66 - LONGUS. The Pastoral Love Story of Daphnis and Chloe (translated from the Greek by Amyot) with illustrations. N.p. (Paris, Quillau), 1718. Small 8vo (163 x 103 mm), contemporary binding in olive-green morocco lined with red morocco, wide straight lace with large gilded corner motifs on the covers, lace border on the lining, spine with raised bands, finely decorated with a red morocco title label, gilt paper endpapers, gilt edges, box.

LONGUS. The Pastoral Love Story of Daphnis and Chloe (translated from the Greek by Amyot) with illustrations. N.p. (Paris, Quillau), 1718. Small 8vo (163 x 103 mm), contemporary binding in olive-green morocco lined with red morocco, wide straight lace with large gilded corner motifs on the covers, lace border on the lining, spine with raised bands, finely decorated with a red morocco title label, gilt paper endpapers, gilt edges, box. First printing. Famous edition, known as the “Regent’s Edition” because it is illustrated based on the paintings—now lost—that Longus’s novel is said to have inspired in Philippe d’Orléans (1674–1723), Regent of France after the death of Louis XIV and an artist in his spare time. This first edition is illustrated with a frontispiece drawn by Coypel and engraved by Audran, six ornate letters, a vignette at the beginning by Scotin, and 28 plates—thirteen of which are double-page spreads—engraved by Benoît Audran from his own drawings adapted from the original paintings. As indicated by the inscription “Philippus inv. et pinxit 1714” at the bottom of the plates, the paintings were executed as early as 1714, likely with the participation of Antoine and Charles-Antoine Coypel, father and son, the Regent’s official painters. Sixteen of the preparatory drawings for the engravings, executed on white paper by Audran, are preserved at the Musée Condé in Chantilly. An exceptional copy bound strictly in period style in morocco leather lined with gold, adorned on the covers with a fine and elegant straight lace border. The second garland adorning the lining and the facing gilt-paper endpapers further enhance the volume’s luxurious character. The copy, with generous margins and carefully ruled, is impeccably preserved. Extremely rare in this condition, in a lace-lined binding strictly of the period.¹ Attached to the copy as a loose leaf is the so-called “little feet” illustration. This suggestive vignette was not engraved until 1728 by the Count of Caylus based on a drawing by Le Régent and therefore does not appear in copies bound strictly in period style. 1- The lace bindings on this book are almost always later, from the Louis XV period. Acquired by Émile Rossignol in 1959.