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Mann, Thomas, Schriftsteller und Nobelpreisträger (1875-1955).MareMagnum

Eigenh. Briefentwurf. [Princeton, 18. XI. 1939].

2½ SS. auf 2 Bll. Gr.-4to. An den Vorstand der "League of American Wrighters", dem US-amerikanischen Schriftstellerverband, zu dessen Ehrenpräsidenten Thomas Mann im Juni des Jahres ernannt worden war. - Im November erschien im Bulletin der League der Artikel "France today" von Elliot Paul, den Thomas Mann verwundert "als Letzter und nur zufällig zu sehen" bekam. - "Aber der Aufsatz selbst stellt eine nur zu überzeugende Rechtfertigung dieser Notmaßnahmen dar, denn er beweist die völlige Abhängigkeit des internationalen Kommunismus von der russischen Macht- und Bündnispolitik, er dient nicht etwa sachlicher Information, sondern ist ein Akt stalinistischer Kriegssabotage, eine politische Kampfhandlung gegen die Demokratien zugunsten Hitlers und Stalins". - Besonders diesen Absatz hat Mann in dem Entwurf stark überarbeitet, eine erste Fassung wurde nach zahlreichen Änderungen vollkommen gestrichen und auf dem zweiten Blatt neu begonnen. Auch diese Fassung weicht von der gedruckten Fassung in einigen Passagen und Formulierungen ab. - "Zwischen dieser Gesinnung [seiner eigenen, "anti-totalitären und demokratischen Überzeugung"] und der einer Vereinigung, aus der Manifeste wie der Artikel ›France today‹ hervorgehen, besteht eine solche Übereinstimmung aber offenbar nicht, und so kann ich die mir freundlichst übertragene Ehrenstellung nicht länger als gerechtfertigt ansehen". - Da ihm "laute Demonstrationen widerstehen", bittet er, seinen Namen von dem ihm eingeräumten Ehrenplatz zu streichen [...]". Auch hier finden sich im Entwurf zahlreiche Streichungen und Änderungen. - Der Entwurf entstand wohl noch am 17. November, denn bereits am 18. November diktierte er seiner Frau Katja die endgültige Fassung, am 24. November wurde das Schreiben übersetzt und dürfte kurz danach abgeschickt worden sein. - Für Thomas Manns politische Stellung in seiner Exilzeit und seine Sicht auf das Verhältnis der westlichen Welt zum stalinistischen Russland von ganz enormer Bedeutung. Durch die zahlreichen Bearbeitungen hat der Briefentwurf Manuskriptcharakter. - Gelocht und mit Abdruck einer Büroklammer. Vom Vorbesitzer ehemals im Rahmen präsentiert, daher im Passepartoutausschnitt leicht gebräunt. - Mit Bleistiftanmerkung zum Empfänger und dem Hinweis "Geschenk von Frau Mann 1970". - Thomas Mann, Briefe 1937-1947, SS. 134/135.

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Mathieu, Georges, French painter (1921-2012).MareMagnum

Collection of 10 autograph letters signed ("Georges" or "Mathieu"), 2 autograph postcards signed, 1 typed letter with 2 handwritten lines signed, 2 autograph letters, and 3 autograph dedications. [Paris], Gstaad, and Saint-Tropez, 1965-1967 and n. d.

Various formats. Altogether 50 pp. With four autograph envelopes. In French. Correspondence with his art dealer and friend Raymond Nacenta (1899-1979), director of the Galerie Charpentier in Paris, concerning upcoming exhibitions, artistic projects, payments, and holidays (among other subjects). Mathieu’s style of writing is hyperbolic and bursts with enthusiasm, often matched by expressive calligraphy. In the longest letter in this collection, one of only two dated letters, Mathieu showers Nacenta with thanks and compliments: "The benefits of which I found myself the object by your care [...] are too great to be the external mark of my merit in spite of the very particular esteem that you seem to have made of my person [...] Happy; yes, you have made me happier than I can say [...] Your generosity is so much greater in intention than that of the Great Alexander that it can never be rewarded by the thanks I could give. Ah, if I were allowed at least to grant you the diadem of the Persians or the praises of Homer! [...]” (25 April 1966). In a letter in red ink, dated to 24 June with no year, Mathieu describes his anticipation of a coming exhibition: "I am thus living my last days of calm before undertaking the greatest battles of my history. Bloody adventure, where it will please me to triumph with You". - In a letter that can be dated to 1971-72, Mathieu mentions to Nacenta that he had met President Pompidou and told him that "he will receive a charming medal". The letter closes with one of Mathieu's starkest hyperboles: "I curse the merchants who make me work in the cold of my icy workshop, and I curse the muses who seem to have abandoned me. In this season the cows would keep me warmer. What am I, alas, the little Jesus!". In 1972, a tin medal designed by Mathieu was issued to commemorate the 10th anniversary of the Fifth Republic. Five years earlier, Mathieu had designed a bronze medal for the French railway company SNCF. On 20 Nov. 1967 Mathieu sent to Nacenta a zinc mould and some proofs necessary for casting the medal. In the accompanying letter, Mathieu states that he had talked to the general secretary of SNCF, Jules Antonini, and was ready to accept his payment in vouchers. - Mathieu was highly interested in French art and design of the 17th and 18th centuries. In the letters he mentions Charles LeBrun, Antoine Watteau, and the sculptors Philippe Caffieri and Pierre Lepautre who, for Mathieu, is "the incarnation of that so French measure which I flee from and which I need so much". In a postcard from Gstaad that is embellished with a beautiful calligraphic drawing in blue and red ballpoint, Mathieu exclaims: "Long live the masterpieces and artisanal rehabilitation", a motto that resonates with his art historical interests. A contemporary artist mentioned in the correspondence is Pierre-Yves Trémoin who "seems to be enchanted by the commission that you gave him". With respect to his own work, Mathieu reminds Nacenta: "You have forgotten that I was 'anti lithography of luxury numbered even for good works'" and therefore instead offered a gouache that "will not be multiplied". The two postcards are co-signed by a mutual friend named Solange, possibly the former actress and collector Solange Turenne. - All letters on Mathieu’s personal stationery with an embossed print of his design "Moult de Parte". This design reappears in three red seals on one of the envelopes. The brown ink and calligraphy of the address on this large cardboard envelope match the letter from 25 April 1966. Minor browning to the margins and occasional minor tears. Well preserved with traces of folds and some buckles.

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Matta, Roberto, Chilean painter (1911-2002).MareMagnum

Autograph letter signed "Matta" with original drawing. In French. N. p., [ca. 1949].

4to. 2 pp. in pencil with red and green oil pastel highlights on brown paper. Pencil drawing with additions in green and blue oil pastel (ca. 70 x 30 mm). Beautiful, rare illustrated letter to the New-York-based art dealer Julien Lévy, concerning a colour reproduction of one of Matta’s paintings for the "Horizon" magazine of the British collector and patron Peter Watson. In his typical poetic and associative style, Matta moves from rather obscure remarks to the matter at hand: "At the tenebrum of the theatrical death of the city, purring of this red lake of lobster [?], or as a construction of the spirit one could have lost, in a photographic atmosphere, the white girl (limit of the representation of this colour). Black waters of the Gulf, I hide you! damned. I learned from [Nicolas] Calas that Watson in London would like to reproduce one of my canvases in his magazine, if possible in colour. I do not have a single photograph of my paintings, expensive embroidery, I do not know the price of a colour photograph, but if it is possible, well (if impossible, an automatic black and white and somewhat exalted)". Matta asks Levy to hire a photographer named Lee, probably his friend Lee Miller: "It would be necessary to send, if possible, the colour negative of the canvas with the central tree of multiple problems of vision (re-folding in its astral being). Canvas 15 Figure, which is in the gallery and which answers to the name of 'Memorable transformations of Death'". The negative was to be sent to London by plane, as the matter was pressing. - Julien Lévy was Roberto Matta's art dealer in New York and did his first solo show in 1940. The painting supposed to be photographed cannot be identified with certainty but it is quite likely "Fabulous Race Track of Death (Instrument very dangerous to the eye)", dated ca. 1941 and held in the Yale University Art Gallery. The similarities of the title and the representation of a tree suggest this identification. Horizon no. 117 (September 1949) featured a text on Roberto Matta by Pierre Mabille and reproductions of several of his paintings. - At the top of the first page, Matta calligraphed "Julien" in large letters with black and red oil pastels. The original drawing of an amorphous shape incorporates an illegible text and is captioned: "Fatal circles of the fly“. Matta signed with green and red oil pastels.

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Mirabeau, Honoré Gabriel Riqueti comte de, French revolutionary (1749-1791).MareMagnum

"Le lecteur y mettra le titre". Autograph manuscript (fragment). [Amsterdam, ca. 1777].

Small 4to. 4 pp. on bifolium. This beautiful manuscript corresponds with pages 17 (3rd paragraph) to 24 (1st line) of the 1777 publication of Mirabeau's defence of instrumental music, "Le lecteur y mettra le titre". Published anonymously and giving London as a fictitious place of printing, Mirabeau was previously identified as the author of the text based on two letters. The manuscript in Mirabeau's hand confirms his authorship beyond any doubt. - The text was written in Amsterdam, just before Mirabeau's arrest and four-year imprisonment in Vincennes, under the impression of a performance of Ignazio Raimondi's symphony "Les aventures de Télémaque dans l'isle de Calypso". The manuscript contains several revisions and changes that were adopted for the publication, while small discrepancies remain unaccounted for. It comprises Mirabeau's central questions, a general definition of music as "the art of combining sounds in a manner that is pleasing to the ear", and parts of his historical argument. - Mirabeau, who had no musical education, adopts the rhetorics of the paragone, opposing vocal music and instrumental music in order to determine which is superior in expressing emotions. While the development of the argument and Mirabeau's historical references are quite traditional, the defence of instrumental music and his assertion that it is more expressive in terms of conveying emotions, even if vocal music can offer a narrative based on texts, is unique in its time and appears to anticipate the Romantic predilection for programme music. The Neapolitan violonist and composer Ignazio Raimondi (ca. 1735-1813) was a student of Emanuele Barbella and member of the orchestra of the Teatro di San Carlo before moving to Amsterdam in 1762, where he was a successful soloist and impresario. From 1785, Raimondi was mostly active in London, where he died in 1813. - Some browning and some damage due to ink corrosion, several tears partly affecting the text (one professionally restored). Le lecteur y mettra le titre, Londres [i.e., Paris, s.n.], 1777. Cf. Bellinda Cannone, Le lecteur y mettra le titre. Un pamphlet de Mirabeau en faveur de la musique instrumentale, in: Dix-Huitième Siècle 20 (1988), pp. 403-414.

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Mirabeau, Honoré Gabriel Riqueti comte de, French revolutionary (1749-1791).MareMagnum

Letter signed ("Le Comte de Mirabeau"). N. p., 16. VI. 1790.

8vo. 3 pp. To an undisclosed recipient, wishing to discuss the particulars of a new public education system in France: "J'ai reçu, Monsieur, un temoignage de votre bienveillance, etre n'est pas le premier dont vous m'avez honoré [...]". - Transl. from the French original: "I received, Monsieur, a token of your kindness, and it was not the first with which you have honored me. I have delayed in answering you because I was in bed, deprived of sight, and I didn't want that the hand of a secretary temper the expression of my gratitude. It is sincere [...] when good citizens such as you and, which is a very honorable coincidence, good citizens illuminated by the meditation and study of works which have produced everything which is great in the world, take up the task of consoling public men for the calumnies, iniquities, ostracisms which are their surest emolument. If nature hadn't endowed me with some tenacity, and my bizarre destiny, in sowing my way with shackles, hadn't provided me with some compensations of this kind, my very ardent sensibility would long since have consumed me. I would be very charmed [...] to make your closer acquaintance and to talk over your ideas on a new system of public education, for the moment is approaching for dealing with it, and we have been building on moving sands if we don't give our entire edi!ce such underpinnings. Please let me know the moments that your circumstances would permit you to give me in particular, and agree to the homages of the very distinguished sentiments with which I have the honor to be [...] your very humble and very obedient servant" [...]. - In a lengthy postscript, Mirabeau has added: "I am sending this letter to your bookseller, as I don't know your address. Would you like to let me know what it is? Would it also be indiscreet to ask a literary favor of you? Books have been bought for me at this moment at M. d'Holbach's. I am not a bibliographer, much less a bibliomaniac; but am the owner of a rather large number of beautiful books. I have for many of the great men of antiquity a kind of superstition that makes me want to have their most beautiful editions. Of Demosthenes I only have the Works of Demosthenes and Aeschines, the first Greek orators &c. by Hieronymus Wolf, Frankfurt 1604 - Could you indicate the preferable edition? And the best editions of the Greek classics in general? I have been told of a Demosthenes edition in which there is a kind of medallion where this god of eloquence holds in one hand three crowns and in the other a raised dagger. Do you know this edition? [...]". - Some damage to edges and slightly dusty.

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Morphy, Michel, French writer (1863-1928).MareMagnum

4 autograph letters signed. Paris, 30 Oct. 1881 - 30 Aug. 1883 and no date.

8vo and 4to. (16 + 2 + 4 + 2 =) 24 pp. (mostly on bifolia, one on prison paper). A collection of four letters by the young Morphy to his employer, the socialist publisher Maurice Lachâtre, mostly or possibly all written from prison (Mazas and Le Santé are named). During his youth, Morphy - still a minor when he penned these letters - moved among radically socialist and anarchist circles (which included Louise Michel, previously an important figure in the Paris Commune) and was repeatedly sentenced to prison and exile. A complex personality, Morphy founded several newspapers, including "L'Anti-Ferry", before focusing on serialized sentimental novels ("Les Mignon") and becoming a close friend of General Boulanger, who had suppressed the Commune, as well as of the cabaret singer and performer Aristide Bruant. - In the first of these curiously jaunty missives to Lachâtre, some of which are of great psychological interest, Morphy writes that he has been a prisoner at Mazas for the past eight months, which may explain the extreme length of his letter. He recounts how he made fun of the police, repeatedly escaped them, but finally ended up in the courtroom, where he continued to befool the judge, who sentenced him to nine months of confinement. Morphy complains about the food, but on the whole his lot is none too bad: "En somme, je ne suis pas mal dans cette lugubre et humide maison; j'ai la bibliothèque de faveur qui contient quelques milliers de bons ouvrages et je lis beaucoup. Au début de mon emprisonnement j'étais de mauvaise humeur et très souffrant; c'est passé. L'isolement absolu a son heureux coté: on peut s'admirer au verre grossissant toute une journée: il est si doux de se faire illusion sur soi même!" His letter includes a long autobiographical account, mentioning his parents, the Irishman Morphy MacSweeny and his beautiful wife Louise Coustillier, who died young ("Morphy Mac Sweeny inaugura son mode d'éducation (le meilleur de tous, à ce qu'il a souvent répété), il consistait à nous terroriser"), but also discusses radical politics ("Tenez, je sais que les socialistes collectivistes possibilistes sont en guerre avec les socialistes collectivistes dictaturistes, eh bien!"), the imprisonment of John Most, and his future literary plans. - In other letters, Morphy assures Lachâtre of his revolutionary zeal ("Nous allons démolir Paris ensemble!"), though he must worry for his family: "Ma femme a horreur de l'Angleterre [...] Ma fille a moins de deux ans et mon garçon plus de six mois ... et ils mangent et ils usent et ils cassent! Cet âge est sans pitié". Even now he toys with the idea of writing serialized stories for the papers: "Je sais bien qui le public lit plus que jamais! Mais que lit-il? That's the question, comme dit l'anglais. Savez-vous ce que m'écrivent mes meilleurs amis? Pas de politique, du feuilleton, encore et toujours du feuilleton!" He asks his elder friend's advice: "En ce moment, je suis moralement libre. Quelle route choisir en sortant? En politique, je suis fixé... J'étai et je reste un "irréconciliable" de la République opportuniste". He acknowledges Lachâtre's financial support during the time of his incarceration and offers him manuscripts to pay his debts. "La prison par elle-même ne m'affecte pas moralement car je me suis toujours complu dans l'isolement". - A fascinating ensemble. For Lachatre's collaboration with Morphy in the 1880s cf. F. Gaudin, Maurice Lachâtre (Limoges, 2014), pp. 363ff.

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Méliès, Georges, French illusionist and film director (1861-1938).MareMagnum

Autograph letter signed and monogrammed. Paris, 21. XI. 1928.

8vo. 4 pp. on bifolium. Charming and insightful letter to Auguste Drioux in Lyon, publisher of the magic magazine Passez Muscade, thanking him for the most recent issues and promising an article on Robert Houdin's illusion "le Décapité récalcitrant" from 1890. Méliès mentions that he is currently very busy, as he was taking care of his gravely ill daughter Georgette and restoring some of Robert Houdin's automatons that he had donated to the Musée des Arts et Métiers in Paris: "Je suis obligé de nettoyer tout cela, et de remettre les têtes, mains, costumes, peintures et dorures en bon état. Il y a pas mal de travail, car tout ce matériel est resté 5 ans dans un endroit assez humide, et il en a souffert. Mais une fois retapé il n'y paraîtra plus, et il pourra affronter l'éternité dans les vitrines du Musée... à moins qu'il ne soit, un jour, détruit par un incendie". - The ominous remark that a fire could destroy the museum seems to be an allusion to Méliès' destruction of his own negatives, film sets, and costumes after he lost his legal battle with Pathé over his Montreuil studio in 1923. Méliès praises the performance of Drioux's fellow magicians from Lyon at a banquet by the Chambre syndicale du Cinema that was probably held in his honour. In a postscript he reports that the politician Édouard Herriot, who had also been present at the banquet, apologized to him for not being able to award Méliès with "the famous red ribbon" anymore, having lost his post as Minister of Culture a few days earlier. However, Herriot promised to put in a good word for Méliès with his successor, also alluding to the possibility that he might get a job in the insurance of the movie industry "Mutuelle du Cinéma," possibly as the director of its retirement home. This prospect gave Méliès hope to be able to finally escape his "dreadful Montparnasse prison": "Il avait promis, pour moi, le fameux ruban rouge, à la demande de Brézillon. Mais c'est bien ma veine, il venait de perdre sa place de ministre 5 jours auparavant. Il a été charmant avec moi, s'est excusé d'avoir été contraint de se 'débarquer' lui-même, ce sont ses propres expressions, mais m'a promis son appui [...] auprès du nouveau Ministre de l'Instruction publique et des beaux arts. [...] En tous cas, j'ai su qu'il est question de me donner une situation intéressante dans l'état major de la Mutuelle du Cinéma; peut-êtrela direction de la maison de retraite. Inutel de dire que cela ferait fort bien mon affaire, en me libérant de mon affreuse prison de Montparnasse". - Following his bankruptcy in 1925, Méliès and his second wife Jehanne d'Alcy barely made a living with a small candy and toy stand in Gare Montparnasse. Around this time Méliès, who had been slipping into oblivion since 1913, was slowly rediscovered and recognized as a film pioneer by journalists and enthusiasts such as Auguste Drioux. Despite the renewed interest and official recognition like the award of the Legion of Honour, Méliès' financial situation improved little. While the post as director never materialised, Méliès, his wife, and his granddaughter received a place in the retirement home in Orly in 1932.

Inlibris · Wien, AT6 500,00 €

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