Robert de MONTESQUIOUBiblio.com
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1920759331920. Fine. A priceless poetic testament from Marcel Proust's mentor hidden away and out of sight since the death of the author. s. d. ca 1920 25 x 33 cm en feuilles sous chemises The set of largely unpublished autograph poems by Robert de Montesquiou-Fezensac is brought together by the Count in a collection entitled Le Dernier Pli des neuf voiles whose composition extends from his very first collection Les Chauves-Souris 1892 to his last trilogy Offrandes 1915. Set of 620 autograph leaves. 532 unpublished first draught handwritten on the recto and numbered in pencil preserved in 3 chemises in half red contemporary morocco red morocco labels with gilt author and title; the poems are then placed in the chemises with a handwritten title and a number for publication. According to a note from the author the differences in ink have no meaning mere change of copy. Rare pages from the hand of his secretary Henri Pinard: p. 20 of Huitième voile and p. 29 of Neuvième voile. 23 pages present the printed or typewritten texts of the poems and are enriched with Montesquiou's handwritten corrections. A set of printed proofs are found at the top of the first chemise as well as a pencil tracing after Aubrey Beardsley drawn by the author and accompanied by his handwritten indications. Sublime ode to dandyism to homosexuality and beauty this worldly and poetic promenade by Montesquiou embarks the reader into the decadent fin-de-siècle Paris described in In Search of Lost Time by his friend Marcel Proust. Imbued with his legendary enthusiasm for pictorial decorative theatrical and floral art the collection also delivers hundreds of mournful verses after the disappearance of Montesquiou's lover Gabriel Yturri. Thanks to this collection of poems by Robert de Montesquiou-Fezensac all of which had been lost since 1986 it is now possible to complete the rehabilitation of the aristocratic poet who has long embodied and shaped the Parisian spirit. In May 1920 Montesquiou left handwritten instructions for the posthumous publication of the collection initially announced in two volumes and never produced. On his death a year later the poems were bequeathed to his secretary Henri Pinard who in turn sold them on an unknown date. Auctioned on 24 November 1986 they were mentioned in the LoWire-Littérature colloquium in 1989. This considerable manuscript by Montesquiou forms a veritable home of poetry like his famous aesthetic apartments described by Huysmans. The series of Voiles contain dozens of unpublished poems written in parallel with his previous collections. The author himself indicated the kinship of each voile with a published set of poems announcing here the total completion of his work by the addition of poems which still lay dormant in his papers. The three thick chemises contain rare and curious treasures sometimes drawn on colored sheets often pasted on larger sheets rigorously ordered while awaiting their publication. The poems are written without crossings-out they are fluid with rounded and precious handwriting and stand alongside other first-draught manuscripts: redactions and corrections also bear witness to the work in progress on the new poems; they were applied in the printed proofs of the work present at the top of the manuscript's first chemise. Some poems are taken as they are from collections already published but are slightly modified according to the explanations given by the author. Montesquiou also adds some handwritten notes detailing his intentions. The manuscript contains a poetic anthology of sacred art of extremely rare flowers and of antique furniture adorning his famous Parisian apartments around which so many legends were built Jacques Saint-Cère which fuelled the personalities of Des Esseintes Baron Charlus Dorian Gray and the vain peacock in Edmond Rostand's Chantecler. Moreover Montesquiou was overwhelmed by the features of these famous fictional ghosts of w unknown
192075933s. d. [ca 1920] | 25 x 33 cm | en feuilles sous chemises
195483743s. l. Meudon 1954. Fine. Céline's Ars Poetica: ""I capture all the emotion on the surface! I cram it into my metro! s. l. Meudon s. d. 1954 10 x 21 cm 34 feuillets Manuscript pages from Conversations with Professor Y' n.p. Meudon n.d. 1954 various sizes from 10x21 cm to 27x21 cm 34 sheets. Autograph manuscript by Louis-Ferdinand Céline 34 sheets of various sizes written in blue and sometimes pink ballpoint pen. Some of the pages are numbered by Céline at top left. The last folio numbered 159 is signed by the writer at the bottom. Two leaves contain previously unpublished passages: the first a few lines long refers to the Professeur. The second leaf numbered 136 features another full-page text on the verso which we did not find in the Professeur Y' or in any of the published works of Céline. Céline refers in this unpublished passage to article 75 of the penal code condemning to the death penalty any French citizen found guilty of intelligence with the enemy. It also mentions a certain ""Me Johann Niels Borggensen"" no doubt a pseudonym for his lawyer Thorvald Mikkelsen: "".supposedly to protect me from police curiosity! holy cow! he was having a ball.when you've got the warrant up your arse crossed out: article 75 anyone can do what they like with you! what a joke! we can do what we like with you.it wouldn't have been Borggensen perhaps someone else would have been worse.give me article 75 and I'll put the whole of France in a Mouse hole for you! and Germany with it! and England such a nag and Europe with it! no bomb needed! H ! Y ! Z ! I'll make you fit the atom into a."" Important set of working manuscripts bearing witness to the writing of Conversations with Professor Y' Céline's true Ars poetica. Since the first part of Féerie pour une autre fois' Fable for Another Time was not as successful as expected Céline wanted to give the release of the second part - Normance - as much publicity as possible and restore his reputation after his years of exile in Germany and Denmark. Instead of writing the usual promotional note prière d'insérer he suggested to publisher Gaston Gallimard this eulogy written in the style of an imaginary interview between himself and Professor Y alias Colonel Réséda a prostatic old man. This zany ""interviouwe"" was published in several parts in the Nouvelle Revue française in 1954 and the finished work through Éditions Gallimard the following year. Céline speaks fervently of his style and his conception of literature and vehemently criticizes the world of letters and public taste. Unlike Céline's other works the genesis of this text crucial to the understanding of his oeuvre is poorly documented and its manuscripts are rare. The Pléiade edition of Celinian novels contains only a few pages of an earlier version very close to the published text. This set of pages covering every passage of the text contains both heavily crossed-out sheets and neatly rewritten notes. It bears witness to the different stages of the writer's work: drafting an initial sheet crossing out and rewriting on the same page then transcribing short passages on separate notes. The last page of the text is extensively crossed out and rewritten resulting in a slightly different version of the published version. The manuscript also contains the famous metaphor of the metro typical of the writer's emotive style compared here to the ""dry language"" of his peers: ""Did you see Have you noticed All caught up in my metro!. what do I leave on the surface. the worst rubbish in cinema!. foreign languages then!. translations!. retranslations of our worst rubbish that they use for their ""parlants"" talking pictures superb foreign languages!. in addition to the psychology! the psychological mumbo jumbo!. all the crap. . Me it's something else! me I'm much more brutal! me I capture all the emotion!. all the emotion on the surface! all at once! I decide! I stick it in the metro! my metro! all t unknown
195483743s. l. [Meudon] s. d. [1954] | 10 x 21 cm | 34 feuillets
195483744Meudon 1954. Fine. ""What is Normance "" Meudon 1954 20 x 27 cm 16 feuillets 9 pour le premier manuscrit 7 pour le second Two unpublished autograph manuscripts signed by Louis-Ferdinand Céline in blue and red ballpoint pen: the first contains 9 pages numbered in the left-hand corner from 1480 to 1488; the second contains 7 pages numbered from 1498 to 1504. Each text is signed by Céline in red ink at the bottom margin with the words ""Meudon 54"" also in his hand ff. 1485 and 1505. There are numerous variants lines and words crossed out modified and repeated. Traces of pinholes in the upper left-hand margin of every sheet as Céline organized his manuscripts in ""bundles"". Normance was published in 1954 as a sequel to 'Fable for Another Time' published two years earlier. Both parts were written during Céline's years of exile and imprisonment in Denmark. Upon his return to France in 1951 Céline began ""polishing"" his writings and published these two monumental texts initially envisaged as a single book. ""Céline while he was working on it thought of this novel as a second Journey to the End of the Night' twenty years later capable to astonish the public as much as the 1932 novel"" Henri Godard. This set of manuscript pages corresponds to two passages from the second half of the novel Romans Pléiade IV p. 371 to 375 significantly different from the published text. This is an earlier version unknown to scholar Henri Godard as evidenced by a note in the Pléiade edition where he explains the difficulties encountered by Céline's secretary Marie Canavaggia when translating the word ""planqaouzeuze"" - appearing here on one of the manuscript leaves. Her transcription ""plaquouseuze"" eventually remained in the published text. Godard further stated he had no knowledge of this part of the manuscript i.e. our manuscript not appearing in the intermediate versions transcribed and published in the Pléiade edition. The first of the manuscripts recounts the ransacking and looting of psychic Armelle's apartment: ""How many decks did Armelle have Her fortune-telling cards were taking the air! . Ah seeress! Something she hadn't guessed was how her trembles would be tarred! They'd rip open her armchairs crush her fine hiding places! ah Pythonisse! ah the quilt now! the inside of the pillows flies! flies away!"" Céline also evokes Madame Toiselle the building's concierge: ""- It's a mess Madame Toiselle. I yell it at her. she was a maniac! . moron! she's looking now! she's looking good! ah I see her consternation.she's there in front of me on all fours. I can see her head! Her hoe! - Omelette head!"" I shout to her Omelette head'! The second focuses on Raymond in the grip of a delirious crisis thinking he's a donkey: ""Raymond Raymond! but it's your wife you're looking for! it's true he was looking for his wife.! well maybe five minutes ago he was looking for his wife! Denise! . now he's looking for himself. . - Hiian! hiiian! he answers me! There's also a comical settling of scores between Mimi and Rodolphe: ""There goes Mimi then there goes Rodolphe! Rodolphe! they're coming! and how they're treating each other! where were they on the threshold the two of them! they're taking advantage of the lull in the bombs! - Pig! Pimp! - Cabotine! coureuse! and they attack their costumes. "" Remarkable manuscripts bearing witness to Céline's tireless pursuit in finding the right word and his willingness to place himself as a direct witness to events both historical and autobiographical. These unpublished manuscript lines are typical of the Celinian style of this ambitious novel: ""The story style and tone of Normance set it apart from the rest. It is nothing more than the long account of a night of bombing in Montmartre told in his own way by Céline who had been deeply impressed by the spectacle of the bombing of the Renault automobile factories in Boulogne-Billancourt which he had witnessed from the windows of his apart unknown
190484876s. l. 1904. Fine. Because I also want success I am extremely material in my wishes for those I love and I wish them every pleasure from the highest to the crudest. s. l. mardi 25 octobre 1904 12.60 x 20.40 cm 12 pages sur 3 bifeuillets Autograph letter signed by Marcel Proust addressed to René Peter. Twelve pages written in black ink on three bifolia framed in black. Tears at the ends along the folds of the bifolia not affecting the text. Published in Kolb IV n°168. A very long letter from Proust full of innuendo to the playwright René Peter. Praising Peter's success Proust confesses to his own vanity as a writer and his literary ambitions. He subtly lets his jealousy for Peter's mistress shine through and declares his absolute devotion to Reynaldo Hahn. This is one of the first letters he sends to his childhood friend after recently reconnecting with him. Proust eternally plagued by ailments remains a recluse and apologizes for missing the rehearsal of Peter's new play Le Chiffon. Peter's three-act comedy with music by Reynaldo Hahn premiered at the Athénée the following month and was a huge success with around sixty performances before the end of the year. The young Proust relies on the glowing opinion of Hahn who had attended the rehearsals and the missive becomes a love letter for the composer and his impeccable judgement: ""Reynaldo told me that your play was delightful and ravishing which is not quite the same thing that he laughed and cried in it as he never laughs or cries in the theater and that the language was exquisite. Of that I was certain. But knowing nothing about you I couldn't know if you had dramatic genius. I am certain of it now because even if I do not know a judge as severe as ridiculously severe as Reynaldo I also do not know one who has more taste giving his enthusiasm very great value in my eyes. In a characteristic tangle of confession and denial Proust barely hides his ambitions and his quest for recognition. He hopes and prays for the same laurels he places on Peter's head: your poor and charming mother who like all those who love and who have lived life bruising all our tenderness has suffered so much is witnessing this great happiness these first rays of glory on your charming forehead which Vauvenargues says softer as the rising sun. I only speak of them in quotations having never known them myself! He will even end up instilling his own literary vocation into the fictional life of the narrator of In Search of Lost Time although the narrator's journey as a man of letters is more marked by disappointments than rays of glory so long awaited by Proust himself. However it culminates in Time Regained with an epiphany: the narrator now knows what to write and above all how to write it. The letter marks the beginnings of the Proust-Peter-Hahn trio whose complicity was such that they formed a special vocabulary of which only they had the secret. The river of words in this letter perfectly illustrates the undeniable link between desire and intellectual admiration: Because I also want success I am extremely material in my wishes for those I love and I wish them every pleasure from the highest to the crudest. Despite these displays of generosity the writer cannot however mask a certain jealousy towards Robert Danceny the fictional co-author of Le Chiffon who was none other than Peter's mistress Mme Dansaërt. Proust elegantly but explicitly refers to her: It makes me happy to think that the charming woman who I am assured is hiding under the male name of your collaborator shares half of your work. I am not talking about your success because whether she worked with you or not she would always have shared your success with her heart having I believe a deep friendship for you. Typical of a Proust transposing his desires through fiction the writer will form various dramatic and morbid scenarios between Peter and this young woman in the following years: I unknown
195483744Meudon 1954 | 20 x 27 cm | 16 feuillets (9 pour le premier manuscrit + 7 pour le second)
190484876s. l. mardi (25 octobre 1904) | 12.60 x 20.40 cm | 12 pages sur 3 bifeuillets
1943995731943 Ensemble de 10 lettres autographes signées "Edith", au total 19 pages au format in-4 ou in-8, écrites de Marseille, Paris, New York et Hollywood, entre 1943 et 1956.Rare et émouvante correspondance inédite à Robert Dalban (1903-1987), mémorable majordome des Tontons flingueurs que Piaf rencontre par l'entremise de son épouse, la comédienne Madeleine Robinson avec laquelle elle a sympathisé aux Bouffes-Parisiens. Plus qu'un ami, "son Bob" devient pour Piaf un confident, un frère : elle signe à plusieurs reprises ses lettres d'un "ta frangine Edith".Cette correspondance dévoile toute l’ardeur sentimentale de la chanteuse. En 1943, elle évoque les tensions avec son amant en titre le parolier Henri Contet, alors même qu’elle entretient une liaison avec Yvon Jeanclaude, jeune chanteur ténébreux à la voix de basse. En 1946, c’est Yves Montand qui fait battre son cœur, "tout ce que je peux te dire c'est que je l'aime à en crever !" L’interprète évoque son état de santé fragile, "c'est patraque tout le temps cette pauvre mère Piaf", et sa joie de faire la nique à "Trenet, Chevalier et Tino" qui, comme elle, se produisent en matinées à Marseille en zone libre.Le coeur d’Edith est à son paroxysme en 1949 : elle a rencontré Marcel Cerdan. Mais le boxeur disparaît dans un accident d’avion le 28 octobre alors qu'il rejoignait Piaf en tournée à New York. Dans les lettres écrites entre le 3 novembre 1949 et le 21 janvier 1950, on peut lire le choc, la profonde détresse et le deuil provoqué par ce drame : "Tu sais, ma douleur, c'est affreux, je ne réalise pas. C'était la première fois que j'aimais et puis voilà. On m'enlève tout, on me brise le cœur, on me l'arrache, on m'écrase. Je voudrais mourir mais j'ai peur de ne pas le retrouver si je me suicide. Je ne vis que dans cet espoir, être là où il est, le reste je m'en fous! (...) je n'ai plus envie de chanter, tout ce que je faisais c'était pour lui!".Les dernières lettres couvrent la période avec son mari le chanteur Jacques Pills. Si le cœur d’Edith s’est apaisée, notamment avec le soutien qu’elle a trouvé auprès des Rose-Croix, elle fait montre d’une lassitude morale et physique, "aussi je veux serrer les poings, pendant deux ou trois ans avant qu'il ne m'arrive un pépin !" (1956). Fiche détaillée sur demande.
1943995731943 Ensemble de 10 lettres autographes signées "Edith", au total 19 pages au format in-4 ou in-8, écrites de Marseille, Paris, New York et Hollywood, entre 1943 et 1956.Rare et émouvante correspondance inédite à Robert Dalban (1903-1987), mémorable majordome des Tontons flingueurs que Piaf rencontre par l'entremise de son épouse, la comédienne Madeleine Robinson avec laquelle elle a sympathisé aux Bouffes-Parisiens. Plus qu'un ami, "son Bob" devient pour Piaf un confident, un frère : elle signe à plusieurs reprises ses lettres d'un "ta frangine Edith".Cette correspondance dévoile toute l’ardeur sentimentale de la chanteuse. En 1943, elle évoque les tensions avec son amant en titre le parolier Henri Contet, alors même qu’elle entretient une liaison avec Yvon Jeanclaude, jeune chanteur ténébreux à la voix de basse. En 1946, c’est Yves Montand qui fait battre son cœur, "tout ce que je peux te dire c'est que je l'aime à en crever !" L’interprète évoque son état de santé fragile, "c'est patraque tout le temps cette pauvre mère Piaf", et sa joie de faire la nique à "Trenet, Chevalier et Tino" qui, comme elle, se produisent en matinées à Marseille en zone libre.Le coeur d’Edith est à son paroxysme en 1949 : elle a rencontré Marcel Cerdan. Mais le boxeur disparaît dans un accident d’avion le 28 octobre alors qu'il rejoignait Piaf en tournée à New York. Dans les lettres écrites entre le 3 novembre 1949 et le 21 janvier 1950, on peut lire le choc, la profonde détresse et le deuil provoqué par ce drame : "Tu sais, ma douleur, c'est affreux, je ne réalise pas. C'était la première fois que j'aimais et puis voilà. On m'enlève tout, on me brise le cœur, on me l'arrache, on m'écrase. Je voudrais mourir mais j'ai peur de ne pas le retrouver si je me suicide. Je ne vis que dans cet espoir, être là où il est, le reste je m'en fous! (...) je n'ai plus envie de chanter, tout ce que je faisais c'était pour lui!".Les dernières lettres couvrent la période avec son mari le chanteur Jacques Pills. Si le cœur d’Edith s’est apaisée, notamment avec le soutien qu’elle a trouvé auprès des Rose-Croix, elle fait montre d’une lassitude morale et physique, "aussi je veux serrer les poings, pendant deux ou trois ans avant qu'il ne m'arrive un pépin !" (1956). Fiche détaillée sur demande.
1922YQV-45S.l.n.d. [Paris], vers le 7 août 1922 [cf. le cachet postal] ; 6 pages in-8 (180 × 137 mm) ; avec enveloppe
193758431937. Branle-bas de combat , 9 feuillets manuscrits autographes (27,1 x 21 cm. ) comportant de nombreuses ratures, d’un seul mot à un paragraphe entier. Quatre paragraphes sont ainsi biffés, et non repris dans la version publiée dans la revue le CINEMAtographe. On joint à ce manuscrit les deux seuls numéros de la revue CINEMAtographe, parus en mars et mai 1937, in-folio de 16p. chacun. Le texte des 9 feuillets autographes présentés ici correspond à la seconde partie, qui occupe la p. 4 de la revue. On joint un papillon annonçant les projections du tout jeune Cercle du Cinéma qui deviendra en 1936 la Cinémathèque française.
194712735[Lausanne], [Association des écrivains vaudois - AEV], [1947]. In-4 de [106] pages, plein parchemin muet, orné au premier plat d'une composition originale du peintre Jean-Jacques Mennet. Sous emboîtage avec dos toilé muet. La maison Mayer & Soutter à Lausanne a soigné la reliure de ces pages autographes.
194934301(Paris), Gallimard, (1949). Uncut and unopened in the orig. printed wrappers, excellent copy + original handwritten manuscript-leaf in ink, 2pp., 4to, for the pages 134-138 in the first edition, containing numerous corrections and emendations as well as a burnt hole from one of Sartre's cigarettes. The paper is watermarked ""Herakles"". Both items are placed in a very beautiful custom-made red full-morocco box, internally broadened to fit both items, w. single gilt line-borders to boards and back, beatifully gilt titles on back. The manuscript-fragment is placed in a red morocco-backed plastic-folder.
1938839081938 | 21 x 27 cm | 1 page sur un feuillet
1939124898Paris Gallimard 1939 1 vol. relié in-12, cartonnage éditeur de toile bleue avec globe doré sur le premier plat, 218 pp. Deuxième tirage, achevé d'imprimer le 31 mai 1939, trois mois après l'édition originale. Un des 975 exemplaires numérotés sur héliona (Huret, IR/17), comprenant un long et très émouvant envoi où l'on retrouve tout l'esprit de camaraderie dépeint par Saint Exupéry parmi les pilotes de l'Aéropostale : "Pour Monsieur Roger Deveau qui a succédé comme patron de l'aviation civile à Casablanca au héros de la page 30 et qui, au lieu de m'engueuler si méchamment par radio, m'aurait plutôt offert à boire pour me consoler d'une nuit si pénible... En souvenir d'une vieille amitié professionnelle et des parties d'échecs que j'ai la joie de lui avoir gagnées (car je suis mauvais joueur et déteste perdre...). En souvenir enfin de tous les camarades vivants et disparus. Antoine de Saint Exupéry". Quelques légères rousseurs.
1939124898Paris Gallimard 1939 1 vol. relié in-12, cartonnage éditeur de toile bleue avec globe doré sur le premier plat, 218 pp. Deuxième tirage, achevé d'imprimer le 31 mai 1939, trois mois après l'édition originale. Un des 975 exemplaires numérotés sur héliona (Huret, IR/17), comprenant un long et très émouvant envoi où l'on retrouve tout l'esprit de camaraderie dépeint par Saint Exupéry parmi les pilotes de l'Aéropostale : "Pour Monsieur Roger Deveau qui a succédé comme patron de l'aviation civile à Casablanca au héros de la page 30 et qui, au lieu de m'engueuler si méchamment par radio, m'aurait plutôt offert à boire pour me consoler d'une nuit si pénible... En souvenir d'une vieille amitié professionnelle et des parties d'échecs que j'ai la joie de lui avoir gagnées (car je suis mauvais joueur et déteste perdre...). En souvenir enfin de tous les camarades vivants et disparus. Antoine de Saint Exupéry". Quelques légères rousseurs.
194556982Un des 700 exemplaires numérotés (n° 312 imprimé pour Henri de S...), préface de Maurice Garçon, 1 vol. in-folio en feuilles sous emboîtage éditeur rigide, Ateliers d'Impressions et de Cartonnages d'Art, s.d. [ 1945 ], 3 ff. et 20 planches en héliogravure
195283726Saint-Jean-Cap-Ferrat 1952. Fine. Saint-Jean-Cap-Ferrat août 1952 20.80 x 34 cm 52 pages Autograph manuscript by Jean Cocteau early version of the poetry collection Appogiatures - published in 1953 by Éditions du Rocher in Monaco - comprising 47 leaves of thick paper taken from a large drawing pad and 5 smaller leaves of thin paper written in blue ink and blue ballpoint pen. Numerous deletions and corrections. The leaves are numbered up to 25 including one number 8 bis and most bear a small cross or the mythical Cocteau star. The last leaf containing the poem titled ""Lettre"" is dated in the poet's hand August 15 1952. Also in Cocteau's hand the first leaf bears the final title above which is crossed out the initially envisaged title - Soucoupes volantes - the date 1952 and the place - St Jean Cap Ferrat; it also features a crossed-out dedication: ""À la mémoire de Baudelaire et de Max Jacob qui nous apprirent ces exercices de style."" While the collection clearly shows the influence of Baudelaire's Petits Poèmes en prose and Max Jacob's Le Cornet à dés this tribute was not retained in the published version and was replaced by a dedication to the publisher Henri Parisot. An exceptional ensemble containing 33 of the 51 published poems 11 texts rejected on the advice of publisher Henri Parisot and published in ""En marge d'Appogiatures"" uvres poétiques complètes de la Pléiade pp. 818-831 and 6 unpublished texts. David Gullentops in the edition of Jean Cocteau's uvres poétiques complètes in the Pléiade notes the existence of a second set of manuscripts and typescripts preserved at the Bibliothèque Historique de la Ville de Paris BHVP. He further indicates that he had access to no manuscript of the poem ""Lanterne sourde."" Yet this poem is indeed part of our ensemble which would thus be the first version of the collection envisioned by Cocteau. Jean Cocteau began writing this collection of poems in verse and prose commissioned by his friend the publisher Henri Parisot at the end of July 1952 while staying at Saint-Jean-Cap-Ferrat in Francine Weisweiller's Villa Santo-Sospir. The first version of the collection was completed in mid-August as attested by the two dates on our manuscript ""août 1952"" and ""15 août 1952"" and this entry in Cocteau's diary: ""J'ai terminé la mise au point des courts poèmes en prose pour Parisot. Il y en aura vingt-six à moins que le mécanisme continue ce que je ne souhaite pas car à la longue ces exercices d'écriture illustrés par Baudelaire et Max Jacob fatiguent."" Le Passé défini Tome 1 1951-1952 August 14 1952. Our ensemble would thus be a mixture of the first poems sent to Henri Parisot written with a pen and several added texts written with a ballpoint pen. This hypothesis is supported by the writing of the final title Appogiatures on the title page of our manuscript; Cocteau relates this change again in his diary dated August 29 1952: ""Ai . classé les poèmes pour Parisot sous le titre : Appogiatures."" Our early manuscript version contains significant variants concerning the titles of the poems; thus the poem ""Livre de bord"" was initially titled ""Le Spectacle"" likewise for ""Au poil"" for which Cocteau had previously chosen ""La langue française"" or ""Le tableau noir"" originally titled ""Le lièvre et la tortue."" The order of the poems was also considerably modified for printing: our ensemble shows that Cocteau wished to begin the collection with ""Le voyageur"" which would finally be replaced by ""Seul"" and moved to second position. Also noteworthy in our dossier is the presence of eight poems entirely in verse: these would be removed Appogiatures becoming a collection exclusively in prose. The ensemble heavily deleted and corrected also presents long passages suppressed in the published version for example this very beautiful extract from the poem ""Scène de ménage"" evoking the ""countess"" Francine Weisweiller: ""Et les larmes de la comtesse se disaient : nous sommes la mer. Et la mer se unknown
190886094s. l. 1908. Fine. Proust and the future of pastiche: ""it seems to me that it could perhaps become a more discreet more fragile and more elegant form of literary criticism"" s. l. s. d. 1908 ou 1919 11.60 x 17.80 cm 4 pages sur un feuillet remplié Autograph letter signed by Marcel Proust to his friend Maurice de Fleury a psychiatrist and famed man of letters close to Émile Zola who wrote a collection of short stories as well as various medical works on neurasthenia insomnia epilepsy Chiara Carraro Philip Kolb. Four pages written in black on a bifolium with ""Island Mill"" watermark and framed in black. Usual traces of folds. Published in Kolb VIII no. 32 p. 74-75. Superb letter extolling the merits of literary pastiche by one of the greatest writers of the genre: Marcel Proust. The writing of this letter may coincide with the publication of Proust's series of pastiches on the Lemoine Affair a scam set up by a French engineer of that name who claimed to be able to make genuine diamonds. The articles were printed on the front page of the literary supplement of 'Le Figaro' between 1908 and 1909 or date from its publication in volume under the title 'Pastiches et mélanges' in 1919. The autograph letter is presented in a midnight blue half morocco chemise with marbled paper boards beige suede lined pastedowns and a slipcase edged with the same morocco. Proust warmly thanks his correspondent Maurice de Fleury whom he describes as a ""scholar and writer"" for his favorable reception of his ""little pastiches"": ""Your double merit should make you doubly severe: and you excuse pastiche that inferior genre!"" Votre double mérite devrait vous rendre doublement sévère : et vous excusez le pastiche ce genre inférieur ! acknowledging with irony the still precarious place of this unusual genre although popular during Proust's lifetime. Pastiche was perceived more as a stylistic musing or even a student exercise than a true creation worthy of literary praise. Yet here the writer considers it here a refreshing addition to the strict hierarchy of genres that still prevailed: ""Handled however by your hands more beautiful than mine it seems to me that it could perhaps become a more discreet more fragile and more elegant form of literary criticism. Very proud minds could devote themselves to it and very fine minds like yours very attached to greatness seriousness duty as wise could take pleasure in it and follow these games."" Manié pourtant par vos mains plus belles que les miennes il me semble qu'il pourrait peut-être devenir comme une forme indirecte plus discrète plus frêle et plus élégante de critique littéraire. Des esprits très fiers pourraient s'y adonner et des esprits très fins. comme le vôtre très attraché par la grandeur le sérieux le devoir aussi sage pourrait s'y plaire suivre ces jeux. With these words Proust asserts the interest of 'critical pastiche' which was already well established and acted as an empirical analysis of an author's style. Since his years as a student in Condorcet the writer had regularly indulged in this activity with according to him varying degrees of success: ""I have also sometimes made pastiches of medical literature! these writings are now lost If I could have found them again or started them again but all that is too far away I would have published them if I had known that you read this for fun. I don't need to tell you that considered inimitable you are not among the authors I pastiched. But . others are less perfect and combined some very interesting qualities with small flaws that could be imitated and caricatured."" J'ai été aussi quelques fois à faire des pastiches de littérature médicale ! Si j'avais pu les retrouver ou les recommencer mais tout cela est trop loin je les aurais publiés si j'avais su que vous lisiez cela pour vous amuser. Je n'ai pas besoin de vous dire que jugé inimitable vous n'y figurez pas. Mais . d'autres sont moins parf hardcover
192720903[Revue: cahier politique et littéraire fondé et rédigé par Pierre Drieu La Rochelle et Emmanuel Berl-1927] ; in-4°, demi-chagrin à coins rouge vif, dos à quatre nerfs encadrant les auteurs et le titre.
195283726Saint-Jean-Cap-Ferrat août 1952 | 20.80 x 34 cm | 52 pages
190886094s. l. s. d. [1908 ou 1919 ?] | 11.60 x 17.80 cm | 4 pages sur un feuillet remplié
193770612Londres London 1937. Fine. Londres London 26 décembre 1937 17.90 x 22.90 cm une feuille Signed autograph letter to Alfred Cortot and his wife about Richard Wagner's manuscript collection: ""I was lucky enough to be able to acquire the entire lot one day before Bayreuth sent a trusted buyer"". London 26 December 1937 17.9x22.9cm one leaf. Autograph letter signed by Stefan Zweig to Alfred Cortot two pages on one sheet written in violet ink. An outstanding autograph letter in which the avid collector informs his friend Alfred Cortot of his acquisition of unpublished manuscripts of Wagner. Alfred Cortot himself owes his career as a conductor to his early discovery of the German composer. Cortot shared with Zweig his ""almost tyrannical bewitchment suffered with as much intoxication as fervor"" for the composer. Zweig who spoke of his collection as ""more worthy of surviving me than my own works"" The World of Yesterday: Memories of a European 1942 recounts for his friend the details of this incredible discovery of hundreds of forgotten leaflets including Wagner's intimate correspondence handwritten scores and excerpts from opera librettos including The Flying Dutchman The Sublime Fiancée or Bianca and Giuseppe Die Feen Das Liebesverbot The Ban on Love and a lost orchestral version of Rule Britannia. In December 1937 as he fled the Nazi regime and settled in London Zweig became fascinated by the archives of a time when intellectual Europe was living in perfect syncretism. The writer takes a nostalgic look at the manuscripts of Wagner who like him spent his youth travelling through the capitals of Europe: ""I was extraordinarily fortunate to be able to get my hands on a whole lot of Richard Wagner's musical and literary manuscripts from his early period Leipzig Magdeburg Riga and Paris during a short stay in Vienna"". Among these precious manuscripts is the extremely rare orchestral arrangement of the patriotic song Rule Britannia which had been missing for more than sixty years. Sharing his passion for Wagner with his friend the pianist Cortot Zweig announced his discovery with the wonder so familiar to collectors when faced with an exceptional find: "". the manuscript is the only one of its kind in the world that has been preserved. It contains things that will be of special interest to you for example the complete translation 60 pages of the French version unpublished I believe of the text of the ""Liebesverbot"" entirely in Wagner's hand as well as the manuscripts of a vaudeville song ""Descendons la Courtille"" which he performed in his darkest moments . almost thirty pieces of the highest interest and precisely from the rarest period. All this was hidden for 50 years in a private collection and I was lucky enough to be able to acquire the entire lot one day before Bayreuth sent a buyer"". The letter is a fascinating account of Zweig's parallel life which had earned him a reputation as an accomplished collector. His collection also inspired one of his most beautiful short stories The Invisible Collection die Unsichtbare Sammlung and a pioneering essay in the Deutscher Bibliophilen Kalender The Autograph Collection as an Art. His hundreds of historical musical and literary autographs from the Middle Ages to the 20th century were carefully catalogued and collected in the library-museum of his house in Kapuzinerberg: ""In this library a 'place of worship' he also exercises a real activity as an expert in autographs . . The library will attract a number of distinguished scholars sometimes accompanied by their assistants who will not hesitate to return to work there quietly for days or even weeks at a time"" Stefan Zweig le voyageur des mondes Serge Niemetz. With this acquisition Zweig sees the dream of every collector come true. After two years of exile in England Zweig returned to Vienna in time to purchase these exceptional documents from Bayreuth's emissaries who had already built up unknown
194191043circa 1940-1941 | 18.5 x 27.5 cm | 17 feuillets
