Exceptional Autographs

First edition printed on ordinary paper.
Spine lightly sunned.
Rare signed autograph inscription, on this text, from Marguerite Duras to Philippe Bernheim.
This work was adapted for cinema two years later by Peter Brook with, in the leading roles, Jeanne Moreau and Jean-Paul Belmondo.

First edition, one of 697 numbered copies on pur fil paper.
Precious autograph inscription signed by the author to Geneviève Stewens, wife of Christian Sarton du Jonchay.
Son of Charles Sarton du Jonchay, then garrisoned in Algeria, Christian Sarton du Jonchay enlisted at fourteen in the Algerian Auxiliary Spahis Regiment commanded by his father. After numerous adventures, he was awarded the Croix de Guerre and became, at only fifteen, the youngest quartermaster sergeant in France. After serving in various cavalry regiments and chasseur battalions, he was wounded in July 1918 and ended the war with seven citations, as lieutenant and knight of the Legion of Honor. At the end of the First World War, he chose to continue his military career and volunteered, in 1921, to serve during the Syrian Campaign, again earning several distinctions. A serious shoulder wound that left him partially disabled forced him to turn to aviation, first as an observer, then obtaining his pilot's license on August 17, 1927. After an assignment to the 2^nd Aviation Regiment in Strasbourg, he joined the New Aircraft Group, precursor to the CEMA aerial equipment testing center, as commander of the Light Aircraft Section. However, after failing at the War College, he retired in 1933. Du Jonchay then joined Caudron-Renault, the aviation subsidiary of the major automobile company. He became, with his American wife Gene - dedicatee of this copy - a figure in the fashionable society revolving around aviation.
Fine copy.

The first edition, published in a small number of copies.
Spine and boards very lightly and marginally lightened.
Rare and handsome copy.
Precious signed autograph inscription from Louis Ménard to Judith Gautier: "Hommage affectueux et soüvenir affectueux..." ["Affectionate homage and fond remembrance..."]

First edition.
Bradel binding in brown half-cloth, smooth spine, havana morocco title label with a small angular loss, marbled paper boards, modern binding.
Very rare autograph inscription signed by Jean-François de La Harpe on the half-title page: "Pour M. thomas de la part de l'auteur." ["For M. thomas from the author."]
The last two letters of the word "part" having been trimmed by the binder.

First edition, a Service de Presse (advance) copy.
Two dampstains on the spine and in the margin of the first cover.
Precious signed autograph inscription by Jules Romains: "A Jacques Copeau, son fidèle admirateur et ami." ["To Jacques Copeau, his faithful admirer and friend."]

First edition.
Spine cracked with some lacks, light corner bumps to boards, some light interior foxing.
Precious signed autograph inscription from Paul Fort: "A Léon Bakst, son admirateur."

First edition, of which no deluxe copies were printed.
A handsome copy.
Exceptional signed autograph inscription from Maud Sacquard de Belleroche: "Pour madame Valéry Giscard d'Estaing la plus gracieuse des Présidentes, ce très respectueux hommage d'une féministe sans hargne. Maud de Belleroche." ["For Madame Valéry Giscard d'Estaing, the most gracious of First Ladies, this most respectful homage from a feminist without rancor. Maud de Belleroche."]

First edition, a Service de Presse (advance) copy.
Handsome copy.
Precious autograph inscription dated and signed by Michel Butor: "Cet exemplaire de second sous-sol a été offert à Pierre klossowski lors du (mot illisible) donné par Michel Butor à l'occasion de son demi-centenaire. Paris-Nice, le 14-28 septembre 1976" ["This copy of second sous-sol was offered to Pierre Klossowski during the (illegible word) given by Michel Butor on the occasion of his half-century. Paris-Nice, September 14-28, 1976"].

First edition.
Handsome copy.
Precious signed autograph inscription from Bernard Fonty, gynecologist-obstetrician surgeon, to Gisèle Halimi.

First edition, of which there were no deluxe copies.
Handsome copy despite a small fold at the head of the first cover.
Precious autograph inscription dated and signed by Hervé Bourges to Gisèle Halimi: "Pour Gisèle Halimi, ces années de braise et années "lumière" dont certaines partagées, contées, en témoignage de grande estime, en très fidèle amitié." ["For Gisèle Halimi, these years of embers and years of "light" some of which shared, recounted, in testimony of great esteem, in very faithful friendship."]
Provenance: from the library of Gisèle Halimi.

First edition, of which there were no deluxe copies.
Handsome copy.
Precious autograph inscription dated and signed by Jean-François Kahn to Gisèle Halimi: "Pour Gisèle Halimi dont j'aimerais connaître la réaction." ["For Gisèle Halimi whose reaction I would like to know."]
Provenance: from the library of Gisèle Halimi.

The first edition, of which there were no deluxe copies.
Handsome copy.
Precious and laconic autograph inscription signed by Edgar Faure to Gisèle Halimi.
Provenance: from the library of Gisèle Halimi.

The first edition, of which there were no deluxe copies.
Handsome copy despite some slight traces of soot in the margins of the boards and on the fore edge due to the fact that Gisèle Halimi's library partially burned.
Precious autograph inscription dated and signed by Régis Debray to Gisèle Halimi and her husband Claude Faux: "A Gisèle et à Claude, pour les faire sourire de nos petites misères, amicalement. Régis Debray." ["To Gisèle and Claude, to make them smile at our small miseries, with friendship. Régis Debray."]
Provenance: from the library of Gisèle Halimi.

The first edition, of which there were no deluxe copies.
Handsome copy despite some light traces of soot on the edge due to the fact that Gisèle Halimi's library partially burned.
Precious dated and signed autograph inscription from Régis Debray to Gisèle Halimi and her husband Claude Faux: "A Gisèle et à Claude, qui résistent merveilleusement à l'Emprise, leur ami Régis D." ["To Gisèle and Claude, who resist l'Emprise marvelously, their friend Régis D."]
Provenance: from the library of Gisèle Halimi.

The first edition, of which there were no deluxe copies.
Lacking the plastic film covering the covers at the head of the front cover.
Precious signed autograph inscription from Marie-Claire Pasquier to Gisèle Halimi: "Pour Gisèle Halimi, de canotière à canotière. Amicalement." ["For Gisèle Halimi, from boater to boater. With friendship."]
Provenance: from the library of Gisèle Halimi.

First edition, of which there were no deluxe copies.
Handsome copy.
Precious autograph inscription dated and signed by Régis Debray to Gisèle Halimi: "A ma tendre, exemplaire et vaillante Gisèle, avec toute mon affection. Régis Debray." ["To my tender, exemplary and valiant Gisèle, with all my affection. Régis Debray."]
Provenance: from the library of Gisèle Halimi.

First edition of this illustrated agenda with drawings by Sonia Rykiel.
Publisher's soft black paper boards.
Handsome copy despite damage to the spiral binding at head.
Precious autograph inscription signed by Sonia Rykiel to Régine Deforges: "Pour toi Régine ma douce. Sonia." ["For you Régine my sweet. Sonia."]
Provenance: from the library of Régine Deforges.

First edition printed on ordinary paper.
Handsome copy retaining publisher's wraparound band despite three small spots of no consequence on the back cover.
Precious autograph inscription signed by Félicien Marceau to Gisèle Halimi: "A Gisèle Halimi avec la meilleure des dédicaces : de votre ami Félicien." ["To Gisèle Halimi with the best of dedications: from your friend Félicien."]
Provenance: from the library of Gisèle Halimi.

First edition.
Spine sunned and with some traces of soot, part of Gisèle Halimi's library having burned.
Precious autograph inscription signed by Régis Debray to Gisèle Halimi and her husband Claude Faux.
Provenance: from the library of Gisèle Halimi.

First edition, of which there were no deluxe copies.
Handsome copy.
Precious autograph inscription signed by Régis Debray to Gisèle Halimi and her husband Claude Faux: "A Gisèle, à Claude, avec ma pensée fidèle. Régis D." ["To Gisèle, to Claude, with my faithful thoughts. Régis D."]
Provenance: from the library of Gisèle Halimi.

The first edition, of which there were no deluxe copies.
Fine copy retaining publisher's wraparound band.
Precious autograph inscription dated and signed by Félicien Marceau to Gisèle Halimi: "Pour vous deux, chère Gisèle, ce badinage de votre ami Félicien. Le 15 Mars 94" ["For you both, dear Gisèle, this playful work from your friend Félicien. March 15th 94"].
Provenance: from the library of Gisèle Halimi.

First edition on ordinary paper.
Fine copy despite small stains at the head of the spine.
Precious dated and signed autograph inscription from Félicien Marceau to Gisèle Halimi: "Pour vous chère Gisèle, avec toute mon affection. Félicien. 22.10. 98" ["For you dear Gisèle, with all my affection. Félicien. 22.10. 98"] enriched with a drawing of a small flower.
Provenance: from the library of Gisèle Halimi.

First edition.
Handsome copy.
Precious signed autograph inscription from Régis Debray to Gisèle Halimi and her husband Claude Faux: "A Claude et Gisèle, que le plan vermeil ne concernera pas au moins jusqu'en 2055, leur ami (qui les attendra au Bioland) Régis Debray." ["To Claude and Gisèle, whom the vermillion plan will not concern at least until 2055, their friend (who will wait for them in Bioland) Régis Debray."]
Provenance: from the library of Gisèle Halimi.

First edition on ordinary paper.
Minor worming of no consequence to the back cover, otherwise a complete copy retaining publisher's wraparound band.
Precious dated and signed autograph inscription from Félicien Marceau to Gisèle Halimi: "Pour vous, chère Gisèle, ce roman d'Alice et sur les effets inattendus d'une affiche, avec toute l'affection de votre ami Félicien. Le 21 Mars 2000" ["For you, dear Gisèle, this novel by Alice and about the unexpected effects of a poster, with all the affection of your friend Félicien. March 21, 2000"].
Provenance: from the library of Gisèle Halimi.

The first edition, of which there were no deluxe copies.
Handsome copy retaining publisher's wraparound band.
Precious signed autograph inscription from Elisabeth Roudinesco to Gisèle Halimi.
Provenance: from the library of Gisèle Halimi.

First edition.
Handsome copy.
Precious autograph inscription signed by Régis Debray to Gisèle Halimi and her husband Claude Faux: "A Claude et Gisèle et à Claude avec ma pensée fidèle - et à très vite Claude ! - Régis D" ["To Claude and Gisèle and to Claude with my faithful thoughts - and see you soon Claude! - Régis D"].
Provenance: from the library of Gisèle Halimi.

First edition in French, of which there were no deluxe copies, a Service de Presse (advance) copy.
Spine and covers marginally sunned.
Precious autograph inscription signed by Juan Goytisolo to Gisèle Halimi.
We include a press clipping from the newspaper "Le monde" about the modification of the law of July 1st 1901 with the manuscript note: "Le Monde 22 juillet 1971" ["Le Monde July 22, 1971"] in Gisèle Halimi's hand.
Provenance: from the library of Gisèle Halimi.

New edition, one of 40 numbered copies on Whatman, the only deluxe copies announced.
Half red morocco binding, spine with five raised bands, date at foot, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt on deckled edges, binding signed by P. Goy & C. Vilaine.
Precious signed autograph inscription from Victor Hugo: "A mon cher Théodore de Banville. Victor Hugo." ["To my dear Théodore de Banville. Victor Hugo."]
Precious inscription from the master to one of the pillars of the Parnassian school.

First edition illustrated with drawings by Georges Wolinski.
A fine copy.
Precious dated and signed autograph inscription from Georges Wolinski to his friends Régine Deforges and her husband, the illustrator Pierre Wiazemsky, known as Wiaz, enriched with an original drawing depicting Régine Deforges smoking a cigar, the smoke forming a curl in which appear the following words, with a playful nod to Che Guevara: "Pierre et Régine à Cuba, Che calor !"

First edition illustrated with drawings by Pino Zac.
Handsome copy despite a scratch on the first cover.
Fine and humorous autograph inscription from Roland Bacri to Régine Deforges: "Pour Régine Deforge (sic) une des plus belles Eve à se mettre sous l'Adam. Le Bacri moine spirituel dans l'attente à Sion. Roland Bacri." ["For Régine Deforge (sic) one of the most beautiful Eves to put under Adam. The spiritual monk Bacri waiting in Sion. Roland Bacri."]

New edition.
Small lacks of plastic film at margins of boards which are also sunned.
Amusing autograph inscription signed by Léo Malet to Régine Deforges: "A Régine Deforges, ces petits textes assez insignifiants (je n'ai rien d'autre sous la main actuellement) destinés seulement à marquer notre reprise de contact." ["To Régine Deforges, these rather insignificant little texts (I have nothing else at hand currently) intended only to mark our renewed contact."]
Provenance: from the library of Régine Deforges.

First edition, one of 110 numbered copies on pure thread Lafuma vellum.
Handsome full-margined copy despite the endpapers being partially shaded.
Precious and beautiful full-page autograph inscription dated June 18, 1984 and signed by Maurice Bardèche, to Régine Deforges: "Chère Régine Deforges, voici une horrible témoignage sur ma noirceur d'âme que je vous adresse en tremblant dans l'espoir insensé que vous le lirez avec indulgence en raison de mon affection et de mon admiration pour vous. François Mauriac a écrit à propos de ce livre que j'étais un fou égaré par la douleur qui criait "Heil Hilter" sur la place de la Concorde. Je trouve aujourd'hui ce grognement de 200 pages timide, trop prudent, pauvrement documenté. Enfin, l'impénitence finale. Mais vous êtes un ange très gai et très sceptique : c'est la meilleure espèce d'ange. Maurice Bardèche 18 Juin 1984." ["Dear Régine Deforges, here is a horrible testimony to my darkness of soul that I send you tremblingly in the insane hope that you will read it with indulgence because of my affection and admiration for you. François Mauriac wrote about this book that I was a madman led astray by grief who cried 'Heil Hitler' on the Place de la Concorde. I find this 200-page growling today timid, too cautious, poorly documented. Finally, the final impenitence. But you are a very cheerful and very skeptical angel: that's the best kind of angel. Maurice Bardèche June 18, 1984."]
Provenance: from the library of Régine Deforges.

First edition, of which there were no deluxe copies.
Work illustrated with drawings by Atlan.
Handsome copy.
Precious signed autograph inscription from François Cavanna to his friends Régine Deforges and Wiaz: "... ces petites choses..." ["... these little things..."]
Provenance: from the library of Régine Deforges.

First edition, of which there were no deluxe copies.
Illustrated with drawings by Cabu.
Handsome copy complete with its wraparound band: "Touche pas à ma planète !" ["Don't touch my planet!"].
Precious autograph inscription signed by François Cavanna to his friends Régine Deforges and Wiaz: "A Régine, à Wiaz, qui le liront ensemble ou se le raconteront..." ["To Régine, to Wiaz, who will read it together or tell it to each other..."]
Provenance: from the library of Régine Deforges.

First edition, of which there were no deluxe copies.
Publisher's rose pink paper boards, smooth spine.
Handsome copy of this children's book.
Illustrated with drawings by Charles Matton-Pasqualini.
Precious autograph inscription signed by Sonia Rykiel to her close friend Régine Deforges: "Pour toi, Régine, ma douce. Sonia." ["For you, Régine, my sweet. Sonia."]
Provenance: from the library of Régine Deforges.

Edition illustrated with drawings by Noëlle Le Guillouzic.
Preface by Michel Marmin.
Handsome copy of this children's book.
Precious and beautiful autograph inscription signed by Léo Malet to Régine Deforges: "A Régine Deforges, qui, comme l'île au trésor, fait rêver. Avec mes meilleurs voeux pour l'an qui vient. Léo Malet." ["To Régine Deforges, who, like treasure island, makes us dream. With my best wishes for the year to come. Léo Malet."]
Provenance: from the library of Régine Deforges.

First edition, with no mention of deluxe copies.
Some minor foxing affecting mainly the endpapers.
Precious autograph inscription signed by Catulle Mendès to José Maria de Heredia.

First edition of the French translation established by Paul Arène of the Provençal drama by Théodore Aubanel, no deluxe copies mentioned.
Precious signed autograph inscription from Paul Arène to Rodolphe Salis in pencil.

Second edition with some parts in first edition, as 46 pieces appear here for the first time.
A small lack to head of spine, foxing to boards, some light marginal foxing.
Rare signed autograph inscription from Charles Cros to Gustave Ollendorff.

First edition, a Service de Presse (advance) copy.
Spine sunned with small lacks at foot, printed stamps at head of first cover.
Precious autograph inscription signed by Marcel Jouhandeau: "Pour André Breton avec mon souvenir le meilleur. Marcel Jouhandeau."

First edition on ordinary paper.
Three small tears at head and foot of spine, minor tears of no consequence to margins of boards.
Precious signed autograph inscription by Elsa Triolet: "A Maurice Druon, les chevaux se suivent et ne se ressemblent pas ! - amicalement - Elsa Triolet." ["To Maurice Druon, horses follow each other but are not alike! - warmly - Elsa Triolet."]
Provenance: from the library of academician Maurice Druon.

First edition, a Service de Presse (advance) copy.
Foxing on covers, a light dampstain on spine.
Printed bookplate representing the lion of Saint Mark at head of an endpaper.
Touching and precious signed autograph inscription from Raymond Queneau: "A Serge Reggiani comédien, chanteur et poète. Queneau."

First edition, a Service de Presse (advance) copy.
Iconography.
Spine very lightly sunned without gravity, handsome copy complete with publisher's (advertising) slip.
Precious signed autograph inscription from Elsa Triolet: "A Maurice Druon cette longue lettre. Elsa."
Provenance: from the library of academician Maurice Druon.

First edition, a Service de Presse (advance) copy.
Spine lightly sunned without damage, paper yellowed.
Precious autograph inscription signed by Elsa Triolet: "A Maurice Druon en souvenir de nos rendez-vous de novembre 1956 ! Elsa Triolet." ["To Maurice Druon in memory of our November 1956 meetings! Elsa Triolet."]
Provenance: from the library of academician Maurice Druon.

First edition, a Service de Presse (advance) copy.
Handsome copy.
Precious autograph inscription signed by Elsa Triolet to Maurice Druon: "A Maurice en courant après l'âme. Elsa." ["To Maurice, running after the soul. Elsa."]
Provenance: from the library of academician Maurice Druon.

First edition, a Service de Presse (advance) copy.
Spine slightly sunned.
Precious signed autograph inscription by Elsa Triolet: "A Maurice Druon cette longue lettre. Elsa."
Provenance: from the library of academician Maurice Druon.

First edition, a Service de Presse (advance) copy.
A handsome copy.
Precious autograph inscription signed by Elsa Triolet: "A Maurice Druon, le secret de la conversation avec soi-même. Elsa." ["To Maurice Druon, the secret of conversation with oneself. Elsa."]
Provenance: from the library of academician Maurice Druon.

First edition.
Half blue sheep binding, smooth spine decorated with gilt fillets and dots as well as black fillets, spine with some light rubbing, gilt initials at foot, marbled paper boards, pebbled paper endpapers and pastedowns, speckled edges, one corner slightly bumped, near-contemporary binding.
Handsome copy.
Precious signed autograph inscription from Ludovic Halévy to his friend Alexandre Dumas fils: "A mon cher maître et ami Alexandre Dumas. Ludovic Halévy" ["To my dear master and friend Alexandre Dumas. Ludovic Halévy"]

First collected edition, one of 20 numbered copies on pure wove paper, the only deluxe copies with a few hors commerce.
First cover very lightly and marginally sunned, spine creased at foot, handsome copy of the third volume of the complete works of Pierre Jean Jouve.
Precious autograph inscription dated and signed by Pierre Jean Jouve: "A André Malraux en amitié, admiration - fidélité. Pierre Jean Jouve. 1966" ["To André Malraux in friendship, admiration - loyalty. Pierre Jean Jouve. 1966"]

First collected edition, one of 20 numbered copies on pure wove paper, the only deluxe copies with a few hors commerce.
Handsome copy of the fourth volume of the complete works of Pierre Jean Jouve.
Precious autograph inscription dated and signed by Pierre Jean Jouve: "A André Malraux pour un grand livre et une amicale figure. Pierre Jean Jouve. 1967" ["To André Malraux for a great book and a friendly figure. Pierre Jean Jouve. 1967"]

First edition on ordinary paper.
Handsome copy despite a small stain affecting the second cover.
Fine autograph inscription signed by Jean-Jacques Gautier to Georges Simenon and his wife: "...avec l'admiration très affectueuses et les pensées fidèles d'un vieil ami qui ne les voit pas assez à son gré." ["...with very affectionate admiration and the faithful thoughts of an old friend who does not see them as much as he would like."]

First edition, strictly hors commerce and printed in a small number of copies.
Rare and handsome copy. 
Beautiful autograph inscription signed by Pierre Guyotat:

"B
 E
 A
Pour Francis Ponge, ce B.A. = BA de l'écriture, où s'intercale le "E" de l'étouffement, Pierre Guyotat, le 19 Avril 1973." ["For Francis Ponge, this B.A. = the ABC of writing, where the "E" of suffocation intercedes, Pierre Guyotat, 19 April 1973."]

First edition printed in 1050 numbered copies on white vellum.
Iconography, handsome copy.
Precious autograph inscription signed by André Lang to Roland Dorgelès.

Complete autograph manuscript on one perforated sheet of 13 lines written in red ink of the song entitled "Bal des fadas", presenting despite the final text of this song, corrections, additions and amendments.
We include, on a perforated sheet, the complete typescript of the song.
Fine ensemble of this song which was written in 1959 and which was not performed and set to music until 2009 by Les Marche-Pied.

"Léger comme une antilope / Il dansait, fumant son clope / Une java pleine de syncopes / Elle en eut le coeur cassé"

Provenance: Fondation Boris Vian.

Two complete autograph manuscripts, on five perforated leaves, of 46 lines for the first and 52 lines for the second, written in blue ink, of the song entitled "Place Blanche" which exists in two versions both entitled "Place Blanche" but with varying text: the first beginning with "J'étais allé dimanche me promener" and the second with "Les amoureux l'dimanche vont deux par deux".
Each manuscript in our possession corresponds to one of the two versions and is extensively corrected, crossed out and reworked while remaining consistent with the final state of the song.
We include, on two perforated leaves (one mounted on flexible cardboard), a complete typescript for each version of "Place Blanche".
Also included are the printed score of this song for each instrument, another score of the song as well as a typescript of the American adaptation of "Place Blanche" and these few handwritten words from the translator, written in red ink addressed to Boris Vian: "Serai Paris mardi. Qu'en penses-tu Bobo, moi ça me plait beaucoup. Dis-moi vite. Merci Nicole." ["Will be Paris Tuesday. What do you think Bobo, I like it very much. Tell me quickly. Thanks Nicole."]
Fine ensemble of this song which was written in 1956 and whose music was composed by Henri Salvador.
Provenance: Fondation Boris Vian.

Complete autograph manuscript on one sheet (24 lines), written in blue ink, of the song entitled "T'as bien quinze ans passés", presenting the final text of this song.
Finally, we include, on two perforated sheets, one of which pasted on flexible cardboard containing, at the head, the handwritten title of the song in pencil and, at the end of the song, this addition also by Boris Vian: "... commence ! , commence ! " in blue ink, two complete typescripts of "T'as bien quinze ans passés".
Fine collection of this song which was written between 1954 and 1959 and which was never performed.
Provenance: Boris Vian Foundation.

Two complete autograph manuscripts, on seven perforated sheets, of 52 lines for the first and 75 lines for the second, written in blue ink, of the song entitled "Le fêtard" consisting, for the first, of the final state of the song and, for the second, of a draft very abundantly crossed out, corrected and presenting variants with the final text.
We include, on three sheets, two of which are perforated (one pasted on flexible cardboard), a complete typescript and two printed and photocopied scores of "Le fêtard".
Fine ensemble of this song which was written in 1958 and whose music was composed by Henri Salvador.
The latter performed "Le fêtard" ["The Party-goer"] as early as 1958.
Provenance: Boris Vian Foundation.

Set of four working manuscripts, of nearly 90 lines on five perforated sheets written in blue ink and pencil, of the song entitled "Ou... Ou... Ou..." presenting differences from the final state of the song.
Each manuscript is crossed out, corrected and therefore presents variants, sometimes significant, from the final text.
Completing the set, a typescript of the song accompanies the manuscripts.
We include, on three sheets, the manuscript score of "Ou... Ou... Ou..." written by Henri Salvador.
A handsome set of this song which was written between 1957 and 1959 and whose music was composed by Henri Salvador.
Provenance: Boris Vian Foundation.

Complete autograph manuscript on four perforated sheets, approximately one hundred lines, written in pencil, of the song titled "Cours ta chance" very heavily crossed out and corrected, with the verso of one of the four sheets presenting variants from the final text.
Our collection is completed with a manuscript draft of 16 lines written in blue ink with numerous corrections, additions and crossings out, also providing variants from the final text.
Finally, we include, on two perforated sheets, one of which is pasted on flexible cardboard, two complete typescripts of "Cours ta chance".
Handsome collection of this song which was composed in 1958.
Provenance: Boris Vian Foundation.

Autograph manuscript nearly complete, the first couplet of 4 lines being absent, on a perforated sheet, of 36 lines, written in pencil, of the song entitled "Ave Maria des pêcheurs".
On the entire verso of this manuscript, Boris Vian copied out, still in pencil, 9 quotations from Paul Valéry extracted from his "Mauvaises pensées & autres" ["Bad Thoughts & Others"] for which he indicated pagination: "Un chef est un homme qui a besoin des autres, 208" ["A leader is a man who needs others, 208"] - "Ce qui est simple est toujours faux. Ce qui ne l'est pas est inutilisable. (ib. p 143)" ["What is simple is always false. What is not is unusable. (ib. p 143)"] - "Le grand triomphe de l'adversaire est de vous faire croire ce qu'il dit de vous" ["The great triumph of the adversary is to make you believe what he says about you"] ib. p 82. - "Un homme sérieux a peu d'idées. Un homme d'idées n'est jamais sérieux. (ib. p 108)..." ["A serious man has few ideas. A man of ideas is never serious. (ib. p 108)"]...
Our set is completed, on a perforated sheet of the same dimension, by an autograph manuscript of about fifty lines of this song that Boris Vian abundantly corrected and which presents variants with the final text.
Finally, we include, on two perforated sheets, one of which pasted onto flexible cardboard, two complete typescripts of the "Ave Maria des pêcheurs" as well as a photocopy of the manuscript score.
Fine set whose music was composed by Henri Salvador between 1958 and which he performed in 1979.
Provenance: Fondation Boris Vian.

First edition of this free translation established by André Bonnard.
Unlettered spine lightly sunned, two light angular dampstains on the first cover, foxing.
Precious full autograph inscription signed by André Bonnard to Jacques Copeau.

First edition.
Small holes to top edge, copy lacking dust jacket.
Precious autograph inscription dated and signed by Lawrence Durrell to his friend Janine Brun: "For Janine Brun / from Lawrence Durrell /Sommières / 1968".
Among the olive trees and under the Mediterranean sun, Lawrence Durrell met in the mid-1960s the young and vivacious "Jany" (Janine Brun), a woman from Montpellier in her thirties of devastating beauty, who worked at the Department of Antiquities at the Sorbonne in Paris. She was nicknamed "Buttons" in memory of their first meeting, when the young woman wore a dress covered with buttons. Henry Miller also fell under the spell of "Buttons," praising her beauty and eternal youth in exceptional unpublished letters. The three companions spent memorable Parisian evenings of which we retain precious autograph traces through their epistolary exchanges. Recommended by Durrell, she made numerous trips notably to England from where she received vast correspondence from the writer as well as original works of art signed with his artist pseudonym, Oscar Epfs.

First collected edition, an advance copy.
Spine split at head and lightly sunned, pale dampstains to margins at head of covers.
Precious signed autograph inscription from Armand Salacrou: "A Jacques Copeau tous ces vieux souvenirs avec mon amitié fidèle." ["To Jacques Copeau all these old memories with my faithful friendship."]

First edition, an advance copy.
Spine sunned with a small lack at foot, a marginal crease on the first cover.
Precious signed autograph inscription from Armand Salacrou: "Pour Jacques Copeau ces deux pièces qu'il n'a pas vues, et qu'il ne lira pas - mais qui lui porteront mon admiration et mon amitié." ["For Jacques Copeau these two plays that he has not seen, and that he will not read - but which will carry to him my admiration and my friendship."]

First edition, one of 790 numbered copies on pure thread paper, the only deluxe copies after the 108 reimposed.
Spine sunned with dampstaining, clumsily filled lack at foot of spine, foxing to covers and browning to interior.
Precious signed autograph inscription by Jules Romains: "A Jacques Copeau, qu'un an de travail commun n'a fait que me rendre plus cher, son Jules Romains. Juin 22." ["To Jacques Copeau, whom a year of working together has only made more dear to me, his Jules Romains. June 22."]

First edition on ordinary paper, with mention of second edition.
Spine sunned with a lack at foot, dampstain at foot of boards.
Precious signed autograph inscription from André Salmon: "A Jacques Copeau, son ami admirateur de son oeuvre, André Salmon. Paris, Juin 1920." ["To Jacques Copeau, his friend and admirer of his work, André Salmon. Paris, June 1920."]

First edition printed on ordinary paper, whimsical mention of thousand at foot of back cover.
Spine lightly sunned with a light dampstain, some foxing mainly to margins of leaves.
Precious signed autograph inscription from Jules Romains: "A Jacques Copeau, son ami."

First edition printed on ordinary paper.
Spine sunned with two tears to middle and head, boards marginally discolored as usual.
Precious signed autograph inscription from Jules Romains enriched with the manuscript signature of Georges Chennevière: "A Jacques Copeau, son admirateur et ami."
With Jean Schlumberger, Jacques Copeau had just created, less than two months earlier, the Vieux Colombier theatre.

First edition, one of 842 numbered copies on pur fil paper, the only deluxe copies after the 109 reimposed.
Spine slightly sunned, worming at foot of first cover and, vertically, in margin of second cover.
Precious signed autograph inscription from Jules Romains: "A Jacques Copeau, son admirateur et ami."

First edition, a Service de Presse (advance) copy.
Spine slightly sunned with a small tear at foot.
Precious signed autograph inscription from Jules Romains: "A Jacques Copeau, son admirateur et ami."

First edition, a Service de Presse (advance) copy.
Spine sunned, a pale dampstain on the back board, some light foxing affecting mainly the edges.
Precious signed autograph inscription from Jules Romains: "A Jacques Copeau bien amicalement."

First edition, a Service de Presse (advance) copy.
Spine lightly sunned.
Precious signed autograph inscription from Jules Romains: "A Jacques Copeau, son admirateur et ami." ["To Jacques Copeau, his admirer and friend."]

First edition, a Service de Presse (advance) copy.
Spine sunned with also a pale dampstain at foot, a tear at foot of first cover.
Precious signed autograph inscription from Jules Romains: "A Jacques Copeau son ami." ["To Jacques Copeau his friend."]

First edition, a Service de Presse (advance) copy.

Spine slightly sunned.

Precious autograph inscription signed by Armand Salacrou: "A Jacques Copeau avec mon admiration fidèle." ["To Jacques Copeau with my faithful admiration."]

First edition, one of the Service de Presse (advance) copies.
Spine slightly sunned, pale marginal dampstains at head and foot of boards.
Precious autograph inscription signed by Armand Salacrou: "A Jacques Copeau que je voudrais bien revoir, ces débris de ma jeunesse avec mon amitié fidèle." ["To Jacques Copeau whom I would very much like to see again, these remnants of my youth with my faithful friendship."]

First edition, printed on ordinary paper, of the French translation.
Complete with its illustrated dust jacket which shows small tears and minor lacks.
Precious two-color autograph inscription signed by Lawrence Durrell to his friend Janine Brun: "Janine Brun / from Lawrence Durrell / with affection".
Among the olive trees and under the Mediterranean sun, Lawrence Durrell met in the mid-1960s the young and vivacious "Jany" (Janine Brun), a woman from Montpellier in her thirties with devastating beauty, who worked at the Department of Antiquities at the Sorbonne in Paris. She was nicknamed "Buttons" in memory of their first meeting, where the young woman wore a dress covered with buttons. Henry Miller also fell under the charm of "Buttons," praising her beauty and eternal youth in exceptional unpublished letters. The three companions spent memorable Parisian evenings of which we keep precious autograph traces through their epistolary exchanges. Recommended by Durrell, she made numerous trips, notably to England, from where she received extensive correspondence from the writer as well as original works of art signed with his artist pseudonym, Oscar Epfs.

First edition, a Service de Presse (advance) copy.
Spine sunned with small tears.
Precious signed autograph inscription by Jules Romains: "A Jacques Copeau son admirateur et ami." ["To Jacques Copeau his admirer and friend."]

First edition of the French translation, of which no deluxe copies were printed.
Fine copy.
Precious autograph inscription signed in French by Anthony Burgess: "Pour Jack Lang avec l'admiration et les amitiés de l'auteur. Anthony Burgess." ["For Jack Lang with the admiration and friendship of the author. Anthony Burgess."]

First French translation edition, a Service de Presse (advance) copy.
Minor foxing to board margins, three small light stains on front cover.
Precious bicolored autograph inscription signed by Lawrence Durrell to his friend Janine Brun: "For Janine Brun / from Lawrence Durrell /Sommières / Gard", Lawrence Durrell having added, in pink felt-tip pen, two mentions "Pont du Gard" framing the "Gard" of the autograph inscription.
Among the olive trees and under the Mediterranean sun, Lawrence Durrell met in the mid-1960s the young and vivacious "Jany" (Janine Brun), a Montpellier native in her thirties of devastating beauty, who worked at the Department of Antiquities at the Sorbonne in Paris. She was nicknamed "Buttons" in memory of their first meeting, where the young woman wore a dress covered with buttons. Henry Miller also fell under the spell of "Buttons", praising her beauty and eternal youth in exceptional unpublished letters. The three companions spent memorable Parisian evenings of which we retain precious autograph traces through their epistolary exchanges. Recommended by Durrell, she made numerous trips notably to England from where she received extensive correspondence from the writer as well as original works of art signed with his artist pseudonym, Oscar Epfs.

Two autograph manuscripts, each on two perforated sheets, of 36 and 25 lines, written in blue ink, of the song entitled "Bain de minuit" with numerous deletions, additions and modifications and showing differences with the final state of the song.
Our set is completed by a typescript of "Bien loin" on which Boris Vian made 8 corrections.
Finally, we include, on three other perforated sheets, one of which is mounted on flexible cardboard, two complete typescripts of "Bain de minuit".
Fine ensemble of this song for which Henri Salvador composed the music (photocopy of the musical score also included).
Provenance: Fondation Boris Vian.

First edition on ordinary paper consisting of a series of texts by Tom Gutt, each illustrated with a photographic reproduction of a monochrome by Marcel Mariën.
Handsome copy.
Precious autograph inscription dated and signed by Marcel Mariën: "Pour Jacques Sternberg au niveau de l'attente." ["For Jacques Sternberg at the level of expectation."]

The first edition, of which there were no deluxe copies, a Service de Presse (advance) copy.
Handsome copy.
Bradel binding in full decorated paper, black shagreen title-label, covers preserved, binding signed Goy & Vilaine.
Very precious signed autograph inscription from Jean Rostand to his friend and neighbor Boris Vian: "Pour Boris, bien amicalement. Jean Rostand." ["For Boris, with warm friendship. Jean Rostand."]
Jean Rostand, who was Boris Vian's neighbor in Ville d'Avray, introduced him to Gallimard and brought his works to Raymond Queneau's attention.

First edition, of which there were no deluxe copies.
Very precious signed autograph inscription from André Hodeir to Boris Vian: "Bien amicalement à toi mon cher Boris. André Hodeir." ["With warm friendship to you my dear Boris. André Hodeir."]
What a provenance!

Complete 32-line manuscript written in pencil of the song "Au bal des anges" comprising two perforated sheets with some variants from the final text.
We include two typescripts of this song with the final text, the music for which was composed by Henri Salvador.
Very fine collection relating to this song which had three versions.
Provenance: Boris Vian Foundation.

Rare first edition, one of 124 numbered copies on Arches laid paper, the only printing after 4 China.
Small fold marks in margins of uniformly sunned boards.
Precious autograph inscription dated and signed by Pierre Albert-Birot: "A Roch Grey, ces pilules. Pierre Albert-Birot. 20 Mai 1919." ["To Roch Grey, these pills. Pierre Albert-Birot. 20 May 1919."]

Complete manuscript of 47 lines written in blue ballpoint pen of the song "Désert de l'amour" comprising two perforated sheets.
We include two typescripts of this song.
"This song, completed on March 27, 1958, was to receive music composed by Henri Salvador." (Oeuvres de Boris Vian, volume 11, Fayard)
Very fine ensemble.

Comme devant une place / Pleine de gens et de bruit / Je reste figé sur place / Arrêté devant ma vie

Provenance: Fondation Boris Vian.

First edition, one of 60 numbered copies on alfa paper, the only deluxe copies.
Handsome copy.
Very precious autograph inscription signed by Jean Rostand to his friend and neighbor Boris Vian: "Pour Boris dont la curiosité s'étend jusqu'aux origines de la biologie expérimentale. En cordial souvenir. Jean Rostand" ["For Boris whose curiosity extends to the origins of experimental biology. In cordial remembrance. Jean Rostand"].
Jean Rostand, who was Boris Vian's neighbor in Ville d'Avray, introduced him to Gallimard and made Raymond Queneau discover his works.

First edition on ordinary paper.
Work decorated with a frontispiece illustration by Joan Miro.

Very precious autograph inscription signed by Janine Queneau to her great friend Boris Vian: "A Boris dont je crains d'avoir bien mal suivi les conseils. Avec beaucoup d'affection. Janine." ["To Boris, whose advice I fear I have followed very poorly. With much affection. Janine."]

 

Provenance: Boris Vian Foundation.
 

First edition, one of 50 numbered copies on Holland paper, the only deluxe copies after ten on Japan and a few on China.
With frontispiece portrait of the author engraved by F. Desmoulin.
Half brown morocco with corners, smooth spine with mosaic heart-shaped havana morocco title and author labels covering a long floral spray in mosaic gilt with inlaid colored morocco petals and leaves, head and foot enhanced with five small circles gilt and inlaid with havana morocco, gilt fillet on covers, marbled paper endpapers and pastedowns, original wrappers preserved, top edge gilt retaining deckled edges. Binding signed by Canape.
Our copy is enhanced with an autograph quatrain mounted on a stub: "Barbey d'Aurevilly: c'est la plume effroyable, la plume qui fait peur au papier frémissant. Car elle écrit les mots que lui dicte le Diable avec du Vitriol, des larmes et du sang!" ["Barbey d'Aurevilly: it is the dreadful pen, the pen that frightens the trembling paper. For it writes the words dictated by the Devil with Vitriol, tears and blood!"]. The note mirrors a remark by Barbey d'Aurevilly, his friend, who also called him a devil but a "Devil of steel".