Albert CAMUSBiblio.com
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194288495Paris: Gallimard 1942. Fine. ""Nobody nobody had the right to cry over her"" Gallimard Paris 1942 11.8 x 18.8 cm Relié First edition no copies on deluxe paper issued. Half light brown morocco binding flat spine with author stamped in gilt and title stamped in gilt lengthwise gilt date at foot brown stingray boards framed in morocco brown suede endpapers and pastedowns original covers and spine preserved top edge gilt elegant binding signed Thomas Boichot. Manuscript ex-libris in black ink and a slight restoration to the upper right corner of the first endpaper. Since March 1942 the Vichy government had restricted paper stocks available to publishers which drastically reduced their print run and deluxe issues. 4400 copies of the first edition of LÉtranger were printed on 21 April 1942 and divided into eight editions of 550 copies each. As a result most copies bear on the back cover a false statement of second to eighth edition. Paper was scarce in 1942 and as Albert Camus was then an unknown author Gallimard did not print any copies on deluxe paper. Only press copies and first issue copies do not feature a statement of edition. The exigencies of wartime paper production resulted in stock of markedly inferior quality; copies are almost invariably browned with age save for a handful of rare exceptions. Copies without any statement of edition are particularly sought after. A major piece of book collecting housed in an outstanding binding signed by Thomas Boichot. Gallimard hardcover
194697850New York: Alfred A. Knopf 1946. First American edition of Camus' first novel and masterpiece. Octavo original beige cloth. Presentation copy inscribed by the author on the half-title page "A Vincent Sheean pour le remercier de savoir si bien parler de Stendhal Sympathiquement Albert Camus." The recipient Vincent Sheean was an American journalist and novelist. Sheean's most famous work was Personal History which won one of the inaugural National Book Awards: the Most Distinguished Biography of 1935. Film producer Walter Wanger acquired the political memoir and made it the basis for his 1940 film production Foreign Correspondent directed by Alfred Hitchcock. Sheean wrote the narration for the feature-length documentary Crisis 1939 directed by Alexander Hammid and Herbert Kline. He translated Ève Curie's biography of her mother Madame Curie 1939 into English. Sheean wrote Oscar Hammerstein I: Life and Exploits of an Impresario 1955 as well as a controversial biography of Dorothy Thompson and Sinclair Lewis Dorothy and Red 1963. He studied at the University of Chicago becoming part of a literary circle which included Glenway Wescott Yvor Winters Elizabeth Madox Roberts and Janet Lewis while he was there. Near fine in a near fine dust jacket. Jacket design by Warren Chappell. Translated by Stuart Gilbert. Housed in a custom half morocco clamshell box. Presentation copies of The Stranger are rare with only one appearing at auction in the past 70 years. Exceedingly scarce and desirable. Through the story of an ordinary man unwittingly drawn into a senseless murder on an Algerian beach Camus explored what he termed "the nakedness of man faced with the absurd." With the publication of this first novel L’Etranger The Stranger Camus introduced his lifelong attempt to reconcile a philosophy of heroic nihilism with “the ideal of human fraternity†Encyclopedia of Philosophy. It remains one of the classic works of the twentieth century. Alfred A. Knopf hardcover
194280260Paris: Gallimard 1942. Fine. Precious Advance Copy as Issued Gallimard Paris 1942 12 x 19 cm broché sous chemise et étui First edition first issue for which no grand papier deluxe copies were printed one of the rare service de presse advance copies. Some very discreet restorations to spine paper browned some discreet traces folds at the bottom of some leaves. A handsome copy as issued. The book is housed in a slipcase signed by Julie Nadot reproducing the original design of the cover and spine. This first edition of L'Étranger was printed on 21 April 1942 with a run of 4400 copies: 400 advance copies service de presse 500 copies without statement and 3500 copies with false statements from the second to eighth edition. The advance copies not intended for sale do not include the indication of price 25 francs on the back of the cover. Paper was rare in 1942 and Albert Camus being then an unknown author Gallimard did not print any deluxe grands papiers copies as was often the case. The advance copies or copies without false statements are particularly sought after. Precious and rare unsophisticated copy under an elegant slipcase by Julie Nadot. Gallimard unknown
32047Paris Gallimard 17 juin 1957. 1 vol. 110 x 170 mm de 203 p. et 2 f. Broché. . Édition originale de l'adaptation d'Albert Camus. Un des exemplaires numérotés sur alfa. Envoi signé : « En ce temps-là cher René beaucoup d'hommes savaient que l'amitié et l'honneur étaient les deux noms d'une même fidélité ; aujourd'hui dans l'abaissement où nous sommes ceux qui comme vous le savent encore comment nous en passerions-nous A. C. 1957 ». . Cette dédicace au coeur de l'année du Nobel résume évidemment l'amitié mais surtout l'alliance d'éthique et d'esthétique qui gouverne la période : Camus dramaturge metteur en scène et traducteur ancre son travail dans une fidélité d'amitié d'histoire et de théâtre. Dès ses débuts algérois Camus rêve de plein air d'une scène populaire où la parole « marche vers sa fin » ; l'Espagne l'accompagne très tôt de Révolte dans les Asturies à La Célestine montée avec l'Équipe avant qu'une première collaboration décisive n'ait lieu en 1953 : Marcel Herrand lui commande l'adaptation de Calderón La Dévotion à la croix coup d'envoi d'un cycle hispanique qui culminera avec Lope de Vega en 1957 et ce Chevalier d'Olmedo. À Angers Camus est la figure centrale de la 6e édition du Festival 21-30 juin 1957 : il y remanie et met en scène Caligula pour la première fois et dirige sa propre adaptation du Chevalier d'Olmedo. La « première » demeure de manière légendaire datée au 21 juin mais un orage d'une violence rare arrache décors et inonde plateau et gradins au moment d'allumer les remparts : la représentation est annulée si bien que le festival s'ouvrira in fine le 22 par Caligula et la vraie première d'Olmedo a lieu le 23 juin puis les 26 et 29. Sans en « oublier le côté populaire » écrit-il en marge de ses brouillons sur la pièce. Car Olmedo vient nourrir le projet d'une tragédie moderne où « un seul sentiment marche sans arrêt vers sa fin » et préfigure le répertoire que Camus à la fin de 1959 cerne pour la direction de théâtre qu'on s'apprête à lui confier : Lope encore Calderón Tirso de Molina. Robert Kemp dans sa critique de la pièce donnée dans Le Monde saluera le rythme la fraîcheur et l'innocence du texte de Lope servis par « la plume solide aiguë » de Camus - la même qui vient d'écrire sur la peine de mort des pages fortes et saisissantes qui ne convaincront pas les mainteneurs de la guillotine mais exalteront les abolitionnistes. Rien d'anecdotique : Camus note que le dernier mot de la pièce - teatro - signifie aussi échafaud ; les tréteaux sont un gibet. « Il vaudrait mieux que l'exécution fût publique. Le comédien qui est en chaque homme pourrait alors venir au secours de l'animal épouvanté et l'aider à faire figure même à ses propres yeux » écrit-il dans Réflexions sur la guillotine dont la rédaction est strictement contemporaine. Ainsi la fin de l'adaptation d'Angers n'est pas sans rappeler un motif qui parcourt l'oeuvre entière de Camus du dernier voeu de Meursault au pied de l'échafaud dans L'Étranger jusqu'au rêve d'exécution publique dont parle Clamence à la fin de La Chute publiée l'année précédente. Magnifique provenance. Cet envoi est l'une des 43 connus à René Char l'ami le frère : cette dédicace est de loin la plus longue des 43 référencées. Paris, Gallimard, (17 juin) 1957. 1 vol. (110 x 170 mm) de 203 p. et [2] f. Broché. unknown
1946BAWDENED001717Hamish Hamilton London. 1946. First UK edition. Octavo. pp ii 104. Translated from the French by Stuart Gilbert. Five-page Introduction by Cyril Connolly who also included the book in his 100 Key Books of the Modern Movement.WITH: Edward Bawden's original artwork for the front panel and spine of the dustwrapper. This measures approximately 11.5 x 9 cm and is painted in three colours with watercolour. The pencilled gridlines for scaling up to the published size are discernible beneath the image and the phrase ''Introduction by Cyril Connolly'' is not present. Mounted framed and glazed together with the front panel and spine of the printed dustwrapper. The frame which measures 36.5 x 31 cm was made by Bawden's usual framers in Essex and has their inkstamp on the rear. His pencilled signature can be seen on the backing board below the artwork. The printed version shows some details have been added to the face and that the lettering designed by Bawden has been tidied up a bit. In their 2008 book on Bawden Caroline Bacon and James McGregor state that the dustwrapper design uses linocut and collage whereas this early preparatory drawing clearly uses neither. It is possible that the frame was made for the 1988 exhibition at the V&A which celebrated Bawden's 85th birthday. He had worked as an official war artist in Iraq and Saudi Arabia which may have influenced his decision to depict the about-to-be-murdered Arab rather than the book's central character Meursault.Book: small patch of fading to head of spine; very small bumps to corners of covers; very good indeed in very good dustwrapper with some chipping and closed tears repaired on the reverse. Artwork: fine. Hamish Hamilton, London. unknown
1942140947843Paris: Gallimard 1942. First Edition. Near Fine. First edition first printing with false mention of seventh edition imprint. 159 pp text in French printed on wartime speckled paper. Bound in publisher's cream wraps printed in red and black. Prelims unopened. Near Fine with slight lean to spine and light wear soiling and foxing to covers. Contents toned. Housed in a custom chemise slipcase with very light wear marble-printed paper over boards red leather spine titled in gilt on chemise.<br /> <br /> <p>An excellent copy of Camus' first novel published in a limited run of 4400 copies due to paper restrictions under German occupation. The publishers printed different copies with "Second Edition" "Fifth Edition" and so on as a marketing ploy to attract customers. This copy has "septieme edition" printed on the title page and rear wrap. Gallimard unknown
1947140946928Paris: Gallimard 1947. First Edition. Near Fine. First edition of the The Plague in the original French; a press service copy. An association copy signed by Albert Camus and inscribed on the half title page to teacher and literary critic "a M. Rene Lalou avec la gratitude et les sentiments de vive sympathie." Bound in half green morocco over marbled boards stamp-signed by Mercher 1967; in matching green lined slipcase lightly worn. Near Fine with small small stain to fore edge tanning to pages pencil marking throughout mostly confined to the margins. One of Camus' best known works. Gallimard unknown
19572921<p>Paris: Gallimard 1957. First edition. original wrappers. Fine. FIVE PRESENTATION COPIES ALL SIGNED AND INSCRIBED BY CAMUS TO ALAIN GHEERBRANT. Alain Gheerbrant 1920-2013 was an influential French writer publisher and explorer. As the founder of the avant-garde publishing house K Éditeur Gheerbrant was highly influential in French literary circles in the 1940s publishing works by among others Antonin Artaud Benjamin Péret and Georges Bataille. He later became famous as an explorer - traveling along the Amazon river and being the first Westerner to make contact with several indigenous groups. These volumes – all inscribed by Camus to Gheerbrant – link Camus to an important contemporary of the French literary avant-garde.<br /><br />The collection consists of:<br /><br />–L'Homme Révolté. The Rebel. Inscribed on the half-title "á M. Gheerbrandt / en cordial hommage. Albert Camus."<br /><br />Camus's major philosophical statement a continuation of the ideas introduced in The Myth of Sisyphus and fictionalized in La Peste. First edition – with "l'edition originale" statement but later issue with "17e édition" on title page. The publisher Gallimard was famous for adding fictitious later edition statements on the title page to imply the book was selling well. Paris: Gallimard 1951. Original wrappers glassine with wear custom box. A fine copy.<br /><br />–L'Exil et Le Royaume. Exile and the Kingdom. Inscribed on the half-title "á M. Gheerbrant / en cordial hommage. Albert Camus."<br /><br />Camus's masterful collection of six short stories exploring the absurd including his most celebrated story "The Guest". First edition service de presse issue "S.P." – sent to potential reviewers and members of the literary world – generally preceding the regular issue. Paris: Gallimard 1957. Octavo original wrappers glassine with wear custom box. A fine copy.<br /><br />–Actuelles II. Chroniques 1948-1953. Current Chronicles. Inscribed on the half-title "à Monsieur Gheerbrant en bien cordial hommage. Albert Camus". <br /><br />Camus second collection of journalistic essays promoting his characteristic themes of the need for justice and the avoidance of violence. First edition advance service de presse issue "S.P." Paris: Gallimard 1953. Octavo original wrappers glassine with wear custom box. A fine copy.<br /><br />–La Chute. The Fall. Inscribed on the half-title "à Monsieur Gheerbrant en cordial hommage. Albert Camus". <br /><br />Camus's last novel a searing exploration of the narrator's attempt to deal with his existential despair in the wake of the Second World War and the Holocaust. First edition with "l'edition originale" statement but later issue with "Onzième édition" on title page. Paris: Gallimard 1956. Octavo original wrappers glassine with wear custom box. A fine copy.<br /><br />–L'Été. Summer. Inscribed on the half-title "à Monsieur Gheerbrant en bien cordiale pensée. Albert Camus." <br /><br />Camus's post-war collection of essays including his much-reproduced "La Minotaure" and "Retour a Tipasa". First edition advance service de presse issue "S.P." Paris: Gallimard 1954. Octavo original wrappers glassine with wear custom box. A fine copy.<br /><br />Please note: There is some toning and chipping to the glassine on the copies but the copies themselves are strikingly clean and fine.</p> Gallimard
194543878Paris: Gallimard 1945. Fine. Gallimard Paris 1945 12 x 19 cm broché First edition one of 25 numbered copies on ""pur-fil"" paper most limited issue. The book Camus dedicated to his friend René Leynaud. Rare and handsome copy. Gallimard unknown
195757978Paris Gallimard 1957. Bound uncut and with the original printed wrappers aslo the backstrip in a magnificent full black morocco binding with more than 100 calf onlays in seven different tones of red/orange forming three hypnotizing circles on each board. Gilt title to spine all edges gilt and bright red suede end-papers within cream calf borders. Housed in a matching black morocco chemise with gilt title and red and grey paper covers with suede on the inside and a slipcase of the same paper and with black morocco edges. The binding is signed J.P. Miguet and dated 2003. One of the morocco onlays on the back board towards the spine has a tiny tear at the edge. Otherwise the binding is in splendid condition. Also internally the copy is near mint. Apart from the backstrip which has been mounted and slightly restored it is completely clean fresh and crisp. Elengant blindstamped super-exlibris to inside of front board. <br/><br/><em>Nr. 35 out of merely 45 numbered copies on Hollande van Gelder - first paper premier papier followed by another 1.145 numbered copies on other kinds of paper - of Camus' great collection of stories which are considered among the best of his works. Together these stoires cover the entire variety of existentialism - or absurdism. There is general consensus that the clearest manifestation of the ideals of Camus can be found in the present work. </em> unknown
195043780Paris: Charlot 1950. Fine. Charlot Paris 1950 16 x 25.50 cm relié First edition in part one of 17 numbered copies on China paper tirage de tête. Half maroon morocco Bradel binding by Devauchelle over Japan paper the spine with two mosaiced lozenges of cream-colored morocco date and publisher at foot of spine top edge gilt an elegant binding. Provenance : the library of Raoul Simonson with his ex libris pasted in. A fine copy in a lovely binding. Charlot unknown
1946184881Paris: Calmann-Lévy Éditeurs 1946. They discovered with a surprise from which they have barely recovered that one could be right and be defeated A hand-corrected typescript by Camus of his preface to the special Spanish issue of Actualité along with a copy of the journal. L'Espagne Libre was edited by George Bataille and devoted exclusively to Spanish politics economy art and culture. The typescript shows several significant differences to the published version including the deletion of a large paragraph that is present in L'Espagne Libre suggesting that Camus returned to and revised this text or changed his mind and made further edits prior to publication. In the preface written shortly after the Second World War Camus considers the damage and horror of the Spanish Civil War: "For nine years now the men of my generation have had Spain in their hearts. it was through it that they first experienced the taste of defeat that they discovered with a surprise from which they have barely recovered that one could be right and be defeated that force could subdue the spirit and that there were cases where courage had no reward" our translation. The journal contains many significant pieces including articles by Jean Camp Maurice Blanchot a translated version of a chapter of Ernest Hemingway's For Whom the Bell Tolls to which they gave the title "L'Odeur de la Mort" and the short puppet play Retablillo de don Cristóbal written by Federico García Lorca. Typescript: 5 leaves 280 x 217 mm typed one side only in French paper hole punched. Actualité: L'Espagne Libre: cream wrappers spine lettered in black front cover lettered and decorate in black and yellow. Typescript: occasional chips to inner edge hole-punched toned horizontal crease where folded. Actualité: toned a little brittle chips at edges minor loss to paper on spine rear joint repaired: a good copy. unknown
31882Alger Éditions Edmond Charlot coll. « Méditerranéennes » 10 mai 1937 1 vol. 205 x 156 de 66 p. et 1 f.n.ch. Broché. Édition originale. Tirage limité à 385 exemplaires. Un des 325 exemplaires sur Hélio n° 261. Envoi signé : « à Christian Thenier avec la sympathie d'Albert Camus ». Montée en tête la rare carte de visite « hommage de l'éditeur » d'Edmond Charlot. OEuvre de la première heure L'Envers et l'endroit est un recueil formé de cinq essais : L'Ironie Entre oui et non La Mort dans l'âme Amour de vivre et L'Envers et l'endroit. Il est dédié à Jean Grenier l'ancien professeur de philosophie d'Albert Camus au lycée d'Alger. « La valeur de témoignage de ce petit livre est pour moi considérable. Je dis bien pour moi car c'est devant moi qu'il témoigne c'est de moi qu'il exige une fidélité dont je suis le seul à connaître la profondeur des difficultés » : un aveu confié par Camus vingt ans plus tard pour la préface de la réédition du texte aux éditions Gallimard. C'est dire toute l'importance de ce premier livre publié sous son nom propre - après l'essai « collectif » de Révolte dans les Asturies la pièce rédigée et montée en 1936 déjà imprimée par les soins d'Edmond Charlot. Ce dernier est alors un éditeur en devenir qui souhaite réaliser pour ses ouvrages de la collection « Méditerranéennes» des tirages sur beaux papiers. Les textes publiés de la collection sont ornés de portraits ou d'illustrations mais les deux publications de Camus parues chez cet éditeur avant la guerre L'Envers et l'Endroit puis Noces en 1939 en sont dépourvues ne laissant apparaître que le texte dans sa seule sobriété. Ce n'est pas un hasard. L'Envers et l'Endroit est proposé en souscription à 350 exemplaires sur Alfa et 30 exemplaires sur vélin ; au final le tirage sera composé de 30 exemplaires sur pur fil dont cinq sur papier vert de 325 exemplaires sur alfa Hélio et de 30 exemplaires de presse imprimés S.P. sur bouffant. On ne connaît qu'une poignée d'exemplaires avec envoi - seuls trois sont identifés. Notre exemplaire a été offert sans doute dès sa parution en mai 1937 à un « voisin » de Camus Christan Thenier : son commerce était situé au 9 rue de Tanger à quelques centaines de mètres de la librairie d'Edmond Charlot rue de Charras et entre le domicile de Camus rue de Lyon et celui de l'oncle Acault rue Michelet : un parcours et des rues que Camus ne cesse d'emprûnter au quotidien et une provenance tout à fait intéressante et particulièrement adéquate pour le fils du quartier de Belcourt capable de ressusciter les soirs d'été d'Alger quand tous les voisins se mettaient au balcon partageant entre eux « une solitude dans la pauvreté qui rend son prix à toute chose ».« Edité à Alger peu diffusé pendant la « drôle de guerre » l'Envers et l'Endroit tarde à bénéficier après la Libération du succès de L'Etrangeret du Mythe de Sisyphe. Camus finit donc en 1958 par en accepter la réédition. Elle est pour lui l'occasion de reconsidérer dans une préface substantielle le temps déjà accompli de sa carrière. S'il juge sévèrement quant à la forme des essais écrits à l'âge où « l'on sait à peine écrire » il y salue chaleureusement « la source unique que chaque artiste garde au fond de lui ». Il dégage mieux à présent la leçon des « voix des quartiers pauvres » « à mi-chemin de la misère et du soleil » alors qu'il a découvert à Paris « la double humiliation de la misère et de la laideur » ». Cet exemplaire a longtemps fait partie de la collection du libraire Louis et de sa fille Marie-Madeleine Tschann Paris Alde mai 2013 n° 208. Il a également figuré à l'exposition De Tipasa à Lourmarin 2013 n° 10 reproduit au catalogue. Bon exemplaire malgré une couverture restaurée et quelques piqûres anciennes aux feuillets liminaires. Alger, Éditions Edmond Charlot, coll. « Méditerranéennes », (10 mai) 1937 1 vol. (205 x 156) de 66 p. et 1 f.n.ch. Brochà unknown
26841Paris Gallimard coll. « Les Essais » février 1954. 1 vol. 125 x 190 mm de 188 p. et 2 f. Broché non coupé sous chemise et étui. . Édition originale. Un des 25 premiers exemplaires sur vélin de Hollande n° 18. . Après les querelles idéologiques que ses adversaires ont infligées à L'Homme révolté Albert Camus se tourne vers un travail plus littéraire en composant ce recueil. Les récits qui le composent ont été écrits entre 1939 et 1953 au rythme des lieux visités ou habités : Oran dont la nouvelle « Le Minotaure » dresse un fabuleux portrait ; Alger ville de sa jeunesse. Les textes notamment le célèbre « Retour à Tipasa » sont parcourus par un lyrisme qui les place dans la continuité de Noces. Signalons qu'il s'agit d'un des plus petits tirage en grands papiers pour une oeuvre de Camus : il suit par le nombre les 13 exemplaires du Malentendu et des Justes les 14 de L'État de siège les 15 du Mythe de Sisyphe et les 21 du Minotaure ou la halte d'Oran - lequel sera justement repris dans L'Été. Signalons néanmoins que 10 exemplaires d'auteurs ont été tirés hors commerce sur alfa mousse. Tel que paru. Paris, Gallimard, coll. « Les Essais », (février) 1954. 1 vol. (125 x 190 mm) de 188 p. et [2] f. Broché, non coupé, sous unknown
195253361Paris: Falaize 1952. Fine. Falaize Paris 1952 11.50 x 17.50 cm broché La Ballade de la geôle de Reading. L'Artiste en prison The Ballad of Reading GaolFalaize Paris 1952 11.5 x 17.5 cm original wrappers New edition of the French translation by Jacques Bour and the first edition of Albert Camus' famous preface. One of 50 numbered copies on Madagascar paper tirage de tête. A fine autograph inscription from Albert Camus: à Michel Simon grand artiste avec les voeux chaleureux d'un de ses vieux admirateurs For Michel Simon a great artist with warmest wishes from an old fan and an autograph inscription from the translator Jacques Bour: à Michel Simon qui ferait crouler tous les murs! For Michel Simon who raised all the roofs! A rare and very good copy. Falaize unknown
19422886<p>Paris: Gallimard 1942. First edition. Very Good. FIRST EDITION OF ONE OF THE DEFINING NOVELS OF THE TWENTIETH CENTURY. "From its cold opening lines 'Mother died today. Or maybe yesterday; I can't be sure' to its bleak concluding image of a public execution set to take place beneath the 'benign indifference of the universe' Camus's first and most famous novel takes the form of a terse flat first-person narrative by its main character Meursault a very ordinary young man of unremarkable habits and unemotional affect who inexplicably and in an almost absent-minded way kills an Arab and then is arrested tried convicted and sentenced to death. The neutral style of the novel-typical of what the critic Roland Barthes called 'writing degree zero'-serves as a perfect vehicle for the descriptions and commentary of its anti-hero narrator the ultimate 'outsider' and a person who seems to observe everything including his own life with almost pathological detachment" David Simpson. <br /><br />Note: With the fictitious "Quatrième édition" on the title page and rear wrapper. The 4400 copies of the first printing were issued on the same day. There were eight different title pages and rear wrappers however used as a marketing ploy implying falsely that there were eight different editions.<br /><br />The Nobel Prize in Literature 1957 was awarded to Albert Camus "for his important literary production which with clear-sighted earnestness illuminates the problems of the human conscience in our times".<br /><br />Paris: Gallimard 1942. Original wrappers; glassine probably not original glassine; housed in custom half-morocco box with chemise. Some soiling to wrappers particularly on the spine spine also with edgewear; small tear at bottom right front wrapper and chipping at bottom right edge. A very good copy rare in original wrappers.</p> Gallimard
195082804Paris: Gallimard 1950. Fine. Gallimard Paris 1950 12 x 19 cm broché First edition one of 70 numbered copies on pur fil paper the deluxe issue after 2 reimposed on pur fil vergé hors commerce reserved for Jacques Hébertot and 13 on holland paper. A handsome and rare copy of this response by Albert Camus to Jean-Paul Sartre's ""Les mains sales"". Gallimard unknown
1951137305Paris: Gallimard 1951. First edition review copy marked "S.P." on title-page and lower wrappers of one of Camus' most notable works. Octavo original wrappers as issued. Presentation copy inscribed by the author on the half-title page "A Yvon Belaval en souvenir des Portiques d'Alger amicalement Albert Camus." The recipient French philosopher and literary scholar Yvon Belaval was a specialist in 18th century French philosopher Denis Diderot and edited an important edition of Diderot's works with fellow philosopher Jean Grenier one of Camus' most influential mentors to whom he dedicated the present volume. Camus became a student of Grenier's in Algiers and was strongly influenced by his work Les Îles published in 1933. He dedicated his first book to Grenier: L'envers et l'endroit published in Algeria by Edmond Charlot. L'homme révolté was also dedicated to Grenier and Camus provided the preface to the second edition of Les Îles in 1959. In near fine condition. A unique association copy. One of Camus' most important philosophical texts The Rebel examines both the metaphysical and historical development of rebellion and revolution in societies particularly in Western Europe. Examining both rebellion and revolt which may be seen as the same phenomenon in personal and social frames Camus examines several' countercultural' figures and movements from the history of Western thought and art noting the importance of each in the overall development of revolutionary thought and philosophy. Gallimard unknown
195882402Paris: Gallimard 1958. Fine. Gallimard Paris 1958 12 x 19 cm broché First edition one of 56 numbered copies on Holland paper deluxe copy. Additionally 210 copies were printed on pure thread paper and hors commerce 50 copies on Madagascar paper. A very handsome copy of Camus's finest text on commitment and the responsibility of new generations facing the challenges of the world to come. Gallimard unknown
195086112Paris: Gallimard 1950. Fine. Gallimard Paris 1950 12 x 19 cm broché First edition one of 70 numbered copies on pure thread paper ours being one of 15 hors commerce copies lettered under Ingres covers deluxe copies after 2 reimposed on pure thread laid paper hors commerce reserved for Jacques Hébertot and 13 holland paper copies. Minor marginal tears of no consequence to the covers. Handsome and rare copy of this response by Albert Camus to Jean-Paul Sartre's ""Les mains sales"". Gallimard unknown
1816ST15737Lyon: Chez Rusand 1816. 208 x 122 mm. 8 1/4 x 5". 2 p.l. xlviii 572 pp. <br/> ESPECIALLY FINE CONTEMPORARY EMERALD GREEN SHAGREEN BY DUPLANIL signed at foot of spine "DUPLANIL RELIr. DE S. A. R. MADAME" covers with simple gilt rule frame spine with raised bands flanked by gilt fillets and decorated with a dotted line compartments with very pretty centered ornament of a flower with four pointillé petals set against a gilt square background head and tail of spine with multiple decorative gilt rules board edges gilt with Greek key roll elegant gilt inner dentelles of urns and palmettes pink endpapers gilt edges. In a fine later fleece-lined burgundy morocco and marbled paper chemise and slightly worn matching slipcase. With woodcut vignette. Front end papers with morocco bookplates of Mortimer L. Schiff and John Roland Abbey. For the binding: De Ricci-Schiff III 277 this copy. ◆A breath of chafing to covers two leaves with slight paper flaws at fore margin otherwise A BEAUTIFULLY BOUND BOOK IN VIRTUALLY PERFECT CONDITION.<br/> <br/> This is an outstanding example of a French Restoration binding with illustrious provenance. The Duplanils were a distinguished family of Parisian binders active from the last part of the 18th until the middle of the 19th century. The signature at the foot of the spine here is that of Pierre Duplanil known as Duplanil fils the most notable member of the family; as this item indicates he was the self-styled binder to "S. A. R. Her Royal Highness Madame" i.e Madame Royale the title borne by Marie-Thérèse Charlotte of France 1778-1851 the eldest--and only surviving--child of Louis XVI and Marie Antoinette. Although she had married her cousin the duc d'Angoulême son of the future Charles X she retained the royal title accorded her as the daughter of the king. She later became "la Dauphine" when her father-in-law ascended the throne. Because of his client's changing appellations we can confidently date the present binding as being done between 1816 and 1824. Madame Royale's books which numbered about 1800 were kept together for 20 years after her death then sold at two auctions in Paris in the 1870s. Our volume is distinguished by its inclusion in Seymour De Ricci's impressive 1935 illustrated catalogue of Schiff's library of signed French bindings part of what Dickinson calls an "unrivaled collection of decorative bindings." This item is one of six Duplanil bindings in the Schiff catalogue. The presence of the bookplate of J. R. Abbey 1894-1969 the most ambitious English book collector of his time adds further luster to this item's provenance. Although Abbey's renowned library included world-class collections of private press books illuminated manuscripts and color plate books bindings were his most ardent interest and the various fine and important catalogues they spawned comprise perhaps the most enduring legacy of his collecting. During his most active period of binding acquisition Abbey bought many items and no doubt the present one in the Schiff sale in 1938; this book in turn was lot #1740 in part III of the Abbey sale purchased at Sotheby's on 19 June 1967 by B. W. Simpson for £32. First published in 1639 the present biography of the bishop and devotional writer St. Francis de Sales the author's friend and teacher is among the most memorable of the 200 or so books produced by the diligent churchman Camus bishop of Belley 1582-1652. Chez Rusand unknown
19472915Paris: Gallimard 1947. First edition. Original wrappers. Fine. FIRST EDITION; A MAGNIFICENT COPY. "The longest and most ambitious of his fictions Albert Camus's novel The Plague is widely regarded as his masterpiece. It is certainly an artistic tour de force: a vividly realistic account of a harrowing imaginary event" Murray Sachs. “When The Plague was first published in 1947 the majority of French critics greeted it as an allegorical presentation not only of la condition humaine in general but also of the particular experience of the German occupation. Yet it would be an extremely limiting interpretation to see in The Plague only the description of a single historical experience. The struggle against plague and occupation are part of a wider struggle not only against the physical evil inherent in the world but also against the evil which men by their blindness and indifference as well as by their cruelty do to one another†Philip Thody. <br /> <br /> One of 215 copies this one numbered 199 on “vélin our film des Papeteries Lafuma-Navarre†with the paper thicker and much brighter than the more common issue which tends to have browned pages. Note: before the number the limitation page says "Exemplaire de Alfa Navarre" but this is an error printed on all the "Lafuma-Navarre" copies. <br /> <br /> CAMUS ALBERT. La Peste. Paris: Gallimard 1947. First edition. Octavo original wrappers with almost certainly original glassine; custom half-red morocco box. A beautiful fine copy; without question the nicest we've handled. Gallimard unknown
1950422752Paris: Charlot 1950. Softcover. Near Fine/Near Fine. First edition limited issue. Tall octavo. Small chip at the spine crown very good in printed wrappers and unprinted glassine dust jacket. One of 120 copies reserved for the use of the author of a total edition of 1343 copies. This is copy number 848 on Rives paper. The copies numbered between 801 to 920 were the author's copies. Inscribed by the author: "a Nicole et Jean Marie/ avec la fidele affection/ de leur vieux camarade/ Albert Camus." "To Nicole and Jean Marie/ with the faithful affection/of their old comrade/ Albert Camus.".<br /> <br /> The recipients were almost certainly Nicole and Jean-Marie Domenach French intellectuals and friends of Camus albeit with some philosophical differences. Jean-Marie was a noted left wing Catholic thinker and while he and Camus were both vocal in protesting such activities as the French use of torture during the Algerian Civil War Domenach had considerably more sympathy for the socialist and communist governments of the time which Camus found repugnant. It is interesting to note the comma in the inscription as though the inclusion of Jean-Marie in the presentation was an afterthought or perhaps a necessity of politesse. Long after Camus had died Jean-Marie Domenach provided a preface to a book of his thinking Albert Camus and Christianity. Hope on Trial.<br /> <br /> The deluxe editions of this title turn up at auction with some regularity but we were unable to find any instance of one of the author's copies in the market and very few copies of this limited edition have ever turned up signed. A rarity and a notable association copy. Charlot unknown
195048392Paris: Gallimard 1950. Fine. Gallimard Paris 1950 12 x 19 cm broché sous chemise et étui First edition one of 23 numbered copies on Hollande paper the tirage de tête A fine unsophisticated copy. Gallimard unknown
195051282Paris: Gallimard 1950. Fine. Gallimard Paris 1950 12 x 19 cm broché First edition one of 23 numbered copies on Hollande paper the tirage de tête A fine copy. Gallimard unknown
