ZOLA (Émile). Manet ed. Paris: E. Dentu, 1867. - In-8, 235 x 153: portrait, 48 pp. 1 plate, printed cover. Havana jansenist morocco, spine ribbed, dark green morocco lining with gilt fillet, brown moiré silk endpapers, double endpapers, cover preserved (G. Cretté successor to Marius Michel). First edition of Zola's biographical and critical study of his friend Édouard Manet, first published in the Revue du XIXe siècle on January 1, 1867. It is the first monograph devoted to the artist. More than a simple biography, it is a veritable defense of the man and his work, in particular the painting Olympia. This painting, first exhibited at the 1865 Salon, depicts a high-class prostitute, Olympia being at the time a pseudonym for cocotte. It caused quite a scandal, and Zola was one of those who defended it: "In 1865, Édouard Manet was again received at the Salon; he exhibited a Jesus insulted by soldiers, & his masterpiece, his Olympia. I said masterpiece, and I don't withdraw the word. I claim that this canvas is truly the flesh & blood of the painter. It contains all of him, and only him. It will remain as the defining work of his talent, as the highest mark of his power" (p. 34). This brochure was sold at the retrospective exhibition organized by the artist in the pavilion built at his own expense at the Alma, on the sidelines of the Universal Exhibition and the Salon of 1867, from which he had been excluded. It is illustrated with a copper-engraved portrait of Manet by Bracquemont and an original etching by Manet of his painting Olympia. An interesting copy offered by the author to his friend, the art critic Eugène Montrosier, enriched with this autograph signed letter: To my colleague and friend // Eugène Montrosier // Emile Zola This letter was written on the original endpaper, usually found after the cover. The transfer of the false title is clearly visible, while the bookbinder has added a leaf between the two. A superb copy in lined binding by Georges Cretté. Spine faded. Some foxing.