‎Autographes‎

‎Blaise CENDRARS‎

‎". je vais attaquer le paquet par le dernier ""cherchant qui dévorer""."" • Autograph letter signed to Luc Estang thanking him for sending his latest works‎

‎Paris: S. n. 1950. Fine. S. n. Paris s. d. ca 1950 11.50 x 16 cm une page Autograph letter signed by Blaise Cendrars addressed to Luc Estang 16 lines in blue ink. Fold traces inherent to postal handling. Luc Estang has just sent his latest books to Blaise Cendrars who delights in them in advance and thanks him for this: "". je me réjouis d'avance de vous lire. "" "". I look forward with pleasure to reading you. "" S. n. unknown‎

Referenz des Buchhändlers : 86569

‎Lawrence DURRELL‎

‎"J'arrive à Paris Dimanche 19 pour deux nuits. Sera tu la sic Disponible "" • Autograph postcard signed by Lawrence Durrell from Rhodes to Jani Brun‎

‎Rhodes 1979. Fine. Rhodes Octobre 1979 21 x 10 cm une carte postale Evocative autograph postcard signed by Lawrence Durrell addressed to Jani Brun written in blue felt-tip pen on the verso of a reproduction of a sculpture depicting a seahorse fountain in Rhodes. Minor angular fold marks on the postcard. ""Rhodes ! J'arrive à Paris Dimanche 19 pour deux nuits. Sera tu la sic Disponible Je decend chez l'hotel Royale comme d'habitude. Le tournage est fini ce soir ! Ouf ! Love. Larry."" ""Rhodes! I'm arriving in Paris Sunday the 19th for two nights. Will you be there Available I'm staying at the Hotel Royale as usual. Filming is finished tonight! Phew! Love. Larry."" After many years spent in Greece Egypt and Rhodes the travelling writer Lawrence Durrell was forced to flee Cyprus following popular uprisings that led the island to independence from the British crown. Rich only with a shirt and a typewriter but crowned with the success of his novel Bitter Lemons of Cyprus he arrived in France in 1956 and settled in the Languedoc village of Sommières. In the ""Tartès house"" his large residence surrounded by trees he wrote the second part of his work his monumental Avignon Quintet devoted himself to painting and received his illustrious friends including the couple Henry Miller and Anaïs Nin the violinist Yehudi Menuhin the London publisher Alan G. Thomas and his two daughters Penelope and Sappho. Among the olive trees and under the Mediterranean sun he met in the mid-1960s the young and vivacious ""Jany"" Janine Brun a woman from Montpellier in her thirties of devastating beauty who worked in the Antiquities department at the Sorbonne in Paris. She was nicknamed ""Buttons"" in memory of their first meeting where the young woman wore a dress covered with buttons. Henry Miller also fell under the charm of ""Buttons"" praising her beauty and eternal youth in exceptional unpublished letters. The three companions spent memorable Parisian evenings of which we retain precious autograph traces through their epistolary exchanges. Recommended by Durrell she made numerous trips particularly to England from where she received extensive correspondence from the writer as well as original works of art signed with his artist pseudonym Oscar Epfs. unknown‎

Referenz des Buchhändlers : 86609

‎Lawrence DURRELL‎

‎"Oui telephonez moi quand tu es à Sauve-qui-pleut. "" • Funny autograph business card signed by Lawrence Durrell addressed to his lover Jani Brun‎

‎Rhodes 1980. Fine. Rhodes s. d. ca 1980 13 x 8 cm une carte postale une enveloppe Suggestive autograph carte de visite signed by Lawrence Durrell addressed to Jani Brun written in brown and mauve felt-tip pens with accompanying envelope. ""dear Buttons. Oui telephonez moi quand tu es à Sauve-qui-pleut et je viendrai te chercher un coeur dessiné. Larry."" After many years spent in Greece Egypt and Rhodes the travel writer Lawrence Durrell was forced to flee Cyprus following popular uprisings that led the island to its independence from the British crown. Rich only in a shirt and a typewriter but crowned with the success of his novel Bitter Lemons of Cyprus Les citrons acides he arrived in France in 1956 and settled in the Languedoc village of Sommières. In the ""Tartès house"" his large dwelling surrounded by trees he wrote the second part of his work his monumental Avignon Quintet devoted himself to painting and received his illustrious friends including the couple Henry Miller and Anaïs Nin violinist Yehudi Menuhin London publisher Alan G. Thomas and his two daughters Penelope and Sappho. Among the olive trees and under the Mediterranean sun he met in the mid-1960s the young and vivacious ""Jany"" Janine Brun a thirty-year-old woman from Montpellier of devastating beauty who worked at the Antiquities department of the Sorbonne in Paris. She was nicknamed ""Buttons"" in memory of their first meeting where the young woman wore a dress covered with buttons. Henry Miller also fell under the charm of ""Buttons"" praising her beauty and eternal youth in exceptional unpublished letters. The three companions spent memorable Parisian evenings of which we retain precious autograph traces through their epistolary exchanges. Recommended by Durrell she made numerous trips notably to England from where she received vast correspondence from the writer as well as original works of art signed with his artist pseudonym Oscar Epfs. unknown‎

Referenz des Buchhändlers : 86623

‎Georges DUHAMEL‎

‎Carte de visite autographe à en-tête de la l'Académie française‎

‎Paris 1955. Fine. Paris 6 Janvier 1955 13.50 x 10.50 cm une carte de visite Printed calling card of academician Georges Duhamel on which he has added on the front these few words for a certain Peillard notably about his health problems: ""Mon cher Peillard Je vous renvoie sans attendre les épreuve reçues au dernier courrier. Je viens de passer dans mon lit presque tout le temps des fêtes. J'ai beaucoup souffert d'une de ces crises de rhumatisme qui m'empêchent pour l'instant de poser le pied par terre et même de goûter le repos du lit. Je me relève depuis hier ; mais je ne sortirai pas avant la semaine prochaine. Trouvez ici mes voeux les plus cordiaux pour madame Peillard et vous-même. Ma femme me dit de joindre ses voeux aux miens. Je le fais. A bientôt ! A vous de grand coeur. GDuhamel."" ""My dear Peillard I return without delay the proofs received in the last post. I have just spent almost all the holiday time in my bed. I have suffered greatly from one of those rheumatic attacks that prevent me at the moment from setting foot on the ground and even from enjoying the rest of bed. I am getting up since yesterday; but I will not go out before next week. Please find here my most cordial wishes for Madame Peillard and yourself. My wife tells me to join her wishes to mine. I do so. See you soon! Yours wholeheartedly. GDuhamel."" Light worming without consequence at the head of the front of the card. unknown‎

Referenz des Buchhändlers : 86656

‎Liane de POUGY‎

‎Lettre autographe datée adressée à Salomon Reinach évoquant ses houleuses relations avec l'Amazone Natalie Clifford-Barney : ""J'ai le poil sensible et comme le mousquetaire : bon coeur et mauvais caractère. C'est la 1ère fois que l'amazone m'aura dûrement visée.""‎

‎Le Clos-Marie Roscoff Roscoff 1923. Fine. Le Clos-Marie Roscoff Roscoff 2 Septembre 1923 20.50 x 27 cm 1 page recto verso Autograph letter dated from Liane de Pougy to the French archaeologist curator of the Musée de Saint-Germain and professor of art history at the École du Louvre Salomon Reinach 56 lines written in blue ink on one double-sided sheet written from her property at Clos-Marie in Roscoff where the famous courtesan stayed until 1926. A small tear in the right-hand margin of the letter inherent in the enveloping of the missive; another slight tear at the foot without affecting the text. Liane de Pougy marvels at the youthful vigor of Reinach who had just turned 65: ' Many happy returns for your 65 years which find you so young so fresh so green with such playful studious feelings. My friend your youthful morals hold the secret of your physical youth—as Rosa Josepha said one sustains the other one preserves the other—and this seen head-on. ' while magnifying his radiant intelligence: 'To no longer produce but to sit atop the high throne of your trophies formed by all you have wrested from instinct to sacrifice to intellectuality. Why do people always say a well of knowledge instead of a luminous column a sky a sun a star etc.—in short something that makes us lift our heads' She is waiting for her friend and former lover the terrible and unfaithful Natalie Clifford-Barney:  'Natalie plans to come to Clos at the end of September. She has a wound to heal here—time fortunately has already done part of the work! I have sensitive feelings and like a musketeer a good heart but a bad temper. This is the 1st time the amazon has truly aimed at me. Let us speak of it no more'. Liane firmly expresses her wish not to be pitied or consoled for her romantic troubles:  'I have suffered in silence but without resignation. Do not speak of this to Nathanaël. Nathanaël means Philippe Max Jacob claims who lives and works near us in the most fascinating way. '. A beautiful letter by the celebrated courtesan actress and writer Liane de Pougy recounting with restrained candor her romantic disappointments with Natalie Clifford-Barney.  unknown‎

Referenz des Buchhändlers : 86631

‎Tancrede de VISAN‎

‎Rien ne pouvait me causer plus de joie que ces trois jacinthes. • Bristol signed autograph thanking his pen pal for sending flowers‎

‎Lyon 1938. Fine. Lyon 5 Avril 1938 14 x 10.50 cm un bristol recto verso une enveloppe Autograph card dated and signed by Tancrède de Visan 15 lines in violet ink on Nouvelliste de Lyon letterhead recto and verso. Envelope included. Touched by the floral attention shown by his correspondent Tancrède de Visan addresses these few words of gratitude to Joseph Tauran-Lille: ""Nothing could bring me greater joy than these three hyacinths - white pink and violet - whose tender harmonies illuminate my drawing room while perfuming it"". unknown‎

Referenz des Buchhändlers : 86686

‎Andre ABBAL‎

‎"je suis certain maintenant que mon Tarn et Garonne ne reviendra pas à l'atelier."" • Autograph letter signed about one of his works‎

‎Paris 1941. Fine. Paris s. d. ca 1941 14 x 15.50 cm une page sur un double feuillet Autograph letter signed by sculptor André Abbal 13 lines in black ink on a double sheet. Traces of folding inherent to postal dispatch. The sculptor discusses his various productions: ""I am now certain that my Tarn et Garonne will not return to the workshop. With peace of mind on this front I will work hard on other things that interest me greatly."" André Abbal student of Alexandre Falguière is renowned for his direct-carved stone sculptures. unknown‎

Referenz des Buchhändlers : 86762

‎Taylor, Samuel (Claude Dauphin Autographed Copy)‎

‎The Happy Time A Comedy Of Love Based On The Stories By Robert Fontaine Signed By Claude Dauphin‎

‎New York: Random House 1950. First Printing . Turquoise Cloth. Fine/Very Good. 8 1/4" High. 184 Unmarked Pages. Stated First Printing. "'The Happy Time' Was First Presented By Richard Rodgers And Oscar Hammerstein 2Nd At The Plymouth Theatre New York City On January 24 1950 With The Following Cast: Bibi.Johnny Stewart; Papa.Claude Dauphin "Etc. From The Personal Library Of A Hollywood Publicist; Stamp On Ffep. Cover Edges Faded; Paper Label On Spine Clean And Bright. Dj In Brodart; Not Price Clipped ; Chipped Tips Top And Bottom Of Spine. 1/2" Closed Tear Top Edge Rear. Claude Dauphin Signed His Name On Front Of Dj Between " By Samuel Taylor" And :" A Random House Play". <br/> <br/> Random House hardcover‎

Referenz des Buchhändlers : 058056

‎Jacques MESRINE‎

‎".Enfin cela est un gros poids d'enlevé pour toi. Tu te retrouveras chez toi dans un décor que tu as aimé"" • Autograph love letter dated and signed by Jacques Mesrine written from the prison of Fleury-Mérogis and addressed to his companion Jeanne Schneider for whom he has just found accommodation after his next release‎

‎Fleury-Mérogis 1976. Fine. Fleury-Mérogis 21 Septembre 1976 21 x 29.50 cm une page recto verso Autograph letter dated and signed by Jacques Mesrine dated Tuesday September 21 1976 68 lines in blue ink on one recto-verso page addressed to his lover at the time Jeanne Schneider thanks to whom the manuscript ofInstinct de mort was discreetly smuggled out of prison. A horizontal fold inherent to the envelope placement a small tear in the right margin of the letter at the fold level. Jacques Mesrine then incarcerated at Fleury-Mérogis prison arranged with his mother for her to cede upon her departure from the Paris region her Clichy apartment to Jeanne Schneider after his possible provisional release: ""J'ai eu un très agréable parloir avec maman. J'ai au moins une bonne nouvelle à t'annoncer. Pour Clichy c'est d'accord. Comme elle va vivre presque tout le temps à la montagne tu auras l'appartement pour toi. Je paierai le loyer. Elle a tout de suite dit d'accord après mon explication. . Je me doute de ta joie de savoir que tu pourras vivre à Clichy - si près de notre papy. toujours présent de par l'amour que nous avons pour lui. Je suis certain que cette petite nouvelle te remonte le moral."" I had a very pleasant visit with mama. I have at least one good piece of news to tell you. For Clichy it's agreed. Since she's going to live almost all the time in the mountains you'll have the apartment to yourself. I'll pay the rent. She immediately said yes after my explanation. . I can imagine your joy knowing that you'll be able to live in Clichy - so close to our grandpa. always present through the love we have for him. I'm certain this little news will lift your spirits. His daughter Sabrina worries him and he senses that he will have to be severe regarding her behavioral lapses: ""De Sabrina rien ! Il y a une chance pour qu'actuellement elle me prépare un ""douze"" je ne peux t'en parler sur lettre. mais j'ai l'impression que la puce me ment sur certaines choses. elle prend peut-être une route où il va me falloir la plus grande fermeté. J'ai demandé à maman de vérifier si elle va bien à l'école."" Nothing from Sabrina! There's a chance that currently she's preparing a ""twelve"" for me I can't talk about it in a letter. but I have the impression that the kid is lying to me about certain things. she's perhaps taking a path where I'll need the greatest firmness. I asked mama to check if she's doing well in school. News of his ""godson"" the famous robber Jean-Charles Willoquet with whom he organized his escape from La Santé prison where they had met makes him prouder: ""J'ai reçu la photo du plus jeune détenu de France à savoir mon filleul ""Willy Willoquet"" dans sa cour de promenade. c'est émouvant et triste à la fois !"" I received the photo of the youngest prisoner in France namely my godson ""Willy Willoquet"" in his exercise yard. It's moving and sad at the same time! The situation of his young protégé cut off from all contact with his loved ones and the people who love him reminds him of his own personal situation and the indignities of a prisoner's isolated existence: ""Je me demande comment va réagir Martine quand on va lui enlever Enfin c'est le destin qu'elle a choisi et accepté. Elle paie cher le prix de l'amour. Vous le payez toutes ""très cher""."" I wonder how Martine will react when they take him away from her Well it's the destiny she chose and accepted. She pays dearly the price of love. You all pay it ""very dearly"". In order to quickly erase this morose and implacable truth Jacques Mesrine plunges into schoolboy humor and affectionately mocks his lover's physical flaws: ""J'espère que la bonne nouvelle va te rendre ton sourire. eh ! la mémé. boutons sur la gueule. ou pas ! Je t'adore. il ne fallait pas flirter avec ""voyou"" ! C'est lui qui t'as passé cela sic nanou d'amour ton viejo pirate monte à l'abordage de tes lèvres. et. !! tu coules ! "" I hope the good news will bring back yo unknown‎

Referenz des Buchhändlers : 87298

‎Leon BLUM‎

‎"Le pays se sauvera lui-même. Il sauvera la Liberté. Il sauvera la Paix"" • Signed autograph manuscript‎

‎1948. Fine. « A Londres pour la première fois des possibilités d'accord sont apparues pour les problèmes allemands même sur les Réparations. » In London for the first time possibilities for agreement have appeared on German problems even on Reparations. s. d. 1948 21 x 27 cm quatre feuillets Signed autograph manuscript entitled ""A Compiègne et au Palais Bourbon"" by Léon Blum 3 and a half pages in blue ink on the verso of four sheets with letterhead from the newspaper Le Populaire Central Organ of the Socialist Party S.F.I.O. Numerous passages crossed out and rewritten in black ink. Horizontal fold mark on each sheet notes from a previous bibliographer in pencil at the head of the first sheet. The article appeared in the daily newspaper Le Populaire on March 9 1948. Fine and virulent diatribe by Léon Blum following General De Gaulle's Compiègne speech denouncing his maneuvers toward a ""strong State."" He paints a hopeful picture of German reconciliation European construction as well as the Marshall Plan soon to be ratified - of which he had been the great negotiator. On March 7 1948 the general who had just founded the Rally of the French People was invited by the new mayor Jean Legendre who had rallied to the RPF. At a pivotal moment of international tensions before several tens of thousands of people gathered at the château square De Gaulle called on the French to unite to refound the Fourth Republic and free countries to unite against communism following the ""Prague coup."" Remaining excluded from power he then began his crossing of the desert until his return in 1958 thanks to the Algerian crisis which brought down the weak Fourth Republic. Having established the foundations of this same Republic Blum disapproves in these pages of De Gaulle's challenge to parliamentary institutions - even as his own Gaullists deputies obstruct debates in the assembly. He opposes the general's catastrophist discourse with an optimistic vision of European and international reconstruction convinced of the great resilience of the French nation and confident in its institutions. « Chose curieuse c'est la presse gaulliste qui attendait le discours de Compiègne avec la curiosité et l'impatience la plus marquées. . En fin de compte le discours de Compiègne n'a apporté rien de neuf. Il a fait entendre que toutes ses mesures étaient arrêtées et que sans doute aussi ses hommes étaient choisis. Il a déclaré que la situation était trop critique en France en Europe et dans le monde pour permettre qu'on différât davantage. Mais il a persisté cependant à affirmer - c'est du moins ainsi que j'interprète un texte volontairement obscur biffé : ambigu - qu'il ne gouvernerait pas dans le cadre des institutions présentes biffé : anciennes et qu'il n'accepterait qu'un pouvoir taillé à sa mesure . Rien de bon ne peut en sortir a-t-il conclu ; il n'est que temps de tirer la France de ce marécage pour l'installer sur le sol ferme et salubre de l'Etat fort. Tout cela va fort bien. Seulement à l'heure même où le général prononçait contre les partis et les institutions parlementaires le réquisitoire altier l'Assemblée nationale siégeait au Palais Bourbon. Elle promouvait l'examen des propositions relatives au prélèvement René Mayer. Et là on voyait la coalition du parti gaulliste avec ces mêmes « séparatistes » que le discours de Compiègne dénonçait comme des traîtres s'étaler avec une impudence plus scandaleuse de jamais . Dénoncer l'impuissance parlementaire tout en l'organisant stigmatiser la malfaisance et l'immoralité des partis tout en en fournissant l'exemple éhonté c'est une attitude commode mais qui brave par trop violemment le bon sens et l'honnêteté. . Certes la situation intérieure est sérieuse et la situation internationale ne l'est pas moins. Mais le redoutable hiver s'achève le ravitaillement s'améliore. La tendance s'améliore vers la baisse des produits alimentaires s'accentue et s'acce unknown‎

Referenz des Buchhändlers : 87358

‎Prince Georges GHIKA - (Isabelle EBERHARDT) - (Rene-Louis DOYON)‎

‎"Isabelle Eberhardt ! ah ! l'avons-nous lue et relue."" • Autograph letter signed probably addressed to René-Louis Doyon concerning his biography of Isabelle Eberhardt‎

‎Paris 1944. Fine. Paris s.d. ca 1944 13.50 x 18 cm deux pages et demi sur un bifeuillet Autograph letter signed by Prince Georges Ghilka 31 lines in black ink on a double sheet with letterhead from the Majestic Hotel in Paris probably addressed to René-Louis Doyon who devoted in 1944 a biography to Isabelle Eberhardt entitled ""Au pays des sables Isabelle Eberhardt"". Fold mark inherent to the mailing. Prince Georges from the House of Ghika a princely family of Romania of Albanian origin married in Paris in 1910 the most famous Amazon of All Paris Liane de Pougy. René-Louis Doyon sent his work to his friend the prince who thanks him for it: ""Nous avons lu votre livre et c'était délicieux comme une causerie avec vous une causerie qui emporte dans ces pays aimés du soleil et d'Isbelle Eberhardt que vous vous plûtes à citer. Merci encore pour ce grand plaisir que vous nous avez donné."" We read your book and it was delightful like a conversation with you a conversation that carries one away to those beloved lands of sun and of Isabelle Eberhardt whom you took pleasure in quoting. Thank you again for this great pleasure you have given us. unknown‎

Referenz des Buchhändlers : 87922

‎Andre MALRAUX‎

‎Carte de visite sur laquelle André Malraux a ajouté quelques mots de remerciements à son amie Minka Strauss‎

‎s. l.: s. n. 1973. Fine. s. n. s. l. 1973 13.50 x 9 cm une feuille Printed visiting card on which André Malraux has added in blue ballpoint pen these few words for his friend Minka Strauss: ""Thank you dear Minka for your charming and useful attention. My regards to K.H. I beg you and my affectionate respects."" s. n. unknown‎

Referenz des Buchhändlers : 87972

‎Jean COCTEAU‎

‎"J'accepte d'être en secret mis à ma place et publiquement remis à ma place."" • Signed autograph letter exceptional prefiguration of his epitaph‎

‎Saint-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

Referenz des Buchhändlers : 88024

‎Autographs: H Rider Haggard, C J Cutliffe Hyne & Alfred Austin‎

‎Three Author Autographs: Autographs: H Rider Haggard C J Cutliffe Hyne & Alfred Austin‎

‎Not published. Soft cover. Good. Here is a collection of three author's signatures. They are clipped from letters and have been pasted down on a sheet which measures approx. 22 × 14cm. 1. C. J. Cutcliffe Hyne 1866-1944 a prolific novelist who also wrote under the name Weatherby Chesney. Perhaps his best known work is the fantasy novel The Lost Continent: The Story of Atlantis 1899. 2. Alfred Austin 1835-1913 an English poet who served as Poet Laureate from 1896. 3. H Rider Haggard 1856-1925. This one appears to be rather a rushed signature but featuring the pen strokes common with his autograph. Condition: There is foxing to the sheet and a little to the signatures but they are otherwise in good condition. <br/> <br/> Not published paperback‎

Referenz des Buchhändlers : 017053

‎Andre BRETON‎

‎Lettre autographe signée inédite adressée à Michel Fardoulis-Lagrange : ""Dites-moi : IIIe Convoi ne nous a tout de même pas habitués à cette allure ! ""‎

‎Paris 1947. Fine. Paris 16 février 1947 20.80 x 27 cm une page sur un feuillet enveloppe jointe Unpublished autograph letter signed by André Breton addressed to Michel Fardoulis-Lagrange written in black ink on a sheet with letterhead of the International Surrealist Exhibition 1947. Envelope included. Transverse folds inherent to mailing. Interesting letter evoking the review Troisième Convoi founded by Jean Maquet and Michel Fardoulis-Lagrange written shortly before the second surrealist exhibition at the Maeght gallery: ""Dites-moi : IIIe Convoi ne nous a tout de même pas habitués à cette allure ! "" ""Tell me: IIIe Convoi has not exactly accustomed us to this pace!"". The review whose title was inspired by Vases communicants ""Nous voyageurs du second convoi."" ""We travelers of the second convoy"" had five issues between 1945 and 1951. We have found no trace of Breton's collaboration with this review but the letter we offer demonstrates that it may have been discussed: ""Et vous savez que je reste en assez mauvaise condition avec cette séquelle de sinusite. . Il me faudrait aussi être un peu plus éclairé peut-être sur l'axe de votre quatrième numéro pour ne pas partir à côté ou faire malgré moi trop divergent. Ne pensez-vous pas "" ""And you know that I remain in rather poor condition with this sequel of sinusitis. . I would also need to be perhaps a little more enlightened about the direction of your fourth issue so as not to go off track or despite myself be too divergent. Don't you think"" unknown‎

Referenz des Buchhändlers : 76435

‎Robert de MONTESQUIOU‎

‎Ensemble de 620 feuillets autographes composant le manuscrit inédit du recueil ""Le dernier pli des neuf voiles"" véritable testament poétique. • Unpublished autograph manuscript of Le Dernier Pli des neuf voiles a true poetic testament‎

‎1920. Fine. A priceless poetic testament from Marcel Proust's mentor hidden away and out of sight since the death of the author. s. d. ca 1920 25 x 33 cm en feuilles sous chemises The set of largely unpublished autograph poems by Robert de Montesquiou-Fezensac is brought together by the Count in a collection entitled Le Dernier Pli des neuf voiles whose composition extends from his very first collection Les Chauves-Souris 1892 to his last trilogy Offrandes 1915. Set of 620 autograph leaves. 532 unpublished first draught handwritten on the recto and numbered in pencil preserved in 3 chemises in half red contemporary morocco red morocco labels with gilt author and title; the poems are then placed in the chemises with a handwritten title and a number for publication. According to a note from the author “the differences in ink have no meaning mere change of copy”. Rare pages from the hand of his secretary Henri Pinard: p. 20 of “Huitième voile” and p. 29 of “Neuvième voile”. 23 pages present the printed or typewritten texts of the poems and are enriched with Montesquiou's handwritten corrections. A set of printed proofs are found at the top of the first chemise as well as a pencil tracing after Aubrey Beardsley drawn by the author and accompanied by his handwritten indications. Sublime ode to dandyism to homosexuality and beauty this worldly and poetic promenade by Montesquiou embarks the reader into the decadent fin-de-siècle Paris described in In Search of Lost Time by his friend Marcel Proust. Imbued with his legendary enthusiasm for pictorial decorative theatrical and floral art the collection also delivers hundreds of mournful verses after the disappearance of Montesquiou's lover Gabriel Yturri. Thanks to this collection of poems by Robert de Montesquiou-Fezensac all of which had been lost since 1986 it is now possible to complete the rehabilitation of the aristocratic poet who has long embodied and shaped the Parisian spirit. In May 1920 Montesquiou left handwritten instructions for the posthumous publication of the collection initially announced in two volumes and never produced. On his death a year later the poems were bequeathed to his secretary Henri Pinard who in turn sold them on an unknown date. Auctioned on 24 November 1986 they were mentioned in the LoWire-Littérature colloquium in 1989. This considerable manuscript by Montesquiou forms a veritable “home of poetry” like his famous aesthetic apartments described by Huysmans. The series of Voiles contain dozens of unpublished poems written in parallel with his previous collections. The author himself indicated the kinship of each “voile” with a published set of poems announcing here the total completion of his work by the addition of poems which still lay dormant in his papers. The three thick chemises contain rare and curious treasures sometimes drawn on colored sheets often pasted on larger sheets rigorously ordered while awaiting their publication. The poems are written without crossings-out they are fluid with rounded and precious handwriting and stand alongside other first-draught manuscripts: redactions and corrections also bear witness to the work in progress on the new poems; they were applied in the printed proofs of the work present at the top of the manuscript's first chemise. Some poems are taken as they are from collections already published but are slightly modified according to the explanations given by the author. Montesquiou also adds some handwritten notes detailing his intentions. The manuscript contains a poetic anthology of sacred art of extremely rare flowers and of antique furniture adorning his famous Parisian apartments “around which so many legends were built” Jacques Saint-Cère which fuelled the personalities of Des Esseintes Baron Charlus Dorian Gray and the vain peacock in Edmond Rostand's Chantecler. Moreover Montesquiou was overwhelmed by the features of these famous fictional ghosts of w unknown‎

Referenz des Buchhändlers : 75933

‎Eugene DELACROIX‎

‎"trompe-moi si tu veux je te croirai je veux tant te croire et j'en ai si besoin"" • Unpublished autograph love letter to ""Julie"" Louise de Pron‎

‎1823. Fine. s. d. ca 1823 12 x 18.20 cm Six pages sur deux feuillets rempliés Almost entirely unpublished handwritten letter from the painter Eugène Delacroix to the love of his youth the mysterious “Julie” now identified as being Madame de Pron by her maiden name Louise du Bois des Cours de La Maisonfort wife of Louis-Jules Baron Rossignol de Pron and daughter of the Marquis de La Maisonfort Minister of France in Tuscany patron of Lamartine and friend of Chateaubriand. 90 lines 6 pages on two folded leaves. A few deletions and two bibliographical annotations in pencil on the upper part of the first page “no114”. This letter is one of the last to his lover in private ownership all of Delacroix's correspondence to Madame de Pron being kept at the Getty Research Institute Los Angeles. Only nine of the ninety lines of this unpublished letter were transcribed in the Burlington Magazine in September 2009 alongside the long article by Michèle Hanoosh Bertrand and Lorraine Servois whose research finally revealed the identity of the famous recipient. Sublime love letter from twenty-four-year-old Eugène Delacroix addressed to his lover Madame de Pron twelve years his senior who unleashed the liveliest passion in him. This episode of the painter's youth then considered the rising star of Romanticism for a long time remained a mystery in the biography of Delacroix who was careful to preserve the anonymity of his lover thanks to various pseudonyms: “Cara” “the Lady of the Italians” and even “Julie” as in this letter in reference to the famous epistolary novel Julie ou la Nouvelle Héloïse by Rousseau. For obvious reasons Delacroix did not sign his name on any of the letters in correspondence with the lady. A great figure of the legitimate aristocracy the recipient of this feverish letter is Madame de Pron daughter of the Marquis de La Maisonfort Minister of France in Tuscany patron of Lamartine friend of Chateaubriand. Her beauty was immortalized in 1818 by Élisabeth Vigée-Lebrun who painted her portrait in pastel with an oriental hairstyle. Delacroix and Madame de Pron met in April 1822 when the portrait of the latter's son Adrien was commissioned a pupil at the Lycée Impérial now Lycée Louis-le-Grand. Delacroix had been commissioned for the portrait by his close friend Charles Soulier Madame de Pron's lover who despite himself served as an intermediary for Delacroix. In the absence of Soulier who had gone to Italy the painter and the young women established an intense romantic relationship. The portrait commission became a pretext for their tender meetings in his studio on rue de Grès while no trace of the child's painting has been found to this day. Their adventure lasted a little over a year but it was one of the most intense passions of the artist's life. Our letter undoubtedly corresponds to the last throes of their relationship in the month of November 1823. After one of their visits at the end of a hiatus of several months Delacroix writes to her again under the influence of emotion: “I come home with a shaken heart what a wonderful evening! . Sometimes I say to myself: why did I see her again In the calm sanctuary where I lived even in the middle of the invisible places that I had formed . I managed to silence my heart”. Madame de Pron had indeed decided to bring an end to their intimate relationship see her letter from 10 November 1823: “I want sweet friendship . I do not want to torment you” Getty Research Institute. Losing all discernment and with blind devotion Delacroix attempts to revive their affair: “Make me lie prove to me that your soul is indeed that of the Julie that I once knew since mine has regained its charming emotions and its worries”. But the painter runs into Soulier and General de Coëtlosquet also lovers of Madame de Pron. Delacroix had narrowly avoided a final disagreement with Soulier who had almost seen a letter from Madame de Pron in h unknown‎

Referenz des Buchhändlers : 75940

‎Constantin BRANCUSI‎

‎Deux lettres autographes signées adressées au Préfet du département de Dolj • Two handwritten signed letters addressed to the Dolj County Prefect‎

‎Craïova Roumanie Craiova 1900. Fine. Craïova Roumanie Craiova 9 octobre 1900 14.70 x 22 cm deux feuillets rédigées au recto Two handwritten signed letters addressed to the Dolj County Prefect Craïova Romania 9 October 1900 14.7 x 22 cm & 27 x 19.5 cm two leaves written on the recto Two handwritten letters signed by Constantin Brâncui addressed to the Dolj County Prefect and written in brown and black ink one on a piece of lined paper 14.7 x 22cm and the other on larger size white paper 27 x 195 cm. The first letter is written in ink on a leaf and bears the registration number “12981” followed by the acronym “pPG” and is signed with the artist's full name: “Constantin Brâncu”. At the bottom left of the page there is a handwritten note by Brâncui: ""I received the prescription"" followed by his signature ""C. Brâncu"" and not ""Brâncusi"" or ""Brâncusi"" as he signed after his arrival in Paris. The second letter is written in ink on half a sheet of notebook paper and contains the same message the same signature and a similar inventory number. A 10 bani centimes stamp is glued to the top left. The left side below the stamp is cut out as Brâncui used to do: he removed the stamps or erased information that he did not want to keep. These two important letters document a significant chapter of the artist's biography concerning his studies financed in part by the Craiova Department.On 28 September 1898 Brâncui successfully completed his five-year schooling at the Craiova Trade School – the capital of his native region – and enrolled at the Bucharest School of Fine Arts. He obtained scholarships from the Madonna Dudu church in Craiova which helped him to continue his studies. He was quickly noticed by his teachers in Bucharest who awarded him prizes for making busts such as Laocoon and the antique sculpture Study based on Mars Borghese. In October 1900 Brâncui sent a request for a scholarship to the Prefect of the Dolj County the capital of which is Craiova who helped him to follow ""his studies during the October term"" and specified that this scholarship was granted to him by the County Council 1900-1901 budget. unknown‎

Referenz des Buchhändlers : 76380

‎Gustave FLAUBERT‎

‎Manuscrit intitulé ""De l'état de l'église en Gaule au Ve et VIe siècle""‎

‎s. l. 1860. Fine. s. l. s. d. ca 1860 19.60 x 31.70 cm deux pages sur un feuillet Autograph manuscript by Gustave Flaubert entitled ""De l'état de l'église en Gaule au Ve et VIe siècle"" written in black ink on both sides of a sheet. Transverse fold. Extensive manuscript notes probably written in preparation for the writing of La Légende de Saint Julien l'Hospitalier. Precious manuscript evidence of the writer's working method. unknown‎

Referenz des Buchhändlers : 76834

‎George SAND‎

‎"Je suis bien d'âge à être votre mère car j'ai 55 ans et j'ai de bonnes mains bien adroites mais pas belles du tout."" • Signed autograph letter addressed to Ernest Feydeau‎

‎Nohant Nohant-Vic 1859. Fine. Nohant Nohant-Vic 16 août 1859 13.50 x 20.90 cm 4 pages sur un double feuillet Autograph letter signed by George Sand addressed to Ernest Feydeau. Four pages written in blue ink on a double sheet bearing at the head of the first page the sender's blind stamp. This letter was published in the complete correspondence of George Sand established by Georges Lubin. Fine and lengthy letter discussing literature and friendship between writers. Initially a stockbroker and specialist in Antiquity Ernest Feydeau launched himself late into fiction. Anxious to occupy a literary space in which he did not feel justly appreciated he used his connections and maintained a regular epistolary relationship with illustrious correspondents such as Gustave Flaubert Sainte-Beuve and George Sand to whom he sent drafts of his novels and whose opinions he sought. This letter forms Sand's response after having just finished reading Daniel Feydeau's second novel. George Sand then at the height of her literary career describes herself thus: ""I am quite old enough to be your mother for I am 55 years old and I have good hands quite skillful but not beautiful at all. I have earned the right to no longer be coquettish I have been quite reproached for never having been so. I will tell you anything about myself that you wish."" As was her habit much solicited by her peers she delivers a very detailed critique of the text her colleague submits to her: ""I am not against sentences that jar where they need to jar but I am not for harmony being sacrificed to rhythm. Nor am I for the contrary. Understand me well I only blame what is too noticeable what reveals the technique. Do not touch the passages you speak of they are excellent. And in sum I will not insist furiously on the question of form in style seeing that if the qualities of yours should disappear with what sometimes seems to me a flaw I would be in despair at having pointed out the flaw."" Herself very close to Flaubert whom she nicknamed her ""leaden bottom"" Sand seems delighted that the two men know each other: ""I do not have time. But I will have time to receive you when you are free you must come with Flaubert who also has in me an enchanted reader and a wholehearted literary friend. I did not know he was your friend and I am pleased that he is."" The friendship goes so far that Sand soon brings the two writers together placing them on complete equal footing: ""It is no misfortune for you any more than for Flaubert to belong to the race of seers."" A form of solidarity then establishes itself in the face of critical adversity: ""All this is felt better than it can be said and that is why criticism loses its reason three-quarters of the time."" For criticism has had the misfortune of labeling Feydeau as it did with Flaubert a realist: ""People have taken it upon themselves to baptize your manner and his as realism. I do not know why; unless realism is something entirely different from what the first adherents attempted to explain to us. I suspect indeed that there is a way of envisaging the reality of things and beings which is great progress and you bring triumphant proof of it. But the name realism does not suit because art is a multiple infinite interpretation. It is the artist who creates reality within himself his own reality and not that of another. Two painters paint the portrait of the same person. Both create a work that represents the person if they are both masters. And yet the two paintings do not resemble each other. What has become of reality"" This long diatribe - a true manifesto - forms a powerful testimony to the repulsion of George Sand and Flaubert for theorists obsessed with the idea of classifying literature according to a ""system that . blinds"". unknown‎

Referenz des Buchhändlers : 76839

‎Simone de BEAUVOIR‎

‎Lettre autographe signée adressée à Antoinette Boulesteix‎

‎1980. Fine. 2 Juillet 1980 14.50 x 20.50 cm 1 page 1 enveloppe Autograph letter signed by Simone de Beauvoir consisting of 9 lines addressed to Antoinette Boulesteix with envelope enclosed. A central fold inherent to the mailing and an envelope mark at the foot of the letter the envelope and letter having been glued together then separated. ""Chère mademoiselle je suis très touchée de cette lettre mais je n'ai pas le temps de rencontrer votre mère. Je quitte Paris pour aller me reposer à la campagne. Dites lui mes regrets et croyez à mes meilleurs sentiments. Simone de Beauvoir."" ""Dear Mademoiselle I am very touched by this letter but I do not have time to meet your mother. I am leaving Paris to go rest in the countryside. Give her my regrets and believe in my best sentiments. Simone de Beauvoir."" unknown‎

Referenz des Buchhändlers : 77066

‎Reynaldo HAHN - (to Dominique ANDRE)‎

‎"J'ai trop tardé chère Madame à vous remercier de votre livre et du plaisir qu'il m'a procuré. Plaisir amer et trouble - mais rare."" • Signed autograph note addressed to Dominique André‎

‎Paris 1931. Fine. Paris 6 avril 1931 14.60 x 19.30 cm une page sur une carte lettre Signed autograph note by Reynaldo Hahn addressed to Madame Serge André and written on a white paper letter-card in blue ink. Central fold inherent to the mailing. Dominique André is a poetess novelist and playwright. She notably published under the pseudonym Claude Isambert. ""J'ai trop tardé chère Madame à vous remercier de votre livre et du plaisir qu'il m'a procuré. Plaisir amer et trouble - mais rare. Ce qui est particulièrement remarquable en ces pages c'est leur extrême distinction."" ""I have delayed too long dear Madame in thanking you for your book and the pleasure it has given me. Bitter and troubled pleasure - but rare. What is particularly remarkable in these pages is their extreme distinction."" unknown‎

Referenz des Buchhändlers : 77544

‎Reynaldo HAHN - (to Dominique ANDRE)‎

‎"Est-ce possible chère Madame ! Vous m'invitez à goûter !"" • Signed autograph note addressed to Dominique André‎

‎Paris 1925. Fine. Paris 14 décembre 1925 10.60 x 15.70 cm une page sur une carte lettre Signed autograph note by Reynaldo Hahn addressed to Madame Serge André and written on a white paper letter-card in blue ink. Central fold inherent to the mailing. Dominique André is a poetess novelist and playwright. She notably published under the pseudonym Claude Isambert. Reynaldo Hahn declines an invitation from his friend: ""Est-ce possible chère Madame ! Vous m'invitez à goûter ! Hélas je ne pense pas aller nulle part dans la journée ! Un soir à l'Escargot d'Or on avait projeté de se voir : Lacretelle devait me faire signe - que sais-je "" ""Is it possible dear Madame! You invite me for afternoon tea! Alas I don't think I'm going anywhere during the day! One evening at the Escargot d'Or we had planned to see each other: Lacretelle was supposed to let me know - what do I know"" unknown‎

Referenz des Buchhändlers : 77543

‎Georges CLEMENCEAU‎

‎Lettre autographe signée adressée à un ami‎

‎Mont-Dore-Les-Bains Le Mont-Dore 1909. Fine. Mont-Dore-Les-Bains Le Mont-Dore 29 août 1909 13.60 x 21 cm 1 page sur un double feuillet Autograph letter signed by Georges Clémenceau addressed to a friend. One and a quarter pages written in black ink on a double sheet with letterhead from the International Palace of Mont-Dore-Les-Bains dated August 25 1909. Folds inherent to mailing. Clemenceau then taking thermal baths at Mont-Dore-les-Bains writes: ""Quand votre aimable invitation m'est arrivée à Carlsbad j'avais un engagement déjà pris."" ""When your kind invitation reached me in Carlsbad I already had a prior engagement."" Charming and very aesthetic missive. unknown‎

Referenz des Buchhändlers : 77465

‎Pierre LOUS‎

‎"Oh ! En 1930 ce sera bien différent sans doute ; mais j'aurai 60 ans dans quinze ans ; et je m'inquiète d'abord de 1917 ; même de 1916."" • Signed autograph letter addressed to Georges Louis‎

‎Paris 1916. Fine. Paris Lundi 11 septembre 1916 13 x 20.50 cm 3 pages sur 2 feuillets Autograph letter signed with initial by Pierre Louÿs addressed to Georges Louis. Two pages written in purple ink on two sheets. Central folds inherent to posting. Fine letter addressed to his brother Georges Louis with whom Pierre Louÿs maintained a very intimate relationship and whom he considered as his own father. The question of Pierre Louÿs' real paternal identity still fascinates biographers today: ""His father Pierre Philippe Louis . had married in 1842 Jeanne Constance Blanchin who died ten years later after giving him two children Lucie and Georges. In 1855 he remarried Claire Céline Maldan and from this union was born in 1857 a son Paul; then in 1870 our writer who received the Christian names Pierre Félix. This late birth the differences in character between father and son the former's disaffection towards the latter the profound intimacy that always reigned between Louÿs and his brother Georges all this has led certain biographers and critics to suspect that the latter was in reality the writer's father. The exceptionally intimate and constant relationship that Pierre and Georges maintained between themselves throughout their lives could be an argument in this direction. Of course no irrefutable proof has been discovered and probably never will be. Nevertheless certain letters . are quite troubling. In 1895 for example Louÿs writes gravely to his brother that he knows the answer to 'the most poignant question' he could ask him a question he has had 'on his lips for ten years'. The following year at the height of Aphrodite's triumph he thanks Georges effusively and ends his letter with this sentence: 'Not one of my friends has a FATHER who is to him what you are to me.' Arguing from the close intimacy between Georges and Claire Céline during the year 1870 and from the jealousy that the father never ceased to show towards his younger son Claude Farrère did not hesitate to conclude in favor of Georges Louis. And what should we think of this dedication by Louÿs to his brother on a Japan paper copy of the first edition of Pausole: To Georges his eldest son / Pierre."" Jean-Paul Goujon Pierre Louÿs In this interesting letter Louÿs discusses at length the difficulty writers face in living by their pen. Titling his missive ""Continuation of our conversation about war and literature"" he first makes a very pessimistic observation: ""In the 16th century It was even worse! In the 16th the independent man of letters did not exist at all - to write one needed an office a benefice - or land and income rare fortune among writers. . It is only in the 19th century that we find a very small number of conscientious writers living by their pen. And even then. Do you want to count them Hugo almost alone succeeds. Lamartine fails and is obliged to beg pitifully at the end of his life. Gautier who had magnificent gifts only subsists by writing in newspapers . you see what I mean: Theatre and Journal."" He continues: ""That works well in peacetime. - In 1890 l'Echo de Paris inserted prose poems in the first column. - In ""date illegible because crossed out ""le Figaro had a literary supplement. . But in wartime in this century and ten twelve or fifteen years after the war we shall go to the woods no more; the laurels are cut down. Oh! In 1930 it will doubtless be very different; but I shall be 60 in fifteen years; and I worry first about 1917; even about 1916."" This very pessimistic letter was written at a period when Louÿs was at his worst ""The man who wrote these pages was a solitary man reclusive sick drugged surrounded by dubious creatures and having as confidant only this adored brother who would die less than a year later."" Ibid. unknown‎

Referenz des Buchhändlers : 77523