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LOUVET de COUVRAY, Jean-Baptiste || TIMAR, Émeric. Les Amours du Chevalier de Faublas,
illustrés de quatre-vingt-dix eaux-fortes en couleurs de Timar. 

Paris, Francis Guillot, 1932.

First edition illustrated by Timar.

One of the 30 copies of the leading print on Imperial Japan paper, including the 90 etchings in color, a suite of all boards with remarks, drawn in black, and 3 original sketches signed by the artist, 3 watercolors and 3 inked brass , corresponding to the originals.
This one is the n ° 1.

"Les Amours du Chevalier de Faublas", by Jean-Baptiste Louvet de Couvray (1760-1797), is a libertine novel which describes, with a fast paced rhythm, the love adventures of a young provincial aristocrat, who lived in the capital with his father and his sister.
It consists in many comic episodes, even if the third part is darker and announces the "roman noir". Another important feature of the novel, the hero, with androgynous beauty, is very often transvestite.

Emeric Timar (1898-1950) is a Hungarian illustrator, engraver and painter. He moved to Paris in 1925, in the inter-war period when the capital is still the center of the art world.
The artist focuses on the illustration of classics of Literature. He signs his works just by "Timar". He uses various media such as etching, aquatintl, lithography and watercolor.
According to the Bénézit dictionary, "His approach brings him closer to certain masters of the time, such as Édouard Goerg or Démétrios Galanis".
His work is perfectly highlighted with the illustrations of "Amours du Chevalier de Faublas".

The illustrations are in very high quality, and highlight the style of the artist. Expressive, vivid and realistic, they are in perfect harmony with the text.

In addition, the three sketches in black pencil, signed in ink by the artist, were used in the preliminary work of the engravings. They reflect the vivacity of his manner of drawing. These sketches highlight three characteristic aspects of Timar's style. With the first sketch of the two lovers kissing, he combines the curves of bodies with the one of the tree, with great delicacy. In the second and third sketches, he shows his ability to stage figures in balanced compositions. And the emotions of the figures are perfectly pictured, such as modesty, surprise, laughter, etc.

FOUJITA || YAMATA, Kikou. Shizouka, Princesse Tranquille. Portrait de l'auteur par Foujita et dessins japonais anciens. 

Paris, C.J. Baptiste Bauche Fils, 1929.

First edition researched for the portrait of Foujita (1886-1968), of the author.

The artist is known and recognized for his work, which combines the Occident and Japanism, very popular at that time, during the "Roaring Twenties" of Paris. The district of Montparnasse becomes the cultural and intellectual heart of Paris. He knew a huge success during his lifetime.
Foujita and Kikou Yamata, who knew the same circles of artists and intellectuals, such as Jean Cocteau and Paul Valéry, met and became friends. They shared the same love for the Arts and Japan.
In 1926, Foujita realized a portrait of her friend, published three years later on the frontispiece of "Shizouka, a quiet princess".
This portrait, personal and intimate, created for a friend, is very representative of the work of Foujita, because of its delicacy and attention to detaisl. In addition, she is represented wearing a beautiful Kimono and in a posture in the Japanese tradition.Foujita pays tribute to her friend, but also to her origins.
Indeed, Kikou Yamata (1897-1975) is a Franco-Japanese writer, whose work is marked by Japan and its History, the Japanese Woman and the duality / complementarity of its origins.
In "Shizouka, tranquil princess", the author highlights the strong, cultivated Japanese woman, but also gentle and fragile: "Among these shirabyoshi, I chose the famous Shizouka, historical, romantic and tragic character. She embodies the psychology of Japanese feminity and love, Modesty, grace, talents, gentleness and courage, this ardor and restraint make her a courtesan of courtesy and a courtesan who knew two courses, the one of Kyoto the imperial and the one of Kamakura the warrior [...]. " p. 11.

First edition.
One of the few 50 copies on Papier Montval (No. 7), first great paper, before 950 on Arches.

[LA BEAUMELLE, L. Anglivel de || VOLTAIRE || EULER, Leonhard & MAUPERTUIS & MERIAN]. Recueil de quatre ouvrages :
1. [LA BEAUMELLE, L. Anglivel de]. Lettre du czar Pierre à Mr de Voltaire sur son histoire de Russie. 1761. sn, sl
2. [LA BEAUMELLE, L. Anglivel de]. Réponse au supplément du siècle de Louis XIV, 1754, Colmar.
3. [VOLTAIRE, François-Marie- Arouet (dit)], Histoire abrégée des religions du monde, ou l'analyse de l'Encyclopédie de Voltaire, première partie, [Seconde partie,] 1770. Cramer, Genève
4. EULER, Leohnard & MAUPERTUIS & MERIAN. Lettres concernant le jugement de l'Académie Royale des sciences et belles-lettres de Prusse, Paris, chez Durand et Pissot, 1753. 

s.l., s.n., 1753-1770.

First editions of these four book in one volume.

The two books "Lettre du czar Pierre à Mr de Voltaire sur son histoire de Russie" and "Réponse au supplément du siècle de Louis XIV" highlight a discord between two French intellectuals: Beaumelle (1726-1773) and Voltaire (1694 -1778).
The quarrel begins when La Beaumelle refuses to showt the letters from La Maintenon, which he owned, to Voltaire. Then follows a literary quarrel in which La Beaumelle undertakes to correct the errors of the following writings by Voltaire "Les Anecdotes sur le czar Pierre le Grand" and "l'Histoire de l'empire de Russie sous Pierre le Grand".
Then, La Beaumelle became "the enemy" of Voltaire and the two men can not be reconciled.

The third book is a condensed work written by Voltaire, in order to present his encyclopedia to be published later (it will be a major work). Voltaire explains his philosophical and theological reflections on God, idolatry, monotheistic and polytheistic religions.

This fourth book is related to a controversy between Maupertuis and König.
Indeed in 1744, Maupertuis exposes his "principle of the least action" which is an important principle of physics (according to which the dynamics of a physical quantity can be deduced from a single magnitude called action. Fundamental principles of physics can be formulated from this principle.).
In 1753, König publishes an article claiming the primacy of this discovery to Leibniz. Voltaire supports this version and will constantly ridicule Maupertuis, until breaking his privileged relationship with the King of Prussia, Frederic II who support Maupertuis.
This book contains the text of the letters by Euler, Merian and Maupertuis, defending the work of the latter. It mainly questioning the authenticity of a Leibniz's letter on which König relies on, quoting only extracts.
In fact, even if since the authenticity of the writing of Leibniz is recognized and that work on the subject had been conducted before by Fermat and Leibniz, the contribution of Maupertuis is decisive.
This principle was rigorously demonstrated by Lagrange in 1760.

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