Null A380. Sketch of the cabin layout of an A380 Corporate jet - Author Sylvain …

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A380. Sketch of the cabin layout of an A380 Corporate jet - Author Sylvain Mariat designer Airbus. Original drawings.

167

A380. Sketch of the cabin layout of an A380 Corporate jet - Author Sylvain Mariat designer Airbus. Original drawings.

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Estim. 3 000 - 4 000 EUR

Henry de MONTHERLANT (1896-1972). Autograph manuscript, Thrasylle, [1914]; approx. 750pages in-8; plus an important folder of approx. 700pages of drafts, sketches, plans, etc. (edges frayed on some ff.). Important first draft and working manuscript of this early novel, written in 1914, forming a very interesting set on the formation of the novelist's art. This early novel, written at the age of nineteen, was published in 1983 (Paris, Robert Laffont; Lausanne, Jean-Pierre Laubscher, illustrations by Albert Decaris). A long analysis can be found in Pierre Sipriot's biography, Montherlant sans masque (R. Laffont, t.I, p. 180-194). Influenced by the Flaubert of Salammbô, but above all by Virgil, Theocritus, Anacreon, Xenophon and the Greek poets, this is the story of the love between two Greek shepherds, Thrasylle and Lycas, aged fifteen and eleven, whose nude or semi-nude bodies express pure sensuality; it is also the search for beauty and a plunge into the sources of desire. This novel, rich in themes that would develop in future works, was also entitled L'Enfant qui a vu la beauté or Narcisse; indeed, the hero is often referred to as Narcisse in the manuscript, which bears on its last page: "Fini virtuellement le 27 septembre 1914", with the exclamation: "Olé! It is striking to note that Montherlant had already perfected the working method he would later use. Indeed, the manuscript is abundantly corrected, full of cross-outs, corrections, deletions and glued beaks, the result of a considerable amount of writing (some pages feature glued fragments of three or four other pages cut out and reworked). Montherlant writes on the backs of papers already in use: dismembered old school notebooks (mathematics, Latin, Greek, his library catalog, poems, etc.), incoming letters, prospectuses, papers from the Compagnie d'Assurances Générales where he works as a secretary, invoices, drafts and previous statements, etc. He often amuses himself by writing on the backs of these papers. He often amused himself by drawing cartoons, bullfights and bullfighting scenes on his manuscript. The extensive folder of accompanying documents helps to complete the genesis of this first work: fragments of the very first version of the Narcisse tale, dated "November 1912" (with the remark "rien à tirer"), as well as the last two chapters of the "Narcisse version" "deleted in the second version (Spring 1914)"; very detailed plans, first drafts and sketches, notes on the characters, an "Introduction" (with very interesting reflections on the novel), numerous drafts, "unused" passages and episodes; as well as important fragments of the second version's clean-up.

Estim. 1 500 - 2 000 EUR

Elsa TRIOLET (1986-1970). Autograph manuscript for Normandie-Niémen, [1949?]; 72 in-4 or in-fol. sheets (some double-sided). Drafts and first draft manuscripts for the screenplay of the film Normandie-Niémen. Elsa Triolet wrote a first screenplay in 1949, which was abandoned; this is most probably the manuscript we are presenting. The project was resumed ten years later, with the script and dialogues written by Charles Spaak, Elsa Triolet and Constantin Simonov, who declared: "The basis of Normandie-Niémen was an idea born of history itself: to tell the story of how French airmen fought the German fascists on Soviet soil. And this idea belonged to Elsa Triolet". The film was directed by Jean Dréville, and had its world premiere in February 1960, with an international cast. First draft and working manuscript, abundantly scratched and corrected, with several different versions of the same passages, sketches, plan (in 14 parts, in Russian and French), etc. Let's quote the beginning of the text: "Will Germany win the war? It's May 42. On the seas, the British fleet is attacked from the air and from the bottom of the sea. Emerging from the bush of the Pacific islands, the Japanese are driving the American army back to an uncertain sea, where they have control of the skies. German tanks advance across the corpse-strewn Russian plain"...

Estim. 6 000 - 8 000 EUR

COCTEAU (Jean). Bacchus. Autograph manuscript of first draft and drafts. 1951. 280 folios in various formats, in-folio folded, in-4, or in-8, on various types of paper, mainly vellum vellum, often written on one side only, in blue or red ballpoint pen or pencil. Sketches, notes, drafts, sketches... with 7 original drawings, including a profile portrait of Francine Weisweiller; 4 portraits of Jean Marais, 1 sketch, and 3 portraits, including 1 very cubist on a folded folio, 1 representing "Doudou", Edouard Dermit, whom Cocteau adopted and who was to be his sole heir. The dialogues are sketched out and refined: "- He's a moron. - No, an idiot. - It's the same thing. - No, an idiot is a thinking idiot"... In these early drafts, the hero is still called Ulrich. Characters who were not to be retained appeared, such as a priest, and we can see that Cocteau had even thought of introducing the Devil himself into his play. A very important preparatory set, from the collection of Francine Weisweiller, one of Jean Cocteau's closest and most loyal friends, who often stayed at his famous Villa Santo-Sospir.

Estim. 6 000 - 8 000 EUR

COCTEAU (Jean). Clair-Obscur. Important first draft manuscript and drafts. Dated August 1952 to July 1954. 296 in-4 sheets and 56 in-8 sheets, on various papers, and 5 folio pages, folded; all in an ochre binder-folder bearing the autograph title in blue pen: Esquisses pour Clair-obscur. Clair-obscur is a collection of poems published in 1954. Very important autograph set of poems, sketches, notes, drafts overloaded with strikethroughs and intermediate corrections and clean-ups, with 3 original drawings, including a very fine profile and a beautiful Spanish scene; on a few leaves, drawings, scribbles and undulations. The "little preface" is laid down in the very first drafts, with the famous and enlightening phrase: "Poetry is a language apart that poets can speak without fear, since the crowds are wont to take for this language a certain way of using their own". Handwritten outline: "1. Small preface - with star and note at the end of the book / 2. of non-Spanish poems / 3. Spanish suite (dated). 4. it should end with a masterpiece - but there it is! On a draft of the first 3 stanzas of Hommage à Goya: "Hommage à Goya was written the same day, but Hommage à Gréco had been in my head since Toledo". Drafts for Hommage à Pouchkine: 10 sheets, 9 of them dated, from June 25 to July 5, 1954; the last sheet, giving "another version of the final stanza", still heavily crossed out, reads: "à peu près définitif / 5 juillet 1954 / mon anniversaire".

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