STENDHALBiblio.com
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1928ref. 193453London: Chatto & Windus 1928. First British edition of this translation by the only son of Oscar Wilde Vyvyan Holland. This philosophical treatise was originally published in French in 1822 translated into English in 1914 and Holland's translation was first published in America in 1927. Octavo. Original green cloth spine lettered in gilt blind rule to covers top edge green bottom edge untrimmed. With dust jacket. Spine faded extremities bumped scattered marks on covers foxing on edges and initial leaves; jacket unclipped spine toned covers a little soiled shallow chips to edges: a very good copy in like jacket. hardcover
ref. 7522031-nnew. unknown
ref. 7188151-nnew. unknown
ref. 53335480-nnew. unknown
1972ref. 019120livre de poche 1972. Mass Market Paperback. Fair. 1976 printing livre de poche paperback
ref. 45011403-nnew. unknown
2007ref. SKU0601440W. W. Norton & Company 2007-12-20. paperback. Good. 5x1x8. Textbook May Have Highlights Notes and/or Underlining BOOK ONLY-NO ACCESS CODE NO CD Ships with Tracking W. W. Norton & Company paperback
2007ref. SKU0648947W. W. Norton & Company 2007-12-20. paperback. New. 5x1x8. New Textbook Ships with Tracking W. W. Norton & Company paperback
2004ref. SKU0648946Modern Library 2004-05-11. paperback. New. 5x1x7. New Textbook Ships with Tracking Modern Library paperback
ref. 248051EASTON PRESS. Hardcover. GOOD. NOEAN 0 9789900225515 C1955 1992 FINE LEATHERBOUND HARDCOVER WITH GILDED EDGES STAMPED GILDED COVER WITH SILK ENDPAPERS & RIBBON BOOKMARK PREFACE BY HONORE DE BALZAC & ILLUSTRATIONS BY RAFAELLO BUSONI NOEAN EASTON PRESS hardcover
1983ref. 1-0848806352Amereon Ltd 1983. Hardcover. New. 9.00x5.75x1.00 inches. Amereon Ltd hardcover
ref. 14064Amsterdam A.A. Balkema 1944 édition limitée 300 192p broché légèrement usé bon etat - unknown
1924ref. 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
1926ref. C37225London 1926. First U.k. Edition. Hardback. Dust Jacket. Very slight fading at lower spine and faint foxing to endpapers otherwise sound very good in slightly used price-clipped near very good dust jacket with slight chipping at spine ends. . 8vo. pp 268. Original publisher's blue cloth lettered white on spine. U.K. edition of this translation. hardcover
ref. GOR005644440Paperback. Acceptable. paperback
1925ref. 790Paris: A.A.M. Stols 1925. Wraps. Fine. One of 60 numbered copies with two additional engravings of Stendhal laid in out of a total edition of 385. White printed wraps. Uncut. A.A.M. Stols paperback
1829ref. 92190Paris: Delaunay 1829. Fine. Delaunay Paris 1829 13.2 x 21.2 cm 2 volumes reliés First edition illustrated with a frontispiece in each volume and a folding plate at the end of the first volume. Bradel-style bindings in brown half cloth with small corners smooth spines very slightly faded and ruled in gilt marbled-paper boards with a few minor scuffs blue-grey endpapers and pastedowns marbled edges bookplates pasted to the front pastedowns. Some foxing as usual. Our copy is complete with all three engravings: a view of St Peter's in Rome and a plan of the remains of ancient Rome in the first volume and Trajan's Column in the second. It also includes a second state of the plan of the remains of ancient Rome with slight variations Cf. Clouzot Delaunay hardcover
1998ref. H-762-929Klincksieck 1998. Paperback. Very Good. Former library book. Edition 1998. Volume 3. Ammareal gives back up to 15% of this item's net price to charity organizations. Klincksieck paperback
2007ref. H-467-569Gallimard 2007. Hardcover. Very Good. Volume 2. Ammareal gives back up to 15% of this item's net price to charity organizations. Gallimard hardcover
2007ref. H-467-574Gallimard 2007. Hardcover. Very Good. Volume 2. Ammareal gives back up to 15% of this item's net price to charity organizations. Gallimard hardcover
ref. 35254Sur les presses des trois Audin à Lyon 1948 grand in/8 en feuilles sous étui 67 pages. Cuivres au burin d'Albert Decaris Albert Decaris en a conçu et réalisé l'illustration au burin Didier Baron en a établi la maquette et la présentation typographique. Marcel Boureau a tiré les cuivres au repérage sur ses presses à bras à Lyon. Cent cinquante exemplaires numérotés de 41 à 190 sur vélin pur fil de Johannot notre exemplaire N° 168 unknown
1921ref. 102371Berlin: Propyläen 1921. XVIII 570 S. 1 Bl.; mit SW-Frontispiz; aus dem Französischen u mit Vorwort von Arthur Schurig; Einband u. Satzanordnung von Hugo Steiner-Prag; Kopfgoldschnitt zweiseitig unbeschnitten Rücken in modern anmutender Goldprägung mit goldenen senkrechten geprägten Zierlinien in Gold möglicherweise Privat- oder Luxuseinband; Kanten leicht berieben. Erste Auflage dieser Ausgabe. Halbleder. Gut. 231 cm. Privateinband. Propyläen Hardcover
1839ref. 89931Paris: Ambroise Dupont 1839. Fine. Ambroise Dupont Paris 1839 13 x 21.7 cm 2 volumes reliés sous étui First edition printed on thick wove paper. Bound in contemporary half brown shagreen smooth spines decorated with black typographic motifs marbled paper boards hand-marbled endpapers and pastedowns modern slipcase edged in brown morocco with matching marbled paper sides and olive-green felt lining. Some occasional foxing the note ""Henri Beyle"" in black ink at the upper corner of the title page of the first volume without the final catalogue leaf at the end of the second volume small corner restorations to four leaves of the first volume. ""Very rare and extremely sought after. Usually quite simply bound at the time. Often foxed"" Clouzot. ""This work is of great rarity in fine condition"" Carteret. A handsome and very rare copy large-margined and attractively bound at the time of this masterpiece by Stendhalrarer still than Le Rouge et le Noir. Ambroise Dupont hardcover
1814ref. 91120Paris: Chez H. NicolleDe l'Imprimerie de C.-F. Patris 1814. Fine. Anonymous work attributed to Anna Maria Porter which inspired Stendhal's masterpiece ""La Chartreuse de Parme"" Chez H. Nicolle De l'Imprimerie de C.-F. Patris Paris 1814 10.2 x 17.4 cm Relié First edition of the French translation by Élisabeth de Bon gathering in 2 volumes the 4 parts of this anonymous English novel originally printed in 1809 which according to André Marc in his Dictionnaire des romans anciens et modernes of 1819 is the work of Anna Maria Porter younger sister of the novelist Jane Porter. The Porter sisters contemporaries of Jane Austen and famous before the Brontës were close to the Scottish poet Walter Scott. Contemporary full brown tree sheep smooth spines divided into compartments richly gilt in decorative rolls of laurels annulets and lozenges two compartments with a lozenge network formed by interlacing fillets with fleurons at the corners red and green morocco lettering-piece and numbering-piece blind-tooled fillet border to boards gilt fillet to turn-ins edges sprinkled red marbled endpapers in pebbled pattern. Some light surface wear and minor offsetting to boards corners slightly worn. On volume 1 a charming error in the decorative roll at foot of spine corrected by the binder. On volume 2 small piece of leather at the edge of the numbering-piece slightly detaching. Scattered foxing and faint marginal damp-staining to upper margins. In volume 3 two minor marginal repairs to half-title and p. 8. Several period textual corrections in brown ink and pencil: volume 1 p. 131 volume 2 p. 90 and volume 3 p. 21. In the early nineteenth century English novels were widely translated into French. According to the critic signing as ""E."" in the Journal de l'Empire Les Frères Anglais is a success and according to another reviewer writing for the Gazette de France the French translation as much as the original text deserves praise: ""We have already had the opportunity in this Gazette to praise the translator. English novels are much vaunted but the choice is vast; some prove mediocre and even detestable. This one does honour to the good sense of Madame Elisabeth de B. The situations are lively and varied the characters well drawn; the work pleases and holds one's attention from beginning to end."" Gazette de France December 4 1814 ""What astonishes readers who cannot transport themselves into the society whose customs are depicted and who insist on judging everything by the habits of their own circle is the liberty of young English ladies. If their novels offer a faithful picture of their manners and habits these young women converse familiarly in tête-à-tête with their suitors; they write to them even give them their portraits; they tell their parents without ceremony that their heart is engaged. Never would a French demoiselle make such a frank avowal; at most she allows her secret to be guessed."" Journal de l'Empire May 10 1815 our own translation Two women of letters were behind this literary success: Élisabeth de Bon a translator renowned in her lifetime also a novelist short-story writer and co-proprietor of the periodical the Mercure de France and a mysterious authoress. The name of Anna Maria Porter absent from the title-page would be revealed by the bookseller André Marc as that of the author in 1819. Precocious and prolific Anna Maria began writing and publishing books during adolescence nearly a decade before her elder sister Jane. In 1807 she published The Hungarian Brothers and in 1809 she is thought to have written The English Brothers. These two works with their near-identical titles like false twins are the starting point according to Richard Bolster for the attribution of the latter novel to Anna Maria Porter. It was precisely the same translator Élisabeth de Bon who undertook the translation of the third edition of The Hungarian Brothers in 1818 and in 1815 that of another of the author's works The Recluse of Norway. The En Chez H. NicolleDe l'Imprimerie de C.-F. Patris hardcover
2003ref. 1-0679642846Random House Inc 2003. Hardcover. New. 524 pages. 5.50x8.50x1.25 inches. Random House Inc hardcover
