‎Autographes‎

‎STENDHAL‎

‎Lettre autographe adressée à sa soeur Pauline : «Voilà mes rêveries . tu es la seule personne au monde à qui j'ose les dire.» • Autograph letter to his sister Pauline: 'These are my reveries . you are the only person in the world I dare share them with.'‎

‎1808. Fine. 26 mars 1808 20 x 24.80 cm 3 pages 1/2 sur un double feuillet Long autograph letter by Stendhal addressed to his sister Pauline written in fine handwriting with black ink. Address of Stendhal's father where his sister resides in Grenoble with the stamp ""n°51 Grande Armée."" Red wax seal bearing Stendhal's coat of arms. Several original folds inherent to postal delivery. A paper loss due to the unsealing of the letter has been skillfully restored. A very beautiful letter filled with romantic passion blending childhood nostalgia with sentimental tales and foreshadowing The Red and the Black. This letter is part of the correspondence between the young Henri Beyle—then twenty-five years old—and his sister Pauline three years his junior. This epistolary relationship which quickly took the form of a ""journal""—as Pauline's responses were rare—was a crucial milestone in the intellectual development of the future Stendhal: ""Here are my dreams my dear friend; I am almost ashamed of them; but after all you are the only person in the world to whom I dare confess them."" In this letter which attests to the strong bond between brother and sister Stendhal then in Germany expresses his deep nostalgia: ""I revisited in my memory all the time we spent together: how I did not love you in our childhood; how I once hit you at Claix in the kitchen. I hid in the little book cabinet; my father came back a moment later furious and said to me: 'Wicked child! I would eat you!' Then all the woes inflicted upon us by poor Aunt Séraphie; our walks along those paths surrounded by stagnant water towards Saint-Joseph."" These regrets about the past are accompanied by a typically Stendhalian melancholy: ""Alas! That delightful happiness I once imagined I glimpsed it once at Frascati and a few other times in Milan. Since then it has not returned; I marvel at my inability to feel it. The mere memory of it is more powerful than all the present joys I can procure."" This evocation of the Italy he longs for is intertwined with memories of the women he loved: ""I told you that while in Frascati at a charming fireworks display at the moment of the explosion Adèle leaned on my shoulder for an instant; I cannot express how happy I was. For two years whenever I was overwhelmed with sorrow this image gave me courage and made me forget all my troubles. I had long forgotten it; I tried to recall it today. Against my will I see Adèle as she is; but as I am now there is no longer the slightest joy in this memory."" This lengthy account of Adèle Rebuffet his cousin with whom he had a profound romantic relationship before forming a closer bond with her mother reflects Stendhal's sentimentality. He also mentions another of his great passions Angelina Pietragrua the ideal Italian woman and embodiment of his Milanese memories: ""Madame Pietragrua is different: her memory is linked to that of the Italian language; whenever something pleases me in a role for a woman in a work I involuntarily put it into her mouth."" This ""role for a woman"" that Stendhal refers to echoes the central theme of this letter the work Il Matrimonio segreto by composer Cimarosa: ""Do you sometimes play the Matrimonio ItÂ’s the passage Cara sposa at the beginning between Carolina and Paolino. . But play the Matrimonio for my sake especially Signor deh permettette and the finale Io rival de mia sorella."" This opera by Cimarosa far from being a passing fancy would remain a constant throughout the writer's life and work. In his Memoirs of an Egotist 1832 he explains: ""In Milan in 1820 I wanted to have this written on my tomb . I wanted a marble tablet in the shape of a playing card: ""Errico Beyle – Milanese – Visse scrisse amò – Quest'anima adorava Cimarosa Mozart e Shakspeare – Morì di anni. il . 18."" ""Henri Beyle – Milanese – He lived wrote loved – This soul adored Cimarosa Mozart and Shakespeare – He died in the year. the. 18."""". A few unknown‎

Référence libraire : 68967

‎Antonio TORRES‎

‎Carte postale autographe signée adressée à sa traductrice en français Alice Raillard‎

‎Coimbra 2000. Fine. Coimbra 25 Janvier 2000 14.50 x 10.50 cm une carte postale Signed autograph postcard of the Brazilian writer Antonio Torres addressed to the translator of his works in French Alice Raillard from Coimbra on January 25 2000 representing a view of the city. ""Alice a thought to you here in Coimbra where I speak for the public of the university. Pardon for my poor French . Abracos pare voce e Georges my officer!"" unknown‎

Référence libraire : 68058

‎Jean-Clarence LAMBERT‎

‎Carte postale autographe signée adressée à Georges Raillard‎

‎Lagorce 1967. Fine. Lagorce 27 Décembre 1967 13.50 x 9 cm une carte postale Autograph postcard signed by Jean-Clarence Lambert addressed to Georges Raillard from the mas de La Rouvière on Monday December 27 1967. Six lines in ballpoint pen on the verso of a postcard depicting the village of Lagorge in Ardèche sending his best wishes for the holidays to Georges Raillard then director of the French Institute of Barcelona and his wife Alice. unknown‎

Référence libraire : 67959

‎WILLY [Henry GAUTHIER-VILLARS]‎

‎Carte autographe de Willy ""Ah ! ah ! vous aussi vous êtes pornographe !""‎

‎1900. Fine. s. d. 11.50 x 8 cm une carte Autograph letter signed by Henry Gauthier-Villars known as Willy 6 lines in purple ink sender's address at foot: ""Rue de Courcelles 93"". Amusing letter from Willy central personality of Parisian social life at the turn of the 19th century where all his taste for humor and provocation shows through: ""Ah! Ah! You too are a pornographer! I am not displeased my dear colleague to find myself in such good company"". unknown‎

Référence libraire : 64435

‎STENDHAL‎

‎« Un solitaire est jaloux de sa liberté. C'est son plus grand bien comme c'est celui de tous les hommes. » • Autograph letter addressed to his sister Pauline‎

‎1805. Fine. 10 Floréal 13 30 avril 1805 18.50 x 23.10 cm une feuille Stendhal's autograph letter addressed to his sister Pauline. 28 lines written with a fine writing in black ink. First name ""Pauline"" from the hand of the sender at the bottom of the letter. Inventory number ""36"" in ink from another hand. Two small traces of stamp and stamp a small tear restored in the bottom margin of the page. A few tiny folds inherent in the enveloping of the letter. Rare and beautiful letter of Stendhal addressed to his sister Pauline in which all the sensitivity of the young man and his love for the dramatic art shows more than twenty years before his big romantic successes. This letter comes from the correspondence between Henri Bayle here twenty-two years with his sister Pauline three years younger. This true epistolary liaison which quickly took the form of a ""diary"" - Pauline's answers were rare - is an essential milestone in the constitution of the intellectual journey of the future Stendhal. Our letter of a great lyricism testifies to the strength of the bond uniting the young writer and his sister: ""Let's shake each other my good friend. We will never find anyone who loves Pauline as Henry nor will Henry ever find a more beautiful soul than Pauline. ""The use of the third person and a lover vocabulary erects the young woman to the rank of alter ego a sister-soul and even perfect mistress. The young Henri is then precisely under the yoke of a devouring passion for the actress Melanie Guilbert whom he met during his declamation classes at Dugazon: "" I'm going to be bored perhaps by my dark sadness. I know very well that the seriousness of ardent passions is not pleasant. "" Contrasting with this passionate relationship Pauline symbolizes reason and balance a figure that Henri like a pygmalion can fashion at leisure. In good tutor he advises: ""Learn by heart roles. About declamation I will teach you a thousand things. I'm bringing you a Gil Blas and a Tracy. ""We understand here worship Stendhal devoted to the theater from his earliest years both as a player as a playwright the fund of its archives to the Grenoble Library contains nearly 700 sheets of blanks:"" I am in despair at not being able to wear you Beanies. But wait maybe someday will come . as Ulino says. ""This passion for theater Henry intends to pass it to his sister:"" We will work like hell during the time that I stay in Grenoble. ""In total opposite view with the education of women in his time he put a point of honor that Pauline is an educated person; In several letters moreover we find injunctions from the brother ordering his sister to give up needlework in favor of the reading he recommends. Truly obsessed with theater and convinced that he will become an author of successful comedies he works tirelessly: ""I am told a room where I will not be free and where I can not just declaim. Try to disturb this arrangement. ""Years before writing great novels that make her famous Stendhal already understands that loneliness is for him a source of creation and says:"" A lonely is jealous of his freedom. It is his greatest good as that of all men. "" unknown‎

Référence libraire : 66974

‎Roland BARTHES‎

‎Carte postale autographe signée adressée à Georges Raillard‎

‎Maroc Morocco 1968. Fine. Maroc Morocco 30 décembre 1968 15 x 10.50 cm une carte postale Autograph postcard signed by Roland Barthes addressed to Georges Raillard. Thirteen lines in black felt-tip pen on the verso of a card depicting a landscape of Tetouan in Morocco. ""Cher Ami nous nous sommes manqués à Barcelone. Je n'ai pu vous téléphoner - pris dans des retards d'avion - et sans doute étiez-vous déjà partis en vacances dans le Sud comme vous m'aviez dit. Ne m'en veuillez pas et acceptez avec tous les vôtres mes voeux très amicaux. A bientôt j'espère. Vôtre. R. Barthes"" ""Dear Friend we missed each other in Barcelona. I couldn't call you - caught up in flight delays - and no doubt you had already left for vacation in the South as you had told me. Please don't hold it against me and accept along with all your family my very friendly wishes. See you soon I hope. Yours. R. Barthes"" unknown‎

Référence libraire : 67054

‎Henry de MONTHERLANT‎

‎Lettre autographe signée de Henry de Montherlant‎

‎1949. Fine. 19 juin 1949 13.50 x 21 cm un feuillet Autograph letter signed by Henry de Montherlant to Robert Pignarre dated June 19 1949 15 lines in blue ink envelope attached. Folds inherent to the enveloping. Warm letter of thanks to professor Robert Pignarre following a conference at the Alliance française on his work: "" I have tasted the seriousness and objectivity ."" unknown‎

Référence libraire : 64424

‎Louis-Ferdinand CELINE‎

‎Lettre autographe signée de Louis-Ferdinand Céline à Henri Mahé ""Le martyr c'est le crachat des imbéciles""‎

‎s. l. Copenhague Copenhagen 1947. Fine. s. l. • Copenhague Copenhagen 23 avril 1947 22.50 x 28.40 cm 6 pp. in-folio Signed autograph letter of Céline to Henri Mahé and his wife dated April 23 1947 in Copenhagen lines in black ink on three sheets of lined paper. unknown‎

Référence libraire : 63242

‎Paul MOUNET‎

‎Lettre autographe signée de Paul Mounet‎

‎Paris 1910. Fine. Paris 1910 13.50 x 21.50 cm un feuillet remplié Autograph letter signed by Paul Mounet probably addressed to an actress 30 lines in black ink on laid paper with the address of the coffee Regency in mind. Folds inherent to the enveloping. The missive deals with the details of a forthcoming theatrical production that Mounet then comedian at the Comédie-Française insists with insistence to his interlocutor: "" I must have permission - to play outside the French"" unknown‎

Référence libraire : 64371

‎Alphonse DAUDET‎

‎Carte autographe signée à Jean Jullien ""nous pleurions dans cette avant-scène à faire pitié""‎

‎s. l. 1890. Fine. s. l. s. d. 10 x 6 cm une carte Signed autograph card of Alphonse Daudet 7 lines in black ink erasure of the hand of the author. Letter of praise addressed to Jean Jullien playwright precursor of the theatrical revolutions of the twentieth century about one of his pieces which Daudet emphasizes the naturalistic aesthetic: "" what admirable acts of a moving and wide poetry of observation "" . unknown‎

Référence libraire : 64360

‎Theophile GAUTIER‎

‎Lettre autographe signée de Théophile Gautier à sa fille cadette ""J'ai manqué pour ma part d'y laisser ma peau et je ne suis pas encore bien brillant""‎

‎Versailles 1871. Fine. Versailles s. d. 20-30 avril 1871 10.50 x 11.50 cm un feuillet Autograph letter signed by Théophile Gautier 34 lines in black ink address at foot on verso of the letter: ""Versailles avenue de St-Cloud n°3"". Folds inherent to mailing. The letter appears to be unpublished not mentioned in the Correspondance Générale de Théophile Gautier edited by Claudine Lacoste-Veysseyre under the direction of Pierre Laubriet Droz Geneva-Paris 12 vol. 1985-2000. Rare glimpse into Gautier's private life the letter captures the anguish that struck the author and his family during the Paris Commune. Separated from his family by the Prussian invasion of 1870 and the Parisian insurrections of 1871 Théophile Gautier confides the extent of his torments both financial and due to the Paris Commune to his ""dear sweetheart"" his younger daughter Estelle Gautier: ""I may yet manage to recover from this collapse . I am happy that these atrocious ordeals have been spared you. For my part I nearly lost my life and I am still not in brilliant condition"". Gautier's usual supporters are evident here through the names of academician Camille Doucet and dancer Carlotta Grisi. The virulence of the fighting between communards and repressive forces can be sensed in the evocation of Gautier's sister Emilie called ""Lili"": ""Lili is still in her cellar. Coming out is too perilous but she will be delivered within a few days. Alas! Very long ones"". Characteristic of the personal register rare in Gautier's correspondence the letter is imbued with the paternal love the author bears for his family: ""What a celebration when we are all reunited for my heart suffers greatly from this dispersion"". unknown‎

Référence libraire : 64361

‎Debussy, Claude‎

‎Cinq poèmes de Ch. Baudelaire‎

‎Paris: sans nom 1890. Livre. Assez bon. broché. Dédicacé par l'auteur. Edition originale. In-folio. Paris sans nom 1890. 38 x 29 cm in-folio 6 35 pp. broché sous couverture rempliée et imprimée de papier parcheminé portefeuille moderne de pleine toile noire pièce de titre. Edition originale de la partition tirée à 150 exemplaires. Celui-ci l'un des 50 exemplaires de tête sur Hollande n° 35 enrichi sous la justification d'un ENVOI autographe signé de Debussy au compositeur et critique musical Gaston Carraud. Rare. La fragile couverture est défraîchie pertes de papier dos absent. sans nom Paperback‎

Référence libraire : 4907

‎Lise DEHARME‎

‎Deux lettres autographes manuscrites de Lise Deharme à Guy Dupré‎

‎1963. Fine. 1963 et s. d. 15 x 10.50 cm une carte et un feuillet remplié Autograph letters signed by Lise Deharme addressed to Guy Dupré 9 lines in red pen on a postcard and 17 lines in blue ink on two pages of a folded sheet. Fold inherent to mailing. A collection bearing witness to the friendship between Lise Deharme a figure of Surrealism and Guy Dupré then editor at Plon: « Si je vous écris que j'ai pleuré en lisant votre article j'aurais l'air de commettre une de ces exagérations parisiennes chères à ces amis de nos amis » If I write to you that I cried reading your article I would seem to be committing one of those Parisian exaggerations so dear to those friends of our friends unknown‎

Référence libraire : 63989

‎Joris-Karl HUYSMANS‎

‎« ah ! le foutu Dieu ! » • Autograph letter signed to Camille Mauclair‎

‎Paris 1894. Fine. Paris 8 février 1894 10.60 x 13.50 cm un feuillet remplié Autograph letter of Joris-Karl Huysmans signed to Camille Mauclair 44 lines written in black ink 3 pages on a folded sheet handwritten correction of the author. Two restorations using strips of paper in high and low fold of the letter the second band very slightly affects a word of the text a fold inherent in the enveloping of the letter. A long and beautiful letter in which all Huysmans' respect and interest are shown for the writings of the young Symbolist generation. Both author and literary critic Huysmans embodies a central figure for young poets like the 22-year-old Camille Mauclair who sends him one of his first poetic collections: "" The chapter on the symbol is perfect ; it is certainly the first time that we explain and with such lucidity we put things back in place. "" Heart of the symbolism and the poetic fiber of Huysmans the music of the language is particularly honored both in the lyrics and in the author's writing: "" the pieces on death on sensuality are woven into the most vivid language . and the fine writer who found the cold and ethereal absentee who wrote such sentences: ""we strive to determine our true ghost in the tumult of appearances "". "" Introduced by the mention of the myth of Narcissus Symbolist figure par excellence the letter shows the philosophical questions that underlie the movement. « Narcissus is God - It is not very beautiful to contemplate the soul . It is true that you in a melancholy return on the vanity of being have shown in a vibrant page the actors of ourselves as we are. The mystical evocations direct to Satan and more ambiguous to God echo the literary conversion of Huysmans who in 1894 prepares the writing of En Route the first part of his trilogy during direct ""black book"" that is there : ""Ah! the damn God! Really that makes me dream of a literature that feeds less his Satan as you say to a literature of humility! "" Accustomed to digressive theoretical reflections on literature Huysmans concludes his letter with: "" At bottom I am stupid to quibble over ideas because in short all the ones we express and that we will make are already in d ' other times and they are more or less new depending on whether they are more or less forgotten but what is not done before you what you own is the way to coat them. And that's where I admire you wholeheartedly because those are your sentences. "" unknown‎

Référence libraire : 63596

‎Joris-Karl HUYSMANS‎

‎Lettre autographe signée « c'est l'invasion hollando-belge venue pour l'exposition . Je cours à la recherche de chambres d'hôtels pour ces barbares aux toisons jaunes »‎

‎s. l. Paris 1878. Fine. s. l. • Paris n.d. 14 mai 1878 9.80 x 13.40 cm un feuillet remplié Autograph letter signed by Joris-Karl Huysmans addressed to Léon Cladel 40 lines written in black ink on 4 pages on a folded sheet envelope included. A 2cm tear without loss inherent to the fold of the sheet. In this caustic letter entirely imbued with Huysmanian poetic writing the author regrets that Dutch-Belgian visitors to the Universal Exhibition keep him away from the Sèvres landscapes where Léon Cladel lives. « Je sors de chez Leconte de Lisle il a reçu votre livre couleur de sang » ""I have just left Leconte de Lisle's he received your blood-colored book"". The importance of Léon Cladel's work and personality esteemed friend of the great writers of the time is perceptible from these opening lines. The « livre couleur de sang » ""blood-colored book"" witness to Huysmans' poetic force which shines through even in his private correspondence refers to l'Homme-de-la-Croix-aux-BÂœufs published by Edouard Dentu in 1878 a novel which was moreover reread by Flaubert also intimate with Cladel. « Je vous serre la main de tout cÂœur mon puissant orfèvre et vous invite pour notre bonheur à tous à forger encore de belles Âœuvres. » ""I shake your hand wholeheartedly my powerful goldsmith and invite you for all our happiness to forge more beautiful works."" Émile Zola would take up this eloquent analogy in Cladel's funeral oration: « . de ces belles Âœuvres impeccables qu'il lançait ouvragées comme des joyaux de haut prix » "". those beautiful impeccable works he launched wrought like precious jewels"". This same year 1878 sees the Universal Exhibition settle in Paris an event which Huysmans seems compelled to attend: « c'est l'invasion hollando-belge venue pour l'exposition qui me tient et m'empêche » ""it is the Dutch-Belgian invasion come for the exhibition that holds me and prevents me"". The author's position regarding Belgium and Holland is ambiguous: Dutch through his father Huysmans makes numerous family and artistic visits to these countries and he is recognized there for his critical writings on painting. The author nevertheless prefigures here the disdain that would be found in À rebours a few years later: « Je cours à la recherche de chambres d'hôtels pour ces barbares aux toisons jaunes et le soir quand j'ai une minute de libre je les fais déambuler au travers de la capitale. Ils ouvrent des yeux comme des assiettes et jargonnent des exclamations admiratives. » ""I run in search of hotel rooms for these barbarians with yellow fleeces and in the evening when I have a free minute I make them wander through the capital. They open eyes like plates and jabber admiring exclamations."". Suffocated by the city and its society « Tout ça ça peut être drôle mais ça m'obsède singulièrement. J'espère que ça va enfin cesser et que je vais reconquérir un peu de cette pauvre liberté dont je suis si maigrement loti même en temps ordinaire » ""All that can be amusing but it obsesses me singularly. I hope it will finally cease and that I will reconquer a bit of that poor freedom of which I am so meagerly provided even in ordinary times"" Huysmans aspires to find nature again a desire which expresses itself through an elegiac exclamation: « Ah les coteaux de Sèvres ! Pardon ! » ""Ah the hills of Sèvres! Forgive me!"" A piquant letter from which emerge the themes dear to Huysmans' singular pen. unknown‎

Référence libraire : 63560

‎Octave MIRBEAU‎

‎Manuscrit autographe signé « Au conseil municipal »‎

‎1899. Fine. 1899 17.80 x 23.10 cm 2 feuillets et un quart Autograph manuscript signed by Octave Mirbeau for his article ""Au conseil municipal"" published in Le Journal on July 12 1899 90 lines in black ink on three leaves manuscript correction by the author typographical indications in blue pencil. Staining due to ink and paper. Significant of the denunciatory attitude that Mirbeau maintained in his articles this manuscript critical of the unworthy treatment of artists of genius by society is a final draft used for printing as indicated by the capital letters that delimit the paragraphs. The original leaves have been remounted on laid paper here pages from an 18th-century work Dissertatio Medica to facilitate their handling. unknown‎

Référence libraire : 62211

‎Andre BILLY‎

‎Lettre autographe signée de André Billy‎

‎1961. Fine. 23 juin 1961 13.50 x 21 cm 1 page sur une feuille Signed autograph letter of André Billy written in green ink. Date at the top of the letter and signature at the bottom of the letter. Folding caused by mailing. André Billy writes in this letter that ""Franco-Maurras friendship"" is not new. unknown‎

Référence libraire : 62734

‎Claude SIMON‎

‎Lettre autographe signée de Claude Simon à René Wintzen‎

‎Sabres 1975. Fine. Sabres 1er octobre 1975 14.60 x 20.90 cm 1 page sur une feuille Autograph letter signed by Claude Simon to René Wintzen written in black ink. Date and place at the top of the letter and signature at the bottom of the letter. Folding caused by mailing. Claude Simon writes this letter to thank René Witzen for his article and his understanding of his work. He also writes to him that he will send him his last book Lesson of Things published in 1975 and apologizes for not being able to dedicate it to him. unknown‎

Référence libraire : 62729

‎Jean PAULHAN‎

‎Lettre autographe signée de Jean Paulhan à un auteur‎

‎Paris 1945. Fine. Paris n.d. circa 1945 13.60 x 21 cm une page sur une feuille Autograph letter signed by Jean Paulhan to an author written in black ink. Date at the top of the letter signature at the bottom of the letter. NRF paper. Central fold caused by mailing. Jean Paulhan wrote this letter to thank his correspondent for his suggestion. He informs him that he has sent it to the Director of French Letters Claude Morgan. unknown‎

Référence libraire : 62650

‎Jean DUTOURD - (to Jean RIMEIZE)‎

‎Lettre autographe signée de Jean Dutourd à Jean Rimeize‎

‎Paris 1979. Fine. Paris 22 juin 1979 13.50 x 21 cm 2 pages sur une feuille Signed autograph letter of Jean Dutourd to Jean Rimeize written in black ink envelope attached. Date at the top of the letter and signature of Jean Dutourd at the bottom of the letter Paris address of Jean Dutourd on the envelope. Fold trace of the letter caused by mailing. The academician sends this letter to thank him for the paper his destiny wrote and which touched Jean Dutourd. This paper by Jean Rimeize comes from a conversation between the two men. Jean Dutourd writes that he will link this article as soon as he can. unknown‎

Référence libraire : 62633

‎Gustave FLAUBERT‎

‎Lettre autographe signée de Gustave Flaubert adressée à Léon Cladel‎

‎Paris 1877. Fine. Paris 9 mai 1877 13.50 x 20.50 cm 2 pages sur un feuillet remplié Autograph letter signed by Gustave Flaubert addressed to Léon Cladel. Envelope attached. Some underlinings and manuscript corrections by the author. Minor water stains. Three small restorations using adhesive on the second page as well as two fold marks inherent to the letter's folding for mailing. Amusing letter in which Gustave Flaubert whose literary renown is well established offers his support to his friend Léon Cladel who is struggling to have one of his works published. The ""master"" - this is how Léon Cladel addresses his colleague - begins this letter with enthusiasm: ""I started your book yesterday at 11 o'clock; it was finished this morning at 9!"" The ""book"" in question is L'Homme de la Croix-aux-BÂœufs which Flaubert had agreed to re-read for his friend on April 30; he had indeed requested the manuscript deposited with the publisher Georges Charpentier: ""Cladel wrote to me to say that he wished me to read pardon the subjunctive the novel in sheets which is with you. So send it to me or bring it to me."" Letter of May 3 1877. Léon Cladel very close to Gustave Flaubert seems to have shared with him the fears of the publisher Édouard Dentu regarding the publication of his work: ""And first of all Dentu must be mad to be afraid to publish it."" As a seasoned veteran of the ruthless world of publishing Flaubert positions himself as a professional and declares: ""Nothing in it is reprehensible either politically or morally. What he told you is a pretext"" This question of moral reprehension echoes the famous trial brought against the author of Madame Bovary. Like an enthusiastic literary critic Flaubert compliments his colleague: ""I find your book to be a real book. It is very well done very careful very masculine. & I know what I'm talking about my good man."" As a scrupulous reader he nevertheless allows himself a few remarks on Cladel's manuscript ""I have two or three small criticisms to make trivial matters - or rather advice to submit to you."" before reconsidering: ""Sometimes there are pretensions to archaism and naivety. It is an excess of good."" Flaubert's attitude here is almost paternal and in any case benevolent: aware of his friend's abilities he wishes to encourage him and see the publication of his work succeed: ""But once again be content & sleep soundly - or rather don't sleep - and often create similar works."" The benevolent writer also mentions in this letter another publisher Georges Charpentier: ""As for Charpentier to whom I will return your sheets on Friday - the day when I dine at his house I am going to give him a vigorous talking-to & in all conscience without exaggeration & without lies."" Charpentier who has been publishing Flaubert since 1874 has become a close friend of the writer with whom he maintains a rich correspondence. In this month of May 1877 he has just published Trois contes which was for Cladel the occasion for a moving celebration of his master in Letters: ""Where the devil did you get that gleaming brush with which you paint your canvases the small ones like the large ones and that sobriety that certain Latins would envy you To be at once Chateaubriand and Stendhal and moreover Flaubert."" This admiration is reciprocal and Flaubert feels for this ""true artist"" an unfeigned esteem: ""The ending is simply sublime! - & of the greatest effect."" He will reiterate a few weeks later his compliments: ""It is worked chiseled delved into. Observation in your case takes nothing away from poetry; on the contrary it brings it out."" Indeed Cladel will establish himself as the true heir to the Flaubertian style much more so than Zola who will precisely reproach him for ""working his prose relentlessly"" and ""striving to render perfect each sentence he writes."" It is finally Édouard Dentu who will publish the manuscript of L'Homme de la Croix-aux-BÂœufs; Cladel will moreover offer a copy enriche unknown‎

Référence libraire : 62711

‎Elemir BOURGES‎

‎Lettre autographe signée d'Elémir Bourges‎

‎Paris 1900. Fine. Paris n.d. circa 1900 12.40 x 16.70 cm une page sur une feuille Autograph letter signed by Elémir Bourges written in black ink. Paris date and address of Elémir Bourges at the top of the letter signature at the bottom of the letter. Central fold caused by mailing. Elémir Bourges wrote this letter in response to a request for photographs of the author. He replies that he does not have one and that his correspondent can nevertheless find old clichés in the press coming from Manuel or Waléry two Parisian portrait photographers. unknown‎

Référence libraire : 62649

‎Lucien GUITRY - (to Nadia CHARLANE)‎

‎Carte postale autographe signée de Lucien Guitry à Nadia Koudrine dit Charlane‎

‎Bruxelles Brussels 1922. Fine. Bruxelles Brussels 3 novembre 1922 9 x 14 cm une carte postale Signed autograph postcard of Lucien Guitry to Nadia Koudrine known as Charlane written in black ink. Photo of Edward VI's portrait of the Brussels Museum on the back. Lucien Guitry's signature at the bottom of the letter. Lucien Guitry sends this letter to the actress from Brussels. He complains that he has not heard from him. unknown‎

Référence libraire : 62640

‎Pierre BENOIT‎

‎Lettre autographe signée‎

‎Saint-Céré Lot Saint-Céré 1925. Fine. Saint-Céré Lot Saint-Céré s. d. Après 1925 21 x 26.50 cm 1 page sur un feuillet Letter autograph signed by Pierre Benoit a page to an unidentified friend 8 lines in black ink without date and written since Saint-Céré in the Lot. Two small tears on the margins of the sheet and without any damage to the text three spots in the foot and at the top of the sheet always without any damage to the text. Traces of creases. In this letter written from his famous room No. 2 which he occupies at the hotel of Saint-Céré since 1925 and in which he retrenched to write and ""work hard"" Pierre Benoit informs his correspondent of his geographical error concerning Saint-Céré the latter having confused Lot-et-Garonne and Lot during his previous missive. He also tells him his next return to Paris and asks if she will be there too. Finally Pierre Benoit suggests to him to send a word to The Moignée ""to tell him that I blame him to death he will understand"" and also that it gives him quickly of his news. unknown‎

Référence libraire : 62583

‎Charles BAUDELAIRE‎

‎« Me voici en mesure d'accomplir tous mes plans » • Signed autograph letter addressed to his mother‎

‎Biponti Deux-Ponts 1865. Fine. Biponti Deux-Ponts Vendredi 12 mai 1865 13.20 x 20.80 cm 1 page sur un feuillet remplié Autograph letter signed by Charles Baudelaire written in ink and addressed to his mother. A few underlinings deletions and authorial corrections. This letter was first published in Charles Baudelaire Dernières lettres inédites à sa mère in 1926. Former collection of Armand Godoy no. 197. A precious letter from Baudelaire's Brussels period during the poet's voluntary exile at the end of his life. « Il est douteux que j'habite quelque part à Paris. Je crois que j'habiterai surtout une voiture dans laquelle je ferai si je peux toutes mes courses en un ou deux jours. » Haunted by Paris – the city of vice and creditors – he dreads this brief return. His exile in Brussels is in his eyes a sign of failure and ever since arriving in Belgium he has delayed his return to France. Yet weary of the flat country he despises he mocks its inhabitants: « On est lent ici. » The poet like the seventeen-year-old student who once promised his mother he would get back on track now vows: « Me voici en mesure d'accomplir tous mes plans. Je ne sais comment t'exprimer ma reconnaissance ; et je crois que la meilleure manière sera d'exécuter mes promesses. » Literally obsessed with this sacred mother « who haunts his heart and his mind » the « grateful son » sees himself as incapable of fulfilling his poetic destiny without her undivided attention. unknown‎

Référence libraire : 62589