Null JEANNE LANVIN - CIRCA 1968
DRESS
THICK WOOLING
CHOCOLAT
GAUFRÉ
ENV. T. S/M
…

Description

JEANNE LANVIN - CIRCA 1968 DRESS THICK WOOLING CHOCOLAT GAUFRÉ ENV. T. S/M A FEW SMALL HOLES

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JEANNE LANVIN - CIRCA 1968 DRESS THICK WOOLING CHOCOLAT GAUFRÉ ENV. T. S/M A FEW SMALL HOLES

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Estim. 150 - 300 EUR

A collection of two classics on letterpress vignettes: 1. BOPPE (Auguste) and BONNET (Raoul): Les vignettes emblématiques sous la Révolution. 250 reproductions of letterheads. With the collaboration of M. Raoul Bonnet. Paris, Nancy, Berger-Levrault, 1911. One volume. 24.5 by 32 cm. VIII-181-(3) pages. Modern full cloth, black title page, cover preserved. Good condition, a few discreet scattered foxings. Sought-after first edition. Illustrated with 253 in-text figures. Edition of 500 copies. One of 480 copies on wove paper (N°76). 2. CHAMPFLEURY (Jules-François-Félix Husson, dit Fleury, dit): Les vignettes romantiques. Histoire de la littérature et de l'art 1825-1840. 150 vignettes. Célestin Nanteuil, Tony Johannot, Devéria, Jeanron, Edouard Nay, Jean Gigoux, Camille Rogier, Achille Allier. Suivi d'un catalog complet des romans, drames, poésies, ornés de vignettes, de 1825 à 1840. Paris, E. Dentu, 1883. One volume. 21.5 by 31 cm. 1 portrait of Champfleury, from the Galerie contemporaine, based on a Nadar photograph (photoglyptie), added at the beginning of the volume-VIII-438 pages + 14 uncensored leaves (Champfleury's artistic works) + 10 plates h.t. Full damask silk binding with flaps, basane title-piece on spine, cover boards preserved. Spine faded, scattered brown spots. Numerous in-text illustrations. First edition. "Limited edition". A vignette by T. Johannot is in double condition with a print on Chine.

Estim. 800 - 1 000 EUR

Elizabeth Taylor (3) Autograph Letters Signed to National Velvet Director Clarence Brown: "I know I'm not a star" Three ALSs by the adolescent Elizabeth Taylor to National Velvet director Clarence Brown, all signed "Elizabeth," circa 1944-1945. The remarkable letters outline the charming relationship between the actress and the director of her first starring role, beginning with a letter of apology for some youthful indiscretions on the set of National Velvet, followed by a grateful letter for his skillful work on the film, and concluding with a gleeful postcard from a Wisconsin fishing trip. Includes: ALS in pencil, signed "Sincerely, Elizabeth," four pages on a 5 x 4 folding personal stationery card, no date but circa 1944, during the production of National Velvet. In full (spelling and grammar retained): "I'm sorry I said what I did, this morning, that I didn't like my green & yello dress, I know now, that I shouldn't say whether I like anything or not. I'm sorry too, that I spoke to you while you were talking to Miss Revere. Mommy has told me it was wrong. I only did it, because I was in a hurry to talk to you before the hairdresser got me. I though you'd understand, but I promise I'll never do it again. I know I'm not a star Mr. Brown, it was just our joke when Mr. Boil put the star on my dressingroom, but I tore it up to-day and I don't want the red carpit anymore, please, don't think, I think I'm a star the way you said it this morning, makes me never want to be one...P.S. Please excuse the pencil & the way I've jumbled up the pages, but I'm in bed and I couldn't go to sleep until I wrote this." ALS signed twice, "Love, Elizabeth," three pages on a 5 x 4 folding personal stationery card, December 6, 1944. In full: "You know when we were up in Monterey, we bought this blue cashmere sweater for you for an end of the picture preasent, but somehow the picture just never seemed to finish properly, and we never said good-by. But I kept the sweater for you—and now I'de like to give it to you for a thank-you preasent for making me good in 'Velvet' and making 'National Velvet' such a wonderful picture. When everybody keeps telling me how good I am in Velvet I know it is because you made me that way, because you are such a wonderful director. And I appreciate everything you have done for me and 'Velvet'...P.S. I like the way you keep doing it over until we get it right, until it feels just right. Oh thank you thank you Mr. Brown for everything." In closing, Taylor sketches two horses at the bottom of the page. ALS signed "Love, Elizabeth Taylor," one page on a 5.5 x 3.5 postcard depicting a scenic drive near Minocqua, Wisconsin, postmarked August 13, 1945. In full: "It is so beautiful up here in Wisconsin and we're having the most wonderful vacation. We're catching more fish, and I'm catching great big ones. Wait untill I tell you about them." In overall fine condition. Accompanied by an ALS by her mother, signed "Sarah Taylor," three pages, 6.25 x 9.5, personal letterhead, December 6, 1944, also to Clarence Brown. In part: "I must tell you how grateful we are to you...For weeks we have been hearing the most wonderful reports of 'National Velvet.' Everyone agrees it is the best picture they have ever seen—on any screen—any year, etc. Naturally we are happy about it. There is only one thing to mar the thrill & happiness of it all—and you know what that is. Oh, please Mr. Brown, if you could only forgive us—if we could only feel in our hearts that you are our friends—You don't know how unhappy Elizabeth & I have been about it all...We were so 'on the spot' from every direction...and we thought we were doing the right thing...I don't know how true it is but we have heard from several sources that the studio is trying to get 'Peter Pan' for Elizabeth (in Technicolor). If they do we would so like to have you do it. That's all we can think of. Would you do it Mr. Brown? We can hardly wait to see 'National Velvet'—and we hope that in the joy & happiness you feel over the great triumph of your picture you will find it in your heart to forgive us—so that we may feel happy too."

Estim. 50 - 100 EUR

ANONYMOUS Probably Haute Couture Circa 1970 Long dress in black crepe and velvet with central buttoning, small covered notched collar and important cecrle work on the bottom of the skirt covered with matching velvet. Slightly missing, slight stitches unstitched. Claw missing, but a few threads remaining on the inside. Size: 38 approx.

Current bid 50 EUR

Pierre-Jean de BÉRANGER (1780-1857). 2 L.A.S., 1836-1840, to André IMBERDIS in Ambert; 3 and 2 pages in-8, addresses (a few words erased and crack repaired in 1st). Fontainebleau April 17, 1836. Long letter thanking Imberdis for the collection of poems he dedicated to him [Cri de l'âme, with an introduction by Abbé de La Mennais, Paris Renduel 1835]: "Nothing proves better the spirit of democracy of our time than this dedication of a young poet to an old chansonnier". He applauded his inspirations, "so often happy, full of a warm facility and a poësie de coeur too rare in those of our writers who see in style only an artist's satisfaction". He saw in this work "the most biting criticism of the absurd laws with which we have been endowed", but he points out, at the risk of sounding like an "old pedant", a few errors... "The more one insists on inculcating one's ideas in the reader, the more one can be sure that they are correct. The more one wishes to inculcate one's ideas and feelings in others, the more, in my opinion, it is one's duty to work on the form which must serve as a passport"... In view of the political situation, he discusses the fate of their friend TRELAT and adds: "Hope is the word which must be repeated most today, and in his letter, M. de LAMENNAIS gives you the best reasons for this. Let's hope for T., let's hope for France, and for her above all, let's hope that youth will at last recognize what is the right road to follow to be useful to her and keep her at the head of nations"... February 21, 1840. He congratulates Imberdis on his Histoire des guerres religieuses en Auvergne, pendant les XVIe et XVIIe siècles: "It is a song of glory and sorrow for your beloved Auvergne [...]. Your style has all the warmth befitting the painting of the bloody dramas unfolding in the chosen period"... As for himself, he would perhaps be more in the school of MICHELET, but hopes "that all France and Paris especially will do this history of Auvergne the justice it deserves"... Enclosed: - 4 l.a.s. from Adolphe CREMIEUX to Imberdis (1858-1867); - a l.a.s. from Auguste VALETTE; - a contract from Charles Lahure for the printing of Imberdis's book on Auvergne (1857, plus letter of dispatch from Ch. Lahure); - and a proof book of an introduction to L'Auvergne, with pasted-on press clipping.

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