He published many previously unpublished works by authors including Paradis Moncrif, Benserade, Caylus, Besenval, the Marquis de Sade and Baudelaire.

[4] The first consisted of 160 people, including the writers Jules Claretie and Jean Richepin, the artists Albert Robida and Paul Avril, and the journalist and critic Francisque Sarcey.

"[33] Other symbolic works of art were Féminies (1896), in which Rops illustrated many scenes of worldly life, or Son Altesse la femme (Her Highness Woman, 1885), on which he drew a naked witch in the chapter on medieval women.

But also, according to Silverman, Uzanne associate feminism with a dangerous debauchery of sexual and moral investment, making full use a series of medical and philosophical sources, with the intention of proving the inability of women to merge into public life and the labour market, because of their temperament.

[36] It contained some of the finest examples of late 19th-century French bookbinding,[37] by binders like Charles Meunier, Lucien Magnin, Pétrus Ruban, Camille Martin, René Wiener and Victor Prouvé.

[48] Uzanne was fascinated by modern technology and the possibilities it offered for the reproduction and dissemination of words, sounds, and images, which was evidenced not only in that article or in his groundbreaking work in book publishing, but also in an article he wrote in 1893 for the French newspaper Le Figaro, about a visit he made to US President Grover Cleveland and the inventor Thomas Edison during the EXPO Chicago 1893,[8] where he witnessed the Kinetograph shortly before it went public.

[60] Uzanne is perceived by some to have had a desire to revive French national pride; he shared the nationalistic feelings of other members of the generation who had experienced the defeat by Prussia in 1870.

[61] Silverman mentions that Uzanne believed that married bourgeois women should not only decorate the walls of their homes, but also "cultivate luxury and art in an ornament ignored by their aristocratic predecessors: their undergarments".

[34] An example of the historical novel is La Française du siècle (1886, published in English as The Frenchwoman of the Century in 1887), where Uzanne suggests that the effect of the Revolution on the woman of the period was "lamentable and disastrous": "All French spirit, grace, and finesse seemed to have been submerged in the bloody deliriums of the crowd.

"[69] In a couple of chapters of the book he described the France of the late Eighteenth Century, during the French Revolution;[70] some of its pages exhibited the "frivolity of women" during those years.

[71] For example, in a chapter on one of the stages of the French Revolution—known as the Directory—[note 8] he included descriptions of customs such as the bals des victimes: to these dancing assemblies, held at the Hôtel Richelieu, only admitted "aristocrats who could boast a relative guillotined during the Terror";[73] he wrote that women cut their hair, as if they would be guillotined—some even carried a red ribbon around their neck.

[73] Uzanne disclosed that the five Directors who had established themselves at the Luxembourg formed a kind of Court-society, and gave frequent entertainments: the queens of this society were de Staël, Hamelin, Bonaparte and Tallien.

[72] Seductive spirit, all in lace and fripperies, M. Uzanne has touched the Belles Lettres, darling the History, irritated the Psychology and flirted with the Criticism.

[52] He also explored the concept of woman artists, subscribing to the view that women lack creative ability, a quality he associated solely with men: "The curious and paradoxical physiologist [Cesare Lombroso?]

"[77] Based on that, Uzanne said that women artists perpetrated mediocre studies and exhibitions of painting and sculpture, and used this argument to support the idea that gender difference is the foundation of creativity.

You have what no one else has in our cold era: a loving imagination.Theatre and nightlife of France were also covered in his criticisms: shortly before the First World War, he wrote that "the public is accustomed to the irregular life of an actress ... and each spectator gives himself the pleasure of imagining a possible liaison with one of these queens of the footlights.

Uzanne also contributed notes, forewords or commentary to a number of other books, as an appendix in The two young brides (1902, English translation of Mémoires de deux jeunes mariées), whose theme was portraits:[91] [When Balzac died] Never was there a face more noble, more superbly youthful, more mighty in its repose, than this, the image of which is Eugene Giraud's legacy to us.L'An mil-huit-cent-cinquante-un, le seize septembre à deux heures du soir ... est comparu Charles-Auguste Omer Uzanne ... lequel nous a déclaré que le quatorze de ce mois à six heures du soir est né en cette ville de lui et Laurence Octavie Chaulmet ... un enfant du sexe masculin qu'il a présenté et auquel il a donné les prénoms de Louis Octave.

[2]Other sources such as the American novelist Charles Dudley Warner,[3] the Dictionnaire national des contemporains (1914),[4] the obituary of the newspaper Le Temps[5] and an article in the Bulletin de la société J.-K. Huysmans (1932),[6] claim, without providing reference, born in 1852.