This lot is closed for bidding. Bidding ended on 10/20/2022
TERENCE (d. 159 BC). Publii Terentii Comoediae. Paris: Typographia Regia, 1642. Large folio (368 x 251 mm). Half–title, engraved title by Abraham Bosse, historiated engraved initial and head–piece by Claude Mellan after designs of Nicolas Poussin. [Bound with:] JUVENAL (b. 55 AD). D. Ivinii Ivvenalis Satyrae. Paris: Typographia Regia, 1644. Engraved title–page vignette, historiated engraved initial and head–piece, engraved colophon device. Full contemporary sheep elaborately gilt with a large central supralibros of King Louis XIV coat of arms on both covers, surrounded by alternating fleurs–de–lis and the crowned initial “L” in a semé pattern, spine in 7 compartments with 6 raised bands, red sheep lettering–pieces gilt in two compartments, remainder with more alternating fleurs–de–lis and the crowned initial “L” in a semé pattern, all edges gilt, marbled paper pastedowns (upper cover gently sunned, old surface wear to lower cover near foot). Provenance: Donated by King Louis XIV to Christophori Fromons, pupil of the Clermont Jesuit College in 1674, as evidenced by the award inscription with the Jesuit seal on the front flyleaf; Chistophori Fromons (ownership signature on half–title dated 1677). “As far back as 1550, the Bishop of Clermont, Guillaume du Pra, invited the Jesuits to open a college in the French capital, giving them his own Paris palace. Three decades later, during the reign of Henry IV, the college was closed, for several years the Royal Library was located in its empty premises. However, in 1618, the school opened its doors again and from that time was under the protection of kings, first of Louis XIII, then Louis XIV, who earmarked the money for college and paid for books presented to distinguished students as incentive gifts” (National Library of Russia, Books with Royal Bookplates). ONE OF THE FINEST SPECIMENS OF THE ART OF PRINTING IN THE TIME OF LOUIS XIV and the finest example of the earliest period of the Imprimerie Royale employing a recutting of types of the traditional Garamond design. “The management of massed capitals at the beginning of each play is clever and distinguished. It is an example of the ‘divers classic authors’ that Evelyn bought on his visit to this press two years later” (Updike, Printing Types p. 240). Brunet V:776; III:631; Moss II, p. 158. From the private library of a distinguished Chicago book collector.