1947 · Paris
Slim quarto.( 9 Ľ” x 11 1/4" x 3/4"). 76pp plus notes and table. The letters reprinted in this textare to De. Blancy 17 Aout 1739 , De Neuille 20 Aout, De Quentin 26 Aout, De Blancey 29 Aout.31 etchings, five in color. For front cover: one color etchings of his watercolor panorama of theVenice lagoon. Four color etchings as large chapter initials and 26 etchings in black in the text.Covers and back strip bound in. Etchings printed by J.G. Daragnes. Advertising leaflet for theedition bound in.
Bound in mosaic dark-blue morocco, with panels of blue and green felt under twelve brightlycolored rectangles of yellow, red, brown and blue morocco, with title inlaid upper right Séjour AVenise. Rear cover of 16 rectangles of onlaid colored morocco over felt in blues and green.Bound by J.P. Martin 1960. Binder’s chemise and slipcase. Fine condition.
Charles de Brosses, comte de Tournay, baron de Montfalcon, seigneur de Vezins et de Prevessin(7 February 1709 – 7 May 1777). From Dijon, Brosses was president of the parliament therefrom 1741. He was an excellent antiquary writing on topics of ancient history, philosophy andliterature including Sallust (see below). He traveled not only to Italy but also to Australia in 1756(a difficulty trip in those days), doing pioneering work in oceanic anthropology.
De Brosses became a member of the Académie des Inscriptions et Belles-Lettres from 1746,and a member of the Académie des Sciences, Arts et Belles-Lettres de Dijon from 1761. Hisfamous and silly quarrel with Voltaire kept him from membership in the Académie française,(membership denied 1770). Not only on the wrong side of Voltaire, he opposed the absolutepower of the king causing his exile twice, in 1744 and 1771.
De Brosses’voyage to Italy was in search of Sallust manuscripts whose texts he wished tocompare, translate and eventually publish. He set out to visit the libraries of Bologna, Rome andFlorence in search of manuscripts; then included Venice and several other cities, studying notonly Sallust but the architectures and cultures.
The essential charm of his Italian letters “lies in their naturalness....’When I have nothing else todo, I put on my nightcap and dressing-gown and write off to you in hot haste all the farrago ofwhat has passed before my eyes or in my head’….city by city, Italy is metaphorically turnedinside out in this happily rescued sheaf of almost forgotten letters.” (Gentleman’s Magazine, Vol288. 1900).
Albert Marquet (1875-1947) French born artist. One of the original Fauves who exhibited at the1905 Salon d'Automne with Henri Matisse, André Derain, Maurice de Vlaminck, Kees vanDongen, Charles Camoin, and Jean Puy. It was in a review of this exhibition that he critic Louis Vauxcelles coined the term "fauves" in derision of the artist’s strong use of color: “fauve”‘wild beast.’
Marquet’s book Toi Qui Dormais Entre Mes Bras by Robert Houdelot, 1946 is citied inGarvey’s Artist and the Book in France (1906) #190 “Although Marquet published noillustrations early in his career, during his associations with the Fauves, this lithographedlandscape recalls the Fauves in brilliance and of color. “These comments could apply as well tothe color etchings of Quatre Lettres Familičres du Président de Brosses.
Ref: Albi, Musee Toulouse-Lautrec, Exposition Albert Marquet Cat pp. 61-61; Marquet pp. 64-65. (Inventory #: 1310)