11 rue de Douai, Paris IXe. [1924].
1 vol. (150 x 215 mm) of 1 f. and 18 p. Half orange-red morocco, spine with raised bands, gilt title, top edge gilt (contemporary binding).
Complete autograph manuscript.
Signed presentation inscription: “pour Florence Jay Gould, ce couteau dans le cœur, Fr. Carco,” with a pen self-portrait, signed by Carco.
Numerous autograph corrections in the text; the whole entirely mounted on stubs.
Accompanied by the printed text published in 1925 by Éditions de la Porte étroite; it was dedicated, as was the manuscript, to Tristan Bernard:
Paris, à l'enseigne de la porte étroite, (September 26) 1925.
1 vol. (115 x 160 mm), 46 p., [2] and 2 f. In wrappers. One of 520 copies on vélin d'Arches (no. 394).
Signed presentation inscription: “pour Florence Jay Gould, ce couteau dans le cœur, Fr. Carco,” with a pen self-portrait, signed by Carco.
Numerous autograph corrections in the text; the whole entirely mounted on stubs.
Accompanied by the printed text published in 1925 by Éditions de la Porte étroite; it was dedicated, as was the manuscript, to Tristan Bernard:
Paris, à l'enseigne de la porte étroite, (September 26) 1925.
1 vol. (115 x 160 mm), 46 p., [2] and 2 f. In wrappers. One of 520 copies on vélin d'Arches (no. 394).
A well-known figure in literary and artistic circles, Florence Jay Gould held salon throughout her life, whether at the Hôtel Meurice or at her home on Avenue Malakoff. In 1923, having just married the millionaire Frank Jay Gould, the young couple honeymooned on the Côte d’Azur and had a magnificent villa built at Juan-les-Pins. As early as 1924, Francis Carco was among the first guests at the lavish parties given by the couple, and the manuscript was probably presented on one such occasion. Carco’s inscription, characteristic of his recurring theme of impossible or difficult love affairs, may hint at a lost hope.
A fine manuscript, in a period binding and carefully prepared.
#32484
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