Edition-Originale

ÉDITION-ORIGINALE, also called Le Feu Follet, is a bookshop located in Paris between Port Royal and the Jardin du Luxembourg.

The gallery ÉDITION-ORIGINALE brings together rare and valuable books, manuscripts, autographed books, etc.

This bookshop offers a very wide selection for all literature lovers: old books (1455-1820), literary and artistic journals, science, medicine & technology, religion & spirituality, history books, travel books, books of Fine Art, arts of living and social history.

ÉDITION-ORIGINALE also offers its clients advice on their collection as well as free valuations.

Countries
  • United Kingdom
Objects "Edition-Originale"

Marcel PROUST

Marcel PROUST Le côte de Guermantes Nrf, Paris 1920, 14x19,5cm, broché sous étui. First edition on ordinary paper, falsely stated third edition. Handsome autograph inscription from Marcel Proust to André Salmon. Two small lacks to the spine, skillfully and discreetly repaired. Retaining the double errata leaf. This copy is in a full black morocco box, the interior lined with khaki green sheep by Goy & Vilaine. Dans ses "Souvenirs sans fin", Salmon relate les circonstances de cette "rencontre" improbable entre deux univers littéraires qui se sont peu côtoyés, la bohème des Montparnos et les salons aristocratiques que fréquentait Proust :"Si je n'ai pas connu Proust, nous avons correspondu.C'est lui qui vint à moi, de la façon la plus exquise et aussi la moins attendue.Je venais de donner à la Nouvelle Revue Française (mars 1920) une fable réaliste: "Le Mannequin d'acajou", quelque chose dont je n'aurais jamais soupçonné que cela pût séduire l'observateur, le féroce adorateur, oui subjugué et méprisant, de la duchesse de Guermantes, Oriane, haïssable créature digne de l'exposition publique. (...) Marcel Proust m'écrivit dès aussitôt sa lecture de Mannequin d'acajou. Il m'offrirait aussi de ses livres, avec de précieuses dédicaces. Sans doute ai-je répondu à Marcel Proust. Je ne lui ai pas rendu visite. Correspondre avec lui comptait pour moi. Je n'ai pu me résoudre à me rendre à son chevet (...) et, surtout, à m'asseoir parmi tant d'autres dont les délectations ne furent jamais les miennes. Bien entendu pas question d'aller joindre Marcel Proust à minuit, au Ritz où je suis peu connu du personnel.Ai-je eu tort? en tout cas, Marcel Proust ne m'en garda pas rancune. Il put m'avoir bien compris, deviné. Non seulement il m'écrivit encore, mais il écrivit à d'autres dans l'intention de me servir. "En effet, à la suite de la publication de cette nouvelle Proust proposa le nom de Salmon avec celui de Rivière pour l'obtention des deux bourses Blumenthal, malheureusement Salmon avait déja atteint l'age limite et ce fut André Thérive qui obtint la seconde bourse. André Salmon n'apprendra ce soutien qu'en 1951 en lisant dans la Revue de Paris des lettres inédites de Proust à E. Jaloux: "Je détache celle qu'à mon propos il eut la gentillesse d'écrire, en grelottant de fièvre (...):"Votre conclusion semble donc être Salmon, ce qui est d'ailleurs celle à laquelle je m'étais arrêté avec Gide. Je trouve que la raison qu'on a fait valoir (le prix lui permettra de ne pas faire de journalisme) est très mauvaise. Mais le talent est une raison suffisante. (...) ". (Cf. A. Salmon, Souvenirs sans fin, p. 807-809) 13 500 € Réf : 52845 OrderRead more

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11 900 GBP

(Sulpice Guillaume Chevalier, dit) Paul GAVARNI

(Sulpice Guillaume Chevalier, dit) Paul GAVARNI Album amicorum, suite de dessins S.n, s.l. (vers 1846), in-4 à l’italienne (21,5 x 27 cm)., relié. GAVARNI, Sulpice-Guillaume Chevalier, known as Paul. Album amicorum, a set of drawings. N.p., n.d. [but c. 1846], no author given. 27 x 21.5 cm, bound. AN ITALIANATE ALBUM OF 52 ORIGINAL DRAWINGS in pen and ink by Paul Gavarni. Bound in full green blindstamped shagreen in the Romantic style, bearing the gilt initials ‘SC’ (for Sulpice Chevalier, Galvani’s real name) on the upper cover and ‘PD’ (for Paul Delaroche) on the lower, gilt filet to inside edges. 50 leaves, of which 12 on brown paper, a.e.g. Foxing. A few tears, a few careful restorations. 48 drawings (14 x 18.7 cm) mounted on to larger paper leaves (overall size 20.5 x 26 cm), with rice-paper guards and 4 drawings executed directly on the album leaves; of which 50 in black ink and mine de plomb, two heightened with wash (a mountainous landscape with figures and “V’lá un nez qu’a coûté cher á metre en couleur”), and two others in pastels and charcoal. Titled in black and red ink with the legend “Gavarni”, bearing also the autograph signature of Paul Gavarni in charcoal. - 48 drawings in black ink done by Gavarni for Le Diable á Paris: Paris et les Parisiens. Illustrations Les Gens de Paris par Gavarni (Paris, J. Hetzel, 1845-1846), of which 46 bearing autograph captions in black ink. - 3 landscapes: two in black ink (one heightened with wash), the third in charcoal and pastels. - 1 portrait of a soldier in charcoal and pastels. The two charcoal and pastel drawings are juvenilia; the landscape is comparable to Gavarni’s Paysage des Pyrénées (1827), now with the Department of Drawings in the Louvre (inv. RF 31377). Paul Gavarni (1804-1866), or Guillaume-Sulpice Chevalier to give him his true name, started publishing drawings in the press in the 1830s; he very quickly found success, and began working with La Mode, L’Illustration, and L‘Artiste, as well as La Caricature and Charivari - two of the most famous satirical journals, which helped greatly in establishing his name. Gavarni was soon illustrating works such as Paris au XIXéme siècle (Paris, Beauger, 1839), Les Français peints par eux-mêmes (Paris, Curmer, 1840-1842), Le Museum parisien by Louis Huart (Paris, Beauger and Aubert, 1841) and even the series Physiologies. As well as these books, which are among the most sought-after illustrated books of the Romantic period, we should also mention the very handsome Diable á Paris, published in parts by Jules Hetzel, a master of that genre. Illustrated with 212 woodcuts, of which 208 after Gavarni (and four after Bertall) and 800 vignettes within the text itself, Le Diable á Paris brings together the work of celebrated writers such as George Sand, Honoré de Balzac, Stendhal, Théophile Gautier, Charles Nodier and Gérard de Nerval. Its goal? To paint a picture of Parisians - their mores and fashions – in subtle sketches, some journalistic, some literary, but both often humorous: young working class women, courtesans, the middle classes, actors, artists and tradesmen are all caricatured within its pages. It is to that most Parisian of illustrators, Gavarni himself - his style at once subtle yet redoubtable and possessed of a highly spirited sense of irony - that Hetzel entrusted the task of lampooning the foibles of his contemporaries. These drawings are an excellent complement to the texts they illustrate – the publisher having given the artist total freedom in his choice of subjects; and Paul-André Lemoisne, Gavarni’s biographer, considers them to be deeply personal. Forty eight of the fifty one drawings contained in the present album are studies for Le Diable á Paris. Highly precise and very vibrant, they bear witness to the different stages of Gavarni’s working process: first, he would put his drawings down on paper in mine de plomb and ink before transferring them onto wood with a very fine pencil; they would then be cut directly into the wood by the engravers. The few variations between our drawings and the engravings are to do with the captions (eight with changes, two with additions) and to the number of figures (an additional figure has been added in five of the engravings). These studies already show all the incomparable qualities of Gavarni’s flair: the study of obscurity and shadows, the expressivity of his bodies and faces, his attention to costume and taste for social satire, as well as a heightened sense of composition even in his working sketches. The album comes from the personal collection of Paul Delaroche (1797-1856), most probably having been a gift from Gavarni himself. The binding, which he commissioned, bears the initials ‘SC’ (for ‘Sulpice’, one of Gavarni’s Christian names, and ‘Chevalier’, his real surname) on the upper cover and ‘PD’ (for Paul Delaroche) on the lower. Delaroche, whose work was praised by Jules Barbey d’Aurevilly, Charles Blanc, Alexandre Dumas and Théophile Gautier, was one of the most highly sought-after history painters at the time and a noted engraver; he was a member of the Institute and, while teaching at the École des Beaux-Arts, he produced a finely executed work of Romantic or anecdotal subjects, which enjoyed huge success. We don’t know much about the relationship between the two artists, but Gavarni did make a portrait etching of the painter, a rare example of his work in aquatint (Armelhault, Bocher L’Oeuvre de Gavarni. Lithographies originales et essays d’eau-forte et de procédés nouveaux. Catalogue raisonné, Paris, Librairie des Bibliophiles, 1873, p. 595, no. 3; on the same plate is a portrait of Balzac. A trial print of this etching is held at the Yale University Art Gallery in New Haven, inv. 1955.74.3E). They most likely met in some literary circle or other, for instance the La Bohéme du Doyenné, which Gavarni frequented from time to time. In any case, a drawing by Gavarni was included in a collection owned by descendants of Delaroche (Couturier Nicolay sale, Paris, Drouot, 27 April 1994, no. 157). This album, a gift from Gavarni to Delaroche, is therefore a precious and moving witness of his admiration for the Master. A superb collection of original drawings by Gavarni for his masterpiece, Le Diable á Paris – Les Gens de Paris, with a prestigious provenance. SOLD Réf : 52362 Set an alertRead more

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25 000 GBP

Victor HUGO

Victor HUGO Ruy Blas. Drame en 5 actes, en vers Michel Lévy frères, Paris 1872, 12x19cm, relié. Later edition, but partly first thanks to presence of the preface “à la France de 1872 [To the France of 1872]” published on the occasion of the revival of the piece at the Odeon on the 19th February 1872. Half brown shagreen, spine in six compartments, covers preserved. An exceptional autograph inscription from Victor Hugo to his mistress, Juliette Drouet: “Premier exemplaire aux pieds de ma dame [The first copy, laid at the feet of my lady]”. From its very creation until its overdue consecration, the story of Ruy Blas was intimately tied to that of Juliette Drouet. Shut up at home all the while the piece was being written, Juliette was to be its first reader on the 12 August 1838 (Hugo finished writing it on the 11th). She fell in love at once with this romantic drama in which Hugo promised her the title role alongside Frédérick Lemaître : “What a miracle your piece is, my poor beloved, and so good of you to have let me admire it first. Never have I seen anything so wonderful; including even your other masterpieces. It has a richness, a magnificence, a wonder…Oh my darling sun, you have blinded me for so long to come.” Juliette quickly came to know the piece by heart, certain verses strongly evoking the relationship between the author and the actress: “Madam at your feet, in the shadows, there is a man Who loves you, lost in the enveloping night; Who suffers as an earthworm enamored of a star; Who would give his soul for you, if he might; And who lowly dies while on high you shine” (Act II, scene 2). On the 15th August, Hugo confirmed her casting in the role of Doña Maria de Neubourg. Juliette could hope for no finer proof of his love: “I see glory, happiness, love and adoration, all this in huge and impossible measure…” Unfortunately, far from presaging the hoped-for glory, this news marked the start of open hostilities from Adèle, who until this point had stayed out of her husband’s adulterous relationship. At the end of the summer, Adèle wrote to the director of the theatre: “I foresee the success of the piece being compromised…because the role of the Queen was given to someone who was involved in the scandal over Mary Tudor…Opinion…is against…the talents of Mlle Juliette…This lady is said to be having an affair with my husband. While I am personally convinced that these rumors have no basis whatsoever in fact…the end result is the same…I have some hope that you…will give the role to someone else.” It was, in fact, Frédérick Lemaître’s lover who got it in the end. Juliette did not hide her helplessness: “I carry in me my mourning for a fine and admirable role which is dead to me for ever…I am more upset than you can possibly imagine.” And, even if Ruy Blas was not the success they’d hoped for, her passion for the piece remained: “I spilled all my blood for you, for your piece.” On the 5th December 1867, when the Odeon mooted a revival of the piece, Napoleon III had it banned because “we don’t want the scandal over Hernani breaking out again.” Juliette was more upset by this injustice than Hugo himself, as her voluminous correspondence attests. Her letters on this subject are collected in Paul Souchon’s work (Autour de Ruy Blas. Lettres inédites de Juliette Drouet à Victor Hugo, Albin Michel, 1939). She fought for her reinstatement for years and, when Ruy Blas was finally revived at the Odeon in 1872, she took part in and commented on every step of the process. Thus, coming out of the first reading by Hugo to the actors on the 2nd January 1872, she wrote: “Victory, my great beloved! Your entire audience left with profound and enthusiastic feelings…Ruy Blas from the first word to the last is the masterpiece of masterpieces. I came out transported, ecstatic, full of the same love and admiration and adoration for you as the first time I heard you. All that was with me just now at yours when I was the most transported and the most moved, more so than the author of the piece. I am ashamed to express this to you so poorly, but I had to give in to the needs of my heart, which is bursting with your genius and my love. There it is, my love, and I rush to kiss your wings and your feet.” With Sarah Bernhardt in the role of the Queen, the piece was a triumph which grew and grew with each performance. The day after the premiere, Juliette commented on this consecration, for which she had been waiting for more than thirty years: “You see, my love, that I was telling the truth about the prodigious and formidable enthusiasm of the entire audience yesterday. Never have you had, never could you have, a better reception. It was total delirium, growing with each verse. Your sublime poetry conquered every soul and one could feel the rivers of adoration flowing from all their hearts. The thunderous applause was so strong and so sustained that every hand sparked with electricity…And as for you, I feel that in this blessed month there is renewed love for you and it seems that all my fine memories are blooming once more and perfuming my soul with happiness. And I wanted to lay at your feet a divine bouquet”. It was Victor Hugo who in the end laid “at the feet of [his] lady” this masterpiece of Romanticism and testimony to their legendary love. 20 000 € Réf : 44135 OrderRead more

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17 600 GBP

Honoré de BALZAC

Honoré de BALZAC Scènes de la vie privée Imprimerie de Madame-Delaunay, Paris 1832, 13x20,5cm, 4 volumes reliés. Edition in large part original, the last two volumes contain first edition: "The Council", "The Exchange", "The Duty of a Woman", "The Honeymooners," "The beginning of the Woman of Thirty" "Rendezvous", "the Finger of God", "the two meetings", "atonement" (five chapters, unrelated, form the first draft of the Woman of thirty years). Binders half navy sheepskin, back with four false nerves decorated with dots and gold jewels, marbled paper plates, guards and contreplats of handmade paper, sprinkled edges, slightly posterior bindings dating from the second half of the nineteenth. donos pen heads of the guards of the first two volumes. Some foxing mainly affecting the end of the fourth and final volume. Very rare and enigmatic autograph signed by Honoré de Balzac: Le Duc, the author of Balzac. " Autographs erasures on the courtesy title and the dedicatee's name indicate that Balzac has resumed shipment. Thus the author address initially in his book "Mr. Delmar" German banker and brother of Ms. Couturier St. Clair (in which Balzac read his play The School for households in March 1839) before strike his name, in a gesture indicative of his stormy relationship with the world of finance and its representatives. The author then dedicated his book "Le Duc" with no other indication, indicating a real familiarity with the dedicatee which however included in any of Balzac's biographies. It could therefore be the character "Duke" of the part played by Jemma Vautrin at Théâtre de la Porte Saint-Martin in 1840, before the play, written in hopes to repay the debts of Balzac, is prohibited. It would hardly be surprising that Balzac, who was fond of nicknames, and has dedicated these scenes of private life - including a new original story recounts a silver perverting the judgment of an artist - to one of the unfortunate players who undergoes with the wrath of critics and censorship. With this dedication palimpsest, Balzac seems to assert the supremacy of the art on the financial vain inclinations. 20 000 € Réf : 52663 OrderRead more

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17 600 GBP

Louis-Ferdinand CELINE

Louis-Ferdinand CELINE Voyage au bout de la nuit Denoël & Steele, Paris 1932, 12x19cm, relié. Published in the same year as the first. Red morocco binding by Patrice Goy, spine in six compartments with date at foot, marbled endpapers, covers and spine preserved, top edge gilt, slipcase trimmed with red morocco, marbled paper boards. Inscribed by Louis-Ferdinand Céline to Abel Gance: "A mon ami Abel Gance fidèle dans un voyage autour de tout. LF Destouches [To my friend Abel Gance, faithful in our voyage around everything. LF Destouches].” A few marginal reader’s marks in pencil at end. A friend of Gance’s since 1917, Céline bore him a deep admiration: “In a hundred years, so much more of your films will remain than of my big funerary drum.” The respect was mutual and Gance was the first to envisage a cinematic adaptation of Voyage in November 1932, a project to which Céline became very attached. Abel Gance bought the rights from Denoël for 300,000 francs. An impossible task, he abandoned the project a year later. He was succeeded by Claude Autant-Lara, Michel Audiard, Sergio Leone, Federico Fellini, and François Dupeyron...all of them failed, though not for lack of enthusiasm (“The Voyage is not just a film, it’s a duty – we owe the old man everything!” – Audiard) or the efforts of Céline himself. In 1934, he visited Hollywood to “sign an option for six months with Lester Yard…Of all the agents, he seemed the most able, the most cunning”). As to whether it was a missed opportunity or an impossible challenge, Céline concluded: “I’m leaving nothing to cinema! I’ve sent it packing…with its shifty melodrama…its simili-sensible! I’ve managed to capture all the emotion already...” (Entretiens avec le professeur Y). Following this exchange with his inflammatory friend, Abel Gance destroyed a large part of their correspondence, and this inscription thus is one of the rare witnesses of the meeting of two of the pioneers of modern artistic expression. A fine and unique copy, perfectly presented. 12 000 € Réf : 34126 OrderRead more

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10 500 GBP

Jules VERNE

Jules VERNE Bourses de voyage Hetzel, Paris s.d. (1903), 12x19cm, 2 volumes reliés. First edition, for which there were no large paper copies. §Modern pastiche bindings by P. Goy & C. Vilaine, half bronze calf Bradel bindings over marbled paper boards, gilt fillets to spine, covers mounted on guards and preserved. §Very rare autograph inscription from Jules Vernie to [Achille] Tournier, prefect of the Somme at the time, and also enriched with a calling card from Jules Verne mounted on guards. §With original illustrations by L. Benett. §Jules Verne moved to Amiens, his wife’s home town, in 1871: “Due to a wish of my wife’s, I am settling in Amiens, a calm, orderly town, of even temper; society here is both cordial and well-read. We are near Paris, near enough to catch the rays without the unbearable noise and the sterile agitation. But to tell you the truth, my Saint-Michel remains moored in Crotoy.” His affection for the region did not cease to grow and he never again left the capital of Picardy, taking an active part in local politics. Appointed director of the Academy of Sciences, Literature and Arts in 1875, he gave a famous speech on the occasion: “An ideal city: Amiens in the year 2000.” In 1888, he was elected to the Municipal Council, of which he remained a member till 1903. It was the Prefect of the Somme who gave him his decoration when he was made an Officer of the Legion d’Honneur in 1892. “People often ask me why I live in Amiens, I who am so Parisian by instinct. Well, it’s because – like I told you – I have Breton blood, I enjoy peace and I could not be happier anywhere than in a monastery. A calm life of study and work is my pleasure” (June 1893 in MacClure’s Magazine). §A very good copy. % 7 500 € Réf : 40847 OrderRead more

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6 600 GBP

Alfred JARRY & Remy de GOURMONT

Alfred JARRY & Remy de GOURMONT Henri LE DOUANIER ROUSSEAU & Paul GAUGUIN & James WHISTLER & Emile BERNARD & Georges d' ESPAGNAT & Eric FORBES-ROBERTSON & Charles FILIGER L'Ymagier. Collection complète du N°1 au N°8 L'Ymagier, Paris Octobre 1894- Décembre 1896, 21,5x27cm pour les cinq premiers fascicules & 23,5x28cm pour les fascicules N°6 & 7 & 23,5x30cm pour le huitième et dernier, broché. First edition, one of 515 copies. First editions of texts by Alfred Jarry and Rémy de Gourmont. Illustrated with c. 300 engravings, reproductions of 15th and 16th century woodcuts, large colored images, pages from old books, miniatures, lithographs, woodcuts, original drawings and prints by Rémy de Gourmont, Alfred Jarry (under the pseudonym Alain Jans), Henri Le Douanier Rousseau, James Whistler, Paul Gauguin, Eric Forbes-Robertson, L. Roy, Jossot, A. Seguin, O’Connor, Charles Filiger, Georges d’Espagnat, Emile Bernard and so on. - N°1 : 68 numbered pages comprising a leaf bearing a title and a miniature by Filiger printed in mauve, a Head of a Martyr by R.G. (Rémy de Gourmont), a drawing by Émile Bernard printed in blue, forty old images and vignettes, two large folio Épinal folding images printed in colors (613 x 380 mm and 615 x 395 mm), one of which has a tear without lack. - N°2 : 71 pages, numbered [69] to 140 with a woodcut in red by A. Seguin, an original print by E. Forbes-Robertson (Adam and Eve), numerous woodcuts, of which two from Indochina printed on 2 ll. of folded China paper, an original lithograph by Douanier Rousseau (War) printed in black with orange tint (260 x 420 mm), an original lithograph signed R.G. (Rémy de Gourmont) printed in black, an original lithograph by Alfred Jarry (Caesar-Antichrist), “Bedouin”, an unpublished drawing by Emile Bernard and two folding Épinal images: La Bataille des Pyramides (400 x 580 mm) and Bonne Bière de Mars (420 x 509 mm), the latter detached. - N° 3 : 66 pp. numbered 141 to 206. Numerous illustrations in text and hors texte, among them: a study by A. Seguin reserved for subscribers, La Madeleine, after a woodcut printed in dark orange by Paul Gaugin, “The Bishop”, an original woodcut in dark green by Georges d'Espagnat, an original woodcut in black by Alice Feurgard, an original drawing printed in blue by Emile Bernard, an original drawing printed in dark green by Jossot, an original woodcut in bistre by M. Delcourt, two Épinal folding images printed in colors (621 x 350 mm and 640 x 370 mm), the first detached. - N° 4 : 72 pp. numbered 207 to 278. Numerous illustrations to text and hors texte, including: an original lithograph in black by L. Roy (At church), reserved for subscribers, an original sketch cut onto mahogany wood by Alain Jans (Alfred Jarry), a woodcut in black by Georges d'Espagnat, an original drawing printed in black by Roderie O'Conor, an original drawing printed in blue by Émile Bernard, a folded woodcut (very pale, 455 x 198 mm), two folding Épinal images printed in colors (350 x 305 mm and 370 x 295 mm). - N°5 : 68 pp. numbered 1 to 68. Numerous illustrations to text and hors texte, including: the general frontispiece for the second volume by Alfred Jarry and printed in brown, an unpublished original print and folding plate by Clésinger printed in black (281 x 430 mm), an original unpublished lithograph by James M. N. Whistler on China paper between silk paper guards, the first bearing a title, folding facsimile of a vernacular colored image entitled Le vrai portrait du Juif-Errant…[A true portrait of the Wandering Jew…] (485 x 304 mm), folded fragment of an enormous former engraving (368 x 305 mm). - N° 6 : 60 pp. numbered 69 to 128. Numerous illustrations to text and hors texte, including two folding Épinal images in colors (633 x 380 mm and 416 x 608 mm). - N° 7 : 60 pp. numbered 129 to 188. Numerous illustrations to text and hors texte, including an original woodcut by Émile Bernard printed in red on strong grey tinted paper, two folding Épinal images in colors showing Saints Peter and Paul and Napoleon on horseback (613 x 390 mm and 625 x 390 mm). - N° 8 : 54 pp. numbered 189 to 242. Numerous illustrations to text and hors texte, including a vernacular image of a procession in colors in the form of a folding banner (280 x 492 mm), detached, an original woodcut printed in dark green on Japan paper by d’Espagnat (full page and included in the pagination). A few leaves detached, a few spines cracked and a few margins a bit brittle. A good and rare complete set in 8 volumes, quite extraordinarily illustrated. SOLD Réf : 53025 Set an alertRead more

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15 000 GBP

Victor HUGO

Victor HUGO Religions et religion Michel Lévy, Paris 1880, 15,5x23,5cm, relié. Original edition. Binding half old red grief with some discreet restorations, back with five nerves, when tail, paper plates to the tank, and contreplats combed guards lined paper, preserved covers, red head, then binding Precious autograph signed by Victor Hugo Alphonse Daudet. Buffer library of Madame Daudet on the first guard. Victor Hugo is for Alphonse Daudet, like other writers of his generation, the undisputed master of arts Hall of Fame. His father figure sprinkles the works of Daudet, commonly called alongside those of Rousseau, Byron, Sand and Delacroix. If during childhood and youth Daudet, Hugo, exiled giant on his island of Guernsey, remains an unattainable ideal, "almost beyond humanity," Back in France allows him to meet him someday. Around 1875, shortly after the publication of his first works, Alphonse Daudet and Julia are well received in Hugo who now lives with Juliette Drouet. They therefore become intimate of the house until the poet's death. Victor Hugo is involved in the education of the young Léon Daudet, best friend grand-son of Hugo, George and later husband of Jeanne ephemeral. In his Memories of a literary circle, Julia Daudet evokes friendship of ten years with the "idol of all France poetic" "I see the great Victor Hugo end of his table; the old master, a bit isolated, a little deaf, sits with God silences, absences of a genius on the brink of immortality. The white hair, colored head, and this eye old lion that develops side with power ferocity; he listens to my husband and Catullus Mendes between which is very lively discussion about youth and celebrity known men and their attractiveness to women. [...] During the debate we went to the salon, Victor Hugo dream by the fire, and famous, universal and demigod regret perhaps his youth, while Mrs Drouet sleeping quietly. » The friendship between the last great romantic writer and one of the masters of the early naturalist school reflects the sharpness of Victor Hugo who, at the height of his fame, and retains a special kind attention for the remote yet modern literature Hugo's lyricism. This dedication Hugo Daudet on a skilled, with The Pope and The Supreme Pity, of "philosophical testament" by Henri Guillemin, symbolically resonates as a legacy by a devout follower of the political and moral responsibility of the writer. Provenance: Alphonse Daudet, sales Sickles (1990, IV, No. 1200) and Philippe Zoummeroff sale (2 April 2001). Gift extract of a literary circle by Julia Daudet: "How can we forget that first visit home, rue de Clichy, in the modest apartment so disproportionate to his glory, the idea we had of the glory that had filled palaces: He gets up the seat he occupied the fire in front of Madame Drouet, his old friend, (...) I am amazed at its size, but soon, when it will meet me and talk to me, I would find it very big, very intimidating. And this I felt so shy, I always try them in front of Victor Hugo, the result of this great admiration, respect it as an absent god, my parents instilled in me the genius of a poet. I will overcome never that trembling voice every time I answer his kind words, and I say astonish for nearly years to hear women, admitted to him, maintain their inner and their usual trivia. That night, when he had made me quite confused, Mrs Drouet, she said with a charming good grace - Here is the corner of the old and you are too young for us. But Victor Hugo will introduce you to his daughter, Mrs. Lockroy; alone has standing to that. And I was driving on the other side of the room, moderately large, though, but that was as divided in two by a table topped with a bronze elephant, very majestic, Japanese or Chinese, I think. It was enough to make two very distinct small groups that communicate easily, but without merging. At the time of his return, Victor Hugo was dazzling wit, many memories and told with an inexhaustible verve when the policy is not too invading his hospitable table. And grace in the home, what noble ways, what a beautiful smile grandfather in her hair I have gradually seen to blanch the snow eighty years I poets, all the poets attending this salon on Rue de Clichy, later the hotel Avenue d'Eylau. But here it was the change of place? There was like a step down in health, and in the spirit of good old man. Yet he always loved to entertain his friends, and the hospitality of this open house was not one of his charms least because, around the table, embellished with a piece by the two grandchildren of the Master, the guests were seeking their watchword in the eyes of the host, and he sometimes found a vein of memories so vivid, so picturesquely expressed, which remained blinded entire evening. M mo Drouet slowly growing old with him, sheltered under two snow bands, a somewhat theatrical elegance and quaint, until a ruthless evil dug his face so thin, made painful effigy has painted Bastien Lepage, who was to die prey to the same torture. In the recent times, the Master looked painfully, intimate dinners, that empty plate, that noble ravaged face. - Mrs Drouet, you do not eat, you must eat, have courage. Eat! She was dying. Did he know? Was he trying to delude himself the fine old so tough and strong, and who saw this companion from fifty years! In the large room where looks beautiful portrait of Bonnat, the paternal gesture, where the bust by David presides immensely; in the lounge, decorated with these striped multicolored tapestry that seemed strained to Dona Sol; in the garden come to the verandah by a flight of stairs two reappear Leconte de Lisle, Meurice and Vacquerie, Paul de Saint-Victor, smiling Banville, Flaubert and Goncourt conversing together, Mallarmé, Leon Cladel, Francois Coppe, Catullus Mendes, Clovis Hugues, shadows in a faded Eden; and Leon Glaize, Gustave Rivet, Pierre Elzéar, the tiny pink Ms Michelet offering a festive evening, and ambassadors, diplomats, Emperor of Brazil; painters, sculptors, and many politicians that I do not remember the names! Here the immediate impression that I drew one of those evenings when we visited, Alphonse Daudet and me, a snowy evening, where during the ride our horse fell three times across the Esplanade des Invalides: I see the great Victor Hugo end of his table; the old master, a bit isolated, a little deaf, sits with God silences, absences of a genius on the brink of immortality. The white hair, colored head, and this eye old lion that develops side with ferocity of power; he listens to my husband and Catullus Mendes between which is very lively discussion about youth and celebrity known men and their attractiveness to women. Alphonse claims that in a living room filled with all sorts of talents, of any age, a young man, the unknown author, the poet will ignored her female eyes beautiful it is. Catullus Mendes replied that he will initially unnoticed, and that all women will go to awareness: this seems true to me. Fortunately women do not have the eyes of their face, but those of the mind and heart. For the intellectual, the beauty of an artist, a poet does not count, it is the look of the thinker, the tormented face of the man who lives his feelings. They go to the talent, grief passes, they hardly thinking about physical beauty. Now one might reply that this is an ambitious sympathy they seek famous authors, but the other feeling, one that would attract to this tempting youth whose Alphonse speaks, seems less blameless. And I laugh to this claim of two charming conversationalists, generate, analyze us. But to say the woman is like saying the bird; there are so many species and genera, warbling and plumage are so different! During the debate we went to the salon, Victor Hugo dream by the fire, and famous, universal and demigod regret perhaps his youth, while Mrs Drouet sleeping quietly. His beautiful white hair shading his fine head like two wings of a dove, and knots of her bodice following her sweet breath, almost resigned, old woman asleep. It was soon after this event took place the great manifestation of scrolling Paris Avenue d'Eylau, before the windows of the small room that became mortuary in May 1885 filled with roses and simply furnished, such as accounts, museum Victor Hugo, a part taken in the former apartment of the poet, Place Royale. Although suggestive, the old home of the Marsh, "and when you think that there Victor Hugo wrote almost all his historical plays one imagines the poet, opening, the morning hours that were familiar to him, this high window on hotels all equal and same style, around the square, and remembering tournaments, duels, walks and agitations of several generations disappeared under the shadow of these ancient and solid arcades and not keeping track of the fugitive humanity. We still had dinner at Victor Hugo week before his death. He tells us by entering paler than usual, the inflected approach: - I will soon go, I feel it; and then relying on the shoulder of George: No 'that' a long time ago that I would be gone. I have never forgotten the focus rather solemn and as prophetic those words, I was imbued with sadness and foreboding; I felt the dispersion of this unique center and could not re ever! " 12 000 € Réf : 47658 OrderRead more

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Gustave FLAUBERT

Gustave FLAUBERT Madame Bovary Michel Lévy frères, Paris 1857, 10,5x17cm, 2 volumes reliés en 1. Original edition. Binding open eggplant sorrow, back with four nerves purposes set with triple gilt fillets decorated with cold boxes, cold rollers on caps and cuts, framing quintuple gold striping and a wide net on the cold dishes, lace golden framing of contreplats, guards and contreplats silk moiré cream, light freckles on minor contreplats and guards, all edges gilt, bookplate pasted on a contreplat a clear wetting minor in the first foot slips the book, elegant contemporary binding (which occurs just as Clouzot). Very rare autograph signed by the author Alfred Guerard, close friend of Bouilhet which is dedicated to the book: "Alf. Guerard Remember friendship Gustave Flaubert " (The last letters of the word friendship and Flaubert's name was trimmed by the bookbinder). Autographs shipments are rare on Flaubert Madame Bovary. (See Clouzot). Alfred Guerard was with Gustave Flaubert closest friend Bouilhet. This large industrial Rouen was also a friend of the arts and a true patron Bouilhet who dedicated several works. Flaubert, as evidenced by his correspondence, was not wanting to invite him to his literary or artistic dinners. It will include, in 1863, one of the very few listeners Castle hearts, magic aborted knew that this "solemn reading before an Areopagus" Flaubert selects among his friends from high society: "We wanted to have a bourgeois public to judge the effect of the naive work "(see the letters to his niece Caroline in December 1863). Nice copy with autograph sending richly established contemporary binding. 23 000 € Réf : 46560 OrderRead more

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Victor HUGO

Victor HUGO La pitié suprême Michel Lévy, Paris 1879, 15,5x23,5cm, relié. Original edition. Binding half old red grief with some discreet restorations, back with five nerves, when tail, paper plates to the tank, and contreplats combed guards lined paper, preserved covers, red head, contemporary binding. Precious autograph signed by Victor Hugo Alphonse Daudet. Buffer library of Madame Daudet on the first guard. Victor Hugo is for Alphonse Daudet, like other writers of his generation, the undisputed master of arts Hall of Fame. His father figure sprinkles the works of Daudet, commonly called alongside those of Rousseau, Byron, Sand and Delacroix. If during childhood and youth Daudet, Hugo, exiled giant on his island of Guernsey, remains an unattainable ideal, "almost beyond humanity," Back in France allows him to meet him someday. Around 1875, shortly after the publication of his first works, Alphonse Daudet and Julia are well received in Hugo who now lives with Juliette Drouet. They therefore become intimate of the house until the poet's death. Victor Hugo is involved in the education of the young Léon Daudet, best friend grand-son of Hugo, George and later husband of Jeanne ephemeral. In his Memories of a literary circle, Julia Daudet evokes friendship of ten years with the "idol of all France poetic" "I see the great Victor Hugo end of his table; the old master, a bit isolated, a little deaf, sits with God silences, absences of a genius on the brink of immortality. The white hair, colored head, and this eye old lion that develops side with power ferocity; he listens to my husband and Catullus Mendes between which is very lively discussion about youth and celebrity known men and their attractiveness to women. [...] During the debate we went to the salon, Victor Hugo dream by the fire, and famous, universal and demigod regret perhaps his youth, while Mrs Drouet sleeping quietly. » The friendship between the last great romantic writer and one of the masters of the early naturalist school reflects the sharpness of Victor Hugo who, at the height of his fame, and retains a special kind attention for the remote yet modern literature Hugo's lyricism. This dedication Hugo Daudet on a skilled, with The Pope and Religions and Religion, of "philosophical testament" by Henri Guillemin, symbolically resonates as a legacy by a devout follower of the political and moral responsibility of the writer. Provenance: Alphonse Daudet, sales Sickles (1990, IV, No. 1200) and Philippe Zoummeroff sale (2 April 2001). Gift extract of a literary circle by Julia Daudet: "How can we forget that first visit home, rue de Clichy, in the modest apartment so disproportionate to his glory, the idea we had of the glory that had filled palaces: He gets up the seat he occupied the fire in front of Madame Drouet, his old friend, (...) I am amazed at its size, but soon, when it will meet me and talk to me, I would find it very big, very intimidating. And this I felt so shy, I always try them in front of Victor Hugo, the result of this great admiration, respect it as an absent god, my parents instilled in me the genius of a poet. I will overcome never that trembling voice every time I answer his kind words, and I say astonish for nearly years to hear women, admitted to him, maintain their inner and their usual trivia. That night, when he had made me quite confused, Mrs Drouet, she said with a charming good grace - Here is the corner of the old and you are too young for us. But Victor Hugo will introduce you to his daughter, Mrs. Lockroy; alone has standing to that. And I was driving on the other side of the room, moderately large, though, but that was as divided in two by a table topped with a bronze elephant, very majestic, Japanese or Chinese, I think. It was enough to make two very distinct small groups that communicate easily, but without merging. At the time of his return, Victor Hugo was dazzling wit, many memories and told with an inexhaustible verve when the policy is not too invading his hospitable table. And grace in the home, what noble ways, what a beautiful smile grandfather in her hair I have gradually seen to blanch the snow eighty years I poets, all the poets attending this salon on Rue de Clichy, later the hotel Avenue d'Eylau. But here it was the change of place? There was like a step down in health, and in the spirit of good old man. Yet he always loved to entertain his friends, and the hospitality of this open house was not one of his charms least because, around the table, embellished with a piece by the two grandchildren of the Master, the guests were seeking their watchword in the eyes of the host, and he sometimes found a vein of memories so vivid, so picturesquely expressed, which remained blinded entire evening. M mo Drouet slowly growing old with him, sheltered under two snow bands, a somewhat theatrical elegance and quaint, until a ruthless evil dug his face so thin, made painful effigy has painted Bastien Lepage, who was to die prey to the same torture. In the recent times, the Master looked painfully, intimate dinners, that empty plate, that noble ravaged face. - Mrs Drouet, you do not eat, you must eat, have courage. Eat! She was dying. Did he know? Was he trying to delude himself the fine old so tough and strong, and who saw this companion from fifty years! In the large room where looks beautiful portrait of Bonnat, the paternal gesture, where the bust by David presides immensely; in the lounge, decorated with these striped multicolored tapestry that seemed strained to Dona Sol; in the garden come to the verandah by a flight of stairs two reappear Leconte de Lisle, Meurice and Vacquerie, Paul de Saint-Victor, smiling Banville, Flaubert and Goncourt conversing together, Mallarmé, Leon Cladel, Francois Coppe, Catullus Mendes, Clovis Hugues, shadows in a faded Eden; and Leon Glaize, Gustave Rivet, Pierre Elzéar, the tiny pink Ms Michelet offering a festive evening, and ambassadors, diplomats, Emperor of Brazil; painters, sculptors, and many politicians that I do not remember the names! Here the immediate impression that I drew one of those evenings when we visited, Alphonse Daudet and me, a snowy evening, where during the ride our horse fell three times across the Esplanade des Invalides: I see the great Victor Hugo end of his table; the old master, a bit isolated, a little deaf, sits with God silences, absences of a genius on the brink of immortality. The white hair, colored head, and this eye old lion that develops side with ferocity of power; he listens to my husband and Catullus Mendes between which is very lively discussion about youth and celebrity known men and their attractiveness to women. Alphonse claims that in a living room filled with all sorts of talents, of any age, a young man, the unknown author, the poet will ignored her female eyes beautiful it is. Catullus Mendes replied that he will initially unnoticed, and that all women will go to awareness: this seems true to me. Fortunately women do not have the eyes of their face, but those of the mind and heart. For the intellectual, the beauty of an artist, a poet does not count, it is the look of the thinker, the tormented face of the man who lives his feelings. They go to the talent, grief passes, they hardly thinking about physical beauty. Now one might reply that this is an ambitious sympathy they seek famous authors, but the other feeling, one that would attract to this tempting youth whose Alphonse speaks, seems less blameless. And I laugh to this claim of two charming conversationalists, generate, analyze us. But to say the woman is like saying the bird; there are so many species and genera, warbling and plumage are so different! During the debate we went to the salon, Victor Hugo dream by the fire, and famous, universal and demigod regret perhaps his youth, while Mrs Drouet sleeping quietly. His beautiful white hair shading his fine head like two wings of a dove, and knots of her bodice following her sweet breath, almost resigned, old woman asleep. It was soon after this event took place the great manifestation of scrolling Paris Avenue d'Eylau, before the windows of the small room that became mortuary in May 1885 filled with roses and simply furnished, such as accounts, museum Victor Hugo, a part taken in the former apartment of the poet, Place Royale. Although suggestive, the old home of the Marsh, "and when you think that there Victor Hugo wrote almost all his historical plays one imagines the poet, opening, the morning hours that were familiar to him, this high window on hotels all equal and same style, around the square, and remembering tournaments, duels, walks and agitations of several generations disappeared under the shadow of these ancient and solid arcades and not keeping track of the fugitive humanity. We still had dinner at Victor Hugo week before his death. He tells us by entering paler than usual, the inflected approach: - I will soon go, I feel it; and then relying on the shoulder of George: No 'that' a long time ago that I would be gone. I have never forgotten the focus rather solemn and as prophetic those words, I was imbued with sadness and foreboding; I felt the dispersion of this unique center and could not re ever! " 12 000 € Réf : 46925 OrderRead more

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10 500 GBP

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