Opposite the fresco and the pissotière is the Musée Gabriel Chevallier, a small room with a wealth of (mainly pictorial) information on the writer, including some of his drawings.
A representation of Chevallier made at an unknown date.
Chevallier in his Amilcar (1923-25).
Again, the date of this photo is unknown.
Madeleine, Chevallier's wife, at the time of the marriage in 1936.
The 1945 edition of Clochemerle, with illustrations by Albert Dubout.
Chevallier was in World War I, and drew representations of soldiers, of which this is one.
An undated self-portrait.
And another (obviously much later) undated self-portrait.
La Peur (1930) is Chevallier's first novel, about World War I. It formed the basis for Jean-Pierre Jeunet's film Un long dimanche de fiançailles (2004).
Chevallier is all over Vaux, and within a few seconds of the square we encounter representations of his characters. Bernard Pivot, the ex-chair of the Goncourt panel, was born here and has a school named after him, but Chevallier reigns supreme.
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