Zola emile

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Émile ZOLALivre Rare Book

Les Soirées de Médan

Emile ZOLABiblio.com

A very moving letter almost entirely unpublished written at the end of the Rougon-Macquart saga – Zola explains that he no longer owns his books once published and evokes with a superb metaphor what they represent years later. The writer expresses with relevance and sensitivity the distance he feels from his books once all published. This letter offers a more general reflection on the author’s relationship to his work.

1893ZOLA3ZOLA Emile 1840-1902Autograph letter signed " Emile Zola " to a colleague Paris 12th November 1893 1 p. 1/2 in-8 Usual fold marks some tiny spotsA very moving letter almost entirely unpublished written at the end of the Rougon-Macquart saga – Zola explains that he no longer owns his books once published and evokes with a superb metaphor what they represent years later. The writer expresses with relevance and sensitivity the distance he feels from his books once all published. This letter offers a more general reflection on the author's relationship to his work." Mon cher confrère Je ne préfère aucune de mes œuvres. Dans chacune j'aime mieux certaines pages celles où j'ai dit nettement ce que je voulais dire : voilà tout. Lorsque j'ai terminé un livre et que je l'ai donné au public il n'existe plus pour moi. Toute ma passion tombe et j'en commence un autre pour lequel je me passionne jusqu'à ce qu'il soit aux autres. Il faut que je fasse un effort lorsque je veux me souvenir des romans hélas ! trop nombreux que j'ai écrits. Ce sont comme des tombes de parents et d'amis autrefois bien chers sur lesquelles il me serait trop triste d'aller m'attendrir. Cordialement à vous. Emile Zola "The Rougon-Macquart saga came to an end with the publication by Charpentier of Docteur Pascal in the spring of 1893. Among the most famous of the saga are Germinal Nana and L'Assommoir. A total of twenty novels were written and published between 1870 and 1893.Zola is probably responding here to a fellow journalist wishing to make an article on the whole saga and what it represents in the eyes of the novelist.A summary of the letter and the quotation of a sentence are published in Volume VIII of the correspondence from an extract from the catalogue: "They are like graves of relatives and friends …" – This comparison illustrates the sadness that emanates from the moving statement and what Zola's works represent for Zola himself. Personification of books or metonymy designating the characters to whom the author gave life the "tombs" of course refer to death.References: Extr. cat. libr. Charavay n° 6599 Corr. t. VIII Presses de l'Université de Montréal / Editions du CNRS 1991

Le Manuscrit Français · France5 500,00 €

Emile ZOLABiblio.com

"Comment avez-vous pu vous laisser prendre à la plaisanterie imbécile du Panurge "" Very important autograph letter signed unpublished addressed to Léon Carbonnaux about the false publication of a pre-original of Au bonheur des Dames

188279111Médan 1882. Fine. Médan 1er décembre 1882 13.60 x 21.40 cm 2 pages sur un double feuillet - enveloppe jointe Autograph letter signed by Emile Zola - apparently unpublished - written in black ink on a double sheet and addressed to Léon Carbonnaux department head at Bon Marché. Folds inherent to mailing. Envelope included. Only two letters from Léon Carbonnaux to Emile Zola are known: they can be consulted in the digitized preparatory file for Au bonheur des dames made available online by the Bibliothèque nationale de France. However we know from this same file which contains a long section entitled ""Notes Carbonnaux"" that this department head at Bon Marché provided Zola with a significant amount of information particularly about employee customs their remuneration and especially inventory techniques. The two men probably met when Emile Zola eager for information about the workings of department stores conducted field research in February and March 1882. Very important unpublished letter shedding new light on the pre-original publication of Au bonheur des dames. In his biography of Emile Zola Henri Mitterrand writes: ""Even before the novel was completed Zola gave an extract to Panurge in November; and on November 23 1882 Gil Blas announced its imminent publication in its columns."" Our letter discussing precisely this alleged pre-publication in Panurge attests that it was simply a joke and thus contradicts Henri Mitterrand: ""But your letter surprises and saddens me somewhat. How could you have been taken in by Panurge's stupid joke Did you not notice that the entire issue is a 'farce' Not one of the articles is authentic they are parodies and very poorly done ones at that."" Indeed reading the said extract cannot fool the assiduous reader of Zola despite the introduction that the journalists wrote: ""After Nana and Pot-Bouille those epics of elegant vice and bourgeois vice M. Emile Zola wanted to create one of honesty: Au bonheur des Dames which will appear shortly is a reassuring painting of innocence and virtue; the greatest success is assured for this new work whose characters move in the setting of a large novelty store; Parisian high commerce will not long await its observer and painter. We thank Emile Zola for having kindly cut out especially for Panurge a few pages from his still unpublished work and we are proud to give the public first an extract from this work of such high morality and such powerful interest."" Panurge no. 4 of October 22 1882 The sentences of this false Zolian text are exaggeratedly long and Panurge took the liberty of endowing the novel with a male main character Denis Mouret an amalgam of Denise the true heroine of the book to appear and Octave Mouret. One can think that it is a text composed from elements of Pot-Bouille the previous volume of Rougon Macquart where Octave - future owner of Bonheur des Dames - exercised the function of clerk before his meteoric social rise: ""For already more than two months he had been attached to the 'silks and furs' department; he arrived in the morning at seven o'clock to return home his day finished only at nine o'clock in the evening when all of Paris buzzed strangely with a feverish animation of pleasure and enjoyment and on his way back he followed gawking the great crowded boulevards where blazed the cafés full of girls and where on the asphalt at theater doors the crowd jostled with here and there in the vague rumor of trampling and pressing the roguish intonation of the cries of program vendors and ticket sellers."" Panurge In his letter of November 30 1882 Léon Carbonnaux - reading the extract from Panurge - had reproached Zola for his errors: ""Nowhere except at the Fabriques de France near Les Halles does one arrive at 7 a.m. It's at the earliest 7:30 but more often 8 a.m. and even then. There is no silk and fur counter at the Louvre. . It is so easy for you to be accurate that errors of this kind especially if t unknown

Rare Books Le Feu Follet - Edition-Originale.com · France5 175,00 €

Emile ZOLA - (inscribed to Edmond de GONCOURT)Biblio.com

Lourdes Lourdes - Goncourt's personal copy

189491151Paris: Charpentier 1894. Fine. Charpentier Paris 1894 12.8 x 18.9 cm Relié First edition on ordinary paper. Bradel binding in chocolate-brown half shagreen smooth spine date gilt at the tail contemporary leather boards japonisants embossed and polychrome decorated with gilded and colorful floral motifs marbled paper endpapers and pastedowns original wrappers and restored spine preserved later binding. Exceptional presentation copy signed by Emile Zola: ""à Edmond de Goncourt son ami Emile Zola."" Below the presentation inscription a manuscript gift inscription by Edmond de Goncourt: ""Edmond de Goncourt à Pauline Zeller."" Goncourt had the privilege of hearing Zola speak on several occasions about his rediscovery of the miraculous city that inspired this very popular novel: ""Here he broke off to tell us that he had been to Lourdes where he had been impressed and amazed by that world of hallucinated believers and that there was something worthwhile to be written about that revival of faith which in his opinion was responsible for the mysticism to be found at the moment in literature and elsewhere."" Goncourt Journal 16 March 1892. ""I arrived at Lourdes in pouring rain and stopped at a hotel where all the good rooms were already taken. And I was in such a bad mood that I felt like leaving the next morning. But I went out for a while and the sight of all those sick people those poor wretches those dying children carried up to the statue those men and women lying prostrate in prayer. the sight of that city of faith born of the hallucinations of that little girl of fourteen the sight of that grotto those processions those stampeding crowds of peasants from Brittany and Anjou.'"" ibid. 26 July 1892. Despite the stylistic disagreements that set them apart Edmond nonetheless had the book he received from Zola bound in one of his famous Japanese-style bindings notoriously fragile at the joints this example has been expertly reinforced with half shagreen. These superb kami-kawa embossed leathers sometimes referred to as the cartonnages des Goncourt for having been introduced by the brothers into the world of Parisian bibliophiles are also the fruit of a fascinating and almost devotional encounter of the Goncourts with Japanese art. The copy was later presented by Edmond to the woman who had nearly become Madame Edmond de Goncourt: Pauline Zeller a cousin of Count Tolstoy whom he had met in the salon of Princess Mathilde. A compelling parallel may be drawn between the tale of two chaste destinies in Lourdes Pierre Froment and Elise Rouquet and that of young Pauline whose diary and account of her first love Edmond obtained in order to write his final novel Chérie. Charpentier hardcover

Rare Books Le Feu Follet - Edition-Originale.com · France5 175,00 €

[DREYFUS AFFAIR] Emile ZOLABiblio.com

Letter from exile testifying to the writer’s unwavering commitment to the Dreyfus affair

1898ZolaDreyfusAffair1AFFAIRE DREYFUS ZOLA Émile 1840-1902Autograph letter signed " Z " to Alice Mirbeau N.p Addlestone Tuesday 30th August 1898 4 p. in-8° on laid paper Central fold reinforced with Japan paper light browning lower margin stain on second folio see scansLetter from exile testifying to the writer's unwavering commitment to the Dreyfus affair" Je vous remercie de votre bonne lettre chère madame et amie et surtout je vous remercie de l'affection dont vous entourez ma chère femme qui a grand besoin d'être aimée dans les cruelles circonstances qu'elle traverse. Vous me parlez avec un grand bon sens et une parfaite amitié de mon séjour ici. Moi aussi je pense depuis longtemps que je pourrais sans danger y faire connaître ma présence et y prendre une attitude que je saurais rendre utile et digne. Mais il y a aussi l'autre parti celui de rentrer en France et d'y faire mon devoir jusqu'au bout. Je ne puis donc encore me prononcer j'attends l'avis de nos amis et j'attends aussi les évènements. De toutes façons d'ailleurs je ne puis guère rentrer avant la fin d'octobre car je désire que la chambre soit réunie et qu'on ait liquidé toutes les autres affaires pendantes. Vous me touchez infiniment en m'offrant vos services dévoués ici et même à Paris. Ici le mieux est que je vive encore ignoré travaillant en paix dans une solitude dont personne le connaît le chemin. Mon travail que j'ai repris régulièrement m'est un grand repos. À Paris certes si j'avais besoin de vous je serais fort heureux de me confier à votre dévouement et à votre discrétion. Les infamies s'entassent cela devait être. C'est avec un serrement douloureux de cœur que je songe à la pure victime qu'ils vont encore condamner ; et cela ne me donne qu'une passion celle du sacrifice la volonté de m'immoler moi-même. Embrassez bien tendrement votre cher mari. Je sais tout ce qu'il fait pour vous et j'en suis profondément ému. Merci encore chère madame et amie et mille bonnes affections. Z "Convicted definitively on appeal on July 18 1898 by the Versailles court Zola left France to return to England. His open letter "J'accuse…!" published in L'Aurore on January 13 1898 earned the writer a fine of 3000 francs and 1 year of imprisonment. Committed body and soul to the defense of Captain Dreyfus Zola was forced into exile by Clemenceau and Labori and at the same time into silence. Kept away from the Parisian furnace prey to all the passions surrounding the affair Zola sometimes lets glimpse from England like this letter a share of frustration at no longer being at the center of the chessboard. Regarding the support he received from his close friends the writer could count on that of Octave Mirbeau a Dreyfusard from the very beginning. The latter whose role has long been underestimated was one of the most influential defenders of Captain Dreyfus and Zola. After taking a public stand for the first time in an article in the Journal of 28 November 1897 two days after Zola's first article it was Mirbeau who in July 1898 paid out of his own pocket the entire fine to which Zola was sentenced on appeal in Versailles. Two weeks after Zola's conviction he wrote in L'Aurore on 2 August 1898: " Will not professors philosophers scholars writers artists all those in whom truth resides from all parts of France finally free their souls from the terrible weight that oppresses them Faced with these daily challenges to their genius their humanity their spirit of justice their courage will they not finally understand that they have a great duty… that of defending the heritage of ideas of science of glorious discoveries of beauty with which they have enriched the country of which they are the guardians… "We know the letter of support that Alice Mirbeau committed to her husband sent to Zola on August 24 and to which the writer replied above: " Despite the pain I feel in knowing how much you suffer from your isolation I persist in believing that you must find the strength to wait and that at no cost should the end be hastened. Certainly prison where all those who love you could come and embrace you would be sweeter for you and for your friends but you must not abandon everything especially now that there is a new victim on the eve of being so harshly struck. … I am very happy that you have resumed your work it will console you a little because you must persist … If I can do you any pleasure soften your captivity a little by a few steps for anything that you would like to be done use me I beg you I put my tenderness at your service and I will be happy to use myself to be agreeable to you…"At the time he wrote this letter Zola did not yet know it but the affair was about to change on this August 30. After having completed the Dreyfus file with a piece that he himself had forged Commander Henry confessed after his forgery was discovered by Captain Cuignet military attaché to Minister Cavaignac. Taken immediately to detention at Mont Valérien Henry committed suicide the next day in his cell his throat slit with a razor. Already imprisoned at La Santé in July 1898 Picquart was again imprisoned at Cherche-Midi prison on September 22 proving Zola's prediction right.Provenance: Collection particulièreBibliography: Correspondance éd. Maurice et Denise Leblond Bernouard 1929 t. II p. 811 Correspondance t. IX éd. du CNRS p. 285-286 n°186

Le Manuscrit Français · France5 000,00 €

Emile ZOLABiblio.com

A remarkable letter from the very young Zola a few weeks before the launch of Thérèse Raquin the first novel that made him famous to the general public

Zola11ZOLA Émile 1840-1902Autograph letter signed " Emile Zola " to Albert Lacroix Paris 13 September 1867 2 pp. in-8° in black ink letterhead of the Librairie Internationale " Zola " annotation from period and in black ink from another hand small gaps in the lower margin affecting a letter slits in the folds discreet repairs with Japan paperA remarkable letter from the very young Zola a few weeks before the launch of Thérèse Raquin the first novel that made him famous to the general public – Expressing a pressing financial need the writer nevertheless cherishes high ambitions for the success of his workIt is in this very same letter that Zola first announces the final title of the book" Cher Monsieur Si je ne vous ai pas envoyé les numéros de L'Artiste¹ qui contiennent mon roman c'est que M. Guérin employé de la Librairie Internationale m'avait assuré que vous deviez avoir ces numéros à Bruxelles. Aujourd'hui encore il me dit que votre maison de Paris vous les enverra si vous ne les avez pas. Donc je ne m'inquiète pas de ce détail. Quant au titre il sera d'autant meilleur selon moi qu'il sera plus simple. L'œuvre s'intitule dans L'Artiste : Un Mariage d'amour mais je compte changer cela et mettre : Thérèse Raquin le nom de l'héroïne. Je crois que le temps des titres abracadabrants est fini et que le public n'a plus aucune confiance dans les enseignes. D'ailleurs la question du titre n'en sera pas une. Je vous avoue que j'ai besoin d'argent et que je préférerai vous vendre la propriété de l'œuvre pour un certain nombre d'années si vous croyez pouvoir m'offrir une somme raisonnable. Dans le cas où vous ne voudriez pas acheter l'œuvre je vous demanderais le douze pour cent sur le prix fort payable le jour de la mise en vente. Je tiens surtout à éviter les ennuis qui se sont produits au sujet de La Confession de Claude son deuxième ouvrage publié également chez Lacroix deux ans auparavant. Il est préférable que la question argent soit réglée sur-le-champ entre nous sans avoir besoin de recourir plus tard à des inventaires. Veuillez chez Monsieur me donner une réponse définitive au plus tôt. Je tiens à ce que ce livre paraisse en octobre. Prenez connaissance de l'œuvre laissez-moi choisir un titre bien simple² et faites-moi à votre tour vos conditions. Dites-moi combien vous me donneriez pour la propriété de l'œuvre pendant un nombre fixé d'années. L'affaire peut être conclue en quelques jours et c'est ce que je désire. En deux mots voici le sujet du roman : Camille et Thérèse deux jeunes époux introduisent Laurent dans leur intérieur. Laurent devient l'amant de Thérèse et tous deux poussés par la passion noient Camille pour se marier et goûter les joies d'une union légitime. Le roman est l'étude de cette union accomplie dans le meurtre ; les deux amants en arrivent à l'épouvante à la haine à la folie et ils rêvent l'un et l'autre de se débarrasser d'un complice. Au dénouement ils se suicident. L'œuvre est très dramatique très poignante et je compte sur un succès d'horreur. Une prompte réponse je vous prie. Votre dévoué Émile Zola "1- Illustrated weekly magazine from 1831 to 1904 renowned for having published prints and quality writers. The novel originally titled Un Mariage d'amour had previously been serialized in the magazine.2- On November 9 1867 A. Lacroix and Verboeckhoven booksellers-publishers informed Zola that they had given the proof to print the title and cover of Thérèse Raquin adding: "We have suppressed the word study which was in our opinion of the worst effect on the cover and which on the other hand could have harmed the volume in the sense that it might make people believe that your volume was an arid and too serious work and thereby alienate a whole class of readers. In any case this subtitle seemed useless to us; Isn't that your opinion too "The young Zola then 27 years old already gives us a glimpse of the confidence that would later be known for that of a writer who was quite certain of his work. He nevertheless remained in need which he explains here to Lacroix the latter being known among other things for having been the first publisher of Les Misérables." I think the time for crazy headlines is over… " What is implied by Zola's choice to call the book Thérèse Raquin tends to erase the stage of serialization in L'Artiste. The writer flatters the publisher and therefore defines the "second birth" of the novel. This sense of the title which Zola was already refining at this time would later become one of his great talents giving decisive importance to this significant beginning." The work is very dramatic very poignant and I'm counting on a horror success " By summarizing the story at the end of the letter Zola shows us that he is always very scrupulous in adapting to the recipient's preferences. He insists on the plot the dramatic scope the psychological dimension and finally the stylistic innovations. He makes hypotyposis his trademark at key moments. At that time Zola was the only standard-bearer of naturalism a literary movement that succeeded realism which he had exposed three years earlier in his famous missive to Anthony Valabrègue by means of the famous metaphor of the "trois écrans". Zola's reading effects are therefore data that can be easily converted into terms of editorial success.Thérèse Raquin was severely judged by the critics notably by Louis Ulbach who published in Le Figaro a violent article entitled "La littérature putrid". However it was a success and Zola became known to the general public. His career as a novelist was definitively launched…Bibliography: Correspondance t. I éd. du CNRS Les Presses de l'université de Montréal p. 522-523 n°199

Le Manuscrit Français · France4 800,00 €

Emile ZOLABiblio.com

An important letter written juste a week after the release of Germinal and drawing up a panorama of some of the most emblematic works of the Rougon-Macquart saga

1885Zola14ZOLA Émile 1840-1902Autograph letter signed " Emile Zola " to Joseph Canqueteau Paris 10th March 1885 2 p. in-8° Small tears on folds some browning see scansAn important letter written juste a week after the release of Germinal and drawing up a panorama of some of the most emblematic works of the Rougon-Macquart sagaFrom the B. & R. Broca collection" Merci cher monsieur de votre bonne sympathie. C'est en effet pour la jeunesse que j'écris et c'est par elle que je serai si je dois être. L'idée première de "Germinal" est déjà très lointaine. Lorsque j'ai écrit "l'Assommoir" j'avais réservé cette autre face du peuple l'ouvrier souffrant des grands centres industriels. Tous les romans de ma série ont été arrêtés à peu près en même temps et chacun d'eux vient simplement à son heure. Je vais sans doute comme vous le supposez étudier maintenant le monde des artistes en reprenant mon Claude Lantier L'Œuvre. Mais le roman militaire celui où je compte mettre Sedan La Débâcle est loin encore car il ne viendra guère que dans six ou sept ans : il est l'avant dernier de la série. Bien cordialement à vous Emile Zola "We know that even before writing the first of the twenty novels in his series Zola had drawn up as early as 1868 a family tree of his characters then a chronology of his novels. Initially planned in ten volumes the writer revised his ambitions upwards. There will be a total of twenty novels written between 1870 and 1893. This letter thus allows us to take the measure of the almost millimetric organization that the writer imposes on himself to the point of predicting with some precision "in six or seven years" the release of La Débacle. The penultimate volume of the series was indeed published in 1892.A bohemian artist already present in Le Ventre de Paris but whose role is only minor Claude Lantier older brother of Etienne the hero of Germinal becomes the main protagonist in L'Oeuvre. A cursed painter whose features recall those of Paul Cézanne his fate is disastrous like that of his mother Gervaise Macquart in L'Assommoir. This fourteenth novel in the series was published by Charpentier the following year in 1886.We know the letter that Joseph Canqueteau about to give a lecture on Les Rougon-Macquart addressed to Zola to ask him for some information who was right in his predictions: "We are here a meeting of young people who like you I assure you and know how to defend you on occasion. You have youth on your side dear master and that is a hard addition. We greatly appreciate the honor you have bestowed upon us by accepting the title of honorary member of our young conference. What a powerful book Germinal is! … I should be obliged to you dear master to tell me exactly at what time you had the idea of this vast social study Won't military life and artistic life be the subject of two future works ".Provenance: Collection B. & R. BrocaBibliography: Correspondance t. V éd. du CNRS p. 241-242 n°185

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Zola EmileABAA

Lourdes. Rome. Paris.

EZ002Paris: Bibliotheque-Charpentier 1894 1896 1898 Three volumes. First editions. Presentation copies; all three volumes signed and inscribed by Zola on the half-titles to his friend Campbell Clarke. All three volumes uniformly bound for Clarke in quarter green calf over marbled boards original wrappers bound in with his initials to the spines and bookplates to front pastedowns. Some light rubbing and minor wear to the extremities; internally leaves a bit toned as usual else bright and very clean. Les Trois Villes or The Three Cities follows Emile Zola's fictional protagonist Abbe Pierre Froment on his travels through Lourdes Paris and Rome. The trilogy demonstrates Zola's characteristic Naturalism style -- as a literary movement Naturalism relied on empiricism and the scientific method rejecting romanticism through its requirement that characters are subject to the force of their circumstances. As it does in this trilogy Naturalism often manifests itself in the form of social commentary through fiction in this case focused on the three cities for which each of the books are named. Emile Zola 1840-1902 was a French novelist playwright and journalist noted for his contributions to the literary movement known as Naturalism and made famous by his 1877 novel L'Assommoir which lead to further success as a novelist. Aside from his literary contributions Zola is perhaps best known for his involvement in the so-called Dreyfus Affair and his iconic "J'Accuse.!" headline in the Parisian daily newspaper "L'Aurore" in 1898 accusing the French President of anti-Semitism and wrongful conviction of an innocent man. Campbell Clarke 1845-1902 was a British author and journalist who served as librarian at the British Museum before his tenure as an international correspondent for the Daily Telegraph. Clarke was stationed in a number of countries including Turkey Greece Germany Italy and France. Notably when Zola visited London in 1893 to present his speech "Anonymity in the Press" to the Institute of Journalists Clarke acted as a tour guide for Zola and led him on a personal tour through the National Gallery of England. Signed by Author. First Edition. Hard Cover. Near Fine. Paris: Bibliotheque-Charpentier, 1894, 1896, 1898 hardcover books

B & B Rare Books, Ltd., ABAA · États-Unis5 000,00 $US≈ 4 230,50 €

Zola emile

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