658
COCTEAU JEAN: (1889-1963) French poet, playwright, novelist, artist, filmmaker and critic.
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Beschreibung
COCTEAU JEAN: (1889-1963) French poet, playwright, novelist, artist, filmmaker and critic. A remarkable autograph manuscript signed, Jean Cocteau, seven pages (rectos only), 4to, Paris, March 1922, in French. Cocteau’s manuscript is entitled Marie Laurencin, and represents a glowing appreciation of the French painter, commencing with a beautiful description of how Cocteau imagines her features would be recorded in her passport, noting her hair, black eyes, and pearl grey complexion, as well as several special features. ‘chevaux, colombes. eventails, plumes d'autruches…..yeux myopes’ (Translation: ‘horses, doves, fans, ostrich feathers….myopic eyes’, continuing ‘Mais elle ne veut pas qu'on dise qu'elle est myope. Elle trouve la myopie honteuse et le face a main la gene comme une bequille d'infirme. Pourtant il faudrait parler de ce nuage qui met les distances entre sa personne et le reste du monde, qui fait d'elle un aveugle et un caniche. Mais jamais on n'avait vu un aussi joli aveugle dirige par un caniche aussi savant’ (Translation: ‘But she doesn’t want people to say she’s short-sighted. She finds myopia shameful and face-to-hand discomfort like a cripple’s crutch. Yet we should talk about this cloud which puts distances between her person and the rest of the world, which makes her blind and a poodle. But we had never seen such a pretty blind man led by such a knowledgeable poodle’). Cocteau follows with a sestet –Une etoile d'amour, Une etoile d'ivresse, Les amants, les maitresses, Aiment la nuit et le jour, Un poete m'a dit qu'il etait une etoile, Ou l'on aime toujours. And compares the stars to a calligram by Guillaume Apollinaire, ‘Sans doute il est trop tard pour parler encore d'elle serions nous tentes de dire, apris l'image que nous en donnent les poetes avec lesquels notre ame a toujours vecu. Jamais trop tard, il est vrai la douce lumiere Laurencin, si elle brille pour les uns est encore en route vers les autres’ Cocteau then writes of Laurencin’s paintings. ‘Un tableau de Marie Laurencin regarde, ecoute, comme les chevreuils. Si une personne qui n'aime pas les betes s'approche, si un chasseur e'paule son arme, le tableau disparait. Nous avons la joie d'etre de ceux qui les caressent. Car Marie Laurencin aime les poetes. Elle n'aime que les poetes. Et moi qui l'ai connue bien apres Salmon, Apollinaire, Fleuret, Moreas. j'ai eu la surprise d'un homme du nord qui verrait une rose, en chair et en os, apres avoir entendu parler d'elle dans Ronsard et dans les catalogues de fleurs. Il serait donc ridicule de vous apprendre que Marie Laurencin porte un nom delicieux qui rime avec sein, dessin, coussin, clavecin, assassin; qu'elle fait penser a Watteau, a Goya, aux liaisons dangereuses, aux livres de Madame de Segur et aux fables de la Fontaine, que licornes lechent son eventail qui ne montre que des yeux comme un volet espagnol, que ses couleurs favorites sont le bleu le gris et le rose, que sa peinture n'est pas de la peinture litteraire mais de la peinture de grand peintre et de grand poete, qu'il ne faut pas confondre avec la peinture poetique. Du reste, Marie Laurencin est un poete. Ecoutez plutot: Roi d'Espagne prenez votre manteau, Et un couteau, Au jardin zoologique, Il ya a un tigre paralytique, mais royal, et le regarder fait mal. Vous retrouverez dans cette petite piece ecrite pendant la guerre a Madrid, l'intonation d'une aristocrate’ (Translation: ‘A painting by Marie Laurencin looks, listens, like deer. If a person who does not like animals approaches, if a hunter shoulders his weapon, the picture disappears. We have the joy of being among those who caress them. Because Marie Laurencin loves poets. She only likes poets. And I know her well after Salmon, Apollinaire, Fleuret, Moreas. I had the surprise of a man from the north who would see a rose, in the flesh, after having heard about it in Ronsard and in flower catalogues. It would therefore be ridiculous to tell you that Marie Laurencin has a delicious name that rhymes with sein, dessin, coussin, clavecin, assassin; that she makes us think of Watteau, of Goya, of dangerous liaisons, of the books of Madame de Segur and the fables of La Fontaine, that unicorns lick her fan which only shows eyes like a Spanish shutter, that her favourite colours are the blue, grey and pink, that her painting is not literary painting, but the painting of a great painter and a great poet, which should not be confused with poetic painting. Besides, Marie Laurencin is a poet. Listen instead: King of Spain take your coat, and a knife. In the zoological garden, there is a paralytic tiger, but royal, and looking at it hurts. You will find in this little piece written during the war in Madrid, the intonation of an aristocrat’). Cocteau also makes reference to the paintings of Picasso, ‘La toile, en apparence, la plus hautaine de Picasso met en branle nos curiosites. Nous cherchons quels objets la motivent. Nous y entrons. Nous collaborons. Peu a peu son univers commande. Nous admettons qu'il reorganise la notre. Alors, devenus familiers de son oeuvre, nous ne sommes plus timides. Mais ici nous voila genes comme par l'ooeil d'un chien qui nous regarde, comme par une conversation avec un enfant ou avec une reine. Le privilige qui nous vaut de ne pas mettre l'animal en fuite, de ne pas faire crier l'enfant, d'etre admis en presence auguste, ne brise pas la glace. Peut-etre que tous ces personnages de conte de fees n'attendent qu'un geste irrespectueux pour sortir du charme. Ils peuvent attendre: nul ne l'ose’ Cocteau concludes by recounting the circumstances when Laurencin painted his portrait, ‘Maintenant, je vais vous raconter comment Marie Laurencin peignait mon portrait......C'est le genre des oiseaux qui nidifient. De temps en temps ils transportent une brindille. Marie Laurencin chante. Elle se leve. Elle me montre un exercice de gymnastique. Elle tourne dans la chambre. Elle cherche de l'essence. Elle ne trouve pas ses tubes…..elle essaye une robe, elle ecrit une lettre et l'attache du cou d'un pigeon voyageur. Elle cherche un numero de telephone…….Le nid est fait. Le tour est joue. Ou se trouve en presence d'une oeuvre forte, grave, d'un equilibre et d'une poesie deconcertants’ The manuscript is loosely bound in the original paper wrappers, with Cocteau’s title to the front, ‘Marie Laurencin par Jean Cocteau’, also adding a small drawing of a pink heart beneath his name. Also included within the manuscript are two frontispiece illustrations, the first an oval monochrome photograph by Man Ray of Marie Laurencin’s 1921 portrait of Cocteau, the silver gelatin print measuring 19.5 x 16 cm, and the second a charming self-portrait by Laurencin, executed in pencil and showing her in a pensive head and shoulders pose, with a pink scarf and matching lipstick. Signed (‘Marie Laurencin’) in pencil at the foot of the portrait and dated 1923 in her hand. A wonderful manuscript, enhanced by Laurencin’s self-portrait and Man Ray’s photograph. Some light overall age wear and a few small areas of paper loss to the upper left corners of some pages, otherwise VG OWING TO RESTRICTIONS IMPOSED BY THE SALEROOM THE COMPLETE DESCRIPTION FOR THIS LOT CAN NOT BE DISPLAYED. PLEASE CONTACT IAA EUROPE FOR FURTHER INFORMATION.
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COCTEAU JEAN: (1889-1963) French poet, playwright, novelist, artist, filmmaker and critic. A remarkable autograph manuscript signed, Jean Cocteau, seven pages (rectos only), 4to, Paris, March 1922, in French. Cocteau’s manuscript is entitled Marie Laurencin, and represents a glowing appreciation of the French painter, commencing with a beautiful description of how Cocteau imagines her features would be recorded in her passport, noting her hair, black eyes, and pearl grey complexion, as well as several special features. ‘chevaux, colombes. eventails, plumes d'autruches…..yeux myopes’ (Translation: ‘horses, doves, fans, ostrich feathers….myopic eyes’, continuing ‘Mais elle ne veut pas qu'on dise qu'elle est myope. Elle trouve la myopie honteuse et le face a main la gene comme une bequille d'infirme. Pourtant il faudrait parler de ce nuage qui met les distances entre sa personne et le reste du monde, qui fait d'elle un aveugle et un caniche. Mais jamais on n'avait vu un aussi joli aveugle dirige par un caniche aussi savant’ (Translation: ‘But she doesn’t want people to say she’s short-sighted. She finds myopia shameful and face-to-hand discomfort like a cripple’s crutch. Yet we should talk about this cloud which puts distances between her person and the rest of the world, which makes her blind and a poodle. But we had never seen such a pretty blind man led by such a knowledgeable poodle’). Cocteau follows with a sestet –Une etoile d'amour, Une etoile d'ivresse, Les amants, les maitresses, Aiment la nuit et le jour, Un poete m'a dit qu'il etait une etoile, Ou l'on aime toujours. And compares the stars to a calligram by Guillaume Apollinaire, ‘Sans doute il est trop tard pour parler encore d'elle serions nous tentes de dire, apris l'image que nous en donnent les poetes avec lesquels notre ame a toujours vecu. Jamais trop tard, il est vrai la douce lumiere Laurencin, si elle brille pour les uns est encore en route vers les autres’ Cocteau then writes of Laurencin’s paintings. ‘Un tableau de Marie Laurencin regarde, ecoute, comme les chevreuils. Si une personne qui n'aime pas les betes s'approche, si un chasseur e'paule son arme, le tableau disparait. Nous avons la joie d'etre de ceux qui les caressent. Car Marie Laurencin aime les poetes. Elle n'aime que les poetes. Et moi qui l'ai connue bien apres Salmon, Apollinaire, Fleuret, Moreas. j'ai eu la surprise d'un homme du nord qui verrait une rose, en chair et en os, apres avoir entendu parler d'elle dans Ronsard et dans les catalogues de fleurs. Il serait donc ridicule de vous apprendre que Marie Laurencin porte un nom delicieux qui rime avec sein, dessin, coussin, clavecin, assassin; qu'elle fait penser a Watteau, a Goya, aux liaisons dangereuses, aux livres de Madame de Segur et aux fables de la Fontaine, que licornes lechent son eventail qui ne montre que des yeux comme un volet espagnol, que ses couleurs favorites sont le bleu le gris et le rose, que sa peinture n'est pas de la peinture litteraire mais de la peinture de grand peintre et de grand poete, qu'il ne faut pas confondre avec la peinture poetique. Du reste, Marie Laurencin est un poete. Ecoutez plutot: Roi d'Espagne prenez votre manteau, Et un couteau, Au jardin zoologique, Il ya a un tigre paralytique, mais royal, et le regarder fait mal. Vous retrouverez dans cette petite piece ecrite pendant la guerre a Madrid, l'intonation d'une aristocrate’ (Translation: ‘A painting by Marie Laurencin looks, listens, like deer. If a person who does not like animals approaches, if a hunter shoulders his weapon, the picture disappears. We have the joy of being among those who caress them. Because Marie Laurencin loves poets. She only likes poets. And I know her well after Salmon, Apollinaire, Fleuret, Moreas. I had the surprise of a man from the north who would see a rose, in the flesh, after having heard about it in Ronsard and in flower catalogues. It would therefore be ridiculous to tell you that Marie Laurencin has a delicious name that rhymes with sein, dessin, coussin, clavecin, assassin; that she makes us think of Watteau, of Goya, of dangerous liaisons, of the books of Madame de Segur and the fables of La Fontaine, that unicorns lick her fan which only shows eyes like a Spanish shutter, that her favourite colours are the blue, grey and pink, that her painting is not literary painting, but the painting of a great painter and a great poet, which should not be confused with poetic painting. Besides, Marie Laurencin is a poet. Listen instead: King of Spain take your coat, and a knife. In the zoological garden, there is a paralytic tiger, but royal, and looking at it hurts. You will find in this little piece written during the war in Madrid, the intonation of an aristocrat’). Cocteau also makes reference to the paintings of Picasso, ‘La toile, en apparence, la plus hautaine de Picasso met en branle nos curiosites. Nous cherchons quels objets la motivent. Nous y entrons. Nous collaborons. Peu a peu son univers commande. Nous admettons qu'il reorganise la notre. Alors, devenus familiers de son oeuvre, nous ne sommes plus timides. Mais ici nous voila genes comme par l'ooeil d'un chien qui nous regarde, comme par une conversation avec un enfant ou avec une reine. Le privilige qui nous vaut de ne pas mettre l'animal en fuite, de ne pas faire crier l'enfant, d'etre admis en presence auguste, ne brise pas la glace. Peut-etre que tous ces personnages de conte de fees n'attendent qu'un geste irrespectueux pour sortir du charme. Ils peuvent attendre: nul ne l'ose’ Cocteau concludes by recounting the circumstances when Laurencin painted his portrait, ‘Maintenant, je vais vous raconter comment Marie Laurencin peignait mon portrait......C'est le genre des oiseaux qui nidifient. De temps en temps ils transportent une brindille. Marie Laurencin chante. Elle se leve. Elle me montre un exercice de gymnastique. Elle tourne dans la chambre. Elle cherche de l'essence. Elle ne trouve pas ses tubes…..elle essaye une robe, elle ecrit une lettre et l'attache du cou d'un pigeon voyageur. Elle cherche un numero de telephone…….Le nid est fait. Le tour est joue. Ou se trouve en presence d'une oeuvre forte, grave, d'un equilibre et d'une poesie deconcertants’ The manuscript is loosely bound in the original paper wrappers, with Cocteau’s title to the front, ‘Marie Laurencin par Jean Cocteau’, also adding a small drawing of a pink heart beneath his name. Also included within the manuscript are two frontispiece illustrations, the first an oval monochrome photograph by Man Ray of Marie Laurencin’s 1921 portrait of Cocteau, the silver gelatin print measuring 19.5 x 16 cm, and the second a charming self-portrait by Laurencin, executed in pencil and showing her in a pensive head and shoulders pose, with a pink scarf and matching lipstick. Signed (‘Marie Laurencin’) in pencil at the foot of the portrait and dated 1923 in her hand. A wonderful manuscript, enhanced by Laurencin’s self-portrait and Man Ray’s photograph. Some light overall age wear and a few small areas of paper loss to the upper left corners of some pages, otherwise VG OWING TO RESTRICTIONS IMPOSED BY THE SALEROOM THE COMPLETE DESCRIPTION FOR THIS LOT CAN NOT BE DISPLAYED. PLEASE CONTACT IAA EUROPE FOR FURTHER INFORMATION.
AUTOGRAPH LETTERS, MANUSCRIPTS & HISTORICAL DOCUMENTS AUCTION
Auktionsdatum
Lose: 611-1130
Lose: 1-610
Ort der Versteigerung
El Real del Campanario
num.12 Bajo B
Estepona
Malaga
29688
Spain
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Day One - Lots 1 - 610
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1. Interpretación
1.1. “Subastadores” significa ” International Autograph Auctions Spain, S.L. ”
1.2. “Catálogo”, el folleto relativo a la venta (incluido cualquier apéndice) y cualquier otro documento pertinente y anuncio.
1.3. “Condiciones” significa, estos términos y condiciones de venta
1.4. “Precio martillo”, el precio por el que se le adjudica finalmente en la subasta al comprador.
1.5. “Comprador” significa la persona que compra un lote o lotes de conformidad con estas condiciones.
1.6. “Vendedor” significa la persona que vende un lote o lotes de conformidad con estas condiciones.
1.7. “IVA”: Impuesto al Valor Añadido.
2. La puja
2.1. El mejor postor para cada lote será el comprador de ese lote.
2.2. Ninguna persona tendrá derecho a retirar una puja. El subastador se reserva el derecho de rechazar cualquier oferta, sin dar ninguna razón y de modificar, añadir, dividir, consolidar o retirar cualquier lote o lotes a la venta.
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2.5. En caso de controversia en cuanto a una puja durante la subasta, el subastador podrá resolver de forma inmediata el litigio, ya sea presentado el lote de nuevo con la última oferta indiscutible o última, o bien retirando el lote.
2.6. IAA Spain, S.L. aceptará ofertas por escrito de forma gratuita a cualquier persona que no pueda asistir a la venta. Las ofertas también se aceptarán por teléfono y por fax a riesgo del remitente.
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3.3. La comisión será también del 20% para compradores de fuera de la Unión Europea no sujetos a IVA.
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6. Capacidad de IAA Spain, S.L.
A todos los efectos al subastador se le considerará como el agente, tanto del vendedor como del comprador, y no se le considerará responsable de ningún incumplimiento por parte del vendedor o del comprador.
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7.5. En el caso de envíos que necesiten embalajes para las entregas, estos se cargarán aparte y estarán sujetos a IVA.
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Si un comprador no pagase algún lote en su totalidad, de conformidad con las presentes Condiciones, IAA Spain, S.L. tendrá derecho a:
8.1. Anular la venta del lote correspondiente
8.2. Vender el lote sin previo aviso, ya sea por venta pública o privada y la diferencia entre precios (si la hubiere), que surjan de la segunda venta de dicho lote, junto con todos los cargos y gastos relacionados con la misma, serán a cargo del comprador moroso, importe que podrá ser reclamado por los daños y perjuicios ocasionados.
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Estas Condiciones se regirán por las normas del derecho en España y las partes se someten a la jurisdicción exclusiva de los tribunales españoles.
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1. Autoriza a IAA Spain, S.L., a cargar en la tarjeta de crédito que nos haya proporcionado el pago parcial o total, incluyendo todas las tasas, de los artículos comprados con éxito en la subasta a través de la saleroom.com, y
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Buyers Terms & Conditions
1. Interpretation
1.1. "Auctioneers" means " International Autograph Auctions Ltd. "
1.2. "Catalogue" means the brochure relating to a sale (including any addendum thereto) and any other related documents and advertisements.
1.3. "Conditions" means these terms and conditions of sale
1.4. "Hammer Price" means the price at which a lot is knocked down by the Auctioneers to the Purchaser.
1.5. "Purchaser" means the person who purchases a lot or lots pursuant to these conditions.
1.6. "Seller" means the person who is selling the lot or lots pursuant to these conditions.
1.7. "VAT" means Value Added Tax.
2. Bidding
2.1. The highest bidder for each lot shall be the Purchaser of that lot.
2.2. No person shall be entitled to retract a bid. The Auctioneers reserve the right of refusing any bid without giving any reason and of altering, adding to, dividing, consolidating or withdrawing any lot or lots for sale.
2.3. The Auctioneers reserve the right to fix a reserve price for any lot at a figure no higher than the lower estimate.
2.4. The Auctioneers reserve the right to bid on behalf of the Seller on lots which are subject to a reserve price. The Seller shall not be entitled to bid where the Auctioneers have reserved such a right.
2.5. In the case of a dispute as to any bid the Auctioneers may immediately determine the dispute or put up the lot again at the last undisputed bid or withdraw the lot.
2.6. The Auctioneers will accept written commission bids free of charge from any person who is unable to attend the sale. Bids will also be accepted by telephone and fax at the sender's risk.
2.7. Lots will not normally be sold at less than two-thirds bottom estimate.
3. Payment
3.1. Each Purchaser shall give in his name and address and proof of identity (if required) to the Auctioneers at a sale and shall if required pay such deposit as the Auctioneers may specify.
3.2. The Purchaser shall pay the Hammer Price together with a premium of 27% on the Hammer Price (this amount includes VAT and must not be shown separately or claimed as input tax). By the making of any bid the Purchaser acknowledges that his attention had been drawn to this fact and that he assents to the Auctioneers receiving the said commission. A 22.5% premium will be payable by Purchasers outside the European Union (EU). Zero-rated goods such as books will be subject to a premium of 22.5% whether within or outside the EU unless entered by a VAT registered Seller.
3.3. Items marked with an asterisk * in the Catalogue after the lot number and before the description will be subject to VAT at 20% on the Hammer Price (not chargeable to Purchasers outside of the EU).
3.4. Payments for lots must be made in cash, bankers draft or cheque guaranteed by the bank upon which it is drawn. Lots will not be released against cheques from Purchasers unknown to the Auctioneers until cleared by such Purchaser's bank. Payment is accepted by Visa and Mastercard. A surcharge of 3% plus VAT will be levied to accounts settled by credit cards. Payment is also accepted by most debit cards with no surcharge.
3.5. Overseas clients are requested to settle accounts by USA Dollars or Sterling bank transfer (details upon request), by Sterling cheques only if drawn on major English clearing houses, by Visa or Mastercard (a surcharge of 3% plus VAT [clients outside the EU exempt from VAT] will be levied to accounts settled by this method) or if payment is made on personal accounts in foreign currency the client is requested to add the equivalent of a further £10 to cover bank conversion charges. The Auctioneer reserves the right to claim back from the Purchasers any shortfall due to bank charges or currency fluctuations on that account.
3.6. No lots will be released by the Auctioneers until receipt of payment in full from the Purchaser.
4. Risk
4.1. All lots shall be the sole risk of the Purchaser from the fall of the hammer.
4.2. The Purchaser shall take all lots in the condition in which he finds them. It is the responsibility of all intending Purchasers to satisfy themselves by inspection or otherwise as to the authenticity in the authorship, date, age, period, condition or quality of any lot.
5. Liability
5.1. Neither the Seller of any lot nor the Auctioneers make or give nor has any person in the employment of the Auctioneers any authority to make or give any representation or warranty in relation to any lot and any implied conditions or warranties are excluded.
5.2. All statements contained in the Catalogue as to the authenticity, attribution, genuineness, origin, authorship, date, age, period, condition or quality of any lot are statements of opinion only and are not to be taken as or implying statements or representations of fact. Lots are sold subject to all faults and errors in description or otherwise.
5.3. Notwithstanding the provisions of paragraphs 5.1. and 5.2. of these Conditions in the event of a dispute as to authenticity of any lot(s) the item or items in question should be returned to the Auctioneers within 21 days of receipt by the Purchaser of such lot(s) together with a formal statement by a recognised expert The Auctioneers shall at their option and without admission of liability reimburse the price paid by the Purchaser in respect of such lot(s). This does not constitute an approval service.
5.4. Neither the Auctioneers nor the Seller shall be responsible for any loss, damage or injury occasioned to or sustained by any person on the premises before, during or after a sale save in respect of death or personal injury caused by negligence of the Seller or the Auctioneers.
6. Capacity of Auctioneers
For all purposes of a sale the Auctioneers shall be deemed to be the agent of both the Seller and the Purchaser and they shall not be considered responsible for any default on the part of either the Seller or Purchaser.
7. Delivery
7.1. Lots will only be released once payment in full has been received from the Purchaser.
7.2. Lots will be dispatched (upon receipt of payment) by Special Delivery, insured or air mail post and bulky or expensive lots will be sent via a professional freight company unless written instructions to the contrary are received at the sole cost and risk of the Purchaser.
7.3. Postage is subject to VAT at 20% within the EU
7.4. The Auctioneers will provide full customs declarations on the Hammer Price plus the Purchaser's premium and Purchaser's shall be responsible for any customs charges made by the country of import.
7.5. A charge will be made for the packing of deliveries which is subject to VAT at 20% within the EU.
8. Auctioneers Remedies
In the event that the Purchaser fails to pay for any lot(s) in full pursuant to these Conditions then the Auctioneers shall be entitled:
8.1. to rescind the sale of the relevant lot(s)
8.2. to resell the lot(s) without further notice either by public or private sale and the deficiency (if any) arising from such second sale together with all charges and expenses relating to the same shall be the responsibility of the defaulting Purchaser and shall be recoverable as and for liquidated damages.
9. Jurisdiction
These Conditions shall be governed by English law and the parties submit to the exclusive jurisdiction of the English courts.
Online Bidding
International Autograph Auctions Ltd. offer an online bidding service via the-saleroom.com for bidders who cannot attend the sale.
In completing the bidder registration on www.the-saleroom.com and providing your credit card details and unless alternative arrangements are agreed with International Autograph Auctions Ltd. you
1. authorise International Autograph Auctions Ltd., if they so wish, to charge the credit card given in part or full payment, including all fees, for items successfully purchased in the auction via the-saleroom.com, and
2. confirm that you are authorised to provide these credit card details to International Autograph Auctions Ltd. through www.the-saleroom.com and agree that International Autograph Auctions Ltd. are entitled to ship the goods to the card holder name and card holder address provided in fulfilment of the sale.
Please note that any lots purchased via the-saleroom.com live auction service will be subject to an additional 3% commission charge + VAT at the rate imposed on the hammer price
