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Lettres & Manuscrits Autographes LETTRES & MANUSCRITS AUTOGRAPHES Salle des ventes Favart Mercredi 22 et jeudi 23 juin 2016 DIVIsIon DU CAtALogUE Mercredi 22 juin Beaux-Arts Nos 1 à 62 Musique et Spectacle Nos 63 à 109 Autour d’Édith PiAf Nos 110 à 134 Littérature Nos 135 à 299 Jeudi 23 juin Archives Jules Huret Nos 300 à 332 Émigration et Armées royales Nos 333 à 371 Histoire et Sciences Nos 372 à 584 Abréviations : L.A.S. ou P.A.S. : lettre ou pièce autographe signée L.S. ou P.S. : lettre ou pièce signée (texte d’une autre main ou dactylographié) L.A. ou P.A. : lettre ou pièce autographe non signée Expert Thierry BODIN, Les Autographes Syndicat Français des Experts Professionnels en Œuvres d’Art 45, rue de l’Abbé Grégoire - 75006 Paris Tél. : + 33 (0)1 45 48 25 31 - Fax : + 33 (0)1 45 48 92 67 [email protected] Mercredi 22 juin 2016 à 14 heures nos 1 à 299 Jeudi 23 juin 2016 à 14 heures nos 300 à 584 Vente aux enchères publiques Salle des Ventes Favart 3, rue Favart 75002 Paris Expert : Thierry BODIN, Les Autographes Syndicat Français des Experts Professionnels en Œuvres d’Art 45, rue de l’Abbé Grégoire - 75006 Paris Tél. : + 33 (0)1 45 48 25 31 LETTRES & Fax : + 33 (0)1 45 48 92 67 [email protected] Responsable de la vente : MANUSCRITS Marc GUYOT [email protected] Tél : 01 53 40 77 10 AUTOGRAPHES Expositions publiques Salle des Ventes Favart Mardi 21 juin de 11 h à 18 h Mercredi 22 juin de 10 h à 12 h Jeudi 23 juin de 10 h à 12 h Téléphone pendant l’exposition : 01 53 40 77 10 Catalogue visible sur www.ader-paris.fr Enchérissez en direct sur www.drouotlive.com En 1re et 2e de couverture, est reproduit le lot 235 En 4e de couverture, est reproduit le lot 12 11 2 BEAUX-ARTS 1. Ferdinand BAC (1859-1952). dessin original à la pierre noire signé avec légende autographe à l’encre rouge, Victor Cousin ; 19,5 x 30 cm. 100/150 Portrait du philosophe Victor cousin, signé « F. Bac témoin auriculaire ». Bac cite en légende un mot d’Hortense Howland (1835-1920) : « Quel homme multiple ! Il croyait avoir affronté le Danger mortel avec Louise Colet [qui avait poignardé Alphonse Karr]. Mais je suis là pour dire qu’il n’a pas connu la Femme… » on joint la photographie originale de Victor Cousin ayant servi de modèle à Ferdinand Bac (tirage sur papier albuminé, 18,4 x 24,3 cm, cliché Pierre-Louis Pierson et Léopold-Ernest Meyer, avec retouche manuelle). 2. Albert BARTHOLOMÉ (1848-1928). 2 L.A.S., novembre 1903, à l’érudit berrichon Joseph pierre au château de Charon (Indre) ; 5 pages et demie in-8, enveloppes. 150/200 intéressAntes lettres sur un projet de monument À mAurice rollinAt À châteAuroux, projet qui n’aboutit pas en raison des réticences de la famille de l’illustre disparu. 7 novembre. « Je suis très touché que vous ayez pensé à moi pour m’associer à l’œuvre que vous entreprenez en mémoire du grand artiste qui vous était cher. Je m’y associerai de tout cœur, et réduirai du plus possible les dépenses. […] Il est une autre considération qui est pour moi plus importante encore : la place. Lorsqu’une œuvre a la chance d’avoir d’avance une place déterminée, c’est cette place qui doit déterminer l’artiste sur le choix de la matière, sur les dimensions et même sur la conception de l’œuvre à exécuter ». Il viendra donc quelques heures à Châteauroux : « Quand j’aurai vu la place, c’est-à-dire, la maison de Rollinat, je pourrai vous fi xer sur les questions que me pose votre lettre »…11 novembre : « Il faut évidemment avant tout respecter un désir exprimé par la famille de Rollinat. L’annonce de votre prochaine visite à Paris me fait le plus grand plaisir »… on joint une note autographe de Joseph Pierre rappelant l’échec de ce projet : voilà pourquoi et comment Châteauroux ne possède pas l’œuvre, qui serait aujourd’hui inestimable, du génial auteur du monument “aux morts” du Père Lachaise, l’une des plus émouvantes de la sculpture française » ; plus qqs coupures de presse. 3. Antoine-Louis BARYE (1795-1875). notes autographes avec croquis, [vers 1860] ; 8 pages in-16 au crayon sur 4 feuillets extraits d’un petit carnet de poche. 800/1 000 intéressAnt document sur son projet de stAtue équestre pour le monument de nApoléon À AjAccio. Vers 1860-1862, la ville d’Ajaccio projette d’élever, par souscription publique, un monument à la gloire de Napoléon. L’architecte Viollet-le-Duc sera chargé de concevoir ce monument, et Barye de la statue de l’Empereur. Barye a noté ici sa première vision du monument, assez différente du résultat fi nal, hormis la statue équestre monumentale de l’Empereur. Barye imagine « une large base entourée de colonnes et de bas-reliefs supportant aux quatre coins quatre statues », allégories de l’Empire tenant le globe, le sceptre, la main de justice et la couronne impériale. [Dans la version fi nale, ces fi gures seront remplacées par les quatre frères de Napoléon, sculptés par Aimé Millet, Thomas, J.-C. Petit, et Maillet]. Une autre base moins large et moins haute sera « décorée de bas reliefs et portant aux quatre angles quatre Aigles ayant les ailes déployées [ceci sera supprimé]. Un piédestal décoré encore de bas- reliefs et haut de huit pieds portant ce mot au centre nApoléon. En- fi n, la statue équestre et colossale de Napo- léon : l’empereur est représenté en selle sur un énorme cheval, il porte le grand manteau impérial ; sur son front est la couronne de lau- riers, sa main gauche tient la bride, la main droite s’élevant à la hauteur de la tête, tient le sceptre de l’empire. La statue a 15 pieds »... Ces notes comprennent aussi 2 pages de me- sures indiquant les dimensions voulues par le sculpteur des différentes parties de l’œuvre, et quelques croquis hâtifs, ainsi que quelques calculs... 3 4. BEAUX-ARTS. Affiche, Exercice académique sur les beaux arts, 1764 ; environ 48,5 x 37 cm, vignette gravée sur bois. 100/150 Présentation d’un concours qui aura lieu au Collège-Séminaire des prêtres de l’Oratoire du Mans le jeudi 26 juillet 1764. 5. BEAUX-ARTS. 6 L.A.S., 1905-1926 ; formats divers. 100/120 Pierre cArrier-Belleuse, Marie Jules chéret, Jules coutAn, Henri coutheillAs, Jules lecomte du noüy, etc., plus une l.s. de Maurice Sarraut en faveur de Coutheillas. 6. BEAUX-ARTS. Environ 40 lettres, dessins et photographies de peintres et dessinateurs. 400/500 Jack ABeillé, Ferdinand BAc (dessin : portrait de l’Impératrice Eugénie, plus notes autographes sur elle), William Bouguereau (photographie), cAssAndre (l. à Jean Loisy, plus étude sur Cassandre par Jean Loisy), Gabriel-Gervais chArdin, Robert droulers, Jean- Paul duBrAy (dessin), Jeanne fèvre (au sujet de son oncle Edgar Degas), Alfred Grévin (photographie), J. Gros (carte de visite avec dessin : deux Pierrots), Ernest héBert (cv), Louise hervieu (longue et intéressante lettre), Luc Lafnet (3 invitations illustrées pour les dîners du « Bon-Bock »), Paul lAndowski, Jean-Paul lAurens (carte de visite, et dessin imprimé signé), Antoine mAyo (dessin), Henry Monnier (photographie Carjat), Théodule riBot, René de sAint-mArceAux (cv), A. sAlAdin, tABor (beau portrait de Rabindranath Tagore), Francis tAtteGrAin, Dina vierny (certificat d’authenticité d’un dessin de Maillol), Claude viGnon (3 LAS), etc.. Plus un lot d’aquarelles et dessins divers. 7. Hans BELLMER (1902-1975). L.A.S., Paris 31 mars 1944, [à Roger Borderie, directeur de la Revue Obliques] ; 1 page in-4. 500/600 « Il faudrait trancher la question de la gravure, parce qu’elle prendra le plus de temps [...] Il faudrait que vous vous mettiez en accord avec Cécile deux ». Vient ensuite la question « épineuse des éditeurs qui ont des droits. Un éditeur de Fribourg s’est adressé à moi par un écrivain Bernard noël pour me proposer l’édition d’un catalogue raisonné de mes écrits et de tous mes œuvres graphiques. Je n’ai pas répondu par un “Bon” catégorique. Si vous y voyez un inconvénient, je renoncerai, naturellement. [...] Pour quel numéro la gravure est-elle destinée : pour Sade ou pour Bellmer ? »... 8. Pierre BONNARD (1867-1947). L.A.S., Villa du Bosquet Le Cannet ; demi- page in-8. 300/400 « Je ne participerai pas aux Indépendants cette année [...] faites bien mes amitiés à Signac ». 9. Antoine BOURDELLE (1861-1929). P.A.S., Marseille 16 octobre 1922 ; au bas d’une carte postale représentant le village d’Assazoumbé (Dahomey). 200/250 « Au Maître de Théodore Spathys. Au Docteur Spiro Spathys. Antoine Bourdelle. 16 oct. 1922 Massilia ». 10. Gyula Halász dit BRASSAÏ (1899-1984) photographe. 6 L.A.S. et 3 L.S. avec ajouts autographes, 1968-1976, à ses amis Léo et Babeth ; 9 pages in-4 et 3 pages et demie in-8, certaines à son adresse, d’autres avec en-têtes d’hôtels. 300/400 sur ses expositions Aux étAts-unis. New York 1er novembre 1968. Sa monographie Brassaï vient de paraître. « La première manche est gagnée, je pense. Il y avait environ 300-350 personnes (invitées) à l’inauguration de mon exposition au Museum of Modern Art [...] Le musée projettera aussi, pendant toute la durée de mon exposition mon seul et unique filmTant qu’il y aura des bêtes à la Cinémathèque deux fois par semaine »... Il prépare son exposition de sculptures, dessins et tapisseries..
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