Showing posts with label French Literature. Show all posts
Showing posts with label French Literature. Show all posts

Monday, April 28, 2014

Spectacular Simone de Beauvoir Archive $380,000-$470,000 At Christie's

by Stephen J. Gertz


An outstanding trove of over 350 original and unpublished signed autograph letters and postcards written by French writer, intellectual, existentialist philosopher, political activist, feminist, social theorist, and author of the major work of Feminist theory, The Second Sex (Le Deuxième Sexe, 1949; 1953 in English), Simone de Beauvoir (1908-1986), is being offered by Christie's-Paris in it Importants livres anciens,  livers d'artistes & manuscrits sale, April 30, 2014. It is estimated to sell for $380,000-$470,000 (€280,000-€350,000; £250,000-310,000).

Spanning the years 1918-1957, the letters, each 1-10 pages in length and written to her mother, Françoise de Beauvoir (1887-1963), constitute an informal book by de Beauvoir, discussing her childhood and adolescence, life as an independent teacher, her emancipation, etc., and in detail recounts her daily life, travels, her readings (Dumas, Dostoevsky, Saint- Exupery, Faulkner, Celine, Virginia Woolf, D.H. Lawrence, and many detective novels), meetings, and the progress of her literary work.

As the letters progress from youth to adulthood, discussion of her blood family ebbs and the tide flows to the "small family" she was adopted into, whose members, cited many times, included Jean-Paul Sartre, Jacques-Laurent Bost, Olga Zuorro, Bianca Bienenfelds, Nathalie Sorokin Fernand, and Stephan Gerassi, and also Merleau-Ponty, Nizan,  Colette Aubry, the Morels, the Guilles, the Leiris, Raymond Aron,  etc.  

There is much discussion of Jean-Paul Sartre, whom she met in 1929, opening "a new era" in her life. Several letters detail her life with Sartre: a trip together to Spain in 1931; sojourns in Spain, Italy, Germany - where she joined Sartre  in an internship at the French Institute in Berlin in 1939 - in Greece (July-August 1937) and Morocco (summer 1938). She finds Nuremberg "covered with swastikas," and Morocco "horribly lousy, but extremely attractive." 


She discusses her June 1940 exodus from Paris - Sartre was taken prisoner and would not be released until April of the following year; Simone took refuge in La Poueze. She writes of taking a long bicycle trip with Sartre in the free zone to organize a resistance movement. "There is a dearth here," she wrote Sept. 13, 1940 from Cannes, "and twice I had a breakfast of dry bread." The Liberation and her immediate post-war life are covered.

She writes of her 1947 lecture tour in the United States, where she met novelist Nelson Algren, who took her for a walk on the wild side and became her lover. "New York absolutely delights me and life is delicious" (January 28, 1947). She talks about a trip to Sweden with Sartre, and another in the United States and Mexico with Algren in 1948, then Algeria  the following autumn, and with a ferocious appetite for life she describes her discoveries and impressions. Concurrently, she began The Second Sex: "J’ai envie de travailler le plus possible parce que ce livre sera très long à faire et je voudrais quand même bien qu’il soit fni dans un an," she writes in September 1948; the book would be published a year later. 

Additional Sartre, Algren, an important trip to China in 1955, and more through 1957 when the correspondence ends.

The provenance to the archive is rock-solid: from Henriette, Simone's sister, aka Helene de Beauvoir. Her adopted daughter, Mrs. Sylvie Le Bon de Beauvoir, assisted Christie's with the dates to many  letters otherwise dateless.

The significance of this archive cannot be underestimated: it constitutes an epistolary autobiography of one of the towering figures in feminist thought and a major figure in twentieth century French literature.
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Images courtesy of Christie's, with our thanks.
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Friday, November 1, 2013

Proust Gets Boost at Christie's

by Stephen J. Gertz

Written at age 9, to his grandmother, Feb. 1881.
Est. $6,700-$9,300.

Eight signed autograph letters written by French novelist, critic and essayist Marcel Proust (1871-1922) are being sold by Christie's-Paris in its Importants Livres, Anciens Livres, Livres d'Artistes, et Manuscrits sale November 6, 2013. Offered in eight individual lots, estimates range from $2,000-$12,000.

The charming two-page letter above was written by Proust to his maternal grandmother, Ms. Nathe Weil, on the occasion of her birthday, February 5, 1881. He was nine years old. He signed it "Marcel Proust" in German Gothic, and we smile: children seem to enjoy signing their full name as an exercise in identity and sounding adult, even to members of their immediate family.

To Lucien Daudet, c. late 1897.
Est. $8,700-$12,000
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In this letter, dated "Thursday returning" (likely late 1897-early 1898) Proust writes to "mon rat gentile," Lucien Daudet, shortly after the death of Daudet's father, novelist Alphonse. It is believed that Lucien Daudet and Proust had been lovers.

Unable to attend a dinner, Proust sends his regrets. "[ ... ] And I thought you had considered me cruel for  not being master over my body and unable to go near you, to be in this state of health your father had predicted and he advised me that the vision of genius and goodness with which he lived could probably lead us to all wonderful things [...] I wonder at times [...] if he did not die without you known in the most exquisite depths of his mind fully transmitted [...] not only were you  his flesh and blood, but you were sort of real presence of mind [...]."
To la princesse Soutzo (future wife of Paul Morand).
No date (c. 1917). Est. $5,400-$8,000.



On August 24, 1917, Proust wrote four-pages to his confidant, Princess Hélène Soutzo, the future Mrs. Paul Morand, regretting taking so long to acknowledge her invitation to dinner, to which the princess had also invited Soutzo Scheikevitch Ms., Mrs. Harcourt, Jean de Gaigneron, and Etienne de Beaumont.

"[...] When I woke up at 8am, your words gave me pleasure and pain, by your kindness to invite me for the evening I could love you more, and the impossibility, because of the time, to join. Celeste called on the telephone, you were out. Had we called the hotel [the Ritz] [ ... ] it seems that [...] it could present my excuses. I would have infinitely liked this dinner with you, especially Foyot [a restaurant located at the corner of rue de Vaugirard and Rue de Tournon]..." (Proust Correspondence. Text established and annotated by Philip Kolb . Volume XVI . Paris : Plon, 1988 , letter 108 , p. 218).

To Jean-Louis Vaudoyer, February 11, 1915.
Est. $2,700-$4,000.


On February 11, 1915, Proust wrote to Jean-Louis Vaudoyer asking about his friend and Vaudoyer's brother-in-law, historian Daniel Halevy, and complaining about his health.

"I was told that you had seen Mrs. Wood Rouvray (who I do not know) [ ... ] and you were very good. But a line may bring me great sweetness in these terrible days. [ ... ] I hope you have not been tested too much in your friendships. From the first day my brother [Robert] was in danger, but so far has escaped and everything goes well. I have advice against reform [ ... ] I wanted to tell you that I kept thinking about you and as it happens in disasters one keeps in his heart that which is needed, and you were more intimately mine" (Proust Correspondence. Volume XIV.  Paris: Plon, 1986, letter 18 , p. 51-52) .

To Madame Anatole Catusse, undated (c. Dec. 1917).
Est. $5,400-$8,000.

Mrs. Anatole Catusse was very close to Mrs. Proust with whom she shared a love of music. In December 1917 Marcel wrote her a four-page letter.
"Dear Madam, thank you a thousand times for your letter. The state of my eyes after correcting tests   does not allow me to give many thanks at length." 

He also remembers their meeting in restaurant (very likely the Ritz): "The other night, in the hotel you did me the honor to come to dinner, you had me in the crystal revolving door and gave excellent advice." With the help of Ms. Catusse Proust tried to sell some furniture which he had received offers on to buy.

He goes on describing his financial health, so bad, apparently, that even fruit isn't taking any chances on him. "If I had the idea to ask for a chopped apple, it would make me pay in advance." (Proust Correspondence. Volume XVI . Paris : Plon, 1988 , letter 168 , p. 325-326 .

To Jean-Louis Vaudoyer, no date (early Oct. 1918).
Est. $4,100-$6,700.

In an undated (early October 1918), four-page letter to his friend, novelist and critic Jean-Louis Vaudoyer (1883-1963), that he marked "confidential," Proust amusingly writes about a Proust-pastiche he saw in the magazine Le Crapoullot.

"They sent me a number of the Crapouillot causing me a slight annoyance because it contains a really stupid pastiche of me, but causes me great joy: you do me the honor and friendship to dedicate my wonderful pastiches. That of Gerard de Nerval in particular is an ongoing miracle [ ...] As pastiche that the pretension to forge my way, I am wrong to be indignant. It is only the consequence of Vanderem signs and other items that ignoring the composition of my work seem to say that I am the ' memories and am writing my memories of the fl [ ... ]" (Proust Correspondence.Volume IV. Paris : Plon, 1933 , p. 79).

(“On m’envoie un n° du Crapouillot qui me cause un léger ennui car il contient un pastiche de moi vraiment stupide, mais me cause une joie profonde : vous me faites l’honneur et l’amitié de me dédier des pastiches merveilleux. Celui de Gérard de Nerval en particulier est un miracle continu [...] Quant au pastiche qui a la prétention de contrefaire ma manière, j’ai tort de m’en indigner. Il n’est que la conséquence des articles signés Vandérem et autres, qui méconnaissant la composition de mon ouvrage ont l’air de dire que je fais des ‘mémoires’ et écris au fl de mes souvenirs [...]”).

To Jean-Louis Vaudoyer, n.d. [May 7, 1919].
Est. $2,700-$4,000.

In a three-page letter, Marcel writes to his friend, Jean-Louis Vaudoyer, and alludes to  Les Permissions de Clément Bellin, Vaudoyer's novel published in 1918.

"Wednesday, Reynaldo wrote me that he will probably dine and leave immediately afterward… I suffered so yesterday when I wrote that I have the impression that thinking has extraordinary and silent night with the mulatto, and other overhead of Peahen, I love talking about the Peahen and Peacock. I called this last name or the hero that you are a 'given' papers (you should remove that had given me', nor Paonneaux painted [ ... ]."

(“Mercredi, Reynaldo m’écrit qu’il viendra dîner et il partira sûrement tout de suite après. Vous ne serez que tous les deux (sauf un garçon que j’ai recueili depuis q.q. mois mais qui ne nous gênera pas car il ne dit rien) [...] Je souffrais tellement hier quand je vous écrivis que j’ai l’impression qu’en pensant à la nuit extraordinaire et silencieuse avec la mulâtresse, et d’autre part au pavillon de la Paonne, j’ai parlé des amours de la Paonne et de Paon. Je n’appelle de ce dernier nom ni le héros dont on vous a ‘remis’ les papiers (vous devriez supprimer ce ‘qu’on m’avait remis), ni les Paonneaux peints [...])” (Proust Correspondence. Volume XVIII. Paris : Plon, 1990 , letter 87 , p. 205-206).
To Gustave Geffroy, no date (June 20 or 21, 1920).
Est. $5,400-$8,000.

Here, Proust, in 1920, writes to his friend, the art historian, critic and novelist Gustave Geffroy (1855-1925), who wrote the first biography of Claude Monet in 1922.

"I'll wait a while, what I write is not forbidden and it is almost impossible to thank you for your wonderful tales of the West Country. But I want to tell you again what a delight and punishment they are for me. No longer able to travel I cannot see those places that give me nostalgia [...] But many sites - you really live in your Tales of the West Country - I have not visited, and I never will know them. But thanks to you they surround me much more than the walls between which I am [...]." (Marcel Proust. Correspondence. Volume XIX. Paris: Plon, 1991, letter 147, p. 314-315).

"Everything great in the world comes from neurotics. They alone have founded our religions and composed our masterpieces"

"There are perhaps no days of our childhood we lived so fully as those we spent with a favorite book."

"The only real voyage of discovery consists not in seeking new landscapes but in having new eyes."
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Images courtesy of Christie's, with our thanks.
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Thursday, October 31, 2013

The Marquis De Sade Gripes To Mrs. Marquis De Sade & His Kids

by Stephen J. Gertz

Oh Sade, poor Sade, mamma's hung you in the closet
and I'm feeling so sad.*

A revealing eleven-page signed autograph letter written by the Marquis de Sade to his ex-wife and children is being offered by Christie's-Paris in its Importants Livres, Livres Anciens, Livres d'Artistes & Manuscrits sale November 6, 2013. Autograph manuscript and letter material by Sade is extremely scarce and this letter, with its original envelope, is estimated to sell for €30,000 - 50,000 ($41,000 - $67,000; £27,000 - £45,000).

Dated October 1, 1806 and composed while he was confined in the asylum at Charenton, Sade provides details of his fortune prior to the Revolution, upon his release from the Bastille in 1789, and in the seventeen years since. He based his calculations of the period 1790-1806 from discussions with Constance Marie- Quesnet, his mistress since 1790 and the one who took care of his post-Bastille business affairs.

He accuses his ex-wife and children of embezzlement; they had accused Mlle Quesnet of same.

"A friendly and confidential agreement held between us last Friday at Mrs. Quesnet [ ... ] resulted in little recall. [4 following lines crossed out]. I hope it makes you feel that the truth must always produce a honest soul, and embrace you, Sade." Sade is especially concerned about the state of his properties; their value seems to have decreased.

"The said picture painted for the purpose of proving that it was not degraded during the sixteen years that Ms. Quesnet has been with me since I was called out of the Bastille, until the present time, and therefore, Madame de Sade was wrong when she said, 'I find it less real now than I found it then.'"

Following calculations on his rental income and certain properties -  "Location good Arles, Coste, Mazan, Saumane, and it was on that pay family debts, charges, fees, Corporate &c . &c" - he notes that yes, his business has been mismanaged but defends Ms. Quesnet. "The charge of embezzlement under Ms. Quesnet is calumnous and unfounded."

He explains that all losses are rather due to mismanagement by the "notary Momaï." 

Sade then ratchets up his chagrin. "What happened to 27,000 [francs]? What has become of them ? O you who would like to make this issue [ ... ] dare say, are you not ashamed? Know that your father was on a list [?] by an evil family." The 'list" in question was a lettre de cachet that his mother-in-law had issued against him.

Disappointed by the behavior of his family against him, he finished the recollection:

"[?] They are all well vexers I believe that the public was instructed [ ... ] he will yet one day [ ... ] but not [ ... ] the horrible vice that we can not exist or compel the soul of the one who gave life to my children or in the souls of those who received it. Sade."

This letter appears to be fresh in the marketplace, purchased by the present owner from a Sade descendant, hence the steep estimate which may very well be exceeded.


 Donatien Alphonse François, Marquis of Sade (1740-1814), spent thirty-two years of his life incarcerated for one reason or another - mistreating prostitutes, blasphemy, etc. In 1768, he was imprisoned for holding a woman against her will and sexually abusing her; his mother-in-law had turned him in to the authorities who issued an infamous lettre de cachet which sealed his fate for many years to come. In 1772, he was sentenced to death for the non-lethal poisoning of prostitutes and sodomy with his manservant. He fled to Italy with his wife's sister and the manservant. He was caught, however, and imprisoned but escaped and took it on the lam four months later.

He hid out in his chateau Lacoste, rejoining his wife, who became his accomplice in further sexual crimes. More sexual mistreatment of servants ensued and he was forced once again to flee to Italy, returning to France in 1776 and more of the same. Arrested again in 1778, he successfully appealed his death sentence but remained in jail under the lettre de cachet that his mother-in-law had sworn out on him ten years earlier. In 1784 he was transferred to the Bastille. On July 4, 1789 he was  transferred to the asylum at Charenton. His wife divorced him.

In 1801, Napoleon ordered the arrest of the anonymous author of Justine and Juliette, Sade's novels of virtue punished and vice rewarded. He was arrested and imprisoned without trial, first at the prison of Sainte-Pélagie and then, following allegations that he had tried to seduce young fellow prisoners there, in the fortress of Bicêtre. After intervention by his family, he was declared insane in 1803 and transferred once more to the asylum at Charenton. His ex-wife and children had agreed to pay his expenses. They were, evidently, siphoning off income from his estate, which by 1796 had already sunk into distress.

It's difficult to feel any sympathy for Sade yet in this letter we hear a broken sixty-six year old man at the end of his rope if not his life, and empathy is warranted if only enough to occupy the point of a needle; it was a rope he hung himself with. His wife and children may not have been the best that a husband and father could hope for but his wife and children had a husband and father you wouldn't wish on a dog.

Life With Father it wasn't.

If only reality television shows had existed at the time: reruns of To Hell With The Sades would still be in syndication today.
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*Apologies to Arthur Kopit.

Awkward translation of letter excerpts by the author.
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Image courtesy of Christie's, with our thanks.
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Wednesday, October 24, 2012

The Man In The Iron Mask Schleps 'Round The World

by Stephen J. Gertz


"Who was that masked man?"
"I don't know but I wanted to thank him."

On New Years Day, 1908, Harry Bensley (1876-1956), a well-to-do lone ranger involved in a £21,000 wager  that he could walk around the world in an iron mask and marry without revealing his identity, embarked on his journey, a trek that began at home in Great Britain and supposedly took him through China and Persia before the outbreak of WWI brought his global schlep to a screeching halt in Genoa, Italy.

The terms of the wager - purportedly made between J.P. Morgan and Lord Lonsdale with Harry the volunteer test subject - stipulated that Bensley begin his journey with a single pound note and a change of underwear through 169 British cities and towns in a specific order;  he would have to collect a signature from a local prominent resident to prove that he had been there. After that he would begin a tour of eighteen countries in a pre-specified order. He was to support himself along the way by selling postcards such as this one, which portrays him in his knight's helmet with printed sign in lieu of  plume, sweater embroidered on the rear with the legend, "Walking Round the World Masked," a custom pram which should have been called "The Orient Non-Express" but wasn't, and paid attendant in matching sweater whose name is unknown but whom we shall call Tonto to our masked Kimosabe.

Some people, of skeptical turn of mind, claimed that Bensley never left England. Oh, cruel nattering by nincompoops of little faith!

But here's the proof that Bensley, in full metal masquerade from the neck up, and with pram and attendant present, perambulated to a photography studio for a series of promotional mug shots. Whether he ever actually left the studio and crossed the English Channel to promenade through Europe and Asia is another story.

One can't help but wonder if he wound up in the Bastille, courtesy of the King of France, for claiming to be the King's twin brother, his personal attendant, The One Musketeer, in the cell next door. Bensley didn't but his investments in Russia were wiped-out during the Bolshevik Revolution, he was left destitute, and worked low-paying unskilled jobs until his death.

Oh, ladies of too much faith! Harry supposedly received over 200 marriage proposals during his voyage from damsels who had never laid eyes upon his visage and didn't care. His wife, whom he  married c. 1898, ten years before the wager, was, presumably, not amused. But, then again, maybe she was. She knew what he looked like behind the wrought iron veil.
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BENSLEY, Harry. Unused original photo-postcard, approx. 5-1/4 x 3-3/8 inches. N.p. {England], c. 1908
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Image courtesy of Garrett Scott, The Bibliophagist, currently offering this item, with our thanks.
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Friday, October 19, 2012

A Bonet Lion Binding That Roars

by Stephen J. Gertz


This majestically leonine binding wrought by Paul Bonet [1889-1971] in 1969 for a copy of the 1937 Raoul Dufy-illustrated edition of Daudet's Les Aventures prodigieuses de Tartarin de Tarascon (Paris: Scripta et Picta) is being offered by Christie's-Paris in their Importants Livres Anciens, Livres d'Artistes et Manuscrits sale on Monday, October 29, 2012.

It is estimated to sell for $14,000 - $20.000 (€10,000 - €15,000).


Based in Paris, Bonet was one of the great bookbinders of the twentieth century.

"Paul Bonet does his designing in his apartment on the Rive Gauche and in 1938 had an atelier where workmen carried out his designs under his supervision. [He] evolved an entirely new style of book decoration - totally original, amazingly clever, and really 'modern' in spirit, with a mouvement radiant. His great swirling designs are so ingeniously drawn that, although they are carried out on a flat surface, they represent a third dimension purely through an illusion created by the drawing, and not by means of an alteration in the surface of the cover as was practiced by Creuzevault. The tooling on his bindings is faultless and brilliant. It has a machinelike precision with a quality that can only be achieved by 'striking' each tool separately by hand. Paul Bonet, in my opinion, is without a rival today" (Diehl, Edith. Bookbinding: Its Background and Technique [1946], p. 108).

When the king of beasts met the king of binders the result was a victory for both.
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Images courtesy of Christie's, with our thanks.
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Booktryst has 32 great posts on fine bookbinding in our archive. Enter "bindings" in our search box to access them all.
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Wednesday, June 29, 2011

Sacher-Masoch Complains About Suffering

by Stephen J. Gertz


On the sixteenth of February, 1887, Leopold von Sacher-Masoch, the journalist and author whose  novel, Venus In Furs (1870), provided the first literary documentation of female sexual domination, male subjugation, and the erotic joy of of pain and suffering, wrote a letter to his friend, French novelist Alphonse Daudet.

The year before, in 1886, the first edition of Richard von Krafft-Ebing's Psychopathia Sexualis appeared. In this classic text on sexual psychopathology, Krafft-Ebing coined the term "masochism" to describe the behavior of those who are sexually aroused by pain and suffering. Sacher-Masoch thus became the first person in history to have a sexual variation named after him while still alive and published in a major book for all to read. 

And you think Facebook is fast and loose with your personal life.

So it is was with great, if unintended, mordant humor that Sacher-Masoch opened this letter to Daudet with the following:

“Still suffering ["toujours souffrant”], I could not come to the opening of Nuima Roumestan but send you my congratulations today...” 

And thus another entry into the Annals of Irony.

That said, if a masochist stubs their toe, it's not pleasant at all; it hurts like hell. It only hurts like heaven if the master or mistress commands the toe be stubbed, then sharply squeezes it afterward for loving emphasis. 

In all probability, Leopold was ill when he wrote this note. But still, if you have an eye for autograph material that  winks and makes your brain smile while appealing to your literary libido items rarely get cooler than this.
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SACHER-MASOCH, Léopold von. Autograph Note, signed (“Sacher-Masoch”), to Alphonse Daudet. One page, in ink, on small blue “télégramme” form, addressed on the verso by Daudet. 12mo, Paris: 16 fevrier 1887.
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Image courtesy of James Cummins Bookseller, who is currently offering this signed autograph letter, with our thanks.
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Friday, June 17, 2011

A Beautifully Illustrated Baudelaire

by Stephen J. Gertz

Cover.

A gorgeous edition of selected poems by Charles Baudelaire has recently come to my attention. It's a stunner out of Munich, 1922, featuring hand-painted vignettes to the cover and endpapers and twenty-one engravings by Josef Eberz, six of which are full page. The text is entirely engraved.


Artist Josef Eberz was born in Limburg/Lahn in Germany on June 3, 1880 but the family soon moved to Frankfurt/Main, where he finished school in 1901. His father, a post office clerk, asked for a transfer to Munich so his sons, Josef and Ottfried, would have an opportunity to further their education.


From 1901 to 1903 Josef studied at the Munich Art Academy with Hugo von Habermann and Franz von Stuck.  In 1905 he became the student of Christian Landenberger in Stuttgart. Eberz, however, spent his most important student years with Adolf Hölzel at the Stuttgart Academy from 1907 to 1912. He met the painter, Gertrud Alber, at the academy and married her in 1917.

Hand-painted endpaper.

The artist permanently settled in Munich in 1918. A year later Eberz participated in an exhibition of the radical left-wing  Novembergruppe in Berlin. He formally joined the November Group in 1920, and took part in their 1924 and 1929 exhibitions.


Together with Max Beckmann, Kasimir Edschmid, and  Ludwig Meidner the artist was amongst the first members of the Darmstadt Secession. Additionally, he showed works in the first exhibition of "Das Junge Rheinland" (The Young Rhineland), the artists' association in Düsseldorf.


Eberz was also active as book illustrator, providing the art (thirty-three etchings) for an edition of Josef von Eichendorff''s Ahnung und Gegenwart in 1920, as well the as etched illustrations and the full-color hand-painted vignettes for this edition of Baudelaire in 1922.

Hand-painted endpaper.

In 1928 he was appointed as a professor. After 1933, however, almost all of his works in German museums were confiscated by the Nazis; they were, as was all modern art, considered degenerate and unworthy of superior German culture. He was fired from his teaching position.


Impoverished, Josef Eberz died of congestive heart failure  in Munich in August 1942.


This is an extremely rare edition, wth OCLC reporting only five copies in libraries worldwide, three in Germany, one in France, and the other in the National Library of Israel. Only one copy has come to auction within the last thirty-six years.
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BAUDELAIRE, [Charles]. EBERZ, Josef (illustrator). Poemes Choisis. [Munich: Recht-Verlag, 1922]. Limited to 100 copies (of a total edition of 200) printed on Japanese paper with engraved text and twenty-one woodcut engravings, including six full-page and numerous  head- tail vignettes. Hand-painted watercolor design to upper cover, and four (2 x 2) hand-painted watercolor designs to endpapers. Quarto. 28, [4] pp. Cream boards. Engraved text.
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All images courtesy of the William Reese Company with the exception of the header, which is courtesy of Blackwell's Rare Books. We thank them both, particularly Leslie Arthur at Reeseco (not to be confused with Ronco, maker of the Rare Book Rotisserie - Set It, Forget It, You Read It! Perfect books, perfectly rare, every time. It's E-Z!).
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Wednesday, May 18, 2011

The Most Celebrated French Art Deco Illustrated Book of All

by Stephen J. Gertz


The original artist's mock-up for Tabubu, a novel, published in 1932, by Rosny aîné, and  considered to be one of the most, if not the most, refined and distinguished illustrated books of the French Art Deco era, has come to market.


Artist Maurice Lalau (1881-1961) began work on Tabubu in March 1928 and finished in July, 1932. Tabubu, as stunning an illustrated book as you will ever see, is characterized by page layouts of extraordinary virtuosity. The seventy-one illustrations were drawn by Lalau in shades of gray, brown, sand, pink and beige, or half-shades of blue, sometimes mottled, powdered gold or argent, with some areas highlighted with gold leaf and palladium.


The leaves of this extraordinary maquette present multiple images, occasionally variant versions. Drawings, layers, with varying degrees of goache, offer an unparalleled glimpse into the heart of the creative process of the artist. These works allow us to follow his instincts, his hesitations and his final choices. The artist is at work, and we can watch as if looking over his shoulder.


A student of Jean-Paul Laurens and Benjamin Constan, illustrator, cartoonist, and painter Maurice Lalau illustrated editions of Tristan and Iseult (1909), Anatole France's Le Miracle de la Pie (1921); Flaubert's The Legend of Saint Julien (1927); Reade's Cloister and the Hearth (1903); Corthis' Le Printemps sous l'Orage (1934); Mary's La Loge de Feuillage (1928); Agraives' La cité des stables (1935); Daudet's Le bonheur d'etre riche (1920); Paul Hervieu's Le petit duc (1910); etc. He was a member of the artistic and literary society The Cornet, founded 1896.


For the finished book, Lalau's illustrations were executed in pochoir,  a form of coloring pictures using stencils that dates to a thousand years ago in China.  It was introduced into commercial publishing in France in the late 1800s, and there it had its most exquisite expression.  The pochoir process would use from 20 to 250 different stencils, one for each color, and the result was a vibrancy with almost a three-dimensional effect. The colors pop off the page.


Tabubu's typographer (please repeat 3x, fast), Marthe Fequet, showed innovative layout and design, strongly influenced by François-Louis Schmied (1873-1941). After World War II she worked extensively with Pierre Lecuire, producing beautiful livres d'artistes.


"Rosny aîné " is the pseudonym of Joseph Boex (1856-1940), a Belgian living in France who wrote with his younger brother under the pseudonym J.H.Rosny until 1909, when the team split up. As Rosny aîné (Rosny the elder), Joseph Boex went on to rival Jules Verne as France's lord of science fiction. His masterpiece is The Navigators of Infinity (1925), an adventure on Mars; within he coined the word "astronaut."


Boex also wrote five novels with a prehistoric setting, each using modern drama and strong, believable characters to illuminate early man's existence. And then there's Tabubu, his novel set in ancient Egypt. Thank King Tut, whose discovery by Howard Carter in 1922 led to a renewed interest and international mania for all things Old Egyptian, a fashion that remained strong throughout the decade and for many years afterward.


In 1897, Joseph Boex was named to the French Légion d'honneur and in 1903 was named to the first jury of the Prix Goncourt along with his brother. Rosny aîné remained involved with the Académie Goncourt and in 1926 became its president. He died in Paris in 1940.


The novel is forgettable. The art by Maurice Lalau is not. This maquette for Tabubu is a treasure. It is being offered by Librairie Laurent Coulet for $35,500. The first edition is highly desirable and scarce. A fine copy recently sold for $16,385.


No, lest you've been thinking what I was thinking, Tabubu, despite the King Tut connection, is not the heartbreaking story of an ancient Egyptian tyke with a forbidden ow-y.
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The finished product:

LALAU, Maurice (illustr.) ROSNY Aîné. Tabubu. Roman égyptien. Paris: Jules Meynial, 1932. First edition,  limited to 110 copies on vélin de Madagascar. Octavo. 112, (6) pp. Pochoir colored title page, frontispiece and ten full page pochoir plates, chapter titles, decorative head- tailpieces, and text figures,  in shades of pink, beige, gray, brown, sand or half-shades of blue, sometimes mottled with powdered gold, some areas highlighted with gold leaf; a total of seventy-one illustrations. Text printed in brown and red. Loose as  issued in the publisher's decorative printed wrappers with glassine dust jacket.
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Images courtesy of Librairie Laurent Coulet, with our thanks.
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Thursday, April 14, 2011

Five and a Half Women in Search of a Good Time

by Stephen J. Gertz

Hand-colored heliogravure by Charles Hérouard aka Herric
From Le Libertinage du retroussé par G. Donville
Paris, Aux galants passe-temps [Jean Fort], 1937.
Not in Pia. Dutel not consulted.
Hand-colored heliogravure by Charles Hérouard aka Herric
From Le Libertinage du retroussé par G. Donville
Paris, Aux galants passe-temps [Jean Fort], 1937.
Hand-colored heliogravure by Charles Hérouard aka Herric
From Le Libertinage du retroussé par G. Donville
Paris, Aux galants passe-temps [Jean Fort], 1937.

"Little seems to be known about [the] publisher [of the above images] Jean Fort.  We do know that he was the nephew of Pierre Fort, a Paris bookseller and publisher who was active from c.1896 until c.1905 (it appears Louis Chaubard took over the shop in 1911). Following his Uncle's footsteps, Fort began his own publishing career in c.1901, from the Paris address of 73 Faubourg Poissonniere.

"Fort published under many different imprints; some openly published, some published clandestinely. From his Faubourg Poissonniere address in 1907 until c.1921 he primarily used the imprint 'Jean Fort' or 'J. Fort' but between 1910 - 1913 he also published a few books under the imprints, 'Bibliothèque des deux hémisphères' and 'Sweetgra's Quebec'. Betweem c.1921 and c.1925 Fort set up shop of 39 rue de Chabrol and then 12 rue de Chabrol, staying only a couple of years at each address during which he publishing a few books with the imprint 'Libraire du bon vieux temps'.

"In c.1925 Fort moved again, this time setting up shop at 79 rue de Vaugirard where he remained until c.1939. From Vaugirard he began publishing under the imprints of 'Au Cabinet du Livre' and the better known imprint of 'Collection des Orties Blanches', a series of flagellation novels. While it seems the majority of Fort's earlier publications were unillustrated these flagellation books often contained explicit engravings by some of the top erotica illustrators of the time: Jim Black [Luc Lafnet], Louis Malteste, Herric [Herouard], and Martin Van Maele" (Straight, Sheryl, Erotica Bibliophile).

Illustration by Jean-Gabriel Daragnès
From La Tentation de Saint Antoine by Gustave Flaubert.
Paris: J.-G. Daragnès, 1942.
Monod 4711. Carteret, IV, 161. Karaiskakis  343.

Jean-Gabriel Daragnès (1886-1950) was highly regarded both as a printmaker of wood engravings and etchings  and also as a master printer of other artists' work. Daragnès was born in Bordeaux; his father was a carpenter. From 1900-1905 Daragnès was apprenticed to a silversmith as an engraver. In 1907, having completed his military service, Jean-Gabriel Daragnès went to Paris, dreaming of a life as a Bohemian painter in Montmartre. In order to survive, he took on all kinds of work, and soon turned from landscape painting to printmaking and the art of the book. Daragnès was not mobilised for WWI as he suffered from tuberculosis. After the war he wanted to found his own press.
"By dint of selling everything he possessed, Daragnès raised enough money to build a house at 14, avenue Junot in Montmarte, to his own plans, with a printroom on the ground floor, a painting and printmaking studio on the first floor, and living quarters above. There Daragnés published some of the most beautiful books of the twentieth century, and also established a literary and artistic salon, whose members included Francis Carco, Pierre Mac Orlan, Colette, Léon-Paul Fargue, Noël Bureau, and Paul Valéry. It was Daragnès who taught Valéry the art of etching" (Neil Philip, Idbury Prints).

Illustration by Umberto Brunelleschi
from Madame Bovary by Gustave Flaubert.
Paris: Gilbert jeune, Librairie d'amateurs, 1953.
Monod 4682.

Italian artist Umberto Brunelleschi (1879 - 1949)  studied at the Accademia delle Belle Arti in Florence and moved to Paris in 1900  where he soon established himself as a printer, book illustrator, set and costume designer.

He worked for Le Rire as a caricaturist and was a contributor to many of the deluxe French fashion publications including Journal des Dames et Des Modes, Gazette du Bon Ton and Les Feuillets d'Art. Brunelleschi was also the artistic director of the short lived but significant La Guirlande d'art et de la litterature 1919-1920.
In the 1920s he diversified into set and costume designs for the Folies Bergère, the Casino de Paris, the Théâtre du Châtelet and theaters in New York, Germany, and in his native country. He created costumes for Josephine Baker. 

His illustrated books include Voltaire (Candide, 1933), Charles Perrault (Contes du temps jadis,1912), Musset (La Nuit Vénitienne), Goethe, Diderot (Les Bijoux indiscrets, etc.), Les Masques et les personnages de la Comedie Italienne, 1914; Phili ou Par dela le Bien et le Mal," 1921; Le Radjah de Mazulipatam," 1925; Le Malheureux Petit Voyage, 1926; and Les Aventures de Roi Pausole, 1930.
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All images courtesy of Julien Mannoni Livres Anciens, with our thanks.

A tip o' the hat to our old friends Sheryl Straight and Neil Philip.
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Wednesday, January 5, 2011

The Best of All Possible Candides

Seventeen editions issued in the same year: Who's the first, what's  the second, I don't know's the third?

by Stephen J. Gertz

True first edition [Geneva: Cramer], 1759.

In 1759 a novel was published that by the end of that year had seen sixteen other editions in French issued. Eight of that total of seventeen French editions were issued with title pages lacking location, publisher, or true author. Of those eight, four collated to 299 pages. Of those four, which is the true first edition?

The novel was Candide, Voltaire's masterpiece of philosophical satire, puncturing Leibnitz's lamely optimistic dicta that ours is "the best of all possible worlds" so deeply as to give Leibnez the fits, and skewering the Church with such outrageous dialogue as, "let us eat a Jesuit." Government was lampooned, as well.

As a result, the book was condemned on March 2, 1759 by the Grand Council of Geneva. The administration of Paris banned it as well. Both ordered the book's destruction.

Perhaps understanding that the novel would cause an uproar, Voltaire used a pseudonym - not that anyone was fooled. To make sure the book would be seen, he had the book simultaneously published in five European nations no later than January 15, 1759. The four editions containing 299 pages possess identical title pages. Untying the gordian bibliographical knot has been an exasperatingly complex chore but it has been done.

The 1759 edition printed by Cramer in Geneva containing 299-pages has been firmly identified as the true first edition with the following issue points: misprint "que ce ce fut" on p. 103, line 4 (corrected in later editions to "que ce fut"); incorrect adjective "precisement" on p. 125, line 4 (corrected in later editions to "precipitamment");  Voltaire's revisions on p. 31,  an unnecessary paragraph break eliminated; and p. 41,  several short sentences regarding the Lisbon earthquake  rewritten; does not contain the paragraph critical of contemporary German poets, which Voltaire decided to omit while the book was being printed.

Curiously, though this is the first printed edition from early January 1759, produced with Voltaire's direct involvement, it was not the first edition offered for sale: it was held back by Voltaire until February 1759.

Only ten copies of the Cramer edition have survived.

"Candide, and his equally guileless if more worldly-wise mentor, Dr. Pangloss, and their delicious adventures, still command our attention. The folly of philosophic and religious optimism is displayed with a vigour and wit that carries the reader away. Irony without exaggeration, a perfect restraint in its admirable humour, a gift for the 'throw-away line' ...; all these show Voltaire's style and originality at their incomparable best" (Printing and the Mind of Man).

It may be fairly said that Voltaire did to optimism what Sade, later in the eighteenth century, did  to virtue; the novel could easily have been subtitled, The Misfortunes of Optimism; Candide, like Sade's Justine, is brutally savaged by reality. The book's sharp sarcasm, mordant wit, and pungent irony is mirrored in the traditional Jewish interpretation of optimism: "Today will be better than yesterday and definitely better than tomorrow."

"Il existe de Candide huit editions differentes, publiées en 1759 sans nom de ville ni d'imprimeur, toutes tirées dans le même format, et ayant toutes un titre identique. De ces huit editions, celle-ci est la première" (Bengesco, B.N.F., En Français dans le texte).

Be that as it may, to definitively sort out the issue, we  consulted the esteemed and illustrious bibliographers, William Abbott and Louis Costello, who hereby present their findings:



That clears it up.
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[VOLTAIRE, François Marie Arouet]. Candide ou L'optimisme. Traduit de l'allemand de Mr. le docteur Ralph. N.p. [Geneva]: n.p. [Cramer], 1759. Twelvemo. [2, blank], 299 pp. With points as noted above.

Barber 299G. Bengesco 1434. Morize 59a. Wade 1.  PMM 204.
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Title page image courtesy of Camille Sourget Livres Anciens, with our thanks.
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Friday, February 12, 2010

If Mme Sévigné Used Email Would Her Daughter Have Begged For Mercy?


A widowed marquise of the French nobility, she was devoted to her children. When her daughter married and moved away, she became despondent. Loneliness prompted her to begin writing letters to Françoise Marguerite, a correspondence that by her death had numbered an estimated 1,700 epistles. It is the “most intimate and sustained chronicle of a mother-daughter relationship ever recorded” (New Oxford Companion to Literature in French).

“After her daughter had gone to Provence, Sevigne was indeed inconsolable. Her devotion to the absent Francoise was intense; she and her friends wondered if it was too intense. In February 1671, four days after Francoise had left Paris, Sevigne wrote to her:

"'But if you think of me, my dear, rest assured that I think constantly of you. It is what the devout call an 'habitual thought' --- the way one should think of God, if one were devout. Nothing can distract me from my thought of you. I am constantly with you in thought'” (Mossiker, Madame de Sévigné A Life and Letters, p. 75).

Seventeen hundred letters to her daughter within seven years. That’s 242 letters a year; a letter every day-and-a-half. That is, to be sure, a lot of letters but given Mme Sévigné’s sense of isolation from a beloved child during an era without telephones, not difficult to understand. I strongly suspect that if Mme Sévigné had a telephone, her daughter would have received two-three calls a day.

Four years after her first letter to Françcoise, the marquise wrote:

As a matter of fact, I found myself so wholly preoccupied with thoughts of you --- my heart so incapable of any other love --- that I was denied permission to take the sacrament at Pentecost (Mossiker, p. 181).

Oh, brother.

I’ve known women who were extremely close to their mothers and received multiple daily phone calls from Mom. Can’t live with them, can’t live without them, the constant, often exasperating calls are indulged by sense of love and dutiful-daughter responsibilities.

If Madame de Sévigné had email available to her I strongly suspect that the flood of autograph correspondence would have morphed into a constant, daily deluge, three a day, minimum, that over seven years would have totaled 7,665 billets as a steady stream of email bulletins.

Curiously, none of Françoise’s letters to her mother have survived; they, apparently, were lost. But in the digital world nothing is truly lost and forensic computer whizzes have recovered a few of the letters of Françoise.

17 juin 1673

Dearest Mama:
You know, dear one, how much I enjoy receiving your postes electronique but, really, once a day is more than sufficient. Mon Dieu, have you nothing better to do?
Please do not misunderstand me. I know how alone you must feel. It tears at my heart. But write a blog, something, anything!
Of the Comtesse de ***, yes, I am aware that the fake mole on her cheek has been affixed to the spot for so long that it is now spontaneously sprouting hairs. You have told me so in four prior letters. Today.
Enough, mama. You are driving me bat-merde.

Yes, I promise to wear a raincoat and galoshes when it rains. Your suggestion not to mix perfumes is duly noted; I have no desire to “smell like a salade de cologne.” Thank you for drawing this deep character flaw to my attention. For the thousandth time.

Yours eternally (or so it seems),
Françoise


23 septembre 1678
Mama mia! (yes, I have finally learned Italian per your constant suggestions since puberty),

You will be the death of me. Sacrebleu! Never has one mother written so many letters about so much that she cares about but that her daughter hasn’t a sou’s worth of interest in.
You declare your love for me but you can be so impersonal. Are you so afraid of Mr. Louie Sun King’s postal police who read every single email in case a plot is afoot to lose a head?
I have a life. Do you? I cannot possibly keep up with your incessant notes. and please, no guilt trips - I love you, I love you, I love you. Get the message?

Please mama, give me a break,

Françoise

While we have no surviving autograph letters from Françoise to get a sense of her relationship with mom, a few of Mme Sévigné’s letters provide a peek into the pathology of their relationship.

But what I do not like to hear you say is that I was a curtain which concealed you, cut you off from view. What if I did once overshadow you? You were simply all the more dazzling when the curtain was drawn aside, and you stood revealed. You must be in full view to appear in your full perfection, as we have said a thousand times.

A month later:

You tell me that you are happy to hear that I am persuaded of your love for me, that you had no such assurance when we were together. Alas, my bonne, with no intention of reproaching you, I must say that all the fault was not on my side. How highly I always prized the least sign of your affection! Did not each one fill me with delight? And how dismayed I was at evidence to the contrary! (Mossiker, p. 77).

Things went downhill.

"The greatest breach between mother and daughter seems to have come in 1676, after they had lived together in Paris for six months. Both were ill; each apparently felt that she was the cause of the other's illness --- and felt required to give the other unwanted advice. Finally, family and friends intervened and urged Francoise to return to Provence. Three weeks after her daughter had left, Sevigne wrote:

'Oh, my God, will we never see one another again to bask in one another's love and affection? Will we not pluck out the thorns, will we not prevent their ever saying to us again---and with a cruel barbarity to which I cannot accustom myself: 'Ah, how much better off you are, 500,000 leagues apart! You see how well Mme. de Grignan is doing, now. She would be dead if she had stayed on here. You will be the death of one another.' I do not know how you react to such remarks; as for me, I find them crushing....

'So let us do better next time, my darling!... Let us restore our good reputation. Let us show them that we are sensible enough to live together when Providence decrees.... In short, my daughter, let us correct our fault, let us see one another again, let us not give our love the appearance of hatred and dissension"'
(Mossiker, pp. 237-38).

"A few days later, however, Sevigne acknowledged that the disagreements were inevitable and the separation perhaps necessary:

'Oh my daughter, at the end, we had come to a point where we had no choice but to do what we did.... There, now, it has been said, once and for all. But let us make our reflections, each on her own side, so that when it pleases God for us to be reunited, we will never again come to such a pass!"' (Mossiker, p.238).

This, I think, was the 17th century French version of You’ll be sorry if I die and you have not made peace with me; I will haunt you from the grave.

Is it possible that Mme Sévigné was a closet Jewess, the mother that could not let go and reminded you at every waking moment of your debt to her for bringing you into the world?

13 octobre 1678
Dearest Mama:
Received the digital chicken soup via your oh so heavy attachment. It was a virtual rock. You have, as usual, made the matzoh balls too hard, despite that fact that you know very well that I like them soft and fluffy. I know, “soft and fluffy is for poodles” but I like poodles and I like matzoh balls and I like them the same way. Is it possible that once, just once, you will make them as I prefer? Or would you prefer that I continue to use them in lieu of cannon-shot?

Your suggestion that we begin to exchange text messages? LMAO! Have you gone mad?
Yes, I do not know what I would do without you. But I fantasize, oh how I fantasize?

One more email and I shall either murder you or kill myself. Please advise me - as you no doubt will anyway - which you prefer, your blood or mine?

Yours until I completely lose my mind (don't you dare say 'Too late'),

Your loving daughter,
Francoise

Edition of 1738.
Marie de Rabutin-Chantal, marquise de Sévigné (1626-1696), was one hell of a correspondent.

“Most of the letters, written without literary intention or ambition, were composed in the first seven years of their separation in 1671. The letters recount current news and events in fashionable society, describe prominent persons, comment on contemporary topics, and provide details of her life from day to day—her household, her acquaintances, her visits, and her taste in reading. Sévigné’s conversational manner makes her stories of current events and gossip unforgettable.

“The natural, spontaneous tone of the letters broke established rules for the genre and served as a new model. Of old Burgundian nobility, she was introduced into court society in Paris after her marriage in 1644 to Henri de Sévigné, a Breton gentleman of nobility who squandered most of her money before being killed in a duel in 1651. Mme de Sévigné was left with two children, Françoise Marguerite (b. 1646) and Charles (b. 1648). For some years she continued to frequent the fashionable social circles of Paris while also devoting herself to her children. In 1669 her daughter married Count de Grignan and then moved to Provence with him. The separation from her daughter provoked acute loneliness in Sévigné; it also prompted her to write the letters on which her reputation is based" (Merriam-Webster’s Encyclopedia of Literature).

“The correspondence of Madame de Sévigné, covering almost fifty years of a rich and turbulent period in French history and culture (1648-1696), has been the favorite reading of great writers from Voltaire to Virginia Woolf. From the time of their first publication in 1726, Sévigné’s letters have provided a standard against which other important letter collections can be measured…

"As a writer, Sévigné occupies a special position in the history of French literature. She wrote nothing but letters, thousands of them, letters that constitute a treasure of information for historians and that have been admired as masterpieces of style. Sévigné’s body of work, though, has not been stable—it has changed its shape at least once every few decades since
the end of the seventeenth century.

"Since the letters were first written, they have been edited, corrected, copied, recopied, and even willfully destroyed by a long line of readers with a variety of motives. During Sévigné’s lifetime the letters were published only once, when her cousin Roger de Bussy-Rabutin included a few of them in a volume of his memoirs, which he presented to Louis XIV. After her death on 17 April 1696, a larger number of letters was included in the published correspondence of Bussy-Rabutin, generating enough public interest to persuade Sévigné’s granddaughter Pauline de Simiane to undertake the task of preparing her grandmother’s letters for publication.

"This project resulted in the intermittent release of selected letters at intervals over the next hundred years and spawned enough family quarreling and tension between the copyists and de Simiane's descendants that in 1784 her son-in-law burned all of the several hundred letters she had left in his possession. When the literary scholar L.J.N. Monmerqué undertook the first critical edition of Sévigné’s letters in 1818, there were already few original autographs left. He had to verify his material by comparing the many published editions of selected letters and the copies of letters that had been compiled by editors and never published.

"Since the first ‘complete’ edition of the letters was published from 1862 to 1868 (Monmerqué having spent more than thirty years on the project), there has been one major discovery of a 1720 manuscript copy of some of the letters and two new critical editions, the definitive one being Roger Duchêne’s edition of the correspondence published in three volumes from 1972 to 1978. Duchêne’s edition includes more than 1,500 letters by Sévigné and more than 1,000 letters addressed to her, and it draws on all of the available copies of the letters as well as the relatively few autographs that remain in museums and archives across France” (Elizabeth C. Goldsmith, “Marie de Rabutin Chantal, Madame de Sévigné (1626-1696)” (Dictionary of Literary Biography, Volume 268: 17th Century French Writers [2002], pp. 351-359).

There is the distinct possibility that had Mme Sévigné used and abused email, her letters would have been shuttled to the junk folder and, ultimately, deleted.

Another argument for good, old-fashined letter writing. But email is so seductively convenient. 
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