pagnol shows less clemency for the theatrical criticisms of Roger Martin du Gard:
    "Mon cher Jean,
    Je reçois un mot de toi - Il est petit, mais il me fait grand plaisir. Il y a eu entre nous quelque pique imbécile. Partageons en la responsabilité, et embrassons nous Folleville ! J'ai d'ailleurs des nouvelles de toi, par les littéraires - où je regarde tes dessins chaque semaine. Je t'avoue d'ailleurs que c'est la seule raison pour laquelle j'achète ce journal, dont la page des théâtres est en général absolument hilarante par l'incompréhension absolue de M. Martin (du Gard). Il a d'ailleurs été très gentil pour moi, mais il s'y connait autant que moi en peinture. Quand déjeune-t-on ensemble ? Téléphone donc à Gras, qui est aux Variétés tous les jours de 3 à 7. Tous mes respects chez toi. Ton vieux Marcel."     ["My dear Jean,
    I receive a note from you - It is small, but it gives me great pleasure. There has been some foolish quarrel between us. Let us share the responsibility, and embrace each other Folleville! I have news of you, moreover, through the literary papers - where I look at your drawings each week. I confess to you moreover that it is the only reason for which I buy this journal, whose theatre page is generally absolutely hilarious by the absolute incomprehension of M. Martin (du Gard). He has moreover been very kind to me, but he knows as much about it as I do about painting. When shall we lunch together? Do telephone Gras, who is at the Variétés every day from 3 to 7. All my respects to your household. Your old Marcel."]
    Tutor to the aspiring bachelor Jean Marius, the very young graduate Marcel Pagnol preferred to teach him bilboquet, mocking the uselessness of the baccalauréat.
    This was the beginning of an unbreakable friendship between the two artists whose literature, theatre and films contributed to the fame of the land of cicadas.

    €1,200
  66. Carte postale adressée à son ami Carlo Rim
    Tristan BERNARD
    Carte postale adressée à son ami Carlo Rim
    S. n.|Clayes-sous-Bois [Les Clayes-sous-Bois] 3 Novembre 1939|13.50 x 9 cm|une feuille
    Humorous handwritten postcard signed by Tristan Bernard to his friend Carlo Rim then mobilized as a corporal in Fontanès in the Gard.
    "3 November,
    Dear Carlo,
    I am replying somewhat belatedly to your amusing letter of 19 October. Blame only my congenital laziness, further increased by the state of war. We have been since 24 September at Hessel's in Clayes sous Bois (Seine et Oise). We are very well. And we think tenderly of our friends Carlo, Alice and Babou. We embrace you. Tristan Bernard."
    During the Occupation, Tristan Bernard takes refuge in Cannes and stays at the Windsor hotel while his friend Carlo Rim proposes in vain that he stay at his house so that he would be safe from denunciation or arrest; to which Tristan Bernard, never short of witticisms, replies: "At my age, one no longer sleeps away from home!" adding: "Do you know that I appear in the Petit Larousse? They don't arrest someone who appears in the Petit Larousse"
    He will nonetheless be arrested in September 1943 as a Jew and interned with his wife at Drancy then released following intervention by Sacha Guitry and Arletty the following month.
    His grandson François-René will also be arrested as a resistance fighter and deported to Mauthausen where he will die.
    €100
  67. Carte postale autographe signée adressée à Emile Straus
    Jules CLARETIE
    Carte postale autographe signée adressée à Emile Straus
    S. n.|Paris 11 janvier 1906|14 x 9 cm|une carte postale
    Autograph postcard signed by Jules Clarétie addressed to Emile Straus on a postcard reproducing the photograph of his portrait at his work table: "Avec tous les souhaits et compliments. Jules Claretie." ["With all best wishes and compliments. Jules Claretie."] Some staining.
    A great enthusiast of epistolary art, Emile Straus founded in 1899 La Carte postale illustrée, the newsletter of the association he had just launched, the International Poste-Carte Club.
    €60
  68. Carte postale autographe signée adressée à Emile Straus
    Jules CLARETIE
    Carte postale autographe signée adressée à Emile Straus
    S. n.|Paris 3 janvier 1904|14 x 9 cm|une carte postale
    Signed autograph postcard from Jules Clarétie addressed to Emile Straus on a postcard reproducing the photograph of his portrait at his work table: "A M. Emile Straus tous mes souhaits. Jules Claretie." ["To Mr. Emile Straus, all my best wishes. Jules Claretie."] Some staining.
    A great enthusiast of epistolary art, Emile Straus founded in 1899 La Carte postale illustrée, the newsletter of the association he had just launched, the International Poste-Carte Club.
    €60
  69. Carte postale autographe signée adressée à Emile Straus
    Frédéric-Auguste CAZALS
    Carte postale autographe signée adressée à Emile Straus
    S. n.|Paris 13 août 1904|14.10 x 9.10 cm|une carte postale
    Signed autograph postcard from Frédéric-Auguste Cazals addressed to Emile Straus: "Amitiés ! F. A. Cazals Paris 13/8/04" ["Best wishes! F. A. Cazals Paris 13/8/04"]
    Some staining.
    A great enthusiast of epistolary art, Emile Straus founded in 1899 La Carte postale illustrée, the newsletter of the association he had just launched, the International Poste-Carte Club.
    €80
  70. Carte postale autographe signée adressée à Emile Straus
    Frédéric-Auguste CAZALS
    Carte postale autographe signée adressée à Emile Straus
    S. n.|Paris 7 avril 1904|14.10 x 9.10 cm|une carte postale
    Autograph postcard signed by Frédéric-Auguste Cazals addressed to Emile Straus: "Souvenir amical - F. A. Cazals Paris 7/4/04" ["Friendly remembrance - F. A. Cazals Paris 7/4/04"]
    Some stains.
    A great enthusiast of epistolary art, Emile Straus founded in 1899 La Carte postale illustrée, the newsletter of the association he had just launched, the International Poste-Carte Club.
    €80
  71. Carte postale adressée à son amie Alice Rim
    Roger MARTIN DU GARD
    Carte postale adressée à son amie Alice Rim
    S. n.|Cassis 13 Décembre 1933|9.50 x 14 cm|une feuille
    Humorous autograph postcard signed by Roger Martin du Gard addressed from Cassis to Alice Rim (21 lines in black ink) describing the Provençal winter.
    "Cassis. 13 dec.33,
    Dear Madam,
    Thank you for these few lively and friendly pages. Don't regret Cassis. It's freezing here. Not that it's as cold as elsewhere, but we don't know how to heat ourselves. The "Réserve" is empty. There we find a drowsy son-in-law, alone, roasting his shins by the big central stove stuffed like a locomotive and smoking just the same. The port is deserted. I believe the Mediterranean     (sic) is carrying ice floes. (To be verified...) Congratulations to Carlo Rim for the Marraine articles, of inimitable quality. I hope he will continue the series. I give him 20 out of 20! ... Give him all my friendship, to which I add my very sympathetic regards. R.M.G.""
    €100
  72. Les plus secrets mystères des hauts grades de la maçonnerie dévoilés, ou le vrai Rose-Croix, traduit de l'anglois; suivi du Noachite, trad. de l'allemand
    BERAGE
    Les plus secrets mystères des hauts grades de la maçonnerie dévoilés, ou le vrai Rose-Croix, traduit de l'anglois; suivi du Noachite, trad. de l'allemand
    S. n.|à Jérusalem [Jerusalem] 1778|9.80 x 16.80 cm|relié
    New edition, after the original published in 1766, in Berlin. It is illustrated with a large folding plate containing 22 Masonic emblems. The first edition contains a frontispiece, which may be missing from this new edition.
    Half red shagreen binding ca 1860. Spine with false flat raised bands decorated with fillets. Red shagreen title label. Evidence of rubbing, particularly at head. Title page yellowed. Some foxing.
    The work begins with a history of Freemasonry, followed by the detailed study of the following 7 Scottish high degrees: Perfect elected Mason, elect of P., elect of the 15, small architect, grand architect, knight of the sword and Rose-Cross, Noachite or Prussian knight.
    The Noachite is the work of Karl Fr. von Köppen.


    €800
  73. Billet autographe signé à son ami Carlo Rim
    Armand SALACROU
    Billet autographe signé à son ami Carlo Rim
    S. n.|Paris s. d. [circa 1950]|13 x 10 cm|une feuille

    Affectionate autograph note signed by Armand Salacrou, on a card with letterhead of the Society of Dramatic Authors and Composers, 6 lines written in black ink.
    "Mon cher Carlo,
    Tu dis que je suis une tête ? ! Et si tu me prêtais tes jambes pour que nous partions, le coup, tous les deux, se reposer à la campagne ? Je t'aime bien. Armand Salacrou."     ["My dear Carlo,
    You say I'm a brain? ! And what if you lent me your legs so we could both take off together to rest in the countryside? I'm fond of you. Armand Salacrou."]

    €50
  76. Bristol autographe signé à Carlo Rim
    René CLAIR
    Bristol autographe signé à Carlo Rim
    S. n.|Cannes Janvier 1976|13.50 x 10.50 cm|une feuille
    Autograph signed carte de visite from René Clair, at his Parisian address, addressed to the Provençal writer, caricaturist and filmmaker Carlo Rim.
    (9 lines in black ink).
    Carlo Rim added a date in the lower right margin of the verso of the card.
    "Pardonne moi, cher Carlo de répondre si tard à ta gentille lettre que je n'ai lue que d'un oeil (opération de la cataracte) et trouve, ici, je te prie, les voeux retardataires et les amitiés affectueuses pour vous de ton fidèle René." ["Forgive me, dear Carlo, for replying so late to your kind letter which I have read with only one eye (cataract operation) and find, here, please accept my belated wishes and affectionate friendship for you from your faithful René."]



    €120
  77. Lettre autographe signée
    Alphonse DAUDET
    Lettre autographe signée
    S. n.|s. l. s. d. [circa 1941]|10 x 13 cm|une feuille
    Signed autograph letter from Alphonse Daudet, 13 lines in black ink.
    Fold marks inherent to postal delivery, small ink stains that have bled below the signature.
    "My dear friend
    at the Ministry of Agriculture, bad news. The application arrived at the cabinet without any recommendation from Madame Foucade. Would it be possible for Madame l'Epine to write a line immediately     (words underlined) to the Minister, so that she flags this application - in short for illegible word, since it's only about admission to an examination - to the attention of Mr. de Boureuille Secretary-General, the Valette of the Thing? Kind regards and apologies. Alphonse Daudet."


    €350
  78. Faire-part de décès d'André Salmon
    André SALMON
    Faire-part de décès d'André Salmon
    S. n.|Sanary-sur-Mer 1969|15.50 x 19 cm|une feuille
    Rare death notice for André Salmon, who died on March 12, 1969 at the age of 88 in his villa in Sanary-sur-Mer "La Hune".
    Inherent central fold crease from mailing, minor spotting without consequence.
    Provenance: from the library of the Provençal writer, caricaturist and filmmaker Carlo Rim who was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of Max Jacob and André Salmon whom he met in Sanary.




    €60
  80. Lettre autographe signée à son grand ami Carlo Rim
    Vincent SCOTTO
    Lettre autographe signée à son grand ami Carlo Rim
    S. n.|Paris 29 Janvier 1948|21 x 13.50 cm|une feuille
    Amusing autograph letter signed by composer Vincent Scotto, sent 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 blue ink) about his state of health and the upcoming pleasure of sharing a pastis with him once he is perfectly "vertical".
    Folding traces inherent to postal handling.
    "Mon cher vieux,
    ta lettre m'a fait plaisir. J'ai été horizontal pendant quelques jours par la faute d'une saloperie de congestion mais tu me connais, je ne me suis pas laissé faire. Je suis maintenant un peu en biais et j'espère être bientôt vertical, j'en profiterai pour aller prendre un pastis avec toi. S'il te plait d'assister à l'une des premières de mon opérette à Mogador donne moi un coup de fil. Ton Vincent Scotto.
    P.S. Bonne année pour 1949 car il est trop tard pour celle-ci."     ["My dear old friend,
    your letter pleased me. I was horizontal for a few days because of a damned congestion but you know me, I didn't let it get the better of me. I'm now a bit slanted and I hope to be vertical soon, I'll take the opportunity to go have a pastis with you. If you'd like to attend one of the premieres of my operetta at Mogador give me a call. Your Vincent Scotto.
    P.S. Happy New Year for 1949 as it's too late for this one."]


    €150
  81. Reçu du garage Simca de Clermont-Ferrand pour l'Aronde ayant appartenu à Raymond Queneau
    (Raymond QUENEAU's copy)
    Reçu du garage Simca de Clermont-Ferrand pour l'Aronde ayant appartenu à Raymond Queneau
    S. n.|Cannes 1952|19.50 x 13.50 cm|2 feuilles
    Receipt from the Simca garage in Clermont-Ferrand that belonged to Raymond Queneau, filled out in pencil by the garage owner. This note concerns the maintenance of the writer's Simca Aronde, who probably stopped in Auvergne on his return from the 1952 Cannes Festival, in which he participated as a jury member.
    Included is a bill from the Grand Hotel in the same city, also filled out in pencil and bearing the handwritten heading "Monsieur Queneau".
    €50
  84. Lettre manuscrite adressée par Alphonse Boudard à son grand ami le journaliste bruxellois, également grand ami et biographe de Georges Brassens, André Tillieu
    Alphonse BOUDARD
    Lettre manuscrite adressée par Alphonse Boudard à son grand ami le journaliste bruxellois, également grand ami et biographe de Georges Brassens, André Tillieu
    S. n.|Paris 16 Août 1984|21 x 29.50 cm|une feuille + une enveloppe
    Manuscript letter dated and signed, 42 lines from Alphonse Boudard to his great friend and companion of well-watered lunches, the Brussels journalist André Tillieu who was, like Alphonse Boudard, a great friend of Georges Brassens but also of Louis Nucéra.
    A fold mark inherent to the folding of the letter for mailing, envelope included.
    An inscription in red ballpoint pen in the upper right corner of the missive: mort Aline Giono, this manuscript note being repeated in the upper left corner of the envelope.
    "vieux,
    oui, j'ai appris l'affreuse nouvelle. Pas un mot de Zoë (qui ne me donne pas son adresse, je n'ai donc pu lui répondre) Que dire ? On arrive dans les parages dangereux après cinquante piges. Rien ne laissait présager une fin si brusque chez Aline - boisson, tabac, surmenage ? , - Rien. Elle veillait bien chez Gallimard sur l'oeuvre de son père. Qui va prendre le relais ? Je n'ose y penser. Bon. Tu as appris mon pépin de juin. Failli moi passer l'arme à gauche d'une (mot illisible) . A cause d'un médicament. A présent je pisse tout à fait normalement, mais il me reste le palpitant. Je vais être obligé de bouffer un tas de pilules jusqu'à mon dernier jour. Je suis dans ce bled normand pour un scénario sans grand intérêt, à part le fric. Si ma pièce avait pu marcher j'aurais remis ça au théâtre et sur des thèmes bien à moi. Oui, fais moi signe en septembre et tâchons de nous voir un peu avec l'ami Louis... Ca fait vraiment beaucoup de morts (j'en ai plusieurs parmi ceux que tu connais que par mes livres... Musique... le mage Vulcanos etc... ) Je suis bien triste au sujet de cette pauvre Aline. Bien ton pote ABoudard."     ["old friend, yes, I learned the dreadful news. Not a word from Zoë (who doesn't give me her address, so I couldn't respond to her) What can one say? We're reaching dangerous territory after fifty years. Nothing suggested such a sudden end for Aline - drink, tobacco, overwork? - Nothing. She watched over her father's work well at Gallimard. Who will take over? I dare not think about it. Well. You learned about my mishap in June. I nearly kicked the bucket from a (illegible word). Because of a medication. Now I urinate quite normally, but my ticker remains problematic. I'll have to swallow a bunch of pills until my last day. I'm in this Norman backwater for a screenplay of little interest, apart from the money. If my play could have worked I would have gone back to theater with themes that are truly mine. Yes, give me a sign in September and let's try to see each other a bit with friend Louis... That's really a lot of deaths (I have several among those you know only through my books... Musique... the magician Vulcanos etc...) I am very sad about poor Aline. Best wishes your pal ABoudard."]
    André Tillieu from Brussels, very close friend and biographer of Georges Brassens, maintained an epistolary correspondence with Alphonse Boudard for almost thirty years, from 1972 until the latter's death in 2000.
    The irreverent Parisian writer quickly showed him his friendship, considering him one of the rare critics to understand him perfectly to the point of explaining clearly in his chronicles what he himself expressed only incompletely and sometimes confusedly in his books.
    André Tillieu thus became part of the small circle of Alphonse Boudard's true friends on the same level as le Gros Georges (Georges Brassens), le Niçois (Louis Nucéra) and René Fallet with whom he liked to share copious well-watered meals and cycling trips. As death gradually took away his best friends, André Tillieu remained one of Alphonse's very last pals.
    €300
  85. Carte de voeux pour l'année 1988 adressée à son grand ami le journaliste bruxellois, également grand ami et biographe de Georges Brassens, André Tillieu
    Alphonse BOUDARD
    Carte de voeux pour l'année 1988 adressée à son grand ami le journaliste bruxellois, également grand ami et biographe de Georges Brassens, André Tillieu
    S. n.|Paris 1er Janvier 1988|15 x 21 cm|une feuille + une enveloppe
    Dated and signed greeting card depicting Paul Léautaud captured by painter Viko with 15 lines from Alphonse Boudard, to his great friend and companion of well-lubricated lunches, Brussels journalist André Tillieu who was, like Alphonse Boudard, a great friend of Georges Brassens but also of Louis Nucéra.
    Envelope included.
    "Salut vieux,
    merci de tes voeux... on essaiera de mijoter un livre selon tes goûts... aux petits oignons ! Si tu descends dans le sud, c'est à dire au soleil lumineux de Paris, fais nous signe ( à Louis ou à moi) et on bavardera un peu plus que la dernière fois. avec tous mes voeux pour 88, pour toi et les tiens... et mon amitié. ABoudard."     ["Greetings old friend, thanks for your wishes... we'll try to cook up a book to your taste... perfectly done! If you come down south, that is to the bright sunshine of Paris, give us a sign (Louis or me) and we'll chat a bit more than last time. with all my wishes for 88, for you and yours... and my friendship. ABoudard."]
    André Tillieu from Brussels, very close friend and biographer of Georges Brassens, maintained an epistolary correspondence with Alphonse Boudard for nearly thirty years, from 1972 until the latter's death in 2000.
    The irreverent Parisian writer quickly showed him his friendship, considering him one of the rare critics to understand him perfectly to the point of explaining clearly in his reviews what he himself expressed only incompletely and sometimes confusedly in his books.
    André Tillieu thus became part of the small circle of Alphonse Boudard's true friends on the same level as Gros Georges (Georges Brassens), le Niçois (Louis Nucéra) and René Fallet with whom he loved to share hearty, well-lubricated meals and cycling excursions. As death gradually took away his best friends one by one, André Tillieu would remain one of Alphonse's very last pals.
    €120
  86. "Voila, je viens de finir encore un livre. Celui-là de divertissement pure (sic) et anticlérical. "Madame de Saint Sulpice". Le roman d'une taulière qui tient un bordel de curés entre les deux guerres."
    Alphonse BOUDARD
    "Voila, je viens de finir encore un livre. Celui-là de divertissement pure (sic) et anticlérical. "Madame de Saint Sulpice". Le roman d'une taulière qui tient un bordel de curés entre les deux guerres."
    Handwritten letter addressed by Alphonse Boudard to his great friend, the Brussels journalist, also a great friend and biographer of Georges Brassens, André Tillieu
    S. n.|Nice 20 Août 1995|21 x 29.50 cm|une feuille
    Handwritten letter dated and signed, 37 lines from Alphonse Boudard to his great friend and companion of well-watered lunches, the Brussels journalist André Tillieu who was, like Alphonse Boudard, a great friend of Georges Brassens but also of Louis Nucéra.
    This missive is moreover written from the home of Louis Nucéra where Alphonse Boudard spends a few days of summer vacation each year.
    A fold mark inherent to the folding of the letter for mailing.
    "ami,
    merci de ta lettre. tu m'encourages toujours et, là, c'est encore plus important. Je suis d'ailleurs en piste pour le prix Giono, mais j'y ai de redoutables concurrents soutenus par leurs éditeurs Mazis basta ! vivra verra... photo : j'ai quelques clichés à Paris et je t'en enverrai un en rentrant. De toute façon le livre parait en début septembre. Si tu es pressé demande à Claudine Lemaire ed. Laffont 24 av. Marceau 75008. fautes : Mea culpa pour Yvonne de Galais. Impardonnable. Les autres sont apparues après les corrections sur les deuxièmes épreuves. On n'en sort pas. Et il y a aussi le docteur Goebbels avec un seul B (Tant pis pour sa gueule !) Louis a quelques ennuis acec sa femme toujours malade. Il l'accompagne demain en cure à Chatel Guyon. Voila, je viens de finir encore un livre. Celui-là de divertissement pure et anticlérical. "Madame de Saint Sulpice". Le roman d'une taulière qui tient un bordel de curés entre les deux guerres. J'espère aller à Bruxelles pour fourguer ma salade et ça me fera surtout l'occase de prendre avec toi le verre de l'amitié. ton pote. ABoudard."     ["friend,
    thank you for your letter. you always encourage me and, here, it's even more important. I'm actually in the running for the Giono prize, but I have formidable competitors supported by their publishers Mazis basta! we'll see... photo: I have some shots in Paris and I'll send you one when I get back. In any case the book comes out in early September. If you're in a hurry ask Claudine Lemaire ed. Laffont 24 av. Marceau 75008. mistakes: Mea culpa for Yvonne de Galais. Unforgivable. The others appeared after corrections on the second proofs. We can't get out of it. And there's also doctor Goebbels with only one B (Too bad for his face!) Louis has some troubles with his wife who's always sick. He's accompanying her tomorrow to take the waters at Chatel Guyon. There, I've just finished another book. This one pure entertainment and anticlerical. "Madame de Saint Sulpice". The novel of a madam who runs a brothel for priests between the wars. I hope to go to Brussels to peddle my wares and it will especially give me the chance to have a drink of friendship with you. your buddy. ABoudard."]
    André Tillieu the Brusselian, very close friend and biographer of Georges Brassens, maintained an epistolary correspondence with Alphonse Boudard for almost thirty years, from 1972 until the latter's death in 2000.
    The mocking Parisian writer very quickly showed him his friendship, considering him one of the rare critics to understand him perfectly to the point of clearly explaining in his reviews what he himself expressed only incompletely and sometimes confusedly in his books.
    André Tillieu thus became part of the small circle of Alphonse Boudard's true friends alongside le Gros Georges (Georges Brassens), le Niçois (Louis Nucéra) and René Fallet with whom he loved to share hearty well-watered meals and cycling trips. As the grim reaper gradually took away his best friends one by one, André Tillieu would remain one of Alphonse's very last buddies.
    €250
  87. "Les Grands Chemins tu as raison, c'est un livre formidable. De plein air et de grand style. On peut toujours relire Giono... la vie passe entre les lignes et la poésie... merveilleux ! "
    Alphonse BOUDARD
    "Les Grands Chemins tu as raison, c'est un livre formidable. De plein air et de grand style. On peut toujours relire Giono... la vie passe entre les lignes et la poésie... merveilleux ! "
    Handwritten letter addressed by Alphonse Boudard to his great friend, the Brussels journalist, also a great friend and biographer of Georges Brassens, André Tillieu
    S. n.|Paris 2 Décembre 1996|21 x 29.50 cm|une feuille + une enveloppe
    Dated and signed manuscript letter of 42 lines from Alphonse Boudard to his great friend and companion of boozy lunches, the Brussels journalist André Tillieu, who was, like Alphonse Boudard, a great friend of Georges Brassens but also of Louis Nucéra.
    A fold mark inherent to the folding of the letter for mailing.
    "vieux,
    merci de ta formidable lettre... j'ai mis du temps avant de te répondre, débordé que je suis par les activités de "promotion" de Mme de Saint Sulpice. Fatigant tous ces trains, tous ces avions, ces attentes, ces blabla toujours les mêmes. Bah ! il y a des métiers plus pénibles et moins rémunérateurs. Je me demande toujours si mes premiers bouquins tiennent encore la lecture. Tu me rassures un peu et je reçois aussi des témoignages de nouveaux lecteurs... jeunes... Le spectable de Jacques Rosny a bien du mal à démarrer. J'ai en main un texte formidable de Raymond Devos qui va paraître dans le "Figaro" et qui nous donnera peut-être le coup d'envoi. Je sais que tu apprécies beaucoup la nouvelle "Gladys". J'en ai tiré une pièce - il y a déjà 12 ans - et finalement elle va être montée au Petit Marigny avec Danielle Darrieux et Christian Barbier. Là, je pense que ces messieurs de la critique se dérangeront. Les Grands Chemins tu as raison, c'est un livre formidable. De plein air et de grand style. On peut toujours relire Giono... la vie passe entre les lignes et la poésie... merveilleux ! J'espère que les choses vont mieux pour toi... Je t'embrasse fraternellement. ABoudard Louis sera à Paris demain pour le prix Blondin. Suzanne va mieux."     ["old friend,
    thank you for your wonderful letter... I took time before answering you, overwhelmed as I am by the "promotional" activities for Mme de Saint Sulpice. Tiring, all these trains, all these planes, these waits, these blah blah always the same. Well! there are more difficult and less rewarding jobs. I always wonder if my first books still hold up to reading. You reassure me a bit and I also receive testimonials from new readers... young ones... Jacques Rosny's show is having trouble getting started. I have in hand a wonderful text by Raymond Devos that will appear in "Figaro" and which might perhaps give us the kickoff. I know you very much appreciate the short story "Gladys". I made a play from it - already 12 years ago - and finally it's going to be staged at the Petit Marigny with Danielle Darrieux and Christian Barbier. There, I think these gentlemen of the critics will make the effort to come. Les Grands Chemins you're right, it's a wonderful book. Of open air and great style. One can always reread Giono... life passes between the lines and poetry... marvelous! I hope things are going better for you... I embrace you fraternally. ABoudard Louis will be in Paris tomorrow for the Blondin prize. Suzanne is doing better."]
    André Tillieu from Brussels, very close friend and biographer of Georges Brassens, maintained an epistolary correspondence with Alphonse Boudard for almost thirty years, from 1972 until the latter's death in 2000.
    The cheeky Parisian writer very quickly showed him his friendship, considering him one of the rare critics to understand him perfectly, to the point of clearly explaining in his reviews what he himself expressed only incompletely and sometimes confusedly in his books.
    André Tillieu thus became part of the small circle of Alphonse Boudard's true friends alongside Big Georges (Georges Brassens), the Nice native (Louis Nucéra) and René Fallet with whom he loved to share hearty well-watered meals and cycling trips. As death gradually took away his best friends one by one, André Tillieu would remain one of Alphonse's very last pals.
    €300
  88. "Je suis presque boycoté. Savoir pourquoi ? Le monde des lettres est auu main d'un clan... NRF... Sollers... et quelques autres, et ils savent que la meilleure tactique pour t'éliminer c'est de faire silence. "
    Alphonse BOUDARD
    "Je suis presque boycoté. Savoir pourquoi ? Le monde des lettres est auu main d'un clan... NRF... Sollers... et quelques autres, et ils savent que la meilleure tactique pour t'éliminer c'est de faire silence. "
    Handwritten letter addressed by Alphonse Boudard to his great friend, the Brussels journalist, also a great friend and biographer of Georges Brassens, André Tillieu
    S. n.|Nice 13 Mai 1999|21 x 29.50 cm|une feuille + une enveloppe
    Manuscript letter dated and signed, 17 lines from Alphonse Boudard to his great friend and companion of well-lubricated lunches, the Brussels journalist André Tillieu who was, like Alphonse Boudard, a great friend of Georges Brassens but also of Louis Nucéra.
    This letter is moreover written from Louis Nucéra's home where Alphonse Boudard spends a few days of summer vacation each year.
    A crease mark inherent to folding the letter for mailing.
    "vieux
    merci de ton envoie du papier de Michel Grodent. Il est effectivement très positif. J'espère que j'aurais d'autres articles dans la presse belge parce qu'ici ce n'est pas folichon. Je suis presque boycoté. Savoir pourquoi ? Le monde des lettres est auu main d'un clan... NRF... Sollers... et quelques autres, et ils savent que la meilleure tactique pour t'éliminer c'est de faire silence. Comme si tu n'existait pas. Fort heureusement j'ai des lecteurs et mon éditeur me soutient assez bien. Je t'espère en bonne forme. Pour "Valsez saucisses" je vais m'en occuper à Paris... Je rentre le 20... Toute mon amitié.. . ABoudard."     ["old friend, thanks for sending Michel Grodent's article. It is indeed very positive. I hope I'll have other articles in the Belgian press because here it's not very cheerful. I'm almost boycotted. Why? The world of letters is in the hands of a clan... NRF... Sollers... and a few others, and they know that the best tactic to eliminate you is to remain silent. As if you didn't exist. Fortunately I have readers and my publisher supports me quite well. I hope you're in good shape. For "Valsez saucisses" I'll take care of it in Paris... I'm returning on the 20th... All my friendship... ABoudard."]
    André Tillieu the Brusseler, very close friend and biographer of Georges Brassens, maintained an epistolary correspondence with Alphonse Boudard for almost thirty years, from 1972 until the latter's death in 2000.
    The Parisian wisecracking writer very quickly showed him his friendship, considering him as one of the rare critics to understand him perfectly to the point of clearly explaining in his reviews what he himself expressed only incompletely and sometimes confusedly in his books.
    André Tillieu thus became part of the small circle of Alphonse Boudard's true friends on the same level as le Gros Georges (Georges Brassens), le Niçois (Louis Nucéra) and René Fallet with whom he loved to share hearty well-lubricated meals and cycling excursions. As death gradually took away his best friends one by one, André Tillieu remained one of Alphonse's very last buddies.
    €150
  89. "Les Grands Chemins tu as raison, c'est un livre formidable. De plein air et de grand style. On peut toujours relire Giono... la vie passe entre les lignes et la poésie... merveilleux ! "
    Alphonse BOUDARD
    "Les Grands Chemins tu as raison, c'est un livre formidable. De plein air et de grand style. On peut toujours relire Giono... la vie passe entre les lignes et la poésie... merveilleux ! "
    Handwritten letter addressed by Alphonse Boudard to his great friend, the Brussels journalist, also a great friend and biographer of Georges Brassens, André Tillieu
    S. n.|Paris 7 Décembre 1977|21 x 29.50 cm|une feuille + une enveloppe
    Manuscript letter dated and signed, 17 lines from Alphonse Boudard to his great friend and companion of well-lubricated lunches, the Brussels journalist André Tillieu who was, like Alphonse Boudard, a great friend of Georges Brassens but also of Louis Nucéra.
    A crease mark inherent to folding the letter for mailing, envelope included.
    "ami,
    bien reçu "Le Peuple" et ton papelard sublime. Bravo ! Merci ! etc... dans un monticule de paperasses qui s'accumulent sur mon bureau, j'ai perdu la carte qur tu m'as envoyée avec l'adresse de la fille de Giono. Je la retrouverai, mais quand ? (Je suis plutôt bordelique question classement, rangement etc...) Pour ne pas perdre trop de temps sois chouette de me la renvoyer. A bientôt... ton pote ABoudard."     ["friend, well received "Le Peuple" and your sublime piece of paper. Bravo! Thank you! etc... in a pile of paperwork accumulating on my desk, I lost the card you sent me with Giono's daughter's address. I'll find it, but when? (I'm rather messy when it comes to filing, organizing etc...) To not waste too much time, be a pal and send it back to me. See you soon... your buddy ABoudard."]
    André Tillieu the Brusseler, very close friend and biographer of Georges Brassens, maintained an epistolary correspondence with Alphonse Boudard for almost thirty years, from 1972 until the latter's death in 2000.
    The Parisian wisecracking writer very quickly showed him his friendship, considering him as one of the rare critics to understand him perfectly to the point of clearly explaining in his reviews what he himself expressed only incompletely and sometimes confusedly in his books.
    André Tillieu thus became part of the small circle of Alphonse Boudard's true friends on the same level as le Gros Georges (Georges Brassens), le Niçois (Louis Nucéra) and René Fallet with whom he loved to share hearty well-lubricated meals and cycling excursions. As death gradually took away his best friends one by one, André Tillieu remained one of Alphonse's very last buddies.
    €150
  90. Bristol manuscrit adressé à son grand ami le journaliste bruxellois, également grand ami et biographe de Georges Brassens, André Tillieu lui présentant ses voeux pour l'année 1984
    Alphonse BOUDARD
    Bristol manuscrit adressé à son grand ami le journaliste bruxellois, également grand ami et biographe de Georges Brassens, André Tillieu lui présentant ses voeux pour l'année 1984
    S. n.|Paris 30 Décembre 1983|12.50 x 8 cm|une feuille + une enveloppe
    Signed manuscript card of 21 lines from Alphonse Boudard, on a printed visiting card, to his great friend and companion of wine-filled lunches, the Brussels journalist André Tillieu, who was, like Alphonse Boudard, a great friend of Georges Brassens but also of Louis Nucéra.
    Envelope included.
    "vieux, oui le hasard fait bien les choses... surtout que l'interview date de mon dernier passage à Bruxelles début novembre. Tout va bien pour le livre, mais mapièce quitte les planches. (As-tu reçu le livre ?) J'espère tout de même te voir à Paris bientôt. En attendant je te souhaite la fameuse bonne année. Qu'elle soit heureuse, fructueuse admirable... artistique etc... et... avec mon amitié qui t'accompagne. ABoudard." ["old friend, yes chance does things well... especially since the interview dates from my last visit to Brussels in early November. Everything is going well for the book, but my play is leaving the stage. (Did you receive the book?) I still hope to see you in Paris soon. In the meantime I wish you the famous happy new year. May it be happy, fruitful, admirable... artistic etc... and... with my friendship that accompanies you. ABoudard."]
    André Tillieu from Brussels, very close friend and biographer of Georges Brassens, maintained an epistolary correspondence with Alphonse Boudard for almost thirty years, from 1972 until the latter's death in 2000.
    The irreverent Parisian writer quickly showed him his friendship, considering him one of the rare critics to understand him perfectly to the point of clearly explaining in his reviews what he himself expressed only incompletely and sometimes confusedly in his books.
    André Tillieu thus became part of the small circle of Alphonse Boudard's true friends alongside le Gros Georges (Georges Brassens), le Niçois (Louis Nucéra) and René Fallet with whom he loved to share hearty, well-watered meals and cycling trips. As death gradually took away his best friends one by one, André Tillieu remained one of Alphonse's very last pals.
    €150
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