Browse Similar Items
LES AMOURS PASTORALES DE DAPHNIS ET CHLOÉ.
(Paris: s.n., 1745). 205 x 155 mm. (8 x 6"). 6 p.l. (first blank), 159, [1], xx pp.Translated by Jacques Amyot.
SPLENDID CREAM-COLORED MOROCCO, BEAUTIFULLY GILT AND INLAID, BY RENÉ KIEFFER (stamp-signed on front turn-in, verso of front flyleaf with his Rue Seguier ticket), covers framed by dogtooth roll and plain rule border, a charming spray of flowers at center, inlaid in scarlet, orange, citron, indigo, turquoise, lilac, pink, and violet morocco tooled with gilt on graceful gilt branches with leaves in three shades of green morocco, smaller sprays of inlaid flowers and leaves in similar shades at corners, the whole giving the effect of an elegant embroidered sampler, smooth spine framed in gilt and with a chain of four inlaid morocco blossoms in brilliant hues extending from the head and foot of spine, gilt lettering at center of spine, turn-ins with frame of cream morocco inlaid with strips of emerald green morocco tooled with a ribbon and floral chain roll, orange morocco squares at corners stamped with gilt flowers, gold silk endleaves, marbled flyleaves, all edges gilt. In a kid-lined blue marbled chemise with navy morocco spine and lips, and in a matching suede-lined slipcase. Additional engraved pictorial title by Coypel, four engraved headpieces of putti, four tailpiece vignettes by Cochin, and 33 ENGRAVED PLATES, consisting of 28 plates after Philippe d'Orléans by Audran, the oft-lacking final plate "Les petits pieds" by the Comte de Caylus, and EXTRA-ILLUSTRATED with four engraved headpiece vignettes by Fokke after Eisen, mounted on blank leaves. A Large Paper Copy. Cohen-de Ricci 652-53; Ray 2A. Four small, very faint (water?) spots to boards, one plate somewhat foxed, in all other ways A GORGEOUS COPY, clean and fresh internally, with immense margins, and in an unworn binding.
This exceptionally desirable copy of Longus' unique combination of decadence and sweet innocence is printed on quarto-sized paper, enhanced with engravings from some of the greatest Rococo illustrators, and offered in an exquisite binding by a modern Parisian master. The charming pastoral novel appears here in the popular translation of Jacques Amyot (1513-93), first printed in 1559 and always recognized for its graceful style. The illustrations were created in 1714 by Philippe, duc d'Orléans and Regent of France (1674-1723), engraved by Benoît Audran and published for the first time in 1718. Although Ray indicates that Philippe's work is clearly an amateur's, he says that the plates "do tell the story in their halting way, and the background landscapes in some of the larger plates have a naïve appeal." The plates were re-engraved for our 1745 printing, and the always elegantly graceful tailpiece vignettes by Charles-Nicholas Cochin were created for this edition. Cochin (1715-90) is generally considered on a par with the three Rococo masters, Gravelot, Eisen, and Moreau. Ray notes that works from his early career, like the engravings here, "are marked not only by the mastery of outline and firmness of composition which never deserted him, but also by acute observation and unpretentious humor." Our volume also contains an extra plate by the Comte de Caylus, omitted from some copies for its suggestive nature, as it shows the feet of the entwined lovers (Mon Dieu!) protruding from the privacy of a grotto. Additionally, a previous owner added four engravings created for the 1754 Longus by the great Charles Eisen (1720-78), Louis XV's Court painter, and drawing master to Madame de Pompadour. Ray describes him as "the master of the small design" with "a marvelous talent for pleasing." The beauty of this copy was further--and gloriously--enhanced ca. 1910, when binder René Kieffer created the striking binding with its bouquets of fantastical flowers in a riot of colors and gold. Kieffer (1875-1963) was in the first class of students to graduate from the École Étienne, where he concentrated on becoming a doreur, learning to tool gold designs in the well-established style. After leaving school, he worked for Chambolle-Duru until 1898, at which time he established his own studio. According to Duncan & De Bartha, he "became a disciple of Marius Michel, moving gradually away from his traditional training towards a more emblematic and modern style." He would become one of the most innovative and progressive binders in Paris in the 20th century, earning a well-deserved reputation for producing widely variable bindings that defied typification. (ST20826)
Price: $10,000.00