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This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1895 edition. Excerpt: ...y Marvin (and five others) y en las principales ciudades de estos estados unidos. 1836. Large 12. In the Iconografia the "segunda edicion," of 1837, is noted. Both editions are scarce. 188. A wood-engraving, vignetted, size about 6 by 5 = 163 by 137 mm., subscribed "Don Quichotte, par Schroedter. Grav6 par Thompson, a Londres. Tome I, page 199"; in the design, right, is the signature John Thompson, Sc. The engraving is good. The subject is identical with that noticed in art. 179, and one in the set noted in art. 249. Given in Histoire de I'Art Moderne en Allemagne par Le Comte Athanase Raczynski, etc., 1836, where, at Vol. I., p. 199, we read: Son (Schroedter's) Don Quichotte ne manque d'aucune des qualites qui font le m rite des ouvrages de Genre les plus remarquables, de quelque epoque et de quelque pays que ce soit. Don Quichotte est enfonce dans la lecture d'Amadis des Gaules; le plus grand desordre regne autour de lui. II est maigre, ii est bleme, il est deguenille, il est sale, il est fou, il est comique, et pourtant il est en m$me temps touchant. C'est, parmi tous les tableaux de Genre de l'exposition de 1834, celui qui a obtenu le plus de suffrages. II appartient au libraire Reimer, 4 Berlin. I have before me the same engraving struck off on India paper, with five lines underneath, indicating that it was taken from the above mentioned work, and a sixth line, " Imprime chez Paul Renouard, rue Garanciere, n. 5 ." 189. A set of 12 engravings, size 35 by 4 inches = 82 by 104 mm., without name of artist, but all signed C. Knight sculp'.; although not all strictly original, they are fairly well drawn and carefully engraved, chiefly in stipple. They are by no means common. Done for The Life and...
Eisner continues his series of adaptations of classic tales with this charming and delightfully humourous rendition of Cervantes Don Quixote. The famous knight was quite a gentleman, man of honour and idealist, his selflessness and gallantry made him a legend. A touching story given a new edge by the beautiful full colour illustration and unique interpretation by the master story teller Will Eisner.
The Quixote Iconographic Museum opened doors on November 6, 1987 on account of Eulalio Ferrer Rodriguez's generous donation - throughout his life, he built the world's largest and most valuable art collection regarding the ingenious gentleman Don Quixote of La Mancha. The artwork comprising the Quixote Iconographic Museum is one of a kind. It includes painting, sculpture, engraving, and fine ceramic pieces; small and large monumental works. Most of them made by Mexican and Spanish artists. Among the most important we find Francisco Corzas, Carlos Merida, Jose Chavez Morado, Rufino Tamayo, Rafael Coronel, Jose Luis Cuevas, Manuel Felguerez, Federico Silva, Antonio Quiros, Alberto Gironella, Armandino Pruneda, Luis Nishizawa, Pedro Coronel, Antonio Rodriguez Luna, Gabriel Flores, Federico Silva, Victor Gutierrez, Leonardo Nierman, Sebastian, and many others.
Quarterly accession lists; beginning with Apr. 1893, the bulletin is limited to "subject lists, special bibliographies, and reprints or facsimiles of original documents, prints and manuscripts in the Library," the accessions being recorded in a separate classified list, Jan.-Apr. 1893, a weekly bulletin Apr. 1893-Apr. 1894, as well as a classified list of later accessions in the last number published of the bulletin itself (Jan. 1896)
Honoré Daumier (1808–79), who was imprisoned early on for a politically offensive cartoon, painted scenes from seventeenth-century theatre and literature at moments of stifling censorship later in his career. He continued to find form for dangerous political dissent in the face of intense and shifting censorship laws by drawing on La Fontaine, Molière, and Cervantes, masters of dissimulation and critique in a newly glorified literary past. This book reveals new connections between legal repression and subversive fine-arts practice, showing the force of Daumier’s role in the broader stories of image-text relationships and political expression.