Beauvoir, Simone deBiblio.com
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1949140947327Paris: Gallimard 1949. First Edition. Near Fine. First edition limited issue with text in the original French. Limited to 2105 copies including 2000 numbered copies on Alfama Marais paper of which these are 1631 and 357 respectively. Two volumes bound in publisher's black paper-covered boards with striking color-stamped designs by Mario Prassinos. Near Fine with light rubbing to extremities and faint soiling and foxing to textblock edges. A striking copy of this important feminist work in which the author discusses the treatment of women throughout history. Gallimard unknown
194932820672<p>Two volumes. Original decorated cloth designed by Mario Prassinos. Fine.</p><p>FIRST EDITIONS. The two volumes were published months apart in 1949 each in an edition of 2000 numbered copies from a total edition of 2150.</p><p>This landmark of feminism presents a scathing analysis of the history and treatment of women in the patriarchal West. Beauvoir begins by asking "What is woman" She argues that man is the default while woman is Other: "Thus humanity is male and man defines woman not herself but as relative to him."</p><p>"To state the question is to me to suggest at once a preliminary answer. The fact that I ask it is in itself significant. A man would never set out to write a book on the peculiar situation of the human male. But if I wish to define myself I must first of all say: 'I am a woman'; on this truth must be based all further discussion. A man never begins by presenting himself as an individual of a certain sex; it goes without saying that he is a man …"</p><p>"<i>The Second Sex</i> was published in France in 1949 a year after the author—a thirty-eight-year-old public intellectual—was allowed to vote for the first time. French women so belatedly enfranchised would not have access to legal birth control until 1967 or to legal first-trimester abortions until 1975" Judith Thurman.</p><p><i>The Second Sex</i> has been translated into more than a dozen languages and has sold millions of copies. It is central work in the transition from the feminism of the woman suffrage era to the second wave feminism of the second half of the 20th century and beyond.</p><p>A beautiful set of this landmark work.</p><p>New York Public Library Books of the Century 129. En Français dans le Texte 392. Le Monde Books of the Century 11.</p> Gallimard hardcover
1961161201002New York: Alfred A. Knopf 1961. First Edition Second Printing. Hardcover. Very Good. Signed dated 8/16/93 by Julia Child on the title page. First edition second printing with "Published October 16 1961" on copyright page. Very Good with toning and some spotting to cloth and wear at spine ends spine rolled with a small stray ink mark at the base corners and top edge of rear board bumped light spotting to topstain hinge following front free end paper is a bit over-opened pages toned with corners bumped throughout text block lacking the dust jacket. A lovely copy of this culinary classic rarely found signed in such an early printing. Alfred A. Knopf hardcover
1949140942942Paris: Gallimard 1949. Reprint. Near Fine. Early reprint. Two volumes both signed and inscribed by Simone de Beauvoir on the half-title page. Bound in French art bindings with marbled paper over red morocco spines stamped in gilt with original wrappers bound in in a matching customs yellow cloth slipcase with curved red morocco accents at the top and bottom of the opening. Near fine with toning to pages and occasional paper repair. A striking copy of this important feminist work in which the author discusses the treatment of women throughout history. Gallimard unknown
1956168687New York: World Publishing Company 1956. First Edition; First Printing. Hardcover. Very Good in a Very Good dust jacket. Light rubbing along panel edges. Small chip at top of rear gutter.; Signed by author on 2nd free end page. One of 500 signed First Edition copies.; Signed by Author. World Publishing Company hardcover
1956140941173Cleveland and New York: The World Publishing Company 1956. Signed Limited Edition. Near Fine. First edition limited issue. One of a limited 500 unnumbered copies signed by Simone de Beauvoir. Bound in publisher's Red cloth-covered boards over dark blue spine cloth stamped in gilt. Near Fine with slight fading to spine in toned acetate wrapper in publisher's slipcase which is unevenly sunned and lightly rubbed. A beautiful copy. The World Publishing Company unknown
1951Beauv1<p><strong>BEAUVOIR Simone de 1908-1986</strong></p><p>Autograph manuscript for her essay <em>Must we burn Sade </em> N.p.n.d 1951 7 pages in-4 on grid paper Some corrections one crossed off paragraph from her hand clipper mark on first sheet</p><p><strong>Remarkable autograph manuscript for her famous essay <em>Must we burn Sade </em></strong></p><p>This manuscript contains slight variations with the published one.</p><p>" <strong><em>En quoi mérite-t-il de nous intéresser Ses admirateurs mêmes reconnaissent volontiers que son œuvre est dans sa plus grande partie illisible ; philosophiquement elle n'échappe à la banalité que pour sombrer dans l'incohérence</em></strong><em>. Quant à ses rêves ils n'étonnent pas par leur originalité ; dans ce domaine <strong>Sade n'a rien inventé</strong> et on rencontre à foison dans des traités de psychiatrie des cas pour le moins aussi étranges que le sien. En vérité ce n'est ni comme auteur ni comme perverti sexuel que Sade s'impose à notre attention : c'est par la relation qu'il a créée entre ces deux aspects de lui-même. Les anomalies de Sade prennent leur valeur du moment où au lieu de les subir comme une nature donnée il élabore un immense système afin de les revendiquer</em> …. <em>Sade a tenté de convertir son destin psycho-physiologique en un choix éthique ; de cet acte par lequel il assumait sa séparation il a prétendu faire un exemple et un appel : c'est par là que son aventure revêt une large signification humaine</em> "</p><p><em>" <strong>Il y avait à cette époque bien des libertins qui se livraient à de pires orgies impunément ; mais je suppose que dans le cas de Sade le scandale était fatal</strong> ; il est certains "pervertis sexuels" auxquels s'appliquent exactement le mythe de M. Hyde et du Docteur Jekyll ; ils espère pouvoir d'abord satisfaire leurs "vices" sans compromettre leur personnage officiel ; mais ils sont assez imaginatifs pour se pense peu à peu par un vertige où se mêlent honte et orgueil ils se découvrent : ainsi Charlus malgré ses ruses et par ses ruses mêmes "</em> …</p><p><em>" Chez le héros sadique l'agressivité mâle n'est pas atténuée par l'ordinaire métamorphose du corps en chair ; pas un instant il ne se perd dans son animalité : il demeure si lucide si cérébral qu'au lieu de le gêner dans ses élans les discours philosophiques sont pour lui un aphrodisiaque.</em> …<strong> <em>Grâce à cette démesure l'acte sexuel créé cette illusion de jouissance souveraine qui en fait aux yeux de Sade le prix incomparable</em></strong> … "</p><p><em>" À partir du scandale de 1763 <strong>l'érotisme de Sade n'est plus seulement une attitude individuelle ; c'est aussi un défi de la société</strong>. Dans une lettre à sa femme Sade explique comment de ses goûts il a fait des principes : "Ces principes et ces goûts sont portés par moi jusqu'au fanatisme" écrit-il "et le fanatisme est l'ouvrage des persécutions de mes tyrans". L'intention suprême qui anime toute activité sexuelle c'est qu'elle se veut criminelle : cruauté ou souillure il s'agit de réaliser le mal "</em></p><p>… <em>" Et puis sur le papier <strong>l'auteur prolongeant indéfiniment l'agonie de la victime peut éterniser l'instant privilégié où un esprit lucide habite un corps qui se dégrade en matière</strong> ; il insuffle encore un passé vivant dans la dépouille inconsciente : mais en vérité que ferait un tyran de cet "<u>objet inerte</u>" : un cadavre " <br /></em></p><p>These pages were replaced to be typed for insertion in this essay on Sade which will be published in December 1951 in the n° 74 of Les Temps modernes taken up with two others in Privilèges Gallimard 1955 and since then collected with the same under the title Must we burn Sade The text of the manuscript contains slight variations with the published one.</p><p>In <em>Must we burn Sade </em>Simone de Beauvoir tries to show how the divine marquis after having provoked the scandal sought to reconcile his individual pleasures and his social existence; how through his works he wanted to assume his sexual practice by transforming it into ethics. It raises the question of the criminalization of sexuality how society codifies it and the norm.</p><p>We attach the carbon copies by Berthe Mandinaud of these pages.</p>
196084237Paris: Gallimard 1960. Fine. Gallimard Paris 1960 14.50 x 21 cm broché First edition one of 30 numbered copies on Holland paper deluxe copy. A handsome copy. Gallimard unknown
196384236Paris: Gallimard 1963. Fine. Gallimard Paris 1963 14.50 x 21 cm broché First edition one of 35 numbered copies on Holland paper deluxe copy. Two tiny tears of no consequence at head and foot of spine. A handsome copy. Gallimard unknown
196378202Paris: Gallimard 1963. Fine. Gallimard Paris 1963 14.50 x 21 cm broché First edition one of 35 numbered copies on Holland the tirage de tête. A beautiful copy despite tiny foxing on the spine and another at the foot of the first board. Gallimard unknown
1956SDB2<p><strong>BEAUVOIR de Simone 1908-1986</strong></p><p>Autograph manuscript fragments with an autograph letter signed addressed to her typist for <em>La Longue Marche – Essai sur la Chine<br /></em>Paris 1956 15 p. in-4° on graph paper<br />Two autograph envelopes stamped with postmarks<br />Usual fold marks numerous corrections and words crossed out by Simone de Beauvoir</p><p><strong>A few of the last surviving pages from <em>La Longue Marche – Essai sur la Chine</em> the account of the official trip Simone de Beauvoir took to China with Jean-Paul Sartre at the end of 1955</strong></p><p><u>The present corpus unfolds in three distinct movements:</u></p><p>The first section is headed "2 to 5 September 1955" and paginated 25 to 30 including one leaf numbered "bis". It corresponds to the "Preliminaries" and opens with the travelers' observations in the waiting room at Orly Airport. Simone de Beauvoir draws a striking contrast between on the one hand those bound for Boston dressed impeccably—almost to the point of caricature—and on the other those modestly clothed preparing to depart for Moscow on an "official expedition." The philosopher takes notes on the Soviets Hungarians and Czechs at the Moscow airfield as well as on a South African also an official guest of the Chinese government with whom the couple converses. This travel account is enriched with glimpses of the landscape and reflections on the Western presence in Mongolia since the 17th century particularly that of scholars and monks.</p><p><em>" <strong>Comme Paris est loin ! Derrière moi le temps et l'espace se sont si bien embrouillés le système de nos besoins – faim soif sommeil – et de toute ma vie a été si radicalement lissé qu'il me semble non avoir fait un voyage mais terminé un rite de passage</strong> long fatigant et qui m'a jetée insensiblement ailleurs. J'écoute l'aimable discours qu'on nous adresse en chinois et qu'un interprète traduit. <strong>Les porteurs de hautes fleurs écarlates la moiteur de l'air la forte odeur végétale qui monte de la terre me suffoque</strong>. </em>… <strong><em>Jusqu'ici quand je pensais à la Chine je pensais à une histoire une civilisation un régime </em></strong>… <strong><em>mais la Chine n'est pas une entité politique ; je devine avec joie qu'elle a un ciel ses couleurs ses arbres une chair</em></strong><em> "</em></p><p>On 16 December 1956 she sent a second fragment paginated 476 and 486 bis. It corresponds to Chapter V "Culture."<br /><em>" <strong>Sous les Mandchous la décadence du monde féodal se réflète dans la littérature</strong> ; elle commença à s'évader des règles formelles ; des genres nouveaux se développèrent. Le roman devint autre chose qu'un divertissement</em> … <em>Le Rêve de la chambre rouge entre autres est caractéristique de cette période "</em></p><p>On December 18 1956 she sent a final fragment paginated 757 781 and 782. It corresponds to Chapter VIII "Cities of China."<br /><em>" Elle fut la capitale des Song dont le règne coïncida avec le plus beau moment de la civilisation chinoise et on la considère comme l'Athènes de la Chine.</em> … <em>Les maisons ne ressemblent pas à celles de Pékin. Au lieu de se cacher derrière des murs elles exhibent des façades de deux à trois étages garnies de fenêtres "</em></p><p>An official guest of the Chinese government alongside numerous other European intellectuals Simone de Beauvoir traveled to China with Jean-Paul Sartre from September 6 to October 6 1955. The following year in April 1957 the philosopher published her essay praising a country that had just completed its revolution. Speaking of her work she wrote:<br /><em>"This book is not a reportage: a reporter explores a stable present whose more or less contingent elements serve as keys to one another. In China today nothing is contingent; everything draws its meaning from the future they all share. The present is defined by the past it surpasses and the novelties it announces: it would be a distortion to regard it as static. </em><em>It is only one stage of this 'long march' that is peacefully leading China from democratic revolution to socialist revolution. It is therefore not enough to describe it: it must be explained. That is what I have tried to do."<br /></em>The manuscript itself has been lost; these fifteen leaves are the last surviving fragments of the work. The envelopes confirm unsurprisingly that she was working on it in 1956. Sylvie Le Bon de Beauvoir notes that the material belongs to an earlier version of the final text. Simone de Beauvoir removed almost all of the pages numbered 25 to 30 substantially reworking her "Preliminaries."</p><p><u>Provenance:</u><br />Estate of Berthe Mandinaud</p>
195483810Paris: Gallimard 1954. Fine. Gallimard Paris 1954 14 x 21 cm broché First edition one of 25 numbered copies on Holland paper ours one of 5 hors commerce copies deluxe issue. Fine copy. Gallimard unknown
195833875Paris 1958. First Edition. First Edition. Signed Simone De Beauvoir and Gisèle Freund. 1. Rare Two page original handwritten Manuscript edited drafts. The writing seems to refer to her award winning book The Mandarins Les Mandarins in French since one notes DUBREUILH" mentioned throughout and reference to "SRL" of which "Dubreuilh" was the founder in this story.<br /> It is one of Beauvoir's most celebrated works earning her the prestigious Prix Goncourt. given to the author for the best and most imaginative prose work of the year.Considered to be a "Roman à clef" a novel with a key a work of fiction based on real life events and people. This novel is often regarded as a semi-autobiographical depiction of the post-World War II intellectual and political climate in France focusing on the lives of left-wing intellectuals.<br /> <br /> The novel follows two central characters: ANNE DUBREUILH a psychiatrist who is deeply introspective and whose internal struggles mirror those of Beauvoir and ROBERT DUBREUILH her partner who is involved in politics and reflects the intellectual life of Jean-Paul Sartre Beauvoir's real-life partner. <br /> The characters wrestle with moral dilemmas personal relationships and political commitment in a rapidly changing post-war society.<br /> The title "Mandarins" refers to a class of intellectual elites who grapple with their role in shaping political and social futures. The novel explores themes of existentialism political engagement love freedom and betrayal set against the backdrop of the Cold War and France's post-war reconstruction.<br /> <br /> 2. This iconic photograph shows Simone de Beauvoir sitting in her office. It was part of a series of photos taken by Freund at her desk. This silver gelatine print is signed by the artist on the bottom left front and studio-stamped on the back. Stamped in ink verso center: PLEASE CREDIT / Gisèle FREUND / 12 RUE LALANDE / PARIS-XIVe / SEG: 77-49 <br /> Some of the other subjects photographed by Freund were Virginia Woolf Colette André Gide James Joyce Adrienne Monnier Jean Cocteau Jean-Paul Sartre André Malraux & Vita Sackville-West. <br /> <br /> Frame size: 22" x 16"<br /> Photo size: 6 x 9.25"<br /> Manuscript page size: 8.25" x 10.5"<br /> Back to back images. unknown
196122038New York: Alfred A. Knopf 1961. Decorative Cloth. Near Fine/Very Good . Paul Child. The 1961 AND the 1970 stated 1st editions. WARMLY INSCRIBED BY AUTHOR SIMONE BECK along the half-title of Vol. II. Both volumes clean tight and Near Fine in bright price-intact $10.00 and $12.50 respectively very sharp examples of the 1st issue dustjackets with mild fading along the spine of Vol. II. Thick uniform quartos nicely illustrated throughout by Sidonie Coryn "based on photographs by Paul Child". A very impressive example of this landmark set in its original incarnation accompanied by the appreciably less common signature/inscription of co-author Simone Beck. Alfred A. Knopf unknown
195321090New York: Alfred A. Knopf 1953. First edition in English of the author's masterpiece. Octavo original half cloth. Signed by Simone de Beauvoir on the title page. Fine in a very good dust jacket with light rubbing and wear to the extremities. Housed in a custom half morocco clamshell box. Signed first editions of this classic work are rare and none have appeared at auction in the last sixty years. In 1946 Simone de Beauvoir began to outline what she thought would be an autobiographical essay explaining why when she had tried to define herself the first sentence that came to mind was “I am a woman.†That October my maiden aunt Beauvoir’s contemporary came to visit me in the hospital nursery. I was a day old and she found a little tag on my bassinet that announced “It’s a Girl!†In the next bassinet was another newborn “a lot punier†she recalled whose little tag announced “I’m a Boy!†There we lay innocent of a distinction— between a female object and a male subject— that would shape our destinies. It would also shape Beauvoir’s great treatise on the subject. The Second Sex deals with the treatment of women throughout history and is regarded as a major work of feminist philosophy and the starting point of second-wave feminism. Literary scholar Camille Paglia praised The Second Sex calling it "brilliant" and "the supreme work of modern feminism." Named by Modern Library as one of top 100 books of non- fiction of the twentieth century. Also named by The Times Literary Supplement as one of the most hundred influential books since World War II. Alfred A. Knopf hardcover
195478090Paris: Gallimard 1954. Fine. Gallimard Paris 1954 14 x 21 cm relié sous chemise et étui Gallimard Paris 1954 14 x 21 cm bound in morocco with custom chemise and slipcase First edition one of 25 numbered copies on Holland the tirage de tête deluxe copy. Binding in full purple morocco endpapers lined with mauve velvet all edges gilt covers and spine preserved chemise and slipcase lined in purple morocco wood-style paper boards interior of the chemise in grey felt perfect binding signed Jean-Paul Miguet. Spine of the chemise faded. Superb copy perfectly set in a triple binding by Jean-Paul Miguet. Gallimard hardcover
1961146310New York: Alfred A. Knopf 1961-70. First editions of both volumes of this classic cook book. Quarto 2 volumes original illustrated boards. Volume one is boldly signed by Julia Child and Simone Beck on the title page. Volume two is signed by Julia Child on the title page. Drawings by Sidonie Coryn. Drawings by Paul Child. Typography binding and jacket design by Warren Chappell. Housed in a custom half morocco clamshell box made by the Harcourt Bindery. An exceptional set rare signed in both volumes and in this condition. Julia Childs Mastering the Art of French Cooking is arguably the most influential work on French food ever published in the United States. A "self-confessed ham she became a darling of audiences almost from the moment she made her debut in 1963 at the age of 50" New York Times. Alfred A. Knopf hardcover
1961147888New York: Alfred A. Knopf 1961-70. First editions of both volumes of this classic cook book. Quarto 2 volumes original illustrated boards. Volume one is boldly signed and inscribed by the author on the half-title page "Bon Appetit to Ernesta- Julia Child" and additionally signed by Paul Child. Volume two is signed and inscribed by Julia Child on the half-title page "Joyeaux Noel to Ernesta- Julia Child" and additionally signed by Paul Child. Drawings by Sidonie Coryn. Drawings by Paul Child. Typography binding and jacket design by Warren Chappell. Each are near fine in near fine dust jackets with first volume price-clipped dust jacket. An exceptional set rare signed in both volumes and in this condition. Julia Childs Mastering the Art of French Cooking is arguably the most influential work on French food ever published in the United States. A "self-confessed ham she became a darling of audiences almost from the moment she made her debut in 1963 at the age of 50" New York Times. Alfred A. Knopf hardcover
196084581Paris: Gallimard 1960. Fine. Gallimard Paris 1960 15 x 21 cm relié First edition one of 30 numbered copies on Holland paper the deluxe issue.Bound in full ebony morocco smooth spine decorated with small inlays of garnet morocco and pearl-grey box calf the latter framing the authors initials and the title; the first numeral of the date given in Roman numerals appears within a square of pearl-grey box calf. Morocco boards framed with wide panels of chocolate suede the upper cover with a large granulated paper panel lettered with the title and date of the edition set in garnet morocco the initials framed by a rectangle of paper taken from a map of Haute-Savoie; bluish paper endpapers and pastedowns original wrappers and spine preserved top edge gilt; housed in a chemise with a rhodoid-backed spine and slipcase trimmed with ebony morocco. Binding signed by Pierre-Lucien Martin and dated 1964. These memoirs-autobiography by Simone de Beauvoir trace her life from her success at the agrégation prepared with Jean-Paul Sartre to the Liberation of Paris in August 1944. A superb and celebrated binding produced in a few copies each differing slightly by Pierre-Lucien Martin one of the masters of twentieth-century French bookbinding. Gallimard hardcover
194988321Paris: Gallimard 1949. Fine. The most important feminist essay in a deluxe issue Gallimard Paris 1949 14 x 20.50 cm 2 volume reliés First edition one of 55 numbered copies on pure wove paper the only deluxe paper issue. Bound in half brown morocco spines with five raised bands gilt dates at foot boards covered with abstract patterned paper endleaves and doublures of brown paper original wrappers and backstrips preserved gilt edges bindings signed by Thomas Boichot. A precious copy of this foundational text of modern feminism. Gallimard hardcover
195884321Paris: Gallimard 1958. Fine. Gallimard Paris 1958-1972 14.50 x 21.50 cm 4 volumes brochés sous coffrets Mémoires d'une jeune fille rangée Memoirs of a Dutiful Daughter - La force de l'âge The Prime of Life - La force des choses Force of Circumstance - Tout compte fait All Said and Done Gallimard Paris 1958-1972 145x215cm 4 bound volumes. First edition one of 25 30 35 and 40 numbered copies on vergé de hollande most limited deluxe issue for each of the 4 volumes. A very rare and handsome set of this autobiographical and feminist tetralogy. Each volume is presented in a custom box signed by Julie Nadot reproducing the cover plates and the spine of the work. Gallimard unknown
1961140945681New York: Alfred A. Knopf 1961. First Edition. Very Good. First edition stated first printing. A presentation copy with a very important association signed by Julia Child and inscribed to close friends Hadley Richardson and Paul Mowrer on the half-title page "For Paul and Hadley who were in at the very beginning of this oeuvre - with all my love - Julia / Chocorua - September 1962." With Paul's ownership signature to the front free endpaper. <p>Hadley was the first wife of author Ernest Hemingway and her second husband Paul Scott Mowrer was an American newspaper correspondent and winner of the first Pulitzer Prize for Correspondence. Hadley had first become acquainted with Julia's husband artist Paul Child when she and her then-husband Hemingway were in Paris in the 1920s. After World War II and back in Paris Hadley now with her second husband Paul Mowrer became very close friends with Paul and Julia Child. <p>This was during the formative years of Julia's culinary journey while she was learning and exploring French cooking a journey which culminated in the publication of this iconic book. Hadley is mentioned in Julia Child's memoir My Life in France and Julia was matron-of-honor at Hadley and Ernest's son Jack Hemingway's wedding. <p>Bound in publisher's white fleur-de-list patterned cloth lacking a dust jacket. Very Good with fading to cloth heaviest at spine light soiling and and a few scattered stains to cloth and pages throughout. Pages tanned several leaves nicked at the bottom edge. Inscribed one year after publication in Chocoreur New Hampshire where Hadley and Paul lived. A fantastic association copy of Child's magnum opus inscribed by Child to close friends who were there as she states "at the very beginning of this oeuvre Alfred A. Knopf unknown
194984229Paris: Gallimard 1949. Fine. The most important feminist essay in a limited first edition deluxe issue Gallimard Paris 1949 15 x 21 cm 2 volumes brochés en coffret First edition one of 55 numbered copies on pur fil paper most limited deluxe issue. Endleaves and half-title slightly and partially shaded. Exceedingly rare and handsome copy of this seminal text of modern feminism. Our copy is housed in a custom gray clamshell box square spine titled in red author's name and subtitles in black first panel hollowed revealing a black and white photograph of Simone de Beauvoir as a young woman under a plexiglass title in red author's name first volume number and subtitle in black second panel hollowed revealing a color photograph of the author in her prime under plexiglass titled in red author's name second volume number and subtitle in black box lined with burgundy paper superb work by artist Julie Nadot. Gallimard unknown
