Zola EmileLivre Rare Book
6.855 resultados
1927ref. R200107558François Bernouard. 1927. In-8. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 302 pages. 1 volume.. . . . Classification Dewey : 94.41-Editions numérotées (gros tirage)
1928ref. R200107560François Bernouard. 1928. In-8. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 136 pages.. . . . Classification Dewey : 94.41-Editions numérotées (gros tirage)
1957ref. RO40017611Fasquelle. 1957. In-12. Broché. Etat d'usage, Couv. convenable, Dos satisfaisant, Intérieur frais. 428 pages.. . . . Classification Dewey : 840.08-XIX ème siècle
ref. RO40017613Fasquelle. Non daté. In-12. Broché. Etat d'usage, Couv. légèrement passée, Dos frotté, Mouillures. 519 pages.. . . . Classification Dewey : 840.08-XIX ème siècle
ref. RO40017617Fasquelle. Non daté. In-8. Relié toilé. Etat d'usage, Couv. convenable, Dos satisfaisant, Intérieur frais. 389 pages. Rhodoïd en bon état.. . . . Classification Dewey : 840.08-XIX ème siècle
ref. R300272712Marpon & Flammarion. Non daté. In-4. Relié demi-cuir. A restaurer, Couv. convenable, Dos abîmé, Papier jauni. 527 pages - nombreuses illustrations en noir et blanc dans et hors texte. 1er plat broché conservé. Plats et contreplats jaspés (désolidarisés). Dos cuir déchiré, manque en coiffe de tête.. . . . Classification Dewey : 840.08-XIX ème siècle
1999ref. RO30344482Gallimard. 1999. In-12. Broché. Bon état, Couv. convenable, Dos plié, Intérieur frais. 528 pages. Quelques illustrations en noir et blanc, dans le texte. Quelques pliures sur les plats.. . . . Classification Dewey : 840.08-XIX ème siècle
2017ref. RO30347405Hatier. 2017. In-12. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 438 pages. Un marque-page inclus.. . . . Classification Dewey : 840.08-XIX ème siècle
1990ref. R300281892Fasquelle. 1990. In-12. Broché. Etat d'usage, Couv. convenable, Dos satisfaisant, Papier jauni. 414 pages. Tranches jaunes.. . . . Classification Dewey : 840.08-XIX ème siècle
1996ref. RO20240645Le Grand Livre du Mois. 1996. In-8. Relié. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 724 pages. Rousseurs éparses sur les tranches. Signet conservé. . . . Classification Dewey : 840.08-XIX ème siècle
ref. R300319241Rencontre. Non daté. In-12. Broché. Etat d'usage, Couv. convenable, Mors fendus, Papier jauni. 413 pages. Signet conservé. Dos décollé, mors fendus.. . . . Classification Dewey : 840.08-XIX ème siècle
1885ref. R300326267G. Charpentier. 1885. In-12. Relié demi-cuir. Etat d'usage, Coins frottés, Dos satisfaisant, Papier jauni. 428 pages. Signet conservé. Plats brochés d'origine conservés. Plats et contreplats jaspés. Dos cuir à titre, auteur et motifs dorés.. . . . Classification Dewey : 840.08-XIX ème siècle
ref. 76392Neuchâtel, Editions Ides et Calendes, 1962. 12 x 20, 203 pp., broché, couverture à larges rabats, très bon état.
ref. RO40017605Fasquelle. Non daté. In-12. Broché. Etat d'usage, Couv. convenable, Dos frotté, Intérieur frais. 574 pages.. . . . Classification Dewey : 840.08-XIX ème siècle
1941ref. R300297307Bibliothèque-Charpentier. 1941. In-12. Broché. Etat d'usage, Couv. légèrement passée, Dos plié, Papier jauni. 223 pages. Mors légèrement fendus en coiffes.. . . . Classification Dewey : 840.08-XIX ème siècle
2005ref. RO20244163Nov' édit. 2005. In-12. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 320 pages. . . . Classification Dewey : 840.08-XIX ème siècle
1918ref. R300319234Bibliothèque-Charpentier. 1918. In-12. Relié. Etat d'usage, Coins frottés, Dos satisfaisant, Papier jauni. VII + 568 pages. Plats jaspés. Pièce de titre abîmée ; titre, auteur et filets dorés.. . . . Classification Dewey : 840-Littératures des langues romanes. Littérature française
2008ref. R300328266Gallimard. 2008. In-12. Broché. Etat d'usage, Couv. légèrement passée, Dos satisfaisant, Papier jauni. 566 pages.. . . . Classification Dewey : 840-Littératures des langues romanes. Littérature française
ref. 80388Paris, Omnibus, 1883-1884. "21 x 30, 828 pp., reliure dsc/coins cuir, couvertures conservées illustrées, bon état (dos en très bon état; bords et coins émoussés) )"
1954ref. R320090601FASQUELLE. 1954. In-12. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 501 pages -. . . . Classification Dewey : 840.08-XIX ème siècle
1890ref. 84423Paris 1890. Fine. Paris 20 Février 1890 13.50 x 20.50 cm une page Autograph letter dated and signed by Emile Zola 12 lines in black ink addressed to librettist Louis Gallet concerning the operatic adaptation by Alfred Bruneau of the novel ""Le rêve"". Folds inherent to postal dispatch. Emile Zola was to meet jointly with Alfred Bruneau who had adapted the novel ""Le rêve"" for the opera and Louis Gallet the librettist of this adaptation. ""Je vous attends demain matin. pour causer des trois derniers tableaux. J'écris également à Bruneau pour lui donner rendez-vous"" ""I await you tomorrow morning. to discuss the last three tableaux. I am also writing to Bruneau to arrange a meeting with him"" and shows himself very satisfied with this prospect: ""Tout va bien."" ""All goes well."" unknown
1894ref. 80728s. l. Rome Rome 1894. Fine. s. l. Rome Rome Dimanche 4 novembre 1894 13.20 x 20.50 cm une page sur un double feuillet et une enveloppe Autograph letter signed by Emile Zola addressed to Ugo Ojetti. One page written in black ink on the first page of a double sheet. Folding inherent to postal transmission. Envelope included. This letter was addressed by the father of naturalism to journalist Ugo Ojetti when he had just arrived in Rome: ""Monsieur je vais remercier infiniment le comte Joseph Primoli de l'amabilité qu'il a mise à vous adresser à moi et je serai très heureux de vous recevoir si vous voulez bien me venir voir le soir qu'il vous plaira à six heures."" ""Sir I wish to thank Count Joseph Primoli infinitely for the kindness he has shown in directing you to me and I shall be very happy to receive you if you would be so good as to come and see me any evening that suits you at six o'clock."" Having arrived a few days earlier in the eternal city to conduct research for Rome Emile Zola hoped to meet Count Joseph Primoli there. The latter was unfortunately in Paris but he sent him this young journalist from La Tribuna who would serve as his guide but also as secretary. The two men clearly got along well and Zola even authorized Ojetti to adapt an opera libretto from his famous Nana. The project would unfortunately never come to fruition. Joseph Napoléon Count Primoli 1851-1927 was the great-great-nephew of Napoleon Bonaparte. Very close to the imperial family under the Second Empire he subsequently remained faithful to the salon of his beloved aunt Princess Mathilde in her private mansion on rue de Berri. His refined and witty conversation worked wonders there and he met as a passionate bibliophile some of the greatest writers of his time: Gustave Flaubert Théophile Gautier the Goncourts and Guy de Maupassant. unknown
1898ref. 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
1877ref. 79046L'Estaque - Marseille Marseille 1877. Fine. L'Estaque - Marseille Marseille 22 septembre 1877 13.30 x 20.80 cm 3 pages 1/2 sur un double feuillet Autograph letter signed by Emile Zola addressed to Louis-Edmond Duranty written in black ink on a double leaf. Some deletions and corrections; folds inherent to postal transmission. This letter has been transcribed in the complete correspondence of Emile Zola published by the CNRS and the Presses of the University of Montreal. Long letter evoking the heat wave at L'Estaque Une page d'amour and Edouard Manet. ""Il y a quatre mois que nous sommes ici et je vous avais promis de vous écrire. Mais j'ai tant travaillé et j'ai eu si chaud que vous m'excuserez de mon apparente paresse. Imaginez-vous que jusqu'au 15 août la température a été très agréable ; il faisait beaucoup moins chaud qu'à Paris et nous respirions chaque soir une brise de mer délicieuse. Puis voilà que brusquement lorsque je nous croyais hors de toutes mauvaises plaisanteries de la chaleur le thermomètre est monté à 40 degrés et s'y est maintenu nuit et jour. Nous avons ainsi passé deux semaines intolérables. Aujourd'hui la fraîcheur est revenue et nous allons rester jusqu'aux premiers jours de novembre pour jouir des charmes d'un bel automne."" ""We have been here for four months and I had promised to write to you. But I have worked so much and have been so hot that you will excuse my apparent laziness. Imagine that until August 15th the temperature was very pleasant; it was much less hot than in Paris and we breathed each evening a delicious sea breeze. Then suddenly when I thought we were safe from all the nasty tricks of the heat the thermometer rose to 40 degrees and stayed there night and day. We thus spent two unbearable weeks. Today the coolness has returned and we will stay until the first days of November to enjoy the charms of a beautiful autumn."" In this summer of 1877 Zola left the tumultuous capital for a five-month stay at L'Estaque ""banlieue de Marseille"" ""suburb of Marseille"" in the company of his wife Alexandrine and his mother Emilie Aubert. This long southern interlude reminded him of his youth in Aix: ""Je suis d'ailleurs enchanté de mon été. Les pays est splendide et me rappelle toute ma jeunesse."" ""I am moreover delighted with my summer. The country is splendid and reminds me of all my youth."" ""Pour finir avec moi j'ajouterai que j'ai travaillé vigoureusement à mon roman sans pourtant l'avancer autant que je l'aurais voulu. Ce roman doit paraître dans le Bien Public à partir du 14 novembre. J'en serai quitte pour donner encore un vigoureux coup de collier à Paris."" ""To finish with myself I will add that I have worked vigorously on my novel without however advancing it as much as I would have liked. This novel must appear in the Bien Public starting November 14th. I will have to give another vigorous push in Paris."" The new novel in question here is Une page d'amour whose plot and style contrast completely with the previous volume of the Rougon-Macquart: ""Je ne sais vraiment pas ce que vaut mon travail. J'ai voulu donner une note absolument opposée à celle de L'Assommoir ce qui me déroute parfois et me fait trouver mon roman bien gris. Mais je vais tout de même bravement mon chemin. Il faudra voir."" ""I really don't know what my work is worth. I wanted to give a note absolutely opposite to that of L'Assommoir which sometimes disconcerts me and makes me find my novel quite gray. But I am nonetheless bravely going my way. We will have to see."" But this ""page of love"" conceals another and during this stay in the Marseilles furnace Emile Zola was already thinking about the following volume: ""What is simmering in his southern pot is nothing less than a new bomb. Not Une page d'amour: 'it is a work too gentle to excite the public.' But Nana is already announced: 'I dream here of an extraordinary Nana. You will see that.' letter to Marguerite Charpentier of August 21 1877"" Henri Mitterrand Zola Even t unknown
1888ref. 79098Paris 1888. Fine. Paris 11 février 1888 13.20 x 20.50 cm 2 pages sur un double feuillet Autograph letter signed by Emile Zola addressed to Henry Fouquier written in black ink on a bifolium. Usual folds from mailing. This letter was transcribed in the complete correspondence of Emile Zola published by the CNRS and the Presses de l'Université de Montréal. A fine letter evoking La Terre and Tolstoy's The Power of Darkness. Henry Fouquier 1838-1900 was a literary critic and columnist for numerous newspapers. A close friend of Guy de Maupassant he supported Emile Zolas candidacy for the Académie française. This letter was written to him the day after the performance of Tolstoy's The Power of Darkness at the Théâtre-Libre. We have not found evidence of an article in which the journalist explicitly drew a parallel between the Russian drama and Zolas La Terre but Zola here addresses his thanks: « Merci mon cher Fouquier de ce que vous voulez bien dire de « la Terre » si attaquée. J'en suis touché vivement et croyez à toute ma gratitude. » It must be said that the fifteenth volume of the Rougon-Macquart cycle was harshly received unleashing passions from the moment of its serial publication in Gil Blas. On 18 August 1887 even before the conclusion of the novel was revealed to the public Le Figaro published the Manifeste des Cinq written by Paul Bonnetain J.-H. Rosny Lucien Descaves Paul Margueritte and Gustave Guiches. These young authors issued a severe verdict: « La Terre a paru. La déception a été profonde et douloureuse. Non seulement l'observation est superficielle les trucs démodés la narration commune et dépourvue de caractéristiques mais la note ordurière est exacerbée encore descendue à des saletés si basses que par instants on se croirait devant un recueil de scatologie : le Maître est descendu au fond de l'immondice. . Nous répudions ces bonshommes de rhétorique zoliste ces silhouettes énormes surhumaines et biscornues dénuées de complication jetées brutalement en masses lourdes dans des milieux aperçus au hasard des portières d'express. De cette dernière uvre du grand cerveau qui lança L'Assommoir sur le monde de cette Terre bâtarde nous nous éloignons résolument mais non sans tristesse. Il nous poigne de repousser l'homme que nous avons trop fervemment aimé. » Zola who had been developing the idea of a peasant novel for a decade was deeply affected. Though he never responded publicly to these accusations his correspondence is strewn with clarifications about the work whose sheer brutality alone seemed to occupy readers minds: « Mais vous ajoutez que notre thèse à Tolstoï et à moi est la même et peut se résumer en ceci : le travail de la terre est corrupteur. Tolstoï il me semble protesterait bien haut et quant à moi je vous affirme que je n'ai jamais voulu prouver une telle chose radicalement fausse à mon avis. Ce que je pense c'est que la petite propriété telle qu'elle existe chez nous c'est que la suite de faits sociaux qui ont abouti à notre forme sociale nous ont donné notre paysan d'aujourd'hui avec ses qualités et ses vices. Notre paysan est le prisonnier de sa terre et non l'homme libre qu'il devrait être. Comment voulez-vous qu'il n'y étouffe pas dans son ignorance et sa passion unique Labourer est très sain mais à la condition qu'on sera le maître de son champ au lieu d'en être le forçat. Je me suis exténué à faire sortir cette vérité de mon livre si l'on ne m'a pas compris la faute en est sans doute à moi. » A remarkable letter from the master of Naturalism shedding new light on one of the most brutal volumes of the Rougon-Macquart series. unknown
