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Mann, Thomas, German writer and Nobel laureate (1875-1955).MareMagnum

Important series of ca. 90 early autograph letters and postcards, to Otto Grautoff. Various places, mostly 1894-1901.

92 items, ca. 260 pages in all, mainly 8vo, autograph address panels to the postcards, some on Mann's printed stationery, with a few unpublished greeting cards, mainly 1894-1901, together with letters to Erna Grautoff and Karl Federn, mainly Munich and Rome and a few items from Naples, Unterach, Riva del Garda, Dresden, Bad Tölz, Oberammergau and Paris, September 1894-7 July 1925, about twelve letters incomplete (mostly undated letters from ca. 1895-1896), the first two letters with sections cut away, occasional dust-marking and splitting at folds, each letter carefully annotated in pencil by the Austrian National Library (July 1938) and some also with editorial dating (ca. 1975). Important series of ca. 90 early autograph letters and postcards, to Otto Grautoff, about Buddenbrooks, including eleven unpublished items, with poems and transcriptions about his writing, reporting his commission from the publishers Fischer to write a long prose work, specifying the mid-nineteenth-century milieu to be treated in Buddenbrooks, its length and plans to finish it, and finally giving Grautoff a long analysis of its Germanic and Wagnerian nature, discussing Goethe (with quotations of "Alles Vergängliche", from Faust), Shakespeare (Hamlet; Romeo and Juliet), Wagner (Tristan und Isolde), Turgenev, Nietzsche, his brother Hermann, Balzac, Dehmel, Fontane and many other writers, the publisher Fischer, the journals "Simplicissimus" and "Neue Deutsche Rundschau", and reporting his travels in Italy, mainly Rome during the years 1895 to 1897; the collection also includes two autograph poems by Mann, 'Weihnacht' ("O festlich Sternenzelt!"), and, in a letter of 1898, the apparently newly-composed poem 'Nur Eins' ("Wir, denen Gott den trüben Sinn gegeben"), together with a transcription from the love duet in Tristan und Isolde ("Bricht mein Blick sich..."), and from Romeo and Juliet ("Komm, Nacht...Verhülle mit dem schwarzen Mantel mir"), poems by August von Platen and others. T. Mann, Briefe an Otto Grautoff 1894-1901 und Ida Boy-Ed 1903-1928, ed. by Peter de Mendelssohn (1975).

BAUDELAIRE CharlesMareMagnum

Les Fleurs du mal

- Poulet-Malassis & De Broise, Paris 1857, 12,1x18,8cm, relié sous étui. - Les Fleurs du Mal [Flowers of Evil] Poulet-Malassis & De Broise | Paris 1857 | 12,1 x 18,8 cm | bound in morocco with custom slipcase First edition, printed on vélin d'Angoulême paper, with the usual misprints and including the six condemned poems, one of the few copies given to the author and "intended for friends who do not deliver literary services". Full emerald morocco binding, Jansenist spine in four compartments, paste down lined with garnet morocco framed with a gilt fillet, gilt silk endpapers stitched with Japanese-style flower motifs, the following in marbled paper, wrappers of the third issue (with two marginal restorations to the second board) and spine preserved, all gilt over untrimmed edges, marbled paper slipcase lined in morocco. Binding signed by Marius Michel. Precious presentation copy inscribed and signed by the author in pencil on the half-title page: "à M. Tenré fils, souvenir de bonne camaraderie, Ch. Baudelaire" ("to M. Tenré Jnr, a reminder of good friendship, Ch. Baudelaire") and three handwritten corrections, in pencil on pages 29 and 110 and in ink on page 43. Exceptional inscription to a childhood friend, banker and intellectual, one of the rare contemporary inscriptions that were not motivated by judicial necessity or editorial interests. Indeed, even the few examples on Holland paper were largely devoted to strategic gifts in order to counter or reduce the wrath of justice that, in June 1857, had not yet returned its decision. Poulet-Malassis will hold a bitter memory of it: "Baudelaire got his hands on all thick paper copies and addressed them to more or less influential people as a means of corruption. Since they have not got him out of trouble, I believe he would do well to ask for them back." Baudelaire's correspondence makes it possible to define quite precisely the different types of inscriptions the poet made on the publication of his collection. He himself sent a list to de Broise to mention those to whom the press deliveries were dedicated, mainly possible judicial intercessors and influential literary critics. The poet then requires "twenty-five [copies] on ordinary paper, intended for friends who do not deliver literary services." A letter to his mother tells us that he only got twenty. Some of them were sent in June 1857 to his friends, including one for Louis-Ludovic Tenré. Others were saved by the poet or offered late like the ones for Achille Bourdilliat and Jules de Saint-Félix. If Tenré, this childhood friend whom Baudelaire has just found again in December 1856, is honored with one of the poet's rare personal copies of the Fleurs du mal publication, the three misprints he immediately noticed having been carefully corrected by hand, it is not on account of a service delivered or in anticipation of an immediate benefit. However, as always with Baudelaire, neither did he send his masterpiece to his boarding companion from Louis-le-Grand school as a simple "reminder of good friendship." As early as 1848, Louis-Ludovic Tenré took over from his father, the publisher Louis Tenré, who, like other major publishers, moved into investment, providing loans and discounts exclusively for those in the book industry. These bookseller-bankers played a key role in the fragile publishing economy and contributed to the extreme diversity of literary production in the nineteenth century, supporting the activities of small but bold publishers and liquidating other major judicial clashes. In December 1856, Baudelaire tells Poulet-Malassis that he had deposited an expired banknote with this "old school mate," which Tenré, out of friendship, agreed to accept. It was the initial advance for "the printing of one thousand copies [of a collection] of verses entitled Les Fleurs du Mal." With this copy hot off the presses, Baudelaire then offers Tenré the precious result of the work discounted by his new banker. It is

Librairie Feu Follet · Paris, FR195 500,00 €

BAUDELAIRE Charles & HUGO VictorMareMagnum

Théophile Gautier. Notice littéraire précédée d'une lettre de Victor Hugo

- Poulet-Malassis et de Broise, Paris 1859, 11,5x18cm, relié. - Théophile Gautier. Notice littéraire précédée d'une lettre de Victor Hugo Poulet-Malassis et de Broise | Paris 1859 | 11.5 x18 cm | full morocco First edition, of which only 500 copies were printed. Portrait of Théophile Gautier etched by Emile Thérond on the frontispiece. Important preface letter by Victor Hugo. Bound in red morocco, gilt date at the foot of spine, marbled endpapers, Baudelairian ex-libris from Renée Cortot's collection glued on the first endpaper, wrappers preserved, top edge gilt. Pale foxing affecting the first and last leaves, beautiful copy perfectly set. Rare handwritten inscription signed by Charles Baudelaire: " à mon ami Paul Meurice. Ch. Baudelaire. " ("To my friend Paul Meurice. Ch. Baudelaire.") This exceptional handwritten dedication to Paul Meurice, a real surrogate brother to Victor Hugo, bears witness to a unique literary meeting between two of the most important French poets, Hugo and Baudelaire. Paul Meurice was indeed the essential intermediary between the condemned poet and his illustrious exiled peer, since asking Victor Hugo to combine their names in this Théophile Gautier elegy was one Charles Baudelaire's most daring acts and would, no doubt, not have had a chance of being realised without Paul Meurice's precious support. Paul Meurice, Dumas' ghost-writer, author of Fanfan la Tulipe and the theatre adaptations of Victor Hugo, George Sand, Alexandre Dumas and Théophile Gautier, was a talented writer who was shadowed by the great artists of his time. His unique relationship with Victor Hugo, however, gave him a decisive role in literary history. More than a friend, alongside Auguste Vacquerie, Paul replaced Victor Hugo's deceased brothers: "I lost my two brothers; him and you, you and him, you replace them; only I was the youngest; I became the eldest, that's the only difference." It is to this brother at heart (whose marriage he witnessed alongside Ingres and Dumas) that the exile entrusted his literary and financial interests and it is he who he will appoint, along with Auguste Vacquerie, as executor of his will. After the poet's death, Meurice founded the Maison Victor Hugo, which is still today one of the writer's most famous residences. In 1859, Paul's house then became Victor Hugo's Parisian antechamber on the Anglo-Norman rock, and so naturally Baudelaire went to speak to this official ambassador. The two did not know each other well but they had a mutual friend, Théophile Gautier, with whom Meurice had worked since 1842 on an adaptation of Falstaff. Consequently, he is the ideal intermediary to guarantee the inaccessible Hugo's benevolence. Baudelaire had, however, already briefly met Victor Hugo. At the age of 19 he asked for an interview with the greatest modern poet, whom he had worshiped since childhood: "I love you as one loves a hero, a book, as one loves everything beautiful purely and without interest." He already dreamed of himself as a worthy successor, as he tacitly confessed to him: "at nineteen years old would you have hesitated over writing as much to [...] Chateaubriand for example?" For the young apprentice poet, Victor Hugo belonged to the past, and Baudelaire will quickly want to free himself of this heavy model. From his first work, Le Salon de 1845, the iconoclast Baudelaire criticized his old idol by declaring the end of Romanticism, of which Hugo is the absolute representative: "These are the last ancient ruins of romanticism [...] It is Mr Victor Hugo who lost Boulanger - after having lost so many others - It is the poet who caused the painter to fall into the pit." One year later, in Le Salon de 1846 he reiterated his attack even more fiercely, removing the Romantic master from his throne: "because if my definition of romanticism (intimacy, spirituality, etc.) puts Delacroix at the head of romanticism, it naturally excludes Mr Victor Hugo. [...] Mr Victor Hugo, whose nobility and m

Librairie Feu Follet · Paris, FR86 250,00 €

[Kafka, Franz]. Klopstock, Robert, thoracic surgeon (1899-1972), friend of Franz Kafka.MareMagnum

The posthumous papers of Robert Klopstock. Various places, 1890s-1970s.

A trove of 424 catalogued items, comprising correspondence including letters by Albert Einstein, Thomas Mann, Franz Werfel, and Salman Schocken; Klopstock's manuscripts and personal documents; more than 50 books from his library (among them inscribed copies by Max Brod, Klaus and Thomas Mann, and Franz Werfel), and a large collection of photographs. When Kafka died in the Austrian lung sanitarium of Kierling in 1924, it was (to employ the phrase used by Klaus Mann) in the arms of his friend Robert Klopstock, an Hungarian-born medical student with literary ambitions whom Kafka had met three years earlier at a different sanitarium, a fellow sufferer from tuberculosis. Klopstock's estate now makes accessible the largely unknown biography of the physician who was forced into emigration in 1938 and became a U.S. citizen in 1945. His manuscripts, his personal documents, his copious collection of photographs, the inscribed books in his library, as well as his correspondence with such eminent figures as Thomas Mann, Franz Werfel, Albert Einstein, Albert Schweitzer, and Salman Schocken now permit us to trace for the first time the path which the life of Kafka's last friend took. - Mann and Einstein both interceded on Klopstock's behalf to help him emigrate and find employment in the United States. In one of these letters, Mann directly invoked Klopstock's role as the selfless care-giver that would come to define his image in Kafka scholarship: "I first met Dr. Klopstock through the gifted young German writer Franz Kafka, for whom Dr. Klopstock did so much professionally and spiritually before he died". From Franz Werfel we have the now-famous 1934 letter in which he describes, in quasi-religious terms, his own relationship to Kafka, in whom he recognized (as he confides to Klopstock) the "Herald of the King". - Indeed, Klopstock himself was well-connected within German and Hungarian literary circles and active as a translator, especially of the humourous stories of Frigyes Karinthy, on which he consulted Kafka. Later increasingly private in his personal affairs and notoriously reticent about his famous companion, the physician was dubbed "crazy Dr. Klopstock" by Max Brod, who appears to have begrudged him his friendship with Kafka, viewing him, perhaps, as something of an interloper. Klopstock held and jealously guarded the Hungarian translation rights to Kafka's works; together with his wife Giselle, Klopstock undertook the first Hungarian translation of Kafka's "Trial", the beginning of which is preserved here. Giselle's own novel "Without Destination", set in a lung sanitarium, won the approval of Thomas Mann, who recommended it to Knopf, his American publisher. - Robert Klopstock died in New York in 1972, a highly respected surgeon and scientist whose research led to significant contributions in the field of pulmonary tuberculosis. His estate forms an extraordinary collection in which important discoveries still remain to be made. A PDF catalogue is available on request. Kafkas letzter Freund. Der Nachlaß Robert Klopstock (1899-1972). Wien, Inlibris, 2003.

Inlibris · Wien, AT85 000,00 €

Hugo, Victor, French writer (1802-1885).MareMagnum

A collection of three plays by Victor Hugo, including "Lucrèce Borgia", enriched with additional collector's pieces, including a letter signed by Lucrezia Borgia, an autograph musical manuscript by Donizetti, and an original drawing by Victor Hugo. Paris, Eugène Renduel, 1832-1833.

I) Lucrèce Borgia. 1833. (2), XI, (1), 192 pp. II) Le Roi s'amuse. 1832. (8), XXIII, (1), 183 pp. III) Marie Tudor. 1833. (6), IV, 214 pp. Each with frontispiece. All three bound in a single volume in slightly later half calf with giltstamped spine and marbled covers. A matching second volume contains: 1) Borgia, Lucrezia (1480-1519). Letter signed. Rome, 20 Nov. 1501. ½ p. Folio. 2) Hugo, Victor (1802-1885). Autograph ink caricature, mounted on backing paper. 10 x 13 cm. 3) Mocquard, Jean-François (1791-1864). Autograph letter signed. Paris, 15 Jan. 1853. 1 p. 8vo. 4) Fournier, Louis Edouard (1857-1917). Autograph drawing inscribed. 12.5 x 20.5 cm. 5) Donizetti, Gaetano (1797-1848). Autograph musical manuscript (fragment). 6 pp., ca. 33 x 12 cm. 6) Hugo, Victor (1802-1885). Two autograph instructions signed. 26 Dec. 1839 and 20 Feb. (no year). Oblong 8vo. 2 pp. Both volumes stored together in a matching calf-entry marbled slipcase. A charming ensemble of three first editions of Victor Hugo's plays, each one inscribed by the author to his elder brother, the essayist and military writer Abel Hugo (1798-1855). When the set was auctioned at the sale of the library of the author's grandson Georges-Victor Hugo, it was acquired by Arthur Meyer, the director of the prestigious daily "Le Gaulois" and a passionate collector who was wont to enrich, or "truffle", his books with appropriate rare autographs and drawings. In this case, the addenda, bound in a matching half-calf volume, greatly surpass in value the works they accompany: 1) A precious letter by the Renaissance noblewoman Lucrezia Borgia, famous for her marriages and her affair with Pietro Bembo (signed "Lucretia Esteri de Borgia"), written in recommendation of Hector Beringero to the poet Antonio Tebaldeo (1463-1537), secretary to Francesco II Gonzaga, Marquess of Mantua (later Lucrezia's lover). Meyer had acquired this outstanding document from the collection of Alfred Morrison (cf. Catalogue of the Collection of Autograph Letters and Historical Documents Formed Between 1865 and 1882 by Alfred Morrison, 1883, p. 100). - 2) Almost equally striking is the original, highly expressive pen-and-ink drawing by Victor Hugo, showing the dark shape of a portly figure holding a candle (an illustration of Act III, Scene 1 of his 1843 play "Les Burgraves"), captioned by the artist in his own hand: "Mm. Mélingue criant: Caïn! de la Coulisse". In the original production, the actress Rosaline Mélingue had played the role of Guanhumara, providing the off-stage voice for the eerie scene. - 3) Also included is a letter by J.-F. Mocquard, chief-of-staff to Napoleon III, addressed to Auguste Romieu, the directeur des beaux-arts, concerning matters of theatrical censorship (including Hugo's play "Lucrèce Borgia"). 4) The associations are reinforced in an expressive charcoal drawing showing Victor Hugo reading to his brother Abel the first act of "Lucrèce Borgia", inscribed in pencil to the collector by the artist L. E. Fournier: "A M. Arthur Meyer très cordialement". 5) Finally, Meyer was able to include a fragment of Gaetano Donizetti's original manuscript of his 1833 opera "Lucrezia Borgia", which he had based on Hugo's play. 6) At the very end are two brief notes by Victor Hugo in which the author instructs his publisher Renduel to issue to the bearer copies of his works, including "Lucrèce Borgia". - Provenance: bookplates of Arthur Meyer and Jean Inglessi, as well as an additional monogrammed bookplate. Last in the collection of Pierre Bergé (1930-2017).

Inlibris · Wien, AT75 000,00 €

Heine, Heinrich, poet (1797-1856).MareMagnum

Autograph manuscript, poem in German and French, signed twice ("Heinrich Heine", "Henri Heiné"). Paris, 19 March 1853.

Folio. 1 p. Ink and pencil on wove paper. Three edges gilt. Heine's short, self-ironic poem "Das Glück ist eine leichte Dirne", probably written between 1848 and 1851 and published in 1851 in his late collection "Romanzero": an unknown version, departing from the published text, penned as a dedication for Marie Buloz, who had visited the ailing poet on 19 March 1853 with her husband François, editor of the "Revue des Deux Mondes". Beside the German text (in ink) Heine has pencilled a French translation. A remarkable document from Heine's final years in what he called his "mattress tomb", during which writing, especially with pen and ink, cost him the greatest of efforts and he almost entirely limited himself to the use of the pencil. The album leaf was considered lost and was known to scholarship through an incomplete manuscript copy of the French translation only (by an unidentified scribe) in the Spoelberch de Loevenjoul collection, Musée de Chantilly, on which all critical editions base their text. - Occasional slight smudging to pencil; a small trace of red ink near the German text. Heine, Werke, Säkularausgabe, vol. 3, commentary, ed. by R. Francke (Berlin 2008), p. 244f. ("lost"). Heine, Historisch-kritische Gesamtausgabe der Werke, Düsseldorfer Ausgabe, vol. 3/2 (Hamburg 1992), p. 734f. ("lost"). French text first printed: Heine, Briefwechsel. Reichvermehrte Gesamtausgabe, ed. by Friedrich Hirth, vol. 3 (Berlin 1920), p. 334f., no. 990 (French text only, based on a ms. copy); reprinted: Heine, Briefe. Erste Gesamtausgabe nach den Handschriften, ed. by Friedrich Hirth, vol. 3 (Mainz 1952), p. 459f., no. 1189 (in French and German parallel text, German text supplied from the published version). Poem first published in: Heine, Romanzero (Hamburg: Hoffmann & Campe, 1851), p. 118.

Inlibris · Wien, AT70 000,00 €

Thiess, Frank, German writer (1890-1977).MareMagnum

Collection of 480 autogr. letters and postcards and 2 telegrams to Yvonne Thiess (1446 pp.) and 18 autogr. and ts. letters and carbon copies to other persons (40 pp.). Includes 44 autogr. and ts. letters by various writers to Frank Thiess (100 pp.) and 54 autogr. and ts. letters and postcards to Yvonne and Irene Thiess (81 pp.). Berlin, Bad Aussee, Bremen, Darmstadt, Hamburg, London, Vienna, and other places, 1918-1965.

"There never was a time when Frank Thiess was not controversial", the celebration publication in honour of the writer's 60th birthday states (Frank Thiess. Werk und Dichter, p. 30). Before the National Socialists seized power in 1933, the writer had enjoyed great success with his historical novels, and his literary importance was largely undisputed. His novel "Tsushima" (1937), translated as "The Voyage of Forgotten Men", was printed in several hundred thousand copies; Hemingway even included Thiess in his 1942 anthology "Men at War". After the War, Thiess coined the term "Inner Emigration" to describe the situation of artists who, as he did, remained in Germany during the Nazi years without personally agreeing with German politics of the time. Thiess argued that this attitude was superior to that of emigrants proper such as Thomas Mann, who supposedly had watched the destruction of Germany from "balcony seats". Although most of Thiess's works were seized by the Nazis and some were even burned publicly, his decision to remain in Germany and his bitter feud with Mann proved great obstacles when he tried to regain his old position in German literature after the War. - The present partial Nachlass, from the estate of his second wife, Yvonne Thiess, sheds light on his role during the last years of Nazi Germany and the postwar years until 1965. In these roughly 500 letters and postcards to his wife, 22 years his junior, he reflects extensively upon his life and work. While he has apparently resigned himself during the War years to being unable to provide for his family, he is baffled by the problems he encounters after the War, complaining of unfair treatment, feuds with other writers, and the difficulties in joining the literary scene of postwar Germany. - Detailed list available upon request. Frank Thiess. Werk und Dichter. Ed. by R. Italiaander (Hamburg, 1950). Cf. E. Hemingway, Men at War: The Best War Stories of all Times (New York, 1942). Y. Wolf, Frank Thiess und der Nationalsozialismus. Ein konservativer Revolutionär als Dissident (Tübingen, 2003).

Inlibris · Wien, AT65 000,00 €

Goethe, Johann Wolfgang von, German poet (1749-1832).MareMagnum

Autograph quotation signed. Weimar, 28 Aug. 1829.

Oblong 8vo. 1 p. Wove paper, backed with Japanese paper. One of the most prominent pieces from the famous autograph collection of Carl Künzel, written on Goethe's 80th birthday: "Chaque jour est un bien que du ciel je reçoi, / Profitons aujourdhui de celui qu'il nous donne; / Il n'appartient pas plus aux jeunes gens q'uà moi, / Et celui de demain n'appartient à Personne" (a verse written in 1699 by the eighty-year-old poet François de Maucroix: "Every day is a gift I receive from Heaven / Let us enjoy today that which it bestows on me. / It belongs no more to the young than to me, / And tomorrow belongs to no one"). - If one is to believe an anonymous report published in the London Athenaeum, then Künzel, barely 21 years old in 1829, "came to Weimar, entered Goethe's house, and, with all his personal and national naiveté, asked the great man's valet to hide him somewhere in the hall, that he ('a Suabian' as he called himself when the domestic questioned him about his name, &c.) might only 'have a peep' at the celebrated poet, who, he was told, would soon pass for his usual promenade. The attendant complied with Herr Kunzel's wish, and then answered his master's bell; but returned almost instantly with the message that 'his Excellency' wanted to see the traveller. Herr Kunzel, not dreaming of such an honour, felt rather bewildered; but, following the servant, who gently pushed him into 'his Excellency's' presence, he a minute later, saw the Author of Faust standing before him, tall and majestic, but stretching out a friendly hand and benignly addressing him with the words - 'The Suabian is not only to see me; I, too, will see the Suabian.' A conversation about Suabia and Schiller’s sister (a patronizing friend of Herr Kunzel’s) followed, at the end of which the tribute of one or more autographs was granted. These autographs of Goethe became the nucleus of Herr Kunzel’s present collection" (no. 1452, 25 August 1855, p. 979). Ultimately, Künzel's collection was to comprise not only this Goethean French quotation, but also a quatrain in German, Goethe's garden hat, his breakfast cup, and a quill. - Carl Künzel (1808-77), then a travelling salesman for the Heilbronn-based Rauch paper factory, kept an autograph album on his many journeys; other signatories includedBrentano, Eichendorff, Goethe, Grillparzer, Hölderlin, Mörike, and Uhland. "In 1936 it was dispersed at auction, according to its owner's wish; no buyer had stepped forward who wished to acquire the book as a whole" (cf. Mecklenburg, p. 54). Like his uncle, Carl Künzel's nephew Wilhelm (1819-96) was a passionate collector of autographs who increased the collection to "the ultimate scope of 15,233 items [...], which were auctioned after his death by List und Francke in Leipzig between 1896 and 1898 versteigert wurden" (cf. Scheible, p. 518). "These two collectors, uncle and nephew, are of especial importance for the history of the autograph business, for today's collectors and antiquarians still encounter at every step the traces of their worldly doings" (cf. Mecklenburg, ibid.). Heinz Scheible, Melanchthon und die Reformation. Forschungsbeiträge. Hg. v. Gerhard May und Rolf Decot (Mainz, 1996). Günther Mecklenburg, Vom Autographensammeln. Versuch einer Darstellung seines Wesens und seiner Geschichte im deutschen Sprachgebiet (Marburg, 1963).

Inlibris · Wien, AT55 000,00 €

Proust, Marcel - Hahn, Reynaldo.MareMagnum

3 lettres autographes signées, dont 2 de Proust à Reynaldo et une de Reynaldo. S. l. n. d.

2 p. in-8 (175 x 115 mm) sur papier de deuil, waterford, lettre non datée [1905-1906], trace de double feuillet (sur la page en vis à vis manquante devait figurer un dessin qui semble avoir été découpé). "KKKKKWA? - HHHHOE. - NNNNNAN Bonjours Fasché? NNNNNAN [...] au sujet "d'un dessin synthétique (purement imaginé de tous les dessins de mythologiques Turner. Et le commentaire que Ruskin eut écrit sur ce dessin. Ce commentaire est d'une justesse telle (Reynaldo) d'une facilité si convaincante (Reynaldo) d'une science si profuse (Reynaldo) d'une ressemblance si réussie (Reynaldo) d'une élocution si charmeresse (Reynaldo) et d'une si transcendante philosophie, que je vous prie de me le renvhoyier ou de le garsder, mais en me corrigeant les fautes d'anglais [...]" Et termine sa lettre avec une portée de musique sur laquelle figure le nom de Paul Gold Schmidt. Le 19 avril 1913, Proust va entendre la Sonate pour piano et violon de César Franck jouée par Paul Goldschmidt (1877-1957) et Georges Enesco. Il s'en inspirera pour un passage sur la sonate de Vinteuil. Céleste l'évoquait comme "richissime", "collet monté", "du côté de Sodome", ami d'un jeune Anglais du nom de Charlie [Humphries]. - "Mon petit Genstil. Mon petit genstil. Mon Buncht. Dites genstil si calmants ont réussi, s'ils ont produit un bon effet moral et consultation [ ?] de même. Je caresse votre petite tête mon petit genstil" (S.l.n.d., un feuillet in-8 écrit au recto à l'encre noire, 174 x 111 mm). - Lettre de Reynaldo à un destinataire inconnu, signée Hahn, pour lui rendre compte de sa soirée : "Je rentre du concert [...] et je t'envoie quelques lignes de renseignements. Symphonie de Beethoven fort bien jouée, l'orchestre a fait de grand progrès. Mélodie de Lefèbre très emmerdante et [ ...] toutes deux chantées par Mlle Montabant". Il continue sa lettre sur la page en vis-à-vis: "je devais coucher chez toi ce soir mais je suis si fatigué que je reste chez moi, à travailler un peu. Mille embrassades. Hahn. Je vais te faire voir bien des choses et je t'enverrai ces jours ci […]". La lettre se termine sur le dernier feuillet par trois cœurs fléchés. (S.l.n.d., 4 p. in-8 sur un feuillet double, encre noire).

Inlibris · Wien, AT55 000,00 €

Schiller, Friedrich, German poet (1759-1805).MareMagnum

Autograph letter signed. Dresden, 23 Dec. 1785.

8vo. 2 pp. on bifolium. In German. Mounted on the flyleaf of: The same. Don Karlos Infant von Spanien. Leipzig, Georg Joachim Göschen, 1802. 8vo. 432 pp. With engraved frontispiece and 5 engraved plates. Contemporary marbled full calf, gilt. Marbled endpapers. A fine and early letter to his publisher Georg Joachim Göschen, discussing matters of censorship: "I have fulfilled the wish of your and my Censor, dear friend, and send you the note you asked for. This, I hope, will silence the intolerant part of the public. Have the goodness to assure the Herr Censor (whose name pray give me in your next letter) that I consider myself fortunate in knowing my Thalia is in such discriminating hands. He has quickly grasped the point from which my two poems must be viewed; and how few will do that! I have received what I asked you for, and I see in your ready response a fresh confirmation of your friendship and brotherly sympathy. Farewell, dear friend, and continue to love me […]". - Schiller had anticipated that two poems intended for his journal "Thalia", namely "Freigeisterei der Leidenschaft" ("Passion's Free Thought") and "Resignation", might encounter difficulties with the censor. Saxon censorship was notoriously strict, and a performance of "Die Räuber" had been banned in Leipzig. In this case however, the censor in question, the Leipzig historian Friedrich August Wilhelm Wenck (1741-1810), "proved amenable and reasonable. It was contended that the tendency of the poems might be represented to be an apology for immorality if read by the ignorant and intolerant, and the Censor asked Goschen to procure an explanation from the author showing the baselessness of such a charge. Schiller at once complied with the request" (V. Goschen, pp. 122f.). - From the collection of the Copenhagen critic and theatre director Einar Christiansen (1861-1939) with his bookplate to the front pastedown. Schillers Briefe, ed. Fritz Jonas. Vol. 1 (Stuttgart 1892), p. 276, no. 148. Viscount Goschen, The Life and Times of Georg Joachim Goschen (London, 1903) I, p. 123. Trömel 169.

Inlibris · Wien, AT55 000,00 €

Celan, Paul, Lyriker (1920-1970).MareMagnum

12 eigenh. Briefe mit U. Paris, 1949/1950.

Zusammen 26½ SS. auf 16 Bll. 4to und 8vo. Mit 1 eh. adr. Kuvert. Vertraute Briefe an die junge Sängerin Diet Kloos-Barendregt (1924-2015), die Celan im August 1949 auf der Terrasse des Cafés Dupont kennengelernt hatte, wo ihr die "Memoires d'une âne" von Sophie de Ségur vom Schoß gefallen waren. Der 29-jährige Dichter und die 25-jährige Musikstudentin aus Dordrecht waren ins Gespräch gekommen: über ihren Widerstand gegen die deutschen Besatzer, ihre Gefangenschaft und den Mord an ihrem Ehemann Jan Kloos, der im Jänner 1945 in Amsterdam standrechtlich erschossen worden war; über die Ermordung von Celans Eltern, über die Zwangsarbeit und seine Flucht aus Rumänien. Nach ihrer Rückkehr entspann sich ein knapp einjähriger Briefwechsel, von dem zwar nicht ihre eigenen Briefe, dafür aber die hier vorliegenden Celans erhalten geblieben sind. - "Ich weiß nicht, wie spät es jetzt ist, jedenfalls ist es noch Nacht, das heißt es ist noch dunkel, wenn es auch schon Morgen ist - wieviel Uhr also? Umsonst, ich kann es nicht sagen, denn meine Uhr steht still, mein valet de chambre ließ sie gestern beim Aufräumen des Zimmers fallen, ich habe also, wenn ich so sagen darf, keine Zeit - endlich! und die Glocken der Kirchen geben nur schlechten Bescheid, sie sind zu zahlreich [...] sie stimmen nicht überein, ihre Glockenschläge folgen rasch aufeinander, es ist, wenn Du willst, dreißig oder zweiunddreißig Uhr, eine Stunde aus verschiedenstem Silber, ein aufmerksames, hellhöriges Ohr könnte unterscheiden, helles und deutliches von dunklem, undeutlichem Silber trennen und so die Zeit erfahren, aber mein Ohr ist träge, absichtlich, damit meine Hand umso reger wird, wenn mir endlich die Zeit abhanden gekommen ist. All das ist ein Glück für mich, der ich doch mit meiner Zeit nichts Rechtes anzufangen weiß - was tat ich bislang, wenn ich Zeit hatte? Ich wartete auf die Zeit [...] Alles ist zu schwer, weil alles zu leicht ist" (23. VIII. 1949). - "Was ich brauche, was ich so dringend brauche, eben deshalb, weil ich so oft von mir weg muß, auf Reisen gehen muß - und wie unbequem ist dieses Reisen: ich selber bin dabei reglos, wechsle nicht den Ort, die Welt aber saust unter meinen Füßen vorbei! - was ich also brauche, ist das Gefühl, daß es bei all diesem Hin und Her einen Ausgangspunkt gibt, der, wenn er auch nie wieder erreicht werden kann, dennoch bestehen bleibt - ein solcher Ausgangspunkt wären meine Gedichte, wenn ich sie in Sicherheit wüßte, sauber abgedruckt und gebunden" (6. IX. 1949). - "Ich bin im Begriffe, mein Leben anders, hoffentlich besser einzurichten als bisher und meinen, in den letzten Wochen etwas deutlicher werdenden Jahren Rechnung zu tragen. Ich glaube, Du hast mal die Linien meiner Hand angesehen, Diet; so wirst Du Dich vielleicht erinnern, daß meine Lebenslinie zweimal abreißt, um sich in zwei voneinander getrennten kleineren Linien fortzusetzen. Nun, mir will scheinen, daß ich gerade da stehe, wo dies zum zweitenmal geschieht, wo ich mich von mir selber abspalte, Gott weiß zu welchem Zweck. Immer weniger gleiche ich dem verspielten Knaben, der ich so gern war, und - verzeih - ich verschmerze das Unwiederbringliche schwerer als es einem erlaubt sein mag, der zu wissen glaubt, wie ein Auge im Dunkel strahlt" (21. IX. 1949). - "Und über allem, schwebend und dabei doch so lastend, der Alltag, die Rundfahrt durch die Welt des täglichen Brotes. Und unter allem, verborgen, kaum hörbar, aber quälend auf unterirdische Art, der Traum von der Unendlichkeit, nie verwirklicht, kaum geahnt, unerreicht. Und dazwischen: Ich, Paul Celan, ein Mann, der vielleicht doch noch ein Baum wird, wenn der Abend es will [...]" ("Dienstag abend", wohl 29. XI. 1949). - Im linken Rand gelocht und teils mit kleineren Randläsuren, sonst gut erhalten. Paul Celan: Du mußt versuchen, auch den Schweigenden zu hören. Briefe an Diet Kloos-Barendregt. Handschrift - Edition - Kommentar, hg. von P. Sars u. L. Sprooten (Frankfurt a. M., 2002). P. Sars (Hg.), "Alles is te zwaar, omdat alles te licht is". De brieven van Paul Celan aan Diet Kloos-Barendregt. Übs. von C. O. Jellema (Amsterdam, 1999).

Inlibris · Wien, AT48 000,00 €

DARWIN CharlesMareMagnum

The Different Forms of Flowers on Plants of the same Species

- John Murray, London 1877, 13x19cm, relié. - "I do not think anything in my scientific life has given me so much satisfaction as making out the meaning of the structure of heterostylous flowers" (Darwin, Autobiography) First edition. One of the 1250 copies printed. 15 engravings and 38 tables in the text. Complete with the index and the publisher's catalogue at rear. Publisher's binding by Simpson & Renshaw. Rare and precious autograph inscription by Charles Darwin on the title page: "With the compliments of the author." Charles Darwin wrote three major books on plant reproduction. The most important titled The Different Forms of Flowers concludes more than 40 years of studies on floral biology. This seminal work is one of the first scientific tests of the theory of evolution. Darwin demonstrates here how the astonishing structural variety of flowers historically results from natural selection; the immobility of plants and their need for pollen vectors (animals, wind, water) leading to floral adaptation. A rare, inscribed copy of this seminal work on plant reproduction, adaptation, and evolution. See more on this subject: [FRENCH VERSION FOLLOWS] "I do not think anything in my scientific life has given me so much satisfaction as making out the meaning of the structure of heterostylous flowers" (Darwin, Autobiography) Edition originale imprimée à 1250 exemplaires. 15 gravures et 38 tableaux in-texte. Notre exemplaire est bien complet de l'index et du catalogue de l'éditeur in-fine. Reliure parfaitement restaurée de l'éditeur en pleine percaline verte avec reprises de teinte, dos lisse ornés de roulettes dorées en tête et en pied, double encadrement estampé à froid sur les plats, contreplats et gardes de papier gris-brun marginalement éclaircis, reliure signée Simpson & Renshaw. Rousseurs éparses. Légère et discrète mouillure marginale en tête des cent premiers feuillets. Quelques annotations manuscrites au crayon. Rare et précieux envoi autographe de Charles Darwin en tête de la page de titre : "With the compliments of the author." "Voici un livre sur les différentes formes de fleurs dans les plantes de la même espèce. Que le lecteur se défie de la simplicité de ce titre, il porte dans ses flancs de graves problèmes de biologie, ébranle des conceptions physiologiques, admises comme certaines jusqu'ici, et refait une science dans ses parties principales. Aux premiers pas faits avec Ch. Darwin dans les régions nouvelles où ce livre nous introduit, on perçoit, non seulement ce sentiment particulier que l'on éprouve en abordant l'inconnu, mais l'étrangeté des faits révélés nous impressionne moins que l'effondrement de conceptions commodes et classiques qui se fait dans notre esprit." (Amédée Coutance, préface de l'édition originale française) Charles Darwin a écrit trois livres majeurs sur la reproduction des plantes, dont le plus important, The Different Forms of Flowers, conclut plus de 40 ans d'études sur la biologie florale. Cette uvre fondamentale est une des premières mises à l'épreuve scientifique de la théorie de l'évolution. Darwin y démontre comment l'étonnante variété structurelle des fleurs est le résultat historique de la sélection naturelle ; l'immobilité des plantes et leur besoin de vecteurs polliniques (animaux, vent, eau) entraînant une adaptation florale. « The wonderful diversity of the means for gaining the same end [cross-fertilisation] ... depends on the nature of all the previous changes through which the species had passed, and on the more or less complete inheritance of the successive adaptations of each part to the surrounding conditions »(Darwin, The different forms of flowers on plants of the same species, p. 258) « La merveilleuse diversité des moyens pour parvenir à une même fin [fécondation croisée] ... dépend de la nature de tous les changements antérieurs par lesquels l'espèce est passée, et de l'héritage plus ou moins complet des adaptations successives de chaque partie à les conditio

Librairie Feu Follet · Paris, FR46 000,00 €

ELUARD Paul ERNST MaxMareMagnum

L'Aigle, collage original de Max Ernst - Ensemble : le dernier Album de Cartes Postales conçu par Paul Eluard encore en mains privées

- S.n., S.l. S.d. (Circa 1930), relié. - Original collage by Max Ernst made from different colored stamps, in the shape of a bird of prey with spread wings. The claws were drawn by the artist in pencil. Framed in a green mat, the collage in postcard format was originally placed on the twelfth plate of the enclosed album that belonged to Paul Eluard. The stamps that we were able to identify were produced between 1906 and 1913. The collage was probably made in the late 1920s or early 1930s. To our knowledge, it is the only bird of its kind made by Ernst from stamps, and it was most likely specifically created by the artist to pay tribute to his friend Eluard and his passion for cartophily. Werner Spies (Max Ernst - Loplop, 1997) also points out the presence of butterflies in other Eluard postcard albums, made using the same technique: "with their bodies and wings cut out of stamps, their legs and antennae added in ink". The eagle chosen by Ernst echoes a beautiful poem by Eluard entitled "La Malédicition [The Curse]": "An eagle, on a rock, contemplates the blissful horizon. An eagle defends the movement of the spheres. Soft colors of charity, sadness, gleams on the gaunt trees, lyre in spider web-star, men who under all skies are alike are as silly on earth as in heaven. And the one who drags a knife in the high grass, in the grass of my eyes, of my hair and of my dreams, the one who carries in his arms all the signs of shadow, fell, speckled with azure, on the four-colour flowers." (Mourir de ne pas mourir - 1924 with a frontispiece portrait of Eluard by Ernst) Throughout the poem, the bird of prey symbolizes the poet; in the collage it could be a self-portrait of Max Ernst. His friends frequently found his features similar to birds. The choice of an eagle motif could also be a political reference to Max Ernst's German origins. In any case, the creation of this collage coincides with the birth of Loplop, "the superior of birds", an alter ego of Max Ernst created after the whimsical figure of Ferdinand Lop. "Like a mannequin, Loplop successively "tries on" various subjects that must be placed in the general context of an ever-changing creation. This leading figure embodies all genres by abolishing the boundaries between them. Characters, landscapes, flowers-shells, scenery and dramatic elements often appear simultaneously. The Loplop series is dedicated to mixing: combining and associating different motifs is one of the essential goals of surrealism, which tends to broaden the field of representation by disturbing the mind and the senses. [...] The identification with Loplop may have concerned only Max Ernst and been part of his personal mythology, but his Surrealist friends very quickly saw in this bird an alter ego of Max Ernst. Several sources testify to this, including a 1926 poem by Paul Eluard entitled Max Ernst: "Devoured by feathers and subjected to the sea / He let his shadow pass in flight / Of the birds of freedom" (W. Spies, op. cit.) It is also known that Max Ernst was very familiar with Eluard's postcard albums and used the embossed ones to make his famous "fottages" (W. Spies, op. cit., pp. 71-72). Werner Spies goes further and states that Max Ernst contributed to the making of Eluard's albums (ibid, p. 32). This splendid bird collage that he offered him and its presence in our album therefore take on their full meaning here. It is not only a homage to Eluard's collection (using stamps as a reference to the art of epistolary correspondence), but especially a token of fraternal friendship between two prominent figures of Surrealism. Included: Exceptional album constituted by Paul Eluard, with 498 postcards artistically set on 83 pages. It is the only album in private hands from the famous collection of the poet. The others are now part of the French Musée de la Poste [Postal Service Museum]. This album was exhibited at the Musée du Jeu de Paume in 2008 along with the Max Ernst collage. Eluard's collectio

Librairie Feu Follet · Paris, FR46 000,00 €

Kafka, Franz, writer (1883-1924).MareMagnum

Autograph letter signed ("K"). [Prague, fall 1922].

Large 8vo (145 x 229 mm). In German. 1½ pp. (30 lines in pencil on blue squared paper). To his friend Robert Klopstock, a medical student and fellow sufferer of tuberculosis: "Dear Robert, just a few words, the lady waits. From the report given by Miss Irene I was under the impression that the worst was over and that a hospital could therefore be ruled out. But if you feel that a hospital might be able to give you any ease, even the slightest, we could try it after all (service at your place is undoubtedly very poor), it would not be a supplication at all, I would approach my colleague and have him intercede quite proudly or, which might be even better, go to Prof. Münzer. So let me know. I have received a message today from Dr. Hermann, but a very brief and unclear one, mentioning a slight flu; I shall visit him tomorrow. How high is the fever? Indeed, I had already answered your letter when Miss Irene called here yesterday. The fever made the whole matter even less important than it had been already; the answer lies with me" (transl.). - Irene Bugsch, the daughter of Aladár (Alexander) Bugsch, one of the owners of the Matliary Sanitarium, belonged to Franz Kafka's circle of friends (which also included her sister Margarete and Robert Klopstock) during his half-year stay (18 December 1920 to ca. 26 August 1921) in the Tatra mountains. Then 26 years old, she applied at the Dresden Academy of Arts, an endeavor in which she received support from Kafka. The connection to Egmont Münzer (1865-1924), professor at the University of Prague since 1907, has been mediated through Kafka's cousin Robert (1881-1922), who was related to Münzer through his wife. Otto Hermann was one of the physicians whom Kafka consulted in Prague. H. Wetscherek (ed.), Kafkas Letzter Freund. Der Nachlaß Robert Klopstock (Wien, Inlibris, 2003), no. 25. Published in part (omitting five lines) and with departures in M. Brod (ed.), Kafkas Briefe 1902-1924 (Frankfurt/M., S. Fischer, 1958), pp. 419f.

Inlibris · Wien, AT45 000,00 €

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