Richepin, Jean. The Song of the Beggars. Beggars of the fields. Beggars of Paris…

Description

Richepin, Jean.

The Song of the Beggars. Beggars of the fields. Beggars of Paris. Nous autres Gueux. Paris, Librairie illustré, sd [1876]; in-12 red half-maroquin with corners, spine richly decorated around a mosaic flower, gilt head, cover and spine preserved, not trimmed (V. Champs). First edition. Copy of first state; including the five condemned poems, these poems were worth to the author the seizure of the book, one month of prison and 500 francs of fine for outrage to the public morals and decency. Jean Richepin (1849-1926) led an adventurous life, as a freelancer during the Commune and as a longshoreman. He entered the Académie française in 1909. An autograph letter signed by the author has been added. Beautiful copy in a signed binding of the period.

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Richepin, Jean.

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Estim. 200 - 250 EUR

Leonetto Cappiello (1875-1942) - Jean Richepin. Circa 1909. Print on silk. 38x27.5cm. Very slight insolation. Some marginal damage. We know that this drawing was published in "Comoedia illustré" in 1909, but we don't know what our print was intended for. A veritable whirlwind of the country's intellectual and literary life, Richepin was born in Algeria. A maverick soldier during the Commune, he lived a thousand lives. Literary success came with his "chanson des gueux" in 1876, and theatrical success with "Le chemineau" in 1897. He also became a member of the Académie Française, where he was received by Maurice Barrès. A friend of Sarah Berhardt, Jules Vallès and Charles Baudelaire, he was well introduced to the Parisian intellectual scene.

Estim. 500 - 600 EUR

Donatien-Alphonse-François, marquis de SADE. L.A.S., December 29 [1764?], to François Elzéar Fage, notary and lawyer in Apt; 1page in-4, addressed. He warns him to "have no more regard or attention to any letters written by me and signed Uni [?] prevenés en touts les gens du pais; cest un coquin, qui vient de faire cent excroqueries sur le pavé de Paris, avec une gueuse des rues dont il sest amaché, il pouroit peutetre tourner vers nos cotés et abuser du crédit qu'y avoit pour faire quelque tour de son metier". He's in a quandary "because of all the business this nasty fellow is giving me, fortunately nothing is going to fall on my head"...

Estim. 80 - 120 EUR

Ivory pair of proboscidean elephantidae SPP. (Elephas maximus, Loxodonta africana or Loxodonta cyclotis), shown standing, leaning on a stick, clothes in tatters. France, Dieppe, last quarter of the 19th century, first quarter of the 20th century Total height: 7 cm Gross weight: 54 g Object composed in whole or in part of elephant ivory, holder of CIC No. FR2407600558-K issued on April 25, 2024 in compliance with EU regulation no. 2021/2280 of 12/16/21 in force.

Estim. 400 - 600 EUR

RICHEPIN (Jean). La Chanson des gueux. Complete edition decorated with 252 original compositions by Steinlen. [Followed by]: Dernières chansons de mon Premier Livre. Original edition decorated with twenty-four compositions by Steinlen. Paris: Édouard Pelletan, 1910. - 2 volumes in-4, 265 x 200: (3 ff.), 366 pp. (2 ff. last blank), printed cover; (2) ff. 39 pp. printed cover. Paperback, lined covers. Carteret, Le Trésor du bibliophile. Livres illustrés modernes 1875 à 1945, IV, p. 341. - Ray, The Art of the French Illustrated Book, 341-342: "The 252 designs which [Steinlen] provided include some of his best and most characteristic work." Definitive edition of La Chanson des gueux and original edition of Dernières Chansons de mon Premier Livre, which complement it. These two works contain some of the masterpieces of Steinlen (1859-1923), according to Gordon Ray. Carteret, for his part, judged this edition as follows: "A very fine and highly-rated publication, in great favor with bibliophiles. The publisher has abandoned lithography, adopting the direct burin process, which conveys the artist's talent admirably". The Chanson des geux is illustrated with 252 compositions in the text, and the Dernières Chansons with 26 compositions, two of which are full-page. The print run mentioned in La Chanson des gueux is 340 copies, whereas the prospectus states 325. Les Dernières chansons were printed in an edition of 300 copies. Each title is here one of 267 and one of 240 copies on vellum, both bearing the number 79, signed by the publisher on the justification. Copies as issued, complete with publication prospectus.

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