Music Calling

Signed autograph postcard by Maurice Béjart, written in blue ballpoint pen on the verso of a photographic reproduction depicting Villa Rufolo in Ravello, on the Amalfi coast.
Villa Rufolo was immortalized by Richard Wagner in his "Parsifal" as Klingsor's enchanted castle.

Autograph letter signed by Jules Massenet addressed to André Dupuis and written in black ink. Envelope included.
"I am still very unwell... For days! ... bedridden! ... the flu! ... fever! ..."
André Dupuis having asked him for seats for his next performance, Jules Massenet assures him he will do everything to satisfy him: "At the theater, they promise me to seat my friends as soon as the first boxes are reserved. Thus I would like to think of you..."

Autograph letter dated and signed by Emile Zola, 12 lines in black ink, addressed to librettist Louis Gallet concerning the operatic adaptation by Alfred Bruneau of the novel "Le rêve".
Folds inherent to postal dispatch.
Emile Zola was to meet jointly with Alfred Bruneau who had adapted the novel "Le rêve" for the opera and Louis Gallet, the librettist of this adaptation. "Je vous attends demain matin... pour causer des trois derniers tableaux... J'écris également à Bruneau pour lui donner rendez-vous" ["I await you tomorrow morning... to discuss the last three tableaux... I am also writing to Bruneau to arrange a meeting with...

The first edition, of which there were no deluxe copies.
Handsome copy.
Autograph inscription dated and signed by Joseph Joffo to a woman named Lyne: "... la vie sans musique n'est rien...." ["... life without music is nothing...."]

Photographic postcard depicting the Austrian actor Oskar Werner costumed as an orchestra conductor, his baton raised in his right hand, taken in the photographic studio of Hanno Thurau.
Handsome copy.
Manuscript signature of Oskar Werner in green ink.

First edition, one of 50 numbered copies on Japan paper, deluxe issue.
Small stains to head of front cover, spine very lightly sunned.
Handsome full-margined copy.

First edition, one of 25 numbered copies on laid paper, the only deluxe copies.
Fine copy.
Signed and inscribed by Maurice Béjart to his publisher Armand Flammarion.

First edition, one of 20 numbered copies on pur fil paper, ours one of the few unnumbered hors commerce copies, the only deluxe copies.
Handsome copy despite the covers slightly darkened at head.

First edition printed in one of 53 hors commerce copies.
Fine and very rare copy of this unauthorized first edition, consisting of facsimile reproductions of 3 manuscript letters by Louis-Ferdinand Céline addressed to a young Danish woman, Bente Joyhansen, during his first weeks of detention in Denmark.

First edition, one of 61 numbered copies on pure rag vellum, the only deluxe copies.
A very fine copy.

First edition, of which there were no deluxe copies.
Handsome copy with the illustrated dust jacket.
Signed autograph inscription by Elie Wiesel to Catherine David on a piece of paper pasted on the half-title page.
Novelist, essayist, literary critic, pianist, Catherine David was a pioneer of opinion journalism at Le Nouvel Observateur. Laurent Joffrin, former editor of the newspaper, offering this fine funeral tribute in the January 4, 2023 issue: "... Her passions are eclectic, from music to tai chi, from philosophy to hybrid disciplines, at the frontiers of science and spirituality. Her books bear this mark, a brilliant variation on movement (la Beauté du...

Autograph letter dated and signed by Gustave Charpentier (14 lines in black ink) regarding musical pieces to be performed after the inauguration of a monument commemorating Ludwig van Beethoven
Traces of folding inherent to postal delivery, a filing number in blue felt-tip pen in the lower right corner of the letter.
The composer seeks: "... pour des sonneries de trompettes ou de cors... des thèmes, bien caractéristiques, assez courts, pris dans les oeuvres du maître..." ["... for trumpet or horn fanfares... themes, quite characteristic, fairly short, taken from the master's works..."], for this he asks for help from a composer friend: "...

Reproduction of a photographic portrait showing Betty Grable, standing, in pin-up attire, hands crossed behind her neck, her right leg folded over the left.
Autograph inscription signed by Betty Grable: "Hello, Eileen, greetings from Betty."
The first pin-up girl in history, Betty Grable was one of the great stars of musical comedies, especially those created by Fox, from before and after the war to the point of accompanying American G.I.s during the Second World War, her legs being insured by Lloyd's for one million dollars. The arrival, in the early 1950s, of Marilyn Monroe, Fox's new star, would eclipse the aura that Betty Grable had with the...

Complete set of Boris Vian's manuscript and working typescript, genesis of the song "Pour bercer ma peine".
- one leaf and two perforated slips handwritten in ink by Boris Vian. Numerous deletions.
- One leaf folded in two written in ink in Boris Vian's hand as well, containing the title of the song and the following mentions: "6.1.51 - Boris Vian 3 rue D'Aumale St Tropez Var"
- two perforated leaves typed by machine, clean copy of the manuscript.
The music for this text was composed by Louis Bessières and the song was performed by Magali Noël.

"On January 6, 1951, Boris Vian takes the obligatory admission examination to the Sacem on the...

Secret and early song, hastily written with numerous corrections, probably written on the corner of a cellar table, homage to famous troglodytes and anonymous zazous of Saint-Germain-des-Prés

- A perforated squared sheet written by Boris Vian in blue ink, numerous deletions and corrections, some marginal tears. This sheet is folded in three, as if it were the template for a leaflet. At the head of the sheet, some manuscript attempts in Vian's hand confirm that this text was perhaps intended to become the anthem of a circle of Saint-Germain residents:

"CLAC: Cercle Littéraire des amis des caves / Cercle libre des amateurs de cuisse." ["Literary Circle of...

Complete set of Boris Vian's manuscript and working typescripts, genesis of the song "La vie en rock".
- one perforated lined sheet handwritten in pencil by Boris Vian. At the head of the sheet, he inscribed: "Musique J. Vermont" and "Paroles J. Vermont", at the bottom right: "Poursuites J. Vermont". Numerous crossings-out and corrections.
- one perforated lined sheet handwritten in blue ink by Boris Vian.
- one perforated sheet typed on machine, fair copy of the manuscript.
This song, a pastiche of Edith Piaf's song La Vie en rose, was never performed.

Quand
J'descends dans mon bistro
J'mets vingt ball'dans l'phono

Complete set of Boris Vian's manuscript and working typescripts, genesis of the song "Java mondaine".
- one perforated squared sheet handwritten in blue ballpoint pen by Boris Vian. At the bottom of the sheet, also in Boris Vian's hand, the mention: "Music H. Salvador - Lyrics B. Vian"
- one perforated typewritten sheet, fair copy of the manuscript, on which Boris Vian wrote in the margin the name "Chantal" which he considered to replace that of Hubert in the song. This modification was not retained.
- two other typewritten sheets on tissue paper, one pasted onto cardboard paper
Also included is the sheet music of the song published by Eddy Barclay...

The first edition, of which there were no deluxe copies, a Service de Presse (advance) copy.
Handsome copy of the author's first work.
Very rare dated and signed autograph inscription by Isidore Isou, one of the founders of Lettrism and important precursor to Situationism, to film producer and director Roland Tual who was close to the Surrealists: he opened the Surrealist gallery in 1926 with the exhibition "Paintings by Man Ray and objects from the islands".

First edition, a Service de Presse (advance) copy.
A small tear to the middle of the front cover, discreet numbering in the upper right corner of the verso of the front cover
Precious autograph inscription signed by Paul Claudel to Ida Rubinstein: "à Ida Rubinstein son ami. P. Claudel." ["to Ida Rubinstein his friend. P. Claudel."]
Star dancer of the celebrated Ballets Russes, icon of the Belle Époque, patron of the arts, Ida Rubinstein played the role of Joan in Paul Claudel's Joan of Arc at the Stake, during the first orchestral version performed in May 1938 in Basel. She also commissioned Maurice Ravel's famous Boléro. After leading a...

First edition.
Half red shagreen binding, spine with five raised bands outlined with black fillets and decorated with gilt fleurons, small black stain to head of spine, marbled paper boards, combed paper endpapers and pastedowns, original wrappers preserved, top edge gilt, binding signed Tripon at foot of spine.
Handsome copy with some minor foxing.

First edition in French, of which there were no deluxe copies.
Handsome copy retaining publisher's wraparound band.
Rare signed autograph inscription by Léonid Guirchovitch with an original drawing of a violinist on the facing page.

Original sketch drawing by Manfred Thierry Mugler - Costume project for ballet
n.p. n.d. (ca 2010-2020), 21x29,8cm, a leaf.

Original drawing by Manfred Thierry Mugler, entirely in pencil on thick white paper, depicting a ballet dancer in bird costume. Several autograph notes by the fashion designer: "Collant blanc dégradé gris perle" ("White tights gray pearl gradient"), "Blanc dégradé gris perle" ("White gray pearl gradient"), "Juste au bout" ("Just at the tip").
Unfortunately, we have not been able to identify for which show Mugler planned to create this outfit, but the designer was undeniably very attached to dance, having himself joined the...

Autograph song in octosyllables dated and signed by Maurice Mac-Nab entitled "Le banquet des maires", 58 lines in black ink on three leaves.
Maurice Mac-Nab, poet and hydropath songwriter (he wrote a thesis on hangovers), performed notably at the famous Montmartre cabaret Chat Noir where he recited "advertising songs".
"Le banquet des maires"
Enfant gâté de mon canton
Depuis quartorze ans je suis maire
Bien que je me flatte, dit-on,
D'être un peu réactionnaire
Un beau matin monsieur Floquet
Me dépêche une circulaire :
Il me convie au grand banquet
Que nous offre le Ministère (bis)
"Je t'en prie, Hector, n'y va pas,
Me...

Original drawing by Manfred Thierry Mugler, entirely in pencil on a white paper leaf.

 
With a profile of a woman, wearing a mask on her face and another one on top of the first. Numerous technical annotations around the drawing, also by Mugler: "(?) serigraphed, lycra "Wig Hat"", "Painted realistic, like her make-up", "Or All metalic GOLD NO DEFINITION LIKE A MASK OF ANTIK THEATRE".
This drawing is probably a costume project for the dancer Olga Smirnova in the ballet "McGREGOR + MUGLER" by choreographer Wayne McGregor. Fashion designer Thierry Mugler was undeniably very attached to dance, having himself joined the Rhine Opera Ballet at the...

Very large-format photograph of Thierry Mugler surrounded by the performers of his cabaret show "Mugler Follies" in a silver metal frame and under a mat bearing colorful birthday wishes and signed inscriptions in felt-tip pens.
Several celebrities are pictured including singer Marie-France (interpreter of Marlene Dietrich and Marilyn Monroe) and drag queen Lola Dragoness Von Flame.
Signed and dated by the photographer Sylvie Germond on the back. A small crack in the glass to the bottom left corner.
Enclosed: a folder of computer graphics used to design the Mugler Follies sets and costumes.
A monumental and unique photograph, bearing witness to the eccentricity of...

Autograph letter signed by composer Vincent Scotto, addressed from his Parisian home, to his great friend the Provençal writer, caricaturist and filmmaker Carlo Rim who was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of André Salmon and Max Jacob (44 lines in black ink)
Vincent Scotto insists with his friend and collaborator Carlo Rim, whom he considers too hesitant and indecisive, that he find the motivation to contact theater man Albert Willemetz so that the latter will stage the play that the two Marseillais created together for fear that their project might fall through:
"July 2nd
My dear Carlo,
in response to your...

Handwritten letter (9 lines) signed by the writer and librettist Boris Kochno addressed to his friend Alice Rim, concerning the death of a mutual friend: "... pour moi, la mort de notre amie, c'est l'écroulement d'un univers..." ["... for me, the death of our friend is the collapse of a universe..."]
Fold marks inherent to mailing.
Carlo Rim was a Provençal writer, author notably of "Ma belle Marseille", a caricaturist, a filmmaker: "Justin de Marseille", "L'armoire volante", "La maison Bonnadieu", and was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of Max Jacob and André Salmon whom he met in Sanary.

Autograph letter signed by Berthold Mann, written in black ink (28 lines) requesting his friend's intervention to find, for his young sister-in-law from the Opéra Comique, a position in an upcoming theatrical production : "Cher ami,
puis-je vous demander de bien vouloir pistonner auprès du critique musical de Paris midi - ou d'ailleurs - une artiste de l'Opéra comique ? - voilà direz-vous une singulière demande - c'est qu'il s'agit de la soeur de ma femme, mademoiselle Kamienska (j'espère qu'elle aura ainsi que toute la famille le plaisir de faire votre connaissance bientôt). Elle crée en ce moment le rôle de Truchement ( en espagnol : Trujaman) dans les...

Autograph postcard dated and signed by composer Vincent Scotto, addressed from his Parisian home, to his great friend the Provençal writer, caricaturist and filmmaker Carlo Rim who was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of André Salmon and Max Jacob (15 lines in black ink)
"Le 16 sept. 41
Mon cher Carlo,
Il faudrait que nous ayons au plus tôt une réponse soit de Raimu soit de Charpin ou bien encore de Delmont quoique pour ce dernier l'affaire sera difficile à Paris car Willemetz demande, dans notre intérêt, que Edith Piaf soit épaulée par une vedette homme faisant affiche. Si nous avons Raimu ou Charpin, nous sommes sûrs...

First edition, one of 10 numbered copies on Montval paper, deluxe issue.
Handsome full-margined copy.

Autograph letter dated and signed by Georges Auric addressed to his friend Carlo Rim, 23 lines in blue ink on letterhead of the Réunion des théâtres lyriques nationaux et du théâtre de l'Opéra de Paris, in which he asks for his friend's indulgence as he is overwhelmed with work: "Pardonne-moi si je ne t'ai pas répondu encore : tu peux imaginer sans trop de peine ce qu'est devenue mon existence ! ... je viens d'avoir à préparer la reprise d'Iphigénie en Tauride - opéra des plus nobles et que "notre" public n'avait pas eu l'occasion d'écouter depuis 1931 " ["Forgive me if I haven't answered you yet: you can imagine without too much trouble what my...

Autograph postcard signed by Maurice Béjart addressed to André-Philippe Hersin, written in violet felt-tip pen on the verso of a photomontage showing a belly dancer in front of a mosque which appears to be the Al-Azhar mosque.
"Voilà ma nouvelle étoile... Je pense à vous souvent. Affectueusement. Maurice" ["Here is my new star... I think of you often. Affectionately. Maurice"]
Journalist, dance critic and editor-in-chief of Les Saisons de la danse, Hersin was a great champion of Béjart's choreographic style and devoted laudatory articles to him in his magazine as well as monographic fascicles of his work.

Original drawing in pencil heightened with black, yellow and orange red felt-tip pens by Carlo Rim depicting Mistinguett in profile, hands crossed over her belly.
On the verso, a sketch of a portrait of Carlo Rim's close friend Antonin Artaud has been executed with blue ink stains; above, the names of the following celebrities have been inscribed in pencil: "Simenon - Jeanson - Pagnol - Achard - Anouilh - Jos. Baker.", all framed by blue pen scribbles.
Carlo Rim was a Provençal writer, author notably of "Ma belle Marseille", a caricaturist, a filmmaker and was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of Max Jacob and André Salmon...

Autograph letter signed by composer Giuseppe Verdi, written from his sumptuous apartment on the Champs Elysées. 12 lines in ink on a folded leaf. Some foxing at the top of the first leaf. Pencil note by the addressee at the bottom of the first page, piece of paper pasted over a note by the addressee in ink on the verso of the blank folio. Small piece of paper missing at foot of blank page, some traces of folding.
Handsome autograph letter signed by the famed composer of La Traviata, Rigoletto and Aida.

First edition, one of 50 numbered copies on laid paper, the only deluxe copies.
Fine copy.
Preface and poems by Charles Trenet, iconography.

First edition of Emile Blémont's adaptation of this 13th-century comic opera by the trouvère Adam de La Halle.
Handsome copy complete with publisher's slip.
Musical adaptation by Julien Tiersot.
Precious autograph inscription signed by Emile Blémont to the hydropath Joseph Uzanne.

First edition of this play set to music by Charles Gounod.
Bradel binding in half grey cloth with corners, smooth spine decorated with gilt floral motif, gilt date and double fillet at foot of spine, navy blue shagreen title-label with minor rubbing, marbled paper boards, covers and spine preserved, binding signed in blind by Victor Champs.
Handsome copy.

Superb invitation poster-card for the 1930 edition of the Bal des Quat'Z'Arts, still bearing its stub in the lower section. Very fine color illustration by Yves Brayer and O. Rabaud depicting a menacing Aragonese knight being charmed by an oriental dancer.
The theme of the famous fine arts students' ball, which took place on June 21 at the Porte de Versailles, was the capture of Granada by the Aragonese knights - on the invitation, one can read the following text: "Le sultan Abou-Abdillah se fait vider de Grenade par les bandes d'Aragon, ainsi que la chose s'est très véridiquement passée en 1492. Viens voir ça ma jolie, et accourt avec nous vers l'Alhambra, pour y boire...

Illustrated edition, with frontispiece to the first volume, of a portrait of Joan of Arc drawn by Gaucher as well as 21 figures drawn by Lebarbier, Marillier, Monnet, Monsiau, all engraved by Baquoy, Choffard, Delignon, Delvaux, Duhamel, Dupréel, Lemire, Lingée, Malbeste, Patas, Pauquet, Ponce and Romanet...
Half black shagreen bindings, smooth spines decorated with blind fillets, some rubbing to headcaps and joints, marbled paper boards, marbled endpapers and pastedowns.
Some minor foxing.

First edition, illustrated with 3 engraved titles with frames and figures, 3 handsome frontispieces as well as a figure repeating a frontispiece by Moreau le jeune and engraved by Monnet, Simonon, Launay and Duclos.
The work is also decorated with vignettes (including a vignette with a camera obscura) and tailpieces.
Bound in half havana calf with corners, spines with four raised bands set with double gilt fillets and decorated with double gilt compartments and angularly decorated with gilt typographical motifs, navy blue morocco title and volume labels, light rubbing to spines, blind-ruled frames on marbled paper boards, combed paper endpapers and pastedowns, some corners slightly...

First edition of this issue.
Light stains on the covers, a small lack to the lower right corner of the first cover, handsome interior condition.
The magazine "Jazz," celebrated for the quality of its illustrations and photographs, was founded in 1929 by Titaÿna with Carlo Rim as editor-in-chief, and appeared monthly between December 1928 and March 1930, comprising 15 issues plus 2 supplements.
Contributions by Pierre Mac Orlan "Vieille et jeune Bretagne" ["Old and young Brittany"], Jacques Dyssord "Clemenceau", Pierre Ichac "Un auteur dramatique chez les mangeurs d'homme" ["A playwright among the cannibals"], Claude Aveline "Le souvenir de Bourdelle" ["The memory of...

First edition of this issue.
Some tears to the spine, a lack to the lower left corner of the back cover.
The magazine "Jazz", celebrated for the quality of its illustrations and photographs, was founded in 1929 by Titaÿna with Carlo Rim as editor-in-chief, and appeared monthly between December 1928 and March 1930, totaling 15 issues plus 2 supplements.
Contributions by Léo Larguier "La brocante en l'an 2030", Jacques Maret "Peintures sous verre", Emile Condroyer "Islande", André Beucler "Batoum", Jean Schlicklin "Bréhat"...
Issue illustrated with numerous photographs by Germaine Krull, Sébastien Gallais, Paul Nadar, Henri Manuel, De Smet...

First edition of this issue.
Two tears to the spine, some stains to margins of covers.
The magazine "Jazz" celebrated for the quality of its illustrations and photographs, was founded in 1929 by Titaÿna with Carlo Rim as editor-in-chief, and appeared monthly between December 1928 and March 1930, totaling 15 issues plus 2 supplements.
Contributions by Joseph Conrad "Atterrissages et départs", Henri de Montherlant "Les conduites de taureaux en Camargue", Florent Fels "La route", Titaÿna "Panama", Pierre Lazareff "Vie intime des artistes du music-hall", Paul Chauveau "Jean Cocteau l'imposteur", Urbain Faure "plongeurs de nacre... pêcheurs de perles"...
Issue illustrated with...

First edition of this issue.
Marginal stains to covers, pleasant interior condition.
The magazine "Jazz", celebrated for the quality of its illustrations and photographs, was founded in 1929 by Titaÿna with Carlo Rim as editor-in-chief, and was published monthly between December 1928 and March 1930, comprising 15 issues plus 2 supplements.
Contributions by Titaÿna "Bagdad", Ilya Ehrenbourg "Slovaquie", Marcel Zahar "Centenaire du bec de gaz", Carlo Rim "Rues", Pierre Scize "Le cinéma"...
Issue illustrated with works by Carlo Rim, Honoré Daumier, Eugène Delacroix, Francisco de Goya, Paul Gavarni as well as numerous photographs by Germaine Krull, Laszlo Moholy Nagy, Ilya...

First edition of this issue.
Light marginal foxing to the covers, minor tears to the spine without consequence, handsome interior condition.
The magazine "Jazz", celebrated for the quality of its illustrations and photographs, was founded in 1929 by Titaÿna with Carlo Rim as editor-in-chief, and appeared monthly between December 1928 and March 1930, totaling 15 issues plus 2 supplements.
Contributions by Titaÿna "Alep", Florent Fels "Joris Ivens", Jean Dorsenne "L'Océanie à travers les artistes", Carlo Rim "Rues", Legrand-Chabrier "Frégoli"...
Issue illustrated with works by Carlo Rim, Serge and Sennep as well as numerous photographs by Germaine Krull, Joris Ivens...

Illustrated edition with a black frontispiece and 23 bistre lithographs including full-page plates by Jos Bouuaert, one of 90 numbered copies on Japan paper with a black suite of the 11 full-page plates, deluxe copy.
Small foxing on the boards and spine slightly sunned.
Handsome copy complete with its chemise with flaps and slipcase.

Original drawing, on tracing paper, signed by Carlo Rim in blue felt-tip pen and heightened with pencil, depicting his friend the composer Vincent Scotto, with a slightly sullen expression and muffled in a scarf.
Carlo Rim was a Provençal writer, author of "Ma belle Marseille", a caricaturist, a filmmaker and was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of Max Jacob and André Salmon whom he met in Sanary.

First edition, one of 50 numbered copies on Arches laid paper, deluxe copy.
Fine copy.

Complete set of the working manuscript and typescript by Boris Vian, genesis of the song "Une bonne paire de claques".
- five perforated sheets of white paper written in blue ballpoint pen in Boris Vian's hand presenting the complete text of the song. Numerous deletions and corrections.
- one perforated sheet of graph paper written in blue ballpoint pen in Boris Vian's hand of an unpublished verse never added to the song.
- two perforated sheets mounted on cardboard, transcriptions of the complete text and the unpublished verse.
- two sheets of piano-vocal score printed by Éditions de la Lyre in 1962.
This song, whose gentle melody...

Complete set of Boris Vian's working manuscripts and typescripts, genesis of the song "Mambo mon coeur".
- one perforated squared sheet written in pencil in Boris Vian's hand. Numerous deletions.
- one perforated white sheet written in blue ink also by Boris Vian.
- a fair copy typed on a typewriter on a perforated white sheet.
This love song was never performed.

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

["It's been a long time since I knew you, my heart

Complete set of Boris Vian's working manuscripts and typescripts, genesis of the song "Le Quatrième Homme".
- two perforated and slightly creased sheets written in green ink in Boris Vian's hand. Some annotations, also in his hand, in blue ballpoint pen in the margin.
- one sheet of machine-typed text on onionskin paper. Manuscript annotations in pencil at top right: "ne figure pas au catalogue SACEM. Manque 1 ligne demander à Ursula." ["not listed in the SACEM catalogue. Missing 1 line ask Ursula."] Other annotations notably indicating the chorus text in green felt-tip pen.
This song, referring to the music composed and recorded by Anton Karas for Carol...

Complete set of Boris Vian's working manuscript and typescript, genesis of the song "Piano-bar ou Piano cocktail".
- two perforated white sheets handwritten in blue ballpoint pen by Boris Vian with numerous crossings-out and corrections
- one perforated sheet typed on machine, clean copy of the manuscript.
This song, whose title recalls the famous "Pianocktail" from L'Ecume des jours, was not performed during the author's lifetime. The hip hop fanfare NMB Brass Band only gave a version of it in 2012.

Dans un quartier fréquenté par des gens argentés
Où le client ne boit que du whisky cent pour cent
Y'a un p'tit bar genre acajou...

First edition, one of 20 numbered copies on Holland paper, the only deluxe copies along with 20 on pur fil.
Light foxing to some deckled edges, otherwise a handsome full-margined copy.

Roméo et Juliette - Opera score in 5 acts by J. Barbier et M. Carré
Choudens, Paris n.d (1867), 19x28cm, bound.
First edition. Opera in five acts based on the play Romeo and Juliet by William Shakespeare, music by Charles Gounod for voice and piano and libretto by Jules Barbier and Michel Carré.
Contemporary red half shagreen (color restored), gilt spine, glazed calico boards double ruled in gilt, central gilt initials of Ernest Beulé on the first board, moiré silk endpapers with some spotting and staining to the margins, first original cover preserved, all edges gilt, strictly contemporary binding.
Rare inscription signed by Charles Gounod to...

Photographic postcard inscribed by Maurice Chevalier to Alice Rim, whose pen name was Caro Canaille, depicting Mistinguett in 1903.
"Chère Caro Canaille, comme vous êtes généreuse de vous donner le mal de me faire savoir une si touchante opinion de petite fille. Mais vous m'avez toujours montré votre amitié. Bonnes vacances. Maurice Chevalier. 8.6.63." ["Dear Caro Canaille, how generous you are to take the trouble to let me know such a touching opinion from a little girl. But you have always shown me your friendship. Happy holidays. Maurice Chevalier. 8.6.63."]
Carlo Rim was a Provençal writer, author of "Ma belle Marseille", a caricaturist, a filmmaker and was...

Original photograph depicting Édith Piaf and Alice Rim on a pedalo in the port of Cassis in 1942
Original photograph taken by Carlo Rim depicting his wife Alice sitting on a pedalo next to Edith Piaf, the latter raising her right hand to shield her face from the sun, contemporary silver print.
Details handwritten in black felt tip by Carlo Rim on the back of the photograph: “Alice [et] Edith Piaf à Cassis 1942.” , other annotations in pencil and red pencil.


In its newspaper Le Grenier d'Arlequin 1916-1940, Carlo Rim recounts the first Édith Piaf concert he attended: “9...

Original photograph depicting Édith Piaf embraced by Norbert Glanzberg next to Alice and Carlo Rim in the port of Cassis in 1940
Original photograph depicting Edith Piaf embraced and kissed on the neck by the composer Norbert Glanzberg, then a refugee in France, with, to their right, Alice and Carlo Rim, the latter slightly set back, the first three being perched on a low wall, contemporary silver print. While Edith Piaf and Alice Rim are all smiling, Carlo Rim is the only one to take an ironically solemn break, standing almost to attention and with his eyes closed.

Back in France, to...

First edition of which no deluxe copies were printed.
Handsome copy despite two small marginal tears of no consequence.
Signed and inscribed by Mathias Malzieu to a man named Rémi, accompanied by a drawing of a smiling figure.

First edition of this "Miracle" in 3 acts by Jules Massenet on a poem by Maurice Léna. Half-title, epistle and title in gold and blue chromolithographs. Voice and piano score. 200 pages of score.
Contemporary half brown shagreen binding. Smooth spine decorated with mirror tools within a frame. Spine uniformly sunned, having become lighter. Handsome copy.

Second edition.
Publisher's orange paper boards, smooth spine, complete with dust jacket showing small marginal lacks.
Light spotting to edges, iconography.
Precious autograph inscription signed by Henri Temianka who inscribed his name on a musical staff: "For Artur and Nela Rubinstein with grateful memories of your warmhearded hospitality during the many hours i was privileged to make music with you. An unforgettable inspiration and meory. Nov. 8 1975."

Handwritten signed poem of the Chant de la paix – La ronde autour du monde dedicated to Carlo Rim
[Si tous les gars du monde]
Handwritten signed poem by Paul Fort: 13 lines in black ink, three tercets entitled “Chant de la paix – La ronde autour du monde”.

“If all the girls of the world wanted to hold hands, all around the sea they could make a circle / If all the guys of the world wanted to be sailors, with their boats they would make a nice bridge on the water: Then we could make a circle around the world, if all the guys of the world wanted to hold hands.”
Handwritten...

First edition for which no deluxe copies are mentioned.
Text by Roger Stengele.
Photographic illustrations by Robert Kayaert.
Light foxing on the interior flaps, small paper lack to back cover, press clippings included.
Signed autograph inscription from Maurice Béjart to Mr Pierre.

First edition illustrated with photographs.
Handsome copy.
Text by Christian Dior.
Program cover illustrated with a lithograph by Antoni Clavé.
We include three tickets for the balcony of the Théâtre de l'Empire dated October 11, 1953, with manuscript notation "11 octobre" in blue ink by the program's owner at the foot of the title page.

First edition of the French translation and presentation established by Marguerite Yourcenar.
Fine copy.
Publisher's binding in full boards.
Rich iconography.

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

Autograph picture postcard signed by Maurice Chevalier with 10 lines addressed to his friend Caro Canaille, wife of the Provencal writer, filmmaker and caricaturist Carlo Rim.
Handsome copy.
Maurice Chevalier is depicted facing forward and smiling, in a tuxedo with his famous hat in his right hand.
"Ah... oui. Chère Caro. J'irais bien vous visiter à Rome - en plus. Mais je n'ai pas même de vacances cet été. Maurice." ["Ah... yes. Dear Caro. I would very much like to visit you in Rome - moreover. But I don't even have holidays this summer. Maurice."]

First edition, one of 50 numbered copies on vellum, the only deluxe copies.
Some foxing affecting mainly the endpapers.
Preface by Francis Poulenc, iconography.
Autograph inscription dated December 1936 and signed by Marthe de Kerrieu to a couple of friends presenting her wishes and wishing them happy holidays for the end of year, enhanced with the signature of Francis Poulenc.

Handwritten signed letter addressed to a poet: “You sing the rose loved by Psapphâ, who compared it to the loving virgins of Mitilini” Handwritten signed letter from Renée Vivien addressed to a poet, written in violet ink on a double leaf of paper decorated at the head with a border of violets. Transverse folds from having been sent.
“Monsieur, Je viens à l'instant de défaire le paquet qui contenait votre délicat volume, où j'ai cueilli de rares fleurs de poésie. Vous chantez la rose aimée de Psapphâ, qui la comparait aux vierges amoureuses de Mytilène. Parmi vos poèmes...

First edition in French, one of 86 numbered copies on pur fil paper, the only deluxe copies.
Two small traces of sunning at head and foot of spine as usual.

The first edition, of which there were no deluxe copies.
Rare and handsome copy.
Work illustrated with figures in text.

The first edition, of which there were no deluxe copies.
Spine wrinkled and slightly sunned as usual.
Iconography.
Precious signed autograph inscription from Gérard Legrand to Robert Benayoun enriched with an original collage.

Handwritten letter dated and signed with 21 lines from Alphonse Boudard to his great friend and companion of convivial lunches, the Brussels journalist André Tillieu who was, like Alphonse Boudard, a great friend of Georges Brassens but also of Jean Giono.
A fold mark inherent to the folding of the letter for mailing, envelope included.
"ami,
bien reçu "Relax"... Mille mercis... Je suis toujours un peu confus par tout ce que tu écris sur mes livres. Je ne suis peut-être pas si haut ? Tu me forces à me poser des questions. Enfin, je fais de mon mieux. J'espère te voir bientôt à Paris avec Georges Brassens et Louis... A moins que j'aille faire un tour vers Lille puis...

Dated and signed manuscript letter of 17 lines from Alphonse Boudard to his great friend and companion of boozy lunches, the Brussels journalist André Tillieu, who was, like Alphonse Boudard, a great friend of Georges Brassens but also of Louis Nucéra.
Two fold marks inherent to the envelope folding of the letter, envelope included.
"J'ai reçu ta formidable lettre, vieux frère, et elle m'a procuré un sacré plaisir. Hier j'ai fait enregistrer tes corrections chez Laffont pour une réimpression très prochaine. Pas le temps de t'écrire plus longuement, je suis un peu débordé, tu te doutes. As-tu reçu en même temps que Monsieur Joseph, le livre d'entretiens de Lucien d'Azay...

First edition, one of 60 numbered copies on royal Lana wove paper, the only deluxe copies.
Texts preceded by an interview of Serge Gainsbourg with Alain Coelho.
Illustrated with 10 plates hors texte.
A small light stain on the spine.
A rare and appealing copy.

First edition of this vocal and piano score with an illustration on the front cover by an unknown artist.
Cover almost entirely split but without loss.

First edition of this score titled "Les Nouveaux Succès de Maurice Chevalier en plus grand", illustrated on the first page with a beautiful polychrome illustration consisting of a photo montage of the singer striding across the Seine - Eiffel Tower under his arm - reaching the Statue of Liberty and New York skyscrapers.
Very fine condition.

First edition of this vocal and piano score illustrated on the first cover with a color drawing by Roger de Valerio.
Although created by a French artist in an expressionist vein, the cover reproduces the stereotypical imagery of African Americans that had been conveyed since the Civil War through American racist caricature.
Yet in 1923, this violent, degrading and essentializing stigmatization based on the ideology of ethnic hierarchy was facetiously subverted by Black Americans, notably through Jazz and Blues culture and by several major artistic figures including Josephine Baker. Thus, in her Revue Nègre, she humorously and sensually reappropriated the degrading representation of...

First edition of this piano score, first cover illustrated by an unknown artist.
Very handsome copy.

First edition of this piano score, first cover illustrated in color by Debeck.
Handsome copy despite some soiling and a small marginal tear.

First edition of this piano score, first cover illustrated in colors by Léon Pousthomis.
Handsome copy.

First edition of this vocal and piano score illustrated on the front cover in colors by Jean-Dominique Van Caulaert.
Handsome copy of this title performed by Georges Milton.

First edition of this piano and vocal score, first cover illustrated with a photographic montage by Jan-Mich depicting Edith Piaf in profile looking at an airplane.
A very handsome copy.

First edition of this voice and piano score illustrated on the first cover with an illustration by H. Rousseau.
Adaptation of a poem by François Delcourt, miner in Béthune.
Handsome copy.

First edition of this vocal and piano score illustrated on the first cover with a color illustration by Würth.
Handsome copy despite minimal marginal tears.

First edition of this voice (bilingual) and piano score illustrated on the front cover with a color illustration by Charles Roussel.
Superb copy.

First edition.
Handsome copy, iconography.
Signed autograph inscription from Charles Tillon, leader of the Francs-Tireurs et Partisans during the Resistance and later minister, to Jean-Luc Robin.

First edition.
Work illustrated with photographs.
Autograph inscription signed by Serge Lifar to Maryelle Krempff who completed her brilliant career as a dancer as principal dancer at the Opéra Comique before teaching dance at the National Regional Conservatory of Saint-Maur des Fossés from 1969 to 1989: "A Maryelle Krempff 'l'étoile de la danse' en souvenir de ce jour mémorable. Amicalement Serge Lifar." ["To Maryelle Krempff 'the star of dance' in memory of this memorable day. Cordially Serge Lifar."]

First edition illustrated with photographs, of which there were no deluxe copies.
Handsome copy.
Autograph inscription dated 1944 and signed by Serge Lifar to Maryelle Krempff, who completed her brilliant career as a dancer as principal dancer at the Opéra Comique before teaching dance at the Conservatoire National de région de Saint-Maur des Fossés from 1969 to 1989: "A mademoiselle Maryelle Krempff qui aime la Danse et la sert la grace (sic). Serge Lifar." ["To Miss Maryelle Krempff who loves Dance and serves it with grace. Serge Lifar."]

First edition in French, of which there were no deluxe copies, a Service de Presse (advance) copy.
Handsome copy despite two light stains on the spine.
Dated and signed autograph inscription from Carlos Fuentes to Bernard Sesé, translator into French of the principal Spanish-speaking writers of the 20th century.

First edition on ordinary paper.
Light foxing to left margin of front cover, otherwise a handsome copy