Sans nom d'éditeur

Autograph letter signed by Paul Verlaine to Anatole Baju, one page in ink on a watermarked leaf. Two small discreet adhesive reinforcements to verso. Published in Correspondance Verlaine, vol. III, CDLIII, p. 26–27.

An important letter by Verlaine, the most Decadent of poets, to the editor-in-chief of the journal Le Décadent, which published many of his poems. The poet announces the forthcoming release of a collection entitled Amis, a provocative allusion to the scandalous sapphic poems he had privately printed in 1867 under the title Amies.

Autograph letter signed and dated April 16, 1912, by Henri Bergson, addressed to M. Masson de Saint-Félix. Includes the original autograph envelope, bearing an inscription by the recipient: "Lettre de M. Bergson / Membre de l'Institut / mon professeur de philosophie au Lycée de Clermont Fd".

Touching letter of condolence from Henri Bergson to a former student from his philosophy class in Clermont-Ferrand, where he taught for five years — from 1883 to 1888 — at the Lycée Blaise-Pascal and the Faculty of Letters.

"Mon cher ami,

La nouvelle du grand deuil qui vous frappe me touche profondément. Laissez-moi vous envoyer l'expression de ma très vive sympathie. Depuis plus de 2 mois j'avais préparé une lettre pour vous, en réponse à celle que vous m'aviez adressée ; j'attendais pour vous l'envoyer d'avoir un de mes travaux que je désirais y joindre et dont l'édition est épuisée vous le recevrez bientôt. Je n'ai pas besoin de vous dire combien j'ai été heureux d'apprendre que vous ne perdez pas de vue la philosophie. Hélas quelle philosophie, si consolante soit-elle, vous consolera tout à fait des tristesses de la vie ? Cordialement à vous / H. Bergson"

["My dear friend,

The news of the great sorrow that has befallen you has deeply moved me. Allow me to extend to you the expression of my heartfelt sympathy. For over two months I had prepared a letter in response to the one you sent me; I was waiting to send it until I could enclose one of my works, which I wished to share with you, but whose edition is currently out of print — you will receive it soon. I need not tell you how glad I was to learn that you have not lost sight of philosophy. Alas, what philosophy, however comforting it may be, could truly console you for the sorrows of life? / Cordially yours / H. Bergson"]

Three-and-a-quarter-page manuscript written in black ink on a bifolium.

One vertical fold.

Manuscript detailing the nominal roster of the Spanish squadron that set sail under the command of Don Luis de Cordova, Don Antonio de Ulloa, and Don Miguel Gastón.

Rare first edition of one of the many promotional pamphlets extolling the virtues of the celebrated Aqua mirabilis, or "eau admirable", invented by Giovanni Paolo Feminis and produced through the distillation of grape spirits with neroli oil, bergamot, lavender, and rosemary.

Unless, of course, it is one of its many imitations.

First edition, of great rarity (cf. Sabin 4182).

Bradel-style binding in full orange paper-covered boards, with a brown shagreen spine label; modern binding.

A very good copy.

A vindication of France’s conduct during the uprising of the British colonies in America.

Autograph card signed and dated 18 February 1909 by Henri Bergson, to Mr. Masson de Saint-Félix.

Two years after the publication of L'Evolution créatrice, Bergson expresses his gratitude to a former student from his philosophy class in Clermont-Ferrand, where he taught for five years — from 1883 to 1888 — at the Lycée Blaise-Pascal and the Faculty of Arts.

"Thank you, my dear friend, for your kind note. I hardly need to tell you how fondly I remember your time in my class at Clermont. I do not know whether I shall be able to visit Lozère any time soon, as you kindly encourage me to do; but if you happen to be in Paris, it would give me great pleasure to have a talk with you. / Very cordially / H. Bergson"

Autograph letter signed and dated "20 floréal year 79 19 May" [19 May 1871?], 3 pages on a bifolium of blue paper. Small lack of paper affecting a few letters, usual folds from mailing.

Rare letter by painter and illustrator Gérard-Séguin, known for his portrait of Honoré de Balzac (Musée des Beaux-Arts de Tours). Written in the midst of the Paris Commune, as famine and fighting ravaged the capital, the artist delivers a desperate yet spirited plea from the artist.

This letter is one of the few surviving manuscripts by Gérard-Séguin whose biography remains largely unknown: "Little is known about the life and work of Jean Alfred Gérard-Séguin, except that he studied under Jérôme-Martin Langlois at the École des Beaux-Arts in Paris, exhibited at the Salon between 1831 and 1868, and—close to publisher Pierre-Jules Hetzel—primarily worked as a book illustrator, contributing drawings for various publications, including Balzac's La Comédie Humaine, for which he also painted a portrait of the author. Working with Prosper Mérimée and the first Monuments Historiques commissions, he also copied out the church frescoes of Saint-Savin-sur-Gartempe" (Musée de Valence). Staunch Republican Gérard-Seguin supported the Commune and had previously painted a major historical canvas on the French Revolution of 1848, depicting a "guardian of the peace and the Republic." Severely impoverished by the siege and already 67 years old, he expresses in this letter his regret at not being able to join the ranks of the Communard fighters.

New edition, adorned with a portrait of the author by Daullé, three headpieces by de Sève engraved by Juste Chevillet, twelve plates engraved by Jacques Aliamet, Jean-Jacques Flipart, Noël Le Mire, Louis-Simon Lempereur, Dominique Sornique, and Jacques-Nicolas Tardieu, and thirteen vignettes and sixty tail-pieces, all by de Sève engraved by Jean-Charles Baquoy, Jean-Jacques Flipart, and Louis Legrand.

A superb copy of the first luxury edition of Racine, among the most sought-after, bound in the most sumptuous red morocco.

Contemporary full red morocco, spine with five raised bands and gilt compartments, triple gilt fillet border, corner fleurons, yellow morocco lettering pieces and volume numbers, double gilt fillets on the boards, marbled endpapers, double gilt fillet on the edges, gilt dentelle turn-ins, gilt edges. Occasional light foxing, mostly on the early leaves of the volumes; some browned pages; skilfully restored corners and joints; a few scratches.

A very rare first edition of 15 lithographed views in bistre tint, mounted in an accordion pleat, forming a panorama of 6.75 ft and showing the Parisian procession of the return of Napoleon's mortal remains (his "ashes" used here as a metaphor since he was not cremated). The parade started from the Arc de Triomphe to his resting place in Invalides. In the lower margin, the caption presents the different groups forming the procession: Ajaccio delegation, Paris Municipal Council, Prince of Joinville Commission of Saint-Helena...in the centre of the panorama stands the spectacular funeral car. Without mention of the publisher, this impressive document was undoubtedly printed by Aubert, famous publisher of Parisian panoramas published during the same era and also illustrated by Adrien Provost.
Publisher's half cloth black Bradel binding, goffered silk boards framed with double gilt fillets, the first with the gilt title “convoi de l'Empereur” stamped in the centre.
“In the distance is seen, in the mist and the sunlight, against the grey and russet background of the trees in the Champs-élysées, beyond the great white phantom-like statues, a kind of golden mountain slowly moving. All that can be distinguished of it as yet is a sort of luminous glistening, which makes now stars, now lightening sparkle over the whole surface of the car. A mighty roar follows this apparition. It would seem as though this car draws after it the acclamation of the whole city, as a torch draws after it its smoke. (Victor Hugo, Choses Vues, “15 décembre 1840. Funérailles de l'Empereur. Notes prises sur place.”)

Rare and fragile original French satirical leaflet dated August 1944.
Vertical and horizontal folds.
This rare document begins by stating sarcastic titles and last wishes of Adolf Hitler:
“Hitler, known as Adolphe to the Nazis and Dodofe to the Gretchens of my former Reich of Krauts, declares the following:On the verge of vomiting my soul to the devil, afflicted with dysentery accentuating the brown color of the flaps of my shirt, having my buttocks in disarray (the result of the kicks up my arse picked up on all the fronts of Europe)...”
This mock testament, written in August 1944, delivers a sarcastic commentary on the Axis powers' imminent downfall and lists the beneficiaries of Adolf Hitler's “bequests”:
The testament ends with this peremptory statement: “Made at ... on ... August 1944 in full mental, cerebral and physical decomposition. Dodofe Hitler king of the Little Funnies.”
A very rare anti-Nazi leaflet from the final days of World War II.

Very rare first edition printed in Algiers at Charles Zamith & Cie (Not listed in Tailliart. No copy recorded in the CCFr).

Minor, unavoidable rust marks around the staples, otherwise a handsome copy.

This perpetual Muslim calendar through to the end of time, with the exact concordance of the Julian and Gregorian calendars, and a simple and easy method for converting dates for every day of the week, from the Hijri year to the year 2660, composed and calculated in accordance with the rules of Muslim astronomers was written by Bernard-Marius Cazeneuve (1838–1913).

A fascinating character: an internationally renowned illusionist, art collector, and scientist born in Toulouse, he presented himself as an “Explorer, populariser of abstract sciences, member of the French Astronomical Society, accredited lecturer at the Sorbonne, former captain in the 1st Tirailleurs, former personal physician to Her Majesty the Queen of Madagascar, etc., etc.” (!) In 1874, he founded the Institute of Progress against Superstition and Charlatanism, drafting its statutes himself. The Shah of Iran, Baron Taylor, Rosa Bonheur, and Victor Hugo were among its first members. He later played an ambiguous but noteworthy role in the colonisation of Madagascar.

Very rare first edition printed by the Bureaux de l'armée nationale (only two copies recorded in the CCF: ASOM and Nanterre).

A pleasant copy.

The pamphlet brings together the texts of two lectures: the first delivered on 19 June 1924 in Hanoi, the second on 10 December 1924 in Paris; both advocate for a systematic effort to provide indigenous populations with access to education.

A former captain in the colonial artillery, Paul Monet (1884–1941) was then head of the Annamite Students' Residence in Hanoi. He would soon gain attention for echoing Roland Dorgelès' stance on the exploitation of indigenous labour by French companies (Les Jauniers, 1930).

Elzevirian "à la sphère" edition based on the first one printed in 1623, with the same features, including a red-and-black title page for the first volume and a black title page for the second. Brunet suggests it may have been printed in Brussels (IV, 1050).

Numerous headbands, culs-de-lampe, and initials.

Full dark green morocco binding, spine with five raised bands, with gilt fleurons and framed in blind, gilt date at foot. Covers with a Du Seuil-style double panel of blind-ruled borders, gilt fleurons at the corners of the inner panel, marbled endpapers and pastedowns, inner gilt dentelle, gilt edges, edges and spine-ends ruled in gilt.  Binding signed "Petit succede Simier" on front flyleaf. Minor tear to the title page of the second volume not affecting the text; a few very occasional spots of foxing.

Delightful edition of Rabelais' works, handsomely bound in full morocco in the Du Seuil style, signed by Petit, successor to Simier.

Black-and-white photographic promotional portrait for Disney studios, depicting Walt Disney. A minute black line is visible near the hair.

Rare and striking manuscript signature by Walt Disney in black ink, signed directly within the image.

First edition, printed in a small number of copies, of this excerpt from the Magasin de zoologie, d'anatomie comparée et de paléontologie, published by M. Guérin-Méneville in October 1845.

Contemporary bottle green full shagreen binding, flat spine with gilt fillets and no lettering, single gilt fillet frame on covers, title gilt-stamped in the center of the upper cover.

Illustrated with 3 hand-colored plates numbered 59–61 at the end of the volume.

This is the last text published during the lifetime of the great naturalist Jean-Baptiste Bory de Saint-Vincent (who died on 22 December 1846); L'Exploration scientifique de l'Algérie appeared largely posthumously.

Some occasional light foxing.

Rare first edition illustrated with three folding plates outside the text.

Spine repaired along the right margin with adhesive strip, minor tears to spine, internally clean and appealing.

In the manner of departmental compendia of customary law published in mainland France, the author records the unofficial legal “usages” adopted in practice within the colony, though lacking legal force. Born in Saint-Denis, Réunion, Georges Garros (1860 – after 1919) moved to Cochinchina in 1892 to open a law practice in Saigon, primarily serving the commercial interests of his Vietnamese merchant friends. He was also the father of the famed aviator Roland Garros (1888–1918).

Inscribed by Georges Garros: "Monsieur Foulé, greffier en chef de la Cour d'appel hommage de cordiale sympathie. G. Garros"

Autograph letter signed by Pierre Loti, addressed to Alphonse Daudet (not named explicitly), inviting him to the premiere of his *Pêcheur d'Islande* at the Grand Théâtre on 18 February 1893; 8 lines in black ink on a bifolium.

"Je voudrais bien vous avoir samedi à la première de 'Pêcheur', avec madame Daudet. Vous ne pouvez pas me refuser cela. J'irai vous chercher. Tendres respects. Pierre Loti."

In collaboration with Louis Tiercelin, Pierre Loti adapted his literary masterpiece and great popular success for the stage.

This note was previously mounted on a guard to be inserted into a book, and was later removed.

Autograph postcard signed by Jacques Derrida, addressed to his friend Jos Joliet from Yale University in Connecticut, 18 lines in blue ink, with the original handwritten envelope enclosed.

The postcard shows a view of Yale University's Sterling Memorial Library.

In 1975, Jacques Derrida was appointed visiting professor at Yale University in New Haven, Connecticut.

Jacques Derrida laments not having had the chance to see his friend while expressing joy at soon returning to France: "Dans quelques jours, je serai rentré (heureux de retrouver les 'proches' mais un peu terrifié à l'idée de ce que je vais devoir affronter autrement..."

Joseph Joliet, a former student of Jacques Derrida, became one of the philosopher's closest friends.
Highly attentive to Joliet’s writing, Derrida would go on to write the preface to his novel "L'enfant au chien assis" and support him during difficult times (see Benoît Peeters’ *Derrida*).

Autograph postcard signed and addressed to his friend Ariel Denis from his summer residence in Vendée, 22 lines in black ink.

The postcard shows a general view of the coastal cliffs of Saint-Hilaire-de-Riez in Vendée.

Julien Gracq expresses his satisfaction with the advice he had given his friend, while lamenting the petty calculations of administrative life: "j'avais décidément raison de vous recommander une saine stratégie syndicale : faute ce cet appui je crains qu'il n'y ait plus de belle carrière dans l'enseignement ! J'espère tout de même que la stabilité au moins va venir couronner vos efforts (il y en a un de ma part sous le beau style ! malgré les vacances)"

The writer then mentions a televised adaptation of Wagner's *Das Rheingold* he recently watched: "bonne direction d'acteurs, costumes qui en définitive ne gênent pas, décors plutôt catastrophiques, aussi bien le barrage style Génie Rural, que le Walhalla dont on espère tout de même qu'il n'a pas épuisé l'imagination du décorateur. Mis à part l'excellent jeu des acteurs, que la télévision met en relief, il n'y pas de quoi se récrier. (Comme vous je ne pourrai voir le reste du Ring, et je m'en consolerai ! )"

Julien Gracq ends with a final recommendation to his friend: "tâchez d'aller voir Saint François du Désert que j'ai manqué autrefois et dont Barrès dit merveille."

Very important and last remaining archives in private hands, including autograph manuscripts, typescripts, corrected proofs, offprints, first editions, etc.

Exceptional collection of manuscript and printed archives – the last in private hands – of the founder of liberalism and modern economics, Léon Walras, preserved and annotated by his most prominent scholar William Jaffé. One of the 5 most important sets of personal archives belonging to Walras, considered by Schumpeter “the greatest of all economists”.

This collection of 42 important documents, including complete autograph manuscripts, corrected proofs, abundantly annotated offprints and expanded printed material, was given by his daughter Aline Walras and then Gaston Leduc to William Jaffé, who added his autograph notes to some of them and used them to edit the first translation of Éléments d’économie politique pure. 

First edition (a reprint was issued in 1963) of one of the two major works by Marcel Sarrazin, known as Vassal, now considered one of the leading French-speaking 'mentalists'—a modern term borrowed from English (cf. Fechner, p. 554). Only 2 copies listed in the CCF (BnF and Sainte-Geneviève).

Small stains to the lower right corner of the title page, otherwise a well-preserved copy.

Contemporary half tawny sheep binding, spine with four raised bands and gilt fleurons, minor rubbing to spine, marbled paper boards, marbled endpapers and pastedowns, original front wrapper preserved, sprinkled edges, very slight rubbing to corners.

Illustrated with in-text figures after drawings by the author, 2 plates out of text (including a chart of 20 lamps, and a newspaper clipping).

Copy belonging to the illusionist Hervel (Benoît-Joseph Phillis, 1913–1992), with his inkstamp on the title page.

Five compositions in Indian ink signed and dated 1923 by George Barbier on a leaf of thick paper. Traces of paper pasted down at the four corners on the back, a few very faint traces of previous pencil inscriptions on the front.

An exceptional ink drawing by the eminent fashion illustrator George Barbier for the “Elegances” section of the newspaper La Vie Parisienne, featuring four silhouettes at the height of 1920s fashion, with boyish haircuts, dressed in flowing, low-waisted tube dresses or wrapped in luxurious furs.

Original vintage photograph, signed and dated by Jeanne Moreau, showing her alongside Raymond Pellegrin during the filming of "Les hommes en blanc" as part of the Caméra du lundi series.

Black and white vintage print, with printed stamp and notations on the verso.

Manuscript signature by Jeanne Moreau, dated, at the foot of the image.

Original photograph depicting Charles Gounod, full face.

Vintage gelatin silver print mounted on cardboard, produced by photographer Isidore Alphonse Chalot at 18, rue Vivienne, Paris.

Autograph inscriptions in black then blue ink on the verso by the recipient, A. Lasserre, inspector at the Opéra Garnier: "Portrait de Ch. Gounod signé le soir de la 926eme représentation de Faust (samedi 29 septembre 1888) A. Lasserre."

Additional handwritten note in pencil in the right margin of the verso: 1867e représentation de Faust le 28 septembre 1929.

Printed stamp at foot of the verso: "Maison Martinet Albert Hautecoeur, 18, bd des Capucines."

Charles Gounod’s dated autograph signature to upper right corner of the photograph : "Ch. Gounod 29 7bre / 88."

Autograph letter signed with his real surname, Fargonne, addressed to his friend Pierre Louÿs, 7 pages written in black ink on two bifolia bearing the letterhead of the Reina Christina Hotel in Algeciras.

Folding marks inherent to mailing, envelope included.

After postponing his reply, Claude Farrère finally decides to write to his friend: "Et plutôt que d'attendre toute ma vie (on ne sait jamais, affirmait la Mirabelle du roi Pausole), je préfère vous dire aujourd'hui que je ne sais rien." He takes the opportunity to evoke a recently deceased mutual friend: "j'ai eu une vraie désolation, en apprenant que la pauvre Nite était morte - je vous jure que je serais bien le dernier à rire du vers moliéresque - n'importe en quelle circonstance - mais en celle-ci, c'est très pire ; figurez-vous que j'adorais cette petite bête blanche pour l'avoir vue peut-être douze fois en tout"

He wryly comments on the military diligence that earned him favor with his superiors: "Et j'ai su d'autre part, - voie féminine - que mon empressement et mon enthousiasme à rallier le Cassini furent remarqués et commentés à Toulon - Qu'est-ce qu'on va dire quand on me verra revenir, mein Gott !!!! Il va falloir que je cherche un home à quadruple sortie. Nous chercherons ensemble, le mois prochain, entre Tamaris et Mourillon."

Black and white photographic postcard depicting Raymond Poulidor in cycling attire.

A handsome copy. To the verso, a promotional label for Raymond Poulidor equipment has been affixed.

Inscribed autograph tribute signed by Raymond Poulidor in brown felt-tip pen to the upper left margin of the card.

Provenance: from the collection of renowned autograph collector Claude Armand.

Partly original edition, enlarged with 7 additional chapters; this is the first complete edition.
Contemporary full brown calf binding. Spine with raised bands, richly gilt. Red morocco label. Small loss to head of upper joint. Three corners slightly rubbed. A good copy.
Manuscript ex-libris on title page: Denille.

Original photograph depicting Emilio Visconti-Venosta in frontal view.

Contemporary silver print bearing, at the foot of the image, the blindstamp of Roman photographer Lorenzo Suscipj, a pioneer of photography in Italy.

Minor black specks to the surface of the photograph.

Mounted on a stiff card sheet printed with the photographer’s address.

A rare dated and signed autograph inscription by Emilio Visconti-Venosta to the verso: “À M Henri Fournier, souvenir d’un ami, E. Visconti-Venosta. Rome. 18 January 1877”.  ['To Mr Henri Fournier, a token from a friend, E. Visconti-Venosta. Rome, 18 January 1877.']

An influential Italian statesman, Emilio Visconti-Venosta played a significant role in the struggle for Italian unification. Appointed by Cavour as royal commissioner to Giuseppe Garibaldi, he later served as Minister of Foreign Affairs.
A fine portrait by a pioneer of Italian photography, depicting one of the founding figures of Italy’s independence and unity.

Autograph letter signed, addressed to his friend Thierry Maulnier, 14 lines in blue ink on Revue universelle letterhead, concerning an article soon to be published and requesting another one in response to Pierre Drieu la Rochelle.

Henri Massis, editor-in-chief of the journal, summarizes the situation for his friend: "Votre \"Réveil de l'héroïsme ? \" passe dans le n° du 1er février. Je crois qu'il serait intéressant de répondre à l'article que Drieu la Rochelle a publié, ce matin, dans les Nouvelles littéraires. Qu'en pensez-vous ? Donnez-moi cela pour le n+ du 15... L'heure du déjeuner (vers une heure) est la plus propice pour notre rendez-vous."

The Revue universelle, a monarchist-leaning periodical, was founded by Jacques Bainville and Henri Massis.

Autograph letter signed, addressed to his friend Thierry Maulnier, 26 lines in blue ink on letterhead of the Revue universelle, in which he urges him to contribute an article on André Gide's political stance.

Henri Massis, editor-in-chief of the journal, presses his friend: "Il me faudrait très rapidement votre prochaine chronique. Il me semble qu'il y aurait quelque chose à tirer de l'article de Ramon Fernandez sur l'évolution d'André Gide dans la N.R.F. du 1er juillet". Il faudrait saisir ce qui concerne proprement Gide pour s'attacher à certaines réflexions sur le socialisme., le marxisme ou à une phrase comme celle-ci qui mériterait quelques commentaire : "Les jeunes gens d'aujourd'hui (dont Gide est soucieux de ne point se désolidariser) vont à la révolution comme leurs aînés de 1914 allaient à la guerre..."

The Revue universelle, a monarchist-leaning publication, was founded by Jacques Bainville and Henri Massis.

Autograph letter, dated and signed, addressed to Thierry Maulnier: 16 lines written in violet ink on a sheet bearing the letterhead of Éditions Charlot in Paris, concerning his book "La vallée heureuse".

"Paris le 24 dec.46,

Mon cher Thierry Maulnier,

c'est bien de la guerre industrielle qu'il s'agit dans la Vallée heureuse et vous l'avez parfaitement compris. Je m'en console en lisant Blaise de Montluc qui se plaignait déjà de l'invention de l'arquebuse, l'innocent ! Merci de tout coeur de ce que vous avez écrit dans Concorde. J'en suis profondément touché, et surtout heureux que mon livre ait établi le contact entre nous. Je veillerai à ce qu'il ne s erompe pas. Croyez-moi, cher Thierry Maulnier, bien affectueusement à vous. Jules Roy."

Edition regarded as the masterpiece of the painter and engraver Charles Eisen, and a counterfeit of the famed Fermiers généraux edition.

This edition is illustrated with 2 engraved frontispieces by Vidal, 2 title vignettes, 1 portrait after Hyacinthe Rigaud, along with 80 plates and 43 tailpieces. One engraving is unfortunately missing from our copy, which contains 79 engravings instead of 80.

A few minor spots, not affecting the text.

Bound in contemporary full green morocco, flat spines slightly sunned, decorated with double gilt fillets and gilt floral and typographic motifs, red morocco lettering-pieces and volume labels, gilt roll tooling at head and tail, light rubbing to joints, triple gilt fillet frames on boards, marbled endpapers and pastedowns, gilt borders on pastedowns, gilt fillets on board edges, all edges gilt. Roman bookseller’s labels affixed to the pastedowns. Contemporary bindings.

A handsome copy, bound in contemporary full morocco, of La Fontaine's tales superbly illustrated by Charles-Dominique-Joseph Eisen.

Autograph letter signed to a friend named Alfred, 18 lines in black ink on a bifolium, in which the author urges him to help find employment for his brother, applying insistent pressure on his correspondent.

"Mon cher Alfred,
vous avez été excellent pour mon frère ... Il faut absolument qu'on le place. il est père de famille et sans emploi depuis un an. - Il y a 20 places qui auraient encore plus besoin de lui qu'il n'a besoin d'elles. Demandez formellement à votre illustre père un appui efficace et immédiat - pour un homme capable ... Votre père sera heureux de trouver une occasion de rendre service en rendant justice où je ne le connais pas. Tout à vous. Alph. Karr."

Fierce autograph letter signed, addressed to Jacques Chardonne—though not named—comprising 30 lines in black ink on letterhead of the journal Le Nouveau Fémina, concerning cultural life and current political affairs.

Folding marks inherent to mailing, a black ink stain not affecting the text, and two small holes: the first causing the loss of one letter—the second "e" in Hecquet; the second resulting in the loss of the word "il".

"Les dernières lettres sont épatantes. Et courtes, comme il fallait pour ne pas trop s'éloigner du drame. Les oeuvres complètes de Léon Blum vont paraître chez Albin Michel. On va voir. Anatole de Monzie, homme d'une très belle intelligence n'a rien écrit de fameux. Aujourd'hui, le moins ignare s'appelle Ramadier (Paul Ramadier, several times a minister after the Liberation) Il n'a pas été réélu. C'est un franc-maçon acharné. Mendès-France est un marchand de cravates me dit Stephen Hecqu[e]t. [Il] faut supprimer son nom de ma dernière lettre (celle qui est si longue, où je parle des hommes politiques susceptibles d'écrire). A bientôt. Roger Nimier."

Autograph letter signed, addressed to his friend Pierre Louÿs from Toulon, 16 lines written in violet ink, expressing concern about a mutual friend nicknamed Augusto, almost certainly Auguste Gilbert de Voisins.

Folding crease from mailing, envelope enclosed. A handsome copy.

"Friday,

my dear friend, it's mail time. Quickly, quickly! I received your telegram this morning and have replied. Your opening words were very sweet to me. Thank you. I'm forwarding you a letter from Augusto. It frightened me terribly. I’ll telegraph you as soon as I know more. Yours with all my heart. C.B."

Autograph letter signed by Jean-Jacques Henner to his friend Castagnary, 18 lines in black ink on a bifolium.

The letter is almost entirely devoid of punctuation.

A date written in violet ink, likely indicating when the recipient received the letter.

"Mon cher ami,

votre très aimable invitation m'est arrivée malheureusement un peu en retard vous aviez l'adressé place Clichy au lieu de place Pigalle et à mon grand regret je ne suis pas libre j'en suis désolé vous savez tout le plaisir que j'ai a venir chez vous soyez donc mon interprète auprès de madame Castagnary et excusez moi. Votre tout  dévoué JJHenner."

Fine autograph letter, dated and signed, addressed to his friend Pierre Louÿs; 7 pages in violet ink on two bifolia, with the original envelope preserved.

Folds from original mailing.

Soon to be on leave from the Moroccan Expeditionary Corps, Claude Farrère announces to his friend his imminent return to France following an Andalusian journey: "je pendrai au plus tardle train du 4 juin, à Algéciras ; lequel train, après escales à Grenade, Cordoue, Séville et Tolède, me déposera, le 11 au matin, à Toulon - Voilà !"

He mentions a book that struck him and evokes two women: "feuilletez, vous comprendrez l'in térêt que j'attache au cas, intérêt tout à fait analogue à celui que vous inspire une jeune personne à ui je vais dédier mon prochain conte au journal intitulé : 'sur le Boul' Mad'... La préface du bouquin en question est un chef d'oeuvre d' (je ne sais pas de quoi ! Fichtre ! On va bien, de nos jours... [...] voyez-vous qu'on publiât des histoires comme ça sur notre... dos- quatre ans après notre mort ???"

Claude Farrère ironically comments on his literary and epistolary activity shared with his friend: "J'aurais tellement besoin de regarder vos Hok'saï avant d'écrire certaines pages de mon sale bouquin ! ... Mon Maroc n'est pas du temps perdu. Je l'ai considéré comme dix mois de travail forcé. Et je vous en rapporte un manuscrit qui en est aujourd'hui à sa 392e pages, - qui toutes ensemble ne valent pas une ligne de Psyché !"

His rebellious and independent spirit draws suspicion from the military establishment: "Votre lettre datée du 8 mai, ne m'est arrivée qu'hier 18. J'ai lieu de croire que ma correspondance est très surveillée depuis quelque temps."

Autograph note signed by Caran d'Ache to a lady friend, 18 lines in pencil on a bifolium, with each letter written in uppercase.

Tears repaired with adhesive patches, minor loss to corners not affecting the text.

"Admirable madame ! Grandpierre & non Dampierre est votre proche voisin rue d'Offemont. Je me traîne à vos pieds heureux de baiser la pointe de vos pieds. Caran d'Ache."

The rue d'Offemont, located in the Plaine Monceau district, is now known as rue Henri Rochefort.

Autograph letter dated and signed by Théophile-Alexandre Steinlen, 30 lines in black ink, written from his Montmartre residence at 21 rue Caulaincourt, addressed to his friends the Lefèvres.

Folding marks inherent to mailing, minor marginal tears.

The painter inquires after the health of Madame Lefèvre, who was unwell at the time, and asks his correspondent to see that everything is put in order at their house in Saint Ay, where his wife and model Massia would soon be staying.

Steinlen is held back in Paris: "Pour moi, je ne se sais trop ce que je ferai, en tout cas, je ne puis quitter Paris avant le 15 - d'ici là des évènements peuvent survenir qui me bloqueront ici... ou ailleurs - s'ils ne s'arrangent pas de la façon que je souhaite St Ay ne me verra pas cette année..."

Original black and white photograph depicting Maurice Druon in his Académie Française regalia.

A fine copy. Enclosed is the handwritten envelope addressed to the recipient by Maurice Druon.

Inscribed and signed by Maurice Druon in blue ink in the right margin of the photograph: "Avec mes meilleurs souhaits Druon."

Provenance: from the collection of the noted autograph collector Claude Armand.

Card bearing the letterhead of the permanent secretariat of the Académie française, on which Maurice Genevoix has inscribed the following words:

"Pour Claude Armand, avec mes voeux et mes amitiés. Maurice Genevoix."

Maurice Genevoix served as Permanent Secretary of the Académie française from October 1958 to January 1974.

A handsome example. Accompanied by an envelope, typed and bearing the letterhead of the Institut de France.

Provenance: from the collection of the distinguished autograph collector Claude Armand.

First edition of this theatre programme for Jean-Paul Sartre's adaptation of Alexandre Dumas's Kean, staged at the Théâtre Marigny in 1988, directed by Robert Hossein and starring Jean-Paul Belmondo in the title role.

A fine copy. Illustrated throughout.

Boldly signed by Jean-Paul Belmondo in black felt-tip pen on the cover.

Autograph note dated and signed by Henri Laurens, 7 lines in black ink, addressed to a Mr Fardel, most likely Gildas Fardel, the prominent art collector.

A handsome example.

Henri Laurens writes to postpone their appointment, as he will not be at his studio at the agreed time.

A major collector of abstract art, Gildas Fardel donated part of his collection to the Musée des Beaux-Arts in Nantes in 1958.

Exceptional illuminated manuscript of 35 poems by Stéphane Mallarmé, probably copied by Joris-Karl Huysmans on watermarked Hollande laid paper, after pre-first editions of the poems published in journals. Most of the poems are preceded by a separate title-page noting the source from which it is taken.

The manuscript includes a fine charcoal portrait of Mallarmé as a frontispiece by Charles Tichon, after a photographic portrait by Van Bosch. The portrait was published in the Mallarmé issue of Empreintes (Bruxelles, L’Écran du Monde, n° 10-11). Another version was published in 1889 (Caprice Revue, 2e année, n° 60). 

 two floral compositions in gouache and watercolor illustrating the poems Les Fleurs and Apparition, as well the calligraphed author's name as a title-page. Although unsigned, the illutrations are attributed to Louise or Marie Danse.

Bradel binding, contemporary cream silk boards with floral motif, two embroidered green silk markers with floral motif, gilt semis patternerd flyleaves and pastedowns, slightly faded red edges. Dampstains on the lower part of the lower board, rubbed corners, a few silk threads loosened on the spine, rubbed boards. 

Outstanding manuscript of 35 poems by Stéphane Mallarmé, written shortly before the first collected edition of his poetry of which only 47 copies were ever printed (Poésies, photolithographed, Revue indépendante, 1887). This carefully calligraphed collection is attributed to the hand of writer Joris-Karl Huysmans, a great admirer of the poet who is said to have given the manuscripts to his friend Jules Destrée.

Autograph letter dated and signed by André Breton, 21 lines in blue ink on a single sheet, addressed to Georges Isarlo of the journal Combat-Art concerning a text given to him by his friend José Pierre.

True to form, the leading figure and high priest of Surrealism seeks to clarify matters with his correspondent: "Vous comprendrez sûrement le souci que je puis avoir de ne pas, sous un vain prétexte d'anniversaire, laisser dénaturer le sens et gâter le fruit de quarante années de lutte et voudrez bien considérer qu'il a pour tous ses signataires - répondants du surréalisme aujourd'hui - la même importance vitale que pour moi."

Autograph letter signed and dated by Jean Epstein to André Gide, 3 pages in blue ink on a bifolium and a single sheet, regarding the reception of his book: La Poésie d'aujourd'hui. Un nouvel état d'intelligence. Lettre de Blaise Cendrars, published by La Sirène.

Folding marks from original mailing.

Jean Epstein was an avid reader of Gide's works: "J'ignore si peu vos ouvrages, que vous écrivant, je vois sur mes rayons le dos de vos Nourritures terrestres, de vos Prétextes et Nouveaux Prétextes. J'en ai lu davantage : La Porte étroite, l'Immoraliste et récemment la Symphonie..." and perceived in his writing a revolutionary purpose and destiny: "... ce qui dans votre oeuvre a suscité cette estime dont vous m'avez fait presque l'offense d'en douter, est son côté vandale, destructeur, table rase, anarchiste, c'était bien gaucher, et en y songeant je vous envoyais mon livre..."

He submitted the manuscript of his book to La Nrf and expresses surprise at the publisher's rejection and the general incomprehension of his work: "J'y soutiens une thèse paramédicale. Un but précis, c'est à dire limité, entraîne des restrictions, un choix, une discipline... Et ces exemples je les ai trouvés dans les poètes extrêmes, et je les y ai pris, ne croyant pas faire un palmarès... or, je vois que mon livre est de plus en plus interprété comme une distribution de prix..."

Epstein deliberately refrained from mentioning certain authors he nonetheless considers important: "Je n'ai pas parlé de vos oeuvres, non plus que celles de Barrès, de Claudel et de quelques autres. Je ne cite Mallarmé que pour mémoire. Bien mieux, je ne dis rien de l'oeuvre de Gourmont." and explains his position: "Je ne sous-estime nullement l'influence que vous avez eue et avez et aurez encore, mais une fois entré dans la voie des cours d'eau à remonter et des sources à découvrir ou à simplement indiquer quand elles sont patentes, jusqu'où n'irait-on pas ?"

While acknowledging Gide's influence on his generation, Epstein names other sources of inspiration: "... nous sommes déjà en pleine seconde étape. Des sensiblilités postérieures sont apparues. Exemple ; Rimbaud -postérieur ! ici, pour une fois, éclate l'erreur flagrante des dates ; Cendrars \"époque construction\" et celle-ci, le voudrait-elle qu'elle ne pourrait pas vous plagier."

He closes his explanatory letter, which reads as a defense of his work, with these words: "Excusez l'ennui d'une si longue lettre, mais les reproches adressés à mon livre comme à un manuel de littérature moderne, il ne les mérite pas, parce qu'il est autre chose..."

Original black and white photograph depicting Michel Polnareff in the street, standing opposite a security guard.

A handsome example. Signed by Michel Polnareff on a piece of paper mounted to the verso of the photograph.

Signed by Michel Polnareff in the upper part of the image.

Provenance : from the collection of renowned autograph collector Claude Armand.

First edition, with no deluxe copies printed on special paper.

A handsome copy.

Inscribed and signed by Pierre Bourdieu to a friend named Emmanuel.

Rare example of this propaganda leaflet published by the Nazi Occupier, which became the most iconic image of the Resistance. This smaller version of the famous Affiche Rouge features the poster on the recto and a paragraph on the verso castigating « l'Armée du crime contre la France » ("the Army of Crime against France"). It opens with accusations against the « rêve mondial du complot juif » ("the global dream of the Jewish conspiracy") and claims that « si des Français sabotent, pillent et tuent (...) ce sont toujours des juifs qui les inspirent » ("if Frenchmen sabotage, loot, and kill (...) it is always Jews who inspire them").
A discreet horizontal crease, otherwise superb condition for an ephemeral document.

Accompanied by the rare brochure entitled 'L'armée du crime' ('The army of crime') in the format of a newspaper illustrated with 14 pages of photographs.
A trace of horizontal fold. A fine copy.

Original inscribed photograph showing Yves Montand dressed as a cowboy and pointing a revolver in his right hand.

Yves Montand is slightly facing forward. Vintage silver gelatin print. 
On the verso, Yves Montand's name is misspelled twice.

Autograph inscription signed by Yves Montand at the bottom of the photograph: "Pour Michel amicalement Y.Montand."


 

Autograph note dated and signed by Jules Romains, one page addressed to Thierry Maulnier regarding his production project of Knock (11 lines in blue ink on a card with the letterhead of his Paris address on rue de Solférino).
Lower left corner bears a printed stamp: "Fonds archives privées Th Maulnier".

Manuscript note by Philippe Soupault, 22 lines in mauve ink on a sheet, headed with this inscription: "Les séances", devoted to the famous "sleep" sessions conducted in André Breton's studio consisting of oneiric writings or texts dictated by a dreamer.
The manuscript notes contain three deletions and corrections.
Philippe Soupault considers his attempts questionable and even labels them as imposture, distancing himself from any active participation in these practices: "Neither Aragon nor I participated actively in the experiments called sleep sessions, while Breton accepted with great interest Crevel's suggestion to engage in experiments he had discovered among friends. One had to fall asleep and recount what 'one saw'..."
He recalls the results that were not always convincing: "Crevel, Desnos and Péret 'fell asleep' and, despite his efforts, Breton could not manage to fall asleep. Listening to the accounts of these sessions, I could not help thinking that the 'sleepers' did not hesitate to simulate in order to make themselves interesting." to such an extent that the intransigent leader of surrealism interrupted them: "Breton realized the danger of one-upmanship and especially of Desnos's exaltation. He ceased attempting new sleep experiments."
Interesting recollections from the last living historical surrealist, often harsh toward his former or new companions.