Charles BAUDELAIREBiblio.com
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185468690Paris 1854. Fine. Paris 25 Juin 1854 11.50 x 18.50 cm une page recto-verso Handwritten letter dated and signed by Charles Baudelaire to Philoxène Boyer concerning the intriguing Léontine B. Paris 25 Juin 1854 11.5 x 18.5 cm one page recto-verso Handwritten two-page letter dated 25 June 1854 and signed by Charles Baudelaire to Philoxène Boyer whom he calls «my dear Lyrique» in which he apologises for having missed a meeting with him he confesses his impecuniosity to him and reports to him on the efforts made by Léontine B. an intriguing person who will end up compromising Philoxène Boyer because of his debts to attend a party to which she is not invited and which holds a certain jealousy: «You surely assume my dear Lyrique that yesterday something serious happened for me to have missed this meeting. Here is what I would have told you: 1 my money has not come; but it will come. / 2 Léontine is obstinate. I am convinced that I have fulfilled my confidence mission very well. I came back three times. When I finally could explain to her carefully that this party was for family secret that Boyer himself was supposed to ignore it she replied: Well it's no longer a secret since I know.» Finally while recognising Léontine as «a very original turn of mind» and although the attitude of this troublesome scheme: «causes you worry and I understand.» Charles Baudelaire pleads for indulgence and leniency: «since she persists so proudly I would urge you to let the event run. It is after all only the homage of a dizzy mind.» unknown
1805669741805. Fine. 10 Floréal 13 30 avril 1805 18.50 x 23.10 cm une feuille Stendhal's autograph letter addressed to his sister Pauline. 28 lines written with a fine writing in black ink. First name ""Pauline"" from the hand of the sender at the bottom of the letter. Inventory number ""36"" in ink from another hand. Two small traces of stamp and stamp a small tear restored in the bottom margin of the page. A few tiny folds inherent in the enveloping of the letter. Rare and beautiful letter of Stendhal addressed to his sister Pauline in which all the sensitivity of the young man and his love for the dramatic art shows more than twenty years before his big romantic successes. This letter comes from the correspondence between Henri Bayle here twenty-two years with his sister Pauline three years younger. This true epistolary liaison which quickly took the form of a ""diary"" - Pauline's answers were rare - is an essential milestone in the constitution of the intellectual journey of the future Stendhal. Our letter of a great lyricism testifies to the strength of the bond uniting the young writer and his sister: ""Let's shake each other my good friend. We will never find anyone who loves Pauline as Henry nor will Henry ever find a more beautiful soul than Pauline. ""The use of the third person and a lover vocabulary erects the young woman to the rank of alter ego a sister-soul and even perfect mistress. The young Henri is then precisely under the yoke of a devouring passion for the actress Melanie Guilbert whom he met during his declamation classes at Dugazon: "" I'm going to be bored perhaps by my dark sadness. I know very well that the seriousness of ardent passions is not pleasant. "" Contrasting with this passionate relationship Pauline symbolizes reason and balance a figure that Henri like a pygmalion can fashion at leisure. In good tutor he advises: ""Learn by heart roles. About declamation I will teach you a thousand things. I'm bringing you a Gil Blas and a Tracy. ""We understand here worship Stendhal devoted to the theater from his earliest years both as a player as a playwright the fund of its archives to the Grenoble Library contains nearly 700 sheets of blanks:"" I am in despair at not being able to wear you Beanies. But wait maybe someday will come . as Ulino says. ""This passion for theater Henry intends to pass it to his sister:"" We will work like hell during the time that I stay in Grenoble. ""In total opposite view with the education of women in his time he put a point of honor that Pauline is an educated person; In several letters moreover we find injunctions from the brother ordering his sister to give up needlework in favor of the reading he recommends. Truly obsessed with theater and convinced that he will become an author of successful comedies he works tirelessly: ""I am told a room where I will not be free and where I can not just declaim. Try to disturb this arrangement. ""Years before writing great novels that make her famous Stendhal already understands that loneliness is for him a source of creation and says:"" A lonely is jealous of his freedom. It is his greatest good as that of all men. "" unknown
186562589Biponti Deux-Ponts 1865. Fine. Biponti Deux-Ponts Vendredi 12 mai 1865 13.20 x 20.80 cm 1 page sur un feuillet remplié Autograph letter signed by Charles Baudelaire written in ink and addressed to his mother. A few underlinings deletions and authorial corrections. This letter was first published in Charles Baudelaire Dernières lettres inédites à sa mère in 1926. Former collection of Armand Godoy no. 197. A precious letter from Baudelaire's Brussels period during the poet's voluntary exile at the end of his life. « Il est douteux que j'habite quelque part à Paris. Je crois que j'habiterai surtout une voiture dans laquelle je ferai si je peux toutes mes courses en un ou deux jours. » Haunted by Paris the city of vice and creditors he dreads this brief return. His exile in Brussels is in his eyes a sign of failure and ever since arriving in Belgium he has delayed his return to France. Yet weary of the flat country he despises he mocks its inhabitants: « On est lent ici. » The poet like the seventeen-year-old student who once promised his mother he would get back on track now vows: « Me voici en mesure d'accomplir tous mes plans. Je ne sais comment t'exprimer ma reconnaissance ; et je crois que la meilleure manière sera d'exécuter mes promesses. » Literally obsessed with this sacred mother « who haunts his heart and his mind » the « grateful son » sees himself as incapable of fulfilling his poetic destiny without her undivided attention. unknown
184475148Paris 1844. Fine. Paris 11 février 1844 10.40 x 13.60 cm quatre pages sur deux feuillets Three autograph letters signed by Gérard de Nerval 2 pages signed «Gérard» Théophile Gautier 1 page and a third unsigned letter 1 page penned by a certain «Robert» cf. Nerval's letter Louis Desessart Théophile Gautier's appointed publisher co-published Nervals play Léo Burckart with Barba in 1839. Following financial difficulties he was forced to take refuge «in that sad and charming city of Brussels». The three friends wrote this letter from Paris where they had reunited following Nervals long journey to the East: «I spent six months in Egypt; then three months in Syria four months in Constantinople and the rest en route. Its quite beautiful. I only enjoy myself while traveling and try to live twice as much as I can.» This journey deeply impressed Théophile Gautier who would only travel to Turkey and Egypt years later: «I am in Paris and wish I were in Cairo from where Gérard is returning.» The exoticism of distant lands starkly contrasts with the melancholy and severity of Europe: «How sad Paris is when one returns from sunlit countries.» Nerval And in Paris far from dreams of escape life means toil and melancholy: «We are like sick people who are never comfortable anywhere. I think the good times are gone and the golden hours of the past when we spoke such wise follies will never return. Whats the point of living if we must work and cannot see our friends or write to them or do anything we would like» Gautier The two writers express great compassion for their friends Belgian exile with Brussels appearing as the capital of spleen: «What! Youre still in that sad and charming city of Brussels! . Brussels is even darker poor fellow!» Nerval This joint letter was in fact initiated by «Robert»: «Isnt it true my dear friend that Im quite skilled at making you forget my faults . as a way of making it up to you Im sending you the autographs of two of your . comrades your fondest memories two men of fame who despite all their affection and friendship for you would never have written a word had I not trimmed their quills and handed them paper like sulky children and told them: write at once at once to the exile you love most.» unknown
183386496s. l. Neuchâtel 1833. Fine. Eve's first kiss: 'The gods grant no favours untainted.' s. l. Neuchâtel 29 septembre 1833 13.40 x 21.10 cm une page sur un double feuillet Autograph letter signed by Honoré de Balzac addressed to his friend the writer Charles de Bernard. One page written in black ink on a bifolium. On the verso of the second leaf appears the address of the recipient Charles de Bernard du Grail written in Balzacs hand along with postal stamps and the seal bearing the arms of the Balzac dEntraigues family which the author had appropriated. A few minor holes not affecting the text; fold marks as usual from mailing. Published in his correspondence Paris Calmann Lévy 1876 CXIV pp. 252253. Balzac wrote this letter four days after his very first meeting and first kiss with Madame Hanska in Neuchâtel following many months of epistolary correspondence. « Jai été très heureux ici. Je suis très content de ce que jai vu le pays est délicieux ; mais vous savez que Jupiter a deux tonneaux et que les dieux nont point de faveurs qui soient pures. » ""I have been very happy here. I am most pleased with what I have seen; the country is delightful. But you know that Jupiter has two jars and the gods grant no favours that are untainted."" Two years after receiving the first letter from the Stranger Éveline Rzewuska a lovestruck Balzac left Paris to join her in Switzerland. His brief stop in Besançon ostensibly a convenient detour served as a polite pretext for his departure from the capitalwhere he took the opportunity to visit his correspondent Charles de Bernard. « Il me semble que je vous ai bien peu remercié de la bonne journée que vous mavez donnée ; mais jespère vous prouver que je ne suis point un ingrat. À mercredi donc ; vous devez penser que jaurai bien du plaisir à vous revoir vous qui avez fait que mon voyage à Besançon na pas été inutile et que jy ai trouvé du plaisir ». I fear I thanked you all too little for the delightful day you gave me; but I hope to prove that I am not ungrateful. Until Wednesday then you must know how much I look forward to seeing you again you who ensured that my journey to Besançon was not in vain and even brought me joy. After a day in Besançon and a chaotic journey by mail coach Balzac finally met his beloved though regrettably in the company of her husband Count Hanski. Seizing upon the Counts absence the writer stole a long-awaited kiss with Madame Hanska on an ancient stone bench upon the hill of Crêt. In the rapture of their first encounter he could not help but invoke La Fontaines ominous fable in his letter: « mais vous savez que Jupiter a deux tonneaux et que les dieux nont point de faveurs qui soient pures ». but you know that Jupiter has two jars and the gods offer no favours untainted. His love affair with Madame Hanska would prove far from serene as Gonzague Saint Bris aptly summed it up: eighteen years of love sixteen of waiting two of happiness and six months of marriage. Neuchâtel would remain a powerful emblem of their union recurring in some sixty of their letters. Neuchâtel is like the white lily he wrote to her pure with a penetrating fragrance youth freshness brilliance hope happiness glimpsed. De Bernard who had previously arranged his journey to Switzerland was once again tasked with organising Balzacs return: « Jaurai le plaisir de vous revoir mercredi 2 octobre. Voulez-vous avoir lobligeance de me retenir une place à la malle pour Paris ». I shall have the pleasure of seeing you again on Wednesday 2 October. Would you be so kind as to reserve me a place in the mail coach to Paris The journey separating him once again from his beloved proved wretched: The mail coach was fully booked for six days so my friend from Besançon Charles de Bernard was unable to secure me a place. I was thus obliged to travel on the roof of a diligence in the company of five Swiss from the canton of Vaud unknown
1823759401823. Fine. s. d. ca 1823 12 x 18.20 cm Six pages sur deux feuillets rempliés Almost entirely unpublished handwritten letter from the painter Eugène Delacroix to the love of his youth the mysterious Julie now identified as being Madame de Pron by her maiden name Louise du Bois des Cours de La Maisonfort wife of Louis-Jules Baron Rossignol de Pron and daughter of the Marquis de La Maisonfort Minister of France in Tuscany patron of Lamartine and friend of Chateaubriand. 90 lines 6 pages on two folded leaves. A few deletions and two bibliographical annotations in pencil on the upper part of the first page no114. This letter is one of the last to his lover in private ownership all of Delacroix's correspondence to Madame de Pron being kept at the Getty Research Institute Los Angeles. Only nine of the ninety lines of this unpublished letter were transcribed in the Burlington Magazine in September 2009 alongside the long article by Michèle Hanoosh Bertrand and Lorraine Servois whose research finally revealed the identity of the famous recipient. Sublime love letter from twenty-four-year-old Eugène Delacroix addressed to his lover Madame de Pron twelve years his senior who unleashed the liveliest passion in him. This episode of the painter's youth then considered the rising star of Romanticism for a long time remained a mystery in the biography of Delacroix who was careful to preserve the anonymity of his lover thanks to various pseudonyms: Cara the Lady of the Italians and even Julie as in this letter in reference to the famous epistolary novel Julie ou la Nouvelle Héloïse by Rousseau. For obvious reasons Delacroix did not sign his name on any of the letters in correspondence with the lady. A great figure of the legitimate aristocracy the recipient of this feverish letter is Madame de Pron daughter of the Marquis de La Maisonfort Minister of France in Tuscany patron of Lamartine friend of Chateaubriand. Her beauty was immortalized in 1818 by Élisabeth Vigée-Lebrun who painted her portrait in pastel with an oriental hairstyle. Delacroix and Madame de Pron met in April 1822 when the portrait of the latter's son Adrien was commissioned a pupil at the Lycée Impérial now Lycée Louis-le-Grand. Delacroix had been commissioned for the portrait by his close friend Charles Soulier Madame de Pron's lover who despite himself served as an intermediary for Delacroix. In the absence of Soulier who had gone to Italy the painter and the young women established an intense romantic relationship. The portrait commission became a pretext for their tender meetings in his studio on rue de Grès while no trace of the child's painting has been found to this day. Their adventure lasted a little over a year but it was one of the most intense passions of the artist's life. Our letter undoubtedly corresponds to the last throes of their relationship in the month of November 1823. After one of their visits at the end of a hiatus of several months Delacroix writes to her again under the influence of emotion: I come home with a shaken heart what a wonderful evening! . Sometimes I say to myself: why did I see her again In the calm sanctuary where I lived even in the middle of the invisible places that I had formed . I managed to silence my heart. Madame de Pron had indeed decided to bring an end to their intimate relationship see her letter from 10 November 1823: I want sweet friendship . I do not want to torment you Getty Research Institute. Losing all discernment and with blind devotion Delacroix attempts to revive their affair: Make me lie prove to me that your soul is indeed that of the Julie that I once knew since mine has regained its charming emotions and its worries. But the painter runs into Soulier and General de Coëtlosquet also lovers of Madame de Pron. Delacroix had narrowly avoided a final disagreement with Soulier who had almost seen a letter from Madame de Pron in h unknown
1808689671808. Fine. 26 mars 1808 20 x 24.80 cm 3 pages 1/2 sur un double feuillet Long autograph letter by Stendhal addressed to his sister Pauline written in fine handwriting with black ink. Address of Stendhal's father where his sister resides in Grenoble with the stamp ""n°51 Grande Armée."" Red wax seal bearing Stendhal's coat of arms. Several original folds inherent to postal delivery. A paper loss due to the unsealing of the letter has been skillfully restored. Published in his Correspondance ed. Henri Martineau Paris Le Divan 1933 vol. 3 no. 262 A pp. 26-29. A very beautiful letter filled with romantic passion blending childhood nostalgia with sentimental tales and foreshadowing The Red and the Black. This letter is part of the correspondence between twenty-five years old Henri Beyle and his sister Pauline three years his junior. This epistolary relationship which quickly took the form of a ""journal"" as Pauline's responses were rare. It is deemed a crucial milestone in the intellectual development of the future Stendhal: ""Here are my dreams my dear friend; I am almost ashamed of them; but after all you are the only person in the world to whom I dare confess them."" In this letter which attests to the strong bond between brother and sister Stendhal then in Germany expresses his deep nostalgia: ""I revisited in my memory all the time we spent together: how I did not love you in our childhood; how I once hit you at Claix in the kitchen. I hid in the little book cabinet; my father came back a moment later furious and said to me: 'Wicked child! I would eat you!' Then all the woes inflicted upon us by poor Aunt Séraphie; our walks along those paths surrounded by stagnant water towards Saint-Joseph."" These regrets about the past are accompanied by a typically Stendhalian melancholy: ""Alas! That delightful happiness I once imagined I glimpsed it once at Frascati and a few other times in Milan. Since then it has not returned; I marvel at my inability to feel it. The mere memory of it is more powerful than all the present joys I can procure."" This evocation of the Italy he longs for is intertwined with memories of the women he loved: ""I told you that while in Frascati at a charming fireworks display at the moment of the explosion Adèle leaned on my shoulder for an instant; I cannot express how happy I was. For two years whenever I was overwhelmed with sorrow this image gave me courage and made me forget all my troubles. I had long forgotten it; I tried to recall it today. Against my will I see Adèle as she is; but as I am now there is no longer the slightest joy in this memory."" This lengthy account of Adèle Rebuffet his cousin with whom he had a profound romantic relationship before forming a closer bond with her mother reflects Stendhal's sentimentality. He also mentions another of his great passions Angelina Pietragrua the ideal Italian woman and embodiment of his Milanese memories: ""Madame Pietragrua is different: her memory is linked to that of the Italian language; whenever something pleases me in a role for a woman in a work I involuntarily put it into her mouth."" This ""role for a woman"" that Stendhal refers to echoes the central theme of this letter the work Il Matrimonio segreto by composer Cimarosa: ""Do you sometimes play the Matrimonio Its the passage Cara sposa at the beginning between Carolina and Paolino. . But play the Matrimonio for my sake especially Signor deh permettette and the finale Io rival de mia sorella."" This opera by Cimarosa remained a constant throughout the writer's life and work. In his Memoirs of an Egotist 1832 he explains: ""In Milan in 1820 I wanted to have this written on my tomb . I wanted a marble tablet in the shape of a playing card: ""Errico Beyle - Milanese - Visse scrisse amò - Quest'anima adorava Cimarosa Mozart e Shakspeare - Morì di anni. il . 18."" ""Henri Beyle - Milanese - He lived wrote loved - This soul adored Cimarosa Mozar unknown
1892734381892. Fine. 1892 20 x 29.50 cm 4 pages sur un double feuillet Exceptional complete autograph manuscript of Ravachols 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 isnt lost by Jove! Émile Pouget in Père Peinard July 310 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 Ravachols 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 wasnt 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 its practically unreadable . Thats exactly what the bastards wanted dammit! . Im 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 Ravachols 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 Ravachols 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 thered be no fear of bakers adding dangerous ingredients to bread to make it look better or heavier since it wouldnt profit them and theyd have like everyone else and by the same means access to what they needed for their work and existence. Thered 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 atten unknown
1871833181871. Fine. « So that justice finally be done for women » Mardi 7 novembre 1871 13.30 x 20.80 cm 2 pages sur un feuillet double 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 uvres 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. « Mardi 7 novembre 1871 Monsieur on m'a demandé d'urgence mon intervention pour les condamnés à mort. L'accomplissement de ce devoir a retardé ma réponse à votre excellente lettre. Vous avez raison de compter sur moi pour affirmer l'avenir de la femme. Dès 1849 dans l'Assemblée nationale je faisais éclater de rire la majorité réactionnaire en déclarant que le droit de l'homme avait pour corollaires le droit de la femme et le droit de l'enfant. En 1853 à Jersey dans l'exil j'ai fait la même déclaration sur la tombe d'une proscrite Louise Julien mais cette fois on n'a pas ri on a pleuré. Cet effort pour qu'enfin justice soit rendue à la femme je l'ai renouvelé dans les Misérables je l'ai renouvelé dans le Congrès de Lausanne et je viens de le renouveler encore dans ma lettre au Rappel que vous voulez bien me citer. J'ajoute que tout mon théâtre tend à la dignification de la femme. Mon plaidoyer pour la femme est vous le voyez ancien et persévérant et n'a pas eu de solution de continuité. L'équilibre entre le droit de l'homme et le droit de la femme est une des conditions de la stabilité sociale. Cet équilibre se fera. Vous avez donc bien fait de vous mettre sous la protection de ce mot suprême : l'Avenir. Je suis Monsieur avec ceux qui comme vous veulent le progrès rien que le progrès tout le progrès. Je vous serre la main. Victor Hugo » ""Tuesday november 7 1871 Sir I have been urgently asked to intervene on behalf of those sentenced to death. The fulfillment of this duty has delayed my reply to your excellent letter. You are right to count on me to defend the future of women. As early as 1849 in the National Assembly I made the reactionary majority burst into laughter by declaring the rights of man as natural counterparts to the rights of woman and the rights of children. In 1853 in my Jersey exile I made the same declaration on the grave of an outlaw Louise Julien but this time people didn't laugh they wept. I renewed this effort to finally do justice to women in Les Misérables I renewed it in the Congrès de Lausanne and I've just renewed it again in my letter to Le Rappel which you are kind enough to publish. I would add that every single one of my theatrical works aims to dignify women. As you can see my plea for women is long-standing and persevering and no other has ventured to continue with this endeavor. Balance between men's rights and women's rights is one of the conditions of social stability. This balance will be achieved. I commend you for placing yourself under the protection of this supreme word: the Future. I am Sir with those who like you want progress nothing but progress the whole of progress. I shake your hand. Victor H Although this letter focuses primarily on advocating for women's rights it begins with the death penalty: I have been urgently asked to intervene on behalf of those sentenced to death. The fulfillment of this duty has delayed my reply to your excellent letter. Shortly after the Paris Commune the October 1871 pages of Hugo's diary la hardcover
