Cinema

First edition, of which there were no deluxe copies.
Some occasional light foxing.
Preface by Jean Anouilh.
Handsome copy of the memoirs of the creator of advertising films shown in movie theaters.
Autograph inscription signed by Jean Mineur: "Hommage de l'auteur, un ancien confrère, qui espère vous apporter avec ce livre quelques moments de détente et d'entracte..." ["Tribute from the author, a former colleague, who hopes to bring you with this book some moments of relaxation and intermission..."]

Phonoscope of the song "Hello...le soleil brille" from the film The Bridge on the River Kwai.
Phonoscopes were 45 rpm records in postcard format.
Very good condition.

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.

Original photograph of Sacha Guitry and Sarah Bernhardt taken during the filming of "Ceux de chez nous" in August 1915.
Period silver gelatin print. Pencil annotation on verso of the photograph.
Precious shot taken during the filming of this documentary celebrating the glory of French spirit, made in the midst of war as a response to a proclamation by German intellectuals exalting Germanic culture.
Sacha Guitry, already known as a dramatic author, decided to use an amateur camera to "engrave in images," for future generations, the great personalities who contribute to France's radiance. Among others, one discovers Edgar Degas, Anatole France, Lucien Guitry, Octave Mirbeau, Claude Monet, Auguste Renoir, Auguste Rodin, Edmond Rostand and Camille Saint-Saëns.

Original photograph of Sacha Guitry laughing and Sarah Bernhardt in a theatrical pose taken during the filming of "Ceux de chez nous" in August 1915.
Period silver gelatin print, minor weakness to lower right corner.
Precious shot taken during the filming of this documentary celebrating the glory of French spirit, made in the midst of war as a response to a proclamation by German intellectuals exalting Germanic culture.
Sacha Guitry, already known as a dramatic author, decided to use an amateur camera to "engrave in images," for future generations, the great personalities who contribute to France's radiance. Among others, one discovers Edgar Degas, Anatole France, Lucien Guitry, Octave Mirbeau, Claude Monet, Auguste Renoir, Auguste Rodin, Edmond Rostand and Camille Saint-Saëns.

Unpublished autograph manuscript of a film screenplay project by Boris Vian. 3 pages on 3 leaves written in black and blue ink and blue ballpoint pen. Deletions, corrections and marginal notes.
Central fold without damage. One vertical cut on the first leaf, without loss of text.
Amusing film project mocking the ruthless world of record companies while Boris Vian was getting to know Jacques Canetti who would open the doors of Polydor (which would become Philips) to him.
The second page presents a few lines outlining the synopsis of the project: « Deux maisons de disques rivales se trouvent enlisées dans une guerre de concurrence acharnée. Chacune attend pour agir de savoir ce que prépare l'autre [...] » ["Two rival record companies find themselves bogged down in a fierce war of competition. Each waits to act until it knows what the other is preparing [...]"] Boris Vian seems to have a very precise idea of the film's atmosphere, already indicating important technical details: « Début du film en bistre (historique) [...] arbre découpé (voix des chênes) [...] ou à la guillotine (ombre dans la cour) [...] côté cinémassacre-ballet Hitchcock dans l'action » ["Film opening in sepia (historical) [...] cut-out tree (voice of the oaks) [...] or at the guillotine (shadow in the courtyard) [...] cinémassacre-ballet Hitchcock side in the action"]. He also has a fairly settled idea of the actors chosen to interpret the different characters: « [Jacques] Dufilho, [Hubert] Deschamps [...] Personnage de Georges Cravenne (Y.[ves] Robert ou Darry Cowl » ["[Jacques] Dufilho, [Hubert] Deschamps [...] Character of Georges Cravenne (Y.[ves] Robert or Darry Cowl"], although he does not yet seem decided on the interpreter of the « personnage de Barclay » ["Barclay character"]. True to his humor, he imagines punctuating the plot with « sketches de démonstration » ["demonstration sketches"], a « parodie du ballet M.G.M. » ["parody of the M.G.M. ballet"] or even « sketches satiriques venant couper le burlesque » ["satirical sketches breaking up the burlesque"]. Pride of place is given, considering the subject, to music and more precisely to rock'n'roll: « Un seul orchestre spécialisé dans le rock, et chacune des deux maisons essaie de se l'approprier [...] Rock et Roll sont associés » ["Only one orchestra specialized in rock, and each of the two companies tries to appropriate it [...] Rock and Roll are associated"]. Influenced by the masters of post-war American science fiction whom he admired, Vian introduces into this screenplay elements specific to the anticipation genre; the « Maisons de disques s'espionnent à coup de téléviseurs perfectionnés » ["Record companies spy on each other with sophisticated televisions"] and there are even « Martiens » ["Martians"]. The rapid writing and marginal additions of this manuscript testify to Boris Vian's vivacity, an indefatigable worker with a prolific imagination. In his non-conformist language, he multiplies ideas on paper: « il faut moderniser notre organisation. On fait défiler les mecs et on les abat à coup de presse-papier quand ils sont trop vieux [...] chacun des maisons pousse au cul son grand docteur ». ["we must modernize our organization. We parade the guys and we shoot them down with paperweights when they're too old [...] each of the companies pushes its great doctor from behind"].
As Noël Arnaud emphasizes in his Vies parallèles de Boris Vian, « Boris Vian s'est (...) intéressé au cinéma de manière active, et à plusieurs reprises. Il a composé des scénarios (certains ont même été tournés), il est apparu comme acteur dans différents films et il a écrit des commentaires de courts métrages. » ["Boris Vian was (...) actively interested in cinema, and on several occasions. He composed screenplays (some were even filmed), he appeared as an actor in different films and he wrote commentaries for short films."] A documentary entitled Le Cinéma de Boris Vian, released in 2010, relates Boris Vian's passion for cinema and his collaboration with director Pierre Kast who said of his friend: « J'aimerais beaucoup - c'est un des plus grands regrets de ma vie - j'aimerais beaucoup entrer dans une salle de projection, avec un bon fauteuil et plusieurs dizaines d'heures devant moi, et regarder les vingt films que Boris rêvait de faire. » ["I would very much like - it's one of the greatest regrets of my life - I would very much like to enter a screening room, with a good armchair and several dozen hours ahead of me, and watch the twenty films that Boris dreamed of making."] (Pierre Boiron, Pierre Kast 1985). Irony of fate, it is in a cinema seat that Boris would pass away...in front of the adaptation he loathed of his novel J'irai cracher sur vos tombes.
Provenance: Fondation Vian

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

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

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

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

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

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

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

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

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

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

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

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

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

First edition.
Illustrated cover.
Booklet decorated with illustrations depicting views of this famous theater.
Rare and handsome copy.

Photograph depicting actor Claude Dauphin in front, a pipe in the mouth and wearing a cap.
Autograph signed by Claude Dauphin Micheline Coppia.

Photographic postcard depicting three-quarter actor Albert Préjean.
Handwritten signature of Albert Préjean on his portrait.

Original photography taken around 1925 at Piaz studio.
Silver print with a crease in the head.
Handwritten signature of Renée Saint-Cyr on the left of her portrait.

Photographic postcard representing Charles Boyer profile taken in the studio Gaston and Lucien Manuel brothers (active from 1913 to 1939).
Nice copy.
Handwritten signature of Charles Boyer below his portrait.

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 depicting Max Dearly, profile, taken in the studio Felix.
Nice copy.
Handwritten signature dated Max Dearly to the right of his portrait.

First edition, one of 25 numbered copies on laid paper, the only deluxe copies.
Spine and covers lightly sunned as usual, handsome copy.
Iconography.

First edition, one of 25 numbered copies on Hollande paper, the tirage de tête.
A nice copy.

first edition.
Illustrations.
Pleasant copy.

First edition of which there were no large paper copies.
With 16 photographs hors texte.
A good copy.

The definitive edition, first in parts, one of 25 numbered copies on vélin d'Arches paper, the only large paper copies.
Illustrated.
One small insignificant lack to foot of spine, a few small wormholes principally to endpapers, two tiny marginal tears without lack to lower cover, internally good.
Rare.

First edition, printed in 200 numbered de luxe copies printed on pink paper.
Illustrated silver upper cover.
Contributions from A. Breton, G. Goldfayn, R. Benayoun, Man Ray, B. Péret, J. Schuster, F. Valorbe, and others.
This copy is enriched with the signatures of all the contributors.
Retaining its 5 “filmomanies symptomatiques”.
A good and rare copy.

First edition, of which there were no deluxe copies.
Autograph inscription from the author.
Handsome copy complete with its publisher's slip.

First edition of this issue entirely devoted to cinema.
Contributions by B. Cendrars, A. Arnoux, J. Debû-Bridel, M. Lapierre, A. Cavalcanti...
Iconography.
Spine slightly faded, minimal marginal tears to boards, otherwise handsome copy.

First edition on ordinary paper, of which only 25 copies were printed on Holland paper in deluxe format.
Fine full-page autograph inscription from the author to Galipaux on the half-title page, expanded with a second full-page autograph inscription from the author to Robert Dol, the new owner of this work.
About Mounet-Sully, L. Guitry, Mistinguett, M. Dearly, S. Guitry. Iconography.

First edition, of which there were no deluxe copies. Conversations collected by A. Fraigneau. Iconography, handsome copy complete with its illustrated dust jacket.

First edition.
Work illustrated by Marjollin with three plates hors-texte.
Rare and handsome copy.

First edition.
Work illustrated with figures and photographs.
A small tear at the foot of the spine, otherwise a handsome copy.

First edition of which there were no deluxe copies.
Autograph inscription signed by the author to Jacques Perrey.
A small stain of no consequence on the endpaper, a trace of folding on the back cover. Iconography, from the 'Cinéma d'aujourd'hui' collection.

First edition.
Covers slightly and marginally faded, otherwise rare and handsome copy.

First edition.
Iconography.
A small stain of no consequence to front cover, otherwise handsome copy.