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DELACROIX EugèneMareMagnum

Lettre autographe à "Julie" (Louise de Pron) : "Je voudrais circuler avec ton sang dans les veines et aller dans ton cur, y voir si je l'occupe tout entier."

- mercredi 5 novembre [1823], 19,7x29,9cm, une feuille rempliée. - Handwritten letter to "Julie" (Louise de Pron): "I would like to circulate with your blood in my veins and go into your heart, to see if I occupy it entirely" Wednesday 5 November [1823] | 19,7 x 29,9 cm | one double leaf Handwritten dated letter from the painter Eugène Delacroix to the love of his youth, the mysterious "Julie", now identified as being Madame de Pron, by her maiden name Louise du Bois des Cours de La Maisonfort, wife of Louis-Jules Baron Rossignol de Pron and daughter of the Marquis de La Maisonfort, Minister of France in Tuscany, patron of Lamartine and friend of Chateaubriand. 27 lines on a folded leaf. Two marginal tears on the fold of the leaf. Discreet tears to the upper part. Note in pencil from a previous bibliographer on the upper right (« No 11 »). This letter remains one of the last to his lover in private ownership, all of Delacroix's correspondence to Madame de Pron being kept at the J. Paul Getty Research Institute (Los Angeles). It was only transcribed in the Burlington Magazine in September 2009, alongside the long article by Michèle Hanoosh, Bertrand and Lorraine Servois, whose research finally revealed the identity of the famous recipient. "Love me like I love you, as love wants us to love." Writing in the heat of passion, the young Eugène gave free rein to his amorous form in this true epistolary work of art, where desires and memories, romanticism and prosaicness combine, and from which the great pictorial themes of the genius Delacroix emerge. In April 1822, when he presented his first large painting Dante et Virgile aux Enfers, at the Salon, Delacroix discovered Paradise thanks to his meeting with Madame de Pron, mistress of his close friend Charles Soulier who asked him to paint the portrait of her son, Adrien. No one knows if this portrait that has never been found was ever completed, but it served as a pretext for the secret meetings of the two lovers in the studio on rue de Grès. Louise's beauty had been immortalized a few years earlier by the delicate stroke of Élisabeth Vigée-Lebrun, who painted a portrait of her with an oriental hairstyle in a naturally elegant pose. Their adventure lasted a little over a year, but it was one of the most intense passions of the artist's life. He was not, however, the only lover of this astonishing woman, whose alcoholic and violent husband had just been interned at the Royal House of Charenton after being declared insane. Alone, Madame de Pron found comfort in the arms of a group of lovers, including Soulier, a friend of Delacroix, and General de Coëtlosquet, whom she would marry after her divorce was finalized in 1829. These scandalous affairs could, under no pretext, been made public; and Delacroix, in his letters and notebooks, therefore nicknamed his lover "Julie" (in reference to La Nouvelle Héloïse), "J." or "Cara". His discretion was such that even his biographers could not until recently discover the mysterious identity of Delacroix's most burning passion. The future painter of harems from Algiers was himself, therefore, one of Madame de Pron's men. Although he respects his rivals, one of whom is a close friend and the other a future sponsor for whom he will later paint his surprising Nature morte au homard, (Louvre Museum), Delacroix suffers from the polyandry of his mistress, while he himself abandoned Émilie Robert, his lover and model for Scènes du Massacre de Scio. Delacroix's letters bear the mark of "Julie"'s painful inconsistency, and of the precariousness of this mad love for an aristocrat of high lineage, married, mother, twelve years his senior and already promised to her noble and rich cousin. But that is of little importance because "Love [...] is a tyrant: it wants everything, and when it has everything, it wants the impossible." The beauty of the lovers' love letters shares the same perfection of the painter's works; Delacroix multiplies his sketch

[Dreißigjähriger Krieg].MareMagnum

Sammlung von 49 Schriftstücken. Deutschland, Frankreich und Niederlande, ca. 1630-1648.

Zusammen (304) SS. Lateinische, französische u. italienische Handschrift auf Papier. Folio (330 x 225 mm), Blattmaß ca. 320 x 210 mm. Wechselnde Schriftspiegel. Flexibler Pergamentband der Zeit mit Goldprägung und hs. Rückentitel sowie hs. Vermerk am Hinterdeckel. Kollektaneenbuch aus den Wirren des Dreißigjährigen Krieges. In bespielloser geographischer, thematischer und nicht zuletzt sprachlicher Vielfalt dokumentieren insgesamt 49 Schriftstücke in zeitgenössischer Abschrift die Ereignisse in Deutschland, Schweden, Frankreich, Spanien und den Niederlanden in den Jahren 1629-34. Unter den Ausstellern finden sich prominente Persönlichkeiten wie Gustav Adolf von Schweden, Ferdinand Fürstbischof von Trier, der französische König Ludwig XIII., der spanische König Philipp IV. und die Infantin Isabella. Ein von Johann Gregor in Liège verfasster Bericht über die Ereignisse des Schwedischen Krieges und den als "Achilles Germanicus" stilisierten Heerführer Tilly, drei Briefe Gustav Adolfs von Schweden an den französischen König sowie den Herzog von Lothringen, ein offener Brief der Infantin Isabella an die Bürger der spanischen Niederlande sowie ein Bericht über die Vertreibung der Jesuiten aus Mainz durch die Schweden im Sommer 1633 sind nur einige Beispiele für den erstaunlichen Themenreichtum. Zu den Ausstellungsorten zählen Alameda, Chantilly, Charmes, Den Haag, Köln, Lüttich, Madrid, Mainz, Maline und Trier. - Die Wasserzeichen des verwendeten Papiers lassen auf eine Entstehung in Frankreich, den Niederlanden und Deutschland schließen. Der aus wiederverwendetem Material gefertigte Einband zeigt eine für Italien typische Goldprägung; die Vorsatzpapiere wurden vermutlich um 1650 in Rom hergestellt. Mit hs. Rückentitel "(V.) Narratio Rerum German. Ann. 1630-1631 M.S". - Fragmentarisch erhaltenes Signaturschildchen am Rücken; hs. Vermerk am Hinterdeckel verblichen. Vorderdeckel gewellt; vorderes Innengelenk gebrochen. Papier unterschiedlich gebräunt, teils mit geringen Randläsuren. - Detaillierte Verlistung auf Anfrage.

Inlibris · Wien, AT9 500,00 €

Caciotti, Ugo.MareMagnum

Delle voci, termini ed altre notizie militari. (Florence, 1632/1639).

4to (160 x 220 mm). Illustrated manuscript in Italian (black ink on paper). (74) pp., single column of 16 lines in a fine bookhand, every page bordered with double rules. First text leaf with a silver-edged frame and one large initial decorated with silver penwork. Title page with a fine penwork portrait of the dedicatee in ornamental armour (after the portrait by Sustermans), in rust-coloured ink, all within a wreath edged in gold and silver. Bound in contemporary full black calfskin, elaborately gilt-tooled. A dictionary of Florentine military terms, from "Abbattimento" ("l'abbater per battaglia") to "Zagaglia" ("spezie d'arme in asta"), followed by lists of punishable offences, general military guidelines, and commendable actions. A handsome manuscript of the finest quality, produced as a presentation copy for the "Duca di Guisa", Charles de Lorraine, the 4th Duke of Guise (1571-1640). Charles, who had fallen into disfavor with Cardinal Richelieu for siding with Marie de' Medici, had withdrawn to Italy in 1631. His wife and younger children joined him in Florence, where the family was protected by the House of Medici. After Charles's death at Cuna, in 1640, his widow and children (among them Marie, "Mademoiselle de Guise") were permitted to return to France in 1643. Caciotti, the author, served as secretary to the Grand Duchess of Tuscany, Christina of Lorraine, one of the duke's allies. In the dedication he dates the work's completion to 28 April 1632, and this presentation copy was given to the duke in 1639 (inscription at the foot of the title). - Beneath the dedicatee's realistic portrait, the illustrated title page shows a central banner with the title and presentation inscription, within full borders of humbled and kneeling soldiers, Calvin on the left and Muhammad on the right (representing the armies of the Protestants and Turks). The figures are prostrated beneath their armour and weaponry on either side of the arms of Guise, which are shown beneath a gold and bejewelled crown. - Once water damaged with discolouration to leaves at each end; some areas of the arms on the title page have fallen away due to ink corrosion (the rest is adhered to the next blank leaf so as to stabilise the paper). Ink corrosion has also damaged the frames of the text leaves, frequently loosening the text area on one or more sides. Spine wormed and chipped, a small section lost from top of rear board, otherwise an appealing and presentable dedication manuscript.

Inlibris · Wien, AT9 500,00 €

Winter, Franz Adam von, Bavarian physician (fl. 1740s).MareMagnum

Opusculum, de Examine Obstetricum, Easque informandi Methodo, Quomodo nimirum, tam in naturali, quam non naturali partu, ac Foetu mortuo existentese gerere debeant: Una cum Exigua Sectionis Caesareae Explanatione: Item de Gravidarum, & Pueperarum nec non Infantum Recens Natorum Regimine, & Affectibus [...]. Landsberg am Lech, 1744.

8vo. Latin manuscript (brown ink) on paper. Title-page, (3), (1 blank), 115 (not 111), (1 blank) pp., (4 blank leaves), (6) pp. of index. With 8 hand-drawn pen-and-ink, grey wash plates (some folding). Contemporary full calf chipped at extremeties with remains of a giltstamped spine label "...me Pueper". All edges red. Unpublished obstetrics manual, handwritten and fully illustrated by a German physician of the 1740s. The meticulous calligraphy of the headlines, the justified margins and precise paragraph indentations imitate a book printed in a classical Roman typeface, while the text is written in an easily legible, educated and appealingly regular round Latin hand. - The book is arranged in two separate sections, or "treatises": the first, longer one includes all of the illustrations and is more overtly didactic, following a question-answer pattern, while the second one (entitled "De regimine gravidarum, puerperarum, nec non infantum, recens natorum; item, de morbis et affectibus illorum"), provides a more scholarly discussion of specific ailments and treatments of the mother and baby, including medical prescriptions. The various chapters are concerned with signs of pregnancy, how to turn breech babies, caesarean sections, stillbirth, teratology, but also morning sickness, piles, sciatica, and lactation; the fine illustrations include cross-sections of the womb showing the fetus in various positions, the placenta, and the female genital organs as well as a grown-up hermaphrodite displaying ambiguous genitalia, conjoined twins and other freaks of nature. - Franz Adam Wolfgang von Winter was born in Dingolfing, Southern Bavaria, likely some time before 1720. Already equipped with a degree in philosophy, he apparently practised as a physician at Landsberg, some 20 miles distant, before deciding to take the degree of Medical Doctor at the University of Altdorf near Nuremberg. Without previously having studied there, he matriculated on 10 December 1744 as a doctoral candidate and passed his viva five days later (cf. Die Matrikel der Universität Altdorf [Würzburg 1912], p. 582, no. 17465). His inaugural dissertation "De Cautione in Observationibus Physico-Medicis Adhibenda", an investigation of the caution that must apply in medical observations, was printed that same year by J. G. Meyer in Altdorf, with a congratulatory poem by professor Johann Jacob Kirsten. The examination would appear to have been little more than a formality; at least it does not seem to have overly preoccupied the medical student who almost simultaneously found the time to prepare the present manuscript: a long, lovingly illustrated manual abounding with a sort of practical detail quite absent from the same author's very generally worded 17-page dissertation. In the manuscript, Winter calls himself "Phil. & Med. Doct. Phys. t. t. & Practic. in Landsperg, Anno MDCCXLIV", which would date at least the completion of this text within the last two weeks of 1744 following his graduation from Altdorf. Winter's further career must remain the subject of further research: he is not recorded in the biographical dictionaries of noteworthy physicians such as Hirsch & Hübotter and may have died before the middle of the century. - Spine-ends chipped; corners bumped; hinges weak. First gathering loosened; insignificant brownstains to a few leaves, but very well preserved. A charming survival.

Inlibris · Wien, AT9 500,00 €

DUMAS AlexandreMareMagnum

"Naïs et Chloé" Poème saphique autographe inédit signé d'Alexandre Dumas

- s.d. (circa 1860), 20,6x27,6cm, un feuillet remplié. - DUMAS Alexandre Naïs et Chloé. Unpublished handwritten sapphic poem signed by Alexandre Dumas N. d. (c. 1860), 20,6 x 27,6 cm, one folded leaf Autograph manuscript poem signed by Alexandre Dumas bearing the title "Naïs et Chloé," 84 verses in black ink on a blue folded leaf of paper. A few tiny tears without damage to the text, invariably produced when a leaf of paper is folded. A very rare manuscript of a long unpublished poem depicting the love of Naïs and Chloé, the writing of which is motivated by the admiration and tribute paid by Alexandre Dumas to one of the greatest figures of ancient poetry, Sappho. A prolific novelist, Dumas rarely tried his hand at poetry; "Naïs et Chloé," by its length, constitutes a hapax in the literary production of this writer. The text remains unpublished to this day and is here enhanced by the elegant calligraphy of its author. The poem is made up of 21 quatrains, among which stands a remarkable insertion of the most famous verse by Sappho, "to the beloved woman," the title of which is preserved in the very body of the text. This embedding is part of the verve with which Dumas defends the poetic and evocative force of the writing of Sappho, whom he elevates to the rank of the "star of the world" of Poetry: "Il est au sein des mers s'appuyant à l'Asie Entre l'heureuse Smyrne et la sombre Lemnos Une île aux bois fleuris chers à la Poésie A qui Venus donna le doux nom de Lesbos. Quand du chantre divin la voix fut étouffée Que du nom d'Euridice elle eut frappé l'écho Le flot roula tête et la lyre d'Orphée Sur la rive où plus tard devait naître Sapho Sapho naquit la lyre en ses mains fut remise Les sons qu'elle en tira jusqu'à nous sont venus." Translated with conscientious care by the author, the poem borrowed from Sappho in which that most famous verse emerges ("this one, I say, is equal to the gods"), is found in several places in Dumas' work, particularly in the chapter entitled "les vers saphiques" of San Felice and in a collection of articles dedicated to the great female figures, where she sits alongside Joan of Arc and Margaret of Anjou. For Dumas, it is a matter of remaining faithful to the written verses and rendering their sensuality, often blurred by previous translators: "The translations of these two poets [...] often appear to lack not only ancient color but are inadequate in their lesbian ardor" (Les étoiles du monde, Galerie historique des femmes les plus célèbres de tous les temps et de tous les pays). Above and beyond this translation, Dumas is imbued with the lyricism of Sappho without losing his own romantic vein, and he paints the sapphic love of Naïs and Chloé in an erotic light: "Oh seule palpitante, échevelée et nue Une main sur ma gorge et l'autre... Oh ma Naïs Serre moi dans tes bras et sois la bien venue Car à force d'amour... tiens... tiens je te trahis Et l'on n'entendit plus alors dans la nuit sombre Que le bruit des baisers répétés par l'écho Car Nais et Cloé se taisaient et dans l'ombre Clinias s'enfuyait en maudissant Sapho." The poem testifies to the continuous interest that the authors of the late 19th century showed toward sapphism and to the personage of the reader-voyeur, here embodied by Cleinias, whose most famous occurrence remains Zola's Nana. Exceptional and long autograph sapphic poem by Alexandre Dumas. $ 10 000 [FRENCH VERSION FOLLOWS] Poème manuscrit autographe signé d'Alexandre Dumas portant le titre "Naïs et Chloé", 84 vers à l'encre noire sur feuillet remplié bleu. Quelques infimes déchirures sans manque de texte dues aux pliure inhérentes à la mise sous pli. Le poème autographe est présenté sous une chemise en demi maroquin vert sapin, plats de papier marbré, contreplats doublés d'agneau vert, étui bordé du même maroquin, ensemble signé Goy & Vilaine. Rarissime manuscrit d'un long poème inédit retraçant les amours de Naïs et Chloé et dont l'écriture est régie par l'admiration et

Librairie Feu Follet · Paris, FR9 200,00 €

MILLER HenryMareMagnum

Correspondance manuscrite complète d'Henry Miller avec Béatrice Commengé

- Pacific Palisades (CA) 1976-1978, 23 pages A4. - Henry Miller's complete manuscript correspondence with Béatrice Commengé Pacific Palisades (CA) 1976-1978 | 23 pages 21 x 29.7 cm A superb complete set of 17 autograph letters signed by Henry Miller and addressed to the writer Béatrice Commengé, the author most notably of Henry Miller, ange, clown, voyou [Henry Miller: angel, clown, thug] and translator of a number of works by Anaïs Nin. With an autograph envelope addressed by Henry Miller to Béatrice Commengé and an autograph letter signed by Anaïs Nin to Béatrice Commengé. In 1976, Béatrice Commengé, then a young literature student, began writing a thesis on Anaïs Nin and Henry Miller. From her home village in the Périgord region, she wrote to both. Nin, who was very unwell, apologized for not being able to help her. Miller, though, let himself be seduced at the outset by the idea of exchanging letters with an inhabitant of Domme, the village whose beauty he had lauded in The Colossus of Maroussi. Very quickly, impressed with the student's style and determination, he entered into a correspondence with her that would last until - two years before his death - Miller's eyesight broke down completely, preventing him from reading and writing. At this time, Miller, then 85, was living almost as a recluse in Pacific Palisades in California, rejecting the American way of life and its illusions, and dreading all-too frequent offers and invitations. But the old writer was very quickly charmed by Commengé's outlook on his work: «You are a gem! One of the very few ''fanas'' to understand me. Merci! Merci mille fois!» he writes in his second letter. A true epistolary friendship then develops between the ageing writer and his young muse: «I think of you as some sort of terrestrial angel», and «what a delight to get a letter from you»; «Keep writing me, please!» In passionate letters that are written and re-written, with their English mixed with French, words underlined, copious brackets and exclamation points, and post-scriptums squeezed into the margins, Miller examines his work and his memories. He refuses a purely academic correspondence, «To be honest with you, I don't think either A.N. or I, who are naturally very truthful persons, really succeeded with truth as it is conventionally thought of. We are both confirmed 'fabulators'.» Miller recommends the young woman the books he's been reading recently and his old friends: «[Lawrence] Durrel is the friend to talk to about me, [...] he knows me inside out»; «[he] is wonderful when you get to know him. éblouissant même»; «that great master of the French language - Joseph Delteil»; «Delteil is almost a saint. But a lively one,»; «Alf[red Perlès] is the clown, the buffoon, who made me laugh every day». He goes on to congratulate her on abandoning her didactic project in favor of an «imaginary book about [him]» and launches on a much more intimate correspondence. He confesses his shock, as well: «Did you read about the French prostitutes protesting and demonstrating in Paris against my receiving [the legion of honor]? They say I did not treat them well in my books. And I thought I had!!». He also shares his literary tastes: «I prefer the Welsh. They are the last of the poets». He also warns the future translator of Anaïs Nin against his former mistress' duality: «She is or was a complete enigma, absolutely dual. [...] Actually, I suppose there is always this dichotomy between the person and the writer», and confides to her her secrets: «she is slowly dying (of cancer) she refuses to admit it. (This is entre nous!)». He also discusses his latest loves: «I am in love with a very beautiful Chinese actress [...]. I seem to go from one to another, never totally defeated, never wholly satisfied. But this is near 'eternal' love as I've never been.» Indeed, despite his advanced old age, the author of Sexus has lost nothing of his passion for the fairer sex and his correspondent's being a woman i

Librairie Feu Follet · Paris, FR8 970,00 €

HUGO Victor & HUGO AdèleMareMagnum

Lettre autographe signée à la veuve du sculpteur David d'Angers : "Mon exil est comme voisin de son tombeau, et je vois distinctement sa grande âme hors de ce monde"

- Hauteville House 11 et 13 mai 1856, 14x21,5cm, une feuille. - Lettre autographe signée de Victor Hugo datée du 13 mai 1856 à la suite d'une lettre inédite de Madame Victor Hugo à Madame David d'Angers datée du 11 mai. 4 pages sur un feuillet remplié à filigrane "Barbet Smith Street Guernesey". Publiée dans Correspondance de Victor Hugo, Paris, année 1856, p. 246 Dans cette lettre imprégnée des apparitions et spectres qui hantent les Contemplations récemment publiées, Victor Hugo s'adresse à la veuve de son grand ami le sculpteur David d'Angers, fervent républicain et artiste particulièrement admiré des romantiques. En pleine crise mystique, Hugo parle à l'ombre du sculpteur à qui il dédia de sublimes poèmes dans Les feuilles d'automne ainsi que Les rayons et les ombres et réclame auprès de sa veuve son portrait favori, un buste en marbre jadis sculpté par David d'Angers. Après l'expulsion des proscrits de l'île de Jersey, Victor Hugo fait l'achat d'Hauteville House grâce au succès des Contemplations et apprend avec tristesse la disparition d'un ami cher. Il écrit à la veuve du sculpteur sur le même feuillet que sa femme Adèle, également liée avec la famille de David d'Angers, créateur d'un médaillon à son effigie : « Vous êtes la veuve de notre grand David d'Angers, et vous êtes sa digne veuve comme vous avez été sa digne femme ». Le sculpteur de renom s'était déjà lié au premier salon romantique de Nodier à l'Arsenal et fréquentait presque quotidiennement Hugo à la fin des années 1820 dans l'ambiance bonapartiste et bon enfant de la rue Notre-Dame des Champs, en compagnie des frères Devéria, Sainte-Beuve, Balzac, Nanteuil et Delacroix. En 1828, l'écrivain avait posé avec bonheur dans l'atelier de David d'Angers rue de Fleurus, pour un médaillon puis un buste qui avaient été suivis de deux sublimes poèmes célébrant le talent du sculpteur dans Les Feuilles d'Automne et Les rayons et les ombres. De tous ses portraits pourtant nombreux, il chérissait plus que tout autre son buste de marbre signé David d'Angers et n'hésite pas à le réclamer à sa veuve : « Avant peu, peut-être, madame, ma famille vous demandera de lui rendre ce buste qui est ma figure, ce qui est peu de chose, mais qui est un chef-d'uvre de David, ce qui est tout. C'est lui encore plus que moi, et c'est pour cela que nous voulons l'avoir parmi nous ». De ces séances de pose avec le sculpteur naquirent de fructueuses conversations esthétiques et politiques où s'était affirmée leur aversion commune pour la peine de mort. Ils assistèrent au ferrement des galériens qui rejoignaient Toulon depuis Paris, décrit par Hugo dans deux chapitres du Dernier jour d'un condamné. Victime de l'exil comme Hugo, David d'Angers était rentré à Paris avant de rejoindre le monde des morts : « Mon exil est comme voisin de son tombeau, et je vois distinctement sa grande âme hors de ce monde, comme je vois sa grande vie dans l'histoire sévère de notre temps ». La « grande vie » de David d'Angers fut consacrée à façonner les effigies des hommes illustres, par un subtil équilibre de ressemblance et d'idéalisation. Le sculpteur prend finalement place dans le panthéon personnel de Victor Hugo, lui qui avait orné le fronton du véritable Panthéon des grands hommes où repose aujourd'hui l'écrivain : « David est aujourd'hui une figure de mémoire, une renommée de marbre, un habitant du piédestal après en avoir été l'ouvrier. Aujourd'hui, la mort a sacré l'homme et le statuaire est statue. L'ombre qu'il jette sur vous, madame, donne à votre vie la forme de la gloire ». C'était en effet à l'ombre des grands hommes qu'Hugo vécut son exil à Jersey, loin du tumulte de la capitale et dans le silence ponctué par les embruns frappant les carreaux. Hugo s'était plongé dans l'occulte et parlait aux disparus : « David est une des ombres auxquelles je parle le plus souvent, ombre moi-même », déclare-t-il, rappelant le poème final des Contemplations, « Ce que dit la bouche d'ombre », dicté au poète grâce

Librairie Feu Follet · Paris, FR8 625,00 €

[East Asia - Lagrené mission].MareMagnum

Ship's log of the "Archimède". At sea between Macao and Calcutta, 1846.

Folio (ca. 217 x 321 mm). 2 vols. French manuscript on paper (a few passages in English). 65 pp.; 76-106, (3) pp. Includes a total of 75 blank ff.; several pages blank except for pagination. Contemporary blue full cloth. Marbled endpapers. Anonymous journal of the voyage of the steamer "Archimède" to the Far East between 1844 and 1846 as part of a diplomatic mission to Qing-China led by Théodose de Lagrené (1800-62), aiming to reach a contract similar to the 1842 Treaty of Nankin with the British. The mission was a success: the Treaty of Whampoa, which resulted in the opening of five Chinese ports for trade with the West, was signed aboard the "Archimède" on 24 October 1844. The commercial delegation aboard the ship under the command of admiral François-Edmond Pâris were charged with studying local industries and the potential of selling French goods to the East Asian market, a mission that led them to explore much of Indonesia as well as Calcutta in 1846. - The first volume covers the voyage from Macao to Singapore and Penang, then on to Calcutta in January and February 1846. It opens with several specifications of the ship, including loading and machinery, before going on to describe its voyage in Indonesia, mentioning a bay in the Anambas archipelago named after Pâris, who mapped part of the archipelago as an ensign aboard the corvet "Favorite" in 1830: "Dans la matinée du 19 depuis 5h 30' jusqu'à midi on fait des routes diverses pour entrer et sortir de l'archipel des Anambas que le commandant a la complaisance de nous faire visiter. En 1830 enseigne de Vaisseau sur la corvette La Favorite il a dressé la carte d'une partie de cet archipel en il nous mène jusqu'au fond de la bai nommé d'après lui Pâris" (p. 4). The account of Calcutta evinces a great fascination with the place, as the writer clearly admires its transformation from a small village to a centre of commerce and the capital of an Empire: "Quant à la ville de Calcutta elle même, la ville des Palais, City of Palaces, il me serait difficile d'exprimer convenablement l'antipathie, l'aversion qu'elle m'a inspiré. Certes il est difficile de ne pas admirer l'étonnante fortune de cette place qui n'était pas plus qu'un pauvre village il y a un siècle et qu'est aujourd'hui l'une des grandes places de commerce du monde & et la capitale d'un grand Empire" (p. 55f.). The description of Calcutta includes a bird's-eye pencil sketch of the Raj Bhavan, today the residence of the governor of West Bengal, deeming it "completely lacking in style" (p. 58f., transl.). - The second volume comprises notes on Hindu-Chinese countries, Cochinchina and Siam drawn from local periodicals, namely the "Singapore Chronicle" and the "Calcutta Journal". A separate list gives the composition of the population of Bangkok in 1828, indicating that the 800 Christians living there were mostly descendants from the Portuguese. - Bindings slightly rubbed and a little cockled in places; lightly bumped at extremities. In contrast to Pâris's journals of the Archimède campaign in 1844 and 1845, held at the Musée national de la Marine in Paris, the present set reflects the later, lesser-known part of the expedition in early 1846. Barron, "La corvette à vapeur l'Archimède au bout du monde, allegro ma non troppo", in: Chronique d'histoire maritime (Commission française d'histoire maritime; Société française d'histoire maritime, 2016), pp. 67-83.

Inlibris · Wien, AT8 500,00 €

[Eben, Christian Adolph Friedrich Frh. von, military officer (1773-1825)].MareMagnum

Observations on the Utility of good Riflemen both in Infantry & Cavalry, with Instructions for Acquiring the Art of Taking a Good Aim, and Description of Targets [...] To which is added A Short Manual Exercise for Mounted Chasseurs as well as for Dragoons or Hussars, who are Armed with Rifle Pieces [...]. Translated from the Original German Manuscript Under the Inspection of the Author. No place, ca. 1802.

Large 4to (211 x 260 mm). English manuscript on paper (watermarked 1797). (2), 86 pp., 1 blank leaf. Text within woodcut margins. With an additional 20 hand-coloured engraved plates (some signed "Merkl", one bound as a frontispiece), many with manuscript captions, and one hand-drawn and uncoloured diagram (numbered "Plate XIV). Contemporary half green morocco over marbled boards. A manuscript from the royal library of the Duke of Clarence; a fair copy in a single hand. "Very interesting qua rifle details, targets etc. (including moving target of a man or deer)" (inserted old collector's note). Neither the author's German manuscript nor the present translation saw publication, but another copy of this manuscript, with the plates, is kept in the Royal Armories Collection (EBEN 1). - Christian Adolph Friedrich Frh. von Eben (1773-1825) was a Silesian nobleman who trained in the Prussian military. He entered the English service in 1800 (where he was styled Frederic, Baron Eben) and composed this manual in 1802, upon receiving a commission in the 10th (Prince of Wales's) Regiment of Light Dragoons. He went on to fight in the Peninsular War in the Portuguese service and became involved in a conspiracy against the government in 1817. Exiled from Portugal, he served in South America under Bolivar in the 1820s. - Binding rubbed at extremeties. Nicks to some plates, some light discolouring. Provenance: 1) William, Duke of Clarence (later King William IV), bookplate (WH within Garter, coronet above); 2) his natural son George FitzClarence, 1st Earl of Munster (1794-1842), book label ("Col. Fitz Clarence"), armorial bookplate, and gilt stamp on spine; 3) Sidney Young, armorial bookplate; acquired in 1930 by 4) Thomas Fremantle, 3rd Baron Cottesloe (1862-1956), commander of the Territorial Army and president of the Society for Army History Research.

Inlibris · Wien, AT8 500,00 €

[Manuscript prayerbook].MareMagnum

Form zu betten unser liebe[n] frawen mantel, Gebet. [Incipit:] Cegrüest seiestu o süesse aller heiligste junckfraw maria [...]. [Ravensburg?, ca. 1670].

Small 16mo in 8s (85 x 100 mm; leaf size 75 x 90 mm). [423], [3 blank] pp. plus 3 endleaves at the front and 5 at the back. German manuscript in red and black ink on paper, written in an upright, semi-cursive gothic hand, with Lombardic initials in red (a few 2-line and hundreds of 1-line initials), rubricated throughout. 11 lines per page, written space 55 x 70 mm. Contemporary blind-tooled pigskin over bevelled wooden (beechwood?) boards, sewn on 3 double supports, each board bearing a double rectangular border of multiple rules, inner frame with an oval centrepiece stamp (22 x 32 mm, the front with a female figure [the Virgin Mary or a saint?] within decorative borders; back divided by 2 diagonal double rules and 4 diagonal double arcs into 4 inner and 8 outer compartments, each filled with arabesque decoration; outer compartments coloured, inner compartments thus forming a lighter lozenge with concave sides). An arabesque stamp inside each corner of the inner border and a decorative border between the inner and outer frame composed of at least 2 straight branches with leaves and at least 4 rosettes (5, 6 and 7 petalled); spine and turn-ins rules. In total more than 100 impressions of about 9 stamps. Further with 2 strap fastenings with brass clasps (each with an owner’s [?] stamp: 1.5 mm Roman capital initials "LH" above a 3 mm head in profile, facing right), catchplates and anchor plates, plain headbands, blue edges. With 27 mm Roman capital initials "BR" in brown ink on the lower edge. A charming, pocket-sized Catholic manuscript prayerbook in German, written in red and black, bound in contemporary blind-tooled pigskin, both manuscript and binding probably the work of a monastery in Ravensburg or the surrounding region. - The manuscript begins with prayers to the Virgin Mary on 19 leaves (a1-c3) and continues with three series of rosary prayers on 47 leaves (c3-i1), further prayers to the Virgin Mary on 28 leaves (i1-m4), prayers for various days from Palm Sunday to Easter on 18 leaves (m4-o5), prayers for the 24 hours on 56 leaves (o5-x4), further rosary prayers in five parts on 21 leaves (x4-z8), the litany of all saints on 20 leaves (z8-2c3), and the litany of specific saints, including St Augustine, on 10 leaves (2c3-2d4). - The manuscript is very regular in its structure, only a few blank leaves have been removed: the final quire used for the prayerbook text itself ends with a blank leaf, followed by stubs of 3 leaves that have been torn out. The quires that contain the text of the prayerbook collate: [a]-[2c]8 [2d]8 (- 2d6, 7, 8) = [212], [1 blank] ff. The 17th century binder trimmed most of the quire signatures (quire a probably had none), but on the first leaf of a few quires one can see the top of the letter that was shaved (confirming the collation): i, k, r, s. The top of some letter or mark, also shaved, can be seen in the same position on c3, f2 and 2d1-4, but it is not clear what they are. The endpapers appear to have been a quire of four leaves at the front and a quire of six leaves at the back, probably each with its first leaf removed and the outermost remaining leaf pasted down. - The paper is almost certainly of foolscap size, nearly all watermarked with the Ravensburg coat of arms (a castle represented as a gate between two towers, standing upon a corbel). The gate in the present watermarks probably has a door under a peaked roof, rather than a portcullis, but this and the initial(s) or other sign in the corbel are difficult to make out because each watermark is divided between four leaves with the central parts lost in trimming. The crenellated battlement of each tower is rounded, has three merlons, and sits directly on a rounded slab, the battlement having no narrower neck leading to the slab. Each tower has one window, connected to the wall on the gate side by (in most cases) two diagonal wires that form a triangle with the wall as its base and the point touching the window. We have not found an example in the literature with this triangular link, but otherwise the present watermarks resemble many from the period 1655 to 1675 (Piccard III, group IX, 171-186 & 253-259, plus many scattered throughout group VIII). Those in quires a, f and probably b and g have two initials (probably "HL") flanking the corbel; the literature shows no initials in that position before 1666. This suggests that the manuscript was probably produced in the period ca. 1665 to ca. 1675. One Ravensburg castle mark in WZIS has an HL monogram in the corbel, but not the initials flanking it, and the style of the castle is completely different: it is not clear whether it dates from 1666 or between 1686 and 1700. Not surprisingly, Ravensburg castle watermarks appear most frequently in Ravensburg (in Upper Swabia, just north of Lake Constance), but also in the vicinity (Konstanz, Weingarten, Salem, Überlingen); they are rare elsewhere. - The endpapers were probably made from one of the paper stocks used for the manuscript itself (one leaf shows one side of the foot of the Ravensburg castle watermark, with no initials flanking the corbel), suggesting that the production of the manuscript and its binding were closely tied, perhaps at a monastery in the region. Three bifolia show parts of a different watermark: two bifolia in quire c show a crown, perhaps from a coat of arms or an Imperial double-headed eagle, while one in quire l shows what may be the foot of a coat of arms or possibly the tip of the tail of an eagle, with scroll decorations. - In a 16mo in 8s, one expects each quire to represent a half-sheet, and each sheet would provide one half sheet with a watermark and one without. Here, eight quires show parts of a watermark in four of the eight leaves, and six show no watermark. But even these quires were not consistently made from regularly folded half sheets: some were assembled from separate bifolia, so that some of the watermarks appear at the foot of the fore-edge rather than its head. Most of the quires a-l and a few others show parts of watermarks in 1, 2 or 3 leaves, demonstrating that they contain bifolia from different half-sheets. In quire e, three leaves show one of the two towers from a Ravensburg castle watermark, proving that they come from parts of two different sheets (c and l, which include parts of a different kind of watermark, also mix bifolia from different sheets). - One or more early owners of the present manuscript have written six pages of further prayers on the endpapers (2 at the front and 4 at the back), mostly in a single contemporary hand, including "ein gebeid der Reponsori deß H. Bonaventura"; "So du nun mirackel suchst der Godt"; "Wo man alle nacht mit Jesu schlaffe soll"; "Fünff vögelen singen, daß es in den Rainen" (five songs, numbered 1 to 5). There is also a two-line inscription on the back pastedown. Parts of the front pastedown, which probably contained an owner's inscription, have been removed or obliterated, but bits of an early inscription remain visible. - Some minor and mostly marginal foxing, a hole in l6 and 7, a small marginal tear in l8 and insignificant ones in a few other leaves, but still in good condition. The binding has a hole in the pigskin covering the spine, along one of the supports, is slightly soiled and most of the blue colouring of the edges of the leaves is lost. The centrepiece on the front board does not appear to be worn, but its image (probably the Virgin Mary or a female saint) is nevertheless difficult to make out: perhaps the binder did not impress it strongly. The binding also remains in good condition.

Inlibris · Wien, AT8 500,00 €

[Rezeptbuch].MareMagnum

Rezeptbuch eines Baders. Wohl Tirol, um 1680.

4to. Deutsche Handschrift auf Papier. Zus. ca. 358 beschriebene SS. auf 264 Bll.: (1), (1 weiß), (2), (6 weiß), (1), (1 weiß), 1-344 (davon 5 weiß), (18 weiß), (23), (26 weiß), (1) SS. (davon 32 SS. nachgebunden mit zus. 17 SS. alphabeth. Registereinträge, meist mit Griffregister). Pergamentband der Zeit. Sehr umfangreiche Sammlung von Heilmittelrezepten eines Baders oder Feldschers (wie aus der zweiseitigen gereimten Vorrede hervorgeht). Außerdem richten sich zwischen dem mehr als 500 Rezepte umfassenden ersten Teil (SS. 1-240) und dem zweiten mit etwa 150 weiteren Rezepten (SS. 278-344), in der gleichen Handschrift, zwei Texte an diesen Berufsstand: "Fragen von der Baders Profession" (SS. 241-261) und "Frag Stuckh, wie man sich nach denen Fragen freintlich beantworten soll" (SS. 265-270). Hier werden auch frühneuzeitliche anatomische Fragestellungen erläutert, beispielsweise zur Lage und Beschaffenheit des Gehirns: Dieses bestehe aus drei Teilen und sei in absteigender Größe für Vernunft, Gedächtnis und Vorstellungskraft verantwortlich und in seiner Substanz "weiss und weich". Auf die Arzneimittel folgen Verzeichnisse der Apothekerzeichen (mit einem zusätzlichen Griffregister versehen), Apothekergewichte und Listen unterschiedlicher Wasser und Öle sowie von Pestkräutern und -wurzeln. Am Ende finden sich ein Inhaltsverzeichnis mit alphabetischem Griffregister und ein Verzeichnis lateinischer Pflanzennamen. - Belegt wird der Gebrauchswert des Rezeptbuchs für Bader in einzelnen Überschriften der Rezepte, wie "Ein anders von Joseph Mayr Bader" oder "Wan ein Bader die Aderen nit finden kann". Eine Fülle einfacher Hilfs- und Heilmittel wird vorgestellt, etwa "Wunden zu trukhnen", "Pflaster zu alten Schäden", "Die Milben im Haar zu tödten" oder "Meiß oder Fluigen zu vertreiben". Auch die Behandlung schwerer Erkrankungen wie Gelbsucht, Pest oder Krebs wird diskutiert. Besonders interessant - und giftig - ist eine krebshemmende Salbe mit Bleiweiß "für den Krepss das Er nit umbfresse"; auch jenem, der "das Wasser nit abschlagen khan", soll geholfen werden können. Manche Mittel sind für "Mensch und Vich" geeignet, andere sollen gegen Zauberei helfen, wie etwa das Tragen einer Wurzel von Eisenkraut. - Auf die Herkunft aus Tirol weist neben der mundartlichen Färbung etwa ein Rezept für einen "Wundt Tranckh, so Herzog Sigmund selbsten gebraucht". An einigen Stellen wurden Rezepte von anderen Händen, wohl wenig später, ergänzt. - Oben teilweise mit leichtem Wasserrand, etwas braun- und teilweise leicht fingerfleckig. Der Einband stärker braunfleckig bzw. gebräunt, mit einigen kleineren und einem größeren Wurmloch im Deckel, einem kleinen Wurmloch im Rücken und wenigen größere Einschnitten im Hinterdeckel, bestoßen und berieben.

Inlibris · Wien, AT8 500,00 €

Blaze de Bury, Henri, French writer and critic (1813-1888).MareMagnum

"Bianca Capello. Grande duchesse de Toscane". Autograph manuscript signed. No place, [ca. 1884].

8vo. French manuscript on paper. (1), III, 92 (but: 93, pp. 22-23 on 1 f., pp. 83-84 on two ff. each), (3 ff. with notes to pp. 10, 59, 85, 86). Prefixed by an autograph title-page and dedication to Alidor Delzant signed as well as an autograph letter signed (4to, 4 pp.) and autograph envelope bound to the front blank leaves. Contemporary red morocco binding with giltstamped spine. Marbled endpapers. Henri Blaze de Bury's biography of the famous Venetian noblewoman Bianca Cappello, mistress and later consort of Francesco I de' Medici, Grand Duke of Tuscany, was first published over two issues of the "Revue des Deux Mondes" (nos. 63 and 64 of 1884) and again in 1886 as part of his collection "Dames of the Renaissance". The present manuscript with its frequent changes, deletions and corrections as well as occasional excisions constitutes the author's working manuscript as revised for publication; several remaining departures from the published text are probably due to revisions in the galley proofs. - Blaze de Bury inscribed his manuscript to the lawyer, writer and bibliophile Alidor Delzant (1848-1905), executor of the last will of the brothers Goncourt. An autograph letter by Blaze de Bury to Delzant, his "imperfect neighbor" but "most lovely human being", is bound before the manuscript: Blaze de Bury thanks Delzant for his encouraging letter, contrasting it with a negative response to "Bianca Capello“ which had compared the author to Boccaccio, decrying the immorality of the story. - Bianca Cappello (1548-87) was born into one of Venice's foremost noble families. At age 15 she fell in love with a commoner and escaped with him to his native Florence, where they married. Grand Duke Cosimo I granted Bianca protection from her family's attempts to return her to Venice. The marriage was unhappy, and Bianca soon formed an intimate relationship with Grand Prince Francesco, the heir apparent. Francesco, who was married to Joanna of Austria, made Bianca his mistress, and their son Antonio (1576-1621) was born out of wedlock. In 1574 Francesco succeeded to the Grand Duchy and, much to his wife’s discontent, installed Bianca in a palace (Palazzo di Bianca Cappello). Upon Joanna's death in 1578, Francesco secretly married Bianca. The marriage was publicly announced in 1579, and Bianca was subsequently crowned the Grand Duchess of Tuscany. Bianca and Francesco died in 1587 within days of each other, sparking rumours of poisoning. Although Antonio had been legitimized, he was barred from the throne by his uncle Ferdinando, who managed to succeed his elder brother as Grand Duke. - Two pages cut but no loss to text. Paper insignificantly browned and a little fingerstained throughout. Well preserved. H. Blaze de Bury, Bianca Capello, grand-duchesse de Toscane, in: La Revue des Deux Mondes, nos. 63 and 64 (Paris: 1884). H. Blaze de Bury, Dames de la Renaissance (Paris: G. Lévy, 1886).

Inlibris · Wien, AT8 500,00 €

Körmendy, István László, Hungarian jurist (1700-1804?).MareMagnum

Status iurium, et totalis modernae constitutionis familiae Körmendianae à Martino Literato de Körmend in suis ramis ab anno 1550 condescendentis et propagatae, in haereditate sua Egbell, in comitatu Nitriensi sita et habita. [Gbely?, ca. 1740, with additions to 1762].

Folio (235 x 360 mm). (248) pp., 53 blank ff. (35) pp., 13 blank ff. Latin, German and Hungarian ink manuscript on paper, with a double-page illustration of a family tree. Contemporary full calf, spine elaborately gilt with two red spine labels "Status Familiae Kormendianae, Cum Deductione Universali" and "Opera Spectabilis Dni. Stepha Ladislai De Körmend"; covers in two shades of brown leather with two giltstamped borders and elaborate ornamentation. Leading edges gilt; marbled endpapers. Edges goffered and gilt with red marbled middle sections. A vast, hitherto untapped collection of document copies spanning some two centuries of the history of the Körmendy family, edited by a descendant as a keepsake and portable archive for his heirs. Important not only for the history of this branch of the Körmendys, but also as evidence of the proliferation of nobility in early modern Europe, especially in Hungary, and of the legal ramifications within the realms of public law (governing the acquisition of noble status and the family's position within the state), civil law (lawsuits fought among noble families), and house law (the self-posited internal rules governing the family's dynastic succession and inheritance). - The manuscript begins with an autobiographical account of the writer, Stephan Ladislaus de Körmend, born on the 25th of July 1700 in Egbell in the Hungarian county of Neutra (today, Gbely in the Trnava Region of Slovakia), to parents Franciscus de Körmend and Zuzanna Zaffiry. It goes on to include an extensive array of copied documents which demonstrate the family's descent and legally tangled history from the mid-16th century onwards, when Martinus "Literatus" de Körmend was granted a title of nobility by King Ferdinand I for gallant military service under Peter Bakics (cf. Siebmacher 33.2, p. 135). A fine, double-page spread illustration shows the family tree growing from Martin Literatus at the bottom. At the end of the volume, a separate section in German provides communications from Imperial commanders in the Austro-Turkish War of 1737-39 that illustrate military operations of the year 1738, in which the writer appears to have been involved in a legal capacity. - Körmendy served as head notary of Bács-Bodrog County near the Serbian border from 1734 to 1739, but the upheavals of the war seem to have necessitated his return to his native northern Hungary. Other than that, he was previously known to Hungarian historians only as a diarist: a journal he kept in 1736 is mentioned in Gyula Dudás's work on the noble families of Bács (cf. below), and Péter László's Encyclopedia of Hungarian Literature published in 1994 records his professional work in Bács-Bodrog as well as his diary. - Hungarian genealogy knows of numerous families named Körmendy, and it is not clear whether or how they are related to each other: Béla Kempelen's dictionary of Hungarian noble families lists no fewer than ten (the present branch being the first), while that of Nagy has a nearly page-long entry on the various families, specifically citing one hailing from Trencsén county (now Trencín in Slovakia, neighbouring Trnava). Indeed, not every family named Körmendy was necessarily a noble one: the name is derived from the city of Körmend in Vas county, and the -y (or -i) at the end of the name (rendered in Latin as the preposition "de") primarily denotes origin and need not be an indication of nobility. It is important to note that the socially highly differentiated Hungarian nobility comprised close to five percent of the total population - some 75,000 families in 1787, compared to a mere 26,000 in France in 1789 - and thus was one of the largest noble classes in Europe both by percentage and in absolute numbers (cf. B. Király, Hungary in the Late 18th Century [1969], p. 38). While many members of the lesser gentry lived in conditions bordering on destitution, they were nonetheless fiercely proud of their aristocratic birth (which in 18th century Hungary still entailed exemption from taxation) and resisted as an intolerable break with tradition every Habsburgian effort to modernize the country. - A different, more sensational perspective on this painstaking collection of documents, possibly not reliable in all respects, is presented by the Viennese-born political journalist Anton Gross-Hoffinger (1808-73): in his popular account of Hungary, "Ungarn, das Reich, Land, und Volk wie es ist" (published under his pseudonym "Hanns Normann" in 1833), he states that Körmendy was an 18th-century Hungarian lawyer who exploited his country's proliferation of nobility and the chaotic legal situation surrounding it by forging not only his own family's title, but also those of many other ambitious, well-to-do individuals. According to Gross-Hoffinger (p. 141-143), he was finally taken to court when sixty years of age and, having managed to draw out the investigation for two decades, was sentenced to life imprisonment at the age of eighty (for no death penalty was pronounced on octogenarians), ultimately dying incarcerated at the age of 104. - Several stamps of the Körmendy family archive, Budapest ("A Körmendy nemzet seg családi levéltára Budapest") in green ink. Some annotations and markings in pencil or red crayon by later hands. A mended tear to the title page, and slight worming to the upper cover near the top edge, otherwise a very well preserved manuscript, elaborately bound as an heirloom. Cf. Péter László, Magyar irodalmi lexikon II, 314. Gyula Dudás, A bácskai nemes családok : adalékul Bács-Bodrogh vármegye történetéhez (Zombor 1893). Siebmacher 33 (Die Wappen des Adels in Ungarn: Bd. IV, 15. Abt., 2. Teil), p. 135 with plate 98. Béla Kempelen, Magyar nemes családok VI (Bp. 1913), p. 246. Iván Nagy, Magyarország családai czimerekkel és nemzékrendi táblákkal VI (Pest 1860), p. 448f.

Inlibris · Wien, AT8 500,00 €

Mayer, Lieven.MareMagnum

Der hochen Deutschen Ritterordens Buech [...] (= drop-title on fol. 5r). [Germany, after 1606 and probably before 1618].

4to. (5), 129 ff. German and Latin manuscript on paper, written in a 17th century hand. With 3 heraldic crosses showing the coats of arms of the Teutonic Order (a black cross) and 4 drawings showing costumes of several members of the order, all executed in watercolours with some albumen highlights. 20th century calf, blind-ruled double fillet borders on both boards, spine ruled in blind and lettered in green. Highly interesting 17th century German manuscript of the Order of Brothers of the German House of Saint Mary in Jerusalem, commonly known as the Teutonic or German Order. Founded in 1190, it was primarily founded as a military society with its Teutonic Knights serving crusadings Christians in the Holy Land during the Middle Ages. In time, the Order also developed into a Catholic religious institution, although it would not lose its military function until the 20th century. - The present manuscript opens with a short history of the Order, beginning with the year 1190 and ending in 1606. It continues with the statutes, divided into several chapters, which are interspersed with prayers in Latin. This combination of statutes and prayers gives evidence that the Teutonic Order was not merely a military order, but also had a strong focus on religion. This is also reflected in the liturgical calendar, which is part of a chapter of the statutes, listing the saints and their feast days as celebrated by the Order. The end of the work (fol. 125) states that Maximilian III of Austria approved the statutes. Maximilian (1558-1618) was the Grand Master of the Order from 1585 until his death. The date 1606, as well as his passing in 1618, suggest that the manuscript was written in the first quarter of the 17th century. - The last five leaves of the manuscript appear to contain the names of the Landkomturs who ruled the various bailiwicks of the Holy Roman Empire's commanderies. These Landkomturs, subordinate to the Grand Master, were very often important German noblemen. - Uncommonly for this type of text, this manuscript is illustrated: the first illustrated leaf shows three black crosses, forming the arms of the Teutonic Order, including that of the Grand Master. The Grand Master's coat of arms is a black cross with a golden cross superimposed upon it, with an imperial eagle in the centre. It continues with four illustrations showing the typical costumes of several members of the Order. The second illustration in this series shows the white overcoats bearing a black cross, such as were typically worn by the Knights since 1205. - Only a few very minor spots, overall in very good condition. According to a 21st century inscription in pencil on the first endpaper, the manuscript was formerly part of the collection of the Belgian historian and politician Philippe Kervyn de Volkaersbeke (1815-81). Altogether a rare survival, and a rich source of information on the formal organisation of the most important 17th century German Order, but also on their statutes and their religious customs and habits. The manuscript beautifully reflects the religious as well as the military character of the Teutonic Order.

Inlibris · Wien, AT8 500,00 €

ZWEIG StefanMareMagnum

Lettre autographe signée adressée à Alfred Cortot et son épouse à propos du fonds de manuscrits de Richard Wagner : « J'avais la chance de pouvoir acquérir le lot entier un jour avant que Bayreuth envoyait une personne de confiance »

- Londres 26 décembre 1937, 17,9x22,9cm, 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 a large col

Librairie Feu Follet · Paris, FR8 050,00 €

GUITRY SachaMareMagnum

Manuscrit autographe de "Correspondance de Paul Roulier-Davenel recueillie par Sacha Guitry" [ensemble] placards avec notes manuscrites. [ensemble] coupures de presse

- S.n, s.l. 1947, 39 feuillets. - Précieux et important manuscrit autographe signé de Sacha Guitry de Correspondance de Paul Roulier-Davenel recueillie par Sacha Guitry (1908-1910). Paul Roulier-Davenel est un auteur fictif, né dans l'esprit du jeune Guitry. En effet, celui-ci donna au journal Comoedia, entre octobre et novembre 1908, une série de « lettres » du pseudo-dramaturge introduites par plusieurs préfaces au ton cocasse. L'humour de cette correspondance n'a jamais trompé les journalistes ni les lecteurs sur l'origine de cette fantaisie, comme le révèlent les articles dans la presse de l'époque. Mais ce fut l'une des premières occasions pour Guitry de traiter de manière littéraire de ses deux sujets de prédilection : le monde du théâtre et les femmes. Sont réunis ici une partie du premier manuscrit paru en feuilleton dans Comoedia ainsi que les placards sur lesquels travailla Guitry pour préparer l'édition en volume, publiée en 1910 chez Dorbon l'Aîné. Ces documents révèlent combien il remania les lettres, ainsi que leur agencement, supprimant certains passages, changeant les noms, divisant une même épître en plusieurs. L'ensemble comprend 25 feuillets autographes rédigés à l'encre violette ou au crayon, bien lisibles, et 14 feuillets de placards tirés de Comoedia et largement annotés et complétés de la main de Guitry. Le manuscrit s'ouvre sur une prétendue bibliographie de « l'auteur », composée d'ouvrages pour le moins farfelus - À houille rabattue (moeurs minières), Le Turkestan belge, Manuel de zootechnie ou encore Prophylaxie des maladies vénéneuses (en préparation) -, qui fait écho aux titres non moins fantasques des premières pièces de Guitry (Chez les Zoaques, 1907 ; Le Kwtz, drame passionnel, 1907 ; C'te pucelle d'Adèle, 1909). Cette liste sera largement modifiée pour le livre. Suivent alors huit lettres censément adressées à Guitry par Roulier-Davenel. Dans l'ouvrage, elles seront publiées dans un ordre tout à fait différent que dans Comoedia, parfois même de manière fragmentaire. Ainsi, la première du manuscrit ouvrira le chapitre « Lettres d'Évreux » de l'ouvrage (p. 35) et révèle un Roulier-Davenel tourmenté : « Mon cher ami, Depuis votre départ, j'ai beaucoup pleuré. Votre présence m'avait fait énormément de bien, vos conseils étaient sages et m'avaient remonté, mais votre départ, fatal hélas !, m'a rejeté plus profondément dans la peine. » Mais la deuxième, datée du 27 octobre, est en partie inédite - on n'en retrouvera imprimées que les premières lignes (p. 46) : « Mon cher ami, Je ne sais pourquoi j'ai tardé à vous répondre, car votre lettre m'apporta du réconfort. Ah ! oui, vous avez raison, mille fois raison ! » De même, la troisième lettre n'apparaîtra que de manière parcellaire (p. 39) et la cinquième se trouvera dans la partie « Pneumatiques », considérablement réduite : « J'ai couché hier avec une petite femme très gentille et qui, dans ses rapports avec les messieurs, a l'habitude de remédier à sa maigreur par l'adjonction d'une de ses petites amies. » (p. 73). Dans sa version manuscrite, elle se poursuit par 95 lignes consacrées au directeur de théâtre Antoine : « La valeur d'Antoine est une des choses les moins contestables qui soient. C'est un travailleur admirable et il a fait faire à l'art théâtral un pas de géant. Nous devons à son obstination le silence respectueux du public aux représentations du Canard sauvage et des Revenants. » Dans le livre, Guitry choisira de faire paraître ce portrait, en les remaniant, sous le titre « Lettre où il est question d'Antoine ». Les 14 feuillets de placards avec corrections et variantes autographes comprennent une partie des parutions de Comoedia contrecollées sur deux colonnes. Ainsi, la deuxième préface est presque totalement réécrite, seules les dernières lignes seront conservées pour l'édition en volume. De la troisième préface d'origine, Guitry n'a rien conservé ; il reprend l'ensemble du texte et prévoit sur le feuillet l'e

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MAUPASSANT Guy deMareMagnum

Lettre autographe signée et enveloppe adressée à la comtesse Potocka : « J'ai parlé de vous hier soir avec [Paul] Bourget qui vous trouve charmante et qui m'a presque chargé de vous le dire. »

- S.l. [Paris] s.d. [5 mai 1884], 10x12,9cm, 4 pages sur un feuillet double. - Lettre autographe signée de Guy de Maupassant à la comtesse Potocka, 70 lignes à l'encre noire, agrémentée d'un dessin original à l'encre, sur un feuillet double à en-tête « 83, rue Dulong ». Enveloppe jointe. Publiée dans Marlo Johnston, « Lettres inédites de Maupassant à la comtesse Potocka », Histoires littéraires, n°40, octobre-novembre-décembre 2009. Maupassant a, des années durant, été l'un des soupirants les plus assidus de la comtesse Potocka. Il s'apprête à aller la voir sur invitation de son mari : « Vous savez, n'est-ce pas, que je dîne chez vous demain, invité par votre mari. » Son époux le comte Potocki vivait en totale liberté avec la comtesse, occupé qu'il était à entretenir la célèbre courtisane Émilienne d'Alençon, il ne s'offusqua pas des « Macchabées » de son épouse, son groupe de soupirants. Les « Macchabées » avaient érigé l'amour en religion et ils en étaient les pénitents. Ainsi Maupassant écrit-il à la comtesse : « Il n'y a pas deux pénitentes comme vous, d'abord. Et puis j'ai qu'une pénitente qui me fait plutôt l'effet d'une Directrice car je me sens disposé bien plus à lui obéir qu'à la conseiller. » Plus loin, alors qu'il décrit une soirée à laquelle il a assisté, il admet s'être abîmé dans la ferveur que la comtesse provoque chez lui : « Comme j'avais mon chapelet dans ma poche je me suis mis à en réciter une dixaine en répétant entre chaque « ave » - « Notre Dame de Vassivière, patronne du lac Pavin, priez pour moi. » J'étais dans un parfait état de recueillement en sortant de cette maison où j'ai été reçu comme l'enfant prodigue. » Maupassant avait vu la comtesse en Auvergne, lors d'un voyage qui le mena au lac Pavin et au lac de Vassivière. Cette religion devait être bien plus du goût de Maupassant que le petit séminaire d'Yvetot où il fut envoyé étudier de 1863 à 1868. L'amour érigé au rang de religion élève Maupassant à la dignité de saint stylite : « [...] je suis remonté sur ma colonne pour me trouver à votre hauteur. » À la suite, il a esquissé un dessin à l'encre où il s'est représenté lui-même ainsi que la comtesse, tous deux auréolés. Cette dernière est sur une autre colonne et lui tend la main pour le rattraper alors que la colonne sur laquelle il se trouve s'est brisée et tombe. Comme Maupassant, Paul Bourget fut un « Macchabée » : « J'ai parlé de vous hier soir avec Bourget qui vous trouve charmante et qui m'a presque chargé de vous le dire. Je m'acquitte de cette commission parce que je connais les réserves de mon ami, dans ses... déclarations. » Les deux hommes se sont rencontrés en 1877 dans les bureaux de la revue La République des lettres et partagent la même fascination pour la comtesse : « je lui ai parlé de vous selon ma pensée. Et il m'a avoué qu'il craindrait de vous connaître par peur de lui-même et de ses amies. » Paul Bourget est également un habitué des brillants salons de cette époque, il l'introduit chez la princesse Mathilde : « Cette conversation avait lieu chez la princesse Mathilde que je me suis décidé à aller voir entraîné par le dit Bourget. » La princesse Mathilde Bonaparte n'est autre que la cousine de Louis-Napoléon Bonaparte, le futur Napoléon III auquel elle fut longtemps fiancée avant d'épouser un comte russe. Vivant à Paris, elle tient un des salons littéraires les plus courus de la capitale. Après ces considérations religieuses puis mondaines, Maupassant en vient à la littérature : « Aujourd'hui j'ai lu des vers depuis le matin, pour mon article du Gaulois que je n'ai pas encore fait. Je suis troublé décidément. » Il a publié dans la presse nombre de chroniques, nouvelles ou poèmes au cours de sa carrière, notamment entre 1880 et 1889 pour la revue Le Gaulois. Il n'y a pas que la comtesse qui trouble son activité littéraire : « J'avais chez moi un horrible écrivain russe nommé Boborykine, qui m'a empêché de trouver une phrase. » Piotr Boborykine, auteur natur

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