MARIUS MICHEL [Jean & Henri-François-Victor]. La Reliure française depuis l'invention de l'imprimerie jusqu'à la fin du XVIII e siècle. Paris: Damascène Morgand & Charles Fatout, 1880. Small 2°. Engraved frontispiece by Edmond Hédouin heliogravure portrait of Trautz, 22 heliogravure plates of bindings (nine double-page), numerous illustrations, some full-page, extra-illustrated with 16 chromolithographic plates (two folding) and three plain plates (one double-page). [ Bound with :] [J. & H.-F.-V.] MARIUS MICHEL La Reliure française commerciale et industrielle. Paris: Damascène Morgand [etc.], 1881. Small 2°. 23 plates (21 forming part of the text), including a large folding plate, one plate printed in two colours and two mounted examples of designs blocked on cloth (one in gold and black on red after Giacomelli, the second in red, black and blue on cream after Jaquemart. 2 works in one volume (308 x 220mm). CITRON CRUSHED LEVANT MOROCCO À RÉPÉTION BY CHARLES-PHILIPPE DE SAMBLANX AND JACQUES WECKESSER, the sides a field of onlaid blue morocco lozenges, each with a single filt flower, separated by pointillé fillets with red morocco roundels at intersections, the spine similarly decorated, doublures of blue morocco diapered with pointillé fillets, the lozenges with single tools representing binder's implements, woven blue silk endleaves, upper printed paper wrapper of the first work and the lower of the second bound-in, g.e. (slight fraying to foremargins of silk endleaves), morocco-edged slip-case. ONE OF THE FEW COPIES ON BEAU PAPIER DU JAPON DES FABRIQUES DU MIKADO , IN A VERY FINE BINDING FROM THE OUTSTANDING BELGIAN BOOKBINDERS OF THEIR TIME, inspired by the bindings of Padeloup le jeune. The chromolithographic extra-illustrations were available for an additional FF150 from the publishers, but the number does seem to vary; the advertisement on the wrapper of the second work mentions 15 plates, the present copy contains 16. De Samblanx (1855-1943) and Weckesser (1860-1923) were both pupils of Josse Schavye, the greatest Belgian binder of the 19th century. They worked together between 1883 and 1909, and from 1889 their bindings were jointly signed. However, Weckesser was generally responsible for the design and forwarding.
MARIUS MICHEL [Jean & Henri-François-Victor]. La Reliure française depuis l'invention de l'imprimerie jusqu'à la fin du XVIII e siècle. Paris: Damascène Morgand & Charles Fatout, 1880. Small 2°. Engraved frontispiece by Edmond Hédouin heliogravure portrait of Trautz, 22 heliogravure plates of bindings (nine double-page), numerous illustrations, some full-page, extra-illustrated with 16 chromolithographic plates (two folding) and three plain plates (one double-page). [ Bound with :] [J. & H.-F.-V.] MARIUS MICHEL La Reliure française commerciale et industrielle. Paris: Damascène Morgand [etc.], 1881. Small 2°. 23 plates (21 forming part of the text), including a large folding plate, one plate printed in two colours and two mounted examples of designs blocked on cloth (one in gold and black on red after Giacomelli, the second in red, black and blue on cream after Jaquemart. 2 works in one volume (308 x 220mm). CITRON CRUSHED LEVANT MOROCCO À RÉPÉTION BY CHARLES-PHILIPPE DE SAMBLANX AND JACQUES WECKESSER, the sides a field of onlaid blue morocco lozenges, each with a single filt flower, separated by pointillé fillets with red morocco roundels at intersections, the spine similarly decorated, doublures of blue morocco diapered with pointillé fillets, the lozenges with single tools representing binder's implements, woven blue silk endleaves, upper printed paper wrapper of the first work and the lower of the second bound-in, g.e. (slight fraying to foremargins of silk endleaves), morocco-edged slip-case. ONE OF THE FEW COPIES ON BEAU PAPIER DU JAPON DES FABRIQUES DU MIKADO , IN A VERY FINE BINDING FROM THE OUTSTANDING BELGIAN BOOKBINDERS OF THEIR TIME, inspired by the bindings of Padeloup le jeune. The chromolithographic extra-illustrations were available for an additional FF150 from the publishers, but the number does seem to vary; the advertisement on the wrapper of the second work mentions 15 plates, the present copy contains 16. De Samblanx (1855-1943) and Weckesser (1860-1923) were both pupils of Josse Schavye, the greatest Belgian binder of the 19th century. They worked together between 1883 and 1909, and from 1889 their bindings were jointly signed. However, Weckesser was generally responsible for the design and forwarding.
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
