NAVARRE (Marguerite de). Marguerites de la Marguerite... Lot 2

NAVARRE (Marguerite de). Marguerites de la Marguerite des princesses... [followed by] Suyte des Marguerites de la Marguerite des princesses... À Lyon, Par Jean de Tournes, 1547, 2 parts in one vol. in-8°, turquoise morocco, on the boards a frame of mosaic interlacing in bottle-green morocco, in the center a daisy mosaic in cream and bottle-green morocco, lemon morocco lining decorated with a semé de fleurettes alternately mosaic in red or blue morocco, gilt edges (Chambolle-Duru 1869, Marius Michel doreur). Collation: 1st part: 272 ff. sign. a-z8, A-L8 (L8, r°: the first mark of Jean de Tournes "au senestrochère", v°: fleuron) / 2nd part: 172 ff. sign. a-x8, y4 (y4 r°: blc, v°: fleuron identical to that of 1st part). FIRST EDITION. Published by Simon Silvius, dit de La Haye, escuier valet de chambre de la Royne. Only the "Miroir de l'âme pécheresse" and the "Histoire des satyres et des nymphes de Diane" had previously appeared. Marguerite de Navarre (1492-1549), the first French poetess to have her works printed (M. Lazard). Also known as Marguerite d'Angoulême or Marguerite de Valois, she was the sister of François I, a prince of letters over whom she exerted real influence, including politically. Highly esteemed by her contemporaries, as a woman of letters and a patron of the arts, she was one of the leading female figures of the early French Renaissance, and played a major role in the cultural blossoming of the kingdom. The Marguerites are composed of verse pieces in various forms, some of whose lyricism, like Marot's Psalms, preludes what has been called the Ronsardian revolution (J.-P. Barbier). 11 figures in the text of the second part, one in "L'Histoire des satyres et des nymphes de Diane" and the other 10 in "Le Coche". They were interpreted on wood by Bernard Salomon (?-1569), a 16th-century French engraver, also known as le Petit Bernard, who worked almost exclusively for Jean de Tournes. A luxurious copy produced in 1869 by Chambolle-Duru and Marius Michel père. In 1866, Marius Michel joined forces with his son, but the workshop was then concerned solely with gilding. They waited until 1876 to add a bookbinding workshop. The volume is preserved in a luxurious blue morocco box designed by Devauchelle. Dimensions: 163 x 101 mm. Provenance: Bruno Monnier, with his bookplate. Tchemerzine, IV, pp. 366-371; Cartier (A.), Bibliographie des éditions de Tournes, I, Éditions des bibliothèques nationales de France, pp. 36, 105 and 253-260, no. 105; Barbier (J.-P.), Ma bibliothèque poétique, I, no. 45, pp. 113-114 (for a copy in 18th-century calf, 158 mm high: "very well printed volume, has always been much sought after. Il est extrêmement difficile à trouver en reliure ancienne et en belle condition"); Rothschild, I, 626 (for a copy bound by Trautz-Bauzonnet, 169 mm high); De Backer, I,1, 1926, no. 243 (for a copy bound by Trautz-Bauzonnet, 168 mm high); Jourda (P.), Tableau chronologique des publications de Marguerite de Navarre, from Revue du XVIe siècle, XII, 1925; Lazard (M.), Les Aventures de Femynie, Fayard, 2001, pp. 275-281.