Spain and the Hispanic World

First edition. Wood engraving signed on the plate by the artist.
Plate created specifically for the illustration of Cervantes' Don Quixote in the Hachette edition of 1863.

Gustave Doré first traveled to Spain in 1855, in the company of Théophile Gautier and publisher Paul Dalloz. In 1861, responding to a commission from the journal Le Tour du monde, he returned there with Baron Jean Charles Davillier, a knowledgeable hispanophile, who would recount their journey in his Voyage en Espagne.
Doré went there primarily with a view to illustrating Don Quixote: "I am therefore going to the homeland of this illustrious hidalgo to study all the places he traveled through and filled with his exploits, and thus create something that will have its local flavor". Gustave Doré would thus conduct several working sessions with Louis Viardot, translator of Cervantes' text.
Cervantes' novel is among the most illustrated stories in European literature but Doré wanted to surpass his predecessors (Tony Johannot, Grandville, Daumier...). Upon its publication in 1863, the work would be the subject of unanimous praise, notably from Emile Zola: "They call that illustrating a work: I maintain that it is remaking it. Instead of one masterpiece, the human spirit counts two".

See our other engravings by Gustave Doré

Gustave Doré, L'Imaginaire au pouvoir (Musée d'Orsay, 2014)

Virtual exhibition about Gustave Doré on the Gallica website

First edition. Wood engraving signed in the plate by the artist. Pale foxing in the upper margin not affecting the engraving.
Plate created specifically for the illustration of Don Quixote by Cervantes for the Hachette edition of 1863.

Gustave Doré first traveled to Spain in 1855, in the company of Théophile Gautier and publisher Paul Dalloz. In 1861, responding to a commission from the journal Le Tour du monde, he returned there with Baron Jean Charles Davillier, a knowledgeable Hispanophile, who would recount their journey in his Voyage en Espagne.
Doré went there primarily with a view to illustrating Don Quixote: "Je me rends donc dans la patrie de cet illustre hidalgo pour étudier tous les lieux qu'il a parcourus et remplis de ses exploits et faire ainsi une chose qui aura son parfum local" ["I am therefore going to the homeland of this illustrious hidalgo to study all the places he traveled through and filled with his exploits, and thus create something that will have its local flavor"]. Gustave Doré would thus conduct several working sessions with Louis Viardot, translator of Cervantes' text.
Cervantes' novel counts among the most illustrated stories in European literature, but Doré wanted to surpass his predecessors (Tony Johannot, Grandville, Daumier...). When it appeared in 1863, the work would be the subject of unanimous praise, notably from Émile Zola: "On appelle ça illustrer un ouvrage : moi, je prétends que c'est le refaire. Au lieu d'un chef-d'oeuvre, l'esprit humain en compte deux" ["They call that illustrating a work: I maintain that it is remaking it. Instead of one masterpiece, the human spirit counts two"].

See our other engravings by Gustave Doré

Gustave Doré, L'Imaginaire au pouvoir (Musée d'Orsay, 2014)

Virtual exhibition on Gustave Doré on the Gallica website

First edition. Wood engraving signed in the plate by the artist. Some pale spotting in the margin of the plate.
Plate created specifically for the illustration of Don Quixote by Cervantes for the Hachette edition of 1863.

Gustave Doré first traveled to Spain in 1855, in the company of Théophile Gautier and publisher Paul Dalloz. In 1861, responding to a commission from the journal Le Tour du monde, he returned there with Baron Jean Charles Davillier, a knowledgeable Hispanophile, who would recount their journey in his Voyage en Espagne.
Doré went there primarily with a view to illustrating Don Quixote: "Je me rends donc dans la patrie de cet illustre hidalgo pour étudier tous les lieux qu'il a parcourus et remplis de ses exploits et faire ainsi une chose qui aura son parfum local" ["I am therefore going to the homeland of this illustrious hidalgo to study all the places he traveled through and filled with his exploits, and thus create something that will have its local flavor"]. Gustave Doré would thus conduct several working sessions with Louis Viardot, translator of Cervantes' text.
Cervantes' novel counts among the most illustrated stories in European literature, but Doré wanted to surpass his predecessors (Tony Johannot, Grandville, Daumier...). When it appeared in 1863, the work would be the subject of unanimous praise, notably from Émile Zola: "On appelle ça illustrer un ouvrage : moi, je prétends que c'est le refaire. Au lieu d'un chef-d'oeuvre, l'esprit humain en compte deux" ["They call that illustrating a work: I maintain that it is remaking it. Instead of one masterpiece, the human spirit counts two"].

See our other engravings by Gustave Doré

Gustave Doré, L'Imaginaire au pouvoir (Musée d'Orsay, 2014)

Virtual exhibition on Gustave Doré on the Gallica website

First edition. Wood engraving signed on the plate by the artist.
Plate created specifically for the illustration of Cervantes' Don Quixote for the Hachette edition of 1863.

Gustave Doré first traveled to Spain in 1855, accompanied by Théophile Gautier and publisher Paul Dalloz. In 1861, responding to a commission from the journal Le Tour du monde, he returned there with Baron Jean Charles Davillier, an avid hispanophile, who would recount their journey in his Voyage en Espagne.
Doré went there primarily for the illustration of Don Quixote: "I am therefore going to the homeland of this illustrious hidalgo to study all the places he traveled through and filled with his exploits, and thus create something that will have its local flavor". Gustave Doré would thus conduct several working sessions with Louis Viardot, translator of Cervantes' text.
Cervantes' novel is among the most illustrated narratives in European literature, but Doré wanted to surpass his predecessors (Tony Johannot, Grandville, Daumier...). Upon its publication in 1863, the work would receive unanimous praise, notably from Emile Zola: "They call that illustrating a work: I maintain that it's remaking it. Instead of one masterpiece, the human spirit now counts two".

See our other engravings by Gustave Doré

Gustave Doré, L'Imaginaire au pouvoir (Musée d'Orsay, 2014)

Virtual exhibition about Gustave Doré on the Gallica website

First edition. Wood engraving signed in the plate by the artist. A small foxing spot in the upper margin, not touching the engraving.
Plate created specifically for the illustration of Cervantes' Don Quixote for the Hachette edition of 1863.

Gustave Doré traveled to Spain first in 1855, in the company of Théophile Gautier and publisher Paul Dalloz. In 1861, responding to a commission from the journal Le Tour du monde, he returned there with Baron Jean Charles Davillier, a knowledgeable hispanophile, who would recount their journey in his Voyage en Espagne.
Doré went there mainly with a view to illustrating Don Quixote: "I am therefore going to the homeland of this illustrious hidalgo to study all the places he traveled through and filled with his exploits and thus create something that will have its local flavor". Gustave Doré would thus conduct several working sessions with Louis Viardot, translator of Cervantes' text.
Cervantes' novel is among the most illustrated narratives in European literature but Doré wanted to surpass his predecessors (Tony Johannot, Grandville, Daumier...). Upon its publication in 1863, the work would be the subject of unanimous praise, notably from Émile Zola: "They call that illustrating a work: I maintain that it's remaking it. Instead of one masterpiece, the human spirit counts two".

See our other engravings by Gustave Doré

Gustave Doré, L'Imaginaire au pouvoir (Musée d'Orsay, 2014)

Virtual exhibition about Gustave Doré on the Gallica website

First edition. Wood engraving signed in the plate by the artist. Some very discreet worming.
Plate created specifically for the illustration of Cervantes' Don Quixote in the Hachette edition of 1863.

Gustave Doré first travelled to Spain in 1855, in the company of Théophile Gautier and the publisher Paul Dalloz. In 1861, responding to a commission from the journal Le Tour du monde, he returned there with Baron Jean Charles Davillier, a learned hispanophile, who would recount their journey in his Voyage en Espagne.
Doré went there primarily with a view to illustrating Don Quixote: "Je me rends donc dans la patrie de cet illustre hidalgo pour étudier tous les lieux qu'il a parcourus et remplis de ses exploits et faire ainsi une chose qui aura son parfum local" ["I am therefore going to the homeland of this illustrious hidalgo to study all the places he traversed and filled with his exploits and thus create something that will have its local flavour"]. Gustave Doré would thus undertake several working sessions with Louis Viardot, translator of Cervantes' text.
Cervantes' novel ranks among the most illustrated narratives in European literature but Doré wanted to surpass his predecessors (Tony Johannot, Grandville, Daumier...). Upon its publication in 1863, the work would receive unanimous praise, notably from Emile Zola: "On appelle ça illustrer un ouvrage : moi, je prétends que c'est le refaire. Au lieu d'un chef-d'oeuvre, l'esprit humain en compte deux" ["They call that illustrating a work: I maintain that it is remaking it. Instead of one masterpiece, the human spirit now counts two"].

See our other engravings by Gustave Doré

Gustave Doré, L'Imaginaire au pouvoir (Musée d'Orsay, 2014)

Virtual exhibition on Gustave Doré on the Gallica website

First edition. Wood engraving signed in the plate by the artist.
Plate created specifically for the illustration of Cervantes' Don Quixote in the Hachette edition of 1863.

Gustave Doré first travelled to Spain in 1855, in the company of Théophile Gautier and the publisher Paul Dalloz. In 1861, responding to a commission from the journal Le Tour du monde, he returned there with Baron Jean Charles Davillier, a learned hispanophile, who would recount their journey in his Voyage en Espagne.
Doré went there primarily with a view to illustrating Don Quixote: "Je me rends donc dans la patrie de cet illustre hidalgo pour étudier tous les lieux qu'il a parcourus et remplis de ses exploits et faire ainsi une chose qui aura son parfum local" ["I am therefore going to the homeland of this illustrious hidalgo to study all the places he traversed and filled with his exploits and thus create something that will have its local flavour"]. Gustave Doré would thus undertake several working sessions with Louis Viardot, translator of Cervantes' text.
Cervantes' novel ranks among the most illustrated narratives in European literature but Doré wanted to surpass his predecessors (Tony Johannot, Grandville, Daumier...). Upon its publication in 1863, the work would receive unanimous praise, notably from Emile Zola: "On appelle ça illustrer un ouvrage : moi, je prétends que c'est le refaire. Au lieu d'un chef-d'oeuvre, l'esprit humain en compte deux" ["They call that illustrating a work: I maintain that it is remaking it. Instead of one masterpiece, the human spirit now counts two"].

See our other engravings by Gustave Doré

Gustave Doré, L'Imaginaire au pouvoir (Musée d'Orsay, 2014)

Virtual exhibition on Gustave Doré on the Gallica website

First edition. Wood engraving signed in the plate by the artist.

Plate created specifically for the illustration of Cervantes' Don Quixote for the 1863 Hachette edition.

Gustave Doré first traveled to Spain in 1855, accompanied by Théophile Gautier and publisher Paul Dalloz. In 1861, responding to a commission from the journal Le Tour du monde, he returned there with Baron Jean Charles Davillier, an informed hispanophile, who would recount their journey in his Voyage en Espagne.
Doré went there primarily with a view to illustrating Don Quixote: "Je me rends donc dans la patrie de cet illustre hidalgo pour étudier tous les lieux qu'il a parcourus et remplis de ses exploits et faire ainsi une chose qui aura son parfum local" ["I am therefore going to the homeland of this illustrious hidalgo to study all the places he traveled through and filled with his exploits and thus create something that will have its local flavor"]. Gustave Doré would thus conduct several working sessions with Louis Viardot, translator of Cervantes' text.
Cervantes' novel is among the most illustrated narratives in European literature, but Doré wanted to surpass his predecessors (Tony Johannot, Grandville, Daumier...). Upon its publication in 1863, the work would receive unanimous praise, notably from Emile Zola: "On appelle ça illustrer un ouvrage : moi, je prétends que c'est le refaire. Au lieu d'un chef-d'oeuvre, l'esprit humain en compte deux" ["They call that illustrating a work: I maintain that it is remaking it. Instead of one masterpiece, the human spirit now counts two"].

See our other engravings by Gustave Doré

Gustave Doré, L'Imaginaire au pouvoir (Musée d'Orsay, 2014)

Virtual exhibition on Gustave Doré on the Gallica website

First edition. Wood engraving signed in the plate by the artist. A long tear without loss to the left margin of the plate.

Plate created specifically for the illustration of Cervantes' Don Quixote for the 1863 Hachette edition.

Gustave Doré first traveled to Spain in 1855, accompanied by Théophile Gautier and publisher Paul Dalloz. In 1861, responding to a commission from the journal Le Tour du monde, he returned there with Baron Jean Charles Davillier, an informed hispanophile, who would recount their journey in his Voyage en Espagne.
Doré went there primarily with a view to illustrating Don Quixote: "Je me rends donc dans la patrie de cet illustre hidalgo pour étudier tous les lieux qu'il a parcourus et remplis de ses exploits et faire ainsi une chose qui aura son parfum local" ["I am therefore going to the homeland of this illustrious hidalgo to study all the places he traveled through and filled with his exploits and thus create something that will have its local flavor"]. Gustave Doré would thus conduct several working sessions with Louis Viardot, translator of Cervantes' text.
Cervantes' novel is among the most illustrated narratives in European literature, but Doré wanted to surpass his predecessors (Tony Johannot, Grandville, Daumier...). Upon its publication in 1863, the work would receive unanimous praise, notably from Emile Zola: "On appelle ça illustrer un ouvrage : moi, je prétends que c'est le refaire. Au lieu d'un chef-d'oeuvre, l'esprit humain en compte deux" ["They call that illustrating a work: I maintain that it is remaking it. Instead of one masterpiece, the human spirit now counts two"].

See our other engravings by Gustave Doré

Gustave Doré, L'Imaginaire au pouvoir (Musée d'Orsay, 2014)

Virtual exhibition on Gustave Doré on the Gallica website

First edition. Wood engraving signed in the plate by the artist. Some light foxing.

Plate specially created for the illustration of Cervantes' Don Quixote for the Hachette edition of 1863.


Gustave Doré first traveled to Spain in 1855, in the company of Théophile Gautier and publisher Paul Dalloz. In 1861, responding to a commission from the journal Le Tour du monde, he returned there with Baron Jean Charles Davillier, a knowledgeable hispanophile, who would recount their journey in his Voyage en Espagne.
Doré went there primarily with a view to illustrating Don Quixote: "I am therefore going to the homeland of this illustrious hidalgo to study all the places he traveled through and filled with his exploits and thus create something that will have its local flavor". Gustave Doré would thus conduct several work sessions with Louis Viardot, translator of Cervantes' text.
Cervantes' novel ranks among the most illustrated narratives in European literature, but Doré wanted to surpass his predecessors (Tony Johannot, Grandville, Daumier...). When it was published in 1863, the work would be the object of unanimous praise, notably from Emile Zola: "They call that illustrating a work: I maintain that it's recreating it. Instead of one masterpiece, the human spirit now counts two".

See our other engravings by Gustave Doré

Gustave Doré, L'Imaginaire au pouvoir (Musée d'Orsay, 2014)

Virtual exhibition on Gustave Doré on the Gallica website

First edition. Wood engraving signed in the plate by the artist.

Plate created specifically for the illustration of Cervantes' Don Quixote for the Hachette edition of 1863.

Gustave Doré first traveled to Spain in 1855, in the company of Théophile Gautier and publisher Paul Dalloz. In 1861, responding to a commission from the journal Le Tour du monde, he returned there with Baron Jean Charles Davillier, a knowledgeable hispanophile, who would recount their journey in his Voyage en Espagne.
Doré went there primarily with a view to illustrating Don Quixote: "I am therefore going to the homeland of this illustrious hidalgo to study all the places he traveled through and filled with his exploits, and thus create something that will have its local flavor". Gustave Doré would thus conduct several working sessions with Louis Viardot, translator of Cervantes' text.
Cervantes' novel ranks among the most illustrated stories in European literature, but Doré wanted to surpass his predecessors (Tony Johannot, Grandville, Daumier...). Upon its publication in 1863, the work would be the subject of unanimous praise, notably from Émile Zola: "They call that illustrating a work: I maintain that it's remaking it. Instead of one masterpiece, the human spirit now counts two".

See our other engravings by Gustave Doré

Gustave Doré, L'Imaginaire au pouvoir (Musée d'Orsay, 2014)

Virtual exhibition on Gustave Doré on the Gallica website

First edition. Wood engraving signed in the plate by the artist.

Plate created specifically for the illustration of Cervantes' Don Quixote for the Hachette edition of 1863.

Gustave Doré first traveled to Spain in 1855, in the company of Théophile Gautier and publisher Paul Dalloz. In 1861, responding to a commission from the journal Le Tour du monde, he returned there with Baron Jean Charles Davillier, a knowledgeable hispanophile, who would recount their journey in his Voyage en Espagne.
Doré went there primarily with a view to illustrating Don Quixote: "I am therefore going to the homeland of this illustrious hidalgo to study all the places he traveled through and filled with his exploits, and thus create something that will have its local flavor". Gustave Doré would thus conduct several working sessions with Louis Viardot, translator of Cervantes' text.
Cervantes' novel ranks among the most illustrated stories in European literature, but Doré wanted to surpass his predecessors (Tony Johannot, Grandville, Daumier...). Upon its publication in 1863, the work would be the subject of unanimous praise, notably from Émile Zola: "They call that illustrating a work: I maintain that it's remaking it. Instead of one masterpiece, the human spirit now counts two".

See our other engravings by Gustave Doré

Gustave Doré, L'Imaginaire au pouvoir (Musée d'Orsay, 2014)

Virtual exhibition on Gustave Doré on the Gallica website

First edition. Wood engraving signed in the plate by the artist.

Plate created specifically for the illustration of Cervantes' Don Quixote for the Hachette edition of 1863.

Gustave Doré first traveled to Spain in 1855, in the company of Théophile Gautier and publisher Paul Dalloz. In 1861, responding to a commission from the journal Le Tour du monde, he returned there with Baron Jean Charles Davillier, an experienced hispanophile, who would recount their journey in his Voyage en Espagne.
Doré went there primarily with a view to illustrating Don Quixote: "I am therefore going to the homeland of this illustrious hidalgo to study all the places he traveled through and filled with his exploits and thus create something that will have its local flavor". Gustave Doré would thus conduct several working sessions with Louis Viardot, translator of Cervantes' text.
Cervantes' novel is among the most illustrated stories in European literature but Doré wanted to surpass his predecessors (Tony Johannot, Grandville, Daumier...). When it appeared in 1863, the work received unanimous praise, notably from Emile Zola: "They call that illustrating a work: I contend that it is remaking it. Instead of one masterpiece, the human spirit counts two".

See our other engravings by Gustave Doré

Gustave Doré, L'Imaginaire au pouvoir (Musée d'Orsay, 2014)

Virtual exhibition on Gustave Doré on the Gallica website

First edition, printed by the Elsevier press. 4 title pages with the sphere, two of which for L'Ambassade en Suisse.
Contemporary full brown speckled sheep binding. Spine with raised bands, decorated. Brown morocco title and volume labels, decorated with roll tools. A slight lack to the joint at the head of each volume. Good copy.
Important diplomatic relations by one who was a great lord and great military man concerning the Valtellina affair with Spain and Switzerland, and that of the projected marriage of the king's sister and the Prince of Wales in England. A collection of articles and letters that allow one to realistically follow the progress of diplomatic missions (a historical introduction each time allows one to grasp the stakes of each embassy): these missions which greatly interested France prove Bassompierre's position with Louis XIII. Upon his return and after having taken part in the siege of La Rochelle, he was imprisoned in the Bastille for 12 years for intrigues by Richelieu. It is traditionally accepted that, like his Mémoires, these Ambassades were also written in prison, but it is difficult to see how, from such a place, Bassompierre could have realized such a work which required numerous researches and access to archives, especially as the work appears greatly to be that of a historian; it bears the mark in its writing and structure; but it could have been initiated, realized in collaboration to complete the work of the memoirs.

First edition of the French translation, a Service de Presse (advance) copy.
Spine very lightly browned without consequence, otherwise a handsome copy.
Signed and inscribed by Alejo Carpentier to Marc Saporta.

First edition.
Signed autograph inscription from the author.
Preface by Pierre Chaunu.
A small ballpoint pen mark at the head of the front cover, handsome copy.

First edition on ordinary paper.
Signed autograph inscription from Serge embellished with a small drawing depicting an anchor, a heart and a star.
Work illustrated with 84 unpublished drawings by the author.
Handsome copy lacking its illustrated dust jacket.

First edition.
Contemporary full parchment binding. Smooth spine with pen-and-ink title faded at head. Lacking one third of the leather on upper board, also at edges. Without endpaper. Good freshness of paper.
Aragonese naval ordinances from the 14th century. In appendix, English naval ordinances and various documents relating to the Spanish navy, notably ordinances from the 16th century.

First edition.
Mp of the Paraguay, partly in color.
Faint angular dampstain to head.

SOLIS Y RIVADENEYRA Antonio de
Historia de la conquista de Mexico, poblacion, y progressos de la America septentrional, conocido por el nombre de Nueva Espana
En la impreta de Don Antonio Mayoral, en Madrid 1768, small in-4 (15 x 21 cm), (24) 549 pp., contemporary vellum
Later edition, after the first, which appeared in 1684. Double column. de photos
Contemporary flexible vellum. Spine titled in ink. Traces of ties. Binding detached, with significant lack to foot.
A famous work whose publication had significant impact in Europe, notably in France following its translation in 1692. Rivadeneyra was appointed Historian of the Indies. The work recounts Cortes’ expedition and the conquest of Mexico, or rather the Aztec Empire, otherwise known as New Spain. The author principally relied on Cortes’ letters and the works of Lopez de Gomara. It outlines the numerous contacts Cortes had with Montezuma and makes interesting observations on the mores and dress of the indigenous peoples. It also contains a significant amount of economic data on the population and the growth of the colony.  +

First edition, one of 230 numbered copies on Alfa paper. Handwritten inscription signed by the author. A tiny marginal tear on the front cover, ex-libris pasted on the first blank endpaper.

Original wood engraving heightened with watercolor and gum arabic of the period, signed in the plate by Clerman lower right.
Print created for "Recuerdos de un viage por España" by Francisco de Paula Mellado, an account of his journey through the multiple provinces of Spain and overseas territories in which the author studies the customs, legends, literature, history and geography of each place. This type of illustration is emblematic of Spanish Romantic aesthetics and its fashion for "tableaux de coutumes" ("Cuadro de costumbres"), veritable galleries of generic characters in the manner of "Les Français peints par eux-mêmes" of the same period.
Superb watercolor whose gum arabic varnish accentuates the contrasts.

Original wood engraving heightened with watercolor and gum arabic of the period, signed in the plate by Clerman lower right. Plate engraved by Pannemaker.
Print created for "Recuerdos de un viage por España" by Francisco de Paula Mellado, an account of his journey through the multiple provinces of Spain and overseas territories in which the author studies the customs, legends, literature, history and geography of each place. This type of illustration is emblematic of Spanish Romantic aesthetics and its fashion for "tableaux de coutumes" ("Cuadro de costumbres"), veritable galleries of generic characters in the manner of "Les Français peints par eux-mêmes" of the same period.
Superb watercolor whose gum arabic varnish accentuates the contrasts.

Original wood engraving heightened with watercolor and gum arabic of the period. Plate engraved by Pannemaker.
Print created for "Recuerdos de un viage por España" by Francisco de Paula Mellado, an account of his journey through the multiple provinces of Spain and overseas territories in which the author studies the customs, legends, literature, history and geography of each place. This type of illustration is emblematic of Spanish Romantic aesthetics and its fashion for "costume paintings" ("Cuadro de costumbres"), veritable galleries of generic characters in the manner of "Les Français peints par eux-mêmes" at the same period.
Superb watercolor whose gum varnish accentuates the contrasts.

Original wood engraving heightened with watercolor and gum arabic of the period, signature in the plate by Clerman at bottom right. Plate engraved by Duverger.
Print created for "Recuerdos de un viage por España" by Francisco de Paula Mellado, an account of his journey through the multiple provinces of Spain and overseas territories in which the author studies the customs, legends, literature, history and geography of each place. This type of illustration is emblematic of Spanish Romantic aesthetics and its fashion for "costume paintings" ("Cuadro de costumbres"), veritable galleries of generic characters in the manner of "Les Français peints par eux-mêmes" at the same period. Superb watercolor whose gum varnish accentuates the contrasts.

Original wood engraving enhanced with watercolor and gum arabic highlights from the period, signature in the plate by Clerman at lower right. Plate engraved by Duverger.
Print created for "Recuerdos de un viage por España" by Francisco de Paula Mellado, an account of his journey through the multiple provinces of Spain and overseas territories in which the author studies the customs, legends, literature, history and geography of each place. This type of illustration is emblematic of Spanish Romantic aesthetics and its fashion for "costume studies" ("Cuadro de costumbres"), veritable galleries of generic characters in the manner of "Les Français peints par eux-mêmes" from the same period.
Superb watercolor whose gum arabic varnish accentuates the contrasts.

Original wood engraving enhanced with watercolor and gum arabic highlights from the period. Plate engraved by Pannemaker.
Print created for "Recuerdos de un viage por España" by Francisco de Paula Mellado, an account of his journey through the multiple provinces of Spain and overseas territories in which the author studies the customs, legends, literature, history and geography of each place. This type of illustration is emblematic of Spanish Romantic aesthetics and its fashion for "costume studies" ("Cuadro de costumbres"), veritable galleries of generic characters in the manner of "Les Français peints par eux-mêmes" from the same period. Superb watercolor whose gum arabic varnish accentuates the contrasts.

Original wood engraving heightened with watercolor and gum arabic highlights of the period, signature in the plate by Clerman at lower right. Plate engraved by Pannemaker.
Print created for "Recuerdos de un viage por España" by Francisco de Paula Mellado, an account of his journey through the multiple provinces of Spain and overseas territories in which the author studies the customs, legends, literature, history and geography of each place. This type of illustration is emblematic of Spanish Romantic aesthetics and its fashion for "tableaux de costumbres" ("Cuadro de costumbres"), veritable galleries of generic characters in the manner of "Les Français peints par eux-mêmes" of the same period. Superb watercolor whose gum arabic varnish accentuates the contrasts.

Original wood engraving heightened with watercolor and gum arabic highlights of the period. Plate engraved by Pannemaker.
Print created for "Recuerdos de un viage por España" by Francisco de Paula Mellado, an account of his journey through the multiple provinces of Spain and overseas territories in which the author studies the customs, legends, literature, history and geography of each place. This type of illustration is emblematic of Spanish Romantic aesthetics and its fashion for "tableaux de costumbres" ("Cuadro de costumbres"), veritable galleries of generic characters in the manner of "Les Français peints par eux-mêmes" of the same period.
Superb watercolor whose gum arabic varnish accentuates the contrasts.

Original woodcut heightened with watercolor and gum arabic highlights of the period, signed lower right by Clerman. Plate engraved by Pannemaker.
Print created for "Recuerdos de un viage por España" by Francisco de Paula Mellado, an account of his journey through the multiple provinces of Spain and overseas territories in which the author studies the customs, legends, literature, history and geography of each place.
This type of illustration is emblematic of Spanish Romantic aesthetics and its fashion for "tableaux de coutumes" ("Cuadro de costumbres"), veritable galleries of generic characters in the manner of "Les Français peints par eux-mêmes" of the same period.
Superb watercolor whose gum arabic varnish accentuates the contrasts.

Original woodcut heightened with watercolor and gum arabic highlights of the period, signed lower left by Clerman. Plate engraved by Duverger. Print created for "Recuerdos de un viage por España" by Francisco de Paula Mellado, an account of his journey through the multiple provinces of Spain and overseas territories in which the author studies the customs, legends, literature, history and geography of each place.
This type of illustration is emblematic of Spanish Romantic aesthetics and its fashion for "tableaux de coutumes" ("Cuadro de costumbres"), veritable galleries of generic characters in the manner of "Les Français peints par eux-mêmes" of the same period.
Superb watercolor whose gum arabic varnish accentuates the contrasts.

Second issue of the first edition with alternate title, illustrated with 3 folding maps (Spain, Madrid and the Bay of Cadiz) including the map of Spain hand-colored, and 9 plates of which 7 are folding.
Contemporary half brown sheep binding. Spine with raised bands decorated with bold fillets. Title-label and volume label in fawn calf. Headcap of volume I partly worn, split on volume 2, a lack to volume 3; tail of volumes I and 2 partly split. Lower joint of volume 2 open at tail. Upper joint of volume 3 cracked at tail. Set heavily rubbed. Edges of volume I trimmed and those of other volumes bumped. 3 plates with tears. Dampstain at beginning of volume II.
The interest of this voyage is to focus on contemporary Spain at the end of the 18th century. It was written by a direct witness, the French ambassador to Madrid, Baron Jean François de Bourgoing. From 1782, he chose to visit Spain to establish a true picture of it. He presents all aspects, economy, commerce, institutions, cuisine...

New edition of the French translation established by Filleau de Saint-Martin.
Half navy glazed calf bindings, smooth spines decorated with central floral motifs, gilt friezes at head and foot, traces of rubbing on spines, spine of the sixth volume with a marginal lack of leather, red morocco work title, olive morocco volume labels, upper headcaps rubbed, marbled paper boards bordered with a blind floral frieze, marbled endpapers and pastedowns, some corners slightly bumped, marbled edges, slightly later Romantic bindings.
Work illustrated, as frontispieces to the 6 volumes, with a portrait of Miguel de Cervantes engraved by Lefèvre after Devéria, as well as 5 other engravings after Devéria.
Some light foxing.

First edition.
Contemporary full blonde calf binding. Red morocco title label and black morocco volume label. 2 corners slightly bumped. Missing one marbled endpaper in volume I. Otherwise a handsome copy.
Chronological history of Spain and Portugal in the form of anecdotes, that is to say short articles. The Anecdotes are skillful compilations, not without critical spirit, and allow one to have at hand in a very practical manner the history of a nation.

First edition, rare. Title page in red and black. Absent from French and English catalogues, we have found only one copy in Spain.
Contemporary full vellum binding. Smooth spine. Title in black ink. Ties. Paper yellowed. Spine partially detached from the vellum.
Saint Agnes of Monte Policiano died in 1317. Born in Tuscany, in the vicinity of Montepulciano, she entered the monastery at age 9. Four years later she was delegated by Pope Nicholas IV to assist in the foundation of the monastery of Proceno and became its prioress at age 13. At the request of her fellow citizens she established a Dominican convent in Montepulciano which she directed until her death. She was canonized in 1726 by Benedict XIII. This work directly follows this canonization. This saint became the object of deep devotion in South America where several churches bear her name.

First edition. Large arms of Utrera on second leaf. Title in red and black with a floral frame.
Contemporary vellum, spine titled in ink (smudged). One tie in good condition, spine partly detached. Traces of glue to final endpaper. A good copy without significant faults, generally fresh.
A monograph on the town of Utrera in the south-west of Spain, not far from Seville (in the province of Andalusia). The town has a rich history, recorded events from which stretch back to the 13th century, when Alfonso X conquered Seville. Archeological digs have shown that the town was inhabited even before the Roman period.
20th century ex libris with an image of a 16th century hand press.

First edition.
Half wine-lees calf binding with corners, circa 1900; skillful pastiche of an 1820 binding. Spine with false flat raised bands decorated with roulettes and fillets. Spine uniformly lightened, without consequence. A handsome copy.
This military man was appointed head of the French Household of Philip V of Spain, the first Bourbon king of Spain (from 1700 to 1703). He would receive a new mission in Spain in 1716, as extraordinary ambassador. During three essential years, everything done at court passed through him. Here is what the Duke of Saint-Simon says about him in his memoirs: "To speak truly, he governed the king and Spain." These memoirs were written during the marquis's retirement and remained in manuscript form.
Raymond Clavreuil bookshop label.

BULLOCK William
Le Mexique en 1823, ou relation d'un voyage dans la Nouvelle-Espagne, contenant des notions exactes et peu connues sur la situation physique, morale et politique de ce pays
Alexis Eymery, Paris 1824, in-8 (12,5 x 20m) and one atlas atlas in-8 landscape format(20 x 26,5 cm), (4) III, LXXII, 364 pp & (4) 370 pp., (2) and a large atlas in-8 landscape format, 11 pp., 2 volumes, publisher's binding
First French edition. The first English edition preceded it by a few months. The atlas is made up of a portrait of the author, 2 folding maps of Mexico, 12 lithographed plates (view of Mexico, Veracruz, Puebla, and sculptures), and 5 lithographed plates of costumes, finely colored (the plate of the two horsemen has been omitted).
Extremities a little rubbed. Scratches to covers of volume I.
A generally good and fresh copy.
Publisher's original binding. Small lacks to headpieces. One costume plate detached. Marginal worming not touching any of the plates.
Before traveling to Mexico twice to buy gold and silver mines and a great number of objects he displayed to the public in London, William Bullock was an antiquary and naturalist who assembled some 32,000 objects, for which he made a museum. They were later exhibited in the Egyptian Hall in Picadilly. This collection was dispersed by auction in 1819, before his trip to Mexico. Bullock gives a detailed account of this voyage, from which he returned with a variety of animals and notes; it includes numerous descriptions of Mexican customs, but also the monuments, fauna and flora, and politics of the country.

First edition of each volume.
Half olive calf binding, smooth spine decorated with gilt and blind fillets, gilt friezes at head and foot, red morocco title label, marbled paper boards, light rubbing to joints, marbled endpapers and pastedowns.
Some foxing.

New edition from La collection des classiques français, illustrated with a portrait and a folding map of Spain. Fine edition with classical typography and wide margins.

Full glazed wine-red calf bindings, sky blue title and volume labels, smooth spines richly decorated with cathedral tools and rolls, boards stamped in blind with a large central monastic medallion, a blind border frieze and a second in gilt, boards with slight worm damage, marbled edges.

Magnificent romantic binding by a great binder of the period.

It should be noted that the preface by the Comte de Neufchâteau, academician, is actually by Victor Hugo (then aged 16); the count found it so remarkably written that he published it as is. Furthermore, all the footnotes are also by Victor Hugo.

Fine copy in a magnificent contemporary romantic binding signed by Vogel.

First collected edition.
Contemporary marbled brown sheep binding. Smooth spine decorated with thick and thin fillets. Red morocco title label, black morocco volume label in a circle. One wormhole at foot of volume 1, a second at foot of volume 4.
José Cadalso (1741-1792), Spanish poet and man of letters, journalist, studied in England and France at the Jesuit college Louis le Grand, then at the seminary in Madrid. After traveling through Europe, he pursued a military career. His prose helped awaken the spirit of the Enlightenment in Spain and defend national identity. These works bring together his poetry, translations and criticism, as well as his essays.
Bookplate of J. J. Ballard, physician, early 19th century.

New edition after the first edition of 1665. Rare.
Contemporary full vellum binding. Smooth spine with handwritten title. Scattered foxing.
Prolific Spanish writer, Francisco Santos (1618-1696), who was a soldier by profession, is famous for his picaresque novels and short stories from which Lesage drew abundantly for Gil Blas and his Diable boiteux. He defends the poor against the rich, and the humble against the wealthy, a typical attitude of the picaresque novel, and reflection of Madrilenian and Spanish society. Most of Santos's works are full of Christian and Catholic morals, and this spirit led to this work which departs from the strict domain of literature, where the author becomes the champion of defending Christian and Catholic doctrine. One finds therein very interesting details about witches and the customs of Madrid.

First French edition, translated from Italian by M. Jansen (the work was indeed first published in Italian by Bodoni).
Near-contemporary full sheep bindings with smooth spines, bronze title and volume labels. Handsome copy.
The work begins with memoirs on the life and works of Mengs (1728-1779) by Chevalier d'Azara and a notice on Mengs's paintings, followed by the painter's treatises on painting, covering beauty, taste, technical aspects of painting as well as various celebrated painters (Raphael, Correggio, Titian). The preface contains a paragraph by Klopstock (the German editor) and Fuessli. Court painter to the King of Poland, he joined the Spanish court at the behest of Charles III, King of Spain; his paintings, quite early in the neoclassical taste (see his Cleopatra), secured him fame and wealth, and the writings he left on painting and the arts are marked by research and subtlety.

The first collection of laws governing Spain appeared in 1567 under the instigation of King Philip II. This collection would be reprinted and supplemented until 1775. A third book appeared containing los autos acordados.
This edition is complete with its index at the end of volume II.
Absent from the Bibliothèque Nationale de France and French catalogues, copies from 1775 and 1772 at the British Library, Cambridge and Southampton (these libraries never hold all 2 volumes, but either the first, second, or third).

Full flamed calf bindings from the early 19th century. Smooth spine with fillets. Red title label and black volume label. Headcaps rubbed. Various scuffing. One tear to the tailcap of volume I. Surface abrasions on the edges. Upper headcap of volume II torn away.
Collection of laws, decrees, and ordinances of the Kingdom of Spain.

[Journeys to the interior of Central America: including those from Buenos Aires to Assumption by way of the Plata river and back, from Buenos Aires to Valparaiso by way of the Mendoza plain and the town of Santiago de Chile, into the valleys and peaks of the Cordillera over a distance of almost 450 leagues, containing some of the richest mines in Chile, the return from Valparaiso and Santiago, the navigation of the Coquimbo to Lima, the capital of all Central America, the tortuous route from Lima to Guayaquil, and around Quito province, including to an ancient Inca city. Also including the voyage from the aforementioned capital to Santa Fe de Bogota by way of Cuença, Calil, and Popayan, an extraordinary and interesting region in terms of its trade, a description of the environs of Santa Fe, the centre of the Colombian Republic, as well as of the nature and liveliness of its trade, likewise for all the territory on the way to the port of Cartagena, where the author embarked for Cuba and Jamaica, whose most remarkable features he also records. With detailed accounts of the mores, customs and character of the inhabitants, local products and the riches of the vast expanse of this new continent, the best way of travelling there, the best places to stop and pause, the merchandise to take for exchange, as well as worthwhile precautions against being cheated by the inhabitants and against the innumerable reptiles to be found there; a useful work for sailors and for any commercial traveler]

Marked the second edition, the first apparently being that of 1823 published in Agen, with a slightly different title. Rare. This second edition appears to be even scarcer than the first. Held only in the Bibliothèque Sainte Geneviève in Paris. The French Bibliothèque Nationale and the British Library, as well as UK libraries hold no copies. The Bibliothèque Nationale and the British Library each have only one copy of the first edition.
Contemporary light brown sheep. Spine with 2 compartments with grotesques, 2 fleurons and roulettes. Red morocco title-piece. A one centimeter-long split to head and foot.
The author spent 12 years in South America. He left in 1808 on the brig Le Consolateur. “Obliged to move endlessly through the various provinces of this vast tract of the New World, I began to study the mores, characters, and habits of its inhabitants. I was particularly keen on learning how to travel in these climates...and lastly the various branches of commerce undertaken there.”

First edition in French, one of 50 numbered copies on Johannot paper, the deluxe issue.
A rare and handsome copy.

First edition.
Publisher's red paper boards.
Rich iconography.
Handsome copy with the illustrated dust jacket.

First edition, of which there were no deluxe copies, a Service de Presse (advance) copy.
Autograph inscription signed by Eduardo Manet.

First edition of the French translation, one of 300 numbered copies on Rives paper, the only issue.

First edition printed in 280 copies on fine offset paper.
Handsome and rare copy.

First edition in volume.
Autograph inscription signed by the author.
Handsome copy.

First edition printed in 500 numbered copies.
Autograph inscription signed by the author to Jules Supervielle, a photographic reproduction of the author has been pasted above the inscription.