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1886rif. 80040Paris: Charpentier 1886. Fine. Charpentier Paris 1886 11.50 x 18 cm relié Republished one year after the original. Binding in half blue-grey percaline spine decorated with a gilt fleuron in the centre and a double gilt filet at the bottom brown shagreen title piece discreet restorations on the joints contemporary binding. Handwritten presentation by Émile Zola to the publisher Ernest Flammarion. Precious copy enriched with a handwritten presentation by the author set on one of his masterpieces. Charpentier unknown
1894rif. 91151Paris: Charpentier 1894. Fine. Charpentier Paris 1894 12.8 x 18.9 cm Relié First edition on ordinary paper. Bradel binding in chocolate-brown half shagreen smooth spine date gilt at the tail contemporary leather boards japonisants embossed and polychrome decorated with gilded and colorful floral motifs marbled paper endpapers and pastedowns original wrappers and restored spine preserved later binding. Exceptional presentation copy signed by Emile Zola: ""à Edmond de Goncourt son ami Emile Zola."" Below the presentation inscription a manuscript gift inscription by Edmond de Goncourt: ""Edmond de Goncourt à Pauline Zeller."" Goncourt had the privilege of hearing Zola speak on several occasions about his rediscovery of the miraculous city that inspired this very popular novel: ""Here he broke off to tell us that he had been to Lourdes where he had been impressed and amazed by that world of hallucinated believers and that there was something worthwhile to be written about that revival of faith which in his opinion was responsible for the mysticism to be found at the moment in literature and elsewhere."" Goncourt Journal 16 March 1892. ""I arrived at Lourdes in pouring rain and stopped at a hotel where all the good rooms were already taken. And I was in such a bad mood that I felt like leaving the next morning. But I went out for a while and the sight of all those sick people those poor wretches those dying children carried up to the statue those men and women lying prostrate in prayer. the sight of that city of faith born of the hallucinations of that little girl of fourteen the sight of that grotto those processions those stampeding crowds of peasants from Brittany and Anjou.'"" ibid. 26 July 1892. Despite the stylistic disagreements that set them apart Edmond nonetheless had the book he received from Zola bound in one of his famous Japanese-style bindings notoriously fragile at the joints this example has been expertly reinforced with half shagreen. These superb kami-kawa embossed leathers sometimes referred to as the cartonnages des Goncourt for having been introduced by the brothers into the world of Parisian bibliophiles are also the fruit of a fascinating and almost devotional encounter of the Goncourts with Japanese art. The copy was later presented by Edmond to the woman who had nearly become Madame Edmond de Goncourt: Pauline Zeller a cousin of Count Tolstoy whom he had met in the salon of Princess Mathilde. A compelling parallel may be drawn between the tale of two chaste destinies in Lourdes Pierre Froment and Elise Rouquet and that of young Pauline whose diary and account of her first love Edmond obtained in order to write his final novel Chérie. Charpentier hardcover
1893rif. ZOLA3ZOLA Emile 1840-1902 Autograph letter signed " Emile Zola " to a colleague Paris 12th November 1893 1 p. 1/2 in-8 Usual fold marks some tiny spots A very moving letter almost entirely unpublished written at the end of the Rougon-Macquart saga – Zola explains that he no longer owns his books once published and evokes with a superb metaphor what they represent years later. The writer expresses with relevance and sensitivity the distance he feels from his books once all published. This letter offers a more general reflection on the author's relationship to his work. " Mon cher confrère Je ne préfère aucune de mes œuvres. Dans chacune j'aime mieux certaines pages celles où j'ai dit nettement ce que je voulais dire : voilà tout. Lorsque j'ai terminé un livre et que je l'ai donné au public il n'existe plus pour moi. Toute ma passion tombe et j'en commence un autre pour lequel je me passionne jusqu'à ce qu'il soit aux autres. Il faut que je fasse un effort lorsque je veux me souvenir des romans hélas ! trop nombreux que j'ai écrits. Ce sont comme des tombes de parents et d'amis autrefois bien chers sur lesquelles il me serait trop triste d'aller m'attendrir. Cordialement à vous. Emile Zola " The Rougon-Macquart saga came to an end with the publication by Charpentier of Docteur Pascal in the spring of 1893. Among the most famous of the saga are Germinal Nana and L'Assommoir. A total of twenty novels were written and published between 1870 and 1893. Zola is probably responding here to a fellow journalist wishing to make an article on the whole saga and what it represents in the eyes of the novelist. A summary of the letter and the quotation of a sentence are published in Volume VIII of the correspondence from an extract from the catalogue: "They are like graves of relatives and friends …" – This comparison illustrates the sadness that emanates from the moving statement and what Zola's works represent for Zola himself. Personification of books or metonymy designating the characters to whom the author gave life the "tombs" of course refer to death. References: Extr. cat. libr. Charavay n° 6599 Corr. t. VIII Presses de l'Université de Montréal / Editions du CNRS 1991
1880rif. 43456Sous étui bordé. Reliure postérieure plein chagrin bordeaux. Dos à nerfs orné à froid. Toutes tranches dorées. Dentelle intérieure. Couverture et dos conservés. Reliure signée DEVAUCHELLE.
1890rif. 80793Reliure moderne plein chagrin rouge janséniste. Tête dorée. Non rogné. Couverture et dos en simili-parchemin.
1890rif. 87244Sous étui bordé. Reliure postérieure plein maroquin bleu nuit. Dos lisse avec date au talon. Couverture conservée. Reliure signée DEVAUCHELLE.
1898rif. 8675015 décembre 1898 | 13.50 x 20.50 cm | quatre pages sur un bifeuillet
1898rif. 86837[Weybridge] 19 août 1898 | 13.50 x 20.50 cm | quatre pages sur un bifeuillet
1887rif. 85004Reliure demi-maroquin carmin à coins. Dos lisse à décor dencadrement de filets et de fleurons, date dorée au talon. Tête dorée. Exemplaire à grands témoins. Ex-libris sur contreplat. Infimes frottements dusage. Reliure signée Pouillet.
rif. LCS-18613Exceptionnel exemplaire sur papier de Chine couleur jonquille, inconnu des bibliographes. Paris, Bibliothèque-Charpentier, 1896. In-8: (2) ff. dont le faux-titre portant une note de G. Charpentier et E. Fasquelle, 751 pp., (1) p. Plein maroquin janséniste havane, dos à cinq nerfs, roulette sur les coupes, large dentelle intérieure, tête dorée, tranches dorées sur témoins, couvertures jaunes conservées. Reliure de l’époque signée par Charles Meunier. 188 x 116 mm.
1877rif. 89251877 ÉDITION ORIGINALE rare et très recherchée. À Paris, G. Charpentier Éditeur, 1877. 1 volume, in-12° (12 x 17.5 cm), III + [1bl] + 569 + [1bl] pages. Achevé dimprimer à Corbeil, Typographie et Stéréotypie de Crété, 1876. Reliure en demi-percaline à grand coins bleu roi, dos lisse avec pièce de titre en maroquin vert et lettres dorés, date et une décoration florale. Beau papier-marbré sur les contre-plats, deuxième et troisième de couverture. Ouvrage enrichi dune rare dédicace autographe de lauteur à Léon Gambetta (1838-1882), important homme dÉtat français de la Troisième République. Deux petites taches de rousseur sur la page de titre et le faux-titre, une petite tache de huile de lampe en bas des pages 300-330, autrement ouvrage en très bon état.
1898rif. 86837Weybridge 1898. Fine. In the midst of universal cowardice you wouldn't believe how moved I am to feel a few faithful people around me Weybridge 19 août 1898 13.50 x 20.50 cm quatre pages sur un bifeuillet Autograph letter signed by Emile Zola to Octave Mirbeau dated August 19 1898. Four pages in black ink on a bifolium written to Octave Mirbeau. Usual trace of horizontal fold. Published in Zola's uvres complètes t. XLIX ed. F. Bernouard 1927 p. 808. Exceptional testament of friendship and self-sacrifice from Emile Zola in exile after being sentenced to the maximum penalty for writing ""J'accuse!"" the most famous article proclaming Captain Dreyfus's innocence. After his historic article in L'Aurore Zola was sentenced a first time by a jury on February 23 1898 to one year's imprisonment and a fine of three thousand francs. The verdict was overturned and the case was referred back to the Versailles court of justice which upheld only three of the eight hundred lines in ""J'accuse!"" as a charge. Unwilling to accept such a stifling of the proceedings Zola's defense decided to default and the conviction was upheld. After his eventful exit from the courthouse Clémenceau and his lawyer Labori advised him to leave the country before the judgment could become enforceable. Zola left on the last train that evening with only a shirt hastily rolled up in newspaper as luggage. A month after his departure the writer writes this superb reply to a letter from his loyal supporter Octave Mirbeau who had written to him a few days earlier: ""We think only of you; there isn't a minute of our existence that you don't fill entirely"" August 14 1898. Settled in the London suburb of Weybridge he angrily receives the ""echoes of Paris"" and is enraged to see Esterhazy the true culprit of the Dreyfus Affair once again cleared - this time by civil courts. ""My dear friend Thank you for your kind letter . In the midst of universal cowardice you wouldn't believe how moved I am to feel a few faithful people around me. My existence here has become possible since I've been able to get back to work. Work has always comforted me saved me. But my poor hands are still trembling with a shiver that cannot end. You wouldn't believe the outrage I feel at the echoes from France that reach me. In the evening when daylight falls I think it's the end of the world. You think I should go back and make myself a prisoner without returning to Versailles. That would be too good to have the peace of prison and I don't think it's possible. I didn't set out to go back like that; our attitude would be neither logical nor beautiful. Rather I think I'm in indefinite exile unless I run the abominable risk of a new trial. Besides we won't be able to make up our minds until October. And by then who knows Although I'm counting on a miracle in which I have little faith. So let us be brave my friend and let our work be done! If I can keep working things won't be too bad yet. . I shake your hand my good friend the faithful and rare friend of bad days"". Poignant manuscript confession from Zola forced into exile. Death would strike him in the midst of his glory days without him ever knowing the outcome of the affair he had devoted so many years of struggle. unknown
1898rif. 867501898. Fine. ""The nervous and passionate man that I am is not made for exile for resignation and silence"" 15 décembre 1898 13.50 x 20.50 cm quatre pages sur un bifeuillet Autograph letter initialed by Emile Zola dated in his hand April 10 1898. Four pages in black ink on a bifolium addressed to Octave Mirbeau's wife. Horizontal fold mark inherent to mailing very rare and discrete foxing on the first leaf. A particularity of this exile correspondence Zola chose to omit his signature in his letters - or as here to initial only protecting himself from censorship or police investigations. Published in his Complete Works vol. XXV ed. F. Bernouard 1927 p. 820. Heart-wrenching letter by Zola written in complete exile the most unknown retreat the most absolute silence. The justiciar writer is secluded in England forced to leave Paris after being condemned to the maximum penalty for having written ""J'accuse!"" during these cruel hours. After his historic cry from the heart in l'Aurore Zola was condemned a first time by the Seine jury on February 23 1898 to one year in prison and three thousand francs fine. The judgment was annulled on appeal and the case was referred to the Versailles assizes which retained only three lines out of the eight hundred that ""J'accuse!"" contains as the charge. To not accept such a stifling of the debates Zola's defense decided to default and the condemnation was confirmed. The very evening of his tumultuous exit from the Palace of Justice Clémenceau and his lawyer Labori advised him to leave the country before the judgment could become executable. The writer struggles to bear this voluntary exile so contrary to his character and opens his heart in this missive he addresses to Mirbeau's wife who was for him unconditional support alongside her husband. He does not hide the feeling of guilt that gnaws at him and exposes his strategy: ""Dear Madam and friend what a good and comforting letter you wrote to me! I confess that I needed this cordial somewhat for the nervous and passionate man that I am is not made for exile for resignation and silence. You perfectly guessed that my torture is to be sheltered in too much peace and security while others are fighting. And you know that my resolution was taken to say nothing to anyone and to return one fine morning. Now here you are writing to me and you are not the only one everyone writes to me that I must stay where I am under penalty of unleashing the worst catastrophes. I don't believe it I confess I remain convinced that my project was brave even useful and that we would have been victorious once more. But faced with unanimous opinion I must bow. As I write to Labori this is the greatest sacrifice I have yet made to the cause for one cannot imagine all that I suffer here morally intellectually in the powerlessness to act in which I find myself. And I do not speak of my poor heart torn from all that it loved. As for leaving this country I will not even attempt it. All my suffering would be renewed. I have reflected on it at length all good reasons are that I stay where I am even if the affair must last months more. It seems to me that this is better for it would only be lacking that I go amuse myself in the sun while others are fighting. You already guess the articles of the vile press France sold to Italy for the thirty pieces of silver of Judas. Tell your husband how much I love and admire him. There he is thrown into action too and he behaves superbly in it. Thanks also to both of you for the affection with which you surround my dear wife devoting yourselves to our interests ensuring that she is not alone in Paris in the midst of battle. I am infinitely touched by your tenderness and it is one of my great consolations. I take the liberty of embracing you dear madam and friend and of also embracing your valiant husband with all my heart."" While his own camp forces him into exile events unfold in Fran unknown
1874rif. Flo16ZOLA FLAUBERT Gustave 1821-1880 Autograph letter signed " Gve Flaubert " to Émile Zola N.p.n.d Croisset 26th May 1874 1 p. in-8° on blue laid paper Tear on fold old trace of previous mounting And Autograph letter signed " Gve Flaubert " to Émile Zola Croisset près Rouen 3rd June Croisset 3 juin 1874 4 pp. in-8° on laid paper Three words underlines by Alexandrine Zola old trace of previous mounting Set of two letters on La Conquête de Plassans forming undoubtedly Flaubert's most detailed critique of a novel by his friend Zola First letter " Mardi soir. C'est très fort ! mon brave homme ! Je l'ai lu tout d'une haleine & j'en suis étourdi. Dans 8 jours je le relirai lentement ! pour voir si j'ai raison d'être enthousiasmé. J'ai reçu un grand choc comme d'une machine électrique. Vous ne serez pas poursuivi. La poésie vous sauvera. Mais je comprends les terreurs du jeune Charpentier. à dimanche une longue bavette sur votre truculent bouquin. tout à vous Gve Flaubert Je trouve Barbané très médiocre de fond & de forme" quoi qu'on dise ". Celui-là par exemple je ne le relirai pas. Je le sais. " Second letter " Je l'ai lue " La Conquête de Plassans " lue tout d'une haleine comme on avale un bon verre de vin puis ruminée – & maintenant mon cher ami j'en peux causer sciemment. J'avais peur après Le Ventre de Paris que vous ne vous enfonciez dans le système dans le parti pris. Mais non ! Allons vous êtes un gaillard ! et votre dernier livre est un crâne bouquin ! Peut-être manque-t-il d'un milieu proéminent d'une scène centrale chose qui n'arrive jamais dans la nature et peut-être aussi y a-t-il un peu trop de dialogues dans les parties accessoires ! Voilà en vous épluchant bien tout ce que je trouve à dire – de défavorable – mais quelle observation ! quelle profondeur ! quelle poigne ! Ce qui me frappe c'est d'abord le ton général du livre la cette férocité de passion sous une surface bonhomme. Cela est fort mon vieux très fort râblé & bien portant. Quel joli bourgeois que ce Mouret avec sa curiosité son avarice sa résignation p. 183-184 et son aplatissement ! L'abbé Faujas est sinistre et grand – un vrai directeur ! Comme il manie bien la femme comme il s'empare bien habilement de celle-là en la prenant par la charité puis en la brutalisant ! Quant à elle Marthe je ne saurais vous dire combien elle me semble réussie & l'art que je trouve au développement de son caractère ou plutôt de sa maladie. J'ai parti surtout remarqué les pages 194 215 et 227 261 264 267. – Son état hystérique son aveu final p. 350 & sq. est une merveille. Comme le ménage se dissout bien ! Comme elle se détache de tout et en même temps son moi son fond. Il y a là une science de dissolution profonde. J'oublie de vous parler des Trouche – qui sont adorables comme canailles – & de l'abbé Bourette Bourrette exquis avec sa peur & sa sensibilité. La vie de province les jardins qui se regardent le ménage Paloque les Rastoil & les parties de raquette parfait parfait. Vous avez des détails excellents des phrases des mots qui sont des bonheurs page 17 " … la tonsure comme une cicatrice " 181 " j'aimerais mieux qu'il allât voir les femmes " 89 " Mouret avait bourré le poêle " etc. Et le Cercle de la jeunesse ! Voilà une invention vraie. J'ai noté en marge bien d'autres endroits. – Les détails physiques qu'Olympe donne sur son frère – la fraise – La mère de l'abbé prête à devenir sa maquerelle 152 – et son coffre ! 338. – L'âpreté du prêtre qui repousse les mouchoirs de sa pauvre amante parce que cela sent " une odeur de femme ". – " Au fond des sacristies le nom de Mr Delangre… " et toute la phrase qui est un bijou. Mais ce qui écrase tout – ce qui couronne l'œuvre c'est la fin ! Je ne connais rien de plus empoignant que ce dénouement. La visite de Marthe chez son oncle – le retour de Mouret & l'inspection qu'il fait de sa maison ! La peur vous prend comme à la lecture d'un conte fantastique & vous arrivez à cet effet-là par l'excès de la réalité par l'intensité du vrai ! Le lecteur sent que la tête lui tourne comme à Mouret lui-même. L'insensibilité des bourgeois qui contemplent l'incendie assis sur des fauteuils est charmante. & vous finissez par un trait sublime : l'apparition de la soutane de l'abbé Serge au chevet de sa mère mourante comme une consolation ou comme un châtiment ! Une chicane cependant. Le lecteur qui n'a pas de mémoire ne sait pas quel instinct pousse à agir comme ils font Me Rougon et l'oncle Macquart. Deux paragraphes d'explications eussent été suffisants. N'importe ça y est et je vous remercie du plaisir que vous m'avez fait. Dormez sur vos deux oreilles c'est une œuvre Mettez de côté pour moi toutes les bêtises qu'elle inspirera. Ce genre de documents m'intéresse. Je vous serre la main très fort & suis vous n'en doutez pas vôtre Gve Flaubert " The fourth volume of Rougon-Maquart La Conquête de Plassans was published in the spring of 1874 by Charpentier and tells the story of Father Faujas a Bonapartist priest ready to do anything to reconquer the city of Plassans fallen into the hands of the legitimists royalists. In this violent attack on the clergy Zola depicts a Church complicit in political power manipulative using the naive piety of the faithful especially women through practices where faith is in fact only a veil masking other ambitions. Flaubert first emits a brief hot reaction after a first reading having left him "dizzy". He says he is "shocked" and rightly so because he will a week later give himself to a criticism this time without reservation going so far as to quote passages on the recently published novel of his friend Zola. It should be noted that it is not without some apprehension that Flaubert undertakes the reading of this fourth volume of Rougon-Macquart having succeeded the much maligned Ventre de Paris. He does not hide it this last novel had displeased him because according to him being too deeply in the naturalist doctrine the "system the bias" through the small Parisian people. La Conquête de Plassans offers a different romantic formula. We also notice that Flaubert revels in the way the bourgeoisie is portrayed the same provincial bourgeoisie he himself had mocked in his previous works : Madame Bovary and L'Éducation sentimentale. Finally emphasizing the Abbot's hold on the Mouret couple and more particularly on Marthe whose decline will sink into madness Flaubert appreciates with what scientific precision and coldness Zola describes the ravages of the imbalance that strikes the two characters. Bibliography: Gustave Flaubert Correspondance éd. Jean Bruneau Pléiade t. IV p. 801 first letter Gustave Flaubert Correspondance éd. Jean Bruneau Pléiade t. IV pp. 805-806 second letter Flaubert Correspondance éd. René Descharmes Le Centenaire t. III pp. 541-543 second letter Provenance: Émile Zola's personal collection Then Alexandrine Zola by descent Then famille Le Blond-Zola by descent
1885rif. 84976Reliure maroquin janséniste carmin. Dos à nerfs. Doublures de maroquin vermillon encadrées dun filet doré, garde de jacquard de soie saumon et bisque à décor quadrillé. Touches tranches dorées. Non rogné. Couvertures conservées et doublées. Reliure signée Maylander.
1885rif. 82309Sous étui bordé. Reliure plein maroquin rouge. Dos à nerfs. Toutes tranches dorées. Filets dorées sur chasses et coiffes. Couvertures conservées. Non rogné. Large dentelle intérieure. Légère restauration à la première couverture. Reliure signée DAVID.
rif. LCS-3437Superbe ensemble de 3 photographies originales prises par Zola à la fin de sa vie, représentant sa fille Denise alors âgée de 11 à 13 ans. Entre 1897 et 1902. 3 photographies originales, tirages argentiques d’époque. 230 x 167 mm.
1880rif. 53303Charpentier | Paris 1880 | 12 x 19 cm | relié
1880rif. 53303Paris: Charpentier 1880. Fine. Charpentier Paris 1880 12 x 19 cm relié First edition an ordinary paper copy. Contemporary green half shagreen marbled paper boards spine with five raised bands and gilt flowers speckled edges. With the autograph signatures of every author of the ""Médan group"" involved in the writing of this famous collection of short stories: Guy de Maupassant Emile Zola Joris-Karl Huysmans Léon Hennique Paul Alexis and Henri Céard on the first endpaper. A very good and rare copy in a strictly contemporary binding. This true manifesto of Naturalism that constitutes Les Soirées de Médan is composed of six short stories: ""L'Attaque du moulin"" by Émile Zola ""Sac au dos"" by J.-K. Huysmans ""La Saignée"" by Henry Céard ""L'Affaire du grand 7"" by Léon Hennique ""Après la bataille"" by Paul Alexis and of course ""Boule de Suif"" by Guy de Maupassant qualified as a masterpiece by Gustave Flaubert. Charpentier hardcover
1880rif. 87614Charpentier | Paris 1880 | 12 x 19 cm | relié
1867rif. 670281 brochure in-8, E. Dentu, Paris, 1867, 48 pp. avec 2 planches hors texte (portrait et eau-forte de Maneet d'après Olympia)
1888rif. 88481Charpentier | Paris 1888 | 13 x 19.5 cm | Relié
1885rif. 82388Charpentier | Paris 1885 | 11.50 x 18.50 cm | relié
1888rif. 88481Paris: Charpentier 1888. Fine. Charpentier Paris 1888 13 x 19.5 cm Relié First edition this one the no. 1 of 25 numbered copies on Japon most limited deluxe issue. Bound in grey half morocco smooth spine marbled paper boards mould-made endpapers original wrappers preserved pastedown bookplate top edge gilt contemporary binding signed by L. Pouillet. A rare and handsome copy in an attractive contemporary binding. Â Charpentier hardcover
1880rif. 87614Paris: Charpentier 1880. Fine. The Manifesto of Naturalism Charpentier Paris 1880 12 x 19 cm relié First edition. Half blue morocco shagreen smooth spine gilt date at foot of spine marbled paper boards contemporary binding. Exceptionally inscribed by Emile Zola to the playwright and opera librettist Ludovic Halévy with the autograph signatures of Guy de Maupassant Joris-Karl Huysmans Léon Hennique Paul Alexis and Henri Céard on the first flyleaf. Provenances: from the libraries of Ludovic Halévy and Marcel Lecomte with their bookplates on front pastedown. Our copy also includes on a flyleaf an autograph note by Ludovic Halévy: ""See a letter by Guy de Maupassant at the end of the volume. L.H. Inscribed by the six authors of the volume. Ludovic Halévy."" Voir une lettre de Guy de Maupassant à la fin du volume. L.H. Envoi autographe des six auteurs du volume. Ludovic Halévy. The reproduction of the famous letter sent by Guy de Maupassant to Halévy in 1880 is pasted onto six additional leaves at the end of the volume. It bears Halévy's penned note at the beginning and end of the letter: ""Cette lettre est de 1880 / 1880."" Cette lettre est de 1880 / 1880. A fine and rare uncut copy of this manifesto of Naturalism signed and inscribed by Emile Zola with the signatures of the other five authors to their librettist colleague. Halévy notably co-wrote the libretto of Georges Bizet's Carmen. Charpentier hardcover
