New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1892-05-02
THE BOOKLOVER.
NJ. BERALDI AS THE CHRONICLER OF MOD.
ERN FRENCH BIBLIOGRAPHY-A WORD
ON MR.. TREDWELL

ERN FRENCH BIBLIOGRAPHY-A WORD
ON MR. TREDwELL
London. April 20.
OF books about books which have lately az.
peared, the most interesting is the catalogue OF
NJ. Beradts library, published in Paris by M.
Conquet, under the title Estampes ct LivresL
The Estampes part has value Of it's own, but moro
than three fourths Of this quarto volume OF nearly
800 pages is devoted to NJ. Beraldi's books, and
to his comments on them and their fortunes. Not
an interesting subject? Well. there are cata,
logues and catalogues. All catalogues are useful
most are dry NJ Beralds is both useful and anus
ing. His collection is Of the finest anywhere
TO be found in private hands His catalogue of
it is history of French photography for the last
twenty years; history of book buyers and
booksellers and Iookbindew; all by one OF the
most accomplished bibliophiles Of an accomplished
period; and by who knows how to tell his
story. The catalogue form is strictly adhered to
throughout; all the anecdote, comment, reyea-
lions, and other diversified matter are given In
the shape Of notes TO the separate titles. Tie
volume contains forty-three illustrations. all bnt
two reproductions Of bindings, twelve Of them in
chrome topographic by Daniel OF Lille, who is
also the printer of the book. He has no rival
anywhere in this speciality of bindings reproduced
in color.
"My library" says NJ. Deraldi. consists #
four hundred works and about thousand vol
umes almost all exceptional copies; which to-
gcther form q connected history Of the art u
book illustration from the IJaphnis and Chloe OF
the Regent, that is from the first produc'i.n OF
vignettes in the eighteenth century down TO the
present time" II there be anybody in America
who wishes to know this connected history, rt
him seek il in NJ Beraldis catalogue, or. Still
better if he can in his library. l say II, but
know there many. The American bibnophiie
has for some time past made himself felt in Paris;
he makes part of the recent development of what
the French call "bibliophlle;" word that be-
comes awkward IL rendered into English with an
English ending
The library is, therefore, sometimes more than
O. collection Of fine books it has an aim; 1t is a
logical whole; you can study on VI. Beraldi's
shelves the progress Of the most exquisite arts
ever known. That is a concession. or sounds like
one, to the Philstine 10 him who does not think
the mere possession of number Of beautiful
things itself its own justification. But NJ Beraldi
is something more than collector Of books.
compiler of catalogues He is an expert-even an
amateur may be an expert-and an author lie
has written history-he prefers to call it a guide
or manual-of the engravers Of the nineteenth
century, in twelve octave volumes There may
be readers, who, till this moment had not guessed
what a large subject this is Of engraving in the
nineteenth century.
This present catalogue is also, as ! said,
history, and surely Of the most curious ever
written. No more competent hand to write IL
than NJ Beraldi, from whatever point OF view
you look at him. lie has the enthusiasm OF the
collector, and perhaps contempt for the collector
who is collector and nothing more. He has
always had clear object before him; not always
the same II was the art Of the last century
which first attracted him, and he has become the
prophet Of the art of this From the point Of
view Of the bibiophile, the art of this century, 50
far as it has to do with the illustration Of books,
is much more modern than the century. II grew
up without much help from the amateur of books
appealed far more to the public than to the select
band of delicate minded persons who care for
books as books whether illustrated or not The
legacy of the eighteenth century had been almost
exhausted before the legatees turned to the
nineteenth In other words, the illustrations to
books and the books for which these illustra-
lions were designed had either passed out OF the
market or had reached prices which were pro-
hibitive to all but millionaires.
There were and are, plenty of poor copies and
of poor impressions; some OF which the millionaire
who knows better still buys. But for the
true collector these are valuelcss il lie cannot
have early proofs and eauX-fOrtes, and separate
impressions, and everything in its most brilliant
and beautiful state, he will have none. The
number OF original designs was. Of course, still
more limited. Well, in these circumstances,
driven OFF the great battlefield of tile last century
the collector bethought himself of the present.
The combat had ended, not for want of comba-
tants. but for want Of something 70 fight about.
the eighteenth had first superseded the seventeenth
with lis treasures of original editions of the mas
tcrpicces of the nobest period OF French Ntera-
ture; in its turn TO be superseded by its sue
cessor. Ii is not more than ten years ago that
heard VI. Morgand-the great Morgand who is
the Achilles of NJ Beraldi's epic-mourn over
the decadence of photography.
Nobody cares any more for original editions Of
the seventeenth century; there are no more illus
rated books of the eighteenth 10 care for Can you
guess, can you imagine, what the generation of
bibliophlcs is buying? You will never guess
and | am ashamed TO tell YOU the illustrated
books of the last fifty years; most of them the
greatest rubbish on the face of the earth" II
VI. Morgand had said some Of them, many of
them. rubbish, he would have been quite
right lie generalized little too much-it is a
French habit lie had been brought up In tho
heroic school; had helped form it; through his
hands had passed almost everything OF the great
days that was most lovely and rare and admirable
He could not turn readily TO what was so much less
admirable. But his amentation marks with pre-
csion the transition from one to the other.
NJ Beraldi not only justities his share In
this movement; he glories in 1t. When he had
exhausted one age. he turned complacently to an
other. Collection is excellent but is not creation
excellent still Is the art Of Audran of Bou-
cher of Cochin. of Oudry, Of Eisen of Chofford Of
Morcau, of Tragouard. 10 die and leave nothing
after it? Were there to be no successors to these
delightful artists? If they were to have success
sors there must be public for them: or not Q
public but select band of critical admirers with