(Paris: Samuel Thiboust, 1617). 230 x 167 mm. (9 x 6 1/2").  p.l., 868,  pp.Edited by André Du Chesne.
EXCELLENT SCARLET CRUSHED MOROCCO, GILT, BY CHARLES DE SAMBLANX (stamp-signed on front turn in), covers with intricate central gilt lozenge and French fillet border, raised bands, spine compartments with gilt swirling vines and fleurons emerging from central oval, gilt titling, turn-ins richly gilt with azured leaf roll on a stippled background, marbled endpapers, all edges gilt. In a modern marbled paper slipcase. With one numismatic plate containing four specimens. Occasional later marginal notations toward the end of the book. Brunet I, 1813-14; Tchemersine III, 335. Contents washed and pressed (but the ink still dark and rich), occasional minor blemish, some pages lightly toned, a few small stains, one marginal tear just touching text and expertly repaired, but an attractive copy nevertheless, especially for an early 17th century imprint, and THE LOVELY BINDING IN PRISTINE CONDITION.
In a lovely sympathetic binding by a Belgian master craftsman, this is a superior edition of the works of Medieval French poet and political writer Alain Chartier, edited, annotated, and augmented by the man recognized as the father of French history. A diplomat and courtier, Chartier (ca. 1385 - ca. 1433) drew on his first-hand experience in government to produce the incisive political writings here, including a condemnation of the abuses of feudalism, a satire on life at court, and an allegory on the Hundred Years' War. Britannica notes that Chartier's "didactic, elegant, and Latinate style was regarded as a model by succeeding generations of poets and prose writers." Editor André Du Chesne consulted multiple manuscripts to produce an edition Brunet considers "preferable to all its predecessors, for the accuracy of the text." Du Chesne had also supplied extensive annotations and an index. Our volume has been given a very elegant morocco attire by one of Belgium's most celebrated modern binders. Charles de Samblanx (1855-1943) began working at the binding trade at age 11, apprenticed to Coppens. He eventually established his own firm (which, during the period from 1889-1909, was known as Samblanx-Weckesser, his gilder Jacques Weckesser having been taken into partnership for 20 years). De Samblanx's binding career extended over several decades, and he worked in a variety of period styles, classical and romantic, sensitively reproducing the bindings of previous centuries with notable accuracy and extraordinary execution. Here, the style of decoration echoes that of 17th century French bindings. Many of his bindings are now in the Royal Museum of Mariemont in Belgium. (ST14934)
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PJP Catalog: ELIST11.001