Despite Gutenberg's genius invention, manuscripts will never be erased by the printed word, and solid moveable types are evenly matched by fragile penned letters. Hasty or diligent writing, spidery scrawls or sign of the times.
Black-and-white photograph depicting Shirley Temple as a child.
A fine copy.
Inscribed and signed by Shirley Temple in 1988, with an autograph dedication to the noted autograph collector Claude Armand.
Three-and-a-quarter-page manuscript written in black ink on a bifolium.
One vertical fold.
Manuscript detailing the nominal roster of the Spanish squadron that set sail under the command of Don Luis de Cordova, Don Antonio de Ulloa, and Don Miguel Gastón.
Album comprising 44 plates of Breton costumes, the first two drawn in pencil, the others delicately watercoloured, mounted on heavy paper, some with captions, unsigned.
Bound in contemporary half green sheep, spine decorated with gilt and black fillets, gilt garlands and fleurons, some rubbing to the spine, embossed cherry-red cloth boards, bumped corners, a few scuffs along the edges.
A handsome album of Breton costumes in the manner of Hippolyte Lalaisse and his Galerie armoricaine of 1848.
Particularly focused on the Breton-speaking departments (Western Morbihan and Finistère): 1. [Seated bagpipe player]. – 2. [Peasant dance]. – 3. Woman from the Auray area (Morbihan). – 4. Young shepherd from Morbihan. – 5. Woman from Plouay (Morbihan). – 6. Man from Faouët (Morbihan). – 7. Women from Josselin (Morbihan). – 8. Woman from Pluméliau (Morbihan). – 9. Women from Ploemeur (Morbihan). – 10. Woman from Ploërmel and nearby farmer (Morbihan). – 11. Woman from Auray (Morbihan). – 12. Woman from Lanzac (Morbihan). – 13. Man from Lanzac. – 14. Woman from Guémené near Pontivy (Morbihan). – 15. Woman from Elven (Morbihan). – 16. Milkmaid from St-Paterne in Vannes (Morbihan). – 17. Woman from Douarnenez (Finistère). – 18. Man from Pont-l’Abbé (Finistère). – 19. Woman from Pont-l’Abbé. – 20. Fisherman from Douarnenez (Finistère). – 21. Milkmaid from Douarnenez. – 22. Bride from Kerfeunteun (Finistère). – 23. Man from Châteauneuf-du-Faou (Finistère). – 24. Women from Plougastel, near Brest (Finistère). – 25. Man from Plougastel. – 26. Woman from Locmaria, near Quimper, and farmer from Elliant (Finistère). – 27. Peasant from Riec (Finistère). – 28. Young girl from Bannalec (Finistère). – 29. Man from Saint-Thégonnec (Finistère). – 30. Women from the area of Pont-Lannay (Finistère). – 31. Bride and groom from Kerlouan (Finistère). – 32. Men and women from the area of Pontcroix (Finistère). – 33. Farmer from Saint-Évarzec (Finistère). – 34. [Woman and two children]. – 35. [Presentation of a newborn at a calvary]. – 36. Woman from Ploëne near Moncontour (Côtes-du-Nord). – 37. Woman from Antrain (Ille-et-Vilaine). – 38. Man and woman from Cancale (Ille-et-Vilaine). – 39. Woman from Saint-Servan and Dinan, near Saint-Malo (Ille-et-Vilaine). – 40. Young ladies from Pornic (Loire-Inférieure). – 41. Man from Bourg-de-Batz in festive costume (Loire-Inférieure). – 42. Woman from Bourg-de-Batz in festive costume. – 43. Bride and groom from Bourg-de-Batz. – 44. Young salt-workers in working attire.
Copy from the library of Léon Noël, with his ex-libris label pasted on the front endpaper.
Complete manuscript of the unpublished French translation by J. Brunet of the monumental « Giurisprudenza marittima-commerciale antica e moderna » by the Milanese lawyer Luigi Piantanida, originally published in four volumes between 1806 and 1808.
Contemporary-style pastiche binding in marbled tan half calf with vellum tips, smooth spine lavishly gilt with decorative panels and gilt Greek key friezes, red morocco title label, marbled paper boards showing minor scuffs.
In the preface, the author traces the history of maritime regulation from its origins, then reviews the various maritime codes, the rights and duties of consuls, the admiralty, captains and crew members, and explains the role of existing jurisdictions, maritime courts and judgments.
At the front, two fine engraved portraits: one of the author, the other of Napoleon I, engraved by Domenico Cavalli.
Inserted is a printed bifolium (8vo, 3 pp.), containing the speech delivered by M. Penieres in response to the presentation made by L. Piantanida of his work to the Legislative Body, Session of November 4, 1808, Paris, Hacquart, (1808).
To our knowledge unpublished autograph letter signed by Ernest Hemingway to Roberto Herrera Sotolongo, 2 pages in blue ink on both sides of a sheet, and envelope postmarked September 19, 1953 with his autograph return address ("E. Hemingway...") on the back.
The letter begins in Spanish and continues in English, before ending with a few Spanish words signed "Mister Papa".
A magnificent letter from Hemingway to his Cuban friend and secretary, recounting his 1953 safari in Kenya. Hemingway reveals the true outcome of the hunt for the black-maned lion, a central theme of his posthumous novel True at first light (1999) later published as Under Killimanjaro (2005).
The writer shares his encounters with a giraffe and an impala, as well as unpublished spear hunts with the Masai, reconnecting with the emotions of his first African adventure twenty years earlier which had inspired classic parts of the Hemingway canon – The Green Hills of Africa, The Snows of Kilimanjaro and The Short happy life of Francis Macomber.
He also recalls a family tragedy: a rare attempt at reconciliation from his third child Gigi, who was suffering from gender dysphoria.
Autograph letter signed by Pierre Loti, addressed to Alphonse Daudet (not named explicitly), inviting him to the premiere of his *Pêcheur d'Islande* at the Grand Théâtre on 18 February 1893; 8 lines in black ink on a bifolium.
"Je voudrais bien vous avoir samedi à la première de 'Pêcheur', avec madame Daudet. Vous ne pouvez pas me refuser cela. J'irai vous chercher. Tendres respects. Pierre Loti."
In collaboration with Louis Tiercelin, Pierre Loti adapted his literary masterpiece and great popular success for the stage.
This note was previously mounted on a guard to be inserted into a book, and was later removed.
Autograph postcard signed by Jacques Derrida, addressed to his friend Jos Joliet from Yale University in Connecticut, 18 lines in blue ink, with the original handwritten envelope enclosed.
The postcard shows a view of Yale University's Sterling Memorial Library.
In 1975, Jacques Derrida was appointed visiting professor at Yale University in New Haven, Connecticut.
Jacques Derrida laments not having had the chance to see his friend while expressing joy at soon returning to France: "Dans quelques jours, je serai rentré (heureux de retrouver les 'proches' mais un peu terrifié à l'idée de ce que je vais devoir affronter autrement..."
Joseph Joliet, a former student of Jacques Derrida, became one of the philosopher's closest friends.
Highly attentive to Joliet’s writing, Derrida would go on to write the preface to his novel "L'enfant au chien assis" and support him during difficult times (see Benoît Peeters’ *Derrida*).
Autograph postcard signed and addressed to his friend Ariel Denis from his summer residence in Vendée, 22 lines in black ink.
The postcard shows a general view of the coastal cliffs of Saint-Hilaire-de-Riez in Vendée.
Julien Gracq expresses his satisfaction with the advice he had given his friend, while lamenting the petty calculations of administrative life: "j'avais décidément raison de vous recommander une saine stratégie syndicale : faute ce cet appui je crains qu'il n'y ait plus de belle carrière dans l'enseignement ! J'espère tout de même que la stabilité au moins va venir couronner vos efforts (il y en a un de ma part sous le beau style ! malgré les vacances)"
The writer then mentions a televised adaptation of Wagner's *Das Rheingold* he recently watched: "bonne direction d'acteurs, costumes qui en définitive ne gênent pas, décors plutôt catastrophiques, aussi bien le barrage style Génie Rural, que le Walhalla dont on espère tout de même qu'il n'a pas épuisé l'imagination du décorateur. Mis à part l'excellent jeu des acteurs, que la télévision met en relief, il n'y pas de quoi se récrier. (Comme vous je ne pourrai voir le reste du Ring, et je m'en consolerai ! )"
Julien Gracq ends with a final recommendation to his friend: "tâchez d'aller voir Saint François du Désert que j'ai manqué autrefois et dont Barrès dit merveille."
Autograph letter signed by Jean Cocteau, marked with his famous star, addressed to his great love, the actor Jean Marais. One page penned in black ink on a single sheet.
Traces of folds, horizontal creases inherent to mailing, two ink spots on the blank verso not affecting the text.
A magnificent love letter from Cocteau to Marais, who together formed one of the most iconic artistic couples of the 20th century. Set against the backdrop of turmoil and the German Occupation, their unbreakable bond is embodied in this letter of the writer, filled with desperate tones.
Autograph letter dated and signed by Cécile Sorel, comprising 23 lines in blue ink on a bifolium bearing her monogram as Countess of Ségur by marriage.
Folds consistent with mailing.
The actress thanks her correspondent, a journalist at Théâtre, for his glowing review: "Vous savez combien tout ce qui vient de vous touche le plus sensible de mon coeur, jugez de ma joie en lisant les belles lignes que vous me consacrez."
As a token of her gratitude, she sent him flowers and invited him to visit her soon: "faites-moi la joie de venir déjeuner et causer avec moi de la pièce qui dort dans vos cartons et de laquelle j'attends une revanche."
Autograph letter signed with his real surname, Fargonne, addressed to his friend Pierre Louÿs, 7 pages written in black ink on two bifolia bearing the letterhead of the Reina Christina Hotel in Algeciras.
Folding marks inherent to mailing, envelope included.
After postponing his reply, Claude Farrère finally decides to write to his friend: "Et plutôt que d'attendre toute ma vie (on ne sait jamais, affirmait la Mirabelle du roi Pausole), je préfère vous dire aujourd'hui que je ne sais rien." He takes the opportunity to evoke a recently deceased mutual friend: "j'ai eu une vraie désolation, en apprenant que la pauvre Nite était morte - je vous jure que je serais bien le dernier à rire du vers moliéresque - n'importe en quelle circonstance - mais en celle-ci, c'est très pire ; figurez-vous que j'adorais cette petite bête blanche pour l'avoir vue peut-être douze fois en tout"
He wryly comments on the military diligence that earned him favor with his superiors: "Et j'ai su d'autre part, - voie féminine - que mon empressement et mon enthousiasme à rallier le Cassini furent remarqués et commentés à Toulon - Qu'est-ce qu'on va dire quand on me verra revenir, mein Gott !!!! Il va falloir que je cherche un home à quadruple sortie. Nous chercherons ensemble, le mois prochain, entre Tamaris et Mourillon."
Fierce autograph letter signed, addressed to Jacques Chardonne—though not named—comprising 30 lines in black ink on letterhead of the journal Le Nouveau Fémina, concerning cultural life and current political affairs.
Folding marks inherent to mailing, a black ink stain not affecting the text, and two small holes: the first causing the loss of one letter—the second "e" in Hecquet; the second resulting in the loss of the word "il".
"Les dernières lettres sont épatantes. Et courtes, comme il fallait pour ne pas trop s'éloigner du drame. Les oeuvres complètes de Léon Blum vont paraître chez Albin Michel. On va voir. Anatole de Monzie, homme d'une très belle intelligence n'a rien écrit de fameux. Aujourd'hui, le moins ignare s'appelle Ramadier (Paul Ramadier, several times a minister after the Liberation) Il n'a pas été réélu. C'est un franc-maçon acharné. Mendès-France est un marchand de cravates me dit Stephen Hecqu[e]t. [Il] faut supprimer son nom de ma dernière lettre (celle qui est si longue, où je parle des hommes politiques susceptibles d'écrire). A bientôt. Roger Nimier."
Autograph letter, dated and signed, sent from Toulon to his friend Pierre Louÿs, four pages penned in violet ink on a bifolium.
Folding crease from mailing, manuscript envelope included.
Through this correspondence, Claude Farrère reproaches his friend for deepening his sadness and distress: "Votre petite lettre de l'autre jour m'a très bien fait comprendre que vous avez dix mille ennuis en ce moment. Et vous en ajoutez un de plus, pour m'envoyer plus vite cette bêtise à laquelle je ne songeais pas du tout , Pourquoi, encore ! Je suis votre ami, enfin ! Et je vous jure que cela m'a fait de la peine, de songer que j'avais involontairement augmenté cette fois vos embêtements."
He longs to express the depth of his friendship: "Surtout, je vous en suplie, n'oubliez pas ceci : que mon meilleur jour sera celui où vous me permettrez de vous rendre un vrai service... ne l'oubliez jamais, je vous en supplie."
Claude Farrère recalls a Christmas Eve filled with female quarrels: "A propos, réveillon d'une gaieté inouïe, ici - on en aurait pleuré... Vers minuit, on a soupé sur des nattes, après scission en deux bandes, scission nécessitée par le dissentiment de deux de ces dames, dont chacune 'n'était un société' pour l'autre. Du côté où j'étais resté, ça a failli recommencé entre deux autres, - la célèbre Edith et la belliqueuse Lulu, - toutes deux ayant constaté que je m'étais permis d'embrasser l'une et l'autre. L'orage s'apaisa cependant."
Autograph letter signed, addressed to his friend Pierre Louÿs from Toulon, 16 lines written in violet ink, expressing concern about a mutual friend nicknamed Augusto, almost certainly Auguste Gilbert de Voisins.
Folding crease from mailing, envelope enclosed. A handsome copy.
"Friday,
my dear friend, it's mail time. Quickly, quickly! I received your telegram this morning and have replied. Your opening words were very sweet to me. Thank you. I'm forwarding you a letter from Augusto. It frightened me terribly. I’ll telegraph you as soon as I know more. Yours with all my heart. C.B."
Autograph letter signed by Jean-Jacques Henner to his friend Castagnary, 18 lines in black ink on a bifolium.
The letter is almost entirely devoid of punctuation.
A date written in violet ink, likely indicating when the recipient received the letter.
"Mon cher ami,
votre très aimable invitation m'est arrivée malheureusement un peu en retard vous aviez l'adressé place Clichy au lieu de place Pigalle et à mon grand regret je ne suis pas libre j'en suis désolé vous savez tout le plaisir que j'ai a venir chez vous soyez donc mon interprète auprès de madame Castagnary et excusez moi. Votre tout dévoué JJHenner."
Fine autograph letter, dated and signed, addressed to his friend Pierre Louÿs; 7 pages in violet ink on two bifolia, with the original envelope preserved.
Folds from original mailing.
Soon to be on leave from the Moroccan Expeditionary Corps, Claude Farrère announces to his friend his imminent return to France following an Andalusian journey: "je pendrai au plus tardle train du 4 juin, à Algéciras ; lequel train, après escales à Grenade, Cordoue, Séville et Tolède, me déposera, le 11 au matin, à Toulon - Voilà !"
He mentions a book that struck him and evokes two women: "feuilletez, vous comprendrez l'in térêt que j'attache au cas, intérêt tout à fait analogue à celui que vous inspire une jeune personne à ui je vais dédier mon prochain conte au journal intitulé : 'sur le Boul' Mad'... La préface du bouquin en question est un chef d'oeuvre d' (je ne sais pas de quoi ! Fichtre ! On va bien, de nos jours... [...] voyez-vous qu'on publiât des histoires comme ça sur notre... dos- quatre ans après notre mort ???"
Claude Farrère ironically comments on his literary and epistolary activity shared with his friend: "J'aurais tellement besoin de regarder vos Hok'saï avant d'écrire certaines pages de mon sale bouquin ! ... Mon Maroc n'est pas du temps perdu. Je l'ai considéré comme dix mois de travail forcé. Et je vous en rapporte un manuscrit qui en est aujourd'hui à sa 392e pages, - qui toutes ensemble ne valent pas une ligne de Psyché !"
His rebellious and independent spirit draws suspicion from the military establishment: "Votre lettre datée du 8 mai, ne m'est arrivée qu'hier 18. J'ai lieu de croire que ma correspondance est très surveillée depuis quelque temps."
Original black and white photograph depicting Maurice Druon in his Académie Française regalia.
A fine copy. Enclosed is the handwritten envelope addressed to the recipient by Maurice Druon.
Inscribed and signed by Maurice Druon in blue ink in the right margin of the photograph: "Avec mes meilleurs souhaits Druon."
Provenance: from the collection of the noted autograph collector Claude Armand.
Card bearing the letterhead of the permanent secretariat of the Académie française, on which Maurice Genevoix has inscribed the following words:
"Pour Claude Armand, avec mes voeux et mes amitiés. Maurice Genevoix."
Maurice Genevoix served as Permanent Secretary of the Académie française from October 1958 to January 1974.
A handsome example. Accompanied by an envelope, typed and bearing the letterhead of the Institut de France.
Provenance: from the collection of the distinguished autograph collector Claude Armand.
Exceptional illuminated manuscript of 35 poems by Stéphane Mallarmé, probably copied by Joris-Karl Huysmans on watermarked Hollande laid paper, after pre-first editions of the poems published in journals. Most of the poems are preceded by a separate title-page noting the source from which it is taken.
The manuscript includes a fine charcoal portrait of Mallarmé as a frontispiece by Charles Tichon, after a photographic portrait by Van Bosch. The portrait was published in the Mallarmé issue of Empreintes (Bruxelles, L’Écran du Monde, n° 10-11). Another version was published in 1889 (Caprice Revue, 2e année, n° 60).
two floral compositions in gouache and watercolor illustrating the poems Les Fleurs and Apparition, as well the calligraphed author's name as a title-page. Although unsigned, the illutrations are attributed to Louise or Marie Danse.
Bradel binding, contemporary cream silk boards with floral motif, two embroidered green silk markers with floral motif, gilt semis patternerd flyleaves and pastedowns, slightly faded red edges. Dampstains on the lower part of the lower board, rubbed corners, a few silk threads loosened on the spine, rubbed boards.
Outstanding manuscript of 35 poems by Stéphane Mallarmé, written shortly before the first collected edition of his poetry of which only 47 copies were ever printed (Poésies, photolithographed, Revue indépendante, 1887). This carefully calligraphed collection is attributed to the hand of writer Joris-Karl Huysmans, a great admirer of the poet who is said to have given the manuscripts to his friend Jules Destrée.
Autograph letter dated and signed by André Breton, 21 lines in blue ink on a single sheet, addressed to Georges Isarlo of the journal Combat-Art concerning a text given to him by his friend José Pierre.
True to form, the leading figure and high priest of Surrealism seeks to clarify matters with his correspondent: "Vous comprendrez sûrement le souci que je puis avoir de ne pas, sous un vain prétexte d'anniversaire, laisser dénaturer le sens et gâter le fruit de quarante années de lutte et voudrez bien considérer qu'il a pour tous ses signataires - répondants du surréalisme aujourd'hui - la même importance vitale que pour moi."
Autograph letter signed and dated by Jean Epstein to André Gide, 3 pages in blue ink on a bifolium and a single sheet, regarding the reception of his book: La Poésie d'aujourd'hui. Un nouvel état d'intelligence. Lettre de Blaise Cendrars, published by La Sirène.
Folding marks from original mailing.
Jean Epstein was an avid reader of Gide's works: "J'ignore si peu vos ouvrages, que vous écrivant, je vois sur mes rayons le dos de vos Nourritures terrestres, de vos Prétextes et Nouveaux Prétextes. J'en ai lu davantage : La Porte étroite, l'Immoraliste et récemment la Symphonie..." and perceived in his writing a revolutionary purpose and destiny: "... ce qui dans votre oeuvre a suscité cette estime dont vous m'avez fait presque l'offense d'en douter, est son côté vandale, destructeur, table rase, anarchiste, c'était bien gaucher, et en y songeant je vous envoyais mon livre..."
He submitted the manuscript of his book to La Nrf and expresses surprise at the publisher's rejection and the general incomprehension of his work: "J'y soutiens une thèse paramédicale. Un but précis, c'est à dire limité, entraîne des restrictions, un choix, une discipline... Et ces exemples je les ai trouvés dans les poètes extrêmes, et je les y ai pris, ne croyant pas faire un palmarès... or, je vois que mon livre est de plus en plus interprété comme une distribution de prix..."
Epstein deliberately refrained from mentioning certain authors he nonetheless considers important: "Je n'ai pas parlé de vos oeuvres, non plus que celles de Barrès, de Claudel et de quelques autres. Je ne cite Mallarmé que pour mémoire. Bien mieux, je ne dis rien de l'oeuvre de Gourmont." and explains his position: "Je ne sous-estime nullement l'influence que vous avez eue et avez et aurez encore, mais une fois entré dans la voie des cours d'eau à remonter et des sources à découvrir ou à simplement indiquer quand elles sont patentes, jusqu'où n'irait-on pas ?"
While acknowledging Gide's influence on his generation, Epstein names other sources of inspiration: "... nous sommes déjà en pleine seconde étape. Des sensiblilités postérieures sont apparues. Exemple ; Rimbaud -postérieur ! ici, pour une fois, éclate l'erreur flagrante des dates ; Cendrars \"époque construction\" et celle-ci, le voudrait-elle qu'elle ne pourrait pas vous plagier."
He closes his explanatory letter, which reads as a defense of his work, with these words: "Excusez l'ennui d'une si longue lettre, mais les reproches adressés à mon livre comme à un manuel de littérature moderne, il ne les mérite pas, parce qu'il est autre chose..."
Autograph letter signed by Jacques Mesrine, dated Wednesday 29 December 1976, addressed to Jeanne Schneider, his love interest of the time. She smuggled out of prison the manuscript of his famous autobiography L'Instinct de mort. 66 lines in blue ink on two pages of a leaf. In the top left-hand corner of the letter, Jacques Mesrine has drawn a bouquet of flowers in multicoloured felt-tip pens. Usual horizontal fold, small tear to the fold in the right-hand margin.
Jacques Mesrine, who was in Fleury-Mérogis prison at the time, was delighted to receive so much proof of love and friendship in the many letters he received from his friends and family.
He, in turn, replied to all his correspondents, and in particular to Madame Panco, who had shown great kindness towards Jeanne Schneider: "I'm going to send my best wishes to Madame Panco, as I do every year... because I haven't forgotten what this woman has done for you... she is a “woman of respect” and a very human person... There are some in the administration (it's rare)'.
The indomitable Mesrine is full of tenderness and delicacy for Jeanne Schneider: ‘I've made you a little bouquet of flowers... to make up for being so unpleasant with you at the moment', but he has no wish in the world to change and submit to anyone's wishes: "What do you want, I'm becoming an old fart with a bloody temper... but I am as I am and have no intention of changing... or else I wouldn't be me any more. I'll tell you one thing, my angel... whether my book works or not... I don't give a damn... there's no way I'm going to start from scratch to make it sweeter."
Public Enemy No. 1 was outraged by the way he was treated by the prison administration after the publication of his polemical book ‘L'instinct de mort' (The Death Instinct ): "In France, the truth is frightening. At the moment I don't go out for a walk. ... I'm in my cell 24 hours a day. The reform! What do you expect me to do in this stupid courtyard in such cold weather? But I'm in great shape! "
He doesn't despair of being released or regaining his freedom soon, much to the dismay of all those who prefer to see him locked up: "I'm going to have to apply for a leave of... 10 years. but if that day comes... how many people are going to shit their pants... a lot of loudmouths who take advantage of the fact that I'm caged up to play the ‘pimp' but I'm free... there are no more ‘pimps'. it's nice to dream...'.
But he also talks about how happy he'll be to see his sweetheart again very soon, even if his condition as a prisoner is weighing on him and enraging him all the more: "I hope we'll finally be able to smile again, I'm going to be the real adorable little guy... well, almost! I love you, sweetheart... but this imprisonment is driving me crazy, I feel so powerless in the face of bullshit! "
A rare and beautiful letter from Jacques Mesrine in which he shows his intense affection for his girlfriend and his strong resentment of the prison system.
Autograph letter signed by Emile Zola addressed to Octave Mirbeau, dated in his hand March 4, 1901. Two pages in black ink on a bifolium.
Horizontal fold mark inherent to postal delivery.
Published in his Correspondence, vol. X, p. 242.
Precious letter from Zola to his great supporter Octave Mirbeau, who had paid his fine at the end of his second trial for "J'accuse!".
Now amnestied, the writer attempts - in vain - to recover the sum to reimburse him.
After his historic cry from the heart in l'Aurore, Zola was first condemned by the Seine jury on February 23, 1898 to one year in prison and a three thousand franc fine. The judgment was overturned on appeal, and the case was referred to the Versailles assizes, which retained only three lines out of the eight hundred that make up "J'accuse!" as grounds for accusation. To avoid accepting such a stifling of the debates, Zola's defense decided to default, and the conviction was confirmed on July 18 - Zola left that very evening for London to avoid prison. The tribunal also demanded 7,555 francs from him, which Mirbeau spontaneously decided to pay from his own funds. It was also Octave Mirbeau who prevented the seizure of Zola's furniture, by obtaining from Joseph Reinach the 40,000 francs in damages that Zola had been condemned to pay to the three pseudo-experts in handwriting that he had "defamed" in J'accuse!...
Following the amnesty law that ended judicial proceedings for "all criminal or delictual acts connected to the Dreyfus affair," Zola was acquitted but was not reimbursed. This letter attests to the writer's desire to compensate Mirbeau for his act of generosity: "Labori [his lawyer] will attempt an approach to try to recover the seven thousand and some francs that you paid on my behalf, for the Versailles affair. He simply wishes to have a letter from you, in order to show it and thus be authorized to speak in your name. You certainly do not have down there the receipt that was issued to you. Perhaps you remember its terms. In any case, if we must wait, we will wait, for nothing is urgent after all. The important thing today is only to test the ground, to see if they will return the money to us". However, the prosecutor's office refused his request. Furious, Zola wrote two days later a letter to Labori asking him to give up claiming the slightest cent - he published it in L'Aurore under the title "Let them keep the money": "they torture the text of the law and the State too keeps the money. If the prosecutor's office persists in this interpretation, it will be yet another monstrosity, in the unworthy way they have refused me all justice [...] I do not want to be complicit by accepting anything whatsoever from their amnesty [...]". According to Pierre Michel, these unsuccessful recovery attempts, of which this letter bears witness, "incited Zola to adopt an attitude that emphasizes even more his disinterestedness and that of his 'friend,' who is not named [in the L'Aurore article], probably at Mirbeau's request."
Dreyfus's pardon and the amnesty of his supporters did not satisfy the writer, but nevertheless marked the end of long years of struggle: "I have finished my crushing task, and I am going to rest a little because I am exhausted". Struck down in full glory the following year, he would not be able to witness Captain Dreyfus's rehabilitation.
Beautiful lines from Zola to Mirbeau who gave him the means to continue his fight for justice.
"A cause du mécanisme moderne, qui permet de reproduire le rare à d'innombrables exemplaires, le rare se meurt et, entre autres, on fait du mot merveilleux un emploi abusif [mot biffé].
Le merveilleux cesse de l'être s'il se désingularise, et l'on a une tendance à le confondre avec tout ce qui nous étonne encore : la radio, la vitesse, la bombe atomique.
Or, le merveilleux se trouve beaucoup plus en nous que dans les objets qui nous surprennent. Le véritable merveilleux, c'est la faculté d'émerveillement, qui s'émousse si vite chez l'homme. L'enfance le quitte. Il se blinde contre elle. Il juge, il préjuge. Il repousse l'inconnu [phrase biffée]. S'il laisse agir en lui cette faculté atrophiée, c'est pour fuir les fatigues qu'il s'impose. Il en use comme d'une drogue et se plonge, pour quelques heures, dans un livre ou dans un film.
Autograph letter signed by Emile Zola addressed to the actress Marie Laurent, dated in his hand December 16, 1896. One and a half pages in black ink on a bifolium.
Traces of horizontal and vertical folds, inherent to the mailing. Trace of violet ink in left outer margin of first leaf, not touching text.
Published in his Correspondance, ed. Bard H. Bakker, Colette Becker, October 1893-September 1897, p. 371.
Zola attempts to help the actress Marie Laurent who created the role of Thérèse Raquin on stage, and encounters the refusal of Fernand de Rodays, administrator of Le Figaro.
President of the Orphelinat des Arts, the actress Marie Laurent had solicited the writer to support the publication of an article about the charitable work in the columns of Le Figaro. Zola meets with a categorical refusal from the newspaper's administrator Fernand de Rodays:
"Chère Madame,
Je n'ai pas de bonne nouvelle à vous donner. M. de Rodays ne m'a pas même laissé achever, et il m'a déclaré qu'il était résolu à ne publier dans le Figaro aucun article sur l'Orphelinat des Arts. Il m'a été impossible même d'insister, devant son parti pris formel. J'aurais été fort heureux de vous être agréable et je regrette l'obstacle qui m'en empêche. Je le répète, toute insistance est inutile.
Veuillez me croire quand même, chère Madame, votre fidèle et dévoué" ("Dear Madam, I have no good news to give you. M. de Rodays did not even let me finish, and he declared that he was resolved not to publish any article about the Orphelinat des Arts in Le Figaro. It was impossible for me even to insist, faced with his formal prejudice. I would have been very happy to be agreeable to you and I regret the obstacle that prevents me. I repeat, any insistence is useless. Please believe me nonetheless, dear Madam, your faithful and devoted")
Fine letter from Emile Zola to the actress who, according to the writer, "véritablement créé le rôle de Madame Raquin [...] c'est elle qui a trouvé tout cet admirable personnage du quatrième acte, cette haute figure du châtiment implacable et muet, ces deux yeux vivants cloués sur les coupables et les poursuivant jusque dans l'agonie." ("truly created the role of Madame Raquin [...] it is she who found all this admirable character of the fourth act, this lofty figure of implacable and mute punishment, these two living eyes fixed on the guilty and pursuing them even unto agony.") (Preface to Thérèse Raquin, Drame en quatre actes, Charpentier, 1875).
Autograph note by François René de Chateaubriand, 12 lines in black ink on a bifolium, addressed to Madame Amédée de Duras, rejoicing in her improved health.
A tear with loss, due to the seal having been broken to facilitate reading the note.
"Mde de CH[ateaubriand]. me dit de vous répondre: si je meurs, madame, ce sera à vos pieds le matin. Non pas à midi, mais à trois heures et demie. Je me porte à merveille chez ma soeur. Que cela ne soit pas vous, mais mde de Lévis qui m'ait vu perdre ma longue barbe er mon mouchoir turc. Ne venez pas, vous ne devriez pas venir. Mde de Ch[ateaubriand] est inconsolable... "
Autograph letter dated and signed by Henri Martin, post-impressionist painter who was a pupil of Jean-Paul Laurens, 20 lines written in black ink.
Central fold inherent to postal dispatch. At the end of the missive, some calculation notes in black ink probably traced by the recipient.
Autograph letter most probably unpublished signed addressed by Juliette Drouet to her lover Victor Hugo, four pages written in black ink on a bifolium.
Transverse folds inherent to mailing, fold joining the two leaves reinforced with a fine strip of pasted paper barely perceptible.
Absent from the very complete online edition of Juliette Drouet's letters to Hugo by the Centre d'Études et de Recherche Éditer/Interpréter (University of Rouen-Normandy).
Very beautiful declaration of love and admiration by Juliette Drouet, the day after Hugo's plea defending his son. Charles Hugo had been brought before the assizes, and condemned despite his father's intervention, for having valiantly castigated the execution of Claude Montcharmont.
Hugo's great love addresses this letter in troubled times, where father and son find themselves at the forefront of the scene for their abolitionist positions. Scandalized by the execution of Montcharmont, a 29-year-old poacher from Morvan, Charles Hugo publishes an article in l'Événement which earns him a trial for contempt of respect due to the laws: the Second Republic already exists only in name, and the press is subject to frequent attacks, further aggravated here by the notoriety of the Hugos. Victor wants to defend his son and delivers a plea that remains famous: "Mon fils, tu reçois aujourd'hui un grand honneur, tu as été jugé digne de combattre, de souffrir peut-être, pour la sainte cause de la vérité. A dater d'aujourd'hui, tu entres dans la véritable vie virile de notre temps, c'est-à-dire dans la lutte pour le juste et pour le vrai. Sois fier, toi qui n'est qu'un simple soldat de l'idée humaine et démocratique, tu es assis sur ce banc où s'est assis Béranger, où s'est assis Lamennais !" (My son, you receive today a great honor, you have been judged worthy to fight, perhaps to suffer, for the holy cause of truth. From today, you enter into the true virile life of our time, that is to say into the struggle for the just and the true. Be proud, you who are but a simple soldier of the human and democratic idea, you are seated on this bench where Béranger sat, where Lamennais sat!)
Despite Hugo's historic intervention, Charles is condemned to six months in prison and 50 francs fine - a decision that Juliette bitterly castigates, overwhelmed by anguish at the outcome of the trial: "J'ai beau savoir que cet arrêt inique est non seulement supporté avec courage par vous tous, mais accepté avec orgueil et avec joie par le plus directement intéressé dans cette malheureuse condamnation, la fatigue et l'inquiétude que j'ai éprouvé pendant toute cette interminable journée d'hier m'a laissée une douloureuse courbature physique et morale" (However much I know that this iniquitous verdict is not only borne with courage by all of you, but accepted with pride and joy by the one most directly concerned in this unfortunate condemnation, the fatigue and anxiety I experienced during all that interminable day yesterday has left me with a painful physical and moral ache).
12 juin jeudi matin 7h
Autograph letter dated and signed by Jean Hélion addressed to Raymond Queneau, 41 lines (four pages on two leaves) written in black ink.
Jean Hélion cannot respond favorably to an invitation extended by his friend Raymond Queneau, partly due to his homebody nature: "J'ai pris l'habitude de rester chez nous, le samedi après-midi : à l'atelier jusqu'à 5 heures et là-haut jusqu'à l'heure du dîner pour y recevoit toutes sortes de jeunes gens que je n'ai pas le temps de voir un par un... Mais j'aimerais davantage vous montrer à vous seul, un peu tranquille et à n'importe quelle heure. Ne passez-vous jamais de ce côté ?" ("I have gotten into the habit of staying at home on Saturday afternoons: at the studio until 5 o'clock and upstairs until dinner time to receive all sorts of young people whom I don't have time to see one by one... But I would prefer to show you alone, a bit quietly and at any time. Don't you ever come by this way?")
He worries about the political path of one of their mutual friends, the pacifist militant Garry Davis who created in 1948 the World Citizens movement and in 1954 the World Service Authority organization: "Je m'occupe encore de ce bon Garry Davis, qui s'engage maintenant dans la non-violence, mais d'une façon qui pourrait être violente... Breton a tapé dessus comme sur des cymbales. Mais moi, par amitié, autant que pour une confiance dans sa force instinctive, je l'aiderai tant que possible... Il veut encore consulter ses amis, et il en a grand besoin. Camus, Mounier, Altman, l'abbé Pierre et quelques autres lui sont demeurés dévoués." ("I'm still taking care of that good Garry Davis, who is now engaging in non-violence, but in a way that could be violent... Breton struck out at him like cymbals. But I, out of friendship, as much as for confidence in his instinctive strength, will help him as much as possible... He still wants to consult his friends, and he has great need of it. Camus, Mounier, Altman, Abbé Pierre and some others have remained devoted to him.")
Autograph letter initialed by Emile Zola, dated in his hand April 10, 1898. Four pages in black ink on a bifolium, addressed to Octave Mirbeau's wife.
Horizontal fold mark inherent to mailing, very rare and discrete foxing on the first leaf.
A particularity of this exile correspondence, Zola chose to omit his signature in his letters - or as here, to initial only, protecting himself from censorship or police investigations.
Published in his Complete Works, vol. XXV, ed. F. Bernouard, 1927, p. 820.
Heart-wrenching letter by Zola written in complete exile, the most unknown retreat, the most absolute silence. The justiciar writer is secluded in England, forced to leave Paris after being condemned to the maximum penalty for having written "J'accuse!"
during these cruel hours.
Autograph poem by André Pieyre de Mandiargues signed A.P.M. and dated June 5, 1974 entitled "Le plus libre graveur" and which he dedicated to Joan Miro.
Written in black ballpoint pen on a sheet, the poem, of 44 lines, contains some crossings-out and manuscript additions as well as an addition of a cut and pasted sheet in the lower right corner of the poem.
This text celebrating the painter Joan Miro and his style was published in the review XXe siècle in December 1974:
"Feu d'air ou feu de terre
Feu de feu ou feu d'eau
Le haut feu de Miro
Se fait esprit de sel
Acide ardent fumant
Machoîre du dieu ivre
Qui va mordre le cuivre...
...
Parfois il grave sur le givre
il invente le regard
il noie le soleil
Il l'ébouillante
Parfois il balance l'homme
Il bascule la demoiselle,
...
La grande lingerie des noirs
Des bleus des rouges des roses
Des jaunes et des verts
Claquant au vent de Majorque
Un grand pavois d'allégresse
Imposé au blanc d'une page..."
Beautiful poem by André Pieyre de Mandiargues celebrating the abundant style of vivid colors of the painter and engraver Joan Miro.
"je ne suis très fort que parce que je m'attends à tout et que mon seul but est le peu de vérité que nous réussirons sans doute à faire encore. Après, mon Dieu, qu'importe !"
Autograph letter dated from Liane de Pougy to the French archaeologist, curator of the Musée de Saint-Germain and professor of art history at the École du Louvre, Salomon Reinach, 56 lines written in blue ink on one double-sided sheet, written from her property at Clos-Marie in Roscoff where the famous courtesan stayed until 1926.
A small tear in the right-hand margin of the letter, inherent in the enveloping of the missive; another slight tear at the foot, without affecting the text.
Liane de Pougy marvels at the youthful vigor of Reinach, who had just turned 65: ' Many happy returns for your 65 years, which find you so young, so fresh, so green, with such playful (studious) feelings. My friend, your youthful morals hold the secret of your physical youth—as Rosa Josepha said, one sustains the other, one preserves the other—and this, seen head-on. ', while magnifying his radiant intelligence: 'To no longer produce, but to sit atop the high throne of your trophies, formed by all you have wrested from instinct to sacrifice to intellectuality. Why do people always say a well of knowledge instead of a luminous column, a sky, a sun, a star, etc.—in short, something that makes us lift our heads?'
She is waiting for her friend and former lover, the terrible and unfaithful Natalie Clifford-Barney: 'Natalie plans to come to Clos at the end of September. She has a wound to heal here—time, fortunately, has already done part of the work! I have sensitive feelings and, like a musketeer, a good heart but a bad temper. This is the 1st time the amazon has truly aimed at me... Let us speak of it no more'. Liane firmly expresses her wish not to be pitied or consoled for her romantic troubles: 'I have suffered in silence but without resignation. Do not speak of this to Nathanaël... Nathanaël means Philippe, Max Jacob claims, who lives and works near us in the most fascinating way... '.
A beautiful letter by the celebrated courtesan, actress, and writer Liane de Pougy, recounting with restrained candor her romantic disappointments with Natalie Clifford-Barney.
