196

FRÈRE-FREUDEBERG

Orient de Londres, 1788, 2 parts in 1 vol., 8vo., frontispiece (10s. to 128.).

Part 2 has the following title: "Mêmeté des Quatre Vœux de la Compagnie de S. Ignace et des Quatre Grades de la Maçonnerie de S. Jean."

Frère Bonaventure et la belle Angélique, marchande de poissons, poême tragi-comique en 8 chants. Paris, 1793, 8vo., 1 pretty plate by Blanchard (5s.).

Fréron et Colbert, duc d'Estouteville. Adonis, poême en prose. Londres et Paris, chez Musier, 1775, 8vo., frontispiece, 1 plate, 1 vignette and 1 tailpiece by Ponce after Eisen. (258., and considerably more than treble with the unlettered title and the pretty headpiece of "Adonis au bain" in artist's proof without text, which is extremely rare). Freudeberg et Moreau. Suite d'Estampes pour servir à l'Histoire des Mœurs et du Costume des François dans le XVIIIe siècle. Année 1775 (fleuron). A Paris, de l'imprimerie de Prault, imprimeur du Roy, 1775, fol.

There are copies bearing another very rare title, which was disused owing to the business changing hands; it runs as follows: Estampes (Suite d') pour servir à l'Histoire des Mœurs et du Costume des François dans le XVIIIe siècle, année 1774. A Paris, de l'imprimerie de J. Barbou, 1774." Consists of 12 plates after Freudeberg, title, 2 leaves for the preliminary Discours and 12 leaves for the explanation of the subjects, viz.: (1) Le Lever, A. Romanet, sculp., 1774; (2) Le Bain, A. Romanet, sculp., 1774; (3) La Toilette, Voyez L'Ainé, sculp., 1774; (4) L'Occupation, Lingée, sculp.; (5) La Visite inattendue, Voyez L'Ainé, sculp., 1774; (6) La Promenade du Matin, Lingée, sculp., 1774; (7) La Promenade du Soir, Ingouf, junior, sculp., 1774; (8) Le Boudoir, P. Maleuvre, sculp., 1774; (9) Les Confidences, Lingée, sculp., 1774; (10) La Soirée d'Hyver, Ingouf, junior, sculp., 1774; (11) L'Evénement au bal, gravé à l'eau-forte par Duclos, terminé au burin par Ingouf, junior; (12) Le Coucher, gravée à l'eau-forte par Duclos, terminé au burin par Bosse.

The last leaf of text concludes with the following lines: "Lu et approuvé ce 15 décembre 1774, Crebillon." "Vu l'approbation, permis d'imprimer ce 17 décembre 1774, Lenoir." The plates bear on the left side the following inscription: "J. H. E. inv. Freudeberg delineavit," which initials clearly designate Jean Henri Eberts, the Swiss banker, who was the friend and patron of Freudeberg, and who is alluded to in the preliminary Discours as amateur des arts qui a présidé au choix des styles et des compositions." Why Moreau le jeune was entrusted with the execution of the second and third series remains a mystery, the more so as Freudeberg has acquitted himself admirably, and Le Lever, La Visite, Le Boudoir, La Promenade du Matin, Le Coucher may be regarded as the most charming of his productions.

[Freudeberg et] Moreau. Seconde Suite d'Estampes pour servir à l'histoire des modes et du Costume en France, dans le

FREUDEBERG

XVIIIe siècle. Année 1776 (fleuron).

197

Année 1776 (fleuron). A Paris, de l'imprimerie de Prault, imprimeur du Roy, 1777. Avec approbation et privilège du Roy, fol.

Consists of 12 plates after Moreau le jeune, title, 2 leaves for preliminary Discours, the approbation signed Cochin, the privilege dated April 23, 1777, and 12 leaves for the explanation of the subjects, as follows: (1) Declaration de la grossesse, P. A. Martini, sculp., 1776; (2) Les Précautions, P. A. Martini, sculp., 1777; (3) J'en accept l'heureux présage, Ph. Trière, sculp., 1778; (4) N'ayez pas peur, ma bonne amie, Helman, sculp., 1776; (5) C'est un fils, monsieur! C. Baquoy, sculp., 1776; (6) Les petits Parrains, C. Baquoy inc. aqua f. Patas terminavit, 1777; (7) Les Délices de la Maternité Helman, sculp, 1777; (8) L'Accord parfait, Helman, sculp., 1777; (9) Les Rendez-vous pour Marly, Carl Guttenburg, sc.; (10) Les Adieux, gravé par Delaunay le jeune, en 1777; (11) Le Rencontre au bois de Boulogue, Henri Guttenberg, sc.; (12) La Dame du Palais de la Reine, P. A. Martini, sculp., 1777.

[Freudeberg et] Moreau. Troisième Suite d'Estampes pour servir à l'histoire des Modes et du Costume en France, dans le XVIIIe siècle. Année 1783 (fleuron). A Paris, de l'imprimerie de Prault, imprimeur du Roy, quai des Augustins, 1783, fol. Avec approbation et privilège du Roy. (Le privilège valable pour six années, se trouve dans la suite. précédente parue en 1777.)

are

Consists of 12 plates after Moreau le jeune, title and 2 leaves for the explanation of the subjects of the compositions (rarissime, as the text being in existence was for a length of time hotly disputed), which as follows: (1) Le Lever, L. Halbou, sculp.; (2) La Petite Toilette, P. A. Martini, sculp.; (3) La Grande Toilette, A. Romanet, sculp.; (4) La Course de Chevaux, H. Guttenberg, sculp.; (5) Le Pari gagné, Camligue fec.; (6) La Parti de Wisch, J. Dambrun, sculp.; (7) Oui ou Non, N. Thomas, sculp., 1781; (8) La Petite loge, Patas, sculp.; (9) La Sortie de L'Opéra Malebeste, sculp.; (10) Le Souper fin, gravé par Helman, 1781; (11) Le Seigneur chez son fermier, J. L. Delignon, sculp.; (12) Le Vrai Bonheur, J. B. Simonet, sculp., 1782. The text, while describing the figures and surroundings, also explains the object the artist had in view. Mareau le jeune, not less than his predecessor, accomplished the task before him with signal ability. All these compositions are replete with grace and elegance, so that after "le Vrai Bonheur" he might well rest on his laurels and exclaim, "Artem cestumque repono." Of the first series, even isolated etchings or unlettered proofs, with or without borders, are very rare, and the plates with letters and tablets in white, which in reality constitute the first finished state, are with difficulty procurable. In the second state the tablet is darkened; in the third and last state each plate has the number, and the impressions begin to exhibit traces of wear. We may add that all the engravings bear the inscription, "A Paris, chez Buldet, rue de Gesvres." As regards Moreau's 24 plates of the second and third series (all without borders), they have most assuredly gone through the process of etching and other preliminary stages, but appear to have gone astray. Lucky would be the amateur who could lay hands

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FRÉZIER-FROMAGEOT

on them. Connoisseurs have to be contented with the proofs bearing the title and the letters A. P. D. R. (avec privilège du roi). Afterwards this latest indication was suppressed, and the plates in the last stage were employed for the "Monument du Costume Physique et Moral" emanating from the indefatigable pen of Rétif de la Bretonne. The work complete in text and plates has not as yet been tested as to value at auction, but 3 or 4 copies were "à l'amiable" (privately) disposed of by MM. Clement and Morgand. The price of the book is fixed at from 8000 to 10,000 frs., though everything depends on the beauty and preservation of the copy. Whenever the three series occur separately they reach very high figures. M. Behague's copy of the first series with the tablets in white sold for 6520 frs., and the 2nd and 3rd series before letters (minus the title of 1783, as well as without the page of text for, and the unlettered proof of the plate "le Vrai Bonheur") were run up to 17,100 frs., in spite of the fact that the volume had a very short margin, and was very much cut into. M. Eugène Paillet's large copy of the three series with the plates in two states, viz. Freudeberg's series with the tablets in white and in black, and both Moreau's series before letters and with letters A. P. D. R., is priced by M. Morgand in his catalogue of this gentleman's library, 40,000 frs. In point of artistic execution it is indisputably the most significant book of the 18th century. The text is attributed to Rétif de la Bretonne. Gosford copy of the first and second series in 1 vol., old russia (second title mounted), 2100 frs. (1882); M. Delessert's copy of the third series was sold in 1895 for 4000 frs. The text of the first and second series is bordered; the numbering on the plates of the latter is 13 to 24 inclusive.

Frézier. Relation du Voyage de la mer du Sud, aux côtes du Chily et du Pérou, fait pendant les années 1712, 1713 et 1714. Paris, chez Nyon, 1732, 4to., plates and maps (10s.). Frézier. Traité des Feux d'artifice pour le Spectacle.

1707,

engraved title by and after Frézier, 3 vignettes, and 8 numbered plates (88.).

Frézier. Traité des Feux d'artifice pour le Spectacle (par Perrinet d'Eval), nouvelle edition augmentée par Frézier. Paris, Nyon, 1747, 4to., frontispiece, 3 pretty headpieces after Cochin by Chedel and Soubeyran, 4 plates by Marvye after Cochin, and 13 technical plates (15s. to 20s., and more on large paper).

Frickinger (J. M.).

Weber-Bild-Buch. Neustadt, 1783, oblong fol., upwards of 200 designs for Weavers (30s. to 40s.).

Fromaget. Le Cousin de Mahomet. Constantinople. (Paris), s.d. (1750), 2 vols., 16mo., 6 plates after Clavareau by Fessard, engraved title (the same for each vol.) and 2 small headpieces (5s.).

Fromageot (L'Abbé). Annals du règne de Marie-Thérèse, impératrice douairière, reine de Hongrie et de Bohême,

FROSSARD-FUZELIER

199

Archiduchesse d'Autriche, etc. Paris, Prault, 1775, 8vo., portrait of Marie-Thérèse by Cathelin after Ducreux, 2 medallion portraits heading the dedication after Moreau by Gaucher, and 4 plates after Moreau by Duclos, de Launay, Prévost, and Simonet (10s., and on large paper, 4to., £3 to £4).

The illustrations are counted among the masterpieces of the artist, particularly the two medallion portraits representing Joseph II. and Marie-Antoinette, both of which exist in artists' proofs without text. The exquisite portrait of Marie-Antoinette in that state sold singly for 500 frs. The plates without the page-numbering are seldom to be met with, and command a fancy price. L. de Tinan's copy in 4to. size, in red morocco, with the arms of the Comtesse d'Artois, reached the high figure of 1600 frs. The Paillet copy, on large paper, having Moreau's plates in two states with and before the numbers, and the two portraits of Joseph II. and Marie-Antoinette in artists' proof, without text (the latter in an exceptional state, with the artists' signatures "à la pointe "), together with the etching of the plate, "la Bienfaisance de MarieAntoinette," and bound in a sumptuous binding doublé by Cuzin, is marked by Moregand 4000 frs. Reprinted 1777 (with a new title, "Anecdotes de la Bienfaisance," chez Nyon and Laporte), and in 1781 and 1782.

Frossard. La Cause des Esclaves nègres et des habitants de la Guinée, portée au tribunal de la Justice, de la Politique, de la Religion, ou Histoire de la traite et de l'esclavage des Nègres, etc. Lyon, 1789, 2 vols., 8vo., frontispiece by Boily after Rouvier (10s.).

Fumelh ou le Triomphe des mœurs et des vertus. Bruxelles, H. Dujardin et Paris, Defer, de Maisonneuve, 1788, 12mo., 1 plate after Marillier (58.).

The copy having Marillier's original drawing " à l'encre de chine" was sold by M. Rouquette of Paris for 300 frs.

Fureurs utérines de Marie-Antoinette, femme de Louis XVI. Au Manège et dans tous les b. . . de Paris, 1791, 16mo., 2 coloured plates, not signed (40s. to 50s.).

An infamous libel.

Fuzelier. Momus fabuliste, ou les Noces de Vulcain, comédie en un acte, en prose et en vers libres (avec collaboration de Legrand). Paris, P. Simon, 1719, et La Haye, 1720, 8vo., a pretty frontispiece signed: J. B. Bonnart, sc. (4s.).

JACON. Anti-Rousseau, par le poète sans fard. Rotterdam, 1712, 12mo., fine frontispiece, and fleuron on title by Van Gouwen after B. Picart, and a large folding plate (48.).

Gacon. Homère vengé, ou Réponse à M. de la Motte sur l'Iliade. Paris, 1715, 12mo., allegorical frontispiece by Desrochers (3s.).

Gacon. Le Poète sans fard

Cologne, chez Corneille

Egmont, 1717, 12mo., pretty frontispiece, not signed (3s.).

Gage touché (Le), histoires galantes et comiques, ornées de figures en taille-douce. Paris, 1718, 2 parts, 12mo., 8 plates (7 in first part and 1 in the second), not signed (38.).

Attributed to Le Noble.

Galanterie française (La) (vers, chansons, etc.). Paris, Royer, s.d., 8vo., pretty frontispiece, designed and engraved by Mme. Cro.

(38.).

Galanteries de la Cour de France (Les) depuis le commencement de la monarchie. Paris, Moette, 1738, 2 vols., 12mo., 2 frontispieces signed B. Picart, and 5 plates after B. Picart not signed (78.).

Attributed to Vanel.

Galanteries de la Cour de France (Les) depuis le commencement de la monarchie. Cologne, chez Pierre Marteau, s.d. (circa 1750), 3 pretty titles, frontispiece and 5 plates after B. Picart, from the previous edition, not signed (10s.).

Galerie du Luxembourg. See Rubens.

Galerie royale de Dresde (Recueil d'Estampes d'après les plus cèlèbres tableaux de la), 100 planches avec une description de chaque tableau en français et en italien. Imprimé à