(Sand Creek Massacre)Biblio.com
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186718346Washington: GPO 1867. Hardcover. Near fine. Two volumes. The first is 8vo. Pp. 3-108. In a 19th or early 20th century binding of victorian ribbed blue cloth gilt title on the upper board. Extracted from the "Joint Committee on the Conduct of the War at the Second Session Thirty-Eighth Congress". First page partially separated for bottom inch else this is a fine copy in a fine binding.<br /> <p><br /> The second is a Senate copy of the Report of the Secretary of War dated February 14 1867 detailing the evidence taken at Denver and Forty Lyon Colorado Territory on the Sand Creek Massacre of 1864. 228pp. Bound in black tape spine clear plastic sides.<br /> <p>. (GPO) hardcover
1900D20874Philadelphia: George Barrie and Son 1900. Limited Edition. Hardcover. Near Fine. A single volume from the Astral edition where of 250 copies were printed with twelve photogravures on Japan paper this being number 34. In a sumptuous red morocco binding heavily gilt. Light wear only. Sold as a binding. <br/><br/> George Barrie and Son hardcover
1900D20875Philadelphia: George Barrie and Son 1900. Limited Edition. Hardcover. Near Fine. A single volume from the Astral edition where of 250 copies were printed with six photogravures on Japan paper this being number 34. In a sumptuous red morocco binding heavily gilt a.e.g. Light wear only. Sold as a binding. <br/><br/> George Barrie and Son hardcover
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>
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>
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
189357116East Hampton North Adams & Boston MA; Bethlehem PA & New York: Caulkins & Post Co.; Harry S. Millard; Henry Lindenmeyr & Sons; Stewart & Sparry; Pettinos Brothers Atha V. Hughes; Barber Leather Co.; N.N. Hill Brass Co. 1893-1918. 4to. 72 letters some mimeographed others typed carbon copies and a few ALS sized 5.75 x 9.25 in. up to 8.5 x 11 in. many on steel-engraved letterhead a couple on ruled paper and many featuring the offsetting from the leather dyes with over 40 attached samples of papers White coated sign muslin foundry sand and assorted leathers. All preserved in archival mylar sleeves in recent full calf 3-ring binder w/ stamping. An exceptional archive of original TLS many with original samples of paper leather and even sand which were used in ever increasing quantities by the noted manufacturer of sleigh bells bells pull toys and many other toys for children from the Gilded Age through World War I. The earliest letter dated Feb. 10 1899 includes two paper samples from the Henry Lindenmeyr & Sons Paper Warehouse in New York on Bleeker Street noting that “we can furnish in the shade of your sample at $ 8.00 per hundred sheets basis 25 x 36. We could not make less than a thousand yards.†Sixty or the majority of the letters and samples were sent by the Barber Co. beginning in 1902 and continuing into World War I. Their letters and samples describe the colour grain and general finish of the included samples as well as their perfect applications in “baby carriage straps shawl straps small cases i.e. for toys small tool boxes†and of course sleigh bells and bell hangers and bell flappers as well as handle grips. Leathers encompass Red Straight Grain Cowhide Pigskin straps Black Bell Leather Walnut Strap Leather and specialized leathers for tumbling purposes for brasswork. Barber 1836-1909 was the longtime owner and operator of the Barber Leather Co. in North Adams until his death when his son Archer Barber took over the business. Many of the samples offered to the Hill Brass Co. are mounted on TLS and TLS copy letters from Harry S. Millard who later was brought into the Barber Co. in 1914 as Treasurer of the Company. The samples here include splits black pig leather as well as embossed strips in assorted coloured leather Caulkins & Post whose building at 484-494 Main Street in Middletown was considered one of the first “modern†stores and specialized in drapes window shades furniture and bicycles before opening up their successful card dealership in 1903. The Hill Brass Co. required products beyond leathers & papers as shown by the reply to their request for a quote for White Sign Muslin waterproof textile intended for use on children’s carriages and go-carts. For their manufacturing processes they required foundry sands and the Pettinos Brothers based in Columbia Ceylon Bethlehem PA and Mexico sent them a sample of their plumbago “high grade Ceylon stock.†There is even a May 29 1905 solicitation letter from F. von Bardeleben after seeing the Hill Brass Co. exhibit at the 1904 St. Louis World’s Fair mentioning that his company can supply a “very fine grade of non-poisonous unchangeable paints to be used for painting toys.†The N.N. Hill Brass Co. founded by Norman Newton Hill 1863-1950 in 1889 operated until the early 1960’s was one of the largest factory’s in the World producing bells & toys and by the 1930’s produced Walt Disney merchandise. Along with the Bevin Brothers and other local Massachusetts foundries they manufactured Salvation Army bells sleight bells bicycle bells alarm bells and more. See: N.N. Hill Brass Company Business Correspondence Jay T. Last Collection of Transportation Huntington Library; Edward T. Howe Small Bells of Connecticut: One Town Made Sounds that Rang in Millions of Ears New England Historical Society 2019; Norman N. Hill Brass Company Connecticut Historical Society 2020. Caulkins & Post Co.; Harry S. Millard; Henry Lindenmeyr & Sons; Stewart & Sparry; Pettinos Brothers, Atha V. Hughes; Barber Leat hardcover
189257069Paris: Emile Testard 1892. Fine. Emile Testard Paris 1892 19 x 28.50 cm 2 volumes brochés Edition illustrated with 260 original compositions in and outside the text by Adrien Moreau engraved on wood by Brauer Froment Hamel Méaulle Rousseau and Thomas one of 35 numbered copies on China paper deluxe copies. A minor tear at the foot of one joint of the first volume. Handsome copy. Emile Testard unknown
1833046866Paris: Urbain Canel Adolphe Guyot 1833. First Edition. Hardcover Quarter Leather. Very Good Condition. Scarce collection of 26 works of fiction by French women - contemporary quarter leather over marbled boards. Scattered foxing paper of mixed quality and some pages browned. Includes an early Sand "Une Vielle Histoire". 407pp; 429pp; 413pp; 491pp; 446pp; 403pp Size: Octavo 8vo. 6-volume set complete. Quantity Available: 1. Shipped Weight: Under 1 kilo. Category: Literature & Literary; Inventory No: 046866. Urbain Canel, Adolphe Guyot hardcover
18471806010138New York : Burgess Stringer and Co. 1847. Paperback. Good. Original newspaper. Contains part XXXV of George Sand's masterpiece "Consuelo." Spine almost perished. Minor soiling to front wrap and rear wrap. Clean unmarked pages. New York : Burgess, Stringer, and Co., paperback
182011049Bruxelles Brussels: A. Wahlen & Cie 1820. Fine. A. Wahlen & Cie Bruxelles Brussels 1820 12.50 x 18.50 cm broché Second edition of the French translation. With a frontispiece engraved portrait of the author. A slight dampstain affecting the front endpaper copy almost free from foxing. Rare. A. Wahlen & Cie unknown
187848362Madrid: La Correspondencia de España 1878.- 6 libros encuadernados en un mismo tomo 103; 68; 109; 90; 110; 99 pp.; 4º 23 x 16 cm; Impresión a dos columnas; Enc. en Media Piel época. Cubiertas desgastadas pero restauradas en la medida de lo posible interior en buen estado aunque el papel es quebradizo por su baja calidad. LITERATURA Y ESTUDIOS LITERARIOS EXTRANJEROS DE LOS SIGLOS XVI-XXI Libro en español La Correspondencia de España hardcover
1880180270New York: R. Worthington 1880. Hardcover. Very Good in boards. Front hinge cracked. Chipping at spine crown. Top rear end page corner creased. R. Worthington hardcover
184555923Paris:: J. Hetzel 1845-1846. First edition. old half green morocco over marbled boards; gilt spines. A few minor scuffs to bindings; clean tight and sound. An attractive set. . Large 8vo. Illustrations throughout by Gavarni and others. J. Hetzel, hardcover
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
184077244Paris 1840. Fine. Paris jeudi 7 mai 1840 13.60 x 20.90 cm une page sur un double feuillet Autograph letter signed by George Sand addressed to publisher Léon Curmer. One page written in black ink on a double sheet. This letter was published in the complete correspondence compiled by Georges Lubin. ""Monsieur J'ai parcouru votre recueil avec beaucoup d'intérêt et j'accepte la collaboration que vous m'avez offerte mais je ne pourrais m'occuper de vous satisfaire que dans six semaines ou deux mois. Si cette époque vous convient veuillez bien me le faire savoir ainsi que les conditions de la rédaction."" ""Sir I have perused your collection with great interest and I accept the collaboration you have offered me but I could not undertake to satisfy you for six weeks or two months. If this timing suits you please let me know as well as the conditions of the writing."" The ""recueil"" ""collection"" in question here is none other than Les Français peints par eux-mêmes. Sand would not however collaborate on this monumental compendium of types preferring instead several years later Le Diable à Paris published under the direction of her close friend publisher Hetzel. unknown
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
1838866321838. Fine. Sand publishes her response to Lerminier s. d. 23 février 1838 11 x 20.40 cm 1 page sur feuillet Autograph letter signed by George Sand addressed to François Buloz. One page in black ink on a single sheet. Fold marks sheet reinforced with paper on verso. Published in her correspondence ed. Georges Lubin vol. IV pp. 331-332. Exasperated by the attitude of the Revue des deux mondes of her friend Buloz George Sand decides to defend the progressive thinker Félicité Lammenais targeted by a scathing critique published in the review. She takes up her pen here and orders Buloz to publish her response article without changing a single line. Mon cher Buloz voici la lettre à M. Lerminier n'y changez rien. Relisez-en vous même et vous seul l'épreuve. Corrigez les fautes de typographie. Veuillez à la ponctuation et aux guillemets. Il va sans dire que les blancs de mon manuscrits sont le résultat de coupures et de transcriptions que j'ai faites et ne demandent que de simples alinéas. Bonjour et amitié George ""My dear Buloz here is the letter to M. Lerminier change nothing. Proofread it yourself and yourself alone. Correct the typographical errors. Mind the punctuation and quotation marks. It goes without saying that the blanks in my manuscript are the result of cuts and transcriptions I have made and require only simple paragraphs. Good day and friendship George"" This letter perfectly illustrates the stormy yet fruitful collaboration that united François Buloz and George Sand. The latter gave Sand for many years a platform and a means to live by her pen. She published in the Review a great number of masterpieces including Lettres d'un voyageur 1834-1836 Mauprat 1837 Spiridion 1839 Gabriel 1839 Mademoiselle La Quintinie 1863 Césanne Dietrich 1870. Through his mediation she also actively participated in the political debates of her time. In 1838 Buloz was the great orchestrator of an ideological duel when Sand ""decided to take on the critic Lerminier who had just made a very critical analysis of the Livre du peuple in the review. Buloz out of desire for publicity allowed his two collaborators to publicly exchange blows in the review. Through Lerminier and his superior tone the review then revealed its rather misogynistic vision of literature and philosophy: 'the time has come for you to give your philosophical opinions more consistency and scope because you are entering a new phase of life and talent. Inspiration and fantasy have raised you to a height where they would not suffice to maintain you. Draw now madam new strength from reflection and science'"" Marie-Eve Thérenty George Sand François Buloz et la Revue des Deux Mondes. Sand reacted immediately and sent her response article accompanied by this peremptory missive ordering Buloz to publish her text as it stood. Lamennais was very touched by her gesture: ""I shall always count among the happy circumstances of my life where I don't count many to have been defended by you. In publishing my last book I knew well that it would shock almost everyone legitimists juste-milieu Catholics even republicans those at least who want neither God nor liberty and their number is great and they have a terrible faith in themselves. I have hoped only in the people who do not make systems and who under the influence of primitive and imperishable human instincts judge by the heart and judge alone infallibly. Without them I don't know what would become of liberty on earth. M. Lerminier and many others imagine that I speak at random according to whatever idea of the moment occurs to me. They are mistaken"" Yves Chastagnaret George Sand Lerminier et le Livre du Peuple de Félicité Lamennais. Flying to the rescue of a defender of the people Sand writes this scathing missive at a key moment in her tumultuous relationship with Buloz. unknown
186376837Nohant Nohant-Vic 1863. Fine. Nohant Nohant-Vic 14 mars 1863 13.40 x 20.60 cm 3 pages sur un double feuillet Autograph letter signed by George Sand addressed to René Biémont. Three pages written in blue ink on a double sheet bearing at the head of the first page the blind stamp of Sand's initials. Envelope included. Folds inherent to mailing. This letter was published in the complete correspondence of George Sand established by Georges Lubin. Fine letter of congratulations addressed to René Biémont after sending his work Le Petit Fils d'Obermann: ""Your little book is very original and you show qualities of talent that will develop if you look ahead."" As an attentive reader much solicited by her young peers Sand develops her literary criticism: ""Obermann and his grandson the monk belong to the past. They are true and the timid Jean is well drawn. There is grandeur and truth in this exceptional type. But Constant d'Heurs is too passive to events. He should react against this powerless man and cure him or pity him more ."" Sententiously she thus concludes her letter: ""Do not complain of thankless work and accept it as a good thing three-quarters of life sacrificed to some duty makes the last quarter very strong and very alive. It is very good to be attached to poetry and thwarted in the possession of a beautiful dream. As soon as one can savor it without respite it fades or becomes troubled. I speak to you from experience. One is never happier and more inspired than when one believes one does not have time to be so."" Very fine testimony to the leading role that George Sand played on the literary scene of the Second Empire. unknown
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
1876Sand2<p><strong>SAND George 1804-1876</strong></p><p>Autograph letter signed "GSand" to Paul Porel Dry monogrammed G S initial on letterhead Nohant May 28 1876 1 page in-8 in black ink</p><p><strong>A moving letter one of the very last less than 10 days before her death</strong></p><p><em>"Merci de cette bonne nouvelle mon cher enfant. J'écris tout de suite à mon gros</em> Léopold<em> Barré combien je suis heureuse. Tu es bien gentil de me l'avoir annoncée. J'espère toujours aller à Paris avant la fermeture de l'Odéon pour t'applaudir et te renouveler l'injonction de venir nous voir aux vacances d'été. </em> <em>GSand</em> <em>Nohant 28 mai 76″</em></p><p>This moving letter is one of George Sand's last. After the three letters written on 28 May one to Miss Marguerite Thuillier the other to her doctor Henri Favre and finally this one and a note in the Agenda on 29 May she will take up the pen one last time on the 30th to write to her nephew Oscar Cazamajou Corr. XXIV p. 638</p><p>George Sand who died on 8 June 1876 of an intestinal obstruction was already suffering of stomach pain on 28 May as evidenced by her letter to Dr. Henri Favre: "<em>I wonder where I am going and whether to expect a sudden departure one of these mornings. I'd rather know right away than by surprise.</em>" Her condition will deteriorate on May 30 before the symptoms worsen significantly on June 3. On June 7 in agony she whispers to her daughter Solange who is caring for her and to her daughter-in-law Lina Calamatta: "<em>Goodbye farewell I am dying.</em>" She died on June 8 at 10:00 a.m. in her 72nd year.</p><p>Paul Porel 1843-1917 is a French actor director and theater director. He was married to the actress Réjane and was close to literary and musical circles notably attending Alphonse Daudet Emile Zola Léon Hennique George Sand Gabriel Fauré etc.</p><p>This letter unpublished in the correspondence edited by Lubin will appear in the next volume of <em>Nouvelles lettres retrouvées</em>.</p><p>Provenance: René Vallet Archives</p>
1871008609James R. Osgood and Company 1871. Book. Fine. Decorative Cloth. First Edition. 8vo - over 7¾" - 9¾" tall. Fine copy in Decorative Cloth.First Edition Excellent Copy. James R. Osgood and Company Hardcover
183560346Paris: Félix BonnaireVictor Magen 1835. Fine. Félix Bonnaire Victor Magen Paris 1835 13 x 20.50 cm relié First edition. Half shagreen two corners slightly bumped contemporary binding. A little light spotting library label to pastedown. Félix BonnaireVictor Magen unknown
1892055555Boston MA: Robert Brothers 1892. Not Indicated . Half-Leather. Very Good. Some rubbing on the leather edges otherwise in very nice condition. <br/> <br/> Robert Brothers hardcover
186215359Paris: La Revue des deux mondes 1862. Fine. La Revue des deux mondes Paris 15 octobre au Ier décembre 1862 15.50 x 25 cm 4 volumes brochés Published before the first edition. Softcover as issued. La Revue des deux mondes paperback
