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CERVANTES SAAVERDA, Miguel de (1547-1616). El Ingenioso Hidalgo Don Quijote de la Mancha ... nueva edición corregida por la Real Academia Española. Madrid: Joaquin Ibarra, 1780.
4 volumes, large 4° (298 x 214mm). Engraved frontispiece in each volume, folding map, portrait and 31 plates, engraved head- and tail-pieces and opening initials, by F. Selma, M.L. Carmona, G.A. Gil, P. Moles, J. Fabregat, J. Ballester, J. de la Cruz, F. Montaner and J. Barceló after A. Carnicero, J. del Castillo, J. Brunete, B. Barranco, P. Arnal, G. Gil and G. Ferro. (A little light spotting in vols. III-IV.) Contemporary russia by R.P. Thouvenin, covers panelled in gilt and blind, spines with raised bands and gilt divisions, directly lettered andwith binder's name at foot, gilt turn-ins and edges (rebacked, preserving original spines, new endpapers).
A CLEAN ELEGANT COPY BOUND BY THOUVENIN of this 'vrai chef-d'oeuvre typographique' (Brunet), the most coveted edition of the 18th century, definitive in its text and of unequalled magnificence as a book. The text of part one is based on the second edition of Juan de la Cuesta (1605) and the same printer's edition of 1608; that of part two on Pedro Patricio Mey's edition (Valencia, 1616). The Academy freed the text from corruptions, and added 'La vida de Cervantes' and 'Análisis del Quijote' by Vicente de los Rios. No other edition was the subject of such care and lavish expense. The paper was made by Josep Llorens in Cataluña, three fonts were specially made for the work by Gerónimo Gil in Madrid, while Joaquin Ibarra was already recognised as Spain's leading printer. Artistic value was added by magnificent engravings, Antonio Carnicero providing the most important contribution with designs for 19 of the 31 plates. Ashbee 72; Brunet 1749; Cohen-de Ricci 218; Palau 50024: 'magnifíca edición y superior en belleza artística a todas las que hasta entonces se habían hecho en España y en el extranjero'; Suñé 60.
4 volumes, large 4° (298 x 214mm). Engraved frontispiece in each volume, folding map, portrait and 31 plates, engraved head- and tail-pieces and opening initials, by F. Selma, M.L. Carmona, G.A. Gil, P. Moles, J. Fabregat, J. Ballester, J. de la Cruz, F. Montaner and J. Barceló after A. Carnicero, J. del Castillo, J. Brunete, B. Barranco, P. Arnal, G. Gil and G. Ferro. (A little light spotting in vols. III-IV.) Contemporary russia by R.P. Thouvenin, covers panelled in gilt and blind, spines with raised bands and gilt divisions, directly lettered andwith binder's name at foot, gilt turn-ins and edges (rebacked, preserving original spines, new endpapers).
A CLEAN ELEGANT COPY BOUND BY THOUVENIN of this 'vrai chef-d'oeuvre typographique' (Brunet), the most coveted edition of the 18th century, definitive in its text and of unequalled magnificence as a book. The text of part one is based on the second edition of Juan de la Cuesta (1605) and the same printer's edition of 1608; that of part two on Pedro Patricio Mey's edition (Valencia, 1616). The Academy freed the text from corruptions, and added 'La vida de Cervantes' and 'Análisis del Quijote' by Vicente de los Rios. No other edition was the subject of such care and lavish expense. The paper was made by Josep Llorens in Cataluña, three fonts were specially made for the work by Gerónimo Gil in Madrid, while Joaquin Ibarra was already recognised as Spain's leading printer. Artistic value was added by magnificent engravings, Antonio Carnicero providing the most important contribution with designs for 19 of the 31 plates. Ashbee 72; Brunet 1749; Cohen-de Ricci 218; Palau 50024: 'magnifíca edición y superior en belleza artística a todas las que hasta entonces se habían hecho en España y en el extranjero'; Suñé 60.
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Eugenio Donadoni