Librairie Camille Sourget (687 résultats)

Couverture rigide. Etat : Très bon. Paris, Deterville, 1804.In-8 de (1) f.bl., xii pp., 394 pp. Quelques piqûres. Relié en pleine basane racinée, filet à froid encadrant les plats, dos lisse finement orné, pièce de titre de maroquin vert, filet doré sur les coupes. Reliure de l'époque. 197 x 128 mm. --- Édition originale de cet ouvrage composé par ordre du gouvernement pour servir à l'enseignement de l'histoire naturelle dans les Lycées. Pritzel, 2476.« J'ai inséré dans le premier volume de l'anatomie comparée de M. Cuvier, en 1800, les premières tentatives que j'ai faites de la classification, par familles naturelles, des genres d'insectes. Dans les deux années suivantes, j'ai continué ce travail. L'An IX j'en ai publié un extrait dans le Journal de physique et dans le Magasin encyclopédique. En 1804 parut la première édition de mon Traité élémentaire d'histoire naturelle, dans lequel j'ai exposé avec plus d'étendue le plan que je suivais depuis près de quatre ans dans mes cours d'histoire naturelle aux écoles centrales » (Duméril).André-Marie-Constant Duméril (1774-1860), médecin et naturaliste, eut une grande carrière dans l'enseignement. Il fut professeur d'anatomie à la Faculté de Médecine, et enseigna également au Musée d'Histoire naturelle, tout comme à l'Ecole centrale du Panthéon en tant que remplaçant de Cuvier. Il fut élu membre de l'Académie des Sciences en 1816, et membre de l'Académie de médecine en 1731. Il est enfin fait chevalier de la Légion d'Honneur deux mois avant sa mort.L'épitre dédicatoire à Cuvier présente ce dernier comme un ami cher à Duméril, mais également comme un grand naturaliste qui a contribué par ses études à faire que l'auteur puisse produire cet ouvrage. Ils ont d'ailleurs travaillé ensemble sur les Leçons d'anatomie comparée de M. G. Cuvier publié en 1799 à Paris. Duméril explique dans cette épitre les différentes classifications faites dans ce livre et se réfère à d'autres savants qui on /// Paris, Deterville, 1804.8vo [197 x 128 mm] of (1) bl. l., xii pp., 394 pp. A few foxing. Bound in full tree roan, blind-stamped fillet on covers, flat spine finely decorated, green morocco lettering-piece. Contemporary binding. --- First edition of this work composed on the order of the government in order to be used for the teaching of natural history in secondary schools. Pritzel, 2476. « I inserted in the first volume of compared anatomy by Mr. Cuvier, in 1800, the first attempts that I made of classification, according to natural families, genera of insects. In the two following years, I continued with this work. During the Year IX I published an extract in the Journal de Physique and in the Magasin encyclopédique. In 1804 was published the first edition of my ?Traité élémentaire d'histoire naturelle', in which I presented in a more extended way the outline that I had been following for four years in my natural history lessons at the ?écoles centrales'» (Duméril). André-Marie-Constant Duméril (1774-1860), a doctor and natural scientist, had a great career in education. He was a professor of anatomy at the Faculty of Medicine, and also taught at the Museum of Natural History, as well as at the Ecole centrale of the Pantheon as substitute of Cuvier. He was elected member of the Academy of Sciences in 1816, and member of the Academy of Medicine in1731. He is finally appointed Knight of the Legion of Honour two months before his death. The dedication to Cuvier presents the latter as a beloved friend of Dumeril, but also as a great natural scientist who contributed with his studies to give the possibility to the author to produce this work. Besides, they worked together on the Leçons d'anatomie comparée de M. G. Cuvier published in 1799 in Paris. Duméril explains in this dedication the various classifications made in this book and refers to other scholars who contributed to this evaluation of the situation of natural history in France, as Lac.

Couverture rigide. Etat : Très bon. 1- France, Anatole. Thaïs. Quinze compositions dont un frontispice en couleurs par Georges Rochegrosse gravées à l eau-forte par E. Decisy. Paris, Librairie des Amateurs, A. Ferroud. A. Ferroud Successeurs, 1909. In-4 de 1 frontispice en couleurs, (2) ff. de faux-titre, justification et titre, 229 pp. de texte, (1) p. bl., (1) f. de table des illustrations. Relié en demi-maroquin bleu à coins, dos à nerfs orné de nénuphars mosaïqués, filet doré en bordure du cuir, tête dorée, tranches ébarbées, couvertures et dos conservés. Reliure signée René Aussourd. 233 x 153 mm « Édition recherchée et cotée, surtout en grand papier. » Carteret IV, p. 171. Exemplaire sur vélin d Arches, fabriqué spécialement, contenant les eaux-fortes dans le texte. Numéroté 944 avec paraphe de l éditeur « F. F. ». Publié pour la première fois dans la Revue des Deux Mondes en 1899, ce roman est finement illustré dans l édition de Ferroud par le peintre et illustrateur Georges-Antoine Rochegrosse (1859-1938) qui orna notamment les uvres des auteurs et poètes de son cénacle comme Gustave Flaubert ou Victor Hugo. Thaïs est orné de 15 compositions gravées à l eau-forte dont un frontispice vibrant par sa gamme chromatique complémentaire d oranges et de mauves. Après un exil monacal par repentance en regard d une jeunesse licencieuse, l abbé Paphnuce se donne pour mission de sauver l âme de la jeune courtisane Thaïs, mais cette quête ne fera que replonger l abbé dans de lointain tourments. Plaisante reliure art déco signée de René Aussourd (1884-1966), neveu de Charles Meunier, au dos finement mosaïqué de nénuphars. 2-France, Anatole. Le Miracle de la Pie. Paris, Librairie des Amateurs, A. Ferroud. A. Ferroud Successeurs, 1921. In-8, 1 frontispice en couleurs (2) ff. de faux-titre, justification et titre, 46 pp. de texte, (1) f. d achevé d imprimé. Relié en demi-maroquin rouge à coins, dos à nerfs orné de motifs floraux mosaïqués, filet à froid en bordure du cuir, tête dorée, tranches ébarbées, couvertures et dos conservés. Reliure signée Pinardon. 181 x 119 mm. Exemplaire sur beau vélin teinté d Arches, avec les illustrations en couleurs dans le texte. Numéroté 394 avec le paraphe de l éditeur « F. F. ». Parue en 1908 dans les Contes de Jacques Tournebroche, cette nouvelle d Anatole France relate la vie de Florent Guillaume, un écrivain dans la disette ayant trouvé refuge dans un clocher auprès d une pie dénommée Isabeau. Le texte est présentement orné d un ensemble de 16 compositions en couleurs dont 4 à pleine page par le peintre, illustrateur et lithographe Maurice Lalau. Cette nouvelle témoigne du style d Anatole France dont Paul Valéry soulignait « l aisance, la clarté, la simplicité ». Sa connaissance de l histoire et son scepticisme à l égard de la nature humaine rejaillissent au travers de l histoire du miséreux protagoniste. Exemplaire en reliure signée par Pinardon au dos finement orné de motifs floraux mosaïqués.

Couverture rigide. Etat : Très bon. Rare "counterfeit edition included in the 1652 collection. We have found a copy at Mr Ambroise Firmin Didot's" (Picot, Bibliographie cornélienne, n°320, describing the present copy). "This clandestine edition was probably destroyed because its copies are of utmost rarity. One must admit, here lies the main credit of the book [?] Counterfeits made in French provinces don't display the same interest; they are most of the time rather crude. It is nonetheless interesting to study their text. Perhaps we could find, along mistakes one could not impute to Corneille, variations taken from lost first editions." Picot, n°379. "A copy at Ambroise Firmin Didot sold for 20 fr. in red morocco binding with green morocco doublures" (Gruel), Giraud, 1855 (n°1637) ». (Picot). With this comedy performed in 1644, Corneille opened up a path to true character comedy. Precious copy described by Picot and preserved in its signed red morocco binding with green morocco doublures. Provenances: libraries of A. Firmin-Didot and la Germonière.

Couverture rigide. Etat : Très bon. Normal 0 21 false false false FR X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Tableau Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin-top:0cm; mso-para-margin-right:0cm; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0cm; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} Rare first edition of this analysis of the campaigns of Frederick II evaluated by the famous French tactician Jacques-Antoine-Hippolyte Guibert, a work that had a great influence on the military conceptions of Napoleon. Jacques-Antoine-Hippolyte Guibert is a French general and military author born November 12, 1743 in Montauban and died May 6, 1790 in Paris. « His stay in Berlin, Postdam and Silesia, his conversations with Frederick, and the quite intimate relationship he had with Mr de Catt, the abbot Bastiani, Colonel Quintus Icilius, the generals of Anhalt and Rossieres, and with many other characters very much able of informing him about the history of Prussia and Frederick's nature, gave him the idea and provided him with the means to write 'l'Eloge du roi de Prusse'. In London (Paris), 1787, 304 pages 8vo. This work has often been reprinted; it has been translated, twice into German, and into Italian. We find a severe critique of the latter in the 'Lettre du comte de Mirabeau à M. le comte de. sur l'Eloge de Frédéric, par M. de Guibert', 1788. De Guibert is often mentioned in the correspondence of Frederick." (Works of Frederick the Great). Guibert entered in 1756, at the age of thirteen, to the Auvergne regiment with the rank of Lieutenant. He became Captain in 1758 and took part in the Seven Years' War. He accompanied his father, Charles-Benoît, Count of Guibert (1715-1786), camp Commander of Marshal de Broglie. His father, of modest extraction and officer of fortune, had reached the rank of Lieutenant general and the functions of Governor of the Invalids in 1786. He was decorated with the Cross of Saint Louis during the operations in Corsica. At the end of the campaign, he is appointed Colonel and receives the command of the Corsican Legion at its creation. He published in Liège his Essai général de tactique, accompanied by a Discours in which he offers ".to trace the political and military picture of Europe" and especially of his Nation by considering "its constitution, its means, its engineering, the situation of its army? I will dare to speak about its administration, to reveal its abuses, to seek remedies, to finally raise the edifice of a constitution, both political and military"? As a precaution, he retired in Prussia waiting to see the effect his work would have on public opinion: thus in 1773, Frederick II The Great recognized in him a great tactician with whom he would often converse on military questions. His Défense du système de guerre moderne, a response to criticism, shed light on the methods of reasoned and scientific defense used by the Prussian army. This was the basis of his work when he cooperated in 1775 with the Count of Saint-Germain in a series of reforms of the French army, including the regulation of exercise and maneuver of 1776. He was elected to the French Academy on December 15, 1785, and received by the Marquis de Saint-Lambert on February 13, 1786. On the eve of the Revolution, he was recalled to the War Administration Council in 1787 of which he became the kingpin. In 1788, he was appointed camp Marshall and divisional infantry Inspector of Artois; but he was in turn suffering from attacks: the reforms he introduced made him unpopular. He was swept away by a short illness on May 6, 1790. Guibert's work has had a great influence on the military conceptions of Napoleon, who had read and reflected on his writings. "Traditionally, Napoleon is presented as the direct heir of Guibert and his theories. In 1977, Jean Tulard did not emit a different opinion from that of Soboul in his famous Napoléon ou le mythe du Sauveur: "The strategic ideas of Napoleon were not new; they came straight from Guibert and the divisional principle." In the very good work of popularization of Thierry Lentz, Napoléon: « Mon ambition était grande », published in 1998, on page 71, on the front page of Chapter IV entitled "Le Dieu de la Guerre (1800-1810)", we are given a photograph of the Emperor's campaign kit, enhanced by a photographic montage with two books wide open. On the right page of the book with the smallest dimensions, we can read this title: Essai général de tactique. This nice montage is in perfect harmony with what Thierry Lentz writes on page 86, saying that 'young, he had discovered the basis of his strategy in Guibert's comments on the campaigns of Frederick the Great'." Beautiful copy preserved untrimmed in its original wrappers.

Precious pedagogical album composed of 40 lithographs on double-page entirely enhanced with watercolor and depicting kitchen utensils, music instruments, buildings and houses, some characters, various species (farm animals, birds, wild animals, etc.), flowers and plants,? The plates are preceded with a handwritten title and tables listing the 40 double plates. They are all surmounted by a printed title. The copies we could locate only contain 30 plates but not 40 like ours.

Couverture rigide. Etat : Très bon. Normal 0 21 false false false FR X-NONE X-NONE First edition of this collection of poems in Provencal, published little after the creation of the Félibrige in 1854. C.-P. Julian and P. Fontan, Anthologie du Félibrige provençal, p. 12. Campano mountado (The Mounted Bell, 1857) is a hero-comical poem composed of 7 chants "in the manner" of the Lectern namely: Sabòly, Lou Journau, Lou Diable, Moussu lou Curat, Vitòri, L'aigo-signado, La man que dardaio. "The Mounted Bell is the very pleasant and very poetic story by moments, of a certain bell-ringer of the Saint-Didier church of Avignon, a brave man passionate about his bells and who spends his life collecting money, penny by penny, from door to door, in order to enrich the chimes of his church with new notes. One can guess the sharp opportunities that such a setting offered to the painter of Avignon customs. This time Mr. Roumanille has released the bridle to his comic fantasy; be sure however that his lofty thoughts always seem appropriate in the midst of the most vivid buffoonery. This is, I am well aware, a completely local picture; the hero of the poem still lives and everyone can meet him on the street: why does this matter? This joyful madness of Mr. Roumanille does not detract from the kind gravity of his works." (Saint-René Taillandier. The Renaissance of Provencal life, p. 251). Joseph Roumanille, born in Saint-Remy-de-Provence in 1818 and died in Avignon in 1891, is a French poet writing in Provençal. "He was the elder of seven children in a wealthy family of peasants, with a Catholic background where one piously preserved the regional traditions and the use of the Provencal language. The young Joseph studied at the Tarascon College, and was then master of studies at Nyons, in the Drôme, then in Avignon where he had among his pupils Frederic Mistral and Anselme Mathieu. Attracted early by the language of his province, he published a first collection of verses in Provençal: 'Les Pâquerettes' in 1847. After the Revolution of 1848 he took part in the Legitimist journal of Avignon 'La Commune', in which he published dialogued pamphlets in which a remarkable talent of prose writer and polemicist emerged; most of these writings are reunited in in 'Lis Oubreto' (1860). Furthermore, Roumanille solicited the collaboration of young Provencal poets of that time, which he hosts and analyzes the productions in the columns of his paper: he reunited all these works in a volume in 1852 under the title 'The Provençal' (Li Prouvençalo'). Henceforth, Roumanille becomes a school leader: he establishes, with the consent of Mistral, the principles of the new spelling of the Provençal, that he states in the preface of 'God's share' (1852), and he participated in the foundation of the Félibrige the 21 May 1854 in Font-Ségugne, near Avignon, alongside Mistral, Aubanel, A. Mathieu, Giera, Brunet and Tavan. He was the elder of the 7; he had prepared the movement with his work and personal action; that is why he deserves to be called the 'Father of Félibrige'." (Dictionnaire des auteurs, IV, 143). In 1855, Joseph Roumanille became bookseller-editor in Avignon. His bookshop, in Saint-Agricol street, becomes a tool of the Felibrian cause. Numerous other works will be published by this publishing house that became the home of the Provençal Renaissance, such as "Mirèio" by Mistral and "Armana Prouvencau". Precious copy of this rare collection of Provençal poems, preserved in its elegant contemporary binding in night blue half-shagreen.

Couverture rigide. Etat : Très bon. Normal 0 21 false false false FR X-NONE X-NONE First edition of this very rare compilation gathering poems of five important members of the Félibrige: Castil-Blaze, Adoufe Dumas, Jan Reboul, Paul Giéra and Toussaint Poussel.Talvart 1890.Paul Giéra, said Glaup, is a French poet of Provençal tongue, born and dead in Avignon.He was one of the seven founding members of the Félibrige with Frédéric Mistral, Joseph Roumanille, Théodore Aubanel, Jean Brunet, Anselme Mathieu and Alphonse Tavan.Toussant Poussel was a doctor from Avignon and a member of the Félibrige. Very close to Roumanille, he published some texts and poems in Provençal.Jean Reboul, born in Nîmes on January 23rd, 1864, is a Provençal poet. He is the author of the famous L'Ange et l'enfant, published in 1828. Amongst his other poems, Le Dernier Jour was one of those that granted him an honorable place amongst the French poets. Chateaubriand visited him in Nîmes and congratulated him for his works. Lamartine, Alexandre Dumas and other celebrities of the time such as Andersen also came to see him. Jean Reboul was an active patron of the writers of the Félibrige.Born in the Vaucluse, on December 18th, 1805, Adolphe Dumas lived on the other side of the Durance River, in Cabannes, near the land of Mistral.After having written many poems and several plays, often off after a short time to make room for Alexandre Dumas' ones, he is named on June 14th, 1855 to "collect the popular plays of our provinces". In February 1856, he meets Frédéric Mistral in Maillance. In August 1858 he introduces him to Lamartine, of whom he is the secretary. It got him to be called "the father of the Félibrige writers".Friend of Frédéric Mistral, he was, by many, considered as the "father of the Félibrige writers". « Quant à vous, vous savez ce qu'il en est de nous: vous êtes le père des Félibres. Nous vous aimons à outrance. » (Letter of Frédéric Mistral to Adolphe Dumas, December 28th 1859).Castil-Blaze, whose real name is Joseph Blaze, was born in Cavaillon on December 1st, 1784. Music commentator and composer exiled in Paris, Castil-Blaze never forgot his native Provence and was, as Adolphe Dumas - himself also exiled in the capital - a standard bearer of the Provençal language of which he was so proud. Most of his work was mainly published after his death, by his friends from the Félibrige.These are Roumanille and Mistral, two other members of the Félibrige, who gathered and published these poems in Avignon in 1865.The work is composed of five parts gathering various poems of these five authors:· By Paul Giéra : Li galejado, A bigand, Li mau partejado, .· By Toussaint Poussel : Lis avignounenco, Lou guerbe-fio, .· By Jan Reboul : A moun ami M. G. de Labaumo, Meste Matieu, .· By Castil-Blaze : Lou renaire, L'amo danad, La liouno dou ventour, Liso, .· By Adoufe Dumas : Mi regret de Prouvenco, A Roumanillo em'a Mistral, mi bons ami, .A beautiful copy of this very rare compilation of Provencal poems, with the printed wrappers bound in.Localization of the copies: only 4 in the French Public Institutions.

Couverture rigide. Etat : Très bon. Londres, 1787.In-8 de 304 pp. Conservé dans sa brochure d'origine de papier orangé, pièce de titre de papier en tête du dos, non rogné. Brochure de l'époque.212 x 137 mm. --- Edition originale rare de cette analyse des campagnes de Frédéric II jugées par le célèbre tacticien français Jacques-Antoine-Hippolyte Guibert, ouvrage qui eut une grande influence sur les conceptions militaires de Napoléon.Jacques-Antoine-Hippolyte Guibert est un général et auteur militaire français né le 12 novembre 1743 à Montauban et mort le 6 mai 1790 à Paris.« Le 1er juin 1772, M. de Guibert avait fait parvenir au Roi, par l'entremise de d'Alembert, son ?Essai général de tactique' ; il arriva lui-même à Postdam le 14 juin 1773, et écrivit à Frédéric une lettre. Aux pages 215 et suivantes, M. de Guibert parle de la conversation qu'il eut avec le Roi le 17 juin, et de son séjour à Postdam. Dans le second volume de son ?Journal', il parle des man?uvres et des revues auxquelles il avait assisté en Silésie, aux mois d'août et de septembre 1773. Son séjour à Berlin, à Postdam et en Silésie, ses conversations avec Frédéric, et la connaissance assez intime qu'il avait faite avec M. de Catt, l'abbé Bastiani, le colonel Quintus Icilius, les généraux d'Anhalt et de Rossières, et avec beaucoup d'autres personnages très capables de le mettre au fait de l'histoire de la Prusse et du caractère de Frédéric, lui donnèrent l'idée et lui fournirent les moyens d'écrire ?l'Eloge du roi de Prusse'. A Londres (Paris), 1787, 304 pages in-8. Cet ouvrage a été souvent réimprimé ; il a été traduit deux fois en allemand, et en italien. On en trouve une critique sévère dans la ?Lettre du comte de Mirabeau à M. le comte de. sur l'Eloge de Frédéric, par M. de Guibert', 1788. Il est souvent fait mention de M. de Guibert dans la correspondance de Frédéric. » (?uvres de Frédéric le Grand). Guibert entre en 1756, à l'âge de treize ans, /// London, 1787.8vo [212 x 137 mm] of 304 pp. Preserved in its original orange wrappers, paper lettering-piece at the head of the spine, untrimmed. Original wrappers. --- Rare first edition of this analysis of Frederick II campaigns evaluated by the famous French tactician Jacques-Antoine-Hippolyte Guibert, a work that had a great influence on the military conceptions of Napoleon.Jacques-Antoine-Hippolyte Guibert is a French general and military author born November 12, 1743 in Montauban and died May 6, 1790 in Paris.His stay in Berlin, Postdam and Silesia, his conversations with Frederick, and the quite intimate relationship he had with Mr de Catt, the abbot Bastiani, Colonel Quintus Icilius, the generals of Anhalt and Rossieres, and with many other characters very much able of informing him about the history of Prussia and Frederick's nature, gave him the idea and provided him with the means to write ?l'Eloge du roi de Prusse'. In London (Paris), 1787, 304 pages 8vo. This work has often been reprinted; it has been translated, twice into German, and into Italian. We find a severe critique of the latter in the ?Lettre du comte de Mirabeau à M. le comte de. sur l'Eloge de Frédéric, par M. de Guibert', 1788."De Guibert is often mentioned in the correspondence of Frederick." (Works of Frederick the Great).Guibert entered in 1756, at the age of thirteen, to the Auvergne regiment with the rank of Lieutenant. He became Captain in 1758 and took part in the Seven Years' War. He accompanied his father, Charles-Benoît, Count of Guibert (1715-1786), camp Commander of Marshal de Broglie. His father, of modest extraction and officer of fortune, had reached the rank of Lieutenant general and the functions of Governor of the Invalids in 1786.He was decorated with the Cross of Saint Louis during the operations in Corsica. At the end of the campaign, he is appointed Colonel and receives the command of the Corsican Legion at its creation. He published in Liège his Ess.

Couverture rigide. Etat : Très bon. Paris, chez Jean Anisson, 1698.2 tomes en 1 volume in-8 de : I/ (2) ff., 148 pp. ; II/ (6) ff., 239 pp., (1) p. d'errata. Petite manque dans le coin supérieur d'une p. sans atteinte au texte, petite perforation à peine visible dans la marge blanche inférieure des 10 premières pp. Relié en plein maroquin rouge de l'époque, triple filet doré encadrant les plats, fleur-de-lys dorées aux angles, dos à nerfs richement orné, roulette ornée d'une fleur-de-lys frappée en queue du dos, roulette dorée sur les coupes, roulette dorée intérieure, tranches rouges. Anciennes restaurations discrètes à la reliureReliure de l'époque. 185 x 115 mm. --- Rare réunion de deux textes polémiques de Bossuet en éditions originales, composés durant la querelle du quiétisme qui l'opposait à Fénelon. Tchemerzine, I, 879 & 882 ; Brunet, I, 1138 ; Bibliothèque Rahir n° 336. Le quiétisme est une doctrine mystique qui considère que la communion la plus parfaite avec Dieu n'intervient que lorsque l'âme est en état de quiétude. La querelle qui opposa les quiétistes à Bossuet prend corps dans cet ouvrage où ce dernier réfute avec une violence particulière tous les arguments des quiétistes à la tête desquels se trouvait Fénelon.  « À l'intérieur du catholicisme, d'autres tendances se font jour. L?une va dans le sens mystico-sentimental et propose une religion du c?ur, passivement offerte à l'amour divin : il s'agit du quiétisme, défendu par l'archevêque de Cambrai Fénelon ("Explications des Maximes des Saints", 1697) et popularisé par Mme Guyon dans ses "Torrents spirituels" qui préconisent l'anéantissement de la volonté et l'abandon à l'extase [?]. Contre toues ces tendances, internes et externes, Bossuet mène un combat épuisant, où il fait front devant une modernité qu'il juge impie. Il foudroie Fénelon, et le fait condamner à Rome ; Mme Guyon est enfermée puis internée. » Peter-Eckhard /// Paris, chez Jean Anisson, 1698.2 parts in one 8vo volume [185 x 115 mm] of: I/ (2) ll., 148 pp.; II/ (6) ll., 239 pp., (1) p. of errata. Small lacking in the upper corner of a p. not affecting the text, barely visible perforation in the blank lower margin of the 10 first pp. Bound in full contemporary red morocco, triple gilt fillet on the covers, gilt fleur-de-lys in the corners, spine ribbed and richly decorated, border with a stamped fleur-de-lys at the foot of the spine, inner gilt border, red edges. Old and plain restorations to the binding.Contemporary biding. --- Rare reunion of two polemic texts by Bossuet in first editions, composed during the quietism's quarrel that opposed him to Fenelon. Tchemerzine, I, 879 & 882; Brunet, I, 1138; Bibliothèque Rahir n° 336. Quietism is a mystical doctrine considering that the most perfect communion with God only happens when the soul is in a quietude state. The quarrel that opposed the quietists to Bossuet takes shape in this work where the latter refutes really violently all the arguments of the quietists at the head of which Fénelon was. "Within Catholicism, other trends emerge. One goes in the mystic-sentimental sense and offers a religion of the heart, passively given to the divine love: it is quietism, defended by the archbishop of Cambrai Fénelon  ("Explications des Maximes des Saints", 1697) and popularized by Mme Guyon in her "Spiritual torrents" that advocate the annihilation of the willpower and the abandon to ecstasy [?]. Against all these internal and external tendencies, Bossuet leads an exhausting fight, where he stands up to modernity that he judges impious. He strikes Fénelon down, and have him condemned in Rome; Mme Guyon is locked up then interned." Peter-Eckhard Knabe, L'aube de la modernité, 1680-1760, p. 434. This very rough exchange between the two great orators of the 17th century had to end in 1699 with Bossuet's triumph who obtained that Fénelon was kept away from court, and.

Couverture rigide. Etat : Très bon. Paris, Antoine de Sommaville, 1661.In-12 de (1) f.bl., (5) ff., 162 pp. Bandeaux, culs-de-lampe et nombreux petits fleurons gravés sur bois. Exemplaire rogné un peu court dans la marge latérale, à certaines pages au raz des manchettes. Relié en plein veau granité de l'époque, dos à nerfs richement orné, coupes décorées, tranches mouchetées. Reliure de l'époque. 145 x 81 mm. --- Édition originale de ce beau recueil de panégyriques du célèbre poète normand Georges de Brébeuf. Brunet, I, 1215. Le présent ouvrage comporte des pièces poétiques circonstanciées : ?Sur le mariage du Roy', ?A Monseigneur le Cardinal Mazarin. Panégyrique de la paix', ?Sur la maladie et la guérison de Monseigneur le Cardinal Mazarini', ?Histoire de la dernière campagne du Roy, en l'Année 1658', ?A Monseigneur Foucquet, procureur général au Parlement de Paris, Sur-Intendant des Finances et Ministre d'Etat', ?Pour la Reyne de Suede'. « C'est dans les ?Eloges poétiques' et dans les ?Entretiens solitaires' que Brébeuf montre le plus de qualités personnelles ; c'est pour lui l'époque de la maturité, et si nous retrouvons dans ces poèmes les défauts déjà signalés, un goût trop marqué pour l'emphase, l'hyperbole, l'antithèse, jamais son inspiration n'a été plus forte, sa phrase plus vigoureuse, plus pleine et plus sonore, son vers mieux rythmé. Ces deux ouvrages offrent des caractères communs, qui les rapprochent l'un de l'autre et leur assurent une place à part dans l'?uvre de Brébeuf. Les ?Eloges' sont des panégyriques ; ce genre, à la fois lyrique et épique, avait de quoi éveiller l'ardente imagination du poète ; il célèbre les grands événements contemporains, la prodigieuse fortune et la gloire de Fouquet et de Mazarin, les exploits du roi et de son armée, les bienfaits de la paix que négocie le ministre ; il prend ainsi sa part de la joie et de la prospérité du pays ; mais tout /// Paris, Antoine de Sommaville, 1661.12mo [145 x 81 mm] of (1) bl.l., (5) ll., 162 pp. Wood-engraved banners, tail-pieces and many little fleurons. Copy trimmed a bit short in the lateral margin, some pages cut near the headlines. Bound in full contemporary granite-like calf, spine ribbed and richly decorated, mottled edges. Contemporary binding. --- First edition of this fine compilation of eulogies by the famous Norman poet Georges de Brebeuf. Brunet, I, 1215. This work encloses detailed poetical plays: ?Sur le mariage du Roy', ?A Monseigneur le Cardinal Mazarin. Panégyrique de la paix', ?Sur la maladie et la guérison de Monseigneur le Cardinal Mazarini', ?Histoire de la dernière campagne du Roy, en l'Année 1658', ?A Monseigneur Foucquet, procureur général au Parlement de Paris, Sur-Intendant des Finances et Ministre d'Etat', ?Pour la Reyne de Suede'. "This is in the ?Eloges poétiques' and in the ?Entretiens solitaires' that Brébeuf shows most of his personnal qualities; it is for him the time of maturity, and if we find in these poems the imperfections already mentioned, too much taste for emphasis, hyperbole, antithesis, his inspiration has never been stronger, his phrase more vigorous, fuller and louder, his verse better marked. These two works offer common characters, which bring them closer and ensure them a separate place in Brébeuf's work. The ?Eloges' are eulogies: this kind, both lyrical and epic, had something to awaken the poet's ardent imagination; he celebrates the great contemporary events, Fouquet and Mazarin's prodigious fortune and glory, the exploits of the King and his army, the benefits of the peace negotiated by the minister; he then takes part in the joy and prosperity of the country; but all these plays and especially the ones addressed to the bishop Auvry, to Fouquet or to Mazarin, also mark the desire to be liked by them, to ensure their benevolence and to obtain a strong support, a feeling that he adds v.

Couverture rigide. Etat : Très bon. Paris, Omnium Français de Publicité, 1926.Petit in-folio de 24 planches imprimées en couleurs. Conservé broché tel que paru, dans sa couverture souple en papier de ton orange vif, titre « Carnaval » et figure d'une femme masquée d'un loup noir sur le plat supérieur. Trois tampons apposés sur le plat supérieur. Couverture d'origine.315 x 210 mm. --- Rare témoignage du commerce des déguisements et accessoires de fête à Paris pendant les années folles. Catalogue de vente publié par un marchand de déguisements français à l'occasion du carnaval de 1927, bien complet de ses 24 planches au format in-folio présentant plus de 450 articles. Une table des matières répertorie au verso de la couverture les nombreux articles figurant au catalogue : loups et dominos, masques en carton pour enfants, hommes et femmes, demi-visages et nez, masques en jersey, masques artistiques, barbes et moustaches, perruques, tambourins, grosses têtes colin-maillard, articles pour décoration de chars, nombreux costumes (clowns, Pierrots, Arlequin, cow-boy, Marquise, Paysan Normand, Carmen, Colombine, Fée, Pêcheur, Bécassine, ?), coiffures diverses, coiffures en papier, articles de noël (costume de Père noël, sabots de noël, ?) etc. Chaque article de déguisement proposé à la vente est illustré en couleurs. Le présent exemplaire contient encore sur la première page le coupon de remise confidentielle de 40% effectué par le vendeur. Le carnaval et les soirées déguisées étaient très en vogue pendant l'entre-deux-guerres, période durant laquelle les divertissements étaient vivement recherchés pour oublier les affres de la guerre. Hommes et femmes se rendaient au cinéma, dans les salons, dans les « dancings », pour danser, rire et faire la fête. Le présent catalogue est tout à fait représentatif de l'atmosphère qui règne encore à Paris à la fin des années folles et à la veille du krach de 1929. Précieux catalogue entièremen /// Paris, Omnium Français de Publicité, 1926.Small folio [315 x 210 mm] of 24 plates printed in colour. Preserved in wrappers as published, in its limp vivid orange paper cover, title "Carnaval" and figure of a woman with a black eye mask on the front cover. Three stamps affixed on the front cover. Original wrappers. --- Rare testimony of the costumes and party accessories trade in Paris during the Roaring Twenties Sales catalogue published by a French costume merchant on the occasion of the 1927 carnival, complete with its 24 folio plates presenting more than 450 items. A table of contents lists at the back of the cover the numerous items appearing in the catalogue: eye masks and dominos, children, men and women's cardboard masks, half-faces and noses, jersey masks, artistic masks, beards and moustaches, wigs, tambourines, big heads of blind man's buff, items for decoration of floats, many costumes (clown, Pierrots, Harlequin, cow-boy, Marchioness, Norman peasant, Carmen, Columbine, Fairy, Fisherman, Bécassine, .), various hairstyles, paper headgears, Christmas items ( Father Christmas costume, Christmas clogs, .) etc. Each item for sale is illustrated in colour. The present copy even contains on the first page the confidential discount coupon of 40% made by the salesman. Carnival and disguised parties were very popular in the inter-war years, a time during which entertainment was strongly looked after to forget the horrors of war. Men and women went to the movies, to the salons, to the dance halls, in order to dance, laugh and party. This catalogue is really representative of the atmosphere that still reigned in Paris at the end of the Roaring Twenties and on the brink of the 1929's crash. Precious catalogue entirely printed in colour, presenting the full range of masks, costumes and party accessories available in France for the 1927 carnival.

Couverture rigide. Etat : Très bon. In-12 de (2) ff, viii pp., 244 pp. Qq. rares rousseurs en début de volume. Demi-basane fauve de l'époque, dos à nerfs orné de fleurons dorés, pièce de titre de maroquin noir, chiffre doré C.F. frappé en pied du dos, tranches mouchetées. Reliure de l'époque.176 x 110 mm. --- Seconde édition, « assez recherchée en raison de la grande rareté de l'originale » (Clouzot, p.257).Cordier, Bibliographie stendhalienne, n°71 ; Carteret, II, p.352.Elle renferme une curieuse préface de Monselet.« Cette édition a ceci de particulièrement singulier que la préface est un ?éreintement' sans miséricorde, et pourtant cette édition fut conseillée à Giraud par Monselet lui-même ! qui appelle Stendhal ?diplomate avec un visage de droguiste' ». Carteret, II, p. 352.« Premier roman de Stendhal (Henri Beyle, 1783-1842), publié en 1827. L'action se passe dans la haute société, sous la Restauration, à Paris, durant le règne de Louis XVIII. Octave de Malivert, âgé de vingt ans, tout juste sorti de l'école polytechnique, se fait remarquer par sa vive intelligence et la distinction de sa personne, mais aussi par un caractère extraordinairement fermé et lunatique, qui le pousse parfois à de véritables accès de fureur. Il n'éprouve de sincère amitié que pour une cousine qui est de son âge, Armance de Zohiloff, jolie jeune fille noble et pauvre, au caractère loyal et courageux, qu'il a rencontrée chez une de ses tantes, Mme de Bonnivet. Une cruelle équivoque vient interrompre cette tendre amitié :Octave, dont la famille a été ruinée par l'émigration, reçoit du gouvernement royal deux millions de dédommagement ; Armance qui l'aime en secret, croit remarquer un changement dans ses manières après cette fortune imprévue, et trouvant là matière à mépriser le caractère de son cousin, elle se jure à elle-même de tenir son amour toujours secret, car elle ne veut point passer pour une vulgaire profiteuse aux yeux d'Octave et à ce /// 12mo [176 x 110 mm] of (2) ll. viii pp., 244 pp. A few rare foxing at the beginning of the volume. Contemporary fawn half-sheepskin, ribbed spine decorated with gilt fleurons, black morocco lettering-piece, initials CF gilt-stamped at the foot of the spine, mottled edges. Contemporary binding. --- Second edition "quite sought-after due to the great rarity of the first edition". (Clouzot, p.257).Cordier, Bibliographie stendhalienne, n°71 ; Carteret, II, p.352.It contains a curious preface by Monselet."Stendhal's (Henri Beyle, 1783-1842) first novel, published in 1827. The action takes place in the high society of the ?Restauration' in Paris during the reign of Louis XVIII. Octave de Malivert, a 20-year-old ?Polytechnique' graduate gets noticed thanks to his sharp intelligence and the distinction of his character but also by a temperamental personality that sometimes lead him to fits of anger. He only feels a true friendship towards a cousin of his age, Armance de Zohiloff, a beautiful noble but poor young woman, with a courageous and loyal nature who he met through his Aunt Mme de Bonnivet. A cruel ambivalence interrupts this tender friendship: Octave, whose family has been ruined by emigration, receives 2 millions as indemnification from the royal government. Armance, who is secretly in love with him, begins to notice a shift in his behaviour after this unexpected fortune, leading her to despise her cousin's character. She swears to keep her love secret for fear of seeming like a vulgar profiteer to Octave and the rest of the world. Octave, painfully hurt by this coldness and reluctantly led to successes within the high society will only be able to dissipate this mistake much later on. [.] Today the book is judged in many different ways: whereas some contest its artistic value, some passionate stendhalians would want to elevate the work as a masterpiece [.] The work is interesting beyond its own qualities for it sets out some of the themes that will.

The first edition of this essay by j. m. g. Le Clezio published in 1967 by Gallimard. One of the first 36 numbered copies on Hollande vellum, followed by 156 copies on pur fil vellum. A discursive essay, the opposite of any system, composed of meditations written in all tranquillity, intended to stir rather than to reassure, yes, to shake up received ideas, acquired or learned things. It is a treatise on applied emotions. "Principles and systems are weapons against life."The beauty of life, the energy of life are not of the spirit, but of matter. A perfect copy in mint condition.

Last old edition of the Works of Louise Labé, the first after more than two centuries of editorial silence, printed in a edition of 525 copies by Lyon bibliophile Pierre Adamoli at Aimé de La Roche from a copy of the original 1555 edition. Brunet, Manuel du libraire, III, 709. Around 1550, a bourgeois woman from Lyon, wife and daughter of artisan cordiers, not only claimed the right to write, but also succeeded in getting herself published, during her lifetime, by one of the most famous printers of her time. La "Belle Cordière" (c. 1520-1566) had her Works published in 1555 by Jean de Tournes in what was then the cultural capital of the French kingdom. Italy had led the way in recognizing the talents of Petrarch's brilliant imitators: great aristocrats like Vittoria Colona and Veronica Gambara, or upper-middle-class ladies like Gaspara Stampa and Tullia d'Aragona. In France, the tradition of the cortegiana onesta was not firmly established. When a woman of modest means dared to step out of her silence to make herself heard publicly, voices were raised to reprove behavior deemed indecent, according to the moral and social standards of the time. In the case of the "Lyonnaise Sappho", censors did react, but on closer inspection, they were few and relatively discreet. Calvin certainly alluded to the author's allegedly scandalous morals (he called her a common prostitute: plebeia meretrix), but he was hardly followed. Malicious poems circulated, including the venomous ode of a disappointed lover. But as early as 1555, François de Billon begged his detractors not to take seriously those who, "out of envious malice", denigrated a woman they had never been able to equal. In fact, as the history of the immediate reception attests, the new collection was to arouse almost universal enthusiasm, so much so that some twenty well-known writers agreed to insert a collective tribute to the glory of their young colleague in the 1555 collection ("Escriz de divers poëtes à la louenge de Louize Labé Lyonnoize", Ed. Rigolot, p. 142 sq.). Precious copy of this very rare edition, printed in only 525 copies, preserved in its old red morocco binding. From the library Pierre de St Victor with ex libris.

Couverture rigide. Etat : Très bon. Paris, chez Treuttel et Würtz, 1826. 4 parts in 4 volumes 8vo of : I/ 1 engraved frontispiece, xx pp., 404 pp.; II/ 1 frontispiece, (4) pp., 422 pp., (1) l.; III/ 1 engraved frontispiece, (2) ll., 439 pp.; IV/ 1 frontispiece, (2) ll., 536 pp. Some scattered foxing, more pronounced at the beginning and end of volumes. Light-brown quarter-calf, spines ribbed decorated with grotesques, lettering pieces in red and black morocco, top edge gilt, untrimmed. Binding signed by Petit. 217 x 133 mm. One very remarkable thing about this novel is that it has been translated and printed in several languages, but until now it had never been published in its original language . Vicaire, VI, Manuel de l amateur de livres du XIXème, 1180. The Roman de Renart is a famous allegorical and satirical poem from the Middle Ages. The heroes are Renart or Goupil (the fox) and Isengrin or Ysengrin (the wolf), personifying cunning and strength. Around them moves a whole world, which is the image of the feudal world with its hierarchy, castes, prejudices, mores and laws. A bibliophile and curator at the Bibliothèque royale, D.- M. Méon (1749-1829) had already published editions of a number of the great texts of medieval French literature, including the Roman de la Rose (1814). The Roman de Renart is the French version of a widespread medieval cycle of stories originating in Lorraine and known in English as Reynard the Fox. The earliest treatments in French are attributed to Pierre de Saint-Cloud in the late 12th century. Dominique Martin Méon, born September 1, 1748 in Saint-Nicolas-de-Port and died in Paris on May 5, 1829, was a French librarian, bibliophile, romanist and medievalist. During the French Revolution, he worked for the Ministry of War, providing supplies to the armies; he lost this job at the end of 1799; at the end of 1803, he sold the remarkable collection of books he had built up. From 1807 to 1826, he was assistant curator in the manuscript department of the National Library in Paris, where, around 1820, he organized the Latin Supplement collection of Latin manuscripts acquired from 1744 onwards. He is the scientific editor of French texts from the Middle Ages. He is particularly well known for his philological contribution to the 1824 edition of the French National Library s French manuscript n°1116, known as F , of the Book of Marco Polo, a publication of great historical importance, as it was the first edition of a manuscript of Marco Polo s famous account. Each volume opens with a fine engraved frontispiece signed Desenne and Ashby. Precious copy from the first printing in French of this famous poem from the Middle ages.

Couverture rigide. Etat : Très bon. First collective edition gathering the two series of pupazzi published in 1866 and 1868. Vicaire, V, 193. Louis Lemercier, known as Louis Lemercier de Neuville or La Haudussière, born on July 2, 1830 in Laval and died on June 10, 1918 in Nice, was a French puppeteer, journalist, columnist, playwright and storyteller. He is the creator of the French Pupazzi Theater. He begins with a brief career in the administration of the posts. He then founded several short-lived periodicals: on March 4, 1855, he launched his first newspaper entitled La Muselière, journal de la decadence intellectuelle. He then wrote to L'Indépendance dramatique quite assiduously and published, in 1855 and 1856, the Pastiches critiques des auteurs contemporains, the Inconnus célèbres, the Miettes de pain perdues, a genre novel. At the end of 1856, he became editor-in-chief of L'Exemple. In 1857, he wrote letters from Paris in the Presse théâtrale and played a vaudeville at the Ambigu: Recette pour marier ses filles. In 1858, he founded Le Parisien, a 10 cent illustrated newspaper. He was also director of Le Foyer from April 17 to 18, 1858. He collaborates thereafter to several newspapers of which Le Figaro, Le Nain jaune, Le Monde illustré. In 1860, he opens a portable theater of pupazzi with the setting in scene in the form of caricatures of the celebrities of the moment. He had a great success in the salons of the end of the 19th century. Under assumed names (the key is in a notice at the end of each play), Lemercier de Neuville played the celebrated men of his time in the form of cardboard characters, the Pupazzi. These eighteen plays, of which he was the author, the stage manager, the manipulator and the voices, had a great success in the salons of his time. "The Pupazzi's troupe forms a dramatic staff such as one does not see on the boards of any theater. More illustrious than the members of the Comédie-Française, more in tune than the singers of the Opera, less demanding than the tenors of Russia and the warblers of America, more amusing than the jokers of the Bouffes and the Palais-Royal, more supple than Auriol, cuter than the actors of the children's troupe of the late Comte theater, do not these puppets of wood and rags represent the ideal of a dramatic troupe? Impresario, author, actor, prompter, stagehand, decorator and sculptor, Lemercier de Neuville is the soul of this wonderful microcosm". Besides a portrait of the author engraved on copper by J. M. Fugère, each of the 18 pieces is preceded with a beautiful etching (head-piece) engraved by Gheneutte, Taiee, Cham, Beauverie, Bertall. Precious copy of this sougth-after work, preserved in an elegant, signed, contemporary binding with the illustrated wrapper bound in.

Couverture rigide. Etat : Très bon. Paris, Gallimard, 1995. Fort in-8 de 714 pp., (22) pp. Conservé broché, tel que paru. Non coupé.236 x 145 mm. Epaisseur : 7 cm. --- Édition originale de ce recueil de lettres de Marguerite Yourcenar, l'un des 62 exemplaires numérotés sur vergé blanc de Hollande, seul tirage en grand papier.Exemplaire n°46.« Cette toute première anthologie de lettres de Marguerite Yourcenar permet de mesurer la force de son engagement au monde et réserve bien des surprises posthumes. Journal intermittent, la correspondance accomplit ici ses trois fonctions essentielles : accompagner la femme hors de l'?uvre, accompagner l'auteur dans son ?uvre, faire ?uvre. Autoportrait au quotidien ou exercice de connaissance de soi, les ?Lettres à ses amis et quelques autres' content l'intimité de l'exilée de Mount Desert Island, ou de la voyageuse qui fait ?le tour de la prison', depuis la première lettre enfantine jusqu'au mois qui précède la mort. Courroie de transmission entre la femme de chair et la femme de plume, ces lettres ne décevront pas ceux qui s'intéressent avant tout aux secrets de fabrication, aux coulisses des ?uvres. Elles réveilleront chez les lecteurs de Marguerite Yourcenar d'anciens plaisirs de lecture, renouvelés par un genre littéraire où ils ne la connaissent pas encore mais où ils la reconnaîtront. » (Préface)« Marguerite Yourcenar allait devenir un de ces ?monstres sacrés' que sont les écrivains considérés de leur vivant comme auteurs classiques » (Dictionnaire des auteurs, IV, 732).Magnifique exemplaire en tirage de tête, conservé broché et non coupé tel que paru, à l'état neuf. /// Paris, Gallimard, 1995.Large 8vo of 714 pp., (22) pp. Preserved in its original wrappers, as issued. Uncut. 236 x 145 mm. Thickness : 7 cm. --- First edition of this collection of letters by Marguerite Yourcenar, one of only 62 numbered copies on Holland laid- paper, the only deluxe copies.Copy n°46.« This very first anthology of Marguerite Yourcenar's letters enables to measure the force of her engagement to the world and has many posthumous surprises. Intermittent diary, the correspondence reaches its three main functions: support the woman out of her work, support the author in her work, to be a « work ». Daily self-portrait or exercise of one self's own knowledge, the ?Lettres à ses amis et quelques autres' tell the intimacy of the exiled at Mount Desert Island, or of the traveler that makes the « tour of the prison », from the first childish letter to the months before her death. Transmission belt between the woman of flesh and the woman of pen, these letters will not disappoint those who are above all interested in the production secrets, the work backstage. They will revive for Marguerite Yourcenar's readers old reading pleasure, renewed by a literary genre where she was not expected but where she will be recognized. » (Preface)« Marguerite Yourcenar would become one of these ?giants' that are the writers considered as classic while living » (Dictionnaire des auteurs, IV, 732).Magnificent deluxe copy, preserved untrimmed and uncut, as published.

Couverture rigide. Etat : Très bon. A La Haye et se trouve à Lausanne, chez Franç. Grasset, 1776. 2 parties reliées en 1 volume in-12 de : I/ (1) f., viii pp., 155 pp., (3) pp., (1) f.bl. ; II/ (2) ff., 181 pp., (3) pp. Conservé dans son cartonnage muet d'attente, dos lisse avec le titre manuscrit à l'encre, non rogné. Reliure de l'époque 166 x 117 mm. --- Rare contrefaçon de l'un des premiers ouvrages de Restif. Rives Childs, V, 8, p. 209. Le texte est identique à celui de la première édition de 1769, les fautes n'ayant pas été corrigées. « Le jeune Nicolas Anne Edme Rétif (1734-1806) est envoyé en 1751 à Auxerre pour être mis en apprentissage chez un imprimeur, où il séduit la belle épouse de son patron qu'il devait évoquer plus tard sous les traits de Mme Parangon. Devenu ouvrier typographe en 1755, il décide de se rendre à Paris où il ne tarde pas à entrer à l'Imprimerie royale. Il vient tout juste d'atteindre sa majorité. Esclave de son tempérament, il inaugure sans plus attendre la vie d'homme à bonnes fortunes qui sera toujours sienne. Environ 1760, et dans l'espoir de mettre un terme à ses fredaines, sa famille juge bon de lui faire épouser une fille d'Auxerre appelée Agnès Lebègue. Après avoir donné quatre filles à son épouse, il s'en sépare. De plus en plus il passe ses nuits à courir les mauvais lieux, afin d'y observer le vice, et, bien entendu, le pratique lui-même pour l'acquit de sa conscience. En 1767, il débute enfin dans les lettres en publiant ?La Famille vertueuse', roman en quatre volumes. Enhardi par le vague succès qu'il obtient, il décide de vivre uniquement de sa plume. Il se sent d'autant mieux armé pour cette lutte que, sachant la typographie, il sera capable d'imprimer lui-même ses ouvrages, et, par là, pourra se moquer des exigences des imprimeurs. En 1769, il donne ?La Fille naturelle', puis ?Le Pied de Fanchette'. » (Dictionnaire des auteurs, IV, 70) « L'auteur a composé cette historiette intéressante d'ap /// A La Haye et se trouve à Lausanne, chez Franç. Grasset, 1776. 2 parts bound in 1 volume 12mo [166 x 117 mm] of: I/ (1) l., viii pp., 155 pp., (3) pp., (1) bl.l.; II/ (2) ll., 181 pp., (3) pp. Preserved in its provisional blank cased binding, flat spine with the handwritten title in ink, untrimmed. Contemporary binding. Rare counterfeit of one of Restif de la Bretonne's first works. Rives Childs, V, 8, p. 209. The text is identical to the one in the first edition of 1769, since the errors have not been corrected. "The young Nicolas Anne Edme Rétif (1734-1806) is sent in 1751 to Auxerre to apprentice to a printer, where he seduces his employer's beautiful wife that he was to mention later as Ms Parangon. He became a typographer in 1755 and then decides to go to Paris where he doesn't take long to enter the Imprimerie royale. He has just come of age. As a slave of his temper, he initiates, without further ado, the life of a Don Juan which will always be his. Towards 1760, and hoping to put an end to his escapades, his family judges wise to marry him to a girl from Auxerre named Agnès Lebègue. After giving her four girls, he separates from her. He spends more and more his night philandering, in order to observe vice and, of course, to practice it himself in order to set his mind at rest. In 1767, he finally starts in literature by publishing ?La Famille vertueuse' (The Virtuous family), a novel in four volumes. Embolden by his large success, he decides to live solely on his writing. He feels much better armed for this fight since, knowing the letterpress, he will be able to print himself his works, and, thanks to that, will be able to ignore the printers' requirements. In 1769, he writes ?La Fille naturelle' (The Natural daugher), then ?Le Pied de Fanchette' (Fanchette's foot)." (Dictionnaire des auteurs, IV, 70) "The author wrote this interesting anecdote after the story of Edme-Rapenot, bookseller, who had known the heroine and her daughter". (Rives.

Couverture rigide. Etat : Très bon. Au Dezert, Imprimé aux despens de l'Autheur, 1630.In-8 de (6) ff. dont le titre et 308 pp. Relié en plein maroquin bleu nuit, triple filet doré encadrant les plats, dos à nerfs richement orné de glands dorés, double filet doré sur les coupes, roulette intérieure dorée, tranches dorées. Reliure du XIXe siècle signée F. Bedford. 170 x 104 mm. --- Second tirage de l'édition originale collective, la première renfermant les quatre parties, la quatrième paraissant ici en édition originale. Tchemerzine, I, p. 175. « Seule édition complète de ces dialogues qui ait paru du vivant de l'auteur ». (Brunet, I, 545). « Ce second tirage de la première édition collective est considéré par M. de Backer comme une contrefaçon. Les pp. 306, 307 et 308 sont bien numérotées, le fleuron de titre est différent, les grandes capitales des têtes de livres sont plus petites, et beaucoup de fautes d'impression ont été corrigées » (Tchemerzine). Cette édition présente la particularité suivante : la distinction typographique entre l'u et le v est observée dans le texte, bien qu'elle ne le soit pas dans le titre. L'adresse « Au Dezert » serait celle de Pierre Aubert à Genève. La publication de ce volume fit condamner son imprimeur à l'amende et à la prison sur un arrêt d'avril 1630 du Petit Conseil de Genève, avec injonction de détruire toute l'édition. Ce roman satirique est composé, pour la plus grande partie, de dialogues entre le baron de Faeneste, soldat vaniteux et fanfaron, et le seigneur d'Enay, homme bon, simple et modeste, « Faeneste » en grec signifie Apparence tandis qu' « Enay » représente l'Etre. Le soldat s'exprime dans un français mêlé de dialecte gascon, tandis que le seigneur parle en termes nobles et choisis. « Le baron revient de la guerre et rencontre Enay, humblement vêtu. Le soldat prétentieux fait l'éloge de la vie guerrière, mais Enay discute ses théories pour lui montrer par de solides arguments, et ave /// Au Dezert, Imprimé aux despens de l'Autheur, 1630. 8vo [170 x 104 mm] of (6) ll. including the title and 308 pp. Bound in full dark blue morocco, triple gilt fillet on the covers, spine ribbed and richly decorated with gilt acorns, inner gilt border, gilt edges. Binding from the 19th century signed F. Bedford. --- Second issue of the collective first edition, the first enclosing the four parts, the fourth one being published here for the first time. Tchemerzine, I, p. 175. "Sole complete edition of these dialogues published when the author was alive". (Brunet, I, 545). "This second issue of the first collective edition is considered by M. de Backer as a counterfeit. Pp. 306,307 and 308 are indeed numbered, the title fleuron is different, the great capitals at the top of the books are smaller, and many misprints have been corrected." (Tchemerzine). This edition presents the following particularity: the typographic distinction between u and v is observed in the text, whereas it isn't in the title. The address "Au Dezert" would be the one of Pierre Aubert in Geneva. The publication of this volume had its printer fined and sentenced to prison after an arrest of April 1630 by the Geneva's Small Council, with order to destroy the entire edition. This satirical novel is composed, for the most part, of dialogues between the baron de Faeneste, a vain and boastful soldier, and the lord of Enay, a good, simple and honest man, "Faeneste" in Greek means Appearance whereas "Enay" means Being. The soldier speaks in French mixed with Gascon dialect, whereas the lord speaks in noble and chosen terms. "The baron comes back from war and meets Enay, humbly dressed. The pretentious soldier praises the war life, but Enay discusses his theories to show him with solid arguments, and with much finesse, the despair of a life lived from day to day with, for only goal, the immediate success. Dialogue after dialogue, the author tells Faeneste's adventures: his arrival at Court, his lov.

Couverture rigide. Etat : Très bon. Paris, Calmann Lévy, 1886.In-8 de (2) ff., vi pp. de préface, (1) f., 110 pp., (1) f., (1) f.bl. Relié en plein maroquin brun janséniste à grain long, dos à nerfs, double filet doré sur les coupes, doublures de reps bordeaux ornées de nombreux filets dorés, gardes de reps bordeaux, tranches dorées, non rogné avec témoins, couvertures conservées. Reliure signée de Canape R. D. 243 x 155 mm. --- Édition originale de ce roman d'Ernest Renan, l'un des 25 exemplaires de tête sur Japon. Vicaire, Manuel de l'amateur, 1032 ; Bibliothèque de Backer, 2129 ; Carteret, II, 258. « L'Abbesse de Jouarre est la seule pièce de Renan au sujet de laquelle la question d'une représentation ait été sérieusement posée. Son histoire a donc l'intérêt d'une expérience. [?] Impossible d'éviter « la couleur locale » ; l'action est un épisode de la Révolution française : il faut bien jouer en costumes du temps et recréer autour des personnages le climat de la Terreur. De fait, même si la fable inventée par Renan n'est pas une histoire vraie, elle est une histoire vraisemblable. Renan insistait volontiers sur ce point qui distingue le quatrième drame des trois précédents. « Je ne connais, écrit-il un jour, aucun récit du temps de la Révolution qui présente la donnée même que j'ai essayé de mettre en action dans l'Abbesse de Jouarre. » Mais, « quant à l'état psychologique des prisons du temps de la Terreur, et au développement que prirent, dans ce milieu terrible, les intrigues amoureuses, je n'ai rien dit qui ne soit tout à fait conforme à l'histoire. Les textes sont innombrables? » Cette fable est l'aventure de Julie Constance de Saint-Florent, abbesse de Jouarre, religieuse sans la foi mais strictement fidèle à ses v?ux, aventure en deux époques. Quelques jours après la bataille de Fleurus, le 25 juin 1794, Julie est en prison dans l'ancien Collège du Plessis ; elle revient du Tribunal révolutionnaire ; l'exécution est p /// Paris, Calmann Lévy, 1886.8vo [243 x 155 mm] of (2) ll., vi pp. of foreword, (1) l., 110 pp., (1) l., (1) bl.l. Bound in full brown straight-grained morocco, spine ribbed, claret rep doublures decorated with gilt fillets, claret rep endleaves, gilt over untrimmed edges, wrappers preserved. Binding signed by Canape R. D. --- First edition of this novel by Ernest Renan, one of only 25 copies printed on Japanese vellum. Vicaire, Manuel de l'amateur, 1032; Bibliothèque de Backer, 2129; Carteret, II, 258.« L'Abbesse de Jouarre is the only play by Renan about which the question of representation was seriously posed. Therefore, its story has the interest of an experiment. [?] It is impossible to avoid the "local colour"; the action is an episode of the French Revolution: you surely have to act with contemporary costumes and recreate around the characters the climate of the Terror. Actually, even if the story invented by Renan is not a true story, it is a probable story. Renan willingly stressed the fact which distinguishes the fourth drama from the three previous ones. "I don't know, he wrote one day, any account in Revolution's time which presents the same subject that I tried to set in motion in l'Abesse de Jouarre." But, "as for the psychological state of the prisons in the time of Terror, and the development followed, in this terrible environment, the love affairs, I haven't told anything which is not entirely conform to history. Texts are innumerable?" This story is the adventure of Julie Constance de Saint-Florent, abbess from Jouarre, faithless nun but strictly faithful to her vows, story in two epochs. A few days after the Battle of Fleurus, on June 25th 1794, Julie is in prison in the former Collège du Plessis, she comes back from the Revolutionary Tribunal; the execution is for the following morning. The man who loves her and that she loves, the marquis d'Arcy, is in the same prison and will be, tomorrow in the same cart. The abbess' vows had sepa.

Couverture rigide. Etat : Très bon. Paris, Charles Froment, 1829.Petit in-8 de viii pp., 214pp., (1) f., 36 planches hors texte en couleurs protégées par des serpentes.Veau glacé framboise, sur les plats encadrement d'un fi let doré et de motifs à froid, grand médaillon central en losange à froid, dos à nerfs orné de motifs dorés et à froid, filet doré sur les coupes, petite dentelle intérieure, tranches dorées. (Thouvenin).169 x 103 mm. --- Edition originale de ce très bel ouvrage illustré de 36 planches hors texte gravées sur cuivre et peintes au pinceau à la main, certaines avec des rehauts en or.Carteret, 37 ; Colas, n° 159.Remarquable illustration sur les costumes de spectacle. Ces gravures de Foech de Basle et de Whirsker, exécutées d'après nature, représentent les acteurs en pied dans les rôles où ils ont excellé.En tête de l'ouvrage sont placés les portraits en pied du « plus grand poète et du plus grand acteur de l'époque », Voltaire et Lekain, représentés répétant une scène de Mahomet. Toutes les illustrations sont de Foech. « Gravés d'après des gouaches de la plus petite proportion, ils sont néanmoins de la plus singulière ressemblance. Wirsker, auteur de ces gouaches, y a reproduit avec l'exactitude la plus spirituelle la physionomie, le maintien, le caractère de ses originaux, dans les rôles où ils ont excellé, et dans les situations où ils excitaient le plus d'enthousiasme. Mes gravures en sont une fidèle copie. » (Foech). Très bel exemplaire conservé dans une plaisante reliure romantique estampée de Thouvenin. /// Paris, Charles Froment, 1829.Small 8vo [169 x 103 mm] of viii pp., 214 pp., (1) l., 36 colored plates out of pagination and protected with silky-papers.Raspberry glazed calf, gilt fillet and blind-stamped decorations on the covers, diamond-shape large central medallion, spine ribbed and decorated, inner gilt border, gilt edges. (Thouvenin). --- First edition of this superb work illustrated with 36 copper-engravings out of pagination hand-painted with a brush at the time, some enhanced with gold. Carteret, 37 ; Colas, n° 159.Remarkable illustration on theatre costumes.These engravings by Foech de Basle and Whirsker, executed from life, represent the full-length actors in the roles in which they excelled.At the beginning of the work are placed the full-length portraits of "the greatest poet and the greatest actor of the time", Voltaire and Lekain, represented rehearsing a scene of Mahomet.All the illustrations are by Foech."Engraved from gouaches of the smallest proportion, they are nevertheless of the most singular resemblance. Wirsker, author of these gouaches, reproduced there with the most spiritual exactitude the physiognomy, the demeanor, the character of the originals, in the roles in which they excelled, and in the situations in which they excited the most enthusiasm. My engravings are a faithful copy. "(Foech).Very beautiful copy preserved in its elegant romantic blind-stamped binding by Thouvenin.

Couverture rigide. Etat : Très bon. S.l. [Paris], 1742.In-12 de (1) f.bl., (4) ff., 111 pp., (1) f.bl. Relié en plein maroquin olive de l'époque, plats ornés d'une dentelle dorée, dos à nerfs orné de fleurons dorés, filet doré sur les coupes, roulette dorée intérieure, doublures et gardes de papier décoré d'un semis d'étoiles dorées, tranches dorées sur marbrures. Coins légèrement frottés. Reliure de l'époque. 155 x 87 mm. --- Edition originale de ce traité d'astronomie écrit par Maupertuis à l'occasion du passage de la comète de 1742. Graesse, Trésor de livres rares, IV, 448 ; Barbier, Dictionnaire des ouvrages anonymes, II, 1207 ; Brunet, III, 1543 ; Quérard, La France littéraire, V, 642 ; Houzeau-Lancaster 5826. La comète dont il est question dans cette Lettre fut observée le 2 mars 1742 à l'Observatoire de Paris. L'auteur y explique le système de Newton. Maupertuis, dans sa Lettre sur la comète, considérant l'extrême chaleur que celle de 1680 avait contractée vers le soleil, semble croire que si la comète eût passé près la Terre, elle l'aurait réduite en cendres, ou l'aurait vitrifiée, et que si sa queue seulement nous eût atteints, la terre eût été inondée par des exhalaisons brûlantes et destructives. Pierre-Louis Moreau de Maupertuis (1698-1759) était un philosophe, géomètre et astronome français. Voyageant pour s'instruire auprès des savants du temps, il se lia avec les Bernouilli, La Condamine et Voltaire dont il devait faire un disciple enthousiaste du système de Newton. En 1737 il fut envoyé par Maurepas au pôle Nord avec une expédition qui devait mesurer un degré du méridien terrestre. En 1740, Frédéric II l'avait nommé président de l'Académie de Berlin. En 1743, la Société royale de Londres, puis l'Académie Française lui ouvraient leurs portes. « La comète observée le 2 mars 1742 à l'Observatoire de Paris fut pour lui l'occasion d'adresser à une dame une lettre où il rassemblait tout ce qui avait été dit de f /// N.p. [Paris], 1742.12mo [155 x 87 mm] of (1) bl.l., (4) ll., 111 pp., (1) bl.l. Bound in full contemporary olive green morocco, covers decorated with a gilt dentelle, spine ribbed and decorated, inner gilt border, doublures and endpapers with a gilt star pattern, edges gilt. Corners slightly rubbed. Contemporary binding. --- First edition of this astronomy treatise written by Maupertuis on the occasion of the passage of the comet in 1742. Graesse, Trésor de livres rares, IV, 448 ; Barbier, Dictionnaire des ouvrages anonymes, II, 1207 ; Brunet, III, 1543 ; Quérard, La France littéraire, V, 642 ; Houzeau-Lancaster 5826. The comet tackled in this Letter was seen on the 2nd of March 1742 at the Paris Observatory. The author explains here Newton's system. Maupertuis, in his Lettre sur la comète, considering the extreme heat the one of 1680 had contracted towards the sun, seems to believe that if the comet had passed by near the Earth, it would have reduced it to ashes, or would have vitrified it, and that if its tail only had reached us, the Earth would have been flooded with burning and destructive exhalations. Pierre-Louis Moreau de Maupertuis (1698-1759) was a French philosopher, geometrician and astronomer. Travelling for his instruction near scholars of the time, he formed up a friendship with the Bernoulli, La Condamine and Voltaire, whom he made an enthusiastic disciple of Newton's system. In 1737, he was sent by Maurepas to the North Pole with an expedition that was supposed to measure a degree of the earthly meridian. In 1740, Frédéric II had appointed him president of the Berlin Academy. In 1743, the London Royal Society, then the French Academy welcomed him. "The comet observed on the 2nd of March 1742 at the Paris Observatory was an opportunity for him to address a letter to a lady in which he gathered everything that had been said about theses stars, true or false. But far from reassuring men, he shows the damages the comets could cause in the.

Couverture rigide. Etat : Très bon. Normal 0 21 false false false FR X-NONE X-NONE Rare and sougth-after first edition "of this excellent piece of literary history". (Brunet). Brunet, IV, 475 ("it is rare and rather sought after"); Tchemerzine, II, 668. "In this work, Pellisson introduced an unpublished quatrain by Corneille on the death of Richelieu, and fragments of Letters". (Tchemerzine). It is the first historiographic monument dedicated to the French Academy. The privilege was shared between Courbé and Le Petit. One of the most representative poets of the Precious movement, Paul Pellisson devoted only a small part of his life to literature. This Protestant native of Béziers, a man of spirit and talent, settled in Paris in 1650 and bought a position as secretary to the king. He published a Relation contenant l'histoire de l'Académie française (1653) - it is rather a colloquial presentation of the Academy and its members - which gave him the privilege of being received into the company without waiting for the vacancy of a chair. In 1653, he met Madeleine de Scudery. He will become her "tender friend", but only after having gone through this map of tender that he will contribute to draw up; he also becomes one of the most faithful and brilliant regulars of her salon in the rue de Beauce, the "Apollon du samedi ". A better prose writer than a poet, and better serving the cause of preciousness when he exposes its doctrine than when he tries to illustrate it, he writes a remarkable Discourse which prefaces the posthumous edition of Sarasin's works (1656). At the same time, he fulfilled his duties in such an exemplary manner that Fouquet took notice of him and in 1658 made him his first clerk, his most trusted man. From then on he absorbed himself in business and abandoned Saturdays and verses. He was dragged into the fall of the superintendent and imprisoned in 1661. He obtained his release five years later, thanks to the dignity of his attitude; by abjuring Protestantism, he returned completely in grace and became the historiographer of Louis XIV. A precious copy preserved in its first contemporary limp vellum binding.

First and only mathematical and scientific edition, very rare, analyzing   the barometer, its operation, variations and uses, printed in Nancy in 1718. Louis-Philippe La Brosse, canon of Notre-Dame de Foy de Giroviller, was a scholar and man of letters, in touch with the scientists of his day. He lived in Lorraine at the beginning of the 18th century. This treatise on the barometer is the development of a memoir the author had sent in 1715 to the competition opened by the Bordeaux Academy. "The way of writing and philosophizing of this author, who is appearing in the literary field for the first time, is quite similar to that of the illustrious Mr Descartes; this is what has given him the opportunity to include in a small work, with great order and clarity, a very large number of questions, all of which have to do with the liquid in which we live, and most of which have not yet been sufficiently clarified, or which have perhaps never even been discussed in books or in schools of philosophy. The system he proposes to explain the variation of the Barometer, as well as that admirable movement of air we call wind, is new, very simple, best imagined, & assumes nothing that is not at least very possible & very easy to conceive. In the body of the work, he explains, in a way that is as new as it is solid & natural, several passages of Scripture that relate to the story of the creation of the world. Finally, the Author we are talking about, proposes in his book several experiments to be made of the most curious which he could not make himself as he declares, for lack of means, leisure, & favorable occasions for that; he gives from time to time certain opinions which can please several people, & makes several local remarks about Lorraine which can serve as rules & foundation to make similar ones elsewhere. He makes it quite clear that he felt he had to do so, in order to make his book intelligible to a very large number of people who have Barometers, & who, not being sufficiently literate, will apparently be quite at ease to find in it something to learn about the nature of this admirable instrument, without being obliged to resort elsewhere, in which he was undoubtedly right; The common man should even be grateful to him, and as there is plenty to keep the Sçavans busy, it can be said that it is of a nature to please all sorts of people. This trial run by an Author gives reason to expect something more, if care is taken to provide him with the means to cultivate & employ his talent". (La Clef du Cabinet des princes de l'Europe, 1717, pp. 235-236). This first edition is illustrated with a folding table and a plate showing barometers. A fine copy preserved in its contemporary binding.

Couverture rigide. Etat : Très bon. Normal 0 21 false false false FR X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Tableau Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; text-align:justify; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Times New Roman","serif"; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi; mso-fareast-language:EN-US;} True first edition, rare, of this 1970 Prix Goncourt of which no large paper copies were printed (completed on 26 August 1970). As soon as it was released in bookshops in September 1970, the book achieved great success; for that matter, it was awarded the Prix Goncourt unanimously the same year. This is the second novel by Michel Tournier published by Gallimard, after Vendredi ou les limbes du Pacifique, which was also warmly received by critics and bookshops. Le Roi des Aulnes rewrites in an extraordinarily rich, meticulous and well-documented version the Ogre myth from Goethe's poem, immortalized by Schubert's music, which is a variation on the legendary theme of the child-robbing monster as well as an illustration of a certain Germanic imagination. The story of an ogre intersecting for a moment with that of Germany is the plot of this dense novel that brings to life some of the most tragic pages of the twentieth century by linking them to some of the most deeply rooted fantasy figures in our collective unconscious. Le Roi des Aulnes is the result of hard work: "a book is two years of investigation, two years of writing", as Michel Tournier said. "His story takes place in a region that disappeared in 1945, divided between the USSR and Poland: East Prussia, where Tournier has never set foot, and he compensates for his inexperience of this country with a wealth of indisputable details. He shamelessly plunders everything that is geography, history, anatomy, archaeology, technology, devours dictionaries, treatises on war pigeons and hunting. He looks up the fifteen thick volumes of the "minutes" of the Nuremberg trial. He even forces a cabinet-maker to relive the cursed period of his captivity in Mazury, to give him episodes and details that no mind could have invented. Like Flaubert, whom he venerates, Tournier first draws up a plan, makes notes on the characters and landscapes, and knows the end of his story from the first page. Here he seeks to build his novel on the model of Bach's The Art of Fugue. As for the title, it will be Le Roi des Aulnes (The Alder King), in reference to the famous ballad by Goethe. The novel was published by Gallimard in 1970, and was immediately supported by warm reviews. François Nourissier, in Le Magazine littéraire, described it as a "charming combination of Gracq and Marianne Andrau, of Pierre Benoît and Georges Bataille", noting that "we are witnessing the appearance of one of those great secret books that mark out, either secretly or in the glare of immediate glory, the path of literature". His friend from Tübingen, Claude Lanzmann, congratulates him in private. His publisher having at least one witness, Queneau, in the jury of the Académie Goncourt, Tournier admits that he sensed the prize coming. His book won it unanimously, which has never been seen before. Only he was a little saddened that he was missing the voice of the Goncourt member that he cherished the most, namely that of Giono, who had just passed away and whose Le Chant du Monde he had loved. Le Roi des Aulnes was again a huge bestseller, both in France and in several other European countries. Over the years, Michel Tournier became an author studied in classrooms, probably more for his Vendredi than for Le Roi des Aulnes, which reached a more adult audience. The filmmaker Volker Schlöndorff adapted it in 1996 under the title L'Ogre. This novel introduced a political dimension into the ogre myth, which was to have a literary posterity in Chessex and Pennac. To which work should Le Roi des Aulnes be compared in the most recent novels, one can hardly see anything other than Les Bienveillantes, because this book too raises the question of evil in literature through a perverse experience of Nazi Germany." (Gallimard) Our copy, from the press service, is precisely enriched with an autograph dedication signed by the author to Philippe Heriat, one of the members of the Goncourt jury. A very good copy, as new, enriched with a beautiful autograph dedication signed by the author.

Couverture rigide. Etat : Très bon. First edition of the first translation of this important compilation of the essential texts of Linne by the Linnaean Marie-Jacques-Philippe Mouton-Fontenille de la Clotte (1769-1837). Pritzel 5431. Marie-Jacques-Philippe Mouton-Fontenille de la Clotte, was a French naturalist born in Montpellier on 8 September 1769. After good studies at the university of his native city, he became a professor of natural history at the Academy and Lycée of Lyon, a member of the Athénée, the Société de Médecine, and other learned societies of that city. Mouton-Fontenille was later appointed curator of the cabinet of natural history founded in Lyon, and exercised his functions until 4 April 1831, when he retired. In 1798 he wrote a Tableau des systèmes de botanique, more or less the French translation of Linné's Classes plantarum, and in 1809 a work entitled Linné françois, ou Tableau du règne végétal en cinq tomes. The present work is important in the diffusion of the ideas of Linne in France in a context where its supporters were mainly found in the provinces because of the hostility of Buffon, who reigned supreme over the natural sciences in Paris from 1739 to 1788. It was mainly naturalists from Montpellier and Lyon who maintained the Linnaean tradition: François Boissier, Antoine Gouan (1733-1821), a pupil of Boissier, Jean-Emmanuel Gilibert, a friend of Boissier and Gouan and Mouton-Fontenille de la Clotte. The work is decorated with an engraved portrait of Linnaeus in the frontispiece after Rottin. Precious copy preserved as issued, sewed and untrimmed.

Couverture rigide. Etat : Très bon. Normal 0 21 false false false FR X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Tableau Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Times New Roman","serif"; mso-fareast-language:EN-US;} Editions published the same year as the originals, "to the profit of a charitable organization". Carteret, I, p. 250 ; Vicaire, III, 535 ; Clouzot, p. 114 ; Vicaire, 535 ; Barbier II, 31 ; Quérard, II, 723 ; Brunet, II, 908. First edition issued for sale of these two works. The first edition of Ourika was published the same year without a title-page, printed by the royal printing house in only 25-40 copies for the friends of the family. "Under the Restoration the literary Salon of Mme de Duras was one of the most brilliant". With Ourika, for the first time in European literature a white writer penetrates into a black consciousness with elegance and sincerity, allowing white readers to identify with the character. The publication of Ourika in 1824 was one of the hugest successes among feminine novels. Instantly popular, this novel drew with finesse the story of a young black slave in love with the son of her protector. « A best seller under Louis XVIII ». [Lucien Scheler in Le Bulletin du bibliophile, Paris, 1988]. A beautiful copy of this collection of two great texts by the Duchess of Duras preserved in an elegant uniform binding from the time. Provenance: ex libris of the countess Victoire de Rigaud de Vaudreuil (1775-1851), the wife of the governor of the Louvre and a contemporary of Mme de Duras.

Couverture rigide. Etat : Très bon. Normal 0 21 false false false FR X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Tableau Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; text-align:justify; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Times New Roman","serif"; mso-fareast-language:EN-US;} First edition of this "text which importance ended up appearing". Vicaire, Manuel de l'amateur, I, 289 ; Carteret, I, 163 ; Sabin 12252. "Text which importance ended up appearing, it is indeed a part, and not negligible, of 'Mémoires d'Outre-tombe.'" (Clouzot, p. 66) Chateaubriand published it in 1838 to justify his activity as Minister of Foreign Affairs to the public opinion. We recognize the dazzling style of the writer in it, the polemists' verve, the imagination of the poet. The book contains many passages from Mémoires d'Outre-tombe, Chateaubriand having hesitated for a long time to reinstate this text in his major work. "This book is by no means void of interest; it is really written with great cleverness; and although somewhat affected, and very much filled with egotism, as all such works must indeed be from their very nature, yet it is lively, and full of original pieces, in support of the author's statements respecting the important transactions in which he was engaged. Of the three parts into which it is divided, -the Congress of Verona, the Spanish War, and the Spanish Colonies, - the two first are by far the most interesting; and it is to the matters relating to them that we shall feel it necessary to direct the reader's attention". (The Edinburgh Review: Or Critical Journal, vol. 67, p. 587). "What the ambassador reveals about the Congress of Verona, the wishes, the uncertainties, and the fears of so many ministers and so many kings; the confidences he thought he could make to the public in the anticipation of history's heritage, so many great paintings by the illustrious actors he portrays, so puny and so small by their passions, all this is done to inspire France with a sort of immense pride of herself. This book will have the effect of revealing to the last of the 'cabinets de lecture' what only the politicians knew, the universal terror which attached itself to any movements of France, while it breathed for the first time, hardly released from the brazen embrace of both invasions." (Revue des deux mondes, 1838, II, p. 478) "We know that in Verona, in 1823, the 'Congrès des souverains d'Europe' raised a problem similar to that of the Congress of Vienna and the Holy Alliance; how to prevent the spread and triumph of ideas of freedom of national independence. In particular, it was to intervene in Spain to restore King Ferdinand VII to the throne. The brilliancy of this work, the reasoning and peroration it contains, is supported by a warm and colorful language, in which reason of State blends with personal considerations." (Laffont-Bompiani). Copy complete with the list of subscribers at the end of the second volume. A fine copy preserved in its elegant contemporary binding.

Couverture rigide. Etat : Très bon. Normal 0 21 false false false FR X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Tableau Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin-top:0cm; mso-para-margin-right:0cm; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0cm; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} Edition published the same year as the original of this book that scandalized. Barbier, Dictionnaire des ouvrages anonymes, II, 831; Peignot, Dictionnaire des livres condamnés au feu, I, 321. It was condemned, by judgment of February 10, 1789, to be lacerated and burned at the foot of the grand staircase, by the hand of the executioner. "Mirabeau (1749-1791) obtains, thanks to Calonne, a secret mission in Prussia. In a ciphered correspondence, he tells the Abbot of Périgord (future Talleyrand) the intrigues of the Prussian court. It will be published under the title 'Histoire secrète de la cour de Berlin' and will scandalize. When he returns to France, the revolutionary movement has just begun. He takes part in it immediately. Calonne refusing to employ him again, he attacks him in his 'Dénonciation de l'agiotage' (1787). Rejected by nobility, he runs for office and is elected by the Third Estate both in Marseille and Aix, for which he will opt. At that time, he founds 'Le Journal des États-Généraux'. One of the first, Mirabeau will insist on the summoning of the latter. A dubious reputation preceded him at the Third Estate; he is believed to be ready for any task, and the representatives of the Third Estate are reserved, if not suspicious. On the other hand, he has against him the court, the ministers, the nobility and the clergy. His task looks difficult. Isolated at the Assembly, Mirabeau is nevertheless one of the few deputies to possess a plan and a method, besides his exceptional gifts as a speaker. He will do his duty with passion, by genius." Very pure copy, wide-margined since untrimmed, preserved in its original wrappers, as published.

I/ First edition of this important text regarding one of the major acts of the Jewish fight for the obtaining of French citizenship. Szajkowski (Emancipation, 52) attributes this text to Jacques Godard. Jacques Godard (1762-1791), author of the present report, was a French lawyer and a member of the Legislative Assembly. He was one of the main activists for the obtaining of the French citizenship by the Jews of the East. The present petition comes from Jews of Alsace and Lorraine, under the (printed) signature of Cerf-Berr, formerly 'Syndic Général" of the Jews, Mayer-Max, Ber-Isaac-Berr, David Sintzheim (future Chief Rabbi, also son-in-law of Cerf Berr), Théodore-Cerf-Berr, Lazare-Jacob and Trenelle father. It is prefaced with a letter to the president of the Assembly, signed by Mayer-Marx, Ber-Isaac-Berr, etc., deputies, Cerf-Berr, formerly 'Syndic-général" of the Jews. "This petition, written with philosophy, eloquence and sensibility, was written by Mr. Godard, and is worthy in every aspect of the talent he has given proofs in any circumstance in which he dedicated his words to the interests of humanity." (Reimpression of Ancien Moniteur, III, 1860, pp. 368-369). II/ "Jews from Alsace publish an 'Address' to the people of Alsace in which they fraternally hold out their hand to the Alsatians. In the interest of both sides, they hope their call will get a brotherly welcome." Szajkowski, Emancipation, 120. An exceptional set of brochures about the Jewish question in Alsace at the beginning of the French revolution.