Music

First edition of these Christmas carols set to music by Georges Fragerolle.
Publisher's full white paper boards binding, smooth spine, front cover illustrated with a large decoration representing the Nativity, endpapers and pastedowns of floral-patterned paper.
Work decorated with Art Nouveau illustrations and ornamentations by George Auriol.
Gift inscription in pen on the page facing the half-title page.
Handsome copy complete with its very fragile illustrated dust jacket.

The first edition, of which there were no deluxe copies, a Service de Presse (advance) copy.
Some light worming to spine and boards.
Autograph inscription dated and signed by Vladimir Jankélévitch to Jeannine Lazard presenting his wishes for the coming year 1956.

Autograph letter signed by Reynaldo Hahn addressed to Madame Serge André and written on a blue paper letter-card in blue ink. Central fold inherent to the mailing.
Dominique André is a poetess, novelist and playwright. She notably published under the pseudonym Claude Isambert.
Charming letter of thanks: "Merci, chère amie, de m'avoir envoyé ce bouquet de fleurs épineuses et embaumées de tant d'arômes divers." ["Thank you, dear friend, for having sent me this bouquet of thorny flowers perfumed with so many diverse aromas."] The composer also mentions the collection of poems Cassandre that his friend published the same year by éditions du Divan: "Cassandre, si elle avait votre clairvoyance n'aurait pas votre philosophie triste et douce - ni votre esprit ! J'ai passé une heure mélancolique et charmante à respirer les émanations de votre pensée." ["Cassandra, if she had your clairvoyance would not have your sad and gentle philosophy - nor your wit! I spent a melancholic and charming hour breathing the emanations of your thought."]

Signed autograph note by Reynaldo Hahn addressed to Madame Serge André and written on a white paper letter-card in blue ink. Central fold inherent to the mailing.
Dominique André is a poetess, novelist and playwright. She notably published under the pseudonym Claude Isambert.
Reynaldo Hahn declines an invitation from his friend: "Est-ce possible, chère Madame ! Vous m'invitez à goûter ! Hélas, je ne pense pas aller nulle part dans la journée ! Un soir à l'Escargot d'Or on avait projeté de se voir : Lacretelle devait me faire signe - que sais-je ?" ["Is it possible, dear Madame! You invite me for afternoon tea! Alas, I don't think I'm going anywhere during the day! One evening at the Escargot d'Or we had planned to see each other: Lacretelle was supposed to let me know - what do I know?"]

Signed autograph note by Reynaldo Hahn addressed to Madame Serge André and written on a white paper letter-card in blue ink. Central fold inherent to the mailing.
Dominique André is a poetess, novelist and playwright. She notably published under the pseudonym Claude Isambert.
"J'ai trop tardé, chère Madame, à vous remercier de votre livre et du plaisir qu'il m'a procuré. Plaisir amer et trouble - mais rare. Ce qui est particulièrement remarquable en ces pages, c'est leur extrême distinction..." ["I have delayed too long, dear Madame, in thanking you for your book and the pleasure it has given me. Bitter and troubled pleasure - but rare. What is particularly remarkable in these pages is their extreme distinction..."]

Correspondence of 4 autograph letters signed by Émile Le Noir, written in black ink on 16 pages and addressed to the young chartist and paleographer Paul de Fleury (1839-1923) author of several works on organs and who also made the inventory of manuscripts at the library of Poitiers. Discreet transverse folds inherent to mailing.
Interesting friendly correspondence evoking mutual acquaintances (the organists Dessane, Joseph Franck and Lefébure) and compositions by Émile Le Noir.
"M. Dessane [this is probably Léon-Auguste Dessane, chapel master, organist of the great organ of Saint-Ambroise, second organist of Saint-Sulpice, one of the sons of violinist Louis Dessane] l'organiste de Saint-Sulpice, le remplaçant de M. Franck [il s'agit de Joseph Franck, le frère cadet de César Franck], se rend à Poitiers pour les affaires de famille à la suite de la mort de son père." ["M. Dessane, the organist of Saint-Sulpice, M. Franck's replacement [this is Joseph Franck, César Franck's younger brother], is going to Poitiers for family business following his father's death."] Émile Le Noir had a copy of his Cantiques delivered to him. He has not received the report on the reception of the Saint-Louis organ, asks Paul de Fleury to send him the composition of the choir organ of the Madeleine in Paris which must be in Georges as well as that of Notre-Dame de Vitré which is by Ducroquet.
"L'affaire de mes cantiques est loin d'être terminée (...) quant au Libera de Monsieur d'Aubigny [un ami du père de Paul de Fleury], j'aime mieux attendre à être à Paris pour traiter cette affaire de vive voix avec Monsieur Franck (...) J'ai eu à apprendre à la gent enfantine une messe de Monsieur Franck pour la Saint-Jean" ["The matter of my cantiques is far from finished (...) as for Monsieur d'Aubigny's Libera [a friend of Paul de Fleury's father], I prefer to wait until I'm in Paris to deal with this matter in person with Monsieur Franck (...) I had to teach the children a mass by Monsieur Franck for Saint John's Day"]. He then evokes the Libera composed by Monsieur d'Aubigny: "J'ai porté le susdit Libera à M. Franck qui l'a trouvé à son goût, mais engage M. d'Aubigny à le faire chanter par 4 voix d'hommes. Je n'ai pas eu l'occasion de le montrer à M. Dubois [l'organiste et compositeur Théodore Dubois], mais je sais qu'il fait chanter des Libera en musique, je ne sais à quel moment de l'office à Saint-Sulpice" ["I brought the aforesaid Libera to M. Franck who found it to his taste, but advises M. d'Aubigny to have it sung by 4 men's voices. I haven't had the opportunity to show it to M. Dubois [the organist and composer Théodore Dubois], but I know he has musical Libera sung, I don't know at what moment of the service at Saint-Sulpice"]. He then gives details about this chant. "Monsieur Lefébure [Lefébure-Wely, organiste] est en vacances depuis plusieurs semaines, c'est M. Dessane qui le remplace. Dimanche dernier, il a fait un orage involontaire, les deux coudes sont tombés sur le clavier (...) Monsieur Franck n'est plus à Saint-Sulpice, on lui propose une très bonne place en province qu'il a accepté, c'est M. Dessane un de ses concurrents du mois d'octobre et un protégé de celui d'en haut qui a eu la place" ["Monsieur Lefébure [Lefébure-Wely, organist] has been on vacation for several weeks, it's M. Dessane who replaces him. Last Sunday, he made an involuntary storm, both elbows fell on the keyboard (...) Monsieur Franck is no longer at Saint-Sulpice, he was offered a very good position in the provinces which he accepted, it's M. Dessane one of his competitors from October and a protégé of the one above who got the position"]. He evokes a mass at Saint-Augustin during which he heard Barker's electric organ: "il est bon ? l'inauguration n'a pas eu lieu, je ne sais pas encore quand ce sera (...) Je dois aller dimanche prochain en remplacement orguener à notre Saint-Sulpice" ["is it good? the inauguration hasn't taken place, I don't yet know when it will be (...) I must go next Sunday as a replacement to play organ at our Saint-Sulpice"] and gives the description of the instrument.

Photographic card representing Paul Véronge de la Nux. It contains a signed autograph inscription from the musician: "A ma chère petite élève Maxa Nordau très affectueusement offert par un grand admirateur de son papa. P. V. de la Nux" ["To my dear little pupil Maxa Nordau very affectionately offered by a great admirer of her papa. P. V. de la Nux"].
Paul Véronge de la Nux taught piano to the future painter Maxa Nordau, daughter of Max Nordau, one of the founders of the Zionist movement.

First edition, one of 30 numbered copies on Japan paper, deluxe issue.
Work illustrated with 14 original lithographs by Adolphe Fantin-Latour printed on China paper as well as 12 portraits of Hector Berlioz, 3 plates hors-texte and 122 engravings, facsimiles of autographs, caricatures...
Binding in full red morocco, spine with five raised bands, gilt rolls on headcaps, endpapers and pastedowns of combed paper, fine engraved bookplate mounted on one pastedown, gilt dentelle border on pastedowns, covers preserved, all edges gilt, double gilt fillets on edges, perfect contemporary binding signed Cuzin.
Our copy is enhanced with an autograph note signed by Hector Berlioz mounted on an endpaper: "Jeudi 21 / Monsieur, soyez assez bon pour accorder quelques lignes à l'annonce de notre concert de mardi prochain. Vous obligerez beaucoup votre tout dévoué H. Berlioz." ["Thursday 21st / Sir, please be so kind as to grant a few lines to the announcement of our concert next Tuesday. You would greatly oblige your most devoted H. Berlioz."]
Fine copy perfectly established and enhanced with an autograph note signed by Hector Berlioz.

First edition.
Iconography.
Light rubbing to spine without severity, handsome copy.
Autograph inscription signed by Georges Auric to Jean Laurent: "... l'auteur de Chemin de Lumière qui souhaite devenir un jour celui de Médée..." ["... the author of Chemin de Lumière who hopes to become one day that of Médée..."] expanded with an autograph inscription signed by Antoine Goléa.

First edition decorated with numerous illustrations in the text, with mention of second edition.
Bradel binding in half green cloth, smooth spine decorated with a central gilt floral motif, gilt date and double fillet at tail, brown shagreen title label with slight scratches, almond green marbled paper boards, original wrappers preserved, contemporary binding.
Precious signed autograph inscription by Gabriel Montoya, star performer of Rodolphe Salis's Chat Noir and later inept administrator of the Quat'z-arts which he took over in 1910: "A mon vieil ami Joseph Uzanne, en souvenir des bonnes soirées de La Plume, très cordialement j'offre ce volume." ["To my old friend Joseph Uzanne, in memory of the good evenings at La Plume, very cordially I offer this volume."]
Our copy is enhanced with a postcard, pasted on an endpaper, listing the works of Gabriel Montoya, and, on the following endpaper, an original photograph of the Montmartre performer which he signed at the bottom.
Finally, we also include, on a loose leaf, a handwritten quintain by Gabriel Montoya praising the merits of Vin Mariani: "Lorsque j'ai bu deux doigts de vin Mariani / Je puis allégrement jouer les Hernani, / Et sans peur de faiblir au seuil de ma tirade / Dégoiser de Ruy-Bas la fameuse algarade / C'est par hasard qu'hier je surpris ce propos / Près d'un closet : Mounet parlait à Galipaux." ["When I have drunk two fingers of Mariani wine / I can cheerfully play Hernani, / And without fear of weakening at the threshold of my tirade / Declaim Ruy Blas's famous altercation / It was by chance that yesterday I overheard this remark / Near a closet: Mounet was speaking to Galipaux."]
A whole atmosphere and era!

First edition on ordinary paper.
Half eggplant sheep binding, spine slightly faded with six raised bands, gilt fillet on moiré-effect paper boards, moiré-effect paper endpapers and pastedowns, front cover preserved, contemporary binding.
Signed autograph inscription from Xavier Privas to psychologist Charles Binet-Sanglé, notably author of "La folie de Jésus".

First edition, of which there were no deluxe copies.
Fine copy.
Signed and inscribed by Pierre Perret to Europe 1 journalist Jacques Ourévitch.

Autograph card signed by Reynaldo Hahn addressed to Georges Hoog. About ten lines written in blue ink.
Interesting card discussing the opera Mireille: "We performed Mireille here, the true Mireille, with exceptional brilliance and success. I patiently await the day when this masterpiece can return to the Opera theater, but without mutilations."
Composed by Charles Gounod after Frédéric Mistral's Provençal poem, the opera Mireille premiered on March 19, 1864 at the Théâtre Lyrique. The work was reworked numerous times and considerably reduced. It was not until 1939 that the original score was rediscovered, notably thanks to the help of Reynaldo Hahn who conducted a performance of the "true Mireille" in Arles on June 28, 1942.

Signed autograph postcard from Jules Massenet addressed to André Dupuis and written in black ink on the verso of a black and white photographic view of Egreville. With envelope.
"Your excellent letter arrives to me on the morning of September 16th - & I was unaware that Thaïs had been performed this week..."
Thaïs is an opera in three acts by Jules Massenet, libretto by Louis Gallet, after the eponymous novel by Anatole France.

Autograph letter signed by Jules Massenet, two pages written in black ink on a double sheet.
Fold inherent to mailing. A small split at the junction of the two sheets, without gravity.
Fine letter written by the composer during his first stay in the Hungarian capital for Le Roi de Lahore whose premiere took place eight days later: "Répétition générale ce matin [...] excellente exécution" ["General rehearsal this morning [...] excellent execution"]. Massenet mentions the setbacks that occurred which forced the postponement of the opera's programming: "La Benza [Ida], notre Sitia, ne pouvant chanter demain à cause de son deuil, la première est remise à huit jours..." ["La Benza [Ida], our Sitia, unable to sing tomorrow because of her mourning, the premiere is postponed by eight days..."]. This letter also evokes the friendship between Massenet and Franz Liszt, more than thirty years his senior, who took the young composer under his wing at the Villa Medici in 1863: "Je viens de chez Liszt, il est arrivé cette nuit à Peth, et sera à la première..." ["I come from Liszt's, he arrived last night in Pest, and will be at the premiere..."].
Surprised by the hostile climate of this region he is visiting for the first time, Massenet comments: "Le froid est affreux, la neige exaspère, nous allons au théâtre en traîneau [...] Restez au coin du feu, ah ! que vous souffririez de cette température, je t'assure que c'est la sensation de la Russie, la neige couvre tout. [...] je ne sors pas même un oeil, quel hiver même pour les Hongrois enfouis dans leurs peaux comme des Lapons !" ["The cold is dreadful, the snow is exasperating, we go to the theater by sleigh [...] Stay by the fire, ah! how you would suffer from this temperature, I assure you it's the sensation of Russia, snow covers everything. [...] I don't even stick my nose out, what a winter even for the Hungarians buried in their furs like Laplanders!"].

First edition of the sheet music for the song "Hello...le soleil brille (Colonel Bogey)" from the film The Bridge on the River Kwai performed by Annie Cordy.
Very fine copy.

First edition, one of 300 numbered copies on culturally revolutionary paper.
Handsome copy despite rust stains at the head of the leaves.
Words by Tchang Che-hsi set to music by Wang Yu-si.
We include a questionnaire to be completed addressed to the Dignitaries and members of the College which was originally stapled to our copy, which explains the rust stains.

First edition of this lyric tragedy in three acts set to music by André Gailhard, one of 20 numbered copies on Japan paper, the only deluxe copies.
Half tawny shagreen binding with corners, spine slightly darkened with four raised bands decorated with gilt fillets and compartments of brown mosaicked shagreen, gilt date at tail, moiré-effect paper boards, marbled paper endpapers and pastedowns, top edge gilt retaining deckled edges, binding signed by Saulnier.
Fine and rare full-margined copy.

First edition in French, printed on ordinary paper.
Complete with its dust jacket which has small corner losses.
Preface by Henry Miller.
Manuscript signature by Milton Mezz Mezzrow in turquoise ink on the half-title page.

Two complete autograph manuscripts on two perforated leaves of 20 and 26 lines written in pencil for the song entitled "Depuis le jour où devant monsieur le maire" and on their versos the manuscript of the song "C'est jeudi".
Both manuscripts conform to the final text of the song, the second containing numerous deletions and corrections.
On the versos of the first two leaves is found the manuscript of the song "C'est jeudi" of approximately 60 lines, written in blue ballpoint pen very extensively corrected, crossed out and corresponding to the final text of "C'est jeudi".
The third manuscript, of 27 lines, written in black ink and pencil is entirely different from the final text of the song and contains deletions, corrections and additions.
We include, on a perforated leaf, a complete typescript of the song.
Fine collection of this song written between 1956 and 1958 and which was never performed.
Provenance: Boris Vian Foundation.

Complete autograph manuscript on two perforated sheets of 64 lines written in black ink of the song entitled "C'était une pauv'gosse des rues" with two deletions and one correction.
The manuscript conforms to the final text of the song.
We include, on two perforated sheets, the complete typescript of the song.
Fine ensemble of this song written in 1947, with music composed by Albert Assayag, Yves Gilbert and Marcel Mouloudji who performed it in 1971.
Provenance: Boris Vian Foundation.

Complete autograph manuscript on a perforated sheet of 24 lines written in blue ink and pencil of the song entitled "A la manière de Brassens" ["In the manner of Brassens"] containing corrections, deletions and additions while conforming to the final text of the song.
Small marginal tears on the sheet which has been restored at the head with an adhesive piece.
We include, on a perforated sheet, the complete typescript of the song.
A fine ensemble of this song composed between 1954 and 1959.
Provenance: Boris Vian Foundation.

Complete autograph manuscript on one perforated leaf of 27 lines written in blue ballpoint pen of the song entitled "Taxi ! "
The manuscript conforms to the definitive text of the song.
We include, on a perforated leaf, two complete typescripts of the song, one of which is mounted on flexible cardboard.
Manuscript and typescripts are accompanied by a reproduction of the song's sheet music.
Handsome collection of this song written in 1958, the music for which was composed by Henri Salvador who performed it the same year.
Provenance: Fondation Boris Vian.

Four typescripts, one of which is mounted on flexible cardboard, each of 39 lines of Boris Vian's song "Trompette d'occasion" initially entitled "Le jazz hot".
For three of them, Boris Vian crossed out "Le jazz hot" to modify the title by hand and rename the song "Trompette d'occasion".
Boris Vian wrote the text in 1957, Henri Salvador composed the music and performed it on numerous occasions, notably for advertising.
Provenance: Fondation Boris Vian.

Three complete autograph manuscripts on 5 perforated sheets in three different formats (of 55, 48 and 38 lines) written in blue ink for the song entitled "Robert".
The manuscript on the largest sheet conforms to the final text of the song, the other two contain major differences and important variants from the final text.
These latter are abundantly corrected and crossed out.
We include, on a perforated sheet mounted on flexible cardboard, a complete typescript of the song.
Handsome collection of this song written in 1957, whose music was composed by Henri Salvador who performed it the following year.
Provenance: Boris Vian Foundation.

Complete autograph manuscript of two perforated sheets of 51 lines written in blue ink for the song entitled "Ce soir" with four corrections and deletions while conforming to the final text of the song.
This manuscript is completed by a third sheet which corresponds to a working manuscript covering the third and fourth (and final) verses of the song.
We include, on two perforated sheets, the complete typescript of the song.
Fine collection for this song composed between 1955 and 1957 and which was never performed.
Provenance: Boris Vian Foundation.

Complete autograph manuscript on one perforated leaf of 34 lines written in pencil for the song entitled "Bientôt" with one correction and conforming to the final text of the song.
We include, on a perforated leaf, the complete typescript of the song.
Handsome ensemble of this song composed between 1958 and 1959 and which was performed by Jane Birkin in 2009.
Provenance: Boris Vian Foundation.

Complete autograph manuscript on two perforated sheets of 22 lines written in pencil of the unpublished song entitled "Cha cha Siné" with deletions and corrections although it presents the definitive text of the song.
We include, on two perforated sheets, the typescript of the song "Cha cha Siné".
On the verso of one of the sheets, appears the manuscript of 20 lines, in pencil, of the song "Un jour un vieux prof de maths" with, also, numerous corrections and deletions.
The latter was performed by Les Marche-pied in 2009 who also composed the music for it.
Provenance: Boris Vian Foundation.

Complete autograph manuscript on a perforated sheet of 25 lines written in blue ink for the song entitled "J'étais amoureux", with some deletions, additions and corrections.
We include, on a perforated sheet the complete typescript of "J'étais amoureux".
Fine collection relating to this song which was never performed.
Provenance: Fondation Boris Vian.

Complete autograph manuscript on two perforated sheets of 33 lines written in black ink for the song entitled "La java des Pussy-cats" with four corrections while conforming to the definitive text of the song.
We include, on a perforated sheet, the complete typescript of the song.
Fine collection relating to this song composed between 1956 and 1958 and which was only performed by Benoît Deyrat in 1999 and les Marche-pied ten years later.
Provenance: Fondation Boris Vian.

Complete autograph manuscript on a perforated leaf of 16 lines written in blue ink of the song entitled "Douce et pure" ["Sweet and pure"] whose text conforms with the definitive text of the song.
On the verso of the first manuscript, appears a second signed Henri and bearing the title of the song "Charleston que je t'aime" ["Charleston how I love you"], comprising two versions, the first crossed out, abundantly corrected and altered.
We include, on a perforated leaf, the complete typescript of the song "Douce et pure" ["Sweet and pure"].
Handsome ensemble of this song composed between 1954 and 1959 and which was never performed.
Provenance: Fondation Boris Vian.

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.

Complete autograph manuscript on one perforated sheet of 40 lines written in blue ink of the song entitled "Baisers de Tahiti", presenting the final text of this song and two corrections.
We include, on a perforated sheet, the complete typescript of the song.
A small brown stain of no consequence at the head of the first sheet of the manuscript.
Fine ensemble of this song, which was written in 1958 but was sadly never performed. Vian recounts the memories of a Frenchman from the North reminiscing about his Tahitian years.

"Palmiers de Tahiti / Chansons des plages bleues / Soleil de Tahiti / Que j'étais heureux"

Provenance: Fondation Boris Vian

Complete autograph manuscript on three perforated sheets of 65 lines written in blue ink of the salacious and antimilitarist song entitled "Complainte d'Alphonse", numerous deletions and corrections.
We include, on two perforated sheets the complete typescript of "La complainte d'Alphonse".
Fine ensemble of this song which was written in 1959, whose music was composed by Yves Gilbert and which was performed by Philippe Clay in 1971. The performer would moreover add the subtitle "La Complainte du Priapisme".

Amis que je vous raconte / La vie triste et pleine de honte / D'un horrible mécréant / Qui mourut voici cent ans / Doué d'une nature immonde / Du jour où il vint au monde / Il souffrit de priapisme / On lui mit un sinapisme / Pour lui calmer ses ardeurs

Provenance: Boris Vian Foundation.

Original photograph showing, in bathing attire and on a beach, the group of friends formed by Bolette Natanson, Valentine Hugo, Jean Cocteau and Georges Auric (the only one in street clothes). Vintage print.
A very fine photograph showing, in full relaxation, Jean Cocteau, Georges Auric, Valentine Hugo and Bolette Natanson away from the Parisian artistic effervescence in which they actively participated.
The two other men have been identified thanks to the research of Philippe Mianes, whom we thank. Through cross-referencing drawings from auction catalogues or exhibitions related to Jean Cocteau and Jean Hugo depicting this same context and characters, he was able to complete the story... Indeed, Jean Hugo in Le Regard de la Mémoire indicates that the scene takes place on the Arcachon Basin, at Piquey beach where Cocteau had his habits. "We were seven": thus, from left to right, we identify Valentine Hugo, Jean Hugo, Jean Cocteau, Georges Auric, Bolette Natanson and.... Raymond Radiguet. If the latter, whose face is veiled by his hat is difficult to recognize, he does indeed appear in this excerpt from Jean Hugo's memories. Chloé Radiguet, Raymond Radiguet's biographer, confirms that her uncle indeed habitually wore the same light-colored wide-brimmed hat.
A moving memento of Radiguet's last summer, under the sun of Cap Ferret where he completed Le Diable au corps.

Provenance: Bolette Natanson collection.

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.

Original photograph showing Georges Auric seated and casually leaning on his piano. Period printing.
Right corner with two creases.
Handsome full-length portrait of the composer during the height of the "Group of Six" period, which he formed with Louis Durey, Arthur Honegger, Darius Milhaud, Francis Poulenc, and Germaine Tailleferre.
Provenance: Bolette Natanson collection.

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.

Two typescripts of 32 lines each of Boris Vian's song "Choisis ta route" on two perforated sheets, one of which is mounted on flexible cardboard.
We include the printed score of this song.
Boris Vian wrote the text in 1958, Henri Salvador composed the music.
Provenance: Boris Vian Foundation.

Two typescripts of 36 lines each of Boris Vian's song "Donne, donne, donne" on two perforated sheets, one of which is mounted on flexible cardboard.
Boris Vian wrote the text in 1958, Henri Salvador composed the music.
We include a reproduction of the manuscript score of this song.
"Donne, donne, donne" ["Give, give, give"] had several performers including Henri Salvador from 1960.
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.

First edition on ordinary paper.
A small tear on the spine continuing onto the back board.
Signed autograph inscription from Jean de La Varende to Jean Fleury.

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.

Two typescripts of 32 lines each of Boris Vian's song "Avec ton sourire" on two perforated sheets, one of which is mounted on flexible cardboard.
Boris Vian wrote the text in 1958, Alexandre Champigny composed the music and performed it only in 2007.
Provenance: Fondation Boris Vian.

Autograph manuscript by Boris Vian titled "Conseil de révision (des opinions)" on Paul Anka: "Paul Anka is a boy of 20 who writes his own songs and sings them."

n. d. [but 1958] | 20.9 x 26.9 cm | 4 pages on 4 leaves

Autograph manuscript by Boris Vian titled "Conseil de révision (des opinions) [Recommendations for a review of opinions]" on Paul Anka.
4 pages written in blue ballpoint pen on 4 perforated leaves, stapled. Crossings out and corrections. Lateral fold to left margin, but light.
The manuscript was for the “elite", which is to say the readers of Canard enchaîné, but was eventually published in La Belle époque (1980).
A fine article promoting the Olympia concert of a young Paul Anka, 17 at the time, more than ten years before the global success of My Way.
Incidentally, Boris Vian made the "American star" a little older than his actual years: " Paul Anka is a boy of 20 who writes his own songs and sings them". Vian, himself a songwriter and musician, nonetheless points out: "Since he has not written dozens and dozens of songs, he also sings other people's, for example 'Jingle Bells', because it's winter and Christmas." Vian insists on the snobbery of the Parisian public that is obviously less receptive to American innovations: "Paul Anka, the evening of the premiere, had a triumph with the 'people', which chilled the stalls, composed of knowing stars, semi-stars, demi-stars and the usual suspects at such occasions." Vian then responds point by point to the singer's detractors, singing his praises. "He sings very well and seems able to 'swing' in the Latin way...He has an excellent presence and almost too much craft for his age...He has far fewer 'airs' than one might have feared given his sales and publicity." Very aware of new American musicians, Boris risks a little bit of judgement, without losing his legendary humor, in keeping with the caustic tone of Canard enchaîné : "He is thus a classic singer when he wants to be, and unfortunately Anka is to be regarded well above the Kalin twins, those two awful monkeys and the grimacing Presley (whom we saw at the cinema)."
As the title of this article indicated, "A recommendation for a revision", Boris Vian seems to have changed his mind about the young singer after attending his French premiere. In another article planned for Canard enchaîné and written a little while earlier, he had declared: "You clearly know the latest nickname for the young singer Paul Anka, 'the Canadian bawler. He is short and charming; the Anka of misfortune."

Provenance : Fondation Vian

First edition, of which there were no deluxe copies.
Spine lightly sunned without damage with small tears at head and foot.
Autograph inscription signed by Vladimir Jankélévitch in Cyrillic.

Illustrated edition with 25 original color compositions painted in gouache and signed by Philippe Lorin, one of 39 numbered copies on Rives laid paper.
Some light foxing, otherwise a handsome copy.
The slipcase is also illustrated with an original lithograph by Philippe Lorin.
Manuscript signatures of Philippe and the publisher below the justification page.

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, one of 50 numbered copies on Hollande paper, the only deluxe copies.
Two small tears at head and foot of spine.
Handsome and rare full-margined copy for which the beautiful cover was illustrated by costume designer José de Zamora.

Complete manuscript of "Ça pince," a song performed by Henri Salvador in 1958, who also composed the music:
- A four-page draft written in ballpoint pen on two oblong sheets torn from a spiral notebook, presenting several verses not retained for the final version.
- One page written in blue ink on a sheet of white perforated paper with some deletions
- A fair copy of the song, two pages written on two white perforated sheets in blue ballpoint pen
Finally, we include the printed score and also three typescripts (one of which is mounted on flexible cardboard) of this song.
Very fine ensemble of this song which was recorded by Henri Salvador.

Je m'en allais à la plage / Avec mon petit panier / Chercher des crab', des coquillages / Et des tas de crustacés

Provenance: Fondation Boris Vian.

First edition, one of 250 numbered copies on pur fil paper, deluxe copy.
Work illustrated with wood engravings by Jean-Gabriel Daragnès.
Fine copy.

First edition in French, of which there were no deluxe copies.
Publisher's full grey cloth binding, smooth spine.
Handsome copy complete with its dust jacket and slipcase.

First edition in French, of which there were no deluxe copies.
Iconography.
Publisher's full grey cloth binding, smooth spine.
Handsome copy complete with its dust jacket and slipcase which has some scratches at the head of the spine.

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.

First edition illustrated with photographs.
Publisher's full yellow paper boards, smooth spine, with the illustrated dust jacket whose spine is slightly faded and has a tear at the head.

Complete autograph manuscript of the song entitled "Au bal des ballots" whose music was composed by Henri Salvador and performed in 1979.
- two leaves, of 13 lines each, written in black pencil with cross-outs and corrections and constituting the two initial versions of the refrain in draft state
- 59 lines written in blue ballpoint pen on three perforated white paper leaves with cross-outs and corrections.
- Two typescripts, one on onionskin paper and the other mounted on cardboard
Very fine collection of this song enumerating the different styles of dance halls.

"Y a des bals pour les pompiers / Et les joyeux militaires. / Y en a pour les vieux notaires / Et les sombres charcutiers." ["There are dances for the firemen / And the jolly soldiers. / There are some for the old notaries / And the gloomy butchers."]

Provenance: Boris Vian Foundation.

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.

The first edition, of which there were no deluxe copies.
Presentation by Jean Cocteau and Charles Delaunay.
Small marginal tears to the fragile covers, paper yellowed, complete with publisher's (advertising) slip illustrated with photographs of the author in company of the most illustrious jazzmen.
Very precious signed autograph inscription by Gaston Criel on the half-title: "A Boris Vian, son ami. Criel" ["To Boris Vian, his friend. Criel"].

The first edition, of which there were no deluxe copies, a Service de Presse (advance) copy.
A small dampstain at foot of spine and light sunning at foot of rear board, complete with publisher's (advertising) slip.
Very precious autograph inscription dated and signed by Bernard Heuvelmans on the front endpaper: "A Boris Vian avec l'espoir qu'il aimera ce petit livre d'un jazz nourri de mystère, d'érotisme et d'humour. En toute sympathie" ["To Boris Vian with the hope that he will love this little book of jazz nourished by mystery, eroticism and humor. With all sympathy"].

Complete manuscript of 35 lines written in blue ballpoint pen of the song "Ce que j'aime dans la romance" comprising three sheets with abundant corrections.
We include the typescript of this song whose music was composed by Henri Salvador, Marcel Van Dam and Ayser Schmid-Vançin, but which was unfortunately never recorded.
Very fine ensemble.

Ce que j'aime dans la romance / C'est l'moment où ça commence / Le moment où je la vois / Toute neuve devant moi

["What I love about romance / Is the moment when it begins / The moment when I see it / All new before me"]

Provenance: Boris Vian Foundation.

The first edition, of which there were no deluxe copies.
Spine creased and lightly sunned, paper yellowed.
Iconography.
Very precious signed autograph inscription from Gérard Legrand on the half-title page: "A Boris Vian, poète authentique et méconnu, qui voulut bien naguère se prêter au supplice d'une interview... où transparaissait Duke Ellington. Amical hommage" ["To Boris Vian, authentic and unrecognized poet, who was kind enough to submit to the ordeal of an interview... where Duke Ellington shone through. Friendly tribute"].

First edition, of which there were no deluxe copies.
Iconography.
Handsome copy.
Fine autograph inscription dated and signed by Roland Petit: "Cher Alain Delon comme tu le vois je garde toujours un souvenir amical et ébloui de ta merveilleuse prestation de danseur, bien à toi. Roland Petit." ["Dear Alain Delon as you can see I always keep a friendly and dazzled memory of your marvelous performance as a dancer, yours truly. Roland Petit."]

First edition of which there were no deluxe copies.
Nice copy.
Cover illustrated by Piem.
Signed handwritten inscription by Boris Vian to Christine Gouze-Raynal : "... avec toute mon amitié et mes respectueux hommages..."

First edition, one of 500 numbered copies on Cleopatra laid paper, the only deluxe copies.
Publisher's red cloth Bradel binding, smooth spine, black paper endpapers and pastedowns.
Handsome copy.

First edition of this catalogue of the exhibition held at the Centre Georges Pompidou from July 12 to November 6, 1978.
Numerous contributions.
Iconography.
Handsome copy.

New edition, the best and most complete published of this author, with the musical scores of the songs. It contains 5 engraved titles by De Sceve, a portrait of the author as frontispiece after Duflos and 5 figures by De Scève, all on strong paper. Some engravings are 1 cm shorter in the lower margin, as the volume has not been trimmed. 60 pages of engraved musical score, with the words of the songs and Christian poetry. A handsome, well-printed edition.
Contemporary full marbled and glazed calf binding. Decorated spine with raised bands. Red morocco title-label, black wax volume label. Red edges. A small lack to the lower joint at the head of volume I. Worming at the foot of volume II. 5 corners slightly bumped. Traces of rubbing. A very handsome set, decorative on perfectly fresh paper.
Volume I: On the necessity of pleasing. Fairy tales (5). Letters and replies to the King of Poland.
Volume II: Speech to the French Academy. Letters, reflections and criticism.
Volume III: Poetry, comedies, ballets, songs.
Volume IV: Ballets, poetry, songs, pastorals...

NB: This work is available at the bookshop upon request within 48 hours.

First edition, illustrated with 3 engraved titles with borders and figures, 3 fine frontispieces and one figure repeating a frontispiece, vignettes and tailpieces designed by Moreau le jeune and engraved by Monnet, Simonon, Launay and Duclos, including one vignette with a camera obscura.
Armorial copy of President Charles de Brosses, celebrated magistrate and writer well known for his Lettres d'Italie. Azure, three sheaves of wheat (or brushes) or, tied gules.
Contemporary full marbled brown sheep binding. Smooth spine richly decorated. Red morocco title label, garnet morocco volume label. Arms stamped on covers. Headcap of volume III partly split. Lacking at foot of volume III. Traces of rubbing. Occasional foxing on the first leaves of volumes I and III.
Fine copy.
Gilt seal-form bookplate: Henri Bachimon (Henri Bresles). Born Bachimon, Henri Bresles (1864-1924) was a French operetta composer and chansonnier.
Collection of songs, which were composed for "festivities and social events" (anniversaries, births, marriages, love, old age, drunkenness...) Treating frivolous 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.

NB: This work is available at the bookstore on request within 48 hours.

Edition illustrated with original illustrations by Georges Rochegrosse and F. Marcotte, one of 50 numbered copies on Japan paper, the only deluxe copies.
Handsome copy.

Les Grotesques de la musique [The Musical Madhouse]
A. Bourdilliat & Cie | Paris 1859 | 11.5 x 18 cm | publisher's original binding
First edition.
Publisher's green cloth, spine and boards ruled in blind, yellow endpapers and pastedowns, pastedowns soiled, edges spotted.
A little light foxing.
A rare and handsome autograph inscription signed by Hector Berlioz in pencil to title: "à mon ami Théodore Ritter, souvenirs affectueux"
Théodore Ritter, son of composer Eugène Prévost, was Berlioz's student for whom he composed a piano arrangement of L'Enfance du Christ [The Childhood of Christ]
Berlioz inscriptions are rare and highly sought-after.

Photographic postcard representing Yvonne Printemps, three-quarter and holding a hat board, taken in the studio Reutlinger.
Nice copy.
Handwritten signature of Yvonne Printemps above her portrait.

Photographic postcard signed by Polaire
S.n., s.l1919, 9.5 x 13.5 cm, one verso sheet
Photographic postcard depicting the singer and actress Polaire, facing her two dogs in her arms, taken in the A.Bert studio.
A beautiful copy.
Handwritten signature dated 1919 by Polaire above and to the right of her portrait.
Handwritten presentation from Polaire on the back of the postcard to Mr Humbert Clerle.

Jules LEVY & Jules JOUY
& CARPENTIER
Décadent's concert program from 27 April to 3 May 1894
Paris 27 April-3 May 1894| 26.5 x 17.6 cm | one leaf
Rare first edition of the Décadent's concert program held from 27 April to 3 May 1894 at 16 bis Rue Fontaine, in Paris.
On the reverse there is an elegant and humorous blue lithographed poster promoting Carpentier's “lively shadows.”
The leaflet has significant foxing, its lower left corner is cut, there are superficial sections of paper missing and the remains of some adhesive paper in the margin of the program.
Successor of the Café des Incohérents created by Jules Lévy, writer, actor and ex-Hydropath, the musical and artistic café on Rue Fontaine is renamed “concert des Décadents” in 1893, and placed under the artistic direction of chansonnier Jules Jouy and the signer Marguerite Dufay. Performers included, among others, Marcel Legay, Paul Delmet, Armand Masson, Georges Tiercy, et Paul Daubry.

Albert PAJOL & Adolphe COUTURET
& Charles JACOUTOT & Félix VALLOTTON
Operetta's lyrics
« Ah ! La pé... la pé... la pépinière !!! »
Pajol & Cie | Paris 1900 | 15.2 x 22 cm | original wrappers
Rare first edition of the operetta's lyrics “Ah! La pé... la pé... la pépinière !!!».
Cover by Félix Vallotton.
Very fresh condition.

First edition on current paper, mention of ninth edition.
A tear in the foot of the back slightly insolated.
Iconography.
Autograph dedication dated 1953 and signed by Serge Lifar to Mrs. Dominique Blanchard.

Edition with some parts in first edition as it contains numerous unpublished texts, one of 50 numbered copies on China paper, ours bearing No. 1, the only deluxe copies with 50 Whatman.
Bindings in half caramel calf, spines with five raised bands set with gilt fillets and decorated with double gilt compartments ornamented with gilt dentelles, brown morocco title labels, navy blue morocco volume labels, marbled paper boards, marbled endpapers and pastedowns, top edges gilt, original wrappers preserved, some corners slightly bumped, contemporary bindings.
Some minor rubbing traces on certain spines, small holes in the spine margins of the first (volumes 1 & 2) and third (volumes 5 & 6) volumes, one stain on the spine of the second volume (volumes 3 & 4), worming in the margins of the last forty pages of the first volume (volumes 1 & 2) not touching the text.
Work illustrated with 50 etched portraits by Rousselle and Rivoalen, here in double state as in the China and Whatman copies.
Handsome copy of this collection, composed of the famous collections of Pierre Clairambault (genealogist of the King's orders), of Jean-Frédéric Phélypeaux Maurepas and numerous other unpublished manuscripts.

Edition printed on laid paper and illustrated with a portrait of Pierre Ronsard by Orlande de Lassus.
Half brown shagreen binding, smooth spine decorated with gilt cartouches ornamented with gilt lyres, marbled paper boards, marbled endpapers and pastedowns, some minor tears to leading edges, original wrappers preserved, contemporary binding.
Some foxing affecting the music plates at the end of the volume.

First Edition printed on Alfa paper.
Handwritten signature of Gustave Charpentier below his frontispiece photographic portrait.
Autograph dedication dated and signed by Marc Delmas to the poet Rosati Jean Ott.
Our copy is enriched, pasted on a guard, a business card of Gustave Charpentier on which he added these words: "Cordial tribute to the great organizer of the open air parties."

First Edition printed 130 numbered copies on vellum Arches paper, ours unjustified.
boards slightly and marginally insolated.
Autograph dedication dated and signed by Claude Sernet to the composer Jean Wiener: "... in testimony of an admiration ly distant, now fraternal."

First edition, one of the review copies service.
Nice copy.
autograph dedication of the author autograph dated and signed by Michel Butor, orange felt, his friend Georges Raillard enriched with a small sun obtained with a perforation around which Michel Butor has drawn orange rays.

Rare invitation card to attend the performance of oriental dances created by Jeanne Ronsay and Toshi Komori, at the Akadémia of Raymond Duncan on February 20, 1922.
Beautiful and rare copy with a modification of the date of the performance originally scheduled for February 6th.
These dances were performed by Dara Manda, Souka Hati, Carola Perrier, Little Jeanine, Charrat and the dancer Tranki.
Raymond Duncan, brother of the famous dancer Isadora Duncan, installed in 1911 in Paris an academy on the model of Plato: "Raymond Duncan was fascinated by ancient Greece since childhood: the aesthetics and the way of life that he promoted to the Akademia were imbued with this influence. The press of the time glossed over the clothes worn by Raymond Duncan and his followers: "Greek-style" tunics that he / she made themselves. Behind the supposed ridiculousness of this accoutrement, these unisex tunics were a way of abolishing the differences of sexes and social classes. Raymond Duncan would have adopted this outfit after his coachman was denied access to a beach because of his livery that betrayed his social status. The life of the Akademia was organized around many activities: dance, music, weaving, gymnastics, crafts, spinning, Orphic singing, Greek language and philosophy. These courses included outside students - who paid according to their abilities - and members of the community living within its walls for a few days, months or years. Housed and nurtured - according to the vegetarian diet promoted by Duncan - the latter, in return, participated in the community economy by making sandals, spinning wool, weaving tunics on primitive crafts. These artefacts were then sold - at high prices - in the Akademia shop located rue du Faubourg Saint-Honoré. (Journal of the Akademia exhibition : Performing Life at Villa Vassilieff, 2018)

First edition, one of 200 numbered copies on Japan paper, the only deluxe copies.
Handsome copy.
Preface by Jean Cocteau.

Second edition.
Half brown sheep binding with small vellum-style corners, smooth spine decorated with gilt friezes and fleurons, black sheep title-label and author's name, marbled paper boards, contemporary binding.
Some foxing affecting mainly the first and last leaves.
Rare.

One of the very rare copies enriched with an autograph - there are fewer than a dozen - of this first edition, featuring the Marseillaise.
First edition illustrated with an engraving inset engraved by Charles-Etienne Gaucher after Jean-Jacques Le Barbier and 4 pages of score engraved at the end of the volume. The Marseillaise appears in its real first edition, having been the subject of a pre-publication in the Almanac of the Muses in 1793 and in the form of loose leaflets.
Binding semi-sheepskin contemporary, smooth back adorned with boxes, jewels and gilded lace, title label red morocco, black cardboard boards. Several ex-libris handwritten or glued on the contreplat and the guards. Back restored, some foxinges. The last two letters of the dedicatee's name have been trimmed to binding.
The book is enriched on the fake page of an exceptional autograph from Rouget de L'Isle to another artist of the Revolution: "M de La Chabeaussie [re] / from the author".
Rouget de Lisle and Poisson de la Chabeaussière, the recipient of the consignment, both embodied the revolutionary fervor and marked Republican history by their pen.
The Marseillaise appears in the book on page [PAGE?] Among other poems and songs. This first edition delivers the famous song in its original state. It comprises six quatrains, as written by Captain Rouget de l'Isle for the Army of the Rhine in April 1792, then instituted national anthem in 1795 by the decree of 26 Messidor year III.
Paroliers and men of letters, Rouget de l'Isle and Chabeaussière were the zealous servants of the Revolution but also the victims of its excesses. At the writing of this dedication, in year V of the Republic, the two men are at the summit of their glory. One is the author of the national anthem that thrills revolutionary France, and the other the most popular republican catechism during the Revolution. Indeed, the Chabeaussière also composes a major work of the revolutionary inheritance: a republican, philosophical and moral Catechism , reissued 82 times until the Third Republic, and which promoted it to the Executive Commission of the public instruction . Like Rouget de L'Isle, he has enjoyed success as a lyricist and librettist, notably for the comic operas of Nicolas Delayrac. The history of La Marseillaise meets from its creation that of La Chabeaussière and the composer Delayrac, whose air offers a certain resemblance to the heroic drama of Delayrac entitled Sargines or the Student of love .
Neither La Chabeaussière nor Rouget de l'Isle, despite the celebrity of his Marseillaise, escaped the throes of Terror. Declared "suspects", they were incarcerated in 1793 respectively in the prison of Madelonettes and Saint-Germain-en-Laye. At the end of these dark hours, the two men lead a peaceful existence and continue to actively collaborate in the Almanac des Muses , which published La Marseillaise for the first time in volume.
At the death of the Chabeaussière in 1820, the copy knows a story of the most romantic. He always carries [OR?] The inscription of his second owner, Edouard Gendron: "This book was bought in 1821 - at a crossroads near the medical school square, among a pile of scrap metal".

First publication by his composer of the most famous symbol of the French Republic: La Marseillaise . His precious dedication brings together revolutionary poets with crossed destinies, whose writings left their immortal borrowed in the history of France.

First edition, one of 100 numbered copies printed on Hollande, tirage de tête after 50 copies on China paper.
Nice copy.
Illustrated with 2 woodcuts by Morin-Jean.
Signed by René Druart and Morin-Jean on the justification page.

First edition for wich no grand papier (deluxe) copies were printed.
Light dampstains on the last pages, not affecting the text.
Iconography.
Signed autograph inscription from Hugues Panassié to Jean Saint-Martin with an extremely rare signature of Louis Armstrong.

First edition, one of 50 numbered copies on laid paper, the only deluxe copies.
Handsome copy.
Iconography.