829 résultats
194039195Paris 1940. THE ONLY LETTER FROM COCTEAU THAT MARAIS REFUSED TO PUBLISH AND A KEY DOCUMENT FOR UNDERSTANDING COCTEAU'S THOUGHT. A beautiful letter from Jean Cocteau 1889-1963 to Jean Marais 1913-1998 a movie star director both film and theatre painter sculptor writer and photographer--and Cocteau's lover from 1937 to 1947. When the letter was sent in April or May of 1940 Marais was mobilized in the French army. Aside from expressing his love for Marais whom he addresses as "Mon bon ange" Cocteau also mentions André Breton 1896-1966 and his wife. UNLIKE ALL OF THE OF THE OTHER LETTERS COCTEAU SENT TO MARAIS THIS ONE WAS NOT PUBLISHED IN MARAIS' COMPILATION "Jean Cocteau: lettres à Jean Marais." Paris: Albin Michel 1987. The reason is that COCTEAU CLEARLY REVEALS HIS PRO-GERMAN AND ANTI-BRITISH SYMPATHIES AND FANTASIZES ABOUT A FRANCO-GERMAN ALLIANCE AGAINST ENGLAND. 27 x 21 cm. About 500 words written very legibly in black ink. On very good wove paper with some crinkling but no signs of aging. While Cocteau made little effort to hide his homosexuality he didn't sign the letters he sent to Marais during the war.just in case. Cocteau has signed this letter however with his characteristic star. In excellent condition. A CULTURAL AND HISTORICAL DOCUMENT OF GREAT IMPORTANCE. <br/><br/> unknown
194039190Paris 1940. A beautiful love letter from Jean Cocteau 1889-1963 to Jean Marais 1913-1998 a movie star director both film and theatre painter sculptor writer and photographer--and Cocteau's lover from 1937 to 1947. When the letter was sent in April or May of 1940 Marais was mobilized in the French army. Aside from expressing his love for Marais Cocteau also discusses his work with Colette 1873-1954 with whom he had spent the evening on a play based on "Chéri" in which Cocteau plans to cast Marais. 27 x 21 cm. About 200 words written very legibly in black ink. On very good wove paper with no signs of aging. While Cocteau made little effort to hide his homosexuality he didn't sign the letters he sent to Marais during the war.just in case. THIS LETTER IS PUBLISHED IN FULL in "Jean Cocteau: lettres à Jean Marais." Paris: Albin Michel 1987 p. 132. In excellent condition. <br/><br/> unknown
1921328429Paris 1921. paperback. very good. Woodcut illustrations throughout the text. 233 pages with uncut edges. Thick 12mo printed pink wrappers. Paris: La Sirene 1921. Lightly foxed at outer edges still a very good copy.<br/> <br/> unknown
24564Paris Gallimard juin 1941. 1 vol. 120 x 190 mm de 89 p. et 1 f. Broché. . Édition originale. Un des 75 exemplaires sur alfax Navarre celui-ci parmi les 10 hors commerce n° XVIII. Envoi signé : « à mon très cher André Gide Jean ». . Les rapports entre les deux hommes s’étaient envenimés au moment de la parution de Potomak en 1919 lorsque Gide s’en était pris aux poèmes du Cap de Bonne Espérance : « Il m’appela comme un élève en faute chez le maître d’école et me lut une lettre ouverte qu’il me destinait. On m’adresse pas mal de lettres ouvertes. Dans celle de Gide je figurais en écureuil et Gide en ours au pied de l’arbre. Je sautais des marches et de branche en branche. Bref je recevais une semonce et je devais la recevoir en public. Je lui déclarai qu’à cette lettre ouverte je comptais répondre. Il renifla opina du bonnet me dit que rien n’était plus riche ni plus instructif que ces échanges. On se doute que Jacques Rivière refusa de publier ma réponse dans la N.R.F. où Gide avait publié sa lettre. Elle était assez rude je l’avoue. J’y constatais que la maison de Gide villa Montmorency ne regardait pas en face que ses fenêtres donnaient toutes de l’autre côté ». À cette « Lettre ouverte à Jean Cocteau » parue dans La NRF en juin 1919 Cocteau répliqua dans Les Écrits nouveaux de juin-juillet : « Il y a en vous du pasteur et de la bacchante ». Nouvelle riposte de Gide dans la même revue en octobre lui reprochant « non point tant de suivre que de feindre de précéder ». La rivalité intellectuelle et l’estime distanciée durera tout au long de la vie respective des deux hommes au cours de laquelle ils se croisent aux éditions Gallimard et dans les dîners en ville notamment chez les de Noailles. Cocteau y reviendra dans son Journal d’un inconnu : « J’aimais Gide et il m’agaçait. Je l’agaçais et il m’aimait. Nous sommes quittes. … Au terme de sa vie il vint dans ma maison de campagne avec Herbart. Il souhaitait que je fisse la mise en scène d’un film qu’il tirait d’Isabelle. À l’œil d’Herbart je devinai qu’il pataugeait. Le film était médiocre. Je le lui expliquai dans une note écrite et qu’on attendait plutôt de lui un film des Faux-Monnayeurs ou des Caves. Il jubilait de m’entendre lire une note. Il empocha cette note. Il est possible qu’on la retrouve dans quelque tiroir. Nos contacts furent agréables jusqu’à sa fin jusqu’à la lettre où Jean Paulhan me le décrivait comme pétrifié sur son lit de mort. » Gide dès août 1914 avait marqué ses distances : « Jean Cocteau m’avait donné rendez-vous à un ‘thé anglais’ au coin de la rue de Ponthieu et de l’avenue d’Antin. Je n’ai pas eu de plaisir à le revoir malgré son extrême gentillesse ; mais il est incapable de gravité et toutes ses pensées ses mots d’esprits ses sensations tout cet extraordinaire brio de son parler habituel me choquait comme un article de luxe étalé en temps de famine et de deuil …. Il y a chez lui l’insouciance du Gavroche ; c’est près de lui que je me sens le plus maladroit le plus lourd le plus morose ». Paris, Gallimard, (juin) 1941. 1 vol. (120 x 190 mm) de 89 p. et [1] f. Broché. unknown
19892081502112500767B6 7th edition with cover Film Art Co. 1989. Soft Cover. Fine. Number of books: 1 B6 7th edition with cover Film Art Co. paperback
16-4939Frankfurt/M: 1959. Letterpress on card stock. 35.5 x52 cm.14" x 19 7/8" broadside. Philip Hofer. Broadside of an Alphabet with quotes by Douglas C McMurtrie Jean Cocteau and Emanuel Geibel about letters and the alphabet in a variety of languages. Calligraphed by Hermann Zapf and commissioned by Philip Hofer. Printed in 7 colors. The colophon line is in German and can be translated as "For Philip Hofer in Cambridge written by Hermann Zapf Frankfurt am Main 1959". Hermann Zapf pronounced “tsáff†born November 8 1918 was a German typeface designer who lived in Darmstadt Germany and was married to calligrapher and typeface designer Gudrun Zapf von Hesse.Zapf’s work which includes Palatino 1948 named after 16th century Italian writing master Giambattista Palatino and Optima 1952 a flared sans-serif released by Stempel in 1958. Zapf disliked its name which was invented by Stempel’s marketers has been widely copied often against his will. The best known example may be Monotype’s Book Antiqua which shipped with Microsoft Office and was widely considered a “knockoff†of Palatino. In 1993 Zapf resigned from ATypI Association Typographique Internationale over what he viewed as its hypocritical attitude toward unauthorized copying by prominent ATypI members.In 1935 Zapf attended an exhibition in Nuremberg in honor of the late typographer Rudolf Koch. This exhibition gave him his first interest in lettering. Zapf bought two books there using them to teach himself calligraphy. He also studied examples of calligraphy in the Nuremberg city library. In 1938 Zapf designed his first printed typeface for D. Stempel AG and Linotype GmbH of Frankfurt a fraktur type called Gilgengart.In 1976 the Rochester Institute of Technology offered Zapf a professorship in typographic computer programming the first of its kind in the world. He taught there from 1977 to 1987 flying between Darmstadt and Rochester. There he developed his ideas on digital typography further with the help of his connections in companies such as IBM and Xerox and his discussions with the computer specialists at RIT. Zapf used his experience to begin development of a typesetting program called the “hz-program†which Adobe Systems acquired and later incorporated in their InDesign program.Expertise by: Dominique COURVOISIERExpert de la Bibliothèque nationale de France. Membre du Syndicat Français des Experts Professionnels en œuvres d’art5 rue de Miromesnil 75008 Paris.Provenance: from the estate of Raymond Gid who died Sunday November 12 2000 in Paris. Born on November 25 1905 Raymond Gid became first known through his posters after having studied at les Beaux-Arts. As a film enthusiast he designed many movie posters for example Vampyr de Dreyer photomontage 1932 Le Silence de la mer by Melville 1949 Les Diaboliques by Clouzot 1955. But a meeting with Guy Levis Mano editions GLM editor and typographer soon directed Gid towards the book. In 1935 he publishes together with the photographer Pierre Jahan Devot Christ de Perpignan and Chats Chiens by Ylla. It is an intensive period of his life period: he meets Dufy Corbusier Hake Lurcat and receives the gold medal for a poster at the International exhibition of Paris 1937. He reacts to the Civil War in Spain with a poster " Help to the civil populations ". Together With Father Carre « bete-a-bon-Dieu » of the Resistance Raymond Gid began to design liturgical texts. Apocalypse Six an extract of the biblical text of Saint John appeard after the war. It is one of his major works composed in the Peignot typeface which was designed by Cassandre in 1937. He designs several post-war period posters for example Week of absent a simple Lorraine cross surrounded by barbed wire on a dark background. Right from the beginning of the symposiums in Lure Provence in 1954 Raymond Gid participates in discussions on typography particularly with Maximilen Vox Charles Peignot Roger Excoffon. Raymond Gid puts on page and illustrates the Dialogues of the Carmelite nuns by Bernanos 1954 then some pages in Caractere Noel 1955 dedicated to his friend Jan van Krimpen the creator of dutch type faces. He plays with the breathing of the text in the manner of Mallarme as in his Book of hours 1959 or his Apocalypse 1964 adapting medieval text to present day tastes. He also designs posters like those for the Club Mediterranee 1961 Bally 1976 or heavier fare like that of Amnesty International 1973. During his whole life Raymond Gid remained attached to the typographical arts. He liked to try out new characters in his compositions mixing them with his very free drawings as for example in Messidor published by the Imprimerie nationale 1989. Jean-Francois Porchez type designer; translated from french by Babelfish and cleaned up a bit. Links Art and Poster Bally posters Chicago Center for the Print Bally posters Poster Auctions International New York Catalogue from the personal exhibition at the Bibliotheque Forney Paris in 1992. Frankfurt/M: 1959 unknown
1957000014Paris: Olympia Press 1957. Book. Very Good. Soft cover. 1st Edition. 12mo - over 6¾ - 7¾" tall. 94pp. Green sotfcover white field with black titles on spine black titles on front panel. Slight wear along edges of spine but binding remains sturdy spine straight. Pages clean and unmarked throughout. Preface and illustrations by Jean Cocteau and despite the pretense of its anonymous authorship text by Cocteau as well. . Olympia Press Paperback
1957h00403Paris: Olympia Press 1957. First edition thus. 12mo. 93 pp. Very Good. Slight shelfwear to extremities of wraps. Traveller's Companion #51. Paperback. Very Good. Olympia Press paperback
199823237Montpellier : Luis Sasinada 1998. 180x330mm. Couverture imprime. Tirage limit 45 exemplaires sur papier Japon Sanmore dont 20 h-c. comportant 4 illustrations originales tires sur Japon Dosabiki et rhausses de gouache par le peintre qui sign et justifi chaque exemplaire avec lÕditeur XXX/VL. Bel exemplaire. 185 Luis Sasinada unknown
69-4359Cambridge Massachusetts: The MIT Press 1997. Oblong 8vo. Hardcover with dust-jacket 108 pp. B&W Plates. Very Good.Provenance: Richard A. Lorenz 1952 -2001 author art conservator curator and director of the San Francisco Regional Art Conservation Center. As a trustee of The Imogen Cunningham Trust Mr. Lorenz organized and curated exhibitions of Cunningham's photographs and authored four major books on the photographer. Cambridge, Massachusetts: The MIT Press, 1997 hardcover
1926330029London: Faber & Gwyer 1926. First. hardcover. very good-. Translated from the Frenchby Rollo H. Myers. With a portrait of the author by himself. Small 8vo brown cloth rubbed at the extremes of the spine. London: Faber & Gwyer 1926. First Edition in English.<br/> <br/> Faber & Gwyer unknown
1926017448London: Faber and Gwyer 1926. Cloth. Good. Brown cloth. No jacket. 248 pp. Frontis portrait by Cocteau. A collection of essays written between 1918 and 1926 reflecting on art literature and culture. By Jean Cocteau and artist and writer associated with surrealism and avant garde movements. This includes the "Cock and the Harlequin" "Professional Secrets" and others. GOOD condition. General fading and minor offsetting to the covers. Light edgewear. Text block toned. Faber and Gwyer unknown
1926007604London: Faber and Gwyer 1926. Book. Near Fine. Cloth. First Edition. 8vo - over 7¾" - 9¾" tall. RARE in dust wrapper and this one quite nice Near Fine a hint of toning to end pages prior owner name front end page in a Near Fine dust wrapper tiny chips at head of spine small old tape mends internally at fold edges. Written between the years 1918 and 1926 and including "Cock and Harlequin" "Professional Secrets" and other critical essays. With a frontispiece titled "A portrait of the artist by himself". Faber and Gwyer Hardcover
1926281356London: Faber and Gwyer 1926. Hardcover. Very Good. First English edition. Two small stains on the boards and corners a bit bumped else very good or better lacking the dustwrapper. Eslanda Goode Robeson's copy with her ownership Signature. Robeson was an anthropologist author reviewer and the wife of Paul Robeson. Faber and Gwyer hardcover
0809035006.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1953867921953. Fine. 3 septembre 1953 21 x 27 cm une page sur un feuillet Original ink drawing signed by Jean Cocteau dated in his hand September 3 1953. One horizontal crease. Between a few pen strokes that strangely resemble a tombstone the writer-artist has slipped in an amusing epitaph: ""Voilà ma fille je ne peux pas dire mieux / Jean"" There you are my daughter I cannot say better / Jean. unknown
1949866621949. Fine. Cocteau fascinated by New York the ""city that sleeps standing"" 17 janvier 1949 14.90 x 19.50 cm un feuillet Initialed autograph manuscript by Jean Cocteau entitled ""L'Aurore"" dated by the author 17 January 1919. One page on one leaf written in blue pen. Published in L'Aurore 19 January 1949 no. 1353. Jean Cocteau wrote this dazzling portrait of the city that never sleeps for the newspaper L'Aurore after a twenty-day stay in New York. The writer would later extend this account with his 'Lettre aux Américains' Grasset 1949 taking up some of the words and expressions written on the spot in this charming manuscript. According to legend Cocteau began writing his 'Lettre aux Américains' on the flight home. One can imagine the writer eyes still shining with the lights of the city jotting down his first impressions on this page: ""It's very difficult to speak in a few lines about a city like New York. Did my trip last twenty days or twenty years I wonder . Nothing is lighter than the air of New York. Too light. Everything swirls. What rests and settles is very rare. The skyscrapers themselves sway slightly at the top and the light shines through them like tulle. At night Broadway is plagued by frightful electrical tics. And luminous Christmas trees six stories high adorn Park Avenue."" Cocteau had flown to New York in the last days of December 1948 for the premiere of The Eagle with Two Heads starring Edwige Feuillère as the Queen and his great love Jean Marais as the young anarchist poet. He hoped to convince the great actress Greta Garbo to play a role in one of his next films: ""It was the first time I'd spent New Year's Eve away from my city and I'm lucky when the clock struck midnight to be kissing Greta Garbo whose face is more and more admirable."" The writer ends the manuscript with a masterful ode to the New York way of life: ""There are sitting cities. There are cities that lie down. New York likes neither to sit nor to lie down. It's a city that sleeps standing."" In New York Cocteau found the perfect match for his own creative energy. During this short stay he posed for Philippe Halsman who had been commissioned by LIFE magazine to ""capture on camera what goes on inside a poet's mind"". Halsman's emblematic portraits - a janiform double profile or as a monster-magician with three pairs of hands smoking drawing and reading - caught the likeness of the surprisingly varied artist with incomparable accuracy. Precious impressions of a dandy and protean Cocteau irresistibly drawn to New York's bustling energy. unknown
196087393Saint-Jean-Cap-Ferrat 1960. Fine. Saint-Jean-Cap-Ferrat 6 Janvier 1960 21 x 27 cm une page une enveloppe Autograph letter dated and signed by Jean Cocteau 9 lines in black ink to his friend Georges Bachelard from his villa at Santo Sospir in Saint-Jean-Cap-Ferrat. Fold marks inherent to postal dispatch envelope included and extensively written by Jean Cocteau. Jean Cocteau extends all his wishes for success to his friend and thanks him for his last letter which comforted him in the path he is pursuing. unknown
195287645Saint-Jean-Cap-Ferrat 1952. Fine. Saint-Jean-Cap-Ferrat 8 Novembre 1952 21 x 27 cm une page Autograph letter dated and signed by Jean Cocteau 15 lines in blue ink addressed to a friend from Saint-Jean-Cap-Ferrat about a painting he is about to complete. Fold marks inherent to postal delivery. Jean Cocteau questions his correspondent about the shipping arrangements for his work which he plans to finish the day after writing this letter: ""Should I bring it back to Paris or send it elsewhere if that suits you The best would be to remove the canvas from its frame and roll it. Please be so kind as to reply quickly so that I can prepare the packaging."" ; he briefly describes the work: "". will be 92 cm in height and 1 m 26 wide. It appears as if it were in flat tints and there is not a single flat surface. I even leave some sunken areas that form dark patches."" unknown
195687010Saint-Jean-Cap-Ferrat 1956. Fine. Saint-Jean-Cap-Ferrat 31 Décembre 1956 21 x 27 cm une page une enveloppe Autograph letter dated and signed by Jean Cocteau 12 lines in blue ink to his friend Georges Bachelard. Fold marks inherent to mailing envelope included. Jean Cocteau is fully absorbed in decorating the Saint-Pierre chapel of Villefranche sur mer which he adorns out of friendship for the village fishermen to whom it belongs. He nevertheless wishes to make himself available for his friend ""Viendrez-vous sur notre côte Mon adresse est villa Santo Sospir St Jean Cap Ferrat."" ""Will you come to our coast My address is villa Santo Sospir St Jean Cap Ferrat."" unknown
195388024Saint-Jean-Cap-Ferrat 1953. Fine. Saint-Jean-Cap-Ferrat 29 Août 1953 21 x 27 cm une page Autograph letter dated and signed by Jean Cocteau 26 lines in blue ink to Olivier Quéant editor of the magazine Plaisir de France sent from villa Santo-Sospir. Fold marks inherent to postal handling. Quéant journalist and notably editor of the magazine Plaisir de France maintained a fine friendly and literary correspondence with the writer. He notably delivered a glowing review of Antigone at its premiere in 1944: ""depuis Racine l'on avait rien écrit d'aussi beau d'aussi grand et d'aussi profondément humain"" since Racine nothing so beautiful so great and so profoundly human had been written L'Illustration. Jean Cocteau at the twilight of his life rebels and complains about his diminished and merely symbolic role in French theater of the 1950s. The second sentence of this letter will be taken up almost word for word in the famous verses of his longest poem Requiem 1962: ""Il est juste qu'on m'envisage / Après m'avoir dévisagé"" It is right that I should be considered / After having been stared at which will also serve as his epitaph. Despite official recognition Cocteau felt until his death ""méconnu inconnu invisible"" misunderstood unknown invisible Jean Cocteau sur le fil du siècle 2003 - a malaise masterfully expressed through these lines. ""Voilà plusieurs années que j'accepte d'être en secret mis à ma place et publiquement remis à ma place. Bref de n'être pas envisagé mais dévisagé. Il est beau de recevoir des lettres ""retournées"" où Anouilh me dit ""Sans vos pièces je n'aurais pas écrit une ligne des miennes"" et Giraudoux ""Rilke avait raison. Nos figures blanches à côté du hâle de tes séjours dans l'antiquité."" Il est beau d'être comme le Pisanelle - enterré sous les roses ."" For several years I have accepted being secretly put in my place and publicly put back in my place. In short not being considered but stared at. It is beautiful to receive ""returned"" letters where Anouilh tells me ""Without your plays I would not have written a line of mine"" and Giraudoux ""Rilke was right. Our pale faces beside the tan of your sojourns in antiquity."" It is beautiful to be like Pisanello - buried under roses . Interesting and touching missive from Cocteau with disordered and furious handwriting twisting and stretching in the manner of a calligram. unknown
195486537Saint-Jean-Cap-Ferrat 1954. Fine. Saint-Jean-Cap-Ferrat 10 Mai 1954 13.50 x 21 cm une page Autograph letter dated and signed by Jean Cocteau 17 lines in black ink to a friend describing his Sevillian sojourn. Fold marks inherent to being placed in an envelope. Jean Cocteau explains his silence: his patron and very close friend Francine Weisweiller had been ill: ""Excuse ce long silence. mais on parle souvent de toi. Francine a été très très malade à Kitzbühel en Autriche et longue à reprendre des forces."" Excuse this long silence but we often speak of you. Francine was very very ill in Kitzbühel in Austria and slow to regain her strength. But to cut short his bad news he prefers to recount the enchantment of Seville: ""Nous revenons de Séville. Il pleuvait sur les calèches et les gitanes - mais dans le vieux Séville pareil à Pompéi les orangers embaument."" We are returning from Seville. It was raining on the carriages and the gypsies - but in old Seville like Pompeii the orange trees are fragrant. unknown
196386003Fréjus 1963. Fine. Fréjus 17 Avril 1963 21.50 x 27.50 cm une page Autograph letter dated and signed by Jean Cocteau 20 lines in black ink on letterhead of the committee for the edification of the chapel of Notre-Dame de Jérusalem de Fréjus. Fold marks inherent to postal dispatch one tear in left margin of the letter at the level of the fold. Jean Cocteau offers profuse apologies while acknowledging mitigating circumstances regarding the emotional burden overwhelming him: ""J'accepte vos reproches avec beaucoup de honte. Mais si je pouvais vous raconter la période que je traverse votre coeur me comprendrait et m'absoudrait."" ""I accept your reproaches with great shame. But if I could tell you about the period I am going through your heart would understand and absolve me."" due to a recently deceased friendship about which he does not wish to reveal more: ""N'en parlons plus et priez pour moi."" ""Let us speak no more of it and pray for me."" Jean Cocteau prefers to discuss his projects: ""Actuellement je me consacre à mon travail de la chapelle du Saint-Sépulcre. Quand je l'aurai construite peinte et rendue digne des chevaliers de Jérusalem je me remettrait sic peut-être à écrire."" ""Currently I am devoting myself to my work on the chapel of the Holy Sepulchre. When I have built it painted it and made it worthy of the knights of Jerusalem I will perhaps start writing again."" and the prospects that delight him: ""Il est probable que je resterais après Pâques à Fréjus où les organisateurs m'offrent une petite villa."" ""It is likely that I will remain after Easter in Fréjus where the organizers are offering me a small villa."" unknown
195083936s. l. 1950. Fine. s. l. 4 février 1950 21 x 27 cm une page sur un feuillet Autograph letter signed ""Jean"" and with a small star addressed to his English translator Marie Hoeck one page in blue ink on a sheet of fine white paper. Transverse folds inherent to posting. On the verso notes by the translator in ballpoint pen. Jean Cocteau is overworked by several projects: ""I have finished the mixtures of sounds and music for Orphée. I will probably finish the images for Les Enfants Terribles next week. . I do not speak to you of Léone because I look at her feel her steep myself in her - but alas my English allows me nothing more than to breathe in her light ink."" He shares with his translator his great fatigue: ""Then relaxation and fatigue - for fatigue only manifests itself in rest. . I am quite at ease concerning your springs. They do not creak and their flexibility is perfect. Mine nearly gave way on me the evening in Brussels. It is a lesson. I thought myself capable of the impossible. One must ""face the facts"" no one can do it."" unknown
195483066s. l.: S. n. 1954. Fine. S. n. s. l. 27 avril 1954 21 x 27 cm une feuille Autograph letter signed by Jean Cocteau president of the jury of the 1954 Cannes festival which was held from March 25 to April 9 addressed to his friend Carlo Rim 17 lines in blue ink : ""cette étrange foire d'empoigne à laquelle j'essayai de donner quelque grâce"" ""this strange free-for-all to which I tried to give some grace"" Jean Cocteau further praises Carlo Rim's impartiality and clairvoyance: ""Je dois te dire ma reconnaissance pour ton oeil qui savait voir au dessus du lieu."" ""I must tell you my gratitude for your eye which knew how to see above the place."" and denounces the struggles of influence troubling and surrounding the awarding of prizes of which he bore the brunt : ""Le plus drôle c'est que ma dernière tentative de justice dérangeait encore de combinés - l'entourage de Clément ""The funniest thing is that my last attempt at justice still disturbed some schemes - Clément's entourage"" This refers to René Clément who was competing that year with Monsieur Ripois il n'y est pour rien espérant un scandale publicitaire annulé par le prix spécial. Les petits copains que tu connais dirent qu'on m'avait téléphoné de ordres sic."" ""he has nothing to do with it hoping for a publicity scandal cancelled by the special prize. The little friends you know said that I had been telephoned orders."" Satisfied to be rid of this cumbersome burden Jean Cocteau nonetheless advises his friend Carlo Rim jury member to be vigilant for the next edition of the festival: ""Le jeu n'étant pas la chandelle. L'année prochaine ouvre ""l'oeil"" sur le travail de mon successeur. il aura bonne mine comme on dit."" ""The game not being worth the candle. Next year keep an 'eye' on my successor's work. He will look good as they say."" In his letter Jean Cocteau mentions René Clément who was competing that year with ""Monsieur Ripois"" which thus obtained to the great joy and instigation of René Clément's entourage the grand jury prize ""Gate of Hell"" by Teinosuke Kinugasa winning the grand prize. Fold marks inherent to postal mailing. Provenance: from the Carlo Rim collection. Carlo Rim was a Provençal writer author notably of ""Ma belle Marseille"" a caricaturist a filmmaker: ""Justin de Marseille"" ""L'armoire volante"" ""La maison Bonnadieu"" and was notably the friend of Fernandel Raimu and Marcel Pagnol but also of Max Jacob and André Salmon whom he met in Sanary. S. n. unknown
