NOTRE-DAME DE PARIS

Paris: Émile Testard, 1889. 2 volumes. Limited issue of the Édition Nationale, one of only 250 copies printed on Japon of a total edition of only 1000 copies. Illustrated with large engraved pictorial head-pieces by Luc-Olivier Merson each provided in two states, one in place and one on an adjacent plate and with a number of full page engraved plates also by Merson and also provided in two states, an engraved portrait of Hugo in each volume, printed by Gery-Bichard. Large 4to, lusciously bound by Charles Muenier, one of his 'Cuir Incisé' bindings and a fine, large example. The bindings are of full chocolate morocco, laid into the boards are large panels incorporating alternative materials, with elaborate and laid designs of gargoyles, leaves, angels and griffons worked within the framework of a Rose Window. In the center of each window are large circular inlays featuring; a portrait of Quasimodo, a goat, a gargoyle and a spider on its web. The spines feature tall raised bands ruled in blind with handsome gilt lettering and a red and brown morocco inlay portrait of Quasimodo, the inside boards are finished in brown crushed levant with an elaborate gilt and blind panel design, the flies are of marbled paper backed in silk, a.e.g. Each volume has a matching chocolate morocco chemise trimmed with fine marbled paper, the spines are with raised bands matching those of the volumes and with gilt lettering and with rose-window tooling. There are matching marbled paper and morocco slipcases for each volume. The publisher's original printed wrappers to the books have been preserved inside these magnificent bindings. 371, (1); 424, (8) pp. A superb copy with both volumes in extremely fine condition. A MAGNIFICENT BELLE ÉPOQUE SIGNED AND DATED BINDING BY CHARLES MUENIER IN HIS FINEST 'CUIR INCISÉ' FASHION. In this binding style in which a panel of incised leather is worked and molded and then sunk into thick boards of traditional morocco. To succeed in this technique requires great delicacy of handling, but when done correctly provides an equally great scope for emblematic treatment. Meunier was one of the small handful of masters in this technique. Effective and daring, Muenier brought this craft created by Grolier to a new more latter-day aesthetic. he particularly aimed to achieve an artistic and psychological interpretation of the contents of every book he bound. A student
and thinker, as well as a craftsman, he believed that the chaste and formal bindings to which we are all accustomed were impersonal and inexpressive. He held that that they seldom or never bore the slightest relation to the text they held within. In short, Muenier wanted us to be able to judge a book by its cover. To achieve this, Meunier combined the restrained craftsmanship of the early masters with the bolder inventions of the nouveau style.