Light pinprick marks of no significance to boards, handsome copy.
Autograph inscription dated and signed by Lo Duca to the screenwriter, film historian and novelist Maurice Bessy.
Autograph letter most probably unpublished signed addressed by Juliette Drouet to her lover Victor Hugo, four pages written in black ink on a bifolium.
Transverse folds inherent to mailing, fold joining the two leaves reinforced with a fine strip of pasted paper barely perceptible.
Absent from the very complete online edition of Juliette Drouet's letters to Hugo by the Centre d'Études et de Recherche Éditer/Interpréter (University of Rouen-Normandy).
Very beautiful declaration of love and admiration by Juliette Drouet, the day after Hugo's plea defending his son. Charles Hugo had been brought before the assizes, and condemned despite his father's intervention, for having valiantly castigated the execution of Claude Montcharmont.
Hugo's great love addresses this letter in troubled times, where father and son find themselves at the forefront of the scene for their abolitionist positions. Scandalized by the execution of Montcharmont, a 29-year-old poacher from Morvan, Charles Hugo publishes an article in l'Événement which earns him a trial for contempt of respect due to the laws: the Second Republic already exists only in name, and the press is subject to frequent attacks, further aggravated here by the notoriety of the Hugos. Victor wants to defend his son and delivers a plea that remains famous: "Mon fils, tu reçois aujourd'hui un grand honneur, tu as été jugé digne de combattre, de souffrir peut-être, pour la sainte cause de la vérité. A dater d'aujourd'hui, tu entres dans la véritable vie virile de notre temps, c'est-à-dire dans la lutte pour le juste et pour le vrai. Sois fier, toi qui n'est qu'un simple soldat de l'idée humaine et démocratique, tu es assis sur ce banc où s'est assis Béranger, où s'est assis Lamennais !" (My son, you receive today a great honor, you have been judged worthy to fight, perhaps to suffer, for the holy cause of truth. From today, you enter into the true virile life of our time, that is to say into the struggle for the just and the true. Be proud, you who are but a simple soldier of the human and democratic idea, you are seated on this bench where Béranger sat, where Lamennais sat!)
Despite Hugo's historic intervention, Charles is condemned to six months in prison and 50 francs fine - a decision that Juliette bitterly castigates, overwhelmed by anguish at the outcome of the trial: "J'ai beau savoir que cet arrêt inique est non seulement supporté avec courage par vous tous, mais accepté avec orgueil et avec joie par le plus directement intéressé dans cette malheureuse condamnation, la fatigue et l'inquiétude que j'ai éprouvé pendant toute cette interminable journée d'hier m'a laissée une douloureuse courbature physique et morale" (However much I know that this iniquitous verdict is not only borne with courage by all of you, but accepted with pride and joy by the one most directly concerned in this unfortunate condemnation, the fatigue and anxiety I experienced during all that interminable day yesterday has left me with a painful physical and moral ache).
12 juin jeudi matin 7h
First edition of this collection of articles that Émile Zola wrote during the Dreyfus Affair, notably the famous « J'Accuse...?! » which appears for the first time in volume form. The last part entitled Mon Père is a compilation of articles in homage to François Zola.
Half binding, smooth spine, original wrappers preserved, binding signed C. Vilaine.
Autograph inscription by Émile Zola to historian and journalist Maurice Dreyfous.
Autograph letter dated and signed by Jean Hélion addressed to Raymond Queneau, 41 lines (four pages on two leaves) written in black ink.
Jean Hélion cannot respond favorably to an invitation extended by his friend Raymond Queneau, partly due to his homebody nature: "J'ai pris l'habitude de rester chez nous, le samedi après-midi : à l'atelier jusqu'à 5 heures et là-haut jusqu'à l'heure du dîner pour y recevoit toutes sortes de jeunes gens que je n'ai pas le temps de voir un par un... Mais j'aimerais davantage vous montrer à vous seul, un peu tranquille et à n'importe quelle heure. Ne passez-vous jamais de ce côté ?" ("I have gotten into the habit of staying at home on Saturday afternoons: at the studio until 5 o'clock and upstairs until dinner time to receive all sorts of young people whom I don't have time to see one by one... But I would prefer to show you alone, a bit quietly and at any time. Don't you ever come by this way?")
He worries about the political path of one of their mutual friends, the pacifist militant Garry Davis who created in 1948 the World Citizens movement and in 1954 the World Service Authority organization: "Je m'occupe encore de ce bon Garry Davis, qui s'engage maintenant dans la non-violence, mais d'une façon qui pourrait être violente... Breton a tapé dessus comme sur des cymbales. Mais moi, par amitié, autant que pour une confiance dans sa force instinctive, je l'aiderai tant que possible... Il veut encore consulter ses amis, et il en a grand besoin. Camus, Mounier, Altman, l'abbé Pierre et quelques autres lui sont demeurés dévoués." ("I'm still taking care of that good Garry Davis, who is now engaging in non-violence, but in a way that could be violent... Breton struck out at him like cymbals. But I, out of friendship, as much as for confidence in his instinctive strength, will help him as much as possible... He still wants to consult his friends, and he has great need of it. Camus, Mounier, Altman, Abbé Pierre and some others have remained devoted to him.")
Autograph poem by André Pieyre de Mandiargues signed A.P.M. and dated June 5, 1974 entitled "Le plus libre graveur" and which he dedicated to Joan Miro.
Written in black ballpoint pen on a sheet, the poem, of 44 lines, contains some crossings-out and manuscript additions as well as an addition of a cut and pasted sheet in the lower right corner of the poem.
This text celebrating the painter Joan Miro and his style was published in the review XXe siècle in December 1974:
"Feu d'air ou feu de terre
Feu de feu ou feu d'eau
Le haut feu de Miro
Se fait esprit de sel
Acide ardent fumant
Machoîre du dieu ivre
Qui va mordre le cuivre...
...
Parfois il grave sur le givre
il invente le regard
il noie le soleil
Il l'ébouillante
Parfois il balance l'homme
Il bascule la demoiselle,
...
La grande lingerie des noirs
Des bleus des rouges des roses
Des jaunes et des verts
Claquant au vent de Majorque
Un grand pavois d'allégresse
Imposé au blanc d'une page..."
Beautiful poem by André Pieyre de Mandiargues celebrating the abundant style of vivid colors of the painter and engraver Joan Miro.
"Les rentes majorées émises ont du être payées le 10 janvier Monsieur. Etant prêt à partir la semaine prochaine, je désire savoir si je puis disposer chez vous de la petite somme résultant de deux semestres que vous avez dû recevoir pour moi."
(The increased annuities issued must have been paid on January 10, Sir. Being ready to leave next week, I wish to know if I may draw from you the small sum resulting from two semesters that you must have received for me.)Benjamin Constant writes this missive during a period of his life marked by amorous and financial turmoil, requesting from his banker annuities owed to him. He still divides his time between his wife, Charlotte Hardenberg, whom he secretly married in 1808, and his longtime mistress, the writer Germaine de Staël. Constant was then constantly traveling and accumulating gambling debts. In this letter, he is "prêt à partir la semaine prochaine" (ready to leave next week) to visit Madame de Staël to discuss delicate money matters at her château de Coppet in Switzerland, where all of European intelligentsia then gathered.
Precious Constantian relic from the writer in full turmoil, torn between conjugal happiness and intellectual complicity with the great Germaine de Staël.
Autograph letter signed by Charles de Gaulle, dated and addressed to his cook Augustine Bastide, who served him from 1940 to 1958, 13 lines in black ink on his headed paper.
Fold marks inherent to postal handling.
The de Gaulles had taken in the recipient of this letter, Augustine Bastide, upon their arrival in London. Of Provençal origin, she served the family from 1940 to 1958 first in Great Britain then in France. At the de Gaulle couple's table in an England severely affected by rationing, one could then find rabbits, winkles, and other frogs. The "outspoken Southerner" would remain in the general's service for nearly twenty years, sometimes causing hilarity in the stoic head of state:
« En 1946, alors qu'il venait de quitter le pouvoir volontairement, il lui a lancé : "Vous voyez Augustine, la politique c'est plus décevant que le travail aux fourneaux". Alors, les mains aux hanches, elle a rétorqué : "Mais général, pourquoi ne vous décidez-vous donc pas à rendre définitivement votre tablier ?" Mon père n'a pu se retenir de rire » ("In 1946, when he had just voluntarily left power, he said to her: 'You see Augustine, politics is more disappointing than working at the stove'. Then, hands on her hips, she retorted: 'But General, why don't you decide to hang up your apron for good?' My father couldn't help but laugh")
(Philippe de Gaulle, De Gaulle mon père)
Autograph letter signed by painter Elisabeth Vigée-Lebrun addressed to historical painter and portraitist Hortense Haudebourt-Lescot. Two pages in black ink on a bifolium. Autograph address of Mme Haudebourt, 19 rue Rochefoucauld, on verso of second leaf. Usual horizontal folds, tear without damage to the text on the second leaf due to the wax seal. A bibliographer's note in blue pencil on the verso of the last leaf.
Autograph letter dated and signed by Charles de Gaulle, addressed to his cook Augustine Bastide, who served him from 1940 to 1958. 21 lines in black ink on his headed paper.
Fold mark inherent to postal folding, minor tears of no consequence at the left and right margins of the central fold.
General de Gaulle thanks her : "I was very touched by the birthday wishes you thought to send me...". He shares the same considerations as his correspondent concerning the role that France must embody on the political level : "You know that, on this matter, my feelings are yours and that, despite the powerlessness and baseness of the present, I do not despair of the future."
The de Gaulles had taken in the recipient of this letter, Augustine Bastide, upon their arrival in London. Of Provençal origin she served the family from 1940 to 1958 first in Great Britain then in France. At the table of the de Gaulle couple in an England severely affected by rationing, one could then find rabbits, periwinkles, and other frogs. The "outspoken Southerner" would remain in the general's service for nearly twenty years, sometimes provoking hilarity from the stoic head of state :
In 1946, when he had just voluntarily left power, he said to her : "You see Augustine, politics is more disappointing than working at the stoves." Then, hands on her hips, she retorted : "But general, why don't you decide to hang up your apron for good ?" My father could not help but laugh (Philippe de Gaulle, De Gaulle mon père)
"[Maurice de Fleury] entretient des relations étroites avec Émile Zola et Joris-Karl Huysmans, avec lesquels il correspond dans les années 1880-1890. Fervent admirateur de l'auteur des Rougon-Macquart, Fleury conseille Zola pour Le Docteur Pascal (1893) et confie son admiration dans un article du Figaro, en 1896. Très « à la mode » parmi les « intellectuels » (selon le mot de Victor Segalen), le jeune médecin figure également dans la liste des auteurs symbolistes - aux côtés de Paul Adam, Henri de Régnier et Gustave Kahn - dans un essai d'André Barre, en 1911" ("[Maurice de Fleury] maintains close relations with Émile Zola and Joris-Karl Huysmans, with whom he corresponds in the years 1880-1890. Fervent admirer of the author of the Rougon-Macquart, Fleury advises Zola for Le Docteur Pascal (1893) and confides his admiration in an article in Le Figaro, in 1896. Very 'fashionable' among the 'intellectuals' (according to Victor Segalen), the young physician also appears in the list of symbolist authors - alongside Paul Adam, Henri de Régnier and Gustave Kahn - in an essay by André Barre, in 1911") (Lola Kheyar Stibler)
"[Maurice de Fleury] entretient des relations étroites avec Émile Zola et Joris-Karl Huysmans, avec lesquels il correspond dans les années 1880-1890. Fervent admirateur de l'auteur des Rougon-Macquart, Fleury conseille Zola pour Le Docteur Pascal (1893) et confie son admiration dans un article du Figaro, en 1896. Très « à la mode » parmi les « intellectuels » (selon le mot de Victor Segalen), le jeune médecin figure également dans la liste des auteurs symbolistes - aux côtés de Paul Adam, Henri de Régnier et Gustave Kahn - dans un essai d'André Barre, en 1911" ("[Maurice de Fleury] maintains close relations with Émile Zola and Joris-Karl Huysmans, with whom he corresponds in the years 1880-1890. Fervent admirer of the author of the Rougon-Macquart, Fleury advises Zola for Le Docteur Pascal (1893) and confides his admiration in an article in Le Figaro, in 1896. Very 'fashionable' among the 'intellectuals' (according to Victor Segalen), the young physician also appears in the list of symbolist authors - alongside Paul Adam, Henri de Régnier and Gustave Kahn - in an essay by André Barre, in 1911") (Lola Kheyar Stibler)
First edition, one of 20 numbered copies on hollande, the only deluxe issue (grand papier) after 10 copies on japon.
Bound in gray half morocco in panels, smooth spine, gilt date at foot, abstract decorative paper boards, black onionskin pastedowns and flyleaves, original wrappers preserved, pastedown bookplate, top deckled edge gilt, binding signed Boichot.
Small tears with small lacks of paper to the margin of an endpaper and on the front cover.
The work is dedicated to Paul Verlaine who wrote the preface "which was a way of advertising to gay readers" (Graham Robb, Homosexual Love in the Nineteenth Century, p. 210).
Precious signed and inscribed copy to Catulle Mendès who will go on to write six years later "the first description of a male homosexual orgasm" (Graham Robb) in his novel La Maison de la Vieille.
This novel, although still tinged with a moralistic, guilt-ridden view of homosexuality, features the first gay sex scene in a French novel. It takes place near the Opera, in a palatial Turkish bath house, one of Paris' most famous cruising spots at the time when the influence of the Arabian Nights and the prospect of hedonistic pleasures were all the rage: "In this overheated atmosphere, Jacques savors the pleasures of body reflection and massage. Then comes the 'unpleasant brusqueness of the shower' before entering the steam bath, where several bodies lie naked and immodest. Suddenly, a young man of twenty appears with 'an aristocratic bearing, a blond head, the fat, bulging chest of the Capitoline Antinous statue'. It was love at first sight. Jacques looks out for him, follows him 'panting' and thus succumbs to 'unnatural vice'" (François Buot, Gay Paris, Une histoire du Paris interlope entre 1900 et 1940).
Neil Bartlett even suggests Oscar Wilde might have read the novel based on the plea he wrote to the Home Secretary from Reading Gaol, which features a similar description of his erotomania (Paul Hallam, The Book of Sodom, 1993).
This deluxe copy is exceptionally inscribed to Catulle Mendès, who also pioneered the writing of novels centered around gay and lesbian protagonists.
Provenance: library of Comte René Philipon, specialist in occult sciences, collector, entomologist and patron of the arts, with his pastedown bookplate featuring the Rosicrucian symbol of the Phoenix rising from the ashes.
An Annotated Bibliography of Homosexuality, II, 6694.
First edition, one of 35 numbered copies on deluxe paper, the only deluxe copies.
Rare and handsome copy.
Very elegant edition of Perrault's fairy tales, printed with the stereotype process invented by Louis-Etienne Herhan.
Illustrated with 5 full-text engravings (2 vignettes each) and a vignette on the engraved title, after the frontispiece by Antoine Clouzier for the first edition of Perrault's tales (Paris, Barbin, 1697).
Full roan binding, smooth spine framed in gilt and gilt motifs, black title label stamped in gilt, boards framed in gilt, inner dentelle, endpapers and pastedowns in caillouté paper, all edges gilt. Joints slightly split at head of spine, a small brown stain to title page and frontispiece, some spotting.
Very rare edition, including Bluebeard, Little Red Riding Hood, The Fairy, Sleeping Beauty, Puss in Boots, Cinderella, Riquet with the Tuft, Little Thumb, The Clever Princess, Donkey-skin, The Ridiculous Wishes.
A very scarce item, OCLC does not locate any copy printed by Saintin at this address.