Signed Books, Presentation Copies

New edition with some parts in first edition for which no deluxe copies are mentioned.
Small black stains to upper left corner of front cover, otherwise handsome copy.
Signed autograph inscription from Pierre Monnier to Vladimir Dimitriev.

The first edition, of which there were no deluxe copies, a Service de Presse (advance) copy.
Complete with publisher's (advertising) slip, iconography.
Signed autograph inscription from Hubert Juin to the poet Charles Dobzynski of communist allegiance and close friend of Louis Aragon, the latter having been his witness at his marriage to his wife Elsa Triolet: "Pour Charles Dobzynski ici présent (en ces pages) cet Aragon, avec mon amitié." ["For Charles Dobzynski here present (in these pages) this Aragon, with my friendship."]

First edition.
A light dampstain at head of spine, foxing to spine and boards.
Inscribed by Patrick Modiano to Luc Estang.

Signed autograph letter from Alphonse Daudet, 13 lines in black ink.
Fold marks inherent to postal delivery, small ink stains that have bled below the signature.
"My dear friend
at the Ministry of Agriculture, bad news. The application arrived at the cabinet without any recommendation from Madame Foucade. Would it be possible for Madame l'Epine to write a line immediately (words underlined) to the Minister, so that she flags this application - in short for illegible word, since it's only about admission to an examination - to the attention of Mr. de Boureuille Secretary-General, the Valette of the Thing? Kind regards and apologies. Alphonse Daudet."

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.

First edition, one of 196 numbered copies on Arches paper, the only issue after 4 copies on Japan paper.
Handsome copy.
Fine autograph inscription signed by André Billy to a critic named Dailly.

The first edition, of which there were no deluxe copies.
Spine slightly sunned with tears and damage at head and foot.
Autograph inscription signed by Paul Poiret to (Gaston) Rageot.

First edition on ordinary paper.
Handsome copy.
Autograph inscription signed by Jean d'Ormesson to Brigitte Oechslin.

First edition on ordinary paper.
Handsome copy.
Autograph inscription signed by Michel de Saint-Pierre to Michel Lesca: "... ce portrait d'un médecin non-conformiste..." ["...this portrait of a non-conformist doctor..."]

First edition in French, of which there were no deluxe copies.
Handsome copy.
Rare manuscript signature of Ilya Ehrenbourg on the endpaper.

First edition, of which there were no deluxe copies.
Spine slightly sunned, otherwise handsome copy.
Precious signed autograph inscription from Louis Althusser to Jean-Pierre Richard: "Pour Monsieur Richard qui fut et reste mon premier maître, cette longue dissertation... et ma très respectueuse affection." ["For Monsieur Richard who was and remains my first master, this long dissertation... and my most respectful affection."]

The first edition, of which there were no deluxe copies.
Covers marginally shaded.
Fine autograph inscription dated and signed by André Thirion: "A la belle Lou Mollgaard que j'imagine mal chantant les filles de Camaret mais qui n'aurait pas déparé les plus beaux soirs de la Jungle. Avec l'admiration de l'auteur. Thirion" ["To the beautiful Lou Mollgaard whom I can hardly imagine singing the girls of Camaret but who would not have been out of place in the most beautiful evenings at the Jungle. With the author's admiration. Thirion"].

First edition in French, established by Boris Vian, a Service de Presse (advance) copy.
Bradel binding in full blue wood-grain paper, smooth spine with navy blue shagreen title-label set with red, covers and spine preserved.
Name of the dedicatee inscribed in blue ballpoint pen to the right of Boris Vian's autograph inscription.
Inscribed and signed by Boris Vian.

First edition printed on ordinary paper.
Half green morocco-grained shagreen binding, smooth spine decorated with a gilt cartouche adorned with cold arabesque set with dots and gilt fillets, gilt friezes at head and foot, marbled paper boards, combed paper endpapers and pastedowns, top edge gilt on deckled edges, original wrappers preserved, contemporary binding.
Autograph inscription signed by Guy de Maupassant to Monsieur Olivieri.
Provenance: from the library of the Count de Keller with his bookplate bearing the motto "Vaillant et veillant" pasted on the front pastedown.

The first edition, of which there were no deluxe copies.
Spine and boards slightly and marginally yellowed and foxed, front endpaper shaded due to the presence of a newspaper clipping.
Fine autograph inscription signed by André Salmon, paying tribute to Victor Hugo, to his close friend the Provençal writer, caricaturist and filmmaker Carlo Rim who was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of Max Jacob: "A toi Carlo Rim, pour toi Aice, ma chanson des rues et des bois fourrée d'un art d'être grand-père. En embrassant Alice et Carlo. André Salmon La Hune (qui les attend) Mars 1968" ["To you Carlo Rim, for you Aice, my song of streets and woods stuffed with an art of being a grandfather. Embracing Alice and Carlo. André Salmon La Hune (who awaits them) March 1968"].

First edition printed in 200 copies, ours one of the numbered copies on Arches paper.
Spine and covers marginally and lightly darkened.
Autograph inscription signed by Edouard Champion to the Provençal writer, caricaturist and filmmaker Carlo Rim who was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of Max Jacob and André Salmon.
We include a calling card from Edouard Champion on which he specifies to the dedicatee his address in Gstaad at the Winter Palace hotel.

First edition, one of 50 numbered copies on alfa paper, the only deluxe copies.
First cover marginally shaded, small sunning at head and foot of spine.
Autograph inscription signed by Roger Rabiniaux to his friends Gilbert and Geneviève Lafragette: "... ce livre burlesque et lyrique mais qui n'est pas un jeu Gilbert, qui est le témoignage du désarroi d'un homme et d'une société... Mais qui est un cri tragique..." ["... this burlesque and lyrical book which is not a game Gilbert, which is the testimony of the disarray of a man and a society... But which is a tragic cry..."]

First edition printed in 300 numbered copies on pure Lafuma paper.
Handsome copy.
Signed and inscribed by Vincent Muselli to N. Pascault.

First edition in paperback format.
Handsome copy considering the poor quality of this fragile paper, a small good-luck charm from the dedicatee at the head of the endpaper.
Covers illustrated by Brassaï and Jacques Prévert.
Autograph inscription dated summer 1969 in Antibes and signed by Jacques Prévert to Jean Folliet on pages 160-161, enhanced on the title page with a small drawing in black ink representing a puppet theater whose canopy encircles the title of the work and within which two characters can be distinguished.
On the verso of the back cover appears an autograph inscription signed by Brassaï: "Comme co-auteur de la couverture bien amicalement pour Jean Folliet, le 10/10/63. Brassaï." ["As co-author of the cover very cordially for Jean Folliet, 10/10/63. Brassaï."]

First edition, a Service de Presse (advance) copy.

Iconography at rear.

Precious autograph inscription signed by André Malraux to the diplomat and great resistance fighter, faithful among the faithful of General De Gaulle, Gaston Palewski to whom this work is dedicated below the printed dedication: "C'est pour vous distraire. Vous recevrez vos exemplaires convenables la semaine prochaine" ["This is to entertain you. You will receive your proper copies next week"].
 

Rare first edition.
Spine and boards marginally sunned, boards slightly soiled, one transverse fold on the front board.
Reading marks and pencil annotations by the dedicatee in margins of some leaves.
Autograph inscription signed by Robert Denoël to the Provençal writer, filmmaker and caricaturist Carlo Rim who was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of Max Jacob.

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

Autograph letter signed by Jean Anouilh addressed to the Provençal writer, caricaturist and filmmaker Carlo Rim who was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of André Salmon and Max Jacob (22 lines in blue ink).
"Dear Carlo Rim,
I am leaving Paris without having managed to telephone you. I am going to ask you a small thing that would give me great pleasure. I have an old friend, daughter of an even older friend Odette Talazac whom you knew. Georgette Talazac who is the ex-wife of Jonatte from the Opera is in trouble. She is stout, comical, shrewd (45 years old). I help her get extra work when I can (she can speak but prefers to appear several times without speaking rather than say one line and disappear...) Try to give her extra work with you, you would oblige me greatly. Thank you in advance. Yours sympathetically while awaiting another legion of men that will succeed for us! Jean Anouilh. Georgette Talazac 13 bd Malsherbes (sic) Paris."

Amusing autograph letter signed by composer Vincent Scotto, sent 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 blue ink) about his state of health and the upcoming pleasure of sharing a pastis with him once he is perfectly "vertical".
Folding traces inherent to postal handling.
"Mon cher vieux,
ta lettre m'a fait plaisir. J'ai été horizontal pendant quelques jours par la faute d'une saloperie de congestion mais tu me connais, je ne me suis pas laissé faire. Je suis maintenant un peu en biais et j'espère être bientôt vertical, j'en profiterai pour aller prendre un pastis avec toi. S'il te plait d'assister à l'une des premières de mon opérette à Mogador donne moi un coup de fil. Ton Vincent Scotto.
P.S. Bonne année pour 1949 car il est trop tard pour celle-ci." ["My dear old friend,
your letter pleased me. I was horizontal for a few days because of a damned congestion but you know me, I didn't let it get the better of me. I'm now a bit slanted and I hope to be vertical soon, I'll take the opportunity to go have a pastis with you. If you'd like to attend one of the premieres of my operetta at Mogador give me a call. Your Vincent Scotto.
P.S. Happy New Year for 1949 as it's too late for this one."]

The first edition, of which there were no deluxe copies, a Service de Presse (advance) copy.
Half red morocco with corners, spine with four raised bands slightly faded, marble-covered paper boards, marbled endpapers and pastedowns, covers and spine preserved, top edge gilt, contemporary binding signed Lucie Weill.
Signed autograph inscription from André Breton to the Provençal writer, caricaturist and filmmaker, Carlo Rim, intimate friend and confidant of numerous artists and authors among the greatest figures of the 20th century: Antonin Artaud, Marcel Pagnol, Fernandel, Raimu, Max Jacob, Edith Piaf, Tristan Bernard...

First edition of the French translation, of which there were no deluxe copies, a Service de Presse (advance) copy.
Spine sunned with two tears and two lacks.
Rare signed autograph inscription from Ilya Ehrenburg to the Provençal writer, caricaturist and filmmaker Carlo Rim who was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of Max Jacob, enhanced with the translator's signature.

First edition, one of 300 numbered copies on alfa paper reserved for the service de presse.
Half red morocco binding with corners, spine with four raised bands slightly faded, marbled paper boards, endpapers and pastedowns, original wrappers and spine preserved, top edge gilt, contemporary binding signed Lucie Weill.
Handsome copy.
Autograph inscription signed by Jacques Chardonne to the Provençal writer, caricaturist and filmmaker Carlo Rim who was notably a friend of Fernandel, Raimu and Marcel Pagnol but also of André Salmon and Max Jacob: "A Carlo Rim que j'admire. Jacques Chardonne." ["To Carlo Rim whom I admire. Jacques Chardonne."]

First edition, one of 60 numbered copies on Rives vellum, the deluxe issue after 10 on Japan paper.
Spine sunned, small foxing on some deckled edges.
Full-margined copy.
Autograph inscription signed by Jean Prévost to the Provençal writer, caricaturist and filmmaker Carlo Rim, who was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of André Salmon and Max Jacob.

First edition, one of 50 numbered copies on pure thread paper, the only deluxe copies.
Endpapers lightly and partially shaded without severity, spine imperceptibly lightened, handsome copy.
Fine autograph inscription signed by the great seducer Georges Simenon to the wife of the Provençal writer, caricaturist and filmmaker Carlo Rim: "A ma femme N°2 de rechange Alice en dépit du ménage de rechange Carlo-Tigy en toute affection. Georges Simenon. Comme ça il y aura toujours du bonheur possible !" ["To my replacement wife No. 2 Alice despite the replacement household Carlo-Tigy with all affection. Georges Simenon. That way there will always be possible happiness!"]

First collected edition on ordinary paper.
Bradel binding in red half cloth, smooth spine decorated with a gilt floral motif, double gilt fillet at foot, brown blue shagreen title-label, marbled paper boards, covers and spine preserved.
Some light foxing affecting the edges.
Autograph inscription signed by Maurice Barrès to the lawyer and politician Joseph Paul-Boncour.

First edition.
Half marbled sheep binding, spine with five raised bands decorated with gilt friezes and richly decorated gilt compartments, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved.
A handsome copy.
Autograph inscription signed by Léon Blum to the lawyer and politician Joseph Paul-Boncour.

First edition, one of 350 numbered copies on alfa reserved for the service de presse.
Half red morocco binding with corners, spine with four raised bands slightly faded, marbled paper boards, endpapers and pastedowns, original wrappers and spine preserved, top edge gilt, contemporary binding signed Lucie Weill.
Handsome copy.
Signed autograph inscription from Jacques Chardonne to the Provençal writer, caricaturist and filmmaker Carlo Rim, who was notably the friend of Fernandel, Raimu and Marcel Pagnol, as well as André Salmon and Max Jacob.

First edition, an advance copy.
Handsome copy with dust jacket.
Autograph inscription from Eugène Ionesco to Maurice de Gandillac and his wife Geneviève.

New edition.
Spine lightly sunned, otherwise handsome copy.
Autograph inscription signed by Félicien Marceau to Gisèle Halimi.

The first edition, of which there were no deluxe copies.
Repaired tears to joints, occasional light foxing.
Precious and humorous autograph inscription signed by Willy, then married to Colette, to Viscountess Jeanne de Bellune "A mademoiselle la vicomtesse Jeannot de Bellune. avec une profonde révérence. L'ouvreuse..." ["To Miss Viscountess Jeannot de Bellune. with deep reverence. The usherette..."]
Cover illustrated by Rapeno.

First edition, one of the copies from the first issue.
Bound in half bordeaux sheep, smooth spine slightly faded decorated with black fillets, marbled paper boards, contemporary binding.
Signed autograph inscription from Francis Viélé-Griffin to Marius Vallabrègue.
It should be noted that the gilder has stamped "Francis" in gilt for the author's name, and that the binder has slightly trimmed the inscription, cutting off the t and the s of "remerciements".

First edition on ordinary paper.
Bradel binding in half saffron cloth, smooth spine decorated with gilt floral motif, double gilt fillet at foot, chocolate brown shagreen title-label, marbled paper boards, original wrappers preserved, contemporary binding.
Small traces of discoloration at foot of boards.
Work illustrated with medallion portraits of George Sand and Alfred de Musset.
Signed autograph inscription from Charles Maurras to lawyer and politician Joseph Paul-Boncour.

First edition, one of 205 numbered copies on hollande paper, deluxe copy after 73 on japon.
Handsome full-margined copy.
Work illustrated with 6 maps drawn by Paul Chack and 5 engravings.
Manuscript signature by Paul Chack on the half-title page.

First edition on ordinary paper.
Spine slightly sunned, otherwise a handsome copy.
Signed autograph inscription by Radovan Ivsic to his surrealist colleague and friend Georges Goldfayn: "... visible dans la brume de tout coeur..."


.

First edition on ordinary paper.
Spine slightly sunned.
Autograph inscription by Tristan Tzara: "Au Journal des poètes, hommage de l'auteur".

First edition on ordinary paper.
Handsome copy.
Autograph inscription dated and signed by Alfred Sauvy to Hubert Beuve-Méry: "... en hommage reconnaissant pour sa grande oeuvre..." ["in grateful tribute to his great work..."]

First edition, one of 190 numbered copies on Arches paper, the only printing after 10 on Japan paper.
Handsome copy.
Signed manuscript quote by Charles Maurras: "L'esprit de parti ne respectera rien" ["The spirit of faction will respect nothing"] taken from page 11.

First edition in French, of which there were no deluxe copies, a Service de Presse (advance) copy.
Two stains to lower right corner of front cover.
Signed and dated autograph inscription from Pablo Neruda to Dr. Pellerin.

The first edition, of which there were no deluxe copies.
Two small marginal tears to boards, paper yellowed.
Signed autograph inscription from Georges Arnaud to François Erval.

First edition on ordinary paper.
Bradel binding in red half cloth, smooth spine decorated with a gilt floral motif, double gilt fillet at foot, chocolate brown shagreen title-label, marbled paper boards, original wrappers preserved.
Signed and inscribed by Maurice Barrès to the lawyer and politician Joseph Paul-Boncour.

New edition.
Handsome copy despite minimal worming to edges.
Autograph inscription dated and signed by Théodore Monod to Catherine Gandillac.

Definitive edition, one of 10 numbered copies on Holland paper, deluxe issue.
A small tear at foot of spine, handsome copy.

New edition.
Handsome copy.
Autograph inscription dated and signed by Joseph Joffo to a man named Antoine on an endpaper: "Pour Antoine témoignage de mes rêves d'adolescent et l'amitié en prime" ["For Antoine, testimony of my adolescent dreams and friendship as a bonus"] accompanied by a drawing of a flower.

First edition, a Service de Presse (advance) copy.
Rare signed autograph inscription from Roger Nimier to Madame Lusini: "...l'auteur responsable" ["...the responsible author"].
Fine and rare copy of this founding text of the literary movement of the Hussards gathering around Roger Nimier and Antoine Blondin Jacques Laurent, Kléber Haedens, Stephen Hecquet, Michel Déon...

The first edition, of which there were no deluxe copies.
Publisher's full cream cloth binding, complete with its illustrated dust jacket.
Spine of dust jacket sunned and with two small stains on the back panel
Precious signed autograph inscription from André Malraux to Maurice Blanchot.
While they knew each other at the NRF, it was primarily through several major articles by Blanchot devoted to Malraux that the two men "encountered" each other. After the war, Blanchot published in Bataille's ephemeral review 'Actualité' an article on l'Espoir that allowed him "to visibly inscribe his political reversal". In 1950-51, in his double article on "Le Musée imaginaire", he formalized his own theory of the image that would permeate his future work. Confronting these two visions of art, Henri Godard writes: "Through the constancy and radicalism of its reference to death, to absence, to nothingness, [Blanchot's thought] is one pole of our reflection on art, of which Malraux could well incarnate the other" (In "L'Expérience existentielle de l'art"). A polarity that could only bind Blanchot to Malraux, whose tutelary figure would be invoked one final time at the end of his last narrative, "l'Instant de ma mort": "Later, having returned to Paris, he met Malraux. The latter told him that he had been taken prisoner (without being recognized), that he had managed to escape, while losing a manuscript.... What does it matter! Only the feeling of lightness remains, which is death itself or, to put it more precisely, the instant of my death henceforth always pending."
Rich iconography.
Spine of dust jacket slightly sunned as is often the case and with two marginal stains at the head of the back panel.

First edition printed on ordinary paper.
Bradel binding in half sky blue cloth, smooth spine decorated with a gilt floral motif, owner's name and double gilt fillets at foot, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, contemporary binding.
Rare signed autograph inscription from Anatole Le Braz to Emilie de Villiers.

First edition, one of 196 numbered copies on Arches paper, the only printing with 4 copies on Japan paper.
A few small stains on the covers.
Autograph inscription signed by François Porché to J.H. Rosny.

The first edition, of which there were no deluxe copies.
Handsome copy.
Precious autograph inscription signed by Elie Wiesel to Maurice de Gandillac.

The first edition, of which there were no deluxe copies.
Three small light stains on the covers, handsome copy.
Precious signed autograph inscription from Jean-François Lyotard to Maurice de Gandillac.

Definitive edition, one of 882 numbered copies on pure linen paper reserved for the "Friends of Paul Fort".
Spine slightly sunned, otherwise handsome copy.
Fine autograph inscription signed by Paul Fort to André Allix: "... avec les distingués hommages et le très amical souvenir d'un vieux trouvère... Qu'est-ce que la poésie ? Une chanson qu'on parle..." ["...with distinguished homage and the very friendly remembrance of an old troubadour... What is poetry? A song that one speaks..."]

New edition with some parts in first edition, one of 56 numbered copies on pur fil paper, ours one of 10 hors commerce copies in Roman numerals reserved for the "Friends of Max Jacob," deluxe copy.
Fine copy.
Preface by Pierre-Albert Birot.
We include two autograph signed cards from (Jean) Denoël to Carlo Rim, great friend of Max Jacob, on Nrf letterhead, regarding the deluxe paper printing of this work and the request for a possible loan of a caricature of Max Jacob by Carlo Rim for an exhibition dedicated to the poet by the city of Orléans.

First edition, one of 277 copies on pure thread paper, deluxe issue after 24 Madagascar and 68 Holland.
Fine copy.
Signed autograph inscription from Henri de Montherlant to Albert Gallant: "... cette comédie dramatique..." ["... this dramatic comedy..."]

Definitive edition, one of 610 numbered copies on pure thread paper reserved for the "Friends of Paul Fort".
Spine slightly sunned, otherwise handsome copy.
Fine autograph inscription dated and signed by Paul Fort to Doctor François Leboeuf recalling one of his most famous verses: "... ces chants de France avec les distingués hommages et le très amical souvenir du vieux trouvère... On pourrait faire une ronde autour du monde, si tous les gens du monde voulaient se donner la main..." ["... these songs of France with distinguished homage and the very friendly remembrance of the old troubadour... We could dance in a circle around the world, if all the people of the world wanted to join hands..."]

First edition, one of 6 numbered copies on Japan paper, deluxe copy.
Very handsome copy.
Autograph inscription signed by Edouard Herriot to Elie Bouvet.

Gallimard, Paris 1960, 12 x 19cm, in original wrappers.

First edition, one of 40 numbered hors-commerce copies reserved for the author on pur fil paper, only deluxe copies.
Sunned spine, endpapers and inscribed half title page entirely shaded, remains of adhesive paper on the first endpaper and the last page of the text, press cutting attached.
Rare presentation copy signed by Michèle Lacrosil to her friends Gilbert et Geneviève Lafragette: "En témoignage d'amitié à Gilbert Lafragette. Sapotille est heureuse de dire à son parrain (et premier lecteur) sa reconnaissance et son affection et à Geneviève avec mon amitié. Michèle L." “As a token of friendship to Gilbert Lafragette. Sapotille is happy to tell her godfather (and first reader) of her gratitude and affection and to Geneviève with my friendship. Michèle L.”

First edition.
Publisher's polychrome cardboard Bradel binding, smooth spine, joints with small tears at head and foot, cover specially designed by Francisco Borès.
Work illustrated with 8 original lithographs by the artist as well as 183 reproductions of his works, 12 of which are in color.
Very light harmless scuffs at foot of one joint.
Text by Jean Grenier.
Precious signed autograph inscription from Jean Grenier: "A Jean Paulhan le plus affectueusement et fidélement. Jean." ["To Jean Paulhan most affectionately and faithfully. Jean."]

Gallimard, Paris 1961, 12 x 19cm, in original wrappers.

First edition, one of 20 numbered hors-commerce copies reserved for the author on pur fil paper, only deluxe copies.
Endpapers and inscribed half title page entirely shaded due to the envelope containing the author's autograph letter.
Rare and beautiful copy.
Rare presentation copy signed by Michèle Lacrosil to her friends Gilbert et Geneviève Lafragette: "... comme Sapotille cette inquiète Cajou voudrait être aimée et protégée par vous. Michèle L." “...like Sapotille, this troubled Cajou would like to be loved and protected by you. Michèle L.”
We enclose a note on Gallimard headed paper on which Michèle Lacrosil wrote the surname of her friends.
Finally, our copy is enriched with an autograph letter of 34 lines, dated 29 September 1967 from Michèle Lacrosil to her friends Lafragette, announcing the death of her mother and recounting her snubs as a writer: "... je suis soumise à mon éditeur ! " “...I am subject to my publisher!” and telling them of the recent completion of her latest novel (Demain, Jab-Herma): "... c'est le petit frère de Sapotille..." “...it is Sapotille's younger brother...”

First edition printed on ordinary paper.
Spine very lightly sunned with small light halos.
Autograph inscription dated and signed by Lucien Bodard to Jean-Louis Guillaud.

First edition, of which there were no deluxe copies.
Handsome copy.
Fine autograph inscription signed by Claude Lévi-Strauss to anthropologist Georges Balandier: "... cette mythologie de la dynamique sociale..." ["... this mythology of social dynamics..."]

First edition of this selection and the notices on the authors established by Gérard de Lacaze-Duthiers.
Handsome copy complete with its publisher's slip.
Signed autograph inscription from Gérard de Lacaze-Duthiers to journalist Henry Lafragette thanking him for his laudatory article concerning this work.
Our copy is enriched with an autograph letter signed by Gérard de Lacaze-Duthiers to the same, on letterhead of the library of the aristocracy, dated May 30, 1959.

The first edition, of which there were no deluxe copies.
Handsome copy
Signed autograph inscription by Jean d'Ormesson to a woman named Annie: "... ce puzzle du monde..."

First edition, of which there were no deluxe copies.
Handsome copy, with press cutting included.
Handsome autograph inscription signed by Erik Orsenna to a woman named Isabelle: "... Et voilà, le reportage commencé en Inde par un appel chez vous... Bon voyage ! Et vive la douceur des surfaces ! Fidèlement Erik." ["... And there you have it, the report that began in India with a call to your home... Have a good trip! And long live the gentleness of surfaces! Faithfully Erik."]

First edition for which no deluxe copies were printed.
Work illustrated with numerous drawings by Bernar, Cabu, Charb, Fournier, Gébé, Honoré, Jul, Kamagurka, Lefred-Thouron, Luz, Reiser, Riss, Siné, Tignous, Willem and Wolinski.
Autograph inscription signed by François Cavanna to a man named Julien: "Julien ! Tu n'étais pas né ! Il s'est en passé, des choses. Tous est là-dedans, tout ! A toi Julien. Cavanna." ["Julien! You weren't born yet! So many things have happened. Everything is in here, everything! Yours, Julien. Cavanna."]

Manuscript letter dated and signed, 42 lines from Alphonse Boudard to his great friend and companion of well-watered lunches, the Brussels journalist André Tillieu who was, like Alphonse Boudard, a great friend of Georges Brassens but also of Louis Nucéra.
A fold mark inherent to the folding of the letter for mailing, envelope included.
An inscription in red ballpoint pen in the upper right corner of the missive: mort Aline Giono, this manuscript note being repeated in the upper left corner of the envelope.
"vieux,
oui, j'ai appris l'affreuse nouvelle. Pas un mot de Zoë (qui ne me donne pas son adresse, je n'ai donc pu lui répondre) Que dire ? On arrive dans les parages dangereux après cinquante piges. Rien ne laissait présager une fin si brusque chez Aline - boisson, tabac, surmenage ? , - Rien. Elle veillait bien chez Gallimard sur l'oeuvre de son père. Qui va prendre le relais ? Je n'ose y penser. Bon. Tu as appris mon pépin de juin. Failli moi passer l'arme à gauche d'une (mot illisible) . A cause d'un médicament. A présent je pisse tout à fait normalement, mais il me reste le palpitant. Je vais être obligé de bouffer un tas de pilules jusqu'à mon dernier jour. Je suis dans ce bled normand pour un scénario sans grand intérêt, à part le fric. Si ma pièce avait pu marcher j'aurais remis ça au théâtre et sur des thèmes bien à moi. Oui, fais moi signe en septembre et tâchons de nous voir un peu avec l'ami Louis... Ca fait vraiment beaucoup de morts (j'en ai plusieurs parmi ceux que tu connais que par mes livres... Musique... le mage Vulcanos etc... ) Je suis bien triste au sujet de cette pauvre Aline. Bien ton pote ABoudard." ["old friend, yes, I learned the dreadful news. Not a word from Zoë (who doesn't give me her address, so I couldn't respond to her) What can one say? We're reaching dangerous territory after fifty years. Nothing suggested such a sudden end for Aline - drink, tobacco, overwork? - Nothing. She watched over her father's work well at Gallimard. Who will take over? I dare not think about it. Well. You learned about my mishap in June. I nearly kicked the bucket from a (illegible word). Because of a medication. Now I urinate quite normally, but my ticker remains problematic. I'll have to swallow a bunch of pills until my last day. I'm in this Norman backwater for a screenplay of little interest, apart from the money. If my play could have worked I would have gone back to theater with themes that are truly mine. Yes, give me a sign in September and let's try to see each other a bit with friend Louis... That's really a lot of deaths (I have several among those you know only through my books... Musique... the magician Vulcanos etc...) I am very sad about poor Aline. Best wishes your pal ABoudard."]
André Tillieu from Brussels, very close friend and biographer of Georges Brassens, maintained an epistolary correspondence with Alphonse Boudard for almost thirty years, from 1972 until the latter's death in 2000.
The irreverent Parisian writer quickly showed him his friendship, considering him one of the rare critics to understand him perfectly to the point of explaining clearly in his chronicles what he himself expressed only incompletely and sometimes confusedly in his books.
André Tillieu thus became part of the small circle of Alphonse Boudard's true friends on the same level as le Gros Georges (Georges Brassens), le Niçois (Louis Nucéra) and René Fallet with whom he liked to share copious well-watered meals and cycling trips. As death gradually took away his best friends, André Tillieu remained one of Alphonse's very last pals.

Dated and signed greeting card depicting Paul Léautaud captured by painter Viko with 15 lines from Alphonse Boudard, to his great friend and companion of well-lubricated lunches, Brussels journalist André Tillieu who was, like Alphonse Boudard, a great friend of Georges Brassens but also of Louis Nucéra.
Envelope included.
"Salut vieux,
merci de tes voeux... on essaiera de mijoter un livre selon tes goûts... aux petits oignons ! Si tu descends dans le sud, c'est à dire au soleil lumineux de Paris, fais nous signe ( à Louis ou à moi) et on bavardera un peu plus que la dernière fois. avec tous mes voeux pour 88, pour toi et les tiens... et mon amitié. ABoudard." ["Greetings old friend, thanks for your wishes... we'll try to cook up a book to your taste... perfectly done! If you come down south, that is to the bright sunshine of Paris, give us a sign (Louis or me) and we'll chat a bit more than last time. with all my wishes for 88, for you and yours... and my friendship. ABoudard."]
André Tillieu from Brussels, very close friend and biographer of Georges Brassens, maintained an epistolary correspondence with Alphonse Boudard for nearly thirty years, from 1972 until the latter's death in 2000.
The irreverent Parisian writer quickly showed him his friendship, considering him one of the rare critics to understand him perfectly to the point of explaining clearly in his reviews what he himself expressed only incompletely and sometimes confusedly in his books.
André Tillieu thus became part of the small circle of Alphonse Boudard's true friends on the same level as Gros Georges (Georges Brassens), le Niçois (Louis Nucéra) and René Fallet with whom he loved to share hearty, well-lubricated meals and cycling excursions. As death gradually took away his best friends one by one, André Tillieu would remain one of Alphonse's very last pals.

First edition on ordinary paper.
A fold to the upper left corner of the back cover.
Handsome copy complete with its publisher's wraparound band.
Signed autograph inscription by Jean d'Ormesson to Luce Palmyre: "... les rires et les larmes..." ["... laughter and tears..."]

Handwritten letter dated and signed, 37 lines from Alphonse Boudard to his great friend and companion of well-watered lunches, the Brussels journalist André Tillieu who was, like Alphonse Boudard, a great friend of Georges Brassens but also of Louis Nucéra.
This missive is moreover written from the home of Louis Nucéra where Alphonse Boudard spends a few days of summer vacation each year.
A fold mark inherent to the folding of the letter for mailing.
"ami,
merci de ta lettre. tu m'encourages toujours et, là, c'est encore plus important. Je suis d'ailleurs en piste pour le prix Giono, mais j'y ai de redoutables concurrents soutenus par leurs éditeurs Mazis basta ! vivra verra... photo : j'ai quelques clichés à Paris et je t'en enverrai un en rentrant. De toute façon le livre parait en début septembre. Si tu es pressé demande à Claudine Lemaire ed. Laffont 24 av. Marceau 75008. fautes : Mea culpa pour Yvonne de Galais. Impardonnable. Les autres sont apparues après les corrections sur les deuxièmes épreuves. On n'en sort pas. Et il y a aussi le docteur Goebbels avec un seul B (Tant pis pour sa gueule !) Louis a quelques ennuis acec sa femme toujours malade. Il l'accompagne demain en cure à Chatel Guyon. Voila, je viens de finir encore un livre. Celui-là de divertissement pure et anticlérical. "Madame de Saint Sulpice". Le roman d'une taulière qui tient un bordel de curés entre les deux guerres. J'espère aller à Bruxelles pour fourguer ma salade et ça me fera surtout l'occase de prendre avec toi le verre de l'amitié. ton pote. ABoudard." ["friend,
thank you for your letter. you always encourage me and, here, it's even more important. I'm actually in the running for the Giono prize, but I have formidable competitors supported by their publishers Mazis basta! we'll see... photo: I have some shots in Paris and I'll send you one when I get back. In any case the book comes out in early September. If you're in a hurry ask Claudine Lemaire ed. Laffont 24 av. Marceau 75008. mistakes: Mea culpa for Yvonne de Galais. Unforgivable. The others appeared after corrections on the second proofs. We can't get out of it. And there's also doctor Goebbels with only one B (Too bad for his face!) Louis has some troubles with his wife who's always sick. He's accompanying her tomorrow to take the waters at Chatel Guyon. There, I've just finished another book. This one pure entertainment and anticlerical. "Madame de Saint Sulpice". The novel of a madam who runs a brothel for priests between the wars. I hope to go to Brussels to peddle my wares and it will especially give me the chance to have a drink of friendship with you. your buddy. ABoudard."]
André Tillieu the Brusselian, very close friend and biographer of Georges Brassens, maintained an epistolary correspondence with Alphonse Boudard for almost thirty years, from 1972 until the latter's death in 2000.
The mocking Parisian writer very quickly showed him his friendship, considering him one of the rare critics to understand him perfectly to the point of clearly explaining in his reviews what he himself expressed only incompletely and sometimes confusedly in his books.
André Tillieu thus became part of the small circle of Alphonse Boudard's true friends alongside le Gros Georges (Georges Brassens), le Niçois (Louis Nucéra) and René Fallet with whom he loved to share hearty well-watered meals and cycling trips. As the grim reaper gradually took away his best friends one by one, André Tillieu would remain one of Alphonse's very last buddies.

Dated and signed manuscript letter of 42 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.
A fold mark inherent to the folding of the letter for mailing.
"vieux,
merci de ta formidable lettre... j'ai mis du temps avant de te répondre, débordé que je suis par les activités de "promotion" de Mme de Saint Sulpice. Fatigant tous ces trains, tous ces avions, ces attentes, ces blabla toujours les mêmes. Bah ! il y a des métiers plus pénibles et moins rémunérateurs. Je me demande toujours si mes premiers bouquins tiennent encore la lecture. Tu me rassures un peu et je reçois aussi des témoignages de nouveaux lecteurs... jeunes... Le spectable de Jacques Rosny a bien du mal à démarrer. J'ai en main un texte formidable de Raymond Devos qui va paraître dans le "Figaro" et qui nous donnera peut-être le coup d'envoi. Je sais que tu apprécies beaucoup la nouvelle "Gladys". J'en ai tiré une pièce - il y a déjà 12 ans - et finalement elle va être montée au Petit Marigny avec Danielle Darrieux et Christian Barbier. Là, je pense que ces messieurs de la critique se dérangeront. Les Grands Chemins tu as raison, c'est un livre formidable. De plein air et de grand style. On peut toujours relire Giono... la vie passe entre les lignes et la poésie... merveilleux ! J'espère que les choses vont mieux pour toi... Je t'embrasse fraternellement. ABoudard Louis sera à Paris demain pour le prix Blondin. Suzanne va mieux." ["old friend,
thank you for your wonderful letter... I took time before answering you, overwhelmed as I am by the "promotional" activities for Mme de Saint Sulpice. Tiring, all these trains, all these planes, these waits, these blah blah always the same. Well! there are more difficult and less rewarding jobs. I always wonder if my first books still hold up to reading. You reassure me a bit and I also receive testimonials from new readers... young ones... Jacques Rosny's show is having trouble getting started. I have in hand a wonderful text by Raymond Devos that will appear in "Figaro" and which might perhaps give us the kickoff. I know you very much appreciate the short story "Gladys". I made a play from it - already 12 years ago - and finally it's going to be staged at the Petit Marigny with Danielle Darrieux and Christian Barbier. There, I think these gentlemen of the critics will make the effort to come. Les Grands Chemins you're right, it's a wonderful book. Of open air and great style. One can always reread Giono... life passes between the lines and poetry... marvelous! I hope things are going better for you... I embrace you fraternally. ABoudard Louis will be in Paris tomorrow for the Blondin prize. Suzanne is doing better."]
André Tillieu from Brussels, very close friend and biographer of Georges Brassens, maintained an epistolary correspondence with Alphonse Boudard for almost thirty years, from 1972 until the latter's death in 2000.
The cheeky Parisian writer very quickly showed him his friendship, considering him one of the rare critics to understand him perfectly, to the point of clearly explaining in his reviews what he himself expressed only incompletely and sometimes confusedly in his books.
André Tillieu thus became part of the small circle of Alphonse Boudard's true friends alongside Big Georges (Georges Brassens), the Nice native (Louis Nucéra) and René Fallet with whom he loved to share hearty well-watered meals and cycling trips. As death gradually took away his best friends one by one, André Tillieu would remain one of Alphonse's very last pals.

Manuscript letter dated and signed, 17 lines from Alphonse Boudard to his great friend and companion of well-lubricated lunches, the Brussels journalist André Tillieu who was, like Alphonse Boudard, a great friend of Georges Brassens but also of Louis Nucéra.
This letter is moreover written from Louis Nucéra's home where Alphonse Boudard spends a few days of summer vacation each year.
A crease mark inherent to folding the letter for mailing.
"vieux
merci de ton envoie du papier de Michel Grodent. Il est effectivement très positif. J'espère que j'aurais d'autres articles dans la presse belge parce qu'ici ce n'est pas folichon. Je suis presque boycoté. Savoir pourquoi ? Le monde des lettres est auu main d'un clan... NRF... Sollers... et quelques autres, et ils savent que la meilleure tactique pour t'éliminer c'est de faire silence. Comme si tu n'existait pas. Fort heureusement j'ai des lecteurs et mon éditeur me soutient assez bien. Je t'espère en bonne forme. Pour "Valsez saucisses" je vais m'en occuper à Paris... Je rentre le 20... Toute mon amitié.. . ABoudard." ["old friend, thanks for sending Michel Grodent's article. It is indeed very positive. I hope I'll have other articles in the Belgian press because here it's not very cheerful. I'm almost boycotted. Why? The world of letters is in the hands of a clan... NRF... Sollers... and a few others, and they know that the best tactic to eliminate you is to remain silent. As if you didn't exist. Fortunately I have readers and my publisher supports me quite well. I hope you're in good shape. For "Valsez saucisses" I'll take care of it in Paris... I'm returning on the 20th... All my friendship... ABoudard."]
André Tillieu the Brusseler, very close friend and biographer of Georges Brassens, maintained an epistolary correspondence with Alphonse Boudard for almost thirty years, from 1972 until the latter's death in 2000.
The Parisian wisecracking writer very quickly showed him his friendship, considering him as one of the rare critics to understand him perfectly to the point of clearly explaining in his reviews what he himself expressed only incompletely and sometimes confusedly in his books.
André Tillieu thus became part of the small circle of Alphonse Boudard's true friends on the same level as le Gros Georges (Georges Brassens), le Niçois (Louis Nucéra) and René Fallet with whom he loved to share hearty well-lubricated meals and cycling excursions. As death gradually took away his best friends one by one, André Tillieu remained one of Alphonse's very last buddies.

Manuscript letter dated and signed, 17 lines from Alphonse Boudard to his great friend and companion of well-lubricated lunches, the Brussels journalist André Tillieu who was, like Alphonse Boudard, a great friend of Georges Brassens but also of Louis Nucéra.
A crease mark inherent to folding the letter for mailing, envelope included.
"ami,
bien reçu "Le Peuple" et ton papelard sublime. Bravo ! Merci ! etc... dans un monticule de paperasses qui s'accumulent sur mon bureau, j'ai perdu la carte qur tu m'as envoyée avec l'adresse de la fille de Giono. Je la retrouverai, mais quand ? (Je suis plutôt bordelique question classement, rangement etc...) Pour ne pas perdre trop de temps sois chouette de me la renvoyer. A bientôt... ton pote ABoudard." ["friend, well received "Le Peuple" and your sublime piece of paper. Bravo! Thank you! etc... in a pile of paperwork accumulating on my desk, I lost the card you sent me with Giono's daughter's address. I'll find it, but when? (I'm rather messy when it comes to filing, organizing etc...) To not waste too much time, be a pal and send it back to me. See you soon... your buddy ABoudard."]
André Tillieu the Brusseler, very close friend and biographer of Georges Brassens, maintained an epistolary correspondence with Alphonse Boudard for almost thirty years, from 1972 until the latter's death in 2000.
The Parisian wisecracking writer very quickly showed him his friendship, considering him as one of the rare critics to understand him perfectly to the point of clearly explaining in his reviews what he himself expressed only incompletely and sometimes confusedly in his books.
André Tillieu thus became part of the small circle of Alphonse Boudard's true friends on the same level as le Gros Georges (Georges Brassens), le Niçois (Louis Nucéra) and René Fallet with whom he loved to share hearty well-lubricated meals and cycling excursions. As death gradually took away his best friends one by one, André Tillieu remained one of Alphonse's very last buddies.

First edition reserved for subscribers only, one of 400 numbered copies on handmade Lana laid paper, the only issue along with 10 copies on Arches laid paper.
Autograph signature of the author on the justification page.
Handsome copy.

Signed manuscript card of 21 lines from Alphonse Boudard, on a printed visiting card, to his great friend and companion of wine-filled lunches, the Brussels journalist André Tillieu, who was, like Alphonse Boudard, a great friend of Georges Brassens but also of Louis Nucéra.
Envelope included.
"vieux, oui le hasard fait bien les choses... surtout que l'interview date de mon dernier passage à Bruxelles début novembre. Tout va bien pour le livre, mais mapièce quitte les planches. (As-tu reçu le livre ?) J'espère tout de même te voir à Paris bientôt. En attendant je te souhaite la fameuse bonne année. Qu'elle soit heureuse, fructueuse admirable... artistique etc... et... avec mon amitié qui t'accompagne. ABoudard." ["old friend, yes chance does things well... especially since the interview dates from my last visit to Brussels in early November. Everything is going well for the book, but my play is leaving the stage. (Did you receive the book?) I still hope to see you in Paris soon. In the meantime I wish you the famous happy new year. May it be happy, fruitful, admirable... artistic etc... and... with my friendship that accompanies you. ABoudard."]
André Tillieu from Brussels, very close friend and biographer of Georges Brassens, maintained an epistolary correspondence with Alphonse Boudard for almost thirty years, from 1972 until the latter's death in 2000.
The irreverent Parisian writer quickly showed him his friendship, considering him one of the rare critics to understand him perfectly to the point of clearly explaining in his reviews what he himself expressed only incompletely and sometimes confusedly in his books.
André Tillieu thus became part of the small circle of Alphonse Boudard's true friends alongside le Gros Georges (Georges Brassens), le Niçois (Louis Nucéra) and René Fallet with whom he loved to share hearty, well-watered meals and cycling trips. As death gradually took away his best friends one by one, André Tillieu remained one of Alphonse's very last pals.

Dated and signed manuscript letter of 31 lines from Alphonse Boudard to his great friend and companion of wine-filled 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, a pencil inscription "Manouche" in the upper left corner of the missive.
"ami,
ton papier me parvient en vacances... enfin au bord de la mer où je gratte un peu pour la gloire d'Alain Delon... son prochain film! Ca me comble ce que tu écris. C'est juste.. ll s'agit de dire tout ce qui doit être dit... que ça plaise ou non à ceux-ci ou à ceux-là. Mon personnage d'Herlier est très près de celui d'un certain lieutenant d'Héricourt... à la Libération. Dans la Gestapo il s'appelait Loutrel... et pour les faits divers il est devenu Pierrot. le. Fou. Tout cela est historique... En tout cas merci... les autres critiques ne mettent pas l'accent où il faut. Dis à Nucera de me prévenir lorsque tu viendras... qu'on puisse au moins casser une petite croûte entre amis. A bientôt. Salut et fraternité. ABoudard. "Le Manouche" c'est de l'alimentaire. J'ai fait de mon mieux pour ne pas la trahir." ["friend, your article reaches me on vacation... well, by the seaside where I'm writing a bit for the glory of Alain Delon... his next film! What you write fills me with joy. It's right... It's about saying everything that must be said... whether it pleases this one or that one or not. My character Herlier is very close to that of a certain Lieutenant d'Héricourt... at the Liberation. In the Gestapo he was called Loutrel... and for the crime stories he became Pierrot. the. Mad. All of this is historical... In any case, thank you... the other critics don't put the emphasis where it should be. Tell Nucera to let me know when you come... so we can at least share a bite among friends. See you soon. Greetings and fraternity. ABoudard. 'Le Manouche' is commercial work. I did my best not to betray it."]
André Tillieu from Brussels, very close friend and biographer of Georges Brassens, maintained an epistolary correspondence with Alphonse Boudard for almost thirty years, from 1972 until the latter's death in 2000.
The irreverent Parisian writer quickly showed him his friendship, considering him one of the rare critics to understand him perfectly to the point of clearly explaining in his reviews what he himself expressed only incompletely and sometimes confusedly in his books.
André Tillieu thus became part of the small circle of Alphonse Boudard's true friends alongside le Gros Georges (Georges Brassens), le Niçois (Louis Nucéra) and René Fallet with whom he loved to share hearty, well-watered meals and cycling trips. As death gradually took away his best friends one by one, André Tillieu remained one of Alphonse's very last pals.

The first edition, of which there were no deluxe copies.
Handsome copy retaining publisher's wraparound band.
Signed autograph inscription by Bernard Pivot to a woman named Bernadette.

First edition on ordinary paper.
Handsome copy retaining publisher's wraparound band.
Amusing autograph inscription signed by Jean-Bertrand Pontalis to Doctor Jacques Chassigneux: "... qui me trouve toujours en grande forme, il exagère. C'était mieux avant, bien sûr mais, maintenant, ça pourrait être pire, bien sûr aussi. Avec mon amitié et ma gratitude." ["... who always finds me in great shape, he exaggerates. It was better before, of course, but now it could be worse, of course too. With my friendship and gratitude."]

First edition on ordinary paper.
Full brown cloth Bradel binding, smooth spine, gilt date at foot, covers and spine preserved, bookplates pasted on one pastedown, contemporary binding signed in blind by Stroobants.
Two light dampstains to upper right corner of first cover and upper left corner of second cover.
Autograph inscription dated Brussels 1934 and signed by Paul Claudel to Gérard Bauër.
Provenance: from the libraries of Gérard Bauër and Jean-François Lemaire with their bookplates pasted on one pastedown.

First edition, one of 600 numbered copies on alfa paper, ours one of 50 hors commerce copies.
Handsome copy.
Autograph inscription signed by Jean Giraudoux to Jacques Patin.

First collected edition, one of 950 numbered copies on alfa paper.
Handsome copy.
Signed autograph inscription from René Char to art critic and writer Charles Estienne.
Provenance: from the library of Georges Goldfayn with his blind stamp at head of an endpaper as bookplate.

First edition, one of the numbered copies on Téka, the only issue after 1 Arches and 20 Marais.
Spine browned, small tears to joints.
Cover illustrated by Wifredo Lam.
Autograph inscription signed by François Valorbe on this text paying homage to literary and musical "Négritude" to the surrealist Georges Goldfayn: "... avec mes sentiments les plus mélano-surréalistes..." ["... with my most melano-surrealist sentiments..."]

First edition of the French translation by Yves Bonnefoy, one of 35 numbered copies on Arches vellum, ours one of the few hors commerce copies, the only deluxe copies after 10 on Holland paper.
Handsome copy.
Precious autograph inscription signed by Yves Bonnefoy to Gilbert Lély.

First edition, a Service de Presse (advance) copy.
Handsome copy complete with publisher's slip and a large part of its wraparound band: "... ou soyez communiste"
Signed autograph inscription from Paul Sérant to Georges Goldfayn.

The first edition, of which there were no deluxe copies.
Iconography, handsome copy.
Precious signed autograph inscription from Claude Levi-Strauss to Jean-Claude Carrière: "... le jour où nous fimes connaissance et qui, j'espère sera suivi par d'autres." ["... the day we met and which, I hope, will be followed by others."]
Reading notes by Jean-Claude Carrière written in black and blue ink throughout the final endpaper.

First edition, one of 110 numbered copies on Rives laid paper.
Half red morocco binding, smooth spine, gilt date at foot, boards covered with abstract patterned paper, red paper endpapers and pastedowns, covers and spine preserved, top edge gilt, signed binding by P. Goy & C. Vilaine.
Autograph inscription signed by Jean Cocteau to a friend named Roger enhanced with a drawing in blue ink representing the face of a young man facing forward.

During the first performance in 1930, L'Echo de Paris already prophesied: "The best actresses in the world will want to interpret La voix humaine."
Indeed, on stage and screen followed Berthe Bovy, Anna Magnani, Simone Signoret, Ingrid Bergman, Sophia Loren, Ornella Muti, Tilda Swinton... and the opera singers Denise Duval and Felicity Lott, while the greatest directors and composers took up the staging challenges of this atypical work. Among them, Roberto Rossellini, Francis Poulenc or Pedro Almodovar who owes his finest film to Cocteau's play: Mujeres al borde de un ataque de nervios.

A monologue, this variation on waiting, desire and the pain of a woman suffering a telephone breakup, confronts the actress with the deafening silence of the telephone receiver. The tragedy being played offers the spectator only a victim suffering the inaudible attacks of an invisible torturer. The human voice is both that, broken down, of this woman, alternately strong, fragile, proud and destroyed, and that other one, absent, but which strikes the spectator's imagination through what Cocteau calls: "the eternity of silences"

First edition.
Work illustrated with illustrations.
Handsome copy despite the missing slipcase, a small tear at the foot of the first cover.
Autograph inscription signed by Francis Ponge to Roger Caillois: "... c'est à dire pour et contre les imostures de la poésie..." ["... that is to say for and against the impostures of poetry..."]
Our copy is expanded with a manuscript correction by Francis Ponge on page 7.

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.