LA CATHÉDRALE

Paris: Collection Éclectique, A. Blaizot - R. Kieffer, 1909. No. 45 of 250 COPIES, this one of 30 on Japanese vellum, with etchings in three states. 290 x 205 mm. (11 1/2 x 8"). 2 p.l., 359, [1] pp.
SPLENDID SHELL-PINK MOROCCO, RICHLY GILT AND INLAID IN CATHEDRAL STYLE, BY CHARLES DE SAMBLANX (stamp-signed at foot of spine), covers framed with gothic-arch and rose-window-motifs executed in turquoise blue, petal pink, citron, and celadon morocco and gilt, raised bands, spine compartments with inlaid and gilt rose window centerpiece framed by gothic arches, gilt lettering, MOSAIC MOROCCO DOUBLURES with stained glass window design executed in shell pink, turquoise, and petal pink morocco and much gilt, pale lavender silk endleaves, all edges gilt. Original illustrated paper wrappers bound in. House in a (negligibly chafed) leather-lined, matching morocco trimmed chemise in a (slightly worn) morocco-lipped marbled paper slipcase. With 64 ETCHINGS, as called for, ALL IN THREE STATES (eau-forte pure, before letters, and with letters), consisting of 16 chapter openings (occupying two-thirds to three-quarters of a page) 16 in-text illustrations (one-half to three-quarters of a page), 16 full-page illustrations, and 16 tailpieces (one-half to two thirds of a page), and EXTRA-ILLUSTRATED WITH THREE ORIGINAL SKETCHES, two with artist's notes in French. Verso of front free endpaper with small round monogram ex-libris of "E S E." See: Carteret I, p. 442. Insignificant soiling at very edges of boards and spine top, but A VERY FINE COPY, pristine internally, and in an unworn binding.

Highlighted by glorious doublures, this is a strikingly bound "grand luxe" strictly limited edition of a popular French novel celebrating Chartres Cathedral and featuring attractive etchings in three states as well as original artwork. Britannica says the French writer Joris-Karl Huysmans (1848-1907) was known for vividly written "major novels [that] epitomize successive phases of the aesthetic, spiritual, and intellectual life of late 19th-century France." Initially associated with Émile Zola and the naturalist movement, Huysmans eventually converted to Catholicism, and his later works reflect his religious devotion and fascination with mysticism. First published in book form in 1898, "La Cathédrale" follows the character Durtal (Huysmans' semi-autobiographical alter ego) on a spiritual journey centered around Chartres Cathedral. The novel is both a work of religious reflection and an elaborate study of Medieval architecture, symbolism, and Christian art, using the cathedral as a lens to explore faith, beauty, and transcendence. The celebration of the gothic cathedral's art and architecture is vividly felt in the superb etchings by Charles Jouas (1866-1942), who is particularly known for illustrating editions intended for French bibliophiles. Jouas' etchings here paint a portrait of Chartres from sweeping views of the exterior to intimate sketches of hidden recesses--showing the cathedral in ranging vantage points from a gargoyle's to a supplicant's. The artist's strong skills as a draughtsman are apparent in the excellent attention to detail and proportion, while the drama and moodiness of the gothic structure is beautifully captured with intense shadows and hatching effects. Three original sketches by Jouas are included in this work, two of which contain notes by the artist regarding the lines of text that inspired each image. The ultimate triumph of the book is its sumptuous Cathedral-style binding--a natural design choice for this text, and executed by a master who excelled at this type of work. Belgian binder Charles de Samblanx (or Samblancx, 1855-1943) began working in the trade at age 11 as an apprentice to Coppens. He eventually established his own firm, which was known from 1889-1909 as Samblancx-Weckesser, since de Samblancx had taken his gilder Jacques Weckesser into partnership. After 1909, de Samblanx again headed the firm alone. He worked in a variety of period styles, sensitively reproducing the bindings of previous centuries. Many of his bindings are now in the Royal Museum of Mariemont in Belgium. They are unfailingly exemplary in terms of design and execution, and the present example is a notable celebration of this binder's craft. The covers provide a powerful opening statement, and then when the binding is opened, the reader confronts ornate doublures that simulate the exhilarating experience of entering a cathedral full of stained-glass windows. The intensely constrained energy seen in the 32 rigidly controlled large and small panels making up each doublure is greatly memorable..