Null TETSU, Roger TESTU (1913-2008)

Maybe they would prefer a piece of rum baba…

Description

TETSU, Roger TESTU (1913-2008) Maybe they would prefer a piece of rum baba to your maggot a little piece of rum baba? Ink and wash on paper signed lower left 32,5 x 25cm - 12.79 x 9.84 in. Ink and wash on paper signed lower left

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TETSU, Roger TESTU (1913-2008) Maybe they would prefer a piece of rum baba to your maggot a little piece of rum baba? Ink and wash on paper signed lower left 32,5 x 25cm - 12.79 x 9.84 in. Ink and wash on paper signed lower left

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Estim. 800 - 1 000 EUR

Jean-Paul SARTRE (1905-1980). Autograph manuscript; 55 pages in-4. These unordered, first-draft leaves relate to various writings by Sartre in the 1950s. Only the first three pages follow each other. Together with the next three, which do not form a sequence, they concern preparatory work for the third part of Communistes et la Paix (a series of articles published in Les Temps modernes in 1952 and 1954). This is followed by two sheets that seem to relate to work on Mallarmé (circa 1952). Then eight sheets of notes and plans for a work on Morale, perhaps a conference. The following eleven pages, which concern the relationship between politics and morality and date from after June 1953 (with reference to the Rosenbergs), can be linked to these. The following eleven pages can be linked to the second part of Communistes et la Paix (1952), the next fifteen to the third. Finally, the last page belongs to an early version of Les Séquestrés d'Altona (1958). As they stand, these disparate sheets of drafts are interesting as samples of Sartre's working manuscripts. We enclose 2 copies of Sartre's article Une victoire (in Témoignages et documents sur la guerre en Algérie), and an issue of Quinzaine littéraire (March 1968): Foucault répond à Sartre; plus a l.s. from Roger Bordier to Sartre, August 29, 1955 (on the letterhead of Faim & Soif).

Starting price 80 EUR

CURIOSA. Octave CHARPENTIER. Eight licentious ballads. La Caravelle, 1934. Illustrated with woodcuts by Paul BAUDIER. First edition. - André de ROUVEYRE. Le Gynécée. Mercure de France, 1909. - Nicolas STERNBERG]. Collection of illustrations for The Three Goldsmiths. - SCHEM, Ce qu'il faut dire et ne pas dire! 60 lithographs. - Roger TESTU (1913- 2008)] Dessins des Q, que des Q., circa 1960. 38 untitled illustrated plates. (5 volumes in all)

Estim. 500 - 700 EUR

Roger FAURE (1899-1940) architect. 45 L.A.S. (mostly "Roger"), 1930-1939, to Colette Steinlen (Mme D.-E. Inghelbrecht, then Mme Roger Désormière) and Roger Désormière; plus 11 L.A.S. (and 3 fragments) from Colette Steinlen and 2 L.A.S. from Roger Désormière to Roger Faure; approx. 133pages in various formats, mostly in-4. Beautiful, long, friendly and musical correspondence.The architect Roger Faure, who died for France in 1940, was a great friend of Colette Steinlen and the musicians, as evidenced by this rich correspondence, often addressed to Colette and Déso. He recalls their group of friends: Igor Markevitch (who adds a few lines on one letter), Henri Sauguet, Darius Milhaud, dancer and choreographer Léonide Massine, etc; Colette's home in Jouy-la-Fontaine, vacations at La Roche aux Moines near Savennières, Désormière's music and his work as an orchestra conductor (notably for film scores), their passion for nature and literature, and his service in a French army heavy artillery regiment, particularly at the end of 1939. We'll quote just a few of these beautiful letters: "My dear Colette, just a word of affection because I'm thinking too much of you. I'm turning over sad things in my head. Your double sorrow: that you are no happier, and that you feel fiercely unhappy with Déso whom you love [...] I think of your solitude and how your thoughts always come up against the mystery of Déso's isolation [...] grappling with strange contradictions [...] I doubt anyone would dare attack his isolation." (Faure to Colette, March 13, 1931). -I've been thinking a lot about Déso lately. The prosecution of the Communists - or rather everything that preceded it - must have been a painful experience for him. [...] The destruction of what one has loved and sought to serve must be a terrible ordeal - for a heart like his"... (Faure to Colette, October 2, 1939). - "The description of your country life is charming, which doesn't prevent me, however, from wishing it would end (not the description, the life - what a misery for me this blur with syntax), I need your presence too much, firstly out of affection and then also for the movement you bring to life, now that's a statement not lacking in cynicism. I belong to the parasitic race, the one that lives off what others bring, and left to my own devices I become a marmot. That's what I'm doing right now. Perhaps you didn't know that yet. Helleu, the bookseller on boulevard St Germain, has organized a small Steinlen exhibition for which he has collected works relating to Paris [...] meanwhile, poor Déso, already completely exhausted, was spending ten hours in the studio. What a week it was for him - days and half-nights sitting at a table, orchestrating other people's music, it's quite a job [...]. Fortunately, this week will be less busy, with the Wiener orchestration finished and recorded yesterday, leaving Madame Bovary and two sessions for Lac aux Dames". (Colette to R. Faure. December 6 1933). - I have nothing definite for this winter, Wiéner has given me hope, Vandal, of the firm Vandal et Delac, for whom I made 2 films this winter: Poil de carotte and L'Homme à l'Hispano having spoken of me in what seems to be enthusiastic terms at Fox [...] Bunuel has not been able to free himself from his work and we are going to give up, I think, the tour in Auvergne and the Midi that we had planned together"... (Désormière to R. Faure, Vichy. Faure, Vichy [1932]).Enclosed is a typed copy of a letter from Faure to his mother (May 19, 1940, eight days before his death at the front.

Estim. 5 000 - 8 000 EUR

LOUIS XV PERIOD CHEST OF DRAWERS Attributed to Gilles Joubert, trace of stamp, probably Roger Vandecruse dit Lacroix or RVLC Satinwood, violetwood and amaranth veneer, chased and gilded bronze ornamentation with a crowned C, veined gray marble top, front inlaid with crosses opening with two drawers, cambered legs finished with bronze sabots, two very faded stamp marks (...) L.C and several JME hallmarks on the front left jamb H.:88.5 cm (39 ¾ in.) l.:126,5 cm (49 ¾ in.) P.:66 cm (30 in.) The crowned C hallmark was applied to bronze works between March 1745 and February 1749. A Louis XV gilt-bronze mounted, satinwood, kingwood and amaranth commode, attributed to Gilles Joubert, probably stamped by Roger Vadrecruse, called Lacroix or RVLC * Information for buyers: When leaving the EU, a CITES re-export certificate may be required, at the expense of the future buyer. * Information to buyers: For an exit from the EU, a CITES re-export certificate will be necessary, at the buyer's expense. The probable presence of Roger Lacroix's stamp on this chest of drawers, stylistically prior to the date when Lacroix became a master in 1755, is an interesting example of the practice of subcontracting under the Ancien Régime. In fact, our commode is more closely related to the work of Gilles Joubert. Admitted to the master's program during the Regency period, well before the use of the stamp was imposed by the statutes of 1743, he began working for the Garde-Meuble de la Couronne as early as 1748, subsequently becoming the King's cabinetmaker. The sheer volume of orders received obliged him to subcontract part of his production to his colleagues, and some of the pieces delivered by Joubert for the Garde Meuble de la Couronne were stamped by Roger Lacroix or Mathieu Criaerd. A chest of drawers stamped by Gilles Joubert, featuring an inlaid lattice decoration set in a comparable amaranth frieze, as well as the same bronze falls and bronze apron, sold at Christie's Paris, December 19, 2007, lot 418 (see fig. 1). The very discreet presence of Lacroix's stamp suggests that the cabinetmaker worked at Joubert's request, acting as restorer. The probable presence of Roger Lacroix's stamp on this commode, which stylistically predates the date when Lacroix became a master in 1755, is an interesting example of the practice of subcontracting under the Ancien Régime. In fact, our commode is more closely related to the work of Gilles Joubert. Admitted to the master's program during the Regency period, well before the use of the stamp was imposed by the statutes of 1743, he began working for the Garde-Meuble de la Couronne as early as 1748, subsequently becoming the King's cabinetmaker. The sheer volume of orders received obliged him to subcontract part of his production to his colleagues, and some of the pieces delivered by Joubert for the Garde Meuble de la Couronne were stamped by Roger Lacroix or Mathieu Criaerd. A chest of drawers stamped by Gilles Joubert, featuring an inlaid lattice decoration set in a comparable amaranth frieze, as well as the same bronze falls and bronze apron, sold at Christie's Paris, December 19, 2007, lot 418 (see fig. 1). The very discreet presence of Lacroix's stamp suggests that the cabinetmaker worked at Joubert's request, acting as restorer.

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