Raymond Chandler – A 5-Page Autograph letter mentioning Agatha Christie (twice) and in defence of "The Long Goodbye", signed and written in French, together with a critical essay about Chandler by Robert Champigny
15-01-25
No Place (La Jolla), No Date (1957-58). The first leaf of the letter is toned, some creasing and wear to the original article, but still in near fine condition.
In this long letter, which is a draft and differs considerably from the published version in the Selected Letters of Raymond Chandler (pp. 471-473), Chandler responds to a critical essay about him by Robert Champigny published in “Critique, No. 127: Revue générale des publications Françaises et étrangères” (Paris: Editions de Minuit, December 1957), titled “Raymond Chandler et Le Roman Policier [the Detective Novel].”
Champigny’s article, extracted from the journal, is present. Chandler's response is written in ink, addressed to “Cher Monsieur Champigny,” signed in full “Raymond Chandler” at the end, and is five pages on 8 1/2 x 5 1/2 inch (21 x 14 cm) sheets.
A long autograph letter from Chandler to a French critic. The letter touches on some of the same themes he broached in his famous essay about the detective genre, The Simple Art of Murder (The Atlantic, December 1944), and also includes a staunch defense of his novel, The Long Goodbye. The letter is written entirely in French and is a good example of the author's fluency in the language.
Chandler responds to an article by Robert Champigny, who argues that the American genre of hardboiled detective fiction is in a state of decline. After an overwhelmingly positive review of Chandler's past oeuvre and style, discussed in comparison with the “classic” English style of detective fiction, Champigny offers a blunt critique of Chandler's The Long Goodbye, calling it “an error... marking the dissolution of the genre.” The critic argues that this is because the book’s plot lacks unity, and Chandler abandons certain aesthetic conventions of the genre in favour of an increased focus on his characters’ psychologies. Chandler begins his response to this critique with an expression of gratitude at what Champigny has written, and he explains that Hamish Hamilton, his publisher, had given him the article. He makes an apology, rather unnecessarily, for his written French, before launching into his rebuttal. Chandler humbly states that “after thirty-five years of making an effort to write a book that seems to me to be almost good ... I am still a student ... [and] at a hundred years (very possibly) I will still be a student who distrusts himself.” Chandler then criticizes the conventions of English Golden Age detective fiction, especially Agatha Christie’s way of unfairly misleading her readers about the murderer – “a character who is at first presented in a false mask” – only to suddenly reveal them at the end of the story. He writes, “Me, I view this method as ridiculous.” Finally, he defends his book against Champigny’s critique – “it seems to me a bit strange. Almost everyone is of the idea that this book is the best I've written.” Nonetheless, Chandler agrees with Champigny’s diagnosis of the poor state of hardboiled fiction – “I don't contest your opinion that the American-style detective novel is almost dead. The writers seem to me to be always more and more mechanical.”
With a perfect record of provenance from The Jean Vounder-Davis Collection of Raymond Chandler.
Please note that any lengthy writing in Chandler’s hand is quite scarce. Anything signed by him with his full name even more so. And anything mentioning Agatha Christie must be considered rare. And in French? Unheard of … CHF 5'750
In this long letter, which is a draft and differs considerably from the published version in the Selected Letters of Raymond Chandler (pp. 471-473), Chandler responds to a critical essay about him by Robert Champigny published in “Critique, No. 127: Revue générale des publications Françaises et étrangères” (Paris: Editions de Minuit, December 1957), titled “Raymond Chandler et Le Roman Policier [the Detective Novel].”
Champigny’s article, extracted from the journal, is present. Chandler's response is written in ink, addressed to “Cher Monsieur Champigny,” signed in full “Raymond Chandler” at the end, and is five pages on 8 1/2 x 5 1/2 inch (21 x 14 cm) sheets.
A long autograph letter from Chandler to a French critic. The letter touches on some of the same themes he broached in his famous essay about the detective genre, The Simple Art of Murder (The Atlantic, December 1944), and also includes a staunch defense of his novel, The Long Goodbye. The letter is written entirely in French and is a good example of the author's fluency in the language.
Chandler responds to an article by Robert Champigny, who argues that the American genre of hardboiled detective fiction is in a state of decline. After an overwhelmingly positive review of Chandler's past oeuvre and style, discussed in comparison with the “classic” English style of detective fiction, Champigny offers a blunt critique of Chandler's The Long Goodbye, calling it “an error... marking the dissolution of the genre.” The critic argues that this is because the book’s plot lacks unity, and Chandler abandons certain aesthetic conventions of the genre in favour of an increased focus on his characters’ psychologies. Chandler begins his response to this critique with an expression of gratitude at what Champigny has written, and he explains that Hamish Hamilton, his publisher, had given him the article. He makes an apology, rather unnecessarily, for his written French, before launching into his rebuttal. Chandler humbly states that “after thirty-five years of making an effort to write a book that seems to me to be almost good ... I am still a student ... [and] at a hundred years (very possibly) I will still be a student who distrusts himself.” Chandler then criticizes the conventions of English Golden Age detective fiction, especially Agatha Christie’s way of unfairly misleading her readers about the murderer – “a character who is at first presented in a false mask” – only to suddenly reveal them at the end of the story. He writes, “Me, I view this method as ridiculous.” Finally, he defends his book against Champigny’s critique – “it seems to me a bit strange. Almost everyone is of the idea that this book is the best I've written.” Nonetheless, Chandler agrees with Champigny’s diagnosis of the poor state of hardboiled fiction – “I don't contest your opinion that the American-style detective novel is almost dead. The writers seem to me to be always more and more mechanical.”
With a perfect record of provenance from The Jean Vounder-Davis Collection of Raymond Chandler.
Please note that any lengthy writing in Chandler’s hand is quite scarce. Anything signed by him with his full name even more so. And anything mentioning Agatha Christie must be considered rare. And in French? Unheard of … CHF 5'750
Raymond Chandler “Making a gold inlay” – 6-page original typescript with corrections in the author’s hand, written around 1941-42 in preparation for his novel The High Window
15-01-25 Filed in: Books
No Place, No date. Original 6-page typescript (each page 14 by 21.5cm) with 10 pencilled-in corrections in Raymond Chandler’s hand. Slightly creased, browned and with staple holes to the top, but still in near fine condition.
This document describes the process of making gold inlays in great detail, but more importantly also describes the moulding of gold coins.
A lot of this information made its way into Chandler’s third novel The High Window. In the novel (p. 132) it says: “The bill was for 30 lbs. Kerr’s Crystobolite $15.75, and 25 lbs. White’s Albastone $7.75, plus tax.” In this typescript the price is given as follows: “This (pencilled in by hand “stuff”) costs $1.55 for five pounds. The crystobolite costs $4.35 for ten pounds.” From this we can safely assume that this typescript dates from before the publication of The High Window in 1942. Any original material relating to any of Chandler’s major publications is scarce. With a perfect record of provenance from The Jean Vounder-Davis Collection of Raymond Chandler. CHF 1’500
Ian Fleming - Casino Royale - Rare First Edition
21-12-24 Filed in: Books
London: Jonathan Cape, 1953. First Edition, First Printing. A near fine copy in a near fine second issue dustwrapper (with Christopher Pym’s review in the Sunday Times over-printed on front flap and “The Author” on the rear panel). A most collectable copy of this scarce title: no inscriptions or flaws, book and dustwrapper completely original, never ever having been touched by any restorer. Compared to other copies that have been offered for sale since 2015, this is one of the really desirable ones. Only 4728 copies (plus a few proofs and review ones) of the first edition were printed, 2400 of which came with the second state dustwrapper. Sadly, most collections of James Bond novels in first editions, first printings lack Casino Royale since its initial print-run was pretty low, sold out very fast and a considerable number of the very first edition went to libraries. CHF 14’000
Please note that we have other most desirable fine first edition copies in fine dust wrappers of Fleming's Bond Novels for sale: Dr. No (1958), Goldfinger (1959), Thunderball (1961) and The Spy Who Loved Me (1962).
Please note that we have other most desirable fine first edition copies in fine dust wrappers of Fleming's Bond Novels for sale: Dr. No (1958), Goldfinger (1959), Thunderball (1961) and The Spy Who Loved Me (1962).
Maserati Tipo 61 “Birdcage” – 24h Le Mans 1961 – No. 24 – Briggs Cunningham & Bill Kimberley
12-11-24 Filed in: Slot Cars
Maserati Tipo 61 “Birdcage” – 24h Le Mans 1961 – No. 24 – Briggs Cunningham & Bill Kimberley
Kit: Profil 24.
Body: Fibreglass (GFRP), resin and metal parts.
Chassis: Modified Schöler sidewinder, with 4 ball bearings, 3mm carbon axle at the front and 3mm steel axle at the rear, highly detailed spoke wire rims, plastic gears and guide, Fox motor, and PU tires.
Weight: 176g.
Built by: an unknown German enthusiast (body and chassis – perfect) and YGR (details on the body).
Notes: The car is in perfect condition though it has been raced. It is one of the most challenging, detailed and spectacular models ever designed and built. It comes with a Historic Challenge Wagenpass from the race in Kassel (8th – 9th of November 2024) with 20 points.
It also won the “Concours d’Élégance” at the season’s finale (3rd Race) of the Historic Challenge in Kassel on the 9th of November 2024 after a tie with our other car, the Lotus 19 – V8 289 c.i. – Archway Ford 1964 – No. 2 – 😊:
Price: CHF 1’600
Dashiell Hammett's Novels
30-10-24 Filed in: Books
On offer here is a lovely collection of the five novels published by Dashiell Hammett, all of which come from the library of American crime fiction writer Bill Pronzini with his stamp on the front paste-down:1. Red Harvest
New York: Alfred A. Knopf, 1929. First Edition, First Printing. A very good copy in a fine facsimile dustwrapper.
2. The Dain Curse
New York: Alfred A. Knopf, 1929. First Edition, First Printing. A near fine copy in a fine facsimile dustwrapper.
3. The Maltese Falcon
New York: Alfred A. Knopf, 1930. First Edition, Third Printing (April 1930). A very good copy in a fine facsimile dustwrapper.
4. The Glass Key
New York: Alfred A. Knopf, 1931. First Edition, First Printing. A very good copy in a very good, price-cut original 1935 Grosset & Dunlap dustwrapper.
5. The Thin Man
New York: Alfred A. Knopf, 1934. First Edition, First Printing. A very good copy in a fine facsimile dustwrapper. Ownership inscription on the front free endpaper.
Price for the collection: CHF 2’750
Fitzgerald, F. Scott. Tender is the Night
10-07-24 Filed in: Books
New York: Charles Scribner's Sons, 1934. First edition, First printing. With the Scribner's “A” and publisher mark on the copyright page. Original dark blue linen-textured cloth with gilt spine lettering in a fine facsimile dustjacket. A near fine copy with very light rubbing to the foot of the spine, a very minor bump to the upper corner of the front cover, good hinges, firm text block, tiny spot (about a quarter inch square) to outer edge of rear endpapers, pages clean and age-toned to a uniform cream colour, pencil note on front free endpaper stating “Richmond - April 1934 – 77”, no other markings. A very nice copy and to quote Raymond Chandler: “… Fitzgerald is a subject no one has a right to mess up. Nothing but the best will do for him.” (Letter to Dale Warren, November 13, 1950). Cyril Connolly, The Modern Movement, 79. CHF 2’000
Ford 1950 F1 Pickup Truck with Trailer and Dragster No. 75
05-06-24 Filed in: Slot Cars
Kit: Monogram (Pickup and Trailer); Hawk (Dragster)
Bodies: Plastic with resin and metal parts.
Chassis: Plafit inliner (parts only) with Rabbit motors, brass bearings, rubber and PU tires.
Weight: 380g (Pickup 186g – Trailer 83g – Dragster 111g).
Built by: Steff Rinn (signed inside the Pickup: “Steff – 97”).
Notes: All three components were perfectly built and are in perfect condition. They come in a custom built acrylic display box (46cm by 16.5cm by 11cm) with a white wooden base and diorama. The driver of the dragster is attached to his contraption with a magnet and can easily be removed and put on again.
Price: CHF 1’400
Eliot, T.S. Poems 1909 – 1925
28-05-24 Filed in: Books
London: Faber & Gwyer LTD, 1925. First Edition, First Printing. Number 1 of the signed limited edition of eighty-five copies, seventy-five of which were for sale. Spine slightly darkened, else a fine copy on hand-made paper in fine original white buckram boards lettered in gilt on the spine; sides bordered in blind; all edges uncut (the first opening unopened). Collected in this volume are: Prufrock (1917), Poems (1920), The Waste Land (1922), and “The Hollow Men” (1925).
Where to begin with this copy of this book?
Well, you rarely get to buy Number 1 of any limited edition, let alone one of such impact.
Cyril Connolly writes in The Modern Movement – 100 Key Books from England, France and America 1880 – 1950: “30(b) … [The Waste Land] Becoming as hard to obtain as ‘Prufrock’; it is better to search for the Poems 1909 – 1925, perhaps his most important book.”
This book also contains Eliot’s first publication of “The Hollow Men”; maybe the most quoted of Eliot's poetry:
“…
This is the way the world ends
This is the way the world ends
This is the way the world ends
Not with a bang but a whimper.”
Price: CHF 37’500
Eliot, T.S. Prufrock and Other Observations
28-04-24 Filed in: Books
Eliot, T.S. Prufrock and Other Observations & two typed letters signed by Eliot
London: The Egoist LTD (Oakley House, Bloomsbury Street), 1917. First Edition, First Printing. One of only 500 copies. In fine condition in fine original wrappers, which are protected by a glassine wrapper that was probably added later on. Brentano’s Bookseller label at the bottom of the inside of the rear wrapper, some light browning of the paper, but no inscriptions or flaws whatsoever, a split to the spine and weak inner hinges, but still a most beautiful, spectacular, unrestored copy of one of the most fragile books – nowadays it is called a pamphlet – of one of the milestones of Modernism. Housed in a custom clamshell box.
There has been a remarkable change in collectors’ appreciation of this book over the last 30 years: in the 90s you could get one of the 1’000 copies of The Waste Land in fine condition and fine dustwrapper for less than the price of a Prufrock. Nowadays, the price of The Waste Land has skyrocketed, while Prufrock’s has remained stable. Still, we would always prefer Prufrock. It has so many wonderfully memorable lines and worked its way into popular culture much more than The Waste Land.
This copy is accompanied by two typed letters signed by Eliot. Though they are not directly related to the book, they enhance the value of this copy to a great extent since they feature Eliot’s later role as an editor at Faber’s and his affinity to the French (Prufrock is dedicated to “Jean Vernal – 1989-1915” and contains a poem with the French title “Conversation Gallante”):
1. Faber and Faber, London, 13th of October 1943. One page, approximately 350 words, to the art scholar Hartley Ramsden explaining at some length a delay in the publication of her essay, apparently in an anthology: “I have your letter of the 5th October and am distressed to learn the facts which you set before me. […] The delay is entirely due to circumstances arising out of the war. The available printers have limited resources and we have to have those books printed first which are needed first, and after printing there are often similar delays owing to the difficulties of the binders.” The book which took precedence was Education through Art by Herbert Read, with whom Ramsden had been at handbags drawn the previous year in the pages of Cyril Connolly’s Horizon magazine. Folded twice for mailing else in nice condition.
2. Written in Eliot’s capacity as President of the Fédération Britannique des Comités de l’Alliance Française (and on their letterhead which I have not seen Eliot use before), 21st of October 1953. One page, approximately 100 words, to the historian Sir John Pollock: “I have read your letter [...] with much regret, and I know that my feelings will be shared by the other members of the Council. I must submit your letter for their consideration at our next meeting, and will convey their response to you in due course. I must say, however, that your scruples about replying to notices of meetings, and your compunction at having failed to answer owing to your absences abroad, seemed to me exaggerated, and I am sure that our colleagues will agree with me in deprecating your emphasis on this point.” Folded twice for mailing, short closed tear to left margin else in nice condition.
Price: CHF 45’000
Chaparral 2H – Can-Am Riverside 1969 – No. 7 – John Surtees
18-04-24 Filed in: Slot Cars
Chaparral 2H – Can-Am Riverside 1969 – No. 7 – John Surtees
Kit: Phoenix Racecars.
Body: Fibreglass (GFRP) with PET, resin and metal parts.
Chassis: Schöler Striker sidewinder, with 4 ball bearings, 3mm steel axles, custom rims, plastic gears and guide, Fox motor, and PU tires.
Weight: 187g.
Built by: Pit Schwaar to absolute perfection (body and chassis), signed and numbered “Pit 10906”.
Notes: The car is in perfect condition though it has been raced. It is one of the most challenging, detailed and spectacular models ever designed and built. Only 12 kits were produced and, when this model was bought new, it cost well over CHF 2’500 as it took Pit around 80 hours to build it. The 2H is probably the least liked of Hall’s creations hence its “doorstopper” moniker. It was not a success, and the drivers hated it. Still, it is a unique design and looks out of this world.
Price: CHF 2’000