Watercolors <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?Book%20Type=Signed%2520and%2520Inscribed" rel="noopener noreferrer" target="_blank">signed</a> by Jacques Barraband for the <a href="https://www.sothebys.com/en/search?query=Description%20de%20L%27Egypte&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Description de L'Egypte</a>.&nbsp;<ul><li>Sold as a set of 3.</li><li>Jacques Barraband (French, 1768-1809).</li><li>[L'aigle criard; L'aigle criard (jeune); L'élanoide blanc / The Greater Spotted Eagle; The Greater Spotted Eagle (young); White swallow-tailed kite).</li><li>Circa 1801.</li><li>Watercolors with gouache highlights on the pencil line.</li><li>These three watercolors are plate numbers one and two in vol. I, Zoologie.</li><li>2 of the 3 watercolors described here are signed: 1 is unsigned as it was part of the other signed plate.</li><li>Each is presented framed.</li></ul> Jacques Barraband (1767-1809) was one of the finest ornithological artists of his time. The son of a weaver at the Aubusson Factory, he is first mentioned as a pupil of Joseph Malaine (1745-1809), the eminent flower painter, and is known to have worked for both the Gobelin Factory and the porcelain factory of Sèvres. These watercolors are excellent examples of Barraband's remarkable talent and meticulous detail when it came to depicting plumage and color. These watercolors were in fact intended to illustrate the System of Birds of Egypt and Syria written by the zoologist Marie-Jules César Lelorme de Savigny (1777-1851) and published in 1809. This text was itself part of Volume I of the Natural History of the Description of Egypt, or Collection of observations and research that were made in Egypt during the expedition of the French army, published by the orders of his majesty the Emperor Napoleon the Great. This work, which consisted of 9 volumes of texts and 11 volumes of plates, was the fruit of the important scientific expedition that accompanied Napoleon's Egyptian campaign which was launched in April 1798. The Description de l'Egypte work aimed to highlight the greatness of Egypt, which at the time was extremely popular in Europe. In order to produce the most complete vision of Egypt, as well as the antiquities and architecture, the fauna and flora were also described with contributions by scholars such as Etienne Geoffroy Saint-Hilaire, whose texts Barraband also illustrates. In total, the artist contributed 44 plates of birds to the Description de l'Egypt. His drawings were then engraved for Savigny were engraved by Louis Bouquet. The richness and quality of Barraband's work was recognized as early as 1804, when he was awarded a gold medal for his illustrations for the Description de l'Egypt and Levaillant's Natural History.

Signed Watercolors for the Description de L'Egypte

Bibliotheca Brookeriana VIII

[BORGHINI, VINCENZO]. Esequie del divino Michelagnolo Buonarroti celebrate in Firenze dall'Accademia de Pittori, Scultori, & Architettori. Nella chiesa di S. Lorenzo il di 28 Giugno MDLXIIII. Florence: Giunta, 1564

[BORGHINI, VINCENZO]. Esequie del divino Michelagnolo Buonarroti celebrate in Firenze dall'Accademia de Pittori, Scultori, & Architettori. Nella chiesa di S. Lorenzo il di 28 Giugno MDLXIIII. Florence: Giunta, 1564 A record of the funeral of Michelangelo, held in the church of San Lorenzo in Florence in 1564; although he died in Rome, on 18 February 1564, his body was taken to Florence and given an elaborate and state-organised funeral. Vincenzo Borghini was the vice-president of the Accademia at this time, and the obsequies were lavish enough to surpass those of the Medici themselves. As well as a description of the funeral, there are letters and verses lauding Michelangelo from numerous people (including Benedetto Varchi, Agnolo Bronzino and Laura Battiferri). The compiler of this volume was probably Jacopo Giunta, who signed the preface; Borghini was in charge of the paintings made for the funeral. For Varchi's funeral oration on this occasion, see lot 630. There are two issues of this work recorded, one with the original date for the funeral, as here, and one with 14 July, the date that the funeral service was actually held. It is thought that Giunta printed the sheets in advance of the funeral date, then reprinted the first two quires with the correct date of the funeral on the title-page. The binding is plausibly reused from a volume in the Lamoignon library, as the library label with the shelfmark Q is visible beneath the modern pastedown. 4to (188 x 123 mm). Roman and italic type, 37 lines. Collation: A-E4 F2: 22 leaves. Woodcut printer's device on title-page, woodcut initials. (Title-page soiled, small stain on first two leaves, other light staining.) Binding: Later binding of limp vellum (195 x 134 mm), reused from a thicker volume, blue painted strip around spine, modern pastedowns. (Sewing not very even with some gaps showing between quires.) Acquisition: Purchased in 1989 from Leona Rostenberg, New York. References: Edit16 18289; Pettas 391

View 1 of Lot 54: [Borghini], Esequie del divino Michelagnolo, Florence, 1564, later limp vellum

[borghini], esequie del divino michelagnolo, florence, 1564, later limp vellum

BEMBO, PIETRO. Epistolarum Leonis decimi pontificis maximi nomine scriptarum libri XVI. Placuit praeterea ejusdem autoris epistolas aliquot sanequam doctas adnectere, videlicet ad Longolium III; ad Budaeum II; ad Erasmum I. Lyon: Thibaud Payen, 1540

View 1 of Lot 36: Bembo, Epistolarum libri XVI, Lyon, 1540, Roman impresa binding by Niccolò Franzese for Apollonio Filareto

bembo, epistolarum libri xvi, lyon, 1540, roman impresa binding by niccolò franzese for apollonio filareto

CARTARI, VINCENZO. Seconda novissima editione delle imagini de gli dei delli antichi di Vicenzo Cartari reggiano. Ridotte da capo a piedi alle loro reali, & non più per l'adietro osservate simiglianze. Cavate da' Marmi, Bronzi, Medaglie, Gioie, & altre memorie antiche; con esquisito studio, & da particolare diligenza da Lorenzo Pignoria Padovano. Aggiontevi le annotationi del medesimo sopra tutta l'opera… Con le Allegorie sopra le Imagini di Cesare Malfatti Padovano… Et un Catalogo di cento più famosi Dei della gentilità. Con l'aggiunta d'un'altro Catalogo de gl'Autori Antichi, & Moderni, che hanno trattato questa materia, ordinato & raccolto dal medesimo Pignoria… Padua: Pietro Paolo Tozzi, 1626

CARTARI, VINCENZO. Seconda novissima editione delle imagini de gli dei delli antichi di Vicenzo Cartari reggiano. Ridotte da capo a piedi alle loro reali, & non più per l'adietro osservate simiglianze. Cavate da' Marmi, Bronzi, Medaglie, Gioie, & altre memorie antiche; con esquisito studio, & da particolare diligenza da Lorenzo Pignoria Padovano. Aggiontevi le annotationi del medesimo sopra tutta l'opera… Con le Allegorie sopra le Imagini di Cesare Malfatti Padovano… Et un Catalogo di cento più famosi Dei della gentilità. Con l'aggiunta d'un'altro Catalogo de gl'Autori Antichi, & Moderni, che hanno trattato questa materia, ordinato & raccolto dal medesimo Pignoria… Padua: Pietro Paolo Tozzi, 1626 This is a reprint of Lorenzo Pignoria's 1615 revised edition of Vincenzo Cartari's Le imagini de i dei de gli antichi, a compendium of Greco-Roman Gods. Pignoria's revisions to Cartari's work focused the work on a history of idolatry, and he added a seconda parte, which addresses 'Indian Gods'. In this treatise he draws comparison between Mexican drawings of idols, and the iconography of Ancient Egypt. He also includes images of a series of 'Japanese figures', drawn from reports provided by Jesuit missionaries. Significantly, Pignoria criticised the illustrations that had been included in previous editions of Cartari's work, and he commissioned Filippo Ferroverde to produce woodcuts that were based on archaeological research and drawn from artefacts, rather than relying on descriptions. 4to (218 x 154 mm). Roman type, 43 lines plus headline. Collation: π2 +8 a6 A-Z8 Aa-Ll8 ++2 Mm-Oo8: 313 leaves (of 314, without final blank). Half-title, title-page printed in red and black with woodcut printer's device, woodcut initials, head- and tailpieces, numerous woodcut illustrations, two folding woodcut plates. (Title-page shaved at foot, marginal rust hole to D5-8, 2O1 becoming detached with tear at gutter, 2M3 two marginal holes, 2D7 small marginal hole, I8 marginal hole and repair, occasional light staining or browning). Binding: Seventeenth-century vellum (224 x 162 mm), paper label on spine with manuscript lettering. (Binding lightly soiled, paper label slightly defective.) Provenance: Petit Seminaire d'Auxerre, blue ink stamp to half-title and verso of 2O7. Acquisition: Purchased in 1990 from Diana Parikian, Oxford. References: USTC 4003699; P. von Wyss-Giacosa, 'Through the Eyes of Idolatry: Pignoria's 1615 Argument on the Conformità of Idols from the West and East Indies with Egyptian Gods' in Through your eyes: religious alterity and the early modern Western imagination (2021), 103-144

View 1 of Lot 64: Cartari, Seconda novissima editione delle imagini de gli dei, Padua, 1626, contemporary vellum

cartari, seconda novissima editione delle imagini de gli dei, padua, 1626, contemporary vellum

GIOVO, PAOLO. Le sententiose imprese di monsignor Paulo Giovio, et del signor Gabriel Symeoni, ridotte in rima per il detto Symeoni. Lyon: Guillaume Rouille, 1562

GIOVO, PAOLO. Le sententiose imprese di monsignor Paulo Giovio, et del signor Gabriel Symeoni, ridotte in rima per il detto Symeoni. Lyon: Guillaume Rouille, 1562 An illustrated version of Giovio's imprese, however this edition comprises an emblem for a particular person (ranging from the Emperor Titus to Lodovico Domenichi) with motto and four-line verse description by Simeoni, replacing Giovio's original prose text. It was first printed by Rouille in 1560 to form a companion volume to Simeoni's Dialogo pio e speculativo. 4to (211 x 147 mm). Roman and italic type. Collation: a-r4: 67 leaves (of 68, without final blank). Woodcut printer's device on title-page, woodcut initials and headpieces, woodcut illustrations. (Some marginal foxing, small ink hole in woodcut on h2, small stain on o3v, Erasmus's name crossed through on q3.) Binding: Later vellum (215 x 160 mm), flat spine gilt with red morocco lettering-piece with horizontal lettering, red edges. Provenance: Discalced Carmelites of San Girolamo, Padua (founded 1669), inscription at foot of title-page — Dallington House (Northampton?), ink stamp on title-page. Acquisition: Purchased in 1991 from Bernard Quaritch, London. References: Adams, Rawles and Saunders F.266; Landwehr, Romanic Emblem Books 341; USTC 116057; von Gültlingen X, Rouille 563

View 1 of Lot 152: Giovio, Le sententiose imprese, Lyon, 1562, later vellum

giovio, le sententiose imprese, lyon, 1562, later vellum

FERRERI-VENTIMIGLIA FAMILIES. Copies of notarial acts and agreements (executed 1557–1571) documenting the financial affairs of Simone II (1529–1560) and Giovanni III (1559–1619) Ventimiglia, 7th and 8th marchesi di Geraci, and the brothers Bernardo (ca. 1513–1575), Nicolò (d. 1568), and Paolo (d. 1575) Ferreri. Manuscript on paper [Palermo, Sicily, ca. 1572]

FERRERI-VENTIMIGLIA FAMILIES. Copies of notarial acts and agreements (executed 1557–1571) documenting the financial affairs of Simone II (1529–1560) and Giovanni III (1559–1619) Ventimiglia, 7th and 8th marchesi di Geraci, and the brothers Bernardo (ca. 1513–1575), Nicolò (d. 1568), and Paolo (d. 1575) Ferreri. Manuscript on paper [Palermo, Sicily, ca. 1572] This volume preserves the Ferreri family’s copies of agreements they made with the Ventimiglia family, marquises of Geraci, between about 1557 and 1571. Long-standing financial instability had impelled the Ventimiglia to mortgage and eventually surrender their Sicilian feudal estates and even entire baronies to the Ferreri brothers, Ligurian noblemen and entrepreneurs, involved in the wholesale grain trade, tax collecting, and moneylending, from a base at Sciacca in western Sicily. Each of the Ferreri brothers managed a different part of the business, with Paolo (d. 1576) devoting himself with ever greater success to banking and ship-owning. In a long series of transactions, he and his elder brother Nicolò had acquired loans secured by Ventimiglia properties, and by 1572 Giovanni III Ventimiglia was forced to sell his feudal estates of Pollina and San Mauro to Paolo, and a year later, to accept the return of those fiefs in exchange for the baronies of Pettineo and Migaido (Cancila, I Ventimiglia di Geraci (1258–1619), [Palermo, 2016]). The eldest of the three brothers, Bernardo, returned to Savona about 1547, where he built a palace in the Via Quarda Superiore (afterwards Grassi Lamba Doria), leaving Nicolò and Paolo in Sicily to manage the business. Bernardo came back to Sicily in 1567 during a credit crisis; however, he was unable to save Nicolò, who was bankrupted, and executed under torture in 1568 by order of the Viceroy, Francesco Ferdinando d’Ávalos, Marquis de Pescara. Paolo continued to prosper and in 1571 he commenced building a palace in Palermo. Upon Paolo’s death (28 December 1575), his estates and the barony of Pettineo passed to the elder of his two daughters, Geromima, who (by papal dispensation) married in 1580 her cousin (Bernardo’s son, Marcantonio), securing thereby the family wealth. The Sicilian nobility often repaid loans with marriage contracts, and so, in 1599, Paolo’s other daughter, Violante, married Simone Ventimiglia. Eight volumes of documents concerning the Ferrari family’s financial affairs have been seen in the market (see list below). This and three other volumes have the Ferreri coat of arms within a cartouche in the centers of the covers; another has the initials “B.F.” (Bernardo Ferreri) at the top of its upper cover. The remaining three bindings have a center ornament composed of four fleurons surrounded by stars, and no external sign of Ferreri ownership. The bindings on these eight volumes fall into three groups, with no links between them : Bindings in the largest group (nos. 2, 4, 5, 6) have two tools in common: a palmette leaf (used to fill a border); and a fleuron (used to compose a center ornament on 2, 5, 6; placed at corners of the border on 2, 5, 6; placed elsewhere amongst swirling stems on 2, 4, 5). Only no. 4 of this group displays the Ferreri arms (D’oro a tre bande d’azzurro).The bindings in the second group (nos. 1, 3, 7) have in common a center block containing painted arms of the Ferreri family (1, 3); a border filled with leafy branches (3, 7); a fleuron (repeated at inner corners of the frame on 3, 7); a triple-dot tool in the background (1, 3, 7).No image is available for the binding in the third group (no. 8), which De Marinis described as “Marr. castano; sui piatti, in alto, le iniziali B.F. Bindelle di seta verde; taglio inciso.” Judging by available descriptions, no document in these eight volumes postdates the death of Bernardo Ferreri (1575). One binding (8) probably was commissioned by Bernardo, as it bears his initials on the cover. Another (2)—containing contracts for purchases Bernardo made of grain and land from Paolo in 1571–1572, and also copies of Paolo’s testament (3 December 1571), as well as his own (28 August 1572)—may also have belonged to Bernardo. The remaining six volumes house mostly documents relating either to Nicolò and Paulo’s transactions, or to Paolo’s transactions alone, with Giovanni III Ventimiglia and his widowed mother, Maria Antonia (1539–1585), who held the right (ius luendi) of repurchase of the mortgaged estates. A post-mortem inventory of Paolo’s chattels, conducted by the Palermitan notary Giacomo Vacante, 21 March 1576, is said to list 59 volumes of documents relating to his and Nicolò’s business activities, each composed of about 200 folios, of which some were “libri” and the rest “giornale” (presumably day-ledgers). It may be that these eight volumes were once part of the same business archive. When they began to leak onto the market in the mid-1950s, Anthony Hobson considered these bindings to be products of a Sicilian workshop (1956), despite the lack of comparable examples. Frederick Adams soon opined that the tools were Venetian (1958), and De Marinis, in his entry for the present volume (1966), embroidered that argument. Howard Nixon was undecided (1971), wondering whether one group might be Venetian and the other perhaps Sicilian, decorated with tools transported there from Venice. Mirjam Foot favored Venice (1978, 2010). Hobson’s final comment (1989) was that all the bindings must be Venetian, or all Sicilian. Although some volumes contain numerous blank leaves (44 in no. 1, 22 in no. 2, about 30 in 3, 149 in no. 4, etc.), the conjecture that these might have been “blank books”, obtained in Venice, or elsewhere, with the documents copied in later, is untenable. Small losses caused by the binder’s knife (in no. 1), the folding and docketing of the quires (in no. 2), together with other evidence, prove that the documents were already written when bound in the volume. Since is difficult to imagine that the documents were transcribed anywhere but in Palermo—indeed, several in no. 6 are attested “facta Collatione cum originale” by the Palermitan notary, Giovanni Domenico Licciardi—it follows that they were either bound locally or transported from Sicily to the Italian peninsula for binding. The Ferreri were shipowners; however, their routes were directed towards Spain and towards Genoa and Lyon, not Venice. The cataloguers of these volumes have given little information about the watermarks in the paper. The endleaves of (1) are reported to be a paper with watermark of “a crescent with lunar penumbra surmounted by a trefoil cross, accompanied by the letters AI, very similar to Briquet no. 5249,” a paper of “indisputably Genoese origin” (Adams, p. 37). The watermark in the endpapers of (6) is a circle, charged with three birds, surmounted by a cross and accompanied by the letters “A I”, not recorded by Briquet, but probably from the same maker as Briquet 5249. Several documents in the present volume (4) and in (6) are written on a paper with a large glove or gantelet mark with cinquefoil and initials “M J”, another Genoese paper (Briquet 343). Similar marks with (and without) the letter “A” occur in the present volume (4). The watermarks of a crescent and cross and a circle charged with three birds have not been observed. Folio (301 x 210 mm). Manuscript on paper, 256 leaves, written in a fine chancery hand on both sides of the first 107 leaves (the others are blank). Binding: Italian (probably Sicilian, although Venice and Genoa have also been suggested) olive morocco (305 x 216 mm), 1570s, for a member of the Ferreri family, profusely gilt, on both covers the centered Ferreri arms in a circular field formed by a wreath and dotted with stars, in the central panel an overall pattern produced by an arabesque tool of a curved tendril ending in an empty leaf, interspersed with stars, rosettes, and a solid fleuron, broad border formed by a large floral and a small leafy tool and gilt and blind fillets, rosettes at outer corners; on spine 5 full and 6 half bands, blind lines in compartments, in centers gilt rosette, at head and tail gilt cross-hatchings, 4 pairs of original blue fabric ties, edges gilt and richly gauffered to a floral arabesque design. (Slightest rubbing at extremities, small scrape at top right corner of front cover, but essentially without flaw.) Green cloth folding-case (broken). Provenance: Bernardo Ferreri (d. 1575), or another member of his family — Martin Breslauer, London (Catalogue 90, [1958], item 36 & Pl. 19, £350); Catalogue 92, [1960], item 103 & Pl. 27, £350) — Jean Fürstenberg (1890–1982) — Martin Breslauer Inc., New York (Catalogue 104/II [1981], item 172, $16,000). Acquisition: Purchased from Martin Breslauer Inc., 1991. References: Adams, Eighth Annual Report to the Fellows of the Pierpont Morgan Library (New York, 1958), pp. 38–38 (p. 37); Exposition de reliures de la Renaissance: collection Jean Furstenberg : 30 September 1961 (Paris, 1961), no. 51 Musée d’art et d’histoire, Collection Jean Furstenberg : 3 mai–5 juin 1966 (Geneva, 1966), no. 71; De Marinis, Die italienischen Renaissance-Einbände der Bibliothek Fürstenberg (Hamburg, 1966), pp. 174–175; for the Ferreri-Ventimiglia business archives, see: Filangeri, “Il palazzo di Paolo Ferreri a Palermo” in Atti della Accademia di Scienze Lettere e Arti di Palermo, Parte seconda: Lettere, fifth series, 15 (1994–1995), pp. 121–170 List of bindings (1) Notarial documents, 1567-1569 ● New York, Morgan Library & Museum, MA 1757 Pierpont Morgan Library, Eighth Annual Report to the Fellows (New York 1958), pp.36-38; Howard Nixon, Sixteenth century gold-tooled bookbindings in the Pierpont Morgan Library (New York 1971), no. 48 (2) Notarial documents, 1571-1572 ● Sotheby & Co., Catalogue of printed books, illuminated manuscripts, autograph letters and historical documents, London, 25-27 June 1956, lot 630 ● Maggs Bros, London - bought in sale (£115) ● John Roland Abbey (1894-1969); Sotheby’s, Catalogue of the celebrated library of the late Major J.R. Abbey. The eleventh and final portion, London, 19 June 1989, lot 3039 ● “Brown” - bought in sale (£15,400) (3) Notarial documents, 1567-1569 ● Sotheby & Co., Printed books, illuminated manuscripts, fine bindings, autograph letters and historical documents, London, 22-23 October 1956, lot 167 ● “Rivers” - bought in sale (£115) ● Charles van der Elst (1904-1982); Ader Picard Tajan & Claude Guérin with Dominique Courvoisier, Précieux livres anciens, Monte Carlo, 13 May 1985, lot 87 ● unidentified owner - bought in sale (FF 120,000); Nixon, op. cit., p.188 (4) Notarial documents, 1557-1571 ● the volume here offered for sale (5) Notarial documents, [dates unknown] ● Karlsruhe, Badische Landesbibliothek, 74 B 413 RE; Franz Anselm Schmitt, Kostbare Einbände, seltene Drucke : aus der Schatzkammer der Badischen Landesbibliothek : Neuerwerbungen 1955 bis 1974 (Karlsruhe 1974), pp.42-43 (“238 Bl., [binding] etwa 1560.”) (6) Notarial documents, 1572-1573 ● Il Polifilo, Milan, exlibris ● Sotheby & Co., Catalogue of valuable printed books, autograph letters and historical documents, London, 13-14 March 1961, lot 441 ● Henry Davis (1897-1977) ● British Library, Henry Davis Gift 870 Mirjam Foot, The Henry Davis Gift : A Collection of bookbindings, Volume 1: Studies in the history of bookbinding (London 1978), p.318; The Henry Davis Gift : A Collection of bookbindings, Volume 3: A Catalogue of South-European bindings (London 2010), no. 345 (7) Notarial documents, 1559-1573 ● Pierre Berès, Paris; Pierre Bergé et associés & Jean-Baptiste de Proyart, Pierre Berès, 80 ans de passion : 6eme vente, fonds de la librairie Pierre Berès, des incunables à nos jours, 4eme partie, Paris, 17-18 December 2007, lot 384 (€30,360) ● Librairie Amélie Sourget; “Firsts Italia” (Prima Mostra Mercato Virtuale del Libro Antico e Raro, 18-22 March 2021, €49,000) (8) Notarial documents, [dates unknown] ● Andrea Bocca ● possibly Martin Breslauer, London (a pencil note by Henry Davis in his volume, now British Library, reports “Febr[uary] 1964. A further binding offered by Breslauer with the Ferreri Arms and initials B.F. Documents on vellum dated 1567-1567”); Tammaro De Marinis, La Legatura artistica in Italia nei secoli XV e XVI (Florence 1960), no. 2498 (Turin, Andrea Bocca)

View 1 of Lot 125: Ferreri and Ventimiglia families, copies of notarial acts, [Sicily, 1560s], Venetian olive morocco for a member of the Ferreri family

ferreri and ventimiglia families, copies of notarial acts, [sicily, 1560s], venetian olive morocco for a member of the ferreri family

GOHORY, JACQUES. Hystoria Jasonis, Thessaliae principis, de Colchica velleris aurei expeditione, cum figuris aere excusis earumque expositione, versibus priscorum poetarum. Paris: [Jean de Mauregard], 1563

GOHORY, JACQUES. Hystoria Jasonis, Thessaliae principis, de Colchica velleris aurei expeditione, cum figuris aere excusis earumque expositione, versibus priscorum poetarum. Paris: [Jean de Mauregard], 1563 A suite of twenty-six engravings illustrating the Greek myth of Jason and the Golden Fleece. The promoter or publisher of the volume was Jehan de Mauregard, a clerk of the court (“Greffier des Prévosté et soubaillie de Poissy”) in the Ile-de-France. In a dedicatory epistle to the young King Charles IX, Mauregard states that the prints were engraved after a set of drawings he had commissioned from the Flemish painter and designer Léonard Thiry, an artist in the Fontainebleau studios of Rosso Fiorentino and Primaticcio. The printmaker was René Boyvin, a specialist in engraving designs of the Fontainebleau artists. Captions for the prints were composed at Mauregard’s request by Jacques Gohory (1520–1576), and the suite was published simultaneously with the preliminary text and captions in French translation. Copies of the Latin and French issues were specially prepared, presumably for distribution by Mauregard himself. The present copy was bound for Nicolas Dangu (1526–1567), Conseiller du roi and Maître des requêtes to the rulers of Navarre, Henri II d’Albret (brother-in-law of François I), Jeanne d’Albret and Antoine de Bourbon. Another copy of the Latin issue (Morgan Library & Museum, 15450), also in an architectural binding, was presented to Vincenzo Lauro (1523–1592), personal physician to the late Antoine de Bourbon, King of Navarre (d. 17 November 1562), and one of two doctors attending the fatally wounded François Duc de Guise (d. 24 February 1563). Although differing in design, both bindings are likely to have been produced in the same shop. Nicolas Dangu was the natural son of Antoine Du Prat (1463–1535), chancellor of France and cardinal, and “demoiselle Dangu” (perhaps Louise de Ferrières, seigneuresse Dangu); his birth was legitimized by lettres patentes, September 1540. Appointed at birth a priest in the diocese of Chartres and abbot of Notre-Dame de Juilly (Seine-et-Marne), Nicolas was named by François I in 1538 abbot of Saint-Savin-en-Lavedan, and in 1539 bishop of Sées (Orne), and in 1545, aged 19, he became bishop of Mende (1545–1567) and comte de Gévaudan (a title devolved on the bishops of Mende). Nicolas became an intimate of Marguérite d’Angoulême, the King’s sister, and is one of the male narrators of her Heptameron (Dagoucin). From 1555 onwards, Dangu was Conseiller du roi and Maître des requêtes to the sovereigns of Navarre. On 6 February 1563, he received lettres de requête from Jeanne d’Albret, conferring wide-ranging powers of financial administration, and this could explain why Jehan de Mauregard presented Dangu with a copy of the Hystoria Jasonis (Mauregard’s dedication to Charles IX is dated 3 July and the privilege, 14 July 1563). Dangu thereafter occupied himself with restoration of the abbey of Juilly, and he was buried there in 1567. At an uncertain date, before 1547, Dangu had been granted arms: D’azur à la fasce d’or, chargée d’une fleur de lys de gueule, accompagnée de 3 molettes d’or 2 & 1. The motto on upper cover “Ditat servata fides” (Loyalty preserved enriches) has no known association with Nicolas Dangu. It is possible that this motto as well as the binding decoration of cornucopia were borrowed from Gabriele Simeoni’s woodcut emblem “Un fidele amico o servitore” first published in 1559 in Imprese heroiche et morali (Lyon Guillaume Rouillé, 1559), p. 32. (A copy of this work is in Bibliotheca Brookeriana and will be offered in a subsequent sale.) When this copy was offered for sale in 1891, it was lacking seven plates (nos. 4, 19, 18, 20, 22, 23, 25). The copy was subsequently “completed” by introducing seven plates from the 1563 French edition of the book, each trimmed to the platemark and window-mounted to match the size of the others. On the verso of these seven plates is the inscription of Naudet, marchand d’estampes au Louvre, dated 1810 (see Frits Lugt, Les Marques de collections de dessins & d’estampes, online edition, no. 1937). Sixteenth-century bindings with architectural decoration are of great rarity (see Hobson, Maioli, pp. 18–36). The existence of another copy of the same book in an architectural binding strongly suggests that both are presentation copies, produced at the same time and probably in the same place. The copy of the Hystoria Jasonis in the Morgan Library & Museum is bound in gold-tooled brown calf, with dark brown marbled goatskin onlays, and blue-gray paint, in the manner of Dangu’s copy. The design is a triumphal arch of three bays, formed by Ionic columns on pedestals, with a triangular pediment flanked by cornucopias. In the central bay is a wreath enclosing a shield bearing the arms of Vincenzo Lauro (Lauri, Laureus; 1523–1592). Born in Tropea, Calabria, Lauro studied medicine and theology at Naples and Padua, then served successively in Rome as private secretary and doctor to Cardinals Pietro Paolo Parisi and Nicola Gaddi, before in 1552 entering the service of the powerful Cardinal François de Tournon. Lauro developed close personal relationships at the French court, and after the Cardinal’s death (21 April 1562), he became physician in ordinary to Antoine de Bourbon, king of Navarre, and reputedly was present during the King’s last illness, persuading him to confess and receive the holy viaticum (9 November 1562). Lauro was one of two doctors who rushed to attend the wounded François Duc de Guise (18 February 1563; died 24 February). He was also in service to Catherine de’ Medici, then acting as Regent for her young son, Charles IX. Lauro afterwards returned to Italy, became the physician of Duke Emanuele Filiberto di Savoia, was elected bishop of Mondovì (1566), and created Cardinal (1583). In his testament, he left his library to the Collegio Romano. Oblong folio (274 x 360 mm). Roman and italic types, 29 lines plus headline. Title and 4 leaves letterpress with two large woodcut initials, 26 engraved plates in second state (small numbers added at the top of each plate), each printed from two matrices (the captions from separate copper strips), neat early manuscript commentary below captions of most plates. (7 plates supplied from the 1563 French edition [see main description], plate 12 misbound, occasional soiling, lightly washed.) Binding: Parisian architectural citron morocco over pasteboard (282 x 373 mm), 1563, tooled in gold with marbled onlays forming columns, base, and entablature, black staining, red and blue-gray paint, arms of Nicolas Dangu as abbé de Juilly on covers, flanked by large cornucopia, motto “Ditat Servata Fides” tooled on entablature, flat spine with bands of cablework tool, hatched quatrefoil in compartments, gilt edges. (Tooling on spine reworked, but does not appear to be rebacked, board edges and joints rubbed and restored, several cuts or scratches to front cover.) Green cloth folding-case. Provenance: Nicolas Dangu (presentation binding, with his arms on cover) — captions on the Latin plates translated into French in an early hand (unidentified) — “De Noser” (inscription on title-page [washed]) — Hippolyte Destailleur (1822–1893; Maurice Delestre & Librairie Damascène Morgand, Catalogue de livres rares et précieux composant la bibliothèque de M. Hippolyte Destailleur, Paris, 13–25 April 1891, lot 1637: “L’exemplaire est incomplet de 7 planches dont 3 sont remplacées par des épreuves d’un tirage postérieur en plus petit format"), purchased by — Francis Greppe, Paris (FF485) — Louis Cartier (1875–1942), by succession to — his daughter, Anne-Marie Cartier Revillon (1900–1968; Étienne Ader, Lucien Lefèvre & Claude Guérin, Livres précieux provenant de la bibliothèque Louis Cartier, Paris, 1–2 March 1962, lot 31) purchased by — unidentified owner (FF 3500) — Michel Wittock (1936–2020; Christie’s, London, 7 July 2004, lot 62). Acquisition: Purchased at the Wittock sale through Robin Halwas. References: FB 72279; USTC 199425; for the binding, see G. D. Hobson, Maioli, Canevari and Others (London, 1926), p. 34, no. VI; Société Royale des Bibliophiles et Iconophiles de Belgique, Reflets de la bibliophilie en Belgique III: Exposition à la Bibliothèque Royale Albert Ier du 20 novembre au 18 décembre 1976 (Brussels, 1976), no. 23 & Pl. 6; Cinq siècles d’ornements dans le décor extérieur du livre, 1515-1983, catalogue succinct des reliures exposées à l’occasion de l’inauguration de la Bibliotheca Wittockiana (Brussels 1983), no. 37; Culot, “Présence d’un bibliophile,” in L'Œil: Revue d’art mensuelle 348–349 (July–August 1984), pp. 34–37 & Fig. 8; A. Hobson & Culot, Italian and French 16th-century Bookbindings [in the Bibliotheca Wittockiana] (Brussels, 1991), no. 55; for the binding of the Morgan copy, see Nixon, Sixteenth-century Gold-tooled Bookbindings in the Pierpont Morgan Library (New York, 1971), no. 43; Needham, Twelve Centuries of Bookbindings 400–1600 (New York, 1979), pp. 244–247; Macchi, “Una legatura rinascimentale italiana del genere ‘architettonico’ alla Biblioteca Queriniana di Brescia,” in Misinta 31 (2008), pp. 27–36 (p.33, Fig. 7)

View 1 of Lot 153: Gohory, Hystoria Jasonis, Paris, 1563, Parisian architectural binding for Nicolas Dangu

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