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Honoré de BALZAC

Scènes de la vie privée

Imprimerie de Madame-Delaunay, Paris 1832, 13x20,5cm, 4 volumes reliés.

Edition in large part original, the last two volumes contain first edition: "The Council", "The Exchange", "The Duty of a Woman", "The Honeymooners," "The beginning of the Woman of Thirty" "Rendezvous", "the Finger of God", "the two meetings", "atonement" (five chapters, unrelated, form the first draft of the Woman of thirty years).
Binders half navy sheepskin, back with four false nerves decorated with dots and gold jewels, marbled paper plates, guards and contreplats of handmade paper, sprinkled edges, slightly posterior bindings dating from the second half of the nineteenth.
donos pen heads of the guards of the first two volumes.
Some foxing mainly affecting the end of the fourth and final volume.
Very rare and enigmatic autograph signed by Honoré de Balzac: Le Duc, the author of Balzac. "

Autographs erasures on the courtesy title and the dedicatee's name indicate that Balzac has resumed shipment.
Thus the author address initially in his book "Mr. Delmar" German banker and brother of Ms. Couturier St. Clair (in which Balzac read his play The School for households in March 1839) before strike his name, in a gesture indicative of his stormy relationship with the world of finance and its representatives.
The author then dedicated his book "Le Duc" with no other indication, indicating a real familiarity with the dedicatee which however included in any of Balzac's biographies.
It could therefore be the character "Duke" of the part played by Jemma Vautrin at Théâtre de la Porte Saint-Martin in 1840, before the play, written in hopes to repay the debts of Balzac, is prohibited.

It would hardly be surprising that Balzac, who was fond of nicknames, and has dedicated these scenes of private life - including a new original story recounts a silver perverting the judgment of an artist - to one of the unfortunate players who undergoes with the wrath of critics and censorship.
With this dedication palimpsest, Balzac seems to assert the supremacy of the art on the financial vain inclinations.
 

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