DROUOT
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JOËL DUPONT LIBRARY - BOOKS & AUTOGRAPHS

Giquello - 01.47.42.78.01 - Email CVV

Salle 15 - Hôtel Drouot - 9, rue Drouot 75009 Paris, France
Exhibition of lots
mardi 14 mai - 11:00/18:00, Salle 15 - Hôtel Drouot
mercredi 15 mai - 11:00/12:00, Salle 15 - Hôtel Drouot
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Lot 2 - LITERATURE. Large lot of around 200 letters, mostly signed autographs, many of them addressed to the writer Jean-Joseph Renaud (1873-1953). Jean Ajalbert (2 including a letterhead from the Académie Goncourt); Théodore de Banville; Gérard Bauër; Maurice Bedel (3); Pierre Benoit (3); Louis Bertrand; André Billy (5); Léon Blum; Jules Bois; Paul Bourget (2); Eugène Brieux; Francis Carco (6 and a fine photograph of Carco in Egypt, smoking in front of hieroglyphs); André Chevrillon; Judith Cladel; Jean Cocteau (L.A.S. and telegram); André Corthis; Georges Courteline; Francis de Croisset;Guy-Charles Cros; Lucien Daudet (2); Charles Derennes; Lucien Descaves (4); Gaston Deschamps; Léon Dierx; Georges Duhamel (2); Luc Durtain; Henri Duvernois(3); Georges Faillet dit Fagus (2); Claude Farrère (2); Eugène Fasquelle (2); Feuillet de Conches (on the correspondence of Louis XVI, Marie-Antoinette and Mme Elisabeth); André Fontainas; Paul Fort (10 including poems, manuscripts, etc.); Maurice Garçon (3).); Maurice Garçon (3); Gustave Geoffroy; Serge Groussard; Maurice Genevoix; Fernand Gregh(8); Gyp; Edmond Haraucourt; Émile Henriot(2); Abel Hermant (2); Gérard d'Houville; Etienne Lamy; Raymond de La Tailhède; Laurens; Henri Lavedan; Maurice Leblanc; Charles Leconte de Lisle; Hubert Lyautey (telegram); Louis Madelin (2); Maurice Magre (2); Jules Massenet; Paul Marguerite; Charles Maurras(Action française letterhead); André Maurois; Fernand Mazade(2); Francis de Miomandre(2); Raoul Ponchon; Charles-Louis Philippe; Paul Reboux (2); Henri de Régnier (7); Marie de Régnier (3); Jean Richepin (2 of which poem); J.-H. Rosny (Jeune et Ainé); Jean Royère; Maurice Schumann; André Siegfried (7); Albert-Emile Sorel; Sully Prudhomme; Pasteur Vallery-Radot (4); Paul Valéry; Fernand Vandérem; Léon Vérane (2); Alfred de Vigny (autograph envelope); Maxime Weygand; Léon Hennique; Philippe Chabaneix (6 drawings); Jean-Louis Vaudoyer (M.A.S. "Le Jardin romantique. 5 pp. ½ in-4); Théodore Botrel (M.A.S. "Ma Mitrailleuse". 2 pp. in-folio, pencil), etc.

Estim. 400 - 500 EUR

Lot 44 - LONGUS - Les Amours pastorales de Daphnis et de Chloé, translation from Greek by Amyot. Paris, De l'Imprimerie de P. Didot l'aîné, An VIII - 1800. Large in-4, red morocco, double framed with three gilded fillets, one bordered with a rich gilded decoration in small irons forming large spandrels, blue quatrefoil charged with a gilded flowerette in the corners, large iron with a bouquet of roses gilded and mosaicked in the center, ornate spine, boxes decorated in small irons with the same blue quatrefoil repeated, interior lace, double marbled paper endpapers, gilded edges (Petit succr de Simier). Edition illustrated with 9 very fine out-of-text figures by Prud'hon and Gérard, finely engraved on copper by Godefroy, Roger, Massard and Marais. Copy with figures before the letter and captions on tissue paper, to which has been added a medallion portrait of Pierre Didot engraved by Wedgood, 4 figures by Prud'hon lithographed by J. Boilly, 5 figures by Lebarbier engraved by Roger and Hulk, and a figure by Duvivier engraved by Villerey. Remarkable binding signed by Charles Petit, mosaiced and gilded in small irons, with a highly elegant decoration. The beautiful iron with rose bouquet on the boards is the same as that used on the magnificent copy bound by Duplanil in 1834 of Les Roses de Redouté (1828 edition) in the Descamps-Scrive library (II, 1925, no. 372, reproduction) and Raphaël Esmerian (IV, 1973, no. 100); this iron, originally engraved after a drawing by Redouté, was also used by Petit on a copy of an edition of Le Roman de la Rose (cf. cat. vente Berès, V, 2006, n°639). In addition, a copy of the same book, bound by Petit with the same iron, from the Adolphe Bordes library, is preserved at the BnF. From the Genard (1882, n°520) and Earl of Birkenhead libraries, with their bookplates. Spine and corners rubbed, marks on second board.

Estim. 2 000 - 3 000 EUR

Lot 49 - MOLIÈRE - Les oeuvres. Amsterdam, Jacques Le Jeune, 1675. 5 volumes. - Les oeuvres posthumes. Amsterdam, Guillaume Le Jeune, 1689. One volume. Together 6 volumes small in-12, red morocco, triple gilt fillet, ornate spine, interior lace, gilt edges (F. Bedford). A highly sought-after Elzevier collective edition, consisting of the 27 pieces printed separately by Daniel Elzevier (Guibert, II, p. 699 et seq. - Tchemerzine, IV, p. 825 - Willems, n°1511). It features an unsigned copper-engraved frontispiece at the head of Volume I. Les Fourberies de Scapin, Psiché and Le Malade imaginaire (prologue and interlude) are dated A (1671 for the first two plays, 1673 for the last). The other plays are dated 1674 or 1675, with the exception of Tartuffe, which is dated 1669 (cf. Willems, no. 1418; print run A according to Guibert). The volume of posthumous works contains Les Amants magnifiques, La Comtesse d'Escarbagnas, L'Impromptu de Versailles, Dom Garcie de Navarre and Melicerte; added to these are Le Festin de Pierre in the Amsterdam edition of 1683, which gives the full text, and a 1690 edition of Le Malade imaginaire. Each of the 7 plays cited above is adorned with an engraved intaglio figure. The Tartuffe play was enriched at the time of binding with the preface to the Elzévirienne reprint (5 leaves signed *2-6). A very fine copy, well established by Bedford. Small perforation deleting page numbers on two leaves (volumes II and V). Slight wetness on the side edge of volume III, with a slight halo in the margin of the affected sections. Skilful and discreet marginal restoration to 2 leaves. Small chip on the first cover of volume I.

Estim. 1 500 - 2 000 EUR

Lot 74 - BARBEY D'AUREVILLY (Jules) - L.A.S. to Alfred Grévin. Paris, "Vendredi matin" [1881]. 3 pp. in-8. Red ink. Header engraved in red "Never more" repeated on the preserved envelope with postmarks and silk lakes. Important letter from Barbey to Grévin, violently opposed to his museum project. "You won't find me at your photographer's tomorrow, and here's why. The pleasure of receiving you in my home yesterday, and of making the acquaintance of a talented man whose manners pleased me immensely, made me welcome the project you told me about a little too quickly? I should have asked you to reflect on your proposal; but when you were gone I thought about what you had told me, I took four steps away from your idea to judge it, (as you would a painting) and what I saw in my reflection detached me completely from it. I don't know the Tussaud Museum, but I've seen Cabinets de Curtius [Philippe-Guillaume Mathé, known as Curtius, founded a famous wax cabinet under Louis XVI, in the Palais-Royal] a few times in my life, and I've always found them dreadful. The impression they made on me has come back, an ugly vision! And no matter how talented your museum is, it will always be a Curtius cabinet! It will always be crude art - frozen life, - trompe l'oeil that can never be fooled... These statues, with mechanical springs, dressed in real clothes, these colored wax casts, this life which is not the life we want, obtained by the most brutally material means and which is, in the final analysis, nothing but an odious & impotent antics of life, all this came back into my mind [...] you who were sympathetic to me right away, I had said "yes" to your project too quickly. If you had asked me for a portrait or a statue, it would have been different: it would have been art, in its high & true notion, but here art is not [...]". Letter published in Barbey d'Aurevilly, Correspondance générale (Belles-lettres, 1980) VIII, 1881/30, p. 290

Estim. 600 - 800 EUR

Lot 82 - BARBEY D'AUREVILLY (Jules) - Les Bas-bleus. Paris, Victor Palmé; Bruxelles, G. Lebrocquy, 1878. In-12, midnight-blue, Jansenist morocco, gilt title on spine, interior lace, gilt edges on witnesses, cover and spine in slipcase (Ed. Klein). First edition of this violent critique of women of letters, referred to in the 19th century as bas-bleus. Striking autograph letter from Barbey d'Aurevilly, in the form of a quatrain, on the title page: À Saint-Maur Here! Take... No! Don't take all those bas- -bleus, without buttocks, who make a literary cuckold of this century. And make fun, my dear Saint-Maur, of these drôlesses, believing themselves to be geniuses and having no cu. J. B. d'A. It was Flavie de Glatigny, his relative, who introduced the poet Hector de Saint-Maur (1808-1879) to Barbey: the two men became fast friends and kept up an extensive correspondence. Barbey, who painted a portrait of his friend in Les Poètes (1893, pp. 288-305), described him as the truest of poets as he was the truest of men. The dispatch is not recorded by Bonnefon, Les Dédicaces à la main de M. J. Barbey d'Aurevilly. Barbey's quatrain is quoted in Les oeuvres romanesques (La Pléiade edition, II, 1964, p. 1599). It has been transcribed and corrected by a foreign hand on a leaflet mounted at the head of the volume. Attached to the copy is an autograph letter signed by Barbey d'Aurevilly to M. Léopold Frinzine, bibliothèque des Deux-Mondes, Paris (one page in-12, envelope preserved); Barbey recommends to his correspondent: M. Victor Lalotte, un de mes amis. He is the one who bought my Bas-Bleus, part of the five volumes sold to Amyot. He knows all about my business. Unite your two wisdoms and draw the consequences of my folly. In 1885, the publisher Frinzine resumed the interrupted publication of Les oeuvres et les Hommes. From the libraries of Jules Le Roy, J. S. Marchand (1936, no. 70), and comte de Hanot d'Octeville (Maurice d'Hartoy).

Estim. 1 500 - 2 000 EUR

Lot 87 - BARBEY D'AUREVILLY (Jules) - Le Chevalier des Touches. Paris, Alphonse Lemerre, 1879. In-12, lemon chagrin, gilt fillets framing the boards, large fleur-de-lis at the corners, in the center of the first midnight-blue morocco mosaic shield charged with three fleurs-de-lis and surmounted by a crown, ornate spine, midnight-blue title-piece, the caissons decorated with small fleurs-de-lis and a gilt mosaic umbilicus, interior lace, gilt edges and painted with black lines (Gayler-Hirou). A precious copy bound for Barbey d'Aurevilly by Gayler-Hirou, his favorite bookbinder, with the royal coat of arms evoking his hero's commitment, and decorated edges (here, two-tone). We know that the writer had copies of his books bound as he wished, as gifts for his friends and family, as he himself pointed out in a letter to Madame de Bouglon dated February 15, 1882: Je lui répondrai quand j'envoierai mon Prêtre marié (relié à ma fantaisie) à sa femme. We're working on it at the bookbinder's [...] I'm not sending you the Prêtre marié, because you already have one (Correspondance générale, IX, 1882/8, p. 16). The copy bears this autograph letter signed by Barbey, in green, violet and red inks, with a Sagittarius arrow and dusted with gold: à Mademoiselle Mathilde Biéli, son respectueux Jules Barbey d'Aurevilly. The copy was included in the exhibition organized for the centenary of the writer's death at the Bibliothèque historique de la ville de Paris in 1989 (cf. cat. Barbey d'Aurevilly, n°115; error in the name and surname of the addressee). There are 3 handwritten corrections in the text, probably in Barbey's hand (pp. 25, 53 and 208). Bookplate bearing the initials J and M undetermined. Upper hinge fragile.

Estim. 3 000 - 5 000 EUR

Lot 97 - BARBEY D'AUREVILLY (Jules) - Disjecta membra. [Paris, Daniel Jacomet pour Émile Lafuma et Roger Crès, 1920]. In-4, burgundy Russian leather, multiple gilt filets forming a frame with a large cold motif in the corners, ornate spine, interior roulettes, gilt head, untrimmed (Randeynes). A deluxe edition, partly original, giving a complete facsimile reproduction of Barbey's personal manuscript register, inherited by his devoted secretary Louise Read. This extraordinary collection wonderfully reveals Barbey's abundant creative spirit, in which he recorded his thoughts, notes, poems, drafts and sketches of works, etc., in multicolored inks and a multitude of small drawings. They include travel souvenirs and reading notes, as well as poems that would later be included in Poussières or Rhythmes oubliés, thoughts on various subjects, and more. Although not intended for publication, this collection was not unknown to a number of Barbey d'Aurevilly's contemporaries - notably those who had the privilege of crossing the threshold of the "sous-lieutenant's tournebride" occupied by Barbey d'Aurevilly at 25 rue Rousselet. We know from the testimonies of several of them that Barbey was happy to show this large manuscript volume to his visitors; as in a liber amicorum, some even left a souvenir on it: for example, Jean-Louis Forain painted a beautiful full-page portrait of a woman of the world (Joël Dupont in Omnia, 2008, p. 9). The title chosen by Barbey for this collection alludes to the "scattered limbs" of the poet Orpheus quoted by Horace in his Satires: les disjecta membra poetae. Edition of 150 copies, this one unnumbered. A fine copy, very well bound by Randeynes. Without the accompanying brochure and the unpublished etched portrait of Barbey by Ernest Laborde after A. Salomon.

Estim. 800 - 1 200 EUR