FENELON, FrancoisBiblio.com
239 résultats
1785ABC_49452Paris: l'imprimerie de Monsieur" colophon below advertisement: Pierre François Didot le jeune printer to the future King Louis XVIII who used the title Monsieur from 1774 to 1789 1785. Contemporary gold-tooled dark greenish-brown morocco sewn on 5 supports with the corresponding raised bands on the spine a red morocco title and volume label on the spine lettered in gold a triple fillet frame on both boards with fleurons in the corners gold-tooled board edges and turn-ins gilt edges marbled endpapers. Super royal 4to. With 98 hand-coloured plates namely two engraved title pages in volume 1 resp. by Augustin de St. Aubin and Montulay 72 illustration plates engraved by Jean-Baptiste Tilliard after drawings by Charles Monnet and 24 engraved plates with summaries of the "books" in decorative frames. Further with an elaborate armorial device incorporating the French royal coat of arms on the title page of each volume. 2 volumes. Deluxe hand-coloured edition of Fénelons popular didactic novel printed with newly designed type by Didot. This is also the first edition to include the 72 beautifully engraved plates drawn by the French painter Charles Monnet or Monet 1732-1808 or later and engraved by Jean-Baptiste Tilliard 1740-1813. The present copy has been luxuriously bound in a neoclassical style by Nicolas-Denis Derome 1731-1790 a renowned bookbinder who was known for the beauty and finesse of his work.Les aventures the Telemaque was originally published anonymously in 1699 because its denunciation of luxury war and selfishness as a matter of principal clearly bore an implied critique of the autocratic rule of King Louis XIV. The author did not remain anonymous for long; François de Salignac de la Mothe-Fénelon mostly known as François Fénelon 1651-1715 was a French Catholic archbishop theologian poet and writer. He was a regular visitor of the royal court at Versailles and for eight years tutor to Louis Duke of Burgundy known as the Petit Dauphin King Louis XIVs grandson. In 1697 however Fénelon was banished to his diocese initially because of a religious dispute and later for writing the present work. Growing dissatisfaction with Louis XVI leading up to the French Revolution made it once again both popular and dangerous though ironically the present edition and others were produced with patronage from members of the royal family.The story of Telemachus and Minerva was meant as a small addition to fill a gap in the chronology of Homer's great epic the Odyssey. While Telemachus the son of Ulysses/Odysseus is in theory the main character the principal focus is actually on "Mentor" or Minerva who teaches him how to rule and how to live life in general with both wisdom and morality. Fénelon's work proved incredibly popular going through numerous editions and translations throughout the 18th and well into the 19th century. The author's ideals of simplicity equality and world peace found their way through Telemachus and Minerva/Athena to French revolutionaries and German romantics thus indirectly shaping 18th- and 19th-century European cultural and political thought. It also found its way to North America - becoming one of Thomas Jefferson's favourites - and the Ottoman Empire. With the publication of an edition in Ottoman Turkish in 1859 it became the first European novel to be translated into Turkish.The present luxurious edition - which stands in stark contrast to the author's original message of simplicity and relative equality - was produced under the direction of Pierre François Didot with the patronage of the future King Louis XVIII. It is the first edition to unite the text with the detailed illustrations by Monnet and Tilliard. The first 6 plates belonging to the first 2 books in volume 1 are numbered signed and captioned all other plates are "avant la lettre" without the textual information and are very rare. The main text is set in the new Gros Romain gras roman type that Didot commissioned for this book from the punchcutter Jean-Baptiste Gérard and printed on high quality wove paper made by Pierre II and Étienne Montgolfier in Annonay.With the bookbinder's label of Nicolas-Denis Derome mounted on the verso of the second flyleaf "Rélié par Derome le jeune". The boards have been slightly rubbed the spines are somewhat faded due to exposure to sunlight in the past. The work is slightly browned and very lightly foxed throughout the tissue paper guards have browned some of the plates are stained. Otherwise in very good condition.l Cohen & De Ricci cols. 384-385; André Jammes Les Didot 1998 p. 27; Jeanne Veyrin-Forrer Les caracteres de Pierre-François Didot 1783-1790 in: Gutenberg-Jahrbuch 1962 pp. 57-67 at pp. 60-64 & figs. 1-7 also in Veyrin-Forrer La lettre et le texte 1987 pp. 139-157; Quérard III p. 92; for the plates by Tilliard after Monnet: Portalis 1877 pp. 399-413. l'imprimerie de Monsieur" [colophon below advertisement: Pierre François Didot le jeune, printer to the future King Louis XVIII hardcover
178512113Paris: Imprim. de Mosieur Didot et al. 1785. Paris Imprim. de Mosieur Didot et al. 1785. 2 volúmenes. En folio. -I: Portadilla frontis grabado portada 2 h. 309 pp. 12 36 láminas. -II: Portadilla portada 297 pp. 12 36 láminas. Magnífica encuadernación francesa en pleno marroquén rojo de época planos enmarcados por dos ruedas doradas de elegante composición lomera con hilos dorados a modo de nervios y grecas doradas en las calles doble hilo dorado en los cantos y rueda dorada en los contracantos cabeza y cortes también dorados. Magnífico ejemplar encuadernado en marroquén de época con rica decoración que contiene en total 72 láminas grabadas por Tilliard sobre dibujos de Monnet 24 sumarios grabados enmarcados por finas viñetas y un frontispicio. Obra clásica de la literatura francesa del siglo XVIII. La primera edición de las Aventuras de Telémaco hijo de Ulyses escrita por Fenelón 1651-1715 fue publicada en 1699 y desde entonces han sido numerosas las ediciones que han aparecido siendo las más apreciadas las impresas en folio en París por Didot. Típico trabajo francés del siglo XVIII realizado con el mayor esmero: el papel los grabados la disposición tipográfica la soberbia encuadernación. todo es excelente. Buen ejemplar amplio de márgenes y generalmente limpio ligeras manchas ocasionales que afectan generalmente a los márgenes de alguna lámina dos o tres láminas algo oscurecidas por lo demás magnífico ejemplar digno de las más importantes bibliotecas. Imprim. de Mosieur [Didot et al.] unknown
1734ST12855Amsterdam: Wetstein & G. Smith; Rotterdam: Jean Hofhout 1734. First Printing of this Edition. ONE OF 150 COPIES IN FOLIO FORMAT. 375 x 265 mm. 14 3/4 x 10 1/2". 4 p.l. including portrait and frontispiece x xxvi i.e. xvi 395 1 pp. Like most copies ours lacks the suppressed material designed to follow page 395. <br/> FINE CONTEMPORARY RED STRAIGHT-GRAIN MOROCCO covers with palmette roll border central panel with gilt-ruled frame and lozenge accented with bead and lozenge roll spine gilt and inlaid with olive morocco bands tooled with gilt chalice and leaves between the double raised bands spine compartments with central urn ornament surrounded by small tools calligraphic flourishes at corners gilt titling turn-ins with elaborate gilt roll featuring leaves and moths blue watered silk endleaves all edges gilt lower board with three older repaired patches. In a modern marbled paper slipcase. Ornamental headpieces and tailpieces title page decorated with vignette author portrait by Drevet after Vivien and 25 more plates illustrating the tale engraved by Folkéma and others predominantly in classical style three including the frontispiece designed by Picart 16 by Dubourg and six by Debrie with original tissue guards; 45 vignettes serving as headpieces 24 and tailpieces 21 designed by Dubourg and Shenk one engraved folding map and extra-illustrated with a portrait of Fenelon by Jean Coraboeuf dated 1920. Text with ornamental border throughout. Front pastedown with the bookplate of Arthur Meyer. Cohen-de Ricci 381-82; Ray 1; Brunet II 1214; Graesse II 564. ◆A few darkened patches on boards small chip to olive band at tail of spine corners gently bumped occasional minor foxing or light browning otherwise QUITE AN EXCELLENT COPY the binding altogether pleasing with only insignificant wear the text clean and fresh with rich impressions of the plates.<br/> <br/> This is a very well-preserved copy of the luxury version of one of the most impressive French illustrated books of the 18th century offered in a Neoclassical binding appropriate for its contents. Ray says that in our volume "all the formal elements of the mid-18th century French masterpieces are present." He describes the 25 plates as "stately and elaborate" and singles out Picart's frontispiece which he reproduces in one of the rare full-page illustrations in his book as being "developed with exceptional spirit and inventiveness." Not only the handsome plates but also the leafy frames of each text page the large type and the many charming headpieces and tailpieces make it an elegant object that provides for a visually memorable experience. Fénelon 1651-1715 wrote this utopian work for Louis XIV's grandson whom he was employed to tutor. The book was designed to give the future ruler more farsighted political social and economic ideas than he might otherwise have met with. Unfortunately the boy died before he could come to power and Fénelon fell into disgrace partly because "Telemaque" reflected badly on the government of Louis. According to Graesse our "beautiful" edition supervised by the marquis de Fénelon is much more correct than previous printings as a great many errors have been corrected and lacunae have been filled in. While the unsigned binding is not quite up to the level of émigré binders Kalthoeber and Staggemeier & Welcher it is in their style and is certainly impressive enough to look handsome on the shelf. Former owner Arthur Meyer 1844-1924 was a French press baron whose collection focused on fine bindings and beautiful illustrations. Wetstein & G. Smith; Rotterdam: Jean Hofhout unknown
178576211785 A Paris: De lImprimerie de Monsieur, Chez Didot, Barrois, Onfroy, Th. Barrois, Delalain, 1785. Deux vol. grand in-4: 25.5 x 33 cm. I/ 1 f. de faux.titre, 1 front., 1 f. de titre, 1 f. de titre au livre premier, 309 pp. de texte des livres I à XII + 12 pl. grav.; II/ 2 ff. De faux-titre et titre, 297 pp. de texte des livres XIII à XXIV + 12 pl. grav., 1 f. de privilège. Rare et précieux exemplaire de cette édition des Aventures de Télémaque enrichi dun frontispice et de 24 figures de Moitte gravées au lavis par Parisot. Habituellement, cette édition de lImprimerie de Monsieur est illustrée des 72 gravures de Tillard daprès Monnet, mais les éditeurs décidèrent de commander une autre suite de figures à Moitte, car le papier de la suite de Tillard sharmonisait mal avec lédition. (Cohen, 384-385). Élégantes reliures en veau blond de lépoque. Dos à cin nerfs avec pièces de titre en maroquin rouge, pièces de tomaison en maroquin vert, caissons ornés aux petits fers et roulettes aux coiffes. Gardes recouvertes de papier marbré. Tranches rouges. Mors de queue du vol. 1 légèrement fondu. Quelques taches aux plats, Mors de tête du vol. 2 fendu sur quelques centimètre. Papier et aquatintes propres et fraîches. Bel exemplaire à très grandes marge.
17950041241795 Paris, Antoine Augustin Renouard, 1795. Deux volumes grand in-quarto (237 X 311 mm) veau fauve flammé, plats ornés d'un encadrement de grecque et large dentelle dorées, dos lisse, frise en place des nerfs, rosace dans les compartiments, chainettes et filets en queue, pièces de titre et de tomaison maroquin rouge et vert lierre, coiffes filetées, coupes ornées d'une chainette, chasses ornées d'un filet à grandes perles, tranches dorées (Reliure de l'époque). Tome I: (4) ff. de faux-titre, titre illustré, titre et sommaire, 366 pages, 12 gravures - Tome II: (4) ff. de faux-titre, titre illustré, titre et sommaire, 348 pages, 12 gravures.
1796232357Paris: Didot l'aîné 1796. First edition with these illustrations one of 200 printed on GRAND PAPIER VELIN. Engraved portrait after Vivian engraved by Gaucher and 24 plates after drawings by Lefebvre engraved by Delvaux Godefroy Simonet Thomas and Trière. 4 vols. 18mo. Full early 20th-century dark brown morocco richly gilt marbled endpapers. Spines very slightly faded otherwise a beautiful set complete with all half-titles immaculate text and plates with the original tissue guards. First edition with these illustrations one of 200 printed on GRAND PAPIER VELIN. Engraved portrait after Vivian engraved by Gaucher and 24 plates after drawings by Lefebvre engraved by Delvaux Godefroy Simonet Thomas and Trière. 4 vols. 18mo. One of 200 on Large Paper Plates before Letters. Cohen: 388-89 "charmantes figures par Lefebvre" Didot l'aîné unknown books
1796232357Paris: Didot l'aîné 1796. First edition with these illustrations one of 200 printed on GRAND PAPIER VELIN. Engraved portrait after Vivian engraved by Gaucher and 24 plates after drawings by Lefebvre engraved by Delvaux Godefroy Simonet Thomas and Trière. 4 vols. 18mo. Full early 20th-century dark brown morocco richly gilt marbled endpapers. Spines very slightly faded otherwise a beautiful set complete with all half-titles immaculate text and plates with the original tissue guards. First edition with these illustrations one of 200 printed on GRAND PAPIER VELIN. Engraved portrait after Vivian engraved by Gaucher and 24 plates after drawings by Lefebvre engraved by Delvaux Godefroy Simonet Thomas and Trière. 4 vols. 18mo. Cohen: 388-89 "charmantes figures par Lefebvre" Didot l'aîné unknown
1790ST20479Paris: De l'imprimerie de Monsieur i.e. P. Didot jeune 1790. 243 x 154 mm. 9 1/2 x 6 1/4". Two volumes. <br/> LOVELY DARK BLUE STRAIGHT GRAIN MOROCCO BY BOZERIAN JEUNE stamp-signed at foot of Tome I spine covers with pretty gilt frame enclosed by double gilt rule raised bands spine gilt in panels with large millepoint ornament with floral tools emanating from a central circle gilt lettering turn-ins with Greek key roll marbled endpapers all edges gilt. With frontispiece and six engravings by Cochin and Moreau as called for all before letters and EXTRA-ILLUSTRATED with 24 engravings by Marillier here in proofs before the letter and with three versions of the portrait of Fénélon by Vivien engraved by Hubert Figuet and Savart. Cohen-de Ricci col. 386-87 noting the addition of the Marillier plates to some copies; Graesse II 565; Brunet II 1215-16. Spine evenly a little sunned Marillier plates with minor marginal foxing isolated small smudges to the very generous margins one quire a little yellowed a couple of leaves with small holes to a margin due to paper flaws but AN ESPECIALLY FINE COPY--clean fresh and bright in a most appealing binding with almost no signs of wear.<br/> <br/> Our copy of Fénélon's political allegory featuring the son of Odysseus is a very fine example of French Rococo book production with printing illustration and binding by leading practitioners of those arts. Scion of a printing dynasty Pierre-François Didot jeune 1732-95 sought to improve the family's productions by founding a factory to product the luxurious papers that characterize Didot editions as well as by making improvements in type-founding to refine their always-admired font. Ray considers illustrators Cochin and Moreau le jeune part of the Rococo pantheon of greats headed by Boucher Gravelot and Eisen. He praises Cochin’s "mastery of outline and firmness of composition" as well as his "acute observation and unpretentious humor." Ray was also impressed with Moreau's keen eye for detail and agreed with the Goncourt brothers that "the grace and charm of his drawing . . . brought about 'a renaissance in the rococo style.'" Forced by financial necessity to take up book illustration Pierre-Clémént Marillier 1740-1808 soon earned what Ray called "a position in the front rank of book artists" with his skill and energy. Ray deems Marillier "among the most accomplished" illustrators of the century and he says that "nearly all of his designs are characterized by grace liveliness and firmness of drawingâ€â€”a fitting description for the plates in our volumes. François Bozerian generally called Bozerian jeune was active in Paris from just after the turn of the century until 1818 and for much of that time he worked with his elder brother Jean-Claude 1762-1840. The Bozerian workshop produced many fine bindings for clients that included the emperor Napoleon I as well as leading bibliophiles of the day. Their works are valued today especially for their technical achievement and refinement of design. Our two volumes are especially elaborate--even for Bozerian work--and the precision of the faultless finishing here leaves a very strong impression of rigorous order. De l'imprimerie de Monsieur [i.e., P. Didot jeune] unknown
179678565Reliure d'époque plein veau blond. Dos lisse avec galons dorés et décorés en lace des nerfs, joli fer doré représentant Éros et son arc près d'un char antique, frappé entre les faux-nerfs, pièces de maroquin rouge dont une écussonnée de maroquin vert sur fond or pour la tomaison. Filets au pointillé et petite dentelle. Coupes décorées. Toutes tranches dorées. Avec 24 figures (Avant-lettre) par MARILLIER, gravées par Baquoy, Dambrun, Dupréel, Delvaux, de Ghendt, Langlois jeune, Masquelier, Patas, Pauquet et Ponce, plus un portrait par Vivien, gravé par Hubert.
1717TS368Rotterdam: Jean Hofhout 1717. Nouvell Edition: Augmentee & Corrigee . Hardback. Fine. 12mo. Composees par feu Messire Francois de Salignac De la Motte Fenelon.THE RARE RE-ISSUE BY THE AUTHOR'S FAMILY. 2 volumes bound in one with two titles-pages printed in red and black. French text. lxvii xv folding map finely engraved showing Telemaques voyage around the Mediterranean. 525pp xxiii Odes and table i errata. 10 engraved plates all fine. MAINLY ENGRAVED BY D. COSTER. The 2 pp advertment is SIGNED at the foot by the publisher Jean Hofhout. Later nineteenth century full polished calf binding with gilt. dec. single borders to the boards and a fine spine with raised bands and gitl title and decoration. PLEASE EMAIL FOR PHOTOGRAPHS OF THE BINDING AND SIGNATURE.The title was first published in 1699. This rare edition is the corrected and increased post-humous edition was the second edition correctly published after several 'pirated' editions were sold after the first edition of 1699. The author's family led by his nephew published this edition in French at Rotterdam and Amsterdam in 1717. PLEASE EMAIL FOR PHOTOS. 165x95 mm <br/> <br/> Jean Hofhout hardcover
1764ST15125Augustae Vindelicorum Augsburg: Conradum Henricum Stage 1764. Second Edition in Latin. 208 x 160 mm. 8 1/8 x 6 1/4". 9 p.l. 262 pp.Translated from French into Latin by Joseph Claude Destouches. <br/> VERY ATTRACTIVE LATE 18TH CENTURY ETRUSCAN CALF IN THE STYLE OF EDWARDS OF HALIFAX covers with gilt border central panel framed by stencilled palmettes within double gilt rules an Etruscan-style vase at center within a stencilled sunburst raised bands spine panels with blind-stamped Etruscan vase black morocco label gilt-rolled turn-ins all edges gilt. With printer's elaborate engraved device on title page engraved portrait of Elector Maximilian-Joseph of Bavaria at the head of the dedication to him engraved allegorical headpiece at the opening of Book I wood-engraved tailpieces at end of each section. Small wormhole near head of front joint two corners a bit bumped minor foxing to title and final page other trivial imperfections but QUITE A FINE WIDE-MARGINED COPY clean fresh and bright internally and in a binding with only minor defects.<br/> <br/> This beautifully preserved and attractive Neoclassical binding is a fitting cover for a Latin edition of Fénelon's Homeric coming-of-age tale. Edwards of Halifax is credited with developing the process of acid staining calf by using stencils a method known most notably to produce as here their so-called Etruscan calf bindings after the Etruscan vase decoration they resembled. The process was also adopted by binders on the Continent and became a fashionable choice for bindings in the late 19th century when the present binding was surely produced. It is difficult to say whether this binding was done by the Edwards firm or by an imitator but in any case the quality of execution is very high. The popularity of Fénelon's account of the adventures of the son of Odysseus also spread in this case beyond his native France and it became a favorite of schoolboys far removed from the young Dauphin for whom it was originally composed. First printed in 1759 our Latin translation offered an opportunity for young men to practice reading that classical language. The engravings here were newly designed and executed for this edition by German painter and engraver Georg Sigmund Rösch d. 1766. Conradum Henricum Stage unknown
179675221796 A Paris: De l'imprimerie de Crapelet, An IV (1796). Complet en 2 vol. in-8: 15 x 22.5 cm. I/ 2 ff. de faux-titre et titre, 1 portr., lxxix pp. d'éloge et de tables (tables rel. avant l'éloge), 320 pp. de texte (Livres I à X) et notes + 10 pl. grav.; II/ 2 ff. de faux-titre et titre, 441 pp. de texte (livres XI à XXIV) + 14 pl. grav. Édition illustrée d'un portrait de Fénelon par Vivien gravé par Hubert en frontispice et de 24 figures par Marillier, ici avant la lettre, gravées par Baquoy, Dambrun, Dupréel, Delvaux, de Ghendt, Langlois, Masquelier, Patas, Pauquet et Ponce. Un des précieux 200 exemplaires sur grand papier vélin renfermant lees avant-lettre. (Cohen, 387-388). Précédé de l'Éloge de Fénelon par Jean-François de La Harpe. Reliure strictement de l'époque en veau. Dos lisses avec pièces de titre de maroquin rouge et pièces de tomaison de maroquin vert mine, caissons aux petits fers ornés d'urnes. Roulettes géométriques en encadrement des plats, filet aux coupes et roulettes aux chasses. Toutes tranches dorées. Gardes recouvertes de papier moucheté bleu. Quelques piqûres. Un mors légèrement frondu.
1783113161Paris De l'imprimerie de Franç. Ambr. Didot l'Aîné, "Collection des auteurs classiques français et latins" 1783 2 vol. Relié 2 vol. in-4, plein maroquin grenat, dos à nerfs guillochés, caissons encadrés de filets dorés et en pointillé avec losanges dorés au centre, triple filet doré en encadrement des plats, roulette intérieure dorée, double filet doré sur les coupes, coiffes guillochées, tranches dorées, 4 (p.) + 613 (pagination continue). Superbe édition typographique "imprimée par ordre du Roi pour l'éducation de Monseigneur le Dauphin", avec cette justification à la fin du second volume : "Cette édition in-4° dont le prix est de 48 liv. le vol. broché en carton, a été imprimée au nombre de 200 exemplaires, avec les nouveaux caractères de Didot l'Aîné, sur papier-vélin grand raisin de France, de la fabrique de Matthieu Johannot, d'Annonai en Vivarais". Rappelons que ce roman d'apprentissage destiné au dauphin était paru anonymement en 1699. Il avait valu à Fénelon d'être éloigné de la cour, le roi y ayant vu une critique de la monarchie absolue. On cite souvent Fénelon comme précurseur des Lumières, et Télémaque fut pendant plus de deux siècles un ouvrage de référence pour l'apprentissage du français. Très légers frottements et une petite tâche d'encre au plat supérieur du premier volume, mais exemplaire très frais, recouvert d'élégantes reliures du temps dans le style de Dérôme le jeune.
1783113161Paris De l'imprimerie de Franç. Ambr. Didot l'Aîné, "Collection des auteurs classiques français et latins" 1783 2 vol. Relié 2 vol. in-4, plein maroquin grenat, dos à nerfs guillochés, caissons encadrés de filets dorés et en pointillé avec losanges dorés au centre, triple filet doré en encadrement des plats, roulette intérieure dorée, double filet doré sur les coupes, coiffes guillochées, tranches dorées, 4 (p.) + 613 (pagination continue). Superbe édition typographique "imprimée par ordre du Roi pour l'éducation de Monseigneur le Dauphin", avec cette justification à la fin du second volume : "Cette édition in-4° dont le prix est de 48 liv. le vol. broché en carton, a été imprimée au nombre de 200 exemplaires, avec les nouveaux caractères de Didot l'Aîné, sur papier-vélin grand raisin de France, de la fabrique de Matthieu Johannot, d'Annonai en Vivarais". Rappelons que ce roman d'apprentissage destiné au dauphin était paru anonymement en 1699. Il avait valu à Fénelon d'être éloigné de la cour, le roi y ayant vu une critique de la monarchie absolue. On cite souvent Fénelon comme précurseur des Lumières, et Télémaque fut pendant plus de deux siècles un ouvrage de référence pour l'apprentissage du français. Très légers frottements et une petite tâche d'encre au plat supérieur du premier volume, mais exemplaire très frais, recouvert d'élégantes reliures du temps dans le style de Dérôme le jeune.
173422235Amsterdam & Rotterdam: J. Wetstein & G. Smith & Zacharie Chatelain; Jean Hofhout 1734. Nouvelle Edition. leather_bound. Contemporary full mottled calf. Aeg. Very good/Near fine. 2 X XVII 424 pages. 28.5 x 23 cm. Folding map 24 plates engraved by Balthasar Bernaerts Philipp Van Gunst Louis Surugue and Jacob Folkema after Louis Fabricius Dubourg Bernard Picart and Guillaume-François-Laurent Debrie with 22 engraved tail pieces. There was also a 1734 folio edition of this work limited to 150 copies. The engravings of the two editions are similar. Our copy contains the suppressed "Ode" last six pages of the text. First edition published 1699: it was also considered an attack on the divine right of absolute monarchy and the the most popular book of its time. BRUNET. p.1214 calls it a "belle edition." GORDON N. RAY. p.8: depicts frontispiece herein. Bookplate of Armand-Jules de Rohan Archbishop of Reims. Raised bands spine panels in gilt floral arabesques triple gilt border panels marbled endpapers spine ends conserved. J. Wetstein & G. Smith, & Zacharie Chatelain; Jean Hofhout unknown
173422235Amsterdam & Rotterdam: J. Wetstein & G. Smith & Zacharie Chatelain; Jean Hofhout 1734. Nouvelle Edition. leather_bound. Contemporary full mottled calf. Aeg. Very good/Near fine. 2 X XVII 424 pages. 28.5 x 23 cm. Folding map 24 plates engraved by Balthasar Bernaerts Philipp Van Gunst Louis Surugue and Jacob Folkema after Louis Fabricius Dubourg Bernard Picart and Guillaume-François-Laurent Debrie with 22 engraved tail pieces. There was also a 1734 folio edition of this work limited to 150 copies. The engravings of the two editions are similar. Our copy contains the suppressed "Ode" last six pages of the text. First edition published 1699: it was also considered an attack on the divine right of absolute monarchy and the the most popular book of its time. BRUNET. p.1214 calls it a "belle edition." GORDON N. RAY. p.8: depicts frontispiece herein. Bookplate of Armand-Jules de Rohan Archbishop of Reims. Raised bands spine panels in gilt floral arabesques triple gilt border panels marbled endpapers spine ends conserved. J. Wetstein & G. Smith, & Zacharie Chatelain; Jean Hofhout unknown books
1790D14222Paris: de l'Imprimerie de Monsieur 1790. Hardcover. Very Good. Ornately gilt-stamped early 19th-century straight-grain red morocco a.e.g. pale blue silk doublures and endleaves; complete set of 2 volumes 8vo; pp. 4 half-title p. title-p. viii 4 426; 6 half-title p. title-p. "livre treizieme" title-p. 408; plus frontispiece portrait of Fenelon after Vivien and 24 plates after Marillier. Some light scuffing along joints and edges of boards; corners lightly bumped. Foxing in plate margins and on tissue-guards but overall text blocks are bright and clean. A beautiful set of books. <br/><br/>In this set the portrait after Vivien and plates after Marillier are substituted for the plates after Cochin and Moreau called for on the title-page. Cohen-de Ricci 386. de l'Imprimerie de Monsieur hardcover books
1783143731783 P., de lImprimerie de P. A. Didot laîné ; 1783, 2 vol. in-4° (325 x 235 mm) reliés à la Bradel plein vélin teinté vert, dos lisse très richement orné, date en pied dorée, pièces de titre et de tomaison en maroquin bordeaux, double filet doré en encadrement des plats avec petit fer de fleur en écoinçons, têtes dorées (VERMOREL), de (4) ff. - pp. 1 à 312 ; (2) ff. pp. 313 à 613.Quelques rousseurs essentiellement marginales, très bel exemplaire non rogné par ailleurs dans une très belle reliure pastiche de Vermorel.
1763CLL-740Paris, Chez les Frères Estienne, 1763 2 volumes in-12 de XLVIII, 380pp., (2)ff. - (2) ff., 480pp., veau fauve, encadrement de triple filet doré sur les plats, fleurons aux angles, dos à nerfs ornés de caissons de fleurons dorés, pièces de titre et de tomaison de maroquin rouge, les secondes agrémentées d'une guirlande dorée, coupes et bordures décorées, tranches dorées sur marbrure (Pagnant).
1796798Paris, Pierre Didot l'aîné, 1796 ; 4 vol. in-18 de [2] ff., 240 pp. ; [2] ff., 292 pp. ; [2] ff., 248 pp. ; [2] ff., 260 pp., reliures de l'époque maroquin rouge à long grain, filet doré, dos lisses ornés, roulette sur les chasses, doublures et gardes de moire prune, verte ou bleu ciel selon le volume, frise dorée bordant la doublure, tranches dorées (Rel. p. Purgold).
174742147A La Haye, chez Jean Neaulme, 1747. In-12 de XIVI-102-(1) pp., veau marbré, dos orné à nerfs, pièce de titre en maroquin rouge (reliure de l'époque).
179630944Télémaque en maroquin rouge, avec les 24 figures Paris, Didot l'Aine, An IV, 1796. 4 vol. (90 x 145 mm) de 240, 292, 248 et 260 p. avec [1] f. (front.) au tome I et [2] f. (catalogue) au tome IV. Maroquin rouge, dos a nerfs ornes de compartiments dores, pieces de titre et pastilles de tomaison vertes, filets et roulettes dores encadrant les plats, contreplats et gardes papier à décor floral, tranches dorees (reliure de l'époque). Un des 200 exemplaires sur vélin, avec les figures avant la lettre signées à la pointe-sèche. Portrait de Fenelon d'apres Vivien grave par Gaucher et 24 figures de Quéverdo gravees par Dambrun, Delignon, Delaunay, Gaucher et Villerey.
1784lu2498A Paris, de l'Imprimerie de Didot l'Ainé Collection des auteurs classiques françois et latins, Sélection Abraxas-libris Relié 1784 Deux volumes in-8 reliés, 19 x 11.50 cm., reliure plein veau marbré, 5 nerfs, dos orné de caissons dorés, pièces de titre et de tomaison, filets dorés sur les plats et les bords, tranches dorées, 453 et 438 pages, premier volume de la collection du Dauphin imprimé par Didot, 1 des 350 exemplaires sur vélin d'Annonai ; rares rousseurs, 5 petits (et anciens) trous de ver sur la reliure, petits frottements sur les mors, les nerfs, les coiffes et les coins, belle reliure d'époque. Livraison a domicile (La Poste) ou en Mondial Relay sur simple demande.
175632426AB1756. A Londres London Chez Nourse & Vaillant 1756. Octavo 10.8 cm wide x 18 cm high. Pagination: Frontispiece XXXII 386 pages plus 22 unnumbered pages of a Dictionary for Mythology and Geography to the rear of the volume. With ten engravings plus one folded map throughout the Volume resulting in 11 engravings including Frontispiece plus Map. Hardcover / Original full leather with gilt lettering on spine-label. Edges of bookblock and binding slightly rubbed. Overall in very good and firm condition with only minor signs of wear. Few dogears. Front free endpaper partially torn name of pre-owner Reverend Richard Meade verso the frontispiece. From the library of Richard Meade Ballymartle with his Exlibris / Bookplate loosely inserted. "Les Aventures de Télémaque fils d'Ulysse" English: The Adventures of Telemachus son of Ulysses is a didactic novel by François Fénelon Archbishop of Cambrai who in 1689 became tutor to the seven-year-old Duc de Bourgogne grandson of Louis XIV and second in line to the French throne. It was published anonymously in 1699 and reissued in 1717 by his family. The slender plot fills out a gap in Homer's Odyssey recounting the educational travels of Telemachus son of Ulysses accompanied by his tutor Mentor who is revealed early on in the story to be Minerva goddess of wisdom in disguise. The tutor Mentor is arguably the true hero of the book much of which is given over to his speeches and advice on how to rule. Over and over Mentor denounces war luxury and selfishness and proclaims the brotherhood of man and the necessity of altruism though that term would only be coined in the 19th century by Auguste Comte. He recommends a complete overhaul of government and the abolition of the mercantile system and taxes on the peasantry and suggests a system of parliamentary government and a Federation of Nations to settle disputes between nations peacefully. As against luxury and imperialism represented by ancient Rome Fénelon holds up the ideal of the simplicity and relative equality of ancient Greece an ideal that would be taken up by in the Romantic era of the 19th century. The form of government he looks to is an aristocratic republic in the form of a constitutional monarchy in which the ruler-prince is advised by a council of patricians. Although set in a far off place and ancient time Télémaque was immediately recognized by contemporaries as a scathing rebuke to the autocratic reign of Louis XIV of France whose wars and taxes on the peasantry had reduced the country to famine. Louis XIV who had previously banished Fénelon from Versailles and confined him to his diocese because of a religious controversy was so angered by the book that he maintained those restrictions on Fénelon's movements even when the religious dispute was resolved. Yet a few years later royal panegyrists were hailing the young king Louis XV as a new Telemachus and flattering his tutors as new "Mentors". Later in the century royal tutors gave the book to their charges and King Louis XVI 175493 was strongly marked by it. The French literary historian Jean-Claude Bonnet calls Télémaque "the true key to the museum of the eighteenth-century imagination".2 One of the most popular works of the century it was an immediate best-seller both in France and abroad going through many editions and translated into every European language and even Latin verse first in Berlin in 1743 then in Paris by Étienne Viel 173787. It inspired numerous imitations such as the Abbé Jean Terrasson's novel Life of Sethos 1731; it also supplied the plot for Mozart's opera Idomeneo 1781. With its message of world peace simplicity and the brotherhood of man Télémaque was a favorite of Montesquieu and of Jean-Jacques Rousseau and through him of the French revolutionaries and of German Romantics such as Johann Gottfried Herder 17441803 who approvingly quotes Fénelon's remark "I love my family more than myself; more than my family my fatherland; more than my fatherland humankind". It was also a favorite of Thomas Jefferson who re-read it frequently. It was also widely read in the Ottoman Empire and in Iran. One critic explains the popularity of Télémaque this way: Fénelon's story stood as a powerful rebuke to the aristocratic court culture that dominated European societies with its perceived artificiality hypocrisy and monumental selfishness. The book did not simply express these feelings; it helped shape and popularize them. From its wellspring of sentimentality a river of tenderly shed tears would flow straight through the eighteenth century fed by Richardson Greuze and Rousseau among others finally to pour out into the broad sea of Romanticism. Influence on Rousseau In Rousseau's Émile 1762 a treatise on education the eponymous pupil is specifically given only two novels although as a young man he also reads poetry and other literature: as a child he is given Daniel Defoe's Robinson Crusoe to inculcate him in resourcefulness and self-reliance; and when he becomes a young man the political treatise Télémaque which is put into his hands by his intended Sophie who has read it and fallen in love with the fictional hero. The education of Émile is completed by a journey during which the institutions of various nations are to be studied. His tutor inculcates principles into him which sum up the essentials of the Social Contract. But it is with a Telemachus in hand that teacher and pupil establish a "scale of measurement" for judging various existing societies. Fénelon's story presents models and counter models of monarchs. The princes and governments of the real world will be compared with them. In Rousseau's novel Émile and his tutor travel to Salento which formerly included much of what is now Calabria and Apulia Italy to seek the "good Idomeneo" whom Fénelon's novel had relocated from his former kingdom in Crete to the kingship of a new and reformed government. Contrary to Louis XIV whom he resembles in many traits of character Idomeneus renounces conquest and is able to make peace with his neighbors. The prosperous fields and laborious capital are schools of virtue where law rules over the monarch himself. Everything here is brought down to a "noble and frugal simplicity" and in the harmony of a strictly hierarchical society everything combines in a common utility. Wikipedia _____________________________________________________ Telemachus Romanized: Telemakhos lit. 'far-fighter' is the son of Odysseus and Penelope in Greek mythology and a central character in Homer's Odyssey. When Telemachus reached manhood he visited Pylos and Sparta in search of his wandering father. On his return to Ithaca he found that Odysseus had reached home before him. Then father and son slayed the suitors who had gathered around to woo Penelope. According to later tradition Telemachus married Circe after Odysseus's death. The first four books of the Odyssey focus on Telemachus's journeys in search of news about his father who has yet to return home from the Trojan War and are traditionally given the title Telemachy. Telemachus's name in Greek means "far from battle" or perhaps "fighting from afar" as a bowman does. In Homer's Odyssey Telemachus under the instructions of Athena who accompanies him during the quest spends the first four books trying to gain knowledge of his father Odysseus who left for Troy when Telemachus was still an infant. At the outset of Telemachus's journey Odysseus had been absent from his home at Ithaca for twenty years due to the Trojan War and the intervention of Poseidon. During his absence Odysseus's house has been occupied by hordes of suitors seeking the hand of Penelope. Telemachus first visits Nestor and is well received by the old man who regales him with stories of his father's glory. Telemachus then departs with Nestor's son Peisistratus who accompanies him to the halls of Menelaus and his wife Helen. While there Telemachus is again treated as an honored guest as Menelaus and Helen tell complementary yet contradictory stories of his father's exploits at Troy. Telemachus also learns from Menelaus that his father was last seen stranded on Ogygia. Telemachus focuses on his father's return to Ithaca in Book XV. He visits Eumaeus the swineherd who happens to be hosting a disguised Odysseus. After Odysseus reveals himself to Telemachus due to Athena's advice the two men plan the downfall of the suitors. Telemachus then returns to the palace to keep an eye on the suitors and to await his father as the beggar. When Penelope challenges the suitors to string Odysseus's bow and shoot an arrow through the handle-holes of twelve axe heads Telemachus is the first to attempt the task. He would have completed the task nearly stringing the bow on his fourth attempt; however Odysseus subtly stops him before he can finish his attempt. Following the suitors' failure at this task Odysseus reveals himself and he and Telemachus bring swift and bloody death to the suitors. The Telegony was a short two-book epic poem recounting the life and death of Odysseus after the events of the Odyssey. In this mythological postscript Odysseus is accidentally killed by Telegonus his unknown son by the goddess Circe. After Odysseus's death Telemachus returns to Aeaea with Telegonus and Penelope and there marries Circe. Seemingly later tradition included the character of Cassiphonethe daughter of Odysseus and Circe and therefore half-sister of Telemachusin the narrative. In this account Telemachus still marries Circe but Odysseus is resurrected by Circe at some point. From the Dictionary of Greek and Roman Biography and Mythology: In the post-Homeric traditions we read that Palamedes when endeavouring to persuade Odysseus to join the Greeks against Troy and the latter feigned idiocy placed the infant Telemachus before the plough with which Odysseus was ploughing. In Contest of Homer and Hesiod it is alleged that the Roman Emperor Hadrian asked the Delphic Oracle about Homer's birthplace and parentage. The Oracle replied that Homer came from Ithaca and that Telemachus was his father by Epicasta daughter of Nestor. According to Aristotle and Dictys of Crete Telemachus married Nausicaa King Alcinous's daughter and fathered a son named Perseptolis or Ptoliporthus. Eustathius says that the mother was Polycaste the daughter of Nestor. Others relate that he became the father of Latinus by Circe. He is also said to have had a daughter called Roma who married Aeneas. Servius makes Telemachus the founder of the town of Clusium in Etruria. Wikipedia hardcover
1718335Très bel état; Publié par Gabriel- Jacques de Salignac, marquis de La Mothe Fenelon qui signe l'épitre dédicatoire (1688-1746) (24)-278 pp.L'autre éditeur est Jacques Estienne, même année.Ex-dono émouvant à la comtesse de La Bédoyère sur la page de garde. Ex-libris Arnaud de Torcy sur page de titre. Pl. maroquin rouge ancien, dos à nerfs orné de caissons dorés, triple filets dorés d'encadrement sur les plats, double filets sur les coupes, dentelles intérieures, tranches dorées, rel. 19è signée AM Très bon Paris Delaulne 1718 1 volume in-12.
