Zola, EmileBiblio.com
6 559 résultats
188758804Vizetelly & Co. Good. 1887. Hardback. Boards are marked corners worn and bumped notable scratch on rear; spine has slight forwards lean darkened with rubbed gilt titling; stitch binding mostly tight except rear joint partially exposed frontispiece loose and attached only by tissue guard joint exposed between pp256-7; pages are unmarked some off-setting on decorated endpapers all eight engravings present two pages of advertisements at rear. ; 5.5 x 1.25 x 7.75 inches; 350 pages . Vizetelly & Co hardcover
45602666like new. unknown
1603123318.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
18903521Chicago: Laird & Lee Publishers 1890. Translated from the 52nd French Edition. Hardcover. pp. 283 6. 12mo. measuring 7.25" x 5". Plain black pebbled cloth over boards. Black-and-white illustrated frontispiece depicting a scene from the novel. Remarkably well-preserved in consideration of its age the extremities show only a very light touch of edgewear to the tips pages lightly age-toned but remain entirely without blemish. Overall very good. Scarce in commerce our offering being the only extant copy at time of cataloguing of this iteration. <br/><br/>Originally published in French as "La Faute de l'Abbé Mouret" in 1875 our offering is a particularly early American printing of this the fifth volume in Zola's twenty-volume series commonly known as "Les Rougon-Macquart" or "Histoire naturelle et sociale d'une famille sous le Second Empire". This English translation was most likely based upon Vizetelly & Co.'s 1886 printing the translator remains unknown See OCLC Ciration #1536033. Laird & Lee Publishers hardcover
1016187157.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1164557785.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1436758904.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
3732617645.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
3732617653.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
9354545106.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1910RO40240193Chatto & Windus. 1910. In-8. Broché. Etat d'usage, Tâchée, Dos abîmé, Intérieur acceptable. 140 pages. 1er plat illustré. Texte sur 2 colonnes en anglais. Etiquette de code sur le 1er plat. Tampons de bibliothèque sur le 1er plat et en page de titre.. . . . Classification Dewey : 420-Langue anglaise. Anglo-saxon
1900R300150517CHATTO & WINDUS. 1900. In-8. Cartonnage d'éditeurs. Etat d'usage, Tâchée, Dos satisfaisant, Intérieur frais. X + 305 pages + 32 pages - ouvrage essentiellement en anglais - tampons sur la page de titre - une étiquette collée sur le 1er plat - cartonnage polychrome - petite tâche blanche sur le 1er plat .. . . . Classification Dewey : 420-Langue anglaise. Anglo-saxon
1330112946.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1528050649.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1113982o.J. S. 83-109; Illustr.; 23 cm; kart.
6203185914.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
190080343Paris: Imprimerie Lenepveu 1900. Fine. Imprimerie Lenepveu Paris s. d. mai 1900 49.80 x 65.20 cm une affiche Musée des horreurs Original colour lithographed poster n° 26 exceptionnel Un bal à l'Elysée Imprimerie Lenepveu Paris May 1900 498 x 652 cm one poster Original colour lithographed poster depicting Émile Loubet as a bear holding a tambourine marked Panama Émile Zola as a pig Dreyfus as a hydra Joseph Reinach as a monkey the rabbi Kadoc Kahn as a donkey and Georges Picquart as a dromedary. This imposing poster featuring several people already caricatured in the previous issues is a direct reference to the Panama Scandal. This large-scale corruption affair which saw the resignation of Émile Loubet then Minister of Finance is re-referred to here because of the Judaism of some of is protagonists. It is Drumont through his magazine La Libre Parole who revealed the Panama Scandal denouncing the alleged alliance between the secular Republic and the Jewish high bank and thus contributing to the strengthening of the stereotype of the Jew eager for money: The deputy Joseph Reinach cousin and son-in-law of the baron Jacques de Reinach compromised in the scandal focuses the hatred of the polemicist. A republican close to the business world a free thinker Reinach is undoubtedly with Alphonse de Rothschild the man most attacked by the anti-Semites of the time. His wealth the vast networks of influence available to him his early involvement with Gambetta the memory of his campaigns against Boulangism and his equivocal role in the Panama affair make him the man to slaughter in order to return France to the French. Grégoire Kauffmann Rothschild & Cie. La bourgeoisie juive vue par Édouard Drumont in Archives Juives 2009 As for Émile Zola his novel L'Argent published in 1891 denounces the misappropriation of this financial scandal but his support for Alfred Dreyfus earned him his place in this nightmarish animal circle. Circulated between October 1899 and December 1900 in a France set ablaze by the Dreyfus Affair these immense colour portraits are the work of Victor Lenepveu who announced the publication of 150 and then 200 drawings before finally producing only around fifty. Despite the 1881 law on the freedom of press allowing the dissemination of a politically subversive image the publication of this nightmarish pantheon was interrupted by order of the Ministry of the Interior. The fragility of the paper and the imposing size of these very violent posters as well as their almost immediate seizure by the police contributed to the disappearance of these caricatures which strongly left a mark on public opinion. These horreurs were widely promoted by anti-Semitic newspapers that announced a fantasised print of 300000 copies thus insinuating the success of anti-Semitic ideas in the population. On 1st October 1899 L'Intransigeant announced the publication of the Musée des horreurs in its columns: Un dessinateur de beaucoup d'esprit au coup de crayon d'un comique intense M. V. Lenepveu a eu l'heureuse idée d'inaugurer une série de portraits des vendus les plus célèbres de la tourbe dreyfusarde. Le titre de cette série « Musée des Horreurs » est suffisamment suggestif et indique bien ce qu'il promet. . C'est la maison Hayard qui mettra en vente à partir d'aujourd'hui le numéro 1 de cette désopilante série. An artist of great spirit with an intense comical pencil stroke M. V. Lenepveu had the happy idea of inaugurating a series of portraits of the most famous sellouts of the Dreyfusard rabble. The title of this series Musée des Horreurs is sufficiently suggestive and is a good indicator of what it promises. . It is Maison Hayard that will put up for sale from today issue number 1 of this hilarious series. First a peddler then a bookseller-publisher Napoléon Hayard known as Léon Hayard specialised in the marketing of anti-Dreyfusard and anti-Semitic ephemera and advertisem Imprimerie Lenepveu unknown
189980330Paris: Imprimerie Lenepveu 1899. Fine. Imprimerie Lenepveu Paris s. d. novembre 1899 49.80 x 65.20 cm une affiche Musée des horreurs Original colour lithographed poster n° 4 Le Roi des Porcs Imprimerie Lenepveu Paris November 1898 498 x 652 cm one poster Original colour lithographed poster depicting Émile Zola in the shape of a pig sitting on a tub containing his fictional works and smearing international poop on the map of France. Transverse folds some tiny tears two small holes above Zola's head without affecting the image. The representation of Émile Zola as a pig does not date back to Lenepveu as Guillaume Doizy highlights in his article dedicated to pig caricatures Le porc dans la caricature politique 1870-1914: une polysémie contradictoire in Sociétés & Représentations n°27 2009: For the end of the 19th century we also think of the many caricatures of which Zola was the victim and which associate excrement symbols of naturalism with pigs. Dozens of images could be mentioned. In the 1880s Sapeck imagined the naturalist naked a vine leaf hiding his genitals a veiled reference to the supposed pornography of his writings sitting astride a pig feeding on his excrement a long-lasting symbol called to stigmatise the new literary school. In a caricature dated 1898 Alfred Le Petit shows a Zola-pig defecating on the tricolore flag. Barely a month after the publication of his famous J'accuse the writer defending the Dreyfusard cause is accused of defiling France and especially its Army by defending the traitor Dreyfus and Prussia considered the eternal enemy. The pig is dirty but above all it dirties defiles by the effect of its harmful will. The same year Caran d'Ache portrayed the weapons of the Dreyfusard press as a big pig sprawled in muck and covered with mud. . In his series Le Musée des horreurs the very right-handed Lenepveu violently attacks Zola. The writer is depicted as a piglet sitting on a box of waste containing his own works the fruit of his defecations prominently including La Terre and Nana. He soils a map of France with his international poop contained in a chamber pot that he spreads with a small brush. The artist is of course aiming at the Dreyfus defender through his famous J'accuse and Jewish cosmopolitanism smearing France with his support for treason. The soiling-pig association seems obvious and primordial. As for Napoleon III the pig's dirt reinforced here by the visible excrement stigmatises the target's political choices. Lenepveu defines Zola's ideas as works of unworthiness intestinal and dripping products. Although this is not the first porcine representation of Émile Zola the one that features prominently in Lenepveu's Musée is undeniably by its realism the most violent. Circulated between October 1899 and December 1900 in a France set ablaze by the Dreyfus Affair these immense colour portraits are the work of Victor Lenepveu who announced the publication of 150 and then 200 drawings before finally producing only around fifty. Despite the 1881 law on the freedom of press allowing the dissemination of a politically subversive image the publication of this nightmarish pantheon was interrupted by order of the Ministry of the Interior. The fragility of the paper and the imposing size of these very violent posters as well as their almost immediate seizure by the police contributed to the disappearance of these caricatures which strongly left a mark on public opinion. These horreurs were widely promoted by anti-Semitic newspapers that announced a fantasised print of 300000 copies thus insinuating the success of anti-Semitic ideas in the population. On 1st October 1899 L'Intransigeant announced the publication of the Musée des horreurs in its columns: Un dessinateur de beaucoup d'esprit au coup de crayon d'un comique intense M. V. Lenepveu a eu l'heureuse idée d'inaugurer une série de portraits des vendus les plus célèbres de la tourbe Imprimerie Lenepveu unknown
1995293835Editions du Rocher 1995 160 pages in8. 1995. Broché. 160 pages.
189913736Paris: L'Imprimerie Chaix 1899. First edition. Print. Fine. A young woman dressed in the classical style looks at the moon with her back to the viewer. Image size varies on paper 11 1/4 x 15 1/2" with the blind stamp in the lower right corner. <br /> <br /> Maitres de l'Affiche Masters of the Poster was an outstanding publication publishing in a small format the best of poster art from the Belle Epoque. They are lithographs printed by Imprimerie Chaix in Paris between 1895-1900. L'Imprimerie Chaix unknown
20024965Les Vents contraires 2002 In-8 broché, 393 pp.
2026__3847434284Budrich 2026. Paperback. New. 260 pages. German language. 5.83x0.67x8.27 inches. Budrich paperback
2025__3847431102Budrich 2025. Paperback. New. 300 pages. German language. 8.27x5.83x0.79 inches. Budrich paperback
