‎MESNIL Jacques‎
‎RAPHAËL.‎

‎Clara Raphael. Tolv Breve, udgivne af Johan Ludvig Heiberg + (Gerson:) Fem Breve til Clara Raphael fra en Ung Hustru + ""Et Besøg."" Nye Breve af Forfatterinden til Clara Raphael. - [THE BREAK-THROUGH OF FEMINISM IN DENMARK]‎

‎Kjøbenhavn [Copenhagen], 1851. All three works bound together in a contemporary green half cloth binding with a large printed paper label to spine (reading ""Clara Raphael). Inner hinges a bit weak. Wear to upper capital and remains of varnish to spine. First quire of Clara Raphael with a damp stain and the first two works brownspotted. Old owner's signature to front free end-paper. ‎

‎Scarce first edition of the first feminist novel in Denmark, the highly controversial and influential ""Clara Raphael"", which is the work that sparked the battle for women's rights in Denmark. Bound together with one of the most important responses to it from the same year as well as Fibiger's ""A Visit"", also from 1851, which is Fibiger's defence against the many accusations against her following the publication of ""Clara Raphael"", directed at her women readers. Fibiger’s novel caused enormous controversy. The intellectual elite was in uproar. Within the first year of its publication, ca 25 responses to it were published in newspapers and periodicals and ca 10 brochures and pamphlets pertaining to it. The novel caused vexation in all political camps. The demands for equality between the sexes were scrutinized in all regards, and many politicians began singing the praises of “the woman of the home”. It is in this strain of thought that the famous author of children’s books, Julius Christian Gerson, wrote his significant contribution to the feud, “Five Letters to Clara Raphael from a Young Wife”, also published in 1851. Using the pseudonym “A Young Wife”, he claims, in the voice of this fictitious woman, that Fibiger’s novel had violated the female gender and that the emotions and the striving that are presented as those most pertinent for the woman, are completely foreign to the true woman. He lets his fictitious female author praise herself for being “a young mother who wishes for nothing and wishes to be nothing outside of her circle.” The debate that arose following the publication of ""Clara Raphael"" was very harsh indeed, and the whole public debate was hard on Mathilde Fibiger. Her views were lost on almost all notable men of the period, but she clearly needed to defend herself. Thus, in the same year, she wrote another novel, also in the form of letters, “A Visit”, in an attempt to extrapolate on her views and defend herself. This novel, however, is not written in order to persuade the men of her views, but was directed at women, who would hopefully get to understand her views better. ""Clara Raphael"" is the main work of feminism in Denmark and the first Danish governess novel. It founded an entirely new genre of women's novels hitherto unknown in Denmark. The work, which constitutes the break-through of feminism in Denmark, was greatly controversial and immediately caused great furore. It resulted in the so-called Clara Raphael Dispute, in which for instance N.F.S. Grundtvig defended Mathilde Fibiger. Due to the controversial contents of the work, Mathilde Fibiger published it anonymously, and only J.L. Heiberg (1791-1860, perhaps the most famous cultural persona during the Danish Golden Age. He played a more significant role than any other author or thinker during this period) is mentioned on the title-page, as the editor. No publisher had wanted to touch this highly controversial work, and it was only after the appearance of ""Jane Eyre"" that a publishing house dared take it on. As Mary Wollstonecraft had pioneered feminist philosophy with ""A Vindication of the Rights of Women"" from 1792 and argued for education as the means to liberate women, so Mathilde Fibiger surprised her Danish contemporaries with her groundbreaking novel ""Clara Raphael. Twelve Letters"", from 1851, in which she made the connection between the national-democratic movement and the liberation of women. With this book, which deals with the inequality of the sexes and the lack of possibility for women to develop themselves, Mathilde Fibiger became the first notable advocate of the emancipation of women in Denmark. It was not only the political controversy caused by the request of equality that made the book so extremely controversial, it was also the ability of the merely 20 year old author to clearly and precisely state and substantiate the essential problems. When reading the book, it is not difficult to see why it came to have the effect that it did, and why it caused the furor that it did. For instance, Clara Raphael, when despairing at the position of women in society, writes: ""Our position in society is tragic, and why? What right does man have to suppress us? For subjugated we are, despite the chains being gilded."" She understands that casting off these chains will be no easy matter, and that it will not only be a matter of politics, but also of consciousness and mindset: ""When the peasants were granted their freedom, some of them wept, begging for permission to keep things as they had been."" One of the beaming sentences of the novel is Clara's response to her friend when asked what she is actually fighting for: ""I will fight and live for what I understand by the emancipation of women.""Her hope of breaking with the existing patriarchal system of society required national and democratic self-awareness, which for her constituted a promise of freedom. In 1871, Frederik Bajer (1837-1922) and Matilde Bajer (1840-1934) founded the Danish Women's Society, the first women's organisation in Denmark. Mathilde Fibiger was one of the earliest members of the Society. When the Danish Women's Society was established, it did not demand female suffrage. It was not until 1906 that a majority of the members were in favour of making that demand the official policy of the Society. In Denmark, women were not allowed to vote in parochial church council elections until 10+3" not until 1908 were they allowed to vote in parish council and local council elections, and not until 1915 in the Folketing and the Landsting elections. It was not until then that women became fully-fledged citizens in a political sense.‎

‎1) Effigies cognitae in in Scholae Atheniensis... A key to some of the figures depicted in Raphael's School of Athens: 23 figures, all seen bust-length, and the explanatory key below. Etching - Giovanni Volpato (1733-1803) after Raphael - Italien school .‎

‎ s.d. ca. 1760, 26x38 cm 4 leaves of orig. etchings, ‎

‎2) Effigies cognitae in Montis Parnassi... A key to some of the figures depicted in The Parnassus, after the fresco designed by Raphael for the Stanza della Segnatura: eleven poets, all seen bust-length, and the explanatory key belowEtching- Raphael Morghen after Raphael - 1775 -3) (after Raphael) by Raphael Morghen (Naples 1758 - Florence 1833). 1.Cardinal Giovanni de' Medici, later Pope Leo X (1475-1521), 2. Pope Saint Leo I 'The Great' (d.461), 3. Perugino (c.1450 – 1523) and 4. Attila the Hun (d.453).4) Effigies cognita Julius Papa Secundus... Image disp.‎

‎Raphaël et l'art français.‎

‎ P., Réunion des Musées Nationaux, 1983, gr. in-8° carré, 492 pp, 835 illustrations (qqs-unes en couleurs), 400 notices érudites, annexes, biblio, index des artistes cités, index des oeuvres de Raphaël citées, broché, couv. illustrée, 2e plat lég. frotté, bon état‎

‎Catalogue édité à l'occasion de l'exposition "Hommage à Raphaël : Raphaël et l'art français", présentée au Grand Palais, Paris, du 15 novembre 1983 au 13 février 1984. Textes de Jacques Thuillier (Présence d'un peintre), Martine Vasselin (La fortune gravée de Raphaël en France), Jean-Pierre Cuzin (Raphaël et l'art français : introduction au catalogue), Catalogue, Peintures et dessins, Gravures... — "L'année 1983 a marqué le cinquième centenaire de la naissance du peintre et architecte Raphaël Sanzio (1483-1520). Pour célébrer cet anniversaire, les Musées Nationaux de France ont présenté cette exposition exceptionnelle sur "Raphaël et l'art français", tenue au Grand-Palais. Elle fut mise sur pied par Jean-Pierre Cuzin, conservateur au Département des peintures du Musée du Louvre. Énorme, elle avait pour but d'illustrer l'influence de Raphaël sur les artistes français, du seizième au vingtième siècle, de l'École de Fontainebleau jusqu'à Pablo Picasso, et renfermait quatre cents peintures, dessins, gravures, sculptures, objets d'art, meubles, médailles et tapisseries, empruntées de musées et de collections du monde entier..." (Myra Nan Rosenfeld, Vie des Arts, 1984) ‎

‎Les Bédouins ou Arabes du Désert. Ouvrage publié d'après les notes inédites de Dom Raphaël, sur les moeurs, usages, lois, coutumes civiles et religieuses de ces peuples. Et orné de 24 figures dessinées par F. Massard.‎

‎Paris, Ferra Jeune, libraire, 1816. 1816 3 tomes reliés en 2 vol. in-16° (136 x 90 mm) de : I. 1 frontispice gravé en couleurs ; X (faux titre, titre, préface) ; 238 pp. et 8 gravures hors texte en couleurs ; II. [2] ff. (faux titre, titre) ; 166 pp. et 6 gravures hors texte en couleurs; III. [2] ff. (faux titre, titre) ; 219 pp. (dont table) et 10 gravures hors texte en couleurs. Ex libris manuscrit Oscar de l'Espine et Jeanne de Bethisy - juin 1865 dans chaque volume. (marquage du cuir sur les gardes, intérieur trés frais) Plein veau marbré d'époque, dos lisses ornés, pièces de titre et de tomaison de maroquin rouge à grain long, lettres dorées "C E" entrelacées au caisson central (Comte de l'Espine), frise dorée encadrant les plats, filet doré sur les coupes, signets de soie bleue, tranches marbrées, serpentes d'origine conservées. (défauts d'usage, mors du vol 2 discrétement restaurés).‎

‎Edition originale de cet ouvrage sur les bédouins dû à Raphaël de Monachis (1759-1831), moine melchite égyptien, orientaliste et professeur de Jean-François Champollion. Cette description richement illustrée de 24 planches finement aquarellées donne une vue d'ensemble des tribus bédouines de Syrie et d'Égypte à l'époque de l'expédition française. Tel quannoncé dans la préface, louvrage est édité par F. J. Mayeux sur la base des notes de Raphaël de Monachis qui ne put le publier lui-même. Né au Caire et issu d'une famille syriaque melchite, il devient prêtre de l'ordre Basilien du Très Saint Sauveur au Liban avant de retourner en Egypte en 1794. De 1798 à 1801, pendant la campagne d'Égypte, il sert d'interprète personnel à Napoléon et travaille auprès de l'Institut d'Égypte. Installé à Paris en 1803, une chaire darabe dialectal est créée pour lui à l'École des langues orientales et il y devient professeur adjoint. Tandis quil a notamment pour élève Champollion, Il collabore à la Description de l'Égypte. Présent lors du couronnement de Napoléon Ier, il est visible dans le célèbre tableau de Jacques-Louis David. Après lultime exil de Napoléon, il termine sa vie en Egypte à partir de 1816. Le présent ouvrage basé en grande partie sur les observations de Raphaël de Monachis fait une présentation très complète des tribus d'Égypte avant et après l'Islam, ainsi que des coutumes et traditions des Bédouins de Syrie. A propos des coutumes des Yazidiés (ou yézidis) de Syrie, on en apprend sur une des leurs coutume illustrée dune planche : Parce que le Diable prit jadis la forme dun serpent, et que le serpent se donne par fois une forme circulaire, tout cercle est un enchantement quil nappartient pas à leurs forces de rompre et qui les paralyse tout-à-fait. Cette croyance les expose dans les villes quils fréquentent à des mésaventures risibles ; car des enfans malicieux, saisissant avec adresse linstant où ils sommeillent ou linstant dans lequel il sont le plus occupés, tracent promptement un grand cercle autour deux : sils peuvent en sortie sans lavoir découvert, le coup est manqué ; mais sils laperçoivent dabord, ils sont prisonniers dedans jusquà ce quun tiers lait rompu. On voit de ces gens pleurer à chaudes larmes implorer la pitié de quelquun qui les délivre. (p. 199). Au dos du faux titre du T I est imprimé la marque "London, Bossange et Masson, N° 14, Great Marlbourough-Street : Pierre Barthès (1793-1865), neveu du célèbre maitre et doyen des libraires de lEurope Martin Bossange (1766-1865), dirigeait les dépôts de livres français que Bossange et Masson avaient établis avec Pierre Leblanc à Londres en 1814. Provenance : Comte de l'Espine : lettres dorées "C E" entrelacées au caisson central) (Charles Pierre, comte de LEspine (1736-1821), directeur de la Monnaie de Paris et graveur) ; Oscar de l'Espine et Jeanne de Bethisy, juin 1865 : Ex libris manuscrit à lencre dans en page de garde de chaque volume. Bel exemplaire, superbement relié, frais et aux coloris très vifs. 3 volumes bound in 2 volumes 16mo (136 x 90 mm) of: I. 1 color engraved frontispiece; X (half-title, title, preface); 238 pp. and 8 color engravings; II. [2] ff. (half-title, title); 166 pp. and 6 color engravings; III. [2] ff. (half-title, title); 219 pp. (including table of contents) and 10 color engravings. Handwritten bookplate Oscar de l'Espine and Jeanne de Bethisy - June 1865 in each volume. (leather marking on endpapers, interior very fresh) . Full marbled calfskin of the period, smooth decorated spines, title and volume number pieces in long-grain red morocco, intertwined gold letters C E in the central compartment (Comte de l'Espine), gold frieze framing the covers, gold fillet on the edges, blue silk bookmarks, marbled edges, original snakeskin preserved. (normal wear and tear, binding of vol. 2 discreetly restored). First edition of this work on the Bedouins by Raphaël de Monachis (1759-1831), Egyptian Melkite monk, orientalist, and teacher of Jean-François Champollion. This richly illustrated description with 24 finely watercolored plates provides an overview of the Bedouin tribes of Syria and Egypt at the time of the French expedition. As announced in the preface, the work was edited by F. J. Mayeux based on the notes of Raphaël de Monachis, who was unable to publish it himself. Born in Cairo to a Syriac Melkite family, he became a priest of the Basilian Order of the Most Holy Savior in Lebanon before returning to Egypt in 1794. From 1798 to 1801, during the Egyptian campaign, he served as Napoleon's personal interpreter and worked at the Institut d'Égypte. Settling in Paris in 1803, a chair in Arabic dialect was created for him at the École des Langues Orientales, where he became an assistant professor. While teaching students such as Champollion, he collaborated on the Description de l'Égypte. Present at the coronation of Napoleon I, he can be seen in the famous painting by Jacques-Louis David. After Napoleon's final exile, he ended his life in Egypt in 1816. This work, based largely on the observations of Raphaël de Monachis, provides a very comprehensive presentation of the tribes of Egypt before and after Islam, as well as the customs and traditions of the Bedouins of Syria. Regarding the customs of the Yazidis (or Yezidis) of Syria, we learn about one of their customs illustrated in a plate: "Because the Devil once took the form of a snake, and because snakes sometimes form a circle, any circle is an enchantment that they are powerless to break and which completely paralyzes them. This belief exposes them to laughable misadventures in the cities they frequent; for mischievous children, skillfully seizing the moment when they are dozing or when they are most busy, quickly draw a large circle around them: if they can get out without discovering it, the trick is unsuccessful; but if they notice it at first, they are prisoners inside until a third party breaks it. One sees these people weeping bitter tears, begging for mercy from someone who will deliver them." (p. 199). On the back of the false title of T I is printed the mark "London, Bossange et Masson, No. 14, Great Marlborough Street: Pierre Barthès (1793-1865), nephew of the famous master and dean of European booksellers Martin Bossange (1766-1865), managed the French book warehouses that Bossange and Masson had established with Pierre Leblanc in London in 1814. Provenance: Comte de l'Espine: intertwined gold letters C E in the central panel) (Charles Pierre, Comte de L'Espine (1736-1821), director of the Paris Mint and engraver); Oscar de l'Espine and Jeanne de Bethisy, June 1865: Handwritten bookplate in ink on the flyleaf of each volume. A beautiful copy, superbly bound, fresh and with very vivid colors.‎

‎Observations sur deux dessins attribués à Raphaël et conservés à l'Académie des Beaux Arts de Venise ‎

‎plaquette reliée, 250x165, 12pp, parfait état intérieur, rare! Paris Honoré Champion Libraire 1880 Louis Charles Léon Courajod, né le 22 février 1841 à Paris où il est mort le 26 juin 1896, est un historien d'art français, archiviste paléographe et conservateur au musée du Louvre, connu principalement pour ses études sur l'art gothique. Raphaël (1483-1520) était un peintre et un dessinateur italien de la Renaissance, connu pour sa maîtrise du dessin et son influence sur l'art occidental. Cependant, en général, les dessins attribués à Raphaël présentent souvent des caractéristiques distinctives de son style. Voici quelques observations générales sur les dessins de Raphaël : Maîtrise de la ligne et du contour : Raphaël était connu pour sa précision et sa clarté dans les contours de ses dessins. Ses lignes étaient fluides et gracieuses, avec une grande attention portée aux détails. Rendu réaliste : Les dessins de Raphaël étaient réalistes et démontraient sa capacité à capturer les proportions et la structure du corps humain avec précision. Ses figures étaient souvent anatomiquement correctes et exprimaient une grâce et une harmonie classiques. Étude des expressions émotionnelles : Raphaël était capable de représenter une gamme d'expressions émotionnelles à travers ses dessins. Que ce soit la joie, la tristesse, la concentration ou l'émerveillement, il pouvait capturer les nuances des émotions humaines dans ses esquisses. Composition équilibrée : Les dessins de Raphaël étaient souvent bien composés, avec une attention portée à l'équilibre et à l'harmonie des éléments. Il utilisait des diagonales et des lignes directrices pour créer une composition solide et agréable à l'œil. Il est important de noter que l'attribution précise des dessins à Raphaël peut parfois être sujette à débat parmi les experts. L'analyse détaillée de chaque dessin, y compris l'authentification, l'étude des styles et des techniques, ainsi que l'examen de l'historique de provenance, est essentielle pour établir une attribution définitive. c/12‎