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Paris (France)

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58629 results
  5. Les malheurs de Fernande
    Alméry LOBEL-RICHE, Francis CARCO
    Les malheurs de Fernande
    A l'édition|Paris 1918|11.50 x 18.50 cm|relié
    First edition, one of 15 numbered copies on Arches paper, the deluxe issue after 6 on Japan paper.
    Half anthracite morocco binding with bands, smooth spine enhanced at the head with a mosaic piece of red and brown morocco, covers and spine preserved, top edge gilt, bookplate pasted on the front pastedown, elegant binding signed by Devauchelle.
    Attractive cover illustrated by Lobel-Riche.
    A handsome copy perfectly executed of this sequel to Jésus-la-Caille.
    €750
  6. Les mémorables
    Maurice MARTIN DU GARD
    Les mémorables
    Flammarion • Grasset|Paris 1957-1978|16.50 x 21.50 cm|3 volumes brochés
    First edition, one of 30 numbered copies on chiffon de Lana paper for the first two volumes and one of 64 numbered copies on vergé de Voiron for the last, the tirage de tête for the first two volumes and the only large paper copies for the last.
    Trace of a transverse fold to upper cover of second volume, upper cover of third volume slightly sunned at foot, with transparent traces of adhesive paper to endpapers of same volume.
    A very good and rare set that one rarely finds complete with the third volume, which appeared later.
    €1,500
  14. Essai sur Jules-Amédée Barbey d'Aurevilly
    Pierre de CRISENOY
    Essai sur Jules-Amédée Barbey d'Aurevilly
    Bibliothèque des entretiens idéalistes|Paris 1908|14 x 23 cm|broché

    First edition printed in 250 copies.
    Fine autograph inscription signed by Pierre de Crisenoy on a full page in red ink in the manner of Barbey d'Aurevilly to Monsieur H. Barthélémy: "... au réalisateur de tant de beaux livres et en remerciement de la magnifique édition des "Membra", ce humble essai de mes vingt ans, en attendant mieux. / 18 Septembre 1944." ["... to the creator of so many beautiful books and in gratitude for the magnificent edition of "Membra", this humble attempt from my twenties, awaiting better. / 18 September 1944."]
    Worming to boards, handsome interior condition.
    Rare.

    €80
  18. Le berceau sous le beffroi
    Nicolas BOURGEOIS
    Le berceau sous le beffroi
    Plon|Paris 1934|11.50 x 18.50 cm|relié
    First edition on ordinary paper.
    Half chocolate sheep binding, faded spine with two raised bands decorated with a central gilt fleuron, gilt date and double fillet at foot, cherry red shagreen title-label, some rubbing traces on spine, marbled paper boards, marbled endpapers and pastedowns, covers and spine preserved, top edge gilt, contemporary binding.
    Signed autograph inscription from Nicolas Bourgeois to poet Jean Ott.
    €50
  19. L'esprit allemand. Etude d'après la langue et les proverbes avec la traduction de plus de 1200 proverbes allemands
    Pierre PEUGEOT
    L'esprit allemand. Etude d'après la langue et les proverbes avec la traduction de plus de 1200 proverbes allemands
    E. Giraud & Cie|Paris 1886|12.50 x 19.50 cm|relié
    Second edition, with some parts in first edition as expanded with a supplement on public education in Germany and Russia, one of 25 numbered copies on Holland paper, the only deluxe copies with 25 Japan.
    Bradel binding in half fir green cloth with corners, smooth spine decorated with a central gilt fleuron, gilt date and double fillet at foot, chocolate shagreen title-label with some scratches, marbled paper boards, original wrappers preserved, top edge gilt, binding signed by A. Mertens.
    Precious signed autograph inscription from Pierre Peugeot to Léon Cladel.
    Printed stamps of the Université populaire du Faubourg Saint-Antoine in margins of several pages of our volume, pen numbering for library classification also in margins of certain pages.
    Rare and handsome copy.
    €350
  20. Bibliographie des marionnettes
    Eugène LEFEBVRE, Paul JEANNE
    Bibliographie des marionnettes
    La soupente de Guignol • Les éditions de la très illustre compagnie des Petits comédiens de bois|Paris 1926|16.50 x 25 cm|relié
    First edition, one of 250 numbered copies on alfa paper, the only issue with 2 Holland copies.
    Half fir-green shagreen binding, faded spine with five raised bands showing traces of rubbing, gilt date at foot, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt, contemporary binding.
    Work illustrated by Eugène Lefebvre.
    Handsome interior condition without foxing.
    Rare.
    Fine autograph inscription dated and signed by the author to poet Jean Ott: "... en souvenir des premiers rapports officiels de Guignol avec Lafleur et en remerciement sincère pour avoir écouter mon appel pour la rénovation des théâtres..." ["... in memory of the first official relations between Guignol and Lafleur and in sincere thanks for having listened to my call for the renovation of theaters..."]
    €300
  21. Grammaire de la langue serbo-croate traduite avec de nombreuses modifications de la grammaire slave de Parcic
    FEUVRIER
    Grammaire de la langue serbo-croate traduite avec de nombreuses modifications de la grammaire slave de Parcic
    Imprimerie Nationale|Paris 1904|16 x 24.50 cm|relié
    Second edition, partly in first edition as revised and corrected.
    Half marbled sheep binding, spine with two raised bands decorated with central gilt fleuron, gilt date and double fillet at foot, spine rubbed, black shagreen title-label, small lack to upper headcap, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt.
    Handsome interior condition.
    €80
  22. Florilège des conteurs galants du XVIIIème siècle
    Adrien BAGARRY, COLLECTIF
    Florilège des conteurs galants du XVIIIème siècle
    Librairie de France|Paris 1932|22.50 x 28.50 cm|2 volumes en reliures de l'éditeur
    Collected edition, one of 2,500 numbered copies on alfa paper.
    Publisher's binding in red half-shagreen with bands, spines slightly faded with five raised bands decorated with gilt ornamental motifs, vellum-style boards, some small marginal surface wear to heads of boards, illustrated covers and spine preserved, top edges gilt, bindings signed by Lise L. Bataille.
    Work illustrated with 32 plates, 12 in color by Adrien Bagarry as well as tailpieces by Boris Grosser, cover illustrated by Jean Boisseau.
    Literary contributions by Rétif de la Bretonne, Claude Godard d'Aucour, the comte de Caylus...
    Handsome set.
    €250
  24. Les mouches
    Jean-Paul SARTRE
    Les mouches[The Flies]
    Gallimard|Paris 1943|12 x 19 cm|relié sous chemise et étui
    Gallimard | Paris 1943 | 12 x 19 cm | bound in morocco with custom slipcase and chemise
    First edition, one of 18 numbered copies on pur fil paper, the tirage de tête (deluxe copy).

    Jansenist red morocco, spine in six compartments, gilt date to foot of spine, pastedowns and endpapers in black morocco, covers and spine preserved, all edges gilt; half red morocco chemise, spine in six compartments, date in gilt at foot of spine, lined in black felt; slipcase edged in red morocco, lined in ochre felt, binding signed by Duhayon.

    A superb copy handsomely bound in a triple binding by Duhayon.
    €15,000
  25. La lampe dans l'horloge
    André BRETON
    La lampe dans l'horlogeThe Lamp in the Clock
    Robert Marin|Paris 1948|11 x 17 cm|broché sous chemise et étui

    BRETON André. La Lampe dans l'horloge [The Lamp in the Clock]
    Robert Marin, Paris 1948, 11 x 17 cm, original wrappers with custom slipcase
    First edition, one of the numbered copies on alfa mousse paper, this one not justified.
    Wrappers in chemise and case.
    With an exceptional and important presentation inscription from André Breton to Jean-Paul Sartre.
    Case with almond-colored paper boards and chemise, red morocco title-piece and label with “exemplaire de J. P. Sartre [J.P. Sartre's copy]”.
    This inscription from the Pope of Surrealism to the master of Existentialism – of whose rare meetings, most notably in New York, there remain barely any traces in their biographies – is all the more surprising since Sartre had just published a vitriolic article on Breton in Qu'est-ce que la littérature? [What is literature?]:
    “The theoretical accord between Surrealism and the Communist Party against the bourgeoisie does not in fact go beyond the formal; it is the formal idea of negativity that unites them…Negativity subsists, no matter what anyone says, outside of history: it is, at the same time, of the instant and everlasting – it is the ultimate end of both literature and art. Somewhere, Breton approves of the… ‘sacred mission' of the proletariat. But in the end, this class – imagined as a legion of exterminating angels – is in reality nothing more for authors than a religious myth that plays a role (for the salving of their consciences) analogous to that played by the myth of ‘the People' in 1848 for well-intentioned writers.”
    André Breton did not reply to Sartre's criticisms, nor even the ones formulated a year later by Simone de Beauvoir in The Second Sex.
    This little work, as much political as it is poetical, is nonetheless a part of the common cause of these two intellectuals within the extremely ephemeral Rassemblement Démocratique Révolutionnaire. Founded in 1947 by Sartre, it very quickly floundered despite the active engagement of Breton.
    1948 was therefore the only intellectual meeting of these two great “Masters of Thought” of the second half of the 20th century, whose personalities – intransigent and exclusionary – did not allow for a lasting philosophical union.
    €8,000
  26. Le fileur du cygne
    Christian BONNEFOI, Marc PIERRET
    Le fileur du cygne
    Monique Goldschmidt|Paris 1978|28 x 36 cm|reliure de l'éditeur sous étui
    First edition, one of 26 numbered copies on Rives vellum, deluxe copy.
    Publisher's binding with cream cloth spine, plexiglas boards, full mouse-colored cloth slipcase.
    Work illustrated with 6 original drawings by Christian Bonnefoi on polystyrene tracing paper and tarlatane.
    Signed by the author and illustrator on the justification page.
    Slipcase very slightly and marginally discolored at head and foot of boards.
    Rare and handsome copy.
    €350
  33. Le pavillon des amourettes ou Gaspard et les bourgeois d'Ambert
    Henri POURRAT
    Le pavillon des amourettes ou Gaspard et les bourgeois d'Ambert
    Albin Michel|Paris 1930|12 x 19 cm|relié
    First edition, a Service de Presse (advance) copy.
    Half caramel sheep binding, spine with two raised bands showing traces of rubbing, date and double gilt fillet at foot, marbled paper boards, marbled endpapers and pastedowns, top edge gilt, original wrappers preserved, contemporary binding.
    Autograph inscription signed by Henri Pourrat, in Spanish, to the Bacchic poet Jean Ott.
    €80
  39. La danse de Sophocle
    Jean COCTEAU
    La danse de Sophocle[The Dance of Sophocles] His Mother's Copy
    Mercure de France|Paris 1912|15 x 19 cm|relié

    First edition, one of 7 numbered copies on Hollande paper, the only large paper copies, this one no. 1, specially printed for Jean Cocteau's mother.
    Contemporary vellum Bradel binding by Dupré, gilt date to foot of spine, brown shagreen title label, marbled endpapers and pastedowns, covers and spine preserved. Light worming, principally affecting the margins of some leaves.
    A moving and exceptional autograph inscription signed and dated by Jean Cocteau to his mother, in Latin, quoting a verse of Virgils Bucolics: “Incipe, parve puer : cui non risere parentes, nec deus hunc mensa, dea nec dignita cubili est. / Virgile. / Jean”, which in English is: “Realise this, child: the boy at whom his parents never smiled is fit neither to approach the table of the Gods, nor the couch of a Goddess.”
    A unique copy.

    With the publication of this third collection of poetry Cocteau, a young prodigy then aged 23, was feted by artistic and literary circles. An intimate of Proust's, a friend of Jacques-Emile Blanche, a follower of Nijinski and Diaghilev and a disciple of Anna de Noailles, his ambition was to unite in his own person all the talents that surrounded him.
    The Danse de Sophocle [Dance of Sophocles], a reference to the nude dance that “the young and divine Sophocles” did in Athens after the naval victory at Salamis, reflects the ambition and the exaltation of the young Cocteau: novelist, painter, dancer, poet, he felt truly “fit to approach the table of the Gods.”
    “As with all the best artists, he was a link between God and Earth.” In his biography, Claude Arnaud dedicates a chapter (“The Living God”) to the psychology of the poet in this period: “He was a piece torn from God, one of the terrestrial organs through which this Being, constantly evolving, thought about and finally acted to improve his creation.”
    Thus, Cocteau broke free of his illustrious models and assumed his full artistic divinity, which unfolded in this ecstatic collection, witnessed by the eponymous poem:

    Thanks to you, dear pride, I wore the halo
    Given by the charming god of words…
    Thanks to you, I knew the frenetic struggles
    in which pen and paper, the dreary pot of ink
    Are the ties of verses you want to shout
    You want to scream, sing, sigh, laugh…
    And which we must – since they are in us and we feel them –
    Let flow like beautiful blood.

    The inscription to his mother, on the first of seven rare large paper copies, is a witness to Cocteau's only real great influence: Eugénie Cocteau. A mother idolized by her son, she was a profound influence on both the poet's life and his work, marked by the omnipresence of the Oedipal figure. Claude Arnaud describes at length this “filial outpouring coupled with an almost amorous attention...: ‘only my love for you is rooted in something real, the rest seems to be a bad dream'.”

    One can hardly miss in this quotation from Virgil the incestuous ambiguity that bound Cocteau to his mother.

    One of the most desirable provenances for this extremely rare copy.

    €8,000
  41. Oeuvres meslées
    Charles de Marguetel de Saint-Denis SAINT-ÉVREMOND
    Oeuvres meslées
    par La Compagnie des libraires|à Paris 1697|8.50 x 16.20 cm|5 volumes reliés
    New edition. The privilege being dated 1697, it is not known whether this new edition differs from the one published by Barbin in 1693, Barbin himself being part of the Compagnie des libraires.
    Contemporary full glazed brown sheep binding. Richly decorated spine with raised bands. Beige morocco title and volume labels. Head of volume I slightly worn, that of volume V split. Tail caps of volumes I and IV partly lacking. Wormholes on the spines of volumes IV and V. Some gatherings yellowed. Despite the mentioned defects, a copy with an attractive appearance.
    Charles Marguetel de Saint-Denis, seigneur de Saint-Évremond (1614-1703), was a moralist and libertine critic, whose rigor and critical independence announced the Enlightenment philosophers, and was perhaps the first author to make criticism a profession. He paid little attention to his writings which circulated mainly in manuscript during his lifetime. This edition, which collects various pieces by the author, including numerous letters, critiques, historical research and poetry, is due to the abbé de Raguenet, who completed the collection with maxims by La Rochefoucauld (pp. 297-326 Vol. IV), a piece by La Fontaine, a letter by Corneille... The literary success of Saint-Évremond led writers to attribute numerous works to him, such as these maxims by La Rochefoucauld, substantially different from recent editions by the same author.
    €550
  44. Féerie pour une autre fois II - Normance
    Louis-Ferdinand CÉLINE
    Féerie pour une autre fois II - Normance
    Gallimard|Paris 1954|14 x 21 cm|relié sous chemise et étui
    First edition, one of 45 numbered copies on Hollande paper, the tirage de tête
    Autograph inscription from Louis-Ferdinand Céline to his friend Pierre Duverger, the only photographer to have taken color photographs of Céline
    Quality blueish paper covers, sunned (as is often the case)
    Ex libris pasted onto foot of half-title
    This copy has a half black morocco chemise, spine in six compartments, date to foot, and a slipcase edged in black morocco, both by Goy & Vilaine.
    €10,000
  46. Dans le sillage des drakkars
    Louis BERGEN LE PLAY, Pierre MAC ORLAN
    Dans le sillage des drakkars
    Les Editions du Scorpion|Paris 1963|14 x 19 cm|broché
    First edition on ordinary paper.
    Autograph inscription dated and signed by the author to Lucien Mettai: "... ces histoires de nos turbulents ancêtres les vikings. / Hommage d'un gars de la côte salée." ["... these stories of our turbulent ancestors the Vikings. / Tribute from a guy from the salt coast."]
    Preface by Pierre Mac Orlan. Illustrated cover after a vignette by Gustave Alaux. A fold mark along the entire length of the front cover.
    €40
  50. Les atrocités allemandes en France. Reproduction intégrale des rapports officiels des 17 Décembre 1914 et 8 Mars 1915
    Maurice LEROY, COLLECTIF
    Les atrocités allemandes en France. Reproduction intégrale des rapports officiels des 17 Décembre 1914 et 8 Mars 1915
    D.A. Longuet|Paris s. d. [1915]|24 x 25.50 cm|reliure de l'éditeur
    First edition printed on laid paper.
    Publisher's oblong format binding in full raspberry and sand cloth, smooth spine, top edge red.
    Autograph inscription signed by the publisher to Marcel Dentu of the S.P.A.
    Work illustrated with original compositions by Maurice Leroy as well as photographic views.
    Boards marginally sunned at head, otherwise handsome copy.
    €150
  51. Fêtes galantes
    Paul VERLAINE
    Fêtes galantes
    Léon Vanier|Paris 1891|12.50 x 19 cm|broché sous chemise et étui
    Later edition on Hollande paper
    Chemise backed in dark green morocco over marbled paper boards, marbled pastedowns and endpapers, slipcase edged with same morocco and with boards of the same paper, lined with apple-green paper
    Rare inscription from Paul Verlaine to Achille Segard
    A small marginal lack to pages 15 & 16 due to paper fault, manuscript note “1866” in ink below the date featuring on the upper cover
    A rare, unsophisticated and uncut copy.
    €5,800
  62. "for you, my lady" - Juliette Drouet's personal copy
    La pitié suprême
    Victor HUGO
    La pitié suprêmeThe Supreme Compassion
    Calmann Lévy|Paris 1879|15 x 24 cm|relié

    HUGO Victor
    La Pitié suprême [The Supreme Compassion] Calmann Lévy, Paris 1879, 150 x 240 mm (5 15/16 x 9 7/16 ”), half shagreen
    First edition.
    Elegant half dark blue shagreen over marbled paper boards by René Aussourd, spine in four compartments with gilt dots and double gilt compartments containing horizontal arabesques and gilt stars, date and “ex. de J. Drouet” in gilt at foot, marbled endpapers and pastedowns, covers and spine preserved (marginal repairs to covers), top edge gilt, ex-libris of Pierre Duché on one endpaper.
    An exceptional presentation copy, inscribed by Victor Hugo to Juliette Drouet, the love of his life: “The first copy for you, my lady. V.” [Premier exemplaire à vous, ma dame. V.]

    €20,000
  66. Julie philosophe ou le bon patriote
    Guillaume APOLLINAIRE, ANONYME
    Julie philosophe ou le bon patriote
    Bibliothèque des Curieux|Paris 1910|9 x 15 cm|2 volumes reliés
    First edition of the introduction as well as the bibliographical essay by Guillaume Apollinaire, one of 500 numbered copies on Arches paper, this copy not justified, the only printing after 5 copies on Japan.
    Contemporary half grey cloth Bradel bindings over marbled paper boards, spine with gilt floral motif (slightly sunned), double gilt fillets to foot, black sheep title-pieces, upper corners slightly bumped, the fragile parchment-effect covers preserved, two small snags to upper edges, top edge gilt.
    Handsome autograph inscription signed by Guillaume Apollinaire to his publisher P.V. Stock at head of endpaper of first volume.
    Paper lack to lower cover of second volume, the parchment-effect covers slightly wormed.
    €2,300
  68. De domanio Franciae. Libri III
    René CHOPPIN
    De domanio Franciae. Libri III
    Apud Michaëlem Sonnium|Lutetiae Parisiorum [Paris] • (Paris) 1621|21.50 x 34.50 cm|relié
    Last edition, after the first published in 1574. Title page in red and black. Large printer's device on title page.
    Contemporary full brown sheep binding. Raised band spine richly decorated. Brown morocco title label. Double fillet frame to boards. Light dampstain, dry and clear to upper center of the work over 8 cm, without any severity, but darker in the final index. Good copy.
    Essay on the legitimacy of the French monarchy and its laws. Choppin defends the idea of a centralized royalty by studying not only Roman law, but also feudal and royal law among the Goths, in Byzantium, the Persians, the Egyptians, the Macedonians... In his third book, Choppin studies the characteristics of Salic law in France (which excludes women from reigning) by comparing it to law among other nations. The first version of the Salic code (penal and civil law) dates back to the 5th century and regulated succession rights. Following Bodin, a native of Anjou like himself and whom he would accuse of having stolen his ideas, the jurist Choppin is a sovereigntist thinker, he bases the solidity of the state on the notion of sovereignty; he is one of the first thinkers of the concept of state. Three indexes at the end of the work, notably allowing one to find the historical specificities of each nation (Scotland, Denmark...)
    €900
  69. Laissez circuler la monnaie d'argent et de billon utile à notre commerce
    Laissez circuler la monnaie d'argent et de billon utile à notre commerce
    Comité national de prévoyance et d'économies pour la guerre|Paris s. d. [circa 1917]|36 x 78 cm|une feuille
    First edition of this color lithographed poster signed "Béatrice Grognuz, élève Bd Péreire 221".
    This poster was published during the First World War, it is part of a series drawn by children from Paris schools, to encourage the French to participate in the war effort.
    Rare copy in fine condition of these propaganda posters, most of which have been destroyed.
    €300
  70. Voyage pittoresque sur les bords du Rhin
    Edmond Auguste TEXIER
    Voyage pittoresque sur les bords du Rhin
    Mrizot|Paris 1858|17.50 x 27 cm|relié
    First edition, illustrated with 24 steel engravings by the Rouargue brothers, including 2 hand-colored woodcuts.
    Contemporary half navy blue shagreen binding. Spine with false raised bands decorated with gilt compartments. Shagreen-textured cloth boards with blind fillets. Gilt edges. White moiré endpapers.
    Fine copy, in perfect condition, free from foxing and retaining its tissue guards.
    This book which visits all the cities along the Rhine was published during the golden age of tourism there; the spa towns of the Rhine were then fashionable, as were the Swiss and German cities. The work consists of descriptions, contemporary and historical anecdotes and notes on customs.
    €500
  71. Oeuvres
    Nicolas BOILEAU DESPREAUX
    Oeuvres
    Chez Les libraires associés|à Paris 1772|12 x 21 cm|5 volumes reliés
    New edition, illustrated with a frontispiece by Picart engraved by Winkeles, 2 allegorical figures by van der Meer (the Epistle and the Poetic Art), and 6 figures after Picart re-engraved by Vinkeles for Le lutrin, 4 title vignettes by van der Meer and one by F. de Bakker. This edition also appeared in Amsterdam, published by Changuion. Picart's figures were taken from the 1718 edition, they are printed on thick paper.
    Contemporary full scaled calf binding. Richly decorated spine with raised bands, head and tail rolls. Green morocco title and volume labels. Triple fillet frame on covers. Green painted edges. One tear with lack at head of volume I; headcap of volume II worn down; lack at head of volume III. Several corners bumped. Lower right corner worn. Despite the noted defects, handsome binding, with very decorative appearance. Fresh copy, with wide margins.
    After the great edition of Boileau's works published in 1718 in folio format, and given the success, fine editions of this author followed one after another in 1722, 1729, 1745, with variants. This last edition, well printed, whose subtle typographical variations suggest the reduction of a folio, has been revised, and the spelling has been modernized; the pamphlet Boileau aux prises avec les jésuites has been restored, and a life of the author has been added. Finally, one cannot emphasize enough the critical quality of this edition, which takes up the abundant and judicious remarks and commentaries of Saint-Marc from the 1745 edition.
    €800
  72. Causeries du lundi
    Charles-Augustin SAINTE-BEUVE
    Causeries du lundi
    Garnier frères|Paris 1857|11.50 x 18.50 cm|15 volumes reliés
    Third edition, first in parts.
    Contemporary half caramel-colored calf over marbled paper boards, spine in six compartments with gilt dots and double gilt compartments richly gilt with decorative motifs, dark red morocco title pieces and dark green volume labels, some headpieces slightly rubbed, headpiece of volume four repaired, some joints cracked and repaired, gilt fillet frame to covers, marbled endpapers and pastedowns, some corners bumped, top edge gilt.
    Handsome autograph inscription signed by Charles Augustin Saint-Beuve to Madame Paul Huet, the wife of the noted Romantic painter and friend of Victor Hugo.
    Manuscript ex donos of Pierre Jean David d'Angers' grandson to start of each volume.
    A little spotting, sometimes heavy, to some leaves.
    €1,500
  74. Oeuvres
    Louis-Ferdinand CÉLINE
    Oeuvres
    Club de l'honnête homme|Paris 1981-1983|18 x 26.50 cm|9 volumes en reliures de l'éditeur sous étuis
    Edition illustrated with original artwork by Raymond Moretti, one of the numbered copies on laid paper, the only printing along with 300 copies on Rives vellum.
    Publisher's Bradel bindings in full chocolate imitation morocco, smooth spines, covers decorated with gilt interlacing, mustard paper endpapers and pastedowns, top edges gilt, mustard cardboard slipcases bordered with chocolate imitation morocco.
    Introduction by Frédéric Vitoux.
    Set illustrated with numerous original color compositions by Raymond Moretti.
    Handsome complete set in 9 volumes.
    €600
  76. De la louange à la souveraineté. Manuscrit autographe et tapuscrit complets
    Maurice BLANCHOT
    De la louange à la souveraineté. Manuscrit autographe et tapuscrit complets
    S. n. • [ Journal des débats]|s. l. • [Paris] s. d. [1943]|13.50 x 21 cm|4 1/2 pages in-8
    Autograph manuscript by the author, 4 and a half octavo pages, published in the June 2, 1943 issue of the Journal des Débats.
    Complete manuscript in very dense handwriting, with numerous deletions, corrections and additions.
    Literary chronicle published on the occasion of the publication of Servius et la fortune by Georges Dumézil. The complete typescript is included.

    By devoting his study to Dumézil's work on Servius, Blanchot established a crucial milestone in the evolution of his own thought, the passage from political conviction to literary engagement.
    This reflection on sovereignty indeed led the former Maurrassian to reorient his value system, subjecting the prince's power to the people's benevolence: "La louange des hommes est une divinité sous le patronage de laquelle se place le souverain choisi par la voix publique" ["The praise of men is a divinity under whose patronage the sovereign chosen by public voice places himself"].
    Starting from this legitimation of the sovereign by the poet's word and his alienation by the "puissance du blâme" ["power of blame"], Blanchot evolved toward a magical power of speech, first for the sovereign's use: "son pouvoir royal (...) n'est réel que par la maîtrise qu'il a sur les mots" ["his royal power (...) is real only through his mastery over words"]; then "dépassant toute forme d'échange. [La poésie] est par excellence ce qui est donné, ce qui manifeste le don des dieux en assurant le crédit des hommes." ["surpassing all forms of exchange. [Poetry] is par excellence what is given, what manifests the gift of the gods while ensuring the credit of men."]
    Maurice Blanchot's position was now perfectly established: he did not sacrifice Politics for Letters, he affirmed the predominance of the literary over the political and henceforth devoted his entire life "to literature and to the silence that belongs to it".


    Between April 1941 and August 1944, Maurice Blanchot published 173 articles on recently published books in the "Chronicle of intellectual life" of the Journal des Débats. In half a newspaper page (approximately seven octavo pages), the young author of "Thomas l'obscur" took his first steps in the field of literary criticism and thus inaugurated a theoretical work that he would later develop in his numerous essays, from "La Part du feu" to "L'Entretien infini" and "L'Écriture du désastre". From the first articles, Blanchot demonstrated an analytical acuity far exceeding the literary current events that motivated their writing. Oscillating between classics and moderns, first-rate writers and minor novelists, he established in his chronicles the foundations of critical thinking that would mark the second half of the 20th century. Transformed by writing and by war, Blanchot broke, through a thought exercised "in the name of the other", with the violent Maurrassian certainties of his youth. Not without paradox, he then transformed literary criticism into a philosophical act of intellectual resistance to barbarism at the very heart of an "openly Maréchaliste" newspaper: "Burning a book, writing one, are the two acts between which culture inscribes its contrary oscillations" (Le Livre, In Journal des Débats, January 20, 1943). In 2007, the Cahiers de la NRF brought together under the direction of Christophe Bident all the literary chronicles not yet published in volumes with this pertinent analysis of Blanchot's critical work: "novels, poems, essays give rise to a singular reflection, ever more confident in its own rhetoric, delivered more to the echo of the impossible or to the sirens of disappearance. (...) Not without contradictions or sidesteps, and in the feverish certainty of a work that begins (...) these articles reveal the genealogy of a critic who transformed the occasion of the chronicle into the necessity of thought." (C. Bident). Autograph manuscripts by Maurice Blanchot are extremely rare.
    €1,500
  77. Le mythe de Giraudoux. Manuscrit autographe et tapuscrit complets.
    Maurice BLANCHOT (Jean GIRAUDOUX)
    Le mythe de Giraudoux. Manuscrit autographe et tapuscrit complets.
    S. n. • [ Paysage dimanche]|s. l. • [Paris] s. d. [1945]|11.50 x 22 cm|3 pages in-4
    Autograph manuscript by the author, 3 quarto pages, published in issue 17 of October 7, 1945 of the newspaper Le Paysage Dimanche. Complete manuscript in very dense handwriting, with numerous deletions, corrections and additions.
    Chronicle published on the occasion of the numerous studies on Giraudoux's work that appeared since his death in January 1944.
    The complete typescript is included.
    While the numerous references to his work in the articles of the Journal des Débats reveal Giraudoux's ascendancy over Blanchot, the latter nevertheless manifests a clear desire to free himself from this paternity. Thus he removes from Faux-Pas numerous references to Giraudoux's work (cf C. Bident, M. B. De la chronique à la théorisation). This article published in 1945 is a unique testimony to the ambivalence of feelings toward an admired master who could no longer serve as a model for his disciple, transformed by writing and war.
    "Certes, un auteur, comme celui de Judith ne peut pas être un auteur de tout repos mais ce qu'il a créé est beau et ce beau n'est pas "ce qui nous désespère". Il est trop facile de voir que, quoi qu'il veuille, il ne va jamais jusqu'à compromettre en son art, l'harmonie la compréhension, la mesure. Comme une malédiction jetée sur la réalité inaccessible, il formerait un monde entièrement faux? Mais pas si faux: nous n'y perdons pas pied, nous ne cessons de nous y reconnaitre et au contraire, pour certains comme Sartre, c'est celui de la banalité même des concepts de chaque jour." ["Certainly, an author like the one who wrote Judith cannot be a restful author, but what he has created is beautiful and this beauty is not 'what drives us to despair'. It is too easy to see that, whatever he may wish, he never goes so far as to compromise in his art, harmony, understanding, measure. Like a curse cast upon inaccessible reality, would he form an entirely false world? But not so false: we do not lose our footing there, we never cease to recognize ourselves in it and on the contrary, for some like Sartre, it is that of the very banality of everyday concepts."]


    Between April 1941 and August 1944, Maurice Blanchot published 173 articles on recently published books in the "Chronicle of intellectual life" of the Journal des Débats. In half a newspaper page (approximately seven octavo pages), the young author of "Thomas l'obscur" took his first steps in the field of literary criticism and thus inaugurated a theoretical work that he would later develop in his numerous essays, from "La Part du feu" to "L'Entretien infini" and "L'Écriture du désastre". From the first articles, Blanchot demonstrated an analytical acuity far exceeding the literary current events that motivated their writing. Oscillating between classics and moderns, first-rate writers and minor novelists, he established in his chronicles the foundations of critical thinking that would mark the second half of the 20th century. Transformed by writing and by war, Blanchot broke, through a thought exercised "in the name of the other", with the violent Maurrassian certainties of his youth. Not without paradox, he then transformed literary criticism into a philosophical act of intellectual resistance to barbarism at the very heart of an "openly Maréchaliste" newspaper: "Burning a book, writing one, are the two acts between which culture inscribes its contrary oscillations" (Le Livre, In Journal des Débats, January 20, 1943). In 2007, the Cahiers de la NRF brought together under the direction of Christophe Bident all the literary chronicles not yet published in volumes with this pertinent analysis of Blanchot's critical work: "novels, poems, essays give rise to a singular reflection, ever more confident in its own rhetoric, delivered more to the echo of the impossible or to the sirens of disappearance. (...) Not without contradictions or sidesteps, and in the feverish certainty of a work that begins (...) these articles reveal the genealogy of a critic who transformed the occasion of the chronicle into the necessity of thought." (C. Bident). Autograph manuscripts by Maurice Blanchot are extremely rare.
    €1,500
  78. Une étude sur l'Apocalypse. Manuscrit autographe et tapuscrit complets
    Maurice BLANCHOT
    Une étude sur l'Apocalypse. Manuscrit autographe et tapuscrit complets
    S. n. • [ Journal des débats]|s. l. • [Paris] s. d. [1945]|13.50 x 21 cm|4 1/2 pages in-8
    Autograph manuscript by the author of 4 and a half pages in-8 published in the issue of November 3, 1943 of Journal des Débats.
    Complete recto-verso manuscript, in very dense handwriting, with numerous deletions, corrections and additions.
    The complete typescript is included.
    Chronicle published on the occasion of the publication of L'Apocalypse de St Jean, vision chrétienne de l'histoire by Father H.M. Féret.

    From the outset, Maurice Blanchot, doing his job as a critic, praises the seriousness of the study conducted by Father Féret. But what interests him more than this careful orthodoxy are the powerful echoes of L'Apocalypse in the terrible hours the world was then going through: « Dans les périodes troublées, les esprits qui ne supportent pas l'incertitude de l'avenir ont besoin de prophètes. Mais ces prophètes, ils les demandent au passé, et plus l'oracle est ancien - et redoutable -, plus ils y voient des correspondances avec l'histoire qu'ils voudraient connaître. L'Apocalypse de St Jean doit, en partie à la sublimité du langage, à l'autorité de l'écrivain, à l'étendue de la révélation, une curiosité que des siècles d'étude n'ont pas réussi à épuiser. Mais elle doit aussi son prestige auprès d'esprits qui ne sont pas toujours pieux, à l'antiquité de la réponse et à son caractère terrifiant. Qui n'est pas prêt à croire que la fin des temps est proche et que le pire va être vécu ? Chacun a le désir secret d'associer sa propre fin qu'il entrevoie à celle du monde dont il est moins sûr. » ["In troubled periods, minds that cannot bear the uncertainty of the future need prophets. But these prophets, they seek them in the past, and the more ancient - and fearsome - the oracle, the more they see correspondences with the history they would like to know. The Apocalypse of St. John owes, partly to the sublimity of language, to the authority of the writer, to the extent of the revelation, a curiosity that centuries of study have not managed to exhaust. But it also owes its prestige among minds that are not always pious, to the antiquity of the answer and to its terrifying character. Who is not ready to believe that the end of times is near and that the worst will be lived? Each has the secret desire to associate his own end that he glimpses with that of the world of which he is less certain."] The biblical text thus awakens his interest for its literary and mythological qualities but also, in an almost political approach, for its sense of History. Furthermore, if religion does not of course pose itself in terms of belief for Blanchot, it nevertheless reveals his attention to the question of God (particularly sensitive through Judaism notably) and joins that, decisive in his eyes, of the writer's interior experience.
    Finally, the analysis of L'Apocalypse that Blanchot delivers here constitutes a first in-depth reflection on the question of Evil: « [...] ce qui est propre au message inspiré, c'est le rôle qu'il fait jouer au démon dans la vie collective et le mouvement de l'histoire. Saint Jean ne dévoile pas l'action du mal dans les âmes ; il se borne à montrer quelle maîtrise les puissances démoniaques peuvent exercer sur les réalités collectives, par quelles voies elles agissent [...] et quelle défaite mettra un terme à leur empire. » ["[...] what is proper to the inspired message is the role it makes the demon play in collective life and the movement of history. Saint John does not unveil the action of evil in souls; he confines himself to showing what mastery demonic powers can exercise over collective realities, by what paths they act [...] and what defeat will put an end to their empire."] These links between the Apocalypse, History and Evil would be questioned again by Blanchot in "L'Apocalypse déçoit" (1964) and "Penser l'Apocalypse" (1988).

    First foundational text by Blanchot on Evil and History.

    Between April 1941 and August 1944, Maurice Blanchot published in the "Chronicle of intellectual life" of Journal des Débats 173 articles on recently published books. In half a page of newspaper (approximately seven in-8 pages), the young author of "Thomas l'obscur" takes his first steps in the field of literary criticism and thus inaugurates a theoretical work that he would later develop in his numerous essays, from "La Part du feu" to "L'Entretien infini" and "L'Écriture du désastre". From the first articles, Blanchot demonstrates an analytical acuity far exceeding the literary current events that motivate their writing. Oscillating between classics and moderns, first-rate writers and minor novelists, he establishes in his chronicles the foundations of a critical thought that would mark the second half of the 20th century. Transformed by writing and by war, Blanchot breaks, through a thought exercised "in the name of the other," with the violent Maurrassian certainties of his youth. Not without paradox, he then transforms literary criticism into a philosophical act of intellectual resistance to barbarism at the very heart of an "openly Maréchaliste" newspaper: "To burn a book, to write one, are the two acts between which culture inscribes its contrary oscillations" (Le Livre, In Journal des Débats, January 20, 1943). In 2007, the Cahiers de la NRF brought together under the direction of Christophe Bident all the literary chronicles not yet published in volumes with this pertinent analysis of Blanchot's critical work: "novels, poems, essays give rise to a singular reflection, always more certain of its own rhetoric, more given over to the echo of the impossible or to the sirens of disappearance. (...) Not without contradictions or sidesteps, and in the feverish certainty of a work that begins (...) these articles reveal the genealogy of a critic who transformed the occasion of the chronicle into the necessity of thought." (C. Bident). Autograph manuscripts by Maurice Blanchot are extremely rare.
    €1,200
  79. A l'ombre du romanesque. Manuscrit autographe et tapuscrit complets
    Maurice BLANCHOT (André DHÔTEL)
    A l'ombre du romanesque. Manuscrit autographe et tapuscrit complets
    S. n. • [ Paysage dimanche]|s. l. • [Paris] s. d. [1945]|11.50 x 22 cm|3 pages 1/2 in-4
    Autograph manuscript by the author of 3 and a half pages in-4 published in number 23 of November 18, 1945 of Paysage Dimanche. Complete manuscript in very dense handwriting, with numerous deletions, corrections and additions. Literary chronicle of André Dhôtel's work. The complete typescript is included.
    When the apostle of silence in literature speaks of the novelist of the invisible, this produces a strange apology for a work « destinée à sauver [...] l'essence du romanesque, sa vie pure et secrète », « passionnante jusque dans sa monotonie, selon le rythme des plus belles histoires romanesques où il ne se passe rien, mais où l'imprévu est toujours imminent. » ["destined to save [...] the essence of the novelistic, its pure and secret life", "fascinating even in its monotony, according to the rhythm of the most beautiful novelistic stories where nothing happens, but where the unexpected is always imminent."]
    Between April 1941 and August 1944, Maurice Blanchot published in the "Chronicle of intellectual life" of Journal des Débats 173 articles on recently published books. In half a page of newspaper (approximately seven in-8 pages), the young author of "Thomas l'obscur" takes his first steps in the field of literary criticism and thus inaugurates a theoretical work that he would later develop in his numerous essays, from "La Part du feu" to "L'Entretien infini" and "L'Écriture du désastre". From the first articles, Blanchot demonstrates an analytical acuity far exceeding the literary current events that motivate their writing. Oscillating between classics and moderns, first-rate writers and minor novelists, he establishes in his chronicles the foundations of a critical thought that would mark the second half of the 20th century. Transformed by writing and by war, Blanchot breaks, through a thought exercised "in the name of the other," with the violent Maurrassian certainties of his youth. Not without paradox, he then transforms literary criticism into a philosophical act of intellectual resistance to barbarism at the very heart of an "openly Maréchaliste" newspaper: "To burn a book, to write one, are the two acts between which culture inscribes its contrary oscillations" (Le Livre, In Journal des Débats, January 20, 1943). In 2007, the Cahiers de la NRF brought together under the direction of Christophe Bident all the literary chronicles not yet published in volumes with this pertinent analysis of Blanchot's critical work: "novels, poems, essays give rise to a singular reflection, always more certain of its own rhetoric, more given over to the echo of the impossible or to the sirens of disappearance. (...) Not without contradictions or sidesteps, and in the feverish certainty of a work that begins (...) these articles reveal the genealogy of a critic who transformed the occasion of the chronicle into the necessity of thought." (C. Bident). Autograph manuscripts by Maurice Blanchot are extremely rare.
    €1,200
  80. Nouvelles et récits. Manuscrit autographe et tapuscrit complets
    Maurice BLANCHOT (Claude ROY)
    Nouvelles et récits. Manuscrit autographe et tapuscrit complets
    S. n. • [ Journal des débats]|s. l. • [Paris] s. d. [1944]|13.50 x 21.50 cm|2 1/2 pages in-8
    Autograph manuscript by the author of 2 and a half octavo pages published in the April 20, 1944 issue of Journal des Débats. Complete manuscript with very dense writing, containing numerous strikethroughs, corrections and additions. Literary chronicle on the work of Claude Roy. The complete typescript is included.
    This critique of La Mer à boire by Claude Roy is at once a detailed analysis of each short story and a poetic hymn to the poet's writing: "Le style de Claude Roy répond à merveille à ce jeu de nuances : il est lui aussi plein d'échos qui s'évanouissent, de mots qui se répercutent: il est libre, discipliné, tout en inventions et fidèle à la réalité qu'il décrit." ["Claude Roy's style responds marvelously to this play of nuances: it too is full of echoes that fade away, of words that reverberate: it is free, disciplined, full of inventions and faithful to the reality it describes."]

    Between April 1941 and August 1944, Maurice Blanchot published 173 articles on recently published books in the "Chronique de la vie intellectuelle" of Journal des Débats.
    In half a page of newspaper (about seven octavo pages), the young author of "Thomas l'obscur" takes his first steps in the field of literary criticism and thus inaugurates a theoretical work that he would later develop in his numerous essays, from "La Part du feu" to "L'Entretien infini" and "L'Écriture du désastre."
    From the first articles, Blanchot demonstrates an analytical acuity far exceeding the literary current events that motivate their writing. Oscillating between classics and moderns, first-rate writers and minor novelists, he establishes, in his chronicles, the foundations of a critical thought that would mark the second half of the twentieth century.
    Transformed by writing and by war, Blanchot breaks, through a thought exercised "in the name of the other," with the violent Maurrassian certainties of his youth.
    Not without paradox, he then transforms literary criticism into a philosophical act of intellectual resistance to barbarism at the very heart of an "openly Maréchaliste" newspaper: "To burn a book, to write one, these are the two acts between which culture inscribes its contrary oscillations" (Le Livre, In Journal des Débats, January 20, 1943).
    In 2007, the Cahiers de la NRF brought together under the direction of Christophe Bident all the literary chronicles not yet published in volumes with this pertinent analysis of Blanchot's critical work: "novels, poems, essays give rise to a singular reflection, always more confident in its own rhetoric, delivered more to the echo of the impossible or to the sirens of disappearance. (...) Not without contradictions or sidesteps, and in the feverish certainty of a work that begins (...) these articles reveal the genealogy of a critic who transformed the occasion of the chronicle into the necessity of thought." (C. Bident).
    The autograph manuscripts of Maurice Blanchot are extremely rare.
    €1,200
  81. Le souci de sincérité. Manuscrit autographe et tapuscrit complets
    Maurice BLANCHOT (Yvon BELAVAL)
    Le souci de sincérité. Manuscrit autographe et tapuscrit complets
    S. n. • [ Journal des débats]|s. l. • [Paris] s. d. [1944]|13.50 x 21.50 cm|2 1/2 pages in-8
    Autograph manuscript by the author of 2 and a half pages in-4 published in the March 2, 1944 issue of Journal des Débats. Complete manuscript with very dense writing, containing numerous strikethroughs, corrections and additions. Literary chronicle published on the occasion of the publication, in the new collection of Gallimard editions devoted to "La Jeune Philosophie," of the work "Le souci de sincérité" by Yvon Belaval. The complete typescript is included.

    Under Blanchot's pen, philosophical criticism acquires its own autonomy which makes it impossible to distinguish between Belaval's original thought and the luminous interpretation that Maurice Blanchot offers of it, in a few pages.

    « L'homme sincère veut rompre avec la solitude où l'ont enfermé à la fois la réflexion et la faiblesse. Il rêve d'un retour au "nous" primitif, mais il se contente de le rêver : il s'enchante de ses scrupules, il ne parle qu'à soi-même et ne parle que de soi, il échoue et jouit de ses échecs. » ["The sincere man wants to break with the solitude in which both reflection and weakness have confined him. He dreams of a return to the primitive 'we,' but he contents himself with dreaming it: he is enchanted by his scruples, he speaks only to himself and speaks only of himself, he fails and enjoys his failures."]

    No concern for sincerity, therefore, in Blanchot, but a rigorous intellectual mechanism which does not fear to free itself from the limits of the text studied to deploy all its philosophical potential.

    Between April 1941 and August 1944, Maurice Blanchot published 173 articles on recently published books in the "Chronique de la vie intellectuelle" of Journal des Débats. In half a page of newspaper (about seven octavo pages), the young author of "Thomas l'obscur" takes his first steps in the field of literary criticism and thus inaugurates a theoretical work that he would later develop in his numerous essays, from "La Part du feu" to "L'Entretien infini" and "L'Écriture du désastre." From the first articles, Blanchot demonstrates an analytical acuity far exceeding the literary current events that motivate their writing. Oscillating between classics and moderns, first-rate writers and minor novelists, he establishes, in his chronicles, the foundations of a critical thought that would mark the second half of the twentieth century. Transformed by writing and by war, Blanchot breaks, through a thought exercised "in the name of the other," with the violent Maurrassian certainties of his youth. Not without paradox, he then transforms literary criticism into a philosophical act of intellectual resistance to barbarism at the very heart of an "openly Maréchaliste" newspaper: "To burn a book, to write one, these are the two acts between which culture inscribes its contrary oscillations" (Le Livre, In Journal des Débats, January 20, 1943). In 2007, the Cahiers de la NRF brought together under the direction of Christophe Bident all the literary chronicles not yet published in volumes with this pertinent analysis of Blanchot's critical work: "novels, poems, essays give rise to a singular reflection, always more confident in its own rhetoric, delivered more to the echo of the impossible or to the sirens of disappearance. (...) Not without contradictions or sidesteps, and in the feverish certainty of a work that begins (...) these articles reveal the genealogy of a critic who transformed the occasion of the chronicle into the necessity of thought." (C. Bident). The autograph manuscripts of Maurice Blanchot are extremely rare.
    €1,500
  82. Le roman de Jean-Paul Sartre - Manuscrit autographe et tapuscrit complets.
    (Jean-Paul SARTRE) Maurice BLANCHOT
    Le roman de Jean-Paul Sartre - Manuscrit autographe et tapuscrit complets.
    S. n. • [ Paysage dimanche]|s. l. • [Paris] s. d. [1945]|11.50 x 22 cm|3 pages 1/2 in-4
    Autograph manuscript by the author of 3½ pages octavo published in the October 21, 1945 issue (no. 19) of Paysage dimanche.
    Complete recto-verso manuscript, very densely written, with numerous deletions, corrections and additions.
    Literary chronicle published on the occasion of the publication of the first two volumes of Jean-Paul Sartre's trilogy Les chemins de la liberté: "L'Age de raison" and "Le Sursis".
    The complete typescript is included, with one deletion and one autograph correction by the author.

    When this chronicle appeared in autumn 1945, Maurice Blanchot and Jean-Paul Sartre had already demonstrated mutual interest in their respective works, in articles sometimes critical, sometimes laudatory, always attentive. Similarly, if Les chemins de la liberté aroused Blanchot's admiration, it was essentially through the use the philosopher had made of the influence of two monuments of Anglo-Saxon literature, Virginia Woolf and John Dos Passos: « Ce qui nous paraît frappant, c'est le caractère d'œuvre d'art qu'en reçoit le livre, œuvre extrêmement composée, calculée avec un souci infiniment sûr des effets, où la confusion reste claire, où le désordre est perfection, et telle qu'on y reconnaît sans cesse la présence de l'écrivain le plus lucide, capable de tout obtenir du langage dont il est maître. » ["What strikes us is the character of a work of art that the book receives, an extremely composed work, calculated with infinitely sure concern for effects, where confusion remains clear, where disorder is perfection, and such that one constantly recognizes the presence of the most lucid writer, capable of obtaining everything from the language he masters."]
    But this "Novel by Sartre" is above all an opportunity for Blanchot to raise the question of the links between literature and politics, on which the two men would have great difficulty agreeing in the following decades. Thus, Blanchot summarizes Sartre's vision, evoking the problem of engagement: « Il est indéniable que l'art de Sartre atteint son plus grand pouvoir lorsqu'il décrit l'engloutissement des consciences par les choses qui les hantent et les débordent, et de laquelle elles coulent comme une pâte pleine d'odeurs. Le monde qu'il sent est celui d'une métamorphose, mais cette métamorphose n'est pas changement de forme, elle n'est pas la transformation d'un être en un autre être, fût-ce d'un homme en une vermine ; elle va plus loin, elle est irrémédiable, car c'est la conscience même qui devient un matériel, c'est la pensée qui se fige en une substance gluante, visqueuse, sans contour, sans apparence, un dedans triste et vague, que nous ne pouvons saisir et qui, pourtant, comme tel, continue désespérément à penser. Tel est l'univers dans lequel nous sommes jetés, tant que nous n'essayons pas de le reprendre par une action qui nous engage. » ["It is undeniable that Sartre's art reaches its greatest power when he describes the engulfment of consciousness by things that haunt and overwhelm it, and from which it flows like a paste full of odors. The world he feels is one of metamorphosis, but this metamorphosis is not a change of form, it is not the transformation of one being into another being, even of a man into vermin; it goes further, it is irreparable, because it is consciousness itself that becomes material, it is thought that hardens into a sticky, viscous substance, without contour, without appearance, a sad and vague interior that we cannot grasp and which, nevertheless, as such, continues desperately to think. Such is the universe into which we are thrown, as long as we do not try to reclaim it through action that engages us."] The third volume of Les Chemins de la liberté, not yet published, leaves, in Blanchot's eyes, little doubt as to its content; and he summarizes, somewhat sarcastically: « Ce qui suivra est facile à imaginer : nous aurons la guerre, l'occupation, nous aurons la résistance, l'obscur combat, la première victoire ; et nous risquons d'avoir l'aventure de personnages assez veules et désaxés qui cherchent la liberté [...] et finiront par la vivre en s'engageant pleinement dans une action collective qu'ils acceptent. » ["What will follow is easy to imagine: we will have war, occupation, we will have resistance, the dark struggle, the first victory; and we risk having the adventure of rather spineless and unbalanced characters who seek freedom [...] and will end up living it by fully engaging in collective action that they accept."]

    The manuscript contains significant variants from the typescript text, which testify to Blanchot's concern to use Sartrean concepts to good effect, in order to better return to what preoccupies him: the use of language in literature's revolutionary vocation.
    €3,000
  83. Romans nouveaux. Manuscrit autographe et tapuscrit complets
    Maurice BLANCHOT
    Romans nouveaux. Manuscrit autographe et tapuscrit complets
    S. n. • [ Journal des débats]|s. l. • [Paris] s. d. [1942]|13.50 x 21.50 cm|4 1/2 pages in-8
    Autograph manuscript by the author of 4½ pages octavo published in the December 23, 1942 issue of Journal des Débats.
    Complete recto-verso manuscript, very densely written, with numerous deletions, corrections and additions.
    The complete typescript is included.
    Chronicle published on the occasion of the publication of four new novels: Les Hommes forts by Georges Magnane, Le Vent se lève by Marius Grout, Clément by Maurice Toesca and Si le ciel tombe by Roger de Lafforest.

    At the end of 1942, Maurice Blanchot reviews current literary events and provides uncompromising criticism of four novels by Georges Magnane, Marius Grout (Prix Goncourt winner in 1943), Maurice Toesca and Roger de Lafforest: « On voit qu'à ces quatre ouvrages, la monotonie des moyens, l'élusion du temps, la sobriété du ton et surtout le caractère théorique du thème principal donnent l'apparence d'un conte, d'une longue nouvelle qui se montre ou qui se cache sous la figure d'un roman. M. Georges Magnane n'a pu faire que son livre ne paraisse peu de chose au regard des descriptions sportives dont il l'a enrichi : l'histoire qu'il raconte ne s'impose pas ; elle reste vide ; elle s'efface. De même, chez M. Toesca et M. de Lafforest, il y a comme une absence d'âme qui rend inutile le jeu intellectuel dont ils ont soigneusement tendu les fils. L'esprit ne retient que l'intention qui, comme telle, lui paraît assez insignifiante ; à quoi bon un livre, si l'art ne se rend pas inséparable de la pensée par le style dont il la marque ? Il y a plus de secret dans le récit de M. Marius Grout, et c'est ce poids lourd, ce silence grave, ce plus indiscernable qui, malgré toutes les explications que l'auteur a cru bon nous donner, s'ajoutent à son œuvre comme la vérité qui ne peut être dite et l'empêchent de n'être plus rien, lorsque le lecteur en a découvert la conclusion. » ["We see that these four works, through the monotony of their means, the evasion of time, the sobriety of tone and especially the theoretical character of their main theme, take on the appearance of a tale, of a long short story that shows itself or hides under the guise of a novel. M. Georges Magnane could not prevent his book from appearing insignificant compared to the sporting descriptions with which he enriched it: the story he tells does not impose itself; it remains empty; it fades away. Similarly, in M. Toesca and M. de Lafforest, there is something like an absence of soul that renders useless the intellectual game whose threads they have carefully woven. The mind retains only the intention which, as such, seems quite insignificant to it; what good is a book if art does not make itself inseparable from thought through the style with which it marks it? There is more mystery in M. Marius Grout's narrative, and it is this heavy weight, this grave silence, this more indiscernible element that, despite all the explanations the author thought fit to give us, add to his work like truth that cannot be told and prevent it from becoming nothing when the reader has discovered its conclusion."]

    Between April 1941 and August 1944, Maurice Blanchot published 173 articles on recently published books in the "Chronicle of Intellectual Life" in Journal des Débats.
    In half a newspaper page (about seven octavo pages), the young author of "Thomas l'obscur" takes his first steps in the field of literary criticism and thus inaugurates a theoretical work that he would later develop in his numerous essays, from "La Part du feu" to "L'Entretien infini" and "L'Écriture du désastre".
    From the first articles, Blanchot demonstrates an acuity of analysis far exceeding the literary current events that motivate their writing. Oscillating between classics and moderns, first-rate writers and minor novelists, he establishes, in his chronicles, the foundations of critical thought that would mark the second half of the 20th century.
    Transformed by writing and by war, Blanchot breaks, through thought exercised "in the name of the other," with the violent Maurrassian certainties of his youth.
    Not without paradox, he then transforms literary criticism into a philosophical act of intellectual resistance to barbarism at the very heart of an "openly Maréchaliste" newspaper: "Burning a book, writing one, are the two acts between which culture inscribes its contrary oscillations" (Le Livre, In Journal des Débats, January 20, 1943).
    In 2007, the Cahiers de la NRF brought together under the direction of Christophe Bident all the literary chronicles not yet published in volumes with this pertinent analysis of Blanchot's critical work: "novels, poems, essays give rise to a singular reflection, increasingly sure of its own rhetoric, more given over to the echo of the impossible or to the sirens of disappearance. (...) Not without contradictions or sidesteps, and in the feverish certainty of a work that begins (...) these articles reveal the genealogy of a critic who transformed the occasion of the chronicle into the necessity of thought." (C. Bident).
    Autograph manuscripts by Maurice Blanchot are extremely rare.
    €1,000
  84. Journal sans épisodes. Manuscrit autographe et tapuscrit complets
    Maurice BLANCHOT
    Journal sans épisodes. Manuscrit autographe et tapuscrit complets
    S. n. • [ Journal des débats]|s. l. • [Paris] s. d. [1944]|13.50 x 21.50 cm|2 1/2 pages in-8
    Autograph manuscript by the author of 2½ pages in-8 published in the February 10, 1944 issue of Journal des Débats.
    Complete manuscript with very dense handwriting, containing numerous deletions, corrections and additions.
    Literary chronicle published on the occasion of the publication of Jean Dumay's "Journal de guerre".
    The complete typescript is included.
    Between April 1941 and August 1944, Maurice Blanchot published 173 articles on recently published books in the "Chronique de la vie intellectuelle" of Journal des Débats.
    In half a newspaper page (approximately seven pages in-8), the young author of "Thomas l'obscur" takes his first steps in the field of literary criticism and thus inaugurates a theoretical work that he would later develop in his numerous essays, from "La Part du feu" to "L'Entretien infini" and "L'Écriture du désastre".
    From the first articles, Blanchot demonstrates an analytical acuity far exceeding the literary news that motivates their writing. Oscillating between classics and moderns, first-rate writers and minor novelists, he establishes in his chronicles the foundations of critical thought that would mark the second half of the 20th century.
    Transformed by writing and by war, Blanchot breaks, through a thought exercised "in the name of the other," with the violent Maurrassian certainties of his youth.
    Not without paradox, he then transforms literary criticism into a philosophical act of intellectual resistance to barbarism at the very heart of an "openly Maréchaliste" newspaper: "Brûler un livre, en écrire, sont les deux actes entre lesquels la culture inscrit ses oscillations contraires" ["To burn a book, to write one, are the two acts between which culture inscribes its contrary oscillations"] (Le Livre, In Journal des Débats, January 20, 1943).
    In 2007, the Cahiers de la NRF brought together under the direction of Christophe Bident all the literary chronicles not yet published in volumes with this pertinent analysis of Blanchot's critical work: "romans, poèmes, essais donnent lieu à une réflexion singulière, toujours plus sûre de sa propre rhétorique, livrée davantage à l'écho de l'impossible ou aux sirènes de la disparition. (...) Non sans contradictions ni pas de côté, et dans la certitude fiévreuse d'une œuvre qui commence (...) ces articles révèlent la généalogie d'un critique qui a transformé l'occasion de la chronique en nécessité de la pensée." ["novels, poems, essays give rise to a singular reflection, ever more sure of its own rhetoric, delivered more to the echo of the impossible or to the sirens of disappearance. (...) Not without contradictions or sidesteps, and in the feverish certainty of a work that begins (...) these articles reveal the genealogy of a critic who transformed the occasion of the chronicle into necessity of thought."] (C. Bident).
    Autograph manuscripts by Maurice Blanchot are extremely rare.
    €1,200
  85. La ronde des saisons
    Charles LOMON, Henri BUSSER
    La ronde des saisons
    Poulalion|Paris 1905|19.50 x 28.50 cm|reliure de l'éditeur
    First edition, one of 50 copies on Japan paper, the only deluxe copies.
    Publisher's soft blue-grey cardboard binding, smooth red cloth spine without lettering, top edge gilt, corners slightly bumped, endpapers and pastedowns of floral paper.
    This is a legendary ballet in three acts and six tableaux based on a tale from the Comminges region by Charles Lomon set to music by Henri Büsser.
    Small marginal paper lacks at head of second cover.
    Handsome and rare copy.
    €200
  86. Les plaintes de l'ombre. Manuscrit autographe et tapuscrit complets.
    Maurice BLANCHOT
    Les plaintes de l'ombre. Manuscrit autographe et tapuscrit complets.
    S. n. • [ Journal des débats]|s. l. • [Paris] s. d. [1943]|13.50 x 21.50 cm|2 1/2 pages in-8
    Autograph manuscript by the author, 2½ pages octavo, published in the December 10, 1943 issue of the Journal des Débats. Complete manuscript in very dense handwriting, with numerous deletions, corrections and additions. Literary chronicle published on the occasion of the publication of Passage de l'homme by Marius Grout, winner of the 1943 Prix Goncourt. Accompanied by the complete typescript.
    Blanchot's critique of this future Prix Goncourt winner is not gentle, although he perfectly grasps its stakes. This story whose tragic unfolding ends in a deception that creates a new faith contains, for Blanchot, an equivocal moral.
    "We understand what Marius Grout seeks to show; that men cannot live without a dream of transcendence, that miracle has no need of truth [...] But [...] if men need to live an ideal that is a fable, the question arises of knowing whether after all men need to live." The question would be pure rhetoric for a modern novel, but in 1943, "the writer who accepts to treat themes where man's destiny is at stake [...] puts himself at stake, he bets himself; if he loses, he loses himself."
    Between April 1941 and August 1944, Maurice Blanchot published 173 articles on recently published books in the "Chronicle of Intellectual Life" of the Journal des Débats. In half a page of newspaper (approximately seven octavo pages), the young author of "Thomas l'obscur" takes his first steps in the field of literary criticism and thus inaugurates a theoretical work that he would later develop in his numerous essays, from "La Part du feu" to "L'Entretien infini" and "L'Écriture du désastre." From the first articles, Blanchot demonstrates an analytical acuity far exceeding the literary current events that motivate their writing. Oscillating between classics and moderns, first-rate writers and minor novelists, he establishes, in his chronicles, the foundations of a critical thought that would mark the second half of the 20th century. Transformed by writing and by war, Blanchot breaks, through a thought exercised "in the name of the other," with the violent Maurrassian certainties of his youth. Not without paradox, he then transforms literary criticism into a philosophical act of intellectual resistance to barbarism at the very heart of an "openly Maréchaliste" newspaper: "To burn a book, to write one, are the two acts between which culture inscribes its contrary oscillations" (Le Livre, In Journal des Débats, January 20, 1943). In 2007, the Cahiers de la NRF gathered under the direction of Christophe Bident all the literary chronicles not yet published in volumes with this pertinent analysis of Blanchot's critical work: "novels, poems, essays give rise to a singular reflection, always more sure of its own rhetoric, delivered more to the echo of the impossible or to the sirens of disappearance. (...) Not without contradictions or sidesteps, and in the feverish certainty of a work that begins (...) these articles reveal the genealogy of a critic who transformed the occasion of the chronicle into the necessity of thought." (C. Bident). Autograph manuscripts by Maurice Blanchot are extremely rare.
    €1,200
  87. Le pèlerinage aux sources - Manuscrit autographe et tapuscrit complets.
    Maurice BLANCHOT
    Le pèlerinage aux sources - Manuscrit autographe et tapuscrit complets.
    S. n. • [ Journal des débats]|s. l. • [Paris] s. d. [1944]|13.50 x 21.50 cm|2 1/2 pages in-8

    Autograph manuscript by the author, 2½ pages octavo, published in the January 13, 1944 issue of the Journal des Débats.
    Complete recto-verso manuscript, in very dense handwriting, with numerous deletions, corrections and additions.
    Accompanied by the complete typescript, with one autograph correction in black ink.

    Chronicle published on the occasion of the publication of Le pèlerinage aux sources by Joseph Lanza del Vasto.

    This chronicle by Maurice Blanchot forms an astonishing echo to one of his very first published texts (1931), devoted to Gandhi's Memoirs, which already contained the essence of his thought from the 1930s. Published in the pages of Cahiers mensuels, a Catholic review close to the thinking of Jacques Maritain, Blanchot defended the idea of a necessarily spiritual revolution but also of a struggle against the impurity of foreign influences.
    In "Le pèlerinage aux sources," Blanchot returns to Gandhi through a recently published work by Joseph Lanza del Vasto, in which the Italian philosopher analyzes "the hope of renewal that many Westerners seek, often lightly, in the profound secrets of Hinduism". But for Blanchot, Gandhi's action could hardly constitute a true example to follow: "Naturally, we all understand that Gandhi's politics tends not only toward a political victory, but toward a spiritual victory: he wants to deliver the people from their ills, from their ignorance, to make them live the truth; all this is quite clear; what is also clear is that among these ills there is first the presence of the foreigner and that the regime recommended by the Mahatma and with a view to which he brings into play spiritual forces is a regime of political, economic and social liberation. It is impossible not to see [...] in this rehabilitation of external action, the distortion of the spiritual ideal. Man is no longer asked to strip himself of himself, for nothing (without any formidable end being able to justify him in this total annihilation), but he receives the order to arrange the world, to conquer himself with a view to making reality better. It is an inglorious return to the most vulgar morality of salvation."

    An interesting critique of Mahatma Gandhi's political action.

    Between April 1941 and August 1944, Maurice Blanchot published 173 articles on recently published books in the "Chronicle of Intellectual Life" of the Journal des Débats.
    In half a page of newspaper (approximately seven octavo pages), the young author of "Thomas l'obscur" takes his first steps in the field of literary criticism and thus inaugurates a theoretical work that he would later develop in his numerous essays, from "La Part du feu" to "L'Entretien infini" and "L'Écriture du désastre."
    From the first articles, Blanchot demonstrates an analytical acuity far exceeding the literary current events that motivate their writing. Oscillating between classics and moderns, first-rate writers and minor novelists, he establishes, in his chronicles, the foundations of a critical thought that would mark the second half of the 20th century.
    Transformed by writing and by war, Blanchot breaks, through a thought exercised "in the name of the other," with the violent Maurrassian certainties of his youth.
    Not without paradox, he then transforms literary criticism into a philosophical act of intellectual resistance to barbarism at the very heart of an "openly Maréchaliste" newspaper: "To burn a book, to write one, are the two acts between which culture inscribes its contrary oscillations" (Le Livre, In Journal des Débats, January 20, 1943).
    In 2007, the Cahiers de la NRF gathered under the direction of Christophe Bident all the literary chronicles not yet published in volumes with this pertinent analysis of Blanchot's critical work: "novels, poems, essays give rise to a singular reflection, always more sure of its own rhetoric, delivered more to the echo of the impossible or to the sirens of disappearance. (...) Not without contradictions or sidesteps, and in the feverish certainty of a work that begins (...) these articles reveal the genealogy of a critic who transformed the occasion of the chronicle into the necessity of thought." (C. Bident).
    Autograph manuscripts by Maurice Blanchot are extremely rare.
    €1,200
  88. D'un roman à l'autre. Manuscrit autographe et tapuscrit complets.
    Maurice BLANCHOT
    D'un roman à l'autre. Manuscrit autographe et tapuscrit complets.
    S. n. • [ Journal des débats]|s. l. • [Paris] s. d. [1944]|13.50 x 21.50 cm|2 1/2 pages in-8
    Autograph manuscript by the author of 2 and a half octavo pages published in the January 20, 1944 issue of Journal des Débats. Complete manuscript in very dense handwriting, with numerous deletions, corrections and additions. Literary chronicle on the literary current events of the moment. The complete typescript is included.

    "The subject is not limited to the plot: it depends equally on incidents of language, details of composition and, even more, on those images that reveal the meaning of creation; the subject of a novel is above all the world it brings to birth."

    This principle of the novelistic art could just as well apply to the chronicle it initiates. The subject of "D'un roman à l'autre" is not so much the literary current events it surveys as the Blanchotian thought it brings to birth.

    Between April 1941 and August 1944, Maurice Blanchot published in the "Chronicle of intellectual life" of Journal des Débats 173 articles on recently published books. In half a newspaper page (approximately seven octavo pages), the young author of "Thomas l'obscur" takes his first steps in the field of literary criticism and thus inaugurates a theoretical work that he will later develop in his numerous essays, from "La Part du feu" to "L'Entretien infini" and "L'Écriture du désastre". From the first articles, Blanchot demonstrates an analytical acuity far exceeding the literary current events that motivate their writing. Oscillating between classics and moderns, first-rate writers and minor novelists, he establishes, in his chronicles, the foundations of critical thinking that will mark the second half of the 20th century. Transformed by writing and by war, Blanchot breaks, through thinking exercised "in the name of the other", with the violent Maurrassian certainties of his youth. Not without paradox, he then transforms literary criticism into a philosophical act of intellectual resistance to barbarity at the very heart of an "openly Pétainist" journal: "To burn a book, to write one, are the two acts between which culture inscribes its contrary oscillations" (Le Livre, In Journal des Débats, January 20, 1943). In 2007, the Cahiers de la NRF brought together under the direction of Christophe Bident all the literary chronicles not yet published in volumes with this pertinent analysis of Blanchot's critical work: "novels, poems, essays give rise to singular reflection, ever more confident in its own rhetoric, delivered more to the echo of the impossible or to the sirens of disappearance. (...) Not without contradictions or sidesteps, and in the feverish certainty of a work beginning (...) these articles reveal the genealogy of a critic who transformed the occasion of the chronicle into the necessity of thought." (C. Bident). Autograph manuscripts by Maurice Blanchot are extremely rare.
    €1,000
  89. Tradition et surréalisme. Manuscrit autographe et tapuscrit complets
    Maurice BLANCHOT
    Tradition et surréalisme. Manuscrit autographe et tapuscrit complets
    S. n. • [ Journal des débats]|s. l. • [Paris] s. d. [1943]|13.50 x 21.50 cm|2 1/2 pages in-8
    Autograph manuscript by the author of 2 and a half quarto pages published in the December 23, 1943 issue of Journal des Débats.
    Complete manuscript in very dense handwriting, with numerous deletions, corrections and additions. The complete typescript is included.
    This article, one of the rare pieces to appear on the journal's front page, is an audacious critique of the traditionalist vision of Art, which, arguing for the necessary adequacy between Art and Truth, condemns Modernity. With implacable intellectual rigor, Blanchot demonstrates how this conception of "authentic Art" "joins exactly that of the surrealists" and cites one of the major principles of Surrealism as perfect demonstration of Hourticq's remarks. In a France obsessed with rejecting Degenerate Art, Blanchot reveals the contradictions of traditionalists: "they admit that art in general precedes science, and it is in the name of past science (...) that they condemn new movements in art."
    Blanchot, under the guise of literary criticism, once again questions his era: (...) It would still be good to research whether precisely modern science does not recognize itself in the "deformed, decomposed, obsolete universe that art has made familiar to our eyes."

    Between April 1941 and August 1944, Maurice Blanchot published in the "Chronicle of intellectual life" of Journal des Débats 173 articles on recently published books.
    In half a newspaper page (approximately seven octavo pages), the young author of "Thomas l'obscur" takes his first steps in the field of literary criticism and thus inaugurates a theoretical work that he will later develop in his numerous essays, from "La Part du feu" to "L'Entretien infini" and "L'Écriture du désastre".
    From the first articles, Blanchot demonstrates an analytical acuity far exceeding the literary current events that motivate their writing. Oscillating between classics and moderns, first-rate writers and minor novelists, he establishes, in his chronicles, the foundations of critical thinking that will mark the second half of the 20th century.
    Transformed by writing and by war, Blanchot breaks, through thinking exercised "in the name of the other", with the violent Maurrassian certainties of his youth.
    Not without paradox, he then transforms literary criticism into a philosophical act of intellectual resistance to barbarity at the very heart of an "openly Pétainist" journal: "To burn a book, to write one, are the two acts between which culture inscribes its contrary oscillations" (Le Livre, In Journal des Débats, January 20, 1943).
    In 2007, the Cahiers de la NRF brought together under the direction of Christophe Bident all the literary chronicles not yet published in volumes with this pertinent analysis of Blanchot's critical work: "novels, poems, essays give rise to singular reflection, ever more confident in its own rhetoric, delivered more to the echo of the impossible or to the sirens of disappearance. (...) Not without contradictions or sidesteps, and in the feverish certainty of a work beginning (...) these articles reveal the genealogy of a critic who transformed the occasion of the chronicle into the necessity of thought." (C. Bident).
    Autograph manuscripts by Maurice Blanchot are extremely rare.
    €1,500
  90. Voyages de Montesquieu. Manuscrit autographe et tapuscrit complets.
    Maurice BLANCHOT
    Voyages de Montesquieu. Manuscrit autographe et tapuscrit complets.
    S. n. • [ Journal des débats]|s. l. • [Paris] s. d. [1943]|13.50 x 21.50 cm|4 1/2 pages in-8
    Autograph manuscript by the author of 4½ pages in-8 published in the September 8, 1943 issue of Journal des Débats.
    Complete manuscript with very dense handwriting, containing numerous deletions, corrections and additions.
    The complete typescript is included.
    Literary chronicle published on the occasion of the publication of Les Voyages de Montesquieu, prefaced by Marcel Arland.
    This artificial collection of Montesquieu's travel notebooks gives Blanchot the opportunity to praise a form of "natural" writing, "pure of all concern for readership". These intimate notes indeed testify to an art of "concision [which] delivers [facts] to us naked, pressed by the meaning that illuminates them" and which, from "considerable material [drew] only a small book, discreetly reduced to the essential."
    Between April 1941 and August 1944, Maurice Blanchot published 173 articles on recently published books in the "Chronique de la vie intellectuelle" of Journal des Débats.
    In half a newspaper page (about seven octavo pages), the young author of "Thomas l'obscur" takes his first steps in the field of literary criticism and thus inaugurates a theoretical work that he would later develop in his numerous essays, from "La Part du feu" to "L'Entretien infini" and "L'Écriture du désastre".
    From his first articles, Blanchot demonstrates an analytical acuity far exceeding the literary current events that motivated their writing. Oscillating between classics and moderns, first-rate writers and minor novelists, he establishes, in his chronicles, the foundations of a critical thought that would mark the second half of the 20th century.
    Transformed by writing and by the war, Blanchot breaks, through a thought exercised "in the name of the other", with the violent Maurrassian certainties of his youth.
    Not without paradox, he then transforms literary criticism into a philosophical act of intellectual resistance to barbarism at the very heart of an "openly Maréchaliste" newspaper: "To burn a book, to write one, are the two acts between which culture inscribes its contrary oscillations" (Le Livre, In Journal des Débats, January 20, 1943).
    In 2007, the Cahiers de la NRF brought together under the direction of Christophe Bident all the literary chronicles not yet published in volumes with this pertinent analysis of Blanchot's critical work: "novels, poems, essays give rise to a singular reflection, ever more sure of its own rhetoric, delivered more to the echo of the impossible or to the sirens of disappearance. (...) Not without contradictions or sidesteps, and in the feverish certainty of a work that begins (...) these articles reveal the genealogy of a critic who transformed the occasion of the chronicle into necessity of thought." (C. Bident).
    Autograph manuscripts by Maurice Blanchot are extremely rare.
    €1,500
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