gargantua (Plus de 6 700 résultats)

First edition of the first two books of "La vie de Gargantua et de Pantagruel" together, second of the authoritative text of both. Bound together with the first edition of François Habert's "Le songe de Pantagruel" and a woodcut portrait of Rabelais. In seventeenth-century red morocco, covers gilt-panelled "Au Semè" binding, consisting of interweaving double, mirrored "D" and an "S", probably the monogram of Dominique Séguier (1593-1659; Bishop of Auxerre and Meaux). Spine with four raised bands, the compartments decorated the same as the panels. Board edges and turn-ins gilt. Marbled endpapers renewed in the nineteenth-century. [1:] A-N8; [2:] A-P8 (P8 blank); [3:] A-F4., [1:] [104]; [2:] [120]; [3:] [24] leaves. First edition of the combined edition of the first two books of the pentalogy "La vie de Gargantua et de Pantagruel", which is the second edition of the authoritative text of both books. Supplemented with the contemporary first edition of François Habert's para-Rabelaisian work "Le songe de Pantagruel" and a woodcut portrait of Rabelais. This edition of Gargantua and Pantagruel is one of the three 1542 Lyonese editions, probably printed by Pierre de Tours, François Juste's successor. The text is identical to Juste's 1542 revised and enlarged edition, which was presumably prepared from a corrected copy by Rabelais himself who added a few previously unpublished passages and revised those related to the Sorbonne and the "Sorbonnistes" for which the work was formerly condemned by the Parliament (nevertheless condemned again in 1553). The present edition's preface warns the reader of a pirated edition, referring to Etienne Dolet's 1542 edition, a reprint of Denis Janot's Paris 1537 edition of the unexpurgated text. The preface, a note from "Limprimeur au Lecteur" is attributed to Rabelais by some bibliographer's, among them Brunet in his Recherches sur les éditions originales de Rabelais (Paris, 1852), however it was disproved by Plan ("C'est avoir une bien piètre opinion de son style" .). Extremely scarce edition. Rawles and Screech list only three copies. The third part of the volume is Habert's para-Rabelaisian work, constructed around three dreams, and supports the facultative marriage of the clergy which was an important issue of the time. The work was published in Paris by Adam Saulnier in 1542, two different editions are known form the same year, with minor differences on the title page. Exceedingly scarce, only one other copy known of the present one (Chantilly (Fr), Musée Condé), and two of the variant (FB 24772; USTC 27250). (No surviving copy is known of the undated Rouen edition, by Claude le Roy [Du Verdier: pp. L4r, p. 403].) Rabelais' woodcut portrait bound to the rear of the book. The portrait is identical to his first known portrait, which appeared in the 1569 Jean Martin edition of "Les Oeuvres". This copy contains seven addition leaves bound before the printed text, of which four are inscribed by five different neat hands. The earliest and longest is by an unknown hand, quotes Scévole de Sainte-Marthe's comments on Rabelais in French and Latin (from Virorum doctrina illustrium; Poitiers, 1598.). This is followed by a short unidentified possessor's inscription in French, which states that the book was bought in October 1806 and claims - erroneously - that it has belonged to the French noblewomen, and maîtresse-en-titre of Henry II, Diane de Poitiers (1499-1566), supposedly because of the binding's ornaments of the interweaving double "D", which was an emblem appeared often on her bindings. The leaf mounted on the inner front panel contains notes by three nineteenth-century hands in German, by the historian Karl Halling (1806-1837) who also attributes the binding incorrectly to Diane de Poitiers, a short note by an unidentified hand in pencil, and by the literary historian, Camillus Wendeler (1843-1902), providing bibliographical references to the content of the volume. Bibliographical references for Rabelais' Gargantua and Pantagruel: Rawles and Screech 26 (refers to only three known copies: BL, BN, and Fondation Bodmer, Geneva); Plan, 42-43; Brunet IV, 1049; Tchemerzine V, 273; Higman no. R 20; Gueltlingen vol. 9 pp. 7 no. 9; FB 45216; USTC 60196 For Habert's Le songe de Pantagruel: FB 24773; USTC 59263 . Some wear to joints and extremities. Seven leaves bound to the front, of which four with notes by five different later hands, and six blank leaves bound to the end, that precedes a woodcut portrait of Rabelais on a smaller leaf. Some copies contain the ten-page "Prognostication", this, just as the BNF copy lacks it. 1: "Pantagruel, Roy des dispodes [.]" bound first unlike other copies. Slightly over-trimmed with tiny losses to letters on three leaves (A7v; A8; M4v). Quire K and the first leaf of L water stained. A tear to the upper edge to M2 with small effect to the text. A tiny hole on the last leaf, and note in ink at the end. 2: Title page of "Grands annales [.]" replaced by a copy (probably early 20th century). A2-3 worn and restored, D5 restored at the edges. Bibliographical note in ink by a later hand to the upper edge of A2r. A tiny tear to the edge of D4. A small defect to I4 with effect to the text. K6v and K7r with notes in ink by contemporary hand, the notes are trimmed. Brown stain to lower edge of quire O. Light water stains occasionally. Both parts printed in bâtarde type, with 6-line and smaller criblé initials, a few Lombard initials, text in 58 chapters. 3: Illegible note or ownership inscription in ink crossed on title-page. Water stain to A1-2. Underlines in the text, and a few notes in ink by contemporary hand. Illegible note at the end, crossed. In seventeenth-century red morocco, covers gilt-panelled "Au Semè" binding, consisting of interweaving double, mirrored "D" and an "S", probably the monogram of Dominique Séguier (1593-1659; Bishop of Auxerre and Meaux). Spine with four raised bands, the compartments decorated the same as the panels.

In-4, maroquin beige orné sur chaque plat d'une composition abstraite différente inspirée du graphisme de Derain, constituée de mosaïques de daim ocre, vert, rouge et bleu ciel, de listels bombés de maroquin noir, bordeaux ou rouge, et de formes incrustées en léger creux en daim bleu nuit; dos sans nerfs portant les noms de l'auteur et de l'artiste ainsi que le titre de l'ouvrage en petites capitales bleues, orange et vertes; doublures et gardes de daim violet, tranches dorées sur brochure, couverture imprimée. Chemise, étui (Jean Knoll, 1989).180 bois originaux en couleurs d'André Derain, dont un titre gravé pour la couverture, un frontispice, une vignette de titre, 22 à pleine page, 16 sur trois quarts de page, 88 in-texte, 34 lettrines et 17 culs-de-lampe. Tirage limité à 275 exemplaires numérotés sur vélin d'Arches signés par l'artiste. Un des 200 exemplaires . Exemplaire enrichi d'une grande esquisse de maquette pour le décor du premier plat, exécutée sur papier calque et signée par Jean Knoll JK 88-89.

5 vols. in 3. 12mo. (160 x 96 mm). pp. (vi), clvi, (i), (xxxvi), 230; viii, 9 - 208; 430, (xii); (iv), xii, iii (iv) - cxliv, (xl), 272; (i), (xi), 262, 34, (xiv). Engraved frontispiece portrait of Rabelais with quote from Theodorus Beza dated 1552, printed title to each book, 'The Life of Dr. Francis Rabelais' in Book I, publisher's and translators' dedications in Book I and Book IV, Rabelais' dedications throughout, extensive laudatory material in Book I (see below), text of Book I to Book V including in Book V the 'Pantagruelian Prognostication', further works by Rabelais and his 'Letters Written . During His Stay in Italy', indices in Book III and Book V, final leaf with advertisement ('Books Sold by Richard Baldwin' verso, numerous errors in pagination, occasional errors in signatures, occasional minor defects and stains, Book V with the full-page woodcut of the 'Holy Bottle' (page 209, leaf K4). Full contemporary blond calf with decoration in blind, boards ruled in blind to surround central ruled panel with fleurons at corners with interior drawer handle decor around central section of ruled darker calf, banded spine in five compartments with red leather label with gilt titles within roll tool border, board edges with decoration in blind, all edges striped red, black morocco-backed velvet-lined buckram box. A beautiful and complete copy of the very scarce first complete edition in English of Rabelais' 'Gargantua and Pantagruel' in an elegant English contemporary binding. François Rabelais (c.1494 - 1553), writer, physician, humanist, anatomist, scholar, monk and wit, published this, his magnum opus of satire, parody, wine and humour, over the course of many years, beginning in 1532 with the first book and concluding only after his death in 1553 with the publication of the possibly spurious fifth book c.1564. Rabelais' epic, first issued under the anagrammatic pseudonym 'Alcofribas Nasier' is indebted to Erasmus and his 'The Praise of Folie' and has been extraordinarily influential. To place Rabelais at the side of Dante, Boccaccio, Cervantes, Shakespeare and the giants of European literature is in no way to exaggerate his importance. Rabelais' influence on the development of the novel and the English novel in particular is uncontested. A first suggested imitation of Rabelais' style in English has been dated to as early as 1534 (Book I was likely published in 1532) while the influence on Swift, Sterne and Robert Burton is overtly apparent. Shakespeare is posited to have read Rabelais ('As You Like It' refers to 'Gargantua's mouth') and despite Joyce's denials both 'Ulysses' and 'Finnegans Wake' feature elements with characteristics of the Rabelaisian. The first two books were translated into English by Sir Thomas Urquhart (1611 - 1660, here listed as Urchard), a noted Royalist, author (he outlined his own universal language in his 'Logonpandecteision' of 1653) and translator, most famous for this highly-regarded translation of Rabelais and the likely apocryphal legend that he died of laughter on hearing of the restoration of Charles II. Urquhart's Book I and Book II were published in 1653 and 1664 before their reissue here by Peter Motteux together with the first printing of Urquhart's translation of Book III and Motteux's own translations of Book IV and Book V, the 'Pantagruelian Prognostication' and additional work by Rabelais including his 'Letters Written . During His Stay in Italy in the Year 1536'. The extensive laudatory material printed in Book I including 'Some Learned Mens' Opinion of Dr. Rabelais', Nahum Tate's 'A Familiar Epistle to Mr. Baldwin On His Publishing the Translation of Rabelais', 'On the Incomparable Works of the Learned Dr. Rabelais', On the Works of Rabelais Translated' and 'On the Most Diverting Works of the Learned Dr. Rabelais', are all printed here for the first time. Due to the complicated publication history - not to mention the complications of the bibliographical records - with Book III published the year before the remaining texts and the fact that Book I and Book II were likely issued together in a single volume (they are usually found bound as one) as (possibly) were Book IV and Book V, it is uncommon to find copies that are either complete or that are bound in uniform style at a contemporary date as is the present set. The present set is a wonderful exemplar of an important seventeenth century text in English preserved remarkably in its first binding. 'Belinski called Rabelais a genius, the sixteenth-century Voltaire, and his novel one of the best of times past. Because of his literary power and historical importance, Western literary critics and writers place him immediately after Shakespeare or even next to him. The French Romanticists, especially Chateaubriand and Hugo, included him among the greatest 'geniuses of humanity' of all times and nations. He was and is still considered not only a great writer but a sage and a prophet . his place in history among the creators of modern European writing, such as Dante, Boccaccio, Shakespeare, and Cervantes, is not subject to doubt. Rabelais not only determined the fate of French literature and of the French literary tongue, but influenced the fate of world literature as well . '. (Mikhail Bakhtin). [Wing 104, 104a, 107, 109, 110; Pforzheimer 814 (for the first edition of Books I & II), 815 & 816; ESTC R29255, R26911 & R2564; see 'Rabelais and His World' by Mikhail Bakhtin (trans. Helene Iswolsky), Bloomington, 1965].

Couverture rigide. Etat : Très bon. 1er Janvier 1937 . Cadeau personnel de Louis ICART au célèbre imprimeur-Graveur A. PORCABEUF ( D'une lignée d'artiste - imprimeur ) . Le contenu de la lettre reliée en début d'ouvrage résume l'oeuvre présentée ici : " Mon cher Ami , Nous avons " pensé " ensemble ce " RABELAIS " et je sais , mieux que personne , la part qui vous est dûe dans cette réalisation . Vous en avez tenu les cuivres et je puis dire que ce n'est pas avec de l'encre que vous les avez imprimés - mais avec de la LUMIERE - et , beaucoup de votre coeur . Aussi je suis heureux de vous faire l' hommage de ce tirage à part de mes compositions , avec les remarques et " HABILLÈ " par moi - même . Mais comme il manquait quatre épreuves , je les ai remplacées par les croquis originaux qui m'avaient servi aux reports . Ainsi vous ne perdrez pas tout !! Daignez accepter celà , surtout , en témoignage de mon amitié respectueuse , admirative et reconnaissante . Louis ICART 1er Janvier 1937 " . Une reliure plein chagrin , 19 x 24 cm , avec un GARGANTUA dévorant un cochon en relief , conçu , mis en couleurs et signé par Louis ICART , tranches dorées , gardes de soie moirée encadement de 4 filets . Une chemise - étui plein maroquin , titre doré , avec la tête de GARGANTUA en creux . Emboitage rigide , décor papier marbré , bordé cuir . Ensemble réalisé par E. MAYLANDER . RARISSIME RELIURE en RELIEF de Louis ICART qu'il a dessiné , mis en couleurs et signé , la réalisation étant confiée au Relieur E. MAYLANDER . CHEMISE en CUIR à la forme avec le motif en creux et emboitage . CONTENU : Une lettre MANUSCRITE de Louis ICART à l' Imprimeur - Graveur A. PORCABEUF + page de titre sur Japon super nacré / 72 GRAVURES en premier état avec remarques sur JAPON super Nacré , en provenance du GARGANTUA et PANTAGRUEL de RABELAIS ( ILLUSTRÈ par Louis ICART en 1936 chez Le VASSEUR / 4 DESSINS ORIGINAUX au CRAYON / 16 COMPOSITIONS COULEURS dernier état , avec remarques sur Vélin d'ARCHES . Tres bon état . Ce RABELAIS reste l' oeuvre la plus pittoresque de ICART , avec des dessins érotiques à double sens . Michael SCHNESSEL signale dans son ouvrage , une reliure de l'édition Le VASSEUR , avec un GARGANTUA dévorant une vache , réalisée par ICART pour un ami . L' exemplaire présenté ici , plus personnel , ne semble pas connu .

In-4, plein vélin naturel, dos sans nerfs; doublures et gardes de daim havane, tête dorée, non rogné, couverture ornée d'une étiquette gravée. Etui.180 bois originaux en couleurs d'André Derain, dont un titre gravé sur la couverture, un frontispice, une vignette de titre, 22 à pleine page, 16 sur trois-quarts de page, 88 in-texte, 34 lettrines et 17 culs-de-lampe. Tirage limité à 285 exemplaires numérotés sur vélin d'Arches, signés par l'artiste. Un des 25 exemplaires hors commerce.

Etat : molto buono. in-folio (mm 345x280), pp. 192, a fogli sciolti sotto copertina, camicia e astuccio editoriali. Titolo silografato in rosso e nero, con vignetta, antiporta figurato a piena pagina, 21 illustraz. a piena pag., 122 illustraz. n.t. tra cui alcuni finalini, 34 capilettera: tutte silografie originali di Andrè Derain (1880-1954), dipinte a mano in vivaci e splendidi colori. Tiratura unica di 275 esemplari complessivi impressi su magnifica carta forte "vélin d'arches". Il presente è il n.238/275 con firma autografa a inchiostro di Derain nel colophon. L'artista interpreta con grande arte il capolavoro di Rabelais, dà vita con estrema facilità a paesaggi policromi, animali, grotteschi; crea le articolazioni degli animali tramite arabeschi ornamentali, trasforma i vegetali in elementi perfettamente integrati nell'architettura tipografica. Le silografie, intagliate alla maniera del XV secolo, sono state dipinte con una nuova tecnica che necessita dell'intervento della mano dell'artista: le parti che compongono ciascuna silografia sono state colorate singolarmente da una équipe di praticanti secondo dei canoni stabiliti dal pittore; ogni esemplare può considerarsi un unicum. L'editore Skira, pur restando fedele al Garamond, interrompe la monotonia dell'uso di un unico carattere, introducendo finalini, vignette di diversi formati, iniziali colorate. Splendido e freschissimo esemplare, perfettamente conservato. Uno dei livres d'artiste più riusciti del XX.mo secolo. CHAPON, Le peintre et le livre, pp.155-157. RAUCH, n.38. THE ARTIST AND THE BOOK, 81. Book.

First edition in English of Les Cinq livres des faits et dits de Gargantua et Pantagruel (c. 1532 - c. 1564), the work of two different translators published episodically over more than 40 years and so rarely found complete. An eccentric Scottish writer of stylistic and verbal virtuousity, or, in his own terms, a "logofascinated spirit" (Works, 231), Sir Thomas Urquhart has been considered by many a splendid match for his subject. "This translation has been called 'one of the most perfect transfusions of an author from one language into another that ever man accomplished'" (Pforzheimer 814). "In Rabelais, Urquhart found a writer whose style and imagination matched his own. Both 'cultivated a taste for a copious, robust and original vocabulary. To each of them, imagination furnished a rare selection of racy words in extraordinary abundance' (Roe, 11)" (ODNB). Urquhart's translation of Rabelais was his final work. The first volume (books I and II) appeared in 1653 and was reprinted in 1664, by which time Urquhart had, according to family legend, died laughing on hearing of Charles II's restoration. The third book, left unfinished by him and completed by the Huguenot emigré Peter Anthony Motteux (formerly Pierre-Antoine Le Motteux), appeared in 1693. Motteux's translation of books IV and V was published in 1694, bringing the cycle to completion. Motteux also published a revision of Urqhart's first two books, but the present set retains the original Urqhuart translation of that part. Rabelais "is often censured for his lapses into gross indecency and his physiological and medical obscenities. These may be explained partly as the work of an irrepressible jester writing for a coarse, outspoken society. His work incensed the theologians and was condemned by the parlement. He issued a revised edition of the first two books, attenuating his insulting references to the theologians, but it failed to placate the Sorbonne and both books were again condemned. Moliere drew on him, Voltaire and Balzac imitated him, but many have censured his obscenity" (Reid, 509-10). Rabelais had been known in England before this translation; to quote or name him was to signal one's intellectual credentials. A list of those who quoted or alluded to Rabelais before he was translated includes Ben Jonson, John Donne, John Webster, Francis Bacon, Robert Burton, and James I. Celia in Shakespeare's As You Like It mentions "Gargantua's mouth" as if it were already proverbial. Yet Rabelais's fame and influence increased after Urquhart's translation: his presence is strongly felt in Gulliver's Travels and Tristram Shandy. In spite of Joyce's well-known assertion that he had not read Rabelais, he clearly absorbed his work, as demonstrated by Finnegans Wake. Laid in is a hand-written letter dated 27 February 1925 from the London dealers Pickering & Chatto to the library of the Cleveland Chamber of Commerce describing the set they have despatched as the "finest we have ever possessed or even seen." ESTC R202203 & R202205 (noting, however, that apparently the two books were usually sold together), R26911, R2564; Pforzheimer 814, 815, 816. Five volumes bound in three as usual, octavo and duodecimo (therefore slightly varying sizes: vol. I, 166 x 107 mm; vol. II, 152 x 89 mm; vol. III, 155 x 90 mm). Skilfully rebound to match in full mottled calf, spines richly gilt in compartments, red morocco labels. Books I-II and IV-V each in 2 parts, with separate title pages, pagination, and register. Book III with engraved frontispiece portrait of Rabelais with quote from Theodorus Beza dated 1552, here bound after the title. Book V with full-page woodcut of the "holy bottle" on K4r. Book III with the 6 contents leaves moved from end to after the title, engraved portrait of Rabelais with small repair at lower outer corner. Book I-II contents likely washed, book III with a little marginal staining at beginning and end, book IV-V clean; all volumes a little tight in the gutter but still readable: overall, a very good set.

Couverture rigide. Etat : Très bon. S.l. [Paris, Prault], 1732.6 tomes reliés en 5 volumes in-8. Maroquin rouge, triple filet doré encadrant les plats, dos lisses ornés de roulettes formant faux-nerfs et de fleurons dorés, roulette dorée sur les coupes, roulette intérieure dorée, tranches dorées. Reliure de l'époque. 177 x 112 mm. --- Édition revue du texte, donnée par Le Duchat en collaboration avec La Monnoye. Tchemerzine, V, 319 ; Brunet, IV, 1060 ; Rahir, p.599 ; Plan 133. La première édition critique et commentée de Rabelais fut publiée à Amsterdam l'année précédente. Elle est ici rééditée par Jamet l'Aîné et Thomas Gueulette qui y ont ajouté des commentaires et des notes personnelles. L'édition est ornée de deux portraits de Rabelais par Scotin, dont l'un en frontispice représentant l'auteur écrivant son ouvrage, une carte dépliante du Chinonais ornée de 3 petits portraits de Rabelais en médaillons et 3 figures dépliantes représentant « La Devinière », l'intérieur de la chambre de l'auteur et « le dehors de la chambre de Rabelais à Chinon ». Les éditions anciennes des ?uvres de Rabelais sont toutes recherchées. Très bel exemplaire, particulièrement grand de marges (hauteur : 177 mm), conservé dans son élégante reliure en maroquin rouge de l'époque. Il provient de la bibliothèque de Beauchamp, avec timbre vert armorié sur les faux-titres et de la collection Guy du Boisrouvray. /// N.p. [Paris, Prault], 1732.6 parts bound in 5 8vo volumes [177 x 112 mm]. Red morocco, triple gilt fillet on the covers, flat spine decorated with gilt fleurons, gilt inner border, gilt edges. Contemporary binding. --- Revised edition of the text, given by Le Duchat in collaboration with La Monnoye. Tchemerzine, V, 319; Brunet, IV, 1060; Rahir, p.599; Plan 133. The first critical and commented edition of Rabelais was published in Amsterdam the previous year. It is here re-edited by Jamet l'Aîné and Thomas Gueulette who added comments and personal notes. The edition is illustrated with two portraits of Rabelais by Scotin, one of them as a frontispiece representing the author writing his work, one folding map of the Chinon country illustrated with 3 small medallion portraits of Rabelais and 3 folding figures representing "La Devinière", the inside of the author's bedroom and "the outside of Rabelais' bedroom in Chinon". All of antiquarian editions of Rabelais are sought-after. A very beautiful, particularly wide-margined (177 mm high), preserved in its elegant contemporary red morocco binding. It comes from the Beauchamp's collection, with green armorial stamp on half-titles and the Guy du Boisrouvray's collection.

Folio. (348 x 284 mm). pp. 187, (ii), (i), (i). Half-title with large woodcut frontispiece verso, printed title in burgundy and black with large colour woodcut vignette and dedicatory verse verso, Rabelais' prologue and text illustrated with 179 colour printed woodcuts, including frontispiece, initials and ornamental tail-pieces, by André Derain; the woodcuts were printed by Roger Lacourière. Loose as issued in original publisher's wrappers with label to front cover, original parchment-backed chemise with label to spine and slipcase. André Derain's superb woodcuts - the only colour illustrations he made for a book - for François Rabelais' 'Pantagruel'. From the edition limited to 275 numbered copies, with this one of 200 ordinary examples on vélin d'Arches signed by Derain. André Derain's only book illustrations printed in colour and an outstanding example of the unusual process of polychrome printing from single blocks. Roger Lacourière, usually an intaglio printer, was so intrigued by the proposed process for Derain's illustrations that he collaborated with Derain in their production. The printing took two years in the special studio that Lacourière had established. 'Commissioned by the publisher Albert Skira in 1941, Derain worked for 3 years to produce the illustrations, co-operating with Lacourière and developing a novel printing process whereby the wooden blocks were inked in several colours simultaneously rather than the usual method of a separate block for each colour.' (From Manet to Hockney). [From Manet to Hockney 111; The Artist and the Book 81; Logan 194].

Couverture rigide. Etat : Très bon. Amsterdam, chez Henri Bordesius, 1711.Ensemble 6 tomes reliés en 5 volumes in-12 illustrés d'un frontispice, d'un portrait de l'auteur, de la carte dépliante du Chinonais et de 3 planches dépliantes dans le tome 1. Complet. Reliés en veau glacé fauve de l'époque, armes frappées or au centre des plats, dos à nerfs finement ornés, pièces de titre de maroquin brun, filet doré sur les coupes, tranches rouges. Reliure de l'époque.160 x 98 mm. --- « Première édition critique et commentée de Rabelais ; elle a été donnée par Le Duchat, en collaboration avec La Monnoye. »Tchemerzine, V, 319 ; Plan n°133.Elle est précédée d'une préface de Le Duchat et d'une notice sur la vie de Rabelais. Le tome 6 comporte en outre un alphabet en 67 pages consacré à l'explication des termes utilisés par Rabelais dans ses ?uvres.L'édition est ornée d'un portrait de l'auteur gravé par W. de Broen, de 4 estampes dépliantes, dont une grande carte du Chinonais (285 x 207 mm), une représentation de la Devinière (210 x 158 mm), une gravure de la Chambre de Rabelais (175 x 158 mm) et une gravure dépliante représentant l'extérieur de la Devinière et le jardin, ainsi que d'une figure à pleine page représentant la Dive bouteille.L'exemplaire comporte bien les remarques de premier tirage avec le frontispice et le portrait de l'auteur signés par de Broen.Les éditions anciennes des ?uvres de Rabelais sont toutes fort recherchées.Très séduisant exemplaire, d'une grande pureté, de cette première édition critique illustrée des ?uvres de Rabelais, relié à l'époque en veau fauve glacé aux armes d'Armand-Jean de Vignerot du Plessis, duc de Richelieu (1631-1715).Armand-Jean de Vignerot du Plessis, prince de Mortagne, duc de Fronsac, duc de Richelieu, par substitution aux nom et armes du cardinal dont il était le petit-neveu par les femmes, et le filleul, était le fils aîné de François II, marquis de Pontcourlay, gouverneur du Havre, et de Marie- /// Amsterdam, chez Henri Bordesius, 1711.A total of 6 parts bound in 5 12mo volumes [160 x 98 mm] illustrated with a frontispiece, with a portrait of the author, with the folding map of the region of Chinon and with 3 folding plates in the 1st part. Complete. Bound in contemporary fawn glazed calf, gilt-stamped coat of arms on the center of the covers, spines ribbed and finely decorated, brown morocco lettering pieces, red edges. Contemporary binding. --- "First critical and commented edition of Rabelais; it has been given by Le Duchat, in collaboration with La Monnoye."Tchemerzine, V, 319; Plan n°133.It is preceded by a foreword by Le Duchat and a note on Rabelais' life. The 6th part also encloses a 67-page alphabet dedicated to the explanation of the terms used by Rabelais in his Works.The edition is illustrated with a portrait of the author engraved by W. de Broen, with 4 folding engravings, including a large map of the region of Chinon (285 x 207 mm), a representation of la Devinière (210 x 158 mm), an engraving of la Chambre de Rabelais (Rabelais's bedroom) (175 x 158 mm) and a folding engraving picturing the outside of la Devinière and the garden, as well as a full page figure representing la Dive bouteille.The copy encloses the remarks of the first state with the frontispiece and the portrait of the author signed by de Broen.Ancient editions of Rabelais's Works are all very sought-after.Very seducing copy, very pure, of this first critical illustrated edition of Rabelais' Works, bound at the time in fawn glazed calf with the arms of Armand-Jean de Vignerot du Plessis, duc de Richelieu (1631-1715).Armand-Jean de Vignerot du Plessis, prince de Mortagne, duc de Fronsac, duc de Richelieu, was the eldest son of François II, marquis de Pontcourlay, governor of Le Havre, and of Marie-Françoise de Guemadeuc. Born in Le Havre on October 3rd, 1631, he first joined Church and received the abbey of Saint-Ouen in Rouen, of which he then resigned from to become g.

Hardcover. Etat : Good. 16mo. Three vols. in one. pp. 245 [xi]; 320; 349 [iii]. A-Q8 (Q4-8 blank); A-V8;A-Y8 (Y8 blank). Roman letter, charming grotesque woodcut of singers on t-p (repeated in text), separate dated title to second and third parts, 58 small text woodcuts in first vol, 50 in the second and 59 in the third, three small woodcut initials, early bibliographical note on pastedown, mss. autographs crossed out on fly and pastedown. Light age yellowing, some minor browning, small tear to lower outer corner of t-p just touching a few letters of text on verso, some edges softening. A good copy in seventeenth century speckled calf, spine with raised bands single gilt ruled in compartments, filled with repeated gilt scrolls, head of spine and joints worn, a.e.r. A beautifully illustrated counterfeit edition of the major works of Rabelais, copying the celebrated Valence edition of 1547. The illustration is composed of a series of 167 vignettes in the Lyon-style, a very charming form of popular imagery, many of which appear to have been copied from the first edition. The quality of the printing is clearer than in the original; Brunet Dans cette contrefaçon, les figures sont un peu plus nettes que dans l original . Many early edns. of the various parts of Rabelais works do not state the printer or place of publication, or in a few cases give false information, owing to the ribald and in places anti-clerical subject-matter, which exposed his works to censorship: they had, for example, been on the papal Index since at least 1559. Due to the nature of their clandestine printing they were often cheaply and hastily printed and they were popular works, usually well read, so good copies such as this one are particularly rare. The editors here went to a good deal more trouble than in other counterfeit editions of the period, such as those printed by Fuet or Martin, with its very charming suite of illustration. Rabelais was, for generations, read only in distorting editions which generated jokes of their own. All his Greek was turned into gibberish; careless arrangement of material by printers led Sterne to believe that Rabelais was sporting typographically with his reader by displacing a poem or by leaving blanks hence the blanked-out chapter in Tristram Shandy. These editions sometimes printed clandestinely in France kept Rabelais alive but helped to create a Rabelais legend which had nothing to do with the works he wrote. Montaigne enjoyed Rabelais, finding him at least simplement plaisant ( straightforwardly delightful ). Molière assumed that his audience enjoyed him too. And they did. For many Frenchmen Rabelais embodies that Gaulois humour which they love to see as a permanent element in the national character. M. A. Screech. London Review of Books. Vol. 6 No. 17 · 20 September 1984. pages 11-13 With an immense erudition, representing almost the whole knowledge of his time, with an untiring faculty of invention, with the judgement of a philosopher and the common sense of a man of the world, with an observation which let no characteristic of the time pass unobserved and with a ten-fold portion of the special Gallic gift of good-humoured satire, Rabelais united a height of speculation and depth of insight and vein of poetical imagination rarely found in any writer his work is the mirror of the C16th. in France, reflecting at once its comeliness and its uncomeliness, its high aspirations, its voluptuous tastes, its political and religious dimensions, its keen criticism, its eager appetite and hasty digestions of learning, its gleans of poetry and its ferocity of manners . Enc. Brit. 13th. ed. BM STC fr. C16th. Rawles and Screech 39. Brun, p. 280. Plan 85. Brunet, IV, 1051-1052. Tchemerzine, V, p. 297.

Leather bound. Etat : near fine. First Edition. Folio Powerfully bound in full white morocco, with a large embossed P on the top board. Binding not signed, but very high quality work with five raised bands, gilt accents, leather inner hinges, beautiful watercolor endpapers. Binding with a couple of small scratches and ordinary wear to the white leather, no bumps. Contents completely fine, original wrappers bound in, free of foxing. Top edge gilt, others deckled. 179 color woodcuts, including numerous initials, printed byRoger Lacourière. This is rare example of multi-color printing from single blocks. Printed on thick Arches paper and signed by Derain in the colophon page. A Century for the Century 45, The Artist and the Book 81, From Manet to Hockney 111, Skira 91. A beautiful book.

Hardcover. Etat : Very Good. 1st Edition. François Rabelais, illustrated with colored woodcuts drawn and engraved by André Derain Limited numbered edition of 275 copies, of which this copy is on of 200 in Velin d Arches, signed by the artist on the justification page. Derain's main illustrated work, with 128 (21 full-page) original color woodcuts, 34 color woodcut initials and 18 color woodcut final vignettes.  André Derain  took full charge of the printing process from the carving of the wood blocks, in the manner of 15th-century cardmakers, to the coloring to which he added special attention to preserve the warm tone of his woodblocks, using a hand - coloring technique: all the wooden blocks had to be colored one after the other by a team of practitioners, in their nuances, according to a scheme established by the painter and repeated in each volume. Loose as issued in half parchment wrappers, chemise and slipcase. Text selection by A. Lefranc, illustrations printed by Andre Derain and Roger Lacourière. Light foxing at the margin, chemise in poor condition. Ref: The Artists and the Book 81. Signed by Illustrator(s).

2° (39 x 29 cm), 6 Bl., 250 röm. gez. S., 11 Bl., mit 55 mehrfarb. Orig.-Lithogr. (davon 4 doppelseitige u. 15 ganzseit. Abb.), sowie 56 farbigen Initialen und Vignetten. 5 Bl. Druck in Schwarz und Violett auf Vélin d'Arches., Schwarzer Ganzmaroquin-Bd. m. vergoldetem Rückentitel, Rundumgoldschnitt, rote samtene Vorsätze. Mit Halbleder-Umschlag mit Sandelholzdeckeln, in einem Sandelholz-Schmuckschuber., Sehr schönes, opulent illustriertes Exemplar. Nr. CLXXIX von 200 Exemplaren. In einem Meistereinband des grossen Pariser Künstler-Buchbinders Henri Creuzevault (1905 - 1971), gestempeltl auf Deckelinnenseite. Die Initialen und Vignetten in Holz geschnitten von Blaise Monod.- Antoni Clavé (1913- 2005), peintre catalan, décorateur de théâtre et illustrateur. À l'instar de Picasso, qu'il admirait beaucoup, Antoni Clavé a été très inspiré par la corrida. Sur ce sujet, il a produit un grand nombre de lithographies. En 1977, il expose ses premiers trompe-l'?il. Le Musée national d'Art moderne de la ville de Paris lui consacra une rétrospective en 1978. La Biennale de Venise expose plus de 100 ?uvres au Pavillon espagnol en 1984. 3500 gr. Schlagworte: Illustr. Bücher - Originalgrafik.

Quarter-Leather. Etat : Like New. Gustave Doré (illustrateur). Limited to 500 hand-numbered sets. Introduced by Stephen Greenblatt; Translated by Professor M. A. Screech; Essay by Milan Kundera. Quarter-bound in goatskin leather with cloth sides blocked in gold foil on front and spine. Gilded top edges. Ribbon markers. Set in Bulmer. 1,000 pages in total. 61 full-page engraved illustrations including the frontispiece. 658 smaller engraved illustrations. Numerous ornamented initials throughout. Handmade cloth-bound slipcase printed in gold with designs by Doré. Measured by 14¼? × 10¼?.

Hardcover. Etat : Fine. Etat de la jaquette : Fine. 1st Edition. In-4 (38,5 x 28 cm). En feuilles, couverture blanche illustrée rempliée, chemise et étui de l'éditeur illustré par l'artiste. Les aventures de Gargantua savamment illustrées par l'artiste franco-espagnol ANTONI CLAVE (1913-2005). L'illustration comprend 59 lithographies originales en couleurs, dont un frontispice, plusieurs double-pages et hors-texte et de nombreuses vignettes, bandeaux et culs-de-lampe dans le texte. Dans son étui illustré par l'artiste. Le texte et les lettrines furent composées à la main à l'atelier Priester Frères et les lithographies tirées à l'atelier Desjobert. Tirage à 220 exemplaires sur vélin d'Arches. Il nécessita plusieurs années de travail, entre octobre 1951 et juin 1955. TRES BEL EXEMPLAIRE. Photographies sur demande. Réf : Clavé, XI, pp. 224-225. Very nice book storying GARGANTUA's adventures illustrated by 59 originals colored lithographs plates and in text, by the Spanish-French painter and engraver ANTONI CLAVE. VERY GOOD CONDITION.

Hardcover. Etat : Very Good. Second English-lanquage Edition. Printed for Richard Baldwin, 1694., London.12mo, half leather, gte, 8.25 x 14.5cm.(vi), clvi, (i, with errata), (xxiv), 230; viii, 9 - 208. Engraved frontispiece portrait of Rabelais with quote from Theodorus Beza dated 1552. First edition in English. Owbership name of Joseph Oliver, New Orleans, February 6, 1865 front fly. late 19thc binding, leather spine darkened.

40,5x30,5 cm. 251 p., 4 f. n.ch. en feuilles. Avec 61 lithographies originales d'Antoni Clavée en couleurs hors-texte, dans le texte, en marge ou à double page et 61 lettrines et culs-de-lampe en couleurs, gravés par Blaise Monod d'après les originaux de Clavé. Broché couverture rempliée sous chemise et emboîtage décorés d après l artiste. No. CXLIX des CC exemplaires sur grand vélin d'Arches à la forme au format in-4 Jésus (38x28 cm), tirage total de 220 exemplaires. - Coins de la chemise et d'mboîtage frottés. Sprache: französisch.

Hardcover (Full Leather). Etat : Very Good Condition. Tobias Stimmer (illustrateur). Third Edition. Contemporary alum tawed pigskin, blindstamped, brass clasps, some rubbing to spine, ink warks, small piece of brass added to reinforce one clasp - a fine contemporary binding. A few marks and underlines in an early hand, pencil notes on rear endpaper, title page printed in red and black with the slightly off center red to the lobster and snake (this new to the 1590 edition). Third edition, first published in 1575, this was the final edition revised by Fischart. A free translation cum adaptation of Rabelais' masterpiece. As Rabelais wrote under the anagram Alcofribas Nasier, Fischart uses the acrostic (written under the title page vignette) "Im Fischen Gilst Mischen" (to fish well it is necessary to mix) J. F. G. M. : Johann Fischart genannt Mentzer. 565pp, in text illustrations. Fischart coined "Geschichtsklitterung" (pseudo-history) for this free translation of Rabelais' work often called the Finnegan's Wake of the 16th century. Provenance: Ken Rapoport (ex-libris) Size: Octavo (8vo). Illustrator: Tobias Stimmer. Quantity Available: 1. Shipped Weight: Under 1 kilo. Category: Literature & Literary; Inventory No: 048408.

Couverture souple. Etat : Comme neuf. Edition originale. François RABELAIS. Gaston BARRET (illustrateur). GARGANTUA. Texte d'époque intégral. Pointes sèches originales de Gaston Barret. Editions d'Art Eryx, Paris. S.d. (1956) 1 volume grand in-4 (28.5 x 23 cm), en feuilles, sous couverture rempliée de papier rouge imprimée en noir sur le premier plat. 194 pages. 1 portrait de l'auteur en frontispice + 14 compositions hors-texte dont 1 sur double-page. Sans emboîtage. Tirage à 395 exemplaires (plus quelques exemplaires nominatifs réservés aux collaborateurs et à l'artiste). Celui-ci, un des 14 exemplaires sur Japon comprenant en plus des 15 planches du volume : - un croquis original (Gargantua enfant en train d'uriner depuis les toits de Notre-Dame) - une suite des illustrations du livre avec remarques tirée en bleu sur Chine (15 planches) - une suite des illustrations du livre avec remarques tirée en sanguine sur Chine (15 planches) - une suite des illustrations du livre avec remarques tirée en noir sur Chine (15 planches) - une suite de 4 planches refusées avec remarques tirées en bleu sur Chine (4 planches) - une suite de 4 planches refusées avec remarques tirées en sanguine sur Chine (4 planches) - une suite de 4 planches refusées avec remarques tirées en noir sur Chine (4 planches) - une suite de 4 planches refusées sans remarques tirée en noir sur Chine (4 planches) - un bon à tirer "Gargantua bébé" (épreuve coloriée avec indications dans les marges) - un zinc ayant servi de pochoir pour la mise en couleurs d'une composition. - une suite complète des 15 planches tirées en noir sur vélin de Rives blanc B.F.K. (15 planches) - une suite complète des 15 planches coloriées au pochoir tirées sur vélin de Rives blanc B.F.K. (15 planches) - une suite de 4 planches refusées avec remarques tirées en sanguine sur Ingres (4 planches) - une suite de 4 planches refusées avec remarques tirées en noir sur Ingres (4 planches) Le zinc présent dans notre exemplaire n'est pas annoncé. De même les suites sur Ingres et les suites complètes des 15 planches tirées en noir et en couleurs sur vélin de Rives blanc B.F.K. appartiennent normalement au tirage à 27 exemplaires sur grand vélin. Exemplaire signé par l'artiste à la justification. L'édition a été faite avec la collaboration de Henri Neumayer, fondateur des éditions Eryx, Georges Girard, maître imprimeur, Manuel Robbe, maître pressier et Renson fils, enlumineur d'art. Le volume a été achevé d'imprimer le 5 janvier 1956. Le Gargantua de maître Rabelais, publié pour la première fois en 1534, est trop connu pour en faire ici l'éloge. Nous dirons simplement que l'illustration fantasque et rabelaisienne, donnée ici par Gaston Barret, est à la hauteur des attentes qu'on pouvait en avoir. A la lisière de la licence, avec des touches discrètes de vulgarité et de dévergondage propres aux écrits de l'auteur, avec finesse et moult détails, Gaston Barret donne au lecteur contemporain une vision esbaudissante la plus délicieuse qui soit pour les frotteurs de lard modernes. L'auteur de Pantagruel (1532) en aurait sans doute été comblé. Gaston Barret a exprimé beaucoup de libertés (licence) dans les remarques symphoniques qui agrémentent les suites. Bel exemplaire tel que paru. Rare exemplaire sur Japon avec de très nombreuses suites (114 planches + croquis original + zinc + bon à tirer).

Etat : Used - Good.

Hardcover. Etat : Very Good. Limited Edition. A large accordion book of prints by Art Hazelwood, inspired by Francois Rabelais, in a signed limited edition of twenty-five, of which this is no. 1. The ten prints form a continuous image measuring 18" x 288". They are accompanied by the cover image, title page and colophon. In this work Hazelwood combines linocut, etching, and aquatint, in a process he describes in detail in his article "Gargantua and the Book" (The California Printmaker, 2002). As David Berona outlines in "Art Hazelwood: A Graphic Witness of America" (Image & Narrative, 2005), "Gargantua in the Vineyard" combines an engagement with literary works, political concerns, and a striking use of storytelling in the extended print: "To appreciate the power of Hazelwood's narrative these prints should be viewed in the entire, scrolling form. The use of analogous color in these prints, the migration of figures and objects from one print to the next print, and the actions of Gargantua such as when he is holding a vat of wine in his hand, blowing away the monk's enemies, or catching a bunch of grapes inside his mouth provides points of narrative continuity.The layers of action, large dimensions, and expert use of color in this series marked Hazelwood, at this junction in his career, as a skilled printmaker with a distinct vision." Scuffs, wear and faint staining to the blue cloth slipcase, which has protected the work itself, with the exception of a small transfer of blue to the edge of the lower right corner of the front cover (see photos). The prints are bright, clean and unmarked.

Hardcover. Etat : Very Good. 12mo. pp. [ii], 3-347, [vii], 469, [ix, iii], 4-166, [xxii]. A-Z¹², Aa-Vu¹². Roman letter, some Italic. Small woodcut initials, typographical ornaments, full page woodcut Bottle on Tt3 recto, (not its logical place in the text). light age yellowing, first title fractionally dusty, minor marginal stains, one blank outer corner torn. A very good copy in contemporary English calf, covers bordered with a double blind rule, spine double blind ruled in compartments, skilful repairs to extremities and joints, a.e.r. An excellent copy of this Jean Martin printing of the works of Rabelais, with the fine woodcut bottle incorporating an ode to its virtues, most unusually in a contemporary English calf binding. It is most probable the work was shipped to England in sheets and bound here, giving intriguing insight into the market for Rabelais in England. Rawles and Screech give 11 editions of Rabelais that share the same format, with exactly the same collation as this edition, most attributed to Jean Martin, two to Jean Fuet, all with most probably false dates, though it is generally held they were printed between 1600 and 1630 or at least no later than 1637. Rawles and Screech (no. 91) indicate that this edition, characterised by having no date on either of the title pages, was printed after one with the imprint of 1607, (no. 87) but was certainly printed before 1637. These editions were printed clandestinely and were near identical copies one from the other. Many early edns. of the various parts of Rabelais works do not state the printer or place of publication, or in a few cases give false information, owing to the ribald and in places anti-clerical subject-matter, which exposed his works to censorship: they had, for example, been on the papal Index since at least 1559. Due to the nature of their clandestine printing they were often cheaply and hastily printed and they were popular works, usually well read, so good copies such as this one are particularly rare. Rabelais was, for generations, read only in distorting editions which generated jokes of their own. All his Greek was turned into gibberish; careless arrangement of material by printers led Sterne to believe that Rabelais was sporting typographically with his reader by displacing a poem or by leaving blanks hence the blanked-out chapter in Tristram Shandy. These editions sometimes printed clandestinely in France kept Rabelais alive but helped to create a Rabelais legend which had nothing to do with the works he wrote. Montaigne enjoyed Rabelais, finding him at least simplement plaisant ( straightforwardly delightful ). Molière assumed that his audience enjoyed him too. And they did. For many Frenchmen Rabelais embodies that Gaulois humour which they love to see as a permanent element in the national character. M. A. Screech. London Review of Books. Vol. 6 No. 17 · 20 September 1984. pages 11-13 With an immense erudition, representing almost the whole knowledge of his time, with an untiring faculty of invention, with the judgement of a philosopher and the common sense of a man of the world, with an observation which let no characteristic of the time pass unobserved and with a ten-fold portion of the special Gallic gift of good-humoured satire, Rabelais united a height of speculation and depth of insight and vein of poetical imagination rarely found in any writer his work is the mirror of the C16th. in France, reflecting at once its comeliness and its uncomeliness, its high aspirations, its voluptuous tastes, its political and religious dimensions, its keen criticism, its eager appetite and hasty digestions of learning, its gleans of poetry and its ferocity of manners . Enc. Brit. 13th. ed. A handsome copy in a contemporary English binding. Rawles & Screech 91. Tchemerzine V 315. Brunet Suppl. Pt. II 368. Simon Bibl. Bacc. 555 (another ed.).

Hardcover (Vellum). Etat : Very Good Condition. Early Edition. Full early calf, old Harvard College duplicate bookplate. Hinges a bit tender,text block split in the middle though still all intact, a bit of loss of leather at head and tail of spine. Moderate scattered foxing and browning, tear to l8 with loss to bottom corner including text; generally very clean internally. With the bottle plate and the Prognostication Pantagrueline. One of the central works of world literature and possibly the final word on sausages. 800, (30), blank, 193, (5)pp. Almost without exception an exact reproduction of the first four books of the 1556 edition (the only change noted in Pierre Paul Plan's bibliography is an added anti-Calvinist line in the third book). According to Plan it is the only edition that reproduces the brief declaration in the 4th book. Plan (Bibliographie rabelaisienne) 115, Brunet, IV, 1058 Size: duodecimo (12mo). Previous owner's signature in ink. Quantity Available: 1. Shipped Weight: Under 1 kilo. Category: Literature & Literary; Cooking, Wine & Dining. Inventory No: 047084.

Couverture souple. Etat : Bon. Antoni Clavé (illustrateur). 251 (CCLI) pages + Table des LVIII Chapitres. Format in-4 Jésus. Présentation sous forme de feuilles flottantes. Nombreuses lithographies et lettrines du peintre, graveur et sculpteur de Barcelone, Antoni Clavé (1913-2005). Environ 17 lithographies pleine page, dont 2 sur double page, sans insertion de texte dans les compositions, environ 36 lithographies sur des pages avec texte, et 4 lithographies pleine page avec du texte dans la composition elle-même, dont 2 sur double-page. Beaucoup de belles lettrines également. Ouvrage réalisé par l'artiste entre octobre 1951 et juin 1955 (Maquette typographique par Henri Jonquières). Illustrations dessinées et exécutées directement sur les pierres par l'artiste lui-même, tirées sur les presses à bras d'Edmond et Jacques Desjobert. Les lettrines ont été gravées sur bois par Blaise Monod. Tirage limité à 200 exemplaires, numérotés romains de I à CC, ainsi que 20 exemplaires destinés aux collaborateurs. Notre exemplaire imprimé pour Pierre Bruneel est justifié LXXXVII. Couverture souple rempliée, sous chemise rigide et emboîtement assorti, ornés. Ensemble plutôt volumineux et lourd, un poids total d'environ 5.8 kg avec un solide emballage vous feront prévoir un éventuel supplément pour les frais d'expédition ; nous vous renseignons volontiers. Etat : Bon, état d'ancienneté. Emboîtement : assez bon, plutôt frotté, accident sur un des petits côtés. Chemise rigide : bon, peu frotté. Couverture souple : bon. Intérieur : bon, la plupart des lithographies encore protégées avec un fin papier libre. 38.5 x 28.5 x 7 cm 4930g.

Etat : Used - Good.

S.l. [Paris], s.éd [chez Prault], 1732. 6 t. en 6 vol. in-8: 12 x 18.5 cm. I/ [3] ff., lii-388 pp., [4] pl. grav, [1] carte dép.; II/ [2] ff., xvi-331 pp.; III/ [2] ff., xxviii-334 pp.; IV/ [2] ff., lxxii-358 pp.; V/ [2] ff., xx-274 pp.; VI/ [2] ff., 183 pp. Réédition par Pierre-Charles Jamet et Thomas Gueulette, augmentée de notes et commentaires personnels, de la première édition critique de Rabelais donnée par Le Duchat et La Monnoye parue à Amsterdam en 1711. Ouvrages illustrés d'un portrait de Rabelais écrivant son ouvrage gravé en frontispice par Scotin, d'un second portrait de l'auteur, d'une carte dépliante du Chinonais et de 3 planches dépliantes représentant « La Devinière », l intérieur de la chambre de l auteur et « le dehors de la chambre de Rabelais à Chinon ». Lettrines initiales, bandeaux et culs-de-lampe gravés sur bois. Reliures de l'époque en veau. Dos à 5 nerfs avec pièces de titre et de tomaison en maroquin rouge, entrenerfs à fers dorés. Roulettes sur les coupes. Tranches rouges. Ex-libris: Bibliothèque de Mr le Comte de Salaberry, le même qui abrita, en 1805, Mme de Staël au Château de Fossé. Cette édition se trouve habituellement reliée en 5 vol. Rares piqûres, coiffes habillement restaurées. Bel ensemble. Biblio.: Brunet: IV, 1060 / Plan: p. 227 / Tchemerzine: IX, 319.

Gebundene Ausgabe. Etat : Sehr gut. Sauberes Buch aus Nichtraucherhaushalt___Schönes Leseexemplar___Versand erfolgt im ein bis zwei Tagesrhytmus ____Zustand siehe Bilder; weitere Bilder/Infos gern auf Anfrage____Die von uns Angebotenen Bücher kommen aus Nichtraucherhashalten und sind, wenn nicht anders beschrieben, mit normalen Gebrauchsspuren____ Versicherter Versand mit Sendungsnummer Ihr Buchregal Sprache: Deutsch Gewicht in Gramm: 500.

6 tomes en 5 volumes in-8, veau de l'époque, dos à nerfs ornés, dentelle dorée sur les coupes, coiffes très habilement restaurées. Bel exemplaire. XLVIII-336-(4) pp, 287pp, 272-(4) pp, LV-288-(4) pp, XIV-(1)-223-111-(30) pp. La première édition critique de Rabelais, avec les notes de l'érudit La Monnoye et de Le Duchat. Illustré d'un Frontispice, d'un Portrait, et de 4 planches dépliantes (le clos de La Devinière, la chambre de Rabelais, le dehors de la chambre, carte du Chinois). Exemplaire en édition contrefaite : le frontispice et le portrait ne sont pas signés, la vignette de l'Epitre est gravée sur bois. Cependant cette contrefaçon présente plusieurs particularités intéressantes, qui ne sont pas mentionnées par Plan. Tchémerzine, IX-319. Plan, Les Editions de Rabelais, n°133. De la bibliothèque de Mme Colin de Saint-Marc à Coulommiers, avec son ex-libris.

Sans Lieu (Paris), sans nom d'éditeur (Prault), 1732, 6 tomes en 6 vol. in 8 de (4)-LII-388 pp. ; (4)-XVI-331 pp. ; (4)-XXVIII-334 pp. ; (4)-LXXII-358 pp. ; (4)-XX-274 pp. ; (4)-183 pp., pages de faux-titre et de titre imprimées en rouge et noir, rel. d'ép. de plein veau glacé fauve, dos à nerfs ornés de fers dorés, pièces de titres et de tomaisons rouges, habiles restaurations à quelques coiffes, bel ex. Reprise 21 ans plus tard de la première édition critique de Rabelais, parue à Amsterdam en 1711 et publiée par Le Duchat et Bernard de La Monnoye. Thomas Gueulette et Charles Jamet qui en sont à l'origine, ont ajoutés ici leurs notes et commentaires. Ouvrage illustré d'un portrait de Rabelais écrivant dans son cabinet, gravé en frontispice par Scotin, d'un second portrait de l'auteur gravé dans un médaillon, d'une carte dépliante du Chinonais et de 3 planches dépliantes représentant "La Devinière", l?intérieur de la chambre de l?auteur et "le dehors de la chambre de Rabelais à Chinon". Lettrines initiales, bandeaux et culs-de-lampe gravés sur bois. (Tchemerzine, V, 319 ; Brunet, IV, 1060 ; Rahir, p. 599).