Derome le jeune (9 risultati)

Full Leather (red morocco). Condizione: Good. Nouvelle édition. Red morocco gilt binding richly tooled in an 18th century Louis XV style, with gilt doublures and all edges gilt. Contemporary pencil note attributes the binding to the workshop of Derome le jeune (c.1760-1780). Printed in Paris by the Imprimeur du Roi Antoine Boudet. Interior clean, crisp and complete at 360 pages. Binding sound with light rubbing to extremities, small tears at spine ends. A refined Jesuit devotional in a luxury binding. Derome le jeune (illustratore).…

Hardcover. Condizione: Fine. Special Edition. Sallustius, Caius Crispus. La Conjuracion de Catalina y la Guerra de Jugurtha. Madrid, Joaquin Ibarra, 1772. Folio (35.7 x 26cm). [10]f including half title, engraved title, and portrait + 395 + [1]p. Spanish text set in a large calligraphic italic, Latin original below in a small roman type arranged in double columns, both designed by Antonio Espinoza. With 9 full-page engraved plates (including a map of Africa by Juan de la Cruz, the royal geographer) and a variety of 34 smaller textual illustrations (including 12 head- and tail-pieces, 6 initials, and 16 numismatic reproductions) engraved by E. Montfort, Salvador Carmona, T. Ballester, J. J. Fabregat. F. Assensio and Muntaner after designs by M. S. Maella, J. Carnizero and Selma. Bound in contemporary dark green morocco decorated with multiple gilt borders, six compartments of spine richly gilt, one with morocco title label, inner gilt doublures, pink silk end papers, edges gilt (by Derome le Jeune with engraved binder s ticket, dated 1785 in tailend blank margin of title); ends of spine and corners lightly worn. Large paper copy bound by Nicolas Denis Derome (1761-88) of Ibarra s magnificent Spanish Sallust, one of the finest books ever produced, and the most perfectly printed Spanish book. The beautiful large calligraphic italic and the delicate roman types, cut by Antonio Espinoza, are admirably complemented by exquisite engravings by leading artists, based mostly on designs by the court painter Maella. This Spanish version of Sallust s Conspiracy of Cataline and the Jugurthan War by the Infante Don Gabriel Antonio de Bourbon, the artistic second son of King Carlos III, was carefully revised and corrected by Pérez Bayer who had added a scholarly essay on the alphabets and the language of the Phoenicians (pp337-338) and extensive indices. The supplement is illustrated with 2 engraved plates with comparative tables of specimens of Phoenician, Hebrew and Maltese-Greek alphabets, and with 16 representations of Phoenician coins and medals. Updike states that 120 large paper copies were printed on a rich, creamy, handmade paper , and that these were mostly presented by the translator, Don Gabriel, to relations, friends, and persons of distinction. Outer edges of top margins with occasional light traces of foxing, otherwise a fine copy from the library of Dawson Turner (1775-1858), banker, botanist and antiquarian, with his ownership ink signature in top margin on recto of front blank leaf dated 1812. With 20th century bookplate of Antonio Llano Diaz de Quijano.Cohen-De Ricci, col.938; Heredia 2994 (Salvá copy); Palau 288134; Updike, Printing Types (1937), II, pp55 & 72-3 (with reproduction of text under no 233). …

With 3 engr. frontispieces by (Christian Friedrich) Fritzsch, 4 engr. title-vignettes, 1 vignette, and 28 engr. portrait plates. 12mo. Contemp. red morocco, flat spines richly gilt with tiny stars and dotted lines, wide gilt border composed of small stars and fleurons, fillets, dotted lines, and arabesques around sides, gilt outer and inner dentelles, edges gilt (by Derome le jeune?). Amsterdam, J. H. Schneider, 1758. Fine set in an elegant binding of the lives of the most famous philosophers of antiquity, by the historian and epicurean philosopher Diogenes Laërtius (fl. c. A.D. 222-235). Not much is know about him, he is also sometimes thought to have been a Christian. The work is divided into two sections, dealing with the Ionian and the Italian schools. The present edition is illustrated with 28 fine full-page portraits; the plates are not signed, but they might be the work of Christian Friedrich Fritzsch (c. 1719-1774) who was active for Amsterdam publishers for some time and did portraits. As to the translator, Hoefer knows one Jacques-Georges de Chauffepié (1702-1786) from Leeuwarden, a biographer and protestant minister, who translated mostly from the English; he maybe identical to the present assumed de Chaufepied. - Quérard, La France littéraire, II, 564 (mentions Chaufepied as translator); Brunet II, 721; Lewine 147; Barbier 1028 c (mentions Schneider as translator). LITERATURE: FRENCH ; ILLUSTRATED BOOKS (BEFORE 1900) .…

FIRST EDITION. 235 x 150 mm. (9 1/4 x 6"). 10 p.l., 126, XL pp., [1] leaf (errata). EXCELLENT CONTEMPORARY CRIMSON MOROCCO BY DEROME LE JEUNE (his ticket with address of Rue St. Jacques on verso of front free endpaper), covers framed with thick and thin gilt rules, raised bands, spine compartments with central floral sprig surrounded by a lozenge of small tools, volute cornerpieces, gilt titling, gilt-rolled turn-ins, gilt edges, cobalt blue paste-paper endpapers. WITH SIX CHARMING ENGRAVED ALLEGORICAL PLATES after G. Ferre. Front pastedown with morocco bookplate of Mortimer L. Schiff and small book label with a gilt cipher on a red peach. A Large Paper Copy. Palau y Dulcet IV, 107; RSIM B VI, 429; MGG VI, 1403 f.; Gregory-Bartlett I, 129. Three minute dents to front board, a hint of wear to bands and corners, isolated faint foxing, blank recto of frontispiece leaf and blank verso of final leaf with faint blue shadown from endpapers, but all of these quite trivial, and otherwise A BEAUTIFUL COPY--fresh, clean, and bright internally, with very wide margins and strong impressions of the plates, and in a lustrous binding showing with few signs of use. This is surely one of the handsomest poetical treatises on music ever produced, and it is offered here in a binding done by one of the finest craftsmen working in Europe during the period of the book's publication. The work is written in the "silva" form of poetry used by persons of high rank, illustrated with fine engravings, and put into elegant morocco by the finest hands among the large Derome family of binders. According to Palau, our first edition is "beautiful, and printed on fine paper." He says further that, although the strongly expressed opinions of the youthful author on contemporary composers caused the work to be "unfairly attacked," it was "appreciated by professors of music and collectors of literature in that genre," especially in Italy and America. A child of the Enlightenment, Iriate (1750-91) gained entry to intellectual and artistic circles in Madrid through his uncle, who was librarian to the king of Spain. He translated works by Horace and Virgil into Spanish by royal request, and wrote criticism, poetry, and dramas. He is best known for his satirical fables on the contemporary literary scene, "Fábulas literarias." There were no fewer than 18 members of the Derome family who made their livings as binders in Paris from the middle of the 17th century until the first quarter of the 19th, but by far the most distinguished family member was Nicolas-Denis, called "le jeune" (1731-88). Known for the gracefulness of his bindings, and for being capable of "amazing delicacy" (in Hobson's words), Derome le jeune was, simply, the leading binder of the day, and his work was much in demand. Because he refused to turn away customers, Derome was forced to hire a number of assistants, whose work he could not always supervise closely. However, Thoinan says that the binder's best work is indicated by the presence of his ticket, as here. The volume's provenance adds to its luster: it was in the distinguished library of American bibliophile Mortimer Schiff (1877-1931). In Dickinson's words, Schiff, a financier and philanthropist, Schiff "brought together an unrivaled collection of decorative bindings." His library included works by great printers, important illustrated books, and works printed on vellum, but chiefly fine and historic bindings. The "Reliures" database of the Bibliothèque Nationale de France commends Schiff for assembling "one of the most important inter-war libraries," noting that his collection was "renowned for its collection of French bindings.".…

230 x 144 mm. (9 1/8 x 5 3/4"). Two volumes. Translated from Latin into Italian by Alessandro Marchetti. SPLENDID CRIMSON MOROCCO, GILT, BY DEROME LE JEUNE (his ticket with address of Rue St. Jacques on front pastedown of volume I), covers with border of multiple gilt rules and dotted rolls enclosing an ornate Rococo frame of flowers, acanthus leaves, garlands, catkins, and grape clusters, the cornerpieces semé with floral sprigs, raised bands, spines gilt in compartments with pineapple centerpiece within a lozenge of small tools, volute cornerpieces, two brown morocco labels, gilt-rolled turn-ins, marbled endpapers, all edges gilt. Copper-engraved frontispiece and title page after Eisen in each volume, six engraved plates by Lemire, Aliamet and others after Cochin, Eisen, and Le Lorrain, and seven vignette headpieces and five vignette tailpieces, most after Cochin. Gordon 505; Brunet III, 1222. For the illustrations: Cohen-de Ricci 665-6; Fürstenberg, p. 86; Ray 9. âSlight wear to corners, somewhat broad (but faint) offsetting to flyleaves from turn-in glue, just a hint of offsetting from engravings, but A LOVELY SET IN VERY FINE CONDITION, clean and fresh internally with comfortable margins and excellent impressions of the engravings, and the nearly unworn bindings bright with gilt. This attractively printed Italian translation of "De Rerum Natura" boasts "very beautiful" engravings, in the opinion of Cohen-de Ricci, and opulent bindings by one of the greatest names in the history of French bookbinding. Written in the first century B.C., the text here is considered one of the best expositions on the philosophy of Epicurus. Popular in the Roman Empire, it fell into obscurity before being rediscovered by Italian humanist Poggio Bracciolini in the 15th century. It became one of the most influential humanist texts of the Renaissance and the Enlightenment, inspiring writers and thinkers from Montaigne to Thomas Jefferson, a self-professed Epicurean who owned multiple editions. Translator Alessandro Marchetti (1633-1714) completed the first Italian vernacular version of Lucretius in 1669 but was denied permission to publish; it finally appeared in print in 1717. The present edition was revised by Francisco Gerbault, Italian and Spanish interpreter to Louis XV. The beautiful vignettes, tailpieces, and plates are mostly the work of Charles-Nicolas Cochin (1715-90) and Charles-Dominique-Joseph Eisen (1720-78), and so impressed Gordon Ray that he declared this edition "the model for the sumptuous Rococo volumes of the ensuing twenty-five years." Ray considers this some of Cochin's finest work, noting that the artist was "more at home with Lucretius' philosophical poem than with the amorous classical scenes of Ovid's 'Metamorphoses,'" and that his 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." There were no fewer than 18 members of the Derome family who made their livings as binders in Paris from the middle of the 17th century until the first quarter of the 19th, but by far the most distinguished family member was Nicolas-Denis, called "le jeune" (1731-88). Known for the gracefulness of his bindings, and for being capable of "amazing delicacy" (in Hobson's words), Derome le jeune was, simply, the leading binder of the day, and his work was much in demand. Because he refused to turn away customers, Derome was forced to hire a number of assistants, whose work he could not always supervise closely. However, Thoinan says that the binder's best work is indicated by the presence of his ticket, as here. The excellent condition of our volumes allows the reader to appreciate "ancien régime" French book arts at their zenith, with smooth, well-margined pages, seductive illustrations, and bindings exuberant with gilt.…

235 x 145 mm. (9 1/4 x 5 7/8"). Two volumes. LOVELY CONTEMPORARY RED MOROCCO "RELIURE DE PRÉSENT" DESIGNED BY GRAVELOT AND EXECUTED BY DEROME LE JEUNE, covers with French fillet frame, floral cornerpieces, flat spines bordered with double gilt rules and elaborately decorated in gilt: title within draped and foliate border surrounded by literary, warlike, and pastoral emblems, two leafy sprays extending from small cartouche at the lower end; attractively gilt turn-ins, marbled endpapers, all edges gilt. BEAUTIFULLY ILLUSTRATED THROUGHOUT: including two frontispiece portraits, two engraved titles with large vignettes, engraved dedication plate, 20 FINE ENGRAVED PLATES, 20 HAUT DE PAGE VIGNETTES (tondo portraits of characters), AND 23 ADDITIONAL PLATES (14 TAILPIECE VIGNETTES AND NINE VERY LARGE ENDPIECES (normally referred to as "vignettes," but occupying most of otherwise blank pages), ALL AFTER DESIGNS BY GRAVELOT. Cohen-de Ricci 974-75; Ray 22a; Brunet V, 667. For the binding: Schäfer Catalogue, p. 127; Schiff Collection 35. âRear board of volume II with small abrasion near tail (well masked with dye), minor soiling and variation in color of the morocco, a few insignificant spots internally, but A FINE, TALL COPY, with rich impressions of the engravings on fresh, clean, and bright "papier de hollande." Called by Cohen-de Ricci a "trés belle édition . . . avec illustrations superbes," this Parisian printing of Tasso's celebrated epic "Jerusalem Delivered" in Italian is one of the most beautiful books of the 18th century; and our copy is in the rare presentation binding designed by the esteemed Rococo artist and designer Hubert-François Gravelot (1699-1773), who was also responsible for the fine engravings. Among the lush and delicate illustrations, the almost full-page endpieces that conclude each chapter are a very charming highlight, showing fleshy cherubs at war (often in comically inappropriate battle attire). In examining this "handsome and delightful book," Ray says that "the plates tell the story of Tasso's Christian heroes with fidelity and discrimination, even catching something of the poem's ambiance of mystery and romance. But it is in the tailpieces that Gravelot triumphs." Through them, the illustrator is able "to present a joyous running commentary not only on Tasso's poem but sometimes on his own plates interpreting it. Without mocking chivalry, he makes it a source of sympathetic amusement." The binding here is a source of interest at least as considerable as that of the book's illustrations. It was designed by Gravelot and was used, with only slightly varying ornamentation, for a small number of copies of this work intended to be presented as gifts from the publisher, who is identified as G. Conti on the dedication page. It is probably the most readily recognizable presentation binding of the period. The Schiff catalogue says that such a Gravelot binding "is occasionally met with, more or less altered, on other volumes," and the Schiff collection contained examples of a book by La Fontaine and one by Racine in a binding of similar design. Except for these examples, our experience has not included any other books as early as the 18th century with both bindings and illustrations executed by the same artist. Most important, the design of the bindings is very pleasing, and our copy is especially well preserved, with leaves as fresh and engravings as rich as could be hoped for.…

Paris, aux dépens des Libraires associés pour les Usages du Diocèse, 1738. 8vo. (170x100x35 mm.). Contemp. full green morocco. Profusely tooled in gold. Large crowned and gilt monogram surrounded by broad gilt dentelles on upper and lower covers. Dentelles with stamps of shells and flovers. Spine likewise richly gilt in 6 compartments. Titlelabel with gilt lettering. Inner gilt borders. Edges of covers gilt. All edges gilt. Pink silk doublures. Upper joint at lower compartment with a tiny crack. In a custom made slipcase, front edges in brown morocco. (2),(22),XL,811 pp.…

An Elegant Contemporary Binding Attributed to Derôme le Jeune With His Celebrated Dentelles à l'Oiseau ROUSSEAU, Jean-Baptiste. [DEROME, Nicholas Denis aka Le Jeune, binder; attributed to]. ?uvres de Rousseau. Nouvelle édition. London, 1781. Two twelvemo volumes (4 5/8 x 2 13/16 inches; 118 x 72 mm.). Engraved portrait frontispiece by Delvaux in Volume I. Contents: Volume I, "Odes sacrées," "Odes, Liv. II-IV," and "Cantates allégoriques." Volume II, "Epitres, Liv. I-II," "Allégories, Liv. I-II," "Epigrammes, Liv. I-IV," and "Poésies diverses." Contemporary full crimson morocco, attributed to Nicolas-Denis Derôme ("Derôme le Jeune"), the second volume retaining the celebrated dentelles à l'oiseau ("bird dentelle") that has become the binder's unmistakable hallmark. Covers bordered with triple gilt fillets, smooth spines richly gilt in compartments with two olive-green morocco lettering labels, board edges gilt, gilt turn-ins, blue endpapers, all edges gilt. An exceptionally fresh and attractive eighteenth-century binding, with only the slightest traces of wear. A beautiful survival. Jean-Baptiste Rousseau (1671-1741), the foremost French lyric poet of the generation between Racine and André Chénier, achieved lasting fame through his odes, cantatas, epistles, and epigrams. Although celebrated during his lifetime, his career was marred by a notorious literary scandal that resulted in his condemnation to perpetual exile in 1712. He spent the remainder of his life under the patronage of Prince Eugene and other distinguished admirers, publishing editions of his poetry abroad that secured his literary reputation despite his absence from France. The lasting importance of this set, however, lies in its magnificent binding. Nicolas-Denis Derôme (1731-1790), universally known as Derôme le Jeune, ranks among the supreme French binders of the eighteenth century. His bindings are admired for their extraordinary elegance, refinement, and technical perfection, qualities that place him alongside Padeloup and Dubuisson at the summit of French decorative bookbinding. Derôme's most celebrated innovation was the introduction of the dentelles à l'oiseau, an exquisitely composed border incorporating tiny birds with outstretched wings among delicately engraved floral and ornamental tools. These borders, created from carefully combined individual stamps rather than repetitive rolls, achieved a richness and variety previously unknown in French binding design and remain instantly recognizable to collectors today. It is this distinctive decorative vocabulary that permits the present binding to be confidently attributed to Derôme's workshop. Marius Michel regarded these celebrated dentelles as Derôme's greatest achievement, praising the originality and grace that transformed eighteenth-century French bookbinding into an art of the highest order. An unusually well-preserved example of one of the finest decorative bindings of the French eighteenth century, combining an attractive edition of Rousseau's poetry with a binding worthy of one of Paris's greatest masters.…

2. Paris, Choppin de Janvry , Roch de Coligny, 2004, in-4°, 62 pp, 607 lots, sans illustrations (4 illustrations en couleur sur la couverture), agrafé, couverture originale.