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Yves Poupard-Lieussou correspondence and collected papers on Dada and Surrealism, 1905-1984 (bulk 1956-1979)

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Finding aid for the Yves Poupard-Lieussou correspondence and collected papers on Dada and Surrealism, 1905-1984 (bulk, 1956-1979)
Series IV. Pierre de Massot letters and manuscripts, 1905-1968 ca. 150 items
The fourth series includes correspondence, manuscripts, photographs and drawings from the writer and poet Pierre de Massot (1900-1969). The correspondence comprises 79 letters written by Massot to Poupard from 1956 to 1968. In the letters Massot gives detailed information about his life and participation in the Dada movement. This section also contains a few of Massot's published manuscripts such as André Breton le septembriseur and De pére inconnu as well as unpublished manuscripts, notably his Cahier noir, a kind of pseudo-diary. There are also some 20 black and white photographs of Massot, his family, various actresses and dancers.
Box Folder
11 1-2 Correspondence
11 1 79 letters from Massot to Poupard, 1956 Feb 2 - 1968 Apr 11
23 holograph letters, 53 typed letters and 3 cards signed. The correspondence begins rather hesitantly. Massot feels that he has little to contribute to Poupard's project. But after a few canceled appointments, Massot discovers interesting documents such as photos and articles in his personal collection. He suggests other people, such as Jean Crotti and Suzanne Duchamp whom Poupard might contact. Massot greatly admires Picabia, Duchamp and Breton, and was crushed by the latter's premature death. The letters not only offer a good amount of historical information concerning the Dada movement, they also provide a glimpse of the personality and temperament of one of its lesser known participants. As in his journal and unpublished prose, Massot is much concerned with death: the deaths of friends punctuate several of the letters.
11 2 Letters to Massot, 1947, 1961
letters from Jacques-Henri Lévesque (1947 Mar 4) and Michel Perrin (1961 Mar 15), with praise for his poetry. A postcard from Olga Picabia (n.d.), looking forward to seeing him again as soon as she is back to Paris.
11 3 Le Cahier Noir, 1917-1968
Le Cahier Noir is an intimate journal that Massot kept over many years. He seems to have left Poupard two selected excerpts: a 43 page typescript covering the years 1961 to 1967, and a manuscript copied by Poupard of excerpts from the years 1917 to 1920. In his will, Massot directed his son to burn the Cahiers.
11 3 Extrait d'un Cahier Noir (I), 1968 Jul 6, 1960 Nov 15
Typescript, 43 pages and a title page with an inscription from Massot to Poupard, dated 1968 Jul 6. Tipped onto the title page is a colored ink and pencil drawing, inscribed and dated 1960 Nov 15. Several pages are illustrated with erotic clippings from magazines and three drawings (two of penises) by Massot. Joined: a magazine clipping of Jane Fonda as Barbarella is tipped on a sheet of yellow construction paper.
In these relatively short and often daily entries, Massot notes his readings (Etiemble, Léautaud, Cendrars, Faulkner), mentions who he visits (Olga Picabia, Montherlant, Pegeen, Duchamp), remembers the anniversary of his wife's death, retells erotic dreams and mourns the passing of many friends (Breton, Villon and Pegeen). Seemingly random, Massot has in fact artfully chosen his excerpts, forming them into a kind of extended poem en prose about himself, the people he knew and the world they inhabited.
11 3 Extrait d'un cahier noir (II) 1917-1921
11 pages copied by Poupard, dated from 1917 to 1921. A series of vignettes that recapture the excitement of a young provincial who finds himself in the middle of the Parisian avant-garde. For instance, Massot writes of his first trip to Paris to see Parade, of his friendship with Gonzague-Frick, of a sexy and frightening encounter with Isadora Duncan. Massot seems to have met most of the prominent writers and artists of the period; he mentions Picabia, Pound, Duchamp, Cocteau, Breton, Tzara, Satie and many others. He describes an intellectual, fast-paced and, indeed, decadent world that he enjoys immensely.
11 4 Essays and drawings
11 4 "Permis d'inhumer," 1905-1952
4 pages typescript, dated. Nineteen paragraphs depicting scenes of death, often violent, end tersely with the contemplation of his own mortality.
11 4 André Breton, le septembriseur, 1967 Mar 4
2 pages of the autograph manuscript of his book.
11 4 "Jane au concile par Jane Rouch," undated
Typescript, one page, no date. Book review.
11 4 ""Au vrai Fontainebleau (Inedit)" 1933-1938
Typescript, 4 pages. Dedicated to his son, presumably an autobiographical story of the time that Massot spent working in a cream factory.
11 4 Mots clés de mensonges, , 1950-1953
Typescript, 9 pages. Poems and fragments of poems, dated like entries in a diary, resembles an account book.
11 4 Aragon: Les yeux de la mémoire
An essay on Aragon. Typescript, six pages, with autograph additions on the last two pages.
11 4 "Divers poèmes de P. de Massot," 1941-1964
dossier compiled by Poupard of nine poems by Massot dated from 1941 to 1964. Hommage à Picasso has handwritten notes all over the page.
11 4 Four drawings
one pen and colored pencil on paper of a woman seated in an armchair, and three drawings depicting the same woman dancing in a kind of Folies Bergères show.
11 5 De père inconnu
Typescript of Massot's novel, De Père Inconnu: Récit paysan, 169 pages. In the socialist realism tradition of Sand and Zola, Massot tells the sad tale of Lucienne Clermontel and her son Jean-Louis. [See also Box 12*, folder 1].
11 6 Personal documents
11 6 Autograph will, 1951 Oct 1
Signed, with typed sheet of instructions how to write a last will.
11 6 Membership card for the Association française des Amis de l'Union Sovetique, 1937
11 6 Membership card for the Centre d'études supérieures d'assurances, 1941
with identification photograph.
11 6 Membership card for Ceux de la libération-Vengeance, stamped 2/27/45, with identification photograph.
11 6 Membership card for the Comité National des Ecrivains (CNE), 1951
with identification photograph.
11 7 Bio-bibliography by Poupard on Massot's life and publications
11 7 Handwritten copies by Poupard of 22 poems and a review of Relâche, 1924
11 7 Newspaper clippings with articles published by Massot, 1932-1968
"Qu'est-ce qu'un Ecrivain prolétarien?", "L'Université républicaine," 2/15/32. Essay on André Breton in Les Nouvelles Litéraires, 9/20/62. Sixteen articles entitled "Cultivons notre jardin, cultivons nos pensées," published in La Vie du rail under the pseudonym Pangloss.
11 8 Photographs (b/w)
11 8 Group portrait of a class at the Externat St. Joseph, includes Massot seated last on left, 1910 Nov
11 8 Seven portraits of Massot, family and friends 1910-1968
11 8 Group portrait of employees of RKO, includes Massot, 1948
11 8 Portrait of Robbie de Massot with a poem by Massot on verso, dated 1950 Apr
11 8 Portrait of Massot and Poupard, dated by Poupard Jan 1968
11 8 Portrait of an unknown couple ascending stairs at an opera or theater premiere, undated
11 8 Marthe Chenal, undated
Two photographs of the installation of a commemorative plaque for the singer Marthe Chenal. With autograph letter [signed by unidentified] thanking Massot for his participation, and a typescript copy of Massot's speech.
11 8 Portrait of Massot, 1926
with autograph inscription to his parents.
11 8 Portrait of a man in Oriental costume, 1892, 1955
photograph entitled "Radhamiste" and dated 1892. The poem "Tercets à la mémoire d'Edouard de Max" by Massot is tipped onto verso and dated March 1955.
11 8 Ten publicity portraits of actresses and dancers
most are dated, and a few are inscribed to Massot. [He worked for a magazine called Paris Music-Hall for three years].
Box Folder
12* 1 De père inconnu; récit paysan, in the serial L'Humanité, 1929 Jun-Jul

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