Lettre autographe signée de Pierre Drieu la Rochelle. Une page à l'encre noire sur un feuillet. Traces de plis transversaux inhérentes à l'envoi.
L'écrivain offre une très belle analyse de ses vers inspirés du front, rassemblés sous le titre provocateur de Fond de cantine, paru en 1920. Il demande l'avis de la poétesse Renée de Brimont, petite nièce de Lamartine, qui publia également à la Nrf : "Merci Madame de la décision très fine de ces vers me coupent comme un regret. Que chacun se retire dans soi-même. Que puis-je espérer que vous pensez de ces rythmes militaires [...]".
Esthétique et rare lettre de Drieu la Rochelle.
Expanded new edition including a notice and an appendix providing a catalogue of the principal violin makers from the fifteenth to the nineteenth century, a description of the most sought-after violins, their dates of manufacture, their market value, and the distinguishing features by which they may be identified, by L. de Pratis.
Half chocolate-brown morocco binding with corners, spine with five raised bands ruled in black, gilt date at foot, marbled paper sides, marbled endpapers and doublures, illustrated wrappers and spine preserved (with a small loss at foot), gilt top edge, signed binding by H. Blanchetière.
A fine copy attractively bound in a signed binding.
First edition, one of 20 numbered copies on Japan paper, the smallest issue of the deluxe edition, along with 20 on Arches.
Spine and covers marginally faded and sunned as usual, with minor paper losses at the flaps.
Illustrated with 8 original lithographs by Georges Annenkoff.
As with all copies from the deluxe issue, this copy includes the complete double suite of illustrations on vellum and on China paper.
Autograph letter dated and signed by Georges Dumézil to Thierry Maulnier—though not referred to by name—four pages on a bifolium written in blue ballpoint pen on stationery bearing the letterhead of the Académie française, discussing his recent work "Le dieu masqué".
Rust marks from a paperclip visible at the top of the leaves.
Georges Dumézil expresses agreement with the views of his fellow Immortal: "Je reconnais pour moi cet agnoticisme indulgent (156 - 787) ce scepticisme sans découragement dans son 'léger sourire' (324, - et la fin de 604, 611...) [...] Le Dieu masqué suppose un dieu, ou l'équivalent. Je pense moi, au conte d'Edgar Poe, 'Le spectre de la mort rouge' : quand on l'a dépouillé de ses voiles, démailloté, démasqué, il ne reste rien de palpable ni d'imaginable. Le mystère de son mouvement, de son être est néant. Et pourtant, il tue, donc il est."
The historian of religion continues, refining his line of thought: "Chez l'homme, le foisonnement des neurones, le langage qui en est sorti (voir 163, 172 et surtout 242, où vous rejoignez Hagège), commandent, réclament l'exercice, et tout s'ensuit. Et puis, il y a ce que j'ai envie d'appeler le besoin de confort, chaque individu est engagé pour une part minime, dans le mouvement d'évolution dont il est produit, et dont, pro parte nirili, sans en avoir connaissance, il prépare la suite le corps humain, (si des inventions à double effet lui en laissent le temps) travaille volens nolens pour on ne sait quoi, qui se réglera dans des centaines, des milliers de siècles." while also offering a few minor points of divergence.
He concludes his letter with this fine compliment: "Vous rejoignez sur ma tablette intime Marc Aurèle (en mieux habillé) et Sénèque (sans sa réthorique). J'attends le quatrième troupeau des vaches sacrées. Tel est, pour 1986, mon premier voeu..."
First edition on ordinary paper.
Handsome copy.
Autograph inscription signed by Patrick Modiano to the stage director, playwright and writer Simone Benmussa and her companion the actress Erika Kralik.
Literary advisor to the Compagnie Jean-Louis Barrault - Madeleine Renaud, then, in 1957, editor-in-chief of the Cahiers Renaud-Barrault, Simone Benmussa also directed, from the Odéon theatre, the cultural service and the Cahiers of the Renaud-Barrault company. She adapted for the theatre works by her friend Nathalie Sarraute, Pierre Klossowski, Jean Cocteau, Gertrude Stein... She was the companion of the actress Erika Kralik.
Posthumous first edition of Mallarmé's chronicles for the journal La Dernière mode. Preface by S. A. Rhodes.
3/4 morocco binding, spine with five raised bands, gilt title, decorative paper covers, marbled endpapcers and pastedowns. Bound as issued, top edge gilt, binding signed by Maylander. Spine and top of the front cover faded, and small trace of adhesive to one of the flyleaves.
A rare copy of the only first edition of Mallarmé published in the U.S. - bringing together chronicles from his great magazine of wit and opinion, The Latest Fashion, every page of which he wrote himself under various pseudonyms of both genders. Mallarmé wrote about the latest women's fashions and sang the praises of the great couturiers of the time, notably Emile Pingat and Charles-Frédéric Worth, "organizer of the sublime and daily celebration of Paris".
Second edition with some parts in first edition as expanded with two new pieces: "L'occasion" and "Le carrosse du Saint Sacrement".
Half red straight-grained morocco binding with corners signed Blanchetière at the top of the first endpaper. Smooth spine decorated with a large mirror tool and roulettes. Separating fillets on the boards. Very fresh copy, uncut, however some brown spots on Le carrosse du saint sacrement.
Very handsome copy.
Provenance: from the library of Jacques Crépineau, famous collector of Romantic books, with his bookplate. Theater historian and director of the Michodière theater.
This is Prosper Mérimée's first work composed of 6 theatrical pieces. "First dramatic manifestation, in France, of Romantic creation, the Théâtre de Clara Gazul is an original pastiche that shows a moralist's irony, but also a parodic exaggeration of Spanish culture (cries, tears, revenge, killings)." "More intended for reading than for performance, the work achieved considerable success from its publication." Larousse Encyclopédie
Handwritten signed letter addressed to Docteur Francis Mars: "j'ai du mal à vous pardonner le mal que vous vous êtes fait à vous-même !” “I find it difficult to forgive you for the harm you have done to yourself!”
Paris 17 November 1966, 20.7 x 13.5 cm, one page on a leaf, envelope attached
Handwritten letter signed by Natalie Clifford Barney addressed to Doctor Francis Mars, a few lines written in black in on a leaf of headed paper from 20 rue Jacob (Paris VIe), envelope attached. Central fold from having been sent.
"Cher ami Francis, j'ai du mal à vous pardonner le mal que vous vous êtes fait à vous-même ! Natalie (PS: Je ne serai à Nice que vers le 5 déc.)” “My dear friend Francis, I find it difficult to forgive you for the harm you have done to yourself! Natalie (PS: I will not be in Nice until around 5 Dec.) ”
Francis Mars, from Nice, was a mutual friend of Natalie Clifford Barney and her companion, the artist-painter Romaine Brooks. The two women, who had been in a relationship for almost fifty years, did not live together: Natalie lived in Paris and only joined Romaine in Nice for the winter.
