Literature & Cinema

Original drawing in black felt-tip pen heightened with red felt-tip pen by Carlo Rim depicting filmmaker Jean Renoir in bust, head turned to the left.
The drawing is captioned in black felt-tip pen Jean Renoir on a sheet of tracing paper folded in half.
Carlo Rim was a Provençal writer, author notably of "Ma belle Marseille", a caricaturist, a filmmaker and was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of Max Jacob and André Salmon whom he met in Sanary.

The first edition, of which there were no deluxe copies.
Handsome copy.
Autograph inscription dated and signed by Marina Vlady to a woman named Anne-Thérèse.

Two original drawings in blue ballpoint pen both captioned "Charles Laughton" representing in the first drawing, bust and full-length, the cinema man walking with a determined step; in the second, younger and less corpulent, the face in close-up with a cigarette on his lips.
Carlo Rim was a Provençal writer "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.

Original drawing in blue ballpoint pen signed in turquoise felt-tip and captioned in pencil "Trignol" depicting the actor Fernand Trignol standing, with a good-natured air and arms crossed.
Fernand Trignol was also a specialist in slang to the point of being the "Langue verte" consultant for several directors such as Jacques Tourneur, Sacha Guitry in "Les mémoires d'un tricheur", Claude Autant-Lara in "Fric-Frac" and Jacques Becker in "Casque d'or".
Carlo Rim was a Provençal writer, author notably of "Ma belle Marseille", a caricaturist, a filmmaker and was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of Max

Original drawing in black ink signed depicting Carlo Rim, in golf attire and smoking a pipe, strolling in front of a bookshop displaying Emile Ludwig's recently published work entitled "Colloqui con Mussolini", Carlo Rim saying to himself "Tiens, voilà maintenant que je sais l'italien !" ["Well, now I know Italian!"]
In the upper right corner of the drawing, Maximilien Vox has inscribed, quoting a phrase from Nouvelles littéraires "... tous les journaux italiens consacrent des articles enthousiastes du livre de E. Ludwig "Colloqui con Mussolini" qui vient de parâtre en librairie" ["... all Italian newspapers are devoting enthusiastic a

Original drawing on tracing paper in blue ballpoint pen captioned "Marcel L''Herbier" in pencil, depicting the filmmaker in bust portrait.
Carlo Rim was a Provençal writer "Ma belle Marseille", a caricaturist, a filmmaker and was notably the friend of Fernandel, Raimu and Marcel Pagnol as well as Max Jacob and André Salmon whom he met in Sanary.

Original drawing on tracing paper in blue ballpoint pen captioned "Max Linder au tennis" in pencil, depicting the actor and director Max Linder hopping about, using a tennis racket like a mandolin.
The drawing is ruled in blue pencil and includes annotations by Carlo Rim regarding dimensions, the latter having added a piece from another sheet which he glued to the lower right margin of the drawing and which bears his name.
Finally, a printed stamp from France-Soir appears below the drawing.
Carlo Rim was a Provençal writer "Ma belle Marseille", a caricaturist, a filmmaker and was notably the friend of Fernandel, Raimu and Marcel Pagnol as wel

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."

Original drawing signed in black felt-tip by Carlo Rim depicting Robert Lamoureux smiling in profile.
The drawing is captioned in pencil Robert Lamoureux.
Carlo Rim was a Provençal writer "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.

First edition, a Service de Presse (advance) copy.
With the illustrated dust jacket which has small marginal tears.
Iconography.
Signed autograph inscriptions from Michel Perrin and Roger Gaillard, who directed the "Masques et visages" collection at Calmann Lévy, to the Provençal writer, filmmaker and caricaturist Carlo Rim who was notably the friend of Fernandel, Raimu and Marcel Pagnol as well as André Salmon and Max Jacob: "A Carlo Rim dont j'aime tant le Fernandel, cette Arletty qui l'aime aussi, en hommage bien symapthique à son talent. Michel Perrin." ["To Carlo Rim whose Fernandel I love so much, this Arlet

First edition, one of 170 numbered copies on alfama paper, the only deluxe copies announced.
Handsome copy lacking the illustrated dust jacket.

Very fine autograph letter signed by Cami addressed to his 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 (41 lines in black ink from his Parisian home) evoking the joy of his fraternal friendship recovered with Charlie Chaplin thanks to him.
Cami thanks Carlo Rim for allowing him to regain the good graces of Charlie Chaplin with whom he had quarreled after 35 years of friendship and he proposes, in the same breath, to the Marseillais filmmaker a biography project about his friend Chaplin as well as a film adaptation project of his latest published work:

First edition, with no mention of deluxe copies.
Bradel binding in full decorative paper, smooth spine decorated with a black morocco title-label underlined with gilt fillets, covers and spine preserved, binding signed P. Goy & C. Vilaine.
Autograph inscription from Marcel Pagnol to Marius Richard: "A Mr Marius Richard qui le protégea et ne cessa de l'encourager par la plus flatteuse bienveillance, Fortunio confirme son respectueux attachement et le prie d'agréer ce livre, son premier livre, en témoignage de profonde reconnaissance." ["To Mr Marius Richard who protected him and never ceased to encourage him with the most flattering benevolence, Fortunio confirms his respect

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

Histoire d'O [Story of O]
Jean-Jacques Pauvert | Sceaux 1954 | 12 x 19 cm | original wrappers

First edition, one of 480 numbered copies on Vergé paper, ours being one of the few "hors commerce" (advance copies), the only deluxe paper after 20 copies on Arches and 100 others on Vergé for the press.
Our copy is complete with the rare vignette drawn and engraved by Hans Bellmer in sanguine and present on about 200 copies only.
Preface by Jean Paulhan.
Beautiful copy of this masterpiece of erotic literature.

Original drawing in black felt-tip pen heightened with ochre and green felt-tip pens by Carlo Rim depicting the actor and theater man Lugné-Poe.
In black felt-tip pen, Lugné-Poe's name is erroneously spelled Lugné-Poé.
Carlo Rim was a Provençal writer "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.

Original drawing in black ballpoint pen heightened with white gouache to emphasize the cheekbones, eye and eyebrows, by Carlo Rim depicting Raimu, the emblematic Marseilles actor, slightly in profile, in suit and polka-dot bow tie, posing proudly.
The drawing bears this legend in pencil and the monogrammed signature of Carlo Rim: "Raimu" in the lower left and right margins of the drawing.
Carlo Rim was a Provençal writer "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.

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 frien

First edition, a Service de Presse (advance) copy.
Spine sunned with two small lacks to foot.
Iconography.
Autograph inscriptions signed by Georges Charensol and Roger Régent to 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.

First edition of the French translation, for which no deluxe copies were printed.
A label trace with slight paper lack to the head of the front cover.
Handsome copy of this work adapted for cinema by the author.

First edition, one of 30 numbered copies on alfa paper, the only deluxe copies.
Handsome and rare copy.

First edition, one of 200 hors commerce copies numbered on salmon paper and reserved for friends of Martine Carol and Jacques Laurent, deluxe copy.
Spine of chemise sunned, boards of the red felt slipcase partially faded at their margins, press cuttings included.
Autograph inscription signed by Martine Carol who created the role of Caroline chérie to her friend the Provençal writer, caricaturist and filmmaker Carlo Rim who was notably the friend of Fernandel, Raimu, Marcel Pagnol, but also Max Jacob and André Salmon: "A toi Carlo à qui je dois mon 1er film... avec l'espoir de te retrouver très très bientôt. Je t'embrasse Caroline Martine" ["To you Carlo to

First edition, one of the service de presse (advance) copies.
Spine very lightly sunned.
Iconography.
Autograph inscription signed by Pierre Descaves to 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.
We include an autograph note signed by Gaby Morlay on "Théâtre des Nouveautés" letterhead addressed to Carlo Rim: " Mon Carlo, l'amie que je t'envoie a grand besoin de travailler... un petit bout de rôle, même de la figuration lui rendrait grand service. Merci pour elle. Je t'embrasse affectueusement. Gaby." ["My Carlo, the friend I'm sending to you des

The first edition, of which there were no deluxe copies.
Spine and boards lightly and marginally sunned without gravity.
Handsome copy, iconography.
Signed autograph inscription from André Pousse to Claude-Jean Philippe.

First edition, one of 37 numbered copies on pur fil, the only deluxe copies.
Our copy is presented in a slipcase and chemise in full paper in the colors of Editions de Minuit.
Handsome copy of this work adapted for cinema in 1960 by Peter Brook with Jeanne Moreau and Jean-Paul Belmondo in the leading roles.

The first edition, of which there were no deluxe copies.
Some foxing on the endpapers.
Touching autograph inscription signed by Annette Blier: "A Marc ce souvenir de son ami qui doit être très touché que vous soyiez fidèle à sa mémoire. Mille bravos Marc, et merci pour Bernard. Bien affectueusement. Annette le 28.02.92." ["To Marc this memory from his friend who must be very touched that you remain faithful to his memory. A thousand bravos Marc, and thank you for Bernard. Most affectionately. Annette 28.02.92."]

First illustrated edition with 64 plates by Philippoteaux. Clouzot erroneously announces 1863 for this first illustrated edition by Dufour, Mulat and Boulanger, confusing it with the edition published by Legrand and Boulanger. Placement sheet for the engravings at the end of volume 2.
Contemporary half black shagreen binding. Spine with false raised bands decorated with blind-tooled compartments and gilt fillets. Gilt title and volume number. Traces of rubbing. A tear at the foot of volume 1. Lower corners bumped. Scattered foxing. Lower edges rubbed.
Novel inspired by the life of Count Cagliostro, whose goal, at the head of a secret organization, is to overthrow the French monarch

The first edition, of which there were no deluxe copies.
Minor stains of no consequence on the edges, handsome copy complete with its wraparound band.
Signed autograph inscription by Bernard Giraudeau to Nadine Nimier, wife and widow of Roger Nimier, with a drawing representing a bouquet of marsh plants.

First edition on ordinary paper, false statement of edition.
Copy slightly warped.
Signed autograph tribute by Henry Poulaille: "En hommage sincère de Charlot." ["In sincere tribute from Charlot."]

The first edition, of which there were no deluxe copies.
Work illustrated with drawings by Georges Wolinski.
Nostalgic signed autograph inscription from Claude Confortès to a friend named Matilda: "... ce livre rare et épuisé des folles années. Grâce à toi je suis redevenu dingue. Vive l'EPROUVETTE ! Claude Confortès." ["... this rare and out-of-print book from the crazy years. Thanks to you I've gone crazy again. Long live L'EPROUVETTE! Claude Confortès."]

First edition in French, of which there were no deluxe copies, with fifth edition statement.
A handsome copy.

First edition, one of 165 numbered copies on pur fil, the only deluxe copies.
A fine copy.

New illustrated edition of the rare anonymous erotic suite of 48 engravings found in some copies. 8 engravings per volume.
Contemporary half glazed navy calf binding. Spine with raised bands elegantly decorated. Author, title, volume number and date in gilt. Top edge gilt. Some traces of rubbing on the raised bands. Borders slightly rubbed. Some corners rubbed. Lower right corner of volume 1 having received an impact. Fine laid paper perfectly fresh (some foxing on the first engraving of volume V). Uncut copy.
This edition was made from the Paulin edition of 1842. Carteret (Le trésor du bibliophile): "There exists a suite of 48 line engravings, unsigned, which are added to this edi

First edition of which no deluxe copies were printed for the second volume, reprint for the second.
Very handsome set presented in publisher's slipcase.
Rich iconography.

First edition with illustrated cover by Marcel Duchamp.
Iconography.
Handsome copy.

First edition, one of 106 numbered copies on pur fil, the only deluxe copies.
A handsome copy.

First illustrated edition with 12 compositions by E. Bayard engraved by Massard. One of 130 copies on Grand Japon Impérial, first deluxe paper, No. 32. Total edition of 500 copies. Each engraving in double state, before and after letters. Literary notice by Gustave Geffroy.
Contemporary half morocco with corners, signed Grouillet at the top of the first endpaper. Light traces of rubbing (spine, joints, corners, edges). Spine uniformly faded to green. Top edge gilt. Covers and spine preserved. Uncut copy with full margins. Paper perfectly fresh.
Bookplate of Paul Gavault.
Handsome copy.
Considered by many as the author's masterpiece, this realistic novel of manners was qui

New Edition. In-text drawings by Neuville and Benett, Bertrand, Bayard and Marie, 7 colour chromotypographs by Benett.
Publisher's cloth binding “Au globe doré” on the first cover (Jauzac), with the second cover of type "Engel h". Upper corner of the first cover a little creased. Spine ends skillfully restored. Volume very lightly warped. Some small foxing.
One of Jules Verne's most famous titles, in which a London gentleman bets with his club to circumnavigate the globe in 80 days. Jules Verne's mythical title, one of the most popular adventure novels ever written, has known many film adaptations.

First edition in French, of which there were no deluxe copies.
Handsome copy.
Iconography.

First edition of the French translation, of which there were no deluxe copies.
Handsome copy.
Photographic wrappers with flaps.

The first edition, of which there were no deluxe copies.
Handsome copy.
Iconography.
Autograph inscription dated 1995 and signed by Jacques Mény to Claude Schneeberg: "... en cette année du centenaire de Giono...".
We also include an autograph thank-you card from Jacques Mény to the same recipient.

First edition, a Service de Presse (advance) copy.
Spine and boards marginally and slightly browned, paper fragile at margins of some leaves as usual.
Our copy is presented in a sand-colored full cardboard slipcase.
Precious autograph inscription by Robert Brasillach on this text which is one of the very first histories of cinema born a few decades earlier: "A Ramon Fernandez en bien sincère et reconnaissant hommage. Robert Brasillach" ["To Ramon Fernandez with very sincere and grateful homage. Robert Brasillach"] enhanced with the signature of Maurice Bardèche.

File of jury sheets completed by Raymond Queneau for the 1952 Cannes Film Festival, comprising 90 leaves almost all filled in by his hand. Only one film is unfortunately missing, Dans la tempête (Arashi no naka no hara) by Kiyoshi Saeki; otherwise the set is complete with reviews of all 35 feature films and 50 short films in the official competition that year. Included as well are 4 pages in pencil and one page in ink of autograph notes recording the results of every vote for all prizes awarded.
An entertaining collection of Raymond Queneau’s reviews, as a member of the Cannes jury. These sheets capture the wri

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.
Iconography.
Light dampstains to spine and board margins, handsome interior condition.
Autograph inscription signed by Léon Poirier to Madame Charles Gaumont: "... dont le souvenir est inséparable des miens..." ["...whose memory is inseparable from my own..."]

Victor HUGO
Les Misérables
A. Lacroix & Verboeckhoven & Cie, Bruxelles 1862, 14,5x22cm, 10 bound volumes.

First edition without statement published concomitantly with the Pagnerre's Paris edition.
Bound in half blue sheepskin, spine in four compartments decorated with double gilt fillets, blue paper plates, marbled paste-down and endpapers, mottled edges, English bindings of the time.
Scattered foxings, title page of the third volume slightly and marginally soiled, paper plates a little rubbed and a few tears on some edges, some joints repaired.
The first edition of Les Misérables was legally created by three diffe

First edition, one of 50 numbered copies on vellum, ours unnumbered at the colophon, the only deluxe copies.
A small light stain in margin of front cover, fine copy.

First edition, one of 300 numbered copies on alfa paper reserved for the press service.
Spine creased, otherwise handsome copy.
Preface by Henri Jeanson, iconography.
Signed autograph inscription from Fernand Rivers to Marcel Achard.

Photographic postcard depicting the actress and tragedienne Elvire Popesco.
Three small spots of no significance in the margins of the photograph.
Manuscript signature of Elvire Popesco below her portrait.

The first edition, of which there were no deluxe copies.
Photographic cover, iconography.
Handsome copy.
Fine autograph inscription dated and signed by Jacques François to Claude Roy and his wife, actress Loleh Bellon, with whom Jacques François acted: "11 September 1992. To Loleh and to Claude, these "reminders" of my affection, my profound admiration and my respect. Jacques François. For my Loleh, as a bonus, the tender memory of the little "moment of weakness!" in Louis Dacquin's film."

Handwritten letter dated and signed with 20 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.
Envelope included, a fold mark inherent to the letter's placement in the envelope.
"Ami,
merci de ton petit mot... Ca fait toujours plaisir de savoir que la Cerise a des lecteurs compétants (sic)... (les autres achètent n'importe quoi... Papillon, Sagan ou Guy Descar...) Le "Cinoche" est en panne. Il faudrait qu'ils me filent le Renaudot pour bien faire... mais

Magic Lantern Red Riding Hood – 12 Lantern slides Complete series of illustrations the tale of Red Riding Hood hand-painted on 12 glass plates intended for a magic lantern, the ancestor of the projector and the cinema.
Publisher's cardboard box, with the titles on the top board: “12 Superior English Made lantern slides”. Handwritten: “Red Riding Hood”. Signs of rubbing on the box. A stop in the split lid at 2cm. On plate 9, paper is missing which circles the plate in a border. On plate 12, the black part has a small scratch, this part encircling the medallion which is pro

First edition of the script dedicated to Jules Dassin printed in 500 numbered copies.
Handsome copy.
The film adaptation of this one-act play which was to be brought to the screen in 1953 was banned.
Edouard Molinaro would finally adapt it, almost 20 years later, in 1971 with Roger Hanin, Philippe Noiret, Marc Porel and Caroline Cellier.
Autograph inscription signed by Georges Arnaud to Jacques Panijel.

The first edition, of which there were no deluxe copies.
Handsome copy, iconography.
Autograph inscription signed by Arletty to a gentleman named André.

Book published for the launch of Bruno Aveillan's film and printed on heavy coated paper.
Work illustrated with magnificent full-page compositions in black, red and gold and accompanied by seven envelopes containing Cartier models.
Press kit containing the history of the Cartier house which announces, for the brand's 165th anniversary, the release of the film "L'Odyssée de Cartier".
Copy in mint condition, the interior pouches have never been opened.

The first edition, of which there were no deluxe copies.
A handsome copy despite a small discolored band in the margin of the second cover.
Signed autograph inscription from Arletty to a couple of friends: "A Monsieur et Madame Goumy en souvenir de Belle-Isle, Arletty" ["To Mr. and Mrs. Goumy in memory of Belle-Isle, Arletty"]

First edition, one of the numbered copies on vellum from the Savoie paper mills.
Work decorated with original illustrations by Pierre-Marie Renet alias Frédéric Monnier.
Fine copy.

Handwritten signed postcard addressed to Juan Luis Buñuel
s.d(ca 1967), 15.7 x 10.8 cm, a postcard
Handwritten postcard signed by Alexander Calder addressed to Juan Luis Buñuel on the back of a reproduction of a painting by Georges de La Tour.
Two small perforations in the left margin of the card, as is usual in Juan Luis Buñuel's collection.
"La paix ! la paix ! la paix ! pour 1968
Vanvis - I don't understand why I'm always leaving messages and never getting an answer. I was sorry not to see you in Barcelone. It is a beautiful snow. Love to you and Carmen and children. Sandro"

In 1939, Luis Buñuel, who had just received an offer to work i

First edition, one of 120 numbered copies on French wove paper, the only deluxe issue.
A very handsome copy.
Provenance: from the library of Régine Deforges.

First edition, one of 100 numbered copies on deluxe paper, the only deluxe copies.
Illustrated cover with some scratches and paper losses, light foxing mainly to the endpapers.

Handwritten signed postcard addressed to Juan Luis Buñuel
s.d(ca 1967), 15.7 x 10.8 cm, a postcard
Handwritten postcard signed by Alexander Calder addressed to Juan Luis Buñuel on the back of a reproduction of his work On the High Wire.
Two small perforations in the upper margin of the card, as is usual in Juan Luis Buñuel's collection.
”What an incredible face Luis had, I was glad to see “Belle de Jour” for the first time.”

In 1939, Luis Buñuel, who had just received an offer to work in Hollywood, decided, with his wife and child, to leave the chaotic situation in Europe to go and live the American Dream. The penniless Buñuels initially spent a few precarious

Large photographic portrait of Jean Cocteau inscribed by Cocteau to Willy Michel Extremely rare photographic portrait of Jean Cocteau, in contemporary silver print, produced during the shooting of Serge de Pologny's film Le Baron fantôme for which he wrote the dialogues.
Beautiful, signed autograph inscription, in the upper margin of the photo, to which Cocteau has added his famous little star: “à mon cher willy Michel. Souvenir très amical de nos complicités cinématographiques. Le Baron fantôme, Jean Cocteau. 1943” “To my dear Willy Michel. Very fond memory of our film-maki

André Breton autograph manuscript signed "A.B.", of two chronicles entitled "Une fameuse gorgée de poison" and "ça !", written for issue no. 7 of May 1953 of the review Médium. One long page written in black ink in careful handwriting on a white sheet, some corrections and additions sometimes in blue ink. Included is a small slip in Breton's hand, concerning an article by René Alleau, containing a small printed text annotated by him in red and blue ballpoint pens and bearing an explanatory note at the top.
Two transverse folds of no significance.
This is the final version of these two texts; an intermediate version of thes

First edition, a Service de Presse (advance) copy.
Two small lacks at foot of spine.
Autograph inscription signed by Paul Morand to René Laporte: "Quel monde !" ["What a world!"]

Unpublished autograph manuscript of a film screenplay project by Boris Vian. 3 pages on 3 leaves written in black and blue ink and blue ballpoint pen. Deletions, corrections and marginal notes.
Central fold without damage. One vertical cut on the first leaf, without loss of text.
Amusing film project mocking the ruthless world of record companies while Boris Vian was getting to know Jacques Canetti who would open the doors of Polydor (which would become Philips) to him.
The second page presents a few lines outlining the synopsis of the project: « Deux maisons de disques rivales se trouvent enlisées dans une guerre de concurrence acharnée. Chacune atten

First edition, of which there were no deluxe copies.
Rare pamphlet, text by Francis Carco, heliogravure photographs by Georges Besson, Jahan, Blanc et Demilly, Ergy Landau, Brassaï, ..
Illustrated cover, handsome copy despite covers marginally and slightly sunned.

First edition, one of 30 numbered copies on Arches laid paper, the only deluxe copies.
Two fold marks at foot of first cover, small light stains on covers.

Second edition.
Publisher's binding in full boards, smooth spine, covers decorated with multicolored squares.
Handsome copy despite a slight and insignificant tear at foot of spine.
Note by publisher Fernando de Castro Ferro and text by Carlos Drummond de Andrade.

First edition illustrated with photographs
Handsome copy.
Texts by Louis Aragon "Du décor" ["On Decor"], Georges Sadoul "A la recherche de quelques fils conducteurs" ["In Search of Some Connecting Threads"], Boisyvon "L'exemplaire de René Clair" ["René Clair's Copy"], Alain Resnais "Les serpents et les caducées" ["The Serpents and the Caducei"].

First edition on ordinary paper.
Handsome copy despite minor corner creases of no consequence to the boards, iconography.
Complete with publisher's slip.
Autograph inscriptions signed by René Fallet "... ce portrait d'artiste en vieux crabe..." ["... this portrait of an artist as an old crab..."] and Jean-Paul Liégeois "... ce portrait à la manière de René Fallet" ["... this portrait in the manner of René Fallet"] to Jean-Michel Royer.

First edition.
Handsome copy.
Work illustrated with numerous photographs.

First edition, one of the 175 numbered copies on pur fil, the "tirage de tête" (first deluxe copies).
Nice copy.

First edition, one of 600 numbered copies on vellum, the only deluxe copies.
Handsome copy.

The first edition, of which there were no deluxe copies.
Iconography.
Spine slightly creased.
Fine autograph inscription signed by Raymond de Becker: "En hommage à Alain Delon pour lui dire mon admiration et ma sympathie et le désir que j'ai de le connaître autrement que sur les écrans." ["In homage to Alain Delon to tell him of my admiration and sympathy and my desire to know him other than on screen."]

First edition on ordinary paper, a Service de Presse (advance) copy.
Handsome copy despite small tears at foot of spine.
Autograph inscription signed by Marcel Aymé: " Pour Luc Vincent avec toutes mes amitiés, Marcel Aymé".

First edition of issue 6 of this magazine devoted to the film "The Most Dangerous Game".
Handsome copy.
Illustrated.
In this issue 6: unpublished story and film stills, interview with Merian C. Cooper, filmography of E.B. Schoedsack.

First edition of issue 17 of this magazine.
Handsome copy.
Illustrated.
In this issue 17: Marat / Sade and Peter Brook by Raymond Durgnat, interview with Jean-Pierre Mocky, Belgian cinema: "Bagatelles pour deux vampires", le mystère bricolo by Raymond Borde...

First edition of issue 20 of this magazine.
Handsome copy.
Iconography.
In this double issue: Horrorscope: confrontation IV; Roman Polanski, witchcraft through the ages, Du voyeurisme à l'infini by R. Lefèvre, interview with Karel Zeman, on the horror film "The undertaker and his pals", film reviews: Bride of Frankenstein, Planet of the Apes, Vampyr...

First edition of issue 21 of this magazine.
Handsome copy.
Iconography.
In this double issue: Piège: Jacques Baratier, Arrabal, Eugène Ionesco, Horrorscope: Noces d'hirondelle, Karloff, Masumura, Planet of the Apes...

Grasset | Paris 1948 | 12 x 18.5 cm | bound in a chemise and slipcase

First edition, one of 23 numbered copies on pure wire, the “tirage de tête”.

Bound in olive green morocco, gilt date at the foot of the spine, plates embellished with tan morocco panel stamps with geometric outlines, the inside of which have been laid with strips of brown morocco appearing like both snakeskin and the outline of a closed fist, all edges gilt, preserved wrappers and spine, chemise in half olive green morocco in strips, white paper boards, slipcase lined in olive green morocco, white paper boards, elegant and spectacular binding signed D. H. Mercher.

A very rare and beautiful,

The first edition, of which there were no deluxe copies.
Work illustrated with 16 photographic plates hors-texte.
A stain at foot of first cover, small marginal tears to covers.

First edition, of which there were no deluxe copies.
Handsome copy despite small traces of corner creases on the first cover.
Confessions of a thief of beautiful sedans turned away from cars!
Autograph inscription dated and signed by René Château to Jean-Jacques Bitoun.

First edition printed on ordinary paper.
Handsome copy retaining publisher's wraparound band: "This book, by explaining it, will enhance the pleasure of your cinema evenings".
Work illustrated with 5 photographs and drawings by Claude Dalbanne.

First edition, one of the 25 numbered copies on pur fil, the only deluxe copies ("grand papier").
Rare.

The first edition, of which there were no deluxe copies, a Service de Presse (advance) copy.
Spine very slightly sunned as usual, discreet gift inscription in blue ballpoint pen at head of first endpaper.
Work illustrated with illustrations and photographs by Chris Marker.

first edition.
Pleasant copy, rich iconography.
Autograph signed by Max Tessier to Michel Capdenac.

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Seuil | Paris 1961 | 14 x 20.5 cm | original wrappers
First edition of which there were no grand papier (deluxe) copies, one of the advance (service de presse) copies.
One clear, small water stain at the top of the very lightly sun-damaged spine, tiny tears at the top and bottom of the spine.
Work decorated with illustrations and photographs by Chris Marker.
Very rare and humorous handwritten presentation signed by Chris Marker to André and [Sacha?]: «et ce n'est pas fini.» («and it isn't finished.»)