Jean CocteauBiblio.com
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20062-2070733912Editions Gallimard 2006. Paperback. New. 929 pages. French language. 7.87x5.83x5.67 inches. Editions Gallimard paperback
49490211like new. unknown
CA05C-00094Gallimard. Collectible - Acceptable. Paris: Gallimard 1962. Sm 4to hardcover. 173pp. French. Good book. No dust jacket. Top edge foxed. Large bookplate on front pastedown. French Poetry Books in French Inquire if you need further information. Gallimard hardcover
1948mon0000970030Robert Marin 1948. Softcover. Very Good. in x in x in. Pages clean and bright no markings. Dust jacket unclipped with light edgewear. Complete with numerous illustrations. Robert Marin paperback
195746197Monaco: Editions du Rocher 1957. Fine. Editions du Rocher Monaco 1957 14 x 19.50 cm broché First edition one of 40 numbered copies on pur fil this one of 10 hors commerce n°1 the only large paper copies with 15 unnumbered on vélin azur. Illustrated with hors-texte author's drawings. A very good copy. Editions du Rocher unknown
192567544Paris: Sans Pareil 1925. Softcover. Good. Wrappers. Book is complete binding is shaken. Sans Pareil unknown
196186663Monaco: Editions du Rocher 1961. Fine. Editions du Rocher Monaco 1961 13.50 x 18.50 cm broché First edition one of 60 numbered copies on pur fil Marais paper the only deluxe copies. Work illustrated with photographs by Lucien Clergue press clippings included. A light crease mark to upper right corner of front cover a small light stain to left margin of back cover. Handsome copy. Editions du Rocher unknown
64917Revue Pleyel P. 1952 In-4 32 cm 8pp. illustr. photos publicites; Cristal Daum et Parfum Guerlain postface de jean Cocteau Nb-0147 quelques annotations a l'encre sur la liste des chansons unknown
194390639Paris: Au Divan 1943. Wrappers. good plus. Wrappers. Cet Ouvrage comprenant un texte original de Jean Cockeau. "Le Mythe Du Greco" une biographie un reportage photographique sur la crete de zuber et 101 reproductions a ete acheve d'imprimer a La Neogravure Sous La Direction De H.Luginbuhl Le 10 Decembre 1943. Tissue wrapper has some loss at spine. Au Divan unknown
1992SELcocLESElysium Press 1992-01-01. Limited edition. Hardcover. Very Good/No dustjacket as issued. The first publication of Elysium Press limited to 225 copies of which this is number 31 hand numbered on limitation page. The binding is tight corners sharp. Text and images unmarked. Includes publishers announcement card laid in. Housed in a lightly worn slipcase. Elysium Press hardcover
1993018914Livre De Poche French 1993. Soft cover. Good. <br/> <br/> Livre De Poche French paperback
1976042604London: The Folio Society 1976. 1st Thus. Hardcover. As New/No Dust Jacket. Octavo. The Author. pp 118 61. 1st printing. An unread book in an as new condition slipcase. The Folio Society hardcover
1984I-287-650Grands Écrivains 1984. Hardcover. Good. Former library book. Different cover. Ammareal gives back up to 15% of this item's net price to charity organizations. Grands Écrivains hardcover
BN317905Grands Écrivains. Hardcover. Les Enfants Terribles <br/><br/>Les Enfants Terribles Jean Cocteau Grands Écrivains hardcover
1976155819London: Folio Society 1976. First Edition; First Printing. Hardcover. Near Fine in a Very Good slipcase. Folio Society hardcover
19362091202133203503Les Cent Une 1936. Soft Cover. Fine. Volume: 1 Les Cent Une paperback
19942510paris: editions hoëbecke 1994. 1994.<br /> <br /> paris: editions hoëbecke. isbn: 2-905292-76-8. 8.5 x 11 inches. 225 pages. hardcover. bound in black cloth-covered boards. book condition: edgeworn and spine bumped. some scrattling to boards. very good. editions hoëbecke unknown
1938457Paris: Gallimard 1938. Fine. Gallimard Paris 1938 12 x 19 cm broché First edition one of 195 numbered copies on alfa paper the only deluxe copies after only 6 China 13 Holland and 55 pure thread. Minor restorations to spine and boards. Handsome copy. Gallimard hardcover
19312081502112500841B5 first edition with box Daiichi Shobo 1931. Soft Cover. Fine. Number of books: 1 B5 first edition with box Daiichi Shobo paperback
19942090502130500433Tokyosogensha 1994. Soft Cover. Fine. The book is in fine condition. Tokyosogensha paperback
195485159Kietzbühel Kitzbühel 1954. Fine. Kietzbühel Kitzbühel 8 Février 1954 13.50 x 21 cm une page une enveloppe Autograph letter signed by Jean Cocteau addressed from the Grand Hotel Kietzbühel 16 lines in black ink to Olivier Quéant. Fold marks inherent to mailing envelope included. ""Grd Hotel Kietzbühel 8 Feb. 1954 my dear Olivier dans le poème ""J'ai dans un train"" il y a les chevaux noirs et l'homme le lotte du guerre et paix de Picasso isti guerre on pourrait prendre le motif séparé du livre qui flambe sous le pied d'un cheval noir. Il ferait une belle image. Si tu ne l'as pas demande le catalogue illustré de Rome . Eugenio Réale 3 rue Mangili Rome."" in the poem ""J'ai dans un train"" there are the black horses and the man the lotte of Picasso's guerre et paix isti guerre we could take the separate motif of the book that burns under the foot of a black horse. It would make a beautiful image. If you don't have it ask for the illustrated catalogue from Rome . Eugenio Réale 3 rue Mangili Rome. unknown
196185154Saint-Jean-Cap-Ferrat 1961. Fine. Saint-Jean-Cap-Ferrat 23 Janvier 1961 21 x 27 cm une page Autograph letter signed by Jean Cocteau on letterhead from Villa Santo-Sospir in Saint-Jean-Cap-Ferrat which he decorated 13 lines in blue ink to Roger Nimier. Fold marks inherent to mailing. ""23 Janv. 1961 Très cher Nimier voici pour accompagner le portrait dessin. Si vous le trouvez trop bref demandez chez Grasset un exemplaire de journal d'un inconnu. Dans le chapitre de l'amitié je raconte un déjeuner entre Simenon Pagnol et moi.- sans nommer personne. Mais le passage est très significatif de ce que je résume en q.q. lignes. Votre fidèle Jean. P.S. Dites moi vite si tu as reçu cette note et son P.S."" ""23 Jan. 1961 / Very dear Nimier / here is something to accompany the portrait drawing. If you find it too brief ask Grasset for a copy of Journal d'un Inconnu. In the friendship chapter I tell of a lunch between Simenon Pagnol and myself - without naming anyone. But the passage is very significant of what I summarize in a few lines. Yours faithfully Jean. P.S. Tell me quickly if you received this note and its P.S."" unknown
195885233Saint-Jean-Cap-Ferrat 1958. Fine. Saint-Jean-Cap-Ferrat 4 N ovembre 1958 13.50 x 21 cm trois pages et demi sur deux feuillets Autograph letter signed by Jean Cocteau 52 lines in blue ink to Olivier Quéant sent from the Villa Santo-Sospir in Saint Jean Cap-Ferrat which he decorated. Fold marks inherent to the mailing. Jean Cocteau waxes bucolically enthusiastic about the place where he resides and works: "". chaque jour je travaille à flanc de colline dans une sorte de ferme exquise où ne fleurisse que les grains qui tombent d'ailleurs."" "". each day I work on the hillside in a sort of exquisite farm where only the seeds that fall from elsewhere flourish."" and rhapsodizes about the local craftsmanship: "". des artisans véritables. travailler chez eux c'est le contraire de lire un journal. On aime voir ce miracle de l'équilibre entre le coeur et la main."" "". true artisans. working with them is the opposite of reading a newspaper. One loves to see this miracle of balance between heart and hand."" He informs Olivier Quéant of his upcoming exhibition: ""J'expose le 15 13 pour la première 6 rue Bonaparte. je ne te demande pas de venir voir mes oeuvres mais leur besogne ils le méritent."" ""I'm exhibiting on the 15th 13th for the opening 6 rue Bonaparte. I'm not asking you to come see my works but their labor they deserve it."" and also explains the aesthetic causes he intends to defend henceforth: "". nous menons la même croisade : celle de soutenir ces braves types qu'on dédaigne comme des aristocrates du milieu ouvrier. Le drame c'est que l'artiste qui tournait amoureusement un pied de fauteuil Louis 15 apporte la même application mais froide à forger la pièce d'une machine qui fabriquera le fauteuil."" "". we wage the same crusade: that of supporting these good fellows who are disdained as aristocrats of the working class. The tragedy is that the artist who lovingly turned a Louis XV chair leg applies the same care but cold to forging the part of a machine that will manufacture the chair."" while lamenting that artisanal traditions and know-how are sinking into oblivion: "". les jeunes refusent d'apprendre le métier par exemple des femmes de soixante ans qui firent ce prodige : ma tapisserie de Judith et Holopherne. disaient : c'est la dernière."" "". young people refuse to learn the trade for example women of sixty who performed this miracle: my tapestry of Judith and Holofernes. said: it's the last one."" He hopes to see his friend Olivier Quéant soon: ""Tu en verras une chez les Weill si tu me fais la grâce de venir et si le déluge parisien cesse et si tu ne dois pas atteindre la rue Bonaparte en arche ou gondole."" ""You'll see one at the Weills' if you do me the grace of coming and if the Parisian deluge ceases and if you don't have to reach rue Bonaparte by ark or gondola."" unknown
195575873Paris 1955. Fine. Paris s. d. 17 décembre 1955 20.80 x 26.80 cm une page sur un feuillet Autograph letter signed by Jean Cocteau addressed to Michael Smithies. One page written in blue ballpoint pen. Two transverse folds inherent to the mailing. Interesting letter filled with disappointment: ""Here is one of my dreams: to speak at Oxford and once again fate opposes it. I have just been very ill."" One easily understands Cocteau's state of health following the sentence very confused: ""on me me chambre la montagne vers ces dates"". ""Think of the sentence I underline and let us organize something for the near future."" The poet's dream would be fulfilled the following year; promoted to the rank of doctor of letters honoris causa by Oxford University on June 12 1956 he would deliver the Discours d'Oxford on the 14th. unknown
195575564s. l. 1955. Fine. s. l. 26 octobre 1955 20.90 x 26.90 cm une page sur un feuillet 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 uvre 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 uvres 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."" unknown
