MIRBEAU (Octave)Biblio.com
307 résultats
29598Paris Fasquelle 1900. 1 vol. 165 x 255 mm de 1 f. 4 et 519 p. Maroquin brun dos à nerfs orné de filets à froid tranches dorées sur témoins filets à froid sur les coupes contreplat à encadrement orné d'un jeu de sept filets couverture conservées reliure signée de Marius Michel. . Édition originale. Un des 20 premiers exemplaires réimposés sur chine n° 18. . Le Journal est dédié à Jules Huret qui avait publié dans son Enquête sur l'évolution littéraire 1891 le récit d'une conversation qu'il avait eu avec Octave Mirbeau quelque temps avant la publication en feuilleton. Dix ans plus tard l'écrivain lui offrira un exemplaire sur chine du roman publié « un violent réquisitoire contre les maux dont souffre la société moderne qui unit la satire des moeurs familiales à une assez trouble sensualité » Dictionnaire des OEuvres III 854. Une première version du Journal d'une femme de chambre avait paru en feuilleton dans L'Écho de Paris du 20 octobre 1891 au 26 avril 1892. Une deuxième version fortement remaniée reparaît dans la Revue blanche au cours de l'hiver 1899-1900 ; c'est à partir d'elle que sera établie l'édition en volume chez Charpentier-Fasquelle en juillet 1900. Quatre adaptations en ont été faites au cinéma - dont celle célèbre de Bunuel et plusieurs dizaines d'adaptations au théâtre en France et à l'étranger. Signalons qu'il existe quelques exemplaires imprimés sur papier jonquille au moins deux exemplaire Pierre Bergé sans provenance et exemplaire Sicklès-Heilbronn pour Jean Richepin. Mirbeau possédait pour lui et son épouse des exemplaires sur chine. Suivent ensuite 30 exemplaires sur japon puis 200 sur Arches tous réimposés. De la bibliothèque Raoul Simonson avec ex-libris. Très bel exemplaire. Paris, Fasquelle, 1900. 1 vol. (165 x 255 mm) de 1 f., [4] et 519 p. Maroquin brun, dos à nerfs orné de filets à froid, tranc unknown
190878181Paris: Fasquelle 1908. Fine. Fasquelle Paris 1908 19.50 x 25.50 cm relié De luxe edition illustrated with a hundred drawings by Pierre Bonnard scattered in the margins of the leaves one of 200 numbered copies on Arches vellum one print after 25 Japan. A beautiful copy. Binding in half brown calf spine decorated with double black fillets gilt date at the foot marbled paper boards marbled endpapers covers and spine preserved top edge gilt on the rough. Handwritten presentation signed by Pierre Bonnard to Xavier Roux: . à son compatriote dauphinois et ami. .to his Dauphiné compatriot and friend. enriched with a handwritten presentation signed by Octave Mirbeau to the same. Fasquelle hardcover
192539035Paris: La Connaissance 1925. Gio Colucci. In 1925 Giò Colucci executed fourteen etchings to illustrate Octave Mirbeau's "Le jardin des supplices" and the result was one of the greatest livres de peintre produced between the world wars. The etchings combine Japonisme eclecticism art nouveau surrealism and eroticism. They represent Colucci's greatest achievement as a printmaker. THIS IS A PROOF SET on Imperial Japanese paper of the fourteen etchings each hand-colored by the artist with gouache and gold leaf. In perfect condition. No other such sets on Japanese paper and handcolored by the artist are recorded so this set may be unique. <br/><br/> La Connaissance unknown
19145681Signed by Artist. Publisher's original wraps boldly signed by Rodin on half-title. A clean copy without names bookplates or other distractions. Grand luxe edition limited to only 100 copies of which this is number 7. Includes the two oft-fugitive unpublished hors-texte plates one of which is in color. All shipments through USPS insured Priority Mail. Editions Artistique de l'Art et les Artistes paperback
19300599041930. Original Art Works . No Binding. Fine/Slipcase. A Suite Of Illustrations Unbound Ten Groups Of 13-20 Loose Lithographs Wrapped And Sealed In Glassine Enclosed In A Slipcase. Printed In Color Or B/W No Publisher Or Date Indicated Anywhere Many Signed In The Plate By Early 20Th Century Illustrators Fine Paper 9" X 6 5/8". All Enclosed In A Simple Open Three-Panel Folder Paper With Cloth Edges With Morocco Label "Octave Mirbeau / Suite Des Hors-Textes" And In A Matching Cloth Slipcase With Gray Paper Sides And Cloth Edges. The Illustrators' Artistic Histories And Life Spans Indicate These Were Likely Done In 1920'S-1930'S For An Intended But Unpublished Limited Edition Of Octave Mirbeau's Works Possibly For A Nascent Firm That Failed In The Early 1930'S. One Set By Edy Legrand Is Clearly For "The Torture Garden" By Mirbeau The Other Sets For Nine Of His Other Books. Altogether Two Sets By Legrand One By Jean Launois 1898-1942 One By Berthold Mahn 1893-1975 Three Other Sets Signed But With Illegible Signature Other Sets Not Signed. <br/> <br/> unknown
1914174202Paris: Bernheim-Jeune Editeurs d'Art 1914. no 38 of 100 on Japon paper. Internally VG soiling discoloration to covers but binding is very solid with very minor splitting at top and bottom of front outer hinge. Color lithographed covers 75 pages 59 leaves of plates including one etching by Cezanne and 6 original lithographs by Edouard Vuillard after a self-portrait by Cezanne Bonnard Maurice Denis Matisse K.X. Roussel Aristide Maillol and two reproductions of original drawings by Paul Signac Felix Valloton. Also includes 4 tipped-in color plates of works by Cezanne and 46 full-page plates in bw of works by Cezanne. There are additional small bw images or illustrations tipped-in at several places within the text. 15.25" x 11.5" x 1" letterpress tissue guards for the original artwork. Text is in French. Preface by Octave Mirbeau; sample of Cezanne's handwriting biographical texts and other writings. One of 100 copies printed on large Japon paper. Scarce and a solid copy with the exception of the cover discoloration. A total of 600 copies were printed: 100 on Japon; 100 on Arches and 400 on regular paper. Bernheim-Jeune, Editeurs d'Art unknown
1914190091Paris: Bernheim-Jeune Editeurs d'Art 1914. no 41 of 100 on Japon paper. Fair only Binding and spine are shot covers soiled. COntents clean but a bit age-toned. Etching is a strong impression. Color lithographed covers 75 pages 59 leaves of plates including one etching by Cezanne and 6 original lithographs by Edouard Vuillard after a self-portrait by Cezanne Bonnard Maurice Denis Matisse K.X. Roussel Aristide Maillol and two reproductions of original drawings by Paul Signac Felix Valloton. Also includes 4 tipped-in color plates of works by Cezanne and 46 full-page plates in bw of works by Cezanne. There are additional small bw images or illustrations tipped-in at several places within the text. 15.25" x 11.5" x 1" letterpress tissue guards for the original artwork. Text is in French. Preface by Octave Mirbeau; sample of Cezanne's handwriting biographical texts and other writings. One of 100 copies printed on large Japon paper. Scarce and a nice set of sheets needing rebinding. A total of 600 copies were printed: 100 on Japon; 100 on Arches and 400 on regular paper. Bernheim-Jeune, Editeurs d'Art unknown
1914174206Paris: Bernheim-Jeune Editeurs d'Art 1914. no 12 of 100 on Japon paper. Internally VG and externally VG with age toning and light soiling to covers 2" split beginning at base of front outer hinge. Color lithographed covers 75 pages 59 leaves of plates including one etching by Cezanne and 6 original lithographs by Edouard Vuillard after a self-portrait by Cezanne Bonnard Maurice Denis Matisse K.X. Roussel Aristide Maillol and two reproductions of original drawings by Paul Signac Felix Valloton. Also includes 4 tipped-in color plates of works by Cezanne and 46 full-page plates in bw of works by Cezanne. There are additional small bw images or illustrations tipped-in at several places within the text. 15.25" x 11.5" x 1" letterpress tissue guards for the original artwork. Text is in French. Preface by Octave Mirbeau; sample of Cezanne's handwriting biographical texts and other writings. One of 100 copies printed on large Japon paper. Scarce and a very solid copy. A total of 600 copies were printed: 100 on Japon; 100 on Arches and 400 on regular paper. Bernheim-Jeune, Editeurs d'Art unknown
51-5487Paris: Bernheim-Jeune. Edituers 1914. Original wraps. Folio. 28.5 x 39cm. Light foxing on first few pages affecting the margins of the Cézanne etching plate I. Crack along spine not visible from exterior.One of 600 numbered copies.68 pp; 59 plates. Text by Octave Mirbeau Theodore Duret Léon Werth and Frantz Jourdain. The frontispiece is an original etching by Paul Cézanne printed in sepia. Also illustrated with 6 original hors-texte lithographs by various artists 2 lithographs after Signac and Vallotton and copious heliogravures after Cézanne .Glassine tissue guards in place.The etching by Cézanne is Paysage a Auvers Entrée de Ferme Rue Saint-Remy Venturi 1161; Leymarie C5. It was created by Cézanne in 1873 but used only as this book's frontispiece. The six original lithographs are by Edouard VUILLARD Portrait de Cézanne Roger-Marx 51 Pierre BONNARD Baigneur Bouvet 82 Maurice DENIS Nature morte signed in the plate Cailler 135 Henri MATISSE Fruits et feuillages Duthuit 1 K.-X. ROUSSEL Bacchanale Salomon 27 and Aristide MAILLOL signed in the plate; Guérin 265.OCLC Number 458954797.Textes d'Octave MIRBEAU Bernheim Jeune éditeur Album comportant une eau-forte originale en brun de Cézanne des lithographies originales par Vuillard Bonnard Matisse Denis Roussel Maillol et Vallotton textes d'Octave Mirbeau Théodore Duret Léon Werth et Frantz Jourdain illustré de 59 planches Exemplaire numéroté 503/600 39 x 29 cm Paris: Bernheim-Jeune. Edituers, 1914. paperback
1925216641Paris: La Connaissance 1925. Limited. paperback. near fine. Colucci Gio. Illustrated with 14 etchings colored in pochoir numerous culs-de-lampe letters and designs all by Colucci. A separate thin volume contains an extra suite of all plates and figures in b/w plus 4 in color. Thick 4to original printed wrappers with glassine; both volumes laid into the publisher's illustrated board folder edgeworn and neatly re-backed in brown cloth. Paris: La Connaissance 1925. From a total printing of 102 this is an hors commerce copy signed by Colucci and the editor. A very near fine copy in a very good repaired folder.<br/> <br/> La Connaissance unknown
1914190090Paris: Bernheim-Jeune Editeurs d'Art 1914. no 542 of 400 on regular paper. Internally VG and externally VG with age toning and light soiling to covers 2" split beginning at base of front outer hinge. Color lithographed covers 75 pages 59 leaves of plates including one etching by Cezanne and 6 original lithographs by Edouard Vuillard after a self-portrait by Cezanne Bonnard Maurice Denis Matisse K.X. Roussel Aristide Maillol and two reproductions of original drawings by Paul Signac Felix Valloton. Also includes 4 tipped-in color plates of works by Cezanne and 46 full-page plates in bw of works by Cezanne. There are additional small bw images or illustrations tipped-in at several places within the text. 15.25" x 11.5" x 1" letterpress tissue guards for the original artwork. Text is in French. Preface by Octave Mirbeau; sample of Cezanne's handwriting biographical texts and other writings. One of 400 copies printed on regular paper. Scarce and a clean copy internallybut the covers are very soiled and the whole is quite loose from the binding being deteriorated. An excellent candidate for rebinding. A total of 600 copies were printed: 100 on Japon; 100 on Arches and 400 on regular paper. Bernheim-Jeune, Editeurs d'Art unknown
191440756Paris: Bernheim-Jeune. Very Good. 1914. Hardcover. Oversized half morocco with orange cloth marbled endpages TEG. 75 pp. 59 plates. Limited edition #250 of 600 papier a grain. There is one original frontis etching by Cezanne and 6 original lithographs from Edouard Vuillard Pierre Bonnard Maurice Denis Henri Matisse Roussel and Aristide Maillol. Binding rubbed corners lightly bumped. Very minor occasional foxing. ; Folio 13" - 23" tall . Bernheim-Jeune hardcover
190480561Paris: Galerie Durand-Ruel 1904. Fine. Galerie Durand-Ruel Paris 1904 10 x 17.50 cm relié First edition of the exhibition catalogue presenting 37 works by Claude Monet at the Galerie Durand-Ruel from 9 May to 4 June 1904. During the exhibition most of the paintings were immediately purchased by American collectors. Binding in vellum-effect paper boards names of the catalogue preface writer and the painter inscribed in ink water-effect paper endpapers covers and spine preserved curious ex-libris drawn by H. P. Gassier glued to a pastedown endpaper binding signed Gonon. Preface by Octave Mirbeau. A rare and pleasant copy. Galerie Durand-Ruel hardcover
190145873Paris: Charpentier 1901. Fine. Charpentier Paris 1901 12 x 18.50 cm relié First edition on ordinary paper. Contemporary half shagreen over marbled paper boards spine with a gilt cartouche with gilt decorative motifs gilt date to foot of spine a frame of gilt fillets to covers marbled endpapers and pastedowns covers preserved top edge gilt. Handsome autograph inscription from Octave Mirbeau to Lucien Guitry : "". bonjour. mais chut. ne lisez pas ça. Avec toute mon amitié.hello but damn it don't read this With all friendship "" Tiny tears with occasional miniscule lacks not significant to head of the final few pages. Charpentier hardcover
189878088Paris: Librairie Charpentier et Fasquelle 1898. Fine. Librairie Charpentier et Fasquelle Paris 1898 13 x 19 cm broché First edition with no mention of deluxe paper copies. Precious signed autograph inscription from Octave Mirbeau to his friend Jules Renard. Blue pencil mark by Jules Renard on the front cover. Our copy is further enriched with the famous bookplate of Jules Renard designed and engraved by Henri de Toulouse-Lautrec. Librairie Charpentier et Fasquelle unknown
190278085Paris: Charpentier 1902. Fine. Charpentier Paris 1902 13 x 19 cm broché First edition with no mention of deluxe paper copies. Precious signed autograph inscription from Octave Mirbeau to his friend Jules Renard. Blue pencil mark by Jules Renard on the front cover. Our copy is further enriched with Jules Renard's celebrated ex-libris designed and engraved by Henri de Toulouse-Lautrec. Charpentier unknown
1899622111899. Fine. 1899 17.80 x 23.10 cm 2 feuillets et un quart Autograph manuscript signed by Octave Mirbeau for his article ""Au conseil municipal"" published in Le Journal on July 12 1899 90 lines in black ink on three leaves manuscript correction by the author typographical indications in blue pencil. Staining due to ink and paper. Significant of the denunciatory attitude that Mirbeau maintained in his articles this manuscript critical of the unworthy treatment of artists of genius by society is a final draft used for printing as indicated by the capital letters that delimit the paragraphs. The original leaves have been remounted on laid paper here pages from an 18th-century work Dissertatio Medica to facilitate their handling. unknown
1902613441902. Fine. 1902 18.10 x 22.90 cm 2 feuillets et un quart Autograph manuscript signed by Octave Mirbeau 99 lines in black ink on 3 leaves with manuscript corrections by the author and one correction in blue pencil by a typographer. Manuscript used for the composition and printing of the article ""Habitudes"" published on April 20 1902 in the Journal a daily newspaper launched in 1892 by Fernand Xau. The beginning of Mirbeau's career was essentially driven by journalism which allowed him to publish and earn a living despite his lack of inclination for the activity. Quickly feared for his pamphleteering activity Gustave Mirbeau distilling a biting irony stands here against injustice institutionalized by the State and society. Led by the dense and effective writing of Gustave Mirbeau this manuscript is probably a final draft as suggested by the conformity of the two texts and the rare corrections made to the original notably by the blue pencil of a typographer. On the verso of the last leaf is found an earlier version of the first lines of the article. unknown
190411461904. Near fine. 3pp 4to. Holograph manuscript in pen in French writing on the rectos only the first two pages are filled with text the last page is trimmed with only 4 lines and Mirbeau’s signature. Creases stains smudges offsetting but cleanly written legible and very good. An article for the left-wing newspaper L’Humanité published 25/Sept/1904. The newspaper was founded only a few months earlier by SFIO leader Jean Jaures who also served as editor. In the article Mirbeau criticizes France for its refusal to intervene in the Russo-Japanese war. With biting irony he mimics the indifferent French attitude: "Let's wait two five ten twenty years if we have to. We'll keep on slaughtering each other over there. But what are we risking. Life is good our restaurants are still the best in the world. There are still the prettiest girls in the theaters of Paris." He exposes the hypocrisy of French foreign policy: "as allies not of the Russian people whose infinite sufferings like those of all peoples are of absolutely no concern to us but as allies of the czar whose glory alone is important to us let us be no less faithful czarists than the czar himself is." Drawing a powerful parallel Mirbeau connects the mounting casualties of the Russo-Japanese conflict with the Armenian massacres—which had already reached devastating proportions by 1904. A different but contemporary newspaper clipping is laid in seemingly part 2 by Mirbeau: it records a conversation with a merchant marine captain recently returned from the Far East who despite personally witnessing naval battles admits he comprehends little of the war's true nature beyond scattered disturbing details he finds too horrific to fully describe.<br /> <br /> The early 1900s particularly 1904-1905 marked a transformative period in the development of anti-imperialist critique within European leftist thought. The Russo-Japanese conflict illuminated the contradictions within Western powers' foreign policies particularly France's relationship with Tsarist Russia. The French left's growing disillusionment with the Franco-Russian alliance exemplified broader ideological shifts that would shape socialist internationalism for decades. As ordinary Russians died for imperial ambitions while French elites remained indifferent behind a facade of nationalist solidarity socialist thinkers increasingly recognized patterns linking capitalist interests to colonial violence. This period also witnessed the emergence of more sophisticated leftist analyses connecting imperial competition abroad with class exploitation at home. The juxtaposition of European indifference toward both the Russo-Japanese War casualties and the Armenian massacres demonstrated how Western powers selectively applied humanitarian concerns based on strategic interests—a critique that would become central to anti-colonial movements throughout the 20th century and presage the internationalist anti-war position that would later fracture the European left during World War I.<br /> <br /> Octave Mirbeau 1848-1917 emerged as one of France's most incisive social critics during the Belle Époque developing a literary voice defined by moral outrage and stylistic innovation that transcended conventional boundaries between journalism and literature. His artistic sensibilities were profoundly shaped by traumatic experiences—including abuse at a Jesuit school and service in the Franco-Prussian War—which fostered his lifelong commitments to anarchism pacifism and the defense of individual dignity against institutional power. Beyond his novels exposing societal hypocrisy including the controversial "Le Jardin des supplices" 1899 and "Le Journal d'une femme de chambre" 1900 Mirbeau distinguished himself as a prescient art critic who championed misunderstood avant-garde figures like Van Gogh Rodin and Monet recognizing artistic genius that his contemporaries often dismissed. His prolific output—spanning over twelve hundred works across multiple genres—consistently demonstrated his willingness to confront uncomfortable truths about violence sexuality and power that bourgeois society preferred to ignore establishing him as an intellectual forerunner to modernist aesthetic and political movements of the twentieth century. unknown
1931031774New York: Claude Kendall 1931. Book. Illus. by Jeannete Seelhoff. Very Good. Cloth. 1st Edition. 8vo - over 7¾ - 9¾" tall. Black cloth with gilt spine and 3/4 decorative paste down panel. Red and green illustrated endpapers. Translated from the French by Alvah C. Bessie forward by James Hunecker. First US English edition. Spine faded. Original dust jacket corners worn torn taped stained on rear. Bottom edges chipped. Includes three original letters in French pasted in and signed by author Octave Mirbeau 1848-1917; two to a friend and one to a publisher. Rare. Claude Kendall Hardcover
190465500Paris: Charpentier 1904. Fine. Charpentier Paris 1904 12 x 19 cm relié First edition on current paper. Binding in half red percaline smooth back adorned with a golden floret double golden net tail black titan title piece marbled paper plates preserved covers. Stamp printed from the archives of the French Comedy on the title page. Precious autograph signed by Octave Mirbeau: ""A Remy de Gourmont his friend Octave Mirbeau."" Charpentier unknown
190743071Paris: Charpentier 1907. Fine. Charpentier Paris 1907 12 x 19 cm relié Second edition printed on ordinary paper immediately after the first edition containing the three chapters on Balzac that caused scandal. Half chocolate brown morocco binding smooth spine marbled paper boards marbled endpapers and pastedowns minor scuffs of no consequence at foot of second board original wrappers preserved contemporary unsigned binding but attributable to Lancelin. Signed autograph inscription from Octave Mirbeau to Paul Ollendorff. Handsome copy attractively bound. Provenance: from the library of Paul Ollendorff. Charpentier hardcover
191291743Paris: Galerie Bernheim jeune & Cie 1912. Fine. Galerie Bernheim jeune & Cie Paris 1912 21.3 x 27 cm Relié First edition of the catalogue for the exhibition of works by Claude Monet held at the Galerie Bernheim-Jeune in Paris from 28 May to 8 June 1912.Preface by Octave Mirbeau.Bradel binding in half fawn morocco smooth spine date gilt at foot minor rubbing to spine boards of marbled paper framed with a gilt fillet marbled endpapers and pastedowns wrappers a pink stain at the foot of the lower wrapper and spine preserved top edge gilt; contemporary binding signed L. Bernard.The paintings were exhibited four years after Claude Monets sole journey to Venice.Illustrated catalogue with 9 reproductions of paintings by Claude Monet. Galerie Bernheim jeune & Cie hardcover
189043791Paris: G. Charpentier & Cie 1890. Fine. G. Charpentier & Cie Paris 1890 12 x 19.50 cm relié First edition printed on ordinary paper. Bradel binding in half sky blue cloth smooth spine lightly sunned decorated with a gilt floral motif double gilt fillet at foot cherry red shagreen title label marbled paper boards corners slightly bumped contemporary binding. Precious signed autograph inscription from Octave Mirbeau to Jean Ajalbert on the half-title page. Our copy is expanded with a four-page autograph letter dated and signed by H.G. Ibels in which he shares with his correspondent his momentary financial troubles the poor circumstances that led him to this situation and finally the solicitations from wealthy bibliophiles who covet his important collection of 18th-century manuscripts on the Convulsionnaires. Large marginal discoloration affecting the front cover as well as much more lightly the half-title page without touching the autograph inscription. Provenance: Jean Ajalbert library with his Japonist ex-libris in the Nabis style wood-engraved in a very small number signed with a monogram probably that of Félicien Rops. G. Charpentier & Cie hardcover
189880181Bruxelles Brussels & Paris: Georges BalatSociété libre d'édition des gens de lettres 1898. Fine. Georges Balat Société libre d'édition des gens de lettres Bruxelles Brussels & Paris 1898 12 x 19 cm relié First edition published in the wake of the resounding and historic front page ""J'accuse"" printed in the newspaper ""L'Aurore"" one of 200 numbered copies on laid paper each justified by the publisher. Bound in red half-shagreen spine with four raised bands gilt-ruled with dotted fillets and decorated with gilt fleurons marbled paper boards marbled endpapers and pastedowns contemporary binding. Some rubbing along the joints pleasingly fresh interior. Illustrated with a photographic portrait of Emile Zola as frontispiece. Includes numerous contributions among them Paul Alexis Jean Psichari Elisée Reclus Joseph Reinach Paul Adam Maurice Bouchor Georges Eekhoud Gustave Geoffroy René Ghil André Ferdinand-Hérold Camille Lemonnier Laurent Tailhade Paul Fort Mecislas Golberg Camille Mauclair Pierre Quillard. The committee of sponsorship included among others Georges Clemenceau Octave Mirbeau Séverine Maurice Maeterlinck and Emile Verhaeren. Georges BalatSociété libre d'édition des gens de lettres hardcover
