A small tear in the right margin of the letter, crease marks inherent to folding for mailing.
André Malraux shows himself in perfect agreement with Roger Nimier regarding a joint project also including journalist André Parinaud.
Autograph letter signed by Louise Michel addressed to Lucien Barrois; one and a half pages written in black ink on a bifolium of white paper with black border. Transverse folds inherent to mailing. Tears to lower margin without loss at the fold.
Louise Michel requests help for one of her friends: "Vous savez que le père Blin ne peut plus travailler depuis deux mois passés, voici maintenant la mère Blin qui vient de tomber très malade. Voyez ce qu'on pourrait faire vous savez tous les services qu'ils ont rendus en 70-71. Mon petit cousin [...] aidera le père Blin à tenir son kioske (sic) mais cela ne donne pas de secours à la maladie de Mme Blin. Mme Barrois devait revenir demain samedi ici qu'elle ne l'oublie pas mais je la prie bien aussi de voir ce qu'on pourrait pour Mme Blin." ["You know that father Blin has been unable to work for the past two months, and now mother Blin has just fallen very ill. See what could be done, you know all the services they rendered in 70-71. My little cousin [...] will help father Blin run his kiosk but that doesn't provide relief for Mme Blin's illness. Mme Barrois was supposed to return here tomorrow Saturday, may she not forget it, but I also earnestly ask her to see what could be done for Mme Blin."]
Mme Blin actively participated in the Paris Commune alongside Louise Michel; with other Parisian women, they created the Women's Vigilance Committee and asked Louise Michel to take charge of it.
Moving letter, testimony to the unfailing devotion of the former Communard.
« Il faut avant de rentrer en cage [...] que je vous demande le grand service de faire entrer à l'hospice mon cousin (le petit Dacheux) à qui vous avez bien voulu faire avoir sa dispense d'âge. » ["Before returning to the cage [...] I must ask you the great favor of having my cousin (little Dacheux) admitted to the hospice, for whom you were kind enough to obtain his age exemption."]
The former communard has indeed just been sentenced to four months in prison for having given a speech in favor of the Decazeville miners, alongside Jules Guesde, Paul Lafargue and Étienne Susini. But for now, it is the condition of her cousin Lucien Dacheux that concerns her:
« Son genou étant de plus en plus malade on l'envoie en congé de deux mois, mais il faut qu'il entre à l'hospice s'il ne veut pas rester estropié. De plus on n'a pu lui donner une mécanique pour son genou et en même temps le médecin lui disait que c'était indispensable - peut-être pourra-t-il en avoir une au Val de Grâce - je le recommande bien à vous et au citoyen Lafont - J'irai vous voir pour cela et une autre chose du même genre avant le 12 mais s'il était possible de faire entrer avant à l'hospice le petit Lucien Dacheux je serais bien heureuse car il sera tout à fait estropié et incapable de continuer son service où on est très content de lui. » ["His knee being increasingly ill, they are sending him on two months' leave, but he must be admitted to the hospice if he doesn't want to remain crippled. Moreover, they couldn't give him a mechanism for his knee while at the same time the doctor told him it was indispensable - perhaps he could get one at Val de Grâce - I recommend him highly to you and to citizen Lafont - I will come to see you about this and another matter of the same kind before the 12th, but if it were possible to have little Lucien Dacheux admitted to the hospice beforehand I would be very happy because he will be completely crippled and unable to continue his service where they are very pleased with him."]
Louise Michel met Clemenceau in October 1870 when he was mayor of Montmartre and she was assistant schoolmistress. From their first meeting was born a strong friendship that lasted until Louise Michel's death. Clemenceau never ceased to support her, particularly during her banishment to Nouméa, and they maintained an extensive correspondence.
A moving letter, testimony to the unwavering devotion of the former communard and to the great friendship that united Louise Michel to Georges Clemenceau.
Complete autograph manuscript dated and signed of the article “Note sur la Solution du problème monétaire anglo-indien”. 5 pages in black ink on a leaf and a bifolium; 4th page signed and dated: “Léon Walras Vers chez les Blancs sur Lausanne, 3 juillet 1887”. The 5th page was added later and includes numerous autograph corrections and added remarks.
◇ Autograph manuscript of the reviewed version of the last page. A page dated and signed “Léon Walras Vers chez les Blancs sur Lausanne, juillet 1887.”
◇ Autograph manuscript with the economist's calculations, 4 pages on 2 leaves.
◇ Autograph manuscript of the English translation for the last part, a page written by Walras on the verso of an envelope addressed to him.
◇ Typescript of the transcription by William Jaffé, typed on 4 leaves of thin paper with corrections and crossed out sections by Jaffé.
◇ Note on the solution of the Anglo-indian monetary problem. Two copies of the proofs, one twice signed by Walras with numerous autograph corrections and notes by Walras.
◇ “Note sur la solution du problème monétaire anglo-indien”, offprint of the Revue d'économie politique, November-December 1887. A sizable tear not without lack of text.
Unique set of manuscripts, typescripts, translations, corrected proofs and offprints of one of Léon Walras' first forays into international economics. This work helped the economist gain recognition among English-speaking peers at a time when their language was becoming the official scientific standard instead of French.
“L. Walras [was] one of the first to recommend the use of a price index to guide monetary policy. Its multiple standard provides the information that determines interventions intended to eliminate variations in the value of money. This multiple standard is nothing more than a price index used for specific purposes. The usefulness of such an index, which was far from universally accepted at the time when L. Walras demonstrated its usefulness, is now recognized.” (Jacoud Gilles. “Stabilité monétaire et régulation étatique dans l'analyse de Léon Walras” in Revue économique)
Autograph letter signed by Victor Hugo to Léon Richer, two pages in black ink on a double sheet framed in black. Crosswise folds inherent to envelope inserting. A central tear at the junction of the two sheets. Published in Œuvres complètes de Victor Hugo (Ollendorff, 1905).
Manuscript housed in a blue half morocco chemise and slipcase, marbled paper boards, marbled paper slipcase, signed Boichot.
A magnificent and important letter to Léon Richer, one of the first male feminist activists, considered by Hubertine Auclert as the "father of feminism" and later regarded by Simone de Beauvoir as its "true founder". This deeply humanist text is a compendium of Victor Hugo's campaign for the abolition of capital punishment and the female attainment of social equality and civil rights.
"Si quelque part au monde le coeur de la liberté continue à battre, s'il est un lieu d'où ses coups nous parviennent mieux frappés que de partout ailleurs, nous savons tous que ce lieu est l'Espagne." ["If anywhere in the world the heart of freedom continues to beat, if there is a place from which its beats reach us more clearly struck than from anywhere else, we all know that this place is Spain."]
"N'oublions pas que le monstre qui pour un temps nous tient encore à sa merci s'est fait les griffes en Espagne. C'est là qu'il a commencé à faire suinter ses poisons : le mensonge, la division, la démoralisation, la disparition, qui pour la première fois il a fait luire ses buissons de fusils au petit matin, à la tombée du soir ses chambres de torture. Les Hitler, les Mussolini, les Staline, ont eu là leur laboratoire de vivisection, leur école de travaux pratiques. Les fours crématoires, les mines de sel, les escaliers glissants de la N.K.V.D., l'extension à perte de vue du monde concentrationnaire ont été homologués à partir de là. C'est d'Espagne que part l'égouttement de sang indélébile témoignant d'une blessure qui peut être mortelle pour le monde. C'est en Espagne que pour la première fois aux yeux de tous, le droit de vivre libre a été frappé." ["Let us not forget that the monster that still holds us at its mercy for a time sharpened its claws in Spain. It is there that it began to make its poisons seep: lies, division, demoralization, disappearance, where for the first time it made its thickets of rifles gleam in the early morning, its torture chambers at nightfall. The Hitlers, the Mussolinis, the Stalins, had their vivisection laboratory there, their school of practical work. The crematory ovens, the salt mines, the slippery stairs of the N.K.V.D., the endless extension of the concentration camp world were approved from there. It is from Spain that flows the indelible dripping of blood testifying to a wound that may be mortal for the world. It is in Spain that for the first time in everyone's eyes, the right to live free was struck down."]
Autograph manuscript signed, one a page written in black ink on a sheet of yellow lined paper and titled by the author: “Draft 8 – Preface for French edition 8 – Price Theory”; numerous erasures and corrections. At the top left of the sheet, in ballpoint pen, autograph signed: “For Bernadette Platte, Milton Friedman”.
Extremely rare autograph manuscript signed by the 1976 Nobel Prize winner, one of the most influential economists of the 20th century, whose entire archives are now kept at the Hoover Institution Library & Archives, Stanford University. The few Friedman manuscripts still in private hands are particularly desirable and sought-after. Important theoretical text of the first two paragraphs of the preface to Price and Economic Theory, first French translation of Price Theory, published in 1983 by Economica editions. Completed on September 7, 1983 at Stanford University, this original version in English is completely new. Price Theory, Friedman's major work (Chicago, Aldine Press, 1962) whose definitive version was published in 1976, the year Friedman won the Nobel, is a fundamental essay directly inspired by his lectures at Chicago University. For his first publication in France, seven years later, Friedman therefore undertook to compose a completely new preface intended for this public less naturally won over to monetarist ideas than the Americans.
Our manuscript, the final version of a text that required eight rewrites as evidenced by the exergue, still bears multiple modifications underlining the attention paid by Friedman to the reception of his work by the French readership. Spearhead of Ronald Reagan's economic policy, Friedman's theory of prices comes from a long tradition of French and Anglo-Saxon thinkers whom the economist takes care to quote in this manuscript: “From the French physiocrats and Adam Smith to Léon Walras and Alfred Marshall to Maurice Allais and Paul Samuelson, a body of theory has been elaborated and refined that essentially all economists accept and use in their analysis of the problems for which it is relevant”. As a connoisseur of the French spirit, Friedman thus insists on the connection between the economic liberalism of his famous “school of Chicago” and the philosophy of the Enlightenment, dear to the intelligentsia of the old continent. It is moreover in homage to this French critical spirit that he opens his preface with an ironic anecdote on the relativity of economic theories: “There is a long-standing myth that if two economists discuss any topic, they will have at least three opinions about it”. We note, however, that he replaces the real author of this trait, who is none other than Churchill, with an anonymous “long-standing myth”. The repetitions and redactions on our manuscript show Friedman's temptation to analyze the origin of this myth: “This myth rests like most myths” is crossed out and replaced by an irrevocable “Whatever small element of validity this myth may have with respect to some topics, it has none whatsoever with respect to the core of economics... price theory.”
The second paragraph of our manuscript is a promotion of his monetarist theories which, at the beginning of the 1980s, had just borne fruit: their application by the American Federal Reserve led to a sharp decline in inflation and a historic rise of the dollar. At the height of his influence, Friedman then saw his works, including Price Theory, republished, taught around the world and translated into several languages. He emphasizes here the central importance of his theory for understanding the world market: “For price theory seeks to understand how the actions of hundreds of millions of people spread around the surface of the globe interact through a market to determine the price of one good or service relates to another, the wages of one hour of labor relates to another, the cost of one unit of capital relates to another.” The continuation of the French preface, of more classical composition, is absent from our manuscript, which nevertheless includes a blank verso. This very elaborate introduction could thus turn out to be a late addition to the text initially planned, marking Friedman's effort to conquer the French capital, which had just, in 1981 elected its first socialist government since 1936.
Very important and extremely rare economic manuscript, unpublished in its original language, of the theorist who greatly influenced the financial policy of the United States and shaped the economy of the modern world.
Extremely rare autograph letter signed « Restif Labretone » addressed to Citoyenne Fontaine. Three pages written in black ink on a double sheet of laid paper. Remains of a wax seal, folds inherent to mailing.
This letter was published, with some inaccuracies, in Lettres inédites de Restif de Labretone by V. Forest and É. Grimaud, 1883.
Complete autograph manuscript of 106 pages entitled: “Mémoire de la construction et agrèz d'une galère ordinaire, avec l'explication des termes, l'usage des manœuvres, et de toutes les parties qui composent le corps de la galère et son armement”. Penned in a neat, unrubricated hand, with occasional marginal notes in another hand.
Contemporary full vellum binding, lightly soiled with minor wear, smooth spine without lettering.
A major and invaluable manuscript chronicling the revival of the French galley fleet, written by the most influential galley shipwright of his time: Jean-Baptiste Chabert.
We have identified only two other manuscripts bearing this same title: one belonged to Commander Noël Fourquin, a master mariner and specialist in nautical lexicography; the other was owned by Louis-Philippe himself. The latter is listed under no. 445 in the catalogue of the sale of his Palais-Royal and Neuilly libraries held in December 1852, and bears a binding identical to ours.
Exceptional complete autograph manuscript of Ravachol’s true last testament — largely unpublished — unknown in this form, preceding its rewriting by a third party for publication in the press. A unique testimony to the genuine thought of the anarchist icon.
Four-page lined quarto manuscript, entirely written in black ink and signed twice “Konigstein Ravachol” at the foot of each sheet. Pencil corrections within the text, possibly in the hand of his lawyer. Some horizontal folds and very minor marginal tears, without loss.
Written in his prison cell during the second Montbrison trial that led to his death sentence, this text, hastily penned, without punctuation or capital letters, and in naïve spelling, was meant to be delivered orally by Ravachol during the hearing.
“Ravachol was dead set on putting in his two cents for the defence, not to defend himself, but to explain. No luck, dammit! Four words in and the judge cut him off. His statement isn’t lost, by Jove!” (Émile Pouget, in Père Peinard, July 3–10, 1892).
This self-styled Rocambole of anarchism was not allowed to read his statement aloud, but he handed it to his lawyer Maître Lagasse, and by June 23 the forbidden text appeared in the conservative newspaper Le Temps.
This first publication was so faithful to the original that it preserved the author's eccentric spelling — a fidelity that Émile Pouget would ironically criticise in the Père Peinard issue of July 3, 1892, one week before Ravachol’s execution: “Le Temps, that opportunist bedsheet, printed it as is. Like a true Jesuit, it even printed it too true. Ravachol had written the thing for himself; he knew how to read it — but there wasn’t a word of correct spelling, seeing as he knew about spelling as much as he knew about cabbage farming. Le Temps printed the thing without changing a line, so it’s practically unreadable [...]. That’s exactly what the bastards wanted, dammit! [...] I’m reprinting it below, without changing a word, just fixing the spelling.”
That same July 3 issue of Père Peinard included a corrected version — orthographically — of the statement initially published in Le Temps.
This dual publication, combined with Ravachol’s defiant bearing before the guillotine, had a powerful effect on public opinion. Until then, even anarchist publications had kept a certain distance from this provocative criminal, suspected of using the anarchist cause for personal gain. But following his execution, the testament was quickly reproduced in other newspapers, and Ravachol’s final cry of revolt soon became a genuine anarchist anthem among libertarians worldwide.
However, the version circulated in the press — the only known version until now, the original manuscript having disappeared — differs markedly from the manuscript in our possession.
Indeed, the style was lightly polished, several turns of phrase refined, and, most significantly, entire passages were excised, including the conclusion paragraph, which was fully replaced.
Our manuscript, with its crossings-out and revisions, is likely the original version of this political testament. Written in a single burst, in dense handwriting, without punctuation or paragraph breaks, it includes two lengthy sections expressing concerns for public health that are entirely absent from the published version.
The first is a third of a page-long passage about the “dangerous ingredients” added to bread: “no longer needing money to live, there’d be no fear of bakers adding dangerous ingredients to bread to make it look better or heavier, since it wouldn’t profit them, and they’d have, like everyone else and by the same means, access to what they needed for their work and existence. There’d be no need to check whether the bread weighs right, if the money is counterfeit, or if the bill is correct.”
The second, nearly a full page long, concerns the silk-dyeing industry in which Ravachol had worked: “If one reflects attentively on all the wasted materials and the energy required to produce them, it becomes clear that all that labour was for nothing — to produce chemicals and fix them on silk, which then gets burned by the overload of ingredients dangerous to workers and turns the silk into something unsafe to touch or wear, especially from the dust released when these chemicals dry.”
The length of these passages — and their absence from the printed version — indicates their importance to the author and profoundly alters the discourse’s reception.
Unlike the well-known version, this manuscript focuses on individual well-being and public health. More importantly, it draws on the personal experience of its author — his background as a silk worker — which formed the bedrock of Ravachol’s political awakening. The only other known manuscript by him (now lost, but transcribed in the republican newspaper L’Écho de Lyon) also featured a digression on silk-making and its effects on worker health.
Yet the published speech makes no mention of this formative occupation, which concludes the original manuscript. Instead, a prosaic paragraph is replaced with a strikingly eloquent plea whose polished style and rhetorical flourish break entirely with the rest of the speech — now linked only by Ravachol’s peculiar spelling.
“Yes, I repeat: society creates criminals, and you jurors…”; “I am just an uneducated worker; but because I have lived the life of the wretched, I feel the injustice of your repressive laws more keenly than any wealthy bourgeois.”; “Judge me, gentlemen of the jury, but if you have understood me, then in judging me, you judge all the wretched.”
Powerful rhetoric, and a grandiloquent finale in which one struggles to recognise the oral style of a worker whose only other fully published text — his Memoirs, dictated to his guards on the evening of March 30, 1892 — ends as abruptly and unceremoniously as our manuscript.
This soaring conclusion in praise of anarchism — for which no manuscript trace exists, and which is wholly absent even in outline from our version — is, beyond doubt, apocryphal.
Given that the first publication appeared in a conservative newspaper, it is unlikely that the journalist authored it. It is far more probable that the version sent to the press was revised and polished by Ravachol’s lawyer, Maître Louis Lagasse — an engaged legal advocate for several anarchist newspapers and future Radical-Socialist deputy.
Our manuscript thus sheds light on the ideological reframing of Ravachol’s message — not a betrayal, but a careful recasting within a more intellectual framework. The appropriation of this man, still the day before vilified as corrupting the anarchist cause, proved a complete success. He became an icon of defiance and independence, celebrated in song, sanctified in novels, idolised by fighters, and even institutionalised — his name becoming, in Walloon, a common noun.
Alongside Proudhon and Bakunin, the grand theorists of anarchy, there was lacking a figure of action — someone who embraced the violence at the core of nihilist ideology. Through this extraordinary declaration, Ravachol became that long-awaited martyr.
It is doubtful whether the authentic version of Ravachol’s speech, as we reveal it today, would have had such an impact — especially when, as Émile Pouget noted about its first appearance, “you’ve got to bust your brains to catch the meaning.” But he added slyly: “Those stuffed-shirt bourgeois think you have to spell right to have ideas in your head.”
Indeed, it would be presumptuous to claim that Ravachol’s reputation was usurped by the pen of a clever ideologue. The original manuscript, while revealing the fabrication, also highlights the genuine depth of Ravachol’s ideas and the roots of his revolt. Every notion polished or reworded by the lawyer is, albeit in rougher form, present in the manuscript.
For Ravachol, misery and deprivation drive the desperate to crime. From the outset, he holds accountable “society, which by its organisation sets people in constant conflict with one another, [and] is solely responsible.”
In response, the justice system, he argues, treats not the causes but the consequences of poverty: “Perhaps, in time, people will understand that the anarchists are right when they say that to achieve moral and physical peace, we must eliminate the causes that breed crime and criminals. [...] Well, gentlemen, there are no more criminals to judge, only the causes of crime to eradicate.”
This defence of anarchist violence is not gratuitous: despite his limited writing ability, Ravachol outlines a reform and proposes a utopian vision based on social justice: “In creating the Code, legislators forgot that they were not attacking the causes but merely the effects, and thus were not eliminating crime. [...] It would suffice to build a new society where all is held in common, and where each, producing according to ability and strength, could consume according to need.”
And in denouncing social misery, Ravachol’s original text needed no reworking by his lawyer: “Do those who have more than enough care whether others lack the essentials? A few will offer small help, but it’s negligible and cannot relieve all those in need — who will die prematurely due to all kinds of deprivation, or choose suicide to escape a miserable life, to avoid enduring the torments of hunger, countless humiliations, with no hope of relief.”
Stripped of rhetorical embellishment, this moving manuscript reveals the preoccupations of a man condemned to die. Death is omnipresent — both of criminals driven by need, and of the impoverished who labour to exhaustion. The rapid scrawl, lack of punctuation, and breathless phrasing convey the urgency of a final testament: an ink-drenched gasp in which the condemned man tries to explain his actions and summarize his struggle. There is no pause for the reader — the four pages are filled to the last line, and Ravachol, as if to stand by every word or fearing he would not finish, signs each sheet.
A previously unpublished testimony from Ravachol — who stole and killed to survive — this testament reclaims his thought in all its authenticity. Here, we see the final words of an ordinary man, driven by a real fight for justice — far removed from both the anarchist-Christ image and the criminal-Judas who hijacked the libertarian cause.
The man who emerges from this crucial document is certainly no orator. But his speech — twice censored, by judge and lawyer — reveals humanist concerns likely too advanced for his time. At the height of the industrial revolution, he denounces not only poverty and the unequal distribution of wealth, but also the dangers of industrial chemistry for the health of the working class.
Behind the ideologue and utopian Ravachol, this unpublished manuscript reveals François Claudius Koënigstein — more modest in tone but more visionary in thought — a forerunner of the ecological and public health challenges of the future.
A powerful last testament to human dignity.
Recto-verso fragment of a manuscript book of hours on parchment with sumptuously illuminated full-page borders. This compartmentalized division of the ornaments is representative of the production of Rouen and Parisian workshops at the turn of the 16th century.
Two illuminated pages on a recto-verso leaf: border divided into bands and flowers decorated with floral motifs and leafy designs, gilt initials painted in alternating red and blue and rubrics.
The richness of the illumination characterizes these liturgical books intended for laypeople. Books of hours were at the time jewels of piety, both an instrument of religious practice and a social claim affirmed by the richness of the artists' work. A veritable small painting, this leaf is probably extracted from a luxurious volume where each page was carefully painted.
We find here a fragment of the Office of the Dead at the moment of lauds. On the recto of the leaf: antiphon "A porta" followed by the canticle "Ego dixi in dimidio dierum meorum...". The office of the dead is a collection of prayers dedicated to the salvation of the souls of the deceased. More than commiseration, this devotion reflects the constant fear of medieval men for death.
Script called cursiva libraria on long lines. Witness to the formalization of cursive writing at the dawn of the French Renaissance, this script is emblematic of the production of French copyists for laypeople during the period.
Recto verso fragments of a manuscript book of hours on parchment with sumptuously illuminated full-page borders. This division into compartments of the ornaments is representative of the production of Rouen and Parisian workshops at the turn of the 16th century.
Two illuminated pages on a recto verso leaf: border divided into bands and fleur-de-lis decorated with floral motifs and scrollwork, gilt initials painted in alternating red and blue and rubrications.
The richness of the illumination characterizes these liturgical books intended for laypeople. Books of hours were at the time jewels of piety, both an instrument of religious practice and a social claim affirmed by the richness of the artists' work. A veritable small painting, this leaf is probably extracted from a luxurious volume where each page was carefully painted.
We find here a fragment of the penitential psalms, the end of the fourth psalm "Miserere mei, Deus, secundum magnam misericordiam tuam..." and the beginning of the following one "Domine, exaudi orationem meam,et clamor...". This part of books of hours ordinarily serves to ask forgiveness for one's sins and to express repentance.
Writing called cursiva libraria on long lines. Witness to the formalization of cursive writing at the dawn of the French Renaissance, this script is emblematic of the production of French copyists for laypeople during the period.
Recto verso fragments of a manuscript Book of Hours on parchment with sumptuously illuminated full-page borders. This compartmentalized division of ornaments is representative of the production of Rouen and Parisian workshops at the turn of the 16th century.
Two illuminated pages on a recto verso leaf: the border is divided into bands decorated with floral motifs and leafy designs, gilt initials painted in alternating red and blue and rubriques.
The richness of the illumination characterizes these liturgical books intended for laypeople. Books of Hours were at the time jewels of piety, both an instrument of religious practice and a social claim affirmed by the richness of the artists' work. A veritable small painting, this leaf is probably extracted from a luxurious volume where each page was carefully painted.
Here we find a fragment of the Hours of the Virgin between the end of the office of none and the beginning of vespers. Despite the antiphon "Missus est", different from the classical usage of the Roman ritual, we find following it the usual psalm eight: "Dixit dominus...". This antiphon is found rather in the liturgy of the diocese of Die, but with the announcement of the rubric preceding vespers, we can suppose a minor Roman usage.
Writing called cursiva libraria on long lines. Witness to the formalization of cursive writing at the dawn of the French Renaissance, this writing is emblematic of the production of French copyists for laypeople during the period.
Recto verso fragments of a manuscript book of hours on parchment with sumptuously illuminated full-page borders. This compartmentalized division of ornaments is representative of the production of Rouen and Parisian workshops at the turn of the 16th century.
Two illuminated pages on a recto verso leaf: border divided into bands decorated with floral motifs and foliate scrolls, gilt initials painted in alternating red and blue and rubrics.
The richness of the illumination characterizes these liturgical books intended for laypeople. Books of hours were at the time jewels of piety, both an instrument of religious practice and a social statement affirmed by the richness of the artists' work. A veritable small painting, this leaf is probably extracted from a luxurious volume where each page was carefully painted.
We find here a fragment of the hours of the Virgin between the end of the office of vespers and the beginning of compline. The succession of pieces at the end of vespers approaches the use of Die but the capitulum differs "Egredietur virga radice iesse et flos de radice eius ascendet", this could also be a minor Roman use as the rubric of the announcement of vespers announced it.
Writing called cursiva libraria in long lines. Witness to the formalization of cursive writing at the dawn of the French Renaissance, this writing is emblematic of the production of French copyists for laypeople during the period.
Recto verso fragments of a manuscript book of hours on parchment with sumptuously illuminated full-page borders. This compartmentalized division of ornaments is representative of the production from Rouen and Parisian workshops at the turn of the 16th century.
Two illuminated pages on a recto verso leaf: border divided into bands and lozenges decorated with floral motifs and leafy designs, gilt initials painted in alternating red and blue and rubrics.
The richness of the illumination characterizes these liturgical books intended for laypeople. Books of hours were at the time jewels of piety, both an instrument of religious practice and a social statement affirmed by the richness of the artists' work. A true small painting, this leaf is probably extracted from a luxurious volume where each page was carefully painted.
We find here a fragment of the Office of the Dead at the moment of the first nocturn of matins. On the recto of the leaf: antiphon "Dirige me" followed by psalm five "Verba mea auribus percipe, Domine...". The office of the dead is a set of prayers dedicated to the salvation of the souls of the deceased. More than commiseration, this devotion reflects the constant fear of medieval men for death.
Script called cursiva libraria on long lines. Witness to the formalization of cursive script at the dawn of the French Renaissance, this script is emblematic of the production of French scribes for laypeople during the period.
Recto verso fragments of a manuscript book of hours on parchment with sumptuously illuminated full-page borders. This compartmentalized division of ornaments is representative of the production from Rouen and Parisian workshops at the turn of the 16th century.
Two illuminated pages on a recto verso leaf: border divided into bands and lozenges decorated with floral motifs, fruits and leafy designs, gilt initials painted in alternating red and blue, line fillers and rubrics.
The richness of the illumination characterizes these liturgical books intended for laypeople. Books of hours were at the time jewels of piety, both an instrument of religious practice and a social statement affirmed by the richness of the artists' work. A true small painting, this leaf is probably extracted from a luxurious volume where each page was carefully painted.
We find here a fragment of the suffrages which contains four prayers to the Saints: to St. John the Baptist, St. John the Evangelist and two others "Pulchre salutationes ad xpm. videlicet in elevatione corporis ipsius" followed by "Alia salutatio. Salue sancta caro dei..."
Script called cursiva libraria on long lines. Witness to the formalization of cursive script at the dawn of the French Renaissance, this script is emblematic of the production of French scribes for laypeople during the period.
Erotic manuscript consisting of two beveled wooden boards with two paintings and 10 leaves with a painting on the recto and a handwritten Tibetan text on the recto. The text is the same on the 10 leaves, it is a mantra. On two of the leaves it is almost completely erased. On the recto of the two wooden boards there are also two different handwritten mantras. The paintings are executed directly on the wood and the leaves. The dimensions of the paintings vary somewhat, from 5.5 cm, 6 cm to 12, 14 cm in width.
This form, 2 pieces of wood with leaves in the middle, is traditional. The whole was often attached by a string, or by holes in the wood through which a string was passed. Very good condition overall, with small stains on the paintings on wood.
The paintings unfold 12 sexual positions in an abstract and geometric environment, composed of curves. In several paintings the colors of the background, of the ground change. The woman systematically wears a crown. It is easy to distinguish the religious or sacred character of sexuality in these images. The colors used are vivid, with an omnipresence of orange, golden and white strokes, yellow...
Letter typed and signed from André Malraux to Maurice Béjart. One leaf headed by the Ministre d'Etat chargé des Affaires Culturelles (Ministry of Culture), bearing a stamp from 29 January 1969.
André Malraux hopes to place choreographer Maurice Béjart in charge of the Ballet de l'Opéra in Paris.
Exceptionally rare autograph satirical poem by Louis Aragon, entitled Distiques pour une Carmagnole de la Honte, written between September 1944 and February 1945. 26 lines penned in black ink on a single leaf, with a note from the author in blue ink at the foot of the page.
Our manuscript belongs to a group of thirteen poems composed during the first half of 1945, intended for publication in a poetry anthology (Aragon, published by Pierre Seghers in Paris, Collection “Poètes d’aujourd’hui” no. 2, 20 July 1945). It was sent by Aragon as a working copy to his editor and friend Claude Roy. This autograph poem is the only known manuscript of the Distiques, with neither manuscript nor proofs held in the extensive Triolet-Aragon archives at the Bibliothèque nationale de France.