Published correspondences

First edition, one of 50 numbered copies on Arches wove paper, the only deluxe paper issue.
A fine copy despite a few spots of foxing in the right margin of the first free endpaper.

New quarto edition, revised and corrected by the author, with numerous decorated headpieces, initials and tailpieces.

Full brown calf, spine in six compartments with five raised bands richly gilt-tooled, red morocco lettering-piece, triple blind fillet border to boards, double gilt fillet to board edges, red edges, marbled pastedowns and endpapers.

Light scratches and scuffing to boards, corners slightly bumped, otherwise a very fine copy.

Paper flaw causing marginal tears on pp. 49, 571 and 595, light scattered foxing affecting a few gatherings towards the end of the volume, minor wormhole to lower corner of pp. 253 onwards, ending in a charming emoji.

First edition.

A single copy recorded in the CCFr (Roanne).

Contemporary half green calf, smooth spine cracked and with losses, marbled paper boards, original printed wrappers preserved, binding of the period.

Lower board tending to detach.

The Venetian historian Ronaldo Fulin (1824–1884) produced numerous publications and original studies based on the exceptionally rich holdings of the Archivio di Stato of Venice.

The question addressed in this communication is linked to the presumed relations between Columbus and Venice (see the accompanying letters).

Copy from the library of the celebrated Americanist Henry Harrisse (1829–1910), a specialist of the earliest discoveries of the New World, with an autograph inscription by Ronaldo Fulin at the head of the front wrapper.

Henry Harrisse enhanced this pamphlet with seven autograph signed letters, mounted, in French or Italian, generally accompanied by their envelopes: 1. One from the Italian historian Cesare Cantù (1804–1895), dated 10 December 1881. – 2. One from the Columbian scholar Marcello Staglieno (1829–1909), dated 3 August 1888. – 3. One from the director of the Archivio di Stato of Venice (signature illegible), dated 27 June 1888. – 4. A card from the publisher B. Calore, dated 17 December 1881. – 5.–6. Two letters from the philologist and Hispanist Alfred Morel-Fatio (1850–19245), dated 2 and 9 December 1881. – 7. One letter from Henry Vignaud (1830–1922), in his capacity as First Secretary of the United States Legation in Paris from 1882 to 1909, dated 30 May 1888.

Most of these letters revolve around the existence of a purported letter from Christopher Columbus to the Senate of Venice, prior to the voyages of exploration.

Autograph letter, dated and signed, addressed to the writer Christiane Baroche: 21 lines in blue ink concerning an issue of the journal Sud devoted to him.

Folding traces from mailing, with the original handwritten envelope, on which Christiane Baroche noted the sender’s name in pencil.

Michel Leiris thanks Christiane Baroche for the tribute paid to him by Sud : "Soyez sûre que je préfère de beaucoup quelque chose de ce genre à un ensemble de doctes analyses ! " but explains that he will not be able to attend the upcoming event dedicated to him: "Dites, je vous prie, à Mr Genêt que je lui sais gré d'avoir pensé à une "journée Leiris", mais qu'il ne doit malheureusement pas compter sur ma présence : j'en serai, d'une part, empêché matériellement... et, d'autre part, cette participation personnelle m'embarrasseerait beaucoup, je vous l'avoue franchement."

Leiris concludes by extending his best wishes to his correspondent and to the Sud team for the year ahead.

Letter written by a secretary and signed by Louis XVI, addressed to Cardinal Ludovico Calini, in ink over eleven lines. The signature of Charles Gravier, Comte de Vergennes, appearing at the foot of the bifolium, accompanies that of the King for these New Year wishes. The recipient's name is inscribed on the verso: "Mon Cousin le Cardinal Calino".

A few waterstains, a small hole at "qu'il vous ait".

"My Cousin, I have seen with pleasure from your letter of October 1st the token of the sincerity of the wishes you express for me at the beginning of this year. Your good intentions are as well known to me as you must be certain of my desire to give you proof of my esteem and affection. Whereupon I pray God that He may have you, My Cousin, in His holy and worthy keeping. Written at Versailles the 31st of January 1776." (our own translation). 

Autograph card, dated and signed, sent from his Paris residence to the writer Christiane Baroche, comprising twelve lines in blue ink.

With the accompanying handwritten envelope on which Christiane Baroche added "Leiris" in the upper right corner.

"5 avril 1979,

chère Christiane Baroche,

merci à vous ainsi qu’à tous ceux qui ont bien voulu m’adresser, par l’intermédiaire de Sud, un signe amical. Je ne puis qu’en être reconforté et trouver là un peu de courage dont je manque de plus en plus pour travailler ! Soyez donc certaine que votre idée m’a fait plaisir et croyez à mes sentiments les meilleurs. Michel Leiris."

Autograph note dated and signed by Marguerite Yourcenar, written from her Paris residence to journalist Marcel Baroche of the literary review Sud. Written on one of her visiting cards. 

Eighteen lines in green ink, with the autograph envelope addressed to her correspondent, concerning a proposed collaboration with Yourncenar initiated by the director of Sud.

[27 December 1980,
to the journal Sud, to Marcel Baroche,

Dear Sir, you have my acceptance of the proposal for a special issue on my work in 1982, together with my thanks in advance. There exist many photographs of me, a few of which strike me as fairly faithful likenesses: I do not personally possess any, but perhaps I may be able to find some to send you in due course. For the moment at least, I have no unpublished material to offer. Perhaps later…

With kind regards,
Marguerite Yourcenar.]

"27 décembre 1980, à la revue Sud, à marcel Baroche,

cher monsieur, vous avez mon acceptation au projet d'un numéro spécial sur mon oeuvre en 1982, et mes remerciements anticipés. Il existe de nombreuses photographies de moi dont quelques unes me paraissent ressemblantes : je n'en possède personnellement aucune, mais peut-être en trouverai-je à vous en envoyer en temps utile. Pour l'instant au moins, je ne possède aucun inédit à offrir. Plus tard peut-être... Bien sympathiquement Marguerite Yourcenar."

First edition (cf. Martin & Walter, 16 491; Monglond III, 630; not in Schefer, Blackmer or Atabey).

Bradel binding in full marbled paper boards, smooth spine with a vertically lettered fawn sheepskin label, red edges; a modern binding.

Some foxing; marginal staining to the upper edges of the final leaves.

Excellent abridgement of General Hénin de Cuvillers’ diplomatic mission to Constantinople (1793–1795).

Upon his return from Turkey, Hénin (born 1755) took part in the Italian campaign of 1796 and was wounded at Caldiero and Arcole.

Appointed in 1802 as assistant to the general staff in Saint-Domingue, he was entrusted by Rochambeau with the colony’s military archives, which he brought back to Paris in 1804.

His military career under the Empire ended in 1813, when he was required to justify himself before the Grenoble court martial following the evacuation of the Simplon, deemed too hasty.

Granted retirement in 1815, he lived until 1841.

The 164 dispatches summarised in this volume provide valuable insights into diplomatic life in Constantinople, relations with the Revolutionary government, news from the Asian trading posts, the situation in the Levant, and maritime and military affairs.

First edition, one of 40 numbered copies on Ingres paper, deluxe issue.

A fine copy.

Unpublished, handwritten, signed letter from André Breton addressed to critic Charles Estienne; one page and a few lines in black ink on a paper from the à l'étoile scellée gallery.
Two transverse folds from having been sent, a small corner missing in the upper right margin.
Very beautiful letter giving an account of the death of one of André Breton's dearest friends and of his quarrel with Albert Camus.
Breton tells his friend about the death of the Surrealist Czech artist Jindřich Heisler: “Your letter spoke of those days where it seemed “that there was only just enough fire to live”: on Monday there was far from enough fire, when it reached me: one of my two or three best friends, Heisler, taken suddenly unwell on his way to mine on Saturday, had to be hospitalised urgently and I had just received the pneumatic from Bichat telling me of his death. The event, no less inconceivable than accomplished, left me distraught for a long time: there was no-one more exquisite than he, putting more warmth into everything he did, the most constant of which was to lighten and embellish those whom he loved.” The two poets were indeed very close: Heisler participated, alongside Breton, in the launch of Néon in 1948 and supported him during a period of depression, accompanying him with other friends to the Île de Sein. “The beginning of 1953 was overshadowed by the death of Jindřich Heisler (4 January). Loyal among the faithful, he “lived entirely for Surrealism” according to Breton, who pays tribute to his activity as a leader: “This is how he was between 1948 and 1950, the soul of Néon, and until his last moments the greatest bearer of projects that, as if by magic, his talent gave him the means to achieve.”” (Henri Béhar, André Breton)

Autograph letter dated and signed by Alexis Léger, 26 lines in blue ink, written from Washington to his friend Emily Amram, describing the torments of his convalescence following a "stupid accident".

Folds inherent to mailing.

The poet thanks his friend for her floral attentions during his illness: "combien la présence de vos fleurs m'a aidé contre les mauvaises ombres pendant mes jours de réclusion !" and, much to his regret, must once again postpone the visit he had promised her: "une mauvaise grippe washingtonnienne, qui m'a surpris, déjà fatigué, peu après mon retour chez moi, achevé de me déprimer, et pour ne pas accabler encore l'affectueuse sollicitude de bons amis comme vous et Phil, je n'ai su, écœuré de moi-même, que me condamner au silence et à la solitude."

He intends to banish his dark thoughts by granting himself a stay by the sea in the South: "Je pars demain pour le sud et vais demander au voisinage de la mer la possibilité de me libérer, par la natation; des dernières traces de mon stupide accident."

Autograph letter signed from Georges Bataille to Denise Rollin, 40 lines in black ink, two pages on one leaf.

George Bataille and Denise Rollin's relationship lasted from the autumn of 1939 to the autumn of 1943 and left behind it a short but passionate correspondence. This letter dates from the early days of their connection, but already reveals Bataille's agonies: “Perhaps I was too happy with you for some months, even though suffering did not wait long to interrupt, at least for a time, a happiness that was almost a challenge.”
A passionate lover, Bataille moved from exultation to the deepest doubt and even offered his lover a potential way out of their relationship: “If you can't take it, me, any more, I beg you, don't deceive yourself any longer: tell me it's me, and not some foible I could have avoided and which is easily repairable.” He would rather be sac-
rificed on the altar of their love than have a relationship that was bland and flavorless: “Understand me when I tell you that I don't want everything to get bogged down, that I would really rather suffer than see a sort of shaky mediocrity as a future for you and me.”

Earlier in the letter, he turns to humor to tear him away from his worries: “I hardly dare make you laugh by telling
you that I've lost weight, so that my trousers occasionally fall down, because I've not yet gotten into the habit of tightening my belt to the new notch.” Then, he goes back to pleading: “I write to you like a blind man, because that is what you make me when you talk to me the way you do when you leave or when you phone, you make me fall into a darkness that is almost unbearable.” He then tries to get a grip on himself:
“there are moments I'm ashamed of doubting you and being afraid, or of stupidly losing my head.”
Finally, hemmed in by all his doubts as a lover, Bataille tried to find some respite in talking about the family that he had made up with Denise and her son Jean (alias Bepsy): “If you write me, tell me how Bepsy's doing, which is perhaps the only thing that you can tell me that doesn't touch something painful in me.”

In a 1961 interview, Bataille looked back on this time: "Le Coupable is the first book that gave me a kind of satisfaction, an anxious one at that, that no book had given me and that no book has given me since. It is perhaps the book in which I am the most myself, which resembles me the most... because I wrote it as if in a sort of quick and continuous explosion." The letters addressed by Bataille to Denise during this period contain the seeds of the feelings that explode in Le Coupable as in all of Bataille's work. His writing is an ebb and flow of love and suffering, between ecstasy and disappointment, calm and energy, mixing familiar and formal tones, compliments and reproaches. The letters are often impossible to date with precision as they all proceed from the same movement of ecstatic flagellation.

In 1943, Georges Bataille found a house in Vézelay where the couple settled with Laurence (Georges and Sylvia's daughter), and Denise's son Jean. It was there that Bataille completed his book Le Coupable as well as his love story since barely a month after their arrival, Diane Kotchoubey, a young woman of 23, moved in with them. Before the end of the year, Bataille left Denise Rollin for this new flame.

These previously unknown letters were kept by Bataille's best friend Maurice Blanchot who from 1944 became the new lover Denise Rollin, this woman with a "melancholic and taciturn" beauty who "embodied silence". The crumpled letters (one is even torn into five pieces) are as much the precious trace of Bataille's extraordinary passion as they are a valuable source from a little-known period of his intimate life which was until then only perceived through the eyes of his friends. Above all they are of an exceptional literary quality and reveal several sides to him: the man, the accursed, the worshipper and the profaner... all that, according to Michel Foucault, makes Georges Bataille "one of the most important writers of this century”.

First edition, with no deluxe paper copies issued (except for No. 7) for each volume.
Our complete set comprises:
Céline Notebooks 1: Céline and the Literary Scene 1932–1957.
Céline Notebooks 2: Céline and the Literary Scene 1957–1961.
Céline Notebooks 3: Semmelweis and Other Medical Writings.
Céline Notebooks 4: Letters and Early Writings from Africa 1916–1917.
Céline Notebooks 5: Letters to Female Friends.
Céline Notebooks 6: Letters to Albert Paraz 1947–1957.
Céline Notebooks 7: Céline and Current Events 1933–1961.
Céline Notebooks 8: Progress followed by Works for Stage and Screen.
Illustrations.
Rare complete set.

First edition, one of 40 numbered copies on Lana wove paper, the only deluxe paper issue.

A handsome copy.

A collection of 59 manuscript letters sent to his family representing approximately 180 pages, mostly octavo, most written on mourning paper, sometimes on letterheads notably from the Ministry of the Navy.

The collection is contained in a modern red cloth box with a black title label.

A Polytechnique graduate and marine artillery officer, Gustave Borgnis-Desbordes (1839-1900) is known for having led, from 1880 to 1883, three expeditionary columns across Upper Senegal and Upper Niger, these operations having enabled the construction of several military forts, a railway and a telegraph line of more than seven hundred kilometers linking Bakel (on the Senegal) to Bamako. He then served in Tonkin (1884-85) as colonel commanding the artillery of the expeditionary corps. He participated in several battles near the Chinese border and had to replace General de Négrier wounded at the battle of Lang Son on March 28, 1885. The hasty retreat of French troops, ordered by Colonel Herbinger, gave rise to a controversy that brought down the Jules Ferry ministry. Borgnis-Desbordes wrote a report that implicated Herbinger, but the latter benefited from an order of dismissal and Borgnis was accused of having slandered him. The present correspondence, which extends from January 1886 to August 1887, evokes the Lang Son affair and the delicate situation in which he found himself: supported by Generals Faidherbe, Brière de l'Isle and de Négrier, Borgnis-Desbordes had against him the artillery generals Virgile and Dard. Despite this, he was promoted to brigadier general on July 25, 1886. The letters evoke the numerous visits he made to friends, military men or connections in the capital, the search for possible support, and contain allusions to political life, mentioning Henri Rochefort, Louise Michel, Clemenceau, General Boulanger... Of the 59 letters, 47 are addressed to his sister Claire (wife of Henry Lethier, engineer of Ponts et Chaussées), 11 to his brother Ernest (1843-1925), Polytechnique graduate, artillery officer and future general, and 1 to his sister-in-law Emilie Lacœille, wife of Ernest. They are almost all written from Paris; some do not include a place and one letter is written from Auxerre (July 1, 1886). Extracts: 1886. "Je mène une vie absurde. Je suis en habit noir tous les soirs. J'ai dîné hier dans une maison où se trouvaient M. Jules Ferry, Jules Réache, etc. Il y avait aussi Mme Jules Ferry, fort jolie femme dans une toilette charmante. Ce soir je dîne au café de la Paix… Mardi je dîne à Vincennes, mercredi je déjeune encore en ville, etc." (I lead an absurd life. I am in black evening dress every night. I dined yesterday in a house where M. Jules Ferry, Jules Réache, etc. were present. There was also Mme Jules Ferry, a very pretty woman in a charming outfit. Tonight I dine at café de la Paix... Tuesday I dine in Vincennes, Wednesday I lunch again in town, etc.) (Paris, January 1886, to his sister). "J'ai vu mon ministre vendredi. Il m'a reçu en me disant : Eh bien ! mon cher colonel, vous voilà revenu de la comédie de St Malo. Puisque vous l'appelez ainsi avec raison, lui ai-je répondu, je n'ai plus rien à vous dire… " (I saw my minister Friday. He received me saying: Well! my dear colonel, here you are back from the comedy of St Malo. Since you call it that with reason, I replied, I have nothing more to say to you...) (Paris, February 14, to his sister). "Au Sénégal, tout commence à aller mal; mes prédictions se réalisent : le désordre va augmenter, la situation va devenir inextricable. On a envoyé tout dernièrement un gouverneur inintelligent et malhonnête; je crains qu'on ne pense à moi pour remettre en état les affaires militaires; je me cache, je fais le mort : je ne veux pas être sous les ordres de ce monsieur… Je ne sais pas ce qu'ils veulent faire à la Chambre; cela m'inquiète peu. Mon rapport me semble avoir fini d'occuper les gens. Tous depuis M. de Mun jusqu'à Clemenceau radotent; j'estime autant Baily et Camelinat que Baudry d'Asson ou Cassagnac. Tous ces gens-là sont stupides et méchants, ou ridicules et niais. Je me moque de ce qu'ils peuvent dire sur des affaires militaires dont ils ne sont pas susceptibles de parler…" (In Senegal, everything is beginning to go wrong; my predictions are coming true: disorder will increase, the situation will become inextricable. They recently sent an unintelligent and dishonest governor; I fear they might think of me to restore military affairs; I hide, I play dead: I do not want to be under the orders of this gentleman... I don't know what they want to do in the Chamber; that worries me little. My report seems to have finished occupying people. Everyone from M. de Mun to Clemenceau rambles; I esteem Baily and Camelinat as much as Baudry d'Asson or Cassagnac. All these people are stupid and wicked, or ridiculous and foolish. I mock what they can say about military affairs which they are not capable of discussing...) (s.l.n.d., to his sister). "Je reviens de chez le général Faidherbe auquel il a bien fallu me recommander. C'est un appui fragile que j'ai là; le pauvre général souffre beaucoup en ce moment. Quoiqu'il en soit, il m'a promis de faire pour moi ce qu'il pourrait. Ce sera peu de choses, l'influence des deux hommes, Général Faidherbe et Amiral Aube, l'un sur l'autre, étant aussi grande que celle d'un missionnaire sur un musulman. Je suis, paraît-il, très vivement battu en brèche. On me trouve trop jeune de grade… Le général Brière de l'Isle se remue pour moi, mais il passe, lui aussi, pour le serviteur damné de J. Ferry, et par suite son intervention ne pourra m'être utile, je le crains du moins beaucoup. J'ai vu Dislère ce matin [Paul Dislère (1840-1928), son ancien camarade de promotion à l'Ecole Polytechnique, à l'époque directeur des Colonies au ministère de la Marine]… Il ne peut non plus changer le vent qui est décidément contre moi. Il devient de plus en plus clair que la politique s'en mêle…" (I return from General Faidherbe's to whom I had to recommend myself. It's fragile support that I have there; the poor general suffers greatly at the moment. Whatever the case, he promised me to do what he could for me. It will be little, the influence of the two men, General Faidherbe and Admiral Aube, on each other, being as great as that of a missionary on a Muslim. I am, it appears, very vigorously attacked. They find me too young in rank... General Brière de l'Isle stirs himself for me, but he too passes for the damned servant of J. Ferry, and consequently his intervention cannot be useful to me, I fear it very much at least. I saw Dislère this morning [Paul Dislère (1840-1928), his former classmate at the Ecole Polytechnique, at the time director of Colonies at the Ministry of the Navy]... He also cannot change the wind which is decidedly against me. It becomes increasingly clear that politics is involved...) (Paris, May 22, to his sister). "M. Herbinger vient de faire une dernière plaisanterie en mourant en ce moment. Je vais être traité d'assassin, sans aucun doute. Et il y aura bien quelque médecin pour expliquer qu'il est décédé à la suite d'actes d'héroïsme qui ont miné sa constitution. Et que le colonel Desbordes a été assez aveugle et assez niais pour ne pas le voir… Bien que cette mort, au moment actuel, soit fâcheuse pour moi, je suis d'avis que M. Herbinger a fait un acte très sensé en décampant pour l'autre monde. C'est ce qu'il avait de mieux à faire. Que Dieu ait son âme !" (M. Herbinger has just played a final joke by dying at this moment. I will be treated as an assassin, without doubt. And there will surely be some doctor to explain that he died following acts of heroism that undermined his constitution. And that Colonel Desbordes was blind enough and foolish enough not to see it... Although this death, at the present moment, is unfortunate for me, I am of the opinion that M. Herbinger performed a very sensible act by decamping for the other world. It's the best thing he had to do. May God have his soul!) (Paris, May 27, to his sister). "Mon affaire continue à ne pas aller… Le général de Négrier a bien voulu faire une démarche pour moi auprès du chef du personnel, l'amiral Olry; il n'en a tiré aucune assurance. Le général Brière se remue tant qu'il peut, et d'autant plus qu'il considère ma nomination comme une sorte de compensation qui lui est due pour tous les ennuis et toutes les injures dont il est gratifié à cause de M. Herbinger. Mais il n'a pas, non plus, grand succès. Je sais que le général Faidherbe a plaidé ma cause auprès du ministre, mais également sans pouvoir obtenir une réponse… Ajoute à cela que les généraux d'artillerie Virgile et Dard travaillent contre moi, que Rochefort est un véritable spectre pour nos ministres, que Clemenceau ne peut pas être mon ami, que j'ai fait jouer toutes mes batteries, lesquelles sont représentées par mes généraux, mais que je n'ai pas de députés et de sénateurs dans mon sac…" (My affair continues not to go well... General de Négrier was kind enough to make an approach for me to the head of personnel, Admiral Olry; he drew no assurance from it. General Brière stirs himself as much as he can, and all the more so as he considers my nomination as a sort of compensation that is due to him for all the troubles and all the insults he is gratified with because of M. Herbinger. But he also has no great success. I know that General Faidherbe pleaded my cause to the minister, but equally without being able to obtain a response... Add to that that the artillery generals Virgile and Dard work against me, that Rochefort is a true spectre for our ministers, that Clemenceau cannot be my friend, that I have brought all my batteries into play, which are represented by my generals, but that I have no deputies and senators in my bag...) (Paris, June 1, to his sister). "J'ai enfin vu ma nomination à l'Officiel. Il paraît qu'elle était signée depuis plus de huit jours. On attendait le moment qui serait le moins pénible à Mr Rochefort, Mademoiselle Louise Michel, et aux journaux de droite et d'extrême gauche. Ils ont fait un mauvais calcul. L'expérience le prouvera. J'ai fait des visites aujourd'hui. Ça n'est pas amusant. J'ai vu l'amiral Peyron… Il m'a donné le conseil d'aller voir M. de Freycinet [président du Conseil et ministre des Affaires étrangères]… Il a été fort aimable avec moi… Je ne me suis payé qu'une petite malice. Il m'a parlé de la campagne du Tonkin, et il m'a félicité de ma bonne mine. Je lui ai répondu que la campagne du Tonkin était une expédition pour des jeunes filles. Il n'a pas insisté. Mais je suis certain qu'il a trouvé ce jugement un peu dur pour des gens qui ont fait de l'affaire du Tonkin un épouvantail…" (I finally saw my nomination in the Official Journal. It appears it had been signed for more than eight days. They were waiting for the moment that would be least painful for Mr Rochefort, Mademoiselle Louise Michel, and the right-wing and extreme left newspapers. They made a bad calculation. Experience will prove it. I made visits today. It's not amusing. I saw Admiral Peyron... He gave me the advice to go see M. de Freycinet [President of the Council and Minister of Foreign Affairs]... He was very kind to me... I only allowed myself a small mischief. He spoke to me about the Tonkin campaign, and he congratulated me on my good appearance. I replied that the Tonkin campaign was an expedition for young girls. He didn't insist. But I am certain he found this judgment a bit harsh for people who made the Tonkin affair a bugbear...) (Paris, July 26, to his sister). 1887. "Je ne sais pas encore officiellement où je suis envoyé en Inspection, mais d'après ce que j'ai entendu dire ce matin, je vais avoir à visiter la Réunion, Madagascar, la Nouvelle-Calédonie. C'est un voyage de plus de six mois, et moi qui déteste ce genre d'exercice, ça me fait un plaisir que je vous laisse à penser…" (I don't yet know officially where I am sent on Inspection, but from what I heard said this morning, I will have to visit Réunion, Madagascar, New Caledonia. It's a journey of more than six months, and I who detest this kind of exercise, it gives me a pleasure that I leave you to imagine...) (Paris, May 7, to his sister-in-law Emilie).

Autograph letter signed by Charles Baudelaire, addressed to Antoine Arondel, written in black ink on a single sheet of blue paper.
Folds typical of mailing; minor losses expertly restored without affecting the text; a small tear on the signature discreetly repaired. This letter is transcribed in Correspondance I of Baudelaire (Pléiade, p. 277) and dated by Claude Pichois to May 1854.
In it, Baudelaire sends theatre tickets to his art dealer Antoine Arondel — a notorious and unscrupulous character who exploited the poet’s boundless taste for fine arts and encouraged his collecting obsession.

First edition, with no deluxe paper copies issued.

Half aubergine shagreen binding, spine with four raised bands decorated with triple gilt compartments, marbled paper boards, marbled endpapers and pastedowns, speckled edges. Contemporary binding.

This collection of poems is followed by essays on Henry Murger by Théophile Gautier, Jules Janin, Arsène Houssaye, and Paul de Saint-Victor.

Our copy is enriched with an autograph note signed by Henry Murger, informing his correspondent that he will visit him soon.

Autograph signed calling card addressed to theatre director Simone Benmussa, 8 lines in black felt-tip, with the original envelope.

"Chère Simone Benmussa, quel succès ! J'en reçois les échos de tous côtés ! Nous vous devons tous cette merveilleuse soirée. Laiseez-moi vous dire encore Merci et Bravo. En toute amitié. R. Badinter."

Literary adviser to the Jean-Louis Barrault – Madeleine Renaud Company and, from 1957, editor-in-chief of the Cahiers Renaud-Barrault, Simone Benmussa also headed, from the Odéon Theatre, the company’s cultural department and its journal. She adapted for the stage several works by her friend Nathalie Sarraute, including Enfance in 1984 (featuring Sarraute’s recorded voice) and Pour un oui ou pour un non in 1987, as well as works by Pierre Klossowski, Jean Cocteau, Gertrude Stein, and Samuel Beckett. She was the partner of the actress Erika Kralik.
 

Autograph postcard signed by Albert Einstein to Ludwig Hopf. 18 lines written verso and recto, address also in Einstein's handwriting. Postmarked June 21, 1910. 

Published in The Collected Papers of Albert Einstein, Volume 5: The Swiss Years: Correspondence, 1902-1914, Princeton University Press, 1993, n°218, p. 242.

An exceptional and highly aesthetic card from Albert Einstein to "the friend of the greatest geniuses of his time" - according to Schrödinger - mathematician and physicist Ludwig Hopf, who introduced Einstein to another 20^th-century genius: Carl Jung.
The master invites his pupil Hopf to a dinner party, whose guests include scientist Max Abraham, future great rival during Einstein's Zurich years and a fervent opponent of his theory of relativity.

The recipient Ludwig Hopf joined Einstein in 1910 as an assistant and student at his physics and kinetic theory seminars at the University of Zürich. They signed two fundamental papers on the statistical aspects of radiation and gave their names to the "Einstein-Hopf" velocity-dependent drag force. Their letter exchanges retrace the complex path of Einstein's work on relativity and gravitation, bearing witness to their great complicity and Hopf's invaluable contribution to the Master's research. A few months after writing the postcard, Hopf even found an error in Einstein's calculations of the derivatives of certain velocity components which Einstein corrected in a paper the following year. They also formed a musical duo – Hopf accompanied on the piano the Master's violin, performing pieces by great musical geniuses like Bach and Mozart.
With this card, Einstein invited his pupil and friend Hopf to dinner with Max Abraham, at the dawn of a major scientific controversy that would pit them against each other from 1911 onwards. Abraham's theory of special relativity failed to convince Einstein, who criticized its lack of observational verification and its failure to predict the gravitational curvature of light. In 1912, their dispute became public through scientific articles. Abraham never acknowledged the validity of Einstein's theory.

During their brilliant artistic and intellectual exchanges, Hopf undoubtedly succeeded where Freud had failed, as he declared to him in a letter: "I shall break with you if you boast of having converted Einstein to psychoanalysis. A long conversation I had with him a few years ago showed me that analysis was as hermetic to him as the theory of relativity can be to me" (Vienna, September 27, 1931). As a fervent supporter of psychoanalysis, Hopf is known to have introduced the famous psychoanalyst Carl Jung to Einstein. Hopf and his teacher both left for Prague's Karl-Ferdinand University in 1911, where they met writer Franz Kafka and his friend Max Brod in Madame Fanta's salon.
With the rise of the Nazi regime, the fates of the two theoreticians were plagued by persecution and exile. Einstein first took refuge in Belgium, Hopf in Great Britain after his dismissal in 1934 from the University of Aachen because of his Jewish origins. They continued their prolific correspondence in the midst of the turmoil, Einstein suggesting to Hopf the opening of a university abroad for exiled German students. Hopf died shortly after his appointment as chair of Mathematics studies at Trinity College Dublin in July 1939.

A precious invitation from the great physicist to one of the final dinner gatherings of the "old school" of science embodied by Max Abraham, on the eve of the publication of the theory of general relativity which would overturn classical conceptions of space and time and propel Science into the 20th century.

First edition.

Bound in black half shagreen, spines with five raised bands decorated with gilt garlands, gilt dates at foot, marbled paper boards, comb-marbled endpapers and pastedowns, gilt edges.

Some foxing, mainly at the beginning and end of the volumes.

Preface by Prosper Mérimée.

First edition, illustrated with a frontispiece, in-text illustrations and maps, and a double-page map at the end.

Literary collaboration by Joseph Sachot.

Drawings, cover design and maps by André Millot.

Contemporary binding in green half shagreen with corners, smooth spine without title, marbled paper boards, illustrated wrappers bound in on tabs and preserved.

A compelling account of the life and conditions of Inuit populations: Father Roger Buliard (1909–1978), an Oblate of Mary Immaculate, served for fifteen years as a missionary in the Arctic before joining the Canadian military chaplaincy.

The book was a great success upon publication and inspired many future explorers.

Our copy includes an autograph note signed by Roger Buliard to a friend nicknamed Titi, written on thin paper and dated March 19, 1950.

Also included:

I. Two handwritten postcards addressed to the recipient of the note, along with newspaper clippings.

II. A small oblong 12mo green cloth album with eyelets and ties, containing 29 original silver print photographs, small in format (from 12 x 7 cm to 4 x 4 cm), mounted on heavy paper, depicting the author and various moments from his 1947 expedition.

A delightful ensemble.

First edition, one of 10 numbered copies on imperial japon, ours one of 3 hors commerce lettered copies, a deluxe issue following 6 on chine.

Bound in full sienna morocco, flat spine, gilt date at foot, moiré-effect endpapers and pastedowns, gilt fillet border on pastedowns, original wrappers and spine preserved (spine restored and backed), gilt edges, chemise edged in sienna morocco, slipcase in wood-effect board with white felt lining, contemporary binding signed by Roger Arnoult.

Our copy is enriched with a one-page signed autograph letter by Jean Cocteau, mounted on a guard, written from La Roche-Posay in Vienne, probably addressed to Pierre Benoit, in which he humorously evokes Charlie Chaplin, his fragile health, and his boredom: "... Me voilà dans ce film de Charlot : \"Charlot fait une cure\" - parmi les clowns et clowneries du mercurochrome... Le docteur H. arrive à éteindre mon fer de travail avec ses pelotes d'épingles aquatiques. Mon ventre gargouille. Si tu venais ce serait une très bonne cure. Que penses-tu de cette publicité pour La Roche : La Roche source d'ennuis."

A handsome copy, finely bound by Roger Arnoult, a graduate of the École Estienne, active until 1980, who collaborated with and worked for the foremost binders of his time such as René Aussourd, Anthoine-Legrain, Paul Bonet, Georges Cretté, Pierre-Lucien Martin...

"Tu me dis : Aime l'art, il vaut mieux que l'amour
[...]
Et moi. je te réponds : La langue du poête
Ne rend du sentiment que l'image incomplète" ["You tell me: Love art, it is better than love [...] And I answer you: The poet's language renders only an incomplete image of feeling"].

"Des maîtres les plus grands les œuvres les plus belles,
Auprès du beau vivant, compare, que sont-elles ?" ["The most beautiful works of the greatest masters, compared to living beauty, what are they?"]

Tu me dis : Aime l'art, il vaut mieux que l'amour ;
Tout sentiment s'altère et doit périr un jour !
Pour que le cœur devienne une immortelle chose,
Il faut qu'en poésie il se métamorphose,
Et que chaque pensée en sorte incessamment,
En parant sa beauté d'un divin vêtement.
Sentir, c'est aspirer!... c'est encor la souffrance ;
Mais créer, c'est jouir, ! c'est prouver sa puissance ;
C'est faire triompher de la mort, de l'oubli,
Toutes les passions dont l'âme a tressailli!
Et moi. je te réponds : La langue du poête
Ne rend du sentiment que l'image incomplète ;
Concevoir le désir, goûter la passion,
Nous fait dédaigner l'art et sa création ;
Formuler les pensers dont notre esprit s'enivre,
Ce n'est que simuler la vie : aimer, c'est vivre ; !
C'est incarner le rêve, et sentir les transports
Dont l'art ne peut donner que des emblèmes morts !
Des maîtres les plus grands les œuvres les plus belles,
Auprès du beau vivant, compare, que sont-elles?
Corrége et le Poussin, Titien et Raphaël,
Rubens, dont la palette est prise à l'arc-en-ciel,
Éblouissant nos yeux, ont groupé sur leurs toiles
Des visages divins et de beaux corps sans voiles !
Mais hier, quand soudain à nos regards charmés
Ces tableaux immortels se trouvaient animés,
Lorsqu'au lieu de la chair que la couleur imite,
Nous avons admiré cette chair qui palpite,
Où le sang, à travers l'épiderme soyeux,
Circule en répandant des reflets lumineux ;
Lorsque nous avons vu d'exquises créatures,
Dont les beaux torses nus, les bras aux lignes pures,
Le sein ferme et mouvant, le visage inspiré,
Faisaient vivre à nos yeux quelque groupe sacré,
Oh ! n'as-tu pas senti quelle impuissante envie
C'est de vouloir dans l'art inoculer la vie
Et ne t'es-tu pas dit, du réel t'enivrant :
La beauté seule est belle, et l'amour seul est grand !

First edition, one of 500 numbered copies on pure wove paper.

Bound in full sienna morocco, flat spine with a slight snag at head, date gilt at foot, moiré endpapers and pastedowns, single gilt fillet framing the pastedowns, original wrappers and spine preserved, gilt edges, chemise edged in sienna morocco, slipcase of wood-grained boards lined with white felt, contemporary binding signed by Roger Arnoult.

Our copy is enriched with a signed autograph letter, one page, by Jean Cocteau mounted on a tab, dated April 1959, probably addressed to Pierre Benoit: "Nôtre Pierre fantôme... c'est autour de votre souvenir qu'on se réunit. C'est une chaîne bien étonnante que celle de cette affreuse et délicieuse cabane. Pensez moi. Je pense à vous. Je vous aime et je me résigne à vous aimer en rêve."

A fine copy, handsomely bound by Roger Arnoult, a graduate of the École Estienne, active until 1980, who worked with and for the greatest binders of his time such as René Aussourd, Anthoine-Legrain, Paul Bonet, Georges Cretté, Pierre-Lucien Martin...

Autograph letter signed by Emile Zola addressed to Henry Fouquier, written in black ink on a bifolium. Usual folds from mailing.
This letter was transcribed in the complete correspondence of Emile Zola published by the CNRS and the Presses de l'Université de Montréal.

New edition bringing together, in addition to Cortés's own correspondence, a collection of documents relating to the conquest of Peru, including letters addressed to the conquistador by his principal lieutenants (cf. Palau 63 205. Leclerc 2575.)

A pupil of Silvestre de Sacy in Arabic, Pascual de Gayangos y Arce (1809-1897) was one of the foremost Spanish orientalists of the nineteenth century; his research was chiefly devoted to Muslim history.

Spine cracked with small losses, a tear at the upper left corner of the front cover, some foxing, tears and marginal losses to the rear cover.

Original black and white photograph showing Pierre Daninos with a slight smile.

A handsome ensemble. We enclose the handwritten envelope in which the photograph was sent.

Inscribed, dated and signed by Pierre Daninos in blue felt-tip pen, addressed to the prominent autograph collector Claude Armand.

Also included is a ten-line autograph letter, dated and signed, in which Pierre Daninos thanks Claude Armand and shares the title of his forthcoming book, the result of his journey around the world: "Les touristocrates".

Autograph letter from George Sand to Gustave Flaubert dated December 21, 1867, 8 pages on two lined leaves. Published in Sand's Correspondance, XX, pp. 642-645.
From one of the finest literary correspondences of the century, this letter written on Christmas Eve 1867 is a sublime testament to the frank friendship between George Sand, the “old troubadour”, and Gustave Flaubert, christened “cul de plomb” [leaden ass] after declining his invitation to Nohant to complete L'Éducation sentimentale.

Despite their seventeen year-age gap, opposing temperaments and divergent outlooks on life, the reader is gripped by the tenderness and astonishing verve of George Sand's long confession to Flaubert. At the height of her literary fame and enjoying her theater in Nohant, Sand talks at length about politics, their separation, their conception of the writer's work, and life itself.

In this “stream-of-consciousness” letter, Sand naturally and freely sets down on paper eight pages of conversations with Flaubert who made only too rare and brief appearances in Nohant: “But how I chat with you! Do you find all this amusing? I'd like a letter to replace one of our suppers, which I too miss, and which would be so good here with you, if you weren't a cul de plomb [leaden ass] who won't let yourself be dragged along, to life for life's sake”, whereas Flaubert's motto, then busy writing L'Éducation sentimentale, was rather art for art's sake. In the end of 1867, Sand grieved the death of an “almost brother”, François Rollinat, which Sand appeased with letters to Flaubert and lively evenings at Nohant: “This is how I've been living for the last 15 days since I stopped working [...] Ah'! [...] Ah! when you're on vacation, work, logic and reason seem like strange swings.” Sand was quick to criticize him for working tirelessly in his robe, “the enemy of freedom”, while she was running up and down mountains and valleys, from Cannes to Normandy, even to Flaubert's own home, which she had visited in September. On this occasion, Sand had happily reread Salammbô, where she picked up a few lines for her latest novel, Mademoiselle Merquem.

Their literary and virile friendship, similar to Rollinat's, defied the old guard of literati who declared the existence of a “sincere affair” between man and woman utterly impossible. Sand, who has been described in turn as a lesbian, a nymphomaniac, and made famous for her resounding and varied love affairs, began a long and intense correspondence with Flaubert, for whom she was a mother and an old friend. She called herself in their letters “old troubadour” or “old horse” and no longer even considered herself a woman, but a quasi-man, recalling her youthful cross-dressing and formidable contempt for gender norms. To Flaubert had compared the female writers as Amazons denying their femininity: “To better shoot with the bow, they crushed their nipples”, Sand replied in this letter: “I don't share your idea that you have to do away with the breast to shoot with the bow. I have a completely opposite belief for my own use, which I think is good for many others, probably for the majority”. A warrior, yes, but a peaceful warrior, Sand willingly adopted the customs of a world of misogynistic intellectuals, while remaining true to herself: “I believe that the artist should live in one's nature as much as possible. To the man who loves struggle, war; to the man who loves women, love; to the old man who, like me, loves nature, travel and flowers, rocks, great landscapes, children too, family, everything that moves, everything that fights moral anemia,” she then adds. A fine evocation of her “green period”, this passage marks the time of Sand's country novels, when, mellowed by the years, she gave herself over entirely to contemplation to write François le Champi, La Mare au diable and La Petite Fadette. But her love of nature didn't stop her from conquering language over men, even though at 63 she was still “scandalizing the inscandalizable”, according to the Goncourt brothers.

Faithful to her socialist ideals, she openly criticizes Adolphe Thiers in the letter: “Étroniforme [shithead] is the sublime word that classifies this species of merdoïde [shitty] vegetation [...] Yes, you'll do well to dissect this balloon-like soul and this cobweb-like talent!” As the leader of the liberal opposition to Napoleon III, Thiers had just delivered a speech in defense of the Papal States, turning his back on Garibaldi, future father of unified Italy. Everyone in Sand's home of Nohant had had a good laugh at Flaubert's logorrhea, sent three days earlier: “Let us roar against Monsieur Thiers! Can one see a more triumphant imbecile, a more abject scoundrel, a more etroniform [shit-like] bourgeois!” he wrote. Sand echoed his sentiments: “Maurice [Sand] finds your letter so beautiful [...] He won't forget étroniforme, which charms him, étronoïde, étronifère”. Against this backdrop of intense political debates, Sand also warned Flaubert, who risked jeopardizing his novel by including his criticism of Thiers in L'Éducation sentimentale: “Unfortunately when your book arrives, [Thiers] may be over and not very dangerous, for such men leave nothing behind. But perhaps he will also be in power. You can expect anything. Then the lesson will be a good one.”

Their shared socialist and anti-clericalist opinions did not prevent them from holding widely divergent views on the essence of the novel and the work of the writer: “the artist is an instrument which everything must play before it plays others. But all this is perhaps not applicable to a mind of your kind, which has acquired a great deal and only has to digest". Flaubert's detachment, his open cynicism for his characters, like a Madame Bovary harshly judged by the narrator, differed sharply from Sand's emotional and personal relationship to writing. Flaubert's almost schizophrenic attitude readily confused her and made her fear for her sanity: “I would insist on only one point, and that is that physical being is necessary to moral being, and that I fear for you one day or another a deterioration of health that would force you to suspend your work and let it cool down.” Flaubert never betrays or reveals himself through his novels, unlike Sand, who throws herself body and soul into her writing: “I believe that art needs a palette always overflowing with soft or violent tones, depending on the subject of the painting”.

While Flaubert, hard-working and full of literary anxieties, was secluded in Croisset, Sand enjoyed her freedom at Nohant, a place of family bliss but also of egalitarian living, where she “[had] fun to the point of exhaustion”. She willingly swapped tête-à-tête sessions with the inkwell for her little theater in Nohant: “These plays last until 2 a.m. and we're crazy when we get out. We eat until 5 am. There are performances twice a week, and the rest of the time, we do stuff, and the play (which) goes on with the same characters, going through the most unheard-of adventures. The audience consists of 8 or 10 young people, my three grand-nephews and the sons of my old friends. They're passionate to the point of screaming”. Persevering, she once again urged her “leaden ass” Flaubert to come out of his voluntary confinement: “I'm sure you'd have a wonderful time too, for there's a splendid verve and carelessness in these improvisations, and the characters sculpted by Maurice seem to be alive, with a burlesque life, at once real and impossible; it's like a dream.” Two years later, Flaubert would make a sensational entrance at Nohant, and Sand would leave “aching” after days of partying. During his memorable stay at Sand's he read his Saint-Antoine aloud in its entirety and danced the cachucha dressed as a woman!

Exceptional pages of George Sand in spiritual communion with her illustrious colleague; Flaubert was one of the few to whom she spoke so freely, crudely, but tenderly, sealing in words her deep friendship with the “great artist [...] among the few who are men” (letter to Armand Barbès, 12 October 1867).

Our letter is housed in a half-black morocco folder, with marbled paper boards, facing pastedown in black lambskin felt, Plexiglas protecting the letter, black morocco-lined slipcase, marbled paper boards, signed P. Goy & C. Vilaine.

First edition of this correspondence recounting the journey of Joseph-François Michaud and Jean-Joseph-François Poujoulat through Greece, the Archipelago, Constantinople, Jerusalem and Egypt (cf. Atabey 807. Blackmer 1122. Contominas 465).

Minor losses to corners on some boards and spines, a pleasant set overall.

Our copy retains, at the end of volume II, the extremely rare map that is missing from most other copies.

Autograph letter signed by Robert de Montesquiou, three pages on three leaves with the letterhead of the Hôtel-Restaurant Garnier-Perroncel in Paris. Usual fold marks, with a small tear in the margins of all three leaves, not affecting the text.

The dandy Robert de Montesquiou prepares to host a gathering at his château of Courtanvaux, once the residence of famous knight D’Artagnan.

Autograph letter signed by Honoré de Balzac to Gustave Silbermann, dated 18 May [1846], with the blind stamp of the Hôtel des Trois Rois in Basel. A delicate document, with fold marks that have caused some tears with some minute lacks of paper, affecting a few letters, including the last two letters of the author's signature.
A fine epistolary testament to Balzac's unrestrained passion for art collecting, in this likely unpublished letter addressed to his friend, the Strasbourg bookseller and printer Gustave Silbermann. Balzac was planning a stay in Strasbourg, during which he became engaged to Madame Hanska.

First edition of the French translation, illustrated with a frontispiece engraved by Lechard after Gibert [Constantine], and a folding map bound at the end (cf. Tailliart 58. Palau 328 502).

A few minor spots of foxing.

Publisher’s binding in full red cloth, spine with black and gilt oriental-inspired decorations, blind-stamped frames on covers, red endpapers slightly faded at the margins, all edges gilt.

Only French edition, highly regarded, of this epistolary account of a journey undertaken in 1878 by the Russian geologist and naturalist Tchihatcheff (1808–1890), whose main interest lay in the natural sciences but who also addressed economic matters, a field dear to his correspondent.

The work is also of particular importance for the traveller’s thoughtful and well-informed observations on the details of French colonial administration in the region.

Autograph letter by Pierre-Joseph-Marie Proudhon, signed and dated 7 November 1862. 3 pages in black ink on a bifolium. Fold of the bifolium weakened, without affecting the text. Not included in the correspondence published by Lacroix in 1875.
Significant and likely unpublished letter from Proudhon to his publisher Alphonse Lebègue, whom he considers "the cause of liberty in France and independence in Belgium" in these lines. 

Proudhon underscores the importance of his ideological struggle for federalism in Europe, following the controversial publication of his pamphlet La Fédération et l’unité en Italie, and a few months before his political testament Du Principe fédératif. He fiercely criticizes his famous adversary Adolphe Thiers’ Histoire du Consulat et de l’Empire. Since his years in Brussels, Proudhon had intended to write a book debunking the Napoleonic myth as promoted in Thiers' work.

First edition, one of 50 copies numbered on pure white rag paper, deluxe printing.

Binding in red half-shagreen with corners, spine with five raised bands framed by black fillets, some small rubbing on a few of the bands, date in gilt at the tail, framed by black fillets on the boards of speckled paper, marbled endpapers and pastedowns, covers and spine preserved, top edge gilt on witnesses.

Illustrated with 60 heliogravure plates hors-texte.

Pleasant copy despite minor marginal spots of little significance on the endpapers.

Our copy is enriched with an autograph note dated June 1929 and signed by Pierre Abraham, mounted on tab, thanking Joseph Gabalda, then president of the Balzacian Circle, for his active contribution to the realization of this work.

The work also contains another autograph note, dated and signed by the author, mounted on tab, addressed to the same person, discussing the iconographic documents used to illustrate the book.

He promises him, in return for his investment, a copy from the deluxe printing.

First edition, one of 1,000 copies on Hollande paper, the only printing along with 50 on Japan paper.
Frontispiece portrait of Paul Verlaine by Philippe Zilcken.
Spine slightly sunned, upper cover with minor marginal toning, otherwise a well-preserved copy.

First edition, with no deluxe copies printed.
Publisher's full illustrated boards.
Illustrated with drawings by André François.
Joints slightly rubbed and darkened at head and foot, as often; discreet blue ballpoint pen note at the top of the lower cover; a pleasant copy.

New edition. "American Imprints" 28030. See Lowndes II, 298 for the first edition: "Liveliness of description of scenery and manners, couched in an easy and elegant style…"

Contemporary half havana shagreen with corners, spine decorated with gilt fillets and fleurons, rubbed beige morocco label, a few minor scuffs along the spine. Gilt garland borders framing the marbled paper boards, endpapers and pastedowns of rose paper lightly soiled at margins, marbled edges. Late 19th-century binding.

Some occasional foxing.

A good copy.

First edition, one of the rare copies on Holland paper, not mentioned in the printed justification.

Contemporary Bradel binding in half black morocco, smooth spine with gilt date at foot, cat's-eye paper-covered boards, marbled endpapers and pastedowns, binding signed Champs.

Inscribed and signed by Eugène Manuel to Madame Michel Lévy.

Our copy is enriched with two dated and signed autograph letters by Eugène Manuel, mounted on tabs at the beginning of the volume, most likely addressed to one of his literary mentors regarding the first performance of his play "Les ouvriers".

In the first letter, written with delicate modesty and dated the day before the premiere on 17 January 1870, Eugène Manuel expresses his hope and longing for the distinguished recipient to attend the opening of "Les ouvriers": "Vous prendrez peut-être plus d'intérêt à l'auteur, lorsque vous saurez que je suis le neveu d'un de vos amis d'autrefois, Jules Lévy, qui avait pour vous une bien vive et bien sincère affection... [...] J'espère, monsieur, que rien ne vous empêchera d'assister à cette représentation, peu importante peut-être pour vous, puisqu'il s'agit que d'un acte, mais qui est sérieux pour moi..."

In the second, the author warmly thanks his correspondent for the attention paid to the play: "J'apprends aujourd'hui seulement que vous m'avez fait l'insigne honneur d'entretenir de ma petite pièce des Ouvriers, l'auditoire d'élite qui se presse à vos leçons du Collège de France... [...] le jugement d'un critique aussi considérable est une de ces bonnes fortunes que l'on ose ambitionner..."

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."

First edition, one of 54 numbered copies on nacreous Japan paper, the deluxe issue.

A fine copy.

Deluxe issue, enhanced by a remarkable original drawing presented to Léon Werth.

First edition under this title with illustrations by Saint-Exupéry, one of 20 numbered copies on Madagascar paper, a deluxe issue. Published just days after the original edition without illustrations, issued by Gallimard (Lettres de jeunesse 1923–1931).

The work features 10 colour illustrations by Antoine de Saint-Exupéry, as well as a cover vignette after a drawing by the author.

This copy is further enhanced by an exceptional blue and red pencil drawing by Saint-Exupéry on watermarked paper, inscribed in pencil on the verso: “Given to Léon Werth [dedicatee of The Little Prince].” A horizontal fold and a minor rust mark at the lower section, neither impairing the artwork.

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."

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

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

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

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

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

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

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

"Paris le 24 dec.46,

Mon cher Thierry Maulnier,

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

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

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

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."

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

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

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

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

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

Folding marks inherent to mailing, minor marginal tears.

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

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

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

A handsome example.

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

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

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."