Colette

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COLETTE.Livre Rare Book

La Treille muscate. Eaux-fortes par Andr Dunoyer de Segonzac.

(COLETTE) - Leopold-Emile REUTLINGERBiblio.com

Portrait photographique de Colette à la peau de lion Photographic portrait of Colette stretched out on a lion's skin

190777332s. l. Paris 1907. Fine. Colette the ""nude dancer"" in her stage costume s. l. Paris s. d. 1907 28.70 x 20.40 cm une photographie contrecollée sur carton Rare and superb original contemporary mounted albumen print showing Colette languidly stretched out on a lion skin and covered with a leopard skin. Photographer's penciled number and studio stamp on the back of the mount. A substantially cropped print bearing the same penciled number on the back of our photograph 11214 is in the Reutlinger archives at the Bibliothèque nationale de France Album Reutlinger de portraits divers vol. 53 p.3. We have been unable to find any other examples of this photograph in other public collections. A similar photograph belatedly dedicated to Maurice Chevalier went on sale in 2008. A beautiful sultry shot of Colette probably taken the year of her banned dance show ""Rêve d'Egypte"" at the Moulin Rouge where she shared the bill and a scandalous kiss with her cross-dressing aristocrat lover Missy. ""Colette was a nude dancer which at the time meant that she . draped herself in vaporous veils concealing part of her anatomy under animal skins"" Paula Dumont. Colette had already used animal skins hugging her figure in this picture as a sensual costume in Charles Van Lerberghe's Pan accompanied on stage by Lugné-Poe and Georges Wague. This was the first time anyone had dared to go without a flesh-colored body suit. Justifying her choice she went on to say: ""I want to dance naked if the body suit bothers me and humiliates my plasticity"". At the time of this photograph in 1907 Colette was performing in countless shows following her debut two years earlier in Nathalie Clifford Barney's Sapphic Salon where Mata Hari also danced. For Colette dance was synonymous with emancipation in more ways than one - as a means of sustenance and liberation of her body which finally belonged to her after her separation from her abusive husband Willy in 1906. Her undulating almost gestureless dance was linked by contemporary critics to that of Loïe Fuller and Isadora Duncan; her greatest success remained ""La Chair"" a risqué mime show she performed two hundred times in Paris and was subsequently produced with a new cast in New York's Manhattan Opera House. It was also in the halls of Parisian dance venues that Colette flaunted herself freely on the arm of her lovers. Her scandalous union with Missy the virile Marquise de Morny who accompanied her on stage in male costumes contributed to the fame of her performances. This is probably the rarest photograph of Colette taken by Reutlinger who also photographed her draped in Grecian style or wearing her costume from ""Le Rêve d'Egypte"". A rare visual testimony to a revolution in dance costume brought about by Colette a key figure in twentieth-century artistic and literary Paris. unknown

Rare Books Le Feu Follet - Edition-Originale.com · France7 820,00 €

COLETTE (COLETTE WILLY) [COLETTE de JOUVENEL].Biblio.com

Chéri. Roman. - PRESENTATION-COPY - ON OF 175 NUMBERED COPIES

192060344Paris 1920. Bound uncut with the original printed wrappers also the backstrip in a magnificent bright purple lambskin binding with title and author in bright metallic lettering to spine blue pink and green respectively. Triple bright metallic line-borders to boards same three colours inside which the remainder of the boards are covered with a large inlay of shiny coloured leather in crocodile skin-like relief pattern. Recto and verso respectively of flyleaves covered with pink/purple suede. Housed in a chemise with purple lambskin spine with same lettering as the binding and purple cloth boards inside grey suede and purple full lambskin slipcase. The binding is signed Leroux in shiny green lettering to inside of front board. A handwriiten postcard from Leroux to the previous owner of the book is enclosed. The postcard is dated 1997 and concerns the binding including the price. The slipcase has a bit of edgewear but the binding is near mint. Apert from a tiny tear no loss to the upper margin of the front wrapper also internally near mint. Front free end-paper with a four-line inscription for "René Baer" signed "Colette de Jouvenel". First edition - presentation-copy and one of 175 numbered copies on Hollande premier papier out of a total of 725 numbered copies - of Colette's fascinating novel "Chéri" published at the dawn of the roaring 20'ies. The scandalous novel which portrays the love between an older woman and a much younger man is partly inspired by Colette's own life and is considered one of her very best works. Extremely controversial as a person Colette has always been the object of fascination as well as controversy. In 1893 she married Henry Gauthier-Villars who was already a famous author and publisher. He used the pen-name "Willy" under which Colette's famous first novels the Claudine-stories also appeared. Colette and Willy separated in 1906 with a final divorce in 1910. Colette is well known for the series of lesbian relationships she embarked upon after her separation. In 1912 however she married Henry de Jouvenel editor of Le Matin and took his name. Not for her publications but she clearly used it in her personal correspondence. Their marriage ended in divorce in 1924 however due partly to her affair with her 16-year-old stepson Bertrand de Jouvenel. Chéri is partly based upon her experiences with her much younger stepson. " 'Me a feminist' She scoffed in 1910. 'I'll tell you what the suffragettes deserve: the whip and the harem'. COLETTE is an intriguing and flamboyant figure. Born in Burgundy in 1873 she moved to Paris at the age of twenty with her husband the writer and critic Henry Gauthiers-Viller Willy. Forcing Colette to write Willy published her novels in his name and the Claudine series became an instant success. She escaped her exploitative first husband to live by her pen and work in music-halls as a dancer. Colette had a lesbian love affair with a niece of Napoleon's she married three times had a baby at 40 and at 47 preferring 'passion to goodness' she seduced her teenage stepson. In the meantime she wrote stunning novels that were admired by Proust and Gide -- Gigi Sido Cheri and Break of Day. Colette lived to be over 80. She was the first woman President of the Academie Goncourt and was the first woman in France to be accorded a state funeral." "Colette in full Sidonie-Gabrielle Colette 1873 - 1954 outstanding French writer of the first half of the 20th century whose best novels largely concerned with the pains and pleasures of love are remarkable for their command of sensual description. Her greatest strength as a writer is an exact sensory evocation of sounds smells tastes textures and colours of her world. Her best work was produced after 1920 and followed two veins. The first vein followed the lives of the slightly depraved postwar younger generation. Among these novels are Chéri 1920 and La Fin de Chéri 1926; The Last of Chéri dealing with a liaison between a young man Chéri and an older woman. Encycl. Britt. René Baer 1887 - 1962 was a famous French author journalist playwright and songwriter. Georges Leroux 1922-1999 was one of the most accomplished and esteemed French binders of the twentieth century. Before he became a book binder in 1959 he was a poet. His works are known for their exotic materials use of metallic effects and strong polychromatic color. hardcover

Herman H. J. Lynge & Søn A/S · Danemark28 000,00 DKK≈ 3 760,40 €

ColetteBiblio.com

Dialogues de bêtes

1904#17Colette Dialogues de bêtes Paris Société du Mercure de France 1904. Square 12mo. Half red morocco with bands spine with raised bands highlighted with gilt and blind fillets. Top edge gilt. Original wrappers and spine preserved. First edition of the ordinary issue following only 19 copies on Holland paper. Copy enriched with a first autograph inscription signed in black ink on the first leaf traducted in English : "To Gaston Carraud in friendly remembrance from the author Colette Willy." Followed by a second autograph inscription signed in blue ink on the same leaf: "To you now dear Philippe Hériat in memory of a cat and a dog who have become ghosts and of a young woman who has become an old writer Colette." An exceptional testimony to Colette's emancipation embodied in these two inscriptions separated by more than thirty years. Dialogues de bêtes is the first work by Colette to appear after the Claudine series published under the name of her husband Henri Gauthier-Villars. For the first time Colette allowed her own name to appear on the cover signing "Colette Willy." This text marks the beginning of her gradual literary emancipation although it is preceded by the dedication "Pour amuser Willy." In Mes Apprentissages 1936 she would write: "I was vaguely awakening to a duty toward myself—to write something other than the Claudine books. And drop by drop I exuded the Dialogues de bêtes." The 1904 first edition contains four dialogues to which eight more were added in 1905 and 1930 forming the definitive edition. The anthropomorphic characters Toby-Chien and Kiki-la-Doucette were warmly received and remain among the most emblematic features of her work. The particular value of this copy lies in the author's double inscription. Everything contributes to making it a singular witness to Colette's emancipation beginning with the recipients themselves. The first inscription is addressed to Gaston Carraud a composer and mutual acquaintance of the Gauthier-Villars couple while the second is addressed to Philippe Hériat whom Colette likely met in the 1930s when he played a role in Divine 1935 a film whose screenplay and dialogue were written by Colette after L'Envers du music-hall. The signatures themselves are also significant: the first inscription is signed "Colette Willy" a form the author used more or less regularly until 1923 after which she signed only her own name as seen in the second inscription. Even the ink used offers a subtle echo: first black ink then blue—this blue so dear to Colette the blue of Le Fanal bleu which appeared even in her inkwell and on her writing paper. The inscriptions are dated in pencil likely in Philippe Hériat's hand "1904" and "1938." An entire writer's life separates these two inscriptions by Colette in the same copy. Mercure de France

Librairie Jean-Claude Vrain · France4 200,00 $US≈ 3 553,62 €

COLETTE.Livre Rare Book

Mes apprentissages. Ce que Claudine n'a pas dit.

193682348Paris Ferenczi 1936 1 vol. relié in-8, demi-maroquin à gros grain noir, dos lisse, plats de papiers marbré de tonalités bleu et jaune moutarde, doublures de papier bleu, gardes de papier jaune moutarde, tête dorée, non rogné, couvertures et dos conservés (Honnelaître), 218 pp., nombreuses planches hors-texte. Edition originale. Un des 80 exemplaires hors commerce numérotés sur simili japon de couleur imprimés spécialement pour l'auteur, celui-ci de couleur crème et enrichi d'un envoi autographe signé de Colette au critique Gérard Bauër. Exemplaire par ailleurs truffé en tête d'ouvrage d'une lettre autographe signée adressée à l'écrivain et journaliste Henri Bauër (2 p. et demies in-8 sur papier bleu - Paris, 29 septembre 1900, avec enveloppe) et en fin d'ouvrage d'une carte autographe signée adressée à Catulle Mendès (2 p. in-32, obl., s.l.n.d.). Très bel exemplaire. Cinq ans après la mort de Willy, Mes apprentissages vient mettre un terme définitif à la guerre que se livraient par voie de presse, depuis près d’un quart de siècle, les ex-époux Gauthier-Villars.Apprenant en 1909, la vente des droits des Claudine aux éditeurs, au profit exclusif de Willy (seul signataire «officiel» des livres et des contrats), Colette se rebiffe et réclame que soit reconnue sa part dans l’écriture de ce qui fut longtemps le plus gros succès éditorial de la Belle Époque. Mais quelle part exactement? C’est sur ce point, et sur quelques autres, que les deux anciens collaborateurs s’opposent. Les premiers manuscrits ayant disparu, chacun convoque ses témoins (amis, auteurs, éditeurs ou typographes…) et use de sa notoriété pour alimenter la gazette littéraire. La Première Guerre mondiale avait semblé éteindre la querelle, mais la publication des Souvenirs littéraires… et autres de Willy en 1925, puis, surtout, quelques semaines après sa mort, des «Willyana», ces commentaires en forme de révélation qu’il avait inscrits à la demande de Jules Marchand, le directeur de la revue Sur la Riviera, en tête des exemplaires des quatre Claudine (voir n°96), avaient piqué au vif la principale intéressée. Mes apprentissages est en quelque sorte la réponse de la bergère au berger.La vengeance étant, on le sait, un plat qui se mange froid, le texte est d’abord publié dans Marianne, sans doute à la demande de son directeur Emmanuel Berl, du 16 octobre au 18 décembre 1935, avant de paraître chez Ferenczi au mois de janvier 1936, illustré de nombreuses photographies «à charge» et accompagné d’un sous-titre éloquent: «ce que Claudine n’a pas dit». C’est une véritable mise à mort littéraire posthume. Maladivement impuissant, menteur, infidèle, tyrannique et peut-être même violent, Willy dont la gloire passée était déjà oubliée est définitivement enterré. Pour la postérité, il ne sera plus désormais que ce «vieux salaud» qui avait exploité le talent des autres, à commencer par celui de son épouse.Mais on se tromperait en ne voyant dans cet ouvrage qu’un ultime règlement de compte. En se replongeant dans ses années d’apprentissages, Colette retrouve les figures d’un passé suffisamment éloigné pour inspirer aux lecteurs une forme de nostalgie. Sous sa plume revivent avec force et vivacité celles et ceux qu’elle a côtoyés: Caroline Otero, Polaire, Mata-Hari, Marcel Schwob, Jean Lorrain ou bien encore Claude Debussy… À moins que cédant à une pente désormais familière à ses lecteurs elle ne retrouve les paysages de sa jeunesse et notamment ceux de sa Puisaye natale dont elle livre ici une des plus belles évocations.Certains proches du couple reprochèrent à Colette ce coup de griffe qui n’était peut-être pas tout à son honneur (c’était mal la connaître). Il est vrai que Willy n’en méritait pas tant et François Caradec a largement contribué à le montrer. Mais la gloire littéraire pour Colette était peut-être à ce prix: faire disparaître les fantômes qui erraient encore dans les coulisses, et, en faisant oublier Claudine, devenir Colette. Cet exemplaire dédicacé au critique Gérard Bauër – fidèle soutien de Colette qu'il rejoindra à l'Académie Goncourt – est truffé de deux très rares lettres de jeunesse qui prennent ici un tour ironique. Dans l’une, adressée le 29 septembre 1900 au journaliste Henry Bauër, le père de Gérard Bauër, comme dans l’autre écrite en 1893 à Catulle Mendès, un ami proche du couple, celle qui signe déjà «Colette» endosse sans déplaisir apparent le rôle de «secrétaire de mon mari». Au premier, elle tient à défendre la probité de Willy en lui adressant un fragment de son article écrit après la première du Rêve d’Alfred Bruneau d’après le roman d’Émile Zola et avec la collaboration de ce dernier. La création à l’Opéra-Comique en 1891 fut un événement considérable largement relayé par la presse. Si Henry Bauër avait salué la naissance «d’un art national et nouveau», Willy, quant à lui, avait accueilli l’œuvre à grand renfort de jeux de mots et de calembours qui étaient sa marque de fabrique. S’adressant au critique qui avait sans doute rappelé cette opposition de Willy, près de dix ans après la création – et en pleine affaire Dreyfus –, Colette tient à sauver l’honneur de son époux et s’excuse «d’avoir assez de jeunesse pour tenir, par dessus tout, à l’honnêteté littéraire de mon mari. Cette jeunesse-là à défaut de l’autre qui défaille si vite, persistera»... Au second, Catulle Mendès, elle présente les excuses de Willy de n’avoir pu assister «à la tournée sur le zinc des Menus-plaisirs», le théâtre (aujourd’hui théâtre Antoine-Simone-Berriau) où avait été créé, le 2 avril 1893, le mimodrame Le Docteur Blanc sur une musique de Gabriel Pierné: «je vous conjure de nous offrir le mêlé-cass du pardon, à la prochaine fête de l’intelligence». Ces deux lettres offrent un contrepoint savoureux à la version du mariage donnée dans Mes apprentissages… (Notice de Frédéric Maget pour le catalogue de la collection Colette des Clarac)

Vignes Online · Paris, France3 000,00 €

COLETTE.Livre Rare Book

Mes apprentissages. Ce que Claudine n'a pas dit.

Vignes Online · Eymoutiers, France3 000,00 €

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