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Wed 22 May

TABOUROT (Étienne). - Les Touches. Premier [- Cinquiesme] livre. Paris, Jean Richer, 1585-1588. Together 3 volumes in-12, preserved in a red half-maroquin banded box, compartmentalized, and case (P.-L. Martin). Complete collection of all five books, in first edition, of this famous collection of verse epigrams. Extremely difficult to form. Étienne Tabourot (1549-1590) occupies an important place in the literary history of the 16th century. A lawyer at the parliament of his native Dijon, and a convinced ligueur, he is best known for his facetious works signed with his pen name: le Seigneur des Accordz. He was a friend of Pontus de Tyard, whose Douze fables de fleuves ou fontaines he published in 1585, and to whom he dedicated the first book of Les Touches. Divided into five books, Les Touches forms a kind of poetic joust through which, by means of touches and counter touches, the poet paints a truculent picture of his times. It is in this work that Tabourot best reveals his satirical verve. The first volume, containing books I to III, is in Bauzonnet-Trautz red morocco, from the libraries of the Comte de Lurde and Baron de Ruble (1899, no. 206), and P. Grandsire. The second volume is in mid-nineteenth-century red morocco; the last, in jansenist blue morocco signed by Cuzin, bears the Grandsire bookplate. These extremely rare volumes are presented in a three-compartment box lined with red nubuck by Pierre-Lucien Martin. The bottom of the title of the second volume has been redone (date and privilege in facsimile) and the binding shows some scuffing. Paper of the last volume slightly and evenly foxed, and restoration in the margin and at the corner of a few leaves at the end. Tchemerzine, t. V, pp. 834-835. - Diane Barbier-Mueller, Inventaire..., n°821, 824 and 825.

Estim. 4 000 - 5 000 EUR

Fri 31 May

PARIS - PÉRAU (Gabriel-Louis). Description historique de l'hôtel royal des Invalides... avec les plans, coupes, élévations géométrales de cet édifice, & les peintures & sculptures de l'église... Paris, Guillaume Desprez, 1756. In-folio, 28 x 44 cm, 2 folios, XII + 104 pp. 108 plates, 19th-century binding in marbled fawn calf, wide gilt roulette framing the boards, spine decorated with faux-nerfs and gilt motifs, gilt edges. First edition. Prior at the Sorbonne, Gabriel-Louis Pérau (1700-1767) is known for having continued d'Auvigny's Vies des hommes illustres de la France. Illustrated with a frontispiece engraved by C. N. Cochin after Cazes, 2 vignettes by Dulin engraved by the same artist, 2 lettrines and 107 plates, 31 of which on double page. The plates were engraved by Cochin, Lucas and Herisset after drawings by Mansart, Cotte, Maler, Coypel, La Fosse and Jouvenet. From the libraries of the 2nd Duke of Coigny (1737-1821), Marshal of France, Governor of the Hôtel Royal des Invalides (name in gilt letters on the upper cover), Jean-Baptiste Labé de Morambert (1770-1847), general treasurer of the endowment for the invalids of war and the royal and military order of Saint-Louis (ex-dono from the Duc de Coigny dated 1820) and Cardinal Dubois (1856-1929), archbishop of Paris in 1920 (heraldic ex-libris). Scattered foxing and margins occasionally browned. Plates 55 and 98 uniformly browned. Binding skilfully restored (corners, spine and top board). Millard I, 132. An 18th-century print is included: "Élévation du portail de l'église des Invalides" (Elevation of the portal of the Invalides church).

Estim. 800 - 1 000 EUR

Sat 25 May

Voyage d'Henry d'Allemagne au Turkestan, 1898-1899. - 19 boîtes titrées sur les couvercles contenant environ 298 plaques de verre positives et négatives gélatino-argentiques. - Henry of Germany's trip to Turkestan, 1898-1899. Tiflis. Baku. Ashgabat. Khiva. Khiva to Kasar-Haspe. Kasar-Haspe to Petroalexandrovsk via the Amou-Daria. Samarkand. Khorassan. Maschhad. Tehran. Isfahan. 19 boxes titled on the lids, containing approx. 298 negative glass plates, some with positive prints, and reproductions for 8.5 x 10 projection plates. Sizes: 6.5 x 9 to 12 x 9 cm Bibiolgraphy: Henry-René d'Allemagne, Du Khorassan au Pays des Backhtiaris. Trois mois de voyage en Perse, Paris, Hachette, 1911. "Henry d'Allemagne, archivist and paleographer at the Bibliothèque de l'Arsenal, took advantage of his annual leave to travel to Persia (September 1899) and Russian Turkestan at the request of the French Ministry of Education, which financed the trip. The itinerary of this scientific mission took in Kiev, Odessa, Vladikavkaz, Tiflis, Baku, Krasnovodsk and beyond, following the traditional route of the railroad linking Ashkhabad to Boukara and Samarkand (...) This expedition enabled the gathering of numerous ethnographic and artistic collections, and fifty-five kilos of ceramic "architectural decoration" - the contents of eight boxes and five bales - which were sent to the Ministry of Public Education." Svetlana Gorshenina, La route de Samarcande: l'Asie centrale dans l'objectif des voyageurs d'autrefois, Geneva, ; Editions Olizane, 2000, p. 165

Estim. 6 000 - 8 000 EUR

Tue 21 May

MICHAELIS (S.): Histoire admirable de la possession et conversion d'une pénitente séduit par un magicien, la faisant sorcière et princesse des sorciers au Pays de Provence...Paris, Chastellain, 1613. 3 parts in one small in-8 volume, full contemporary gilt vellum, smooth ornate spine, arms on covers with crowned numerals in corners, gilt edges (2 cuts to hinges, tears with missing paper and a few letters on title page, light foxing and slight dampening, small marginal worm work at upper hinge). 3 blank ff, 16 ff. 352 pp. 124 pp. 196 pp. 14 ff table, 3 blank ff. Extremely rare edition of this curious treatise on demonology. The work relates how, in the city of Marseille, Louys Gaufridy, a priest and magician for fourteen years, sold his body, soul and works to the Devil, in exchange for the gift of being followed by all the women he would love (cf. Caillet, t. III, n°7505). The second part, in separate pagination and with a separate title, is entitled Discours des esprits entant qu'il est de besoin, pour entendre resoudre la matiere difficile des Sorciers. There are two different editions of this work: ours, perfectly in keeping with the digitized copy in the Bibliothèque de Lyon, is probably a first edition; the Gallica digitization, probably a second edition, shows clear differences in layout and typography, and several introductory leaves have been added. Dorbon [3073: "Un des traités de démonologie les plus complets"], Dorbon [3074: "livre très rare et fort curieux"], Caillet [III, 7507], Guaita [717: "Ouvrage de démonologie des plus curieux et fort rare"]. A very rare and precious copy bearing the arms and figures of Marie de Médicis (1575-1642), a highly sought-after provenance (Olivier, plate 2504, irons 2 and 4).

Estim. 5 000 - 6 000 EUR

Wed 29 May

(1516). MANTUAN (Baptiste). AD MORTALIUM OBLECTATIONEM AUCTORIS EFFIGIEM HUIC DIVINO OPERI. ULTIMA PARS OPERIS. Lyon, impressa solertia Stephani de Basignana, in officina Bernard Lescuyer, June 1516. In-8 of 126 leaves, light calf, boards decorated with multiple gilt and cold fillets with a frame decorated with a chain of linked tassels with repeated gilt "eternal knot" motifs in the center, double hot and cold framing, gilt and chased edges, modern slipcase (period binding). RARISSIVE PRODUCTION BY ETIENNE DE BASIGNANA, a Carmelite monk and remarkable typographer who printed only 2 books: a book of hours and, for Bernard Lescuyer, the works of Mantuan, general of his order. Spagnioli's works, made up of 2 parts that subdivide themselves, could be sold separately, as Brunet indicates. This copy includes the "De Sacris Diebus", which is in its original edition. The printing of this volume rivals that of the greatest typographers. The title, printed in red and black, is adorned with the effigy of Baptiste Mantuan. "This is one of the earliest examples of the use of portraiture in book illustration" (Brun). The last leaf is decorated with the arms of Cardinal de Gonzague. Title browned, wormholes repaired, small well-executed repairs to a few leaves, second board almost detached, endpapers replaced, quire d, and q8 slightly wormed and almost unbound. Interesting Italian binding whose combination of the 2 binding motifs seems very unusual according to Goldschmidt (Gothic and Renaissance Bookbindings, 1928, I, p. 226). From the libraries of Carolus Hippolitus Tedeschius (contemporary signature on blank q7). and Michel Wittock with his bookplate. (Baudrier II, 3-10) (USTC 155285) (Brunet III, 1375) (Brun, p. 253).

Estim. 800 - 1 000 EUR

Wed 22 May

LA NOUE (Odet de). - Paradoxe, que les adversités sont plus nécessaires que les prosperites: et qu'entre toutes, l'estat d'une estroitte prison est le plus doux et le plus proffitable. By the Seigneur de Teligny. S.l. [Genève], Par Jean de Tournes, Imp. du Roy, à Lyon, 1588. In-8, brown jansenist morocco, interior lace, gilt edges (Trautz-Bauzonnet). Very rare first edition of this long poem of 1200 alexandrines. An edition was also published the same year in La Rochelle, by Haultin. An astonishing apology for prison, written by the soldier-poet Odet de La Noue during his captivity at Tournai Castle. The poem is dedicated to his father, François de La Noue, a famous captain nicknamed the Huguenot Bayard or Bras-de-Fer. Odet, who remained imprisoned in Flanders for four or five years under the Spanish yoke, endeavors to demonstrate that the good Christian can paradoxically live with the deprivation of freedom; this ascetic life has some advantages, according to him, in particular that of keeping oneself away from all forms of temptation, thus avoiding molding in laziness in the midst of delights or "rotting" from the filth of vice: On estime aujourd'huy le comble de misère / Une estroitte prison. I maintain the opposite. [...] Puis que, quoy que des maux, dont on a tant de crainte, / La prison soit celuy dont on fait plus de plainte, / C'est neantmoins l'estat plus comblé de plaisir, / Et plus utile encor que lon puisse choisir. The title is framed in arabesques and bears the typographical mark of Jean de Tournes, who used civil type to print part of the title and the two dedication pages. From the libraries of Comte de Lignerolles (1894, n°996), Édouard Moura (1923, n°298) and Albert-Louis Natural (1987, n°87). J. P. Barbier-Mueller, IV-3, n°7. - Cartier, no. 677. - GLN-3323 (10 examples listed, including this one, the others in institutions). - Picot, Rothschild, n°3276. - Diane Barbier-Mueller, Inventaire..., n°425.

Estim. 2 000 - 2 500 EUR

Wed 19 Jun

THE LADY AND LESCUYER DEBATE NEWLY DONE. Small booklet in-4, chocolate-colored jansenist morocco, 5-rib spine, interior lace, gilt edges ( Duru et Chambolle, 1862). Bechtel, 55/B-55 // Brunet, II-545 // GW, 03724 // Renouard, 1074 // Rothschild, I-466 // USTC, 766394. (11f. out of 12, the last blank missing here) / a-b6 / 30 lines (except b4 in 29), goth. car. / 132 x 187 mm. A very rare edition of this poem attributable to Henri Baude, a French poet born in Moulins around 1430 and who died around 1495. A contemporary of Villon, Baude was the author of satirical moralities and poems written in a lively, bountiful style, seasoned with Gallic salt, in a picturesque, maliciously naive and often sarcastic manner. in a lively, playful style, seasoned with Gallic salt, in a picturesque, maliciously naive and often sarcastic manner (Larousse). Le Debat de la dame et de l'escuyer is a long poetic dialogue between a squire and the lady he is in love with, whom he tries to convert to his love. This poem of 67 stanzas of eight lines was also published under the title La Complainte de lescuyer à la dame. The author's name could be guessed from one line of the poem (23rd line of f. B4), in which the initial handwritten version is as follows On nous respont laissez buissoner Baude was replaced by the printed version On nous respont laissez huchier sans fraude. This peculiarity was noted by Montaiglon. It was disputed by some, including Bechtel, but to date there is nothing significant to indicate that this piece was not written by this poet. Two editions of this Débat, ours and another published by Jehan Lambert, both undated. Both are obviously very rare. The present edition bears Jehan Trepperel's mark on the first leaf, reproduced by Renouard (no. 1074). The copy comes from the La Roche Lacarelle and Lignerolles libraries. A pencil note by Jean Bourdel indicates that the copy from these libraries previously belonged to Armand Bertin and Félix Solar (no. 1082), and that the binding was altered between Solar and La Roche Lacarelle. According to our research, the Bertin-Solar copy was bound in red morocco by Koelher and described as a fine copy in the Solar sale. We can see no reason why La Roche Lacarelle would have had it rebound in a Jansenist binding by Duru et Chambolle. In any case, we have not found a copy other than the two described above, apart from the copy in the Library of Congress in Washington referenced by the USTC. All these elements make this an extremely rare edition. A very fine copy. Provenance: Baron Sosthène de La Roche Lacarelle (bookplate, April 30, 1888, no. 148) and Comte Raoul de Lignerolles (II, March 5-17, 1894, no. 860). The last white leaf bears a ghost of an ex-dono to Anne de Dreux, but this leaf obviously comes from another volume and has been reused.

Estim. 5 000 - 7 000 EUR

Fri 17 May

Cornelis Dusart - Cornelis Dusart (1660 - Haarlem - 1704) - Lounging man smoking a pipe. Black and yellowish-brown chalk with red chalk, partly heightened with white, on blue laid paper with watermark "Nebenmarke Initialen LO". 21.5 x 18.3 cm. With a framing line in brown pen. Dusart was influenced by his teacher Adriaen van Ostade and later by Jan Steen, whose more comedic style he adopted. Dusart probably inherited Ostade's entire workshop estate, completed the stored paintings and added artistic washes to some of his drawings to make them more attractive for sale. Dusart's figure drawings, including the present study of a resting, puffing man on blue-ground paper "aux deux crayons", can be regarded as works of art in their own right. According to a notebook by Dusart, these partly pictorial and often colored drawings were sold separately to collectors (see Peter Schatborn: Dutch Figure Drawings from the seventeenth century, exhib. cat. Amsterdam, Rijksmuseum, and Washington, National Gallery of Art, 1981-82, pp. 110-112). With white laid paper strips along the margins verso. - Barely noticeable brown stains. Verso in upper corners with adhesive residue from former mounting, this faintly showing through to recto. In good condition. Literature: Jeroen Giltaij, exhib. cat. Le Cabinet d'un Amateur: Dessins flamands et hollandais des XVIe et XVIIe siècles d'une collection privée d'Amsterdam, Rotterdam, Museum Boijmans van Beuningen, Paris, Fondation Custodia, and Brussels, Bibliothèque Albert 1er, 1976/77, cat. no. 47, plate 92. Provenance: Karl Eduard von Liphart (1808-1891), Dorpat, Bonn and Florence, stamped on verso (Lugt 1687); inherited by his grandson Baron Reinhold von Liphart (2nd half of the 19th century), "Ratshof" near Dorpat, with the stamp (Lugt 1758) on the verso; whose auction at C.G. Boerner, Leipzig, auction, 26.4.1898, lot 296; Hertzberger, Amsterdam, auction, 23.5.1940, lot 64, with illus; Jan Frederik Bianchi (1878-1963), Amsterdam, with the stamp (Lugt 3761) on the verso; his sale at Paul Brandt, Amsterdam, auction, 23-27.11.1964, lot 167; Iohan Quirijn van Regteren Altena (1899-1980), Amsterdam, verso with the stamp (Lugt 4617); Christie's, Amsterdam, auction "The I.Q. van Regteren Altena Collection, Part IV: Dutch & Flemish Drawings from 1500 to 1900, 13.5.2015, lot 219; Private collection, Munich, acquired in the above auction. Taxation: differential taxation (VAT: Margin Scheme)

Estim. 5 000 - 7 000 EUR

Sat 25 May

Addison Thomas MILLAR (Warren 1860 - Philadelphie 1913) - Rue Orientale Oil on panel 22 x 17 cm Signed lower left Addison T. Millar, imprint on reverse On the back, handwritten annotations T.A.M An Oriental Street Born in the United States, Addison Millar was soon recognized as a prodigy of drawing and painting. Artistic emulation at the end of the 19th century was lively in Europe: the Impressionist painters had made their revolution, and art had never been so representative of a source of novelty. This is why Addison Millar decided to start traveling in 1894. He was then 34 and had already reached a certain level of maturity in his painting. He went first to Paris, to the Académie Julian, where he studied with Benjamin Constant and Giovanni Boldini, then to Spain and Algeria in 1895. It was then that he produced his best Orientalist works. It was in the midst of these shopping streets and mosque entrances that his painting reached its peak. He conveys the prevailing atmosphere with a vivid, precise brushstroke. Millar probably spent little time in Algeria. He focused on specific scenes and architecture, reproducing them with variations. Many of his works are still preserved in the USA, where he died accidentally in 1913. Millar used to sign some of his paintings with his thumbprint, as he has done on the present work. In addition to the Smithsonian Institution, the New York Public Library, the Boston Museum of Fine Art and the Bibliothèque nationale de France, his work has been shown at the Detroit Institute of Arts, the Library of Congress and the Rhode Island School of Design.

Estim. 5 000 - 6 000 EUR

Thu 23 May

[NOVEL LITERATURE] Lot of 19 books including: - LE SAGE (Alain René), Histoire de de Gil Blas. Paris, A. Everat (accident to binding, tears to pages). - Rudyard KIPLING, Kim, Paris, Delagrave. Illustrations by Ch. Fouqueray. Large and strong in-4 ½ blond marbled calf, smooth spine decorated, gilt title (wear to binding, insolate, very light scattered foxing). - Remy de GOURMONT, Sixtine. Paris, Albert savine, 1890. 1 volume. - Ferdinand OSSENDOWSKI, Bêtes hommes et Dieux. Paris, Plon, 1924. - Sophie GAY, Le Moqueur Amoureux. Paris Michel Lévy, 1863. - J. L. de la Marsonnière, Un drame au logis de la Lycorne. Paris, H. Oudin, 1883. Ex-Libris De Martignac. - Claude Farrère, Mademoiselle Dax, jeune fille. Paris, Henri Jonquières et cie, 1922. Edition illustrated with fourteen compositions by L. Schulz. - J. Fenimore COOPER, The pathfinder or, the inland Sea. Paris, Baudry's european library, 1840. in English. - Edmond JALOUX,Fumées dans la campagne. Paris, La renaissance du livre. - Charles DICKENS, Les temps difficiles. Paris, Hachette, 1859. - Alfred DE VIGNY, Stello, théâtre, servitude et grandeur militaires. Paris, Bibliothèque Larousse. - A. De Vigny, servitude et grandeurs militaires. Paris, Alphonse Lemerre. - A. De Vigny, Cinq-mars ou une conjuration sous Louis XIII. Paris, Alphonse Lemerre. - Marquis de Foudras, Le bonhomme Maurevert. Paris, E. Noury. - Ch. De Brosses, Lettres familières. Paris, Librairie académique, p. Didier et cie, 1869. - A.Maurois, Les discours du docteur O'Grady. Paris, Grasset, 1922. Edition on vellum ragpaper numbered 609. - Pol NEVEUX, La douce enfance de Thierry Seneuse. Lyon, Lardanchet, 1925. - Le seigneur de BRANTOME, Vies des dames galantes. Paris, Garnier Frères, 1857. - WILLY,Suzette veut me lâcher, illustrations by Supparo. Paris, Albin Michel. (not collated, wear)

Estim. 40 - 60 EUR

Thu 30 May

[SAINT-DOMINGUE]. Joseph-François FOULQUIER (1745-1789), intendant of Guadeloupe and Martinique, French painter and engraver. Curious about the natural sciences and astronomy, he brought astronomers, physicists, draughtsmen etc. to these colonies, and sent plant samples to the king's gardens. He is best known today for his "grotesque and satirical compositions", which are held by the Bibliothèque nationale de France and the Metropolitan Museum of Art, among others. Autograph letter signed, addressed to his father. Paris, July 29, 1780. 2 pp.1/2 in-4, address and postmark on verso of second leaf. "The King has just honored me with a vast and honorable commission by charging me with bringing to St. Domingue the new laws he has kindly given to his Colonies. At the same time, His Majesty has charged me with observing in the relations and organization of the Colonies all that may be useful to the State; and has honored me with the good of the Intendancy of St. Domingue to administer there at the time when M. Président de Bongard [...] will leave his colony [...]. No one has ever received a commission as vast and as important as the one with which the King honors me at this time. Foulquier informs his addressee Monsieur Raby, a merchant, of the details of his trip, etc. It was Intendant François-Joseph de Foulquier who, in 1786, proposed to the King the creation of a botanical garden in Saint-Pierre. But the king did not follow up his request. In 1785, Foulquier was appointed intendant in Saint-Domingue, Guadeloupe and Martinique.

Estim. 200 - 300 EUR

Wed 22 May

GODARD (Jean). - Les Œuvres, divided into two volumes. Plus les Trophées du Roy composez & adioutez depuis l'impression des présentes œuvres. Lyon, [Jean Tholosan pour] Pierre Landry, 1594. 2 volumes in one in-8, red jansenist morocco, interior lace, gilt edges, slipcase (H. Alix). First collective edition of Jean Godard's works, partly original, containing over 500 pieces. Dedicated to Henri IV, whose woodcut medallion portrait adorns the verso of both title pages, it includes La Flore ou les premières amours, La Lucresse ou les secondes amours, the tragedy La Franciade, the comedy Les Desguisés, the three books of La Fonteine de Gentilly, the three others of La Fonteine de Saint-Font, and the Trophées de Henri IV, a series of 34 sonnets in which the poet sings in a thousand ways of the exploits of the King of Navarre. We should also mention a series of 45 chansons, various sonnets and other poems, including La Perdrix, La Pauvreté, Les Goguettes, Le Flascon, and L'Amitié, a long poem addressed to his long-time friend the lawyer Jean Heudon (see nos. 57 and 58). Apart from Amours de Flore and Trophées, already published, the rest are unpublished. A poet born in Paris in the 1560s and dying around 1630, Jean Godard was lieutenant in the bailliage of Ribemont in Picardy, then lived in Bordeaux, Clermont in Auvergne, and Villeneuve in Beaujolais. A first-rate copy, extensively described by J. P. Barbier-Mueller in his Bibliothèque poétique. From the Edmée Maus library (bookplate). Volume I, small restored tear on edge of folio N1, not missing. Volume II, repaired tear on folio Bb1, and paper loss at the corner of folio Cc1 (restored, advertisement copied in pen). J. P. Barbier-Mueller, IV-2, n°48. - Baudrier, V, pp. 341-342. - Picot, Rothschild, n°760 - Soleinne, I, n°852. - Diane Barbier-Mueller, Inventaire..., n°376.

Estim. 2 000 - 3 000 EUR

Fri 31 May

BRETEZ (Louis). La perspective pratique de l'architecture, contenant... une manière nouvelle, courte et aisée pour représenter en perspective les ordonnances d'architecture & les places fortifiées... Paris, Charles-Antoine Jombert, 1751. In-folio, 26 x 38.5 cm, 2 + 2 ff. frontispiece and 52 + 5 plates, contemporary binding in speckled fawn calf, spine ribbed and decorated with gilt motifs. Second edition, enlarged by 5 plates, of this unusual treatise on perspective and fortification published in 1706, comprising 60 engraved plates. A professor of perspective, Bretez (c. 1706-1739) drew Turgot's famous plan of Paris in 1739. A good copy. Marginal brown staining to last 12 plates. Bound at the head: [QUINZA (Francesco)]. Relazione della statua equestre di Carlo Magno eretta nel portico del Tempio Vaticano... Sienne, chez l'auteur, 1725. 2 ff. 46 pp. 1 f. First edition illustrated with engraved bands, vignettes and initials. A good copy. Some leaves uniformly browned. SAXE (Christoph Gottlieb). Diptychon Magni consulis... The Hague, Pierre de Hondt, 1762 ; 54 pp., 1 folded plate. First edition of this study of the Magnus consular diptych, based on its Carolingian whalebone copy (9th or 10th century), preserved in 1750 in the collection of the Count of Wassenaer in The Hague and acquired in the 19th century by the Bibliothèque nationale in Paris. Illustrated with an engraved plate depicting the Carolingian diptych. A good copy. Small marginal stain.

Estim. 350 - 400 EUR

Fri 31 May

ADAMI Valerio RITRATO DI JAMES JOYCE, 1971. Graphite drawing on paper. Signed lower right. 770 x 665 mm. The James Joyce Society, founded in 1947 by T.S. Eliot, organized international symposia devoted to the relationship between the relationship between the writer and the cities in which he lived. In 1974, Paris was chosen to host the 5th edition, and the French committee, formed by Maria Jolas and Jacques Aubert, asked Bernard Gheerbrant to organize an exhibition. Gheerbrant turned to Jean-Pierre Seguin, curator at the Bibliothèque Nationale, who was in charge of creating the future B.P.I. at the Centre Pompidou, still under construction. Having seen in the intentions of Gheerbrant, Maria Jolas and Jacques Aubert, an ideal initiative to become "the first manifestation of what the future Université Libre library wanted to be, at the service of all", he proposed to host the Joyce Symposium and exhibition at 28 rue des Francs-Bourgeois, where the future services of the art and culture center were organized. The premises allocated by the Ministry offered four meeting rooms, a projection booth and an exhibition room measuring 18 m by 5 m. As at La Hune, Gheerbrant assembled documents mounted on panels, including a map of the European continent marked by postcards Joyce sent to his Parisian friends, amateur photographs, portraits by Man Ray, Gisèle Freund, portraits drawn by Brancusi, as well as Adami's portrait of Joyce, reproduced on the exhibition poster. poster. A copy of the poster is included.

Estim. 4 000 - 6 000 EUR

Thu 23 May

Pierre SOULAGES (1919 - 2022) Etching III, 1956 Etching on Rives wove paper signed in the plate, countersigned and dedicated in pencil "A Jean Cayrol, en sympathie" lower right. Proof coming with its folding catalog "Pierre Soulages" at the Galerie de France in 1956, from an edition of 400 proofs, here copy 275. Lacourières Paris imprimeur, Galerie de France éditeur Plate dimensions : 26.7 x 19.5 cm Flat catalog dimensions : 26.7 x 37.5 cm Reference: Pierre Encrevé, Soulages l'œuvre imprimé, Bibliothèque Nationale de France -BNF, Paris, 2003 French writer Jean Cayrol was born in Bordeaux on June 6, 1911. After studying law and literature, he became a librarian to get closer to poetry, an art form that had always attracted him. He soon became involved with the Surrealist movement, composing poems on his own. But then war broke out. Jean Cayrol soon joined the Resistance as a member of the Rémy network. He was denounced and deported to the Mauthausen camp in 1942. He was liberated in 1945. After a difficult return to Bordeaux, he moved to Paris, where he befriended Jean Marcenac, Louis Aragon and Paul Éluard through the Comité national des écrivains, with whom he kept up a lifelong correspondence. He went on to write Poèmes de la nuit et du brouillard (1946), in which he addresses the horror of the camps and the sad, poetic reality of the human condition. In 1955, the author wrote the accompanying text for Alain Resnais's film Nuit et brouillard. In the following years, he became fully involved in Parisian life as a talent scout, poet, novelist, essayist, screenwriter and film director. From 1973, he was a member of the Académie Goncourt, and took pleasure in surrounding himself with numerous objets d'art. After these heady years, he gradually retired to Bordeaux. He was awarded the Grand Prix National des Lettres in 1984. He died in 2005.

Estim. 1 500 - 3 000 EUR

Thu 30 May

[ORNITHOLOGY]. Armand DAVID (1826-1900), Basque Lazarist missionary, zoologist, botanist and ornithologist in China, Mongolia and Tibet, and correspondent for the Muséum d'Histoire naturelle. He wrote numerous reference works on Asian birds, including Les Oiseaux de la Chine with Oustalet. Important set of 19 documents: - Correspondence of 12 autograph letters signed by Father David, addressed to the Count of RIOCOUR, ornithologist and bird collector. Peking, Paris, Bayonne and Algiers and s.l., 1865 to 1882. 44 pp. in-8. Exceptional correspondence devoted to ornithology. Peking, September 22, 1865: "[...] It was by myself and with great difficulty that I was able to take, prepare and send the few birds that are in the Museum [...] through the Chinese apathetics. [...] The number of species that I have observed here amounts to two hundred and sixty, and I possess only nine or ten of these, which are the falcata anas, Pyrrhula rosea, Emberiza spodocephala, Chrysophris, fucata, Phythyoruis [...]". David will be sending birds to Riaucour, and in return expects birds "from hot countries or remarkable for extraordinary characters, of which I would like to gather as many species as possible in a collection that I am forming here to attract and interest our Chinese papathists [...]". Peking, April 29 1868: "[...] When I left for Mongolia, I left a small box in Peking containing some fifteen bird skins [...]" entrusted to the care of his colleague M. Favier. It was returned to him, and he mentions his shipments of birds for the Muséum and lists the species destined for the ornithologist Jules Verreaux. Père David mentions his work on the birds of Upper China; he was unable to obtain a Macé's Eagle "which is peculiar to India" or a Mandarin Teal; he was lucky enough to observe a rare Hirundo refula; the catalog of M. d'Hamonville's catalogue; a bird sale at Drouot, where he wanted to buy a barn owl, a nebula owl, a capercaillie and a pink spoonbill; the Lazarist missionary goes on to talk about his observations of African birds from Algiers, the Zoological Society, their colleagues and work (Vian, Alléon, the Marquis Doria and Professor Enrico Hillyer Giglioli in Italy, their respective collections; he discusses and compares rare birds, etc.). Dense, worth studying. - 5 documents in Count de Riocour's hand containing three lists of bird names contained in crates sent by Armand David (with drawn symbols) to Count de Riocour; a copy of a letter from David to Riocour and a draft of a scientific letter from Riocour to Armand David. - Set of 2 prints in blue waiting covers, wide margins. From the Bibliothèque du Comte de Riocour: "Catalogue des oiseaux de Chine observés dans la partie septentrionale de l'Epire (au nord du fleuve-bleu". 12 pp. large in-4 (32.6 x 25 cm). - Rapport adressé à MM. Les professeurs-administrateurs du Muséum d'Histoire naturelle [...] le 15 décembre 1871". Offprint, 24 pp. large in-4 (32.6 x 25 cm). Large margins. The Bibliothèque nationale de France owns a copy of the "Catalogue des oiseaux composant le cabinet de M. le Cte de Riocour, à Aulnois" (Nancy, Barbier, 1829), under inventory number S-24735).

Estim. 800 - 1 200 EUR

Wed 19 Jun

[BAUDOUIN DE FLANDRES]. LHystoire et cronicque du noble et vaillant Baudouyn conte de Flandres qui espousa le dyable. Small in-4, navy blue morocco, triple fillet with armorial supra-libris of the Mello library in the center, 5-nerve spine nicely decorated with small irons, interior lace, edges gilded on marbling ( Trautz-Bauzonnet). Bechtel, 57/B-65 // Brunet, I-7076 // Fairfax Murray, 26 // Hain, 2707 // USTC, 79155. (66f.) / A8, B4, C8, D-E4, F-G8, H-L4, M6 / 38 long lines, gothic car / 130 x 187 mm. Eighth edition in Gothic type, reported by Bechtel. Prose setting of an earlier poem whose author is unknown. It tells the story of Baudouin IX, Count of Flanders, who married a devil, was set on the right path by a hermit, then took part in the Crusade and remained a prisoner of the infidels for twenty-five years. He then returned to Flanders, where his daughter Jeanne, wife of Ferrand of Portugal, had him put to death. A curious romanticized story of the real Baudouin IX, Count of Flanders, who became Emperor of Constantinople in 1204 and was killed in 1206. Profusely illustrated edition with a large woodcut on the title depicting Baudouyn and the dyable, his future wife, on horseback in a forest, another large woodcut on the last leaf depicting the Last Judgment, 54 woodcuts in the text, 13 of which are repeated, the printer's mark on the verso of the last leaf and numerous initials. A very fine copy bound by Trautz-Bauzonnet with the arms of Baron Seillière. USTC lists only one copy in private hands and none in public libraries. Angular repairs to title and 3 leaves. Provenance: Nicolas Yemeniz (May 9, 1867, no. 2339), Baron Achille Seillière (supra-libris, absent from sales in 1887, 1890 and 1893) and Fairfax Murray (label, no. 26).

Estim. 12 000 - 15 000 EUR

Thu 30 May

BATAILLE Georges. L'ÉROTISME Paris, Minuit, 1957: in-4 (227 x 142 mm) 305 pp. - Paperback. First edition. Autograph signed letter: "à Bernard Gheerbrant hommage sympathique de Georges Bataille." - Enclosed: BACHELARD Gaston. LA POÉTIQUE DE L'ESPACE. Paris, Presses universitaires de France, collection Bibliothèque de philosophie contemporaine, 1957: in-4 (230 x 140 mm) of 213 pp. - Paperback. First edition. Autograph signed letter: "to B. Gheerbandt et à Mme Gheerbrandt, en amical souvenir, G. Bachelard." CIORAN Émile. SYLLOGISMES DE L'AMERTUME. Paris, Gallimard, coll. Les Essais, 1952: in-12 (190 x 120 mm) 183 pp. - Paperback. First edition in press service. Autograph signed letter: "à M. Gheerbrandt [sic], hommage de sympathie, E. Cioran." KLOSSOWSKI Pierre. UN SI FUNESTE DÉSIR. Paris, Gallimard, 1963: in-12 (180 x 115 mm) 228 pp. - Paperback. First edition in press. Autograph signed letter: "to Bernard Gheerbrant, in cordial homage, Pierre Klossowski." MERLEAU-PONTY Maurice. IN PRAISE OF PHILOSOPHY. Paris, Gallimard, 1953: in-8 (192 x 1422 mm) of 90-[6] pp. - Paperback. First edition in press service. Autograph signed letter: "à monsieur Gheerbrant, avec l'expression de mon cordial souvenir. Maurice Merleau Ponty." CAILLOIS Roger. ESTHÉTIQUE GÉNÉRALISÉE. Paris, Gallimard, 1962: in-4 (274 x 212 mm) of 38 pp. - Paperback. First edition in press. Autograph letter signed: "to Bernard Gheerbrant, with the very attentive memory of Roger Caillois." CAILLOIS Roger. MEDUSE ET CIE. Paris, Gallimard, 1960: in-8 (196 x 138 mm) of 166 pp. - Paperback. First edition in press. Autograph letter signed: "to Bernard Gheerbrant, in very particular homage, Roger Caillois."

Estim. 600 - 900 EUR

[ELZÉVIRIENNE LIBRARY] "LA BIBLIOTHÈQUE ELZÉVIRIENNE". Together 39 works in 80 volumes from this collection. Paris, P. Jannet, Daffis, Pagnerre, A. Franck ou Plon, 1853 - 1898. In-12. Publisher's red percaline boards. Several spines faded. 1 : Philippe d'ALCRIPE - La Nouvelle fabrique des excellens traits de vérité. Nouvelle édition [par Gratet-Duplessis]... des Nouvelles de la terre de Prestre Jehan. 1853. Spine faded. 2 : Théodore Agrippa d'AUBIGNÉ - Les Aventures du Baron de Faeneste. New edition, revised and annotated by M. Prosper Mérimée. 1855. 3: Antoine BAUDERON de SÉNECÉ - Oeuvres posthumes first published by Émile Chasles and P. A. Cap. 1855. 4: Antoine BAUDERON de SÉNECÉ - Oeuvres choisies de Sénecé. New edition published by Émile Chasles and P.-A. Cap. Preceded by a monograph on the Bauderon de Senescey family by Émile Chasles. 1855. Frontispiece. 5: BERTAUT - Les Oeuvres poétiques publiées d'après l'édition de 1620. With introduction, notes and glossary by Adolphe Chenevière. 1891. Spine faded. 6 : Nicolas de BLEGNY - Le Livre commode des adresses de Paris pour 1692 by Abraham Du Pradel (Nicolas de Blegny). Followed by appendices, preceded by an introduction and annotated by Edouard Fournier. Tome Ier [-IIe]. 1878. 1 spine faded. 7: Les Caquets de l'accouchée. New edition revised from the original parts and annotated by Edouard Fournier. Introduction by Le Roux de Lincy. 1855. Faded boards. 8 : CHAPELLE & BACHAUMONT - Oeuvres. Nouvelle édition revue et corrigée... précédée d'une notice par Tenant de La Tour. 1854. 9: Roger de COLLERYE - Oeuvres. New edition with a preface and notes by Charles d'Héricault. 1855. Spines faded. 10: Marie Sidonie de Lenoncourt, marquise de COURCELLES - Mémoires et correspondance publiés d'après les manuscrits, avec une notice, des notes et les pièces justificatives par Paul Pougin. 1855. Spine faded. 11: Les Courriers de la Fronde in burlesque verse. Revised and annotated by M. C. Moreau. Tome I [-II]. 1857. Spines entirely discolored, 1 volume nearly unbound. 12: Noël du FAIL - Facetious works. Revised from the original editions and accompanied by an introduction, notes and a philological, historical and anecdotal index by J. Assézat. Tome I [-II]. 1874. 13: Édouard FOURNIER - Variétés historiques et littéraires. Collection of rare and curious volantes in prose and verse. Revues et annotées. Tome I-[X]. 1855-1863. Analytical and alphabetical table in T. X. 14: Gaultier GARGUILLE - Chansons de Gaultier Garguille. Nouvelle édition, suivie des pièces relatives à ce farceur,... by Édouard Fournier. 1858. Spine faded. 15: [Jean Charlier de GERSON] - Le livre de l'Internelle consolacion, première version française de l'Imitation de Jésus-Christ. New edition with an introduction and notes by L. Moland and Ch. d'Héricault. 1856. Spine faded and stained, with small lack. 16: Jean-François Cocq d'HERVÉ - Le Panthéon et Temple des oracles ou préside fortune, dédié au Roi. New edition. 1858. 17: LA FONTAINE - Complete works. Accompanied by notes and followed by a glossary by Ch. Marty-Laveaux. Tome I [-V]. Paul Daffis, P. Jannet, Pagnerre, 1860-1877. 1 plate spotted. 18: Catherine de LA GUETTE - Mémoires. New edition, revised, annotated and preceded by a notice by Moreau. 1856. 19: François de LA ROCHEFOUCAULD - Reflections, sentences and moral maxims. New edition conforming to that of 1678, with annotations by a contemporary... variants... and notes... by G. Duplessis; with a preface by C.-A. Sainte-Beuve. 1853. Spine faded. 20 : Jehannot de LESCUREL - Chansons, ballades et rondeaux. First published by Anatole de Montaiglon. 1855. Spine faded. 21: Tristan L'HERMITE - Le Page disgracié où l'on voit de vifs caractères d'hommes... Introduction and notes by Auguste Dietrich. 1898. Spine faded. 22 : [Anatole de MONTAIGLON] - Catalogue raisonné de la Bibliothèque elzévirienne : 1853-1867. 1867. 23: Nouvelles françoises en prose du XIIIe siècle, publ. d'après les manuscrits, avec une introd. et des notes, par L. Moland et C. d'Héricault. 1858. Spine faded. 24: Nouvelles françoises en prose du XIVe siècle, publ. d'après les manuscrits, avec une introd. et des notes, par L. Moland et C. d'Héricault. 1858. Spine faded. 25: François RABELAIS - Oeuvres de Rabelais: only edition conforming to the latest texts revised by the author, with variants from all original editions, notes and glossary. Tome I [- II]. 1858-1872. 1 spine entirely faded. 26: Recueil de poésies françoises des XVe et XVIe siècles, morales, facétieuses, historiques. Collected and annotated by Anatole de MONTAIGLON and James de ROTSCHILD. Tome I [- XIII]. 1855-1878. 27: Mathurin REGNIER - Complete works

Starting price  100 EUR

Fri 31 May

LEPAUTRE (Antoine). Les œuvres d'architecture... Paris, Jombert, circa 1700. In-folio, 25.5 x 38 cm, 36 pp. (miscalculated 38), 62 plates (miscalculated 60) including 38 doubles, contemporary binding in speckled fawn calf, spine ribbed and decorated with gilt motifs. Third and most complete edition of the suite of Desseins de plusieurs palais... A complete copy of the plates and text. The suite comprises 62 plates (two plates numbered 30 and two plates numbered 31) and an explanatory text attributed to Charles d'Aviler. The last plate (a siege scene, with the arms of the Prince de Conti), in a spirit quite different from the rest of the plates but numbered in the suite (no. 60), is etched by Jean Lepautre (Préaud. Inventaire du fonds français. 17th-century engravers. Tome 11; no. 232, p. 134, 2nd state). As Maxime Préaud clearly states in the very first line of his very rigorous description: "The whole of this suite poses a problem". We therefore refer you to his detailed description: Inventaire du fonds français. Graveurs du XVIIe siècle. Tome 11. Antoine Lepautre, Jean Lepautre and Jacques Lepautre (first part); nos. 3-61, pp. 14-34. Antoine Lepautre (1621-1679) was one of the great architects of the court of Louis XIV and a member of the Académie d'architecture from its creation in 1671. A very good copy. A 19th-century handwritten note in pencil reads "Provenant de la bibliothèque Destailleur. Mai 1891". The plates are mounted on re-used printed tabs. A text leaf from the second edition (pp. 17-18) has been added. Restoration to plate 11. Old staining to plates 12 & 54. Binding skilfully restored. Millard I, 96 (copy appears incomplete of 2nd plate 30 and 2nd plate 31).

Estim. 1 800 - 2 000 EUR

Fri 31 May

Traité des fortifications. De l'art de fortifier les... places où l'on explique les differens sistemes qui ont été mises en usage jusqu'à ce jour et les différens dehors qui ont été pratiquez pour éloigner les aproches. Circa 1750. 23-line folio manuscript (24.5 x 38 cm), calligraphed in brown ink and ruled in red ink on laid paper, 1 blank page, 282 pp. (numbered 280, 2 of which are blank), VII + XVIII pl. (numbered XXII) + IV pl. (numbered IV) + III pl. (numbered IV), all folded, 20th-century brown shagreen binding, triple gilt framing on boards, spine ribbed and decorated with gilt motifs. Important, elegant manuscript illustrated with 32 large, finely colored plates detailing typical fortification systems and plans. The manuscript is divided into four parts: "De la simple enceinte", "De la fortification moderne", "Des dehors et des citadeles" and "Des fortifications irrégulières". It details Vauban's various systems, as well as those of Errard de Bar-le-Duc, Antoine de Ville, Pagan and Baron de Coëhorn. An in-folio manuscript from 1720, preserved at the Bibliothèque nationale, with the same title and just 68 pages, is marked "dessinez par... le marquis de Charleval ; expliqué par le sieur d'Armancourt" (drawn by... the Marquis de Charleval; explained by the Sieur d'Armancourt). Another (French 9164), dated 1714, bears the later indication "Par mr le mal de Vauban". Finally, nine other virtually identical manuscripts, some without plates, others with 31 or 36 plates, preserved at the Service historique de la défense in Vincennes, are attributed to Joseph Sauveur (1653-1716), professor of mathematics at the Collège de France, who was elected to the Académie des sciences in 1696, where Vauban joined him in 1699. A very fine, fresh copy. Significant wash stains in the margins of some plates.

Estim. 6 000 - 8 000 EUR

Fri 31 May

KING OF NORWAY KING OF NORWAY - Set of 2 menus relating to the visit of King HAAKON VII of Norway and Queen Maud (daughter of King Edward VII of England) to France: - Menu for the dinner offered by President Armand FALLIÈRES to the King and Queen of Norway, May 27, 1907 at the Palais de l'Élysée, 4 pp. in-4 under a BELLE COUV. ILLUTRÉE in color by Albert Maignan featuring a young woman in traditional costume draped in a Norwegian flag in a fjord setting with the royal coat of arms embellished in gold and the emblem of the Republic, menu with program opposite engraved by Devambez and held in place by a red cord tied with bangs, laminated on card (the second plate illustrated with flags remains visible). In his Livre des menus, Auguste ESCOFFIER used this 16-course meal as an example of a grand presidential reception. - Menu for the luncheon offered to the King and Queen on May 29, 1907 at the Château de VERSAILLES, 4 pp. in-8, menu and program facing each other in frames with cherubs in corners, engraved by Devambez, trace of folding, qqs very slight stains. Also included: - Menu d'un déjeuner de 6 plats daté du 27 mai 1907 [Ministères des Affaires étrangères ?], 1 f. in-8 avec encadrement, engraved by Stern, small marginal hole. - Menu d'un déjeuner de 6 plats daté du 28 mai 1907 [Ministères des Affaires étrangères ?], 1 f. in-8 avec encadrement, engraved by Stern. - An artistic program dated May 29, 1907, 1 f. in-4 with frame, engraved by Devambez. Freshly independent since its separation from Sweden (1905), Norway was a major geostrategic issue in the European diplomatic ballet of pre-1914. France was particularly concerned about its neutrality in the face of Wilhelm II's German appetites. During a visit to the park of Versailles after the meal served in the Galerie des Batailles, the carriage carrying the Queen of Norway and the wife of the French President had an accident, resulting in the death of a horse (Bibliothèque municipale de Dijon).

Estim. 250 - 300 EUR

Wed 22 May

RONSARD (Pierre de). - The first four books of the Odes. Ensemble son Bocage. Paris, Guillaume Cavellart [sic], 1550. In-8, fawn calf, double framed with three cold-stamped fillets, gilt fleuron in center and small fleuron at corners, ribbed spine, modern box (period binding). First edition of the first collection of poems by Ronsard (1524-1585). First state copy, without the 2 suravertissement leaves but containing the 2 errata leaves. The collection contains only unpublished poems, with the exception of three pieces. The publication of Ronsard's Odes sounded like a thunderclap in the 16th-century world of letters, turning the landscape of poetry in France upside down. Nourished by the works of Pindar and Horace, Ronsard, who makes no secret of his disdain for the old school, proudly presents himself as the first Lirique François author, and boasts that he was the first to enrich the French language with the term "ode", an old poetic genre prized by the authors of Antiquity: "Quand tu m'appelleras le premier auteur Lirique François, et celui qui a guidé les autres au chemin de si honneste labeur, lors tu me rendras ce que tu me dois [....]. I went to see foreigners, & made myself familiar with Horace, counterfeiting his naive sweetness, in the same way that Clement Marot (the only light in his years of vulgar poetry) labored in the pursuit of his Psalter, & dared, the first of our kind, to enrich my language with the name Ode. The work provoked the strongest reaction from the Marotiques: a literary battle, known as the "Querelle du Louvre", began between the Ancients and the Moderns, represented on one side by Mellin de Saint-Gelais, poet laureate at the court of Henri II, and the young Ronsard. We have bound the sequel: - L'Hymne de France. Paris, De l'Imprimerie de Michel Vascosan, 1549. First edition of this poem exalting national sentiment, in 224 flat-rhymed decasyllabic verses; this is the first hymn composed by the poet, who claims the glory of being the first to celebrate France. (J. P. Barbier-Mueller, II-1, n°2. - Ronsard : la trompette et la lyre, n°19). - Ode de la paix. Paris, Guillaume Cavellat, 1550. First edition, known from only 7 copies according to J. P. Barbier-Mueller. Ode belonging to the pindaric genre, in which Ronsard sings in 500 verses of the peace signed with England in 1550: France paid 400,000 gold écus and the English surrendered Boulogne. In addition, they evacuated Scotland (J. P. Barbier-Mueller, II-1, no. 8). A precious volume of three early works by Ronsard, preserved in a Parisian binding strictly contemporary with the editions. From the libraries of Eugène Piot (1891, no. 482), Tobie Gustave Herpin (1903, no. 107), Robert Hoe (1912, no. 2929), William Augustus White and F. M. Weld. Light foxing, small light wetness on a few leaves. Binding restored at corners, spine redone. J. P. Barbier-Mueller, II-1, n°5. - N. Ducimetière, Mignonne..., n°3. - Ronsard : la trompette et la lyre, n°46. - Diane Barbier-Mueller, Inventaire..., n°673, 670 and 676.

Estim. 15 000 - 20 000 EUR

Wed 29 May

Édouard Manet (1832-1883) The Gitanos. 1862. Etching. 235x315 [265x360]. Guérin 21(i/ii); Fisher 15 (i/vi); Bareau-Berès 32 (i/v). A very fine and extremely rare proof on ivory laid paper (watermark: hallines with shield surmounted by the letters hp), from the 1st state, before numerous new works, notably before the bouquet of trees on the left and before additional clouds, with good margins of 2 to 3cm, remarged using a lighter laid paper. Slight traces of oxidation at the edges of this mount. Extremely rare: cataloguers list only two proofs of this 1st state, one in the Bibliothèque Nationale, Paris (coll. Moreau-Nélaton), the other in the Baltimore Museum of Art (Lucas Collection). This etched subject is derived from a canvas by the artist, which he then cut into several fragments after the Alma exhibition in 1867. The etching is the only surviving evidence of the original painted composition. Counterbalancing the Italian Renaissance influence common to many works of the period, there is more of a Hispanic influence: Manet was a great admirer of Goya, Murillo and Velázquez. The figure of the standing man is reminiscent of a royal portrait by Velázquez, while the mother and child, close to a classical Nativity scene, also evoke Murillo's paintings of peasants. Les Gitanos is the very first print that Manet donated to the Société des Aquafortistes. In its final state, the subject appeared in the first album of the Société des Aquafortistes (September 1, 1862) published by Cadart, along with other engravings by Bracquemond, Corot, Daubigny, Seymour Haden, Jongkind, Legros and others. This was Cadart's first published etching, demonstrating his mastery as an engraver and marking his debut in the art. It was subsequently published again in a suite of 14 etchings by the artist around 1863, in the Cadart portfolio of 1874, and also, in 1872, on chine appliqué, in the album Cent eaux-fortes par cent artistes. The innovative, free and "brutal" nature of the etching, with its deep bite, did not escape the attention of critics, who could see how it departed from the conscientious, applied reproduction etching of the time.

Estim. 6 000 - 8 000 EUR

Mon 27 May

Alfred Jarry (French, 1873-1907) "L'Amour absolu", February 20, 1899 Autograph manuscript signed and dated. In-8 (Height 205 Width 158mm - not including tabs). Collation: 115 autograph pages by Alfred Jarry, in black ink, folioed 1-115. Contemporary binding: probably made for Victor Lemasle. Black chagrin spine, marbled paper boards (hinges slightly rubbed). Provenance: - Victor Lemasle (1876-1932), autograph dealer and publisher, notably of Alfred Jarry's last book, Albert Samain (Souvenirs), in 1907; he sold some of the Jarry manuscripts he owned to - Louis Libaude, pseud. Louis Lormel (1869-1922), art dealer; by descent ; - private collection. Exhibition of this manuscript: - "Expojarrysition", Galerie Jean Loize, Paris (18 palotin to 8 gidouille 80), May 7 to June 20, 1953, no. 419; - Alfred Jarry 1873-1917", Graphisches Kabinett, Kunsthaus Zürich, December 14, 1984 to March 10, 1985, no. 91. Alfred Jarry, Feb. 20, 1899. An autograph manuscript entitled "L'amour absolu". Signed and dated. Bibliography: - Œuvres complètes (dir. Henri Béhar), III, Paris, 2013, pp. 467 ff (notice by Paul Edwards); - Œuvres complètes (pléiade) I, Paris, 1972, p. 917 ff, p. 1257 ff ; - Patrick Besnier, Alfred Jarry, Paris, 2005, p. 395 ff. Webography: Jarry manuscripts known today: http://alfredjarry.fr/amisjarry/fichiers_ea/etoile_absinthe_132_133.pdf (p. 24 ff., with an error confusing a facsimile held at the Bibliothèque Littéraire Jacques Doucet with a non-existent manuscript - which was confirmed by the library's curators and the Société des Amis d'Alfred Jarry. We thank them here). Remarkable autograph manuscript by Alfred Jarry: one of two known manuscripts of L'Amour absolu, the Louis Lormel manuscript "crowning" the "Expojarrysition". The manuscript is sold with its export certificate. Presentation text on rouillac.com. https://www.rouillac.com/fr/news-3747-lamour_absolu?p=655

Estim. 30 000 - 50 000 EUR

Tue 21 May

1895 DURUY VICTOR CATALOGUE DE BONS LIVRES ANCIENS ET MODERNES PROVENANT D' UNE GRANDE BIBLIOTHEQUE VENTE DU 11 AU 16 NOVEMBRE 1895 CH PORQUET Plaquette grand IN-8 broché, couv. Muette réparée, dos refait. 515 N°, 47 PP. PRICES + NAMES OF ACCQUEREURS INTERFOLIE 1896 LEROUX M . CATALOGUE DE BONS LIVRES ANCIENS ET MODERNES NOMBREUX CATALOGUES DE TABLEAUX ANCIENS ET MODERNES OBJETS D' ARTS ET CURIOSITES PROVENANT DE LA BIBLIOTHEQUE DE FEU M. LEROUX CH PORQUET Plaquette grand IN 8 broché, couv. réparée, dos refait. 486 N°, 47 PP., PRIX + NOM DES ACCQUEREURS INTERFOLIE 1896 PORQUET CH ( LIBRAIRE) CATALOGUE DE BONS LIVRES ANCIENS ET MODERNES CATALOGUES ILLUSTRES LIVRE EN NOMBRE VENTE DES 19 20 ET 21 OCTOBRE 1896 CH PORQUET Plaquette IN-8 broché, couv. réparée, dos refait. 310 N°, 29 PP. PRICE + NAME OF ACCQUEREURS INTERFOLIE 1897 GONCOURT CATALOGUE DE LA COLLECTION DES GONCOURT PARIS 5 volumes large in-8 stapled (defects to covers, with freckles and stains). Portraits. Bibliothèque du XVIIIe siècle (2 copies); Livres modernes (two copies); Objets d'art du XVIIIe siècle; 1897 MAS LATRIE DE Mr LE COMTE (MEMBRE DE L'INSTITUT) CATALOGUE DE BONS LIVRES ANCIENS ET MODERNES PROVENANT DE LA BIBLIOTHEQUE DE FEU M . LE COMTE DE MAS LATRIE CH PORQUET Large IN 8 paperback (cover lined, spine rebacked, ex-libris stamp of Dominique Messager on title. ) 796 N°, 70 PP. PRICE + NAMES OF ACCQUEREURS INTERFOLIE 1898 CONQUET L CATALOGUE DES LIVRES MODERNES COMPOSANT LA BIBLIOTHEQUE PARTICULIERE DE FEU M .L .CONQUET.EDITEUR LIBRAIRE DE LA SOCIETE DES AMIS DES LIVRES DUREL / LECLERC / COR IN 4 BROCHE, 113 PAGES, 447 n° Nice copy. 1898 I*** (COMTE D') BIBLIOGRAPHIE DES OUVRAGES RELATIFS A L'AMOUR AUX FEMMES ET AU MARIAGE ET DES LIVRES FACETIEUX PANTAGRUELIQUES SCATOLOGIQUES SATYRIQUES ETC... 4eme EDITION ENTIERTÉ REFONDUE AUGMENTEE ET MISE A JOURNE PAR J. LEMONNYER BECOUR STEPHANE LILLE UNIQUEMENT LES VOLUMES DES TABLES 4 FASCICULES TOME 4 FASC 1/2/3/6 brochés (défauts) 1899 LESENS EMILE (MEMBER OF DIFFERENT SOCIETES DE BIBLIOPHILES NORMANDS) CATALOGUE DE LA BIBLIOTHEQUE DE M. EMILE LESENS 1er PARTIE THEOLOGIE-HISTOIRE DU PROTESTANTISME-JURISPRUDENCE-PHILOSOPHIE-SCIENCES-LITTERATURE-HISTOIRE-ARCHEOLOGIE-GEOGRAPHIE-VOYAGES-BIOGRAPHIE-BIBLIOGRAPHIE-ALMANACH. ROUEN A.LESTRINGANT IN 8 paperback (flaws on spine, Dominique Messager bookplate on title. ) 2934 N°, 260 PP. 1900 VILLENEUVE GUYOT DE CATALOGUE DES LIVRES MANUSCRITS ET IMPRIMES 1366 OUVRAGES ANCIENS ET ROMANTIQUES DECRITS REPRODUCTION DES PLUS RICHES RELIURES EN DOUBLE PAGE 1ER et 2eme partie DAMASCENE 2 vol. grand IN 8 brochés (couv. Passées, légères rousseurs, Cachet ex-libris de Dominique Messager sur le titre. ) 155 AND 176 PP. 1902 PAILLET EUGENE CATALOGUE DE LA BIBLIOTHEQUE DE FEU M. EUGENE PAILLET PRESIDENT DE LA SOCIETE DES AMIS DES LIVRES, second part. DAMASCENE MORGANT IN 8 paperback ( Dominique Messager bookplate on title. ) 716 N°, 72 PP.

Estim. 100 - 150 EUR

Wed 19 Jun

Pierre de RONSARD. Elegie sur les troubles d'Amboise. 1560. Booklet in-4, modern vellum. Barbier, Discours, 1 et seq. // Tchemerzine-Scheler, V-437. (6 f.) / A4, B2 / 164 x 225 mm. Very rare first separate edition of this work, which marks the birth the birth of a patriotic and committed literature, unknown before Ronsard (Barbier). The text had previously appeared in the first collective edition of his works, in the Cinquième livre des Poèmes. Apart from typographical errors that were corrected in later editions, the importance of this edition is revealed by verse 7 on folio A2: the word livres will later be replaced by the word arms. As the enemy seduced by books The people devoye who falsely follow him We must confuse them by arguing with books With books to assail him, with books to answer him which will become: You have to confuse him by arguing over books With weapons to assail him, with weapons to answer him. This hardening of tone was prompted by the Vassy massacre that had just taken place, and by the reactions of indignant Protestants. Ronsard resolutely sided with the king, encouraging him to fight his enemies not with books, but with arms. Jean-Paul Barbier-Mueller, in his Bibliographie des discours politiques de Ronsard, has identified three different editions, giving numerous details to help identify them. The present copy contains all the first printing remarks noted by Barbier-Mueller on the copy in the Bibliothèque publique et universitaire de Genève. This primitive state of the Élégie sur les troubles d'Amboise is extremely rare. Barbier thought the Geneva library copy was unique. There are now two!

Estim. 2 000 - 3 000 EUR

Wed 19 Jun

[Joachim DU BELLAY]. La Deffence, et illustration de la Langue Francoyse. By I.D.B.A. In-8, burgundy morocco, triple fillet, nicely decorated 2-nerved spine, interior lace, gilt edges ( Godillot). Brunet, I-749 // Cioranescu, 8298 // Tchemerzine-Scheler, III-38 // USTC, 40665. (48f., last blank) / a-f8 / 99 x 161 mm. Extremely rare first edition of one of the founding texts of the French language. Born into a noble family in 1522, in Liré, Anjou, Joachim Du Bellay devoted himself from adolescence to the study of classical literature. With his wealth of knowledge, he moved to the courts of François I and Henri II, where he indulged in gallantry like his fellow poets. Nicknamed the French Ovid, he joined the Pléiade along with Ronsard and Baïf. He followed his uncle Cardinal Du Bellay to Rome, where he spent three years, before returning to France and being appointed canon and archdeacon of Notre-Dame de Paris. In delicate health, he died some time later, in 1560, at the age of thirty-eight. His Deffense et illustration de la langue francoyse is remarkable for its style and subject matter. In it, he argues that the French language can rise to the heights of the Greek and Latin languages. To develop the original powers of the national language, Du Bellay gives a whole series of tips on how to enrich lexicon and syntax, create new genres and regulate versification (En français dans le texte, no. 49). The first edition is very rare. A note by Jean Bourdel indicates five or six known copies, including one at the BnF, the others at Mouravit, Fugger and Tannery. This note is erroneous, as there are at least nine copies in public libraries, including three in France. This in no way detracts from the rarity of this edition, which is very difficult to find. This copy passed through the hands of Lucien Scheler, who noted in pencil on one endpaper: Collationné L.S. Réglé. A very fine copy, perfectly established by Godillot.

Estim. 8 000 - 10 000 EUR

Fri 31 May

Richard Parkes BONINGTON (1802-1828) Six marine vignettes, Dunkirk, 1824 Pen and brown ink on laid paper mounted on heavy wove paper, in the same frame various dimensions - Dim. frame: 45.5 x 25.5 cm Inscriptions: The larger recto sketch of sailing ships is signed upper right: RPBoning[ton] and initialed on the left sail: B The largest recto sketch is also inscribed in the artist's hand on the reverse: Mons Colin / Peintre / Quai de la Meg[isserie] / à Paris The remaining sketches are inscribed on the reverse with the phrase fragments in the artist's hand Provenance: Alexandre Marie Colin (1798-1875) In February 1824, Richard Parkes Bonington and Alexandre-Marie Colin left Paris for a fortnight's visit to Dunkirk. A Parisian by birth, Colin had studied with Girodet in 1814. He gravitated towards Géricault and, around 1820, was on intimate terms with Eugène Delacroix and Bonington. They stayed on the Quai des Furnes with the family of Sophie Thérèse and Jean Louis Perrier, army commissioner. The earliest known piece of correspondence in Bonington's hand is a letter to artist James Roberts, co-written with Colin and posted from Dunkirk on Ash Wednesday, March 3, 1824. This letter, preserved at the Bibliothèque Nationale, features amusing sketches of the two friends at the Mardi Gras carnival in Dunkirk. Colin returned to his Paris home on the Quai de la Mégisserie later in March, while Bonington stayed with the Perriers for most of the year. Although separated, the two artists corresponded frequently. The six sketches are fragments of at least two letters written by Bonington from Dunkirk. Another example of Bonington's sketches in his 1824 correspondence is a letter to Colin dated November 1, preserved at the Fondation Custodia. Only a few of Bonington's letters to Colin have survived. Most of their correspondence was destroyed by Colin's eldest son, Paul. According to A. Dubuisson, Bonington's first biographer and an acquaintance of Paul Colin, the heir confessed to destroying the letters between his father and Bonington because of their scandalous content. It is impossible to determine whether these delightful vignettes originated from these autograph letters, which were the victims of a censorship campaign. We would like to thank Mr. Patrick Noon, Richard Parkes Bonnington's expert, for his help in writing this card and authenticating this work. It will be included in the adadendum to the catalog raisonné of the artist's work currently in preparation.

Estim. 800 - 1 200 EUR

Wed 19 Jun

Amadis JAMYN. Les Œuvres poétiques. Reveües, corrigees & augmentees en ceste derniere impression. - Le Second volume des œuvres... Ibid.., Félix Le Mangnier, 1584. 2 volumes in-12, duck-blue chagrin, double cold-stamped fillet, 4-nerved spine decorated in the same style with gilt fleurons, interior roulette, gilt edges ( 19th-century binding). Brunet, III-497 // Cioranescu, 11774, 11775 // De Backer, 406/407 // Tchemerzine-Scheler, III-740,741. I. (4 f.)-309-(11 f.) / *4, A-Z12, a-c12, d8 / 73 x 132 mm. // II. (6 f.) the last blank missing here-176 (miscalculated 182)-(4 f.) / ā6, A-P12 / 70 x 126 mm. Third edition, partly original, for the Œuvres poétiques, and original for Le Second volume des œuvres. Although published five years apart, all bibliographies consulted indicate that these two editions must be combined to make a complete copy of Amadis Jamyn's works. The second volume has not been reprinted, and is therefore rarer to come across. Copies of the first volume can be found addressed to Mamert Patisson or Le Mangnier. It is therefore likely that they shared the edition. The second volume offers a special feature. Folio 129 is a general title to the Discours de la philosophie à passicharis et à Rodanthe, which corresponds to De Backer's description. It is followed by a leaf containing the privilege on the recto and a sonnet introducing the Discours philosophiques on the reverse. This leaf has no signature and has been added to notebook L. The volumes differ slightly in size, which the binder has skilfully homogenized in the binding. Ink stains to 4 leaves in the first volume, a few passages underlined at an early date, title of the second volume repaired and minor marginal restorations to a few leaves. Provenance: Prosper Blanchemain (ex-libris, Maggs catalog Bibliothèque d'un humaniste, 1937, no. 251).

Estim. 2 500 - 3 500 EUR

Wed 22 May

LA GESSÉE (Jean de). - Les Premières œuvres françoyses. Premier volume. Anvers, De l'Imprimerie de Christofle Plantin, 1583. 4 volumes in 3 volumes in-4, havana morocco, Du Seuil decoration framing the boards, ornate spine, interior lace, gilt edges (Binding of the second half of the 19th century). First and only extremely rare collective edition of the works of Protestant poet Jean de La Gessée. It was missing from the rich poetic collections of Nodier, Viollet-le-Duc and Herpin. According to J. P. Barbier-Mueller's meticulous count, this gigantic collection of over 1,500 pages comprises a total of 1,841 pieces, most of them previously unpublished. It is divided into four parts, grouped under the titles Jeunesses, Meslanges, Amours and Discours poétiques. The first is a collection of long poems, many of which evoke writers and poets of the period (such as Postel, Du Bartas, Pierre de Brach, Robert Garnier, Baïf, Ronsard, Belleau or Jean Dorat) or are dedicated to great personalities such as the King of Navarre, Henri III, Queen Elisabeth, the Duc de Joyeuse and others. The title is printed in a large woodcut architectural frame. A fine portrait of the author at the age of 31, finely engraved on copper by Jean Wierix, adorns the work: it was reused in the 17th century as a portrait of Ronsard and reproduced as such to this day (J. P. Barbier-Mueller). Along with Houwaert's Pegasides pleyn (1582), this is the finest collection of poems printed by Plantin (cf. Anvers, ville de Plantin et de Rubens, cat. Bibliothèque nationale, 1954, no. 284). Jean de La Gessée (whose name is sometimes spelt La Jessée) was secretary to François, Duke of Anjou and Alençon, and had accompanied his master to the Netherlands in the early 1580s, where the latter had been called to become the new sovereign. It was there, in Antwerp, on the presses of Plantin-Moretus that he had his works printed, no doubt thanks to the prince's protection. The mention Premier volume on the title page suggests that a sequel was planned, but it never saw the light of day; after the failure of his reign, Prince François and the French were expelled from the country, and Jean de La Gessée was unable to continue his publishing venture: It is even probable that the people of Antwerp, in their resentment against the French prince and the gentlemen who had surrounded him, destroyed most of the copies of volume one that had remained in the Plantin warehouse, which would explain their great rarity (Picot). The Rothschild copy contained a leaf printed in civil type, inserted after the title, which is not found here, nor in the copy in the Hector de Backer library (cf. cat. I, 1926, no. 380). A superb copy, perfectly established in the 19th century. The 15 leaves of table and privilege at the end of the fourth part are here in facsimile in a separate third volume bound identically to the other two. The absence of these leaves, noted after the acquisition of the copy at a sale in Troyes in 2000, hardly prevented J. P. Barbier-Mueller from fully enjoying his new poetic-bibliophilic treasure: [...] I considered my acquisition in a less gloomy light. I now owned all the poems contained in this enormous publication. The book was incredibly rare, and no doubt a bookseller would have charged me a huge price, even with a defect that I had to accept for the pleasure of reading "all of La Gessée". There are particular cases where one must accept a Venus de Milo without arms, or a Victory of Samothrace without a head. So my joy today is (almost) unmixed! The facsimile was made from the BnF copy, at the request of the collector who wrote this autograph note in pencil on the colophon of the new volume: "The extreme rarity of the book led me to consider that the text alone counted... I could never have owned it in its entirety, and the tables are not "text". The second volume, containing volumes III and IV, has been settled. J. P. Barbier-Mueller, IV-3, n°2. - N. Ducimetière, Mignonne..., n°77. - Picot, Rothschild, n°750. - Diane Barbier-Mueller, Inventaire..., n°418.

Estim. 1 500 - 2 000 EUR

Wed 19 Jun

[CHRISTINE de PISAN]. Sensuit lepistre de Othea deesse de prudēce moralisee en laquelle sont cõtenus plusieurs bons et notables enseignemens pour toutes personnes Voulans ensuivir les vertues et fuir les vices... Small booklet in-4, ivy-green morocco, triple cold fillet, 6-rib spine, interior lace, gilt edges ( Bauzonnet-Trautz). Bechtel, 142/C-316 // Brunet, Supplément I-259 // Tchemerzine-Scheler, V-205. (33f. on 34, the last blank missing here) / A4, B8, C4, D8, E4, F6 / 40 lines on 2 columns, goth. car. / 128 x 188 mm. Third edition and second under this title, the text having previously been published in Les Cent histoires de Troye. Born in Venice in 1363 and dying around 1431, Christine de Pisan came to France at the age of five when her father took up the post of secretary to King Charles V. Married at the age of fifteen, she lived among the splendors of the Court, but the death of her father and that of the King, her protector, forced her to earn her own living. Widowed at the age of twenty-five and the mother of three children, she embarked on a literary career to support herself, composing numerous works in prose and verse. At the request of the Duke of Burgundy, she wrote a Vie de Charles V (Life of Charles V), arguably the finest of her works, many of which were not published until the 19th century. She was one of the first women to live by her pen. The Epistle of Othea goddess of prudence... was first published around 1500 in the volume entitled Les Cent hystoires de Troye. It was subsequently published in two separate editions, the first in Rouen, which Bechtel dates between 1507 and 1518, and the present Parisian edition, which can be dated between 1518 and 1520. This edition is listed by Brunet, Tchemerzine and Bechtel, and these three eminent bibliographers cite only this copy. Title in red and black with a large lettering and a woodcut depicting Othea deesse et le messager, a woodcut on folio A2 depicting a couple and announcing the beginning of the work and 2 small woodcuts on the verso of the last folio F5. Some titles at the beginning of the volume are printed in red ink. No other copies have been found in major private collections or public libraries, and this appears to be the only known copy. A fine copy, despite a small crack at the top of one spine. Provenance: Ambroise Firmin-Didot (June 6-15, 1878, no. 140) and Édouard Moura (December 3-8, 1923, no. 211), then sold in Paris on June 14, 1950.

Estim. 5 000 - 6 000 EUR

Wed 19 Jun

POLYBE MEGALOPOLITEIN. Les Cinq premiers livres des histoires... Autrefois traduits & mis en lumière par Louïs Maigret... In-folio, gilt vellum with overlays very nicely decorated with roulette and fillets in frames, spandrels and large central finial, religious congregation iron added in the upper part, spine with 5 nerves, gilt edges, traces of cords ( Contemporary binding.) Adams, P-1810 // Brunet, IV-791 // Cartier, II-415. (6f.)-1f. folded-335-(8f.) / A6, [ ]1, a-z6, A-E6, F-G4 / 215 x 333 mm. Third edition of the translation by Louis Maigret, more complete than previous editions, of the Histoire de Polybe. A Greek historian of the second century B.C., Polybius wrote a general history, of which only the first five complete books and fragments of a few others have survived. The first five books cover events from 220 to 141 B.C., but are preceded by a table of earlier events, in which the author deals with events in the Roman republic and contemporary states. This is the first general history ever written. Louis Maigret published a translation of the first five books in 1542 in Paris with Denis Janot, followed by another with fragments of books I, VI, VII, VIII and XVI in 1552, again in Paris but published by Groulleau. The present translation also contains fragments of Books IX to XV and XVII. A handsome engraved title in architectural style with scrolled motifs, animals, figures... A fold-out plate for the drawing of the Romans' camp and handsome lettering with sifted background and foliate motifs. A fine ruled copy bearing on the boards a gilt iron of the Minimes de la Place Royale in Paris with the word Charitas and in exergue the words Conventus Parisiensis Minimorum. In the second half of the 18th century, the Minimes had built up a library in their convent on Place Royale in Paris, numbering over 15,000 volumes, which were dispersed during the French Revolution. Part of this collection was added to the Bibliothèque de l'Arsenal. Vellum a little stained. Inner hinge partly cracked. Provenance: Couvent des Minimes de Paris (iron on covers and handwritten note on title).

Estim. 800 - 1 000 EUR

Tue 28 May

Fish dish. Magna Graecia, Apulia, 4th century BC. Ceramics. Provenance: Private collection, Germany. From the estate of Else Kienzle, a pharmacist from Stuttgart, who died in 2006 at the age of 94. Mrs. Kienzle was a passionate collector and presented, among other things, her works of pre-Columbian art. purchased at Galerie Valentin in Stuttgart or brought back from her numerous trips with Hauser between 1950 and 1970. Bibliography: -ARANEGUI GASCO, C. "Los platos de peces y el más allá". Complutum Extra in homage to Professor Manuel Fernandez Miranda. Complutense University of Madrid, 6-1. 1996. pp. 401-41. -CANESSA, Ercole and SAMBON, Arthur. Vases Antiques de Terre Cuite: Collection Canessa. Bibliothèque du Musée. 1904.Paris. n. 141, p. 43. -LEON , Lacroix. La Faune Marine dans la Décoration des Plats à Poissons. Etude sur la Céramique Grecque d'italie Méridionale. Verviers, Belgium. 1937. pl. XXIII. -MAYO , M. The Art of South Italy, Vases from Magna Graecia. Richmond. 1982. -MCPHEE, 1. and TRENDALL, A.D. Greek red-figured fish-plates. Basel. 1987. -SCHEFOLD , K. UNTERSUCHUNGEN, Z.D. Kertscher vasen. Berlin. 1934. p. 138. -TRENDALL , A DY CAMBITOGLOU, A. First Supplement to the Red-Figured Vases of Apulia. London 1983 -TRENDALL , A. D. Red Figure Vases of South Italy and Sicily, London, 1989. Attached thermoluminescence test. Intact. Measurements: 18 cm (diameter). The fish dishes of Greek culture had their bottom embellished with the representation of three large fish. Usually the fish were made using the technique of red figures on a black background, thus creating a completely clear and discernible image that evidenced its function. On this occasion the artist delights in the detail of the gills, scales and fins. Red-figure pottery was one of the most important figurative styles of Greek production. It was developed in Athens around 530 B.C., and was used until the third century B.C. It replaced the previous predominant style of black-figure pottery within a few decades. The technical basis was the same in both cases, but in the red figures the coloring is inverted, the figures being highlighted on a dark background, as if they were illuminated by a theatrical light, following a more natural scheme. Painters working with black figures were forced to keep the motifs well separated from each other and to limit the complexity of the illustration. In contrast, the red-figure technique allowed greater freedom. Each figure was silhouetted against a black background, allowing painters to portray anatomical details with more accuracy and variety. The technique consisted of painting the motifs on the still wet piece, using a transparent varnish that, when fired, acquired an intense black hue. Therefore, the motifs were invisible before firing, which meant that the painters had to work entirely from memory, without being able to see their previous work. Once the piece was fired, the areas not covered by the glaze remained with the reddish tone of the clay, while the glazed areas, the "painted" ones, took on a dense and shiny black color.

Estim. 12 000 - 13 000 EUR

Tue 21 May

Reunion of 10 catalogs: 1/CATALOGUE DE LA BIBLIOTHEQUE DE M. GEORGES ANDRIEUX 1883-1945 EXPERT PRES LES DOUANES FRANCAISES PREMIERE VENTE 17.18 19 MARS 1947 HOTEL DROUOT SALLE 10. 2/DE GROLIER ERIC WITH THE COLLABORATION OF THIBAULT BERNARD. LE GUIDE DU BIBLIOPHILE ET DU LIBRAIRE: BIBLIOGRAPHIE GENERALE DE LIVRES PASSÉS EN VENTES PUBLIQUES EN 1945. 1947. 3/CHADENAT CH: ANCIEN LIBRAIRE CATALOG DE SA BIBLIOTHEQUE-VOYAGES-DE MARINE-LIVRES SUR L' ASIE L' AFRIQUE L' AMERIQUE ET OCEANIA 12 PART . 1949. 4/DE GROLIER ERIC ET DE GROLIER GEORGETTE . LE GUIDE DU BIBLIOPHILE ET DU LIBRAIRE BIBLIOGRAPHIE GENERALE DE LIVRES ET MANUSCRIPTS SOLD AT PUBLIC AUCTIONS FROM 1946 TO 1948. 1950. 5/ANDRE JACQUES. CATALOG DE SA BIBLIOTHEQUE. 1951. 6/BRIDEL MAURICE: CATALOG DE BEAUX LIVRES ET BELLES RELIURES N°12. 1952. 7/BIBLIOTHEQUE GABRIEL COGNACQ 4 FASCICULES IN 4 TOTALISING 1746 N° FROM 1952 TO 1953. 1952. 8/DE GROLIER ERIC DE-GROLIER GEORGETTE . LE GUIDE DU BIBLIOPHILE ET DU LIBRAIRE BIBLIOGRAPHIE GENERALE DE LIVRES ET MANUSCRITS PASSÉS EN VENTES PUBLIQUES DE 1949 A 1951. 1953. 9/HEILBRUN GEORGES. Catalog n°7. 1953. 10/CATALOGUE DE TRES BEAUX LIVRES ANCIENS HOTEL DROUOT SALLE N°10 10 NOVEMBRE 1954. Réunion de 8 catalogs: 1/BERNY GERARD DE: CATALOGUE DE BIBLIOTHEQUE 1er PARTIE: MANUSCRITS ENLUMINES DES XIVe ET Xve SIECLES, GOTHICAL INCUNABLES, ILLUSTRATIONS, ORIGINAL EDITIONS OF THE 16th AND 17th CENTURIES, ILLUSTRATIONS OF THE 18th CENTURY, ANCIENT AUTOGRAPHS ROMANTIC AND MODERN, PAINTERS' BOOKS. 1958. 2/ANTIQUE BOOKS AND NEWSPAPERS, MAINLY FROM THE REVOLUTIONARY PERIOD, FROM PROFESSOR MILLOT'S LIBRARY. MILLOT. 1958. 3/BIBLIOTHEQUE DE M. ET Mme X .... ANCIENT BOOKS HISTORY, TRAVEL, COSTUMES, ATLAS, NATURAL HISTORY, ILLUSTRATIONS ROMANTIC AND MODERN. 1958. . 4/BEAUX LIVRES ANCIENS ET MODERNES --3 VOL. Ader, 1959. 5/GUERQUIN PIERRE. BIBLIOTHEQUE DE LIVRES ANCIENS ROMANTIQUES ET MODERNES. 1959. 6/PRECIEUX MANUSCRIT A PEINTURE XII AU XVII. Ader, 1960. 7/ J.D. COLLECTION. CATALOG DE BIBLIOTHEQUE MANUSCRITS ET LIVRES PRECIEUX DU XV AU XX SIECLE. 1961. 8/SCHELER THOMAS. BOOKS SCIENTIFIC INNOVATIVE PRECURSOR. 1961. Set of 8 catalogs. 1/BIBLIOTHEQUE BEAUX LIVRES ANCIENS ET MODERNES. Lardenchet, 1976. in-8 paperback. 2/LIBRAIRIE LA ROUE A LIVRES. CATALOG N° 10 BULLETIN PERIODIQUE D'INFORMATION ET BULLETIN INFORMATIONS N°8 1976. 3/NOURRY EMILE . Library catalog. 1976. 4/BIBLIOTHEQUE ROGER PEYREFITTE: LIVRES ANCIENS, ANTIQUITES, DECORATION, NUMISMATIQUE, VOYAGES, LIVRES AUX ARMES n°1 160 N° 68 PP FRONT,ILL -CURIOSA n°2 264 N° 88 PP ILL,.N° 3 239 N° 64 PP ILL.VENTE DE 1976 A 1977. 1976. 3 vol. in-4. 5/LIVRES ANCIENS DE LA BIBLIOTHEQUE DE J H F ET APPARTENANT À DIVERS AMATEURS . 1977. 6/LIBRAIRIE DU JARDIN DE FLORE. CENT LIVRES ILLUSTRES DU XV AU XX SIECLES CATALOG N° 1. 1977. 7/BIBLIOTHEQUE D'UN AMATEUR 1977. Drouot. 8/CATALOGUE BIBLIOTHEQUE LIVRES ILLUSTRES ROMANTIQUE ET MODERNES, EXEMPLAIRES UNIQUES ORNES DE DESSINS ORIGINAUX, RELIURES DE SIMIER BOZERAIN ETC...... 1977. In-4 88 pp. and 386 no. Reunion of 10 catalogs: 1/M.D.: BIBLIOTHEQUE CLASSIQUES FRANCAIS DU XVII SIECLES. 1978. 2/LEGUELTEL: Catalogue. 1979. 3/MINISTERE DE LA CULTURE. VENICE UNE CIVILISATION DU LIVRE XV XVIII. 1979. 4/BNF: TRESORS DE LA BIBLIOTHEQUE DE L' ARSENAL. 1980. 5/BIBLIOTHEQUE DE ROGER HILD: ANTIQUE ROMANTIC AND MODERN BOOKS AND AUTOGRAPHS. 1980. ; 6/BIBLIOTHEQUE EVRARD DE ROUVRE. EACH CATALOG (2) IS PROFUSELY ILLUSTRATED IN BLACK AND COLOR IN THE TEXT AND FULL-PAGE REPRODUCTIONS OF BINDINGS. 1980. 2 VOLUMES IN 4 125 AND 88 PP. 7/BIBLIOTHEQUE D'UN AMATEUR BOOKS DU XVIII SIECLES. 1980. 8/BIBLIOTHEQUE D' UN AMATEUR: Manuscrits DU ROMAN DE LA ROSE; 1 ER EDITION IN FOLIO DE SHAKESPEARE. 1980. 9/DE LA BAUME PLUVINEL (MARQUIS). PRECIOUS BOOKS FROM FAMOUS LIBRARIES: GOTHIC, ILLUSTRIOUS, INCUNABULA, ROMANS DE CHEVALERIE, FIRST AND COLLECTIVE EDITIONS FROM THE 17TH AND 18TH CENTURIES, INCLUDING THE COMPLETE WORKS OF MOLIERE; NUMEROUS ARMORIAL BOOKS, FIRST EDITIONS OF NINETEENTH-CENTURY AUTHORS. 1981. 10/BIBLIOTHEQUE D' UN AMATEUR: PRECIOUS ALMANACH AND SMALL-FORMAT BOOKS. 1981. Reunion of 4 catalogs Catalogue of rare and precious books by Jacques-Charles BRUNET. 1868. In-8 bound in half-maroquin with corners (spine faded). Printed on fine paper. Auction prices noted; -Catalogue de livres anciens et modernes provenant de la bibliothèque d'un amateur stéphanois. 1887. bound in post green half cloth. Auction prices noted; -Catalogue librorum Offgicinae Elzeviriannae..., 1928, in-8 paperback (defects); -Comte de Lagondie: Catalogues des livres imprimés par les Elsevier...composant le cabinet de...1879. In-8 paperback.

Estim. 30 - 40 EUR

Wed 19 Jun

Alain CHARTIER. Les fais maistre alain charetier. 2 parts in one in-folio volume, granite calf with arms in center of boards, 5-ribbed spine with repeated numeral ( 17th century binding). Bechtel, 136/C-271 // BMC, VIII-142 // Brunet, I-1812 // CIBN, I-C-269 // Delisle, Chantilly, 415 // Macfarlane 109 // Olivier, pl. 1706 // Tchemerzine-Scheler, II-281 // USTC, 71014. I. (66f.) / a-b8, c6, d8, e-k6 (the last blank) / II. (68f.), A-B8, C6, D8, E6, F8, G-K6 / 40 lines in 2 columns, gothic car / 188 x 260 mm. Very rare third edition of Alain Chartier's works. The bibliographies only refer to a single earlier edition dated 1489, but the Catalogue des Incunables of the Bibliothèque Nationale describes a second, said to have been published around 1494. French writer Alain Chartier was born in the Bayeux region around 1385. Of noble origin, he studied at the University of Paris. He was a clerk, notary and secretary to the House of Charles VII. A political writer, moralist and poet, he was entrusted with various diplomatic missions, including negotiating the marriage of four-year-old Marguerite of Scotland to the future Louis XI in 1428. Some claim that he was Archdeacon of Paris or a member of the Paris Parliament, although this is not certain, but he was highly regarded at Court. He was the author of moral, patriotic and poetic works, all of which reflect his noble and great soul, a heart full of religious faith and love for his country (Larousse). The edition consists of two parts: the first contains the prose works, Le Curial, Le Quadrilogue invectif, La genealogie de l'extraction des roys, La declaration de la ditte genealogie... and the second the poetic works such as La Belle dame sans mercy, La Pastourelle de Gransson, Le Breviaire des nobles, Le Debat de resveillematin, laments, ballads... The edition is illustrated with a large grotesque on the title of Volume I, a large woodcut on the verso of the title depicting in the upper part a group of five official figures, in the middle part the clerk's office, the prosecutor, the receiver and students in the lower section. On folio a2 a large woodcut showing a man lying on a bed, a woman and a man beside the bed, this woodcut repeated on the first folio of the second part, and finally a genealogical table of the kings of France on the last folio of the first part. The volume bears Vérard's mark on the last leaf. This edition is described by Bechtel, who dates it, probably incorrectly, to 1490. Our copy conforms in all respects (text, illustrations, colophon) to the description given by Macfarlane (no. 109): the first leaf of the first part presents a large grotesque reproduced by him (no. 9) with the title Les fais maistre alain Chartier on a single line, a presentation different from that given by Tchemerzine, who reproduces another grotesque with the title on 3 lines. The library of the Château de Chantilly owns two copies of this edition, one on vellum and the other on ordinary paper. In Léopold Delisle's lengthy note on these two works in Le Cabinet imprimés antérieurs au milieu XVIe siècle, he points out the differences between the two copies. Le Cabinet des livres imprimés antérieurs au milieu du XVIe siècle, he points out the differences between the two copies, specifying that the vellum copy must certainly have been printed before the paper copy, the latter having undergone several corrections. Our copy has all (but one) of the first printing remarks noted in the Chantilly catalog, whether in terms of text, illustration or colophon. Only the title differs completely from the Chantilly copy, but this is the title described by Macfarlane, and we believe it must have been printed before the one reproduced by Tchemerzine, with later editions using the latter. Delisle then indicates that the BnF owns two copies, one on paper in first condition and the other on vellum in second condition, that the Bibliothèque Mazarine's copy is in second condition and that of the British Museum is in first condition. The present copy is one of the very few with numerous remarks from the first state. A copy bearing the coat of arms of Jean Du Bouchet (1599-1684), King's Counselor in his Councils, Master of the King's Ordinary Hotel, historiographer and first constable of France, knighted in Saint-Michel in 1637. The spine of the binding bears a repeated number which, although we cannot be certain, must be that of Jean Du Bouchet. The spine also bears a small inscription PARIS added later. Binding

Estim. 10 000 - 12 000 EUR

Thu 06 Jun

VIETNAM, XIXe siècle - Important set of photographs on Vietnam Black and white photographic views taken by Dr. Hocquard, Médecin-Major, with the authorization of the General-in-Chief of the Expeditionary Corps 1883-1886. Various subjects including types, animated scenes, handicrafts, landscapes... Over 150 albumen prints mounted on 114 plates, handwritten captions in pencil on mounts and spine Prints: from 9.5 to 15.5 cm to 19 x 25 cm Plates: 35.5 x 46 cm - 34 x 44 cm The prints shown here are probably the first proofs that were later used for the publication of Dr. Hocquard's album "Vues photographiques", edited by Henry Cremnitz, 2 rue Crétet, Paris. Collections : - The Bibliothèque Nationale has in its collections an album presenting a selection of around 50 prints, some similar to those presented here, bearing a number and a caption printed in the images, on printed publisher's cardboard. - The Musée de l'Armée holds an album with 34 views. - The Harvard Art Museums holds a set of some 40 images. Charles-Edouard Hocquard studied medicine at the Ecole d'application du Val-de-Grâce before joining the military hospital in Lyon. Assigned to the 82nd infantry regiment in 1883, he was appointed medical officer second class, and in January 1884 voluntarily embarked for the Tonkin expeditionary corps to take part in France's military campaign in Asia. After a month-long crossing, Dr. Hocquard disembarked at Haiphong in February 1884. He travelled throughout northern and central Vietnam until April 1886. His photographs document the daily life of Tonkinese society: Mandarins and peasants, soldiers and musicians, Annamites and Chinese, notables and prisoners... On his return to Europe, Dr. Hocquard presented his prints at the Antwerp World's Fair in 1885, winning a gold medal. His photographs were published by publisher Henry Cremnitz in the form of an album in 1886. A few years later, he wrote an account of his stay in "Une campagne au Tonkin", illustrated with engravings based on his photographs, in which he commented: "I am 'Ong quan ké dên' (the great mandarin Lantern). [...] the natives sometimes take my darkroom for a sophisticated war machine, sometimes for a big lantern". Bibliography: - Docteur Hocquard, Une campagne au Tonkin. Ouvrage contenant deux cent quarante-sept gravures et deux cartes, Paris, Librairie Hachette et Cie, 1892. This story was previously published in installments in Le Tour du Monde, nouveau journal des voyages, from 1889 to 1891, under the title "Trente mois au Tonkin" ("Thirty months in Tonkin"). - Docteur Hocquard, op. cit. p. 469. Gaston Roullet (1847-1925) was a naval painter, attached in 1885 to the staff of General de Courcy (1827-1887), Commander-in-Chief of the Tonkin Corps. - Laëtitia Desserrières, Cabinet des dessins, des estampes, et de la photographie, Musée de l'Armée, 2013

Estim. 4 000 - 6 000 EUR

Wed 19 Jun

Jean and Jacques de LA TAILLE. The Famine, or the Gabeonites... - Saul le Furieux... Ibid, id, 1572. - Daire... Ibid, id.., 1573. - Alexander. Ibid, id, 1573. - La Manière de faire des vers en francois, comme en Grec & en Latin. Ibid, id, 1573. 5 works in 2 volumes in-8, marbled calf, arms in the center of the boards, smooth spines decorated in the grotesque style, red edges ( 18th century binding). Olivier, 1719-1 // Tchemerzine-Scheler, IV-89a-90b et seq., 92-93. I. 173 f.-(3 f.) / A-Y8 (the last blank) /// II. 80 f. / A-K8 // 36 f. / A-D8, E4 (the last blank) // 32 f. / A-D8 (the last blank) // 22 f.-(2 f.) / A-C8 (the last blank). Reunion of works by brothers Jean and Jacques de La Taille. Second edition of La Famine and first edition of Saul le Furieux by Jean de La Taille. All three works by Jacques de La Taille are in first edition. In a long note added to Tchemerzine's notes on these editions, Lucien Scheler points out that, while they can be found separately, it is desirable to see these different works reunited as the publisher had intended. Indeed, on the back of the title of "La Famine La Famine", details (...) of what can be considered an attempt at a collective edition of the two brothers' works (Scheler). This collection brings together four plays by Jean de La Taille, La Famine, Les Corrivaus, Le Negromant and Saul Le furieux, as well as pieces of poetry, hymns, elegies, epitaphs, etc., a Remontrance pour le Roy, and two tragedies by his brother Jacques, Daire and Alexandre, to whom we also owe a Manière de faire les vers. All these works, except the last, are in verse. Woodcut portrait of Jean de La Taille at the end of the first volume and large woodcut medallion with his motto, repeated several times. Copy with the coat of arms of Louis-César de La Baume Le Blanc, duc de La Vallière, peer de France, governor of Bourbonnais, grand falconer of France. Binding rubbed with two early splits, one corner previously restored. An angular wetness affecting the last third of the second volume. Provenance: Duc de La Vallière (arms, I, December 1783, no. 2976), Baron Sosthène de La Roche Lacarelle (bookplate, April 30-May 5, 1888, no. 294) and Docteur Lucien-Graux (bookplate). 2 old markings in ink and old stamp of the Bibliothèque Mazarine on all titles and on the penultimate leaf of the second volume.

Estim. 300 - 500 EUR

Mon 27 May

Jeanne Antoinette Poisson, Marquise de Pompadour (French, 1721-1764) Autograph, May 5, 1750 Bill giving orders to send a messenger to deliver a letter written by the Marquise de Pompadour to "M. d'Argenson" at the exit of the "Opéra", on the occasion of the premiere of Léandre et Héro, and to wait if there is a reply in return. One page in-12 oblong. (small lack, small tear). Framed. France, May 5, 1750. A handwritten note by Madame de Pompadour ordering a messenger to deliver a letter to Monsieur d'Argenson. Extremely rare handwritten bill written by the Marquise de Pompadour, favorite of King Louis XV, addressed to one of her "people" devoted to her service [Madame du Hausset, her chambermaid, Charles Jacques Collin, her confidant and first steward, or the Chevalier d'Hénin, her squire]: "Just now, send one of my people to deliver this letter to M. d'Argensson [sic]. Whomever you send need only go to one of the Opera gates. He will surely find M. d'Argensson's people waiting for their master. All he has to do is give the letter to M. d'Argensson on his way out of the Opéra, and he'll only stay there if M. d'Argensson tells him to." At the top of the bill a handwritten apostille probably from a member of his staff: "5 may 1750. Dépêché Lajamelle postillon". On May 5, 1750, "Léandre et Héro", an opera-tragédie composed by the Marquis de Brassac to a text by Le Franc de Pompignan, was performed for the first time at the Académie royale de musique, known "vulgarly" as the Opéra. The catalog of the Marquise de Pompadour's library mentions a copy of this opera, published on the occasion of this performance by Mme Boivin/M. Leclerc in Paris. Leclerc in Paris. René Louis de Voyer de Paulmy, Marquis d'Argenson, wrote a critical review of Brassac's tragic opera in his manuscript "Notices sur les œuvres de théâtre, depuis le théâtre grec jusqu'au XVIIIe siècle" [fol. 179], held by the Bibliothèque de l'Arsenal. In the spring of 1750, relations between the Marquise de Pompadour and de Voyer de Paulmy's brothers, René-Louis, Marquis d'Argenson, former Secretary of State for Foreign Affairs, and Marc-Pierre, Comte d'Argenson, Secretary of State for War, were detestable, even hateful. The Court was divided into two rival factions: on the one hand, the devout or "family party", around Queen Marie Leszczynska, several bishops, the king's children and a few minority government ministers, such as the comte d'Argenson, secretary of state for war; and on the other, the majority of the government, such as Saint Florentin (Maison du Roi), Machault (Garde des Sceaux), supported by the marquise de Pompadour, who exercised a veritable tutelage over the king's mind. Forced to resign his portfolio at Foreign Affairs in January 1747, René-Louis, Marquis d'Argenson wrote in his diary and memoirs: - "[March 1748] The marquise sells everything, even regiments. The master falls more and more into the ease of letting himself be governed by this woman and by those whose flattering rather than estimable qualities seduce him, which does not make the state count." - "April 25, 1750 ( ) The Marquise de Pompadour is increasing in credit, but she is hoarding tiles and storms for the time when her favor will wane ( ). - May 5, 1750: ( ) The King is convinced that he governs at his best and that everything is well governed. He sees in my brother a man of expediencies to whom everything succeeds, war, victory, today arrangements in Paris ( ) I would define the king and his reign of deceived reason" "The Marquise de Pompadour is becoming more and more the mistress of affairs, that she has had four or five decided differently than my brother had settled them, which was called four or five camouflets, and that they were trying to give her others".

Estim. 2 000 - 3 000 EUR

Sun 26 May

19th-century work based on a design by André-Charles Boulle (French, 1642-1732) Exceptional pair of ceremonial chests on legs in Boulle marquetry with red background: - The rectangular chests have domed tops and are partly decorated with reserves, facing acanthus scrolls and acanthus fleurons on a red ground tortoiseshell background, in ebony frames. Rich ornamentation of chased and gilded bronzes with lion-head barding and rosette spandrels at the corners, lion-mask handle on the top, drop handles on the sides in clasps with a profile of Louis XIV surmounted by a palmette; - The legs are also on a red tortoiseshell base; they feature a doucine on an apron belt with a female profile framed by bronze scrolls. The front jambs are joined by a crotch shelf centered on a radiating bronze. Chased and gilded bronzes such as corner palmettes, laurel lingotière and gadroon rings and frames. Ball feet with acanthus leaves. Original intaglio engraving on both tortoiseshell and brass. Chest: Height 35 Width 56 Depth 38.5 cm. Base: Height 82.5 Width 69 Depth 51.5 cm. Total height 117 Width 69 Depth 51 cm. (small chips and detachments) Provenance: former collection of the antique dealer Serge Markovic, Paris. French, 19th C. Based on a drawing by André-Charles Boulle. A pair of ormolu-mounted Boulle marquetry chests. UNE PAIRE DE COFFRES D'APRÈS BOULLE, by Brice Langlois André-Charles Boulle This pair of chests is a continuation of André-Charles Boulle's rich cabinetmaking output. Clearly, this type of furniture was invented at the end of the 17th century, inspired by Japanese lacquer chests. They were referred to by contemporaries of the Grand siècle as "cassettes", as in Étienne Moulle's 1702 inventory, or "coffre de toilette" in Boulle's Recueil gravés (see Alexandre Pradère, Les ébénistes français de Louis XIV à la Révolution, Chêne, 1989, p. 86). As some historians have pointed out, they can also be used as jewelry chests or medallions. The inventory of Boulle's workshop, dated April 4, 1700, confirms their presence. They are listed as "small chests with feet". The 1720 inventory, drawn up after his workshop burned down, mentions "twelve chests with their feet of various sizes and shapes". These coffrets with domed lids are evolutions of the coffrets known as "Grand Dauphin", made between 1684 and 1689, and decorated with a pine cone and large doucine (Los Angeles, Getty, 82.DA.109, Pradère, op.cit., p. 68). The greatest collectors Although these chests are more than a century apart from the originals, they faithfully reproduce André-Charles Boulle's design. With their partly red tortoiseshell veneer and rich ormolu ornamentation, our chests are similar to the one belonging to Baron François-Alexandre Seillière at Château de Mello (Christie's sale, December 8, 1994, in Calin Demetrescu, "Les ébénistes de la Couronne sous le règne de Louis XIV", Paris, La bibliothèque des Arts, 2021, p. 233, fig. 244). The base is different from another example decorated with an antique vase ("Le Dix-septième siècle Français", Paris, Hachette, 1958, p. 51). Other counterparts of the same design are also listed (Pradère, op.cit., p. 86). We should also mention a pair in brown tortoiseshell and counterparts (Christie's sale, London, December 8, 1994, in "André-Charles Boulle ébéniste de Louis XIV", in Dossier de l'Art, n°224, p.26). The 19th-century infatuation with the Sun King In the 19th century, taste for the Sun King was renewed by talented cabinetmakers Paul Sormani and Alfred Emmanuel Louis Beurdeley. In 1913, François Linke in turn copied the pair of "Sun King" cabinets placed in the Musée du Louverre in 1870 (in Christopher Payne, "Paris, La Quintessence du meuble au XIXe siècle", Monelle Hayot, 2018, p. 116). From the outset, Boulle furniture has been the privilege of the greatest collectors: in the 18th century, the husband of Marie-Antoinette's painter, Jean-Baptiste Le Brun, and in the 20th century, the sister-in-law of the President of the United States, Lee Radziwill. In the early 1960s, she posed for Mark Shaw's camera in a Lanvin dress, beneath a painting by Miro.

Estim. 30 000 - 50 000 EUR

Wed 19 Jun

[Simon BOUGOUINC]. Lespinette du ieune prince Conquerant Le royaulme de bonne renommee Nouvellement Imprime a Paris. Cum privilegio. In-folio, lemon morocco, large Renaissance-style black calf mosaic interlacing decoration, 5-nerve spine decorated in the same style, prairie-green morocco lining with wide small-iron lace and Mello library armorial bookplate in the center, double endpapers, gilt edges ( Niedrée-1844). Bechtel, 96/B-355 // Brunet, II-1062 // Cioranescu, 4534 // Fairfax Murray, 61 // Macfarlane, 90 // Tchemerzine-Scheler, II-437 // USTC, 8325. (124f.) / a-v6, x4 / 43 lines on 2 columns, gothic car / 190 x 269 mm. Extremely rare first edition of a dialogue consisting of nearly 20,000 verses, most of them ten syllables long. The author, Simon Bougouinc or Bougoinc, a 16th-century French poet and prose writer, was valet de chambre to King Louis XII. He translated several of Lucian's treatises, wrote plays and this allegorical poem, which he signed on the last page with an acrostic entitled Le nom de l'auteur en manière de supplication where the first letters read vertically Symon Bougouync. The poem recounts the author's encounter with a young prince taken by lovesickness. What follows is a long, adventurous journey that touches on a wide range of subjects, including love and virtue, of course, but also advice on life and education. They visit the bedside of the prince's father, who is dying and advises his son on society and the division of power between the nobility, the clergy and the laborers. Their steps then lead them to the Orchard of the World, where they encounter youth and madness before embarking on a ship, passing the perilous sea where the place of salvation lies, and finding on the seashore a hermit named the father of virtues and a page named good company. Without going into detail, the adventure continues with the conquest of the city of nobility by the prince and duke of brave love. duke of brave love, the coronation of the prince who becomes king of the kingdom of good fame, and the crowning of the queen named the lady of good government or Raison. The work is lavishly illustrated with woodcuts, including the title with a large grotesque, 45 figures in the text, 15 of which take up the width of the page and 30 smaller ones, numerous initials and the printer's mark on the last leaf. A superb copy, finely bound by Niedrée, a Parisian bookbinder who was awarded a silver medal in 1844 for his Renaissance-style bindings. bindings in the style of the Renaissance... (of) such accuracy of design... (that they) surpass the richest bindings in the superb libraries of Henri II, Cardinal deFarnerie, Henri III, Grolier and de Thou. Minor rubbing to one hinge and 2 places on spine with epidermis, one stain to second board. 2 leaves (f2-f5) shorter in lower margin by 7 mm. Provenance: Armand Bertin (ex-libris, absent from 1854 sale), Baron Achille Seillière (supra-libris, II, May 5-14, 1890, no. 449) and Fairfax Murray (label, no. 61).

Estim. 20 000 - 25 000 EUR

Wed 19 Jun

[Jacobus de CESSOLIS]. Le Ieu des eschez moralise nouvellement imprime a Paris. In-folio, green morocco, triple fillet with Mello library supra-libris, 5-rib spine decorated with gilt fillets and fleurons, bright red morocco lining decorated with large Renaissance-style gilt fillet decoration, double endpapers, gilt edges ( Chambolle-Duru / Marius Michel). Bechtel, 397/J-137 // Brunet, III-480 // Fairfax Murray, 629 // Macfarlane, 72 // Rothschild, II-1506 // Tchemerzine-Scheler, V-206 // USTC, 26056. (4f.)-CII / a4, b-s6 / 34 lines on 2 columns, gothic car / 185 x 267 mm. Very rare first French edition of a text attributed to Jacques de Cessoles and published in Latin in Utrecht in 1473. The author, a French religious born in Cessoles in Picardy, from which he took his name, lived in the 13th century. In his Moralized Chess Game, he seeks to derive rules of conduct for all states from the play of the pieces (Larousse). The translator is unknown, but the translation is generally attributed to Jean de Vignay or Vigny. The Jeu des échecs moralisé ends on folio l5. It is followed by a book that is very similar to the previous one: a book on the order of chivalry. the order of chivalry, then, on page p5, the novel Mélibée et Prudence, a moral novel by Christine de Pisan which first appeared around 1480, and of which this is the second publication. The illustration consists of a large grotesque for the title and 4 woodcuts, including a very fine one on the verso of the title depicting a king and queen playing chess in a twelve-compartment frame depicting various characters, the plowman, the marshal, the spendthrift, the knight, the judge... A large woodcut (b4v) depicts Christ crucified surrounded by God and the evangelists, a woodcut taken from Vérard's Bible and repeated on folio p4v, and a smaller woodcut at the end of the Jeu des échecs moralisé depicting a female soldier and a man armed with a club, a woodcut that had been used for another publication by Vérard. Jeu des échecs moralisé depicting a female soldier and a man armed with a club, which had been used for another of Vérard's publications: le Chevalier Délibéré. Macfarlane describes another wood on folio p4v, but Fairfax Murray, in his lengthy description of our copy, indicates that he consulted the British Museum copy on which Macfarlane wrote his description, and that folio p4v is probably a facsimile. Macfarlane's error in describing the illustration on folio p4v is confirmed by Picot's entry in the Rothschild catalog, which describes a copy identical to ours. Very rare edition. The USTC lists six copies in public libraries. Light discoloration of spine and board edges. Inversion of the 3rd and 4th leaves and very skilful angular restorations to the first 20 leaves not affecting the text, only the engraving on the verso of the title having been slightly reworked in ink. A very fine copy bound in the arms of Baron Seillière with his supra-libris from the Mello library. Provenance: Baron Achille Seillière (supra-libris, I, May 5-14, 1890, no. 135) and Fairfax Murray (label, no. 629).

Estim. 10 000 - 12 000 EUR

Wed 19 Jun

Hélisenne de CRENNE (Marguerite Briet, known as). Les Œuvres... A sçavoir, Les angoisses douloureuses qui procedent d'amours. Les Epistres familieres & invectives. Le songe de ladicte Dame. Le tout reveu & corrigé de nouveau par elle. In-16, black morocco, gilt coat of arms at center of boards, 5-rib spine decorated with small angular gilt fleurons ( Binding circa 1700). Brun, 163 // Brunet, II-415 // Cioranescu, 7102 // Olivier, 799. (175f. of 176, the last blank missing here) / a-z8, A-X8 / 68 x 117 mm. Sixth edition of Œuvres d'Hélisenne de Crenne, bound with the arms of the Countess de Verrue. Marguerite Briet, born around 1510 in Picardy and died around 1560, married Philippe Fournel, seigneur of Du Cresne, before separating from him in 1552. It was therefore under her married name Crenne that she published her novels and epistles, including Les Angoysses douloureuses is the most important. The Œuvres, comprising the three main writings of Hélisenne de Crenne, namely The Angoisses douloureuses, the Epistres familieres and Songe, were first published together in 1543 by Charles L'Angelier, without illustration. Étienne Groulleau subsequently published five editions (1550, 1551, 1553, 1555 and ours in 1560), all illustrated with 8 woodcuts in the text for Les Angoisses douloureuses. Copy with the arms of the Comtesse de Verrue. Jeanne-Baptiste d'Albert de Luynes was born in 1670 and married the Count of Verrue in 1683. After long refusing the advances of the Duke of Savoy Victor-Amédée II, she became his mistress and ruled his court until she fled Turin and settled in Paris in 1700. Widowed in 1704 after the death of her husband in the battle of Hochstaedt, she opened her hotel on rue du Cherche-Midi to intellectuals and literati, and brought together the court and the finest minds of the time in her salon. Witty and well-educated, she turned her hotel into a veritable museum, filled with paintings, antiques and objets d'art; every year, she devoted 100,000 books to her library (Larousse). A patroness of poets and philosophers, she lavished so many entertainments, dinners and parties with great generosity that they earned her the nickname of Dame de volupté. She died in 1736, leaving behind a library of over 18,000 volumes, most of them bound in her coat of arms, which was sold the following year. A very fine copy that subsequently passed through the Gaignat, Brunet, Marigues de Champ-Repus, Hoe and Cortlandt Bishop libraries. Minimal rubbing to spine ends. Small restoration in the inner margin of the title, a few ink stains on the first 2 leaves and lack in the upper margin of the last leaf. Provenance: Claude(? faded manuscript bookplate on title dated 1613), Comtesse de Verrue (arms, sale in 1737, no. 253), Louis-Jean Gaignat (? in fine, April 10, 1769, no. 2501, no mention of arms), Jacques-Charles Brunet (April 20-24, 1868, no. 540), Eugène Marigues de Champ-Repus (bookplate), Robert Hoe (bookplate, II, January 8, 1912, no. 933) and Cortlandt F. Bischop (bookplate, I, April 5-8, 1938, no. 519).

Estim. 3 500 - 4 500 EUR

Wed 19 Jun

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. 5 000 - 6 000 EUR

Wed 19 Jun

Pierre de RONSARD. Les Œuvres... 5 parts in 4 volumes in-16, red jansenist morocco, 5 ribbed spine, interior lace, gilt edges ( M. Lortic). Barbier, MBP, II-28 // Tchemerzine, V-474 et seq. I. (12 f.)-140f.-91 f.-(5 f.) / a8, e8, a-r8, s4, A-M8 // II. (8 f.)-249 f.-(1 f.) / *8, a-z8, A-H8, I2 // III. 222 f.-(2 f.) / A-Z8, Aa-Ee8 // IV. 135 f.-(1 f.) / A-R8 / 64 x 115 mm. First collective edition, partly original, extremely rare. It consists of five parts with separate titles and paginations. The first & second books of the Amours (volume I), the Odes (vol. II), the Poems (vol. III) and the Hymns (tome IV). It is illustrated with a medallion portrait of Ronsard, reproduced in all four volumes, and a portrait of Marc-Antoine Muret (volume I), both engraved after Jean Cousin. This is the first of Ronsard's works to be published by Gabriel Buon, who had just purchased the Laporte estate in 1558. It marks the beginning of a long collaboration between the poet and the publisher, to whom Ronsard granted exclusive rights to publish all his works for six years. This edition is doubly important in that it contains eighty previously unpublished pieces, and in that it offers the original text of the poems, many of whose lines Ronsard altered in later editions for religious reasons. The copy comes from the De Backer collection. We compared it with the Barbier-Mueller copy and noted a difference in the title of the Second livre des Amours. Second livre des Amours, but our title conforms to that described by Tchemerzine and to that of the BnF. There are undoubtedly two states of this title. The De Backer catalog insists on the preciousness of this edition, describing it as an extraordinary rarity. He gives a perfect and precise technical description: no more than three copies of these precious volumes are known, including one incomplete by several leaves, the one in the Bibliothèque nationale and this one. Barbier-Mueller lists only two complete copies, his own and that of the BnF, and cites three incomplete copies, from the De Backer, Maggs and Rowfant collections. The latter is now in the Houghton Library at Harvard, and the Maggs copy has not been located. The De Backer copy we offer remains. It contains two new leaves in Volume II, the title (*1) and the last leaf of the table (*8), conditions which undoubtedly make it one of the most complete in private hands and one of the only ones to be found. Damage to one volume and white wax at foot of volumes. Title of volume III cut out and replaced by a blank piece of paper, title and one leaf of volume II rebacked. The upper margins of Volume I and the side margins of Volume IV are a little short, with damage to some marginalia. Provenance: Hector De Backer (bookplate, February 17-20, 1926, no. 396).

Estim. 35 000 - 45 000 EUR

Wed 19 Jun

Pierre de RONSARD. Les Quatre premiers livres des Odes... Ensemble son Bocage... - Pierre de RONSARD. L'Hymne de France. Paris, Michel Vascosan, 1549. 2 works in one volume in-8, brown basane, gilt arms in the center of the boards, spine with 5 ornate nerves ( Late 17th century binding). Barbier, MBP, II-2, 3, 4, 5 // De Backer, 389 bis // Olivier, 2350 // Rothschild, 669-671 // Tchemerzine-Scheler, V-415/416. I. (10 f.)-170 f.-(2 f.) / A8, *2, a-x8, y4 ( with y3 signed z3) // II (8 f.) / A8 / 98 x 159 mm. First editions of these two very rare works, which are among Ronsard's earliest published works. There is a debate between several bibliographers about different editions of the Four first books of the Odes. Barbier-Mueller's summary of the debate is very skilfully commented in Ma bibliothèque poétique (II-n° 5). Without going into the details of this polemic, we shall follow his opinion that there are several states of this edition, and indicate the composition of our copy. This one: - contains the Suravertissement followed by the Privilege; - contains misprint on verso of folio 136, Boucage for Bocage; - contains error on folio 155, erroneously numbered 557; - contains the two errata leaves at the end of the volume. L'Hymne de France is sometimes considered Ronsard's first publication (cf. Picot in the Rothschild catalog), sometimes his second after L'Épithalame d'Antoine de Bourbon (cf. Tchemerzine). . Sometimes, as here, we find the Quatre premiers livres... and L'Hymne bound together; the reason for this is that the Quatres premiers livres contain in fine, as we said, two errata leaves which are often missing and which are present here. Curiously, these two errata pages concern both books, even though they were published by two different publishers. This peculiarity has led some bibliographers, such as Seymour de Ricci, to believe that the first collection and the booklet must have been sold together, and that a copy of the Quatre premiers livres... not containing L'Hymne would be incomplete. We agree with Barbier-Mueller's thesis that, due to a typographical correction to the word Hymne to Hinne and because of an error in the name Ronsard spelled with a T, considered these two publications to be two separate editions. A copy bearing the arms of François Chartraire de Montigny, a member of the Burgundy Parliament in 1692, who died in 1728, leaving behind a substantial library. The copy contains a few old handwritten annotations and a few underlined passages. Binding a little rubbed, title page rebacked. Title of Odes stained and restored, a few brown spots, probably due to faded ink. Provenance: J.B. Clergéon (? handwritten bookplate dated 1633), François Chartraire de Montigny (arms) and Mme Gueneau de Mussy (bookplate).

Estim. 6 000 - 8 000 EUR

Wed 12 Jun

DENMARK (Belgium, 1950). "Horizontaal versneden boeken ingewerkt in stukken plank", 1998. Wood and paper. Set of 9 pieces. One is signed and dated on the back. Each piece is numbered. Measurements: 45 cm (height). 14 cm (width piece 1); 9.5 cm (width piece 2); 16 cm (width piece 3); 12.5 cm (width piece 4); 17 cm (width piece 5); 17.5 cm (width piece 6); 18 cm (width piece 7); 15.5 cm (width piece 8) and 16.5 cm (width piece 9). The works of "Denmark" symbolize the consequences of our culture of waste, suggesting a way to cope with the incessant flood of information. By turning printed products into art, he combines traditional forms of conservation, with forms of disposal that include spraying, cutting and burning. Since the early 1970s, "Denmark" has cut up, dissected and (re)assembled books, magazines and newspapers. His "archival installations" are a critical reaction to the information overload we are confronted with on a daily basis. The artist himself writes: "How many newspapers and magazines do people throw away every day? How many unread masterpieces appear on their bookshelves? How many old exams and papers gather dust in school attics?" For the past 50 years, Belgian artist Denmark - pseudonym of Marc Robbroeckx - has transformed tons of printed paper into art. He creates sculptures and installations with books, newspapers and magazines. His main ingredient is always paper, cut, pressed, stacked or folded. Denmark claims that each page of his work is folded into the smallest possible volume. This reduction of surface area is a metaphor for the artist's search for the essence. Denmark, pseudonym of Marc Robbroeckx, is a Belgian artist known for his paintings, sculptures and installations that often use newspapers and other media. In 1972 he completed his studies in art history and archaeology at the University of Ghent. He made his debut in the art world in 1968 and in 1977, his newspaper clippings won him the Young Belgian Painting Competition Prize (Brussels, Palace of Fine Arts). His artistic career gained momentum in the late seventies and eighties. He conceived the name "Denmark" as an acronym for "Pan American Airlines and Company" reflecting his early fascination with travel and the media. Denmark's innovative use of recycled materials and his provocative commentary on contemporary society have positioned him as a notable figure in Belgian art today. Denmark's work has been exhibited in numerous galleries and museums internationally, including the Design Museum in Brussels. The record price for a Denmark work sold at auction was $73,958 for "Dead Letters (B.13.78)" in 2022. Currently his work belongs to numerous collections of great artistic relevance among which are; The Art Museum of Ahlen, Antwerp M HKA, Museum of Contemporary Art, Belgian Art Center Phillip Ingrid, Museum of Bremen Weserburg, Royal Museums of Fine Arts Brussels, Museum of Contemporary Art Eupen Eupen, the Library of Genk, Museum of Ghent Dr. Guislain, Museum Municipal de Gent Dr. Guislain, Museum Municipal de Gent Dr. Guislain, Museum Municipal de Gent Dr. Guislain, Museum Municipal de Gent Dr. Guislain, Museum Municipal de Gent Dr. Guislain, Museum Municipal de Gent Dr. Guislain. Guislain, Municipal Museum of Contemporary Art of Ghent, Museum of Ixelles, the Central Library of Leuven, the Madrid ARCO Foundation Contemporary Art Collection and the Bibliothèque Nationale de Paris, among others.

Estim. 26 000 - 28 000 EUR

Wed 19 Jun

[Gratien DU PONT]. Les Controverses des Sexes Masculin et Femenin. In-folio, camel morocco, triple fillet, 5-nerved spine decorated with gilt fillets, interior lace, gilt edges ( Bauzonnet). Bechtel 251/D-428 // Brunet, II-251 // Fairfax Murray, 133 // USTC, 12870. (24f.)-CLXXIXf.-(1f.) badly paginated / C-CCC8, a-c8, d6 (+1f.), e8 (+1f.), f-x8, y6-z6 / 38 or 39 lines, sometimes on 2 columns, gothic car. / 174 x 247 mm. A rare first edition of this work in favor of male authority and against liberated women. Gratien Du Pont, sieur de Drusac, was a poet from the first half of the 16th century who lived in Toulouse, where he was Lieutenant General of the Seneschaussée and a member of Parliament. He died before 1545. The publication of Controverses des sexes masculin et féminin was apparently inspired by his painful separation from his wife. This deeply misogynistic work attempts to denigrate women. In the first book, the author doubts that women, like men, were created in the image of God. In the second, he advises against marriage. In the third, he recounts historical cases recounted by sacred or secular authors, poems, epistles or ballads in which women appear in the wrong roles or reveal their vices or crimes, all good arguments for establishing male authority. This is the only work composed by Gratien Du Pont, and it was not the poetic quality of its author, described by Viollet-Le-Duc as mediocre, that made it famous, but the polemic it provoked between supporters of male authority and those of female emancipation. Among those who spoke out against the work were Symphorien Champier, Charles Fontaine, Charles de Sainte-Marthe, Arnault de Laborie and, above all, Étienne Dolet, against whom Du Pont obtained from the Toulouse Parliament a ban on Dolet entering the city of Toulouse. The book is curiously illustrated. It features a title with architectural frame, portico, columns, pediment and putti, in the middle of which is a second engraving with the motto Loqui ad mensuram optimum: "For a better measure". This frame is repeated six times in the volume, with either text (1) or engravings (5) in the middle, depicting: the author asleep in a landscape inspired by an old man symbolizing the male sex; a convoy carrying Dame Fortune; an army on the march; a gathering of women who have come to attack the author and defend Cupid... A final large woodcut depicts a chessboard bearing the names of the women's vices distributed among the squares. The illustration is completed by 6 small vignettes depicting assailants leading a group of people widowed or married, ieunes et gaillardz and muguetteurs fort vieillardz, numerous initials and the printer's mark on the last leaf. Finally, we note a curious acrostic on folio L1 and following, which reads the proverb Crazy woman is and always will be crazy. The collation of this edition is very complex, as there are errors in foliation and signatures. The copy is complete with all leaves and the additional leaves (pages 26/27 and 31/34). A fine copy, despite a stain on the second cover and the title a little short of margins. Old handwritten inscription on title partly faded, purple ink stains affecting the lower margin of several leaves over 2 to 3 mm high and 1 mm wide. Provenance: Henri Bordes (ex-libris, his Catalog d'un choix de livres faisant partie de la bibliothèque d'un amateur bordelais, 1872, no. 153, not in the 1911 sale).

Estim. 5 000 - 6 000 EUR

Wed 19 Jun

[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. 6 000 - 8 000 EUR
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