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DUNOYER DE SEGONZAC (André) - VIRGILE. Les Géorgiques. Translated by Michel de Marolles. Paris: chez l'artiste, 1947. - 3 volumes in-folio, 449 x 335: (2 blank ff.), 201 pp. (3 ff. last 2 blank), printed cover; (2 blank ff.), 213 pp. (7 ff. last 2 blank), printed cover. Dark green morocco, boards richly decorated with a large distinct motif representing a kind of stylized tree, "whose broad decorative arabesques may give the impression of branches", mosaiced with calfskin in five shades graded from pink to dark red for volume 1, from brown to yellow for the second volume, and from orange to brown for the third, all parts remaining in green morocco are adorned with gilded arabesques, smooth spine, edge-to-edge lining and light green box endpapers decorated with gilded, palladium and box mosaic irons in the same tones as the decoration on the boards, gilded edges on witnesses, cover and spine preserved, dark green morocco spine and flap edge folder, lined slipcase (Paul Bonet 1956). Lioré et Cailler, V, pp. 11-13. - Paul Bonet, Carnets 1924-1971, no. 1133, 1137 and 1150. A remarkable publication with an edition of 250 copies, all on Arches wove paper, watermarked with an ear of wheat and a bee. This is the most important illustrated work by André DUNOYER DE SEGONZAC (1884-1974), his masterpiece, and one of the great illustrated books of the 20th century. It includes 119 original etchings, 99 of them full-page, engraved between 1933 and 1946. Lioré and Cailler, in the Catalogue de l'œuvre gravé de Dunoyer de Segonzac, reported what the artist wrote about this book: "If I chose the theme of the Georgics, it was to try to accompany with etchings the scenes of rural life that have remained almost the same since Antiquity. Nowadays, with motorization having taken over the fields, it would no longer be possible to illustrate Virgil's text by observing peasant life as it has become. It was the poet Roger Allard who, around 1920, first had the idea of having me engrave etchings on Virgilian themes. Later, when the great publisher Ambroise Vollard asked me to illustrate a book with etchings, he suggested a text by Colette, but, remembering Roger Allard's advice, I steered him towards Virgil's Georgics, and he agreed... I engraved all the plates in Les Géorgiques in front of the eternal theme of rural life: the ploughing of wheat and vines, sowing, harvesting, grape-picking, bees... For Chant III, devoted to livestock, I set up with my coppers in the pastures, among the herds of cows and oxen, engraving directly and striving to express their powerful and peaceful plastic beauty..." (Lioré and Cailler, 2005, p. 3). (Lioré et Cailler, Catalogue de l'œuvre gravé de Dunoyer de Segonzac, V, pp. 11-13). ONE OF THE FIRST 50 COPIES (NO. 25) WITH A SUITE OF 25 ETCHINGS ON WATERMARKED VELLUM IN THE SHAPE OF A BUNCH OF GRAPES AND AN OX HEAD, NUMBERED AND SIGNED AT THE HEAD BY THE ARTIST. It is preceded by a second, unsigned suite of 199 etchings on the same paper, bound separately and forming the third volume. This is undoubtedly one of the finest copies of this edition, in sumptuous triplicate bindings produced by Paul Bonet in 1956. The decorations, which are in the same style, are distinct and in different colors. In his notebooks, the bookbinder tells us that he began these bindings in November 1955 and completed them in January 1956 for the first volume, in April 56 for the second and in July of the same year for the last. René Desmules for the binding and Robert Cochet for the gilding, were entrusted with the execution of this work. Despite the sumptuousness of these bindings, Paul Bonet admitted that he found them "too rich". The first volume of this copy was the seventh binding he had done for this work, and despite this, he admitted that he had not yet managed to find the right binding for this work, which he otherwise greatly appreciated. A perfectly preserved copy.

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DUNOYER DE SEGONZAC (André) - VIRGILE. Les Géorgiques. Translated by Michel de Marolles. Paris: chez l'artiste, 1947. - 3 volumes in-folio, 449 x 335: (2 blank ff.), 201 pp. (3 ff. last 2 blank), printed cover; (2 blank ff.), 213 pp. (7 ff. last 2 blank), printed cover. Dark green morocco, boards richly decorated with a large distinct motif representing a kind of stylized tree, "whose broad decorative arabesques may give the impression of branches", mosaiced with calfskin in five shades graded from pink to dark red for volume 1, from brown to yellow for the second volume, and from orange to brown for the third, all parts remaining in green morocco are adorned with gilded arabesques, smooth spine, edge-to-edge lining and light green box endpapers decorated with gilded, palladium and box mosaic irons in the same tones as the decoration on the boards, gilded edges on witnesses, cover and spine preserved, dark green morocco spine and flap edge folder, lined slipcase (Paul Bonet 1956). Lioré et Cailler, V, pp. 11-13. - Paul Bonet, Carnets 1924-1971, no. 1133, 1137 and 1150. A remarkable publication with an edition of 250 copies, all on Arches wove paper, watermarked with an ear of wheat and a bee. This is the most important illustrated work by André DUNOYER DE SEGONZAC (1884-1974), his masterpiece, and one of the great illustrated books of the 20th century. It includes 119 original etchings, 99 of them full-page, engraved between 1933 and 1946. Lioré and Cailler, in the Catalogue de l'œuvre gravé de Dunoyer de Segonzac, reported what the artist wrote about this book: "If I chose the theme of the Georgics, it was to try to accompany with etchings the scenes of rural life that have remained almost the same since Antiquity. Nowadays, with motorization having taken over the fields, it would no longer be possible to illustrate Virgil's text by observing peasant life as it has become. It was the poet Roger Allard who, around 1920, first had the idea of having me engrave etchings on Virgilian themes. Later, when the great publisher Ambroise Vollard asked me to illustrate a book with etchings, he suggested a text by Colette, but, remembering Roger Allard's advice, I steered him towards Virgil's Georgics, and he agreed... I engraved all the plates in Les Géorgiques in front of the eternal theme of rural life: the ploughing of wheat and vines, sowing, harvesting, grape-picking, bees... For Chant III, devoted to livestock, I set up with my coppers in the pastures, among the herds of cows and oxen, engraving directly and striving to express their powerful and peaceful plastic beauty..." (Lioré and Cailler, 2005, p. 3). (Lioré et Cailler, Catalogue de l'œuvre gravé de Dunoyer de Segonzac, V, pp. 11-13). ONE OF THE FIRST 50 COPIES (NO. 25) WITH A SUITE OF 25 ETCHINGS ON WATERMARKED VELLUM IN THE SHAPE OF A BUNCH OF GRAPES AND AN OX HEAD, NUMBERED AND SIGNED AT THE HEAD BY THE ARTIST. It is preceded by a second, unsigned suite of 199 etchings on the same paper, bound separately and forming the third volume. This is undoubtedly one of the finest copies of this edition, in sumptuous triplicate bindings produced by Paul Bonet in 1956. The decorations, which are in the same style, are distinct and in different colors. In his notebooks, the bookbinder tells us that he began these bindings in November 1955 and completed them in January 1956 for the first volume, in April 56 for the second and in July of the same year for the last. René Desmules for the binding and Robert Cochet for the gilding, were entrusted with the execution of this work. Despite the sumptuousness of these bindings, Paul Bonet admitted that he found them "too rich". The first volume of this copy was the seventh binding he had done for this work, and despite this, he admitted that he had not yet managed to find the right binding for this work, which he otherwise greatly appreciated. A perfectly preserved copy.

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