11 298 résultats
195478090Gallimard | Paris 1954 | 14 x 21 cm | relié sous chemise et étui
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
195880794Sous étui bordé et sous chemise en demi-rhodoid à petits recouvrements. Reliure maroquin noir encadrant les plats de daim chocolat avec sur le premier plat en grandes capitales de box bleu ciel, premie?re lettre de chaque mot incruste?e et mosai?que?e dans un carre? de dentelle. Dos lisse orné de petits rectangles de box brun et bleu ciel, ceux-ci avec les initiale du titre, nom de l'auteur et date en lettres dorées. Tête dorée. Couverture et dos conservés. Reliure signée P.-L. MARTIN - 1964.
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
207205New York: Knopf 1979. First Edition; Early Printing. Hardcover. Both volumes Near Fine in Very Good price clipped dust jackets. Volume 1 31st printing Volume 2 14th printing.; Both volumes signed by Julia Child on half title page.; Signed by Author. Knopf hardcover
195452501Paris Gallimard 1954 In-8, demi-maroquin noir bandes, plats de papier marbr, dos sans nerfs portant le nom de lauteur et le titre de louvrage en lettres capitales pousses or; doublures et gardes de papier lie-de-vin, tte dore, non rogn, couverture imprime. Etui (Loutrel-Delaporte). Edition originale de cet ouvrage qui a obtenu le Prix Goncourt en 1954. Un des 25 premiers exemplaires numrots sur verg de Hollande.
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
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>
1961140939606New York: Alfred A. Knopf 1961. First Edition. Near Fine/Very Good. First edition stated first printing. Signed by Julia Child and her husband Paul on the half-title page and inscribed to a former owner. Near Fine with light soiling former owner's inkless emboss to front free endpaper. In a Very Good unclipped dust jacket with light general wear and several short tears several small pieces of tape and tape residue to blank verso. A fantastic copy of the first printing signed by the author and her husband. Alfred A. Knopf unknown books
195483810Gallimard | Paris 1954 | 14 x 21 cm | broché
1961140941051New York: Alfred A. Knopf 1961. First Edition. Near Fine. First edition stated first printing. Signed by Julia Child and and Simone Beck with a brief inscription on the first blank sheet. Bound in publisher's original white cloth decorated with red Fleur-de-lis and blue stars with titles blocked in red and top of pages stained red; lacking the dust jacket. Near Fine with fading to spine light spotting and small indent to textblock edge slightly affecting the margins of several pages. A lovely copy of the true first edition of this wildly popular cook book signed by two of its three authors. Alfred A. Knopf unknown books
1961180703002New York: Alfred A. Knopf 1961. First Edition. Hardcover. Very Good. First edition stated first printing. Signed by Julia Child and and her husband Paul on the front free end paper inscribed to a former owner. Very Good. Decorated cloth is faded primarily at the spine and rear cover. Small ding to spine. Light staining to rear pages. Biopredation to edge of page block affecting end sheets as well. First edition as stated signed by Julia Child and her husband. Alfred A. Knopf hardcover books
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
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>
196378202Gallimard | Paris 1963 | 14.50 x 21 cm | broché
196384236Gallimard | Paris 1963 | 14.50 x 21 cm | broché
196084237Gallimard | Paris 1960 | 14.50 x 21 cm | broché
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 books
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
2009114161Knopf 2009-11-30. hardcover. Like New. 7x3x10. 1978 issue two volume set Vo1. 1 30th printing Vol 2. 13th printing in as new condition in as new jackets in slipcase as issued. Both volumes have Julia Child signed bookplates to the flyleaf featuring her typical "Bon Apetit!". There is a numbered label 119 on the slipcase we are assuming was from the publisher indicating where in the limitation this was. oversized and overweight. Please email for photos. Knopf hardcover
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
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
1703B7160Nuremburg: Berlegung Wolfgang Moritz Endters / Wolfgangue Maurice Endter. 1703. Interior clean and crisp. Binding: Full original vellum boards rebacked saving original spine. Spine with brown morocco label. Notes: Text in Latin German Italian and French each printed in single column with two columns per page; Italian and French on recto Latin and German on verso. Size: Folio 340 x 215mm Illustration: Near fine example of this quatro-lingual treatise on horses and horse breeding illustrated with 46 fine copperplate engravings plus engraved title. Detailed plates illustrating training mating behavioural presentation etc.; also including mating between horses and bulls donkeys etc.<br>PLATES:<br>1.104<br>2.124<br>3.223 44 plates<br> Provenance: Ex-Libris; bookplate of Fritz von Baroalaban mounted to front pastedown. Pages: P Engraved title. Blank. Latin/German title. Blank. Italian/French title. Blank. Dedication. Author’s dedication 3. Dedication title. Author’s second dedication 5. Note to the reader. Index 6. Blank. Title. Pp. 2-223. Category: Book Natural History; Berlegung Wolfgang Moritz Endters / Wolfgangue Maurice Endter. hardcover