Compositions de Alfred de Richemont gravées a l'eau-forte par C. Chessa. Préface par Léon Hennique.Paris: A. Ferroud - F. Ferroud, Successeur, 1905 Stock Code: 145735
In a stunning Kieffer bindingFirst Ferroud edition, published in his "librairie des amateurs" and specially illustrated by Richemont, in a striking Kieffer binding, number 325 of 600 copies signed by the publisher on the limitation page. This copy is bound with a six-page promotional excerpt in straight-grain wrappers with a full-page etching and two in-text illustrations.
René Kieffer (1875-1964), worked for ten years at the famed Chambolle-Duru bindery in Paris before establishing his own workshop in 1903 and going on to become one of the leading binders in Paris. In 1909 he launched himself in the edition of illustrated luxury books. He learned the trade from Georges Crès, and from Auguste Blaizot who joined his name to the first editions of René Kieffer; even the Mercure de France entrusted him with the direction of some volumes for their own editions. From 1919 to 1923, he executed bindings designed by Pierre Legrain for Jacques Doucet, and his workshop quickly became important, producing up to 2,000 volumes a year, with bindings of all kinds, from the most luxurious to the more modest one. His bookshop opened in 1923, and his three activities were then combined in one place. Kieffer's consistent endeavour was to retain large, poorly published texts, have them illustrated by the great names of the time, and when possible, offer them in luxury or publisher's bindings.
First published in the magazine La Revue de Paris in 1856, the novel was immediately sued for "outrage aux bonnes moeurs" (affront to public decency) and Flaubert appeared before the court on 7 February 1857. Defended by Maitre Sénard (the dedicatee), he was found not guilty and publication resumed. Madame Bovary is now acknowledged as one of the greatest novels of its epoch and Flaubert's masterpiece.
Small folio (276 x 196 mm). Finely bound by René Kieffer (signed in gilt on front turn-in and with his ticket to second free endpaper verso) in brown morocco preserving the original wrappers, titles in gilt direct to spine, central medallion to each board with red and brown morocco floral onlays tooled in gilt and blind, a smaller version repeated to central spine compartment, all within gilt fillet frames and small square motifs, turn-ins with floral motifs in gilt to corners and single gilt fillets, silk endpapers with pink flower and black dot pattern, green marbled endpapers, silk page marker, top edge gilt, others untrimmed. Housed in a custom slipcase.
Etched frontispiece, title vignette, and 25 etched illustrations all but six full-page.
Discreet colour restoration, the binding otherwise sharp, occasional offsetting to contents, else internally clean and fresh; a near-fine copy.
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