Born Emile (11 results)

Hard Cover. Dust Jacket Condition: Good. First Edition. HBDJ, 1957, 1st Edition, 1st printing, Dates Match on Title & Copyright pg, NF+/GOOD, AS-IS, Faded pink & black Dustjacket with small creases Chips Edges, Spine DJ ends small pieces out, Maroon cloth with Gold gilt cvr nice Condition light wear, Interiornice tight clean light wearFOX, 111 pgs, There is a myler sleve on the dust jacket.

Folio (13 x 9 6/8 inches). Half-title, title-page printed in red and black. Frontispiece and illustrated with engravings throughout (some heavy marginal spotting). Publisher's scarlet pictorial cloth, gilt (rubbed, spine faded). Second edition, first published in 1893. Lebroue was the author of a number of books on Japan. Catalogued by Kate Hunter.

souple. Condition: Bon. 1 vol. in-8 br., Les éditions du Scorpion, 1962, 253 pp. Etat très satisfaisant (couv. lég. frottée, très bon état intérieur) pour cet exemplaire encore non-coupé. Peu courant. Langue: Français.

Black and white press photograph, promotional device resembling lobby card. 8'' x 6'' [205 mm x 150 mm] portrait. In Very Good condition. Member of the P.B.F.A. CINEMA [Front of House Press Photograph].

1p., 12mo. In fair condition, with light signs of age. Addressed to 'My dear Percy' and headed 'Love's Strategy'. Regarding the play (which was based on Goldsmith's 'She Stoops to Conquer') Littler writes: 'I don't think the idea appeals to me very much, and I am not going to do any more productions in the West End until after Christmas.' He gives his phone number, writing that he would 'be very pleased to see you or have a word with you'. In the carbon of Nash's letter (dated 27 May 1948) he writes that he has 'not messed about with the Author. There are about twenty instrumental and vocal numbers in it but it will not require a big orchestra.' He feels that the play would 'require a Box-Office cast'.

First edition thus in publisher's original illustrated card wrap covers (soft back) cover with portrait of Éluard by Picasso. 8vo. 8'' x 5¼''. Contains 218 pp with French and English side-by-side. In Very Good condition, no dust wrapper as issued. Member of the P.B.F.A. POETRY, VERSE & RHYMES.

For information on Littler see the entry in the Oxford DNB of his brother Prince Frank Littler (1901-1973), who did not share Emile's 'affection for plays or players individually'. Also see Macqueen-Pope's entry in the same work. The three items in fair condition, lightly aged and creased. Both signed 'Emile'. ONE: TLS of 15 November 1957. 1p, 4to. Reads: 'My dear Popie, / You know about everything in the Theatre, and I am wondering if you could tell me how many London pantomimes Julian Wylie did, either by himself or as the Wylie-Tate organisation. / I would be very interested to know if by any chance you have this information available.' In autograph: 'Many THANKS -' and minor correction. With pencil note by recipient. TWO: TLS of 19 November 1957. 1p, 4to. He thanks him for his letter, 'which I greatly appreciate. / I had been asked whether Julian Wylie had done more pantomimes in London than I had, or vice versa. I had an idea that I was quite a number ahead and you have kindly confirmed it. Actually, I have done fourteen in the West End and nobody living to-day has done as many as that.' He thanks him for his trouble, and evidently sending a bottle of wine, ends: 'Would you toast Julian with the attached.' THREE: Unsigned carbon of Macqueen-Pope's reply to Item One, 18 November 1957. Speaking form memory, since his 'references' are 'at home', he gives details of 'nine major pantomimes' that 'Julian did' in London.

Condition: Good. A collection of 35 etchings on laid paper. 23.4 x 15.5cm. 10 with serious waterstains. Reference: Boston MFA, ACCESSION NUMBER37.1892.

Condition: Good. Five engravings; proofs on wide margined rag paper watermarked "MBM." 27 x 36cm. sheet size.

Condition: Good. 22 letters on 32 leaves; Most are dated and from René Char to Valentine Hugo. A few are by or to Valentine and Paul Eluard. The three lived together in the 1930s.In March of 1926, Valentine attended one of the first Surrealist expositions where she met Paul Éluard. Their meeting sparked a friendship that would continue until his death in 1952. In 1927, after working as costume designer on the set of La Passion de Jeanne d'Arc, Valentine returned to Paris a full-fledged Surrealist; Jean Hugo, however, never embraced the Surrealist movement. In the years following their hurried nuptials, their tastes diverged leading to separation in 1929 and finally divorce in 1932. (Despite the end of their marital relations, Valentine and Jean remained friends until her death in 1968.).Provenance: Pierre Spivakoff (1933-2012)?Après des études au Cours Simon, Pierre Spivakoff crée à Paris le tout premier café-théâtre « Le Royal » situé boulevard Raspail où il met en scène des pièces de Fey deau, Ionesco, Dumas, Rachilde, Molière et Corneille. En 1973, il met en scène «Délirante Sarah», une pièce autour de Sarah Bernhardt où il interprète le rôle prin cipal. Le spectacle représentera la France dans de nom breux Festivals européens (Rome, Belgrade, Berlin?) et se prolongera à la comédie des Champs-Elysées durant toute l'année 1974. Habité par la divine Sarah, Il est l'auteur du livre « Sarah Bernhardt vue par les Nadar », éditions Herscher, 1997. Par ailleurs , il monte « L'Homme aux camélias » au Théâtre La Bruyère ou « Monsieur Vénus » au Théâtre des Mathurins. Également metteur en scène et professeur d'art dramatique, il dirigera de très nombreux acteurs avant d'ouvrir une classe de théâtre à l'American Center, aventure qui durera plus de 10 ans. Enfin, son cours de coaching d'avocats et de personnalités politiques a durablement marqué l'éloquence à la française chez les ténors ténors du barreau .

Condition: Good. Crayon or chalk drawing in sanguine. 32 x 25cm. Annotated: "à Valentine bien affecteusement ??????? Paul.".Valentine Gross met her future husband Jean Hugo, grandson of the influential French author Victor Hugo, in 1917 at the home of Mimi and Cypa Godebski. In 1919 they were married with Cocteau and Satie as their only witnesses. Neither of Jean's parents consented to the marriage, perhaps contributing to its eventual demise.In March of 1926, Valentine attended one of the first Surrealist expositions where she met Paul Éluard. Their meeting sparked a friendship that would continue until his death in 1952. In 1927, after working as costume designer on the set of La Passion de Jeanne d'Arc, Valentine returned to Paris a full-fledged Surrealist; Jean Hugo, however, never embraced the Surrealist movement. In the years following their hurried nuptials, their tastes diverged leading to separation in 1929 and finally divorce in 1932. (Despite the end of their marital relations, Valentine and Jean remained friends until her death in 1968.).Provenance: Pierre Spivakoff (1933-2012)?Après des études au Cours Simon, Pierre Spivakoff crée à Paris le tout premier café-théâtre « Le Royal » situé boulevard Raspail où il met en scène des pièces de Fey deau, Ionesco, Dumas, Rachilde, Molière et Corneille. En 1973, il met en scène «Délirante Sarah», une pièce autour de Sarah Bernhardt où il interprète le rôle prin cipal. Le spectacle représentera la France dans de nom breux Festivals européens (Rome, Belgrade, Berlin?) et se prolongera à la comédie des Champs-Elysées durant toute l'année 1974. Habité par la divine Sarah, Il est l'auteur du livre « Sarah Bernhardt vue par les Nadar », éditions Herscher, 1997. Par ailleurs , il monte « L'Homme aux camélias » au Théâtre La Bruyère ou « Monsieur Vénus » au Théâtre des Mathurins. Également metteur en scène et professeur d'art dramatique, il dirigera de très nombreux acteurs avant d'ouvrir une classe de théâtre à l'American Center, aventure qui durera plus de 10 ans. Enfin, son cours de coaching d'avocats et de personnalités politiques a durablement marqué l'éloquence à la française chez les ténors ténors du barreau .