Null COCTEAU (Jean) Very beautiful handwritten praise to Marie Bell, of 3 pages …
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COCTEAU (Jean) Very beautiful handwritten praise to Marie Bell, of 3 pages (21x27) of 35 lines. Framed under glass. "Hail to Marie Bell Madame Marie Bell bears witness to a great extinct race, and, far from being a last scum of this ancient wave, she bears witness to it with her youth, at the age when women hesitate between the fruit and the flower. This great dead race is none other than that of the tragedians. Today the face replaces the face, the naturalness, the transcendence of the feelings, the charm, the crisis, the acid voices, the low organ and sometimes even hoarse of which the tone of Madam Yvonne de Bray gave the example. [Only Madame Yvonne de Bray symbolizes the queens of comedy and Madame Bell the queens of tragedy, one of these "sacred monsters" draped in the purple of the Caesars and the blood of the heroes. [The admirable thing about Mrs. Marie Bell is that she seems to play while she is playing, while her mouth raises the least syllable to the relief of a sentence or a gesture. [Whether she drags in her wake the innocent shame of Phaedra, the sweet distress of Berenice, the outraged pride of Agrippina, it is always tragedy seated on its red and gold throne, the true theater that triumphs, without forgetting the fires of the chandelier that Charles Baudelaire preferred to the spectacle. Jean Cocteau (with his star) " TEXTE DE PREMIER JET avec des raures.

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COCTEAU (Jean) Very beautiful handwritten praise to Marie Bell, of 3 pages (21x27) of 35 lines. Framed under glass. "Hail to Marie Bell Madame Marie Bell bears witness to a great extinct race, and, far from being a last scum of this ancient wave, she bears witness to it with her youth, at the age when women hesitate between the fruit and the flower. This great dead race is none other than that of the tragedians. Today the face replaces the face, the naturalness, the transcendence of the feelings, the charm, the crisis, the acid voices, the low organ and sometimes even hoarse of which the tone of Madam Yvonne de Bray gave the example. [Only Madame Yvonne de Bray symbolizes the queens of comedy and Madame Bell the queens of tragedy, one of these "sacred monsters" draped in the purple of the Caesars and the blood of the heroes. [The admirable thing about Mrs. Marie Bell is that she seems to play while she is playing, while her mouth raises the least syllable to the relief of a sentence or a gesture. [Whether she drags in her wake the innocent shame of Phaedra, the sweet distress of Berenice, the outraged pride of Agrippina, it is always tragedy seated on its red and gold throne, the true theater that triumphs, without forgetting the fires of the chandelier that Charles Baudelaire preferred to the spectacle. Jean Cocteau (with his star) " TEXTE DE PREMIER JET avec des raures.

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Hans BELLMER (1902-1975). L.A.S., Castres March 25, 1946, to a "very dear friend"; 2pages in-4. Interesting letter on Jean Cocteau and Sade. He fears he may have offended Cocteau a little, by asking him about the "conditions of the proposed collaboration (ballet: La Fille de l'air), while not hiding from him the esteem I hold for Péret and Breton". He asks his friend to write Cocteau "that I think of the ballet project with a very real enthusiasm", and that he has "an 'instructive' affection for him [...] that I am incapable, for example, of having for Michaux, for Char"... It should not be forgotten that "Cocteau represents a bit of the 'scum' of our time, both victim and profiteer. Knowing this, he remains charming". But Bellmer wonders about Cocteau's future notoriety, a hundred years from now: "Personally, I think Oscar Wilde [...] will always surpass Cocteau. Oscar Wilde is infinitely more like Sade than Cocteau (Cocteau denies the poetic weight of the Marquis de Sade, entirely)"... He then tells the astonishing story of the manuscript of Sade's 120 Journées de Sodome, which had been lent before the war by the Comte de Noailles to "a writer among Cocteau's friends" [Jean Desbordes], author of Le Vrai visage du marquis de Sade; Desbordes, arrested by the Gestapo, died under torture. The manuscript disappeared, and has yet to be found, despite the research carried out by the Comte de Noailles in the Gestapo archives... Then Bellmer returns to his "impossible" life: he waits for his wife to ask for a divorce herself, and "decamps"... He returns to the idea of a portrait that his friend might propose to the newspaper Le Matin, and gives him some ideas for an angle of attack: "If one were to suppose that I made two characters: 1) La mineure and 2) me"...