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RABELAIS, François (1494?-1553). Grands Annales Tres Veritables des Gestes merueilleux du grãd Gargãtua & Pãtagruel son filz, Roy des Dipsodes. Lyons: Pierre de Tours, 1542. -- RABELAIS. La vie tres horrificque du grand Gargantua, pere de Pantagruel. Lyons: François Juste, 1542. -- RABELAIS. Pantagruel, Roy des Dipsodes, restitue a son naturel, auec ses faictz & prouesses espouentables. Lyons: François Juste, 1542.
3 works in one volume, 16° (108 x 76mm). 4; 156; 148 leaves, final blank T4 as rear pastedown. Fleuron on title of first two works, woodcut ornamental initials in all works, 16 woodcut vignettes from 9 blocks, smaller cuts set between one of four woodcut pairs of columns in Gargantua; 19 from 5 blocks, smaller cuts set between one of three woodcut pairs of columns in Pantagruel. Batarda type, occasional Greek in Gargantua, roman type on titles. (Very occasional marginal dampstain, slightly heavier in last few leaves.) Contemporary ?Lyonnese calf over pasteboard, sides panelled in blind with fleuron at centre and corners (lower corner slightly worn, rebacked in vellum possibly in the 18th century).
First, fifth, and twelfth edition, respectively, of each part; FIRST EDITIONS TO ESTABLISH THE DEFINITIVE TEXT of Gargantua and Pantagruel. Printed separately but available as companion editions, they are brought together here with the FIRST EDITION of the Grands Annales. The 1542 Juste editions were printed from copy prepared by Rabelais, expurgating or revising passages found offensive to the Sorbonne and adding others. They therefore reflect the last authorial revisions of the text. These revisions did not satisfy the censors and the works were nevertheless condemned in 1542. The Grands Annales delivers a blistering attack on an un-named plagiarist (Etienne Dolet), accusing him of issuing non-Rabelaisian work as authentic; the three works were printed as one edition, the first collective, very soon thereafter in the same year. Rabelais's masterpieces had first been published in c.1532 and c.1534 respectively. Brunet IV, 1048; Plan 38, 39, 44; Rawles and Screech 12, 23, 25.
3 works in one volume, 16° (108 x 76mm). 4; 156; 148 leaves, final blank T4 as rear pastedown. Fleuron on title of first two works, woodcut ornamental initials in all works, 16 woodcut vignettes from 9 blocks, smaller cuts set between one of four woodcut pairs of columns in Gargantua; 19 from 5 blocks, smaller cuts set between one of three woodcut pairs of columns in Pantagruel. Batarda type, occasional Greek in Gargantua, roman type on titles. (Very occasional marginal dampstain, slightly heavier in last few leaves.) Contemporary ?Lyonnese calf over pasteboard, sides panelled in blind with fleuron at centre and corners (lower corner slightly worn, rebacked in vellum possibly in the 18th century).
First, fifth, and twelfth edition, respectively, of each part; FIRST EDITIONS TO ESTABLISH THE DEFINITIVE TEXT of Gargantua and Pantagruel. Printed separately but available as companion editions, they are brought together here with the FIRST EDITION of the Grands Annales. The 1542 Juste editions were printed from copy prepared by Rabelais, expurgating or revising passages found offensive to the Sorbonne and adding others. They therefore reflect the last authorial revisions of the text. These revisions did not satisfy the censors and the works were nevertheless condemned in 1542. The Grands Annales delivers a blistering attack on an un-named plagiarist (Etienne Dolet), accusing him of issuing non-Rabelaisian work as authentic; the three works were printed as one edition, the first collective, very soon thereafter in the same year. Rabelais's masterpieces had first been published in c.1532 and c.1534 respectively. Brunet IV, 1048; Plan 38, 39, 44; Rawles and Screech 12, 23, 25.
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