Null LIBRARIES. - LA CROIX DU MAINE and DU VERDIER. The French Libraries. Paris,…

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LIBRARIES. - LA CROIX DU MAINE and DU VERDIER. The French Libraries. Paris, Saillant et Nyon, Michel Lambert, 1772-1773. 6 vol. in-4, marbled calf, spine with ornamented nerves (Rel. of the time). New edition, enlarged by M. Rigoley de Juvigny, of these two bibliographical works first published in the 16th century. Signature of the time : Madame Baudry. Bindings rubbed with small lacks, epidermures; small differences between the bindings.

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LIBRARIES. - LA CROIX DU MAINE and DU VERDIER. The French Libraries. Paris, Saillant et Nyon, Michel Lambert, 1772-1773. 6 vol. in-4, marbled calf, spine with ornamented nerves (Rel. of the time). New edition, enlarged by M. Rigoley de Juvigny, of these two bibliographical works first published in the 16th century. Signature of the time : Madame Baudry. Bindings rubbed with small lacks, epidermures; small differences between the bindings.

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Estim. 5 000 - 6 000 EUR

Les CRONIQS DU TRESCHRESTIEN ｸ TRES VICTORIEUX LOYS DE VALOYS feu roy de frãce q absolue Unziesme de ce nõ avecqs plusieurs aultres advētures advenues tãt en ce royaulme de France cõme es pays Voisins depuis lan mil quatre cens.lv.iusques en lan mil quatre cēs quatre quatrevingtz & trois Inclusivemēt... In-folio, tobacco calf, spine with 6 ornate nerves ( 18th century binding). Bechtel, 147/C-344 // Brunet, Supplément I-260// BMC, VIII-289 // CIBN, C-319 / Hain, II-5005 // USTC, 70104. (73f. of 74, the last blank missing here) / a-e8, f-i6, k10 / 44 lines on 2 columns, goth. car. / 192 x 272 mm. First edition of the Chronique de Louis XI, known as the Chronique scandaleuse. Mainly recounting the facts of French history during the reign of Louis XI from 1461 to 1483, this chronicle is called scandalous because it mentions everything that King Louis XI did, and recites things that are not too much to his advantage. because it mentions everything King Louis XI did, and recites things that are not too much to his advantage. This scandaleuse appears in the 1611 edition, where the author is presented as a clerk of the Hostel de Ville de Paris. As for the author of this chronicle, the various editions present him as anonymous until Gilles Corrozet's publication of the Trésors des histoires de France in 1583, in which he attributed authorship of the text to Jean de Troye, an attribution repeated the following year by La Croix Du Maine in his Bibliothèque française. It wasn't until the end of the 19th century that the Chronique scandaleuse found its true author in the person of Jean de Roye, whose diary was published by Bernard de Mandrot in 1894-1896, which is none other than the chronicle we're talking about. Jean de Roye (1425-1495?) was a notary at the Châtelet de Paris, secretary to Duke Jean II de Bourbon and concierge at the Hôtel de Bourbon in Paris. This first edition of the Chronique scandaleuse provides the complete text we know from two manuscripts held at the BnF. The section from 1461 to 1479 is highly developed and seems to have been written from day to day, while the subsequent section, from 1479 to 1483, is more summary and seems to have been added in a single block. A fine copy with wide margins. The title bears an old handwritten annotation Old edition of the Chronique dite Scandaleuse du Roy Louis XI by Jean de Troyes Greffier de Lhostel de Ville de Paris. Old restorations, hinges and spine rubbed and missing. Small stains to title, browning to 2 leaves (C6, C7), a wormhole to 18 leaves (A7 to C8).

Estim. 6 000 - 8 000 EUR

[Eloy DAMERVAL]. Sensuit la grãt dyablerie Qui traicte cõment sathan fait demõstrance a Lucifer de tous les maulx que les mõdains font selon leurs estatz vacations et mestiers. Et comment il les tire a dpnation... Small in-4, red jansenist morocco, 5-ribbed spine, interior roulette and filleting, gilt edges ( Chambolle-Duru). Bechtel, 204/D-26 // Brunet, II-478 // Fairfax Murray, 600 // Tchemerzine-Scheler, II-720 // USTC, 83461. (150f.) / A6, b-e4-8, f4, g-o4-8, p4, q-z4-8, ｸ4, A4, B8 / 40 lines on 2 columns, goth. car. / 130 x 190 mm. A very rare second or third edition of this theological poem on human vices, a contemporary edition of which was also published by Le Noir. Little is known about Eloy Damerval, who is listed as the author of this text in the table of the first edition. A singer at the Court of Savoy, then attached to Charles d'Orléans at the Château de Blois, he was, in 1483, master of the choirboys of Sainte-Croix in Orléans. The Grande diablerie is his most famous work. Comprising an 8-chapter prologue and two 260-chapter books, followed by the actor's final conclusion, this comic dialogue between Satan and Lucifer contains over 22,000 verses. Satan, full of experience, explains to a naive young Lucifer the foibles and weaknesses of men and women, and how to tempt them: Jay thousand million traps And trebuchetz Lucifer To make them die in hell The world, the flesh and the dyables Nuyt and day are not fables. Damerval's intention is to challenge men to fall into these traps, but he doesn't shy away from a certain literary pretension, claiming to be Aesop, Come Esopes en ung beau mettre / Se dit bien qui est panthamettre: And don't be dismayed Si jay voulu pour resveiller The understanding of the lisans Often dare to say pleasant things Et de termes assez joyeulx To keep your hands boring Car les rimes entrelardees Of joyful words are watched Comunement plus voulentiers... In chapter 68, François Villon is mentioned, probably one of the earliest literary references to the poet: Maistre Francoys Villon jadis / Clerc expert en faictz et en ditz / Comme fort nouveau quil estoit / Et a farcer se delectoit / Fist a Paris son testament. This work was first published by Michel Le Noir around 1508. The name of the author is taken from the table of this first edition: De maistre Eloy d'Amerval (...) / Cy s'ensuyt (...) la Dyablerie... These verses are not included in our edition, which only mentions the author's first name at the beginning of the prologue and at the very end of the volume: Prier aussi le createur / Pour moy Eloy le pauvre acteur. Title in red and black adorned with a large lettering and a large woodcut depicting five devils, one of whom is taking long notes, a large woodcut at the colophon (f.A6v) printed in red and black depicting 6 devils, and a smaller woodcut in black showing God appearing to the author (f. b1r). Leaves A2v and A5r are printed in red and black, with 47 small initials on a sifted background. The edition is extremely rare. There are four or five copies: one at the Bibliothèque Mazarine, one at the Kongelige Bibliotek in Copenhagen, the Soleinne copy, the Yemeniz (no. 1702)/Firmin-Didot (no. 174) copy and this one. The Soleinne and Yemeniz/Firmin-Didot copies, both bound in antique calf, may be the same. A fine copy, despite a small loss at the top of a spine and a slight knock to a cut on the first cover. Notebooks v and x inverted, an old annotation in ink (f. B7v), angular restoration to 4 leaves (A1, c1, y4 and ｸ1) and restoration with damage to a few letters (f. l2). Provenance: Fairfax Murray (label, no. 600).

Estim. 2 000 - 4 000 EUR

H. P. Lovecraft Autograph Letter Signed to Robert Bloch

Estim. 200 - 300 EUR

BRETON (André). Signed autograph manuscript entitled "Vernissage". 3/4 p. in-folio on grey-blue paper. PROSE POEM INSPIRED BY AN ART EXHIBITION, AND FORMALLY APPROACHING AUTOMATIC WRITING. Dedicated to Paul Éluard, it remained unpublished during André Breton's lifetime, and was first published in 1988 in the Œuvres complètes in the Bibliothèque de la Pléiade. "L'odeur des fiancées falls on a forest sifted among the games of the follets and the juggling of the stars. At first, you don't notice, but then you do. Dazzling little vials supported by fruitful exchanges between trees, it's you who are all spring, all spring. Shucks. Listen to the word of the good shepherd who passes by holding bunches of wool and mattress carders in the twilight. I'm telling you, it's all the same. There are crazy outfits outside thatched cottages and marriage isn't always at the end, near the easy-to-understand stream. Indistinct hope, unforgivable little vapor, I always have it at the end of my cigarette of doubt. I didn't waste my time looking through the keyhole, on the train; I do believe I witnessed a rape illuminated by the little hand reaching for the alarm signal, the beast: there aren't any in the countryside!..."

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