Sans nom d'éditeur

Autograph signed carte de visite from Alphonse Daudet, 13 lines written in blue ink, addressed to journalist and librettist Philippe Gille sending his thanks and congratulations for a recent performance.
Envelope included.

Autograph letter signed by Prosper Mérimée addressed to a friend named Pierre (26 lines in black ink) from Cannes during one of his numerous cures as he suffered from asthma.
Prosper Mérimée, ill, is bedridden: "... mes amis m'apportent quelques fois de jolies fleurs. Je serais bien heureux si je pouvais vous en faire part" ["... my friends sometimes bring me lovely flowers. I would be very happy if I could share them with you"] and feels exasperated by the political situation in France: "Aux maux physiques se joint chez moi l'agacement nerveux que me donnent nos affaires...", "L'alliance des légitimistes avec les républicains est de que j'ai vu de plus triste et de plus honteux dans l'histoire de nos révolutions où il y a tant de pages tristes et honteuses..." ["To physical ailments is added in my case the nervous irritation that our affairs give me...", "The alliance of legitimists with republicans is the saddest and most shameful thing I have seen in the history of our revolutions where there are so many sad and shameful pages..."]

Autograph letter signed by Henri Bosco addressed to his friend and summer neighbor Georges Raillard (27 lines in blue ink on a recto-verso leaf) from Lourmarin where the writer takes care of the library of the château de Lourmarin.
Fold marks inherent to envelope insertion, envelope included.
The author of Mas Théotime asks advice from his friend Georges Raillard who frequents contemporary authors, notably those of the Nouveau roman like Nathalie Sarraute and Philippe Sollers: "J'ai obtenu un peu d'argent pour les bibliothèques du château. Pouvez-vous m'envoyer d'urgence à Nice une liste d'auteurs modernes - et même contemporains - que vous aimeriez trouver ici. Je verrai ensuite ce que j'en pourrai retenir sur mes fidèles crédits." ["I have obtained some money for the castle libraries. Can you urgently send me to Nice a list of modern - and even contemporary - authors that you would like to find here. I will then see what I can retain from my faithful credits."]
Henri Bosco is surprised by his friend's silence, his wife Alice having mentioned her husband's project to write a biography of the writer: "Alice m'avait dit que vous projetiez d'écrire une étude sur Henri Bosco. Pourquoi ne m'en avez-vous pas parlé ? Cela m'intéresse." ["Alice had told me that you were planning to write a study on Henri Bosco. Why didn't you tell me about it? It interests me."]
After having mentioned some administrative nominations concerning common acquaintances, Henri Bosco inquires about his godson Henri Raillard (to whom he dedicated his work Barboche): "Comment va le filleul ? J'espère qu'il devient de plus en plus terrible" ["How is the godson? I hope he is becoming more and more terrible"]
At the very end of the letter, Henri Bosco's wife having added a few words of thanks about a box of calissons sent by their friends the Raillards and inviting them to Lourmarin and to Nice.

First edition. Carpenter, who compiled a bibliography of Necker's principal works (Economic Bestsellers before 1850), specifies that there were 7 issues of the first edition. The first contain errata and the following ones have the errors corrected. This edition contains errata in each volume, a folding table at the end of volume I with populations and contributions, a 3-page supplement at the end of volume II citing the 1784 edict on finances. This issue with different collation and smaller format is very rarely encountered.
Contemporary full blonde marbled sheep binding. Raised band spine decorated. Title and volume labels in beige calf. Small fragment of leather missing from the upper joint at the head of volume I. On the upper board of volume I, nibbling marks. A black stain on the volume label of volume I. A fragment of leather missing at the tail of volume III. Rubbing, particularly to corners. Paper generally relatively fresh, with beige matter on page 37 in volume I, which nevertheless leaves the characters visible. In the margin of each title page, manuscript name in ink, Victoire Corneillan. Handsome copy.
A major and unparalleled work of political economy, undoubtedly the only one presenting a state of the kingdom's finances before the Revolution. Originally a banker but appointed minister of finances during three periods (1777-1781, 1788-1789, 1789-1790), Necker remained famous for his opposition to physiocratic theses and his adherence to neo-mercantilism. He changed economic methods to restore France's finances, not by raising taxes but by increasing interest rates and taxes on imported goods.

Autograph signed carte de visite by Alphonse de Chateaubriant, 5 lines written in blue ink, addressed to Georges Normandy thanking him for having sent him his work "Le père Decorne et ses semblables" recently published.
A small black ink stain in the upper right margin of the card, thin adhesive strips in the right and left margins of the verso of the card.

Autograph letter by Paul Valéry signed with his initials addressed to a fellow writer (13 lines in black ink) thanking him for sending and dedicating his latest collection titled Psyché.
He also mentions Jacques Rivière, advising his correspondent to send him the work: "Pour vous dire aussi que j'ai parlé à Jacques Rivière dont j'espère qu'il me tiendra parole cette fois. Adressez-lui le recueil - à lui-même, avec dédicace à lui-même..." ["To also tell you that I spoke to Jacques Rivière and I hope he will keep his word to me this time. Send him the collection - to him personally, with a dedication to him personally..."]
Folds inherent to postal mailing.

Manuscript envelope by Louis Pons which he addressed to his friend the art critic Georges Raillard, specialist in the works of Joan Miro and Antoni Tapies, on the verso of which he created an original drawing, signed with his initials.
The kraft paper envelope, recomposed by Louis Pons in his whimsical manner, features, below his Parisian address, a rat.
We include an invitation card to an exhibition of works by Louis Pons on Tuesday October 8, 1974 at the "Le point cardinal" gallery.

Photographic postcard depicting the great stage and screen actor Edouard de Max costumed as the King of Rome, slightly facing forward with a pensive expression, taken in the photographic studio of Boissonnas.
Handsome copy.
Autograph inscription signed by Edouard de Max to H. Clerlé framing his portrait.

Photographic postcard depicting the Austrian actor Oskar Werner costumed as an orchestra conductor, his baton raised in his right hand, taken in the photographic studio of Hanno Thurau.
Handsome copy.
Manuscript signature of Oskar Werner in green ink.

First edition illustrated with colored compositions and black drawings by Jean Bruller, one of 15 numbered copies on Holland paper, deluxe copy.
Discreet restorations to the spine and foot of boards.
Our copy, as stipulated in the justification page, is complete with the original drawing signed by Jean Bruller in pencil.

First edition printed in one of 53 hors commerce copies.
Fine and very rare copy of this unauthorized first edition, consisting of facsimile reproductions of 3 manuscript letters by Louis-Ferdinand Céline addressed to a young Danish woman, Bente Joyhansen, during his first weeks of detention in Denmark.

Autograph letter signed by Francis Viélé-Griffin (19 lines in black ink on letterhead of the Continental Hotel B. Peyta in Biarritz) addressed to Edouard Ducoté, poet, bibliophile and director of the review l'Ermitage since 1895.
Crease marks inherent to folding for mailing.
To please the poetess Julia Daudet, Francis Viélé-Griffin recommends to Edouard Ducoté a poem by the latter's niece: "... je vous serais très reconnaissant, mon cher ami, d'accueillir l'oeuvre de cette jeune poétesse..." ["... I would be very grateful, my dear friend, if you would welcome the work of this young poetess..."]
While vacationing in Biarritz, Francis Viélé-Griffin also sends verses to the review directed by Edouard Ducoté.
Intimate friend of Stéphane Mallarmé, friend of André Gide, Paul Valéry, Francis Jammes, and Emile Verhaeren, Francis Viélé-Griffin was an American symbolist poet writing in French. He became, with Gustave Kahn, one of the principal theorists of free verse.

Autograph letter signed by Francis Viélé-Griffin (31 lines in black ink from La Roche à Guet in the Vienne) addressed to Edouard Ducoté, poet, bibliophile and director of the review l'Ermitage since 1895.
Fold marks inherent to envelope insertion.
Several poets, including Francis Viélé-Griffin, band together to provide financial assistance to the dying review Antée: "... il se crée un consortium de nos amis pour assurer la publication d'Antée, menacée par une fugue de son ex-directeur..." ["a consortium of our friends is being created to ensure the publication of Antée, threatened by the flight of its former director..."], which is why he solicits his friend Edouard Ducoté as a contributor: "Puis-je compter sur vous pour une somme trimestrielle de cent francs ? ce serait de votre part un acte de solidarité..." ["May I count on you for a quarterly sum of one hundred francs? this would be an act of solidarity on your part..."] and also Stuart Merrill.
Close friend of Stéphane Mallarmé, friend of André Gide, Paul Valéry, Francis Jammes, 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.

Autograph card signed by Pierre-André Benoit (4 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 PAB.
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 twentieth century.
P.A.B.'s productions were first created on a small press installed in his apartment in Alès. They would bring 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 the books in their entirety. 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.

Manuscript list by André Malraux (20 lines in blue ballpoint pen) providing details and instructions for André Parinaud concerning the publication of his works forming the "Ecrits sur l'art" collection illustrated with photographs by Roger Parry.

Fold marks inherent to postal mailing.

Resistance member and contributor to 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 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 on 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.

Fine autograph letter dated and signed by Henri Béraud addressed to his mother-in-law while he was incarcerated at Poissy prison (43 lines in blue ink on one recto-verso page) the day after his 60th birthday.
The letter is on letterhead of the infirmary of the central prison of Poissy, fold marks inherent to being placed in an envelope, Henri Béraud erroneously indicated the year 1942 in the date instead of 1945.
Henri Béraud overflows with thanks: "... quel époustouflant colis cette semaine ! Il n'y manquait que les petites bougies du rituel gâteau..." ["... what a stunning package this week! All that was missing were the little candles from the ritual cake..."] and projects himself into a happier and freer future: "Espérons qu'au 21 septembre prochain nous le mangerons en famille... avec une bougie de plus." ["Let's hope that next September 21st we'll eat it as a family... with one more candle."]
He rejoices in his brothers-in-law's professional successes only to better caricature himself as the ugly duckling: "... vous seriez, chère maman comblée par la vie, si votre gendre ne vous donnait, à lui seul, plus de souci que toute la famille réunie ne vous en a jamais donné. Ce n'est pas mon moindre chagrin, vous le savez..." ["... you would be, dear mama, fulfilled by life, if your son-in-law alone didn't give you more worry than the entire family combined has ever given you. This is not my least sorrow, as you know..."] and as a burden: "... il m'est cruel, après toute une vie de travail, d'être une charge, pour les miens et de ne pouvoir leur apporter que le poids d'une destinée affreuse, encore qu'immeritée, pour vous plus encore que pour moi." ["... it is cruel to me, after a lifetime of work, to be a burden to my loved ones and to be able to bring them only the weight of a terrible destiny, though undeserved, for you even more than for me."]
Henri Béraud is also tormented by his wife Germaine, whom he senses is unhappy although she wants to hide it from him: "... il faut qu'elle me dise tout. J'ai tellement confiance en elle, qu'elle ne doit rien me cacher. Nous la savons si courageuse ! mais mon propre courage a besoin de tout savoir..." ["... she must tell me everything. I have such confidence in her that she must hide nothing from me. We know her to be so courageous! but my own courage needs to know everything..."]
After psychological concerns, Henri Béraud shifts to the material imperatives so crucial for the prisoner he is: "j'aurais besoin d'un tube de brillantine, si toutefois il est possible d'en trouver. Je voudrais aussi que mes caleçons fussent prêts..." ["I would need a tube of brilliantine, if it's possible to find one. I would also like my underwear to be ready..."] even taking interest in the family garden: "... il faudra utiliser, cette semaine au jardin, la seconde moitié des grains envoyés par Pierre. C'est le moyen qu'ils ne soient pas tous perdus..." ["... we'll need to use, this week in the garden, the second half of the seeds sent by Pierre. That's the way to ensure they're not all lost..."]
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 (1922 Prix Goncourt 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 pro-collaborationist extreme right, is characteristic of the inexorable rise of totalitarianisms between the two 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, 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 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-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 Popular Front Interior Minister Roger Salengro, accused of desertion during World War I. Arrested in September 1944 and sentenced to death on December 29, 1944 for intelligence with the enemy, he was pardoned by General De Gaulle.

Autograph letter dated and signed by Guy Des Cars (34 lines in blue ink from Nice, on letterhead of the newspaper l'Alerte, weekly of French renewal) to a fellow writer about his work soon to be completed but also about the omnipresence of politics in the press to the detriment of other subjects, particularly literary ones.
Crease marks inherent to folding for mailing.
Guy Des Cars finally breaks his epistolary silence after having been ill: "... je me suis installé dans un vieux mas provençal, rôti par le soleil à Cagnes-sur-mer..." ["... I have settled in an old Provençal farmhouse, roasted by the sun in Cagnes-sur-mer..."] in order to let it be known that his next work will soon be completed: "... je vis là en ermite et mets la dernière main à un nouveau livre, un roman..." ["... I live there as a hermit and am putting the finishing touches to a new book, a novel..."]
He acknowledges being indebted to favorable reviews, including those of his correspondent, for the success encountered by his "Officier sans nom" and will not fail to do the same when he gives a review of his fellow novelist's work.
As a literary critic, he deplores the fact that articles related to politics occupy a large part of daily newspapers, leaving little room for cultural articles: "... si cette satanée politique ne bouchait pas toutes les pages ! ..." ["... if this damned politics didn't block up all the pages! ..."], which is why he rejoices at an upcoming opportunity: "... nous avons d'ailleurs le projet d'augmentation du nombre de pages de l'Alerte... à ce moment nous passerons en vrac, romans et nouvelles..." ["... we moreover have the project to increase the number of pages of l'Alerte... at that time we will include in bulk, novels and short stories..."]
Finally, the author of "L'officier sans nom" thanks his colleague while teasing his somewhat grumpy side: "... Et surtout ne faites pas les gros yeux derrière vos lunettes. Cà ne vous va pas..." ["... And above all don't make big eyes behind your glasses. It doesn't suit you..."]

Typed letter signed by André Malraux to Roger Nimier sent from his home in Boulogne, Malraux's signature at the bottom of the letter in blue ink.
A small tear in the right margin of the letter, crease marks inherent to folding for mailing.
André Malraux shows himself in perfect agreement with Roger Nimier regarding a joint project also including journalist André Parinaud.

Typed letter signed by André Malraux to Roger Nimier on Ministry of Information letterhead, Malraux's signature at the bottom of the letter in black ink.
Fold mark inherent to posting; envelope with typewritten address included, Ministry of Information stamp.
André Malraux responds to Roger Nimier regarding administrative matters concerning the Ministry of Information directed by André Malraux from November 21, 1945 to January 26, 1946 in the government presided over by Charles De Gaulle.

Autograph letter signed by Reynaldo Hahn, dandy, composer and great love of Marcel Proust (30 lines in blue ink from the Hôtel de la Réserve in Monte Carlo) addressed to Marthe Daudet, wife of the journalist and monarchist writer Léon Daudet, principal collaborator of Charles Maurras at Action Française.
Fold mark inherent to posting, the ink of some letters having bled on the verso.
Since the death of his sister, Reynaldo Hahn is inconsolable and recalls the all too rare joys he has experienced in recent times. He thanks Marthe Daudet who tempered his despondency: "... what sadness since our lunch in St Rémy! It is the last pleasant moment I have lived in long months, and I owe it to you..."
He also recalls the sufferings of his late sister: "... it is only at the end that she knew some rest. What courage she showed these past two years! " and draws a parallel with the tragic death of Philippe Daudet which shook the Daudet family: "... I think very often of him (Léon Daudet) and of your painful ordeal."
On November 23, 1923, traveling in a taxi, Philippe Daudet committed suicide at the age of 14, his father accusing anarchist circles or the Third Republic police of having disguised this "crime" as suicide.

Touching autograph letter dated and signed by Henri Béraud addressed to his mother-in-law while he was incarcerated at Poissy prison (46 lines in blue ink on one recto-verso page) relating his situation as a prisoner and worrying about his mother-in-law's failing health.
The letter is on letterhead from the infirmary of the central prison of Poissy, with fold marks inherent to being placed in an envelope.
Henri Béraud is very sad not to have been able to see his mother-in-law who encounters some health problems preventing her comforting visits to Poissy: "... j'ai été bien peiné de ne pas vous voir jeudi..." ["I was very saddened not to see you Thursday..."] but promises to see her again soon in good health: "... que du moins après cela je vous retrouve en belle santé et toute gaie, comme toujours..." ["may I at least find you again after this in good health and all cheerful, as always..."]
He asks for news of his helpful mother-in-law's family and positions himself as the ugly duckling of the family: " ... seul, en somme, votre gendre vous donne du souci. Que voulez-vous, il faut bien que dans toutes les familles, y comprises les meilleures, on compte un mauvais sujet ..." ["alone, in short, your son-in-law gives you worry. What can you do, it's necessary that in all families, including the best ones, there be one bad subject..."]
Finally, Henri Béraud ironizes about his condition so as not to make "his dear mama" feel too guilty about missing their meetings in the visiting room, Henri Béraud's only source of escape to the outside world: "... ne vous fatiguez pas surtout, comme je vous soupçonne de le faire, pour les colis de ce chenapan. Il est infiniment trop gâté, et une fois de plus, il vous remercien de tout coeur, pour la peine que vous prenez..." ["don't tire yourself especially, as I suspect you do, for the packages of this rascal. He is infinitely too spoiled, and once again, he thanks you with all his heart for the trouble you take..."]
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 position, is characteristic of the inexorable rise of totalitarianism 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 when it was 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 toward anti-parliamentarism, Anglophobia (Faut-il réduire l'Angleterre en esclavage ? published in 1935 and dedicated to Joseph Kessel), and anti-Semitism "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 led to the suicide of the Popular Front's 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.

Fine autograph letter dated and signed by Henri Béraud addressed to his mother-in-law while he was incarcerated at Poissy prison (43 lines in blue ink on one recto-verso page) suffering psychologically from his situation as a prisoner.
The letter is on letterhead from the infirmary of the central prison of Poissy, with fold marks inherent to being placed in an envelope.
Morally affected, the prisoner Henri Béraud attempts to show optimism by putting his misfortunes in perspective: "... Mauvaise période ! Mais après la pluie le beau temps. Celui qui a trouvé cela est un consolateur qui en vaut bien d'autre, et qui, somme toute, n'est pas le plus bête..." ["Bad times! But after the rain comes fair weather. Whoever found that saying is a comforter as good as any other, and who, all in all, is not the most foolish..."]
He asks his wife Germaine to send him: " ... Si elle en a la possibilité, elle peut forcer sur le pain d'épices, qui vraiment est d'un grand secours..." ["If she has the possibility, she can increase the gingerbread, which truly is of great help..."] and rejoices ironically about his condition : "... Pour le reste, madame la marquise, tout va très bien, trop bien ! " ["For the rest, madame la marquise, everything is going very well, too well!"]
Finally, Henri Béraud impatiently awaits a new photograph of his wife: "... pour cela, je suis insatiable. Et ma cellule, pourtant, en est illuminée dejà ! ..." ["for that, I am insatiable. And my cell, however, is already illuminated by it!..."]
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 position, is characteristic of the inexorable rise of totalitarianism 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 when it was 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 toward anti-parliamentarism, Anglophobia (Faut-il réduire l'Angleterre en esclavage ? published in 1935 and dedicated to Joseph Kessel), and anti-Semitism "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 led to the suicide of the Popular Front's 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.

Autograph letter signed by the painter Georges Rouault (19 lines in blue ink on one page) apologizing for having to hastily postpone an appointment due to feeling unwell.
Fold marks inherent to being placed in an envelope.
His mind clouded by pain, Georges Rouault presents his apologies for their appointment which he cancelled and attempts, despite his correspondent's tight schedule, to meet with him nonetheless: "Je ne sais ce que j'ai pu écrire hier ayant été pris de violentes douleurs de tête et pressé de vous prévenir de l'impossibilité où j'étais..." ["I don't know what I could have written yesterday having been seized with violent headaches and pressed to inform you of the impossibility in which I found myself..."], "... je suis bien désireux de vous voir avant et de vive voix de m'exprimer mieux qu'ici..." ["... I am quite desirous to see you beforehand and to express myself better in person than here..."]
He feels better and ready to endure the physical ordeal of an interview while considering that he does not take much care of his precarious health: "... je malmène trop cerveau et coeur et alors se vengent mes organes si sensibles et qu'avec l'âge on doit beaucoup plus ménager..." ["... I mistreat my brain and heart too much and then my organs, so sensitive and which one must spare much more with age, take their revenge..."]

Autograph letter dated and signed by Pierre Mac Orlan (12 lines in blue ink) to his young friend the novice poet Roger Valuet.
Fold marks inherent to mailing.
Pierre Mac Orlan thanks his poet friend for having sent him a new package and sends him a check to supplement the one he had sent him previously: "... to supplement the first check which was insufficient, as no one here knew the price of these fancy articles" and informs him that he must still postpone his visit to Arras: "I will not go to Arras before the end of October... again!"
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.

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 postal delivery.
Pierre Mac Orlan congratulates him and wonders why his correspondent does not sufficiently evoke his native region in his works: "... Pourquoi ne seriez-vous pas plus pittoresquement, plus lyriquement attaché à Arras..." ["... Why would you not be more picturesquely, more lyrically attached to Arras..."]
The author of "Quai des brumes" is busy: "... je suis absorbé par une pièce filmée pour la radio...Dans un mois, j'en aurai terminé avec ce travail." ["... I am absorbed by a filmed piece for radio...In a month, I will have finished with this work."]
Native of Arras, Roger Valuet was a popular writer who signed, under the pseudonym Roger Vilard, numerous crime 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.

Autograph letter signed by Francis Viélé-Griffin (37 lines in black ink from La Roche à Guet in Vienne) addressed to Edouard Ducoté, poet, bibliophile and director of the review l'Ermitage since 1895.
Fold marks inherent to postal delivery.
He compliments his fellow poet Edouard Ducoté on his latest work which approaches perfection: "... on y trouve l'expression, bien proche d'être complète, de l'être d'intelligence et de sensibilité qu'est le poète..." ["... one finds therein the expression, very nearly complete, of the being of intelligence and sensitivity that is the poet..."]
Beyond the fact that they share the same vision of poetry, Francis Viélé-Griffin sees in Edouard Ducoté: "... l'allure, à la fois légère et solide, la démarche droite sans raideur, sans brusquerie de votre pensée : votre poésie en prend l'autorité de la raison et votre émotion en est plus émouvante..." ["... the bearing, both light and solid, the straight gait without stiffness, without abruptness of your thought: your poetry takes from it the authority of reason and your emotion is all the more moving..."] as a worthy descendant of the trouvères: "... il y a en vous cette gravité que connait seul l'homme qui sait sourire..."["... there is in you that gravity which only the man who knows how to smile possesses..."]
Close friend of Stéphane Mallarmé, friend of André Gide, Paul Valéry, Francis Jammes, Emile Verhaeren, Francis Viélé-Griffin was an American Symbolist poet writing in French. He became, with Gustave Kahn, one of the principal theorists of free verse.

Autograph note signed by Francis Viélé-Griffin (13 lines in black ink from his Parisian residence on Quai de Passy) addressed to Edouard Ducoté, poet, bibliophile and director of the review l'Ermitage since 1895.
The note is written on cardboard bristol paper.
He lists his favorite poets while ironically commenting, in a slightly condescending manner, on his less "noble" reading: "... I therefore reread by preference Vigny, Lamartine, Verlaine and Laforgue; but I do not forbid myself the bad poets of whom I am particularly fond..." while disdaining and castigating: "... only the mediocre ones, those of the Parnasse, are excluded from my library..."
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.

Autograph letter dated and signed by Théodore de Banville (26 lines in black ink from Paris) concerning the publication of a work by his friend the poet Philoxène Boyer recently deceased.
Fold marks inherent to mailing.
Théodore de Banville sends his correspondent a list of Philoxène Boyer's works: "... this list doesn't look like much, and seems a rather heterogeneous composition..." and hopes that his friend and colleague will be influential enough to have one of the deceased poet's works published: "...these are seriously beautiful pages, which do not even lack unity, as it is given to them by the poet's thought..."

Autograph letter dated and signed by François Coppée (17 lines in black ink) to Marthe Daudet, wife of his young friend Léon.
Fold marks inherent to the mailing.
François Coppée apologizes for not being able to see his correspondent who had come to visit him and gladly accepts her invitation to dine soon: "... I have great desire to accept although I spend my time declining invitations, for I continue to be in poor health..."

Autograph letter dated and signed by Guy Des Cars (38 lines in black ink from the Hotel Le Gray d'Albion in Cannes) to Léon Daudet concerning the publication of his first work "L'officier sans nom".
Traces of folding inherent to postal delivery, two annotations in blue and red pencil probably in Léon Daudet's hand.
Guy Des Cars asks Léon Daudet, journalist for the monarchist and Vichy daily Action Française, to write an article reviewing his first work "L'officier sans nom": "... peut-être le premier paru en zone libre sur la guerre..." ["... perhaps the first published in the free zone about the war..."]
In order to encourage the writing of the much-hoped-for review, Guy Des Cars enumerates and brandishes his patriotic credentials by evoking his war record and displaying his nationalism: "... Depuis longtemps fidèle lecteur de l'Action Française, je serais très désireux que votre journal parle d'un ouvrage Français, écrit par un Français..." ["... A long-time faithful reader of Action Française, I would be very eager for your newspaper to speak of a French work, written by a Frenchman..."]
On the advice of Jean Ajalbert and Francis Carco, Guy Des Cars takes the liberty of soliciting this helping hand from the influential political journalist, his article to coincide with the distribution of the work: "... à ce moment mon livre sera en vente un peu partout..." ["... at that time my book will be on sale almost everywhere..."]
The father of "L'officier sans nom" hopes that Léon Daudet will not hold his impertinent request too much against him and that he will receive it favorably: "... j'ose espérer que mon premier "enfant" ne vous décevra pas trop..." ["... I dare hope that my first 'child' will not disappoint you too much..."]

Autograph letter dated and signed by Gustave Charpentier (14 lines in black ink) regarding musical pieces to be performed after the inauguration of a monument commemorating Ludwig van Beethoven
Traces of folding inherent to postal delivery, a filing number in blue felt-tip pen in the lower right corner of the letter.
The composer seeks: "... pour des sonneries de trompettes ou de cors... des thèmes, bien caractéristiques, assez courts, pris dans les oeuvres du maître..." ["... for trumpet or horn fanfares... themes, quite characteristic, fairly short, taken from the master's works..."], for this he asks for help from a composer friend: "... pourrais-tu faire un voyage dans ta mémoire et m'envoyer quelques tuyaux ?" ["... could you take a journey through your memory and send me some tips?"]

Autograph letter signed by Francis Viélé-Griffin (23 lines in violet ink from his property in Nazelles in Indre-et-Loire) addressed to Edouard Ducoté, poet, bibliophile and editor of the review l'Ermitage since 1895.
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A perfectionist, Francis Viélé-Griffin postpones sending a poem he had promised to the review l'Ermitage, not yet judging it completely accomplished: "... ce scrupule est seul cause de mon retard et vous me le pardonnerez aisément..." ["this scruple alone causes my delay and you will easily forgive me..."]
He finds the quality of the previous issue of the review excellent and particularly praises the verses of his colleague Stuart Merrill: "... les vers de Merrill sont délicieux, n'est-ce pas ? " ["Merrill's verses are delightful, aren't they?"] and congratulates Edouard Ducoté.
Intimate 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.

Autograph letter signed by Francis Viélé-Griffin (15 lines in violet ink from his Parisian residence) addressed to Edouard Ducoté, poet, bibliophile and editor of the review l'Ermitage since 1895.
Fold mark inherent to mailing.
To please the poetess Julia Daudet, Francis Viélé-Griffin took the liberty of imposing verses on Edouard Ducoté for his review: "... je vous ai recommandé ces vers pour complaire à un souhait de madame Daudet, je n'en ai pas pris connaissance ; mais reste songeur..." ["I recommended these verses to you to comply with a wish of Madame Daudet, I have not read them; but remain thoughtful..."] which the editor of l'Ermitage finds poor.
Intimate 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.

Signed autograph letter by Francis Viélé-Griffin (32 lines in purple ink from his Parisian home) addressed to Edouard Ducoté, poet, bibliophile and director of the review l'Ermitage since 1895.
Fold mark inherent to postal handling, pen annotations on verso of fourth leaf.
Francis Viélé-Griffin thanks his fellow poet Edouard Ducoté who dedicated his future collection Fables to him and apologizes for the intransigence of Mercure de France which only wants to publish authors and poets stamped Mercure de France: "... je ne comprends pas l'exclusivisme du Mercure, il m'a étonné et peiné.." ["... I don't understand the exclusivism of Mercure, it surprised and saddened me.."]
He assures him that he has no influence within the review and publishing house directed by Alfred Valette because he takes care of none of the administrative formalities: "... je n'ai que peu assisté, jusqu'à présent, aux séances du comité où mon influence, au reste, est nulle." ["... I have attended committee meetings little, until now, where my influence, moreover, is nil."]
As a good friend, Francis Viélé-Griffin wishes to temper Edouard Ducoté's disappointment at not being published by Mercure: "Mais n'êtes vous pas aussi bien chez Perrin ? " ["But aren't you just as well off at Perrin's?"] and invites him to visit soon to: "... causer de vos projets d'art..." ["... discuss your artistic projects..."]
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.

Set of three dated and signed autograph letters by Pierre Mac Orlan (10 lines in blue ink each), a set of corrected proofs and a corrected typescript concerning the preface he wrote for the poetry collection Embruns by his young friend and protégé Roger Valuet.
Fold marks inherent to postal handling.
We include, on soft yellow paper, the three-page typescript with about ten corrections and modifications in turquoise felt-tip pen by Pierre Mac Orlan.
We also include a set of printed proofs of 5 leaves also enriched with about ten corrections and modifications in Pierre Mac Orlan's hand.
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.

Autograph letter dated and signed by Pierre Mac Orlan (13 lines in turquoise ink) to his young friend the beginning poet Roger Valuet.
Fold marks inherent to postal handling, a small tear at the head of the letter at the letterhead.
Pierre Mac Orlan must decline the presidency of a meeting to which Pierre Nord and Roger Valuet had invited him because he will be detained in Honfleur, where scenes from one of his novels will be filmed, probably Marguerite de la nuit, adapted for cinema: "Il s'agit d'un film inspiré d'un de mes livres et il faut que je sois là entre le 5 et le 9 juin pour participer à ce travail..." ["It is a film inspired by one of my books and I must be there between June 5th and 9th to participate in this work..."]
The film Marguerite de la nuit would be directed by Claude Autant-Lara with, in the main roles, Michèle Morgan and Yves Montand.
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 wrote the preface for his first collection of poems.

Autograph letter dated and signed by Pierre Mac Orlan (15 lines in black ink) to his young friend the poet Roger Valuet.
Fold marks inherent to postal handling.
Pierre Mac Orlan thanks Roger Valuet for his faithful friendship and the small gifts he sends him.
He would like to visit his friends from Artois more often but his advanced age commands him not to tire himself too much with travel, an inconvenience he nonetheless accepts while ending his missive with this humorous flourish: "... mais dans 2 mois j'aurai 70 ans, je ne le regrette pas car c'est, en quelque sorte, un succès..." ["... but in 2 months I will be 70 years old, I don't regret it because it is, in some way, a success..."]
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 wrote the preface for his first collection of poems.

Reproduction of a photographic portrait showing Betty Grable, standing, in pin-up attire, hands crossed behind her neck, her right leg folded over the left.
Autograph inscription signed by Betty Grable: "Hello, Eileen, greetings from Betty."
The first pin-up girl in history, Betty Grable was one of the great stars of musical comedies, especially those created by Fox, from before and after the war to the point of accompanying American G.I.s during the Second World War, her legs being insured by Lloyd's for one million dollars. The arrival, in the early 1950s, of Marilyn Monroe, Fox's new star, would eclipse the aura that Betty Grable had with the American public.

Autograph letter signed by François Coppée (8 lines in black ink) to his young friend Léon Daudet.
Fold marks inherent to postal handling, a doodle in blue pencil has been traced on the verso of the letter.
François Coppée invites his dear Léon Daudet to come visit him, setting a date and time: "... j'aurai fini mon article et je serai tout à vous." ["... I will have finished my article and will be entirely at your disposal."]

Autograph letter dated and signed by François Coppée (12 lines in black ink) to his friend Léon Daudet.
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François Coppée shows himself touched by the last letter that Léon Daudet addressed to him and invites him to his home: "... Come whenever you wish... so that we can chat quietly."
He shares the grief and sadness of the Daudet family after the death (on December 17, 1897) of Alphonse Daudet, his friend: "... and I think tenderly of the memory of my dear Alphonse Daudet..."

Autograph letter dated and signed by François Coppée (13 lines in black ink) to his friend Marthe Daudet, wife of Léon, who invited him to join them for Christmas Eve dinner on December 25, 1903.
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François Coppée will not be joining them, his precarious health forbidding any late social engagements, preferring an earlier hour for dining: "... of course, I will go and sit at the table of my young and dear friend Léon Daudet and his charming wife with great pleasure...", "... Excuse the old gentleman who no longer spends evenings out or goes to bed after midnight..."

Complete set of the manuscript and working typescript by Boris Vian, genesis of the song "Westminster ballade".
- one perforated sheet written by hand in ink by Boris Vian. Numerous deletions and corrections. Some marginal lacks.
- one perforated sheet typed on machine, fair copy of the manuscript.
This song was never performed.

Ah, Westminster
Fol inventeur
Aurais-tu peur
De compter jusqu'à douze ?

Provenance: Fondation Boris Vian.

Autograph letter signed by Reynaldo Hahn, dandy, composer and great love of Marcel Proust (22 lines in black ink) regarding the biography that Léon Daudet devoted to his father Alphonse in 1898.
Trace of fold inherent to mailing.
Reynaldo Hahn congratulates Léon Daudet for the rational pertinence and clarity of the biography: "... où l'on retrouve tout ce qui était définissable et analysable en Alphonse Daudet..." ["... where one finds all that was definable and analyzable in Alphonse Daudet..."] while regretting nonetheless that he had only imperfectly captured the author of Lettres de mon moulin : " ... ce que vous n'avez pu fixer c'est le mystère brûlant et doux qui émanait de lui, et qui s'est évanoui à tout jamais..." ["... what you could not capture is the burning and sweet mystery that emanated from him, and which has vanished forever..."]
In order to temper this criticism, he wishes to warmly thank Léon Daudet for having evoked in the work his friendship with Alphonse Daudet: "... je suis si fier de l'affection qu'il me témoignait..." ["... I am so proud of the affection he showed me..."]

Complete set of Boris Vian's working manuscript and typescript, genesis of the song "Un pauvre petit garçon".
- two perforated leaves handwritten in ink by Boris Vian.
- one perforated leaf typed, fair copy of the manuscript.
This profoundly anticlerical song was never performed.

Dans sa triste chambre
Le petit s'endort
Il gèle à pierre fendre
Le froid le dévore

On l'a trouvé dans son lit
Mort dans un sourire
Et Jésus là-haut s'est dit
Ca m'ôte un souci

["In his sad room / The little one falls asleep / It's freezing hard / The cold devours him // They found him in his bed / Dead with a smile / And Jesus up there said to himself / That's one less worry for me"]

Provenance: Fondation Boris Vian.

Complete set of Boris Vian's working manuscript and typescript, genesis of the song "Quand fleurit le marronnier du square".
- one perforated leaf handwritten in pencil and ink by Boris Vian.
- one perforated leaf typed, fair copy of the manuscript.
This song was never performed.

Quand fleurit le marronnier du square
Autour de nous, le printemps se prépare
De ses doigts verts, il bat le jeu
Donnant aux deux amoureux
Un as de coeur, la carte du bonheur

["When the chestnut tree blooms in the square / Around us, spring is preparing / With its green fingers, it plays the game / Giving to the two lovers / An ace of hearts, the card of happiness"]

Provenance: Fondation Boris Vian.

Complete set of Boris Vian's manuscript and working typescript, genesis of the song "La première fois".
- one perforated leaf handwritten in ink by Boris Vian. One deletion and correction in pencil.
- one perforated leaf typed by machine, clean copy of the manuscript.
This song, narrating the composer's first encounter with a lady, was never performed.

La première fois, sur ton tailleur bleu
Un grand foulard vert !

["The first time, on your blue suit
A big green scarf!"]

Fausse note

["False note"]

La seconde fois, j'ai baisé ta main

["The second time, I kissed your hand"]

Tu sentais l'oignon

["You smelled of onion"]

Fausse note

["False note"]

Provenance: Boris Vian Foundation.

Complete set of Boris Vian's manuscript and working typescript, genesis of the song "Pour bercer ma peine".
- one leaf and two perforated slips handwritten in ink by Boris Vian. Numerous deletions.
- One leaf folded in two written in ink in Boris Vian's hand as well, containing the title of the song and the following mentions: "6.1.51 - Boris Vian 3 rue D'Aumale St Tropez Var"
- two perforated leaves typed by machine, clean copy of the manuscript.
The music for this text was composed by Louis Bessières and the song was performed by Magali Noël.

"On January 6, 1951, Boris Vian takes the obligatory admission examination to the Sacem on the imposed theme "Pour bercer ma peine" ["To cradle my sorrow"]. His quality as a recognized author will henceforth allow him to receive author's rights. Let us recall that in 1951, he has already published eight novels: Vercoquin et le Plancton, L'Ecume des Jours, J'irai cracher sur vos tombes, Les Morts ont tous la même peau, Et on tuera tous les affreux, Elles se rendent pas compte, L'Automne à Pékin, L'Herbe rouge, a collection of short stories Les Fourmis, and a poetry collection Cantilènes en gelée, presented a play L'Equarrissage pour tous, made translations (Le Grand Sommeil, La Dame du lac...), written articles, and all this has brought him very little money because his books sell poorly, except for the too famous J'irai cracher sur vos tombes. Boris Vian must move on to something more lucrative if possible. One can say that he applies himself to this immediately by launching into song." (Oeuvres de Boris Vian, Volume 11)

In Boris Vian's professional file at SACEM, one reads the pseudonym he chose for himself: Vernon Sinclair...

The SACEM entrance examination was established in 1878 and would last until 1991. Aspiring members - which notably gave the right to a pension - had one hour to one and a half hours to compose a song on an imposed theme. The examination center at 10 rue Chaptal thus saw the greatest names of French song pass through and the most decadent themes: Bourvil had to compose, in 1944, on the theme "Totor le tatoué" while Georges Brassens received the title "Les étrennes de mon amie" in 1942.
One must believe that Boris Vian was received by an examiner with little imagination and the song he wrote during his examination is of rare melancholy:

Je ne sais pourquoi l'on persiste
A ressasser tous ses chagrins
Pourquoi lorsque l'on est trop triste
On veut prendre le dernier train

["I don't know why one persists
In dwelling on all one's sorrows
Why when one is too sad
One wants to take the last train"]


Provenance: Boris Vian Foundation.

Autograph letter signed by Reynaldo Hahn, dandy, composer and great love of Marcel Proust (20 lines in blue ink) addressed to Julia Daudet concerning the tragic death of her grandson Philippe who committed suicide at the age of 14; his father, Léon Daudet, accused anarchist circles or the police of the Third Republic of having disguised this "crime" as suicide.
Fold marks inherent to postal dispatch.
Reynaldo Hahn apologizes for not being as available as he would like for his friends and regrets having missed his correspondent at her home: "... à aller vous dire tout ce que je ressens si vivement..." ["to come tell you all that I feel so keenly..."] but will renew his attempt soon: "je tâcherai d'être plus heureux samedi après-midi..." ["I will try to be more fortunate Saturday afternoon..."]
Reynaldo Hahn wishes to show, during the trials the family is going through, all his attachment to them and his communion of spirit: "... toute la part profonde que je prends à votre chagrin et combien j'ai partagé vos émotions douloureuses..." ["all the deep part I take in your grief and how much I have shared your painful emotions..."]

Autograph letter signed by Xavier de Hauteclocque (39 lines in black ink on Continental Hotel Berlin letterhead) written from Berlin and addressed to Léon Daudet thanking him for: "... l'éloge que vous avez eu la bonté de consacrer encore à mon bouquin sur l'hitlérisme..." ["the praise you were kind enough to devote once again to my book on Hitlerism"] which he had published in the monarchist and Germanophobic daily Action Française.
Although having sounded the alarm concerning the grave dangers posed to Europe by the Nazi party's rise to power, Xavier de Hauteclocque despairs of being heard even by supposedly nationalist or patriotic circles: "... hélas ! monsieur, ces crétins chamarrés de tricolore non seulement ne m'ont pas cru, mais j'avais l'impression terrible qu'ils ne m'entendaient même pas..." ["alas! sir, these cretins bedecked in tricolor not only did not believe me, but I had the terrible impression that they did not even hear me..."], "les rebuffades désespérantes que j'ai essuyées de la part de gens en qui trop de nos malheureux concitoyens vient des 'remparts de la Patrie'..." ["the despairing rebuffs I suffered from people in whom too many of our unfortunate fellow citizens see the 'ramparts of the Fatherland'..."]
It is for this reason that he praises the clairvoyance of the Action Française newspaper and more particularly Léon Daudet's articles regarding the question of Nazi Germany: "... c'est vous qui nous ragaillardissez, nous, les journalistes qui allons chercher des renseignements authentiques dans le camp d'en face..." ["it is you who reinvigorate us, we journalists who go to seek authentic information in the opposing camp..."]
Fold marks inherent to postal dispatch.
Decorated with the Croix de Guerre in 1914-1918 (at 18 he had volunteered early on July 15, 1915 to join the 3rd Hussar Regiment at Saumur, his father and brother having fallen in battle in 1914), first cousin of Marshal Philippe Leclerc de Hauteclocque, Xavier de Hauteclocque was a military man, journalist and writer who ceaselessly denounced vigorously, through his writings and reportage, the dangers of Adolf Hitler and his party's seizure of power in Germany. In 1935 in Paris, he died poisoned by the Nazi regime whose works such as La Tragédie brune, À l'Ombre de la Croix Gammée or Nuit sur l'Allemagne disturbed them.

Autograph letter signed by Xavier de Hauteclocque (23 lines in black ink from the camp of Auvours in Sarthe where he is a reserve officer) addressed to Léon Daudet thanking him for his laudatory article regarding his latest work: "... si l'on trouve peu d'encouragements quand on veut dire aux Français la vérité sur l'Allemagne, je puis dire que j'ai dérogé, grâce à vous, à cette règle..." ["...if one finds little encouragement when one wants to tell the French the truth about Germany, I can say that I have made an exception, thanks to you, to this rule..."]
Xavier de Hauteclocque is worried about the blindness of his fellow citizens although he warns them of the Hitlerian threat, only Action Française and its daily newspaper playing the salutary role of Geese of the Capitol far from: "...la critique 'officielle' et conformiste..." ["...the 'official' and conformist criticism..."]
Fold mark inherent to being placed in an envelope.
Decorated with the war cross in 1914-1918 (at 18 he had volunteered early on July 15th, 1915 to join the 3rd regiment of hussars at Saumur, his father and brother having fallen on the field of honor in 1914), first cousin of Marshal Philippe Leclerc de Hauteclocque, Xavier de Hauteclocque is a military man, journalist and writer who never ceased to vigorously denounce, through his writings and reports, the dangers of Adolf Hitler and his party taking power in Germany. In 1935 in Paris, he died poisoned by the Nazi regime that his works such as La Tragédie brune, À l'Ombre de la Croix Gammée or Nuit sur l'Allemagne disturbed.

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.

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.

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.

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..."]

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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..."]
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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.

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."]
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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.

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..."]
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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.

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..."
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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.

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..."]
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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.

Autograph letter dated and signed by Pierre Mac Orlan (15 lines in turquoise ink) to the budding poet Roger Valuet.
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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.

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.

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.
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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.
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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.

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.
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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.

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.
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He apologizes for responding so late to his correspondent, asks him to thank Jean-Jacques Pauvert and to convey his regards.

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.
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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..."]