Description[Theophilus Fragonard, illustrator.] Le Maistre de Sacy. Les Évangiles de Notre Seigneur Jésus-Christ. Paris: J.-J. Dubochet et Ce, Éditeurs, 1837. First edition.
[Theophilus Fragonard, illustrator.] Le Maistre de Sacy. Les Évangiles de Notre Seigneur Jésus-Christ. Paris: J.-J. Dubochet et Ce, Éditeurs, 1837. First edition. Tall octavo (10 x 6.5 inches; 255 x 165 mm). 719, [1, blank] pages. Complete with chromolithographic frontispiece of the Shroud of Turin (or "La Sainte Face") and "engraved" title accented with gold ink, title-page and sectional titles printed in red and blue, and full-page sectional frontispieces. Every page of text within pictorial, architectural, or floral borders; illustrations throughout. Contemporary full vellum by Hatchard & Son, decorative roll pattern and two single-fillet borders in gilt around a large centerpiece comprising architectural elements from a gothic cathedral (a gothic arch dominates a quatrefoil and lesser arches, columns, steeples, and buttresses) tooled in gilt with green, blue, and red morocco onlays, smooth spine with similar motifs and additional onlays including brown morocco lettering piece lettered in gilt, gilt board edges and turn-ins, blue-green coated endpapers, all edges gilt, a fore-edge painting featuring the Venetian skyline, including the Palazzo Ducale and the Campanile San Marco. Light foxing and toning throughout, mostly marginal. Boards with some soiling and some shelfwear at the edges, just exposing the pasteboard in a few instances. Lower corner of front board bumped, exposing boards. Light water stain with slight cockling to half-title and chromolithographic frontis and title. Overall a very good copy.
A beautiful edition of the four gospels translated by Louis-Isaac Le Maistre de Sacy, translator of the Port-Royal Bible. Beyond the extraordinary illustrations and vignettes by Fragonard, and am exquisite chromolithographic frontis and title highlighted in gold ink, the embellished vellum binding by Hatchard & Son is elegant and appropriate, and fanning the gilt-edged pages reveals a charming contemporary fore-edge painting of Venice in the middle nineteenth century. Carteret, III, 225.
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