Edition of the year of the first edition, statement of 17th thousand.
Spine slightly sunned.
Autograph inscription signed by Alphonse Narcisse to madame André Morice.
Second edition, printed in a small number of copies on Hollande laid paper.
3/4 red morocco, five raised bands-spine, gilt date at foot. Slight, superficial fading to spine, marbled paperboards, pebbled flyleaves and pastedowns, original covers and spine preserved, top edge gilt, A finely executed, unsigned binding from the late 19th to early 20th century.
Provenance: from the library of Simone and André Maurois, with their engraved bookplate on front pastedown.
Signed and inscribed copy by Paul Verlaine to the opera singer Marie-Blanche Vasnier : "A Madame Vasnier, hommage respectueux. P. Verlaine." [To Madame Vasnier, with respectful homage. P. Verlaine']
Marie-Blanche Vasnier was the muse of the young Claude Debussy, fourteen years her junior, to whom he dedicated numerous songs of love.
Comme devant une place / Pleine de gens et de bruit / Je reste figé sur place / Arrêté devant ma vie
First edition on ordinary paper.
Work decorated with a frontispiece illustration by Joan Miro.
Very precious autograph inscription signed by Janine Queneau to her great friend Boris Vian: "A Boris dont je crains d'avoir bien mal suivi les conseils. Avec beaucoup d'affection. Janine." ["To Boris, whose advice I fear I have followed very poorly. With much affection. Janine."]
Provenance: Boris Vian Foundation.
Third edition after the original published in Bordeaux in 1593 and a second Parisian edition in 1594. The copy mentions the second edition because it is the second to be published in Bordeaux.
Extremely rare handwritten presentation signed by the author on the page of the endpaper: “Pour Monsieur de Rives en memoire de moy. A Caors ce iiij [4] may 1595. Charron.” “For Monseiur de Rives in memory of me. In Caors this iiij [4] May 1595. Charron.” It is, without doubt, about Jean III de Rieu, Lord of Rives, who belonged to the family of Antoine Hébrard de Saint-Sulpice, bishop of Cahors. Pierre Charron had been called theological by this same bishop of Cahors and became his curate for six years.
Bound in calf vellum with contemporary yapp edges, blank spine.
Extensive yellowing of the endpaper page until page 30, then lessening, in the middle of the page throughout the first part and until page 120 of the second part. This yellowing resumes from page 760 until the end.
Pierre Charron's first writing, who, in this controversial work regarding Protestantism, develops three great “vérités” “truths”: religion is necessary, Christianity is revealed and only the Roman Church is the true Church. It is this last point in particular that the author tries to demonstrate. This third part is so important that it has its own title page and takes up two-thirds of the book.
In Bordeaux, Pierre Charron met Montaigne whose ideas spread through his works and his thoughts. They bonded with such a deep friendship that Montaigne designated Charron as heir to his house coat of arms.
The handwritten ex-donos or presentations of the great humanists of the 16th century are an exceptional rarity.
