Preferred Citation	Carlton Lake Collection of French Manuscripts (Manuscript Collection MS-04960). Harry Ransom Center, The University of Texas at Austin.
	Acquisition:	Purchases and gifts, 1965-2002 (G846, G2284, G2793, G2966, R3087, R4833, R5161, R5180, R5374, R5881-5886, R6840, R6841, R7146-7149, R7748, G10713, R11331, G12083, R13375, R13533, R14001, G101713)
	Processed by:	Dell Hollingsworth and Lisa Jones, 1989 (French Music Manuscripts); Diane Goldenberg-Hart and Rebecca Altermatt, 1995 (Henri Pierre Roché Papers); Kristen Davis and Elizabeth Garver, 1996 (Françoise Gilot Papers); Bob Taylor, 1997 (Maurice Saillet Collection); Monique Daviau, Richard Workman, and Catherine Stollar, 2004

Repository:

Harry Ransom Center, The University of Texas at Austin

	Biographical Sketch
		Carlton Lake Over a period of six decades, Carlton Lake gathered together what has become the most extensive collection of modern French literary research materials anywhere outside of Paris. He collected books, photographs, artwork, and other original documents in addition to manuscripts. The collection covers a broad range of French writers, artists, and musicians, such as Guillaume Apollinaire, Samuel Beckett, André Breton, Albert Camus, Céline, Jean Cocteau, Colette, Debussy, Marcel Duchamp, André Gide, Alfred Jarry, Henri Matisse, Picasso, Ravel, Jean-Paul Sartre, Erik Satie, Toulouse-Lautrec, and Paul Valéry. Carlton Lake was born in Brockton, Massachusetts on September 7, 1915. He attended Boston University and graduated summa cum laude in 1936, and in 1937 received a Master of Arts degree from Columbia University. During World War II, he served in the U.S. Marine Corps. After the war, he pursued his doctorate at New York University, but ultimately abandoned his dissertation to become a freelance writer. From 1950 to 1965 he was Paris art critic for The Christian Science Monitor. He also contributed to a number of other American and European periodicals, such as The New Yorker, The New York Times, Town and Country, and The Atlantic Monthly,which published his interviews with such artists as Matisse, Picasso, Chagall, Henry Moore, and Giacometti. Lake also co-edited A Dictionary of Modern Painting in 1956 and wrote, edited, and translated books about Marc Chagall, Picasso, and Salvador Dali. Carlton Lake came to the Humanities Research Center at the University of Texas at Austin in 1968, ultimately serving as Curator of the French Collection, Acting Director, and Executive Curator. His impressive collection of French materials was added to the Ransom Center collections in the late 1960s. In 1976, the collection was the subject of a major exhibition, Baudelaire to Beckett, which focused international scholarly attention on its strong manuscript resources, which number approximately 350,000 pieces in all. Since then, other significant exhibitions based on Carlton Lake Collection material have been devoted to Samuel Beckett (1984) and Henri Pierre Roché (1991). In addition, art and literary materials from the Collection have been loaned to many French, European, and American exhibitions held by such institutions as the Palazzo Grassi in Venice, the Grolier Club, and the Museum of Modern Art in New York. The Lake Collection has also been a principal source for two literary exhibitions held at the Centre Pompidou: Paris -New York, and Les Réalismes. In 1985 he was decorated by the French government and inducted into L'Ordre des Arts et des Lettres with the rank of Chevalier; later he became an Officier. In 1990, he published his memoirs, Confessions of a Literary Archaeologist, detailing his adventures purchasing and collecting French literary materials. In 2003, Lake retired from the Ransom Center with the title of Executive Curator Emeritus. Lake died on May 5, 2006 at the age of ninety.
		Samuel Beckett Samuel Barclay Beckett was born April 13, 1906, at his family's home in Foxrock, south of Dublin. He was educated at Miss Ida Elsner's Academy in Stillorgan, the Earlsfort House School in Dublin, and the Portora Royal School in Enniskillen, Northern Ireland (1919-23). He began his law studies at Trinity College in order to become an accountant in his family's architectural surveyance firm, but in his third year he started studying modern languages, particularly French. His studies improved so markedly that he won a scholarship to pass the summer in France before his senior year, and he graduated first in his class in modern languages in 1927. Following his graduation, Beckett taught at Campbell College in Belfast (1927-1928) and the École Normale Supérieure in Paris (1928-1930). During his stay in Paris, he established relationships with many important literary figures of his day, including Thomas MacGreevy, Richard Aldington, Brian Coffey, Denis Devlin, George Reavey, Samuel Putnam, Nancy Cunard, Sylvia Beach, and, most significantly for Beckett, James Joyce. Beckett's early writings such as Whoroscope (1930), Proust (1931), More Pricks than Kicks (1934), Echo's Bones and Other Precipitates(1935), and Murphy (1938) won him neither fame nor money. Despite his love for Paris and his periodic stays in Germany, France, and London, Beckett's financial straits repeatedly constrained him to return to live with his disapproving family in Dublin, where he became subject to mental breakdowns and frequent, severe bouts of depression. Throughout the 1930s and early 1940s, Beckett worked as a reviewer and translator for various magazines and projects, including Nancy Cunard's Negro Anthology (1934). He became increasingly interested in modern drama as he observed productions of the Dramiks, a Dublin troupe, and contemplated writing his own dramas. In October 1940, he became a member of the French Resistance, and he and Suzanne Deschevaux-Dumesnil (whom he married in 1961) were forced to flee to unoccupied France in August 1942. The French rewarded his resistance in 1945 with the Croix de Guerre and the Médaille de la Résistance. During the late 1940s, Beckett began to write many of his works in French, including Molloy (1951), Malone meurt (1951), and the play that finally won him international fame, En attendant Godot (1952). Other works that helped to establish Beckett's reputation include L'Innomable (1953), Watt (1953), Fin de partie (1957), and Krapp's Last Tape (1960). After 1960, Beckett's works became increasingly brief, but he remained prolific until his death on December 22, 1989. Beckett was awarded the Nobel Prize in 1969. The two Beckett scholars John Fletcher and Raymond Federman spent a decade compiling the first large-scale bibliography of their subject, Samuel Beckett: his works and his critics; an essay in bibliography (1970), with Beckett's personal assistance.
		Jean Cocteau Jean Cocteau, one of the most versatile creative artists of the twentieth century, achieved celebrity as poet, playwright, journalist, novelist, artist, and filmmaker. At the time of his death he was perhaps the best-known French literary figure outside of France. Born Jean Maurice Eugène Clément Cocteau on July 5, 1889, he was a child of affluence, particularly through the Lecomtes on the maternal side of his family. He began writing poetry as a boy and gained entrance into the literary world through his mother's social contacts. At age eighteen his work was the subject of a public reading that brought him his first notoriety, leading to the publication of his first book of poems, La lampe d'Aladin (1909). In the next few years he met and was influenced by members of the avant-garde, resulting in less traditional works such as the ballet Parade (1917) in collaboration with Erik Satie, Léonide Massine, Sergei Diaghilev, and Pablo Picasso, Le Potomak (1919), a collection of drawings, poetry, and prose, and the poems of Le Cap de Bonne-Espérance (1919). Cocteau's art received further stimulation from his intense love for the gifted young poet Raymond Radiguet. Their affair ended with Radiguet's death from typhoid at age twenty, but not before the younger poet had guided Cocteau away from modernism and toward a more classical formality. In the years between the two world wars, Cocteau wrote his first novel ( Le grand écart, 1923), his first nonmusical play ( Antigone, 1922), and his first film ( Le sang d'un poète, 1932). For the rest of his life, in spite of his struggles with opium addiction, he continued to produce an enormous quantity of work and maintained his public prominence. In 1949 Cocteau was made Chevalier de la Légion d'Honneur. In 1955 he was elected to the Académie Royale de Langue et de Littérature Françaises of Belgium and also to the Académie Française. He died October 11, 1963, and is buried in the chapel of Saint-Blaise-des-Simples in Milly-la-Forêt, France.
		Françoise Gilot Françoise Gilot was born November 26, 1921 in the chic Parisian suburb of Neuilly-sur-Seine, France. An only child, she is the daughter of Emile Gilot, an agronomist, and Madeline Renoult. Attracted by art from a young age, and influenced by her mother who was herself an amateur artist, Françoise ultimately rebelled against practicing law--her father's chosen occupation for her. In 1943, at the age of twenty-one, Gilot had her first exhibition, despite the ban on modern art by the Nazi occupiers. It was during this same period that she met Pablo Picasso. Eventually, she would become his muse, mistress, and mother of two of his children in a tumultuous relationship that would last ten years. Later, she summarized her feelings at the start of the liaison, "I knew that whatever came to pass--however wonderful or painful, or both mixed together--it would be tremendously important." She was to be the inspiration of many of Picasso's works, such as La Femme-Fleur, and he in turn singularly influenced her own artistic approach. After much hesitation, she finally broke off their relationship in 1953. In February 1961, with the collaboration of Carlton Lake, Gilot began to write Life with Picasso (1964). While Lake was considerably impressed with her recall of events, and even her memory for dialogue, which he verified against documents and his own interviews with Picasso, the reviews for the book when it came out in 1963 were ambivalent, if not overwhelmingly negative. Although, Gilot was unusually frank about her life with Picasso, she also did not spare herself in the process, which perhaps is one reason why biographers have continued to rely on her work--albeit reluctantly. While she dedicated the book "to Pablo," he tried to prohibit its publication, losing all three lawsuits to that purpose. In 1962, Gilot divorced Luc Simon, whom she had married in 1955, and with whom she had a daughter. In 1970, she married Dr. Jonas Salk, the discoverer of the polio vaccine. They remained together until his death in 1995. Gilot's artistic style continued to evolve after she broke with Picasso. Later, she would attribute Matisse's use of color as being the greater influence upon her creative process. She also authored Matisse and Picasso: A Friendship in Art (1990), among other works.
		Pablo Picasso Considered one of the greatest artists of the twentieth century, Pablo Ruiz Picasso was born October 25, 1881 in Málaga, Spain. Son of the artist José Ruiz Blasco (1838-1913), Picasso went on to adopt his mother's maiden name, dropping Ruiz. Precociously gifted, at fourteen Picasso entered into the prestigious Escuela de Bellas Artes in Barcelona where his father was a teacher. Around 1899, Picasso encountered his first important circle of artist and writer friends at the café Els Quatre Gats. Notably, his friendship with the poet and sculptor Jaime Sabartés, who later was to become his secretary, dates from this period. After his first exhibition in Barcelona, Picasso visited France for the first time, eventually settling there permanently in 1904. In Paris, Picasso moved into a studio in the now infamous Bateau-Lavoir in Montmartre. The artists Juan Gris and Modigliani and the avant-garde writers Max Jacob, André Salmon, Pierre Reverdy, and Pierre MacOrlan also lived in the complex. His increasing circle of friends also included Guillaume Apollinaire, Gertrude and Leo Stein, Georges Braque, and Henri Matisse. Artistically, Picasso's style was evolving from his somber Blue Period (1901-1904) to his Rose Period (1904-1905). Then in 1907, he painted the critical work Les Demoiselles d'Avignon, which was inspired by Primitivism, and presaged the advent of Cubism--the revolutionary artistic movement created by Picasso and Braque. Picasso was simultaneously influenced by and a primary influence upon practically every artistic and intellectual movement of the twentieth century, particularly Surrealism. Gertrude Stein, Picasso's friend and patron, wrote of his work, "His drawings were not of things seen but of things expressed, in short they were words for him and drawing always was his only way of talking and he talks a great deal." Aside from the Blue Period, where his work commonly depicted the poor and abandoned, Picasso's political statements in his art were rare, yet powerful. In 1937, provoked by the aerial bombing of the village of Guernica by Nationalists during the Spanish Civil War, Picasso created his antiwar masterpiece of the same name. While not a member of the French Resistance during World War II, Picasso did remain in Paris when many others chose safety elsewhere. He did join the Communist Party in 1944, however, which may have subsequently affected the market for his work; nevertheless, he remained a member the rest of his life. Picasso's biographer John Richardson has noted, "Everything about Picasso is interesting. Even the most trifling facts of his personal life turn out to be valuable clues which explain his unpredictable changes of subject, style, or mood....If he acquires a new mistress, her presence will at once be reflected in his work." Picasso's personal life inspired so much of his art that connoisseurs cannot help but acquaint themselves with the vagaries of his romantic relationships. His comment on the subject was, "I paint the way some people write their autobiography. The paintings, finished or not, are the pages of my journal, and as such they are valid. The future will choose the pages it prefers." Picasso's considerable artistic output continued practically unabated up to his death on April 8, 1973. While Picasso the public figure may have suffered from the stereotypes that come with our modern over-mediatization, some of which he encouraged, Picasso the artist's posthumous reputation remains intact, particularly considering the enormous impact his work has had on the development of twentieth century artistic movements.
		Georges Hugnet Georges Hugnet, French poet and critic, was born in Paris in 1906. He spent most of his early childhood in Buenos Aires, Argentina, and in 1913 returned to Paris to attend boarding school at Saint-Louis-de-Gonazgue. He later attended collège at Janson-de-Sailly in Saint-Malo, the childhood home of his mother and favorite vacation spot during his youth. Youthful exuberance and a penchant for pranks often caused trouble for young Georges, including an incident when he is said to have played Le Pélican, a fox-trot, during one of the religious services at his collège in Saint-Malo. Hugnet's early rebelliousness eventually developed into a combative, stubborn nature causing quarrels with publishers, other artists, poets, friends, and family throughout his life. Hugnet was a man of many talents and dabbled in a variety of artistic pursuits including poetry, editing, publishing, translating, film and play writing, acting, rare book collecting, and book binding design until his death in 1974. Influential friends and mentors played an important role in Hugnet's career. In 1920, he developed a friendship with his downstairs neighbor Marcel Jouhandeau. Jouhandeau influenced the young poet Hugnet and introduced Hugnet to his hero Max Jacob. During this time, Hugnet was also befriended by a number of other influential artists of the early 20th century, namely Joan Miró, Marcel Duchamp, Pablo Picasso, Tristan Tzara, Man Ray, and Jean Cocteau. With financial backing from his father, a furniture manufacturer, Hugnet established the publishing company Les Editions de la Montagne with the intent of publishing his own works and the work of his close friends including Tristan Tzara, Pierre de Massot, and Gertrude Stein. It was Virgil Thomson who introduced Gertrude Stein and Hugnet in 1926. Stein and Hugnet's short-lived, intense relationship, lasting until 1930, ended in a quarrel over the title page of Enfances, a collaborative project between the two authors. Hugnet originally wrote the poems of Enfances in French and Stein intended to translate the poems into English. The partnership failed when Stein's "translations" became "reflections" and she demanded equal billing on the title page. Hugnet refused and the partnership, as well as the friendship, ended. In 1931, Stein published Before the Flowers of Friendship Faded Friendship Faded, her response to Hugnet's then unpublished Enfances. In the 1930s Hugnet became involved with the Surrealist movement. André Breton, the self-declared "Pope" of the Surrealist movement, became interested in Hugnet after reading an article titled "Spirit of Dada in Painting" that Hugnet had written. When a mutual friend of both men, Tristan Tzara, introduced them, Hugnet became one of the Surrealists. He continued contributing to the Surrealist movement until 1939 when Breton "excommunicated" Hugnet for his failure to cease his friendship with former surrealist Paul Éluard. The 1940s brought much change to Hugnet's life. Germany occupied France early in the decade prompting Hugnet to join the French Resistance. He put his intellectual efforts towards the Resistance and published Non vouloir, one of the first Resistance pieces published in France. In 1940, Hugnet also married his first wife Germaine Pied; their marriage would last for ten years. In 1950, Hugnet married Myrtille Hubert, a young woman of seventeen. The following year, Hugnet and Myrtille's first and only son Nicolas Hugnet was born. Until his death in 1974, Hugnet continued to publish a few new works and republish new editions of his former works. But mostly he concentrated on trading and collecting rare books and manuscripts from his friends in the French literary world.
		Valentine Hugo Born Valentine Marie Augustine Gross in 1887, French artist and author Valentine Hugo began her life in Capècure, a suburb of Boulogne-sur-mer. Daughter of musician Auguste Gross and Zèlie Dèmelin, Valentine developed a love for art, theatre, and music early in life. While attending school in May of 1909, Valentine Hugo stood in the wings of the Thèâtre du Châtelet watching Serge Diaghilev's Russian ballet company Ballets Russes perform for the first time. She would spend portions of the next six years sketching Ballet Russes dancers Karsavina and Nijinsky. In 1913, the Galerie Montaigne sponsored an exposition of Hugo's sketches in the foyer of the Champs-Élysèes thèâtre on the tumultuous opening night of Stravinsky's famed ballet Le Sacre du Printemps. In the same year as her first successful exhibition, Hugo became friends with a number of prominent French artists including Roger de la Fresnaye, Lèon-Paul Fargue, Erik Satie, and Jean Cocteau. The following year, Satie, Cocteau, and Hugo would collaborate on the ballet Parade; unfortunately, Hugo would not be part of its eventual production in 1917. Valentine met her future husband Jean Hugo, grandson of the influential French author Victor Hugo, in 1917 at the home of Mimi and Cypa Godebski(a). In 1919 they were married with Cocteau and Satie as their only witnesses. Neither of Jean's parents consented to the marriage, perhaps contributing to its eventual demise. In March of 1926, Valentine attended one of the first Surrealist expositions where she met Paul Éluard. Their meeting sparked a friendship that would continue until his death in 1952. In 1927, after working as costume designer on the set of La Passion de Jeanne d'Arc, Valentine returned to Paris a full-fledged Surrealist; Jean Hugo, however, never embraced the Surrealist movement. In the years following their hurried nuptials, their tastes diverged leading to separation in 1929 and finally divorce in 1932. (Despite the end of their marital relations, Valentine and Jean remained friends until her death in 1968.) Another Surrealist with whom Valentine had a brief romance was Andrè Breton. From August of 1930 to October of 1932, Valentine lived, traveled, and worked with the self-declared leader of the Surrealists. During this time, Valentine befriended the rest of the Surrealists, namely Gala and Salvador Dali, Nusch Éluard, Max Ernst, Georges Hugnet, Renè Char, and Tristan Tzara. In January of 1940, the Director of Radio-Mondial Jean Fraysse asked Valentine Hugo to work for his station. Her work at Radio-Mondial was short lived; Valentine quit in June when the station fell under German control after the invasion of France. Yet her work was not in vain, working on the radio for these six months prepared her for future radio broadcasts in the 1950s and 1960s. In her latter years, she would rarely emerge from her home and preferred the solitude of her house to the bustling streets of Paris. She alone survived most of her acquaintances from youth; Erik Satie, Raymond Radiguet, Paul Éluard, Jean Cocteau, and Andrè Breton all passed before Valentine's death in 1968.
		Pierre-Philippe Louis Pierre-Philippe Louis, a French lawyer, and his wife, the former Claire Céline Maldan, had temporarily fled to Belgium from political turmoil in France when their second son, Pierre-Félix, was born December 10, 1870, in Ghent. Pierre-Félix became an excellent student at the École Alsacienne, where André Gide was in the class ahead of him. The two boys grew to be close friends and together founded Potache-revue in 1889. In 1890 Pierre expressed his passion for classical Greek culture by changing the spelling of his name to Louÿs (in French the name of the letter "y" means "Greek i") and pronouncing the final "s" to give it a Greek flavor. Louÿs had another early literary friendship with the poet Paul Valéry, who was still unknown when he and Louÿs became acquainted. Both young men were members of the poet Stéphane Mallarmé's circle. For several years Louÿs was also a friend of Oscar Wilde, although they eventually quarelled, as did Louÿs and Gide. Another artist who formed an early friendship with Louÿs was the composer Claude Debussy. Louÿs's first book was a collection of poems entitled Astarte (1891). In 1895 he published what is today his best-known work, Les chansons de Bilitis (1895), which exemplifies the type of eroticism that his work is noted for. La femme et le pantin (1898) is often considered his finest novel. Women, including prostitutes, played a large role in Louÿs's life. He married Louise de Heredia in 1899, but the marriage ended in divorce in 1913. Among his mistresses was the dancer Claudine Roland, who died in 1920. In 1923 he married Claudine's half-sister, Aline Steenackers, the mother of his two children. A third child was born shortly after Louÿs's death on June 8, 1925.
		Henri Pierre Roché Henri Pierre Roché was born in Paris on May 28, 1879. His father died when he was an infant, and, as an only child, Roché had a close relationship with his mother, Clara. Her influence in his personal life is evidenced by his delayed marriages, first to Germaine Bonnard and then Denise Roché, and in his relationships with other women, such as Margaret Hart. She seems to have had an ideal woman in mind for her son, and he appears to have followed this philosophy, waiting for the perfect woman to be the mother of his child. He met many women along the way. He also used a pseudonym for Don Juan et... because of his mother's disapproval of the work. Many of his relationships Roché later depicted in his novels, namely Jules et Jim (Franz and Helen Hessel) and Deux anglaises and et le continent (Violet and Margaret Hart). A prolific writer, Roché kept journals, and the collection includes these in original form starting in 1901, as well as transcriptions beginning in 1904. These writings were to become his autobiography, but although he did begin such a work, it was not finished before his death at age eighty. He received an award for Jules et Jim at the age of seventy-four, the Prix Claire Belon, or "basket of clams," and both this novel and Deux anglaises et le continent were made into films by François Truffaut. Roché led a rich life, personally as well as professionally. He was a journalist; an art collector, advisor, and dealer; a writer; a guide for the American Industry Mission when it visited France; as well as a diarist and "ladies man." Roché had many lovers, oftentimes simultaneously, and often in a triangle with one of his male friends, such as Franz Hessel or Marcel Duchamp. Roché's ulterior motive in his relationships with women seems to have been a desire to study women. In some ways this seems devious; in others, a psychological aspiration, or perhaps a reflection of his mother's dominance and his attempt to break free from it through understanding. At any rate, Roché was a prolific writer, in volume as well as content. He was a man of many interests and talents, and lived a very full and fulfilling life, as this collection well documents.
		Maurice Saillet and Sylvia Beach Maurice Saillet (1914-1990) first met Sylvia Beach in the 1930s when he was employed at Adrienne Monnier's La Maison des Amis des Livres. Saillet and Beach soon became friends and remained close until her death in 1962. Due to his interest in modern French literature Saillet wrote or edited several works in the postwar period featuring Monnier, Beach, Valéry Larbaud, the comte de Lautréamont, and others. Sylvia Beach was born 14 March 1887 into the family of a Presbyterian minister in Baltimore. Growing up in a home of modest means but considerable learning, Sylvia was early attracted to French culture as the result of her father's 1901 call to the student ministry in Paris. The Beach family's extended residence in Paris confirmed Sylvia's desire to live there, and in 1916 she moved to France permanently. In 1918 Sylvia Beach met her lifelong friend Adrienne Monnier, and, following Mlle. Monnier's example, in late 1919 Beach opened Shakespeare and Company, a bookstore and lending library specializing in Anglo-American literature. The timing of Beach's venture--coming as it did just as the "lost generation" discovered Paris--made Shakespeare and Company a central feature of the Parisian literary scene of the 1920s. In addition to her capacity for hard work, Sylvia Beach had the genius for making and keeping friends. Her developing friendship with James Joyce led to her becoming the first publisher of Ulysses in 1922. As publisher, confidant, and friend Beach assisted Joyce personally and financially throughout the 1920s. Shakespeare and Company struggled--as did many businesses--during the 1930s and finally succumbed to the German occupation of Paris after 1940. Having survived six months' internment and the other rigors of a second world war Sylvia Beach became in the 1950s an embodiment of and voice for the literary and cultural Paris of the 1920s. In 1959 her Joyce collection went to the University of Buffalo; in that same year she was the focus of the exhibition "Les Années vingt," sponsored by the American embassy. Sylvia Beach died in her sleep the night of 5-6 October 1962.
		Gertrude Stein Gertrude Stein was born February 3, 1874, in Allegheny, Pennsylvania. After graduation from Harvard and medical studies at Johns Hopkins, she joined her two brothers in Paris, moving in with her brother Leo at number 27, rue de Fleurus. From Leo she acquired a love for modern painting, and she began building a personal collection of major artists, many of whom became her friends and formed the core of her regular salons. In 1907, as Stein was struggling to establish herself as a writer without much encouragement from Leo, she met a fellow American who had come to Paris to escape a spinsterish life with her San Francisco family. Alice Babette Toklas had been born in 1877 to a comfortable middle-class family and had attended the University of Seattle. She had studied music and briefly considered a career as a pianist, but instead became mired in housekeeping duties for a large household of male relatives. Then she met Michael Stein and his wife, who encouraged her to break free and visit them and their family in Paris. Within months of their meeting, Gertrude Stein and Toklas became inseparable companions, and when Leo moved out of the rue de Fleurus apartment, Toklas moved in. With Toklas's encouragement and support, Stein found her first book publisher, and Three Lives appeared in 1909. In spite of the difficulty of her writing, with its emphasis on the sound rather than the sense of language and its experiments in adapting to literature some of the techniques of modern art, Stein managed to continue to find publishers, readers, and even loyal fans. When the Depression made publishing more difficult, Stein and Toklas formed the Plain Edition press, which brought out several of Stein's previously unpublished works, including Before the Flowers of Friendship Faded Friendship Faded (1931). In 1939, as they had during the previous war, Stein and Toklas left Paris for the countryside, where they endured hardships and offered as much assistance and support to the Allies as possible. (They had each received the Medaille de la Reconnaissance Française in 1922 for their service to the French wounded.) After the war they returned to Paris. In July 1946 Stein suddenly fell acutely ill and chose to have exploratory surgery. Before the operation, she dictated her will, leaving her papers to Yale, the Picasso portrait to the Metropolitan Museum of Art, and the rest of her paintings to Toklas. The surgery disclosed inoperable uterine cancer and she died a few days later on July 27, 1946. Alice Toklas remained in the apartment in the rue Christine where the couple had moved before World War II. In the following years she suffered from arthritis and cataracts and had several serious falls. In 1961, while she was making an extended visit to Italy for her health, the Stein family seized all the paintings, on the grounds that Toklas was not taking sufficient care of them by leaving them unguarded in an unheated apartment. Legal action never succeeded in returning them to her. She died March 7, 1967, and was buried beside Stein in Père Lachaise Cemetery in Paris.
	Organizational History
		Librairie Dorbon-aîné Founded in 1900 by Louis Dorbon, Librairie Dorbon-aîné entered the bookselling trade with a remarkable initial stock of 400,000 volumes. As both a publisher and a bookseller, Librairie Dorbon-aîné contributed numerous influential works to the early 20th century French literary scene. Louis Dorbon chose the name Dorbon-aîné to differentiate himself from his younger brother, Lucien Dorbon, who entered the bookselling business about one year after Louis opened his Librairie. The first works published by Librairie Dorbon-aîné were the serial publications of Petits Mémoires de Paris containing etchings by Henri Boutlet and two works by Robida titled les Vieilles Villes des Flandres and Vieilles Villes du Rhin. Librairie Dorbon-aîné thrived publishing the works of authors such as Xavier Marcel Boulestin, Maurice Des Ombiaux, Claude Farrère, Camille Saint-Saëns, and René Boylesve. Works by Jules Lemaître, Claude Debussy, Francis de Miomandre, and comtesse de Noailles were also published by Dorbon-aîné. Although Louis Dorbon described the founding of Librairie Dorbon-aîné in 1900 in his article La Librairie Dorbon-aîné, the date Librairie Dorbon-aîné actually closed is not documented. The firm actively published books between 1900 and 1939. One of the latest, if not last, books published by the Librairie was available in 1949. Beyond 1949 no accurate record exists detailing the closure of Librairie Dorbon-aîné.

	A large portion of this collection was previously accessible only through a card catalog, but in 2004 was re-cataloged as part of a retrospective conversion project. At the same time, a number of uncataloged accessions were also cataloged and integrated into the existing collection. Three groups of previously restricted papers concerning Françoise Gilot, Pablo Picasso, and Paul Valéry are now open and available.
	The current inventory for the Carlton Lake Collection of French Manuscripts is a conflation of twelve finding aids created in 2004. The primary finding aid was a single alphabetical list of creator names with minimal description and references to eleven additional finding aids containing more detailed biographical information, scope and content notes, authorized subject headings, and other information for specific writers, artists, organizations, and music compositions. In order to comply with a new content management system, in 2025 the following eleven finding aids were added to the primary finding aid as separate series: Samuel Beckett, Jean Cocteau, Françoise Gilot, Georges Hugnet, Valentine Hugo, Librairie Dorbon-aîné, Pierre Louÿs, Music Manuscripts, Henri-Pierre Roché, Maurice Saillet Collection of Sylvia Beach and Shakespeare and Company, and Gertrude Stein.
	Supplementing the container list contained in this finding aid are several indices, listing the authors and titles of works, authors and recipients of correspondence, photographic subjects, and artwork present in the collection. Figures represented only by legal papers, financial documents, or other materials that are not works or correspondence have not been included in the indices. Inscriptions are not indexed. Visiting cards bearing handwritten notes to a named person were indexed as correspondence; the remaining cards were not indexed, but may be found as a group filed under Lake, Carlton, French visiting cards.

	The Carlton Lake Collection contains approximately 350,000 items relating to French art, literature, and music, spanning 1377-2000 (bulk 1895-1940). The majority of the collection consists of papers of numerous French writers, musicians, and artists of the late 19th and early 20th centuries, and includes manuscripts, correspondence, photographs, artwork, music scores, and other materials. The collection is strongest for the period known as the Belle Époque, (roughly 1895-1914) and for the years during and after World War I (especially the 1920s and 1930s). Among the earlier materials are Napoleonic-era letters. While the majority of the materials were written in the French language, English, German, Russian, and Spanish language materials are also present.
	The Lake Collection is arranged into twelve series: I. Alphabetical (158 boxes); II. Samuel Beckett (3 boxes); III. Jean Cocteau (11 boxes); IV. Françoise Gilot (9 boxes); V. Georges Hugnet (18.5 boxes); VI. Valentine Hugo (21 boxes); VII. Librairie Dorbon-aîné (13 boxes); VIII. Pierre Louÿs (9 boxes); IX. Music (264 items); X. Henri-Pierre Roché (47 boxes); XI. Maurice Saillet (4 boxes); XII. Gertrude Stein (9 boxes).
	Among the numerous important literary and cultural figures and organizations represented in the collection are Pierre Albert-Birot, Guillaume Apollinaire, Louis Aragon, Antonin Artaud, Georges Bataille, Charles Baudelaire, Samuel Beckett, André Breton, Albert Camus, Louis-Ferdinand Céline, René Char, Paul Claudel, Jean Cocteau, Colette, Maurice Darantière, Marcel Duchamp, Editions J.O. Fourcade, Paul Eluard, Léon-Paul Fargue, Paul Fort, Jean Genet, André Gide, Françoise Gilot, Georges Hugnet, Valentine Hugo, Alfred Jarry, Georges Jean-Aubry, James Joyce, Librairie Dorbon-aîné, Pierre Louÿs, Stéphane Mallarmé, André Malraux, Henry Miller, Pablo Picasso, Marcel Proust, Maurice Raynal, Arthur Rimbaud, Henri-Pierre Roché, Maurice Saillet, Saint-John Perse, Antoine de Saint-Exupéry, Jean-Paul Sartre, Gertrude Stein, Alice B. Toklas, Henri de Toulouse-Lautrec, Paul Valéry, Paul Verlaine, Emile Vuillermoz, and Emile Zola.
	A number of significant musical scores, letters, conductor's notes, and other manuscripts created by approximately one hundred composers are also found in the Lake Collection. Among these composers are Georges Auric, Hector Berlioz, Ernest Chasson, Claude Debussy, Paul Dukas, Gabriel Fauré, Franz Liszt, Maurice Ravel, Albert Roussel, Camille Saint-Saëns, Erik Satie, Igor Stravinsky, and Giuseppe Verdi.
	Some of the highlights of the Lake Collection include:
	Pierre Albert-Birot (1876-1967): the complete archive for the avant-garde review SIC (1916-1919); contains maquettes, page proofs, tear sheets, manuscripts, correspondence, and other original materials relating to Albert-Birot's founding and editorship of the magazine.
	Guillaume Apollinaire (1880-1918): manuscript of the prologue of Les Mamelles de Tirésias; letters, handwritten notes, and other documents relating to the play and its production; manuscripts of works written for his column "La Vie anecdotique."
	Louis Aragon (1897-1982): letters, manuscripts of poems and prose pieces, including a typescript of Le Cahier noir, a long and searching "reflection on love" related to his novel, La Défense de l'infini.
	Antonin Artaud (1895-1948): significant correspondences with his publisher and other friends reflecting his disintegration into mental illness.
	Georges Bataille (1897-1962): manuscripts of two of his major works, L'Orestie and Dianus [Histoire de rats. (Journal de Dianus)].
	Baudelaire, Charles (1821-1867): the proof sheet of "Les Litanies de Satan" from Les Fleurs du mal (1857), with extensive corrections in Baudelaire's hand; handwritten manuscript of "La Charogne."
	André Breton (1896-1966): manuscripts relating to the Surrealist movement, including "13 études," "La Béauté sera convulsive ou ne sera pas," "Automatisme de la variante," and "Lumière Noire."
	Albert Camus (1913-1960): manuscripts and letters, including manuscript of Le Malentendu and corrected page proofs of Les Justes; and manuscript of Discours de Suède, Camus's acceptance speech of the Nobel Prize.
	Louis-Ferdinand Céline (1894-1961): the complete manuscript of Guignol's Band and its sequel, Le Pont de Londres, in combinations of handwritten manuscript, typescript, and corrected typescript with handwritten additions, totaling 4,022 pages; handwritten manuscript of Scandale aux abysses; also a moving correspondence with his friend Mourlet covering the war years and Céline’s exile in Denmark.
	René Char (1907-1988): letters, including a large correspondence with Valentine Hugo, intimate friend of most of the surrealists; manuscripts of many of his major poems, including "Crésus" and "La Récolte injuriée."
	Paul Claudel (1868-1955): manuscript of one of Claudel's essential works, Cinq grandes odes, which is eighty-eight pages. (Except for the first ode, the original manuscript of which has never been found, this manuscript is complete.)
	Colette (1873-1954): manuscripts and letters of Sidonie Gabrielle Colette and her husband Willy (Henri Gauthier-Villars) include the manuscript of her novel Chéri, as well as other manuscripts and correspondence.
	Paul Eluard (1895-1952): manuscripts of numerous poems; a handwritten manuscript of definitions prepared by Eluard and Breton for the Dictionnaire abrégé du surréalisme; letters, including a large, important correspondence with his lifelong friend from childhood, the binder A. J. Gonon.
	Jean Genet (1910-1986): four heavily corrected draft versions of the play Haute Surveillance; complete manuscript of Genet's masterpiece, Notre-Dame-des-Fleurs.
	André Gide (1869-1951): manuscript and corrected typescript of Isabelle; handwritten manuscript in two notebooks of Le Journal des Faux-monnayeurs; manuscript of L'École des femmes; an important correspondence with Eugène Rouart of over 300 letters and accompanying documents.
	Alfred Jarry (1873-1907): manuscripts for Léda, Le Mousse, Par la taille, Le Moutardier du pape, and La Papesse Jeanne; letters and documents relating to Ubu Roi, including a correspondence with Lugné-Poe in which Jarry proposes that Lugné-Poe produce the play.
	Georges Jean-Aubry (1882-1950): a sizable portion of the papers of the versatile critic of art, music, and literature.
	Stéphane Mallarmé (1842-1898): handwritten letters to Villiers de l'Isle-Adam, Huysmans, Coppée, Charles Morice, Edmund Gosse, John Payne, York Powell, Edouard Dujardin, Félix Fénéon, Courteline, Henri Cazalis, and Henry Roujon, among others, plus draft of a letter to Rimbaud's mother Marie Catharine Rimbaud.
	André Malraux (1901-1976): complete set of galley proofs for La Condition humaine, heavily corrected by Malraux and with handwritten additions in his hand; complete handwritten manuscript of L'Espoir.
	Marcel Proust (1871-1922): handwritten manuscript and proof fragments of À l'ombre des jeunes filles en fleurs, plus another proof fragment, heavily revised; letters, in particular an interesting collection of seventy-eight notes from Proust to his housekeeper Céleste Albaret.
	Arthur Rimbaud (1854-1891): collection of numerous documents relating to Rimbaud's life and poetry, including manuscripts, letters, drawings, corrected proofs and similar materials by Rimbaud's sister, Isabelle; his brother-in-law, Paterne Berrichon, poet and artist; his teacher Georges Izambard, and other poets such as Paul Verlaine, Stéphane Mallarmé, and Paul Claudel.
	Saint-John Perse (Alexis Saint-Léger Léger, 1887-1975): corrected page proofs of Éloges, the book that established Saint-John Perse as a major poet; typescript, with handwritten emendations, of his Nobel Prize acceptance speech.
	Jean-Paul Sarte (1905-1980): manuscripts for over a dozen of his works, most of them political in nature, including Joseph Lebon (synopsis for a play based on the French Revolution), Liberté - Egalité (philosophical and historical study of the French Revolution); Questions de méthode, and L'Enfant et les groupes.
	Henri de Toulouse-Lautrec (1864-1901): papers from the family archive, consisting of nearly 400 handwritten letters by the artist, his mother, his grandmother, and other members of the immediate family, depicting the daily environment of a large and eccentric household constantly on the move from one family château to another, as well as the artistic development of the young Lautrec.
	Paul Valéry (1871-1945): manuscripts for numerous poems and prose pieces, including a handwritten and typed manuscript for a discourse on history; a large number of letters and correspondences, notably a group of personal letters to John Middleton Murry in which Valéry discusses his feelings about poetry in general, about his own work, and about other writers--among them Baudelaire, Poe, and Gide--who interested him in particular; and another significant group of letters to Georges Jean-Aubry
	Series I. Alphabetical, 1718-2000
	This series is a single alphabetical sequence by creator name; for each creator, materials are subdivided into manuscript works, outgoing and incoming letters, and other materials. The materials present in the other category include a wide variety of items, such address books, announcements, broadsides, calendars, catalogs, certificates, clippings, contracts, collages, diaries, dossiers, drawings, ephemera, financial records, funeral notices, insurance policies, invitations, journals, legal papers, lists, menus, order forms, passports, photographs, postcards, posters, production files, programs, proofs, quotations, receipts, record books, research notes, scrapbooks, signs, telegrams, tickets, and visiting cards.
	Series II. Samuel Beckett, 1947-2000
	The Samuel Beckett papers in the Carlton Lake Collection consist of manuscripts and proofs of Beckett's works, letters to various correspondents, correspondence and works associated with the authors of the first extensive bibliography of Beckett, and a few third-party works.
	The series is organized in four subseries: A. Works, 1951-1983; B. Outgoing Correspondence, 1947-1989; C. John Fletcher, 1961-1989; and D. Works by Other Authors and Miscellaneous, 1994, 2000.
	Works are generally brief monologues and prose passages, in French or in English. Beckett gave "8" the provisional title of The Way, and in certain drafts, Beckett repositioned the "8" to look like the infinity symbol.
	Beckett's letters to Parisian journalist and novelist Georges Belmont are in French and span nearly forty years. They primarily discuss Beckett's daily life, travels, and what he was reading or viewing on the stage. The (English) correspondence to former-convict-turned-actor Rick Cluchey is written almost entirely on postcards and concerns the staging of Beckett's plays during the 1980s, both those in which Cluchey was involved as well as other productions. The brief correspondence with Marilyn Meeker of Grove Press is in English. The largest collection of letters are those to Mania Péron, the widow of his friend Alfred Péron who was killed in World War II. The correspondence, in French, covers almost forty years and includes many references to his work.
	Subseries C is composed of papers formerly belonging to scholar John Fletcher, coauthor with Raymond Federman of Samuel Beckett: His Works and His Critics; An Essay in Bibliography (1970). Included are the manuscripts of three other works by Fletcher concerning Beckett: an unpublished notebook and two subsequently published books, The Novels of Samuel Beckett (1964) and A Student's Guide to the Plays of Samuel Beckett (1978). Correspondence in this subseries includes both incoming and outgoing letters. Fletcher's correspondence with Beckett began with Beckett's helpful responses to Fletcher's requests for information about his works, but over time the two men grew to be close friends. Letters between Fletcher and Federman (mostly in English but occasionally in French) concern both the bibliography they were jointly writing and their respective academic careers and personal lives. Other correspondents in this series (including Theodore Besterman, Nancy Cunard, Richard Ellmann, Hugh Ford, Stuart Gilbert, Peggy Guggenheim, and Jacques Putman) were either materially involved in the publication of the bibliography or were consulted in reference to Beckett's life or works.
	Subseries D contains a small scrap of music manuscript by Suzanne Beckett, who was a talented musician; Eoin O'Brien and Edith Fournier's "Some facts relating to the publication of Samuel Beckett's Dream of Fair to Middling Women", discussing the Black Cat Press's edition of the work; and printed material from a Beckett festival in Scotland in 2000.
	Series III. Jean Cocteau, 1905-1959 (bulk 1910-1928)
	The personal and professional life of French poet, novelist, artist, playwright, and filmmaker Jean Cocteau is reflected in the Carlton Lake collection of Cocteau's manuscripts, correspondence, personal papers, notebooks, drawings, financial and legal documents, and third-party papers. The collection is arranged in four subseries: A. Works, 1910-1929 (6.5 boxes); B. Correspondence, 1913-1959 (2.5 boxes); C. Personal, 1908-1950 (1 box); and D. Third-Party Works and Correspondence, 1905-1925 (1 box).
	The bulk of the collection is a large portion of Cocteau's personal archives that was sold without his permission to a French dealer in 1935. (For a detailed history of the papers, see chapter nine of Lake's Confessions of a Literary Archaeologist.) Because the papers went to the dealer in several small lots, it has not been possible to be certain of Cocteau's original arrangement. Therefore, works have been arranged alphabetically by title and correpondence alphabetically by correspondent.
	Within the Works subseries are manuscripts or proofs of most of Cocteau's writings until about 1928, a period that encompassed some of his best work, including Le Cap de Bonne-Espérance, Le coq et l'arlequin, Les enfants terribles, Le grand écart, Le livre blanc, Les mariés de la tour Eiffel, La noce massacrée, Le Potomak, and Thomas l'imposteur. Many of the manuscripts and notebooks also contain drawings. Because the bulk of the archives predates Cocteau's involvement with the cinema, that aspect of his work is largely not documented.
	Within the Correspondence subseries, the folder of Cocteau's letters to Henri Lefebvre is actually the dossier of Lefebvre's dealings with Cocteau and the sellers of Cocteau's papers (this is the file referred to in Lake's Confessions by the title "Affaire Cocteau"). Cocteau's letters which frequently concern his writing, his philosophy, and his personal life are, like his works, sprinkled with drawings. Prominent among his correspondents are Jean and Valentine Hugo, Max Jacob, Marie Laurencin, and Francis Poulenc.
	The Personal subseries includes inscriptions from other authors to Cocteau on tear-sheets, address books, an autograph book from the beginning of his career, and various documents such as his birth certificate, plans for the decoration of his apartment, and a menu from a dinner at Le Boeuf sur le Toit.
	Among the Third-Party Works and Correspondence are letters from Cocteau's mother to Valentine Hugo, and works by Raymond Radiguet as well as letters to him from various correspondents.
	Series IV. Françoise Gilot, 1944-1965
	The organization of the Françoise Gilot Collection respects the arrangement formally imposed upon it by Carlton Lake. It is arranged into three subseries: A. Works, 1964-1965 (8 boxes); B. Correspondence, 1951-1957 (1 folder); and C. Pablo Picasso, 1944-1952 (2 boxes).
	The bulk of the collection is comprised of drafts for the English and French editions of Life with Picasso. These include the earliest corrected typescript of the first draft, corrections primarily in the hand of Carlton Lake. In addition, an untitled play that Gilot apparently wrote near the beginning of her relationship with Picasso is also present.
	Gilot and Lake used the documents present in the second and third subseries during the writing of their book. Gilot writes of her return from her honeymoon with Luc Simon in 1955 to find that Picasso had vacated their villa La Galloise, and none of her possessions remained--apart from "the beds and a few chairs, three boxes of papers stored in the attic--where no one, apparently, had thought of looking--and that's all." Some of the letters have identifying notations made in the hand of Carlton Lake. Several of them were recorded verbatim in the book, while others demonstrate Gilot's restraint in what she revealed about the family--notably concerning Paul Picasso's 1951 breakdown and family problems.
	The second subseries is represented by one folder of correspondence to Gilot from the art dealers Louise Leiris and Daniel-Henry Kahnweiler. These letters document Gilot's personal relationship with the dealers, as well as the preparations for her 1952 one-woman exhibition at the Galerie Louise Leiris.
	The third subseries is devoted primarily to correspondence written to Pablo Picasso during the years 1944-1952. While the letters are primarily arranged alphabetically by author, some are often grouped by subject. For example, the folder containing letters from Olga Picasso, also include letters written by third parties concerning her.
	These were artistically rich years for Picasso, when he began to experiment with lithography and ceramics, and the letters from his secretary Jaime Sabartés partially record this process. In addition, Picasso's relations with various Communist organizations, as well as his 1948 trip to Poland, are documented by the letters of several correspondents--notably those from Paul Eluard.
	Picasso's personal life is reflected in the letters written to him by his children Paul and Maya, by his first wife Olga, and his companions Marie-Thérèse Walter, Dora Maar, Geneviève Laporte, and Françoise Gilot. In addition, several family photos are included in the correspondence of Marie-Thérèse Walter.
	Series V. Georges Hugnet, 1920-1971
	Handwritten and typed manuscripts, correspondence, printed material, photos, collages, and artwork document Georges Hugnet's life and work from 1920-1971. The materials are organized into four subseries: A. Works, 1929-1954 (0.5 boxes), B. Letters, 1931-1971 (1 box), C. Recipient, 1920-1970 (15 boxes), and D. Other Papers, 1929-1967 (2 boxes).
	The Works subseries is composed of original works by Georges Hugnet. Included in this series is the handwritten manuscript for Non vouloir.
	Letters written by Hugnet in Subseries B. are dominated by those to Germaine (Pied) Hugnet, his first wife.
	The Recipient subseries, forming the bulk of the papers, includes letters from Paul Éluard, Marcelle Ferry, Valentine Hugo, Man Ray, Virgil Thomson, and Alice B. Toklas, and richly demonstrates the friendships and business acquaintances of George Hugnet.
	The final subseries, Other Papers, contains artwork, building plans, personal documents, printed materials, and documents written by other individuals, either as works or correspondence.
	Series VI. Valentine Hugo, 1872-1968
	Correspondence, manuscripts, notes, journals, diaries, artwork, legal, financial and personal documents, photographs, printed material, and photocopies document the life of Valentine Hugo from 1872-1968. The material is organized into four subseries: A. Works, 1904-1965 (2.5 boxes), B. Letters, 1905-1968 (3.5 boxes), C. Recipient, 1902-1968 (9 boxes), and D. Other Papers (6 boxes), 1872-1968.
	Included in the Works subseries are a number of drafts of articles and notes relating to friends of Valentine Hugo such as Constantin Brancusi, Paul Éluard, Raymond Radiguet, and Erik Satie. Also present are a number of manuscripts for radio broadcasts written in the 1950s and 1960s about her early artistic career and acquaintances.
	Correspondence with Valentine's mother Zèlie Gross comprises almost two thirds of the Letters subseries and a substantial portion of the Recipient subseries. Other notable correspondents in the Recipient subseries include Marie Laure, Romola Nijinsky, and Andrè de Badet. Most of the materials in the Other Papers subseries are Valentine's own personal papers, such as her passport and birth certificate, and works or correspondence by other authors. A large part of materials in this subseries involves Jean Hugo, Valentine's husband. His journals (1919-1924) and correspondence with his family compose a large portion of Subseries D. Documents, legal and personal, and works by Valentine's mother, Zèlie Gross, or father, Auguste Gross form a portion of Subseries D. as well. Handwritten and photostat copies of letters received by Valentine Hugo from Edgard Varèse and Erik Satie comprise a segment of the Other Papers subseries. Some originals of the copied letters to Valentine Hugo from Edgard Varèse are also located in Subseries C. Recipient. The originals of the correspondence between Hugo and Satie can be found in the third-party correspondence of Series V. Georges Hugnet.
	Series VII. Librairie Dorbon-aîné, 1894-1954
	Correspondence, handwritten and typed manuscripts, proofs of creative works, music manuscripts, printed material, and financial, legal and publicity records document the work of bookseller and publisher Librairie Dorbon-aîné. The records are arranged in three subseries: A. Correspondence, 1894-1954 (5 boxes), B. Works by Authors, 1907-1939 (7.5 boxes), and C. Business Records, 1909-1932 (0.5 boxes). All materials within the subseries are arranged alphabetically by author and/or title except as noted below.
	Subseries A. Correspondence is subdivided into letters written and received by the firm and a small group of personal correspondence received by Louis Dorbon. This subseries documents the firm's business with authors and other publishers. Notable correspondents include Maurice Darantière, Xavier Marcel Boulestin, and Ernest Benn Ltd.
	The bulk of the collection is comprised of Subseries B. Works by Authors, which contains manuscripts of authors published by Librairie Dorbon-aîné. Among the influential authors represented in these records are Xavier Marcel Boulestin, Maurice Des Ombiaux, Claude Farrère, Camille Saint-Saëns, René Boylesve, Lemaître, Claude Debussy, Francis de Miomandre, and comtesse de Noailles. All stages of the publication process, as evidenced by the presence of original manuscripts, proofs with corrections, and final proofs, are well documented within the Librairie Dorbon-aîné records for some works such as Aspects sentimentaux du front Anglais (1917) and L'Amphitryon d'aujourd'hui: Introduction à la vie gourmande (1936). Some unpublished works for musical projects are also included in Subseries B. For example, two projects concerning Schumann and Beethoven styled after Trois Manuscript par Chopin were created but never published. Most of the music manuscripts from Caplet, Schmitt, Roger-Ducasse, and Debussy were acquired for a deluxe illustrated album on contemporary French music that was envisioned but never produced. Also present within Subseries B. are proofs of an unpublished article detailing the founding of Librairie Dorbon-aîné by Louis Dorbon and a few pieces of correspondence from Marc Pincherle, an associate of Librairie Dorbon-aîné.
	Subseries C. constitutes the smallest portion of the papers but provides crucial information about the internal workings of the Librairie. Included in this subseries are original designs for the Librairie Dorbon-aîné logo and a dossier of subscription requests for Dorbon-aîné's elite book club, Les bibliophiles fantaisistes.
	Series VIII. Pierre Louÿs, 1839-1934
	Manuscripts, correspondence, and assorted personal and third-party papers make up the papers of the French poet and novelist Pierre Louÿs and shed considerable light on his professional and private life. The collection is arranged in four subseries: A. Works, 1880-1934 (3 boxes); B. Correspondence, 1891-1921 (5 boxes); C. Personal, 1891-1918 (.5 box); and D. Third-Party Works and Correspondence, 1839-1900 (.5 box).
	Louÿs's entire career is represented in the Works subseries, from juvenilia to posthumously published verse, although with more emphasis on his poetic than his prose works. Included are several versions of the manuscript of his first book, Astarte (1891), as well as numerous iterations of one of his most important poems, "Pervigilium mortis." Also present are Louÿs's manuscripts for a proposed work on Corneille that was turned down by publishers who were not amused at having previously been hoaxed by his claim that Les chansons de Bilitis was an authentic ancient Greek manuscript.
	Correspondence is the largest subseries in the collection. It is divided into outgoing and incoming groups and arranged alphabetically by correspondent. The largest single correspondence is with Louis Loviot, friend and fellow man of letters. Other correspondents are Louÿs's half-brother Georges Louis, the historian and novelist André Lebey, writer Claude Farrère, writer Natalie Clifford Barney, actress and journalist Musidora, Wilde biographer Robert Harborough Sherard, and his mistress Claudine Roland, whose letters are bound in a single volume together with his letters to her. Also present is correspondence with Marthe Du Bert, a woman whose fascination for Louÿs led her to impersonate a journalist, forge letters, and concoct an imaginary lesbian relationship in order to attract Louÿs's attention. The collection includes several of her forged letters as well as an untitled memorandum by Louÿs (in the Works subseries) giving an account of the affair for possible legal prosecution.
	The Personal subseries contains items such as classroom notes, a pocket engagement book, an admission card to view Egyptian monuments, and a copy of a newspaper left by composer Camille Saint-Saëns on a café table, retrieved and documented by Louÿs.
	The Third-Party Works and Correspondence subseries includes the handwritten manuscript of Natalie Clifford Barney's Tis: Cinq petits dialogues grecs, several manuscript poems by André Lebey, and a published copy of Henri Legrand's 1839 book Los Angeles: Una hija, which is printed in a mock-Arabic script that Louÿs claims, in a note laid in, to have deciphered. (In the Works subseries there is also a folder of Louÿs's notes on Legrand.)
	Series IX. Music, 1817-1987 (bulk 1870-1963)
	The Carlton Lake Collection of Manuscripts encompasses a large number of mostly French manuscript and printed musical works from the nineteenth and twentieth centuries. This series is arranged in two subseries: A. Manuscript Music, 1817-1947, and B. Printed Music, 1920-1987.
	Approximately one hundred composers are represented by works in the collection. The earliest manuscripts are sketches for lieder by Carl Maria von Weber dating from about 1817, and the most recent manuscript is Henri Sauguet's 1961 song, "Au pays." Printed items range from a 1920 edition of a portion of Florent Schmitt's incidental music for Antony and Cleopatra to Gavin Bryars's 1987 tribute to Marcel Duchamp, "Prélude à la Rrose (quoi?): 'Sot ne rit de la Rrose, croit'." Printed works are usually present in the collection because they were inscribed by the composer or they were kept among the papers of the composer or lyricist.
	The collection is strongest in early twentieth-century French classical music manuscripts. Composers represented by significant holdings include Georges Auric, Ernest Chausson, Henri Cliquet-Pleyel, Claude Debussy, Paul Dukas, Gabriel Fauré, Hector Fraggi, Charles Gounod, Reynaldo Hahn, Paul Ladmirault, Raoul Laparra, Franz Liszt, Jules Massenet, Federico Mompou, Jacques Offenbach, Maurice Ravel, Albert Roussel, Camille Saint-Saëns, Erik Satie, Charles Seringès, Igor Stravinsky, and Frank Turner. Especially important are the rich collections of works by Debussy, Dukas, Fauré, Ravel, and Roussel.
	Items of particular interest include the manuscript score from which Liszt conducted the premiere of his Gaudeamus Igitur; Stravinsky's orchestration of Chopin's Grand valse brilliante in Eb for the ballet Les sylphides; two songs by Franz Schubert; a copy by Clara Schumann of Johannes Brahms's Twelve Songs and Romances for Female Voices; Debussy's score for the ballet Khamma; Dukas's scores for L'apprenti sorcier and La peri; Fauré's orchestral score for Masques et bergamasques; Ravel's manuscripts for Daphnis et Chloë, Gaspard de la nuit, L'heure espagnol, Introduction et allegro, Ma mère l'oye, Rapsodie espagnol, Shéhérazade, the piano trio, and Valses nobles et sentimentales, in addition to numerous songs; Roussel's opera Aeneas, the ballet Bacchus et Ariadne, the piano concerto, Evocations, Le festin de l'araignèe, La naissance de la lyre, the opera-ballet Padmâvâti, Rapsodie flamande, and Symphony no. 2, as well as many songs; and Satie's Relâche.
	The Lake Collection as a whole offers myriad possibilities for enhancing the study of the scores by consulting other primary source materials within the collection. For example, a fascinating exchange of letters between Chausson and Debussy in 1893-1894 discussing their creative struggles on Le Roi Arthus and Pelléas et Mélisande complement the scores and sketches for these works.
	A note on terminology
	This guide adopts the standard terminology for description of music as set out in Anglo-American Cataloguing Rules, 2d ed. as follows:
	Close Score: A musical score giving all the parts on a minimum number of staves, normally two, as with hymns.
	Condensed Score: A musical score giving only the principal musical parts on a minimum number of staves generally organised by instrumental sections.
	Piano Score: A reduction of an orchestral score to a version for piano on two staves.
	Score: A series of staves on which all the different instrumental and/or vocal parts of a musical work are written, one under the other in vertical alignment, so that the parts may be read simultaneously.
	Short Score: A sketch made by a composer for an ensemble work, with the main features of the composition set out on a few staves.
	Vocal Score: A score showing all vocal parts, with accompaniment, if any, arranged for keyboard instrument.
	Series X. Henri-Pierre Roché, circa 1886-1971
	The Henri Pierre Roché Papers consist of manuscripts, typescripts, notebooks, notes, clippings, correspondence, printed material, diaries, and financial and legal documentation. The papers were originally acquired from Henri Pierre Roché's widow, Denise Roché, who had begun to organize and arrange the papers herself, placing groups of materials into paper folders or cardboard carriers and annotating the containers as to title, date, or correspondent. Although the containers she provided are housed with the collection, Denise Roché's overall structure of the material was not preserved. The material is now arranged in five subseries: A. Works, B. Correspondence, C. Carnets, D. Personal and Legal Papers, and E. Roché Family.
	Subseries A. Works
	Roché's works, both published and unpublished, are well represented in this group of papers, and they include novels, plays, short stories, poetry, translations, and articles. Much of this material appears to be the beginning stages of works that were never completed or published, and most titles consist of a few pages of handwritten narrative, although the evolution of many works, particularly those that were eventually published, is documented extensively. For example, material relating to the novels Jules et Jim and Deux anglaises et le continent includes the correspondence and diaries of some of the individuals who later appeared as characters in the novels. This subseries also contains printed material relating to the works, such as reviews and advertisements, as well as additional correspondence regarding the work. Other creative works about art are located in the Art sub-subseries of Subseries D.
	Extensive handwritten notes and manuscripts, revised manuscripts, typescripts, tear sheets from publications, clippings, publicity materials, correspondence, and diaries are included in this subseries. Major works represented here include Deux anglaises et le continent, Jules et Jim, Don Juan et..., and La tunique jaune. The Works are arranged alphabetically by title, and related correspondence, clippings, and publicity materials are located with the corresponding work.
	Manuscript versions of both Deux anglaises et le continent and Jules et Jim are supplemented by correspondence and diaries written by individuals who were the inspirations for characters in the novels. The group of papers relating to Deux anglaises et le continent includes correspondence between H.-P. Roché and Margaret and Violet Hart, as well as a journal written by Margaret Hart. This group also contains a journal by Roché that relates to his relationship with the Hart girls. Similarly, documents regarding Jules et Jim include correspondence between Roché and Franz and Helen Hessel. Additionally, Helen Hessel's diaries are housed here, although due to their fragile condition, use of some of these diaries is restricted. Finally, because both Deux anglaises et le continent and Jules et Jim were made into films by François Truffaut, the papers include items relating to the film versions, such as clippings annotated by Roché and publicity material.
	Many items in the Works subseries appear as little more than a title and notes scribbled across a page, and in those cases, the work has been filed alphabetically by title. In some instances, one notebook or group of papers contains several distinctive and separately titled works; these are filed alphabetically under the first title of that group. In her arrangement of her husband's papers, Denise Roché appears to have created a group entitled Poèmes, and another called Pensées. Her arrangement of these materials has been preserved and they are filed as a group under the titles she provided.
	Subseries B. Correspondence
	Although correspondence can be found throughout the collection, the Correspondence subseries is reserved for those letters not explicitly related to Roché's writing projects. For the most part, the correspondence in Subseries B is between Henri Pierre Roché and his two wives, Germaine Bonnard and Denise (Renard) Roché; however, other correspondents are also represented, such as Georges Braque, Jean Cocteau, Marcel Duchamp, Marie Laurencin, Pablo Picasso, Erik Satie, and Gertrude Stein.
	Roché's correspondence is divided into two categories: Letters (arranged alphabetically by recipient) and Recipient (arranged alphabetically by author). Correspondence between two individuals other than H.-P. Roché is included in the Third-Party Correspondence sub-subseries.
	Correspondence between H.-P. Roché and Germaine Bonnard primarily relates to their own relationship, but discussions of Roché's involvement with other women, including Helen Hessel, are prevalent. Correspondence with Denise Roché is largely of the same nature, although much of the later material revolves around the birth and upbringing of their son Jean-Claude.
	Other noteworthy correspondents in this subseries include Euphemia Lamb, an English woman with whom Roché had an affair, who at one time had been a model for the painter Augustus John. Louise Bucking (Weisel) was another of his non-French lovers, and she, along with Germaine Bayle, provided material for his work Don Juan et... . Letters from Jean-Claude Roché to his father are also included in this subseries. Correspondence between Germain Bonnard and Helen Hessel is part of the Third-Party Correspondence sub-subseries.
	Other correspondence can be found in the Works subseries and in the Art sub-subseries of subseries D.
	Subseries C. Carnets
	Roché's daily agendas and diaries (referred to herein as "carnets"), which begin in 1901 and end in 1959, document various aspects of his personal and professional life. Transcriptions of several carnets, through 1945, commissioned by film director François Truffaut, as well as a photocopy of one carnet, accompany the collection. This subseries is arranged chronologically, thereby integrating agendas, original carnets, and transcriptions of the same year with each other. Unless authorized, only the transcriptions are available for use.
	Carnets, agendas, and transcriptions document most of Roché's adult life in this series. An avid diarist, Roché recorded and later reviewed most of his life experiences. Much of the information contained in the carnets is described and discussed in the 1991 Ransom Center catalog Henri Pierre Roché: An Introduction. All items are carnets unless indicated otherwise. Numbers in parentheses indicate numbers written on the original journals. Transcripts exist for many of the carnets. Because of their fragile condition, access to the original carnets requires curatorial approval.
	Subseries D. Personal and Legal Papers
	Roché's interests in art, real estate, and his autobiography are well documented in the Personal and Legal Papers subseries. This subseries is arranged into four sub-subseries: 1. Art, 2. Autobiography, 3. Usha Villas, and 4. Personal Documents.
	Various aspects of H.-P. Roché's art collection are documented in the Art sub-subseries, although the art collection itself did not accompany the papers. This sub-subseries contains notes, manuscripts, and published versions of articles written by Roché about art, artists, and art collecting, as well as inventories, records of sales, and exhibition catalogs for Roché's personal art collection. Some of the material, especially that contained in the Migraine/Tella folders—created during a sale of Garcia Tella's art owned by Roché to Michel Migraine—was generated by his widow, Denise, and son, Jean-Claude Roché, after Henri Pierre Roché's death.
	The documents contained in the Autobiography sub-subseries represent a project that H.-P. Roché appears to have pursued for several years, perhaps in the hopes of eventually publishing his own autobiography. They include notes that span more than five decades, as well as very early journals, and essays concerning the afterlife.
	The Usha Villas sub-subseries comprises primarily building plans and legal documentation regarding real estate transactions.
	Documents relating to Roché's personal life, such as his passport, address books, birth certificate, and obituaries are located in the final sub-subseries, Personal Documents.
	Subseries E. Roché Family
	The last subseries contains materials relating to Roché's family. Journals; correspondence; works; financial, legal, and medical records; and printed material document the lives of Roché's mother Clara, his second wife, Denise, and his son Jean-Claude. The Roché Family subseries is divided into sub-subseries corresponding to each family member: 1. Clara Roché, 2. Denise Roché, and 3. Jean-Claude Roché.
	Series XI. Maurice Saillet Collection of Sylvia Beach and Shakespeare and Company, 1917-1976
	This series embraces a significant group of materials documenting Beach's Paris bookstore Shakespeare and Company, her activities as the first publisher of James Joyce's Ulysses, and her personal life. The collection contains a significant portion of her personal correspondence, a large group of photographs, together with some business records and ephemera related to Shakespeare and Company. The material remains in essentially Saillet's arrangement, although a few of the folders have been moved to afford a better topical arrangement.
	The collection represents the years 1917 to 1976, with most of the material covering the years from 1919 to 1964. The Parisian literary scene of the 1920s, Adrienne Monnier, James Joyce and other English-speaking authors, and Sylvia Beach herself are the principal subjects. The large correspondence in the collection includes numerous letters from Beach to Monnier and to Saillet. Among the many persons who wrote to Saillet about Beach are Hélène Baltrusaitis, Bryher, Jackson Mathews, and Charles Mauron.
	The Saillet collection is strongest in documenting Sylvia Beach's personal life, especially her relationship with Monnier. The material relating to Shakespeare and Company and to James Joyce is slighter but nevertheless noteworthy. It is arranged into three subseries: A. Shakespeare and Company and James Joyce, B. Sylvia Beach, C. Sylvia Beach and Maurice Saillet.
	The first subseries is arranged in two sub-subseries: A. Shakespeare and Co., 1919-1947 (7 folders) and B. James Joyce, 1921-1935 (5 folders). The materials comprising this subseries are fragmentary but even so of considerable value in understanding Sylvia Beach's part in promoting Ulysses, as well as the role Shakespeare and Company played in the cultural scene of between-the-wars Paris.
	The Shakespeare and Company sub-subseries contains, most significantly, the first register of subscribers of the firm's lending library, beginning 17 November 1919. Also present is a notebook entitled "Livres anglais" which records the books of Shakespeare and Company that Monnier's Maison des Amis des Livres sold after Beach's store was closed in December 1941. A list of subscribers reimbursed by Monnier on Beach's behalf during the wartime years is appended at the end of the notebook.
	Also present are a large number of photographs made between 1919 and 1945 depicting Shakespeare and Company, Beach, famous customers (Joyce, Hemingway, Dos Passos, and Pound, among others), as well as an après liberation party held in the fall of 1944 in Beach's apartment.
	The sub-subseries also contains a number of ephemeral items, including prospectuses and invitations of Les Amis de Shakespeare and Company, a friends' group established in the early 1930s to assist the firm in the deepening depression.
	The Joyce sub-subseries includes three manuscript fragments of Ulysses, the Beckett and Péron "Anna Lyvia Pluratself" translation in galley proof, together with a list of subscribers for the novel maintained by Beach in the months before its 1922 publication. Ephemeral materials include manifestoes of support for Joyce and Ulysses and early advertising matter.
	Materials relating to the Morel and Gilbert French translation of Ulysses include a chronology of publication in the hand of Monnier, together with publishing ephemera and a facsimile of the subscribers' list for the first French edition of 1929.
	Subseries B. Sylvia Beach documents her personal life seperate from her bookstore. The major portion of the correspondence in the subseries is the 121 letters Beach wrote to Adrienne Monnier between 1919 and 1955. A smaller number of letters from Beach to others is included, as are letters (mostly typescript copies) from Monnier to Beach. Other correspondents represented include Camilla Steinbrugge and D. H. Lawrence; there are single letters from Robert McAlmon, André Gide, and Valéry Larbaud. Correspondence (as well as other materials) relating to Beach's wartime internment at Vittel includes six more letters from Beach to Monnier, as well as letters to Monnier from Tudor Wilkinson, Katherine Dudley, and Françoise Bernheim.
	A substantial number of photographs are found in the subseries documenting Beach's visits to the Monnier family at Rocfoin, as well as to her own retreat at Les Déserts in Savoy. Other photographs depict the travels and activities of her later years.
	Sylvia Beach's own writing present in the collection include periodical articles, translations, a manuscript of an article on Ezra Pound, and several "notes bibliographiques" on William Bird, William Saroyan, and various French authors. Articles on Beach and obituaries complete the subseries.
	Subseries C. documents the years after Shakespeare and Company closed its doors and Adrienne Monnier died. Beach's extensive correspondence--134 letters--with Monnier's former shop assistant forms the core of the subseries and gives a view of Beach's activities and interests in the final two decades of her life.
	Also included is an extensive group of letters sent Saillet by a wide range of persons about Beach after her 1962 death. These letters indicate the range of her acquaintance: Hélène Baltrusaitis, Samuel Beckett, Cyril Connolly, Stuart Gilbert, Maria Jolas, Jackson Mathews, Charles Mauron, Dorothy Pound, and Thornton Wilder, among many others.
	The subseries concludes with a large group of photographs taken at the exhibition "Les Années vingt" sponsored by the United States Embassy in Paris in 1959. The exhibition used many of Sylvia Beach's books, photographs, and other memorabilia in recreating the literary world of 1920s Paris.
	Series XII. Gertrude Stein, 1914-1973
	Manuscripts, correspondence, financial and legal documents, address books, and personal papers make up the Gertrude Stein collection. The material was collected by Alice B. Toklas after Stein's death and includes a large amount of Toklas's incoming correspondence. The collection is arranged in four subseries: A. Works, 1930-1945 (1 box); B. Correspondence, 1928-1946 (1 box); C. Personal Papers, 1914-1959 (1 box); and D. Alice B. Toklas, 1920-1973 (bulk 1947-1967) (6 boxes).
	Stein's writings are represented by three titles in the Works subseries. Composition as Explanation was originally a lecture delivered at Oxford and Cambridge in 1926; later that year it appeared in The Dial and in book form from Leonard and Virginia Woolf's Hogarth Press. "From Dark to Day" is a two-page depiction of couturier Pierre Balmain that appeared in Vogue in 1945. The dossier of items relating to the publication of Before the Flowers of Friendship Faded Friendship Faded documents not only various stages in Stein's creation of this work, but also the conflicts between Stein and Georges Hugnet, whose collection of French poems, Enfances, was originally to have been published along with Stein's. The two disagreed over whether Stein's work was a translation of Hugnet's or an original work loosely based on it and could not come to an agreement on how the two authors should be credited in the book. Also included are letters from composer Virgil Thomson, who had introduced them to each other in 1927, trying to reconcile their differences.
	The Correspondence subseries contains a large number of Stein's letters to Hugnet from the period of their first acquaintance until their final break. Incoming letters are concerned with matters of publication and include correspondence from her American publisher, Random House, and her English agents, Pearn, Pollinger & Higham, Ltd. (later known as David Higham Associates, Ltd.). All correspondence in this and other subseries is arranged alphabetically by author or recipient.
	Among the Personal Papers are an address book, various contracts, and miscellaneous financial records. Of particular interest in this subseries are documents concerning Stein's art collection: two insurance policies (dated 1935 and 1938) with Lloyds of London with itemized schedules and appraisals of the paintings, and three appraisals made for Alice Toklas after Stein's death (1958 and undated).
	The largest subseries is devoted to Alice B. Toklas. It includes a few random pages from autobiographical writings; a small number of letters to other correspondents, either drafts or returned letters; an address book and other personal and financial papers; and a large incoming correspondence from such writers as literary agent Mrs. William Aspenwall Bradley, actor Sandy Campbell, historian Bernard Faÿ, Stein scholar Donald C. Gallup, attorneys Edgar Allan Poe and Russell M. Porter, composer Virgil Thomson, and writer Carl Van Vechten, who served as Stein's literary executor. Many of these letters, mostly dating from the last few years of Toklas's life, are filled with expressions of concern for the state of her health or her misfortune in losing Gertrude Stein's art collection to the Stein family. Letters to Toklas's companion, Madeleine Charrière, have been interfiled with those to Toklas herself, and a few of these letters are dated after Toklas's death. A peculiarity of this collection is that Toklas herself evidently made a practice of ripping up letters once she had answered them; approximately one-third are torn into large pieces. Fortunately, all the pieces have been preserved. Among the personal papers are a very small number of recipes, some in Toklas's hand, and transcripts of letters written by admirers of Stein on the occasion of the exhibit "Hommage à Gertrude Stein" organized in 1965 in Paris by the American Cultural Center.

	Five early Lake Collection manuscripts dating from 1377-1698 are housed with the Ransom Center's Medieval and Early Modern Manuscripts Collection (numbers HRC 121-125).
	Other segments of the Carlton Lake Collection at the Ransom Center are available in the Library, the Art Collection, the Photography Collection , the Personal Effects Collection, the Sound Recordings Collection, and the Vertical File Collection.
	Related works and letters by authors found in the Lake Collection may also be found in the Artine Artinian Collection, which also contains a variety of French literary materials
	Other materials associated with Samuel Beckett may be found in the following collections at the Ransom Center: Nancy Cunard, Zdzislaw Czermanski, Leslie Daiken, Ronald Frederick Henry Duncan, English Stage Company at the Royal Court Theatre Correspondence, Stuart Gilbert, Joseph Maunsell Hone, Robert Guy Howarth, Mary Hutchinson, Hugh Kenner, Alfred A. Knopf, Inc., Carlton Lake Art Collection, A. J. Leventhal, New Departures, George Reavey, Tom Stoppard, and the Library of T. Edward Hanley.
	The Ransom Center's Carlton Lake Art Collection contains a large number of works by Jean Cocteau.
	Other Georges Hugnet materials are available at the Ransom Center. Letters between Georges Hugnet and Gertrude Stein are found in the Gertrude Stein segment of the Carlton Lake Collection as well as proofs for Stein and Hugnet's attempted collaboration Enfances. Valentine Hugo's papers, also in the Carlton Lake Collection, contain correspondence between Hugnet and Hugo. The Photography Collection has an exhibition guide from the Galerie Zabriskie titled "Georges Hugnet, artist, poet, critic: an exhibition of surrealist collages including original works". An audio recording of Hugnet reading Tout beau mon coeur was transferred to the Sound Recordings Collection. Additionally, multiple books were transferred from the Georges Hugnet Papers to the Ransom Center Library. Most of the transferred books contain autographed inscriptions for Georges or Germaine Hugnet.
	Other materials relating to Valentine Hugo can be found elsewhere in the Ransom Center. The Carlton Lake Art collection contains a large amount of works by Valentine Hugo as well as a few pieces by her husband Jean Hugo. Photographic reproductions of artworks studied by Hugo are also available in Vertical Files.
	The library of the Librairie Dorbon-aîné was also purchased by Carlton Lake and donated to the Ransom Center's Library where it forms part of the Carlton Lake Collection.
	The study of music in the Lake Manuscripts Collection is also supported by published scores included in the Lake Collection of books housed in the Ransom Center Library and by materials in the Lake Collection within the Photography Collection and the Art Collection at the Center.

	Photographs that were acquired with the Henri Pierre Roché materials have been removed from the Papers and transferred to the Photography Collection.
	Several items were removed from the Stein Collection to the Ransom Center's Personal Effects Collection.

	Contributors
		Acosta, Mercedes de, 1893-1968.
		Aragon, 1897-1982.
		Arensberg, Louise.
		Auric, Georges, 1899- .
		Badet, Andrè de, 1891- .
		Baltrusaitis, Hélène.
		Barney, Natalie Clifford.
		Bayle, Germaine.
		Beach, Sylvia.
		Blanche, Jacques-Emile, 1861-1942.
		Bloch, Henri.
		Bonnard, Germaine.
		Boulestin, X. Marcel (Xavier Marcel), 1878-1943.
		Bracquemond, Félix, 1833-1914.
		Bradley, Mrs. William Aspenwall (Jenny Surruys).
		Braque, Georges, 1882-1963.
		Breon, John.
		Breton, Andrè, 1896-1966.
		Brown, Helen Evans.
		Brown, John Lackey, 1914.
		Bryher, 1894- .
		Butcher, Fanny, 1888-1987.
		Campbell, Sandy.
		Castel, André.
		Chalupt, Renè.
		Chanler, Maria de A.
		Charrière, Madeleine.
		Chausson, Ernest, 1855-1899.
		Cliquet-Pleyel, Henri, 1894-1963.
		Cocteau, Eugénie, b. 1855.
		Cocteau, Jean, 1889-1963.
		Copeau, Jacques, 1879-1949.
		Darantière, Maurice.
		Daudet, Charles.
		Debussy, Claude, 1862-1918.
		Deharme, Lise.
		De La Torre, Lillian, 1902- .
		Doucet, Jacques, 1853-1929.
		Downes, Donald, 1903- .
		Du Bert, Marthe.
		Dubuffet, Jean, 1901- .
		Duchamp, Marcel, 1887-1968.
		Dudley, Katherine.
		Dukas, Paul, 1865-1935.
		Dunsany, Edward John Moreton Drax Plunkett, Baron, 1878-1957.
		Ebihara, Kinosuke, 1904-1970.
		Eliot, T. S. (Thomas Stearns), 1888-1965.
		Eluard, Paul, 1895-1952.
		Erlanger, Camille, 1863-1919.
		Ernest Benn Ltd.
		Farrère, Claude, 1876-1957.
		Fassbinder, Johanna.
		Fauré, Gabriel, 1845-1924.
		Faÿ, Bernard, 1893- .
		Ferry, Marcelle.
		Foster, Jeanne Robert, 1879-1970.
		Fourcade, Xavier.
		Fraggi, Hector.
		Frankenberg, Lloyd, 1907- .
		Frueh, Alfred Joseph, 1880-1968.
		Freund, Marya.
		Gallup, Donald Clifford, 1913- .
		George, Olga.
		Gilbert, Stuart.
		Giraud, Henri, 1879-1949.
		Giraudoux, Jean, 1882-1944.
		Gounod, Charles, 1818-1893.
		Gross, Zèlie.
		Grosser, Maurice, 1903-1986.
		Groult, Nicole, 1887-1967.
		Guitry, Sacha, 1885-1957.
		Hahn, Reynaldo, 1875-1947.
		Hansen, Lilyana Elizabeth.
		Hart, Margaret Barratt, d.1926.
		Hart, Violet.
		Heredia, Louise de, 1878-1930.
		Hessel, Franz, 1880-1941.
		Hessel, Helen, 1886-1982.
		Hug, Charles, 1899- .
		Hugnet, Georges, 1906-1974.
		Hugo, Jean, 1894- .
		Hugo, Valentine, 1887-1968.
		Jacob, Max, 1876-1944.
		Jolas, Maria, 1893-1987.
		Kahnweiler, Daniel Henry, 1884- .
		Knapik, Virginia.
		Ladmirault, Paul, 1877-1944.
		Lake, Carlton.
		Lamb, Euphemia.
		Laparra, Raoul, 1876-1943.
		Laporte, Geneviève.
		Laure, Marie, 1902- .
		Laurencin, Marie, 1883-1956.
		Lawrence, D. H. (David Herbert), 1885-1930.
		Lebey, André, 1877-1938.
		Leiris, Michel, 1901-1990.
		Lescher, Robert.
		Liszt, Franz, 1811-1886.
		Louis, Georges, 1847-1917.
		Loviot, Louis
		Lucas, John, 1918- .
		Man Ray,1890-1976.
		Marembert, Jean.
		Martin, Lynn.
		Massenet, Jules, 1842-1912.
		Mathews, Jackson.
		Matisse, Henri, 1869-1954.
		Mauron, Charles.
		Migraine, Michel.
		Miró, Joan, 1893-1983.
		Mompou, Federico, 1893-1987.
		Monnier, Adrienne.
		Monnier, Marie, 1894-1976.
		Montand, Yves, 1921-1991.
		Moulié, Charles, b. 1890.
		Musidora.
		Nazzi, Louis, 1885-1913.
		Néjad, Mehmed Melih Devrim.
		Nicholson, Ben, 1894- .
		Nijinsky, Romola de Pulszky.
		Noailles, Anna Elisabeth de Brancovan, comtesse de, 1876-1933.
		Notti, Mary.
		Offenbach, Jacques, 1819-1880.
		Orgeix, Anne Marie Lucas d'.
		Orgeix, Christian d', 1927- .
		Ostrow, Lucille.
		Paulhan, Jean, 1884-1968.
		Perdriat, Hélène.
		Picabia, Francis, 1879-1953.
		Picasso, Emilyenne Lotte May.
		Picasso, Olga.
		Picasso, Pablo, 1881-1973.
		Picasso, Paul.
		Pichot, Germaine.
		Pincherle, Marc, 1888-1974.
		Pivano, Fernanda.
		Poe, Edgar Allan, 1871- .
		Poe, Edgar Allan, Jr.
		Porter, Katherine Anne, 1890-1980.
		Porter, Russell M.
		Poulenc, Francis, 1899-1963.
		Queneau, Raymond, 1903-1976.
		Quillot, Maurice.
		Quinn, John, 1870-1924.
		Radiguet, Raymond, 1903-1923.
		Ravel, Maurice, 1875-1937.
		Rea, Joy.
		Rice, Howard C. (Howard Crosby), 1904- .
		Roché, Clara.
		Roché, Denise.
		Roché, Jean-Claude.
		Rogers, W. G. (William Garland), 1896- .
		Rohan, Dilkusha, princess de.
		Roland, Claudine.
		Rose, Francis, Sir, 1909-1979.
		Roussel, Albert, 1869-1937.
		Roy, Claude, 1915.
		Ruiz-Picasso, Maya.
		Sabartés, Jaime, 1881-1968.
		Saint-Saëns, Camille, 1835-1921.
		Salmon, André, 1881- .
		Satie, Erik, 1866-1925.
		Schaffner, John.
		Seringès, Charles.
		Sherard, Robert Harborough, 1861-1943.
		Spender, Stephen, 1909- .
		Stein, Gertrude, 1874-1946.
		Stein, Leo, 1872-1947.
		Steinbrugge, Camilla.
		Steward, Samuel M.
		Stewart, Lawrence D. (Lawrence Delbert), 1926- .
		Stravinsky, Igor, 1882-1971.
		Sutherland, Donald, 1915- .
		Taylor, Edward, Father.
		Taylor, Louise, fl. 1962.
		Tella, Garcia.
		Thomson, Virgil, 1896- .
		Toklas, Alice B.
		Turner, Frank, 1896- .
		Tzara, Tristan,1896-1963.
		Uhde, Wilhelm, 1874-1947.
		Van Vechten, Carl, 1880-1964.
		Van Vechten, Fania Marinoff.
		Walter, Marie-Thérèse, 1909-1977.
		Weissberger, L. Arnold, 1907-1981.
		Whitehead, William.
		Wiesel, Louise.
		Wilcox, Wendell.
		Wilder, Thornton, 1897-1975.
		Wols, 1913-1951.
		Wood, Beatrice.
		Zanon, Carlo.
	People
		Brancusi, Constantin, 1876-1957.
		Eluard, Paul, 1895-1952.
		Joyce, James, 1882-1941.
		Legrand, Henry, 1814-1876.
		Radiguet, Raymond, 1903-1923.
		Satie, Erik, 1866-1925.
	Organizations
		David Higham Associates, Ltd.
		Holt, Rinehart, and Winston, inc.
		Joseph (Michael) Limited.
		Morgan, Smith & Sainte Croix.
		New Stages, Inc.
		On-Stage Productions.
		Random House (Firm).
		Shakespeare and Company.
		William R. Scott, Inc.
	Subjects
		American literature--20th century.
		Art--Collectors and collecting.
		Art, French--20th century.
		Art, Modern--20th century.
		Artists--Family relationships.
		Artists--Political activity.
		Authors, French--20th century.
		Authors, Irish--20th century.
		Booksellers and bookselling--France--Paris.
		French poetry.
		Jules et Jim (Motion picture).
		Modernism (Literature)--United States.
		Music.
		Music, French.
		Novelists, French.
		Painters--France--20th century.
		Painters--France--Biography.
		Paris (France)--Intellectual life.
		Playwrights, Irish--20th century.
		Poets, French.
		Publishers and publishing--France.
		Surrealism--France.
		Women authors, American.
		World War, 1939-1945--Underground literature--France.
	Document Types
		Address books.
		Appraisals.
		Autograph albums.
		Birth certificates.
		Collages.
		Contracts.
		Diaries.
		Financial records.
		Galley proofs.
		Insurance policies.
		Journals.
		Love letters.
		Manuscripts.
		Page proofs.
		Photographs.
		Postcards.
		Recipes.
		Scores.
		Sheet music.
		Sketches.