AUGUSTE DE BASTARD D’ESTANG, Preparatory Studies, Facsimiles and Drawings
";s:11:" * subTitle";s:95:"Three volumes, lithographic facsimile, tracings, water colorsAuguste de Bastard d’Estang (1792-1893) is best known for his grand project of reproduction of manuscript illumination (Peintures et ornements des manuscrits, Paris, 1837-46). For this project he used lithography and had the plates colored by hand, rather than the new technique of chromolithography. This set of three volumes is of special interest for its techniques. The first volume is a copy of an uncolored lithographic facsimile of the Roman de Girart de Nevers. The second is an album of tracings, mostly uncolored, from multiple sources. The color guides added in manuscript to the bottom of each page show they were intended for reproduction. A third volume includes more than fifty very fine and extremely accurate watercolor sketches after the Vengeance de Notre Seigneur (presumably for an uncompleted facsimile project), signed and dated 1851 by an artist “Le Finat.”
";s:18:" * longDescription";s:14657:"[Volume I] Lithographic Facsimile: small in-folio, 16 pp. (8 folios), preceded and followed by 2 blank flyleaves, pages ruled in red, three miniatures in black and white lithographic reproductions, black and white reproductions of decorated initials throughout text. Bound in contemporary brown cardboard covered by brown protective paper. Dimensions 305 x 235 mm. [Volume II] Tracings: 4o format, 91 folios, preceded by 3 blank flyleaves and followed by 2 blank flyleaves, on thick paper, mostly uncolored, but with color guides added in manuscript to the bottom of each page. Bound in an elegant binding of light brown mottled calf, back sewn on five raised thongs, spine gilt, title-piece “Collection de calques,” frame on boards composed of triple gold filets, edges in red, binder’s stamp in upper left hand corner of verso of first flyleaf: “Ch. de Haas, relieur, rue de Sèvres, Paris,” marbled pastedowns. Dimensions 225 x 180 mm. [Volume 3] Water Color Drawings : In-folio format, 24 folios, preceded and followed by a paper flyleaf, with pasted pen drawings and paleographic samples on tracing paper, text copied in red or black ink, in a cursive batarde script, drawings colored in gouache, opening plate with reproduction of a half-page miniature and corresponding text in red ink: “Cy est co[m]ment Vaspasien revint de Iherusalem et les Ro[m]mains issent hors au devant de lui en belle ordonnance…”; second folio with reproduction of a column-wide miniature and the following text beginning: “Justice / Je vous oth trop voulentiers dire / Et parler qui revocquera / Ne qui au droit contraire ira…”, later on fol. 4, one reads: “Sensieut la Vengeance de Nostre Seigneur Ihesu Christ faicte sur les juifz par Vaspasien et Titus…”. Bound in a nineteenth-century half-binding of dark blue morocco, back sewn on 5 raised bands with gilt fleurons and a gilt title: “Croquis à la plume”, marbled pastedowns (Leather a bit scruffed, but very good interior condition). Dimensions 355 x 280 mm.
Auguste de Bastard d’Estang (1792-1893) is best known for his grand project of reproduction of manuscript illumination (Peintures et ornements des manuscrits, Paris, 1837-46). For this project he used lithography and had the plates colored by hand, rather than the new technique of chromolithography. This set of three volumes is of special interest for its techniques. The first volume is a copy of an uncolored lithographic facsimile of the Roman de Girart de Nevers. The second is an album of tracings, mostly uncolored, from multiple sources. The color guides added in manuscript to the bottom of each page show they were intended for reproduction. A third volume includes more than fifty very fine and extremely accurate watercolor sketches after the Vengeance de Notre Seigneur (presumably for an uncompleted facsimile project), signed and dated 1851 by an artist “Le Finat.”
[Volume I] Lithographic Facsimile of 8 folios of the Roman de Girart de Nevers, Paris, BnF, MS fr. 24378
1. Note on paper wrapping placed over binding reads: “Ex libris du general comte de Bastard, m’a été donné en [septembre] 1886 par Madame la comtesse […]. [signed] Comte de Bastard.”
[Sixteen-page lithographic facsimile illustrated with three miniatures in black and white], p. 1, [opening miniature representing dedication scene], incipit: “Treshault et puissant prince et mon tres redoubté seigneur monsieur Charles conte de Nevers…”; p. 5, [a court scene], Cy commence de Girart conte de Nevers et de la grant court que tinst le roys loys le gros, …; p. 12, [miniature with rubric], De la gaigure que Girart de Nevers fist a l’encontre de Liziart conte de Forest ….;
Bastard d’Estang was interested in Burgundian manuscripts not only for their quality but also for the plethora of information they furnish to the modern eye concerning dress, feasts and customs at large at the Burgundian courts in the fifteenth century; see his publication: Auguste de Bastard d'Estang, Costumes, moeurs et usages de la Cour de Bourgogne, sous le règne de Philippe III, dit le Bon, 1455-1460., (S. l. n. d.). The present lithographic facsimile should be seen in the context of this study on the Court of Burgundy. Bastard d’Estang chose a manuscript very rich in details and lavishly illustrated. The Histoire de Gérard de Nevers, Paris, BnF, MS fr. 24378, was painted by Loyset Liédet, c. 1470 (copied before 1469, and illuminated a little after 1469; see Smeyers, 1998, p. 360, for a color reproduction of f. 5: “Fête à la cour de Louis le Gros, roi de France”; Online Resources, complete digital reproduction, in color).
In the catalogue of the Bastard d’Estang collection at the Bibliothèque nationale de France, L. Delisle refers to Bastard’s interest in this manuscript: “Les peintures des manuscrits destinés aux ducs de Bourgogne sont fort curieuses à étudier, non seulement comme oeuvres d’art, mais encore comme documents très instructifs sur les meubles, les costumes, les armes et les usages du XVe siècle. Pour en donner une idée, le comte de Bastard choisit le manuscrit du comte de Girart de Nevers, qui fut copié pour Philippe le Bon, duc de Bourgogne, et qui après avoir appartenu à Gaignières, puis au duc de la Vallière, se conserve aujourd’hui à la Bibliothèque nationale, no. 24378 du fonds français. Telle est l’origine de la publication intitulée Costumes, moeurs et usages de la cour de Bourgogne sous le règne de Philippe III dit le Bon (1455-1460). Antérieurement à l’année 1844, il en avait paru cinq livraisons, in-folio, comprenant 25 planches dont les sujets sont indiqués par les titres suivants: Une ronde à la cour; Le depart ; Le messager etc. Outre ces planches, le comte de Bastard avait fait reproduire en fac-similé les seize premières pages, texte et peintures, du manuscrit original. La Bibliothèque nationale possède un exemplaire de ce fac-similé dont les figures ont été peintes avec beaucoup de delicatesse” (Delisle, 1885, pp. 274-275).
[Volume II] Album of Tracings from Multiple Sources
1.Note on a paper leaf, tipped in after initial flyleaves, reads: “Cette collection de calques, exécutés dans les ateliers de mon oncle, le comte Auguste de Bastard, auteur de la grande publication “Peintures et monuments des manuscrits…,” ainsi classes et annotés par lui, m’a été donnée, ainsi reliée, aujourd’hui par ma tante la comtesse de Bastard, douairière. A Paris, le 17 avril 1886 [signed] Comte de Bastard.” This note was added by the nephew of Auguste de Bastard d’Estang, who received it from his aunt the Countess Bastard in 1886.
I. Collection Tournebu [Recorded in Delisle (Etienne de Tournebu, conseiller au Parlement, circa 1588]. II. Lettres historiées et fragments; Table des calques contenus dans ce volume: 1. Lettres historiées – Fragments – 2. Calques tirés du Veridicus Christianus du Père Jean David, de la Société de Jésus, Anvers 1601. – 3. Sceaux – Signatures de Louis XII et de René d’Anjou. – 4. Neuf sujets tirés des Psaumes – et deux manuscrits allemands du XVe siècle. – 5. Tombeaux d’évêques (1130-1373). – 6. Calques tirés des Heures du Dr. Demons. – 7. Etude de l’habit militaire en France du IXe siècle au XVe.
[Volume III] Collection of Fifty Watercolor Sketches after the Vengeance de Notre Seigneur signed and dated by an artist, “Le Finat”
1. Dated drawings, from 5 February 1851 to 29 February 1851. The drawings are signed, likely by an artist from the workshop run by Auguste de Bastard d’Estang: “Le Finat.”
2. Inscription copied on first flyleaf, explains how the widow of Auguste de Bastard d’Estang had these drawings mounted and bound for her deceased son: “Cet album de croquis à la plume, faits dans les ateliers de mon oncle, le comte Auguste de Bastard, par un de ses artistes, m’a esté donné aujourd’hui 24 juin 1884 par ma tante qui me dit, en me donnat cet album, qu’elle avait fait monter ces croquis à l’intention de son pauvre fils, mon cousin-germain [Guillaume-Amable-Octave (1831-1884)], mort à Carcassonne, au siège de son commandement de general de brigade, le 13 mai dernier” [signed] Comte de Bastard.
The Vengeance de Notre Seigneur (Vindicta Salvatoris) was a very popular text based on New Testament apocrypha with the characters and events of the New Testament (here Vespasian and his son Titus), which were never accepted into the canon of the Christian Bible. Bastard chose a French prose version of the apocryphal Vengeance, of which Alvin Ford identifies fifty-four extant manuscripts (Ford, 1993, p. xii).
Auguste de Bastard d’Estang (1792-1893) is best known for his grand project of reproduction of manuscript illumination (Peintures et ornements des manuscrits, Paris, 1837-46). For this comprehensive project of some twenty plus volumes, he used lithography and had the plates colored by hand. He scorned the new technique of chromolithography invented by Godefroy Engelmann in 1836, especially because of the inaccuracies of its color, and he had installed in his mansion in Paris some thirty artists, whose copying of manuscripts he oversaw and rigorously controlled. Nearly all Bastard source material (publications, manuscripts, and letters, etc.) is found today in public institutions in France, principally the Bibliothèque nationale de France.
This set of three volumes merits study for its techniques. The first volume, the least rare, is a copy of an uncolored lithographic facsimile of the Roman de Girart de Nevers (BnF, MS fr. 24378). The second volume is an album of tracings, mostly uncolored, from multiple sources: manuscripts, seals, tombstones, etc. The color guides added in manuscript to the bottom of each page show that these tracings were intended for reproduction. A third volume includes more than fifty very fine and extremely accurate watercolor sketches after the Vengeance de Notre Seigneur in Arras (Médiathèque MS 697), presumably for a facsimile project that was never completed. These are signed and dated 1851 by an artist “Le Finat.” These volumes belonged to Bastard’s wife, who gave them to her nephew in 1886, as ownership notes in the books indicate.
Bastard d’Estang, Auguste de. Peintures et ornements des manuscrits, classés dans un ordre chronologique, pour servir à l'histoire du dessin depuis le IVe siècle de l'ère chrétienne jusqu'à la fin du XVIe, Paris, Imprimerie impériale, 1832-1869, 8 tomes en 4 vol. gr. in-fol.
Bastard d’Estang, Auguste de. Costumes, moeurs et usages de la Cour de Bourgogne, sous le règne de Philippe III, dit le Bon, 1455-1460., (S. l. n. d.), in-fol.
Bouquillard, Jocelyn. “Les fac-similés d’enluminures à l’époque romantique,” Nouvelles de L’Estampe 160-161 (1998), pp. 6-17.
Bouquillard, Jocelyn. “Les ‘Peintures et ornements des manuscrits’ du comte de Bastard, Histoire d'une entreprise de reproductions lithographiques d'enluminures sous la Monarchie de Juillet,” Bulletin du bibliophile 1 (1996), pp. 108-150.
Delisle, Léopold. Les collections de Bastard d’Estang à la Bibliothèque nationale, catalogue analytique, Nogent-le-Rotrou, Imprimerie Daupeley-Gouverneur, 1885.
[Catalogue]. Livres composant la bibliothèque de feu M. le Comte Léon de Bastard d’Estang et de M. le Comte du Peyroux dont la vente aura lieu le vendredi 2 aout 1929 et jours suivants…, Auxerre, Imprimerie moderne, 1929.
Ford, Alvin, ed. La vengeance de Nostre-seigneur: The Old and Middle French Prose Versions. The Version of Japheth, Toronto, 1984.
Ford, Alvin, ed. La vengeance de Nostre-seigneur [Texte imprimé] : the Old and Middle French prose versions, The Cura sanitatis Tiberii (The Mission of Volusian), the Nathanis Judaei legatio (Vindicta salvatoris), and the versions found in the Bible en français of Roger d'Argenteuil or influenced by the works of Flavius Josephus, Robert de Boron and Jacobus de Voragine, Toronto,1993.
Hindman, Sandra, Michael Camille, Nina Rowe, and Rowan Watson. Manuscript Illumination in the Modern Age: Recovery and Reconstruction, eds. Sandra Hindman and Nina Rowe, Evanston, Illinois, 2001.
Marchal, Matthieu, ed. Histoire de Gérard de Nevers : mise en prose du “Roman de la Violette” de Gerbert de Montreuil, édition critique, Bibliothèque des seigneurs du Nord, Villeneuve d'Ascq, 2013.
Smeyers, M. L’Art de la miniature flamande du VIIIe au XVIe siècle, Tournai, 1998.
Color digital reproduction of Paris, BnF, MS Français 24378
https://gallica.bnf.fr/ark:/12148/btv1b10532591q
TM 1075
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