madame bovary de gustave flaubert (Plus de 9 200 résultats)

Couverture rigide. - Michel Lévy frères, Paris 1857, 11,5x18,5cm, relié. - | Le chef d' uvre de Flaubert en grand papier, relié à l'époque | Édition originale, un des rarissimes exemplaires sur vélin fort (Clouzot en dénombre 75). Reliure en demi chagrin bleu marine, dos à quatre nerfs sertis de guirlandes dorées partiellement estompées et orné de filets et de fleurons dorés, frise dorée en queue, plats de cartonnage bleu nuit, gardes et contreplats de papier caillouté, reliure de l'époque. Quelques rousseurs. Contrairement aux exemplaires sur papier courant imprimés en deux volumes, les exemplaires en grand papier sont présentés en un seul volume, sans page de titre ni de faux-titre pour la seconde partie, la signature des cahiers étant continue. Ils comportent également toutes les caractéristiques de première émission dont la faute à «?Sénart?» au feuillet de dédicace Très rare exemplaire en grand papier et strictement relié à l'époque. [ENGLISH TRANSLATION FOLLOWS] Madame Bovary | Michel Lévy frères | Paris 1857 | 11,5 x 18,5 cm | half shagreen First edition, one of the very rare copies on vélin fort (75 copies according to Clouzot). Contemporary navy blue half shagreen binding. Some foxing. Contrary to copies on ordinary paper printed in two volumes, deluxe copies (grands papiers) are presented in a single volume, without a title or half-title page for the second part of the novel - with continuously numbered pages. This copy includes all the features of first issue copies including the misprint known as 'la faute à Sénart' on the dedication page. Very rare deluxe copy (grand papier) in a rare contemporary binding.

First edition, first issue, uncommon in the original wrappers. Flaubert's debut novel, written and constantly reworked by the author for five years before publication, is considered "the principal masterpiece of realism and the work that established the realist movement on the European scene" (Ency. Brit.). Madame Bovary was first serialized in the magazine La Revue de Paris in 1856, with several changes and deletions made to the explicit passages in the text made by the publisher. Despite the cuts, and partly because the liberal La Revue de Paris was considered a hostile publication by the government of Napoleon III, the novel was immediately sued for "outrage aux bonnes moeurs" (affront to public decency) and Flaubert appeared before the court on 7 February 1857. Defended by Maitre Sénard, a well-regarded Rouen attorney, he was found not guilty and publication resumed. Flaubert's gratitude to Senard is demonstrated in the novel's dedication. The scandal assured the book's instant fame. Sainte-Beuve, the most influential critic of the time, famously dedicated a long review to it, praising Flaubert's power as a narrator but also criticising the lack of a moral touchstone in the story. Flaubert replied in a letter: "This book is for me a matter of pure art and set purpose. Nothing more. It will be a long time before I attempt anything like it again. It was physically painful to write. Henceforth I wish to live. in less nauseating milieus". The present copy has the first issue points, with the dedicatee's name misspelt "Senart" and continuous pagination between the volumes. Vicaire 721. 2 volumes, octavo. Original pale blue-green wrappers printed in black, edges untrimmed. Wrappers a little creased but bright, a few very discreet repairs to joints, short split to foot of front joint of vol. II, contents clean: very good indeed.

Soft cover. Etat : Near Fine. 1st Edition. First Edition, First Printing in the ORIGINAL green printed wrappers. An attractive copy of this two volume set with minor wear to the spine and edges. The pages are clean with NO writing, marks or bookplates in the book. A lovely copy in collector's condition. We buy Flaubert First Editions.

Unique extra-illustrated example, limited edition printed hors-commerce on japon imperial for Monsieur Dumouchel, from a total edition of 525; 3 vols; 4to; illustrated with 25 monochrome etchings (of which 22 are hors-texte by Charles Huard and with two original copper plates by Huard, colour drawings throughout the text by Theodore van Elsen, signed and dated 1933, also loose are 9 wash drawings and 4 watercolours signed by Huard and a set of prospectus; vol II contains a suite of 30 colour drawings to illustrate the work, loose in an illustrated wrapper by van Elsen, with each drawing with tissue guards and mounted on blue paper, a suite of 20 original watercolours also to illustrate the work signed and captioned in pencil by Louis Ibels loose in an illustrated wrapper, dated 1933; vol.3 contains over 100 original drawings signed by Carlo Farneti to illustrate the work, 4 original watercolours by Louise Ibels and 2 signed watercolours by Leon Courbouleix; all house in modern maroon morocco boxes with gilt detail and lettering; a fine copy. A unique example extra-illustrated by Charles Huard with two copper plates and numerous original drawings by multiple artists. A large collection from the publisher's Javal and Bordeaux of illustrations for Flaubert's novel. Flaubert's first published novel. 'Madame Bovary, the story of the adulteries and suicide of a doctor's wife in provincial Normandy, is notable for its rigorous psychological development, and manifests the qualities that mark all his mature work: authenticity of detail, an impersonal narrative method, a precise and harmonious style. Certain passages having been judged to be offensive to public morals, Flaubert, his publisher, and his printer were tried but acquitted' (Drabble).

Hardcover. Etat : Fine. 1st Edition. First Edition, First Printing. A Beautiful copy in the ORIGINAL Blue Cloth of this First Edition in English. The book is in great shape. The binding is tight with NO cocking or leaning. The boards are crisp with minor wear to the spine and edges. The pages are clean with NO writing, marks or bookplates in the book. Overall, a lovely copy in collector's condition. We buy Gustave Flaubert First Editions.

[an amazingly fine copy] Translated from the French Édition Définitive by Eleanor Marx-Aveling. London: Vizetelly & Co., 1886. 2 pp preliminary ads. Original aqua-blue cloth decorated in gilt, black and dark grey. First English Edition of Flaubert's masterpiece, which was destined to become one of the great classics of world literature. Portraying the frustrations and love affairs of romantic young Emma Bovary, married to a dull provincial doctor, the book -- first published in French in late 1856 -- resulted in Flaubert being prosecuted on moral grounds. However, he won the case, while the book gained notoriety that spurred its sales in France. It was MADAME BOVARY that established Flaubert as one of the supreme masters of the realistic novel, with his objective, precise style typified by his use of "le mot juste." Somerset Maugham selected MADAME BOVARY as one of the ten greatest novels, saying that "Flaubert created the modern realistic novel and directly or indirectly has influenced all the writers of fiction since his day." Although the novel did appear in the early 1880s in America (a little-known undated Peterson edition, probably 1881), it did not appear in England until here in 1886, because UK publishers would not touch it -- due to the fact that the lending libraries (responsible for most of any novel's initial sales) would likewise refuse it. Enter the Italian (but London-born) publisher Henry Vizetelly, who in 1886 established this publishing house and set about publishing "Realistic Novels" that the lending libraries had been preventing the English public from reading -- beginning with this book. It was largely Vizetelly, and the public clamoring for his books (despite his being prosecuted for obscenity), who brought about the decline and ultimately the demise of the three-decker format in Britain -- in 1894, coincidentally the year of Vizetelly's death. The translator -- and the author of the 16-page Introduction about Flaubert and the writing of MADAME BOVARY -- was Eleanor "Tussy" Marx (1855-1898), the English-born youngest daughter of Karl Marx. As a child she had played in his study as he wrote DAS KAPITAL (published in 1867), and at the age of 16 she became his secretary, accompanying him to socialist conferences around the world. Her father died in 1883, soon after which she and Edward Aveling, under the aegis of Friedrich Engels, saw to the publication of the second volume of DAS KAPITAL. In 1886, the year this book was published, she toured the US with Aveling and the German socialist Wilhelm Liebknecht. A dozen years later (in early 1898), she discovered that the ailing Aveling had secretly married a young actress and, at age 43, "Tussy" ended her life with cyanide -- very similarly to how Emma Bovary had ended her life with arsenic. This is an amazingly fine copy -- by far the best we have ever seen. Typically, copies have substantial soil and rubbing of this aqua-blue cloth -- but this copy is clean and bright, essentially without wear or soil. The dark green coated endpapers are intact, and the volume is tight. One could not hope for a better copy, of this literary classic that brought together a great author, the debut of a historically-significant publisher, and a talented translator and feminist. Housed in a clamshell case with leather labels.

Paris, 1857. Bound uncut with all the original wrappers, also the back-strips, in two magnificent, uniform full brown morocco bindings in art nouveau-style with inlays of purple, green, and beige morocco in flower-like patterns to boards and top of spines. Inside of boards of vol. I with light olive green morocco with inlayd pink morocco forming an elaborate romantic frame. Inside of boards of volume II with the same pattern, but in blue morocco on a dark green background. Marbled free end-papers, first and last of which in both volumes are covered with shiny silk on rectos and versos respectively. The bindings are signed Anker Kyster and dated 1928. Housed in two blue full cloth boxes with gilt lettering to spines. Wrappers slightly soiled along edges and with small, expertly restored, tears. Mounted and expertly restored backstrips with more wear, but almost all lettering intact. A few leaves with small, barely visible, restorations to blank margins. Overall a magnificent, very nice, clean, and fresh copy. Bound with the 36 pp. publisher's catalogue, dated March 1857. First edition, first issue of Flaubert's seminal magnum opus, the main work of literary realism and one of the most influential pieces of literature ever published. The novel first appeared serialized in the "Revue de Paris" from October to December 1856 and created a massive stir. Flaubert was almost immediately accused for obscenity and the trial that began in January 1857 helped make the novel notorious. When Flaubert was acquitted in February 1857, he had the novel published as quickly as possible, and it became an instant bestseller. With the present work, "Flaubert established for good or ill, what most readers think of as modern realist narration, and his influence is almost too familiar to be visible" (James Wood: How Fiction Works). Recognized as one of the greatest novels ever written "Madame Bovary" is generally considered the perfect work of fiction with an almost unsurpassed influence on contemporary and later writers, prefiguring the work of the great modernist novelists such as Proust and Joyce.Henry James said of the work " "Madame Bovary" has a perfection that not only stamps it, but that makes it stand almost alone: it holds itself with such a supreme unapproachable assurance as both excites and defies judgment", Nabokov hailed it as "prose doing what poetry is supposed to do", Marcel Proused praised its "grammatical purity" Kundera wrote of it "not until the work of Flaubert did prose lose the stigma of aesthetic inferiority. Ever since "Madame Bovary", the art of the novel has been considered equal to the art of poetry". The first issue, especially in wrappers, is uncommon. The present copy has the following first issue-pointers: " Senart" instead of "Senard" in the dedication, as well as the mistakes: "ni de votre dévouement" in stead of "et de votre dévouement" in the dedication" the lack of numbering on pp. 50 and 67 (just a hint of the 0 on p. 50)" "demanda-t-elle" in stead of "se demanda-t-elle" on p. 145, l. 23" comma after "abîme" on p. 290, l. 25" the disalignment of 1 and 0 to the bottom of p. 397" "Théodore" poorly printed on p. 475, l. 20.). Anker Kyster (1864-1939) is one of the most treasured Scandinavian book binders of all time, especially well known for his art nouveau-bindings, the best of which are now very difficult to find on the market. He was a book binding pioneer, who famously worked with the best arts- and crafts people and designers of the period He was also responsible for introducing hand-made marbled paper to book binding as a replacement for machine made paper. "He established himself as a highly skilled and pioneering bookbinder in Copenhagen, combining elements of classical traditions with modern styles and standards (e.g. those of Cobden-Sanderson)." (Oxford Companion to the Book). Kyster's full leather bindings are highly sought-after.

First Edition. FLAUBERT, Gustave. Madame Bovary. Moeurs de Province. Paris: Michel Lévy Frères, 1857. Two volumes. 12mo, contemporary half brown morocco, marbled boards and endpapers. Housed in a custom cloth clamshell box. $9500.Rare first edition, first issue in book form, of Flaubert s literary masterpiece, "the definitive model of the novel" (Émile Zola) and the work that "ushered the age of realism into modern European literature," in contemporary binding.Upon publication of Madame Bovary, both Flaubert and his publisher were brought to trial on charges of immorality and narrowly escaped conviction (the same tribunal found Charles Baudelaire guilty on the same charge six months later). Although purportedly based in part on the circumstances of Flaubert's friend Louise Pradier, the author's claim that "Madame Bovary is myself," with his unrelenting objectivity and deep compassion for his characters, earned him a reputation as the great master of the Realist school of French literature. Flaubert's attention to minute particulars of description and his belief in "le mot juste" significantly influenced later writers and thinkers, making Madame Bovary integral to the evolution of modern literature. First issue, with misspelling of "Senard" as "Senart" on dedication page. With half titles; with 36-page publisher's catalogue, in its earliest state, bound in at rear of Volume I. Text in French. Booklabel of Robert de Billy, a French diplomat who later became ambassador to Japan and Greece. Billy also had a close friendship with Marcel Proust that began during their compulsory military service and that led to Billy introducing Proust to books by his favorite authors like Ruskin.Interior generally fine with only a few faint finger smudges, light wear to binding, and mild toning to spines. A handsome copy in near-fine condition.

First edition, first printing, first issue, this copy finely bound and preserving the original wrappers. Flaubert's debut novel, written and constantly reworked by the author during five years before publication, is considered "the principal masterpiece of realism and the work that established the realist movement on the European scene" (Ency. Brit.). First published in the magazine La Revue de Paris in 1856, the novel was immediately sued for "outrage aux bonnes moeurs" (affront to public decency) and Flaubert appeared before the court on 7 February 1857. Defended by Maitre Sénard, he was found not guilty, and publication resumed. The binder of this copy, Henri Noulhac (1866-1931), was a "superlative craftsman" who "specialized initially in plain leather bindings (reliures jansénistes) and copies of romantic eighteenth-century bindings. By 1900 he had begun tentatively to incorporate modest floral emblems into the dentelle fillet borders on his covers. Noulhac did not attempt to create a reputation for himself as a book cover designer per se, a decision that he later regretted" (Duncan & De Bartha, p. 195). The present volume is an excellent example of his demure approach to bookbinding. Provenance: from the library of "the king of booksellers" Pierre Berès (1913-2008), with his label to the front free endpaper of the first volume. Described by the French culture minister Albanel as "a legendary figure in the world of art, collecting and publishing" (quoted in Grimes), Berès was a friend of Picasso and the owner of one of the major Parisian antiquarian bookshops of the 20th century. The present copy has the first issue points, with dedicatee's name misspelt "Senart" and continuous pagination between the volumes. Alastair Duncan & Georges De Bartha, Art Nouveau and Art Deco Bookbinding. French Masterpieces, 1880-1940, 1989; William Grimes, "Pierre Berès, Tenacious Book Collector, Dies at 95", The New York Times, 2008. 2 volumes, octavo (182 x 112 mm). Early 20th-century dark brown crushed morocco by Noulhac, spines with raised bands, lettered in gilt to second compartments, board edges ruled in gilt, purple morocco gilt ruled doublures, dark brown silk endpapers, flyleaves patterned with a delicate tracery, edges gilt. With original wrappers bound in. A fine copy, handsomely bound, retaining publisher's advertisements.

Hardcover. Etat : Like New. First Edition. First Edition, First Printing. Published by Vizetelly & Co, 1886. Octavo. Original publisher's cloth. Light blue cloth boards stamped in gold. Book is near fine with a slight spine lean. Has some foxing and a few pages are uncut. Cloth is clean and gilt lettering is bright. A wonderful copy of this landmark 19th-century novel. Translated with an introduction by Eleanor Marx-Aveling. 383 pages. Housed in a custom black leather over green cloth clamshell case. 100% positive feedback. 30 day money back guarantee. NEXT DAY SHIPPING! Excellent customer service. Please email with any questions or if you would like a photo. All books packed carefully and ships with free delivery confirmation/tracking. All books come with free bookmarks. Ships from Southampton, New York.

Couverture rigide. - Michel Lévy frères, Paris 1857, 11x18cm, 2 volumes reliés. - Édition originale comportant toutes les caractéristiques de première émission dont la faute à «?Sénart?» au feuillet de dédicace. Reliures en demi chagrin bleu marine, dos à quatre nerfs sertis de filets dorés et ornés de doubles caissons dorés et décorés, plats de papier jaspé, gardes et contreplats de papier caillouté, tranches mouchetées, reliures de l'époque. Etiquette de description de libraire encollé en marge inferieure de la garde du premier volume. Provenance?: bibliothèque André Coppens avec son ex-libris gravé encollé sur chaque premier contreplat. Très bel exemplaire établi dans une charmante reliure de l'époque. [ENGLISH TRANSLATION FOLLOWS] First edition, with all the features of first issue copies including the misprint known as 'la faute à Sénart' on the dedication page. Contemporary navy blue half shagreen bindings, spines with four raised bands decorated in gilt, marbled paper boards, caillouté pastedowns and endpapers, speckled edges. Bookseller description label on the interior margin of the first volume's pastedown. Provenance?: André Coppens library, with his engraved bookplate on each volume's endpaper. Handsome copy in a charming contemporary binding.

First English Edition. Original publisher's decorated cloth. A little foxing; a couple of pages roughly opened; one leaf of text torn across, without loss; very slightly cocked; overall, an unusually attractive and fresh copy. Translated by Karl Marx's daughter, Eleanor Marx-Aveling, who contributed a long and perceptive introduction to the novel. All books described as first editions are first printings unless otherwise noted.

First edition in English of Flaubert's masterpiece, in the attractively decorated cloth, one of the most notable books in the sequence of English translations of French and Russian novels published by Henry Vizetelly in this decade. The translator was Karl Marx's daughter, Eleanor, then living openly with Edward Bibbens Aveling, a married man whose name she used in conjunction with her own. First published in the magazine La Revue de Paris in 1856, Madame Bovary was immediately sued for "outrage aux bonnes moeurs" ("affront to public decency"). Flaubert appeared before the court on 7 February 1857, but was found not not guilty and publication resumed. The ensuing publicity also ensured that upon publication the book became a bestseller. The heroine of the novel, Emma Bovary, ultimately commits suicide by swallowing arsenic - a fate which also befell her translator, Eleanor Marx-Aveling. Madame Bovary is now acknowledged as one of the greatest novels in the Western canon. The publisher, Henry Richard Vizetelly (1820 1894), specialised in translations of French and Russian novels: "Many of them affronted Victorian notions of propriety. It was above all his publication, between 1884 and 1888, of translations of seventeen novels by Emile Zola that brought him notoriety for the first time in his life and turned him into a reluctant martyr, one of the early heroes of the fight against oppressive literary censorship" (ODNB). Octavo. Original blue-green diagonal-ribbed cloth, spine lettered and decorated in gilt, title in gilt on blue ground and gilt floral decoration to front cover, rear cover ruled in blind with publisher's device blind-stamped at centre, black coated endpapers. With tissue guarded frontispiece and 5 plates from etchings by Daniel Mordant after Albert Fourié; advertisement leaf at front. Bookplate to front pastedown of Edward Sprague Marsh (1857-1939) lawyer active in Brandon, Vermont, rare book collector and editor, engraved by William Fowler Hopson; 20th-century bookplate to front free endpaper of one William West, based on the title page of Robert Ross's Aubrey Beardsley (1909); pencil inscription "ex libris BJB - JB Buckingham Sr" to verso of last leaf. Spine toned and leaning, creasing to spine ends, a touch of wear to extremities, a few light marks to covers, inner hinges split, book block remaining firm, contents mildly toned, light ink stain to two leaves, otherwise fresh and clean throughout. An attractive copy.

Couverture rigide. - Michel Lévy frères, Paris 1857, 11x18cm, 2 volumes reliés. - Édition originale comportant toutes les caractéristiques de première émission dont la faute à «?Sénart?» au feuillet de dédicace. Reliures en demi chagrin rouge, dos à quatre fins nerfs sertis de pointillés dorés et ornés de filets dorés, pointillés dorés en têtes et en queues, plats de papier marbré, gardes et contreplats de papier caillouté, reliures de l'époque. Bel exemplaire en reliure strictement de l'époque. [ENGLISH DESCRIPTION ON DEMAND].

True first edition of the author's masterpiece. Octavo, two volumes, bound in three quarters leather. In near fine condition. A very sharp example. â Novelists should thank Gustave Flaubert the way poets thank spring: it begins with him. He is the originator of the modern novelâ ¦ He began writing Madame Bovary in September 1851, and delivered the manuscript in 1856, when he was 35â ¦ No novelist agonized as much or as publiclyâ ¦ And no novelist reflected as self-consciously on questions of techniqueâ ¦ Thus â style was bornâ (New York Times Book Review). Upon publication of Madame Bovary, both Flaubert and his publisher were arrested on charges of immorality and narrowly escaped conviction. Although purportedly based in part on the life of Flaubertâ s friend Louise Pradier, the authorâ s claim that â Madame Bovary is myself,â with his unrelenting objectivity and deep compassion for his characters, identified him as the great master of the Realist school of French literature. The first edition in book form was published in France in 1857. With frontispiece, five full-page illustrations and ornamental head- and tailpieces.

First English edition. 8vo. xxii, 383, [32, adverts] pp., with six plates (including the frontispiece). Original blue-green cloth, front cover lettered in black flanked by a gilt decorative band and cherubs, further floral bands with central roundels to the head and foot, spine lettered in gilt, rear cover with blind stamped publisher's monograph within triple blind fillet border, edges untrimmed. London, Vizetelly & Co. A seminal work of nineteenth century literature, translated by Eleanor Marx-Aveling, Karl Marx's daughter, and with a long and insightful introduction by her. An English translation of Madame Bovary is said to have been attempted as early 1857 by Julie Herbert, the governess to Flaubert's own niece, but a willing publisher in Britain was never found and the manuscript has been lost to history. The first English translation appeared in America in 1881, published in Philadelphia and translated by Mary Neal Sherwood, a prolific American translator of French and Russian literature who generally published her translations under the pseudonym John Stirling. The Eleanor Marx translation was therefore the first English edition to be printed in Britain. Although it was preceded by this earlier American effort, 'Eleanor Marx?s translation of Madame Bovary has endured like none other', forming the basis of many succeeding editions (Apter, Against World Literature: On the Politics of Untranslatability, p. 563). Small engraved bookplate of 'Ernest Pearce' to front pastedown with a few neat pencilled marginal annotations signed 'E.P.' Spine ever so slightly dulled, two small marks to front cover, extremities lightly rubbed, some very faint spotting to edges of text block and first two leaves, otherwise an excellent copy.

First British edition of the author's masterpiece. Octavo, original cloth, frontispiece and 5 plates, 2 pages of advertisements at front and 24-page publisher's catalogue at rear dated 1886. Translated by Karl Marxâ s daughter, Eleanor Marx-Aveling. In near fine condition with a touch of shelfwear. An exceptional example, rare in this condition. â Novelists should thank Gustave Flaubert the way poets thank spring: it begins with him. He is the originator of the modern novelâ ¦ He began writing Madame Bovary in September 1851, and delivered the manuscript in 1856, when he was 35â ¦ No novelist agonized as much or as publiclyâ ¦ And no novelist reflected as self-consciously on questions of techniqueâ ¦ Thus â style was bornâ (New York Times Book Review). Upon publication of Madame Bovary, both Flaubert and his publisher were arrested on charges of immorality and narrowly escaped conviction. Although purportedly based in part on the life of Flaubertâ s friend Louise Pradier, the authorâ s claim that â Madame Bovary is myself,â with his unrelenting objectivity and deep compassion for his characters, identified him as the great master of the Realist school of French literature. The first edition in book form was published in France in 1857. With frontispiece, five full-page illustrations and ornamental head- and tailpieces.

True first edition, first printing with the mistake in the name of the dedicatee, "SÃ nart" written with T and not a D, "nor of your dedication" on the same page, which will become "and of your dedication", and the double space between two words p. 7 (23rd line) of the author's masterpiece. Octavo, two volumes, bound in half leather over marbled boards. In near fine condition, owner name. A very sharp example. â Novelists should thank Gustave Flaubert the way poets thank spring: it begins with him. He is the originator of the modern novelâ ¦ He began writing Madame Bovary in September 1851, and delivered the manuscript in 1856, when he was 35â ¦ No novelist agonized as much or as publiclyâ ¦ And no novelist reflected as self-consciously on questions of techniqueâ ¦ Thus â style was bornâ (New York Times Book Review). Upon publication of Madame Bovary, both Flaubert and his publisher were arrested on charges of immorality and narrowly escaped conviction. Although purportedly based in part on the life of Flaubertâ s friend Louise Pradier, the authorâ s claim that â Madame Bovary is myself,â with his unrelenting objectivity and deep compassion for his characters, identified him as the great master of the Realist school of French literature. The first edition in book form was published in France in 1857. With frontispiece, five full-page illustrations and ornamental head- and tailpieces.

First edition, first issue, attractively bound. Flaubert's debut novel, written and constantly reworked by the author for five years before publication, is considered "the principal masterpiece of realism and the work that established the realist movement on the European scene" (Ency. Brit.). First published in the magazine La Revue de Paris in 1856, the novel was immediately sued for "outrage aux bonnes moeurs" (affront to public decency) and Flaubert appeared before the court on 7 February 1857. Defended by Maitre Sénard, he was found not guilty and publication resumed. This copy was bound by Émile Carayon (1843-1909). A painter and decorator, Carayon established his bookbinding atelier in 1875 at 10 rue de Nesles in Paris. He was known for the quality of his artistic bindings: "He used morocco, calf, vellum, brocade, and even simple paper, enhanced with romantic watercolor or oil sketches by the period's leading artists. Carayon's work reached the peak of its popularity at the 1894 Exposition du Livre, where his white vellum covers, decorated with delicate flower sprays, were particularly prized" (Duncan & De Bartha, p. 65). This plain morocco binding is an elegant example of his craftsmanship. The present copy has the first issue points, with the dedicatee's name misspelt "Senart" and continuous pagination between the volumes. Vicaire 721. Alastair Duncan & Georges De Bartha, Art Nouveau and Art Deco Bookbinding. French Masterpieces, 1880-1940, 1989. 2 volumes, octavo (185 x 115 mm). Near-contemporary brown morocco by Émile Carayon, smooth spines lettered in gilt, marbled endpapers, top edges trimmed, others untrimmed. With original wrappers bound in. Small ownership stamp "K" on rear wrappers; bound without publisher's advertisements. Spines slightly darkened, contents generally fresh and clean. An excellent copy.

Hardcover. Etat : Very Good. First English Edition. First British edition. Very Good with cloth rubbed at rear cover and extremities, with spine ends a bit bruised, spine cloth darkened. Inner hinges repaired. Pages toned with scattered foxing to prelim and terminal pages. A rather sharp copy, in nicer shape than commonly found. The author's debut novel, a breakthrough in the craft of literary narration that helped create the modern novel.

Couverture rigide. - Charpentier, Paris 1880, 12x19cm, relié. - Édition définitive, en partie originale, un des 100 exemplaires numérotés sur hollande, seuls grands papiers après 10 chine. Ouvrage illustré, en frontispice, d'un portrait gravé sur chine de Gustave Flaubert. Il s'agit de la toute dernière version de Madame Bovary, entièrement revue et corrigée par Gustave Flaubert un an avant sa disparition pour laquelle il apporta 1200 corrections. A la suite du tete, des pages 387 à 470, sont présentes les pièces du procès intenté à Gustave Flaubert en 1857 intitulées Réquisitoire, Plaidoirie et Jugement du procès intenté à l'auteur devant le Tribunal correctionnel de Paris, audiences des 31 janvier et 7 février 1857. Reliure en plein maroquin vert sapin, dos à cinq nerfs comportant quelques restaurations, sertis de pointillés dorés et orné de caissons richement décorés, dentelle dorée en queue, roulette dorée sur les coiffes (quelques petits accrocs sur celle de tête), plats estampés d'une large dentelle dorée, double filet doré sur les coupes (un petit accident sans manque sur celle du plat supérieur), gardes et contreplats de papier à la cuve, encadrement d'une dentelle dorée sur les contreplats, gardes suivantes de papier à la cuve, toutes tranches marbrées et dorées, élégante reliure signée Petit et Trimoullier successeur de Simier. Une tache claire au dos d'une garde de papier à la cuve avec claire décharge sur la page en regard. Très bel exemplaire de l'édition définitive de l'un des textes les plus importants de la seconde moitié du XIXème siècle établi dans une magnifique reliure de Petit. [ENGLISH TRANSLATION FOLLOWS] Final edition, in part original, one of 100 numbered copies on Holland, only large papers after 10 China. Work illustrated with a portrait on the frontispiece engraved on China by Gustave Flaubert. It is the very last version of Madame Bovary, entirely reviewed and corrected by Gustave Flaubert one year before his death on which he made 1200 corrections. Following the top, pages 387 to 470 show documents of the trial brought against Gustave Flaubert in 1857 entitled Réquisitoire, Plaidoirie et Jugement du procès intenté à l'auteur devant le Tribunal correctionnel de Paris, hearings on 31 January and 7 February 1857. Binding in full forest green morocco, spine in five compartments with some restorations, set with gilt stippling and adorned with richly decorated panels, gilt dentelle at the foot, gilt roll tooling on the spine ends (some small tears on those at the top), boards stamped with a large gilt dentelle, double gilt fillet on the leading edges (a little accident without affecting that of the upper board), marbled endpapers, framing of a gilt dentelle on the pastedown endpapers, following endpapers in marbled paper, all edges marbled and gilt, elegant binding signed Petit et Trimoullier, Simier's successor. One light mark on the back of a marbled endpaper with light discharge on the facing page. A very beautiful copy of the final of one of the most important texts of the second half of the 19th century set in a wonderful binding by Petit.

Hardcover. Etat : Very Good. First Edition. First edition, first trade issue with "Senart" for "Senard" on the dedication page. Two volumes, in contemporary half leather binding with a bit of restoration, bound without publisher's catalog at rear. Owner names at front of each volume, sporadic age spotting to pages. A charming copy of the author's debut novel, a breakthrough in the craft of literary narration that helped create the modern novel.

Original Cloth. Etat : Very Good. First Edition. Variant binding with gilt lettering on spine and foil stamped central title panel on front of boards but without the gilt borders at the top and bottom of the front panel and without the gilt decorations above and below the author's name on the spine. No decorations on the rear panel other than the publisher's logo blind stamped in the centre. Frontispiece with tissue paper and four other black and white illustrations collated. Binding tight with no cracking visible on endpapers. Corners bumped and rubbing to top and bottom of spine. Two small stains on front of boards with faint splash stains in places and some discolouration around the edges. Small patch of label residue on top corner of front free endpaper which a small tear to the top corner. Previous owner's name and date in ink on reverse of front free endpaper with another name in pencil. Brown stain affecting top inside corner of pages 24 and 25. Some brown spotting on other pages - fairly minor apart from a quarter inch spot affecting a few pages near the beginning of the book - and small closed tear in the edge of one page.

8vo (119 x 180 mm). 2 vols. (4), 232 pp. (4), 233-490 pp. Contemporary calf-backed pebbled brown cloth. Titled in gilt on spine, marbled endpapers, all edges speckled. Stored in custom-made brown cloth and leather clamshell case with gilt spine title. First edition of Flaubert's most famous novel and masterwork of French literature in book form, following the censored serialized version in the "Revue de Paris" in 1856. A copy with the characteristics of the first edition, notably the "t" to Sénard's name at the head of the epistle. - Faubert could only move forward with the publication of "Madame Bovary" with Michel Lévy Frères after he was acquitted on 7 February 1857 in a trial accusing him of obscenity and immorality. Not only did the procurator of Paris object to the central theme of adultery, but he also cited the impartial realist style of the book itself in his prosecution of Flaubert. The scandal ultimately made Flaubert famous and "Madame Bovary" became a bestseller. Today, the book is considered a seminal work of literary modernism. - Bindings slightly rubbed. Occasional minor stains. - Contemporary ownership "Mme. Faye" in ink to endpaper or half-title of each volume; traces of her stamp on title-pages offset to verso of half-titles. Latterly in the collection of the U.S. hedge fund manager Victor Niederhoffer (b. 1943). - Carteret I, 263. Vicaire III, 721. En français dans le texte, 277.

2 volumes de texte et 2 volumes de suites, ensemble 4 volumes grand in-4, demi-maroquin gris à bandes, plats de papier décoré mauve et noir, dos sans nerfs ornés en longueur de trois petits motifs abstraits mosaïqués en maroquin rouge et sertis de jeux de filets à loeser noir ; doublures et gardes de papier vert sauf pour les premières doublures des deux volumes de texte où elles sont remplacées par 2 cuivres originaux encrés et encadrés dun listel de maroquin noir, têtes dorées, non rognés, couvertures illustrées (Manuel Gérard).115 eaux-fortes originales de Michel Ciry. Tirage unique limité à 190 exemplaires numérotés sur grand vélin teinté dArches. Un des 25 premiers exemplaires comportant 3 suites des illustrations en premier, deuxième et troisième états, une suite à létat définitif avec des remarques inédites, 2 cuivres originaux et leurs 2 dessins originaux à lencre signés par lartiste.

Hardcover. First Edition, First Issue: with the dedication to 'senart' and not 'senard' as in printings thereafter. 8vo. 490pp. Bound in quarter calf over marbled boards of the period. Gilt titling and decoration of the spine. VERY GOOD. Shows a hint of shelf rubbing at the corners, spines lightly tanned, otherwise the bindings are strong, the textblock is unmarked having been exceptionally well maintained, and the boards remain distinct. As pictured.

Cuir. Etat : Très bon. Henri Jourdain (illustrateur). Paris - Pour la société du livre d'art - 1912 - In4 - Plein maroquin bordeaux , larges encadrements de filets dorés et listel de maroquin mosaïqué bleue ornant les plats , dos à nerfs orné du mème décor , gardes de moire bleue , tranches dorées - couvertures conservées - sous emboîtage - Reliure Signée Georges Mercier 1930 ) - 53 eaux fortes couleurs dans le texte par Henri Jourdain - Exemplaire enrichi de 3 aquarelles originales signées : en frontispice une vue de Rouen n'ayant pas servi a l'illustration et les aquarelles originales des dessins des pages 119 et 169 - Tirage a 150 exemplaires , l'un des seulement 15 exemplaires mis dans le commerce .L'un des meilleurs ouvrages de l'artiste ( carteret IV-159) - Magnifique exemplaire.

Couverture rigide. Etat : Bon. 2 volumes, [1] feuillet de Paris, Michel Lévy frères [Typ. de Mme Ve Dondey-Dupré, rue Saint-Louis, 46], 1857, in-12, 2 volumes, [1] feuillet de dédicade, [1] faux-titre, 490 pages en numérotation continue, avec [1] feuillet de titre non compris dans la pagination en tête du tome II, Demi-chagrin aubergine de l'époque, dos à faux nerfs et fleuronnés, ÉDITION ORIGINALE en librairie, publiée après la parution en livraisons dans la Revue de Paris en 1856. PREMIER TIRAGE de l'édition ordinaire, contenant en tête du tome I la dédicace "à Marie-Antoine-Jules Sénart", c'est-à-dire Sénard, l'avocat qui défendit la cause célèbre de ce roman poursuivit par le parquet de la Seine pour outrage aux bonnes moeurs, orthographié avec un "t" final qui sera corrigé par le "d" dès le second tirage. En outre, on détermine l'origine de ce tirage en relevant quelques fautes non encore corrigées, dont: pages 50 et 67 non chiffrées ; page 145 (ligne 23), "demanda-t-elle" au lieu de "se demanda-t-elle" ; page 290 (ligne 25), il y a une virgule après "abîme" ; page 377 (21), impression mauvaise du premier mot "Puis" ; etc. (Piclin). "C'est associé à celui de Madame Bovary que le nom de Flaubert apparut pour la première fois sur une couverture" (En français dans le texte). Ce chef-d'oeuvre immense rassemble à lui trop de qualificatifs pour que l'on puisse ici en faire l'étalage. Retenons néanmoins quelques phrases d'un autre monument de la littérature française, Émile Zola, dans le Le Messager de l'Europe (novembre 1875): "Quand Madame Bovary parut, il y eut toute une évolution littéraire. Il sembla que la formule du roman moderne, éparse dans l'oeuvre colossale de Balzac, venait d'être réduite et clairement énoncée dans les quatre cents pages d'un livre. Le code de l'art nouveau se trouvait écrit. Madame Bovary avait une netteté et une perfection qui en faisaient le roman type, le modèle définitif du genre. Il n'y avait plus, pour chaque romancier, qu'à suivre la voie tracée, en affirmant son tempérament particulier et en tâchant de faire des découvertes personnelles. Certes, les conteurs de second ordre continuèrent à battre monnaie avec leurs histoires à dormir debout ; les écrivains qui se sont taillés une spécialité en amusant les dames n'abandonnèrent pas leurs récits à l'eau de rose. Mais tous les débutants de quelque avenir reçurent une profonde secousse ; et il n'en est pas un aujourd'hui, parmi ceux qui ont grandi, qui ne doive reconnaître tout au moins un initiateur en Gustave Flaubert. Il a, je le répète, porté la hache et la lumière dans la forêt parfois inextricable de Balzac. Il a dit le mot vrai et juste que tout le monde attendait." Il manque le faux-titre du tome II. Couvertures non conservées. Sans le catalogue éditeur qui terminait le tome I. Petit accroc réparé et petite tache brune au feuillet de dédicace. Dos insolés. Carteret, I, 263-266. Clouzot, 121. En Français dans le texte, 277. G.-R. Piclin, "L'Édition originale de Madame Bovary". Les Amis de Flaubert. Année 1960, Bulletin n° 16, p. 54 [En ligne]. Vicaire III, 721-723.

Hardcover. 1st Edition. First English Edition. Original publisher's decorated cloth. A seminal work of literary realism, the novel is now considered Flaubert's masterpiece, and one of the most influential literary works in history. A Good copy, inner hinges mildly cracked, binding still firm, very mildly cocked, spine darkened, cloth worn at spine ends and lesser so at book corners, tide line at rear pastedown and noticeable stain to cloth at lower rear cover (causing some bubbling to cloth).

Paris, Michel Lévy frères [Typ. De Mme Vve Dondey-Dupré, rue Saint-Louis, 46], 1857. 2 volumes reliés, in-18. Tome 1 : 1 f. (faux-titre ; au verso, nom de l'imprimeur) - page de titre- 1 f ; 1 (lettre de Gustave Flaubert A Marie-Antoine-Jules Senart. Paris, 12 avril 1857) ; et 232 pp. (y compris le titre et la dédicace à Louis Bouilhet) ; plus 36 pp. Tome II : 1 f. (faux-titre ; au verso, nom de l'imprimeur) ; 1 f. (page de titre) et pp. 233 à 490 (faisant suite à la pagination du t. 1). Demi-chagrin rouge, dos à 4 nerfs, fleurons dorés, auteur, titre en lettres dorées, signet (reliure époque). A signaler page 7 petit manque de papier dans la marge et cachet de libraire " Librairie étrangère Charles Giraud Nice " sur page de fx-titre et page de titre. Couvertures non conservées et sans le catalogue éditeur à la fin du tome I. Bel exemplaire sans rousseurs. (Carteret, I, 263-266. Clouzot, 121. En Français dans le texte, 277. G.- R. Piclin). ÉDITION ORIGINALE sur papier d'édition (publiée après la parution en livraisons dans la Revue de Paris en 1856) contenant bien en tête du tome I la dédicace " A Marie-Antoine-Jules Sénart ", c'est-à-dire Sénard, l'avocat qui défendit la cause célèbre de ce roman poursuivit par le parquet de la Seine pour outrage aux bonnes moeurs, orthographié avec un " t " final qui sera corrigé par le " d " dès le second tirage. En outre, on détermine l'origine de ce tirage en relevant quelques fautes non encore corrigées, dont : pages 50 et 67 non chiffrées ; page 145 (ligne 23), "demanda-t-elle" au lieu de "se demanda-t-elle" ; page 290 (ligne 25), il y a une virgule après "abîme" ; page 377 (21), impression mauvaise du premier mot "Puis" ; etc. (Piclin). BEL EXEMPLAIRE.L'ÉDITION ORIGINALE a été tiré sur vélin fort (50 ex selon le cat. Noilly), brochés en un seul volume avec une couverture sur papier vert clair où le filet noir d'encadrement de l'édition ordinaire est remplacé par un filet guilloché fleuri aux angles. Enfin, dans ces ex le nom de l'imprimeur ne figure pas au bas de la page 232. Livres.