Order Nr. 64726 HISTOIRE DE L'IMPRIMERIE EN FRANCE AU XVÈME ET AU XVIÈME SIÈCLE. FOUR PORTFOLIOS. A. Claudin.
HISTOIRE DE L'IMPRIMERIE EN FRANCE AU XVÈME ET AU XVIÈME SIÈCLE. FOUR PORTFOLIOS.
HISTOIRE DE L'IMPRIMERIE EN FRANCE AU XVÈME ET AU XVIÈME SIÈCLE. FOUR PORTFOLIOS.
HISTOIRE DE L'IMPRIMERIE EN FRANCE AU XVÈME ET AU XVIÈME SIÈCLE. FOUR PORTFOLIOS.
HISTOIRE DE L'IMPRIMERIE EN FRANCE AU XVÈME ET AU XVIÈME SIÈCLE. FOUR PORTFOLIOS.
HISTOIRE DE L'IMPRIMERIE EN FRANCE AU XVÈME ET AU XVIÈME SIÈCLE. FOUR PORTFOLIOS.
HISTOIRE DE L'IMPRIMERIE EN FRANCE AU XVÈME ET AU XVIÈME SIÈCLE. FOUR PORTFOLIOS.
HISTOIRE DE L'IMPRIMERIE EN FRANCE AU XVÈME ET AU XVIÈME SIÈCLE. FOUR PORTFOLIOS.
HISTOIRE DE L'IMPRIMERIE EN FRANCE AU XVÈME ET AU XVIÈME SIÈCLE. FOUR PORTFOLIOS.
HISTOIRE DE L'IMPRIMERIE EN FRANCE AU XVÈME ET AU XVIÈME SIÈCLE. FOUR PORTFOLIOS.
T.M. CLELAND'S COPY IN ORIGINAL BINDINGS

HISTOIRE DE L'IMPRIMERIE EN FRANCE AU XVÈME ET AU XVIÈME SIÈCLE. FOUR PORTFOLIOS.

Four volumes.

  • Paris: Imprimerie Nationale, 1900 - 1914.
  • folio
  • original quarter cloth over paper-covered boards, all edges uncut
  • (x), xxiv, 490; (iv), 572; (vi), 550; (xvii), 528 pages
  • ISBN: none

Price: $2,500.00  other currencies

Order Nr. 64726

First edition, printed for the occasion of the Exposition Universelle Internationale of 1900. Complete in all four portfolios. T.M. Cleland's copy with his bookplates on each of the four pastedowns. Some of the cloth ties are broken and lacking. Hinges tender of each portfolio. Rubbing along the edges. Volume IV spine of the portfolio separated, yet present. Overall a well-preserved set of this extremely scarce publication.

Considered "the finest book on printing that has ever been printed" (D.B. Updike). Concentrating on the ateliers of Paris and Lyon, Claudin traces the origins and development of typography in France during the 15th and 16th centuries. Through stunning reproductions, he presents the most precious and often least-known examples of French typography, woodcuts, metal cuts, title pages, illuminations and decorative initials. Among the many shops discussed are the Atelier de la Sorbonne, a partnership of Michel Friburger, Ulrich Gering, and Martin Crantz, who printed the first book published in France, the Gasparini Epistolæ (1470). A sample of its first page displays its illuminated border and Roman letter. Also illustrated is the first page from their 1473Guidonis de Monterocherii Manipulis Curatorum, printed by their new shop, Atelier du Soleil d'Or. The text was printed in a Gothic letter that still retained traces of rounded Roman style, the first such book printed in France. A series of handsome plates, several of which are in rich color on heavy paper, illustrate one of the most beautiful French art productions of the 15th century, the Gillet Couteau and Jean Ménard edition of La Dansemacabre des Hommes. Printed in 1492, the engravings were delicately painted by the master Antoine Vérard, who also doubled as a bookseller-editor. Claudin further illustrates Vérard's detailed artistry with colored plates from his La Nef des Fols du Monde and Lancelot du Lac. He also devotes a lengthy chapter to the atelier of Mathieu Husz (1482 - 1500), the Lyonnais "master of the art of printing." Woodcuts from Legenda Aurea and the Gothic letter and ornate initials of La Mélusine reveal Husz's precise artistry, both in print and illustration. A double-page foldout, tipped-in, displays the copper engravingCivitas Venetiarum by Erhard Reuwich for Voyage de Breydenbach (1486). This Michel Topie and Jacques Heremberck edition represented the first time copper plate engraving was tried in France. Table of contents and index to illustrations in each volume. Printed with wide margins on BFK Rives wove paper with deckled edges. From the private reference library of Dorothy Sloan with a commemorative bookplate loosely inserted.