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- The Maurice Sand Papers is the physical property of the Beinecke Rare Book and Manuscript Library, Yale University. Literary rights, including copyright, belong to the authors or their legal heirs and assigns. For further information, consult the appropriate curator. Immediate Source of Acquisition
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The Maurice Sand Papers is the physical property of the Beinecke Rare Book and Manuscript Library, Yale University. Literary rights, including copyright, belong to the authors or their legal heirs and assigns. For further information, consult the appropriate curator.
Guide to the Maurice Sand Papers GEN MSS 1463 by Ève Bourbeau-Allard November 2017 P. O. Box 208330 New Haven, CT 06520-8330 (203) 432-2977 beinecke.library@yale.edu
Abstract: The Maurice Sand papers contains family and professional correspondence, publishing contracts, writings, drawings, posters, and other material by or about the nineteenth-century author, illustrator, and puppeteer.
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The Solange Clésinger-Sand Papers is the physical property of the Beinecke Rare Book and Manuscript Library, Yale University. Literary rights, including copyright, belong to the authors or their legal heirs and assigns. For further information, consult the appropriate curator.
Solange Clésinger-Sand Papers. General Collection, Beinecke Rare Book and Manuscript Library, Yale University.
The following terms have been used to index the description of this collection in the Library's online catalog. They are grouped by name of person or organization, by subject or location, and by occupation and listed alphabetically therein.
Maurice Sand. Jean-François-Maurice-Arnauld Dudevant, known as Baron Dudevant but better known by the pseudonym Maurice Sand (30 June 1823 – 4 September 1889), was a French writer, artist and entomologist. [1] He studied art under Eugène Delacroix and also experimented in various other subjects, including geology and biology .
Held in a private collection, this group of drawings came from the estate of Aurore Lauth-Sand, the daughter of Maurice, as specified in the handwritten will of Christiane Sand, the wife of Aurore’s adopted son. 1 The four sketches have been pasted together on a single sheet of paper.
Even on the rare occasion that Maurice forms the ostensible focus of a text, the image of the mother proves inescapable, as in the case of Maurice Toesca’s pseudonymously-published biography of Maurice, tellingly entitled Le plus grand amour de George Sand.[3] If Maurice is considered to have a worthwhile contribution to nineteenth-century ...
