Je m'en allais à la plage / Avec mon petit panier / Chercher des crab', des coquillages / Et des tas de crustacés
New illustrated edition with 232 figures, principally by Borel. Volume XIV contains an additional suite by Moreau, a suite by Marillier and another anonymous suite. Copy on vellum paper, the figures on heavy vellum. At the end of the publisher's notice, a leaf with the price of works: the 20 volumes in-18, fine paper, in wrappers with 18 engravings...30Fr. The same with 212 engravings, in wrappers...60Fr. The same, 17 volumes, deluxe vellum paper, figures from first proofs...120Fr. The volumes may be purchased separately by works. While at Princeton University and the Royal Library of Denmark one finds only the edition in 20 volumes with 18 engravings, this copy proves more desirable in 17 volumes on vellum. According to the British Library copy, the edition which announced 212 engravings offered only 205, so the others were added.
Contemporary half Russia leather binding. Smooth spine decorated with 4 small concentric fleurons and roulettes. Red paper on boards imitating long-grained morocco. Some rubbing, notably to corners. Scattered foxing. Lacking the table for volume X. Some leaves protruding. Uncut copy.
Details of the collection: Vol. I-VII, L'ami des enfans et de l'adolescence. Vol. VIII, Le livre de famille, ou Entretiens familiers sur les connaissances les plus nécessaires à la jeunesse; Vol. IX-X, Bibliothèque des villages. Vol. XI, Introduction a la connoissance de la nature, imitée de l'anglois; Vol. XII-XIII, Choix de lectures pour les enfans, ou Recueil de contes, d'anecdotes et de traits de vertu, choisis des meilleurs auteurs. Vol. XIV, Idylles, romances, et autres poésies de Berquin; Vol. XV-XVI, Sandford et Merton, imité de l'anglois. Vol. XVII, Le petit Grandisson, imité du hollandois.
The author Berquin (1747-1791) specialized very early in children's literature, being indeed the first to have done so. His children's books enjoyed great popularity and were very frequently reprinted throughout the nineteenth century. English and German children of the late eighteenth century knew Berquin's work very well. The greater part of l'ami des enfants consists of short theatrical pieces (historical, moral, childish...), but one also finds numerous short tales and romances, letters, as well as a shipwreck narrative. Thus one counts in the general table of contents 106 entries. L'ami de l'adolescence also contains moral theatrical pieces, and other pieces more narrative or more clearly pedagogical; one should note La relation d'un naufrage sur l'île Royale, and le Système du monde mis à la portée de cet âge. Certain works are entirely devoted to instruction and pedagogy, such as L'introduction à la connaissance de la nature (notably through animal figures), or the Entretiens sur les connaissances... Moreover, it is not that Berquin was the first to extend this literature that is important, it is rather that one can situate at this period the introduction of childhood into our cultures, and Berquin is precisely an eloquent testimony to this. Furthermore, it was undoubtedly among the first times that one found so many children represented in illustration.
First collective edition, one of the 23 numbered copies on vélin pur fil Lafuma Navarre, the only deluxe copies ("grands papiers").
Rare and very nice copy.
Original photograph of Ravachol flanked by gendarmes, period albumen print mounted on card with a red border, bearing the handwritten caption « Ravachol à Montbrison » at the foot.
This image was taken by Auguste Berthon, a photographer based in Saint-Étienne, on the eve of Ravachol’s execution, during a walk in the prison yard at Montbrison. This promenade is mentioned in the surveillance reports of the Conciergerie: « Le détenu a été conduit à la promenade à 8 heures, a déjeuné à 9 heures et est retourné à la promenade de 10 heures à midi où il était encore lorsque nous avons été remplacés. » (11 May 1892)
Very skilful restoration to the upper left corner.
We have located only one other copy of this photograph, held at the Bibliothèque du Patrimoine de Clermont-Auvergne.
Extremely rare period print of the Christ of Anarchy.
New edition, after the original published in 1627 under the title: De proxeneta seu De prudentia civili. One frontispiece title.
Copy with the cipher and arms of the Duke and Duchess of Montausier.
Contemporary full brown sheep binding. Spine decorated with the crowned cipher of the Duke and Duchess of Montausier (repeated 3 times in each compartment). Brown sheep title label. Boards stamped with arms and ciphers in the corners and triple fillet frame. Red edges. Paper browned. Skilful and fine restorations to headcaps, joints and corners. Gilding faded in places. Good copy.
Major figure of the 17th century, Charles de Sainte-Maure was made Duke of Montausier and Peer of France in 1664, and received the appointment as tutor to the Dauphin in 1668. His marriage to the great précieuse of the time, she who was called the incomparable Julie, Julie d'Angennes, was one of the great affairs of his life. It was for her that he composed La guirlande de Julie, a collection of 62 madrigals composed by the most illustrious poets of the time including himself. The Duke of Montausier was finally the model for Molière's Misanthrope, which is still today one of his claims to fame. As for the Duchess, she was portrayed by Madeleine de Scudery in her novel: Artamène ou le Grand Cyrus. They both constitute eminent symbols of the century of Louis XIV.
Jérôme Cardan (or Girolamo Cardana) is one of the great Italian humanists of the Renaissance. His work, Arcana politica (The Science of the World or Civil Wisdom), appeared posthumously, was very successful and went through several editions.
Original color lithograph printed on fine laid paper. Dry stamp of the printer at bottom right of the plate.
A few tiny pinholes at the four corners and in the upper margin of the poster, without consequence.
Superb French monthly publication, Maîtres de l'Affiche, appeared between 1895 and 1900 on the initiative of Jules Chéret.
Each issue of the review includes four posters reproduced in bell format and in chromolithography, each presenting a dry stamp of authentication.
Very handsome copy of this poster by the English painter Maurice Greiffenhagen for the review Illustrated Pall Mall Budget.
Recto-verso fragment of a manuscript book of hours on parchment with sumptuously illuminated full-page borders. This compartmentalized division of the ornaments is representative of the production of Rouen and Parisian workshops at the turn of the 16th century.
Two illuminated pages on a recto-verso leaf: border divided into bands and flowers decorated with floral motifs and leafy designs, gilt initials painted in alternating red and blue and rubrics.
The richness of the illumination characterizes these liturgical books intended for laypeople. Books of hours were at the time jewels of piety, both an instrument of religious practice and a social claim affirmed by the richness of the artists' work. A veritable small painting, this leaf is probably extracted from a luxurious volume where each page was carefully painted.
We find here a fragment of the Office of the Dead at the moment of lauds. On the recto of the leaf: antiphon "A porta" followed by the canticle "Ego dixi in dimidio dierum meorum...". The office of the dead is a collection of prayers dedicated to the salvation of the souls of the deceased. More than commiseration, this devotion reflects the constant fear of medieval men for death.
Script called cursiva libraria on long lines. Witness to the formalization of cursive writing at the dawn of the French Renaissance, this script is emblematic of the production of French copyists for laypeople during the period.
Recto verso fragments of a manuscript book of hours on parchment with sumptuously illuminated full-page borders. This division into compartments of the ornaments is representative of the production of Rouen and Parisian workshops at the turn of the 16th century.
Two illuminated pages on a recto verso leaf: border divided into bands and fleur-de-lis decorated with floral motifs and scrollwork, gilt initials painted in alternating red and blue and rubrications.
The richness of the illumination characterizes these liturgical books intended for laypeople. Books of hours were at the time jewels of piety, both an instrument of religious practice and a social claim affirmed by the richness of the artists' work. A veritable small painting, this leaf is probably extracted from a luxurious volume where each page was carefully painted.
We find here a fragment of the penitential psalms, the end of the fourth psalm "Miserere mei, Deus, secundum magnam misericordiam tuam..." and the beginning of the following one "Domine, exaudi orationem meam,et clamor...". This part of books of hours ordinarily serves to ask forgiveness for one's sins and to express repentance.
Writing called cursiva libraria on long lines. Witness to the formalization of cursive writing at the dawn of the French Renaissance, this script is emblematic of the production of French copyists for laypeople during the period.
Original double color print, printed on laid paper, signed at bottom right of the plate.
Original engraving created for the illustration of La Gazette du bon ton, one of the most beautiful and influential fashion magazines of the 20th century, celebrating the talent of French creators and artists in the full bloom of Art Deco.
Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton was published until 1925 with an interruption during the War from 1915 to 1920, due to the mobilization of its editor-in-chief. It consists of 69 issues printed in only 2000 copies and is illustrated notably with 573 color plates and 148 sketches representing models by great couturiers. From their publication, these luxurious publications “ addressed bibliophiles and worldly aesthetes ” (Françoise Tétart-Vittu “ La Gazette du bon ton ” in Dictionnaire de la mode, 2016). Printed on fine laid paper, they use a typeface specially created for the magazine by Georges Peignot, the Cochin character, adopted in 1946 by Christian Dior. The prints are created using the metal stencil technique, heightened in colors and some highlighted in gold or palladium.
The adventure begins in 1912 when Lucien Vogel, a man of society and fashion - he had already participated in the magazine Femina - decides to found with his wife Cosette de Brunhoff (sister of Jean, the father of Babar) the Gazette du bon ton whose subtitle was then “ Art, modes et frivolités ”. Georges Charensol reports the words of the editor-in-chief : “ In 1910, he observes, there existed no fashion journal truly artistic and representative of the spirit of its time. I was therefore thinking of making a luxury magazine with truly modern artists [...] I was certain of success because for fashion no country can rival France. ” (“ Un grand éditeur d'art. Lucien Vogel ” in Les Nouvelles littéraires, n°133, May 1925). The magazine's success is immediate, not only in France, but also in the United States and South America.
Originally, Vogel thus assembled a group of seven artists : André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt ; and finally his friends from the École des beaux-arts who are George Barbier, Bernard Boutet de Monvel, or Charles Martin. Other talents quickly join the team : Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Charles Martin, Maggie Salcedo. These artists, mostly unknown when Lucien Vogel calls upon them, will later become emblematic and sought-after artistic figures. These same illustrators create the drawings for the Gazette's advertisements.
The plates highlight and sublimate the dresses of seven creators of the time : Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provide exclusive models for each issue. Nevertheless, some of the illustrations feature no real model, but only the idea that the illustrator has of the fashion of the day.
La Gazette du bon ton is a decisive stage in the history of fashion. Combining aesthetic demands and visual unity, it brings together for the first time the great talents of the worlds of arts, letters and fashion and imposes, through this alchemy, a completely new image of woman, slender, independent and bold, also carried by the new generation of couturiers Coco Chanel, Jean Patou, Marcel Rochas...
Taken over in 1920 by Condé Montrose Nast, the Gazette du bon ton would largely inspire the new composition and aesthetic choices of the “ petit journal mourant ” that Nast had bought a few years earlier : Vogue magazine.
Recto verso fragments of a manuscript Book of Hours on parchment with sumptuously illuminated full-page borders. This compartmentalized division of ornaments is representative of the production of Rouen and Parisian workshops at the turn of the 16th century.
Two illuminated pages on a recto verso leaf: the border is divided into bands decorated with floral motifs and leafy designs, gilt initials painted in alternating red and blue and rubriques.
The richness of the illumination characterizes these liturgical books intended for laypeople. Books of Hours were at the time jewels of piety, both an instrument of religious practice and a social claim affirmed by the richness of the artists' work. A veritable small painting, this leaf is probably extracted from a luxurious volume where each page was carefully painted.
Here we find a fragment of the Hours of the Virgin between the end of the office of none and the beginning of vespers. Despite the antiphon "Missus est", different from the classical usage of the Roman ritual, we find following it the usual psalm eight: "Dixit dominus...". This antiphon is found rather in the liturgy of the diocese of Die, but with the announcement of the rubric preceding vespers, we can suppose a minor Roman usage.
Writing called cursiva libraria on long lines. Witness to the formalization of cursive writing at the dawn of the French Renaissance, this writing is emblematic of the production of French copyists for laypeople during the period.
Recto verso fragments of a manuscript book of hours on parchment with sumptuously illuminated full-page borders. This compartmentalized division of ornaments is representative of the production of Rouen and Parisian workshops at the turn of the 16th century.
Two illuminated pages on a recto verso leaf: border divided into bands decorated with floral motifs and foliate scrolls, gilt initials painted in alternating red and blue and rubrics.
The richness of the illumination characterizes these liturgical books intended for laypeople. Books of hours were at the time jewels of piety, both an instrument of religious practice and a social statement affirmed by the richness of the artists' work. A veritable small painting, this leaf is probably extracted from a luxurious volume where each page was carefully painted.
We find here a fragment of the hours of the Virgin between the end of the office of vespers and the beginning of compline. The succession of pieces at the end of vespers approaches the use of Die but the capitulum differs "Egredietur virga radice iesse et flos de radice eius ascendet", this could also be a minor Roman use as the rubric of the announcement of vespers announced it.
Writing called cursiva libraria in long lines. Witness to the formalization of cursive writing at the dawn of the French Renaissance, this writing is emblematic of the production of French copyists for laypeople during the period.
Recto verso fragments of a manuscript book of hours on parchment with sumptuously illuminated full-page borders. This compartmentalized division of ornaments is representative of the production from Rouen and Parisian workshops at the turn of the 16th century.
Two illuminated pages on a recto verso leaf: border divided into bands and lozenges decorated with floral motifs and leafy designs, gilt initials painted in alternating red and blue and rubrics.
The richness of the illumination characterizes these liturgical books intended for laypeople. Books of hours were at the time jewels of piety, both an instrument of religious practice and a social statement affirmed by the richness of the artists' work. A true small painting, this leaf is probably extracted from a luxurious volume where each page was carefully painted.
We find here a fragment of the Office of the Dead at the moment of the first nocturn of matins. On the recto of the leaf: antiphon "Dirige me" followed by psalm five "Verba mea auribus percipe, Domine...". The office of the dead is a set of prayers dedicated to the salvation of the souls of the deceased. More than commiseration, this devotion reflects the constant fear of medieval men for death.
Script called cursiva libraria on long lines. Witness to the formalization of cursive script at the dawn of the French Renaissance, this script is emblematic of the production of French scribes for laypeople during the period.
Recto verso fragments of a manuscript book of hours on parchment with sumptuously illuminated full-page borders. This compartmentalized division of ornaments is representative of the production from Rouen and Parisian workshops at the turn of the 16th century.
Two illuminated pages on a recto verso leaf: border divided into bands and lozenges decorated with floral motifs, fruits and leafy designs, gilt initials painted in alternating red and blue, line fillers and rubrics.
The richness of the illumination characterizes these liturgical books intended for laypeople. Books of hours were at the time jewels of piety, both an instrument of religious practice and a social statement affirmed by the richness of the artists' work. A true small painting, this leaf is probably extracted from a luxurious volume where each page was carefully painted.
We find here a fragment of the suffrages which contains four prayers to the Saints: to St. John the Baptist, St. John the Evangelist and two others "Pulchre salutationes ad xpm. videlicet in elevatione corporis ipsius" followed by "Alia salutatio. Salue sancta caro dei..."
Script called cursiva libraria on long lines. Witness to the formalization of cursive script at the dawn of the French Renaissance, this script is emblematic of the production of French scribes for laypeople during the period.
