Music & Dance

Autograph postcard signed by Maurice Béjart addressed to André-Philippe Hersin, written in blue ballpoint pen on the verso of a photographic reproduction of Vermeer's painting titled A Lady Standing at a Virginal.
"Before leaving London I think of you. Impossible to reach Paris by telephone at normal hours. I leave tomorrow for Venice. Here the summer season has been a great success. Kiss - Maurice"
Journalist, dance critic and editor-in-chief of Les Saisons de la danse, Hersin was a great defender of Béjart's choreographic style and devoted laudatory articles to him in his review as well as monographic fascicles on his work.

Autograph postcard signed by Maurice Béjart addressed to André-Philippe Hersin, written in black felt-tip pen on the verso of the photographic reproduction of a black and white photograph by H. Manuel.
"Votre visite m'a fait tant de plaisir. Je pense à vous - Maurice" ["Your visit gave me such pleasure. I think of you - Maurice"]
Journalist, dance critic and editor-in-chief of Les Saisons de la danse, Hersin was a great defender of Béjart's choreographic style and devoted laudatory articles to him in his magazine as well as monographic fascicles of his work.

First edition on ordinary paper, statement of one thousand copies.
Small tears at head and foot of spine.
Work illustrated with 24 photographic plates hors-texte as well as drawings and tailpieces by Serge Ivanoff.
Autograph inscription signed by Serge Lifar to Maryelle Krempff who completed her brilliant career as a dancer as principal dancer of the Opéra Comique before teaching dance at the National Regional Conservatory of Saint-Maur des Fossés from 1969 to 1989: "Pour la charmante mademoiselle Maryelle Krempff en souvenir amical de Serge Lifar" ["For the charming Miss Maryelle Krempff in friendly remembrance from Serge Lifar"].

First edition printed in 100 numbered copies on pur fil paper.
Handsome copy.
Work illustrated with a frontispiece photographic portrait of "Père Delanier," the very famous book restorer.
Autograph inscription signed by Léon Lascoutx to Monsieur Picaut, enhanced with an autograph inscription signed by Delanier to the same beneath his photographic portrait.

First edition on ordinary paper.
Minor tears of no consequence at head and foot of the slightly ridged spine, one tear to the upper right corner of the back board.
Work illustrated with 8 photographic plates.
Fine autograph inscription signed by Léandre Vaillat to Maryelle Krempff who completed her brilliant dancing career 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 a le grand privilège de savoir danser, cette vie d'une étoile de la danse et du ballet romantique, en sympathique souvenir de sa précieuse présence aux 'Samedis de la danse'" Léandre Vaillat." ["To Miss Maryelle Krempff who has the great privilege of knowing how to dance, this life of a star of dance and romantic ballet, in fond memory of her precious presence at the 'Dance Saturdays'" Léandre Vaillat.]

First edition printed on laid paper.
Handsome copy illustrated with a frontispiece and 4 out-of-text portraits etched.
Bradel binding in half safron percale, smooth spine decorated with gilt fillets, black shagreen title label, speckled paper boards, original wrappers preserved, corners slightly bumped, bookplate of the famous bibliophile Paul Lacombe pasted on a pastedown, contemporary binding signed in blind by Lemardeley.

The first edition, of which there were no deluxe copies.
A handsome copy.
Signed autograph inscription by Marcel Mouloudji to Jean Claval enhanced with a small drawn sun.

First edition on ordinary paper.
Handsome copy.
Autograph inscription dated and signed by Andreï Schaikevitch 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 avec toute mon admiration pour son talent." ["To Miss Maryelle Krempff with all my admiration for her talent."]

First edition of the adaptation established by Lucien Jacques printed in 200 numbered copies on alfa paper.
Handsome copy.
Work illustrated with 20 linocuts by Lucien Jacques.

First edition on ordinary paper.
Very fine copy

First edition on ordinary paper.
Handsome copy.
Signed and inscribed copy from Marcel Mouloudji to Jean Claval.

First edition on ordinary paper.
Two small stains to corners of the back cover.
Work illustrated with 36 photographs in and out of text.
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 National Regional Conservatory of Saint-Maur des Fossés from 1969 to 1989: "A la charmante Maryelle Krempff de l'Opéra. En témoignage de mon amitié." ["To the charming Maryelle Krempff of the Opera. In witness of my friendship."]

Second edition.
Publisher's full blue cloth binding, smooth spine, lacking dust jacket.
Handsome copy
Autograph inscription signed by Mezz Meezrow to Jean Claval: "... ardent jazz fan..."

First edition, a Service de Presse (advance) copy.
Spine slightly sunned.
Iconography.
Autograph inscription dated and signed by Andreï Schaïkevitch to Gustave Bret.

First edition, one of 473 numbered copies on Arches vellum.
Two small tears of no consequence to the slipcase.
Handsome copy.
Work illustrated with 6 gouaches by Dimitri Bouchêne.
Fine and premonitory autograph inscription signed by Léandre Vaillat to Maryelle Krempff, then a promising dancer as principal dancer at the Opera who would complete her career as prima ballerina at the Opéra Comique before teaching dance at the Conservatoire National de région de Saint-Maur des Fossés from 1969 to 1989: "A ma très jeune amie Maryelle Krempff qui regarde au firmament de la danse et qui finira bien par y décrocher une étoile avec ma respectueuse sympathie. Léandre Vaillat Janvier 1945." ["To my very young friend Maryelle Krempff who looks up to the firmament of dance and who will surely succeed in plucking a star from it with my respectful sympathy. Léandre Vaillat January 1945."]

First edition illustrated with 400 photographs including 16 hors-texte plates.
Spine and boards marginally browned as usual, otherwise handsome copy.
Autograph inscription signed by André Levinson to Frédéric Lefèvre: "... esthéticien fervent..."

First edition on ordinary paper.
Spine sunned, otherwise handsome copy.
Autograph inscription dated 1943 and signed by Serge Lifar to Maryelle Krempff, then a promising dancer as principal subject of the Opera who would complete her career as principal dancer at the Opéra Comique before teaching dance at the National Regional Conservatory of Saint-Maur des Fossés from 1969 to 1989.

First edition on ordinary paper.
Handsome copy, iconography.
Autograph inscription dated 1965 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 National Regional Conservatory of Saint-Maur des Fossés from 1969 to 1989: "Pour Maryelle Krempff, ma vie pour la danse. Très cordialement." ["For Maryelle Krempff, my life for dance. Very cordially."]

First edition on ordinary paper, with fourth edition statement.
Handsome copy.

Postcard colour montage featuring Cléo de Mérode dancing in four different costumes against a rural background.
A copy of this rare postcard edited by Charles Reutlinger has been digitised by Gallica.
A very beautiful image of one of the very first popular icons.

First edition of this program for a recital given by Italian soprano Mirella Freni on Thursday, May 29, 1980 at the Paris Opera.
Photographic cover.
Handsome copy.
Manuscript signature by Mirella Freni on the front cover.

First edition of this program from a recital that Italian soprano Katia Ricciarelli gave on Thursday, May 22, 1980 at the Paris Opera.
Photographic cover.
Fine copy.
Manuscript signature of Katia Ricciarelli on the first page.

First edition of these songs set to music by Marcel Legay.
Fine illustrated cover.
Preface by Francisque Sarcey.
One small repaired tear to verso of front board with adhesive repair, otherwise handsome copy.

First edition.
Beautiful illustrated cover by Eugène Rapp.
Work adorned with illustrations by Rapp, Joanon-Mairer.
Preface by Coquelin-Cadet.
Some foxing on the first endpaper, endpapers partially darkened, otherwise handsome copy.

First edition.
Work adorned with a beautiful illustrated cover and drawings by Léonce Burret.
Preface by Maurice Lefevre.
Handsome copy despite some foxing, notably on the front cover.

First edition of this sung tale by Jacques Le Lorrain set to music by Gaston Dubreuilh.
Publisher's binding in half steel-blue percaline, smooth spine unlettered, grey paper boards, illustrated front board, blue paper endpapers and pastedowns.
Handsome copy.
Work illustrated by Maurice de Lambert.
Rare copy of this sung tale created by Gabriel de Montoya at the shadow theatre of the Quat-z-Arts.

First edition.
Publisher's binding in full blue percaline, smooth unlettered spine, beveled boards, front cover illustrated with a large composition by Job on a plate made by Engel, blue paper endpapers and pastedowns.
One endpaper with a fold and very light adhesive paper residue, light discoloration to second cover
Handsome copy.
Work decorated with full-page illustrations by Job.

First edition illustrated with a cover and drawings by Théophile Alexandre Steinlen.
Bradel binding in half red shagreen, smooth spine, date in gilt at foot, pebbled paper boards, covers illustrated by Théophile Alexandre Steinlen and spine preserved in one piece.
Handsome copy despite a small restoration to the upper corner of page 93, a slight lack at foot of the second cover of the illustrated wrapper.

First edition illustrated with a cover and frontispiece by Emmanuel Brun.
Bradel binding in half brown cloth, smooth spine, date in gilt at foot, pebbled paper boards, illustrated cover by Emmanuel Brun and spine preserved.
Handsome copy of this collection of songs interpreted by Yvette Guilbert.

First edition illustrated with a cover and nearly 100 drawings by Lucien Métivet
Half brown shagreen binding, spine slightly faded with five raised bands decorated with gilt fleurons, marbled paper boards, combed paper endpapers and pastedowns, illustrated covers by Lucien Métivet preserved, top edge gilt, contemporary binding.
Some minor foxing, light rubbing to joints, one lack to upper corner of page 287.
Handsome copy of this collection of songs performed by Jacques Ferny at the "La roulotte" theatre from 1896 to 1899 and at the Carillon and Tréteau de Tabarin in Montmartre in 1899-1900.

New edition, one of 25 numbered copies on Japan paper, justified by the publisher, the only deluxe copies.
Half red shagreen binding, spine with five raised bands set with gilt dots and decorated with double gilt compartments enhanced with gilt wavy fillets, marbled paper boards, pebbled paper endpapers and pastedowns, illustrated covers preserved, red top edge, contemporary binding.
Work illustrated by Eugène Rapp, music by Paul Delmet.
Preface by Coquelin-Cadet.
Handsome copy, pleasantly bound.

New edition, one of 25 numbered copies on Japan paper, justified by the publisher, the only deluxe copies.
Half red shagreen binding, spine with five fine raised bands set with gilt dots and decorated with double gilt compartments enhanced with gilt wavy fillets, marbled paper boards, pebbled paper endpapers and pastedowns, illustrated covers preserved, contemporary binding.
Work illustrated by Fernand Fau.
Handsome copy, pleasantly bound.

First edition.
Work decorated with a beautiful illustrated cover and 150 drawings by Léonce Burret
Handsome copy.

First edition.
Fine illustrated cover by Jean Tild.
Tears at head and foot of spine with slight lacks without gravity.
Fine and bohemian autograph inscription dated and signed by Xavier Privas: "A mon ami Emile Bessière pêcheur de lunes et (je l'espère) de thunes en confraternel hommage. Xavier Privas 8 Février 1904." ["To my friend Emile Bessière, fisher of moons and (I hope) of cash in fraternal tribute. Xavier Privas 8 February 1904."]

First edition of this poem by Georges Fragerolle set to music by himself and performed for the first time at the famous Montmartre cabaret "Le Chat noir" by Rodolphe Salis on January 21, 1896, where he was the regular pianist alongside Erik Satie.
Publisher's sand-colored paper boards, smooth spine, covers illustrated with a large design representing the Giza Pyramids site surmounted by the dream of a Pharaoh's soldiers, endpapers and pastedowns with floral-patterned paper.
Work illustrated with 17 full-page lithographs by Amédée Virola.
Some rubbing to edges and corners, copy lacking its very fragile illustrated dust jacket.
Handsome copy.

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.

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 illustrated with reproductions of sculptures by Ludmila Tcherina.
Full black paper boards, smooth spine, illustrated front cover, corners and headcaps slightly bumped.
Autograph inscription dated and signed by Ludmila Tcherina: "Au proffesseur (sic) Jean Malaurie c'était le soir du grand jour "panthéonien" où le feu même gela ! Comme vous voyez... je ne vous oublie pas." ["To Professor Jean Malaurie it was the evening of the great 'Pantheon' day when even fire froze! As you can see... I haven't forgotten you."]

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, one of 1000 numbered copies on vellum, ours one of the few hors commerce copies.
Spine and boards lightly and marginally sunned, handsome copy.
Iconography.
André Rolland de Réneville's copy with autograph inscriptions addressed to him by the numerous contributors to the work: Maurice Toesca, Jean Guéritte, Yvette Darsonval, Robert Margerit, Jacques Chastel, Martine Cadieu, Nina Vyborouva.
Manuscript signature by Serge Lifar facing the page bearing the autograph inscriptions.

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 illustrated with vignettes by Gavarni.
Half red glacé long-grained morocco binding signed on endpaper by Durvand. Yellow printed wrappers preserved. Smooth spine decorated with a tool at head and 2 mirrored tools. Gilt title. Date at tail. Uncut copy, perfectly fresh, very clean. Top edge gilt. Discreet restorations to front wrapper. Very handsome copy.
Satirical writing on the world of the Paris Opera, its singers, its dancers, its audience, its administration, its stagehands, etc.

First edition composed of 15 sepia lithographs, illustrating the different figures of the Cotillon.

Publisher's cream and gold boards, covered with glazed moiré paper. Top headcap pushed in. Soiling. Corners slightly bumped. Good copy.

A ballroom dance created around 1820 which became wildly popular at the end of balls, the main venues for fashionable entertainment of the era, the cotillon mixed parlor games and dances; composed of several figures (the flowers, the handkerchief chase, the ribbon, the cavaliers, etc.) and accessories, it could last up to two hours and more depending on the cotillon leader. 19 pages of text in the work explain the figures of the cotillon. For example, the hat: The leading cavalier gives his lady a hat and forms a circle around her with several cavaliers, turning rapidly. The lady places the hat on the head of the waltzer she chooses.

Most of the dances were based on the polka or the waltz. Due to the proximity of the dancers, the cotillon was an excellent means of discreet flirtation.

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 this very first dictionary devoted to dance.
Later (19th century) half blonde russia morocco binding with corners, smooth spine decorated with gilt tools and fillets, pebbled paper boards. Some rubbing, otherwise handsome copy.
Interesting work in which Compan names and describes all ancient and modern dances as well as the rules and movements that govern them.
Provenance: from the library of Léon Duchesne de la Sicotière - politician and polygrapher - with his bookplate pasted to front pastedown.

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

First edition of which no deluxe copies were printed, an advance copy from the service de presse.
Handsome copy complete with its publisher's slip.
Signed autograph inscription from Pierre de Latil to Jacques Panijel.

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.

First edition printed with 200 copies on vellum, illustrated with a frontispiece and 12 colour intaglio engraved plates by Willette, printed in bistre in the text and in colour for the insets by Vigna-Vigneron, comprising the frontispiece in 7 versions including 4 for the decomposition of the colour and 12 insets in 2 versions, that is black and white and colour.

Bound in pale pink suede, spine in two false compartments, multicoloured patchwork garland glued to the boards, comb-patterned endpapers, shimmering covers and spine preserved, all leaves have been mounted on guards, brown cloth slipcase, binding signed D. M. and dated 2015.

"Belle publication côtée, une des meilleures de l'artiste, qui mérite plus d'attention. Vigna, habile artiste restaurateur de gravures anciennes, a innové un artistique procédé de reproduction en couleurs qui respecte l'original" (Carteret). “Beautiful popular publication, one of the artist's best, which deserves more attention. Vigna, a skilled artist restorer of old engraving, invented an artistic colour reproduction process that respects the original” (Carteret).

First edition of this collective work produced under the direction of L. Brion-Guerry.
Three volumes illustrated in the text and 55 plates Important academic publication with numerous contributions from specialists worldwide. A masterful work both theoretical and historical, on modernity in all forms of art.

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!"].

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.

Autograph letter signed by Jean Cocteau addressed to Igor Markevitch. One page written in blue ballpoint pen and signed "Ton Jean".
Some folds inherent to placing in envelope and a staple in the upper left margin.
Fine and long letter in which Jean Cocteau defends his friend the Ukrainian conductor and composer Igor Markevitch, victim of critic Antoine Goléa's wrath.
"Je suis stupéfait par ce qu'on me rapporte de Goléa." ["I am stunned by what I am told about Goléa."] We have not been able to find the slightest trace of an article by Goléa about Markevitch, but the University of Caen holds a file entitled "Affaire entre Igor Markevitch et Antoine Goléa" ["Case between Igor Markevitch and Antoine Goléa"] dated from the year of our letter. It appears indeed, according to these archives, that a trial did take place and that the appeal was requested by Goléa in October 1955; Cocteau comments on this subject: "J'ai toujours été la victime de ces étranges procès qu'on gagne en appel - mais bien à la longue - et parfois après sa mort." ["I have always been the victim of these strange trials that one wins on appeal - but only in the long run - and sometimes after one's death."]
Jean Cocteau, whose handwriting appears tormented here, seems in any case to have been very affected by this affair and praises his friend's talent: "Ta prodigieuse maîtrise et le sacrifice que tu as fait de ton œuvre au service de celles des autres. [...] il est incompréhensible qu'un esprit de sa culture ne reconnaisse pas, entre autres, que personne au monde ne conduit ce Sacre comme toi." ["Your prodigious mastery and the sacrifice you have made of your work in service to those of others. [...] it is incomprehensible that a mind of his culture does not recognize, among other things, that no one in the world conducts this Rite like you."] More than a letter of support, this document is a true plea in favor of artists' creative freedom and a condemnation of cultural mercantilism: "Mais a-t-il pensé que nos œuvres dès qu'elles passent par un éditeur, une salle de concert, une salle d'exposition, deviennent des produits ? [...] Hélas, nos professions ne comportent pas de « diplômes » et nous courons le risque de professions libres. Notre seule chance est que le public se trouve rarement d'accord avec ses juges." ["But has he thought that our works, as soon as they pass through a publisher, a concert hall, an exhibition hall, become products? [...] Alas, our professions do not include 'diplomas' and we run the risk of liberal professions. Our only chance is that the public is rarely in agreement with its judges."] At this time cultural professions were indeed quite poorly regulated and it would not be until 1959 and the creation of the Ministry for Art and Culture by De Gaulle and Malraux that things would evolve. Cocteau finally deplores that criticism guides the choice of "consumers": "Déconseiller ces « produits » revient à leur causer le plus grand dommage." ["To advise against these 'products' amounts to causing them the greatest damage."]

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.

Invitation card to the Quat'z'Arts Ball - “L'Entrée de Cyrus dans Babylone”
PMarmy, Paris 1925, 22.5 x 32 cm, one leaf
Invitation card to the Quat'z'Arts Ball - “L'Entrée de Cyrus dans Babylone” which took place on 22 June 1925 in Wagram. Very beautiful colour illustration by Théo Sardnal depicting Cyrus the Great.
This rare document presents the tickets in the lower margin and solemnly specifies: “Le comité sera impitoyable pour tout costume qui ne sera pas de l'époque” “The committee will be ruthless with all costumes that are not of the era”.
The first Quat'z'Arts ball, a great celebration organised by the students of the École nationale des beaux-arts in Paris, took place on 23 April 1892. This tradition continued until 1966.
A superb copy in bright colours and in new condition.

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 from a limited printing of 116 copies. Unnumbered copy on Holland paper. Title pages in red and black.
Contemporary half red shagreen binding with corners. Spine with raised bands richly decorated. Double fillet border on boards. Top edge gilt. Dark spotting to spine of volume 4, one spot on volume 3 and spine of volume 6. Traces of rubbing. Uncut copy.
Minister to Louis XV, the Count de Maurepas commissioned Pierre de Clairambault, genealogist, to compile all the libertine pieces written under Louis XIV and Louis XV, resulting in 40 volumes. The selection of pieces contained in Poulet-Malassis's collection is attributed to Jules Gay, the latter having judiciously retained only the most libertine, most scandalous and most frivolous pieces, all freed from circumstantial pieces, panegyrics and other idle dissertations. Numerous historical figures appear, portrayed with quite surprising erotic license and treated in an outrageous manner.
Alphabetical table of songs, epigrams, etc. contained in the Maurepas collection, alphabetical table of characters contained in the pieces, and index in volume VI.

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.

First edition, one of 48 numbered copies on pure linen paper, ours one of 8 hors commerce copies, the only deluxe copies.
Work illustrated with 21 plates.
Handsome full-margined copy.

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.