Stendhal

Stendhal — marelibri

Le Rouge et le Noir

1925Best.-Nr. 4930Paris: Éditions Bossard 1925. First edition thus. Two softcover volumes grey covers printed in black. One of 25 deluxe copies on Auvergne paper. This is copy X. Two original burins engraved by Achille Ouvré as frontispieces including a portrait of the author in volume two. A fine copy of this first edition on sumptuous paper the second print somewhat in the manner of Laboureur shows a lady in a chemisette with her breasts bared surprised at the foot of the bed by the intrusion of an equally stunned man. In volume one. This print in fact appears in duplicate both as frontispieces. One copy has text beneath it the second is without. Clean grey card covers. However the card is quite brittle and has light creasing to the edge of volume one. To volume two there is some loss with a chip to a corner of the front panel. Inside the works are clean and tidy throughout. Some pages are uncut. XX 300 iv. 388. Pages. Text compiled and annotated with a preface and bibliography by Henri Martineau. 20.5cm x 15cm. Conforms to FirstSeach / WorldCat OCLC: 463808974 With the exception that we have an extra frontispiece. Also in BnF: FRBNF35698248. . Première édition. Deux volumes à couverture souple couvertures grises imprimées en noir. Un des 25 exemplaires de luxe sur papier Auvergne. Il s'agit de l'exemplaire X. Deux burins originaux gravés par Achille Ouvré en frontispice dont un portrait de l'auteur dans le second volume. Bel exemplaire de cette première édition sur papier somptueux la seconde estampe un peu à la manière de Laboureur montre une dame en chemisette les seins nus surprise au pied du lit par l'intrusion d'un homme tout aussi stupéfait. Dans le premier volume. Cette estampe apparaît en fait en deux exemplaires les deux en tant que frontispices. L'un des exemplaires comporte du texte sous le frontispice le second n'en comporte pas. Couvertures en carton gris propre. Cependant la carte est assez fragile et présente un léger froissement sur le bord du premier volume. Le volume 2 présente une perte et un éclat à un coin du panneau avant. A l'intérieur les ouvrages sont propres et bien rangés. Certaines pages ne sont pas coupées. XX 300 iv 388. Pages. Texte compilé et annoté avec une préface et une bibliographie par Henri Martineau. 20.5cm x 15cm. Conforme à FirstSeach / WorldCat OCLC : 463808974 sauf que nous avons un frontispice supplémentaire. Également à la BnF : FRBNF35698248. Éditions Bossard paperback

Harrison-Hiett Rare Books · Frankreich150,00 £≈ 178,51 €

STENDHALBiblio.com

De l'Amour.

1924Best.-Nr. 145085Paris: René Kieffer Éditeur et Relieur d'Art 1924. Stendhal's great study of love crystallized in a superb art deco Kieffer binding First Kieffer edition in a striking Kieffer binding number 50 of 50 copies on japon from an edition limited to 1050 copies only of this art deco edition of Stendhal's great study of love which was originally published in 1822. In De l'Amour known in English as On Love Stendhal shared his concept of "crystallization" as "the process whereby the lover discovers new perfections in the beloved. This first crystallization is most often reinforced by a second one" Schehr. An argument however can be made that "Stendhal's crystallization has mainly been read from the masculine subject position however sympathetically. In the formula for crystallization Stendhal counts five steps to the completeness of it the fifth culminating in 'proof of love'. That is when the beloved loaded with all the imaginary perfections with which he can endow her grants him sexual access le don de merci in courtly terms. This moment marks of course precisely when a negative crystallization begins - for her. Having 'given herself' as 'proof' of love to him she finds that his final step is her first one into the state of the cruellest doubt did he just use me. Masculine and feminine positions within crystallization thus overlap only at this step and take opposing attitudes toward the same central experience" MacCannell. René Kieffer 1875-1964 worked for ten years at the famed Chambolle-Duru bindery in Paris before establishing his own workshop in 1903 and going on to become one of the leading binders in Paris. In 1909 he launched himself in the edition of illustrated luxury books. He learned the trade from Georges Crès and from Auguste Blaizot who joined his name to the first editions of René Kieffer; even the Mercure de France entrusted him with the direction of some volumes for their own editions. From 1919 to 1923 he executed bindings designed by Pierre Legrain for Jacques Doucet and his workshop quickly became important producing up to 2000 volumes a year with bindings of all kinds from the most luxurious to the more modest one. His bookshop opened in 1923 and his three activities were then combined in one place. Kieffer's consistent endeavour was to retain large poorly published texts have them illustrated by the great names of the time and when possible offer them in luxury or publisher's bindings. 2 vols octavo 196 x 138 mm. Printed in black and blue. Finely bound by René Kieffer with his ticket to versos of front free endpapers in green morocco preserving the original pink wrappers art déco decorative motifs blocked in blind to boards and spine end compartments titles in gilt direct to spine marbled endpapers white silk page markers top edges gilt others untrimmed. Occasional light pencil marks. Joints sometime expertly and discreetly repaired and refurbished spines and edges sunned the bindings otherwise sound and clean internally fresh; an attractive set. Juliet Flower MacCannell "The Hysteric's Guide to the Future Female Subject" 2000 p. 310; Lawrence Schehr "Rendering French Realism" 1997 p. 38. hardcover

Peter Harrington · Vereinigtes Königreich1.750,00 £≈ 2.082,64 €

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