Text by Charles de Brosses.
Work illustrated with 4 plates hors-texte.
Some light foxing, a bibliophile's label pasted at foot of endpaper as bookplate.
Handsome copy.
First edition, one of 50 numbered copies on China paper, the only deluxe copies with 50 on Japan.
Work decorated with illustrations by Abel Boyé.
Half brown morocco with corners binding, smooth spine decorated with a gilt cartouche decorated with floral decorative motifs with pieces of brown mosaic morocco, gilt date at foot, some slight rubbing to the headcaps, gilt fillets frame on the marbled paper covers, endpapers and pastedowns of pebbled paper, covers in duplicate state and spine preserved, top edge gilt, elegant binding signed Canape.
Handsome copy beautifully executed.
First edition, superbly illustrated with 50 engraved and hand-coloured plates, all numbered and signed by William Ellis. Bilingual text, first in English, followed by the French translation on facing pages. Printed on deluxe wove paper.
English binding. Spine entirely rebacked in chocolate shagreen, decorated with five blind-stamped romantic floral tools. Brown calf boards adorned with a large central lozenge composed of leafy friezes. Blind-stamped border frieze with corner tools, and a second leafy border. Upper board split along the joint and nearly detached, lower joint open at the foot over 5 cm, with a continuing crack of 10 cm though the leather remains closed. Corners heavily worn and exposed. Endpapers reinforced at the centre with green adhesive. Light offsetting from most plates onto the facing leaf. Internally clean and crisp throughout.
The rare first edition published anonymously, illustrated with a large folding map of the thirteen Swiss cantons and five folding plates.
Contemporary full sheep binding, spine with five raised bands ornately gilt in compartments with roulette work and fleurons, as well as a red title-label, covers ruled in blind, all edges speckled red. Head damaged with loss, foot rubbed, two corners bumped and an abrasion to the front board. Worming to upper inner margin throughout the volume, another slightly more extensive from page 207, without loss to text.
Contemporary manuscript gift inscription on the title page.
A handsome copy.
Complete first edition in six volumes, illustrated with decorative headpieces.
Contemporary bindings in full marbled brown calf, spines with six raised bands decorated with red morocco title and volume labels, fleurons and double gilt frame fillets, triple fillets stamped in blind framing the boards, double gilt fillets on the leading edges, marbled endpapers and pastedowns, all edges marbled. Title pages in red and black. Headcaps worn, title labels of volumes 1, 3, 4 and 6 and volume labels of volumes 4, 5 and 6 missing, some lacks to the compartments, leather split at the joint of the first volume, joints of other volumes often slightly cracked at head or foot, boards and leading edges rubbed, some corners slightly bumped. Endpapers cut at outer margins, some bookworm damage to leaves mainly in lower margins, intermediate title pages of volume 5 and volume 2 detached but present.
Good copy.
French first edition, following the English first edition of 1763.
Copy with the arms of Anne-louis-Alexandre de Montmorency, (D'or à la croix de gueules cantonnée de seize alérions d'azur ordonnés 4 et 4) lieutenant-general of the king's armies, captain of the king's guards.
Contemporary full speckled calf binding. Smooth spine decorated with 5 alérions of the Montmorency family. Arms stamped on covers. Red morocco title label. Rubbing. Spine browned. 2 corners slightly bumped. Browning to margins of half-title and title page, small worming in margins. Handsome copy.
Lady Montagu was the wife of the English ambassador to Constantinople. The principal interest of these letters lies in bearing direct witness to the customs of contemporary Turkey. The accounts contained in the correspondence are fascinating; they are undoubtedly the only feminine testimony about Turkey of that time and about the countries she crossed to reach it, notably Greece and Hungary. She addresses Turkish customs but also life in harems, which she was the first European woman to enter and visit, as well as Moorish baths. Her corset was then so tightly laced that the oriental bathers were convinced it was a sort of torture instrument in which her husband had locked her. Lady Montagu not only envied the nudity of these women, a symbol of emancipation and luxury, but was also seduced by the apparent freedom of certain aspects of their lives. She also seems to have been seduced by love and amorous poetry, and she quotes verses from the sultan to his beloved. The success of these letters was such that the author was nicknamed "the Sévigné of England." Voltaire wrote a relatively favorable review of this work in the literary gazette of 1764, praising the author's erudition and culture: "There reigns above all in Lady Montagu's work a spirit of philosophy and liberty that characterizes her nation."