LE TEMPLE DE GNIDE, SUIVI D'ARSACE ET ISMÉNIE

Rouen: J. Lemonnyer, 1881. No. 51 OF 50 COPIES on papier de Chine (numbered 51-100), from a total edition of 200. 280 x 182 mm. (11 x 7 1/4"). [3] p.l., xxxiii [1], 160 pp., [3] leaves (table of contents, blank, ads).
Fine late 19th century mahogany morocco, gilt, by David and Domont (stamp-signed on turn-ins), the covers with triple roll-tooled borders, the central frame with scrolling floral cornerpieces flanked with doves, raised bands, spine similarly gilt in compartments, wide turn-ins tooled with doves flanking alternating torches and arrows, marbled endpapers, all edges gilt. In a black and tan suede-lined board slipcase. With a total of 45 plates, made up of 15 engravings in three states, each printed in sanguine, bistre, and black. The two title pages (one on blue paper) printed in red and black. A Large Paper Copy. Crimson morocco book label of Cortlandt F. Bishop to the front pastedown. Vicaire V, 1102. Spine a bit dulled, a hint of rubbing to front joint alongside top compartment, one leaf with a half-inch tear to the lower margin, but a very pleasing copy, with fresh, bright leaves, immense margins, and a lustrous decorative binding.

Attractively printed with enormous margins, this bibliophile’s copy of Montesquieu’s important poems on love is finely bound and profusely illustrated with a lovely triple suite of engravings. By far the most important work in this collection is "Le Temple de Gnide," first published by Montesquieu (1689-1755) in 1725 and immediately put on the Index because of its conspicuous sexual content. Composed of seven cantos, this long prose poem explores the various forms of love, from tender to erotic, and is notable for the way it is constructed. The other two poems, "Arsace" and "Isménie," are similarly tales of love, set against Neoclassical and Orientalist backgrounds, respectively. The poetry is accompanied by engravings of Noel Le Mire (1724-1801) after Charles Eisen (1720-78) and Jean Jacques François Le Barbier (1738-1826), which originally appeared in the 1772 edition of "Le Temple de Gnide" and the subsequent publications of the other two works. Furstenberg says that "the delicate sensuality of the women's bodies glorified in these illustrations was never outdone," and he indicates that they represented Le Mire's "lasting claim to fame." Cohen-De Ricci says the plates are "ravishing," both in terms of composition and engraving. The binding is a joint effort between Bernard David, who trained with Gruel, and gilder Jules Domont (1847-1931), who learned his craft from Koehler and Marius Michel père before setting up independently. According to Flety, all the late 19th century binders who did not have a "doreur" in their own atelier turned to Domont, whose expertise was widely admired. This copy also has a distinguished provenance. The library of Cortlandt F. Bishop (1870-1935) contained rarities of great value in the fields of illuminated manuscripts, early printing, and English literature, but was especially rich in fine bindings. Bishop was in many ways the heir to the bibliophilic eminence of Robert Hoe, the most famous of all American book collectors, the first president of the Grolier Club, and a renowned lover of fine bindings.. (Inventory #: ST19567-189)