2 résultats
1886ST20745Asnières sur Seine: Boussod Valadon et Cie 1886-87. 390 x 305 mm. 15 1/4 x 12". 34 leaves; 42 leaves. Printed on rectos only. <br/> MAJESTIC DARK BROWN MOROCCO RICHLY GILT BY NOULHAC stamp-signed and dated 1912 on front dentelle covers with elegant frame in the Romantic style with acanthus leaves and myriad blossoms enclosed by multiple plain rules dotted and dogtooth rolls raised bands spine compartments with central rose sprig framed by a spray of leaves erupting from each corner inner dentelles with ornate frame featuring an entwined floral vine and ribbon roll lovely jacquard endleaves of floral baskets woven in pink green and blue marbled flyleaves all edges gilt. WITH 74 ILLUSTRATIONS BY DE BEAUMONT 33 in the first work 41 in the second "reproduced in facsimile and printed in color by the Publishers." Printed on rectos only on thick wove paper. Lonchamp Manuel du Bibliophile Français 1470-1920 II 361; Vicaire Manuel de l'Amateur de Livres du XIXe siècle VI 550. Joints a little worn though nicely refurbished a four-inch superficial scratch on rear board but A VERY FINE COPY--the striking binding with lustrous leather and glittering gilt; the contents entirely clean fresh and bright; and the margins vast.<br/> <br/> This grandly proportioned bibliophile's edition of Perrault's fairy tales is sumptuous to the last detail with lush facsimile watercolor illustrations and a binding by a leading French artisan. Charles Perrault 1628-1703 reworked traditional folklore into sophisticated fairy tales for the denizens of the intellectual salons of Paris ending each story with a usually cynical moral in couplets. He is credited with inventing the fairy tale genre and the Brothers Grimm--not to mention Walt Disney--profited greatly from his oeuvre. These two publications include three of his best-known tales--Cinderella Bluebeard and Sleeping Beauty--alongside the lesser-known "Les Fées.†Literally translated as “The Fairies†but generally called "Diamonds and Toads" in English this fourth tale features a pair of sisters who meet a fairy in disguise and are rewarded or punished based on their behavior toward her. The son of a sculptor our illustrator Charles-Édouard de Beaumont 1812-88 had initially trained to follow in his father's footsteps but instead became a painter illustrator and lithographer working across genres and media through his career. He is best known for his watercolors and for his work to encourage the popularity of the medium; in 1879 he co-founded the Society of French Watercolorists with Jehan Georges Vibert. Benezit tells us that "as a watercolourist . . . his style is highly individual and personal and it may be claimed that his work broke new ground." This is evident in the present artworks where the characters--charming comical and terrifying--are depicted with graceful linework and gentle washes of color. Beaumont's artwork interacts physically with the text which is sometimes obscured behind a painted curl of smoke or pushed out of the way by the feet of the optimistic suitors of Cinderella's prince. Beaumont had a love for historical weaponry his collection was donated to the Museum of Cluny after his death and he depicted the knives and swords in the famous tale of the murderer Bluebeard with an almost gleeful accuracy of detail that clearly demonstrates his interest. The imposing binding with lacy detail calling to mind the decorations of the era in which Perrault first published these stories is the work of Henri Noulhac. Described as "a superlative craftsman" by Duncan & De Bartha who reproduce four of his bindings in their "Art Nouveau and Art Deco Bookbinding" Noulhac 1866-1931 was born in Chateauroux where he served his apprenticeship. He afterwards moved in 1894 to Paris where he established his atelier at 10 rue de Buci and gained a reputation as one of the foremost binders and gilders of his generation. In addition to the binding and the illustrations here the condition of this volume needs to be highlighted--the book seems to be fresh from the binder's atelier untouched by any reader. Boussod Valadon et Cie unknown
1875ST19376Paris: D. Jouast for Librairie des Bibliophiles 1875. No. 21 OF 200 LARGE PAPER COPIES this one of 15 on Whatman paper with plates in two states. 225 x 145 mm. 9 x 5 3/4"; 338 x 265 mm. 13 1/4 x 10 1/2". 2 p.l. XLV 3 pp. Two volumes. Translated and with an introductory essay by Alfred Hédouin. <br/> TASTEFUL MIDNIGHT BLUE CRUSHED MOROCCO GILT BY NOULHAC FOR HENRI BERALDI front doublure stamp-signed in gilt with the binder's name and "Ex-Libris Henri Beraldi" covers framed by eight gilt fillets raised bands spine compartments similarly framed gilt lettering CITRON MOROCCO DOUBLURES free endleaves of floral jacquard silk marbled flyleaves all edges gilt. Original printed paper wrappers bound in. Plate volume in dark blue morocco with covers and smooth spine bordered by gilt fillet crimson watered silk endleaves all edges gilt. Text volume with six etchings portrait of the author and five scenes by Edmond Hédouin each in two states one before letters; the second volume WITH THE FIVE ORIGINAL BLACK CHALK DRAWINGS each SIGNED BY THE ARTIST. Plate volume with ex-libris of Suzanne Courtois. Text volume with just the slightest hint of rubbing to front joint at the top perhaps pale offsetting from some of the plates but fresh and bright and very fine inside and out. Plate volume with a touch of fraying to silk endleaves otherwise with no signs of use.<br/> <br/> This is a very special copy of a newly-translated deluxe bibliophile edition of Sterne's "Sentimental Journey in France and Italy" beautifully bound for the most distinguished expert on French bindings of the 19th century and accompanied by the original drawings for the illustrations. Forced by poor health to leave England for warmer climes on the continent Sterne 1713-68 produced this perennially popular travelogue which was translated into French multiple times. Upon his return to London in 1766 he had the gratifying experience of being treated like a literary lion and he was greeted in the same way when he later revisited Paris. Ours is a new translation by Alfred Hédouin 1819-98 illustrated by Edmond Hédouin 1820-89 a painter and engraver unrelated to Alfred whose etchings graced a wide range of books. Described as "a superlative craftsman" by Duncan & De Bartha who reproduce four of his bindings in their "Art Nouveau and Art Deco Bookbinding" Henri Noulhac 1866-1931 was born in Chateauroux where he served his apprenticeship then moved in 1894 to Paris where he established his atelier at 10 rue de Buci and gained a reputation as one of the foremost binders and gilders of his generation. His work attracted several eminent clients including the celebrated collector and binding historian--and our former owner--Henri Béraldi who became his main patron. In the 1920s Noulhac was a sought-after binding instructor numbering Rose Adler among his students. Beraldi 1849-1931 was perhaps the most renowned and knowledgeable writer on French bindings of the 19th century. His collection of French illustrated books and French bindings was considered to be among the very best in the world and the outstanding condition here is typical of volumes from Beraldi's library. Our copy was later owned by Bordeaux bibliophile Suzanne Courtois a prominent female collector of the 1920s and 1930s who was also noted for the quality of the books in her library. [D. Jouast for] Librairie des Bibliophiles unknown
