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19179 results
  1. Lettre autographe datée et signée adressée à Edouard Ducoté : "...l'occurrence n'est pas tragique, si ce n'est par une scandaleuse exhibition de bêtise : car le journaliste m'a paru de bonne foi ! "
    Francis VIELÉ-GRIFFIN
    Lettre autographe datée et signée adressée à Edouard Ducoté : "...l'occurrence n'est pas tragique, si ce n'est par une scandaleuse exhibition de bêtise : car le journaliste m'a paru de bonne foi ! "
    S. n.|Paris 11 Juin 1900|12.50 x 20 cm|une page
    Autograph letter signed by Francis Viélé-Griffin (16 lines in purple ink from his Parisian home on rue Hamelin) addressed to Edouard Ducoté, poet, bibliophile and director of the review l'Ermitage since 1895.
    Fold mark inherent to being placed in an envelope, the year 1900 is written in pencil at the top of the letter completing the date of June 11th written by Francis Viélé-Griffin.
    He thanks his fellow poet Edouard Ducoté for his support contrary to certain critics who have recently savaged him: "... merci, mon cher ami, de votre témoignage de sympathie..." ["...thank you, my dear friend, for your testimonial of sympathy..."] also informing him of his upcoming visit to his home having missed him the last time.
    Intimate friend of Stéphane Mallarmé, friend of André Gide, Paul Valéry, Francis Jammes, Emile Verhaeren, Francis Viélé-Griffin is an American symbolist poet writing in French. He became, with Gustave Kahn, one of the principal theorists of free verse.
    €150
  2. Le Robinson Suisse
    Johann Rudolf WYSS
    Le Robinson Suisse
    Lavigne|Paris 1841|15 x 23.80 cm|relié
    Romantic illustrated edition in first printing with 6 hors-texte on chine appliqué before letters and 200 in-text vignettes by Lemercier. The hors-texte are numbered and have been bound out of order. First edition of the translation by Elise Voiart. Preface by Charles Nodier.
    Half black shagreen binding. Smooth spine decorated with cold and gilt rococo tooling. Gilt edges. Some scattered foxing. Rubbing, particularly to edges and corners. Charming copy.
    This Swiss novel was a great success upon publication and has enchanted multiple generations to this day.
    €350
  3. [Photographie] Portrait photographique de Richard Wagner
    (Richard WAGNER) Friedrich BRUCKMANN
    [Photographie] Portrait photographique de Richard Wagner
    Friedrich Bruckmann|Munich 1866|10.70 x 17.10 cm|une feuille
    Original cabinet card format photograph. Gelatin silver bromide print retouched with pen.
    Photograph mounted on rigid card. Bruckmannn's portrait collection Nr. 180. Friedrich Bruckmann in Munchen. Trace of a fold at the upper right corner, in the margin. Silver points around the portrait which indicate an early printing and not a later reprint, as in later printings this photograph was retouched to erase the grain.
    Friedrich Bruckmann (1814-1898) was a German publisher and photographer who specialized in artist photography and had an extensive catalogue.
    Fine print, skillfully retouched with pen.
    €1,500
  4. [Photographie] Portrait photographique de Eugène Delacroix
    Eugène DELACROIX, Pierre PETIT
    [Photographie] Portrait photographique de Eugène Delacroix
    Pierre Petit|Paris 1858|6 x 10.40 cm|une feuille

    An original albumen carte-de-visite photograph of Eugène Delacroix, depicting the artist seated in a chair — his most famous portrait. The session at Pierre Petit’s studio yielded multiple poses; variants of this print survive at the Musée d’Orsay and the Metropolitan Museum of Art, New York. Mounted on card, with Pierre Petit’s signature in the lower margin and his studio advertisement on the verso.

    €1,600
  5. [Photographie] Portrait photographique de Dominique Ingres
    Jean Auguste Dominique INGRES, Eugène DISDERI
    [Photographie] Portrait photographique de Dominique Ingres
    Eugène Disdéri|Paris 1860|6 x 10.50 cm|une feuille
    Full-length carte-de-visite albumen photograph of the painter Ingres. Taken by Disdéri, who himself developed this carte-de-visite process in 1854.
    Photograph mounted on card bearing the name of Disdéri et Cie. Photographer's advertisement on verso, at the address on boulevard des Italiens. Fine print.
    This sitting at Disdéri's studio produced several photographs of the painter, with slightly different poses. This same photograph can be found at the Ingres Museum in Montauban and at the Musée d'Orsay.
    €1,200
  6. Shunga. Jūji wagō o-tekagami (Figures d'unions harmonieuses durant 10 heures)
    ANONYME
    Shunga. Jūji wagō o-tekagami (Figures d'unions harmonieuses durant 10 heures)
    1880|21 x 24 cm|autre
    Album bringing together 10 original paintings on beige silk in colors mounted on gold paper. The pastedowns of embossed and gold paper with flowers and leaves. The final work of the collection bears 2 red seals. The majority of these collections are never signed due to censorship, so it is extremely rare to find a seal, therefore the painter's signature. Each painting is a square of silk measuring 16.8x16.8cm. The erotic scenes contain no decor, no background, concentrating all attention on the couples. 3 however have drapery or a screen. The paintings are extremely stylized and finely executed, of great quality. A few fine strokes draw the figures clothed in fabrics that partially cover them. With a few red touches, the colors used are browns harmonizing with the beige background.
    It is almost impossible to date this type of work precisely and it is likely older by several decades, although its very refined style seems to reflect the end of the nineteenth century in Japan.
    Accordion album covered in blue silk with gold motifs. Wooden case in 2 parts (24.5x28.5cm), a base and a lid, with manuscript writing on the lid. For the album: Rubbed manuscript label. Worn corners with fabric loss. The gold paper with rubbing. In the margins the paintings have some soiling or light dampstains. It is very rare that these collections, always hidden from view, have preserved their storage box.
    Compared to the well-known production of erotic prints, the paintings, while respecting a certain number of codes of Japanese eroticism (size of genitals, swooning women, fabrics partially masking nudity, sexual positions...) show greater creativity and originality, expressing more of the technique and vision of the painter. The series thus demonstrates extreme refinement and great purification, especially when compared to shunga from the Edo period. Furthermore, even if the erotic scenes respect the codes of shunga representation, one can clearly distinguish an evolution in the vision of sexuality: women hold a more equal place, and the whole tends more toward harmonious sexuality, perfectly rendered in these paintings by the choice of brown gradations punctuated with touches of more violent colors, thus representing a form of serenity inhabited by the violence of desire.
    Shunga is the generic Japanese term designating erotic art, it literally means Spring Image, spring being a euphemism and figure of speech expressing sexuality. The term Shunga having long been reserved for prints, collections or albums have often been designated by the appellation Pillow Books, or pillow notes, etc. (Utamaro: The Song of the Pillow, 1788).
    Precious and rare ensemble.
    €3,800
  7. "... une bonne année commencée avec le soleil ce qui donne envie de circuler..."
    Pierre-André BENOIT, Joan MIRÓ
    "... une bonne année commencée avec le soleil ce qui donne envie de circuler..."
    Unpublished handwritten card, signed and illustrated with a reproduction of a drawing by Joan Miro addressed to his friend, the Montpellier bookseller Pierre Clerc, wishing him his best wishes for the year 1984
    S. n.|Paris 11 Janvier 1984|13.50 x 10 cm|une feuille + une enveloppe
    Autograph signed card from Pierre-André Benoit (8 lines in black ink, written from his château at Rivières-de-Theyrargues in the Gard, which he has occupied since 1970) addressed to the bookseller Pierre Clerc, to whom he extends his wishes for 1984.
    The card is illustrated on the recto with a reproduction of a drawing by Joan Miró accompanied by a phrase from Saint Teresa of Avila, envelope included.
    The sunny winter favors PAB's good humor: "... une bonne année commencée avec le soleil ce qui donne envie de circuler..." ["... a good year begun with sunshine which makes one want to get about..."] who suggests to his bookseller friend that he come to lunch at his home soon.
    Poet, painter, engraver, Pierre-André Benoit or P.A.B. was above all a typographer and printer who created more than 400 illustrated works bringing together the greatest post-war poets with the most talented painters of the second half of the twentieth century.
    P.A.B.'s productions were first realized on a small press installed in his apartment in Alès. They brought together his poet friends René Char, André Breton, Paul Éluard, Paul Claudel, Erik Satie, Tristan Tzara and his painter friends Joan Miró, Georges Braque, Jean Dubuffet, Francis Picabia, Marcel Duchamp and Pablo Picasso. In 1949, he began to use celluloid engraving which allowed him to make the prints himself and to create the books entirely. From his modern château at Rivières-de-Theyrargues, in the Gard, he would end up illustrating his works himself while continuing to work with his faithful friends Camille Bryen and Pierre Alechinsky.

    €150
  8. Carte manuscrite inédite, signée et illustrée d'une reproduction d'un dessin de PAB adressée à son ami le libraire montpelliérain Pierre Clerc lui présentant ses voeux pour l'année 1987
    Pierre-André BENOIT
    Carte manuscrite inédite, signée et illustrée d'une reproduction d'un dessin de PAB adressée à son ami le libraire montpelliérain Pierre Clerc lui présentant ses voeux pour l'année 1987
    S. n.|Paris Janvier 1987|21 x 14.50 cm|une feuille
    Autograph card signed by Pierre-André Benoit (8 lines in black ink written from his château at Rivières-de-Theyrargues in the Gard which he has occupied since 1970) addressed to bookseller Pierre Clerc, to whom he presents his wishes for 1984.
    The card is illustrated on the recto with a reproduction of a drawing by PAB.
    PAB is exhausted by the past year: "... j'ai besoin cet hiver de me reposer puis ce sera encore l'agitation..." ["I need to rest this winter then it will be agitation again..."] and is considering leaving his retreat at Rivières-de-Theyrargues: "dans un an au plus un an 1/2 je laisserai Rivières et me fixerai à Alès..." ["in a year at most a year and a half I will leave Rivières and settle in Alès..."]
    He will also dispose of his books and his library: "... tout partira ou au musée-bibliothèque ou chez les libraires..." ["everything will go either to the museum-library or to booksellers..."]
    This is why he invites his bookseller friend to come see him one last time at his château.
    Poet, painter, engraver, Pierre-André Benoit or P.A.B. was above all a typographer and printer who produced more than 400 illustrated works bringing together the greatest post-war poets with the most talented painters of the second half of the 20th century.
    P.A.B.'s productions were first made on a small press installed in his apartment in Alès. They would bring together his poet friends René Char, André Breton, Paul Éluard, Paul Claudel, Erik Satie, Tristan Tzara and his painter friends Joan Miró, Georges Braque, Jean Dubuffet, Francis Picabia, Marcel Duchamp and Pablo Picasso. In 1949, he began using celluloid engraving which allowed him to make the prints himself and produce the books entirely. From his modern château at Rivières-de-Theyrargues, in the Gard, he would end up illustrating his works himself while continuing to work with his faithful friends Camille Bryen and Pierre Alechinsky.

    €150
  10. Album de fleurs et d'oiseaux
    LI KUCHAN
    Album de fleurs et d'oiseaux
    1960|19.50 x 27 cm|autre
    Album composed of 10 lithographs after ink and ink wash drawings in colors (mainly yellow and green) mounted on cardboard.
    Accordion binding covered in damask silk and embroidered with beige gilt Chinese motifs with blue, red, black and gold embroidery. Title label with the painter's seal. Brown paper. Gold powder edges. Magnificent copy.
    Famous Chinese painter (1899-1983), calligrapher, he renewed traditional Chinese painting of flowers and birds using ancestral techniques; his art is very close to calligraphy through his brushwork and freedom of gesture. He was the best student of Qi Baishi. He taught painting at the Central Academy of Arts from 1950 until his death. Each painting bears the artist's red seal and a caption. Works by Li Kuchan regularly appear in international sales, especially in the United States.
    €1,000
  11. Sylvie and Bruno. Sylvie and Bruno concluded
    Lewis CARROLL, Harry FURNISS
    Sylvie and Bruno. Sylvie and Bruno concluded
    Macmillan and co|London 1889 - 1893|12.50 x 19 cm|2 volumes reliés
    First editions of these 2 volumes, each illustrated with 46 drawings by Harry Furniss. At the end of each volume, 5 pages of Carroll's works and a facsimile of the Alice in Wonderland manuscript.
    Publisher's full red cloth binding. Smooth spine with gilt titles, gilt medallions on boards depicting characters from the novels. Triple gilt frame on boards. All edges gilt. The Sylvie and Bruno volume uniformly faded, a split at head and foot of a few millimeters, 2 slight depressions on the spine, along the lower joint, cloth worn and opened for a few millimeters; corners turned in, small stains and soiling. A bookseller's label on the pastedown: Serendip books, Dorset. On the half-title, a manuscript inscription in blue ink: Purchase 1972 march, and opposite a signature.
    The Sylvie and Bruno Concluded volume in fine condition, despite sunken headcaps, a somewhat faded spine and some light soiling.
    A handsome set in the original publisher's binding, perfectly fresh internally.
    €1,400
  12. Lettre autographe datée et signée à Léon Daudet à propos d'une conférence qu'il donne à Lyon sur la poésie de Paris
    Francis CARCO
    Lettre autographe datée et signée à Léon Daudet à propos d'une conférence qu'il donne à Lyon sur la poésie de Paris
    S. n.|Lyon 18 Mai 1941|13.50 x 21 cm|une feuille
    Autograph letter dated and signed by Francis Carco (24 lines in black ink from the Royal Hotel in Lyon, place Bellecour) providing details regarding a conference he is giving on the poetry of Paris.
    Fold marks inherent to the mailing. Léon Daudet having added a few words, in black ink, in the upper right corner of the letter "mon fils ira..." ["my son will go..."]
    Francis Carco who met François Daudet is very busy with organizing his conference and asks his correspondent when he might be able to meet him : "... j'attendais d'être moins bousculé pour vous demander d'aller vous voir..." ["... I was waiting to be less rushed to ask you if I could come see you..."]
    He also invites him to this conference while expressing all the admiration he holds for him: "... je serais ravi que vous puissiez y assister... Veuillez croire à ma bien fidèle et toujours jeune admiration..." ["... I would be delighted if you could attend... Please believe in my most faithful and ever young admiration..."]




    €180
  13. "... je ferai mon possible pour me rendre utile... mais je suis entré depuis six mois dans ma quatre-vingt sixième année..."
    Pierre MAC ORLAN
    "... je ferai mon possible pour me rendre utile... mais je suis entré depuis six mois dans ma quatre-vingt sixième année..."
    Autograph letter, dated and signed, to his friend, the artesian poet Roger Valuet, who asked to preside over a poetic association
    S. n.|Saint-Cyr-sur-Morin 19 Janvier 1967|21 x 27 cm|une feuille
    Autograph letter dated and signed by Pierre Mac Orlan (12 lines in black ink) to his young friend the poet Roger Valuet.
    He apologizes for his late reply due to health difficulties recently encountered: "... if my reply does not come too late (because of broncho-pneumonia)" and shows himself delighted to be solicited for the presidency of the poetic society of which Roger Valuet is the initiator: "... I will do my best to make myself useful... but I have entered my eighty-sixth year six months ago..."
    Fold marks inherent to postal handling.
    Originally from Arras, Roger Valuet is a popular writer who signed, under the pseudonym Roger Vilard, numerous detective and espionage novels. At the beginning of his career, he was helped by Pierre Mac Orlan who prefaced his first collection of poems.



    €150
  14. Lettre autographe datée et signée à son ami le poète artésien Roger Valuet à propos d'une séance de dédicaces prévue dans sa librairie
    Pierre MAC ORLAN
    Lettre autographe datée et signée à son ami le poète artésien Roger Valuet à propos d'une séance de dédicaces prévue dans sa librairie
    S. n.|Saint-Cyr-sur-Morin 19 Octobre 1952|13 x 20.50 cm|une feuille
    Autograph letter dated and signed by Pierre Mac Orlan (15 lines in black ink on Académie Goncourt letterhead) to his young friend the poet and bookseller Roger Valuet.
    He apologizes for his late reply due to health difficulties related to persistent shingles: "... I have barely recovered from shingles which poisoned my existence for nearly two months... I am still tired..."
    He hopes to see his friend again soon and visit him in his bookshop to honor a signing session he promised him: "... I will do everything possible for this signing session: Friday would suit me."
    Fold marks inherent to postal handling.
    Originally from Arras, Roger Valuet is a popular writer who signed, under the pseudonym Roger Vilard, numerous detective and espionage novels. At the beginning of his career, he was helped by Pierre Mac Orlan who prefaced his first collection of poems.



    €150
  15. " ... c'est un grand don, à notre époque, que celui de la poésie..."
    Pierre MAC ORLAN
    " ... c'est un grand don, à notre époque, que celui de la poésie..."
    Autograph letter, dated and signed, to the young artesian poet Roger Valuet complimenting him on his work as a poet
    S. n.|Saint-Cyr-sur-Morin 19 Octobre 1949|21 x 27 cm|une feuille
    Autograph letter dated and signed by Pierre Mac Orlan (12 lines in blue ink) to his young friend the beginning poet Roger Valuet.
    Fold marks inherent to being placed in an envelope.
    Pierre Mac Orlan thanks his poet friend for having offered him a pipe: "J'ai bien reçu cette superbe pipe Longchamp. Votre gentille pensée me fait plaisir. Tout en écrivant, en ce moment, je la fume..." ["I received this superb Longchamp pipe. Your kind thought pleases me. While writing, at this moment, I am smoking it..."] and congratulates him on his latest work and the progress achieved : "Vous êtes en grand progrès. Plus sûr de vous et aussi plus maître de votre pensée et de vos formes d'expression..." ["You are making great progress. More sure of yourself and also more master of your thought and your forms of expression..."]
    He encourages him to persevere and promises him a preface for his next work : "... c'est un grand don, à notre époque, que celui de la poésie... Vous aurez votre préface vers la fin de ce mois." ["it is a great gift, in our time, that of poetry... You will have your preface towards the end of this month."]
    Originally from Arras, Roger Valuet is a popular writer who signed, under the pseudonym Roger Vilard, numerous detective and espionage novels. At the beginning of his career, he was helped by Pierre Mac Orlan who prefaced his first collection of poems.



    €180
  16. "... je mène l'horrible vie de plage..."
    Max JACOB
    "... je mène l'horrible vie de plage..."
    Autograph postcard signed from the Côtes du Nord to his friend the writer Nino Frank
    S. n.|Ile de Bréhat [Île de Bréhat] s. d. [1938]|14 x 9 cm|une carte
    Autograph postcard signed by Max Jacob (12 lines in black ink written from the hotel du port on the island of Bréhat) to his friend the writer Nino Frank.
    The postcard depicts a boat leaving Paimpol to sail towards Iceland.
    Max Jacob thanks his friend who favorably received his recent work, revealing to him the confidential nature of the latter: "... tes bonnes paroles sur mon livre me vont droit au coeur... il est écrit pour très peu de gens dont tu es..." ["your kind words about my book go straight to my heart... it is written for very few people, of whom you are one..."]
    He also extols to him the virtues and expiatory merits of labor: "... travaille cher ami : c'est tout dans la vie... " ["work, dear friend: it is everything in life..."]     while castigating the vegetative state of the vacationer: "... je mène l'horrible vie de plage..." ["I lead the horrible beach life..."]
    Nino Frank, fleeing fascism, settled in Paris in 1923. He became friends with Max Jacob, Pierre Mac Orlan, Léon-Paul Fargue, André Malraux, Blaise Cendrars and Georges Ribemont-Dessaignes with whom he founded the review Bifur in 1929.
    Translator, journalist but also filmmaker and radio personality, Nino Frank met Blaise Cendrars in 1928 who would become his great friend and with whom he collaborated (Rhum, Film sans images). He created the expression film noir to designate the Hollywood detective genre, which refers to dramatic suspense cinema produced in the United States in the 1940s and 1950s.
    €350
  18. "... de vos demandes (verbales et écrites) vous aurez au moins..."
    Pierre-André BENOIT
    "... de vos demandes (verbales et écrites) vous aurez au moins..."
    Unpublished and signed autograph letter addressed to his friend, the Montpellier bookseller Pierre Clerc
    S. n.|Paris 17 Novembre 1983|13.50 x 21 cm|une feuille
    Autograph letter signed by Pierre-André Benoit (27 lines in black ink and written from his château at Rivières-de-Theyrargues in the Gard which he has occupied since 1970) addressed to bookseller Pierre Clerc regarding works that the latter had ordered from him.
    Fold mark inherent to mailing.
    PAB must travel to Montpellier, as his housekeeper is to have surgery there. He will therefore take the opportunity to meet his bookseller friend and bring him some available works among those he had ordered.
    Poet, painter, engraver, Pierre-André Benoit or P.A.B. was above all a typographer and printer who produced more than 400 illustrated works bringing together the greatest post-war poets with the most talented painters of the second half of the 20th century.
    P.A.B.'s productions were initially created on a small press installed in his apartment in Alès. They brought together his poet friends René Char, André Breton, Paul Eluard, Paul Claudel, Erik Satie, Tristan Tzara and his painter friends Joan Miro, Georges Braque, Jean Dubuffet, Francis Picabia, Marcel Duchamp and Pablo Picasso. In 1949, he began using celluloid engraving which allowed him to make the prints himself and create entire books. From his modern château at Rivières-de-Theyrargues, in the Gard, he would eventually illustrate his own works while continuing to work with his faithful friends Camille Bryen and Pierre Alechinsky.

    €180
  19. "... il m'est impossible de lire de penser à quoi que ce soit sauf aux méfaits du temps..."
    Pierre-André BENOIT
    "... il m'est impossible de lire de penser à quoi que ce soit sauf aux méfaits du temps..."
    Unpublished and signed autograph letter addressed to his friend, the Montpellier bookseller Pierre Clerc
    S. n.|Paris 10 Janvier 1985|15 x 21 cm|une feuille
    Autograph letter signed by Pierre-André Benoit (22 lines in blue ink and written from his château at Rivières-de-Theyrargues in the Gard which he has occupied since 1970) addressed to bookseller Pierre Clerc to whom he presents his wishes for 1985 and in which he narrates the damage related to the frost that is ravaging the Gard and damaging his home.
    Fold mark inherent to mailing.
    PAB suffers from the harsh winter that has fallen upon the Gard: "... si je vous écris avec un soleil radieux qui réjouit les yeux il est sans effet et les -15e devant ma porte le 0 à l'intérieur de la maison cela n'a rien de confortable..." ["... if I write to you with radiant sunshine that delights the eyes it has no effect and the -15° in front of my door, 0° inside the house, that is not at all comfortable..."] but remains in good health even if his mind is paralyzed by the damage that promises to be significant: "...je suis effrayé à la pensée du dégel... il m'est impossible de lire de penser à quoi que ce soit sauf aux méfaits du temps. Vivement les beaux jours..." ["...I am frightened at the thought of the thaw... it is impossible for me to read or think of anything except the misdeeds of the weather. Looking forward to fine weather..."]
    Poet, painter, engraver, Pierre-André Benoit or P.A.B. was above all a typographer and printer having produced more than 400 illustrated works bringing together the greatest postwar poets with the most talented painters of the second half of the 20th century.
    P.A.B.'s productions were first created on a small press installed in his apartment in Alès. They brought together his friends the poets René Char, André Breton, Paul Eluard, Paul Claudel, Erik Satie, Tristan Tzara and his painter friends Joan Miro, Georges Braque, Jean Dubuffet, Francis Picabia, Marcel Duchamp and Pablo Picasso. In 1949, he began to use celluloid engraving which allowed him to make the prints himself and to produce the books entirely. From his modern château at Rivières-de-Theyrargues, in the Gard, he ended up illustrating his own works while continuing to work with his faithful friends Camille Bryen and Pierre Alechinsky.

    €180
  20. "... le colis de jeudi dernier était comme à l'ordinaire magnifique..."
    Henri BÉRAUD
    "... le colis de jeudi dernier était comme à l'ordinaire magnifique..."
    Moving autograph letter from prison, dated and signed and addressed to his mother-in-law, whom he affectionately calls "his dear mother"
    S. n.|Poissy 29 Septembre 1945|13.50 x 21 cm|une page recto verso
    Touching autograph letter dated and signed by Henri Béraud addressed to his mother-in-law while he was incarcerated at Poissy prison (36 lines in blue ink on one recto-verso page) describing his situation as a prisoner while praising the love of his mother-in-law and his wife who watch over him and allow him to view prison life under better auspices, thanks notably to the packages that improve his daily fare.
    The letter is on letterhead from the infirmary of the central prison at Poissy where Henri Béraud was being treated, fold marks inherent to mailing.
    Henri Béraud knows his mother-in-law is suffering and deplores her absence from last week's visiting room: "... j'ai été peiné de ne pas vous voir jeudi..." ["... I was saddened not to see you Thursday..."] and hopes for her prompt recovery: "... je forme les voeux les plus fervents pour que vos piqûres donnent de bons résultats..." ["... I offer my most fervent wishes that your injections give good results..."] thanks notably to his intervention: "... grâce à mon collègue, dont le père est pharmacien, vous aurez peut-être de l'endopancrine..." ["... thanks to my colleague, whose father is a pharmacist, you may perhaps have some endopancrine..."]
    He thanks his dear mother-in-law for all the emotional and material care with which she surrounds him and which beautifies his condition as a sick prisoner: "... le colis de jeudi dernier était comme à l'ordinaire magnifique..." Combien je vous remercie toutes deux de tant de soins et de peine ! " ["... last Thursday's package was magnificent as usual... How I thank you both for so much care and trouble!"]
    He also requests paper and envelope to escape episodically from the darkness of his prison daily life: "... ne manquez pas de mettre enveloppe et papier dans votre lettre..." ["... don't forget to put envelope and paper in your letter..."] and asks for news of his relatives: "donnez-moi des nouvelles de votre belle-famille, qui est aussi la mienne, et qui me manifeste tant de généreuse affection..." ["give me news of your in-laws, who are also mine, and who show me such generous affection..."]
    A bon vivant native of Lyon, Henri Béraud was a journalist and international reporter (Le canard enchaîné, Le Crapouillot, Petit Parisien, France-Soir and Gringoire) and a prolific writer (Goncourt Prize 1922 for Le martyre de l'obèse and Le vitriol de lune published a year earlier) whose political evolution, moving from the extreme left to the extreme right pro-collaborationist, is characteristic of the inexorable rise of totalitarianisms of the interwar period and the corruption of many French intellectuals. Friend of Roland Dorgelès, Albert Londres and especially Joseph Kessel whom he met in 1922 in Ireland then recently and partially liberated from the British yoke, Henri Béraud defended very left-wing opinions. But after a trip to the U.S.S.R., he began to revise his positions while drifting toward anti-parliamentarism, Anglophobia (Faut-il réduire l'Angleterre en esclavage ? published in 1935 and dedicated to Joseph Kessel), antisemitism "without realizing it" according to his friend journalist Jean-Galtier Boissière. It was the Stavisky affair and its corollary the riots of the fascist and anti-parliamentarian leagues of February 6, 1934 that triggered Henri Béraud's manifest passage to the extreme right, going so far as to break his friendship with his great friend Joseph Kessel. In 1936, his violent articles in Gringoire led to the suicide of Popular Front interior minister Roger Salengro accused of desertion during the First World War. Arrested in September 1944 and sentenced to death on December 29, 1944 for intelligence with the enemy, he was pardoned by General De Gaulle.





    €500
  21. The taboo anthem of the master of the zazous
    Ensemble complet du manuscrit et du tapuscrit de la chanson de Boris Vian intitulée "Les gens de Saint-Germain"
    Boris VIAN
    Ensemble complet du manuscrit et du tapuscrit de la chanson de Boris Vian intitulée "Les gens de Saint-Germain"
    S. n.|s. l. s. d. [1948-1949]|31 x 20 cm|3 feuillets
    Secret and early song, hastily written with numerous corrections, probably written on the corner of a cellar table, homage to famous troglodytes and anonymous zazous of Saint-Germain-des-Prés

    - A perforated squared sheet written by Boris Vian in blue ink, numerous deletions and corrections, some marginal tears. This sheet is folded in three, as if it were the template for a leaflet. At the head of the sheet, some manuscript attempts in Vian's hand confirm that this text was perhaps intended to become the anthem of a circle of Saint-Germain residents:

    "CLAC: Cercle Littéraire des amis des caves / Cercle libre des amateurs de cuisse." ["Literary Circle of cellar friends / Free circle of thigh enthusiasts."]




    On the verso of this sheet, manuscript notes by Vian probably in view of animating this circle which, to our knowledge, was never created:




    "Tableau d'affichage - signé le troglodyte de la semaine" [...] "Manifestes à faire signer toutes les semaines." ["Notice board - signed the troglodyte of the week" [...] "Manifestos to have signed every week."]




    - A perforated slip taken from a school notebook sheet reproducing the stanza "Pour venir au Tabou" ["To come to the Tabou"] and the following one, also in Boris Vian's hand. The first stanza does not appear in its entirety on the main sheet. A trace of adhesive on the verso.
    - A perforated sheet typed on machine, fair copy of the manuscript. At the bottom right, the date "1948-1949" is indicated.

    This song - one of Vian's very first - is a true Saint-Germain anthem, which was never performed outside the cellars. It prefigures the famous Manuel de Saint-Germain-des-Prés which would not appear until 1974. It was transcribed, with the stanzas in a different order, in volume 11 of Boris Vian's Œuvres complètes devoted to his songs, but certain verses crossed out in our manuscript remain quite readable and unpublished: "Quand on n'sait pas danser / Il vaut mieux s'en passer" ["When one doesn't know how to dance / It's better to do without"].
    Alexandre Astruc, cited twice in the song, testifies in his memoirs to the creation of this one:


    "Je dois reconnaître qu'en dépit de l'alcool qu'on pouvait y ingurgiter, je n'aimais pas vraiment les caves, ni les pitreries de Vian, auquel je reconnaissais pourtant un réel talent de pasticheur et de pince-sans-rire. Il avait écrit une chanson très drôle sur les cocktails que donnait Gaston Gallimard chaque premier vendredi du mois. Tout ce que la littérature française comptait de plus sérieux s'y retrouvait, cul par-dessus tête, les jambes des femmes battant l'air dans leurs jupes new-look, sur l'herbe tendre des pelouses de Gaston, tant le préposé à la boisson, un homme rougeâtre du nom de Bitodos, avait coutume de forcer sur la dose d'alcool. En voici, autant que je m'en souvienne les paroles édifiantes : « Et le vendredi soir / On va chez Gallimard / On mang' des pt'its gâteaux / Offerts par Bitodos / Et l'on voit Jean Genet / qui se fait... enculer / Tandis que sur l'gazon / Astruc rend son gougeon... »" ["I must acknowledge that despite the alcohol one could consume there, I didn't really like the cellars, nor Vian's antics, though I recognized in him a real talent as a pasticheur and deadpan comedian. He had written a very funny song about the cocktails that Gaston Gallimard gave every first Friday of the month. Everything that French literature counted as most serious was found there, head over heels, women's legs beating the air in their new-look skirts, on the tender grass of Gaston's lawns, so much did the drinks attendant, a reddish man named Bitodos, have the habit of overdoing the alcohol dose. Here are, as far as I remember, the edifying lyrics: 'And Friday night / We go to Gallimard's / We eat little cakes / Offered by Bitodos / And we see Jean Genet / getting himself... buggered / While on the lawn / Astruc throws up his gudgeon...'"] (A. Astruc, La tête la première, 1975).
    This precise mention of the impertinent song in his memories of Parisian cellars proves that Astruc heard Vian perform it, probably even several times. Astruc's memory is nevertheless not entirely accurate and Boris Vian's song, well beyond the evocation of Gaston Gallimard's garden parties, constitutes a true homage to the Saint-Germain way of life, then in peril.

    This ribald song was indeed written in the last breaths of the Tabou, most famous club-cellar founded in 1947 where Boris Vian reigned supreme, surrounded by other illustrious personalities cited in this tableau:




    "Les gens de Saint-Germain
    S'amusent comme des gamins
    ls lisent du Jean-Paul Sartre
    En mangeant de la tartre."     ["The people of Saint-Germain
    Have fun like kids
    They read Jean-Paul Sartre
    While eating tart."]




    Two stanzas pay homage to the mythical cellar of rue Dauphine:




    "Pour venir au Tabou
    Faut être un peu zazou
    Faut porter la barbouze
    Et relever son bénouze - Dans une ambiance exquise
    On mouille sa chemise
    Et quand y'a trop d'pétard
    Ça finit au mitard"     ["To come to the Tabou
    You have to be a bit zazou
    You have to wear the beard
    And lift your trousers - In an exquisite atmosphere
    One soaks one's shirt
    And when there's too much racket
    It ends in solitary"] while two others evoke the future of the zazous: "Mais quand nous serons vieux
    Tout ira bien mieux
    On s'paiera des p'tites filles
    Pour s'occuper la quille - Et on viendra toujours
    Fidèle a ses amours
    Au Cercle Saint-Germain
    Pour y voir des gens bien."     ["But when we are old
    Everything will be much better
    We'll pay for little girls
    To occupy our time - And we'll always come
    Faithful to our loves
    To the Saint-Germain Circle
    To see good people there."]




    This new evocation of the "Circle" added to the "clac" annotations at the head of the sheet might suggest that Vian wished to create a collective that would survive beyond the Tabou. Whatever the case, at the time of the creation of this anthem to the "people of Saint-Germain," the Club Saint-Germain was born, a new cellar more "select" than its elder which would become Paris's first jazz venue.

    Provenance: Boris Vian Foundation.

    €4,000
  22. " ... On est à se demander si le soleil s'est mis en grève ou s'il est allé se promener au pays lointain de la vraie justice et du bon sens ..."
    Henri BÉRAUD
    " ... On est à se demander si le soleil s'est mis en grève ou s'il est allé se promener au pays lointain de la vraie justice et du bon sens ..."
    Moving autograph letter from prison, dated and signed and addressed to his mother-in-law, whom he affectionately calls "his dear mother"
    S. n.|Poissy 15 Juin 1946|13.50 x 21 cm|une page recto verso
    Touching autograph letter dated and signed by Henri Béraud addressed to his mother-in-law while he was incarcerated at Poissy prison (40 lines in blue ink on one recto-verso page) relating his situation as a prisoner while praising the love of the latter and his wife who watch over him and allow him to envisage prison life under better auspices, thanks notably to the parcels that improve his daily fare.
    The letter is headed with the infirmary of the central prison of Poissy where Henri Béraud was being treated, creasing traces inherent to being placed in an envelope. A printed stamp of the prison administration "Seen and checked" in the left and upper margin of the letter
    Henri Béraud rejoices in his mother-in-law's good health which allows her to visit him again: "... Now that you have found your way back to Poissy, you must not forget it again..." even if the weather is not cooperating: "... One wonders if the sun has gone on strike or if it has gone for a walk in the distant land of true justice and common sense..." thus establishing a parallel between his dark condition as a prisoner and the darkness of the sky.
    He hopes to see his wife Germaine again: "... with the hairstyle that suits her so well..." and to receive new photographs of her.
    The author of Le Martyre de l'obèse wants to reassure his family thanks to whose support he copes: "Tell them that morale remains strong - and the parcels are wonderful." and ends his letter, remaining the pamphleteer that he is, with an anti-American quip: "I embrace you with my deep and respectful tenderness, although respect and Mickey clash a bit!"
    He also requests paper and envelope to escape episodically from the darkness of his prison routine: "... don't forget to put envelope and paper in your letter..." and asks for news of his relatives: "give me news of your in-laws, who are also mine, and who show me such generous affection..."
    A bon vivant native of Lyon, Henri Béraud was a journalist and international reporter (Le canard enchaîné, Le Crapouillot, Petit Parisien, France-Soir and Gringoire) and a prolific writer (Prix Goncourt 1922 for Le martyre de l'obèse and Le vitriol de lune published a year earlier) whose political evolution, moving from the extreme left to the extreme right pro-collaborationist, is characteristic of the inexorable rise of totalitarianisms in the inter-war period and the corruption of many French intellectuals. Friend of Roland Dorgelès, Albert Londres and especially Joseph Kessel whom he met in 1922 in Ireland then recently and partially liberated from British rule, Henri Béraud defended very left-wing opinions. But after a trip to the U.S.S.R., he began to revise his positions while drifting towards anti-parliamentarianism, Anglophobia (Faut-il réduire l'Angleterre en esclavage? published in 1935 and dedicated to Joseph Kessel), antisemitism "without realizing it" according to his friend the journalist Jean-Galtier Boissière. It was the Stavisky affair and its corollary the riots of the fascist and anti-parliamentarian leagues of February 6, 1934 that triggered Henri Béraud's manifest passage to the extreme right, going so far as to break his friendship with his great friend Joseph Kessel. In 1936, his violent articles in Gringoire would lead to the suicide of the Interior Minister of the Popular Front Roger Salengro accused of desertion during the First World War. Arrested in September 1944 and sentenced to death on December 29, 1944 for intelligence with the enemy, he was pardoned by General De Gaulle.





    €600
  23. Lettre autographe datée et signée à André Parinaud à propos d'un article de presse paru dans le journal gaulliste Carrefour du 20 décembre 1949
    André MALRAUX
    Lettre autographe datée et signée à André Parinaud à propos d'un article de presse paru dans le journal gaulliste Carrefour du 20 décembre 1949
    S. n.|Boulogne-sur-Seine [Boulogne-Billancourt] s. d. [circa 1955]|14 x 21 cm|une feuille
    Autograph letter dated and signed by André Malraux (9 lines in blue ballpoint pen from his Boulogne home on avenue Victor Hugo) providing clarifications regarding the publication of an article concerning the appeal for revision filed by Charles Maurras and published in the Gaulliste newspaper Carrefour.
    Fold marks inherent to postal mailing.
    A resistant participating in Combat, André Parinaud is a journalist, columnist, art critic and writer. From 1959 to 1967, he held the position of editor-in-chief of the important weekly Arts bringing together the elite of French creation in all artistic domains: literature, painting, theater, cinema... He then conducted more than 1000 radio interviews with the greatest writers and artists including Salvador Dali, Louis-Ferdinand Céline, Colette, Paul Léautaud, André Breton, Georges Simenon and André Malraux... While continuing to work at O.R.T.F. and on radio, he founded several festivals or artistic events such as The International Art Film Festival, the National Academy of Street Arts.



    €300
  24. Ensemble complet du manuscrit et du tapuscrit de la chanson de Boris Vian intitulée "Une vocation"
    Boris VIAN
    Ensemble complet du manuscrit et du tapuscrit de la chanson de Boris Vian intitulée "Une vocation"
    S. n.|s. l. s. d. [entre 1954 et 1959]|21 x 27 cm|3 feuillets
    Complete set of Boris Vian's manuscript and working typescript, genesis of the song "Une vocation".
    - two perforated lined sheets handwritten in blue ink by Boris Vian.
    - one double lined sheet having probably served as a folder for the set bearing at the head of the first page the title, in Boris Vian's hand
    - one perforated sheet typed on machine, fair copy of the manuscript
    This song, evoking the destiny of a tipsy worker from Bois Colombe who joins the navy, was never performed.

    Il était né à Bois Colombe
    Mais ne rêvait que d'océan
    Et l'appel des sirènes blondes
    Lui travaillait déjà le sang
    Un soir en sortant de l'usine
    Il but un petit coup de trop
    Lâcha les copains, les copines
    Et s'en alla sur son vélo
    Au Havre il arriva quand même
    Vers les quatre heures du matin
    Un cargo s'en allait vers Brême
    Et recueillit le clandestin



    Provenance: Fondation Boris Vian.
    €1,500
  25. Ensemble complet du manuscrit et du tapuscrit de la chanson de Boris Vian intitulée "La vie en rock" pastiche de "La vie en rose"
    Boris VIAN
    Ensemble complet du manuscrit et du tapuscrit de la chanson de Boris Vian intitulée "La vie en rock" pastiche de "La vie en rose"
    S. n.|s. l. s. d. [1956]|21 x 27 cm|3 feuillets
    Complete set of Boris Vian's manuscript and working typescripts, genesis of the song "La vie en rock".
    - one perforated lined sheet handwritten in pencil by Boris Vian. At the head of the sheet, he inscribed: "Musique J. Vermont" and "Paroles J. Vermont", at the bottom right: "Poursuites J. Vermont". Numerous crossings-out and corrections.
    - one perforated lined sheet handwritten in blue ink by Boris Vian.
    - one perforated sheet typed on machine, fair copy of the manuscript.
    This song, a pastiche of Edith Piaf's song La Vie en rose, was never performed.

    Quand
    J'descends dans mon bistro
    J'mets vingt ball'dans l'phono
    J'entends la vie en rock



    Provenance: Fondation Boris Vian.
    €1,500
  26. Ensemble complet du manuscrit et du tapuscrit de la chanson de Boris Vian intitulée "Veux-tu fout' le camp"
    Boris VIAN
    Ensemble complet du manuscrit et du tapuscrit de la chanson de Boris Vian intitulée "Veux-tu fout' le camp"
    S. n.|s. l. s. d. [1959]|21 x 27 cm|3 feuillets
    Complete set of the manuscript and working typescripts by Boris Vian, genesis of the song "Veux-tu fout' le camp".
    - two perforated sheets handwritten in pencil by Boris Vian. Numerous strikethroughs and corrections.
    - one perforated sheet typed on machine, fair copy of the manuscript.
    This song was not performed.

    C'est en allant acheter des nougats
    Aux magasins du printemps
    Que j'entendis pour la première fois
    Ce cha cha cha obsédant



    Provenance: Fondation Boris Vian.
    €1,500
  27. Ensemble complet du manuscrit et du tapuscrit de la chanson de Boris Vian intitulée "Un poisson d'avril"
    Boris VIAN
    Ensemble complet du manuscrit et du tapuscrit de la chanson de Boris Vian intitulée "Un poisson d'avril"
    S. n.|s. l. s. d. [1958]|17 x 22 cm|2 feuillets
    Complete set of the manuscript and working typescript by Boris Vian, genesis of the song "Un poisson d'avril".
    - one perforated ruled sheet handwritten in pencil by Boris Vian. Numerous strikethroughs and corrections.
    - one perforated sheet typed on machine, fair copy of the manuscript.
    This song was performed by Max Rongier and by les Marche-Pied.

    Un poisson d'avril
    Est venu me raconter
    Qu'on lui avait pris
    Sa jolie corde à sauter



    Provenance: Fondation Boris Vian.
    €1,500
  28. "... et les avions foncer, charger, fendre ces flots ! les "forteresses" ! aller et retour !"
    Louis-Ferdinand CÉLINE
    "... et les avions foncer, charger, fendre ces flots ! les "forteresses" ! aller et retour !"
    A handwritten autograph sheet for Normance (Féérie pour une autre fois II)
    Meudon 1954|20.70 x 26.80 cm|une page sur un feuillet

    Autograph manuscript signed by Louis-Ferdinand Céline written in blue ballpoint pen on a sheet of white paper numbered 565 in the left corner. One transverse fold. Some pin holes in the upper margin, evidence of the organization of Céline manuscripts in "bundles".
    « torrents de phosphore jaillir des brèches ! ... et les avions foncer, charger, fendre ces flots ! les "forteresses" ! aller et retour ! et que c'est le Jules le crime » ["torrents of phosphorus gushing from the breaches! ... and the planes rushing, charging, cleaving these waves! the "fortresses"! back and forth! and that it's Jules who's the crime"]
    The passage on our sheet conforms to the published version.
    Published in 1954, Normance is a direct sequel to Féérie pour une autre fois which appeared two years earlier. Both parts were written during Céline's years of exile and imprisonment in Denmark. Upon his return to France in 1951, Céline undertook a work of "polishing" and published these two titanic texts independently, originally conceived as one. "Céline, while working on it, thought of this novel as a second Voyage au bout de la nuit, capable twenty years later of astonishing the public as much as the 1932 novel." (Henri Godard)

    €600
  29. "... je ne bouge jamais de Rivières..."
    Pierre-André BENOIT
    "... je ne bouge jamais de Rivières..."
    Unpublished and signed autograph letter addressed to his friend, the Montpellier bookseller Pierre Clerc
    S. n.|Paris 5 Janvier 1986|13.50 x 21 cm|une feuille + une enveloppe
    Autograph letter signed by Pierre-André Benoit (13 lines in black ink written from his château at Rivières-de-Theyrargues in the Gard region which he has occupied since 1970) addressed to bookseller Pierre Clerc who had sent him New Year's wishes for 1986.
    Envelope included.
    In turn, Pierre-André Benoit extends his wishes for the year ahead and writes that he finds it difficult to leave his retreat in the Gard at Rivières-de-Theyrargues : "... je ne bouge jamais de Rivières..." ["... I never leave Rivières..."] and therefore favors a telephone appointment with his correspondent: "... oui par téléphone prenons rendez-vous et j'espère bientôt..." ["... yes by telephone let's make an appointment and I hope soon..."]
    Poet, painter, engraver, Pierre-André Benoit or P.A.B. was above all a typographer and printer who created more than 400 illustrated works bringing together the greatest post-war poets with the most talented painters of the second half of the 20th century.
    P.A.B.'s productions were first created on a small press installed in his apartment in Alès. They would bring together his friends the poets René Char, André Breton, Paul Eluard, Paul Claudel, Erik Satie, Tristan Tzara and his painter friends Joan Miro, Georges Braque, Jean Dubuffet, Francis Picabia, Marcel Duchamp and Pablo Picasso. In 1949, he began using celluloid engraving which allowed him to make the prints himself and create the books in their entirety. From his modern château at Rivières-de-Theyrargues, in the Gard, he would end up illustrating his works himself while continuing to work with his faithful friends Camille Bryen and Pierre Alechinsky.

    €120
  30. "... oui il y aura des livres si vous en voulez.."
    Pierre-André BENOIT
    "... oui il y aura des livres si vous en voulez.."
    Unpublished and signed autograph letter addressed to his friend, the Montpellier bookseller Pierre Clerc
    S. n.|Paris 17 Septembre 1989|14.50 x 21 cm|une feuille
    Signed autograph letter from Pierre-André Benoit (13 lines in black ink written from his château de Rivières-de-Theyrargues in the Gard which he has occupied since 1970) addressed to the bookseller Pierre Clerc who had sent him his wishes for the year 1986.
    Fold mark inherent to envelope insertion. Pierre Clerc has inscribed, in pencil at the top of the letter, the name and surname of his correspondent.
    Pierre-André Benoit believes his correspondent is busy with his summer occupations, particularly mycological : "... vous êtes sans doite à Chateauneuf de Randon et les champignons ne doivent pas manquer.." ["... you are no doubt at Chateauneuf de Randon and mushrooms must not be lacking.."] and reassures his bookseller friend eager to stock up on his luxurious editions with confidential print runs: "... Venez déjeuner. oui il y aura des livres si vous en voulez. A bientôt." ["... Come to lunch. yes there will be books if you want them. See you soon."]
    Poet, painter, engraver, Pierre-André Benoit or P.A.B. was above all a typographer and printer who produced more than 400 illustrated works bringing together the greatest post-war poets with the most talented painters of the second half of the 20th century.
    P.A.B.'s productions were first created on a small press installed in his apartment in Alès. They brought together his poet friends René Char, André Breton, Paul Eluard, Paul Claudel, Erik Satie, Tristan Tzara and his painter friends Joan Miro, Georges Braque, Jean Dubuffet, Francis Picabia, Marcel Duchamp and Pablo Picasso. In 1949, he began using engraving on celluloid which allowed him to make the prints himself and produce the books entirely. From his modern château at Rivières-de-Theyrargues, in the Gard, he would eventually illustrate his works himself while continuing to work with his faithful friends Camille Bryen and Pierre Alechinsky.

    €120
  32. Oeuvres d'Anne Radcliffe
    Anne RADCLIFFE
    Oeuvres d'Anne Radcliffe
    Maradan|Paris 1819|10.50 x 17 cm|10 volumes reliés
    First complete French collective edition. Music scores bound in-fine in the last volume.
    Contemporary brown half calf bindings, very slightly rubbed to some places, smooth spines ruled in gilt, marbled paper covers.
    Small traces of glue to the corners of pastedowns and white flyleaves. Slight marginal tears and missing pieces of paper to the half-title page of the first volume. Small marginal lacks of paper to the half-title page of the fifth volume. Scattered foxing to some volumes.
    Volumes 1 & 2: La Forêt ou L'Abbaye de Saint-Clair (The Romance of the Forest), volumes 3 to 6: Les Mystères d'Udolphe (The Mysteries of Udolpho), volumes 7 to 9: L'Italien ou Le Confessionnal des pénitens noirs (The Italian, or the Confessional of the Black Penitents), volume 10 (and 11 in the same volume): Julia ou Les Souterrains du château de Mazzini (A Sicilian Romance).
    A fine, rare copy of the works of Anne Radcliffe, a pioneer of the Gothic novel who inspired Jane Austen, Walter Scott, Mary Wollstonecraft and Dostoyevsky.
    Provenance: library of Pierre de Torcy, with his manuscript ownership inscription on each volume.
    €3,000
  33. Ensemble complet du manuscrit et du tapuscrit de la chanson de Boris Vian intitulée "Java Mondaine"
    Boris VIAN, Henri SALVADOR
    Ensemble complet du manuscrit et du tapuscrit de la chanson de Boris Vian intitulée "Java Mondaine"
    S. n.|s. l. s. d. [1957]|21.30 x 27 cm|4 feuillets
    Complete set of Boris Vian's manuscript and working typescripts, genesis of the song "Java mondaine".
    - one perforated squared sheet handwritten in blue ballpoint pen by Boris Vian. At the bottom of the sheet, also in Boris Vian's hand, the mention: "Music H. Salvador - Lyrics B. Vian"
    - one perforated typewritten sheet, fair copy of the manuscript, on which Boris Vian wrote in the margin the name "Chantal" which he considered to replace that of Hubert in the song. This modification was not retained.
    - two other typewritten sheets on tissue paper, one pasted onto cardboard paper
    Also included is the sheet music of the song published by Eddy Barclay editions.
    This song was performed by Jacqueline François then by Henri Salvador.

    On passait un soir av'nue du Bois
    Et le p'tit Hubert dit qu'est-ce qu'on voit
    C'étaient les fusées du quatorze juillet
    On a décidé d's'encanailler
    Y avait un p'tit bal au métro Jasmin qui tournait



    Provenance: Boris Vian Foundation.
    €1,800
  34. Ensemble complet du manuscrit et du tapuscrit de la chanson de Boris Vian intitulée "Toi l'inconnu(e)"
    Boris VIAN
    Ensemble complet du manuscrit et du tapuscrit de la chanson de Boris Vian intitulée "Toi l'inconnu(e)"
    S. n.|s. l. s. d. [entre 1954 et 1959]|17 x 22 cm|2 feuillets
    Complete set of Boris Vian's working manuscript and typescript for the genesis of the song "Toi l'inconnu(e)".
    - one perforated squared sheet handwritten in blue ink by Boris Vian.
    - one perforated sheet typed on machine, fair copy of the manuscript
    This song was set to music by Claude Vence and performed by Magali Noël in 1990.

    Toi l'inconnu(e)
    Ombre entrevue
    Tendre mirage
    Soleil de ma vie
    Emporte mes soucis



    Provenance: Fondation Boris Vian.
    €1,200
  35. Ensemble complet du manuscrit et du tapuscrit de la chanson de Boris Vian intitulée "Un beau matin"
    Boris VIAN
    Ensemble complet du manuscrit et du tapuscrit de la chanson de Boris Vian intitulée "Un beau matin"
    S. n.|s. l. s. d. [1956]|21 x 27 cm|2 feuillets
    Complete set of Boris Vian's working manuscript and typescript for the genesis of the song "Un beau matin".
    - one sheet of yellow paper handwritten in purple ink by Boris Vian, numerous crossed-out words and corrections revealing the different variants considered by the songwriter.
    - one perforated sheet typed on machine, fair copy of the manuscript
    This song was never performed.

    Un beau matin
    En suivant la fanfare
    Je vis soudain
    Devant la gare
    Une belle enfant
    Qui vendait des mouchoirs
    Pour vingt-cinq francq
    Devant la gare



    Provenance: Fondation Boris Vian.
    €1,200
  36. " ... cela fait plaisir de recevoir de temps en temps ce tabac..."
    Pierre MAC ORLAN
    " ... cela fait plaisir de recevoir de temps en temps ce tabac..."
    Autograph letter dated and signed to the young artesian poet Roger Valuet who is his supplier of tobacco of the St Claude brand
    S. n.|Saint-Cyr-sur-Morin 16 Juillet 1946|13.50 x 21.50 cm|une feuille
    Autograph letter dated and signed by Pierre Mac Orlan (16 lines in black ink) to his young friend the budding poet Roger Valuet.
    Fold mark inherent to postal handling.
    Pierre Mac Orlan thanks his friend for sending him tobacco which he seems to appreciate greatly and sends him a check to reimburse him: "... if you don't accept my check, I won't accept the tobacco... thank you again for the St Claude blue."
    A native of Arras, Roger Valuet is a popular writer who signed, under the pseudonym Roger Vilard, numerous detective and espionage novels. At the beginning of his career, he was helped by Pierre Mac Orlan who wrote the preface to his first collection of poems.



    €180
  37. " ... un petit mot d'amitié pour vous dire que j'ai reçu cette jolie pipe que je fume en ce moment, bien qu'un peu souffrant..."
    Pierre MAC ORLAN
    " ... un petit mot d'amitié pour vous dire que j'ai reçu cette jolie pipe que je fume en ce moment, bien qu'un peu souffrant..."
    Autograph letter, dated and signed, to the young artesian poet Roger Valuet who gave him a pipe
    S. n.|Saint-Cyr-sur-Morin 5 Janvier 1951|21 x 27 cm|une feuille
    Autograph letter dated and signed by Pierre Mac Orlan (13 lines in black ink) to his young friend the budding poet Roger Valuet.
    Fold marks inherent to postal handling.
    Pierre Mac Orlan, tired from his past year, thanks his friend for offering him a pipe and promises to send him his latest work: "... in about two weeks, I will send you my latest poem: it's a small, unencumbering book (30 pages)..."
    He sends his regards to Roger Valuet's family and to the people of Arras: "I send you first my best friendship for you, your young wife... and your parents. Kind regards to Arras and my dear friends in that city."
    A native of Arras, Roger Valuet is a popular writer who signed, under the pseudonym Roger Vilard, numerous detective and espionage novels. At the beginning of his career, he was helped by Pierre Mac Orlan who wrote the preface to his first collection of poems.



    €180
  38. " ... ce livre fait honneur à l'édition arrageoise..."
    Pierre MAC ORLAN
    " ... ce livre fait honneur à l'édition arrageoise..."
    Autograph letter, dated and signed, to the young artesian poet Roger Valuet congratulating him on his latest collection of poems that he has just received
    S. n.|Saint-Cyr-sur-Morin 27 Janvier 1950|20.50 x 26.50 cm|une feuille
    Laudatory autograph letter dated and signed by Pierre Mac Orlan (15 lines in blue ink) to his young friend the beginning poet Roger Valuet who has just sent him his collection of poems Embruns: "... le livre est très bien présenté, avec soin et goût. Vous pouvez féliciter le metteur en pages et l'imprimeur." ["... the book is very well presented, with care and taste. You can congratulate the typesetter and the printer."]
    He provides him with the addresses of his friends Francis Carco, Roland Dorgelès and Léonce Peillard so that they too might receive their copies of Embruns in order to better publicize and distribute this work.
    Fold marks inherent to being placed in an envelope.
    A native of Arras, Roger Valuet was a popular writer who signed, under the pseudonym Roger Vilard, numerous detective and espionage novels. At the beginning of his career, he was helped by Pierre Mac Orlan who wrote the preface to his first collection of poems.



    €180
  39. " ... je crains toujours que vous ne vous priviez pour moi. Surtout ne faites pas cela..."
    Henri BÉRAUD
    " ... je crains toujours que vous ne vous priviez pour moi. Surtout ne faites pas cela..."
    Moving autograph letter from prison, dated and signed and addressed to his mother-in-law, whom he affectionately calls "his dear mother"
    S. n.|Poissy 2 Juin 1945|13 x 21 cm|trois pages
    Touching autograph letter dated and signed by Henri Béraud addressed to his mother-in-law while imprisoned at Poissy prison (65 lines in blue then black ink on three pages) relating his situation as a prisoner while praising the love of the latter and his wife who watch over him and allow him to envisage prison life under better auspices.
    The letter is on the letterhead of the infirmary of the central prison of Poissy, with fold marks inherent to being placed in an envelope.
    Henri Béraud rejoices at having been able to see his mother-in-law in good health and worries about the sacrifices she inflicts upon herself for the well-being of her imprisoned son-in-law: "... j'ai été heureux jeudi de vous voir avec si bonne mine...je pense aux difficultés... je crains que toujours que vous ne vous priviez pour moi..." ["... I was happy Thursday to see you looking so well... I think of the difficulties... I always fear that you deprive yourself for me..."] while remaining lucid about the indignity of his prisoner's condition which does not allow him to protect his loved ones: "... je compte tellement sur vous pour veiller sur notre Germaine (Henri Béraud's wife) pour l'obliger à se soigner et à se ménager..." ["... I count so much on you to watch over our Germaine to force her to take care of herself and spare herself..."]
    He considers his arrest and imprisonment illegitimate and abusive and shows confidence in his future with his mother and spouse "by his side": "... le triste et injuste sort qui m'est fait. C'est cela qui me donne le plus de confiance dans l'avenir - cela et votre bonté à mon égard chère maman et, bien sûr, l'amour de la plus noble et de la plus belle des épouses..." ["... the sad and unjust fate that has befallen me. This is what gives me the most confidence in the future - this and your kindness toward me dear mother and, of course, the love of the noblest and most beautiful of wives..."]
    Finally, Henri Béraud continues in black ink with a recommendation for his wife: "... en ce qui concerne sa visite à l'ami d'H. Espiau, je la laisse naturellement juge d'orienter cette conversation... au mieux de mes intérêts immédiats..." ["... regarding her visit to H. Espiau's friend, I naturally leave her to judge how to direct this conversation... in the best interest of my immediate concerns..."]
    A bon vivant native of Lyon, Henri Béraud was an international journalist and reporter (Le canard enchaîné, Le Crapouillot, Petit Parisien, France-Soir and Gringoire) and a prolific writer (Goncourt Prize 1922 for Le martyre de l'obèse and Le vitriol de lune published a year earlier) whose political evolution, moving from the extreme left to the extreme right pro-collaborationist, is characteristic of the inexorable rise of totalitarianisms between the wars and the corruption of many French intellectuals. Friend of Roland Dorgelès, Albert Londres and especially Joseph Kessel whom he met in 1922 in Ireland then recently and partially liberated from the British yoke, Henri Béraud defended very left-wing opinions. But after a trip to the U.S.S.R., he began to revise his positions while drifting toward anti-parliamentarianism, Anglophobia (Faut-il réduire l'Angleterre en esclavage ? published in 1935 and dedicated to Joseph Kessel), antisemitism "without realizing it" according to his friend journalist Jean-Galtier Boissière. It was the Stavisky affair and its corollary the riots of the fascist and anti-parliamentary leagues of February 6, 1934 that triggered Henri Béraud's manifest passage to the extreme right, going so far as to break his friendship with his great friend Joseph Kessel. In 1936, his violent articles in Gringoire would lead to the suicide of Popular Front Interior Minister Roger Salengro accused of desertion during the First World War. Arrested in September 1944 and condemned to death on December 29, 1944 for intelligence with the enemy, he was pardoned by General De Gaulle.





    €750
  43. Le vaurien
    Marcel AYMÉ
    Le vaurien
    Nrf|Paris 1931|11.50 x 19 cm|relié
    First edition on ordinary paper.
    Half bottle-green shagreen binding, browned spine with five raised bands outlined in black fillets, marbled paper boards, endpapers and pastedowns, modest contemporary binding.
    Some light foxing on the endpapers.
    Provenance: from the library of Marcel Augagneur with his curious bookplate pasted on a pastedown.
    Signed autograph inscription from Marcel Aymé to the journalist Marcel Augagneur ("Gringoire" and "L'écho de Paris") who used the pseudonym Marc de Saligny for his writing.
    €100
  45. "j'ai pas de cinéma personnel, j'ai pas de bruitage, j'ai pas de critiques "rémunérés", j'ai que l'hostilité du monde et la catastrophe !"
    Louis-Ferdinand CÉLINE
    "j'ai pas de cinéma personnel, j'ai pas de bruitage, j'ai pas de critiques "rémunérés", j'ai que l'hostilité du monde et la catastrophe !"
    A handwritten autograph sheet for Normance (Féérie pour une autre fois II)
    Meudon 1954|20.70 x 26.80 cm|une page sur un feuillet

    Autograph manuscript signed by Louis-Ferdinand Céline written in blue and pink ballpoint pens on a white paper sheet numbered 507 in the left corner. One transverse fold. Some pin holes in the upper margin, stigmata of the organization of Céline manuscripts in "bundles".
    « j'ai pas de cinéma personnel, j'ai pas de bruitage, j'ai pas de critiques "rémunérés", j'ai que l'hostilité du monde et la catastrophe ! je perds la catastrophe je suis perdu ! [...] chienlit ! charlatan ! barbeau mou ! Comme ça vous m'intitulez si vous me trouvez pas dans la loge en plein enragement d'éléments ! je veux pas que vous... »
    The passage in our sheet presents some variations from the published version.
    Published in 1954, Normance is a direct sequel to Féérie pour une autre fois published two years earlier. Both parts were written during Céline's years of exile and imprisonment in Denmark. Upon his return to France in 1951, Céline undertook a work of "polishing" and published independently these two titanic texts originally envisioned as one. "Céline, while working on it, thought of this novel as a second Voyage au bout de la nuit, capable twenty years later of astonishing the public as much as the 1932 novel." (Henri Godard)

    €1,200
  46. La table-aux-crevés
    Marcel AYMÉ
    La table-aux-crevés
    Nrf|Paris 1929|11.50 x 19 cm|relié
    First edition, a service de presse (advance) copy.
    Half bottle-green shagreen binding, browned spine with five raised bands outlined with black fillets, marbled paper boards, endpapers and pastedowns, modest contemporary binding.
    Some light foxing to the endpapers.
    Provenance: from the library of Marcel Augagneur with his curious bookplate pasted on a pastedown.
    Signed autograph inscription from Marcel Aymé to the journalist Marcel Augagneur ("Gringoire" and "L'écho de Paris") who used the pseudonym Marc de Saligny for his writing.
    €100
  49. " vous ayant lu... votre attitude m'est allée au coeur..."
    André MALRAUX
    " vous ayant lu... votre attitude m'est allée au coeur..."
    Autograph letter, dated and signed, to André Parinaud thanking him for his favourable review
    S. n.|Boulogne-sur-Seine [Boulogne-Billancourt] 17 Mars 1954|13 x 21 cm|une feuille + une enveloppe
    Autograph letter dated and signed by André Malraux (14 lines in blue ballpoint pen from his Boulogne home on avenue Victor Hugo) confirming a scheduled appointment.
    He thanks him for his ever-benevolent friendship: "J'ai trouvé la Parisienne à mon retour. Je vous écris, vous ayant lu, ce que je vous ai dit avant de vous avoir lu : votre attitude m'est allée au coeur..." ["I found la Parisienne upon my return. I am writing to you, having read you, what I told you before having read you: your attitude touched my heart..."]
    Fold mark from mailing, envelope included.
    Resistance fighter participating in Combat, André Parinaud is a journalist, columnist, art critic and writer. From 1959 to 1967, he held the position of editor-in-chief of the important weekly Arts bringing together the elite of French creation in all artistic fields: literature, painting, theater, cinema... He would then conduct more than 1000 radio interviews with the greatest writers and artists including Salvador Dali, Louis-Ferdinand Céline, Colette, Paul Léautaud, André Breton, Georges Simenon and André Malraux... While continuing to work at O.R.T.F. and radio, he founded several festivals or artistic events such as Le Festival international du film d'art, l'Académie nationale des arts de la rue.



    €400
  50. " ... le voyage, tout seul, est trop mince (on me demanderait trop de travail pour ne plus l'être)..."
    André MALRAUX
    " ... le voyage, tout seul, est trop mince (on me demanderait trop de travail pour ne plus l'être)..."
    Autograph letter dated and signed to André Parinaud about his work on the production of his work Des bas-reliefs aux grottes sacrées
    S. n.|Boulogne-sur-Seine [Boulogne-Billancourt] 5 Septembre 1953|11.50 x 18 cm|une feuille + une enveloppe
    Autograph letter dated and signed by André Malraux (14 lines in blue ballpoint pen from his Boulogne home on avenue Victor Hugo) discussing his workload related to the preparation and delayed publication of the work Des bas-reliefs aux grottes sacrées for which André Parinaud is sending him documentation.
    André Malraux is not yet ready to send his work to the publisher: "... le livre ne parait pas cette année. Peut-être en mars 54. Et pour savoir où nous allons, il faudrait que la préface au moins fût terminée. J'en ai encore pour deux mois." ["... the book is not coming out this year. Perhaps in March 54. And to know where we are going, at least the preface would need to be finished. I still have two months of work ahead."]
    Fold mark from mailing, envelope included.
    Resistance fighter participating in Combat, André Parinaud is a journalist, columnist, art critic and writer. From 1959 to 1967, he held the position of editor-in-chief of the important weekly Arts bringing together the elite of French creation in all artistic fields: literature, painting, theater, cinema... He would then conduct more than 1000 radio interviews with the greatest writers and artists including Salvador Dali, Louis-Ferdinand Céline, Colette, Paul Léautaud, André Breton, Georges Simenon and André Malraux... While continuing to work at O.R.T.F. and radio, he founded several festivals or artistic events such as Le Festival international du film d'art, l'Académie nationale des arts de la rue.



    €400
  51. "... je suis inquiet de voir se transformer peu à peu l'anti stalinisme en anti marxisme..."
    Hervé BAZIN
    "... je suis inquiet de voir se transformer peu à peu l'anti stalinisme en anti marxisme..."
    Dated and signed political autograph letter to Georges Altmann
    S. n.|Villenauxe-la-Grande (Aube) 1950|13.50 x 20.50 cm|une feuille
    Autograph letter dated and signed by Hervé Bazin (49 lines in blue ink from his home in Aube, La belle Angerie in Villenauxe-la-Grande) in which he apologizes for his late reply: "... vous devez me trouver bien silencieux et m'en vouloir quelque peu..." ["you must find me very silent and hold it against me somewhat..."]
    Hervé Bazin confides his apprehensions and psychological torments related to the political climate tinted with anti-communism : " Depuis des semaines, je traverse une sorte de crise, assez pénible... je suis inquiet de voir se transformer peu à peu l'anti stalinisme et anti marxisme..." ["For weeks, I have been going through a kind of crisis, quite painful... I am worried to see the gradual transformation of anti-Stalinism and anti-Marxism..."] and remains lucid about the minimal impact of his journalistic interventions : "ma voix est mince, mal assurée, inefficiente..." ["my voice is thin, unsteady, ineffective..."] preferring what his talent is recognized for : "mieux vaut pour elle cet autre genre d'éloquence où je suis plus à l'aise : le roman." ["better for it this other kind of eloquence where I am more at ease: the novel."] This is why he prefers to devote himself solely to writing his novels and suspends his collaboration with Georges Altmann to whom he had been providing some articles on current political events which he judges insufficient and too concise to express all that he would like to develop further: "Pour tout vous dire, je me lance dans un grand travail... qui m'oblige à quitter le forum... Il s'agit maintetant de passer à l'essentiel... C'est pourquoi j'arrête toute chronique fixe. Mais je suis avec vous, plus que jamais..." ["To tell you everything, I am embarking on a great work... which obliges me to leave the forum... It is now a matter of moving on to the essential... This is why I am stopping all regular chronicles. But I am with you, more than ever..."]
    Fold marks inherent to mailing.
    Georges Altmann began his great career as a journalist in 1922 at L'Humanité then directed by Henri Barbusse who entrusted him, in 1927, with the La vie littéraire section. He was dismissed the following year from the communist daily while continuing to collaborate with Henri Barbusse on the review Monde. In 1932, he joined the Parisian editorial staff of Le Progrès de Lyon through which he made contact with the Resistance group Franc-Tireur. In March 1942, he went underground and became one of the principal editors of the review Franc-Tireur. He was arrested by the Germans in July 1944 then freed on August 18, the day before the Parisian insurrection. After the war he was involved in various journalistic and editorial activities. He then managed the press service of culture minister André Malraux.




    €400
  52. Lucienne et le boucher
    Marcel AYMÉ
    Lucienne et le boucher
    Gallimard|Paris 1947|11.50 x 18.50 cm|relié
    First edition printed on ordinary paper.
    Half red sheep binding, spine with four raised bands outlined with black fillets, a very slight and harmless scratch at head of spine, marbled paper boards, marbled paper endpapers and pastedowns, modest contemporary binding.
    Light worming to top edge.
    Provenance: from the library of Marcel Augagneur with his curious bookplate pasted on a pastedown.
    Signed autograph inscription from Marcel Aymé to journalist Marcel Augagneur ("Gringoire" and "L'écho de Paris") who used the pseudonym Marc de Saligny for his writing.
    €120
  53. Maison basse
    Marcel AYMÉ
    Maison basse
    Nrf|Paris 1935|11.50 x 18.50 cm|relié
    First edition, a Service de Presse (advance) copy.
    Half bottle green shagreen binding, spine with five raised bands slightly browned, moiré paper boards, marbled paper endpapers and pastedowns, modest contemporary binding.
    Small worming to top edge.
    Provenance: from the library of Marcel Augagneur with his curious bookplate pasted on a pastedown.
    Signed autograph inscription from Marcel Aymé to journalist Marcel Augagneur ("Gringoire" and "L'écho de Paris") who used the pseudonym Marc de Saligny for his writing.
    €120
  54. La Brière
    Alphonse de CHÂTEAUBRIANT
    La Brière
    Grasset|Paris 1923|11.50 x 18.50 cm|relié
    First edition on ordinary paper.
    Full almond green cloth binding, smooth spine, bottle green sheep title label, marbled paper endpapers and pastedowns, modest binding.
    Small marginal lacks, not affecting the text, to some leaves, one lateral tear affecting pages 417-418.
    Precious signed autograph inscription from Alphonse de Chateaubriant: "A Monsieur Léon Daudet, en attendant l'exemplaire que je lui réserve pour lui témoigner ma reconnaissance. Alphonse de Chateaubriant." ["To Monsieur Léon Daudet, while awaiting the copy I am reserving for him to show my gratitude. Alphonse de Chateaubriant."]
    €180
  56. "... je ne sais pas entreprendre l'analyse d'une analyse (qui a dû être un sacré boulot !)"
    André MALRAUX
    "... je ne sais pas entreprendre l'analyse d'une analyse (qui a dû être un sacré boulot !)"
    Autograph letter, dated and signed, to André Parinaud thanking him for his favourable review
    S. n.|Boulogne-sur-Seine [Boulogne-Billancourt] 28 Décembre 1954|13.50 x 21 cm|une feuille
    Autograph letter signed and dated by André Malraux (20 lines in blue ballpoint pen from his Boulogne home on avenue Victor Hugo) thanking him for his favorable review either of Des bas-reliefs aux grottes sacrées or of Le Monde chrétien, both published in 1954.
    He apologizes for not being able to respond quickly to his laudatory article before thanking him: "... it is certain that by emphasizing both the technical aspect and the other (underlined words), you render the book a great service, and take the animal by the right end...", he also acknowledges the clairvoyance and pertinence of his article despite the difficulty of properly apprehending the work: "... for these essays are not conceivable within traditional art criticism..." while praising the attachment that binds them: "... this attitude, which is the only just one, did it not necessarily imply a friendship that shows through each line, in a place where there is some merit in proclaiming it..."
    Fold mark inherent to the mailing process.
    Resistance fighter and participant in Combat, André Parinaud is a journalist, columnist, art critic and writer. From 1959 to 1967, he held the position of editor-in-chief of the important weekly Arts, bringing together the elite of French creation in all artistic fields: literature, painting, theater, cinema... He then conducted more than 1000 radio interviews with the greatest writers and artists including Salvador Dali, Louis-Ferdinand Céline, Colette, Paul Léautaud, André Breton, Georges Simenon and André Malraux... While continuing to work at O.R.T.F. and radio, he founded several festivals or artistic events such as The International Art Film Festival, the National Academy of Street Arts.



    €600
  57. "... avec le retard qu'implique le poids du livre, poids qui affirme aux esprits non prévenus le sérieux de l'auteur..."
    André MALRAUX
    "... avec le retard qu'implique le poids du livre, poids qui affirme aux esprits non prévenus le sérieux de l'auteur..."
    Humorous autograph letter signed to André Parinaud evoking the publication of his voluminous last work
    S. n.|Boulogne-sur-Seine [Boulogne-Billancourt] s. d. [circa 1947]|11.50 x 18 cm|une feuille
    Autograph letter signed by André Malraux (20 lines in blue ballpoint pen from his Boulogne home on avenue Victor Hugo) making witty reference to the release of his work, probably Le musée imaginaire published in 1947, and to the article devoted to him by André Parinaud in Arts.
    André Malraux mocks the massive aspect of his work: "... avec le retard qu'implique le poids du livre, poids qui affirme aux esprits non prévenus le sérieux de l'auteur... Un des premiers "voix du silence" paru en même temps que votre article" ["... with the delay implied by the weight of the book, weight which affirms to unprejudiced minds the seriousness of the author... One of the first 'voices of silence' published at the same time as your article"] while praising the friendship of his benevolent correspondent: " ... je serais étonné de n'avoir à "Arts" que des amis ; vous avez pris parti. Ce que je ne tiens pas pour sans importance - et n'oublie pas..." ["... I would be surprised to have only friends at 'Arts'; you have taken sides. Which I do not consider unimportant - and do not forget..."]
    Fold mark inherent to posting.
    Resistance member and participant in Combat, André Parinaud was a journalist, columnist, art critic and writer. From 1959 to 1967, he held the position of editor-in-chief of the important weekly Arts gathering the elite of French creation in all artistic fields: literature, painting, theatre, cinema... He then conducted more than 1000 radio interviews with the greatest writers and artists including Salvador Dali, Louis-Ferdinand Céline, Colette, Paul Léautaud, André Breton, Georges Simenon and André Malraux... While continuing to work for O.R.T.F. and radio, he founded several festivals or artistic events such as The International Festival of Art Film, the National Academy of Street Arts.



    €600
  59. Lettre autographe datée et signée au jeune poète artésien Roger Valuet l'encourageant à lui adresser ses poèmes
    Pierre MAC ORLAN
    Lettre autographe datée et signée au jeune poète artésien Roger Valuet l'encourageant à lui adresser ses poèmes
    S. n.|Saint-Cyr-sur-Morin 20 Décembre 1947|13.50 x 21.50 cm|une feuille
    Autograph letter dated and signed by Pierre Mac Orlan (15 lines in turquoise ink) to the budding poet Roger Valuet.
    Fold marks inherent to postal envelope.
    He urges his young colleague to send him his latest writings: "Bien sûr ! Envoyez-moi vos poèmes dès que vous les aurez réunis. Je les lirai et vous répondrai à ce sujet..." ["Of course! Send me your poems as soon as you have gathered them together. I will read them and respond to you on the subject..."] and hopes to return to the North to see him again: "Je ne désespère pas de revenir à Arras dans le début de printemps prochain, si... Votre vieil ami." ["I do not despair of returning to Arras at the beginning of next spring, if... Your old friend."]
    Originally from Arras, Roger Valuet is a popular writer who signed, under the pseudonym Roger Vilard, numerous detective and spy novels. At the beginning of his career, he was helped by Pierre Mac Orlan who wrote the preface to his first collection of poems.



    €250
  60. A cheval sur cinq olympiades
    Pierre JONQUERES D'ORIOLA
    A cheval sur cinq olympiades
    Raoul Solar|Paris 1968|13.50 x 20.50 cm|reliure de l'éditeur
    First collected edition with some parts in first edition, a Service de Presse (advance) copy.
    Publisher's blue skyvertex binding, smooth spine, with the illustrated dust jacket which has three small marginal tears.
    Iconography.
    Rare signed autograph inscription by Pierre Jonquères d'Oriola, who is the most decorated French equestrian at the Olympic Games in show jumping, to a woman named Jacqueline.
    €300
  61. Introduction à une nouvelle poésie et à une nouvelle musique
    Isidore ISOU
    Introduction à une nouvelle poésie et à une nouvelle musique
    Gallimard|Paris 1947|12 x 19 cm|broché
    The first edition, of which there were no deluxe copies, a Service de Presse (advance) copy.
    Handsome copy of the author's first work.
    Very rare dated and signed autograph inscription by Isidore Isou, one of the founders of Lettrism and important precursor to Situationism, to film producer and director Roland Tual who was close to the Surrealists: he opened the Surrealist gallery in 1926 with the exhibition "Paintings by Man Ray and objects from the islands".
    €1,200
  64. Lettre autographe signée adressée à madame Léon Daudet à propos de la mort de son fils Philippe "... croyez aussi à mes prières ferventes sinon pour le bienheureux enfant dont le ciel accueille l'innocence..."
    Max JACOB
    Lettre autographe signée adressée à madame Léon Daudet à propos de la mort de son fils Philippe "... croyez aussi à mes prières ferventes sinon pour le bienheureux enfant dont le ciel accueille l'innocence..."
    S. n.|Saint-Benoit-sur-Loire 1er Décembre 1923|15.50 x 19.50 cm|une page sur un feuillet
    Autograph letter dated and signed by Max Jacob addressed to Madame Léon Daudet (17 lines in black ink from Saint Benoit-sur-Loire) in which the poet expresses all his sadness and solicitude for the Daudet family mourning the loss of Philippe Daudet: "... j'ai appris tout le malheur qui frappe votre famille..." ["... I learned of all the misfortune striking your family..."] but also all his piety: "... croyez aussi à mes prières ferventes sinon pour le bienheureux enfant dont le ciel accueille l'innocence du moinsd pour les pauvres parents à qui le destin arrache hélas ! leur chair vive." ["... believe also in my fervent prayers if not for the blessed child whose innocence heaven welcomes at least for the poor parents from whom fate alas! tears their living flesh."]
    On November 23, 1923, in a taxi, Philippe Daudet was found dead at the age of 14, his father, virulent journalist and monarchist militant accusing anarchist circles or the police of the Third Republic of having disguised this "crime" as suicide.
    €350
  65. ".... accordez-moi un délai, qui sera le moins possible... je vous promets des vers..."
    Francis VIELÉ-GRIFFIN
    ".... accordez-moi un délai, qui sera le moins possible... je vous promets des vers..."
    Autograph letter dated and signed addressed to Edouard Ducoté
    S. n.|Paris Janvier 1903|14 x 17.50 cm|une page et demie
    Autograph letter dated and signed by Francis Viélé-Griffin addressed (31 lines in violet ink from his Parisian residence) to Edouard Ducoté, poet, bibliophile and director of the review l'Ermitage since 1895 in which he requests a little patience before he sends the promised verses to the review, he also assures him that he will send his forthcoming works: "... however small the print run of my next volume may be, I naturally intended to reserve a copy for you. For are you not one of those for whom I wrote it?... I will enclose the offprint of sainte Julie - of which I have three copies left - but are you not a bibliophile?"
    Finally, Francis Viélé-Griffin demands, in return, more than a brief mention concerning him in the new issue of l'Ermitage: "As I rarely publish volumes, it would be pleasant for me to read, not a note but an article, a study... what do you say?"
    Close friend of Stéphane Mallarmé, friend of André Gide, Paul Valéry, Francis Jammes, Emile Verhaeren, Francis Viélé-Griffin is an American symbolist poet writing in French. He becomes, with Gustave Kahn, one of the principal theorists of free verse.
    Fold mark inherent to postal mailing.
    €250
  66. ".... vous savez le goût que j'ai pour votre manière, de légère ironie et de cette vérité, toujours un peu risible pour qui sait la voir..."
    Francis VIELÉ-GRIFFIN
    ".... vous savez le goût que j'ai pour votre manière, de légère ironie et de cette vérité, toujours un peu risible pour qui sait la voir..."
    Autograph letter dated and signed addressed to Edouard Ducoté
    S. n.|Paris 25 Juin 1903|14 x 17.50 cm|une page et demie
    Autograph letter dated and signed by Francis Viélé-Griffin (30 lines in violet ink from his Parisian residence) addressed to Edouard Ducoté, poet, bibliophile and director of the review l'Ermitage since 1895.
    Fold marks inherent to being placed in an envelope.
    He showers praise on his fellow poet Edouard Ducoté who has just sent him his latest work and also thanks him for the article that l'Ermitage devoted to his latest collection (L'amour sacré published in 1903): "... I have written my thanks to the critic... I have a copy for him that I have not yet been able to send him..."
    Francis Viélé-Griffin also mentions a painting by his friend Théo Van Rysselberghe depicting Madame Edouard Ducoté that he recently noticed in his studio: "... a truly charming portrait..."
    A close friend of Stéphane Mallarmé, friend of André Gide, Paul Valéry, Francis Jammes, and Emile Verhaeren, Francis Viélé-Griffin was an American symbolist poet who wrote in French. He became, along with Gustave Kahn, one of the principal theorists of free verse.
    €250
  67. ".... je vous remercie de votre dédicace où je peux voir l'expression d'une sympathie qui m'est précieuse..."
    Francis VIELÉ-GRIFFIN
    ".... je vous remercie de votre dédicace où je peux voir l'expression d'une sympathie qui m'est précieuse..."
    Autograph letter dated and signed addressed to Edouard Ducoté
    S. n.|Nazelles 8 Juillet 1896|13 x 20.50 cm|une page et demie
    Autograph letter dated and signed by Francis Viélé-Griffin (20 lines in violet ink from his property in Nazelles, Indre-et-Loire) addressed to Edouard Ducoté, poet, bibliophile and director of the review l'Ermitage since 1895.
    Fold marks inherent to being placed in an envelope.
    He thanks his fellow poet Edouard Ducoté for the latest book he has just sent him with a dedication, and expresses his delight at having been invited by him to contribute some of his poems to the review l'Ermitage: "I shall gladly collaborate, in the form of some poems, with your review which I always read with interest and profit..."
    Francis Viélé-Griffin also mentions a painting by his friend Théo Van Rysselberghe depicting Madame Edouard Ducoté that he recently noticed in his studio: "... a truly charming portrait..."
    A close friend of Stéphane Mallarmé, friend of André Gide, Paul Valéry, Francis Jammes, and Emile Verhaeren, Francis Viélé-Griffin was an American symbolist poet who wrote in French. He became, along with Gustave Kahn, one of the principal theorists of free verse.
    €200
  68. Lettre autographe datée et signée à propos d'un règlement qu'il vient de recevoir pour une de ses contributions chez Jean-Jacques Pauvert
    André BRETON
    Lettre autographe datée et signée à propos d'un règlement qu'il vient de recevoir pour une de ses contributions chez Jean-Jacques Pauvert
    S. n.|Paris 12 Mai 1964|21 x 26 cm|une page
    Autograph letter dated and signed by André Breton (11 lines in black ink from his Parisian residence on rue Fontaine) acknowledging receipt of a cheque he received from Jean-Jacques Pauvert's publishing house.
    Crease mark inherent to folding for mailing.
    He apologizes for responding so late to his correspondent, asks him to thank Jean-Jacques Pauvert and to convey his regards.


    €400
  72. En Arrière
    Marcel AYMÉ
    En Arrière
    Gallimard|Paris 1950|11.50 x 18.50 cm|relié
    First collected and partly first edition, a Service de Presse (advance) copy.
    Half brown sheep binding, spine with four raised bands underlined with black fillets, marbled paper effect boards, marbled endpapers and pastedowns, original wrappers and spine preserved.
    Some minor foxing, a stain on the second cover board preserved, complete with publisher's (advertising) slip.
    Provenance: from the library of Marcel Augagneur with his curious bookplate pasted on a pastedown.
    Signed autograph inscription from Marcel Aymé to journalist Marcel Augagneur ("Gringoire" and "L'écho de Paris") who used the pseudonym Marc de Saligny for his writing.
    €120
  75. Figures et paraboles
    Paul CLAUDEL
    Figures et paraboles
    Nrf|Paris 1936|12 x 19 cm|broché
    First edition, a Service de Presse (advance) copy.
    A small tear to the middle of the front cover, discreet numbering in the upper right corner of the verso of the front cover
    Precious autograph inscription signed by Paul Claudel to Ida Rubinstein: "à Ida Rubinstein son ami. P. Claudel." ["to Ida Rubinstein his friend. P. Claudel."]
    Star dancer of the celebrated Ballets Russes, icon of the Belle Époque, patron of the arts, Ida Rubinstein played the role of Joan in Paul Claudel's Joan of Arc at the Stake, during the first orchestral version performed in May 1938 in Basel. She also commissioned Maurice Ravel's famous Boléro. After leading a scandalous life for her time, notably for her bisexuality, she died mystical and solitary, forgotten by all.

    €350
  77. La volupté d'être
    Maurice DRUON
    La volupté d'être
    Julliard|Paris 1954|14 x 19.50 cm|relié
    First edition, one of 100 numbered copies on pure laid paper, ours one of a few hors commerce copies, the only deluxe copies.
    Half red morocco binding with bands, smooth spine very lightly faded without concern, boards, endpapers and pastedowns of moiré effect paper, covers and spine preserved, top edge gilt.
    Autograph inscription dated 1957 and signed by Maurice Druon to a friend named Elisa: "... cette introduction à quelques problèmes qui nous sont communs avec la volupté d'être assez près d'elle pour la connaître. Maurice Juin 57." ["... this introduction to some problems we share with the pleasure of being close enough to her to know her. Maurice June 57."]

    €450
  79. "Chauvière et d'autres amis communs vous prient bien de tâcher que Clemenceau recommande au professeur qui a la chaire de Russe au Collège de France et à la Sorbonne, notre ami Gregorieff comme aide."
    Louise MICHEL
    "Chauvière et d'autres amis communs vous prient bien de tâcher que Clemenceau recommande au professeur qui a la chaire de Russe au Collège de France et à la Sorbonne, notre ami Gregorieff comme aide."
    Signed autograph letter addressed to Lucien Barrois
    s. l. • [Paris] 19 novembre 1887|11.30 x 17.70 cm|1 pages 1/2 sur un bifeuillet
    Autograph letter signed by Louise Michel addressed to Lucien Barrois; one and a half pages written in black ink on a bifolium of white paper with black border. Transverse folds inherent to mailing.
    "Chauvière et d'autres amis communs vous prient bien de tâcher que Clemenceau recommande au professeur qui a la chaire de Russe au Collège de France et à la Sorbonne, notre ami Gregorieff comme aide. Il paraît qu'avec un mot de Rochefort et de Clemenceau il serait immédiatement accepté [...]" ["Chauvière and other mutual friends earnestly ask you to try to have Clemenceau recommend our friend Gregorieff as assistant to the professor who holds the Russian chair at the Collège de France and at the Sorbonne. It appears that with a word from Rochefort and Clemenceau he would be immediately accepted [...]."]
    The novelist P. Gregorieff had given some Russian lessons to Louise Michel.
    Moving letter, testimony to the unfailing devotion of the former Communard.
    €1,200
  80. "Voyez ce qu'on pourrait faire vous savez tous les services qu'ils ont rendus en 70-71."
    Louise MICHEL
    "Voyez ce qu'on pourrait faire vous savez tous les services qu'ils ont rendus en 70-71."
    Signed autograph letter addressed to Lucien Barrois
    s. l. • [Paris] 15 août 1885|13.40 x 21.10 cm|1 page 1/2 sur un bifeuillet

    Autograph letter signed by Louise Michel addressed to Lucien Barrois; one and a half pages written in black ink on a bifolium of white paper with black border. Transverse folds inherent to mailing. Tears to lower margin without loss at the fold.
    Louise Michel requests help for one of her friends: "Vous savez que le père Blin ne peut plus travailler depuis deux mois passés, voici maintenant la mère Blin qui vient de tomber très malade. Voyez ce qu'on pourrait faire vous savez tous les services qu'ils ont rendus en 70-71. Mon petit cousin [...] aidera le père Blin à tenir son kioske (sic) mais cela ne donne pas de secours à la maladie de Mme Blin. Mme Barrois devait revenir demain samedi ici qu'elle ne l'oublie pas mais je la prie bien aussi de voir ce qu'on pourrait pour Mme Blin." ["You know that father Blin has been unable to work for the past two months, and now mother Blin has just fallen very ill. See what could be done, you know all the services they rendered in 70-71. My little cousin [...] will help father Blin run his kiosk but that doesn't provide relief for Mme Blin's illness. Mme Barrois was supposed to return here tomorrow Saturday, may she not forget it, but I also earnestly ask her to see what could be done for Mme Blin."]
    Mme Blin actively participated in the Paris Commune alongside Louise Michel; with other Parisian women, they created the Women's Vigilance Committee and asked Louise Michel to take charge of it.
    Moving letter, testimony to the unfailing devotion of the former Communard.

    €1,500
  81. Lettre autographe signée adressée à madame Lacrouts
    Charles MAURRAS
    Lettre autographe signée adressée à madame Lacrouts
    S. n.|Lyon 29 Novembre 1943|13.50 x 21 cm|une feuille + une enveloppe
    Autograph letter signed by Charles Maurras (33 lines in black ink) to a lady on letterhead of the Lyon address of the newspaper "L'Action française" of which Charles Maurras was editor-in-chief and one of the most prolific contributors.
    Trace of central fold inherent to envelope insertion, envelope included.
    He thanks his correspondent for allowing him to meet a collector of paintings and apologizes for not being able to attend a reception she is organizing: "... l'horaire du journal m'interdit bien malheureusement de me joindre à vous demain matin... je serai de tout coeur avec vous et les vôtres..." ["... the newspaper's schedule unfortunately prevents me from joining you tomorrow morning... I will be wholeheartedly with you and yours..."]
    €250
  82. "elle sort le mois prochain (et elle le mérite bien) elle vous est bien reconnaissante."
    Louise MICHEL
    "elle sort le mois prochain (et elle le mérite bien) elle vous est bien reconnaissante."
    Signed autograph letter addressed to Lucien Barrois
    s. l. • [Paris] 16 juillet s. d. [ca 1885?]|13.40 x 21.10 cm|1 page 1/2 sur un bifeuillet
    Autograph letter signed by Louise Michel addressed to Lucien Barrois; one and a half pages written in black ink on a bifolium of white paper with black border. Transverse folds inherent to posting.
    Mrs. Vernier will be released from prison thanks to Louise Michel's assistance: "elle sort le mois prochain (et elle le mérite bien) elle vous est bien reconnaissante. Remerciez Clémenceau Lafont et Clovis Hugues avec Laguerre (peut-être tous les quatre qui ont apostillé la demande)." ["she is released next month (and she well deserves it) she is very grateful to you. Thank Clémenceau Lafont and Clovis Hugues with Laguerre (perhaps all four who endorsed the request)."]
    A moving letter, testimony to the unwavering devotion of the former Communard.
    €1,200
  83. "Clemenceau serait en droit de dire que je suis bien ennuyeuse mais montrez lui la lettre du petit si on pouvait obtenir qu'il ait un peu d'instruction."
    Louise MICHEL
    "Clemenceau serait en droit de dire que je suis bien ennuyeuse mais montrez lui la lettre du petit si on pouvait obtenir qu'il ait un peu d'instruction."
    Signed autograph letter addressed to Lucien Barrois
    s. l. • [Paris] 6 février 1885|11.10 x 17.60 cm|1 page 1/2 sur un bifeuillet
    Autograph letter signed by Louise Michel addressed to Lucien Barrois; one and a half pages written in black ink on a bifolium of white paper with black border. Transverse folds inherent to mailing. A trace of glue on the second sheet where Louise Michel had probably pasted a letter from her cousin.
    News of Louise Michel's little cousin, Lucien Dacheux: "Je reçois une lettre de mon petit cousin Dacheux qui me demande de remercier encore pour lui Clemenceau et lui. Je le fais moi-même de tout coeur. N'oubliez pas de le dire à Clemenceau. Le petit Dacheux est à Brest 1ère division de recrutement. [...] Clemenceau serait en droit de dire que je suis bien ennuyeuse mais montrez lui la lettre du petit si on pouvait obtenir qu'il ait un peu d'instruction. Je ne sais pas s'ils peuvent avoir des leçons. Y a-t-il une école je ne sais rien de tout cela dans la division où il est." ["I receive a letter from my little cousin Dacheux who asks me to thank Clemenceau and him again on his behalf. I do so myself wholeheartedly. Don't forget to tell Clemenceau. Little Dacheux is in Brest 1st recruitment division. [...] Clemenceau would have the right to say that I am quite bothersome but show him the little one's letter if we could obtain that he have a little education. I don't know if they can have lessons. Is there a school I know nothing of all that in the division where he is."]
    Moving letter, testimony to the unfailing devotion of the former communard.
    €1,500
  84. Humoristique dessin original à l'encre bleue et rehaussé au feutre orange intitulé Lampe-mère 1900 et représentant une lampe épousant la forme d'une silhouette féminine
    Carlo RIM
    Humoristique dessin original à l'encre bleue et rehaussé au feutre orange intitulé Lampe-mère 1900 et représentant une lampe épousant la forme d'une silhouette féminine
    s. l. 1930|21 x 23.50 cm|une feuille
    Original drawing in blue ink, signed by Carlo Rim depicting a female silhouette in blue dots whose body, underlined in orange felt-tip pen, forms a lamp.
    The drawing, titled Lampe-mère 1900, is inscribed by Carlo Rim to a friend named Monique in the lower left corner of the sheet.
    Carlo Rim was a Provençal writer, author of "Ma belle Marseille", a caricaturist, a filmmaker and was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of Max Jacob and André Salmon whom he met in Sanary.
    €100
  85. "Y'en a un charlatant là-haut ! et terrible ! et vous le connaissez !..."
    Louis-Ferdinand CÉLINE
    "Y'en a un charlatant là-haut ! et terrible ! et vous le connaissez !..."
    A handwritten autograph sheet for Normance (Féérie pour une autre fois II)
    Meudon 1954|21.20 x 26.10 cm|une page sur un feuillet

    Autograph manuscript signed by Louis-Ferdinand Céline written in blue ballpoint pen on a sheet of white paper numbered 237 in the left corner. Some stains as well as a central fold of no consequence. Some pinholes in the upper margin, evidence of the organization of Céline's manuscripts in "bundles".
    "Y'en a un charlatant là-haut ! et terrible ! et vous le connaissez !... donc de dessous, là ! de dessous la table, je regarde le moulin... pas loin... peut-être deux cents mètres... et dans quel air éblouissant !... eh bien je vous dis comme je l'ai vu..." ["There's a charlatan up there! and terrible! and you know him!... so from underneath, there! from under the table, I look at the windmill... not far... maybe two hundred meters... and in what dazzling air!... well I tell you as I saw it..."]
    The passage from our sheet conforms to the published version.
    Published in 1954, Normance is a direct sequel to Féérie pour une autre fois published two years earlier. The two parts were written during Céline's years of exile and imprisonment in Denmark. Upon his return to France in 1951, Céline undertook a work of "polishing" and published these two titanic texts independently, originally conceived as one. "Céline, while working on it, thought of this novel as a second Voyage au bout de la nuit, capable twenty years later of astonishing the public as much as the 1932 novel." (Henri Godard)

    €800
  86. Un feuillet autographe manuscrit pour Normance (Féérie pour une autre fois II) : "ça arrivera pas à Lauriac ! ni à Tartron ! ni Larengue !... Ils ont pris le bon versant de la vie : le flan !"
    Louis-Ferdinand CÉLINE
    Un feuillet autographe manuscrit pour Normance (Féérie pour une autre fois II) : "ça arrivera pas à Lauriac ! ni à Tartron ! ni Larengue !... Ils ont pris le bon versant de la vie : le flan !"
    Meudon 1954|21.20 x 26.10 cm|une page sur un feuillet

    Autograph manuscript signed by Louis-Ferdinand Céline written in blue ballpoint pen on a sheet of white paper numbered 243 in the left corner. Some stains as well as a central fold of no consequence. A tiny lack of paper at the lower right margin of the sheet. Some pinholes in the upper margin, evidence of the organization of Céline's manuscripts in "bundles".
    "pour aller traverser les lignes, des barrages, quelque chose !... au galop ! et je me suis bien fait sonner ! ça arrivera pas à Lauriac ! ni à Tartron ! ni Larengue !... Ils ont pris le bon versant de la vie : le flan !... pour ma concerne je regrette rien ... c'est fait ! c'est fait ! la preuve ma tête... mais enfin pour la griserie, cette sorte de bravoure somnambule, j'admire les doués... je les respecte... j'arrive moi que par le stoïcisme, le sang froid, là ! hop !" ["to go cross the lines, barricades, something!... at a gallop! and I really got myself beaten up! that won't happen to Lauriac! nor to Tartron! nor Larengue!... They took the right side of life: the flank!... as for me I regret nothing... it's done! it's done! the proof my head... but finally for the intoxication, this sort of sleepwalking bravery, I admire the gifted ones... I respect them... I only achieve it through stoicism, cold blood, there! hop!"]
    The passage from our sheet, referring to Mauriac, Sartre and Aragon, conforms to the published version.
    Published in 1954, Normance is a direct sequel to Féérie pour une autre fois published two years earlier. The two parts were written during Céline's years of exile and imprisonment in Denmark. Upon his return to France in 1951, Céline undertook a work of "polishing" and published these two titanic texts independently, originally conceived as one. "Céline, while working on it, thought of this novel as a second Voyage au bout de la nuit, capable twenty years later of astonishing the public as much as the 1932 novel." (Henri Godard)

    €1,200
  87. Letter to the Tiger: "Before returning to the cage"
    « Il faut avant de rentrer en cage [...] que je vous demande le grand service de faire entrer à l'hospice mon cousin (le petit Dacheux) à qui vous avez bien voulu faire avoir sa dispense d'âge. »
    Louise MICHEL
    « Il faut avant de rentrer en cage [...] que je vous demande le grand service de faire entrer à l'hospice mon cousin (le petit Dacheux) à qui vous avez bien voulu faire avoir sa dispense d'âge. »
    Signed autograph letter addressed to Georges Clemenceau
    s. l. • [Paris] 7 août 1886|13.20 x 19.20 cm|3 pages sur un bifeuillet
    Autograph signed letter from Louise Michel addressed to Georges Clemenceau; three pages written in black ink on a bifolium of white paper. Transverse creases inherent to posting.
    Fine letter from Louise Michel to Clemenceau, one of her most important supporters, before yet another incarceration:


    « Il faut avant de rentrer en cage [...] que je vous demande le grand service de faire entrer à l'hospice mon cousin (le petit Dacheux) à qui vous avez bien voulu faire avoir sa dispense d'âge. » ["Before returning to the cage [...] I must ask you the great favor of having my cousin (little Dacheux) admitted to the hospice, for whom you were kind enough to obtain his age exemption."]




    The former communard has indeed just been sentenced to four months in prison for having given a speech in favor of the Decazeville miners, alongside Jules Guesde, Paul Lafargue and Étienne Susini. But for now, it is the condition of her cousin Lucien Dacheux that concerns her:




    « Son genou étant de plus en plus malade on l'envoie en congé de deux mois, mais il faut qu'il entre à l'hospice s'il ne veut pas rester estropié. De plus on n'a pu lui donner une mécanique pour son genou et en même temps le médecin lui disait que c'était indispensable - peut-être pourra-t-il en avoir une au Val de Grâce - je le recommande bien à vous et au citoyen Lafont - J'irai vous voir pour cela et une autre chose du même genre avant le 12 mais s'il était possible de faire entrer avant à l'hospice le petit Lucien Dacheux je serais bien heureuse car il sera tout à fait estropié et incapable de continuer son service où on est très content de lui. » ["His knee being increasingly ill, they are sending him on two months' leave, but he must be admitted to the hospice if he doesn't want to remain crippled. Moreover, they couldn't give him a mechanism for his knee while at the same time the doctor told him it was indispensable - perhaps he could get one at Val de Grâce - I recommend him highly to you and to citizen Lafont - I will come to see you about this and another matter of the same kind before the 12th, but if it were possible to have little Lucien Dacheux admitted to the hospice beforehand I would be very happy because he will be completely crippled and unable to continue his service where they are very pleased with him."]




    Louise Michel met Clemenceau in October 1870 when he was mayor of Montmartre and she was assistant schoolmistress. From their first meeting was born a strong friendship that lasted until Louise Michel's death. Clemenceau never ceased to support her, particularly during her banishment to Nouméa, and they maintained an extensive correspondence.



    A moving letter, testimony to the unwavering devotion of the former communard and to the great friendship that united Louise Michel to Georges Clemenceau.

    €2,500
  88. "Mais Solange a beaucoup engraissé - d'une joue..."
    Paul-Jean TOULET
    "Mais Solange a beaucoup engraissé - d'une joue..."
    Signed autograph postcard addressed to his nephew nicknamed Mi giving him news of the family
    S. n.|s. l. • [Vassincourt] s. d. [circa 1915]|14 x 9 cm|une carte postale
    Autograph signed photographic postcard by Paul-Jean Toulet (17 lines in black ink) addressed to his nephew Pierre-Henri de la Blachetai and depicting the Vassincourt church in the Meuse during the Battle of the Marne.
    The poet gives him news of his precarious health before they meet again at the château de La Rafette, the family property located in Saint-Loubès, northwest of Bordeaux, where Paul-Jean Toulet lived after his definitive departure from Paris in 1912: "... tu n'y trouveras rien de changé, qu'un compagnon nouveau pour tes vacances..." ["you will find nothing changed there, except a new companion for your holidays..."]
    Paul-Jean Toulet continues by discussing the health of family members: "... La santé de ta bonne maman ne s'est malheureusement guère améliorée. Mais Solange a beaucoup engraissée - d'une joue..." ["Unfortunately your dear mama's health has hardly improved. But Solange has put on a lot of weight - in one cheek..."]
    A dandy, inveterate opium addict and alcoholic, a poet misunderstood by the general public but admired by his peers, notably by José Luis Borges, Paul-Jean Toulet was a novelist (Monsieur du Paur, Mon amie Nane) but above all a master of poetic prose. His masterpiece Contrerimes, a collection of quatrains published after his death and combining embraced rhymes with crossed metrical structure, assured him posthumous success and inspired his poet friends including Francis Carco and Tristan Derème who, taking him as their model, proclaimed themselves "whimsical poets." Confessing that what he had loved most in the world were women, alcohol and landscapes, he died from an overdose of laudanum, a substance derived from opium.



    €300
  89. Carte postale autographe signée et adressée à sa chère soeur Jane
    Paul-Jean TOULET
    Carte postale autographe signée et adressée à sa chère soeur Jane
    S. n.|s. l. • [Montfort-en-Chalosse] 10 Novembre 1906|14 x 9 cm|une carte postale
    Autograph signed photographic postcard from Paul-Jean Toulet (19 lines in black ink) addressed to his sister Jane to whom he gives family news.
    The postcard depicts the entrance to the main street of Monfort-en-Chalosse in the Landes.
    An opium-addicted and inveterate alcoholic dandy, a poet unknown to the general public but admired by his peers, notably by José Luis Borges, Paul-Jean Toulet was a novelist (Monsieur du Paur, Mon amie Nane) but above all a master of poetic prose. His masterpiece Contrerimes, a collection of quatrains published after his death combining enclosed rhymes and crossed metrical structure, assured him posthumous success and inspired his poet friends including Francis Carco and Tristan Derème who, taking him as a model, proclaimed themselves "whimsical poets". Confessing that what he had loved most in the world were women, alcohol and landscapes, he died of a laudanum overdose, a substance derived from opium.





    €400
  90. "... je n'ai pas diminué le lauda sans pourtant en faire trop d'abus. Il est inutile de m'en envoyer en Avignon..."
    Paul-Jean TOULET
    "... je n'ai pas diminué le lauda sans pourtant en faire trop d'abus. Il est inutile de m'en envoyer en Avignon..."
    Autograph postcard addressed to his dear cousin Mauricia
    S. n.|s. l. • [Avignon] s. d. [circa 1916]|14 x 9 cm|une carte postale
    Autograph signed photographic postcard from Paul-Jean Toulet (27 lines in blue ink) addressed to his cousin Mauricia Chaline who was his great provider of alcohol, food, tobacco and laudanum.
    Penniless, he begs his cousin to come to his aid: "l'argent des pardessus... et autant pour le voyage et menues dépenses... me sont devenues indispensables quoi que je fasse..." ["the money for overcoats... and as much for the journey and small expenses... have become indispensable to me whatever I do..."] and confesses to feeling better in Avignon: "... le climat d'Avignon me convient assez - je n'y ait pas du tout de fièvre, c'est ce qui fait je pense, que je bois si peu..." ["... the climate of Avignon suits me well enough - I have no fever at all here, which is why I think I drink so little..."]
    The postcard depicts the Notre-Dame de Tout-Pouvoir chapel of Avignon cathedral.
    An opium-addicted and inveterate alcoholic dandy, a poet unknown to the general public but admired by his peers, notably by José Luis Borges, Paul-Jean Toulet was a novelist (Monsieur du Paur, Mon amie Nane) but above all a master of poetic prose. His masterpiece Contrerimes, a collection of quatrains published after his death combining enclosed rhymes and crossed metrical structure, assured him posthumous success and inspired his poet friends including Francis Carco and Tristan Derème who, taking him as a model, proclaimed themselves "whimsical poets". Confessing that what he had loved most in the world were women, alcohol and landscapes, he died of a laudanum overdose, a substance derived from opium.





    €600
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