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Tue 04 Jun

Hours for the use of Paris, printed on vellum. Simon Vostre, circa 1508. "Ces présentes heures à l'usage de Paris sont tout au long rien requérir avec les miracles Notre-Dame et les figures de l'apocalypse et de l'antique et des triomphes de César". 104 ƒƒ. of parchment, in 4° (215 x 140 mm.) (a-b8, c4, d-i8, k6, a'8, e'8, i8 o6). Almanac 1508-1528. Bound in 17th-century brown calf, spine ribbed and decorated with gilt motifs. Binding rubbed, corners stripped, jaws fragile. Expert : Cabinet Honoré d'Urfé Text: ƒ. a1v Almanach 1508-1528. ƒ. a2-a8 Calendar. ƒƒ. b1-b2v Pericopes of the 4 Gospels. ƒƒ. b3-c8 Passion, Obsecro te, O intemerata, Stabat mater, Missus est Gabriel angelus, Te Deprecor. ƒƒ. d1-g7 Heures de la Vierge à l'usage de Paris avec les heures de la Croix et du Saint-Esprit intercalées à partir de Laudes. ƒƒ. g8-h7 Penitential Psalms. ƒƒ. h8-k6 Vigils of the dead. ƒƒ. a'-e'4 Suffrages and prayers. ƒƒ. e'4v-e'7 Office of the Conception of Our Lady. ƒƒ. e'7v-e'8 From the Holy Sepulchre. ƒƒ. e'8-e'8v There follows the table of these present hours. ƒƒ. i'1-i4 Office of Our Lady of Pity. ƒƒ. i'4-o6v Prayers: Douce Dame, Saincte vraie Croix, O reyne qui fuste mise et assise, Glorieuse saincte Dame, Toy royne de hault pararaige, Glorieuse Vierge Marie, Mon Dieu mon créateur, Mon benoist Dieu, ie croyes de cueur, Sire Dieu éternel. Engravings: 24 large copper engravings: - 14 full-page engravings. - 10 two-thirds page. Numerous small engravings. Anonymous engraving. - a1 Mark of Simon Vostre. Engravings according to the drawings of the Master of the Apocalypse of the Sainte Chapelle. Six engravings (2/3 page) by the Master of the Apocalypse of the Sainte Chapelle. Chapel: Jean Dipres (1495-1498). - a2 Anatomical man. - c8v Tree of Jesse. - f2 Adoration of the shepherds. - a'1 The Church Triumphant and the Church Militant. - a'3 The Holy Wound. - e'7v Entombment. All small engravings. Borders: the calendar, the story of Joseph and his brothers, the sibyls, gathering, deer hunting, the story of David, Danse macabre, the 7 sacraments. Ines Nettekoven (Der Meister des Apokalipsenrose der Sainte-Chapelle und die Pariser Buchkunst um 1500, Turnhout, 2004, Abb. 158-176) names the artist after the stained glass windows in the Rose de la sainte Chapelle, and attributes numerous engravings to him, including the series for Simon Vostre. Vostre. N. Reynaud (Les manuscrits à peintures en France 1440-1520, Cat. Expo. BNF Oct. 1993 - Jan. 1994, pp. 265-270) prefers the name Maître des Très Petites Heures d'Anne de Bretagne from the BNF manuscript (Paris, NAL 3120). The author suggests identifying him with one of the sons of Colin d'Amiens or Nicolas Dipres: Jean Dipres? Engravings based on drawings by Jean Pichore 1504-1506. - 17 engravings (14 full-page and 3 2/3-page engravings: G8, H8 and E'4v°) - a8v Saint John and the poisoned cup. - b3 The Betrayal of Judas. - d1 Annunciation. - d8v Visitation. - e4v Crucifixion (after Martin Schoengauer). - e6v Nativity (after Martin Schoengauer: C. Zöhl, Abb. 244). - f 1v Announcement to the shepherds. - f4v Adoration of the Magi (after Martin Schoengauer: C. Zöhl, Abb.243). - f7 Presentation at the Temple (after Jean Poyet). - g1v Flight into Egypt. - g4v Coronation of the Virgin Mary. - g7v David playing the Harp. - g8 David hands Uriah the letter condemning him (after Jean Poyet). - h7v Resurrection of Lazarus (after Jean Poyet). - h8 Job visited by his friends (after Jean Poyet). - e'4v Sainte Anne Trinitaire. Antique borders, Apocalypse (d1v to e7), Triumphs of Caesar (a'3v-e'1). These last two series come from the in 8° series by Jean Pichore. Most of the large engravings are from the edition by Jean Pichore et Rémy de Laistre in 4° dated April 5, 1504 (Tenschert vol. 2, no. 92), with the exception of David and Uriah (l.8) and Job visited by his friends (h.8), St. Anne Trinitaire (e'4v), which can be found in the Hours in 8° of September 24, 1504 (C. Zöhl, Jean Pichore : Buchmaller, Graphiker und Verleger in Paris um 1500, Turnhout, 2004, Abb. 99-130, p. 162-176). Vostre used them around 1505-1508 (Zöhl, p. 22-25). Jean Pichore is documented from 1502 to 1518, in 1502 in the service of Cardinal d'Amboise and then in 1518 for the Chants royaux du Puy Notre Dame d'Amiens offered by the aldermen of Amiens to Louise de Savoie. He was inspired by the compositions of the Touraine illuminator Jean Poyet in the Briçonnet Hours (Haarlem, Teylers Museum ms. 78) and German engravers such as Martin Schoengauer here and Albert Dürer, the latter in the in 8° series of 1504. Illuminated initials: The initials in pink and blue with o

Estim. 4 000 - 5 000 EUR

Tue 04 Jun

Hours for the use of Rome Printed on parchment, 170 x 110 mm. Calendar and text justification 130 x 80 mm. 23 long lines. Collation a8-1, b-m8, p4, A8, B8-1. Missing title page. Bound in red velvet. Paris, Philippe Pigouchet for Simon Vostre or Antoine Vérard, circa 1496-1500. Expert: Cabinet Honoré d'Urfé Text : F. a2-a8 Latin calendar with the ages of man followed by the seven orations of Saint Gregory. Missing title page F. b1-b4 Pericopes from the four Gospels F. b4-c2v Passion according to Saint John F. c2v-d3 Obsecro te, O Intemerata, Stabat mater, Missus est Gabriel angelus, Te deprecor, Salve regina F. d4-k6 Hours of the Virgin according to the usage of Rome followed by the Hours of Advent F. k7-m3 Penitential psalms followed by litanies F. m4-p4v Office of the dead F. A1-B2v Suffrages of the Trinity, God the Father, the Son, the Holy Spirit, the Holy Face, Saint Michael, Saint John the Baptist, Saint John the Evangelist, Saints Peter and Paul, Saint James, all the Apostles, Saint Stephen, Saint Laurent, Saint Christophe, Saint Sébastien, the martyrs, Saint Nicolas, Saint Claude, Saint Antoine, Saint Anne, Saint Marie-Madeleine, Saint Catherine, Saint Marguerite, Saint Barbe, Saint Apolline, Saint Geneviève. F. B3-B7v Recommendations for different times of the day. Lacks the seven orations of Saint Gregory and the colophon. Engravings : 10 large engravings and 6 small engravings, all enhanced. F. b1 Saint John on the island of Patmos F. b2 Saint Luke and the bull F. b2v Saint Matthew and the angel F. b3v Saint Mark and the lion F. b4v Christ's betrayal F. c2v Virgin and Child F. d3v Annunciation F. e6v Visitation F. f6v Crucifixion F. f7v Pentecost F. f8v Nativity F. g6v-g8 The Adoration of the Magi. F. h2v Presentation in the Temple F. h6 Flight into Egypt F. i4v The Dormition of the Virgin Mary F. k6v David and Bathsheba F. m3v The rich man at table with his wife A miniature F. g4 Announcement to the shepherds. Beautiful borders in the ganto brugeois style on a gold background with cut-out flowers or on a compartmentalized background around the engravings and on the facing page. Blue and red initials. Engravings by Simon Vostre or Antoine Vérard. They were used from May 22, 1496 by Simon Vostre and around 1498 by Vérard. The design is by the Master of the Apocalypse of the Sainte-Chapelle after I. Nettekoven (H. Tenschert, Horae B.M.V. 158 Stundenbuchdruck der Sammlung Bibermühle, 2003, pp. 121-124) also named Master of the Very Small Hours of Anne of Brittany (Jean d'Ypres? ) by N. Reynaud (France 1500, cat. expo. Grand Palais 6 Oct. 2010-10 Jan. 2011, cat. 113-123). This good-quality illuminator can be placed in the entourage of Simon Marmion. We recognize his pastel colors with mauve and pink, as well as the borders. In the case of the Annunciation to the Shepherds, he demonstrates his inventiveness by not following the engraving (Fr. Elsig, "La dynastie Marmion et Amiens: quelques observations", Peindre à Amiens et Beauvais aux XVe et XVIe siècles, Milan, 2011, pp. 75-82).

Estim. 2 000 - 3 000 EUR

Fri 07 Jun

ABRANTES, Laure Junot, Duchesse d' (1785-1838). Histoire des salons de Paris. Tables et portraits du Grand Monde sous Louis XVI, le Directoire, le Consulat et l'Empire, la Restauration et le règne de Louis Philippe. Paris, Ladvocat. 1837-1838. 6 volumes in-8. 1/2 percaline. Well-established binding, slightly posterior. A fine copy. First edition. Volume II is marked Second Edition. An essential work on Salons (or, as they were known in the 18th century, Sociétés), often held by witty women (Mesdames Necker, Polignac, Roland, Genlis, Custine, Staël, Récamier, Empress Joséphine, Regnault, the Duchesse de Luynes, Montesson etc. ....), less often by men (Morellet, Condorcet, Robespierre, Barras, Seguin, Talleyrand, etc...), where artists, philosophers, politicians and virtually all the influential figures who played an important role between 1770 and 1835 gathered. Volume I is packed with a moving autograph letter from the Duchesse d'Abrantès to her publisher Ladvocat, dated January 10, 1837. "Monsieur Moreau will tell you what's going on. The matter is serious. The volume will be ready from noon to two on the 12th. Please bear in mind that you are jointly and severally liable in this matter"...(6 lines). Ladvocat seems to have refused a sequel to the six published volumes. Long beset by financial difficulties, the Duchess, after this breach of contract, fell into deep indigence. She had to sell her furniture and "ended her life in a hospital, where, for lack of money, she was placed in a garret".

Estim. 600 - 900 EUR

Tue 11 Jun

RARE FOND DE MANUSCRITS PERSANS, INDIENS ET ARABES DU XIVe AU XIXe SIECLE HAVING BELONGED TO THE GALERIE R.G. MICHEL IN PARIS SINCE 1912 FIVE LEAVES OF TEXT FROM THE FAMOUS "INJU SHAHNAMA", THREE LEAVES FROM A TEXT BY HAFIZ-I ABRU, PROBABLY THE MAJMA' AL-TAWARIKH, AND OTHER LEAVES FROM MEDIEVAL MANUSCRIPTS Shiraz, Iran, c. 741 H / 1341; Herat, Afghanistan, c. 1420 Persian manuscripts on paper, the five leaves of the Inju Shahnama with 30 ll. of naskh per page arranged in six columns, red titles, red and blue jadval, one leaf used as a painter's palette; three leaves of a Historical Chronicle by Hafiz-i Abru, probably the Majma' al-tawarikh, plus a half leaf, 33 ll. of naskh per page, red and blue jadval; five 14th- or 15th-century Chinese or Central Asian Qur'anic leaves in Muhaqqaq calligraphy close to sini; and three fragments of leaves from a large Ottoman Qur'an. Fragmentary, damaged, . Leaves 36.5 x 28 cm; text panel 28.5 x 24 cm (Inju Shahnama): 37.5 x 26 cm and 33.2 x 22 cm (second text). The five leaves with text in six columns in red rules most probably come from a Shahnama injuid manuscript, dated 741 H / 1341. The script and dimensions of the text panels are identical. The colophon of this manuscript, on a leaf preserved at the Smithsonian Institution in Washington, tells us that it was copied in Shiraz for the injuid vizier Hasan Qavam al-Daula va al-Din. The copyist was Hasan ibn Muhammad ibn `Ali ibn (?) Husaini, known as al-Mawsili. Several illustrated leaves are held in international public and private collections. See for example 86.227.133 at the Brooklyn Art Museum; CBL Per 110 at the Chester Beatty Library, Dublin; AKM32 at the Aga Khan Museum, Toronto; 13/1990 and 32/1999, two leaves at the David Collection, Copenhagen, and other collections. Three other large leaves come from a famous scattered manuscript of historical chronicles, composed by Hafiz-i Abru around 1425 at the request of the Timurid ruler Shah Rukh. The author produced several versions of these chronicles, inspired by Rashid al-Din's Ilkhanid text. Several pages are published in Court and Cosmos, The Great Age of the Seljuqs, exhibition catalog, New Haven and London, 2016; cat.2a-c, pp.48-49. Provenance: Galerie R.G. Michel in 1912. Then Michel Collection (1880-1963). Then by descent. Then Collection P.

Estim. 600 - 800 EUR

Mon 17 Jun

[17th to 19th centuries] [Quran] Al-Coranus s. lex Islamitica Muhammedis, Filii Abdallae Pseudoprophetae, (a)d optimorum Codicum fidem eita ex Museo Abrahami Hinckelmani, D. Hamburg, ex officina Schultz-Schilleriana, 1694, (80),560,(10) p., cont. vellum, 4to. Lacks htitle, Arabic title used as pastedown, title and following leaf dam., a few lvs loose, occas. staining (incl. binding). Former owner's entry 'H. (Henry) Middeldorp Hamb. 1808'. In all, an acceptable copy. VD17 has 4 entries w. different fingerprints for this edition, the typesetting of the introduction (a-u2) of this copy differs slightly from that of a digitized version (a-q2. r3, s-u2), otherwise the contents seem to be identical. This work is the so-called "Hamburger Koran", the first complete German edition of the Quran and the first and only edition of Hinckelmann's Arabic text; the publication and translation were in fact prohibited by pope Alexander II. It is the second edition of the complete Arabic Quran, with a Latin introduction by the editor. Of the first edition (Venice, ca. 1537/1538), only one copy is known, and it was previously thought to have been completely destroyed. Hinckelmann’s edition was therefore the first available to European scholars, missionaries and Islamic readers, and it remained the primary source for European knowledge of the Quran for 140 years. The present copy is manually annotated, and there are numerous contemporary Latin translations written in pen above the Arabic words.

Estim. 3 000 - 6 000 EUR

Wed 19 Jun

Michel de MONTAIGNE. Essais. Livre premier & second. 2 volumes in-8, marbled basane, spine with 5 ornate nerves (17th century binding), modern black chagrin box. Brunet, III-1835 // Cioranescu, 15279 // De Backer, 448 // Le Petit, 99 // Sayce, 1 // Tchemerzine-Scheler, IV-870. I. (4f.)-496 / [ ]4, A-Z8, Aa-Hh8 // II. (2f.)-653 (marked 650)-1f. / [ ]2, AAa8-ZZz8, AAaa8-SSss8 // 94 x 156 mm. Very rare and sought-after first edition of the first two books of Montaigne's Essais de Montaigne. Michel Eyquem de Montaigne is so well known in 16th-century literature that his main work, his Essais, remains one of the masterpieces of human thought. Let's just remember that he was born in 1533, in his family's château in Périgord. He learned Latin before learning French, then Greek, and, armed with his solid erudition, studied law in Bordeaux, where he was appointed councillor to the Bordeaux Parliament. It was on this occasion that he met La Boétie, for whom he had one of those one of those indescribable friendships of which only great souls are capable (Larousse). Montaigne left public office early, was elected mayor of Bordeaux and represented his compatriots at the Estates of Blois (1557). After his father's death, he took refuge in his château, where he began writing his Essais. Here, Montaigne drew on the strength of doubt, a skepticism that, going against the grain of the political and religious compartmentalization of his time, led him to risk tolerance (In French in the text). He then travelled through France, Switzerland, Germany and Italy, as observer and philosopher, returning to France to devote himself entirely to study and philosophy. He died of esquinancie, more simply known as angina, in 1592. The Essais contain three books, the first two of which appeared in the present edition in 1580. The pagination is very fanciful. We compared our copy page by page with that of the BnF and the Bodleian Library, Oxford, described by Sayce, and found differences in the pagination of volume II, without any change to the text: cahier QQq for the BnF and cahier HHhh for the Bodleian. As Sayce notes, there are probably no two perfectly identical copies. Sayce also noted different states for the titles and errata. Our copy is in the second state. Finally, our copy contains first and second printing remarks in the text. Some passages have been underlined in ink. A very fine copy, despite small stains and faint marginal spotting on several leaves of Volume II. Provenance: F. Estienne (handwritten bookplate partly faded on title and flyleaf of second volume).

Estim. 35 000 - 45 000 EUR

Thu 20 Jun

CORAN. Alcorani textus universus. Patavii, ex typographia seminarii [i.e. Padua, from the seminary printing house], 1698. 2 volumes in-folio, (4 of which those on verso are blank)-45-(3 of which the last is blank)-(2 of which the second is blank)-46-(2)-81-(3)-94-(10 of which the last is blank)-127-(11) + (8)-17-(3)-836 [misfigured 1 to 441 and 444-838]-(12 of which the last is blank) pp., softbound, smooth spines with title and call number labels; binding a little worn with tear on second board, marginal wetness, small worm work on first ff. of vol. II and tear on last ff. of vol. II (contemporary binding). LARGE-PART ORIGINAL EDITION, the first complete, of Ludovico Marracci's Great Work. "THE FIRST EUROPEAN EXAMPLE OF A PROPERLY PHILOLOGICAL WORK ON THE TEXT OF THE QUR'AN" (Tristan Vigliano). The first, originally published in 1691 (Prodromus ad refutationem Alcorani, intermediate title of 1st vol.), is a vast introduction including a life of Mohammed and a general critique of the Islamic religion and Muslim mores, with an appendix of the Catholic profession of faith translated into Arabic. The second part, which appears here in its original edition (Refutatio Alcorani, general title of vol. II), comprises a complete Arabic edition and Latin translation of the Koran, with critical commentary in Latin. The edition of the Koran text in Arabic characters, here vocalized with diacritical marks, is the first complete Arabic edition to be truly distributed: the edition printed in Venice around 1537-1538 is only known in a single copy, and the edition given in Hamburg in 1694 was not a success (it was not accompanied by a translation). Ludovico Marracci later clarified that the Arabic text of his book had been the responsibility of the typesetter and was not exactly the version he himself had used, but the lesson is now considered to be very accurate. Ludovico Marracci's Latin translation, meanwhile, "is the most remarkable translation of the Koran produced at the beginning of the modern European era. No other translation of the Koranic text has achieved such philological accuracy, and no one has based his work on such a large collection of Islamic commentaries" (Federico Stella). It outclasses the Latin translations that preceded it, including that of Robert de Ketton, written in 1143 at the request of Cluny abbot Pierre le Vénérable in the early days of the Reconquista in Spain, and first printed in 1543 in Zurich. The two earlier vernacular translations are also scientifically modest works, the Italian one by Castrodardo (1547), and the French one by Du Ryer (1647). As for Ludovico Marracci's critical commentaries, while they draw on a few works by Jewish and pagan authors, they are distinguished above all by the then unprecedented recourse to a whole section of Islamic exegesis, notably the writings of Ibn Abī Zamanīn, al-Mahāllī and al-Suyūtī, al-Baydāwī, al-Zamahšarī and al-Ta(labī. Thus, "the Alcorani textus universus marks an important milestone for Christian and European orientalists of the following century. It was widely cited until at least the middle of the 19th century" (Federico Stella). FORTY YEARS OF WORK, BUT ALSO OF STRUGGLE AGAINST CENSORSHIP. Ludovico Marraci began his work on the Koran in the 1650s, and as he read more and more Arabic commentaries, he regularly revised his Latin translation. The question of editing and translating the Koran was in itself open to question in Europe and within the Church: Pope Alexander VII (1655-1667), for example, strongly opposed it, and it was not until the pontificate of Innocent XI (1676-1689) that tolerance was restored in this respect. However, although several cardinals, including Gregorio Barbarigo, supported Ludovico Marracci in his undertaking, various errors and misgivings within the Curia (notably the Holy Office) and the Propaganda fide printing house delayed the issuing of an imprimatur, which was initially restricted to the Prodromus (1691). The Latin translation with Arabic edition went to press in 1692 and was published in 1698, but in Padua and with the approval of only two members of the religious order to which Marracci belonged. ONE OF THE GREAT ORIENTALISTS OF THE SEVENTH CENTURY, LUDOVICO MARRACCI (1612-1700) was a native of Tuscany who joined the Order of Clerics Regular of the Mère de DIeu. He was

Estim. 3 000 - 4 000 EUR

Thu 20 Jun

HUGO (Victor). Autograph poetic notes. 39 verses with a few variants juxtaposed, on 2 pp. on the rectos of 2 large folios mounted on tabs in a large folio volume with smooth muted garnet morocco spine and garnet morocco title-piece on the first cover (antique binding). Set of 12 poetic essays of one to 11 lines each, probably preparatory to his collection L'Âne, published in 1878. The speaker unfurls an impressive erudition, which he disparages: " ... I care little for Suidas, Strabo, Or Acasilaüs commented by Eusebius, That Jacob disappears at the hour when Thebes rises, And Alexander is born when Ephesus dies, I care not. I hear little of the clamor That, haggard, burning-eyed, staggering-legged, In Crete, deep in the woods, grow the Corybantes; I pay little heed When Moses, who kills a little too much, and lies, Emerges from the brazen clutches of the tenacious Pharaoh, Or when Deucalion descends from Mount Parnassus." With a charge against Figaro editor Francis Magnard: "... That Noah's Ark was plagued by vermin / And that we were stung by Francis-Magnards... / That's not what I'm passionate about...". Back in 1869, he wrote to his friend Auguste Vacquerie: "Do you know a bug called Francis Magnard? This bug stinks and stings I don't know where. Provenance: Simone de Caillavet (bookplate). ONE OF MARCEL PROUST'S MODELS FOR THE CHARACTER MADEMOISELLE DE SAINT-LOUP DANS LA RECHERCHE, LA FEMME DE LETTRES SIMONE DE CAILLAVET (1894-1968) was the daughter of writer Gaston Arman de Caillavet (who collaborated with Robert de Flers, among others) and the granddaughter of Léontine Arman de Caillavet, muse and mistress of Anatole France. After a first marriage in 1920 to the wealthy Romanian diplomat Georges Stoïcescu, Simone de Caillavet married the writer André Maurois in 1926.

Estim. 1 000 - 1 500 EUR
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