George SANDBiblio.com
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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
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
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
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»
18432030Paris: Imprimerie de Schneider et Langrand 1843. First edition. Contemporary 19th century quarter calf binding with green boards; gentle wear to edges. Internally an excellent copy with original wraps bound in; occasional light foxing and small paper loss to margins of last two leaves neither affecting text. Octavo collates complete with 31 pages. An exceptionally rare copy of Sand's first work on social justice of which only 500 were printed. This copy is the only one known to have come onto the market with none in the modern auction records and the only other held at La Bibliotheque Nationale de France.<br/><br/>Having dedicated the first decade of her career toward writing novels about women's internal and social struggles George Sand made her first move into activism with Fanchette. Shocked by the story of a young girl with mental illness who had been refused refuge in a convent and was soon after discovered pregnant and arrested for begging Sand opted to expose the events in a set of letters printed in the Revue Independente. Following a wave of public outcry "Sand decided to have the letters printed in brochure form with the plan that half the copies would be distributed free to the workers of La Chatre the others sold for the benefit of Fanchette. Five hundred copies of this brochure of thirty-one pages were printed and circulated. The Fanchette case therefore revealing as it did an appalling lack of sympathy for the poor and misfortunate convinced George Sand that an effort should be made to awaken the citizens of La Chatre to their duties as members of a community" Bowes. This publication marked a new phase of Sand's writing career which more directly emphasized social justice particularly for vulnerable women. A rare and important work. [Imprimerie de Schneider et Langrand] unknown books
186471862Michel Lévy frères | Paris 1864 | 14.50 x 23 cm | relié
187578260Michel Lévy frères | Paris 1875 | 11.50 x 18.50 cm | relié
1841Sand14<p><strong>DELACROIX SAND George 1804-1876</strong></p><p>Autograph letter signed " G.S. " to Eugène Delacroix<br />Paris Postal mark 23rd December 1841 1 p. 1/2 in-8°<br />Autograph address on fourth folio wax seal : " Monsieur Delacroix rue des Marais Saint Germain 17 "</p><p><strong>Superb letter to her friend Delacroix about her desire to write "a few pages on painting" the <em>Femmes d'Alger</em> her contempt for the <em>Ingresque</em> school and other artistic news</strong></p><p><em>" Vous avez bien fait cher ami de ne pas venir à l'Opéra. <strong>C'était ennuyeux à crever malgré la beauté et la pompe du spectacle.</strong> J'espère que vos truffes vous auront donné de meilleures inspirations musicales que la reine de Chypre n'en a donné à Mr Halevy.1</em><br /><strong><em>Venez ce soir comme vous me l'avez promis. J'ai à vous parler sur des matières artistiques !!!</em></strong> le mot est entouré par Sand d'un triple trait de plume.<strong><em> Sans plaisanterie j'écris quelques pages sur la peinture et j'ai besoin de vous pour savoir si je ne déraisonne pas. </em></strong><em>2</em><br /><em>Bonjour et bonne nuit. Il est 6h du matin. Vous devriez venir dîner avec nous. Nous avons embelli notre existence d'un pot-au-feu quotidien et avec le dîner de l'anglais3 et du bon café c'est supportable.</em><br /><em>G.S.</em><br /><strong><em>La Lélia</em></strong><em>4<strong>avec son moine et son mort me frappe et me plaît de plus en plus c'est ce qui m'a mise en veine d'écrire sur la couleur et ce qu'il faut entendre par la forme. Avec ça j'ai vu vos femmes d'Alger</strong>5 ce matin. Si vous m'encouragez je suis capable de faire le prochain salon dans notre revue</em> La Revue indépendante<em> et <strong>vous savez que je ne caponnerai pas</strong></em> ne se montrera pas lâche <strong><em>avec tout cette école silhouettiste</em></strong><em>6<strong> qui se dit en possession du dessin</strong> ".</em></p><p>1 <em>La Reine de Chypre</em> an opera in five acts by Halévy to a libretto by St. George took place the day before December 22 1841. Unlike George Sand Richard Wagner who was also present at the premiere considered the music "noble moved and even new and exhilarating" although he criticized Halévy's failings in simple orchestration.<br />2 In Horace which George Sand was then writing she staged a rapin a pupil of Delacroix but there were no "few pages on painting". Is this an article intended for the Independent Review – which it has just created – but which it has renounced The word written in postscript confirms that it is an aesthetic reflection that focuses on "color" and "form".<br />3 Possible reference to an English restaurateur or caterer frequented by George Sand.<br />4 <em>Lélia avec son moine et son mort</em> is the third work offered by Delacroix to George Sand for the gifts of 1842. It is a pastel depicting Lélia kneeling near Stenio's corpse while the monk Magnus "in the shadows leaning stiffly against the wall of the cave darted on her his sparkling eyes". The subject was treated several times by Delacroix.<br />5 This is the <em>Femmes d'Alger dans leur appartement</em> a painting presented at the Salon of 1834 where it caused a sensation. A synthesis of orientalism and romanticism this painting expresses a deep "melancholy" for the poet and art critic Baudelaire.<br />6 George Sand refers to the school of Ingres as a "Silhouettist school". We know the adversity between the two painters that animated the artistic scene of the nineteenth century. The writer had resolutely taken Delacroix's side that of "form" and "color".</p><p><u>Bibliography:</u><br /><em>George Sand</em> – Correspondance t. V Lubin Garnier p. 529-531 lettre n°2369<br /><em>Correspondance</em> éd. Françoise Alexandre Les éditions de l'Amateur p. 117-118 n°50</p><p><u>Provenance:</u><br />Achille Piron Delacroix's universal legatee<br />Bibliothèque Marc Loliée</p>
1842Sand29<p><strong>DELACROIX SAND George 1804-1876</strong></p><p><u>Two autograph letters</u> signed " GS " to Eugène Delacroix<br />Nohant 6 & 7 July 1842 3 p. in-8° in total in black ink<br />Autograph addresses on verso<br />Stamp marks previous trace of mounting</p><p><strong>Saddened by the departure of her "good little" Delacroix after the latter's stay in Nohant in the company of Chopin and the rest of the Sand family the writer found herself immersed in her reading of <em>Les Mystères de Paris</em></strong></p><p><strong><u>From the Marc Loliée library</u></strong></p><p><em>" <strong>Cher bon petit</strong> J'espère que vous êtes arrivé à bon port sans trop souffrir de la chaleur qui a été modérée le jour de votre départ. Vous avez oublié ici quelques effets dont Maurice a fait une caisse laquelle part aujourd'hui. Comme le port en est payé accusez-en réception afin qu'elle ne s'égare pas sans que nous la fassions réclamer. J'ai encore retrouvé dans mes mouchoirs un mouchoir à vous. Je vous le mets à part ainsi que ceux qui pourraient se retrouver au prochain blanchissage. <strong>Que Jenny</strong></em> la gouvernante de Delacroix <strong><em>ne nous accuse donc pas de vous avoir grinché vos zardes</em></strong>¹<em>. – <strong>Je lis le Chourineur et je vous assure que malgré l'horreur du sujet et des détails</strong></em>²<strong><em> c'est jusqu'à présent fort intéressant et fabriqué avec beaucoup de talent</em></strong><em>. – <strong>Nous sommes restés tout tristes et tout déconfits de votre départ</strong>. Nous tâchons de jouer au billard mais je crois que vous avez emporté le carambouillage</em>³<em> dans votre poche et que vous ne nous avez laissé que le manque de touche. J'attends avec impatience un petit mot de vous. <strong>Nous sommes encore trop chagrins pour vous en dire long aujourd'hui</strong>. Et puis l'heure me presse. À présent cher soyez bien portant. Si vous nous regrettez autant que nous vous regrettons faites un effort pour nous oublier jusqu'à notre retour </em>Sand et Chopin rentreront à Paris le 31 juillet<em> alors vous nous raimerez de nouveau. <strong>Adieu moi et tous vous embrassons et vous aimons</strong>.<br />GS. "</em></p><p><em>" Cher ami mon dadet </em>sic <em>de Thomas </em>peut-être Thomas Aucante autrefois vacher<em> a commencé le cours de bêtises auxquelles je dois m'attendre en ne payant pas le port de la caisse que je vous ai envoyée hier. Si bien qu'il faut que vous le sachiez afin de n'avoir pas de contestation avec l'administration. Accusez-moi réception car tout ceci a été fort mal fait malgré mes précautions.<br />Nous nous portons bien. <strong>Nous vous aimons. J'ai rêvé de vous toute la nuit</strong> ; j'espère que c'est bon signe et que vous êtes bien portant.<br />À vous<br />GS. "</em></p><p>In response to his friend's repeated invitations Delacroix spent nearly two weeks in Nohant in June 1842. He wanted above all to rest "vegetate" as he put it and enjoy the pleasures of the countryside. Back in Paris he replied on the 8th stating that he had received the crate and calling the person who had brought it to him a cheat and an imposter demanding postage. He asked his friend for a small purse left in Nohant a purse that Solange had given him and a small cord from Algiers. He concluded: "The weather is awful for the nerves. When you dreamed that you saw me did you dream that you were the Duchess of Berry I send you all my sincere embraces but I am very sad" Corr. gén. de Delacroix t. II p. 116.</p><p>Using the slang present in Eugène Sue's work we understand that Sand is here in the middle of reading The Mysteries of Paris. The serial novel published in the Journal des débats from June 19 1842 to October 15 1843 inaugurated mass literature in the 19th century and earned its author immense fame in all social classes.</p><p><u>Provenance:<br /></u>Bibliothèque Marc Loliée<br /><u><br />Bibliography:<br /></u><em>Correspondance</em> t. V éd. G. Lubin Garnier n°2477 & 2478</p>
