Bernard Salomon Editions: Aesop

()
The Graphic Works of Bernard Salomon
illustrations for
Aesop's Fables -- Les Fables d'Esope Phrygien -- Æsopi Phrygis Fabvlae

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I. Editions with images attributed to Bernard Salomon:


1766	Papillon, p. 204	While Papillon does not attribute any Aesop images to Bernard Salomon, per se, he does associate a Lyon edition of Aesop in Greek and Latin to the style of Jean Cousin, whose authorship he believed to be found in what was probably the Paris Janot Aesop. Papillon believed Jean Cousin to be the stylistic precursor of Salomon. See, further, Didot, below.
1863	Didot, Essai, col. 235	Didot attributes the de Tournes Aesop woodcuts to Jean Cousin. Believing that the de Tournes' 1549 edition is the first by de Tournes, Didot, probably following Papillon's lead, attributes the difference in style to an eight-year development since the 1542 Janot edition. He finds the Paris edition less "savante" and the taste that invented the Janot enframements to come from the precedence of Geofroy Tory and Holbein. Of the 1551 de Tournes Aesop (in Greek and Latin -- Cartier No. 183) Didot states that the woodcuts are the same as those (as noted above) first appearing in the Paris [Janot] edition, which he believes were brought to Lyon. He seems not to have realized that the de Tournes images copy the Paris prototypes. Regarding the 1570 edition (Cartier 535) he notes (col. 236) that of the 61 images in this edition, those added later are quite inferior to those appearing earlier.
1896	Rondot, BS, 1896, p. 73	Rondot says that the execution of the woodcuts are poor and uneven, suggesting that a poor engraver of the blocks executed Salomon's designs. Rondot notes that this work is contemporary with Salomon's Petrarch images, those for the Marguerites de Margaret de Navarre, the Scève images, and the Alciati. Salomon's work on the illustrations for Les Mrguerites de la Marguerite des Princesses of 1547 and the contemporary images illustrating Maurice Scève's Saulsaye represent Salomon working in a very fine mode. In contrast, he says, the Alciati and the Aesop are uneven and incorporate either the contribution of an inadequate designer or represent the work of an "engraver who has poorly reproduced the drawing of the inventor" of the designs.
1922	Johnson, "Books Printed in Lyons," 1922, in Essays, p. 133	Johnson repeats Rondot's attribution, noting that they form part of the series of illustrated books Salomon executed for de Tournes, also noting that despite the fact that de Tourne's publishing program had direct precedence in the books then emerging from Paris and Italy, at that time, Salomon's images are characterized by a "originality and freshness."
1927	Lieure, Graveur, pp. 15, 39	Lieure identifies the 1582 edition of de Tournes' Aesop, calling it the first edition, and does not make any attribution to Bernard Salomon. He says" "Ce sont encore de charmantes petites vignettes, pleins de vie at d'intérêt. On retrouve bien, dans les dernières, le style de l'École lyonnaise, mais le trait est moins affiné, le dessin moin sûr, or moins respecté par le tailleur du bois." (Lieure, 1927, p. 15)
1930	Brun, Livre illustré, p. 184 (in 1969 ed.)	Brun identifies the 1547 de Tournes Aesop, rejects the title-page enframement as a work of Salomon, noting that its treatment is too heavy-handed to be by our artist. Recognizes that the Salomon set is inspired by those found in the Janot Paris edition (see below), and notes that de Tournes did not repeat the enframement motifs used by the Parisian publisher. (Brun, 1969 edition consulted.) Brun (p. 78-9) also notes that Lieure projected two styles for Salomon, the first which shows meticulous care in design, and the second typified by a hastier working method. Agreeing with Rondot, Brun rejects this theory, which was probably predicated upon the assumed late of the de Tournes Aesop, noting that the Alciati designs are contemporary with the Aesop and that the differences are quite possibly the result of different standards brought to the cutting of the blocks.
1932	Inventaire du fonds français; graveurs du seizième siècle	Lists 1551 edition (Cartier No. 183), noting that it offers 39 images "of which some are by B. Salomon."
1937	Cartier, De Tournes	Cartier (#71) identifies the 1547 edition of Aesop as de Tournes' first and, with the contemporary edition of Alciati, constitutes the first two books by Salomon in which his personal style is revealed. But he notes (following Rondot) that while some cuts "are executed with great finesse and subtlety ... others display a rather crude cutting." Cartier (No. 40) does attribute the images appearing in the 1545 La Perrière Le theatre des bons engins to Salomon, but notes that his style is still rather crude but exhibits certain of his formulas that mature in the Aesop and the Alciati, both of 1547 -- two years later. In his notes for the 1551 edition (#183) Cartier identifies three of the 40 woodcuts that he believes are not by Bernard Salomon: 1) fable 46, Auceps et Galerita, 2) fable 100, Corvus et Serpens, and 3) fable 100, Camelus. Cartier says that these three figures are not by Salomon and are different from those that are by him. Their drawing is quite summary and sloppy, unachieved and sketch-like. To see the difference Cartier asks the reader to compare the woodcuts for fables 32 and 46, which have analogous motifs. The three woodcuts that Cartier dis-attributes, however, come from the 1545 edition of Guillaume de La Perrière's Le theatre des bons engins. (Note that Mortimer (1964, No. 5) identifies only one of the Aesop images of the 1547 edition as having been used in the 1545 set. Ruth Mortimer (Harv. Fr. 16th C. Illus. Books, #5) quotes Cartier on the 1547 de Tournes Aesop: "Par l'intérêt de l'ouvrage lui-même, et la correction du texte revu par Antoine du Moulin, comme par l'exécution matérielle et l'extraordinaire beauté d'un tirage donnant aux planches de Bernard Salomon toute la valeur dont elles sont susceptibles, la présente édition est une des perles de la collection tournésienne" (Cartier, #71). With regard to the 1607 de Tournes Aesop (Cartier 728), Cartier is in deep disagreement with Didot. Not so much a disagreement about attribution, rather, Cartier disagrees with Didot's (Cat. 1882, #422) assessment of the significance and illustrated contents of this edition. Citing Didot, Cartier reports that Didot believed that from the point of view of its illustrations, this 1607 edition is the most important of de Tournes' Aesop productions, containing 33 of the 40 cuts found in the 1551 edition and 12 cuts that appeared for the first time in the 1570 edition. Further Didot (says Cartier) believes that the 1607 edition offers 10 original cuts and 46 images that were copied from the Marnef and Cavellat Paris edition of 1582 -- making for a total of 101 different images, having subtracted the 4 duplicates. See, below, for Cartier's analysis of the contents of the 1607 edition.
1964	Harvard, Fr 16th Illus Books	Ruth Mortimer, in the Catalogue of illustrated French 16th C books at the Houghton (Harvard, 1964, No. 5) indicates that the Salomon set of images are based on the woodcuts Janot published earlier (see Harvard, 1964, No. 4). In this regard some, she notes, are free copies of the Janot series, while others are new compositions illustrating the same subjects found in the Janot edition. An entirely new block was designed for fable no. 29 to correct for a repetition of cuts used in Janot. One block, no. 93 had been used earlier for de Tournes' 1545 edition of Guillaume de La Perrière's Le theatre des bons engins (Harvard, 1964, No. 338), which shows the 1549 edition. Mortimer hypotheses that the Theatre des bons engins illustrations may have been Salomon's first work for de Tournes, and these, too, she says are based on a series of blocks that Janot owned. In this first edition, the Aesop cuts used for fables 51, 84 and 96 are used concurrently in the de Tournes 1547 Alciati set of emblems. The series of images used in de Tournes' Aesop editions would vary. The multi-lingual editions offered fewer images. Later editions contained additional images. The Harvard catalogue of French 16th Books, #7 (1570, Cartier 575) counts 22 subjects of the 61 images that were not in the 1547 or 1551 edition. Seemingly not having the 1556 edition available to compare, it is possible that the one new subject appearing in that edition fell into Mortimer's count of the 1570 edition. Mortimer identifies some of the blocks as having been copied in the 1585 edition by de Marnef (Harvard Fr. 16th C. No. 8). Of the de Tournes 1547 Aesop, in her entry for the 1542 Janot Aesop, Ruth Mortimer says that it is "an edition of equal importance [as the 1542 Janot] for the study of de Tournes's press and the illustrated book at Lyons." (#4)

Aesop, Lyon, de Tournes, 1570 - Cartier 535
New woodcuts for this edition.

page

fable

title

neg

119

Aquila et Vulpes

1078-36

139

Malignus

1080-22

143

Ranae

1080-23

150

Mulier et Gallina

1081-27

154

Felis et Muves

1081-30

156

Vulpes et Simius

1107-08

158

Thunnus et Delphin

1081-31

159

Medicus et Aegrotans

1083-43

164

Canis et Lupus

1082-34

166

Canis et Gallus

1082-35

167

Leo & Rana

1082-36

170

Leo & Ursus

1083-38

174

Vespertilio & Rubus & Mergus

1083-41

177

Lignator et Mercurius

1083-42

181

Auceps et Galerita

1099-14

182

Viator

1084-02

185

Pastor et Mare

1084-03

202

Asinus & Leo

1085-28

217

Mulier Venesica

1086-32

257

123

Pastor

1087-36

260

126

Home et Satyrus

1087-39

Janot's Aesop, Paris, 1542. 2nd ed. 1544 (Harvard, 1964, No. 4.). See this catalogue for discussion of the history of Aesop cuts in France and Italy. First edition of G.Corrozet's translation into French. Photos: 01996-35 to 02032-37

Notice to the reader: The following list is composed of items to which reference is made in this Aesop section, and miscellaneous items that have been collected during the process of research. These are listed for potential future reference. They may prove not to be useful.

			I.		Editions with images attributed to Bernard Salomon:
			II.		Notes for an Attribution history:
			III.		Development of the de Tournes Aesop cycle:
			IV.		Sources:
			V.		Copies:
			VI.		Editions viewed for this analysis:
			VII.		Editions listed for possible comparison:
			VIII.		Miscellaneous notes and observations:
			IX.		Images arranged in the order by which they entered the cycle:

		Aesop Editions, Lyon, Jean de Tournes, Containing woodcuts mostly by Bernard Salomon based, in part, on Alfred Cartier, Bibliographie des Éditions des De Tournes, Imprimeurs Lyonnais, Paris 1937

pub date	Catalog by	Title-page transcription Fonts and line-breaks have been normalized, orthography is unchanged.	Notes relating to image contents, repositories and photography.

1547	Cartier #71	Les Fables d'Esope Phrygien, mises en Ryme Francoise. Auec la vie dudit Esope extraite de plusieurs autheurs par M. Antoine du Moulin Masconnois. A Lyon, Par Iean de Tournes, & Guillaume Gazeau. 1547. --16°, 112 unnumbered leaves. Collation: A (4), B-O (8), P (4) --Translation into French by Gilles Corrozet. Life of Aesop by Antoine du Moulin.	Illus: Cartier: 100 Woodcuts figures of which one is a repetition., One from 1545 La Perriere (Cartier #40); three in common with the 1547 Alciati (Cartier #72) Size: 46x35 mm (horizontal) =>MORE Repos: Harvard (Houghton, Typ. 515. 47. 123), Fr. 16th C., No 5. Photos: 1386-10 to 1404-01, 1405-02 to 1425-25
1549	Cartier #128	Les Fables d'Esope Phrygien mises en Ryme Francoise. Auec la vie dudit Esope extraite de plusieurs autheurs par M. Antoine du Moulin Masconnois. A Lyon, Par Iean de Tournes, & Guillaume Gazeau. 1549. --16°, 223 numbered pages (including title-page), 1 unnumbered page [224] containing Cartier's Mark "Pris."	Illus: Same 100 woodcuts as 1547 ed. (Cartier #71) Cartier: Reimpression of 1547 edition. =>MORE
1551	Cartier #183	Æsopi Phrygis Fabvlae Elegantissimis Eiconibus ueris animalium specis ad uiuum adumbrantes. Gabræ Graæci fabellæ XXXXIIII. [Cartier: 43] ?at?a??µ??µ???a [Batrachomyomachia] Homeri, hoc est, ranarum & murium pugna. Ga?e?µ??µa??a, hoc est, Felium & murium pugna, Tragœdia Græca. Hæc omnia cum Latina interpretatione. [Cartier's Mark: Vip. a.] Lvgdvni. Apud Ioan. Tornaesium. M.D.LI. --16°, 375 numbered pages, 1 page unnumbered, 3 leaves unnumbered, 1 blank leaf with Cartier's mark: Pris on the verso.	Illus: Repeats 40 woodcuts from 1547 edition. Cartier disattributes 3 from Salomon's oeuvre, but these were borrowed from earlier Salomon works. Of the seven images in this edition that did not appear in the 1547 or 1549 editions, only two make their first appearance in this edition: 1) p. 173, fable 44 (Lignator et Mercurius [Woodcutter and Mercury]), 2. p. 193, fable 61 (Testudo et Aguila). =>MORE Repos: Cartier: (B.N. [Yb 3038] -- Grenoble -- Rouen -- Toulouse -- Vadiane, St. Gall -- Milan) Harvard (Houghton), Fr. 16th C. No. 7 (1570 ed.), example in Hofer Coll. Photos: 1425-06 to 1431-15
1551	Cartier #184	Les Fables d'Esope Phrygien, mises en Ryme Françoise. Auec la vie dudio Esope extraite de plusieurs autheurs par M. Antoine du Moulin Masconnois. A Lyon, Par Iean de Tournes & Guillaume Gazeau. 1551. --16°, 223 numbered pages (including the title-page). Verso of last leaf bears Cartier's mark: "Pris." Title enframement: Nude Children.	Illus: Repeats the 100 woodcuts, page for page as 1549 edition. =>MORE
1556	Cartier #320	Aesopi Phrigis, et aliorum Fabulæ. Lvgdvni, Apud Ioan. Tornæsium, & Guliel. Gazeium. 1556. --16°, 302 numbered pages, 1 leaf blank on verso. With Cartier's mark "Sen I" on the verso.	Illus: Cartier counts 101 woodcuts with 94 from the Aesop set and 7 from the de Tournes set of Alciati. This author, instead, finds one woodcut appearing for the first time in this edition, with six belonging to the Alciati set: p. 93, fable 22: Leo & Lupus. =>MORE Repos: Cartier: (B.N. -- Le Mans, B.L. 3054) (rab-i: B.N. Rés. Yb 1001)
1564	Cartier #500	Æsopi Phrygis, et aliorum Fabulæ. Lvgdvni, Apud Ioan. Tornæsium. 1564. --16°, 302 numbered pages (including title), 1 final leaf for Cartier's mark: "quod tibi... et virum" located on the verso. Title page uses Cartier's "arabesque No. 1"	Illus: Cartier: Page for page reprinting of 1556 edition, containing the same images. =>MORE Repos: Cartier: (Cartier collection.)
1570	Cartier #535	Æsopi Phrygis Fabvlæ Elegantissimis eiconibus veras animaliü species ad viuü adumbrantes. Gabriæ Græci fabellæ XXXXIIII [Cartier: 43] ?at?a??µ??µ???a Homeri, hoc est, ranarum & murium pugna, ?a?e?µ??µa??a, hoc est, Felium & murium pugna. Tragædia Græca. Hæc omnia cum Latina interpretatione. Nunc primùm accesserunt Auieni antiqui autoris fabulæ, nusquam antehac editæ. [Greek & Latin]. [Cartier's mark: "Vip. m.] Lvgdvni, Apud Ioannem Tornaesivm Typogr. Regivm. M.D.LXX. --16°, 410 numbered pages (including title-page) and 3 end leaves unnumbered.	Illus: Cartier: 61 woodcuts, being those of the 1551 (40 cuts), (Cartier #183) edition, plus 21 woodcuts never previously published. =>MORE Repos: Cartier: (B.N. -- Carpentras. -- Le Mans. -- Lyon. -- Tours. -- Troyes. -- Brit. Mus. -- Vadiane, Saint-Gall. ) Harvard (Houghton), Fr. 16th C., #7. Morgan Library: E-2/51/C Acc # 5088 (rab-i:B.N. Rés Yb 998) Photos: 1433-27
1571	Cartier #543	Fabvlæ Æsopicæ, Plures quingentis, & aliæ quædam narrationes, cum historia vitæ fortunæq; Aesopi, compositæ studio & diligentia Ioachimi Camerarii Pab. [Cartier's "sic"] quibus additæ sunt & Liuianæ & Gellianæ ac aliorum quædam, cum interpretatione Græcorum, & explicatione quorundam aliorum. [Aesop Medallion]. Lvgdvni, Apud Ioan. Tornaesivm, Typogr. Regivm. M.D.LXXI. --16°, 637 numbered pages and 9 unnumbered leaves for the Index fabvlarum æsopicarum that begins on p. [638]. The verso of the last leaf is blank.	Illus: Cartier: 110 figures. RAB: Including 5 woodcuts appearing here for the first time: p. 178 (fable 123), p. 217 (fable 177), p. 247 (fable 209), p. 470 (fable 488), p. 575. =>MORE Repos: Cartier: (B.N. [Yb 3073] -- Lyon. -- Toulouse. -- Brit. Mus.) (rab-i: UCLA, Sp. Coll. PA 3855 A2 1571., B.N. Yb 3073) Photos: 1078-35 to 1098-07
1579	Cartier #592	Fabvlæ Æsopicæ, Plures quingentis, & aliæ quædam narrationes, cum historica [Cartier: sic] vitæ fortunæq; Aesopi, compositæ studio & diligentia I.[oachimi] C.[amerarii] P.[abergensis]. Quibus additæ sunt & Liuianæ & Gellianæ ac aliorum quædam, cum interpretatione Græcorum, & explicatione quorundam aliorum. [Aesop Medallion]. Lvgdvni, Apud Ioan. Tornaesivm, Typogr. Regivm. M.D.LXXIX. --16°, 637 numbered pages and 1 page and 9 unnumbered leaves for the Index. The verso of the last leaf is blank.	Illus: Cartier: Page for page reimpression of the 1571 edition, containing the same woodcuts, being, in total, 110. Repos: Cartier: (B.N. -- Grenoble. -- Lyon. -- Tours. -- Brit. Mus.) =>MORE Brun: (Bibl. École des B.-A. Masson 949)
1580	Cartier #603	Æsopi Phrygis fabulæ elegantissimis iconibus veras animalium species ad vivum adumbrantes... Haec omnia cum latina interpretatione. Nunc primum accesserunt Avieni antiqui autoris fabulæ nusquam antehac editæ. Lugduni. Apud Ioan. Tornaesium, 1580. --16°, figures.	Illus: Not seen by Cartier. Reference from a catalogue. Illustrated with figures. RAB: [See Cartier #694, which gives this edition 61 woodcuts.] =>MORE
1582	Cartier #624	Æsopi Phrygis Fabvlæ elegantisimis eiconibus veras animalium species ad viuum adumbrantes. Gabriæ Græci fabellæ XXXXIIII, etc. [Cartier's Mark "Vip. o."] Lvgdvni, Apud Ioannem Tornaesivm Typogr. Regivm. M.D.LXXXII. --16°, 410 pages and 3 leaves unnumbered.	Illus: Cartier: 81 [sic] woodcuts; reprinting of 1570 edition (Cartier #535). RAB: Note, Cartier counts 61 cuts for 1570 ed. Typographical error? =>MORE Repos: Cartier: (Brit. Mus. -- Berne. -- Milan.)
1583	Cartier #634	Les Fables d'Esope Auec sa vie, mise de Grec en François. A Lyon, Par Iean de Tournes M.D.LXXXIII. -16°, 270 pages, including Cartier's mark: "l'Ange." Titlepage frame is arabesques.	Illus: Cartier: 29 fables with same number of woodcuts. =>MORE Repos: Cartier: (Bibl. Arsenal)
1594	Cartier #694	Æsopi Phrygis Fabvlæ, elegantissimis iconibus veras animalium species ad viuum adumbrantibus. Gabriæ Græci Tabellæ XLIII. ?at?a??µ??µ???a Homeri, hoc est, ranarum & murium pugna. Ga?e?µ??µa??a, hoc est, Felium & murium pugna. Tragædia Græca. Hæc omnia cum Latina interpretatione. Accesserunt Auieni antiqui auctoris fabulæ. Editio postrema, cæteris omnibus castigatior. [Gr. & Lat.] [Cartier's mark: "Vip. m] [M.D.XCIIII] Apud Ioan. Tornaesivm Typ. Regivm Lvgd. --16°, 410 pages (including title-page) and 3 final leaves unnumbered used for the Index fabvlarum.	Illus: Cartier: Page for page reprint of editions of 1570, 1580 and 1582 repeating the same number of woodcuts, being 61. =>MORE Repos: Cartier: (Bibl. Mirecourt.)
[1598]	Not in Cartier	[Aesop's Fables, Lyon, de Tournes, 1598]	Illus: In his notes for the 1607 (#728) edition, Cartier cites this edition as a source, with same images, but does not catalogue it.
1605	Not in Cartier	Æsopi Phrygis Fabvlæ, elegantissimis iconibus veras animalium species ad viuum adumbrantibus ... Apud Ioan. Tornaesium. M.D.CV. Coloniae Allobrogum. --16°	Illus: RAB: page for page and image for image the same as the 1570 edition (Cartier # 535) =>MORE Repos: Lyon Bibliothèque Rés. 811.295 -- UCLA Sp. Coll. Children's Book Collection, GR A247f 1605 Photos: 1098-08 to 1112-09 (rab-i: UCLA.)
1606	Cartier #724	Les Fables et la vie d'Esope, en François et en Allemand. J. de Tournes, 1606. --16°	Illus: Cartier does not cite image contents. =>MORE Repos: Cartier: (Graesse, I, 35, Weigel's Kunstkat., no 10.004.)
1607	Cartier #728	Les Fables & la vie d'Esope, Latines et François. Auec trois amples Indices. [Medaillon with Aesop] Par Iean de Tovrnes. M.DC.VII. --16°. 8 preliminary leaves unnumbered, 336 numbered pages, 7 final leaves unnumbered and 1 leaf blank.	Illus: Cartier counts 98 woodcuts, with 4 repetitions among them, making for 98 different subjects. Images reproduce contents of 1598 edition. (See 1598, above.). See below for description of image contents and Cartier's correction of Didot. =>MORE Repos: Cartier: (Saint-Gall)
1609	Cartier #750	Aesopi Fabulæ, 1609	Repos: Cartier: (Library Trivulziana, Milan.) =>MORE





1554	Aesop. Lyon. B. Arnoullet, 1554.	Brun, 1969, p. 184:. Contains inverse copies of Bernard Salomon's designs. Brun notes that they are quite poorer than Salomon's. Baudrier X, p. 144 ff: 151 cuts. Freely dependent upon B.Salomon's and mediocre in queality, reversed left-to-right.. Colls: Baudrier. NYPL: Spencer Collection.	Photos: 00850-29 ff. Two cuts reprod in Baudrier.
1561	Aesop.Paris, J. de Marnef, 1561	(Harvard, Fr 16th C. #6). Brun, 1969, p. 184: 170 woodcuts (without repetitions), making 206 cuts with repetitions. He says the best of these are copied from the 1547 de Tournes edition by Bernard Salomon, of which 4 derive from the La Perrière edition of the Théâtre and 40 from the [de Tournes? 1547] Alciati. Brun notes that the woodcut of fol. G.3 is signed with the initial "I" with a moon crescent, which, according to Thieme-Becker, represents an artist named Jean Croissant, and not Jean Cousin.
1564	Aesop. Paris. J. de Marnef, 1564	Ruth Mortimer identifies close copies of the Salomon Aesop cuts appearing in blocks made for de Marnef's Paris editions beginning in 1561 (See Harvard, 1964, No.6). The Marnef edition, she notes, was illustrated using 117 blocks, repeated to create 205 woodcut images. The 117 blocks derive from 1) the de Tournes 1547 edition (Harvard, #5, Cartier 71, using all 99 images, 2) four images from de Tournes's 1551 edition from which she says two were produced for the 1545 La Perrière, Theatre des bon engins, and 3) , 14 woodcuts from de Tournes's 1547 Alciati. This is the edition that Didot (Jean Cousin, p. 171 -174) identified as a precursor to the de Tournes set and attributed to Cousin. On this see above: Didot, Cartier.

1569	Aesop. Lyon. heirs of J. Junte, 1569	Brun, 1969, p. 184: The images closely copy Salomon's.
1582	Aesop. Paris, J. de Marnef and widow of G. Cavellat, 1582	Brun 1969, p. 184. Well designed and well cut images 37x50mm, copying Salomon's illustrations. BN Rés. Yb. 1016.
1586	Aesop. Paris. de Marnef, 1585	Mortimer identifies a 1585 de Marnef edition (Harvard Fr 16th C. Books, No. 8) as having copied the blocks newly appearing in de Tournes' 1570 edition (Cartier 535). Also see (above) discussion of the 1607 Aesop (Cartier 728). Brun: This edition contains the same illustrations as the Latin editions of 1585 and 1586.
1586	Aesop. Lyon, Symphorien Berand and Étienne Michel.	Woodcuts copy Salomon's designs (source for this information, unknown).
[n.d.]	Aesop. Lyon, Jean Jullieron.	Didot, Essai, col. 236: Didot repeats Papillon (vol. 1, p. 204), citing this Greek and Latin edition (without giving a date) saying its pictures copy Bernard Salomon's appearing in a de Tournes edition of 1551.

		references	notes	photos
	Aesop
	--manuscripts
end of 13th C.	Aesop. ms. [Isopet]	Lyon, Académie, M-57
late 15th C.	"The Medici Aesop" Florence, late 15th C.	NYPL, Spencer Col. ms. 50			ms

	--printed books
1476	Aesop. Ulm, Johann Zainer, [c. 1476-1477]		Translation by Heinrich Steinhövel. Editions in German and Latin.
1477	Esopus. Ausgburg, 1477	Lenaghan, 1967, p. 24	Contains woodcuts.
1480	Aesop. Lyon, Nicolas Philippe and Marc Reinhard, 1480		French translation by an Augustinian Monk in Lyon, Julien Macho. in Dalbanne, Fables Woodcuts trace those appearing in the Augsburg and Ulm editions.
1483	Caxton's Aesop, Westminister, William Caxton, 1484	Lenaghan, 1967.	Caxton's English translation of Steinhövel's text.Woodcuts are freehand copies of those appearing in the French edition of Julien Macho. 186 different cuts, one repetition brings it to 187 woodcuts. (Lenaghan, 1967, p. 23)
1486	Les Subtiles Fables d'Esope, Lyon, Mathieu Husz, 1486	Macho, 1486	In series, Claude Dalbanne, Livres a Graveures Imprimés à Lyon au XVe Siècle. Introd. J. Bastin, n.d.
1490	Aesop. Paris, Antoine Verard, c. 1490	Pierpont Morgan 502

1486	Aesop. Les Subtiles Fables D'Esope, Lyon, Mathieu Husz, 1486.	UCLA *Z 241 A 25s
1494	Aesop. Fables d'Esope. Bologna, H. Nani, 1494.	See T. de Marinis, 1913.
1501	Esopi appologi sive mythologi...Basel, Jacob [Wolff] de Phortzheim, 1501.	Pierpont Morgan 20577
1502	Esopus. Lyon, Pierre Mareschal, 1502	Baudrier, XI, p. 507	Derived from Ulm Aesop, c. 1476-77. Illus: McKendry (t-p neg: 964-41) Baudrier: This edition, as well as the undated edition presents a set of 112 woodcuts, one of which (full page) prepresnts Aesop, grossly copied from those reproduced my Muther. They are the work of a gross and archaic designer who produced vignettes of Fier a Bras and derive from the workshops of Matthieu Husz or d'Ortium. Col: Lyon, Academie 134-12725.	0964-41
1508	Esopo hystoriado, Venice, Manfredus de Bonellis, 1508	Pierpont Morgan 19228
1540	Aesop. Les Subtiles fables de Esope. Lyon, Gilles et Jacques Huguetan. 1540.	Brun. Livre illustré, 1969, p. 183	Brun: 58 figures. The illustrations for the life of Aesop are strange, but treated in a very summary fashion. -- NYPL Card cat: 58 beautiful cuts, 75x110mm.
1542	Aesop. Les Fables du tres ancien Esope Phrygien, Paris, D. Janot. 1542.	Brun. Livre illustré, 1969, p. 183; Harvard Fr 16th Bks, #4	Brun: 100 figs with 2 repetitions. Janot's figures copied accurately in Rouen by Henry Le Mareschal in 1578, and poorly in Rouen by M. and H. Mallard, in 1587.
1544	Aesop. Les Fables du tres ancien Esope Phrygien, Paris, D. Janot. 1544 (2nd ed.)	Brun. Livre illustré, 1969, p. 183, Harv, Fr, 16th C. Bks. #4 Pierpont Morgan 52241 Omont, 1898, p. 284, #67		1996-34 to 2032-07

1547	Les Fables et la vie d'OEdipe [sic] Phrygien. Lyon, Fr. and Cl. Marchant, 1547.	Brun. Livre illustré, 1969, p. 183	Brun: rare volume, contains woodcuts.
1547	Fables d'Esope. Lyon, J. de Tournes and G. Gazeau, 1547.	Brun. Livre illustré, 1969, p. 184	This is the first edition of the B.Salomon / de Tournes series. For details and editions, see above.

1548	Aesop. Les Fables du tres ancien Esope Phrygien. Paris, P. Groulleau, 1548.	Brun. Livre illustré, 1969, p. 183 Du Verdier, 1585, p. 461	Published by D. Janot, same figures as Janot ed. of 1542, no enframements.

1554	Aesopi Phrigis... Lyon, B. Arnoullet. (Latin), 1554	Baudrier, X, p. 144 ff.	Baudrier: 151 images by an unknown designer. They are "free and mediocre copies of the set designed by Bernard Salomon for Jean de Tournes."	0936-42, 0936-43
[n.d.]	Aesop. Lyon, Jean Jullieron.	Didot, Essai, col. 236	Didot repeats Papillon (vol. 1, p. 204), citing this Greek and Latin edition (without giving a date) saying its pictures copy Bernard Salomon's appearing in a de Tournes edition of 1551.

1561	Aesopus. Fabulae, Paris for J. de Marnef, 1561	Harv, Fr, 16th C. Bks, #6 Brun 1969, p. 184	Set of 170 woodcuts, excluding repetitions, making 206 in all. Copies de Tournes' 1547 Aesop. Harvard Catalogue reports 205 woodcuts by repeating 117 cuts, all 99 cuts from the 1547 de Tournes Aesop, plus others from La Perrière and Alciati.
1564	Aesopus. Fabulae, Paris. J. de Marnef, 1564.		Harv, Fr, 16th C. Bks see #6. 2nd issuee of 1561 ed.
1565	Aesop, Rome, Vincentius Luchinus, [1565]	Pierpont Morgan 54626	by Faerno Gabriello.
1569	Aesopi phrygis fabulae. Lyon, Héritiers de J. Junte, 1569	Brun 1969, p. 184	Close copies of de Tournes's illustration series (i.e. B.Salomon's). B.N. Rés. Yb 13.
1582	Les Fables et la vie d'Esope Phrygien... nouvellement augmentées..., Paris, J. de Marnef et Vve G. Cavallat, 1582	Brun 1969, p. 184 Lieure 1927, p. 39 (pl. xxxix, 159-70
1585	Aesop. Fabulae. Paris for J. de Marnef and D. Girault Cavellat, 1585.	Harv, Fr, 16th C. Bks, #8 Brun 1969, p. 184	Brun: Same images as 1582 ed. Harvard: 53 woodcuts from 1561 ed. plus 45 new subjects.
1586