First edition, one of 95 copies on pur fil, the only deluxe issue after 45 copies on Hollande.
A slight vertical crease on the front cover.
A handsome copy.
Illustrated first edition. Faerno's verses appeared for the first time in 1564, and Perrault's version in 1699. This edition gives for the first time Faerno's original text followed by Perrault's translation. It is illustrated with a frontispiece by Claude du Bosc representing Aesop among animals, and 100 unsigned headpieces (9 x 11 cm). The preliminary leaves contain some poems by the neo-Latin poet and some letters.
Full aubergine morocco binding from the late 19th century signed Chatelin in the frieze. Richly ornamented spine with raised bands. Title, date and place in gilt. Central framing à la Du Seuil with fleurons in the corners and 4 large fleurons inside the rectangle. Triple fillet frame. Rich interior frieze with fleur-de-lys. Gilt edges. Red peacock-tail paper slipcase with blue felt interior. Perfect freshness of the paper.
Sumptuous copy lavishly bound in a master binding.
Superb work of fables very close in its illustration to emblem books. The book is moreover catalogued as such in several collections of emblems, as emphasized by the art historian Mario Praz, although it is not strictly speaking one.
19th-century engraved bookplate of A. Hornung.
The rare first edition of these two volumes published two years apart, the continuation of which would never see the light of day. With one frontispiece and one large folding genealogical chart.
Copy with the arms of Louis XV stamped on the boards, and his cipher repeated on the spine, a presentation copy.
Contemporary full marbled brown calf bindings. Spine with raised bands decorated with Louis XV's cipher repeated four times with angular fleurs-de-lys. Red morocco title and volume labels. Armorial boards. Triple gilt fillet frame on boards. Headcaps restored. Several splits along the upper joint of volume I and volume II. Corners and certain areas of the leading edges restored. Lacking the right corner of the first endpaper. Very faint dampstain trace in margin extending onto text from page 217 to the end; from page viiij to xxxviij in margin; similarly on the rear endpapers of volume II. Despite the mentioned defects, a rare copy with the arms and cipher of Louis XV.
The work contains a long introduction that clarifies Chevalier d'Arcq's project as a historian. His critical method of examining texts is scrupulous, he rejects what is not proven and openly aligns himself with the most reliable hypotheses. This method and his work were praised by Le Journal des scavants which reviewed the first book in 1756 then the second in 1758, with numerous compliments, notably on the author's elegant style and his way of creating a vividly colored narrative from stark facts. Beyond history and geography, the author seeks the essentially military aspect and shows how wars, between victories and defeats, have shaped the geography of peoples, and precipitated the end and birth of kingdoms. Volume I deals with Greater and Lesser Armenia (Cappadocia, etc.), the second with the kingdoms around Pontus (Phrygia, Paphlagonia, Heraclea, Pergamon...). Although the work treats a rare ancient history and its reading is fascinating, the book did not meet with success, and the editorial project was not carried through to completion.
Rare first edition.
Contemporary full tree calf bindings. Smooth spines decorated with two gilt tools and two grotesque panels. Red morocco title labels. Black wax volume labels, heavily rubbed and faded. Head- and tailcaps and the upper and lower joints and corners very discreetly restored. A scratch on one board. A handsome, clean copy.
The first edition, an advance [service de presse] copy.
A fine inscription from Jean Cocteau to Jean-Paul Sartre: “son ami de tout cœur [your true friend].”
Despite not being of the same generation, and despite everything that could have separated them, Jean Cocteau and Jean-Paul Sartre were friendly in the late 40s and early 50s. When Sartre died, Jean Marais evoked their regular telephone calls and dinners with endless, wonderful discussions.
The two also worked together for recognition for Jean Genet and in July 1948 published an open letter together in Combat, addressed to the President of France, Vincent Auriol, urging the release from prison of the poet-thug. A few years later, Cocteau would help Sartre set up a committee of support for Henri Martin, a Communist protesting against the war in Indochina, sentenced to five years in prison for distributing pamphlets. Cocteau also took part in the staging of Sartre's Dirty Hands at the Théâtre Antoine in 1948.
In giving the high priest of Existentialism an inscribed copy of The Difficulty of Being, the indefatigable dandy was giving him one of his most intimate pieces. In this work, Sartre's political engagement is evoked in poetic terms: “but why does he insist on visible engagement? The invisible engages so much more…Poets engage themselves without any goal other than to lose themselves.”
Rare testimony of the links between two major figures of the 20th century intellectual and literary world.
