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Discover C. F. Ramuz by freely exploring the 40/100 images, browsing by keyword or follow one of the predefined threads.

Image d’un groupe de 17 objets. Il s’agit de plumes, porte-mine et autre accessoire d’écriture de Ramuz.
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The image shows the cover of the first Cahier Vaudois, entitled “Raison d’être par C.F. Ramuz.” Below the title is an oval emblem showing a hand squeezing a bunch of grapes, the juice flowing into a wine glass, with a banner reading “J'exprime” (“I express”). Below, it reads: “à Lausanne chez C. Tarin. 1914.”
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This black-and-white image shows a glacier that almost seems to be moving. Trees are held in its ice and it covers rocks, which can be seen at the bottom of the picture. The following quote is inserted at the very bottom of the photo: “He sees the whole glacier start to move up and down with its back, lengthwise, like a snake crawling.”
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Photo noir blanc de Ramuz jouant du piano pour amuser deux petits enfants dans les bras de deux adultes.
15
This color photograph shows C.F. Ramuz and Henry-Louis Mermod in Lavaux. They are sitting on a low wall, looking at and touching with their fingertips a vacherin cheese placed between them. Both are wearing hats.
24
Caricature de Ramuz. Il tient un stand et vend ses livres comme remède à l’insomnie.
8
Photo noir blanc de Ramuz debout dans un jardin. Il est emmitouflé dans son imperméable et a entouré sa tête d'un foulard et d'un chapeau.
10
The poster for Jenna Hasse’s L’amour de monde (The Love of the World) features a close-up of a smiling, crouching child. Just behind her is another, slightly older child. Trees can be made out behind them.
29
Sur un papier bleu, Ramuz a écrit des notes préparatoires, entrecoupées d'un plan représentant le lieu de l'action. Le tout est barré de traits rouges.
12
Sur cette page jaune, Ramuz a rédigé un texte à l'encre noire, parsemé de ratures et de corrections. Le manuscrit est signé et daté.
19
Page de livre sur laquelle sont collées deux variantes d'un même dessin, l'une au crayon, l'autre colorée à l'aquarelle. Le dessin est un double portrait en médaillons, représentant Igor Stravinsky et Ramuz.
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Photo contemporaine d’un paysage de montagne. Il s’agit de Derborence au lever du jour.
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This is a picture of the metal snail shell that C.F. Ramuz kept on his desk. It shows signs of wear.
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Image de la carte d'identité de Ramuz. Elle est orange et ouverte. On y distingue notamment sa profession:
5
Presse à gaufrer et son impression sur un petit carton blanc qui lit « La Muette Pully Vaud Suisse ».
4
In the center of the black-and-white photo, C.F. Ramuz and Maurice Zermatten are seated on a stone step, their fingers interlaced on their knees. Zermatten is looking at Ramuz, who is looking at the lens. They are surrounded by trees and plants.
37
The picture shows a typewriter that belonged to C.F. Ramuz. The machine is burgundy-colored and its brand name, Corona, is written in gold above the keys.
39
On white paper, Ramuz wrote a birthday letter to his grandson, whom he nicknamed “Monsieur Paul.” Around a small text in blue ink, he drew ten circles surrounding the word “bec” (beak).
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Edition of Les Signes parmi nous revised by Ramuz. The double page is crossed out by hand. Yellow paper is pasted on the left-hand page, with a handwritten addition to the text.
31
La peinture représente Ramuz, vu en buste, portant un costume couleur rouille. Il a un livre à la main et regarde le spectateur.
16
Cover of a notebook for “Vie de Samuel Belet.” Beneath the inscription “cahier de Plan appartenant à C.F. Ramuz” (Plan notebook belonging to C.F. Ramuz) is a colored drawing in two parts. On the left is an alcoholic, and on the right a tubercular patient in a sanatorium. The whole is surrounded by art deco-style ornamentation.
36
The painting shows a young woman and child seated on a picnic table. To the left and right are blossoming cherry trees. Behind them, below, we see buildings, then the lake, pink, and finally the turquoise mountains. The sky is orange.
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Couverture du roman « Aline ». Des motifs végétaux de couleur sauge ornent un papier jauni.
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The image is a black-and-white portrait of a young man. He is photographed slightly from above, looking to the left. The tips of his hair are dyed blond.
30
Photo contemporaine du bord du lac Léman. Un homme est assis sur une chaise au bout d’une courte jetée.
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Billet de 200 francs suisses recto verso figurant le portrait de Ramuz et Lavaux.
17
A lined page bears the letterhead of the Collège Cantonal. The text is a literary composition written by Ramuz in July 1894 for a French exam. The title, underlined, is: “Camille and Chimene Meeting in the Kingdom of Spirits Tell the Story of Their Loves.” The composition that follows is in cursive handwriting, with a few erasures and corrections.
25
This black and white photograph shows Elisabeth Krouglicoff and Henry Spiess standing at the top. Ramuz, Cécile Ramuz-Cellier and Anne-Marie Monnet are seated below. All are looking into the lens except Anne-Marie Monnet. The photo was taken in Paris in 1912.
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Page de classeur grise sur laquelle sont collées quatre photos carrées. Elles sont en couleur et représentent des paysages de montagne et de forêt.
9
Photo noir blanc de Ramuz de dos, assis à son bureau en train d’écrire. Le plan est large.
11
Page de livre dont le texte est barré à la main à l'encre bleue. Au-dessus, Ramuz a écrit le titre:
20
Photo noir blanc de Ramuz jouant avec son petit-fils Guido Olivieri dans l'embrasure de la porte de La Muette. L'image est joyeuse.
2
Three-quarters of the picture is occupied by the water of the lake, seen in close-up. The horizon is tilted. Above the water, on which the sunlight is reflected, we see the cloud-saturated sky.
33
The black-and-white photo shows the garden façade of La Muette, Ramuz's home. The walls are bright, partly covered with ivy and bathed in sunlight. Ramuz is standing in the doorway, his hands in his pockets. The foreground is filled with flowers and tree branches.
21
In the photo, Cécile Cellier-Ramuz and her daughter Marianne look into the lens. Cécile is standing in front of a house. She is wearing a vertically striped dress and is holding a white hat. The child Marianne is standing in the frame of a barred window, barefoot in a short white dress. Beside her sit two dolls, also in white.
22
The painting is a rust-toned still life, featuring an open book, a piece of cloth and a dark-blue jug on a table. Chinese lantern is placed on the book and in the jug.
40
On a crumpled page is a large handwritten title: “Lettre à Monsieur Bernard Grasset.” “LETTRE” is written in capital letters in red pencil and underlined in blue. “Monsieur Bernard Grasset” is written in blue pencil and underlined in red. Below, in gray pencil, is written: “C.F. Ramuz (L’Acacia, cour p. Lausanne (Suisse)).”
28
In the painting, cows are lying in a hilly meadow dotted with trees. In the background, a person is sitting on the grass. In the background, we see a village and a church under a blue sky.
35
Peinture de Cécile Cellier. On y voit le bureau de Ramuz, de bois vert. Dessus, un encrier, des plumes, un manuscrit, des livres, un paquet de cigarettes.
6
Photo contemporaine d’un lever de soleil dans une forêt. L’image est rouge.
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