New édition. The 8 parts each have a title page. Title pages of the first part and the fifth in red and black. Novel first published between 1734 and 1736, the last three parts are apocryphal and appear here at Scheurleer in first edition.
Contemporary full brown calf bindings. Raised band spines ornate with fleurons and stars. Red morocco title labels, and brown morocco volume labels. Restorations to joints and headcaps. Scattered browning. Good copy.
Like La vie de Marianne, Le Paysan parvenu is based on memoirs, and the rise of a handsome young man of great wit, but poor and of peasant extraction. His qualities which will make him appealing in women's eyes will allow him to make his way in the bourgeoisie and achieve success. Marivaux uses the devices of the picaresque novel, throwing his character from one adventure to another. At the end of the fifth part, Marivaux tells his reader what awaits him in the sixth, but the author will return to writing la vie de Marianne, of which Le paysan parvenu seems to be the masculine parallel, and the last three parts will be completed by an unknown author.
First edition with some parts of the text in first edition, bearing a statement of second edition; the second volume appears here for the first time. A full-length portrait of the author and a facsimile of an autograph.
Contemporary half cherry red glazed calf bindings. Spines with raised bands decorated with two stamps and Restoration-style roulettes, fillets. Rubbing to headcaps and joints.
Elegant binding, handsome copy.
De Fongeray is the collective pseudonym of Hygin-Auguste Cavé and Adolphe Dittmer (this name appears on the title label). The work is illustrated with a portrait of the so-called de Fongeray, which is actually just a portrait of Stendhal. ("We learned from M. Henry Monnier that the alleged portrait of M. de Fongeray is nothing less than that of Stendhal, slightly exaggerated". Asselineau, page 307.) Escoffier specifies: "this second edition consists of the volume from the first edition [in 1 vol., here bearing the statement second edition], and a second volume, in first edition, bearing on the title page second edition.
Edmond Cavé (1794-1852) and Adolphe Dittmer (1795-1846) were two liberal-leaning publicists who collaborated on Le Globe. In this work published jointly, one finds dramatic proverbs or playlets, linked to events of the Empire and the Revolution.
First collected edition.
Contemporary full blonde sprinkled sheep binding. Smooth spine decorated with two tools and two compartments with grotesque designs, rouletted. Title and volume labels in red morocco. One wormhole to head of the first three volumes. Spines slightly faded. Fine copy, very fresh.
Most of the comedies given by the author quickly met with success, and even under the Revolution and the Terror, the author was not troubled, donning the uniform of commander of the national guard and providing verses for civic festivals. His works bring together 11 plays carried by a lively and alert style, precise, but with weak and loose plots. The fugitive poems are pieces often close to his comedies. The editorial project was carefully revised by the author, and we owe him some notes and prefaces and the variants of his first plays, the latter died the following year in 1806.
In fine, Les querelles des deux frères, ou la famille bretonne. Chez Duminil Lesueur. 1808. On the verso of the title page, a note from the publisher: "cet ouvrage termine le quatrième volume du théâtre complet de Collin d'Harleville ; il est placé immédiatement après les Poésies fugitives." ["this work completes the fourth volume of the complete theater of Collin d'Harleville; it is placed immediately after the Fugitive Poems."]
New edition, illustrated with two frontispieces and 12 figures before letters, unsigned. A title vignette repeated on both volumes. Title pages in red and black.
Contemporary full glazed blonde calf bindings. Spines with raised bands decorated with small repeated fleurons in compartments. Red morocco title and volume labels. Decorative gilt board-edges and on leading edges. Edges gilt. The figures are slightly shorter at the outer margin. Joints partially restored. Fine copy, in good binding.
Son of the illustrious actor Montfleury, and like him attached to the Hôtel de Bourgogne, his first plays were farces around 1660, then producing about one play per year, he evolved toward satire and social criticism. He was a rival of Molière, who had mocked his father in L'Impromptu de Versailles (to which he responded with L'Impromptu de l'Hôtel de Condé), but while Molière drew his manner from Italian theater, Montfleury freely drew inspiration from Spanish theater; his comic theater is not a comedy of characters but a satire of contemporary society.
Engraved armorial bookplate of the 19th century Ph. L. de Bordes de Fortage.
