1547
1616
First edition, review copy.
Nice copy.
Signed autograph Andre Suares Georges Le Cardonnel: "... that should all read & do not think less ..."
First edition of the translation by F. de Bretonne, assistant curator at the Sainte-Geneviève Library, based on a comparison of all earlier versions. The work is enriched with a suite of 10 vignettes by Charlet, retaining its original pink paper wrapper with vignette dated 1831; the volume also includes a portrait of Cervantes.
Half long-grain claret morocco binding with corners, signed at the head of the front endpaper S. David, late 19th century. Spine with four raised bands, decorated with complex and stippled tools within compartments. Gilt fillets on the bands. Double gilt ruling along boards and corners. Minor rubbing to some bands, joints, and corners. One corner slightly turned in. Occasional spotting in an otherwise fresh copy.
Original wrappers and spines preserved. Binding executed on untrimmed paper gatherings.
A very handsome copy.
First edition of the French translation by Dominique Aubier, printed in 150 numbered copies on Rives wove paper, ours being one of 30 copies including the original print, numbered and signed by Louis Chavignier.
Our copy is one of only 10 exceptionally enriched with an additional suite on chine appliqué of the etching by Alberto Giacometti and the 14 burin engravings by Louis Chavignier.
The work is illustrated with an original etching as frontispiece by Alberto Giacometti, and 14 full-page original burin engravings by sculptor Louis Chavignier.
A handsome and rare copy.
Enclosed is the printed report, on Rives paper, of the general meeting held on 16 May 1962 by the bibliophile society Les Impénitents.
Also included is the promotional leaflet illustrated with an original burin engraving by Louis Chavignier, justified and signed by the artist, announcing the forthcoming publication of the book.
Minor, insignificant foxing affecting one leaf of the final gathering.
A rare and desirable copy.
New edition, partially original as it is augmented with three new stories and the life of the author (previously published in 1744; before this date, editions included only 10 stories).
The false title of the second volume bears the title "Diverse Works," these two volumes, although sold separately, could be placed after the six-volume Don Quixote. The original title "Exemplary Novels" was used concurrently in other editions.
Translation by Abbé Martin de Chassonville. It is illustrated with a portrait of the author engraved by Gentot after Kent, and 13 plates, of which 12 are engraved by Aveline after Folkema, and one by Daudel. The engravings are charming and pleasing, with typical interiors (pharmacy, hospital...).
Full mottled calf bindings, smooth spines adorned with gilded fleurons, gilded rolls at the tails, grenadine morocco title pieces, brown morocco volume number pieces, triple gilded fillet borders on the covers enriched with gilded angular fleurons, gilded dentelles on the endpapers, all edges gilded, one bumped corner, some rubbing on the joints and covers, contemporary binding.
New edition illustrated with 52 unsigned plates, including 6 frontispieces. Volume V is a continuation of the history of Don Quixote, by the translator Filleau de Saint Martin. Volume VI written by the author Robert Challes. Title pages erroneously indicate 58 figures.
Brown full contemporary roan, stamped in gilt in between raised bands. Title page in red morocco. Small piece of leather lacking to upper part of Volume I, small loss to head of spine. In volume II, upper spine-end torn off and lower spine-end partly missing, some damage to lower cover. Volume III, damaged upper spine-end. Volume IV, lower spine-end missing. Volume V, upper spine-end missing. Volume VI, upper spine-end flattened. 6 corners dulled. Despite traces of use, a good, uniform set. Bright paper overall, with occasional foxing around title pages and some yellowed leaves.
At the end of the 17th century, publisher Claude Barbin tasked Filleau de Saint-Martin to issue a new translation of Don Quixote, as Oudin's first translation had become obsolete, archaic and too literal. Filleau de Saint-Martin's translation prevailed until the 19th century. Interestingly, the translator changed the story's ending, opting not to have his hero die, which allowed him to write a sequel to his adventures, followed by another sequel by Robert Challes; this edition can be regarded as a French appropriation of Cervantes' masterpiece.
