84 - MARGARET OF NAVARRE. The Tales of Margaret, Queen of Navarre. Bern: Nouvelle Société typographique, 1780–1781. Three in-8 volumes (194 x 111 mm), contemporary Swiss bindings in red morocco leather, with a wide fillet and two narrow fillets framing the covers and a gilt emblem in the center, smooth, decorated spines divided into panels by gilt fillets, gilt edges (G. Freudenberger).

MARGARET OF NAVARRE. The Tales of Margaret, Queen of Navarre. Bern: Nouvelle Société typographique, 1780–1781. Three in-8 volumes (194 x 111 mm), contemporary Swiss bindings in red morocco leather, with a wide fillet and two narrow fillets framing the covers and a gilt emblem in the center, smooth, decorated spines divided into panels by gilt fillets, gilt edges (G. Freudenberger). First printing of the finest edition of this famous collection of tales composed in the 16th century by Marguerite de Valois, sister of Francis I and Queen of Navarre. Frontispiece by Dunker repeated in each volume, 73 full-page illustrations by Sigmund Freudenberger¹, 72 vignettes and an equal number of tailpieces by Dunker, all perfectly rendered on copper by various engravers. Although published in Bern and illustrated by two Swiss artists, the work ranks among the great classics of 18th-century French illustrated books. A superb copy in period morocco leather bearing the signature “G. Freudenberger” at the bottom of the spine and, in the center of the covers, an emblem depicting a book accompanied by a motto and various instruments, including a quill. It comes from the libraries of Gabriel Cramer and Guy Pellion (1882, no. 613), along with their bookplates. According to the Guy Pellion catalog, “this copy appears to be the artist’s own.” It is worth noting in this regard that, curiously, another copy exists that is absolutely identical, featuring the same binding, ornamentation, signatures, and emblems. This second copy, from the libraries of Léon Techener and Ferdinand de Rothschild, appeared in the sale of the Portal library (November 28, 1990), where it sold for 71,000 francs. Cohen, who cites it (col. 681), writes about it: “A copy belonging to G. Freudenberger, the artist’s brother, in antique red morocco leather, sold for 1,000 francs on April 5, 1880.” One might therefore surmise that G. Freudenberger had two copies bound identically, one for his brother and the other for himself. A copy of the finest quality, very elegantly bound and in perfect condition. It has particularly wide margins, with the numbers clearly visible at the bottom of all the illustrations in Volume III: “The first volume has no serial numbers at the bottom of the engravings, and the second has very few. The third volume always has them, but one must obtain copies with very wide margins, because the numbers are placed so low that, sometimes inadvertently, often by deception, they have been cut off when the volumes were trimmed for binding” (Cohen). 1- Or Sigismond Freudeberg, according to the French-style version of his name, which is most commonly used. This Swiss painter and draftsman lived in Paris from 1765 to 1773, and this French edition of the *Heptameron* constitutes his principal contribution to illustrated books proper. He is also renowned for his participation in the *Monument du costume* alongside Moreau the Younger. Acquired by Émile Rossignol in 1992.