Description
Precious first edition of the Parisiennes,
in its attractive contemporary binding.
Neufchâtel et Paris, 1787.
Restif de La Bretonne, Nicolas Edme. Les Parisiennes, ou XL Caractères généraux pris dans les Mœurs actuelles, propres à servir à l’instruction des personnes du sexe : tirés des Mémoires du nouveau Lycée des mœurs.
Neufchâtel et Paris, Guillot, 1787.
4 volumes 12mo [167 x 98 mm] of : I/ 300 pp. and 6 figures ; II/ 388 pp. and 4 figures ; III/ 392 pp. and 5 figures ; IV/ 380 pages, (2) ll. and 5 engravings.
Mottled calf, double blind-stamped fillets around the covers, flat spine with gilt fleurons, lettering pieces in green morocco, gilt fillet on leading edges, marbled edges. Contemporary binding.
First edition.
Rives-Child, pp. 302-303 ; Jacob, pp. 247-257 ; Cohen, 504 ; Gay, III, 641 ; Cioranescu XVIIIe s., 52697.
Restif de la Bretonne began “Les Parisiennes” in December 1785; the text was finished in October 1786 and published in April 1787.
“M’étant aperçu que je n’avais pas encore donné aux femmes, dans les quatre volumes précédents, tous les préceptes pratiques nécessaires, je composai « Les Parisiennes », dans lesquelles j’enseigne aux femmes les moyens de conserver le goût des hommes, par leur caractère et leur propreté. Pour cet article-ci je leur mets le doigt dessus en leur disant : “Lavez-vous comme une Musulmane …”.”
The iconography is made up of lovely unsigned engravings, 16 by Binet, Restif’s favorite illustrator, and 4 by Richomme, Aze and Berthet.
Of a very particular charm in comparison to the illustrated books of the 18th century, it “is very singular”, says Cohen.
“The women depicted are so diverse and spicy that we can mistake them for portraits. Their composition must be attributed to Restif’s whim.”
“Cubières-Palmézeaux speaks with enthusiasm of the “Parisiennes”, declaring that it is one of Restif’s best work. He mentions the entire foreword, with the statutes of the Lycée des Mœurs. He also reminds us that Butel-Dumont, who had failed in his enterprise to have “La Vie de mon père” crowned by the Académie française as a masterpiece of moral literature after having convinced d’Alembert and a few other académiciens of his project, had put it in his head to obtain a usefulness prize for the author of the “Parisiennes”. This project did not go anywhere, and Restif only became all the more hostile towards the Académie.”
A very attractive copy preserved in its fresh contemporary binding.
Very popular and appreciated, the works of Restif de la Bretonne in their fresh contemporary binding are rare.
