Spanish Language

Buenos Aires: Ediciones Dos Amigos, 1992. One of 17 copies, the total edition, 15 on cream Richard de Bas paper and 2 on white Richard de Bas paper, all signed by the artist, Mirta Ripoll, the publisher, Samuel Cesar Palui, and the printer, Ruben R. Lapolla on the colophon page. Page size: 15-1/4 inches x 11-1/4 inches; 64pp. Bound: loose in original wrappers as issued with etching by Aida Barballo on the front wrapper, housed in publisher's brown cloth over boards clamshell box with cork paper on front and spine reverse printed with title and author, artists, and publisher's names on front and author's and artists name on spine (author in large type descending down spine), fine. The text is printed in 20pt. Erasmus in a soft brown; the initial letters designed by Mirta Ripoll are in an elegant blue with title of each poem letterpress printed in the same blue; the title page is printed in black as are the dedication, table of contents, and colophon. There are 12 original full-page etchings printed in… Read More

Madrid: Juan Antonio Lazano, 1780. Hardcover. Very Good. [36], 443, [1] p.: 57 leaves of paleographic engravings; 36 cm. Half calf with marbled paper over boards (possibly a 20th-century binding). Six spine compartments between raised bands; red morocco labels in the second and fifth compartments with gilt-tooled title "Letras Cursivas Antiguas y Modernas" and date "Año 1780." Gilt-tooled ornamentation in the other four compartments. Endpapers printed in a red floral pattern. Added engraved title page: Escuela de Leer Letras Cursivas Antiguas y Modernas . . . Gravadas las Letras por Don Francisco Assensio y Mejorada. The leaves of engraved paleographic examples are included in the pagination. Initial 36 unpaginated pages include 11 pages containing the names of subscribers and one page of errata. The versos of the title page and added engraved title page contain a handwritten list of contents in ink, with some bleed through onto the title pages. Designed as a… Read More

Spain: Montaner Y Simon, S. A. , Editores. Good+ with no dust jacket. 1930. Edicion segun el texto de Francisco Rodriguez Marin. Leather. Text in Spanish; Vol 1 567 pp + LXXXI, (Con Comentarios de los Mas Eminentes Cervantistas, Seleccionados por Juan Givanel y Mas, de la Real Academia de Buenas Letras de Barcelona, Vida Y Semblanze de Cervantes por Miguel S. Oliver) , Vol 2 635 pp. Limited printing; Vol 1 "Se acabo de imprimir el dia 28 Febrero del ano 1930," Vol 2 "Se acabo de imprimir el dia 21 Agosto del ano 1930." boards are 14 3/4" tall x 10 1/2" deep, each volume is about 3" thick. High quality paper, each volume weighs approx. 15 pounds. Vol 1 has chip out of upper spine. Both vols show wear to top and bottom of leather on boards, there are scuffs and some small missing leather pieces on boards themselves. Text is excellent, no marks, all tip ins present, (24 color tipins (Laminas) Vol 1, 21 color tipins (Laminas) Vol 2. + numerous b/w… Read More

Madrid: Real Academia de Espanola. Flexible white cloth boards resembling vellum show light soiling to spines, else clean and sound, Book plate on front paste-down of each volume; possible ex-library, but no clear markings. Interiors are clean and unmarked, many pages uncut. Volume VI is a slightly different color than the other volumes. Volume VII is dated 1923, rather than 1917. Vol. I - La Galatea; II & III - Don Quixote de la Mancha; IV - Novelas Exemplares; V - Comedias Entremeses; VI - Persiles Y Sigismunda; VII - El Trato de Argel, La Numancia, y Poesias Varias. In all, a handsome set, and a facsimile of the originals. Due to weight, extra postage may be required. . Very Good. Hardcover. 1st Edition Thus. 1st Printing. 1917.

Madrid: En la Imprenta del Reyno, 1629 Book. Good. Full leather. Engraved title page followed by 5 un-numbered leaves, 455 numbered leaves and 11 leaves of index. Some worming at the start and finish. Folios 174 and 171 transposed. Staining to upper margins of pages throughout. Folio 387 torn at the corner, just into the text. Folio 401 the same. Folio 392 very long closed tear through the text - old paper repairs holding it in. Lower outer corners of the index leaves have been torn away, but with no loss of text. Apparently folios 265 and 266 are sometimes removed follwing an order of the Consejo de Castilla in 1747, both though are present here. Old full leather, worn and with damage to the spine. More modern marbled end papers..

Madrid: Franc. Martinez, 1633 Book. Fair. Soft cover. [viii], 363, [1], 24, [24] pages + engraved title page and three plates. Here without the half title page. Damage to the engraved title page - trimmed along the foot cropping the imprint and also with the loss of the lower inner corner, section torn from the head of the page also. In old creased limp vellum, section torn from the spine. Remains of old ties. Some staining to pages at the rear. Ink notes to the front inner cover..

xvi+120; 511+[blank]; 23 unnumbered pages with 2 plates and 59 engravings. Folio (12 3/4" x 9") bound in contemporary vellum. (Palau 292.649) 12th impression. Juan de la Cruz was a Carmelite friar and priest of Marrano origin, and is a major figure of the Spanish Counter-Reformation, a mystic and Roman Catholic saint. He is one of thirty-six Doctors of the Church. He is known especially for his writings. He was mentored by and corresponded with the older Carmelite, Teresa of Avila. Both his poetry and his studies on the development of the soul are considered the summit of mystical Spanish literature as of all Spanish literature. He was canonized by Pope Benedict XIII in 1726. He is considered one of the foremost poets in Spanish. Although his complete poems add up to fewer than 2500 verses, two of them, the Spiritual Canticle and the Dark Night of the Soul, are widely considered masterpieces of Spanish poetry, both for their formal style and their rich symbolism and imagery. His theological works… Read More

Rudolfo Anaya. Bless Me, Ultima. TQS, Quinto Sol Publications, Inc. Berkeley, CA. Softcover. Copyright 1972, 25th Printing Thus, 1991 SIGNED AND INSCRIBED BY AUTHOR. ABOUT RUDOLFO ANAYA: Rudolfo Anaya was an American author. Noted for his 1972 novel Bless Me, Altima, Anaya was considered one of the founders of the canon of contemporary Chicano literature.

Madrid : Renacimiento, 1917. RARE. SIGNED AND INSCRIBED BY AUTHOR at title page to Fernando Orrego (Puelma) and dated by author in year of publication (1917). Miguel de Unamuno's most famous novel, his re-telling of the story of Cain and Abel set in modern times. 233 pp. Bound without the wrappers in contemporary quarter leather over marbled boards, Very Good, the page block uniformly browned, edges of boards rubbed, spine lean. Association Copy, Fernando Orrego Puelma, one of the founders of Chile Magazin (1921) and a director of Zig-Zag (1964) was also the father of noted Chilean composer Juan Antonio Orrego Salas (1919-2019). Miguel de Unamuno's signature is RARE in todays market, no auction records found for a signed copy of Abel Sanchez. Basis for the 1947 Spanish film directed by Carlos Serrano de Osma. . SIGNED AND INSCRIBED BY AUTHOR. First Edition. Quarter Leather. Very Good. 12mo - over 6¾" - 7¾" tall. Association Copy.

Santiago De Chile: Ediciones Guardia Vieja , 1956. The author's second published book, No copies found in current commerce, WorldCat notes 4 library holdings worldwide, RareBookHub shows no auction records since publication. # 39 of 500 copies printed, SIGNED BY AUTHOR Jose Donoso AND ILLUSTRATOR Nemesio Antunez at colophon page. Near Fine in illustrated French wrappers, the wrappers one of the 3 illustrations by Antunez, the other two in text. Small rubs to wrappers at spine ends. With internal thin paper wrapper, uniformly browned, which has uniformly browned interiors of the paper covers. 45 pages. . SIGNED BY AUTHOR AND ILLUSTRATOR. Limited and Numbered, Signed 1st Edition. French Wrappers. Fine in Wraps, as Issued/Near Fine. 4to - over 9¾" - 12" tall. Limited Edition.

Paris: Denys Ianot, [Janot], 1540. First Edition. Transl. from Spanish by "le Seigneur des Essarts", Nicolas de Herberay. (1540)-1542, 3 parts in 1 vol. 150; (4), 86; (3), 94 leaves., repeated woodcut printer's mark on 2 title-pages, 43 (some repeated) woodcut illustrations within borders. 65 historiated/ decorated initials (including Janot's white alphabet with thistle especially designed for the Amadis), 18th century calf with gilt spine and two contrasting leather labels. folio. - First part lacks the first two preliminary leaves (incl. title) So begins at aiii); Remaining prelims one leaf with tear in text and one leaf lacks upper outer blank corner; first part partly wormholed in lower margin; title-page. to second part some soiling and old owner's entries; title-page. to third part slightly. dust stained; lower corner of final three leaves of third part restored and small inkstain in outer margin; All three parts occasionally. finger soiled / stained; engraved heraldic bookplate of Ham Court… Read More

4° (mm 185x135); cc. LXXIIII. Caratteri gotici; titolo e anno impressi in rosso, entro cornice silografica a quattro scomparti e con bellissimo legno centrale; al verso dell'ultima carta, marca tipografica silografica. Legatura ottocentesca in mezza pelle. Bell'esemplare, nonostante i margini non amplissimi.
Very rare edition of the earlier Spanish sentimental romance, originally published in Valencia in 1513.
About the authorship of Qüestión de amor, one of the most intriguing among the Spanish sentimental romances:
"In a series of articles on the authorship of the earlier sentimental romance Qüestión de amor, I suggested first that the anonymous author was a member of the aristocratic Cardona family (1994a) basing this attribution on a series of clues deeply imbedded within the text itself – in other words, evidence interior to the work. Furthermore, I suggested that the author was the poet Alonso de Cardona whose work was found in the Cancionero General of 1511 (1994b and 2006). Finally,… Read More

8°; cc. (12), pp. 669, (3). Elegante legatura novecentesca firmata da Brugalla in marocchino decorato in oro, con astuccio. Bellissimo esemplare.
Exceedingly rare first edition of the Italian translation of the Primiera parte of Quijote.
Rius, 780; Suñé, 819 ("La version esta hecha con bastante fidelidad, tomada de la edición de Bruselas de 1607"); Palau, 53135. Sul traduttore, cfr. P. Scapecchi, Venezia e Firenze unite dalla prima traduzione italiana di 'Don Chisciotte', in Quixote/Chisciotte mdcv-2005. Edizioni rare e di pregio, traduzioni italiane e straniere conservate nelle biblioteche veneziane, Venezia, Sale Monumentali della Biblioteca Nazionale Marciana, Libreria Sansoviniana, 18 novembre 2005 – 2 gennaio 2006, Mostra a c. di D. Ferro, Catalogo a c. di A. Scarsella, Venezia 2006, pp. 33-37; S. Trovato, Andrea Baba stampatore veneziano, in Quixote/Chisciotte MDCV-2005…, pp. 39-52.
La traduzione del Franciosini sarebbe stata ripubblicata solo tre anni più tardi, nel 1625,… Read More

8° (mm 140x95). Vitello bruno coevo (restauri; sguardie rinnovate). Bella copia, unsophisticated, nell'originale legatura in vitello bruno (restauri alle cerniere, sguardie rinnovate).
Very rare second or third edition (see below), the first one with the errata.
Palau, III, 53401; Rius, I, 221.
Dodici le Novelas ospitate dall'edizione: La Gitanilla, El Amante liberal, Rinconete y Cortadillo, La Española Inglessa, El Licenciado Vidriera, La Fuerça de la sangre, El Zeloso estremeño, La Illustre Fregona, Las dos Donzellas, A Señora Cornelia, El Casamiento engañoso, La de los perros Cipion y Bergança.
Dopo la princeps pubblicata nell'agosto del 1613 dal "taller que trabajava a nombre de 'Juan de la Cuesta'" - di cui si conoscono sei soli esemplari superstiti - nel 1614 videro la luce tre edizioni:
• la presente, pubblicata a Pamplona, "muy cuidada y atenta a corriger erratas";• l'edizione di Velpio y Huberto Antonio (Bruselas 1614), "que transcribe incluso las erratas evidentes";
• "la… Read More

Primera edición de Zozobra, uno de los poemarios más importantes de la historia de la literatura mexicana. Quinto volumen de la Biblioteca de Autores Mexicanos Modernos. Este ejemplar cuenta con una encuadernación particular en piel con unas guardas muy bonitas, cuya tinta se trasminó en la portada interior, como se aprecia en la fotografía. Los interiores se encuentran en muy buen estado. En la portadilla lleva la firma del anterior propietario. El colofón tiene una marca de bolígrafo, como se aprecia en la fotografía.