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[GATIEN COURTILZ DE SANDRAS]
Memoires de Monsieur le Marquis de Montbrun. Amsterdam: Nicolas Chevalier and Jacques Tirel, 1701. 12° (13.2 x 7.4cm), collation: A-Z12 Aa4 (-A1 and -Aa4, both blank?). Etched portrait and 10 plates (waterstain affecting bottom lines of text throughout, without first anf final ?blanks), contemporary boards backed in red roan (some stain marks, spine chipped at head).
FIRST EDITION of this rare picraeque tale involving the supposed son of a pâtissier who enriches himself through jeu de paume, and CONTAINING A "UNIQUE" REPRESENTATION OF A QUARRé TENNIS COURT. Courtilz de Sandras was the author of a number of novels in the form of pseudo adventures, the best known probably being Mémoires de M. d'Artagnan, which inspired Dumas. In the present story, the adventurer Montbrun leaves France for England, taking with him one of the best tennis markers of Paris, disguised as his valet; by concealing his own skill, and introducing his valet as his second, he succeeds in ruining his principal anatagonist, the Comte de Northampton, besides winning large sums from other frequenters of the dedans; his fortune made, he is finally recognised by his real father, the Duc de Bellegarde. The plates include a view of what is called "le jeu de paume commun jadin": as Marshall suggests, Covent Garden was possibly intended; the hero affects to play clumsily with his valet, knowing his adversary, disguised as a woman, is watching him through a grill.
Marshall finds the story "uninteresting but not so the view of the interior of the tennis court, which is evidently one of the kind called Quarré and uncovered. The mode of erecting nets above the walls on every side, to prevent balls from flying over, is clearly shown. The cord (as usual then) has no net attached to it, but only a sort of fringe. The marker stands at a door, nearly in the middle of the length of the court; but including that door, there are only three gallery divisions on that side of the line, while there are four on the other side. Running along the end-wall, on the service-side, is a very peculiarly-built thickening of the wall, seeming to be a sort of horizontal but flat-topped tambour, and containing a petit trou in the fore-hand corner. This is, I think, unique among representations of tennis courts. One more peculiarity is the diagonal stringing of the rackets, the latest instance of this (1701) which I have hitherto met ...." (Annals of Tennis, pp. 93-94). Henderson p. 184.
Memoires de Monsieur le Marquis de Montbrun. Amsterdam: Nicolas Chevalier and Jacques Tirel, 1701. 12° (13.2 x 7.4cm), collation: A-Z
FIRST EDITION of this rare picraeque tale involving the supposed son of a pâtissier who enriches himself through jeu de paume, and CONTAINING A "UNIQUE" REPRESENTATION OF A QUARRé TENNIS COURT. Courtilz de Sandras was the author of a number of novels in the form of pseudo adventures, the best known probably being Mémoires de M. d'Artagnan, which inspired Dumas. In the present story, the adventurer Montbrun leaves France for England, taking with him one of the best tennis markers of Paris, disguised as his valet; by concealing his own skill, and introducing his valet as his second, he succeeds in ruining his principal anatagonist, the Comte de Northampton, besides winning large sums from other frequenters of the dedans; his fortune made, he is finally recognised by his real father, the Duc de Bellegarde. The plates include a view of what is called "le jeu de paume commun jadin": as Marshall suggests, Covent Garden was possibly intended; the hero affects to play clumsily with his valet, knowing his adversary, disguised as a woman, is watching him through a grill.
Marshall finds the story "uninteresting but not so the view of the interior of the tennis court, which is evidently one of the kind called Quarré and uncovered. The mode of erecting nets above the walls on every side, to prevent balls from flying over, is clearly shown. The cord (as usual then) has no net attached to it, but only a sort of fringe. The marker stands at a door, nearly in the middle of the length of the court; but including that door, there are only three gallery divisions on that side of the line, while there are four on the other side. Running along the end-wall, on the service-side, is a very peculiarly-built thickening of the wall, seeming to be a sort of horizontal but flat-topped tambour, and containing a petit trou in the fore-hand corner. This is, I think, unique among representations of tennis courts. One more peculiarity is the diagonal stringing of the rackets, the latest instance of this (1701) which I have hitherto met ...." (Annals of Tennis, pp. 93-94). Henderson p. 184.
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