Amsterdam: [ ], 1764. The most beautiful of the reproductions of the «des fermiers généraux» edition. (This was first issued in 1762). The illustrations includes a portrait of La Fontaine as the frontispiece of the first volume, 65 vignettes including 1 on each of the engraved titles, 2 full page vignettes, and 2 woodcut vignettes to the contents page. And of course the 80 plates engraved by Charles Boily from Eisen's compositions. Most of the vignettes are after Choffard. The portrait of La Fontaine is engraved by Macret after Ficquet.
Half calf. This has been recently restored, with the original leather sympathetically laid onto a new spine. Mottled boards. Minimal rubbing. Internally clean and tidy, with a touch of darkening only. A few minor marks and edgewear to the pages, but nothing to detract from the enjoyment of this copy. The plates are good impressions with firm strikes.
frontis portrait, x pp., (1 f.), 214 pp., (1 f.), 16 pp., 39 plates; (1 f.), viij pp., (1 f.), 254 pp., (1 f.), 41 plates.
20.5 x 12 cm. la plus belle des reproductions de l'édition « des fermiers généraux ». (Ceci a été publié pour la première fois en 1762). L'illustration comprend un portrait de La Fontaine en frontispice du premier volume, 65 vignettes dont 1 sur chacun des titres gravés, 2 vignettes à pleine page, et 2 vignettes gravées sur bois au sommaire. Et bien sûr les 80 planches gravées par Charles Boily d'après les compositions d'Eisen. La plupart des vignettes sont d'après Choffard. Le portrait de La Fontaine est gravé par Macret d'après Ficquet.
Demi mollet. Cela a été récemment restauré, avec le cuir d'origine joliment posé sur une nouvelle colonne vertébrale. Planches chinées. Frottements minimes. Intérieur propre et bien rangé, avec une touche d'assombrissement seulement. Quelques légères marques et usures des bords aux pages, mais rien n'enlève le plaisir de cet exemplaire. Les assiettes sont de bonnes impressions avec des frappes fermes.
portrait frontis, x pp., (1 f.), 214 pp., (1 f.), 16 pp., 39 planches ; (1 s.), viij pp., (1 s.), 254 pp., (1 s.), 41 planches. 205 x 120 mm.

London: Bradbury and Evans, 1848. First issue / first edition. Bound in contemporary green half-calf over buckram boards. Gilt title on red morocco label, and gilt details to the spine and raised bands. Marbled endpapers. Complete. Rubbing to edges and light marking to boards. Small marking to p.1. where it and xvi have once been slightly stuck together. xvi, 624 [2]pp. 225 x 150 mm (8¾ x 6 inches).

Some first issue points: vignette title with Captain Cuttle's hook on his left arm; p.XV line 2 no quotation marks around 'the Party'; p.14 ten lines from bottom 'aint' with no apostrophe; p.26 line 11 'fidgetty'; p.284 lines 5 and 6 from bottom 'Delight'; p.324 last line 'Captain' correctly spelled; and p.582 last line with no full stop.
Some not: Errata has 8 lines; Captain spelled correctly on p.324.

Paris: Albert Delayance, 1929. First edition. With a lengthy gift inscription signed by André Jean to the title page. Original stiff card covers with black titles to front cover. Significant foxing to the covers. Some nicking to the spine, with a small chip to the top edge of the spine. Four full-page drawings by Marcel La Charité (Marcel Jean). Internally the pages are somewhat darkened, with foxing to the edges. Still an attractive work. From a total limitation of 100 copies, this is copy 22, being one of the 80 on Papier de Rives. 30 pages. 245 by 175mm (9¾ by 7 inches).

. Avec une longue inscription cadeau signée par André Jean sur la page de titre. Couvertures originales en carton rigide avec titres noirs sur la couverture avant. Rousseurs importantes sur les couvertures. Quelques entailles au dos, avec un petit éclat sur le bord supérieur du dos. Quatre dessins pleine page de Marcel La Charité (Marcel Jean). A l'intérieur, les pages sont quelque peu assombries, avec des rousseurs sur les bords. Il s'agit néanmoins d'un ouvrage attrayant. Sur un tirage limité à 100 exemplaires, celui-ci est l'exemplaire 22, l'un des 80 sur Papier de Rives. 30 pages. 245 x 175 mm.

D. Joaquin Maria de Ferrer, Imp. by Julio Didot Mayor, 1832. A lovely copy of this miniature edition. Contemporary brown leather Simier of Paris signed Cathedral Binding, with profuse gilt decoration and armourial crest to the boards. Gilt design, titles and windmill to the spines. This binding is identical to one part of the British Library Charles Ramsden Collection of Signed Bindings. (See BL Shelfmark c150k11) A little rubbing to the bindings, with slight loss of gilt, but overall, in excellent condition. The hinges have been professionally restored at some point, in a way that is barely noticeable. Marbled end papers. Illustrated with 11 plates engraved by E Stalker (including Frontis) and a folding hand coloured map. Complete. Half title to each volume, and an engraved title on glossy paper, and a second engraved title. Vol. 1 has a frontispiece portrait of Cervantes, (portrait of Cervantes engraved by E. Stalker after José del Castillo's design). and 5 engraved plates. It ends with the beautiful miniature hand coloured map, showing Don Quixote's travels. Volume 2 offers 5 engraved plates. Inside, the books are in very good condition, but with a little darkening and moderate foxing to the pages. Still a very nice copy. This was the second edition of Don Quijote by Ferrer. The first was in one volume, this edition allowed better line spacing, and two extra plates. Originally issued in paper wrappers, this luxurious binding adds greatly to the attractiveness of this work. Nb. Many sources quote STAKKER as the engraver, but a close look at the engravings shows that it is E. Stalker. Christie's commented in a recent auction that Ferrer was a great admirer of Cervantes and paid 30,000 francs in order to produce the first edition in miniature which includes his dedication to Cervantes after the title page. Collation: XX, 352, [ii], Map., XII, 378 pages. 125 x 80 mm (5 x 3¼ inches). Palau, 25059; Rius, 89; Suñé, 96; Quixotes collector's manual, no. 41.1

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Paris: Mercure de France, 1920. A very nice copy of this first / limited edition book of poetry. One of 462 copies on Hollande von Gelder (this copy #462). Original soft cream dust wrapper, clean and tidy without marks. The covers are in clean yellow softback sheets. There is also a glassine protective wrapper, which is clean and tidy, with a little nicking / closed tears only. The glassine would appear to be later than the book itself.
Georges Duhamel (1884 – 1966) was a French author, born in Paris. Duhamel trained as a doctor, and during World War I was attached to the French Army. In 1920, he published Confession de minuit, the first of a series featuring the anti-hero Salavin. In 1935, he was elected as a member of the Académie française. He was nominated for the Nobel Prize in Literature twenty-seven times (but never won). He was also the father of the musicologist and composer Antoine Duhamel. 106 pages. 190 by 150mm (7½ by 6 inches).

. Très bel exemplaire de ce premier livre de poésie à tirage limité. Un des 462 exemplaires sur Hollande von Gelder (cet exemplaire #462). La jaquette d'origine crème souple est propre et nette, sans marques. Les couvertures sont en feuillets souples jaunes propres. Il y a aussi un emballage de protection en glassine, qui est propre et en ordre, avec quelques entailles / déchirures fermées seulement. La pochette en verre semble être postérieure au livre lui-même.
Georges Duhamel (1884 - 1966) était un auteur français, né à Paris. Duhamel a suivi une formation de médecin et, pendant la Première Guerre mondiale, il a été attaché à l'armée française. En 1920, il publie Confession de minuit, le premier d'une série mettant en scène l'anti-héros Salavin. En 1935, il est élu membre de l'Académie française. Il a été nommé vingt-sept fois pour le prix Nobel de littérature (mais ne l'a jamais obtenu). Il est également le père du musicologue et compositeur Antoine Duhamel. 106 pages. 190 x 150 mm.

London: Frank Cass and Co. Limited, 1970. A modern reprint of the entire run of this magazine, originally published between 1939 and 1951, and comprising 23 issues bound within five volumes. Poetry London contains poetry and artwork from lots of the avant-garde poets of the day. In a very good. Almost looks unread, but has some finger marks to closed page edges.
Poems by Dylan Thomas, Paul Potts, Laurence Whistler, Louis Macniece, George Barker, Herbert Read, Rayner Heppenstall, Stephen Spender, Walter De La Mare, Dorian Cooke, Lawrence Durrell, Nicolas Moore, D.S Savage, Heinrich Rhys, Charles Madge, David Gascoyne, Clifford Dyment, Ruthven Todd, Idris Davies, Glyn Jones, Lynd Nathan, Maurice Carpenter, and H. G. Porteus, and many others.
Bound in publisher's green cloth with black to spines. Gilt stamped titles to front boards and spines.

Londres: Guill. Darres and Claude Du Bosc, 1743. With engraved frontispiece (Frontispiece showing Aesop surrounded by the animals of his fables engraved on copper by Claude Du Bosc) and 100 engraved vignettes in the text by Claude du Bosc. (complete). [19], 45, 238, (2) pp. 4to. 19th Century half calf over marbled boards. Marbled endpapers. Some poem / section numbers are printed incorrectly, but all are present, and all engravings are present. Slight rubbing to the edges of the spine, and a touch of bumping to the boards. The text block is spotless, with the engravings beautifully clean and bright. 260 by 210mm (10¼ by 8¼ inches). This is a scarce London edition. First Latin-French edition of Faerno'’s collection, an English-French edition was published two years before. Gabriele Faerno (d. 1561) was commissioned to compile a selection of Aesopian fables by his protector Pope Pius IV in c. 1550. The collection of 100 fables was published in 1563 only, after Faerno'’s death. Charles Perrault’'s French translation in verses was first published in 1699. His aim was to achieve an ideal combination of closeness to the Latin text with La Fontaine’'s subtle poetry. The present Latin-French edition was in use as a text book at the time. – Bodemann 119.2; Cohen/de Ricci 371; Brunet II, 1160 Avec frontispice gravé et 100 vignettes gravées dans le texte par Claude du Bosc. (Achevée). [19], 45, 238, (2) p. 4 à. Demi veau XIXème sur plats marbrés. Pages de garde marbrées. Certains numéros de poèmes / sections sont imprimés de manière incorrecte, mais tous sont présents et toutes les gravures sont présentes. Légers frottements sur les bords du dos, et une touche de chocs sur les plats. Le bloc de texte est impeccable, avec des gravures magnifiquement propres et lumineuses. 260 par 210 mm (10¼ par 8¼ pouces).
Première édition latino-française de la collection de Faerno, une édition anglais-français avait été publiée deux ans auparavant. Gabriele Faerno (d. 1561) a été chargé de compiler une sélection de fables ésopiennes par son protecteur le pape Pie IV en c. 1550. Le recueil de 100 fables fut publié en 1563 seulement, après la mort de Faerno. La traduction française en vers de Charles Perrault a été publiée pour la première fois en 1699. Son objectif était de parvenir à une combinaison idéale de proximité du texte latin avec la poésie subtile de La Fontaine. La présente édition latino-française était utilisée comme manuel à l'époque. – Bodemann 119,2 ; Cohen/de Ricci 371 ; Brunet II, 1160

Paris: Baudry, Librairie Europeenne, 1844. First edition. Green buckram with with gilt titles and decoration to the spine. Some rubbing to the edges, but still an attractive work. Contains Frontis, two engraved title pages (one in English), and 79 further plates (so 80 plates and complete. Pages are mainly in good, clean condition, with a little foxing to some pages and plates. Slight cracking to one gather, but holding well. Many of the engraved plates are clearly English in origin, and are made by artists including Harvey & Blanchard; Geoffrey; Laisne; Gouttiere; Gautier etc.
Interesting volume; besides giving a series of pictures illustrating the various plays, it contains a chapter on the Portraits of Shakespeare, the Contemporaries of Shakespeare, the Commentators of Shakespeare, and the celebrated Actors who have played in Shakespearian roles (occupying 32 pp. in all). Each page has a border containing a large number of thumb-nail sketches of Shakespearean scenes. The analysis of each play, by Pichot, is also of great importance. 127 pages. 260 x 130 mm (10¼ x 5 inches).

. Première édition. Percaline verte avec titres dorés et décoration au dos. Quelques frottements sur les bords, mais toujours un travail attrayant. Contient Frontis, deux pages de titre gravées (une en anglais) et 79 autres planches (donc 80 planches et complètes. Les pages sont pour l'essentiel en bon état, propres, avec quelques rousseurs sur certaines pages et planches. De nombreuses planches gravées sont clairement d'origine anglaise et ont été réalisées par des artistes tels que Harvey & Blanchard ; Geoffrey ; Laisne ; Gouttière ; Gautier, etc.
Volume intéressant; en plus de donner une série d'images illustrant les différentes pièces, il contient un chapitre sur les portraits de Shakespeare, les contemporains de Shakespeare, les commentateurs de Shakespeare et les célèbres acteurs qui ont joué dans des rôles shakespeariens (occupant 32 pages en tout). Chaque page a une bordure contenant un grand nombre de croquis miniatures de scènes shakespeariennes. L'analyse de chaque pièce, par Pichot, est également d'une grande importance. 127 pages. 260 × 130 mm

Leipzig: Ernst Fleischer, 1847. A lovely copy of this work, complete with 101 engraved plates, including Frontis. (Complete). Lovely contemporary half leather binding with green leather to spine and gilt decoration. A little rubbing and edgewear to the spine. Black cloth to boards. There is light to moderate foxing throughout the book. The work contains: Frontis. Title page (In English - dated 1849 and stating that this issue is for the American Market); (1) Hamlet decorated title & plates (16); Macbeth (12); Romeo & Juliet (12); King Lear (12); The Tempest (12); Othello (12); The Merry Wives of Windsor (12); Henry IV part I & II (12). There is then a title page in German and a Title in English (both dated 1847). Then XCV pages in two columns giving the explanation of the plates in both English and German. The preface to the explanation, states that this Complete edition, has used the plate "Shakspeare's Apotheosis" as a Frontis. This was previously Plate one to each of the separate parts. As a result, the plates are numbered starting with plate 2 for each work. This copy is clearly the 1847 first complete edition, with an additional English title for the American market.
240 x 315 mm (9½ x 12½ inches).

Dublin: A. Reilly, 1744. In two volumes. Presumably the Irish pirated version of Bentham's Cambridge edition of the same year. Bound in original full calf. With wood-engraved portrait frontispiece (by Vertue after Soest), and 16 fine wood-engraved plates (by Mynde after Hogarth), five of which are folding. Full index at the end of each volume. The first edition to include Zachary Grey's extensive notes. Volume I - xxxvi, 399, [xv] pp. Volume II - 414, [vxiii] pp. The binding has been skillfully restored, with red morocco labels, lettered, numbered and ruled in gilt. Boards are in good condition with only a little rubbing to edges and corners. New end papers. Small pen squiggle to end paper in volume one. Small neat signatures to title pages. Lacks the list of subscribers (often missing) at end of the first volume.
The work is directed against religious sectarianism. The first part of Hudibras was written in 1658, and the other two in 1664 and 1678 respectively. Very popular in its time, the poem was sufficiently popular to spawn imitators.
One early purchaser of the first two parts was Samuel Pepys. Whilst Pepys acknowledged that the book was the "greatest fashion" he could not see why it was deemed so witty. Hudibras was reprinted many times in the centuries following Butler's death.