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"ZAMYATIN, E. - ZAMJATIN.MareMagnum

My [Russian - i.e. We]. - [THE FORERUNNER OF ORWELL'S ""1984"" - THE FIRST MODERN DYSTOPIA]

(PROUST Marcel) DREYFUS RobertMareMagnum

Quarante-huit

- In les Cahiers de la quinzaine, Paris 1907, 13x19cm, broché. - First edition on current paper. Small gaps in the head and foot of the back, some bites and clear spots on the boards. Exceptional autograph dedication signed by Robert Dreyfus to his friend: "Marcel Proust. Very affectionately. Childhood friends and students of Lycée Condorcet, Marcel Proust and Robert Dreyfus founded the magazine Le Banquet in 1892, with some of their classmates including Daniel Halévy. Will appear eight numbers that contain the first steps in literature of one and the other. In 1907, Dreyfus, when he wrote this letter to Proust imbued with deep sympathy, is a noted author for his essays: The Life and the prophecies of Count Gobineau published two years earlier earned him a prize from the French Academy . Proust, meanwhile, is then working on the writing of his great work, In Search of Lost Time , but still has a modest reputation as a writer. The friendship between the two men crosses the decades, as evidenced by their correspondence, started in 1888 and continued until 1920. Well inspired, Dreyfus will preserve preciously the letters of Proust who, after the death of this one, will allow him to write a precious book for the Proustians, Souvenirs on Marcel Proust , accompanied by unpublished letters (1926): "Is it a consolation to think: if he had been better, [...] he would not have written these letters where the flares of his mind still sparkle. " Copy of Marcel Proust's library, donated by his childhood friend Robert Dreyfus. [FRENCH VERSION FOLLOWS] Edition originale sur papier courant. Petits manques en tête et en pied du dos, quelques piqûres et taches claires sur les plats. Exceptionnel envoi autographe signé de Robert Dreyfus à son ami : « À Marcel Proust. Très affectueusement ». Amis d'enfance et anciens élèves du Lycée Condorcet, Marcel Proust et Robert Dreyfus fondent la revue Le Banquet en 1892, avec quelques-uns de leurs anciens condisciples dont Daniel Halévy. Paraîtront huit numéros qui contiennent les premiers pas en littérature de l'un et de l'autre. En 1907, Dreyfus, quand il rédige cet envoi à Proust empreint d'une profonde sympathie, est un auteur reconnu pour ses essais : La Vie et les prophéties du Comte Gobineau publié deux ans plus tôt lui a valu un prix de l'Académie française. Proust, quant à lui, s'attelle alors à la rédaction de son grand uvre, À la recherche du temps perdu, mais n'a encore qu'une modeste réputation d'écrivain. L'amitié entre les deux hommes traverse les décennies, comme en témoigne leur correspondance, entamée dès 1888 et poursuivie jusqu'en 1920. Bien inspiré, Dreyfus conservera précieusement les lettres de Proust qui, après la mort de celui-ci, lui permettront d'écrire un livre précieux pour les proustiens, Souvenirs sur Marcel Proust, accompagnés de lettres inédites (1926) : « Est-ce une consolation de songer : s'il avait été mieux portant, [...] il n'eût pas écrit ces lettres où scintillent encore les fusées de son esprit. » Exemplaire de la bibliothèque de Marcel Proust, offert par son ami d'enfance Robert Dreyfus.

Librairie Feu Follet · Paris, FR4 025,00 €

BARRUCAND Victor CARRE LéonMareMagnum

Le chariot de terre cuite

- Editions d'art H. Piazza, Paris 1921, 23x30,5cm, relié sous étui. - Edition decorated with 20 unpaged original colour illustrations by Léon Carré, one of the 135 numbered copies on Japan Imperial containing an inventory of all the illustrations on thin vellum, print after 25 Japan. Full chocolate brown morocco binding, spine in four compartments set with floral motifs consisting of green, mauve and purple mosaic morocco pieces, blind roll tooling on the caps, frame of a beige mosaic morocco strip on the boards enriched with gilt dots in the corners and pieces of green, brown, purple and mauve mosaic morocco in a floral and leaf design, frame of seven gilt fillets and a chocolate brown mosaic morocco strip on the paste downs in full Havana morocco, watered silk endpapers embroidered with silver threads, following endpapers marbled, black fillets on the leading edges, covers and spines preserved, all edges gilt, slipcase edged in chocolate brown morocco, marbled paper boards, interior in chocolate brown paper, superb mosaic binding signed Marius Michel. A very beautiful copy perfectly set in a full mosaic, lined morocco binding by Michel. [FRENCH VERSION FOLLOWS] Edition ornée de 20 illustrations originales hors-texte en couleurs de Léon Carré, un des 135 exemplaires numérotés sur Japon impérial contenant un état de toutes les illustrations sur vélin mince, tirage après 25 Japon. Reliure en plein maroquin marron chocolat, dos à quatre nerfs sertis de motifs floraux consistant en des pièces de maroquin mosaïqué vert, mauve et violet, roulettes à froid sur les coiffes, encadrement sur les plats d'un listel de maroquin mosaïqué beige enrichi en angles de points dorés et de pièces de maroquin mosaïqué vert, marron, violet et mauve figurant un décor floral et végétal, encadrement de septuples filets dorés et d'un listel de maroquin mosaïqué marron chocolat sur les contreplats en plein maroquin havane, gardes de soie moirée brodée de fils argentés, gardes suivantes de papier à la cuve, filets noirs sur les coupes, couvertures et dos conservés, toutes tranches dorées, étui bordé de maroquin marron chocolat, plats de papier marbré, intérieur de papier marron chocolat, superbe reliure mosaïquée signée Marius Michel. Très bel exemplaire parfaitement établi dans une reliure en plein maroquin doublé et mosaïqué de Marius Michel.

Librairie Feu Follet · Paris, FR4 025,00 €

BLANCHOT MauriceMareMagnum

Le Très-Haut. Tapuscrit complet avec de nombreux ajouts autographes.

- 1948, 20,5x27cm, 272 feuillets. - Maurice BLANCHOT Le Très-Haut. Complete typescript with numerous manuscript additions 1948 | 20.5 x 27 cm | 272 loose leaves A full, original typescript. Typescript of 272 pages with several crossings-out, corrections and highlights in ink. Unique known working document of this pivotal text by Maurice Blanchot. This original typescript was evidently destined for the printers, as shown by the several pencil annotations, as well as the author's handwritten signature on the title page, which presumably validates the corrections before printing. If, following the example of the two novels, Idylle and Le Dernier Mot, the writing and composition of Le Très-Haut occurs several years before its publication in 1948, this typescript is probably this novel's last working and correction document; a novel that will mark a major turning point in the author's novel writing. The numerous handwritten corrections, deletions and additions of this last and only known version, particularly show the need for clearance in Maurice Blanchot's style and narration and his meticulous stylistic rearrangements until the last stage. The novel, mostly typewritten, is full of mimeographed pages, including the last 20. This double condition, which is found in Blanchot's other working documents, is the sign of two writing stages, the chronology of which is difficult to define. Thus, the mimeographed pages could be the remains of an earlier version fully recovered by the author. The major part that required rewriting would, therefore, have been retyped, and the corresponding mimeographs destroyed. However, the writing quality of the mimeographs (that often were not proofread), as well as several redactions on the last lines of the typewritten pages, seem rather to indicate that the mimeographs were produced after corrections. They seem then to be more an indication of an intense rewrite of these passages that needed work. An in-depth study of this issue would make it possible to discover if Le Très Haut was constructed in reverse, starting with its ending, which was written prematurely and included without major reworking, or if it is a youthful narrative that needed, on the contrary, significant reworking of the final pages leading to this conclusion. Whichever it may be, this double condition reveals a novel that is constructed during two times and periods that were likely quite far apart, judging from the differences in style. This novel is, therefore, part of the great rewriting enterprise started by Blanchot at the end of the 1940s. There are two types of recurring corrections that are particularly distinguishable in this typescript: deleted crossed out words or phrases "xxx" directly on the typescript; others crossed out by hand with an alternative above which is nearly always the one that appears in the published version of the novel. This shows that not only did Blanchot continue to rewrite his novel by typing it, but that once the work was finished, he would come back to rewrite it again. This stage gives rise to an abundance of all kinds of variations. Often a word in ink is surrounded by attempts and alternatives, written in very light ink and most often crossed out, even when it comes to the word that is ultimately retained. Accompanying these ad hoc drafts are the distinguishing marks of Blanchot's corrections that we see in other manuscripts: underlined and crossed out words or phrases, surrounded by English quotations or small crosses in superscript, showing the different degrees of probability that they would be deleted. It should be noted that quite often the parts of the text marked in this way survive the review process. While only having access to this final stage of the novel that is in the process of being written, thanks to the many, diverse corrections that are scattered throughout novelist Blanchot's "work laboratory," we can access the novel and watch it take shape before our eyes. Exceptional and u

Librairie Feu Follet · Paris, FR4 025,00 €

COCTEAU JeanMareMagnum

La difficulté d'être

- Paul Morihien, Paris 1947, 11,5x17cm, broché sous chemise-étui. - COCTEAU Jean. La Difficulté d'être [The Difficulty Of Being] Paul Morihien, Paris 1947, 11,5 x 17 cm, original wrappers with custom slipcase The first edition, an advance [service de presse] copy. A fine inscription from Jean Cocteau to Jean-Paul Sartre: "son ami de tout cur [your true friend]." Despite not being of the same generation, and despite everything that could have separated them, Jean Cocteau and Jean-Paul Sartre were friendly in the late 40s and early 50s. When Sartre died, Jean Marais evoked their regular telephone calls and dinners with endless, wonderful discussions. The two also worked together for recognition for Jean Genet and in July 1948 published an open letter together in Combat, addressed to the President of France, Vincent Auriol, urging the release from prison of the poet-thug. A few years later, Cocteau would help Sartre set up a committee of support for Henri Martin, a Communist protesting against the war in Indochina, sentenced to five years in prison for distributing pamphlets. Cocteau also took part in the staging of Sartre's Dirty Hands at the Théâtre Antoine in 1948. In giving the high priest of Existentialism an inscribed copy of The Difficulty of Being, the indefatigable dandy was giving him one of his most intimate pieces. In this work, Sartre's political engagement is evoked in poetic terms: "but why does he insist on visible engagement? The invisible engages so much more...Poets engage themselves without any goal other than to lose themselves." Rare testimony of the links between two major figures of the 20th century intellectual and literary world. [FRENCH VERSION FOLLOWS] Edition originale, un des exemplaires du service de presse. Précieux envoi autographe signé de Jean Cocteau à Jean-Paul Sartre : « son ami de tout cur ». Sans être de la même génération et en dépit de tout ce qui pouvait les opposer, Jean Cocteau et Jean-Paul Sartre se fréquentèrent à la fin des années 1940 et au début des années 1950 ; à la mort du philosophe, Jean Marais évoquera des coups de fil réguliers mais aussi des dîners aux interminables et merveilleuses discussions. C'est ainsi que les deux hommes uvrèrent de concert à la reconnaissance de Jean Genet et qu'ils publièrent en juillet 1948 dans Combat une lettre ouverte au Président de la République, Vincent Auriol, en faveur de la libération de prison du poète-voyou. Quelques années plus tard, Cocteau aidera Sartre à créer un comité de soutien à Henri Martin, opposant communiste à la guerre d'Indochine condamné à cinq ans d'emprisonnement pour distribution de tracts. Cocteau participera également à la mise en scène des Mains sales, pièce de Sartre créée en 1948 au Théâtre Antoine. En offrant au pape de l'existentialisme un exemplaire dédicacé de La Difficulté d'être, l'infatigable dandy lui soumet l'une de ses uvres les plus intimes. Dans l'ouvrage, c'est en poète qu'il évoque d'ailleurs l'engagement politique de Sartre : « mais pourquoi se borne-t-il à l'engagement visible ? L'invisible engage plus loin. [...] Les poètes s'engagent sans aucune autre cause que de se perdre. » Rare témoignage des liens entre deux figures majeures de la scène intellectuelle et littéraire du XXème siècle.

Librairie Feu Follet · Paris, FR4 025,00 €

KIPLING Rudyard VAN DONGEN KeesMareMagnum

Les plus beaux contes de Kipling illustrés par Van Dongen

- Editions de la Sirène, Paris 1920, 22,5x30,5cm, relié sous chemise et étui. - Les Plus Beaux Contes de Kipling illustrés par Van Dongen [The finest tales by Kipling illustrated by Van Dongen] Éditions de la Sirène | Paris 1920 22,5 x 30,5 cm | decorated binding with slipcase and chemise Edition with 23 original color illustrations, decorations, and design by Kees Van Dongen, one of 250 numbered copies on vellum à la forme, this one not justified. Full old-rose box binding. First cover inlaid, giving a glimpse of a reproduction of the illustration by Kees Van Dongen on page 37; center of the second cover illustrated with a vignette reproducing the decoration shown at the base of each page and drawn by Kees Van Dongen, gray buckskin endpapers, well-preserved covers, top edge gilt, old-rose box slipcase, grey paper boards, white paper lining, old-rose lining box on the slip, a nice ensemble crafted by Florence Capart-Boré. Occasional slight foxing and spotting. Fine and rare copy magnificently illustrated by Kees Van Dongen. [FRENCH VERSION FOLLOWS] Edition ornée de 23 illustrations originales en couleurs, d'ornements et d'une maquette de Kees Van Dongen, un des 250 exemplaires numérotés sur vélin à la forme, le nôtre non justifié. Reliure en plein box vieux rose, dos lisse, premier plat ajouré laissant entr'apercevoir une reproduction de l'illustration de Kees Van Dongen page 37, second plat illustré, en son centre, d'une vignette reproduisant l'ornement figurant en bas de chaque page et dessiné par Kees Van Dongen, gardes et contreplats de daim gris, couvertures conservée, tête dorée, chemise à bandes et à rabats de box vieux rose, plats de papier gris, intérieur de papier blanc, étui bordé de box vieux rose, plats et intérieur de daim gris, bel ensemble signé de Florence Capart-Boré. Quelques petites piqûres et rousseurs sans gravité. Bel et rare exemplaire magnifiquement illustré par Kees Van Dongen.

Librairie Feu Follet · Paris, FR4 025,00 €

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