Muy buen estado, pero mejor ver fotos.
TITLE: THE HISTORY OF THE VALOROUS AND WITTY KNIGHT-ERRANT DON QUIXOTE OF THE MANCHA
TRANSLATED BY THOMAS SHELTON 1612-1620
Miguel De Cervantes Saavedra
London and Philadelphia: Gibbings and Co. Ld. and J.B. Lippincott Co., 1895
First edition thus.
Introduction by Justin Huntly McCarthy.
Translated by Thomas Shelton.
Four volumes with illustrations throughout by Frank Brangwyn.
304pp., 344pp., 351pp., 291pp. The complete Quijote.
in board cloth volumes with embossed lettering to spines and gilt, red and black panel to covers. Top edges gilt, roughcut edges, frontispieces and illustrated title pages to all. Limited edition of 1,500 copies.
Signature of previous owner in beautiful old handwriting.
Spines slightly faded. Text blocks are clean and tight, bindings are firm.
Overall a very, I can't stress it enough, very nice set.
Sir Frank William Brangwyn RA RWS RBA (12 May 1867 – 11 June 1956) was an Anglo-Welsh artist, painter, water colourist, virtuoso engraver and illustrator, and progressive designer.
He was born in Bruges, Belgium, where his father had moved after winning a competition organised by the Belgian Guild of St Thomas and St Luke to design a parish church. His forenames were registered as Guillaume François. In 1874 the family moved back to the United Kingdom. He married Lucy Ray in 1896. She died childless in 1924.
He leased Temple Lodge, 51 Queen Street, Hammersmith from 1900 to 1937/38 and bought The Jointure, Ditchling, Sussex in 1918. He was knighted in 1941. He died on 11 June 1956 at his home in Sussex.
In 1936 Brangwyn presented Bruges with over 400 works, now in the Arents House Museum. In return the King of Belgium made Brangwyn Grand Officer of the Order of Leopold II, and Bruges made him Citoyen d'Honneur de Bruges (only the third time the award had been given).
Frank Brangwyn received some artistic training, probably from his father, and later from Arthur Heygate Mackmurdo and in the workshops of William Morris, but he was largely an autodidact without a formal artistic education. When, at the age of seventeen, one of his paintings was accepted at the Royal Academy Summer Exhibition, he was strengthened in his conviction to become an artist.
Initially he painted traditional subjects about the sea and life on the seas. His canvas, Funeral At Sea (1890) won a medal of the 3rd class at the 1891 Paris Salon.The limited palette in this painting is typical of his Newlyn period (although he was not officially a Newlyn artist).
By the late 19th century Orientalism had become a favoured theme for many painters. Soon Brangwyn was attracted by the light and the bright colours of these southern countries. He travelled to Istanbul and the Black Sea, by working as a deck hand for his passage. He made many paintings and drawings, particularly of Spain, Morocco, Egypt, Turkey. This resulted in a marked lightening of his palette, a change which did not initially find critical favor. He continued his travels to different parts of Africa and also to South Africa.
In 1895 the Parisian art dealer Siegfried Bing commissioned Brangwyn to decorate the exterior of his Galerie L'Art Nouveau, and encouraged Brangwyn into new avenues: murals, tapestry and carpet designs, posters and designs for stained glass to be produced by Louis Comfort Tiffany. For his austere but decorative designs he was recognized by continental and US critics as a prominent artist, while British critics were puzzled as how to evaluate him.
In 1908 Brangwyn was commissioned to paint the apse of St Aidan's Church, Leeds, but after it was realised that the air pollution would damage the paint it was agreed he should work in glass mosaic. The mosaic (using Rust's vitreous mosaic) was completed in 1916: it covers the whole apse and shows the life of St Aidan.
Other commissions included murals for the Great Hall of the Worshipful Company of Skinners, London