SAND GeorgeABAA
5 502 résultats
6953The autograph manuscript of one of Sand's earliest novellas. It contains nearly 300 ink deletions and corrections and vividly reveals the author's writing process. Cora appeared in print for the first time on 9 February 1833 in the fifth volume of the collection of tales Le Salmigondis. Sand 1804-76 wrote it shortly after her split with the novelist Jules Sandeau 1811-83. Sand's works from 1832 to 1834 are particularly revealing concerning her turbulent personal life and her total adoption of the bohemian and androgynous persona of "George Sand" for which she applied and received a permission de travestissement. Her early novellas served as insightful experiments while she developed the Romantic genre for which she is most famous. Composed in the first person this feminist novella caricatures provincial customs of the time especially with regards to the often tragic fate of women as a result of their romantic relationships and strict social conventions. Sand's preoccupation with sympathetically depicting female figures pervades the story. As in many of her works the main characters are lower class. The protagonist Georges a young official in an unnamed small town has returned from l'île Bourbon now known as Réunion and at a ball falls in love with Cora the daughter of a grocer. Their relationship never progresses past the "immaterial and magical" as she marries a trainee pharmacist and Georges falls seriously ill. Following a humiliating encounter with Cora and her father Georges flees the town. At the very end of the story he returns years later to find Cora surrounded by three children with "a long nose thinned lips eyes a bit red gaunt cheeks and several teeth missing." Bound-in before the manuscript is a presentation inscription from Lina Sand Calamatta the wife of Maurice Dudevant Sand's son to Monsieur Ferrand dated 26 June 1890. We also find two manuscript letters from Sand Calamatta laid-in one of them dated 27 January 1895. She was the daughter of the French Neoclassical painter Joséphine Calamatta 1817-93 and the Italian painter and engraver Luigi Calamatta 1802-69. In fine condition. It is quite rare to find complete autograph manuscripts of Sand's writings on the market. unknown books
184688172Paris: Desessart 1846. Fine. Desessart Paris 1846 12.80 x 20.80 cm 2 volumes reliés Rare and highly sought-after first edition. Contemporary binding in black half shagreen flat spines richly decorated with gilt ornamental rolls discreet and skilful restoration to the foot of one joint black paper-covered boards marbled endpapers and pastedowns sprinkled edges. Discreet restoration to the lower hinge of the first volume. Exceptionally clean copy virtually free of foxing a rarity according to Clouzot who notes that most copies are usually heavily spotted. Provenance: from the libraries of Saint-Germain with printed crowned bookplate beneath the titles on the half-titles; Count de Bonvouloir with his printed bookplate Château de Magny in Calvados above the title on the half-title of the second volume and above the next bookplate on an endpaper of the first volume; Charles-Albert Gigault de Crisonoy de Lyonne with his bookplate mounted on a pastedown and endpaper; and more recently Max Brun with his bookplate mounted on the front pastedown of the first volume. Shelving labels mounted at the top of the rear pastedowns minor losses to white paper and some corner stains on the endpapers. A rare copy preserved in a strictly contemporary binding. Desessart hardcover
1849178642Paris: Michel Lévy Frères Libraires-Éditeurs 1849. Beautifully preserved in a fine Parisian binding First edition fine paper issue of the author's major novel one of her best known today. Together with La Mare au diable 1846 and François le Champi 1848 La Petite Fadette is one of Sand's pastoral "rustic novels" which drew inspiration from the author's love of the countryside and sympathy for the rural poor. In these works "the familiar theme of Sand's work - love transcending the obstacles of convention and class - regained pride of place" Ency. Brit. The fine bindings were executed by the Parisian master bookbinder Émile Mercier 1855-1910 the apprentice and successor to Francisque Cuzin 1836-1890. Mercier worked for Cuzin for eight years during which they established the elegant "Cuzin style" characterized by fine gilding and finishing. Following his mentor's death Mercier took over his workshop and sustained the firm's reputation for two decades signing bindings "Mercier Successeur de Cuzin". Mercier's bindings are "noted for the excellence of their tooling" and the binder himself was celebrated in Paris as "l'artiste impeccable" Coutts & Stephen p. 182. Provenance: Paul Villeboeuf b. c. 1856 with his bookplate. Villeboeuf was a distinguished collector of Romantic literature and fine bindings mostly by Cuzin and Mercier. He was the father of the artist André Villeboeuf. 2 vols octavo 227 x 150 mm. Late 19th- or early 20th-century straight-grain half morocco by Mercier spines lettered and decorated in gilt covers ruled in gilt marbled sides and endpapers edges untrimmed original wrappers bound in. Binding and contents exceptionally well-preserved a fine copy. Henry T. Coutts & George A. Stephen Manual of Library Bookbinding: Practical and Historical 1911. unknown
184688172Desessart | Paris 1846 | 12.80 x 20.80 cm | 2 volumes reliés
1833YQV-142 volumes in-8 (207 x 122 pp) de 4 ff.n.ch. (faux-titre, titre, dédicace, exergue) et 350 pp. pour le premier volume ; 3 ff.n.ch. (faux-titre, titre, vers d Alfred de Musset) et 383 pp. pour le second (comme dans la plupart des exemplaires reliés à l époque, le relieur a supprimé le dernier feuillet blanc du tome I et le premier feuillet blanc du tome II) ; demi-veau fauve, dos lisses, compartiments de filets et chaînettes ornés de grands fleurons géométriques dorés, roulette en pied, plats recouverts de papier marbré, tranches marbrées dans les mêmes tons (reliure de l époque).
186771232Nohant Nohant-Vic 1867. Fine. Nohant Nohant-Vic 21 décembre 1867 13.40 x 20.70 cm deux feuillets sous chemise et étui Autograph letter from George Sand to Gustave Flaubert dated December 21 1867 8 pages on two lined leaves. Published in Sand's Correspondance XX pp. 642-645. From one of the finest literary correspondences of the century this letter written on Christmas Eve 1867 is a sublime testament to the frank friendship between George Sand the old troubadour and Gustave Flaubert christened cul de plomb leaden ass after declining his invitation to Nohant to complete L'Éducation sentimentale. Despite their seventeen year-age gap opposing temperaments and divergent outlooks on life the reader is gripped by the tenderness and astonishing verve of George Sand's long confession to Flaubert. At the height of her literary fame and enjoying her theater in Nohant Sand talks at length about politics their separation their conception of the writer's work and life itself. In this stream-of-consciousness letter Sand naturally and freely sets down on paper eight pages of conversations with Flaubert who made only too rare and brief appearances in Nohant: But how I chat with you! Do you find all this amusing I'd like a letter to replace one of our suppers which I too miss and which would be so good here with you if you weren't a cul de plomb leaden ass who won't let yourself be dragged along to life for life's sake whereas Flaubert's motto then busy writing L'Éducation sentimentale was rather art for art's sake. In the end of 1867 Sand grieved the death of an almost brother François Rollinat which Sand appeased with letters to Flaubert and lively evenings at Nohant: This is how I've been living for the last 15 days since I stopped working . Ah'! . Ah! when you're on vacation work logic and reason seem like strange swings. Sand was quick to criticize him for working tirelessly in his robe the enemy of freedom while she was running up and down mountains and valleys from Cannes to Normandy even to Flaubert's own home which she had visited in September. On this occasion Sand had happily reread Salammbô where she picked up a few lines for her latest novel Mademoiselle Merquem. Their literary and virile friendship similar to Rollinat's defied the old guard of literati who declared the existence of a sincere affair between man and woman utterly impossible. Sand who has been described in turn as a lesbian a nymphomaniac and made famous for her resounding and varied love affairs began a long and intense correspondence with Flaubert for whom she was a mother and an old friend. She called herself in their letters old troubadour or old horse and no longer even considered herself a woman but a quasi-man recalling her youthful cross-dressing and formidable contempt for gender norms. To Flaubert had compared the female writers as Amazons denying their femininity: To better shoot with the bow they crushed their nipples Sand replied in this letter: I don't share your idea that you have to do away with the breast to shoot with the bow. I have a completely opposite belief for my own use which I think is good for many others probably for the majority. A warrior yes but a peaceful warrior Sand willingly adopted the customs of a world of misogynistic intellectuals while remaining true to herself: I believe that the artist should live in one's nature as much as possible. To the man who loves struggle war; to the man who loves women love; to the old man who like me loves nature travel and flowers rocks great landscapes children too family everything that moves everything that fights moral anemia she then adds. A fine evocation of her green period this passage marks the time of Sand's country novels when mellowed by the years she gave herself over entirely to contemplation to write François le Champi La Mare au diable and La Petite Fadette. But her love of nature didn't stop unknown
183777301Paris: Félix BonnaireVictor MagenComonHippolyte Souverain 1837. Fine. Félix Bonnaire Victor Magen Comon Hippolyte Souverain Paris 1837-1841 13 x 20.50 cm longueur totale de la série 72 cm 27 volumes reliés Extremely important edition comprising a large number of works appearing here in their first edition. The complete set of these 27 volumes is rare Clouzot. The titles present in first edition are: Mattea Lettres dun Voyageur La Dernière Aldini Les Maîtres mosaïstes LUscoque Spiridion Les Sept Cordes de la lyre Gabriel Pauline and Un hiver à Majorque.Illustrated with a portrait of the author at the head of the first volume. Bound in contemporary half brown sheep spines uniformly faded with four raised bands decorated with double gilt panels double gilt fillets at head and foot marbled-paper boards marbled endpapers and pastedowns marbled edges a few very lightly rubbed corners contemporary bindings. Some occasional foxing a light dampstain affecting the final leaves of the twenty-first volume. A very rare complete set in contemporary bindings. Félix BonnaireVictor MagenComonHippolyte Souverain hardcover
186771232Nohant 21 décembre 1867 | 13.40 x 20.70 cm | deux feuillets sous chemise et étui
183777301Félix Bonnaire Victor Magen Comon Hippolyte Souverain | Paris 1837-1841 | 13 x 20.50 cm, longueur totale de la série 72 cm | 27 volumes reliés
185074490Paris: Alexandre Cadot 1850. Fine. Alexandre Cadot Paris 1850 13.50 x 21 cm 2 volumes reliés Rare and much sought-after first edition cf. Clouzot published at the correct date of 1850 with some unsold copies later reissued by the same publisher in 1852. Bradel bindings in full bottle-green boards decorated with blind-stamped floral motifs brown morocco title labels bookplates pasted on the pastedowns. A small paper loss at the foot of the final page of the second volume without any loss of text a few occasional spots of foxing. A very rare and handsome copy elegantly bound strictly contemporaneous with the publication. Alexandre Cadot hardcover
19011260771901. SAND George. The Masterpieces of George Sand Now for the First Time Completely Translated into English. Printed Only For Subscribers. Philadelphia: George Barrie & Sons 1900-02. Twenty volumes. Octavo publisher's three-quarter dark blue morocco elaborately gilt-decorated spines raised bands top edges gilt. $8800.""Japan Vellum Edition"" of Sand's most famous works number 42 of only 1000 sets printed on Japan vellum and profusely illustrated with 125 photogravures each illustration in two states: one in black on India proof paper and mounted and one in bistre on Japan etching paper frontispieces finely hand-colored. With an intriguing three-page autograph letter signed by Sand tipped in.Several of the works included are here translated for the first time into English. Many of the author's introductions to first and important later editions are included as well as a memoir of Sand by J. Alfred Burgan. This exquisite set includes 125 illustrated plates by noted artists of the day including Adrien Moreau and J.B. Graff. ""French illustration of the Belle Epoque had an international vogue the most spectacular example of this French influence was the firm of George Barrie and Son of Philadelphia Robert Barrie scoured Paris in the 1890's to find illustrations for the thousands of plates which his firm employed in its editions"" Ray The Art of the French Illustrated Book 377. The illustrations in each volume are presented in two suites: one ""India proof"" printed in black mounted on Japanese vellum paper; one on Japanese etching-paper in bistre; the frontispieces feature the latter state finely hand-colored.The letter dated in Nohant June 16 '62 reads in full: ""Vous avez publié dans l'ami des sciences un bon et charmant travail sur les formes que s'appellerais primitives et que vous appeles plus exactemens geometriques. Ce travail est il publié en volume avec planches Si oui voulez m'en faire expedié une douzaine d'exemplaires en faisant suivre le remboursement pour votre editeur. J'ai une autre grâce a vous demander. Ma jeune belle fille qui est italienne et qui sait plusieurs langues et qui voudrait traduire en italien des ouvrages utiles à la jeunesse a pensé a traduire celui-ci. Au cas où elle réaliserais ce project voulez-vous lui en accordé l'autorisation exclusive Il vas audire que vos droite seraient réservis comme vous l'entendez. S'il y a ___. La chère enfant ne cherche l'a aucun autre profit pour elle-meme que la satisfaction d'occuper ses loisirs au service de son pays. Agréez Madame avec mes felicitations pour le bon emploi que vous faites de votre coeur et de votre intelligence l'expression de mes sentimens affectueux signed George Sand."" Translated: ""You have published in the Friend of Science a good and charming work on the forms which would be called primitive and which you call more exactly geometric. Is this work published in volume with plates If so please send me a dozen copies and forward reimbursement to your publisher. I have another favor to ask of you. My young daughter-in-law who is Italian and who knows several languages and who would like to translate into Italian works useful for young people thought of translating this one. If she does this project do you want to give her exclusive permission He will hear that your rights would be reserved as you see fit. If there is ___. The dear child seeks no other profit for herself than the satisfaction of occupying her leisure time in the service of her country. Accept Madam with my congratulations for the good use you make of your heart and your intelligence the expression of my affectionate feelings signed George Sand."" In this letter Sand is clearly referring to her only daughter Solage Dudevant also a writer and novelist. A beautifully illustrated and bound set in fine condition desirable with a signed Sand letter. hardcover
186780208Paris: Michel Lévy frères 1867. Fine. Michel Lévy frères Paris 1867 11.50 x 18.50 cm relié New edition. Contemporary binding in half green shagreen spine in four compartments set with gilt stippling gilt fillets and gilt fleurons in the corner pieces multiple blind tooled frames on the boards white iridescent paper endpapers all edges gilt. Some leaves shorter in the bottom margin. Handwritten inscription signed by George Sand on the first endpaper: à mon bon ami Edmond Plauchut. G. Sand"". Today the only outsider to the family buried in the cemetery of the Nohant house is Lucien-Joseph-Edmond Plau chut 1824-1909 who began an epistolary relationship with George Sand in the autumn of 1848 when he was a voluntary expatriate after the fall of the Republic. Leaving for Singapore he was shipwrecked off the coast of the Cape Verde Islands and was able to save only one cassette containing Sand's letters that he had preciously bound. These missives were his salvation: they allowed him to be collected fed and laundered by a rich Portuguese admirer of the Lady of Nohant Francisco Cardozzo de Mello. After several journeys toward the Far East and several exotic presents sent to his distant and yet so close friend Plauchut finally met George Sand in 1861. In 1870 she paid a vibrant tribute to him in the preface of her novel Malgrétout. Despite everything she recounts the shipwreck of which he was a victim and expresses with emotion her friendship for this courageous friend. Plauchut much loved by the Sand family and particularly George's granddaughters who nicknamed him Uncle Plauchemar was an integral part until his death in January 1909. The handwritten signed inscriptions on La Mare au Diable are very rare this one is from a superb provenance. Michel Lévy frères hardcover
185074490Alexandre Cadot | Paris 1850 | 13.50 x 21 cm | 2 volumes reliés
LCS-17849Bel exemplaire de cette rare édition originale conservé dans sa reliure de l’époque. Paris, Michel Lévy frères, 1849. 2 tomes reliés en 1 volume in-8 de: I/ (2) ff., 335 pp. ; II/ (2) ff., 271 pp. Rares piqûres. Demi-veau blond, dos lisse orné de filets dorés, pièce de titre de maroquin vert, tranches mouchetées. Infimes frottements aux mors. Reliure de l’époque. 210 x 129 mm.
186780208Michel Lévy frères | Paris 1867 | 11.50 x 18.50 cm | relié
185976839Nohant Nohant-Vic 1859. Fine. Nohant Nohant-Vic 16 août 1859 13.50 x 20.90 cm 4 pages sur un double feuillet Autograph letter signed by George Sand addressed to Ernest Feydeau. Four pages written in blue ink on a double sheet bearing at the head of the first page the sender's blind stamp. This letter was published in the complete correspondence of George Sand established by Georges Lubin. Fine and lengthy letter discussing literature and friendship between writers. Initially a stockbroker and specialist in Antiquity Ernest Feydeau launched himself late into fiction. Anxious to occupy a literary space in which he did not feel justly appreciated he used his connections and maintained a regular epistolary relationship with illustrious correspondents such as Gustave Flaubert Sainte-Beuve and George Sand to whom he sent drafts of his novels and whose opinions he sought. This letter forms Sand's response after having just finished reading Daniel Feydeau's second novel. George Sand then at the height of her literary career describes herself thus: ""I am quite old enough to be your mother for I am 55 years old and I have good hands quite skillful but not beautiful at all. I have earned the right to no longer be coquettish I have been quite reproached for never having been so. I will tell you anything about myself that you wish."" As was her habit much solicited by her peers she delivers a very detailed critique of the text her colleague submits to her: ""I am not against sentences that jar where they need to jar but I am not for harmony being sacrificed to rhythm. Nor am I for the contrary. Understand me well I only blame what is too noticeable what reveals the technique. Do not touch the passages you speak of they are excellent. And in sum I will not insist furiously on the question of form in style seeing that if the qualities of yours should disappear with what sometimes seems to me a flaw I would be in despair at having pointed out the flaw."" Herself very close to Flaubert whom she nicknamed her ""leaden bottom"" Sand seems delighted that the two men know each other: ""I do not have time. But I will have time to receive you when you are free you must come with Flaubert who also has in me an enchanted reader and a wholehearted literary friend. I did not know he was your friend and I am pleased that he is."" The friendship goes so far that Sand soon brings the two writers together placing them on complete equal footing: ""It is no misfortune for you any more than for Flaubert to belong to the race of seers."" A form of solidarity then establishes itself in the face of critical adversity: ""All this is felt better than it can be said and that is why criticism loses its reason three-quarters of the time."" For criticism has had the misfortune of labeling Feydeau as it did with Flaubert a realist: ""People have taken it upon themselves to baptize your manner and his as realism. I do not know why; unless realism is something entirely different from what the first adherents attempted to explain to us. I suspect indeed that there is a way of envisaging the reality of things and beings which is great progress and you bring triumphant proof of it. But the name realism does not suit because art is a multiple infinite interpretation. It is the artist who creates reality within himself his own reality and not that of another. Two painters paint the portrait of the same person. Both create a work that represents the person if they are both masters. And yet the two paintings do not resemble each other. What has become of reality"" This long diatribe - a true manifesto - forms a powerful testimony to the repulsion of George Sand and Flaubert for theorists obsessed with the idea of classifying literature according to a ""system that . blinds"". unknown
18370030531837 Paris, Félix Bonnaire, 1837. Deux volumes in-8 (146 X 227 mm) demi-maroquin noir à grain long et à petits coins, dos lisse composé de deux grands compartiments entièrement ornés de fers dorés à décor rocaille et d'un petit compartiment central contenant auteur, titre et tomaison dorés, plats et dos (petits manques aux dos) de la couverture conservés (BERNASCONI). Tome I : faux-titre, titre, 422 pages ; Tome II : faux-titre, titre, 414 pages.
187676872Nohant Nohant-Vic 1876. Fine. Nohant Nohant-Vic 6 mars 1876 13.20 x 20.70 cm deux pages sur un feuillet remplié Autograph letter signed by George Sand addressed to Gustave Flaubert. Two pages written in black ink on a double sheet bearing at the head of the first page the sender's dry stamp. This letter was published in the complete correspondence of George Sand established by Georges Lubin. Fine letter written by George Sand a few months before her death and addressed to her lifelong friend Gustave Flaubert. The writer wishes to offer her friend a seat so he may attend the revival of her play Le Mariage de Victorine : ""Je t'écris en courant ce matin parce que je viens de recevoir de Mr Perrin avis de la 1ère représentation de la reprise du Mariage de Victorine une pièce de moi au théâtre français. Je n'ai ni le temps d'y aller ni l'envie de partir comme cela au pied levé mais j'aurais voulu y envoyer quelques amis et il ne m'offre pas une seule place. Je lui écris une lettre qu'il recevra demain et je le prie de t'envoyer au moins un orchestre."" ""I'm writing to you hurriedly this morning because I've just received notice from Mr Perrin of the first performance of the revival of Le Mariage de Victorine a play of mine at the Théâtre Français. I have neither the time to go nor the desire to leave like that at a moment's notice but I would have liked to send some friends and he doesn't offer me a single seat. I'm writing him a letter which he will receive tomorrow and I ask him to send you at least an orchestra seat."" Letters from the correspondence between George Sand and Gustave Flaubert are renowned and highly sought after. unknown
17224Paris Paul De Lacroix 8 Volumes In-Folios Malgré 8 volumes, cet Exemplaire ne comprte qu'a peu près la moitié de ce qui est paru. Aucune Collation ne semble tout à fait identique, Notre exemplaire comporte les principales Photos de Beaudelaire par Carjat, Sand par Nadar, Loti, Zola, Etc. En dehors des Ecrivains, de nombreuses photos et articles sont consacrés aux artistes de la deuxième moitié du XiX ème siècle; Collation détaillée sur Demande ( Il es très important de savoir ce que comportent les différents exemplaires proposés). Quelques épidermures, sinon reliure en bon état, tête dorée
186471862Paris: Michel Lévy frères 1864. Fine. Michel Lévy frères Paris 1864 14.50 x 23 cm relié First edition of the theatrical adaptation. Bound in half red shagreen spine in four compartments set with gilt stipples adorned with double gilt spine panels marbled paper plates marbled endpapers contemporary binding. Precious handwritten presentation signed by George Sand: à monsieur Huart en lui demandant pardon de tout le mal que je lui donne. To Mr Huart asking for his forgiveness for all the harm I am causing him. Provenance: from the Grandsire library with its ex-libris. Le 1er mars 1864 en effet se déroule l'événement théâtral de l'année: la première du Marquis de Villemer. L'Odéon gardé par des cordons de police est pris d'assaut par les étudiants qui campent sur la place depuis dix heures du matin. Dans la salle les trépignements les hurlements les applaudissement interrompent les acteurs. La claque est débordée. On a refusé 3 000 à 4 000 personnes faute de place. La famille impériale applaudit l'empereur pleure ouvertement Flaubert est en larmes le Prince Napoléon hurle son enthousiasme. C'est un triomphe. Deux cents personnes entourent George et l'embrassent au foyer. Les étudiants l'escortent jusqu'à son domicile aux cris de Vive George Sand! Vive Mademoiselle La Quintinie! à bas les cléricaux! La police disperse la manifestation dans la nuit. Ces démonstrations anticléricales sont d'autant plus étonnantes que rien dans la pièce n'y fait allusion. Il s'agit d'un mélodrame très réussi dans lequel l'amour triomphe des préjugés sociaux. Le premier acte qui a bénéficié de l'esprit de Dumas fils est brillant. La pièce met en scène deux frères dont l'un très proche de sa mère introverti et sérieux refuse de se marier. Il finira par épouser la dame de compagnie une jeune femme vertueuse et droite. L'autre un libertin sympathique et spirituel de quarante ans se mariera avec une héritière tout juste sortie du couvent. Le rythme est enlevé les caractères bien dessinés. La pièce jouit de l'aura de George Sand. Le succès se reproduit tous les jours. Les recettes sont fabuleuses. Le Quartier latin est méconnaissable. Les ruelles autour de l'Odéon bien éloigné des grands boulevards élégants sont obstruées par les équipages de luxe. Les belles dames font la queue dès le matin à la location. L'Odéon ce théâtre sale froid loin de tout désert misérable Lettre à Maurice et Lina Dudevant-Sand 5 mars 1864 est illuminé tous les soirs. On 1 March 1864 the theatrical event of the year took place: the premiere of Le Marquis de Villemer. The Odeon guarded by a police cordon is stormed by students who have been camping on-site since ten o'clock in the morning. In the hall the feet stamping the yelling and the clapping interrupts the actors. The claque is overshadowed. Between 3000 and 4000 people were refused for lack of space. The Imperial family applauds the Emperor weeps openly Flaubert is in tears Prince Napoleon howls with enthusiasm. It is a triumph. Two hundred people surround George and kiss him in the foyer. The students escort him home with shouts of Long live George Sand! Long live Mademoiselle La Quintinie! Down with the clerical! The police break up the demonstration throughout the night. These anticlerical demonstrations are all the more surprising since nothing in the play alludes to them. It is a very successful melodrama in which love triumphs over social prejudices. The first act which has benefited from Dumas fils' mind is superb. The play features two brothers one of whom who is very close to his mother introverted and serious refuses to be married. He will end up marrying the lady in wating a young virtuous and upright woman. The other a forty year old sympathetic and spiritual libertine will marry an heiress who has just left the convent. The rhythm is lively the characters well drawn. The play has the aura of George Sand. The success is repeated every day. The takings are fabulous. Th Michel Lévy frères unknown
187578260Paris: Michel Lévy frères 1875. Fine. Michel Lévy frères Paris 1875 11.50 x 18.50 cm relié First edition published in the authorÂ’s collected works. Some occasional foxing. Half black morocco shagreen binding smooth spine decorated with triple blind fillets and gilt fleurons marbled paper boards marbled endpapers and pastedowns contemporary binding. Signed autograph inscription by George Sand : ""to my friend Charles Fournier."" Handwritten note by George Sand beneath the title on the title page: ""suite de Flamarande"" published the same year and by the same publisher as ""Les deux Frères"".  Michel Lévy frères hardcover
185876111Nohant Nohant-Vic 1858. Fine. Nohant Nohant-Vic 3 juin 1858 13.40 x 20.90 cm 4 pages sur un feuillet remplié Autograph letter signed by George Sand addressed to her friend Stéphanie Bourjot daughter of Étienne Geoffroy-Saint-Hilaire. Four pages written in blue ink on a folded bifolium bearing George Sands monogram. Fold marks as usual. This letter was partially published in Correspondance vol. XIV no. 7846. A beautiful and partly unpublished letter in which George Sand discusses Marie Pape-Carpantiers book and the education of her young maid Marie Caillaud: «It is an excellent book which I use to teach my young maid to read. She is extraordinarily intelligent and this book opens her mind to all sorts of sound ideas. Educating this 18-year-old childwho six months ago was only two in terms of knowledgehas been a unique experience. She now seems her age yet retains all the innocence of childhood. So every evening we read Marie Carpentiers little stories and I enjoy them just as much as my pupil does.» Marie Caillaud was only eleven years old when George Sand hired her to wash dishes and tend to the chicken coop a task that earned her the nickname Marie des poules. But the writer soon recognized the young peasant girls intelligence appointed her as housekeeper and by 1856 included her in the performances of the Nohant theatre. Her education is first mentioned in early 1858 notably in a letter from George Sand to her friend Charles Duvernet: «During my winter evenings I took on the education of little Marie the one who acted with us. From a dish washer I immediately raised her to the rank of housekeeper a role for which her excellent mind makes her perfectly suited. The greatest obstacle was that she couldn't read. That obstacle no longer exists. In thirty half-hour lessonsfifteen hours in a monthshe mastered all the difficulties of the language slowly but perfectly. This miracle is due to the admirable Laffore method which I applied with the utmost gentleness to a perfectly lucid mind.» 16 February 1858 Marie Caillaud would go on to become a notable actress at Nohant and move in the circles of George Sands illustrious guests: Delacroix Gautier Dumas Prince Jérôme Bonaparte But Marie was not George Sands first pupil. All her life Sand was deeply interested in pedagogy and taught not only her children and grandchildren but also members of her household staff and local peasants. This letter is a remarkable testament to her hands-on approach as a teacher always seeking new and effective ways to impart knowledge: «What is lackingor at least what I havent foundis a true reading method. Ive devised one for my own use never written down based on Laffores and adapted to my own ideas. But what I havent found in primers for children or public school manuals is a well-crafted exercise book that teaches reading logically while also making sense of spelling. Does such a book exist» Far from a casual activity education was central to George Sands worldview. As Georges Lubin noted her aim was not merely to teach literacy. Taught to write by her own mother at the age of five Sand understood from an early age that the only path to equality lay through intellectual emancipation: «She understood very early on that the only road to equality was intellectual emancipation. The ignorance imposed upon women was the root of their servitude. The ignorance imposed upon the working classes underpinned class inequality. Education was the key to opening locked doors.» «George Sand et l'éducation» in Nineteenth-Century French Studies 1976 A beautiful and important testimony to George Sands tireless struggle for the emancipation of women through education. unknown
187275733Nohant Nohant-Vic 1872. Fine. Nohant Nohant-Vic 19 semptembre 1872 13.20 x 20.60 cm 20 pages 1/2 sur 21 feuillets Autograph manuscript signed by George Sand written in black ink on 21 leaves of white paper. Deletions and corrections. One page of the manuscript appears to have been lost. The final version of this chronicle whose text conforms to the manuscript we offer was published in Impressions et souvenirs Paris M. Lévy 1873. George Sand would devote another article to her son's novel in Questions d'art et de littérature in 1878. The first edition of Maurice Sand's Coq aux cheveux d'or was published by Lacroix and Verboeckhoven in 1867. unknown
187632237Seul portrait dédicacé connu S.l.n.d. [« Galerie contemporaine, 126 boulevard de Magenta » et « Cliché Nadar, rue d'Anjou-Saint-Honoré, 51 »]. 1 tirage sur papier albuminé (250 x 340 mm), encadré. Célèbre portrait sur papier fin, contrecollé sur carton de la Galerie Contemporaine littéraire (2e série, n°37). Rarissime épreuve dédicacée : «à mon cher Villegeorges, souvenir d'amitié, George Sand»
32237S.l.n.d. « Galerie contemporaine 126 boulevard de Magenta » et « Cliché Nadar rue d'Anjou-Saint-Honoré 51 ». 1 tirage sur papier albuminé 250 x 340 mm encadré. Célèbre portrait sur papier fin contrecollé sur carton de la Galerie Contemporaine littéraire 2e série n°37. Rarissime épreuve dédicacée : « à mon cher Villegeorges souvenir d'amitié George Sand ». Ce portrait fait partie de l'une des entreprises éditoriales les plus caractéristiques de la fin du XIXe siècle : La Galerie contemporaine publiée de 1876 à 1884 réunit 242 biographies illustrées de 410 photographies dont 241 reproduits en photoglyptie par la maison Goupil & Cie Ce procédé photomécanique nouveau connut pendant trente ans un énorme succès dans la presse et l'édition grâce à une impression stable diffusable en grand nombre et bien moins coûteux que les tirages argentiques. George Sand est la première figure féminine à être publiée dans la Galerie Contemporaine. Le portrait reprend l'un des fameux clichés exécutés par Nadar en mars 1864 : une série de huit clichés de la romancière au mois de mars 1864. La bonne dame de Nohant ne s'appréciait pas physiquement et ne fit confiance qu'à Nadar pour poser lequel consacra de longues heures à la photographier jusqu'à ce que l'image lui convienne : « Les épreuves de ma photographie n'ont pas encore très bien réussi chez Nadar j'y retourne demain." écrit-elle à Maurice son fils le 8 mars 1864 à Paris. Ces photographies restées célèbres inaugurèrent le début d'une longue série. Nadar qui avait toujours admiré la romancière l'avait placée en tête de son Panthéon Nadar 1854 et lui avait dédicacé un livre Quand j'étais étudiant 1856 : « À madame George Sand enthousiasme fervent et profond respect » ; la romancière deviendra par ailleurs la marraine de son fils Paul. Précieuse épreuve dédicacé par Georges Sand qui devait décéder l'année même de cette parution le 8 juin 1876 si bien que les portraits signés sont absolument rarissimes George Sand n'ayant que peu d'occasions de les avoir en mains. On ne connaît qu'un autre portrait dédicacé de la série Nadar au petit format carte de cabinet à Charles-Edouard de Vasson et quelques autres tirages dans ce même format carte simplement signés. S.l.n.d. [« Galerie contemporaine, 126 boulevard de Magenta » et « Cliché Nadar, rue d'Anjou-Saint-Honoré, 51 »]. 1 tirage unknown
