Richepin, Jean. The Song of the Beggars. Beggars of the fields. Beggars of Paris…

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Richepin, Jean.

The Song of the Beggars. Beggars of the fields. Beggars of Paris. We other beggars. Paris, Librairie illustré, sd [1876]; in-12 red half-maroquin with corners, back with nerves richly decorated around a mosaic flower, gilt head, cover and spine kept, not trimmed (V. Champs). First edition. Copy of first state; including the five condemned poems, these poems earned the author the seizure of the book, one month of prison and 500 francs of fine for outrage to the public morals and morals. Jean Richepin (1849-1926) led an adventurous life, as a freelancer during the Commune and as a longshoreman. He entered the French Academy in 1909. An autograph letter signed by the author has been added. Beautiful copy in a signed binding of the period

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Richepin, Jean.

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Estim. 400 - 600 EUR

RICHEPIN (Jean). La Chanson des gueux. Complete edition decorated with 252 original compositions by Steinlen. [Followed by]: Dernières chansons de mon Premier Livre. Original edition decorated with twenty-four compositions by Steinlen. Paris: Édouard Pelletan, 1910. - 2 volumes in-4, 265 x 200: (3 ff.), 366 pp. (2 ff. last blank), printed cover; (2) ff. 39 pp. printed cover. Paperback, lined covers. Carteret, Le Trésor du bibliophile. Livres illustrés modernes 1875 à 1945, IV, p. 341. - Ray, The Art of the French Illustrated Book, 341-342: "The 252 designs which [Steinlen] provided include some of his best and most characteristic work." Definitive edition of La Chanson des gueux and original edition of Dernières Chansons de mon Premier Livre, which complement it. These two works contain some of the masterpieces of Steinlen (1859-1923), according to Gordon Ray. Carteret, for his part, judged this edition as follows: "A very fine and highly-rated publication, in great favor with bibliophiles. The publisher has abandoned lithography, adopting the direct burin process, which conveys the artist's talent admirably". The Chanson des geux is illustrated with 252 compositions in the text, and the Dernières Chansons with 26 compositions, two of which are full-page. The print run mentioned in La Chanson des gueux is 340 copies, whereas the prospectus states 325. Les Dernières chansons were printed in an edition of 300 copies. Each title is here one of 267 and one of 240 copies on vellum, both bearing the number 79, signed by the publisher on the justification. Copies as issued, complete with publication prospectus.

Estim. 140 - 200 EUR

Callot, Jacques

Estim. 1 000 - 1 500 EUR

Two-handled bowl in painted polychrome enamel with gold highlights. Base decorated with the arms of Bishop Guillaume Le Boux argent, a chevron azure, accompanied in chief by two boar's heads erased sable, and in base by a bloodhound's head gules accolated argent; wing decorated with foliate scrolls in relief in reserves; under the foot, landscape with castle and rider; all around, rosettes and dots on a black background and gilded scrolls. Limoges, attributed to Jean-Baptiste Poyllevet, late 17th century H. 4.7 cm - L. 18.3 cm (some restorations, slight enamel chips, notably at the foot and rim) Jean-Baptiste Poillevet or Poyllevet, also known as Jean II Poyllevet, belonged to a family of Limoges enamellers. Practicing in the 1690s, he seems to have produced little. His style is characterized by a generous use of enamel, as shown here by the rinceaux and rosettes in high relief, and by the recurrent use of a cord motif visible under the heel and delimiting the reserves. Guillaume Le Boux, the patron or recipient of this lovely bowl, was the son of a boatman. His life was marked by a remarkable upward social mobility: he began his career as a college sweeper, and went on to become a Capuchin, an Oratorian, a parish priest and then Bishop of Dax from 1659 to 1666. In the same year, he was elevated to the see of Périgueux. It was when he asked for this last dignity that his friends would have said that "Boux was born a beggar, that he had lived a beggar, and that he wanted Périgueux (to die a beggar)". He remained bishop of Périgueux until his death in 1693. It was probably at the end of this episcopate that this bowl was made. Book consulted: - "Boux (Guillaume Le)" Biographie universelle ancienne et moderne, t. V, Paris, Michaud, 1812, p. 412

Estim. 300 - 400 EUR

RICHEPIN (Jean) - MORAND (Albert). LA CHANSON DES GUEUX. Paris, A. Picque et cie, 1927.in-4, bound in dark green half-maroquin with gilt-edged corners, red ribbed spine with a star in the center, gilt arrows at the head and tail of the spine, gilt head, brown marbled boards and endpapers, cover and spine preserved (binding by Max Fonsèque), 320pp, The work is illustrated with 29 compositions by A. Morand, (17 h.-.t, 10 chapter headings and 2 on the covers). Morand, (17 h.-.t, 10 chapter headings and 2 on the covers) Edition of 500 copies, this being one of 420 on Rives vellum. (n°335). Copy enriched with 5 signed originals by A. Morand, 3 etchings and a L.A.S.: 1) pencil drawing (9.90x 15.5 cm) rejected project for the header on page 8. - 2) original watercolor (14.7 x 21.7 cm) evoking a distribution scene at a church door - 3) pen and watercolor (12.50 x 18 cm) caravans in the night - 4) wash drawing (16.7 x 13.6) sebilla watch, beggar at a church door. 5) watercolor (18 x 13,cm), beggar sitting in the countryside near an abandoned porte cochère - 6 and 7) two refused etchings (198,8 x 13, 5 cm) - 8) refused etching of the second cover (10,8 x 8) - 9),L.A.S. from RICHEPIN (17/12./1922), with stamped envelope to Mr. and Mrs. Jaubert to congratulate them on the marriage of their madwoman.

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