Proust, MarcelBiblio.com
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640316Paris: Grasset & Nrf. 1st Edition. Paperback. Very Good. octavo. A superb set of Proust's masterpiece with the rare first issue of Du côté de chez Swann being signed and dedicated to blank preliminary page before the half-title and accompanied by a fragment of the original manuscript of Du côté de chez Swann. A mixed set the three signatures being dedicated to different recipients housed in stunning matching black solander boxes with Du côté de chez Swann also housed in a slipcase within the solander.Du côté de chez Swann – first edition first issue with the printing error in the Grasset imprint 1913 Signed by Proust to a blank preliminary page and dedicated to the novelist Lucien Descaves who was a member of the Prix Goncourt and who actually voted against Proust in 1919 the year he was awarded the prize for 'À l’ombre des jeunes filles en fleurs'.A l’ombre des juenes filles en fleurs – first edition though with the false edition statement to the cover so not the first issue 1918. Le côté de Guermantes I – third edition first edition on standard paper 1920 Signed and dedicated to the poet critic and writer Andre Salmon.Le côté de Guermantes II / Sodome et gomorrhe I – sixth edition Signed and dedicated also to Andre Salmon.Sodome et gomorrhe II i - first edition 1922 #276.Sodome et gomorrhe II ii - first edition 1922 #533.Sodome et gomorrhe II iii - first edition 1922 #553.La Prisonnière I – first edition 1925 #334.La Prisonnière II – first edition 1925 #334.Albertine disparue I – first edition 1925 #767.Albertine disparue II – first edition 1925 #767.Le Temps retrouvé I – first edition 1927 #293.Le Temps retrouvé II – first edition 1927 #293.Manuscript fragment from Du côté de chez Swann being an excerpt from concerning Françoise and the walks near Méséglise. This fragment presents a different version of the printed text Marcel Proust In Search of Lost Time Bouquins vol. I pp. 141-142. It is a working manuscript and more likely given its size a rough draft.This set was put together by the art dealer Karsten Schubert and is a truly outstanding collection. Grasset & Nrf paperback
191468610Paris: Bernard Grasset 1914. A La Recherche du Temps Perdu. Paris: Bernard Grasset 1914 i.e. 1913; Éditions de la Nouvelle Revue Française 1918-1927.<br> <br> A complete set of first editions. First issue of Du Cots de Chez Swann with the date 1913 on the front wrapper and 1914 on the title-page printer's imprint dated "le huit novembre mil neuf cent treize" on the verso of p. 523 and with 8 pp. of ads at the end. With the printer's misprint on the title-page and no table of contents. 4 523 1 printer's imprint 8 ads pp. Swann's Way. Together thirteen octavo volumes. Original glassine on all volumes. All volumes numbered on except for A l'Ombre des Jeunes Filles en Fleurs as there was no numbered print for this volume.<br> <br> "A l'ombre des Jeunes Filles en Fleurs" is first edition on regular paper after 64 large paper copies; all other volumes are in numbered first edition bearing the indication "Edition originale" on the cover.<br> <br> The set comprises: Du Cote de Chez Swann; A l'Ombre des Jeunes Filles en Fleurs; Le Cote de Guermantes I one of 800 numbered copies for the Amis de L' Edition Originale #760; Le Cote de Guermantes II and Sodome et Gomorrhe I one of 800 numbered copies for the Amis de L'Edition Originale #168; Sodome et Gomorrhe II three volumes one of 30 numbered copies for the Exemplaires D'Auteur Hors Commerce Marques For the author not for sale all three numbered 855; La Prisonniere two volumes one of 875 numbered copies for the Amis de L'Edition Originale both volumes nymbered 293; Albertine Disparue two volumes one of 1200 numbered copies for the Amis de L'Edition Originale Both volumes numbered 346; and Le Temps Retrouve two volumes one of 1200 numbered copies for the Amis de L'Edition Originale both volumes numbered 845.<br> <br> Original buff wrappers printed in red and black. Du Cote de Chez Swann in yellow wrappers printed in black. Volume I of Sodome et Gomorrhe II with previous owner's ink notes on front blank ink bleeding a bit onto the half-title. Overall fine copies of all volumes. Each volume individually housed in chemises with red morocco spines over gray paper boards and black paper slipcases with red morocco edges.<br> <br> "Du cote de chez Swann is the first volume of Proust's monumental opus A la recherche du temps perdu the most important French novel of the twentieth century and a masterpiece of European literature. This first volume described the narrator's childhood and contains the celebrated madeleine episode. Publication of subsequent volumes was interrupted by the war. This novel famously turned by Gide for the N.R.F was published at the author's expense by Grasset. By 1918 the N.R.F had realised its huge blunder and published A l'ombre des jeunes filles en fleurs which won the Prix Goncourt and established Proust as a major literature figure" From Stendhal to Rene Char: Le Cabinet de livres de Renaud Gillet Sotheby's 27 October 1999 lot 64.<br> <br> "Translated by Scott Moncreiff as Swann's Way etc. Proust's great novel A la recherche du temps perdu is something that happens once in a hundred years like Les Fleurs du Mal or War and Peace. He combined tragic poetical insight with the gift of creating comic characters in the round like Shakespeare. He is consistently both intelligent and poetic. Bergsonian philosophy of time gives depth Ruskinian aesthetics texture. Embittered by his homosexual bias and disabling asthma he shows some deterioration in the unrevised volumes though not enough to upset this magisterially executed conception of a master-mind in which art erects its monument to dead loves using for material only thought and the passage of time. 'It appeals to our sense of wonder and gains our hommage by its veiled greatness. I don't think there ever has been in the whole of literature such an example of the power of analysis' Conrad" Connolly The Modern Movement.<br> <br> BN Proust 402 445 484 489 531 533 and 536. Connolly The Modern Movement 23.<br> <br> HBS 68610.<br> <br> $35000. Bernard Grasset unknown
191893031918 Au total 15 volumes in-8° (151 x 200 mm), Paris, NRF, 1918 à 1927. Jolies demi-reliures postérieures en veau maroquiné lilas, plats de papier marbré, dos à nerfs, tranches ébarbées. Les plats et les dos des brochures ont été soigneusement conservés. Collection en parfait état. Dans le détail, elle se présente ainsi:Volume I: A la Recherche du temps perdu. Tome I. Du Côté de chez Swann [1ere: partie: Combray; 2emepartie : Un Amour de Swann; 3eme partie: Noms de Pays, Le Nom], Paris, Editions de la Nouvelle Revue Française, 35 & 37 rue Madame, [1919]. «Achevé dimprimer par limprimerie Bellenand à Fontenay-aux-Roses, le 14 juin 1919". 386+[2] pages. Deuxième édition, sur papier courant jauni.Volume II: A la Recherche du temps perdu. Tome II. A lOmbre des jeunes filles en fleurs [1ere partie: Autour de Swann; 2emepartie : Noms de Pays, Le Pays], Paris, Editions de la Nouvelle Revue Française, 35 & 37 rue Madame [1918]. «Achevé dimprimerle 30 novembre 1918 par limprimerie La Semeuse à Etampes». 443+[1bl]+[2] pages. Seconde émission de lédition originale, sur papier courant jauni, parue en librairie seulement le 21 juin 1919. Le dos de la brochure porte létiquette «Majoration temporaire cinquante pourcent», qui est la marque des 2000 exemplaires de la seconde émission. A la grande surprise des milieux littéraires, louvrage fut couronné par le Prix Goncourt le 10 décembre 1919 ; et, en dépit des commentaires parfois outrés quelle suscita, cette nomination assura le succès définitif de loeuvre. Volume III: A la Recherche du temps perdu. Tome III. Le Côté de Guermantes I, Edition originale. Paris, Editions de la Nouvelle Revue Française, 35 & 37 rue Madame, 1920. «Achevé dimprimer par limprimerie Louis Bellenand à Fontenay-aux-Roses le 17 août 1920». Exemplaire sur vélin pur fil Lafuma Navarre no 232, réservé aux «Amis de lédition originale». 279+[1] pages.Volume IV: A la Recherche du temps perdu. Tome IV. Le côté de Guermantes II, Sodome et Gomorrhe I, Edition originale. Paris, Editions de la Nouvelle Revue Française, 35 & 37 rue Madame, 1921. «Achevé dimprimer par limprimerie Louis Bellenand à Fontenay-aux-Roses le trente avril 1921». Exemplaire sur vélin pur fil Lafuma Navarre no 232, réservé aux «Amis de lédition originale». 282+[1]+[1bl]. Volume V: A la Recherche du temps perdu. Tome V. Sodome et Gomorrhe II*, Edition originale. Paris, Editions de la Nouvelle Revue Française, 3 rue de Grenelle, 1922. «Achevé dimprimer le 3 avril 1922 par F. Paillart à Abbeville, Somme». Exemplaire in-16° Jésus sur vélin pur fil Lafuma Navarre no 232, réservé aux «Amis de lédition originale». 230+[1]+[1bl] pages.Volume VI : A la Recherche du temps perdu. Tome V. Sodome et Gomorrhe II**, Edition originale. Paris, Editions de la Nouvelle Revue Française, 3 rue de Grenelle, 1922. «Achevé dimprimer le 3 avril 1922 par F. Paillart à Abbeville, Somme». Exemplaire in-16° Jésus sur vélin pur fil Lafuma Navarre no 232, réservé aux «Amis de lédition originale». 236+[1]+[1bl] pages.Volume VII:A la Recherche du temps perdu. Tome V. Sodome et Gomorrhe II***, Edition originale. Paris, Editions de la Nouvelle Revue Française, 3 rue de Grenelle, 1922. «Achevé dimprimer le 3 avril 1922 par F. Paillart à Abbeville, Somme». Exemplaire in-16° Jésus sur vélin pur fil Lafuma Navarre no 232, réservé aux «Amis de lédition originale». 237+[1bl]+[1]+[1bl] pages.Volume VIII: A la Recherche du temps perdu. Tome VI. La Prisonnière (Sodome et Gomorrhe III)*, Edition originale. Paris, Editions de la Nouvelle Revue Française, 3 rue de Grenelle. «Achevé dimprimer le 14 novembre 1923 par F. Paillart à Abbeville, Somme». Exemplaire sur pur fil Lafuma Navarre no 232, réservé aux «Amis de lédition originale». 280+[1]+[1bl] pages.Volume IX: A la Recherche du temps perdu. Tome VI. La Prisonnière (Sodome et Gomorrhe III)**, Edition originale. Paris, Editions de la Nouvelle Revue Française, 3 rue de Grenelle. «Achevé dimprimer le 14 novembre 1923 par F. Paillart à Abbeville, Somme». Exemplaire sur pur fil Lafuma Navarre no 232, réservé aux «Amis de lédition originale». 287+[1bl]+[1]+[1bl] pages.Volume X: A la Recherche du temps perdu. Tome VII. Albertine disparue. *, Edition originale. Paris, Librairie Gallimard, Editions de la Nouvelle Revue Française, 3 rue de Grenelle (VIe), [1925]. «Achevé dimprimer le 30 novembre 1925 par F. Paillart à Abbeville, Somme». Exemplaire sur pur fil Lafuma Navarre no 554, réservé aux «Amis de lédition originale». 225+[1bl]+[1]+[1bl] pages.Volume XI: A la Recherche du temps perdu. Tome VII. Albertine disparue. **, Edition originale. Paris, Librairie Gallimard, Editions de la Nouvelle Revue Française, 3 rue de Grenelle (VIe), [1925]. «Achevé dimprimer le 30 novembre 1925 par F. Paillart à Abbeville, Somme». Exemplaire pur fil Lafuma Navarre no 554, réservé aux «Amis de lédition originale». 213+[1bl]+[1]+[1bl] pages.Volume XII: A la Recherche du temps perdu. Tome VIII. Le Temps retrouvé. *, Edition originale. Paris, Librairie Gallimard, Editions de la Nouvelle Revue Française, 3 rue de Grenelle (VIe), [1927]. «Achevé dimprimer le 22 septembre 1927 par F. Paillart à Abbeville». Exemplaire sur vélin pur fil Lafuma Navarre no 386, réservé aux «Amis de lédition originale». 237+[1bl]+[1]+[1bl] pages. Volume XIII: A la Recherche du temps perdu. Tome VIII. Le Temps retrouvé. **, Edition originale. Paris, Librairie Gallimard, Editions de la Nouvelle Revue Française, 3 rue de Grenelle (VIe), [1927]. «Achevé dimprimer le 22 septembre 1927 par F. Paillart à Abbeville». Exemplaire sur vélin pur fil Lafuma Navarre no 386, réservé aux «Amis de lédition originale». 261+[1bl]+[1]+[1bl] pages. Volume XIV: Pastiches et mélanges. Paris, Editions de la Nouvelle Revue Française, 35 & 37 rue Madame, [1919]. «Achevé dimprimer par limprimerie Bellenand à Fontenay-aux-Roses le vingt-cinq mars 1919». 272+[3]+[1bl]+[1] pages. Edition originale sur papier normal. Il sagit dun recueil de préfaces et darticles de presse de Proust parus principalement dans le Figaro à partir de 1908, rassemblés en un volume à la demande de Gaston Gallimard. Volume XV: Chroniques. Paris, Librairie Gallimard, Editions de la Nouvelle Revue Française, 3 rue de Grenelle (Vie), [1927]. «Achevé dimprimer le 10 octobre 1927 par F. Paillart à Abbeville (Somme)». 242+[1]+[1bl] pages. Edition originale sur papier normal. Il sagit dun ensemble darticles de Proust, pour la plupart publiés dans le Figaro entre 1892 et 1921.
191468469A Complete Set of First Editions in Fine Condition PROUST Marcel. A La Recherche du Temps Perdu. Paris: Bernard Grasset 1914 i.e. 1913; …ditions de la Nouvelle Revue FranÃaise 1918-1927. A complete set of first editions first issues besides the first volume which is a second issue. Second issue of Du CÙtÈ de Chez Swann with the date 1913 on the front wrapper and 1914 on the title-page with the table of contents and correct date 8 November 1913 as issued and with 8 pp. of ads at the end. 8 523 1 blank 3 table of contents 1 printerÃs imprint 8 ads pp. Swann's Way published by Grasset and no indication of later edition on title. Together thirteen octavo volumes. All volumes numbered on "Velin pur fil" except for A lÃOmbre des Jeunes Filles en Fleurs as there was no numbered print for this volume. Original glassine on all volumes. The set comprises: Du CÙtÈ de Chez Swann; A lÃOmbre des Jeunes Filles en Fleurs; Le CÙtÈ de Guermantes I one of 800 numbered copies for the Amis de LÃ…dition Originale #572; Le CÙtÈ de Guermantes II and Sodome et Gomorrhe I one of 800 numbered copies for the Amis de LÃ…dition Originale #734; Sodome et Gomorrhe II three volumes one of 850 numbered copies for the Amis de LÃ…dition Originale #568 389 568; La PrisonniËre two volumes one of 875 numbered copies for the Amis de LÃ…dition Originale #252 524; Albertine Disparue two volumes one of 1200 numbered copies for the Amis de LÃ…dition Originale #521 839; and Le Temps RetrouvÈ two volumes one of 1230 numbered copies where 30copies are "et trente exemplaires d'auteur hors commerce" For the author not for sale these both being #1230. Original buff wrappers printed in red and black. Du CÙtÈ de Chez Swann in yellow wrappers printed in black. Swann's way chemised and housed in a cardboard slipcase. A couple of volumes slightly sunned on spines. Sodome et Gomorrhe with some very minor foxing. All volumes in glassine. All fine copies. ìDu cÙtÈ de chez Swann is the first volume of ProustÃs monumental opus A la recherche du temps perdu the most important French novel of the twentieth century and a masterpiece of European literature. This first volume described the narratorÃs childhood and contains the celebrated madeleine episode. Publication of subsequent volumes was interrupted by the war. This novel famously turned by Gide for the N.R.F was published at the authorÃs expense by Grasset. By 1918 the N.R.F had realised its huge blunder and published A lÃombre des jeunes filles en fleurs which won the Prix Goncourt and established Proust as a major literature figureî From Stendhal to RenÈ Char: Le Cabinet de livres de Renaud Gillet SothebyÃs 27 October 1999 lot 64. ìTranslated by Scott Moncreiff as SwannÃs Way etc. ProustÃs great novel A la recherche du temps perdu is something that happens once in a hundred years like Les Fleurs du Mal or War and Peace. He combined tragic poetical insight with the gift of creating comic characters in the round like Shakespeare. He is consistently both intelligent and poetic. Bergsonian philosophy of time gives depth Ruskinian aesthetics texture. Embittered by his homosexual bias and disabling asthma he shows some deterioration in the unrevised volumes though not enough to upset this magisterially executed conception of a master-mind in which art erects its monument to dead loves using for material only thought and the passage of time. ëIt appeals to our sense of wonder and gains our hommage by its veiled greatness. I donÃt think there ever has been in the whole of literature such an example of the power of analysisà Conradî Connolly The Modern Movement. BN Proust 402 445 484 489 531 533 and 536. Connolly The Modern Movement 23. Connolly 23. HBS 68469. $28500 Bernard Grasset unknown books
1913407620Paris: Grasset 1913. Near fine in entirely original and unrestored condition some light cockling along spine a few small tears at edges light toning to sheets at beginning and end but generally in superb condition scarcely found in the original wrappers. 8vo. 523 pages 8-page publisher's advertisement at end unopened. Original pale yellow printed wrappers untrimmed. Purple morocco chemise and slipcase some light rubbing in a few spots. First edition first printing of the first volume in Proust's 'À la Recherche du Temps Perdu' 'In Search of Lost Time' or more commonly 'Remembrance of Things Past'. With all the notable points of a first printing: typographic error in the publisher's name on the title-page; title-page dated 1914 but front wrapper and printer's colophon dated 1913; four-leaf publisher's catalogue at the end; no Table of Contents; a blank leaf between the front wrapper and the half-title. This copy is also preserved with a contemporary and perhaps original plain glassine outer wrapper.<br/><br/>The now-famous novel was rejected by at least three major publishers and was infamously turned down by André Gide before Proust arranged with the publisher Grasset to pay for the cost of publication himself. Though Gallimard offered to publish the remaining volumes Proust chose to stay with Grasset. <br/><br/> Grasset unknown books
191389908Paris: Grasset first volumeGallimard other volumes 1913. Fine. Grasset first volume Gallimard other volumes Paris 1913-1927 12 x 19 cm 13 volumes brochés First edition for each volume. Fine copy of Du côté de chez Swann in first edition second printing with all identifying points front cover dated 1913 table of contents present no publisher's catalogue at end; copy in first edition bearing the mention ""quatrième édition"" for À l'ombre des jeunes filles en fleurs with the correct colophon dated November 30 1918; although bearing the same colophon dated November 30 1918 the 128 reimposed copies were not actually printed until a year later together with the large paper copies of the Swann reissue; for the following 11 volumes numbered copies on pur fil wove paper the only large paper copies apart from the reimposed ones. The complete first edition of À la recherche du temps perdu comprises the first two volumes on ordinary paper with the particularities mentioned above followed by deluxe copies for the subsequent volumes. These deluxe copies on pur fil are in the same format as the first two volumes. Restorations with losses filled on the spine and boards of the first and second volumes spine of third volume browned small tears or slight losses of no consequence at foot of certain spines rear board of fifth volume partially sunned some foxing on fore-edge of sixth volume manuscript ex-libris inscriptions in upper right corners of front cover and title page of first volume. This complete set of La Recherche comprises the following titles: Du côté de chez Swann À l'ombre des jeunes filles en fleurs Le Côté de Guermantes 2 volumes Sodome et Gomorrhe 3 volumes La Prisonnière 2 volumes Albertine disparue 2 volumes and Le Temps retrouvé 2 volumes. Fine complete set all volumes in first edition as published. Grasset (first volume)Gallimard (other volumes) hardcover
1908Proust26<p><strong>PROUST Marcel 1871-1922</strong></p><p>Autograph pastiche-poem signed " Marcel Proust " to the marquis Philibert de Clermont-Tonnerre<br />N.p.n.d c. summer 1908 2 p. in-8° watermarked mourning paper<br />Watermark : " Original / Turkey Mill / Kent "<br />Central fold mark</p><p><strong>A rare and admirable poem-pastiche by Proust in the manner of Robert de Montesquiou whose style he somewhat mocks</strong></p><p><em>" "Prière du Marquis de Clermont-Tonnerre"</em>¹<br /><em>Imité de Robert de Montesquiou </em></p><p><em>Je greffe les rosiers dont sont fleuris les marbres</em><br /><em>Ceux du Paros "mousseux" et du Carrare "thé" </em><br /><em>Et de ces rosoyants et ces blondissants arbres</em><br /><em>Je sais tirer des chants inconnus d'Hardy-Thé !</em>²</p><p><em>Mon pinceau fait courir au rinceau des abaques</em><br /><em>Cet or qui fait marcher à ce qu'on dit Cloton !</em>³<br /><em>Trianon</em>â´<em> Vézelay ne sont que des baraques </em><br /><em>Quand l'esprit les compare au Palais Lauriston !</em>âµ</p><p><em>Seigneur si vous daignez m'admettre dans les Salles</em><br /><em>Où le Juste rompra le Pain Essentiel </em><br /><em>Que de marbre aussi pur étincellent vos stalles ! </em><br /><em>De Glisolles et d'Ancy</em>â¶<em> que soit digne le Ciel ! </em></p><p><em>pour copie conforme</em>â·<br /><em>Marcel Proust "</em></p><p>Through this pastiche Proust takes up the floral motif abundantly used by Robert de Montesquiou 1855-1921 in his works and poems. When the latter published his first collection <em>Les Chauves-souris</em> in 1893 Proust 22 years old at the time wrote to him on 29 April 1893 that "Never have the vain flowers of gardens smelled so good" <em>Corr</em>. t. I p. 206. The two men met for the first time a few days earlier at Madeleine Lemaire's house on April 13 1893. Dandy with a pure profile a fascinating look… Proust fell under the admiration of Montesquiou the future model of Charlus. This was followed by an abundant often flattering correspondence. If the young Proust never ceased to praise Montesquiou's taste for the erudite display of names cultural references and the rare word we observe through the present poem-pastiche a touch of mockery with regard to the style of the dandy-poet. The two would however maintain a friendship that would last until Montesquiou's last days in 1921.<br />At the time when Proust was thinking of resuming his pastiche of Saint-Simon "Fête chez Montesquiou" <em>Textes retrouvés</em> ed. P. Kolb Gallimard p. 191-195 he wrote to Montesquiou on February 16 1909 without forgetting the usual precautions: "Basically the pastiche that would amuse me the most to make when I can write a little without prejudice to more serious studies is a pastiche of you! But in the first place it would perhaps annoy you and I don't want anything of me to ever make you angry …!" <em>Corr.</em> t. IX p. 34.<br />The epistle addressed to the Marquis Philibert de Clermont-Tonnerre 1871-1940 was published by his wife Elisabeth de Clermont-Tonnerre née de Gramont in 1955 in the <em>Bulletin Marcel Proust</em>. The latter who first met the writer in 1903 had previously published a study of Robert de Montesquiou and Marcel Proust Flammarion 1925.</p><p>1 The title recalls Robert de Montesquiou's <em>Prières de tous</em> 1902 illustrated by Madeleine Lemaire.<br />2 Lucien Hardy-Thé composer and singer socialite<br />3 Clotilde Legrand 1857-1944 born de Fournès nicknamed "Cloton".<br />4 In 1908 Montesquiou acquired the Palais Rose du Vésinet a reduced copy of the Grand Trianon in Versailles.<br />5 The Clermont-Tonnerres lived in their hotel at 74 rue de Lauriston in Paris.<br />6 Duke Aimé Gaspard Marie de Clermont-Tonnerre 1779-1865 owned a castle built in the eighteenth century at Glisolles in the Eure and another built in the sixteenth century at Ancy-le-Franc in the Yonne.<br />7 Proust indicates "pour copie conforme" a practice he used for his pastiches and common at the time.</p><p><u>Provenance:</u><br />Philibert de Clermont-Tonnerre destinataire<br />Elisabeth de Clermont-Tonnerre née de Gramont par descendance</p><p><u>Bibliography:</u><br /><em>BSAMPAC</em> n°5 1955 p. 5 publié par Elisabeth de Clermont-Tonnerre<br /><em>Correspondance</em> t. VIII Kolb Plon p. 207 n°111<br /><em>Essais</em> éd. Antoine Compagnon 2022 Pléiade p. 630</p><p><u>Source:</u><br /><em>Marcel Proust I</em> – Biographie Jean-Yves Tadié Folio pp. 283-295<br /><em>Essais</em> éd. Antoine Compagnon 2022 Pléiade p. 1605-1606</p>
191389908Grasset pour le volume I Gallimard pour les suivants | Paris 1913-1927 | 12 x 19 cm | 13 volumes brochés
26139S.l. circa février 1903. 12 p. in-8 montées sur papier et formant un placard de 49 x 130 cm sous étui à rabats de Julie Nadot. . Rares épreuves corrigées de passages de La Bible d'Amiens pour la parution dans la revue littéraire La Renaissance latine du 15 février 1903. Nombreuses corrections autographes donnant plusieurs variantes inédites qui témoignent du soin méticuleux porté par Proust à cette traduction dont le succès l'encouragera à se prêter une seconde fois à l'exercice avec Le Sésame et les Lys deux ans plus tard. . Marcel Proust commence à s'intéresser aux ouvrages de Ruskin à l'automne 1899 dès son retour d'Évian-les-Bains en se plongeant dans la lecture intensive de celui qu'il appelle « ce grand homme » après avoir découvert le chapitre intitulé « La Lampe de la mémoire » des Sept Lampes de l'architecture. Une révélation. Quelques mois plus tard il apprend la mort la mort du critique d'art dans Le Figaro du 21 janvier 1900 et écrit immédiatement à Marie Nordlinger une ami anglaise de Manchester et cousine de Reynaldo Hahn lui exprimant outre sa tristesse son désir de pérennité des ouvrages de l'écrivain : il prépare alors plusieurs hommages à Ruskin sous formes d'articles nécrologiques et de notes qui deviendront avec des modifications amplifiées les péritextes de sa future traduction de La Bible d'Amiens. Les premiers - et seuls - extraits paraissent en février et mars 1903 un an avant la parution en volume. Le texte de ces épreuves évoquent des épisodes de l'hagiographie des saints Martin Geneviève et Jérôme et parurent dans la revue littéraire La Renaissance latine numéro du 15 février 1903 du Prince de Brancovan malgré les réticences de ce dernier qui le moquait encore le mois précédent pour sa traduction qu'il jugeait « légère ». Proust lui fera alors cette belle réponse : « Je crois que cette traduction non pas à cause de mon talent qui est nul mais de ma conscience qui a été infinie - sera une traduction comme il y en a très peu une véritable reconstitution . À force d'approfondir le sens de chaque mot la portée de chaque expression le lien de toutes les idées je suis arrivé à une connaissance si précise de ce texte que chaque fois que j'ai consulté un Anglais - ou un Français sachant à fond l'anglais - sur une difficulté quelconque - il était généralement une heure avant de voir surgir la difficulté et me félicitait de savoir l'anglais mieux qu'un Anglais. En quoi il se trompait. Je ne sais pas un mot d'anglais parlé et je ne lis pas bien l'anglais. Mais depuis quatre ans que je travaille sur la Bible d'Amiens je la sais entièrement par coeur et elle a pris pour moi ce degré d'assimilation complète de transparence absolue où se voient seulement les nébuleuses qui tiennent non à l'insuffisance de notre regard mais à l'irréductible obscurité de la pensée contemplée ». Mais la tâche fut ardue en effet puisque Proust connaît à peine l'anglais : sa mère fait le « mot à mot » qu'il remanie avec les conseils de Marie Nordlinger et de Robert d'Humières traducteur de Kipling. Au terme de ces longues années d'un travail acharné et d'un commentaire personnel sur l'art et la création Proust achève enfin sa préface la traduction et les notes dont certaines se développent sur plusieurs pages. L'ouvrage qui sera achevé un an plus tard en février 1904 portera une dédicace à Adrien Proust qui vient de mourir au lieu de celle destinée à Reynaldo Hahn : « à la mémoire de mon père frappé en travaillant le 24 novembre 1903 mort le 26 novembre cette traduction est dédiée ». Il s'en excusera dans la dédicace personnelle lorsqu'il offrira un exemplaire à Hahn « tant son petit Papa désirait le voir paraître que maintenant j'ai mieux aimé vous le retirer pour le lui offrir ». Proust néanmoins lui dédicacera la second texte de Ruskin qu'il traduira trois ans plus tard Les Sésames et les Lys. S.l., [circa février 1903]. 12 p. in-8, montées sur papier et formant un placard de 49 x 130 cm, sous étui à rabats de Julie unknown
190326139Épreuves corrigées S.l., [circa février 1903]. 12 p. in-8, montées sur papier et formant un placard de 49 x 130 cm, sous étui à rabats de Julie Nadot. Rares épreuves corrigées de passages de La Bible d'Amiens, pour la parution dans la revue littéraire La Renaissance latine du 15 février 1903. Nombreuses corrections autographes, donnant plusieurs variantes inédites, qui témoignent du soin méticuleux porté par Proust à cette traduction dont le succès l'encouragera à se prêter une seconde fois à l'exercice avec Le Sésame et les Lys deux ans plus tard.
189683<p>A BEAUTIFUL PRESENTATION COPY WARMLY INSCRIBED BY THE AUTHOR TO THE GREAT BIBLIOPHILE HORACE DE LANDAU.<i><u><br /></u></i> </p><p><b>PROUST</b><b> Marcel.</b> <i>Les Plaisirs et les jours</i><i>. </i><i>Illustrations de Madeleine Lemaire. Preface d'Anatole France. Quatre pieces pour piano de Reynaldo Hahn</i>.</p><p>Paris Calmann Levy 1896.</p><p>FIRST EDITION. 4to pp. 2 X 271 pp. 2; with 14 plates out of the text and several illustrations in the text. Landau's bookplate. <b>Beautiful dedication on the initial blank by </b><b>Proust to Baron Landau:</b> "A Monsieur Horace de Landau comme un hommage de ma respecteuse admirative et reconnaisante amitié Marcel Proust". Contemporary binding in half purple morocco publisher's printed wrappers preserved. Pasteboard slipcase. Fine copy.<br /><br /></p><p><i>Horace de Landau was an important 19th century banker and a great collector and bibliophile. Part of his famous library was donated to the city of Florence the other was auctioned by Hoepli in 1945.</i></p><p><i>The work is a collection of poems and prose on the world of the Parisian salons and cultural gatherings that Proust used to frequent. This is almost a representation in embryo of his immensely celebrated "Recherche".</i><br /></p> Calmann Levy
190484876s. l. 1904. Fine. Because I also want success I am extremely material in my wishes for those I love and I wish them every pleasure from the highest to the crudest. s. l. mardi 25 octobre 1904 12.60 x 20.40 cm 12 pages sur 3 bifeuillets Autograph letter signed by Marcel Proust addressed to René Peter. Twelve pages written in black ink on three bifolia framed in black. Tears at the ends along the folds of the bifolia not affecting the text. Published in Kolb IV n°168. A very long letter from Proust full of innuendo to the playwright René Peter. Praising Peter's success Proust confesses to his own vanity as a writer and his literary ambitions. He subtly lets his jealousy for Peter's mistress shine through and declares his absolute devotion to Reynaldo Hahn. This is one of the first letters he sends to his childhood friend after recently reconnecting with him. Proust eternally plagued by ailments remains a recluse and apologizes for missing the rehearsal of Peter's new play Le Chiffon. Peter's three-act comedy with music by Reynaldo Hahn premiered at the Athénée the following month and was a huge success with around sixty performances before the end of the year. The young Proust relies on the glowing opinion of Hahn who had attended the rehearsals and the missive becomes a love letter for the composer and his impeccable judgement: ""Reynaldo told me that your play was delightful and ravishing which is not quite the same thing that he laughed and cried in it as he never laughs or cries in the theater and that the language was exquisite. Of that I was certain. But knowing nothing about you I couldn't know if you had dramatic genius. I am certain of it now because even if I do not know a judge as severe as ridiculously severe as Reynaldo I also do not know one who has more taste giving his enthusiasm very great value in my eyes. In a characteristic tangle of confession and denial Proust barely hides his ambitions and his quest for recognition. He hopes and prays for the same laurels he places on Peter's head: your poor and charming mother who like all those who love and who have lived life bruising all our tenderness has suffered so much is witnessing this great happiness these first rays of glory on your charming forehead which Vauvenargues says softer as the rising sun. I only speak of them in quotations having never known them myself! He will even end up instilling his own literary vocation into the fictional life of the narrator of In Search of Lost Time although the narrator's journey as a man of letters is more marked by disappointments than rays of glory so long awaited by Proust himself. However it culminates in Time Regained with an epiphany: the narrator now knows what to write and above all how to write it. The letter marks the beginnings of the Proust-Peter-Hahn trio whose complicity was such that they formed a special vocabulary of which only they had the secret. The river of words in this letter perfectly illustrates the undeniable link between desire and intellectual admiration: Because I also want success I am extremely material in my wishes for those I love and I wish them every pleasure from the highest to the crudest. Despite these displays of generosity the writer cannot however mask a certain jealousy towards Robert Danceny the fictional co-author of Le Chiffon who was none other than Peter's mistress Mme Dansaërt. Proust elegantly but explicitly refers to her: It makes me happy to think that the charming woman who I am assured is hiding under the male name of your collaborator shares half of your work. I am not talking about your success because whether she worked with you or not she would always have shared your success with her heart having I believe a deep friendship for you. Typical of a Proust transposing his desires through fiction the writer will form various dramatic and morbid scenarios between Peter and this young woman in the following years: I unknown
1922YQV-45S.l.n.d. [Paris], vers le 7 août 1922 [cf. le cachet postal] ; 6 pages in-8 (180 × 137 mm) ; avec enveloppe
1891Proust11<p><strong>PROUST BOYER Paul 1861-1952</strong></p><p>Original photograph by Paul Boyer successor to Otto Van Bosch<br />Period albumin print c. 1891. Carte-de-visite format 90 x 58 mm laminated on thick cardboard with the photographer's name. Golden edges.<br />Some tiny spots annotations on verso<br />Mante-Proust collection stamp on verso<br />Very good original condition</p><p><strong>Famous portrait of young Marcel Proust by Paul Boyer the only known period print</strong></p><p>Like his portrait by Jacques-Émile Blanche painted at the same time we find here the same thin mustache and delicate face of the writer.<br />Portraitist Paul Boyer took over Otto Van Bosch's Paris studio in 1888. Located on Boulevard des Capucines and in Trouville he worked until 1909.</p><p><strong><u>This precious print was kept by the Proust family until 2016</u></strong></p><p><u>Bibliography:</u><br /><em>Proust. Documents iconographiques</em> – G. Cattaui Pierre Cailler 1956 n°35<br /><em>Passion Proust</em> – L'album d'une vie J. Picon Paris Textuel 1999 p. 46<br /><em>Marcel Proust</em> l'Arche et la Colombe M. Naturel Michel Lafon p. 59</p><p><u>Exhibition:</u><br />Marcel Proust BnF1965 n° 103 This print or the other pose taken during the same photo-session</p><p><u>Provenance:</u><br />-Famille Proust<br />-Then Suzy Mante-Proust Robert Proust's unique daughter by descent<br />-Then Patricia Mante-Proust Suzy Mante-Proust's unique grand-daughter by descent<br />-Then Private collection</p> hardcover
1922121344London: Chatto & Windus Alfred A. Knopf 1922. Complete first edition set of Proust's most well-known work. Octavo 11 volumes original blue cloth with titles to the spine in in gilt. In near fine condition with Time Regained in the rare dust jacket. Translated by C.K. Scott Moncrieff. An excellent set rare in this condition. Marcel Proust was best known for his 3200 page masterpiece A La Recherche du Temps Perdu. First translated into English by C.K. Scott Moncrieff as 'Remembrance of Things Past' it was later revised in translation to 'In Search of Lost Time'. Semi-autobiographical and written in a stream-of-consciousness style W. Somerset Maugham called it 'the greatest fiction to date'. The first volume was published in 1913. Gradually withdrawing from society Proust worked during the nights and slept during the day until his death in 1922 at the age of 51. Graham Greene named Proust "the greatest novelist of the 20th century." Chatto & Windus, Alfred A. Knopf hardcover books
30855Paris Mercure de France 12 mai 1906. 1 vol. 135 x 190 mm de 224 p. 1 et 1 f. Demi-maroquin taupe à coins filets dorés sur les plats dos à nerfs ornés de caissons d'encadrement tête dorée date en pied couvertures et dos conservés reliure signée de Jean Duval. Édition originale de la traduction française par Marcel Proust. Longue préface inédite de Proust : « Sur la lecture ». Un des 12 premiers exemplaires sur hollande n° 9. Marcel Proust commence à s’intéresser aux ouvrages de Ruskin à l’automne 1899 lorsqu’il se plonge dans la lecture de celui qu’il appelle « ce grand homme » après avoir découvert le chapitre intitulé « La lampe de la mémoire » des Sept Lampes de l’architecture. Une révélation. Apprenant quelques mois plus tard la mort du critique d’art il écrit à Marie Nordlinger une amie anglaise cousine de Reynaldo Hahn pour lui exprimer outre sa tristesse son désir de pérennité des ouvrages de l’écrivain : il prépare alors plusieurs hommages à Ruskin sous forme d’articles nécrologiques et de notes qui deviendront avec des modifications amplifiées les péritextes de sa future traduction de la Bible d’Amiens. Une tâche ardue puisque Proust connaît à peine l’anglais : c’est madame Proust mère qui fait le ‘mot à mot’ collaborant ainsi d’une manière capitale à la traduction de La Bible d’Amiens. Malade elle fut remplacée par Marie Nordlinger dans ce rôle de défricheuse lorsque Proust aborda Sésame et les lys aidée par Robert d’Humières le traducteur de Kipling au Mercure de France. Après la mort de sa mère Proust reprit les épreuves et écrivit à Marie Nordlinger : « J’ai clos à jamais l’ère des traductions que Maman favorisait ». Il désirait de son propre aveu se consacrer à son œuvre personnelle et décide dans cette idée de faire précéder sa traduction d’une préface ô combien importante un texte délicieux intitulé « Sur la lecture » : « Il n’y a peut-être pas de jours de notre enfance que nous ayons si pleinement vécus que ceux que nous avons cru laisser sans les vivre ceux que nous avons passés avec un livre préféré. Je n’ai essayé dans cette préface que de réfléchir à mon tour sur le même sujet qu’avait traité Ruskin : l’utilité de la lecture. Ruskin a donné à sa conférence le titre symbolique de Sésame la parole magique qui ouvre la porte de la caverne des voleurs étant l’allégorie de la lecture qui nous ouvre la porte de ces trésors où est enfermée la plus précieuse sagesse des hommes : les livres ». Remaniées ces 52 pages prendront ensuite place dans Pastiches et mélanges sous le titre « Journée de lecture ». Précieux exemplaire sur hollande celui de Jeanne Jacquemin. Peintre autodidacte elle enflamme la critique à sa première exposition en 1892 et étonne par son physique androgyne et sensuel : la jeune femme rousse « aux yeux préraphaéliques » incarne parfaitement le symbolisme. Membre de la société de la Rose-Croix elle est admirée par Huysmans Verlaine Odilon Redon et noue avec Stéphane Mallarmé une relation d’amitié et d’admiration réciproque. La « peintresse aux yeux verts » ainsi qu’il la surnomme est souvent citée dans le Journal d’Edmond de Goncourt ; elle donnera plusieurs lithographies pour L’Estampe moderne et illustrera La Mandragore un « Conte de Noël » de Jean Lorrain publié en 1894. Dépressive elle est soignée par le docteur Samuel Pozzi le père français de la gynécologie qui connaissait à merveille le Tout-Paris. Amant de Sarah Bernard surnommé « Docteur Dieu » c’est un ami de la famille Proust ; du père le Pr. Adrien Proust épidémiologiste de renom comme de ses fils Robert qui fut son élève à l’hôpital Broca et Marcel à qui il procura en 1914 la dispense lui évitant d’être envoyé au front. Il encouragea le développement de la radiothérapie essentiellement à l’hôpital Tenon où le service d’oncologie-radiothérapie porte désormais son nom. Il soigna Jeanne Jacquemin des années durant. L’exemplaire passa ensuite entre les mains du libraire Ronald Davis – c’est probablement lui qui fit établir la reliure comme il fit exécuter à la fin des années 1920 tout un ensemble des œuvres de Proust Christie’s Londres 2007 lot n° 133 dont un Swann et ce volume sur hollande. Sur ce même papier on ne connaît par ailleurs que les exemplaires suivants : Léon Blum conservé à la BnF ; n° 2 reliure de Maylander collections Simonson-Hayoit-Leroy ; n° 8 collection R. et B. Loliée. Aucun des 12 ne figurait à l’exposition Proust et son temps de 1971. De la bibliothèque de Jeanne Jacquemin ex-libris. Paris, Mercure de France, (12 mai) 1906. 1 vol. (135 x 190 mm) de 224 p., [1] et 1 f. Demi-maroquin taupe à coins, filets doré unknown
190630855Un des 12 rares grands papiers, imprimés sur hollande Paris, Mercure de France, (12 mai) 1906. 1 vol. (135 x 190 mm) de 224 p., [1] et 1 f. Demi-maroquin taupe à coins, filets dorés sur les plats, dos à nerfs ornés de caissons d'encadrement, tête dorée, date en pied, couvertures et dos conservés (reliure signée de [Jean] Duval). Édition originale de la traduction française par Marcel Proust. Longue préface inédite de Proust : « Sur la lecture ». Un des 12 premiers exemplaires sur hollande (n° 9).
190886094s. l. 1908. Fine. Proust and the future of pastiche: ""it seems to me that it could perhaps become a more discreet more fragile and more elegant form of literary criticism"" s. l. s. d. 1908 ou 1919 11.60 x 17.80 cm 4 pages sur un feuillet remplié Autograph letter signed by Marcel Proust to his friend Maurice de Fleury a psychiatrist and famed man of letters close to Émile Zola who wrote a collection of short stories as well as various medical works on neurasthenia insomnia epilepsy Chiara Carraro Philip Kolb. Four pages written in black on a bifolium with ""Island Mill"" watermark and framed in black. Usual traces of folds. Published in Kolb VIII no. 32 p. 74-75. Superb letter extolling the merits of literary pastiche by one of the greatest writers of the genre: Marcel Proust. The writing of this letter may coincide with the publication of Proust's series of pastiches on the Lemoine Affair a scam set up by a French engineer of that name who claimed to be able to make genuine diamonds. The articles were printed on the front page of the literary supplement of 'Le Figaro' between 1908 and 1909 or date from its publication in volume under the title 'Pastiches et mélanges' in 1919. The autograph letter is presented in a midnight blue half morocco chemise with marbled paper boards beige suede lined pastedowns and a slipcase edged with the same morocco. Proust warmly thanks his correspondent Maurice de Fleury whom he describes as a ""scholar and writer"" for his favorable reception of his ""little pastiches"": ""Your double merit should make you doubly severe: and you excuse pastiche that inferior genre!"" Votre double mérite devrait vous rendre doublement sévère : et vous excusez le pastiche ce genre inférieur ! acknowledging with irony the still precarious place of this unusual genre although popular during Proust's lifetime. Pastiche was perceived more as a stylistic musing or even a student exercise than a true creation worthy of literary praise. Yet here the writer considers it here a refreshing addition to the strict hierarchy of genres that still prevailed: ""Handled however by your hands more beautiful than mine it seems to me that it could perhaps become a more discreet more fragile and more elegant form of literary criticism. Very proud minds could devote themselves to it and very fine minds like yours very attached to greatness seriousness duty as wise could take pleasure in it and follow these games."" Manié pourtant par vos mains plus belles que les miennes il me semble qu'il pourrait peut-être devenir comme une forme indirecte plus discrète plus frêle et plus élégante de critique littéraire. Des esprits très fiers pourraient s'y adonner et des esprits très fins. comme le vôtre très attraché par la grandeur le sérieux le devoir aussi sage pourrait s'y plaire suivre ces jeux. With these words Proust asserts the interest of 'critical pastiche' which was already well established and acted as an empirical analysis of an author's style. Since his years as a student in Condorcet the writer had regularly indulged in this activity with according to him varying degrees of success: ""I have also sometimes made pastiches of medical literature! these writings are now lost If I could have found them again or started them again but all that is too far away I would have published them if I had known that you read this for fun. I don't need to tell you that considered inimitable you are not among the authors I pastiched. But . others are less perfect and combined some very interesting qualities with small flaws that could be imitated and caricatured."" J'ai été aussi quelques fois à faire des pastiches de littérature médicale ! Si j'avais pu les retrouver ou les recommencer mais tout cela est trop loin je les aurais publiés si j'avais su que vous lisiez cela pour vous amuser. Je n'ai pas besoin de vous dire que jugé inimitable vous n'y figurez pas. Mais . d'autres sont moins parf hardcover
191952983Paris: Nrf 1919. Fine. ""An homage of admiration"" by Proust Nrf Paris 1919 13 x 19 cm broché sous chemise-étui First edition on ordinary paper despite a false statement of third edition. Handsome copy signed and inscribed by Marcel Proust to René Boylesve. Housed in a half kaki morocco over marbled paper boards chemise and slipcase with flaps spine very slighlty faded with gilt inscriptions of provenance at foot lined with light green paper. One very pale angular dampstain. Provenance : Heilbronn's library with his ex-libris. René Boylesve discovered the work of Marcel Proust in 1913 upon the publication of the first volume of the Recherche. Initially disconcerted by Proust's writing he soon became an enthusiastic admirer: ""Our own writing is ruined by his. We have labored in vain. Proust obliterates the literature of the past fifty years"" quoted by Émile Gérard-Gailly ""Note liminaire"" in René Boylesve Marcel Proust Quelques échanges et témoignages 1931 p. 24. As for Proust his admiration for Boylesve mentioned in this copy's inscription is not feigned; a few months before his death Proust praised Boylesve's novels celebrating not only ""an art seemingly so simple yet saying everything"" but also ""a supreme refinement of technique"" Marcel Proust Correspondance vols. XX and XXI 1991 pp. 332 and 778. The two men were not close but corresponded from 1917 onward. In sending Boylesve a copy of his Pastiches et mélanges Proust must have delighted him: aside from his activies as a writer Boylesve was a seasoned bibliophile. Thus regarding another of his works Proust showed this delicate consideration: ""I had some hesitation concerning your copy. Usually those printed for me without publisher's mark are somewhat finer than the 'regular copies.' This time the superiority is not apparent to me; and as I am incapable of distinguishing 'pur fil' from the rest I do not know which of the two sorts of copies is preferable. . You would be infinitely kind to tell me what you would like. It is because I know you to be a bibliophile that I write to you about a book of mine a matter of little importance ."" Marcel Proust op. cit. vol. XXII pp. 156-157. Nrf hardcover
1919640315Paris: Editions de la Nouvelle Revue Française 1919. Very Good. octavo. First edition on standard paper despite a false statement of third edition. Signed by Proust to a blank preliminary page and dedicated to the novelist Lucien Descaves who was a member of the Prix Goncourt and who actually voted against Proust in 1919 the year he was awarded the prize for 'À l’ombre des jeunes filles en fleurs'. There is no evidence that the two novelists ever met but Proust did send Descaves signed copies of all of his books from 'Du côté de chez Swann' onwards. This copy has been beautifully rebound in three quarter calf over marbled boards with gilt top edge by Goy & Vilaine with the original covers bound in and with matching slip-case. An absolutely stunning copy of Proust's playful accounts of the Lemoine case. Editions de la Nouvelle Revue Française hardcover
1908020055Versailles @6 October 1908. Letter. Creases from folding light edge toning. Near Fine. AUTOGRAPH LETTER SIGNED "Marcel Proust." Four pages of a bifolium 5" x 8" undated circa October 6 1908. Written on mourning stationary and addressed to Max Daireaux a man 13 years his junior whom he had met earlier that year in Cabourg France the inspiration for the resort town of Balbec in Proust's novel REMEMBRANCE OF THINGS PAST À LA RECHERCHE DU TEMPS PERDU. Though undated the letter has been identified as being written shortly before writing his magnum opus. An English translation: "I had written you a tender letter and one which with a pride to which I am not accustomed I believed to be witty! And for six days now we have been searching for it around the bed under the bed which I cannot rise from I have been suffering more in the time since I came to Versailles than I have in years - what a life! and cannot find it. So I resign myself to considering these affectionate secrets these farcical stories burned and I write to you to tell you that I am here. Some evening when you have nothing to do call and ask if I can receive you for dinner in my room dinner is the only possible way. Surely they will tell you that I am too ill. But in fact it may happen that I get better although it seems to depend on the air the weather etc. The first days I fought back I was even in Paris once in a strange way that I will recount to you and since then it has been impossible to even speak. And my poor Lauris is severely wounded in Paris - I returned for him and I cannot go see him. But this could get better; call around 6:30 PM such that if I am up to it you would be there around 7:30 because after 8 it becomes impossible to get anything to eat. Dear friend you did not get my letter so you will never know the poem that I sent you which began with these lines: <br /> <br />My heart previously gentle chooses from this night on <br />To hate you forever lady Spinelly <br />And I so would love to see an omnibus <br />On the body of the so-called Dolfus. <br /> <br />And you will not know the conversations with Reynaldo who told me 'The fact that the Comedie Royale is the first theater that you took interest in is no reason for you to believe that no others exist.' And you will not know that I am back in love they don't know anything with the two sisters born Berthier that I furthermore have not seen again. And you will not know that d'Alton had a riding accident from which he has more or less recovered. But certainly you know that. Dear friend no one will ever know that letter not even the person to whom a beloved memory dictated it. It's infuriating.Send a message to tell me if you received this from me because I'm not sure of the house number on Vernet Street." <br/><br/>Documented in Kolb's archive of Proust letters Vol. VIII number 127. unknown
74831London: Chatto and Windus and Alfred A. Knopf 1922-31. Modern literature in translation COMPLETE FIRST EDITIONS IN ENGLISH first impressions. Complete in 11 volumes 19 x 14 x 42cm. Handsomely bound in half dark blue calf with twin brown morocco title labels lettered in gilt five raised bands gilt rules matching blue cloth-covered sides sewn endbands and top edges gilt. Contents clean but for some light expected foxing exteriors unmarked. A scarce set in an attractive recent leather binding. The author's most prominent and influential literary work now difficult to find in the first English translation. London: Chatto and Windus and Alfred A. Knopf, 1922-31 unknown
191952983Nrf | Paris 1919 | 13 x 19 cm | broché sous chemise-étui
20824P., Éditions de la N.R.F., 1922, in-8, broché, chemise étui fantaisie de toile écossaise, pièce de titre de box noir, gardes de toile rouge (Atelier Devauchelle), 230 p. Édition originale. Envoi autographe signé à Gus BOFA : à Monsieur Gus Bofa, Sympathique admiratif hommage, Marcel Proust. Gus Bofa collabora au Crapouillot de 1922 à 1936 non en qualité de dessinateur mais de critique littéraire. Le titre de sa chronique s’intitulait Les Livres à lire et les autres. Elle paraît du 15 janvier 1922 jusqu’en 1939. Son article sur Sodome et Gomorrhe est paru dans le numéro du 16 juin 1922. Reste que tout le monde a en mémoire le célèbre portrait de Proust par Bofa; à contre-jour dans une boutique d’horloger dont l’enseigne : “À la Recherche du temps perdu” se lit inversé sur la vitrine. Penché, loupe en main, il examine le meilleur rouage d’un monticule de montres en pièces détachées. Synthèses littéraires et extra-littéraires paraît en 1923, c’est un recueil de 40 compositions d’une grande originalité et d’une grande inventivité. L’artiste réussit à donner sa vision, une synthèse à la fois de l’écrivain et de son œuvre, de quelques-uns des plus célèbres acteurs de la littérature. Les portraits n’ont pas été publiés au préalable dans la presse. Proust mort le 18 novembre 1922 n’a pu malheureusement en prendre connaissance.Huysmans, Kipling, Nietzsche, Proust, Morand, etc. Les Synthèses était une commande de l'éditeur Mornay, des bois gravés étaient prévus pour être finalement remplacés par des dessins au trait, coloriés au pochoir. Les portraits n'ayant pas été publiés au préalable dans la presse, Proust étant mort le 18 novembre 1922, n'a pu en prendre connaissance.
190783638s. l. 1907. Fine. ""New Year's Day is just an occasion for me -- as if occasions were needed! -- to reminisce and weep"" s. l. s. d. ca 1907 12.60 x 20.40 cm 3 pages sur un double feuillet Autograph letter signed to Madame Catusse 126x204cm 3 pages on a double leaf. Autograph letter signed by Marcel Proust probably addressed to Madame Catusse. The recipient and date have been determined by Proust scholar Jean-Yves Tadié. Three pages in black ink on a double leaf edged in black. A fold inherent to the mailing. A sombre and admirable letter steeped in Proustian melancholy. The future author of In Search of Lost Time feels more than ever the loss of his mother during the New Year period. The famously generous Proust also asks his faithful confidante Madame Catusse to buy a gift for the Straus couple whose wife inspired the character of the Comtesse de Guermantes. The end of 1907 apparent date of this letter alluding to the approaching New Year marks the second holiday season spent without Madame Proust who had died two years earlier: ""New Year's Day is only an occasion for me - as if occasions were needed! -- to reminisce and weep"". Proust had also expressed this sentiment in a letter to Anna de Noailles the year before ""New Year's Day had a terrible evocative power over me. It suddenly gave me back the memories of Maman that I had lost the memory of her voice"" February 1906. This fateful moment acted on Proust like a pernicious madeleine at once a sensory reminiscence and an acute awareness of his loss. He would soon begin writing In Search of Lost Time to conjure up this mother figure whose absence would remain unbearable. For the time being Proust is busy writing a series of Pastiches for Le Figaro ""which were in reality only a penultimate detour before writing La Recherche"" George D. Painter. One of these Pastiches dealt with the swindle perpetrated on the president of De Beers in which Proust had invested. Imagining himself already ruined he mentions these unfortunate circumstances in capital letters: ""HAVE I REPORTED MY FINANCIAL DESASTERS TO YOU OVER THE TELEPHONE ."" Overwhelmed by ailments he is also plagued by one of his many asthma attacks ""provoked or exasperated by these terrible fogs"" forcing him into reclusion and even silence: ""telephoning is very dangerous for me. And I'm also very tired when it comes to writing"". The recipient Mme Catusse was a friend of Proust's mother and became an invaluable support to the writer. Proust's prolific correspondence with the woman Ghislain de Diesbach had dubbed the writer's Notre-Dame-des-Corvées represents an inexhaustible resource of insights into his secret life and fears. Proust had called her in a panic during an aphasia attack suffered by his mother shortly before her death. As he became increasingly isolated after moving into 102 boulevard Haussmann the previous year Proust sought her help in many matters including the purchase of numerous gifts: ""I would have liked to ask you if you had by any chance seen anything suitable for the Straus although I always dislike coinciding with New Year's Day"". This sentiment would inspire a passage in The Captive castigating those same ""New Year's Day presents"" given to Madame Verdurin: ""those singular and superfluous objects which still appear to have been just taken from the box in which they were offered and remain for ever what they were at first"" The Captive C.K. Scott Moncrieff's Translation Edited and Annotated by William C. Carter Yale University Press 2023 p. 308. Known for his frenzied displays of prodigality Proust overcomes his aversion to these occasional gifts. The smallest favor to the writer gave rise to extravagant expenses. Lawyer Emile Straus had probably helped the writer sort out his inheritance affairs: ""I FEEL THAT THE NUMEROUS SERVICES PROVIDED TO ME BY MR. STRAUS CANNOT REMAIN WITHOUT THANKS since I believe he would not accept a fee. If you happened to have seen something very unknown
