Leipzig, Büschel et se trouve à Paris, chez Belin, puis chez Mérigot, 1780-1785.
42 parts in 21 volumes, 12mo. Full red morocco, triple gilt fillet around the covers, sumptuously decorated spines, inner border, gilt over marbled edges. Signed binding by Chambolle-Duru, circa 1870.
163 x 98 mm.
First edition of the Contemporaines, illustrated with 283 fine prints by Binet, including many before the letter and 10 folded.
Paul Lacroix, Bibliographie des ouvrages de Restif de la Bretonne, 162-188.
Restif began Les Contemporaines in 1779. He had already written a small number of Nouvelles, which he planned to call “Nouvelles Parisiennes”.
The success of the first volumes led him to continue his work, which grew successively to 17 parts, then 30 and finally 42.
The author had to defend himself in court against several complaints of defamation suits filed by Parisian women who felt “portrayed in rather sad colors” by Restif.
“I don’t delve into families’ interiors to discover facts capable of alarming their tranquility…. I have used French names and streets to give more naturalness to my stories… Despite this innocence of purpose, I find myself accused, pursued and obliged to consume the mediocre product of my work in expenses”.
The work is justly celebrated and sought-after for its very refine illustration, composed of 283 fine full-page figures drawn by Binet.
“Binet had submitted to Restif’s whims, imposing on him types and shapes he had encountered in his imagination. A very good and skillful draftsman, Binet thus agreed to give doll’s waists and children’s feet to the women he portrayed”.
These prints were sought after throughout Europe, where Restif was considered the sovereign arbiter of French fashion. Modistes and couturiers, in particular, were inspired by these models of good taste.
All the engravings in this complete copy are of excellent issue, sometimes even before the letter, without the caption.
“These numerous figures cost a lot of money”. P. Lacroix.
The publication of these lively short stories provoked indignation among some of the women described by Restif.
Copy bound in full red decorated morocco, an enviable condition for one of Restif de la bretonne’s major works.
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