Looking back, I think I had not left any originals to her. Her daughter was not in Paris, so it would not have made sense. However, it seems to me that I had given Mrs Sanson some small reproductions to be forwarded to Véronique. But I'm not really sure.

Anyway, we obtained no reaction, and whenever I called Mrs Sanson or went to see her, she would invariably tell me that her daughter was living a crazy life, had not a minute for her, and was preparing her new album anyway (which would prove to be delayed, since it only came out in the fall of 1977).
Finally, during a stay of Véronique Sanson in France in the Summer of 76 (I think), Mrs Sanson gave me the phone number of her daughter in the country (may be it was her mansion in Orgeval, at the time), so that I could speak to her directly. The proof of trust that Madame Sanson showed me that day moved me deeply. So I called and came across a gentleman to whom I explained that I was calling on the part of Mrs Sanson. He told me to call back later because Véronique was busy.  After several calls I managed to talk to Véronique Sanson. I was very moved to hear at the other end of the line someone who inspired me and whom I admired so much. The musician was very friendly but made me understand that in fact she had had no time to look at anything and that her mother would keep me informed.

Time passed and ... nothing else much happened.

My interviews with Madame Sanson became less frequent. Finally, during the Fall of 1976, Mrs. Sanson informed me, with a crestfallen tone, that her daughter was not so keen on my artwork because she felt that in my paintings "she looked like the witch from Snow White" ... In retrospect, this Véronique Sanson's comment still amuses me a lot. By then, I remember I had found the comparison quite... colourful, to say the least! However, needless to say that this "Walt Disney" verdict and its implications for my project had left me far less smiling, by then.