BAUM, Vicki; HERSHOLT, Jean

Grand Hotel

London: Geoffrey Bles, 1930. A Fantastic First English Edition of Vicki Baum's Grand Hotel Inscribed by Vicki Baum to Jean Hersholt "In Memory of our really nice time in Hollywood!" Jean Hersholt played Senf - The Head Porter of the Grand Hotel in the 1932 Movie BAUM, Vicki. Grand Hotel. London: Geoffrey Bles, [1930]. First edition in English of Vicki Baum's most famous novel - inscribed by her to Jean Hersholt. Octavo ( 7 1/4 x 4 7/8 inches; 184 x 124 mm.). [iv], 315, [1, blank] pp. Publishers pale blue cloth, front cover and spine lettered in black. Some light foxing to edges, not affecting pages. From the library of Jean Hersholt with his bookplate signed by him on the front paste-down. Hollywood Book Store label pasted onto rear paste-down. A fine, sharp copy. The author's most famous novel inscribed in German on the half-title "Mr Jean Hersholt / in Erinnerung /[indecipherable] / [indecipherable] / Hollywood! / Vicki Baum". (In memory of our really nice time in Hollywood.) With an original black & white photograph of the original cast of the 1932 film ‘Grand Hotel' pasted onto verso of front free endpaper. Another original black & white photograph of the cast of ‘Grand Hotel' affixed to rear paste-down. Housed in a felt-lined, blue cloth clamshell case, spine lettered in gilt. Additionally inscribed by Jean Hersholt on the front free endpaper "Grand Hotel". Vicki Baum's famous book was made into an equally famous picture. It was the first real "All Star" film, with Greta Garbo, John and Lionel Barrymore, Joan Crawford, Wallace Beery, Lewis Stone and I in the leads. It was produced by Metro-Goldwyn Mayer Studios in Culver City during Jan - March 1932 and had its premier at the Grauman's Chinese Theater in Hollywood april 29 - 1932 Jean Hersholt". Hedwig "Vicki" Baum (1888-1960) was an Austrian writer. She is best known for the novel Menschen im Hotel ("People at a Hotel", 1929 - and then published in English in 1930 as Grand Hotel), one of her first international successes. It was made into a stage play in Berlin in 1929, directed by Max Reinhardt, and then the 1932 film starring Greta Garbo, John Barrymore, Joan Crawford, Lionel Barrymore, and Wallace Beery. The film was the Oscar winner for Best Picture in 1932. Jean Pierre Carl Buron (1886-1956), known professionally as Jean Hersholt, was a Danish-American actor. He played a small part as the character Senf, the head porter at the Grand Hotel in the 1932 Oscar winning 'Best Picture' movie, Grand Hotel. He is probably best known for starring on the CBS radio series Dr. Christian (1937-1954) and inspiring later subsequent TV series (1956-1957), along with co-starring in the Shirley Temple film Heidi (1937). Asked how to pronounce his name, he told to The Literary Digest, (a major influential magazine of current affairs/news, opinion and cultural affairs, published 1890-1938) "In English, her'sholt; in Danish, hairs'hult." Of his total motion picture credits during 1924 to 1955, seventy-five were silent film and sixty-five were "talkies" - one hundred and forty in total of which he directed four. .

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Book number: 05819

Keywords: HERSHOLT, Jean

BAWDEN, Edward; Bliss, Douglas Percy; [PENDOMER PRESS]

Edward Bawden

Godalming, Surrey: The Pendomer Press, 1979. One of 200 Copies with a Signed Lithograph by Edward Bawden [BAWDEN, Edward]. BLISS, Douglas Percy. Edward Bawden. [Godalming, Surrey]: The Pendomer Press, [n.d. 1979]. First edition, de luxe issue. Limited to 200 numbered copies (this copy being No. 40). Quarto (11 3/8 x 8 inches; 287 x 222 mm.). 200 pp. Eleven color plates and numerous black and white text illustrations. Pictorial title-page. "This book has been designed by John and Griselda Lewis. It has been printed and bound by the Scolar Press. The paper is Glastonbury Book Antique Laid..The book has been set in 12/14 Monotype Modern Extended and printed by offset lithography" (Colophon). Bibliography, by Barry McKay (p. 177-197). With a four-color lithograph laid into a terra cotta paper portfolio: "‘Nekayah, the Prince and Imlac in Cairo' from The History of Rasselas, Prince of Abyssinia by Samuel Johnson. Lithograph drawn in four colours by Edward Bawden and printed in an edition of 200 by The Curwen Studio, each copy being signed by the artist[this copy also being No. 40]." Original quarter black morocco, ruled in gilt, over decorative paper boards. Spine lettered in gilt. Top edge gilt. Laid in is a two-page color illustrated article on Edward Bawden. As new. Housed together with the signed lithograph in the original plain terra cotta paper over board slipcase (mildest of soiling to slipcase). Edward Bawden (1903-1989) was "one of Britain's most original and versatile artists. In this, the first full-length study of his work, the author tells the story of Bawden's career and devotes sections to his book illustrations and advertisements, his watercolours, including the brilliant series he made as an Official War Artist, his murals and his linocuts. Bawden's graphic work is characterised by humour and the frankness and simplicity of his line..There is a full bibliography of Bawden's illustrations for books, magazines and publicity material, compiled by Barry McKay..There are over 100 illustrations including 11 in colour" (from the first trade edition dust jacket). .

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Book number: 00088

Catalogue: Illustrated Books

Keywords: Bliss, Douglas Percy [PENDOMER PRESS] Illustrated Books Fine Printing Fine Printing Signed Limited Edition

COSWAY-STYLE BINDING; BAYNTUN, binder; WALTON, Isaac

Complete Angler; or, Contemplative Man's Recreation, the

London: Samuel Bagster, 1808. A Superb Mid-Twenties Cosway-Style Binding by Bayntun of Bath with Two Fine Oval Miniatures Extra-Illustrated by the Insertion of Fifty-Five Engraved Plates of which Ten are Hand-Colored COSWAY-STYLE BINDING. BAYNTUN, binder. WALTON, Isaac. The Complete Angler; or, Contemplative Man's Recreation. Being a Discourse on Rivers, Fish-Ponds, and Fishing. In two parts: The first written by Mr. Isaac Walton; The second by Charles Cotton, Esq. With the lives of the authors.. by Sir John Hawkins. London: Printed for Samuel Bagster, 1808. First Bagster Edition. Octavo (8 x 4 7/8 inches; 204 x 124 mm.). [iv], vi, vii-512, pp. Hand-colored frontispiece and nineteen engraved plates and two sheets of music. Ten of the plates are engraved by Audinet, eight after Wale, two after Samuel; two music plate; two plates of fishing tackle and flies. There are seventeen fine engravings of fish and two large woodcuts in the text. Extra-illustrated by the insertion of fifty-five engraved plates of which ten are hand-colored. Bound ca. 1925 by Bayntun, stamp-signed in gilt "Bayntun. Binder. Bath. Eng." on front turn-in. Full green crushed levant morocco over beveled boards, covers with elaborate gilt frames, spine with five raised bands, elaborately decorated and lettered in gilt in compartments, gilt decorated board edges, wide gilt turn-ins, all edges gilt. Front doublure of brown morocco surrounded by a frame of inlaid maroon morocco. Set into the front doublure is a fine oval miniature painting of Isaac Walton under beveled glass within a double gilt frame. Set into the rear doublure is a fine oval miniature painting of Charles Cotton under beveled glass within a double gilt frame. Both miniatures measure 3 1/4 x 2 1/2 inches; 82 x 63 mm. Green watered silk end-leaves. Expertly and almost invisibly rebacked with the original spine laid down, spine very slightly sunned, otherwise a fine example housed in its original felt-lined green cloth clamshell case, spine lettered in gilt. List of plates including the extra-illustrations which are marked with a* (77 total, 11 of which are in color) 1. Frontis. Portrait of Izaak Walton, Charles Cotton, and Sir John Hawkins (hand-colored) 2. Portrait of St. Francis Bacon* 3. Portrait of Bp. Ken* 4. Portrait of Hon. Robert Boyle* 5. Portrait of Dr. Robert Sanderson, Mr. Richard Hooker, Sir Henry Wolton, Mr. George Herbert, Dr. John Donne 6. Portrait of Edward, First Earl of Sandwich, K.G.* 7. Robert Herrick* 8. Portrait of Sir Henry Wotton (hand-colored)* 9. Portrait of George Herbert* 10. Portrait of Edward Herbert, Lord Herbert of Castle Island and Lord Herbert of Chierbery in England* 11. Portrait of Bp. Taylor* 12. Portrait of Arch Bishop Williams, Lord Keeper* 13. Portrait of Thomas Hearn, M.A. of Edmund Hall Oxon* 14. Portrait of Charlemagne* 15. Portrait of The Most Revd. Dr. Usher, Late Lord Arch Bishop of Armagh* 16. Dovedale (hand-colored)* 17. Uske, Monmouthshire* 18. Untitled B&W Illustration 19. Fitchet [and] Martin 20. The Wild Boar* 21. Portrait of Hierom of Prage* 22. Basking Shark 23. Cuckoo [and] Wryneck* 24. Portrait of John Stow 25. Portrait of Bp. Overall 26. Bittern* 27. Untitled B&W Illustration 28. Portrait of Seneca* 29. Portrait of Sir Walter Ralegh (hand-colored)* 30. Untitled B&W Illustration 31. Untitled B&W Portrait 32. Portrait of Erasmus* 33. Untitled B&W Illustration 34. Arabian Camel* 35. Squirrels* 36. Partridges* 37. Golden Plover & Lapwing* 38. Portrait of Marcellus Malpighius M.D.F.R.S. (hand-colored)* 39. Page of Music 40. Portrait of Tho. Cromwell Earl of Essex 41. Lamprey & Salmon (hand-colored)* 42. Portrait of Ray* 43. Potrait of Michael Drayton 44. Double Page Color Illustration. Illustrations of Marine Animals (hand-colored)* 45. Double Page B&W Illustration. Cyprinus. The Golden Tench. The Gudgeon. The Minnow* 46. Double Page B&W Illustration. Meleagris. The American Wild Turkey. The Common Domestic Turkey* 47. Coniston Water Head* 48. A View of Winander Mere, a Lake in Westmoreland* 49. Portrait of Dr. Gilbert Sheldon, Arch-Bishop of Canterbury 50. Untitled B&W Illustration 51. The Angler's Song 52. Interior View of the Ruins of Ludlow Castle* 53. Portrait of Prince Rupert, When Young (hand-colored)* 54. A View of Shrewsbury Shropshire* 55. Untitled B&W Illustration* 56. Tottenham Cross* 57. Untitled B&W Illustration 58. Portrait of Cardinal Richelieu* 59. Untitled B&W Illustration of Fishing Tools 60. Untitled B&W Illustration of Fishing Line 61. Untitled B&W Illustration of Fishing Bait 62. Portrait of Charles Cotton (hand-colored)* 63. Portrait of Edward Hyde, Earl of Clarendon* 64. Portrait of Sir Kenelm Digby* 65. Ashbourne, Derbyshire* 66. Chepstow Castle, & Bridge Over the Wye (hand-colored)* 67. Matlock Bridge &c.* 68. Portrait of Mary I* 69. Untitled B&W Illustration 70. Untitled B&W Illustration of Fishing Hooks 71. Untitled B&W Illustration 72. Untitled B&W Illustration 73. Untitled B&W Illustration 74. Portrait of Sr. Philip Sidney* 75. Portrait of Queen Elizabeth* 76. Portrait of John Selden (hand-colored)* 77. Woodcock* Coigney, 18. .

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Book number: 04633

Catalogue: English Literature

Keywords: BAYNTUN, binder WALTON, Isaac Angling Fine Bindings Cosway-Style Bindings Extra-Illustrated Copies

COSWAY-STYLE BINDING; BAYNTUN, binder; WILLIAMS, H. Noel

Queen Margot Wife of Henry of Navarre

London and New York: Harper & Brothers, 1907. A Superb Mid-Twenties Cosway-Style Binding by Bayntun of Bath with Two Fine Oval Miniatures Extra-Illustrated by the Insertion of Twenty-Five Engraved Plates of which Six are Hand-Colored COSWAY-STYLE BINDING. BAYNTUN, binder. WILLIAMS, H. Noel. Queen Margot Wife of Henry of Navarre. With sixteen illustrations in photogravure. London and New York: Harper & Brothers, 1907. Quarto (9 3/8 x 7 3/8 inches; 238 x 188 mm.). xviii, 409, [1, blank] pp. Colored frontispiece and nineteen photogravure plates with tissues printed in red & brown. Extra-illustrated by the insertion of twenty-five engraved plates of which six are hand-colored. Bound ca. 1925 by Bayntun, stamp-signed in gilt "Bayntun. Binder. Bath. Eng." on front turn-in. Full dark blue crushed levant morocco over beveled boards, covers with elaborate gilt frames, spine with five raised bands, elaborately decorated and lettered in gilt in compartments, gilt ruled board edges, wide elaborate gilt turn-ins, all edges gilt. Front doublure of red morocco surrounded by a frame of inlaid maroon morocco. Set into the front doublure are two very fine oval miniature paintings set under beveled glass within a double gilt frame. The upper miniature is of Margaret de Valois, Queen Margot of Navarre. The lower miniature is of her spouse Henry III of Navarre (later Henry IV of France). Both miniatures measure 3 3/16 x 2 1/2 inches; 81 x 63 mm. The rear doublure is of red morocco surrounded by a frame of inlaid maroon morocco. Blue watered silk end-leaves. A very fine example housed in its original felt-lined blue cloth clamshell case. Margaret of Valois (1553-1615) was a French Princess of the Valois dynasty who became Queen Consort of Navarre and later also of France. By her marriage to Henry III of Navarre (later Henry IV of France), she was Queen of Navarre and then France at her husband's 1589 accession to the latter throne. Their marriage was annulled in 1599 by decision of the Pope. She was the daughter of King Henry II of France and Catherine de' Medici and the sister of Kings Francis II, Charles IX and Henry III. Her marriage, which was to celebrate the reconciliation of Catholics and Huguenots, was tarnished by the St. Bartholomew's Day massacre, and the resumption of the religious troubles which ensued. In the conflict between Henry III and the Malcontents, she took the side of Francis, Duke of Anjou, her younger brother, and this caused a deep aversion of the King against her. As Queen of Navarre, she also played a pacifying role in the stormy relations between her husband and the French Monarchy. Shuttled back and forth between the two courts, she endeavored to lead a happy conjugal life, but her sterility and the political tensions inherent in the French Wars of Religion caused the end of her marriage. Mistreated by a brother quick to take offence and rejected by a fickle and opportunistic husband, she chose the path of opposition in 1585. She took the side of the Catholic League and was forced to live in Auvergne in an exile which lasted twenty years. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 04479

Catalogue: Fine Bindings

Keywords: BAYNTUN, binder WILLIAMS, H. Noel Cosway-Style Bindings Extra-Illustrated Copies French History

BAYNTUN, binders; EGAN, Pierce (imitation); ALKEN Henry

Real Life in London;

London: Printed for Jones & Co. 1827. Real Life in London with Thirty-Four Hand Colored Plates Two Superb Inlaid Bindings by Bayntun, Bath EGAN, Pierce (imitation of). ALKEN, Henry, illustrator. BAYNTUN, binder. Real Life in London. or, The Rambles and Adventures of Bob Tallyho, Esq. and His Cousin, the Hon. Tom Dashall, through the Metropolis; Exhibiting a Living Picture of Fashionable Characters, Manners, and Amusements in High and Low Life. By an Amateur. Embellished and Illustrated with a Series of Coloured Prints, Designed and Engraved by Messrs. Heath, Alken, Dighton, Brooke, Rowlandson, &c. London: Printed for Jones & Co. 1827-29. Later issue (first published 1821-22). Two octavo volumes (8 3/8 x 5 1/4 in; 213 x 343 mm.). [ii, title, verso blank], [iii]-x, [1]-656; [2, title, verso blank], [i]-ix, [x, advertisement for British Classic Authors 1827], [3]-668 pp. Hand-colored engraved frontispiece and pictorial hand-colored title in each volume. Thirty-four hand-colored aquatint plates, including the sometimes lacking plate nos. 31 and 34, "St. George's Day, Presentation at the Levee" and "Tom and Bob catching a Charley Napping" Handsomely bound ca. 1925 by Bayntun of Bath, stamp-signed in gilt on front turn-ins. Full red morocco, covers bordered with an interwoven gilt design. In the center of each front cover, a superb, inlaid group of fashionable society characters, in multi-colored morocco. Spines with five raised bands, decoratively tooled and lettered in gilt in compartments, gilt ruled board edges and turn-ins, marbled endpapers, all edges gilt. A fine set. Sixteen of the hand colored aquatint plates are by Henry Alken. "From a bibliographical point of view, one of the most complicated and bewildering books ever published, rivaling Pickwick in the tangle of variant states that exist both in text and plates. The work had a tremendous success, probably out-rivaling in popularity its prototype, Egan's Life in London, and even the three Tours of Syntax. A difficult feature of the book is that two printers.. printed copies, textually the same page by page, with only minor variations in the settings, and this, coupled with the fact that during the eight or nine years it was being reprinted, makes the whole vast output all 'first editions' but with innumerable states and variants that continually overlap one with the other" (Abbey). "Originally published in 56 parts, on completion the work was issued in boards. A few large paper copies were printed on royal paper hot pressed with proof impressions of the plates. Later copies were bound in publisher's cloth.. A book full of contrarities and difficulties for the bibliographer, there being innumerable variations of the plates. I have examined twenty or thirty copies and noted their peculiarities and points but doubt if I have run them all to earth. The difficulties are further increased by many copies in modern bindings having been completed or made up of different issues giving combinations that are not true variations" (Tooley). An imitation of Pierce Egan's Life in London "a work which was issued in and after July, 1821, in shilling numbers.. Imitations came swift and frequent..Out of the sixty-five imitations of it which Egan stated that he had reckoned, the most important was Real Life in London.. which was published in sixpenny numbers in 1821, with excellent illustrations by Heath, Alken, Dighton, Rowlandson and others. Real Life in London is a pleasanter book than its prototype. Some have held that Egan wrote it; but the author had a purer style, a cleaner mind and a wider knowledge of London than Egan. The book shows many more sides of London life than his; though the formal descriptions of well-known scenes or buildings, here and there inserted amid matter of a very different character, recall very forcibly Mr. Bouncer's letters to his aunt in Verdant Green" (The Cambridge History of English and American Literature Abbey, Life 280 (1821-22 first edition); Tooley 198 (1821-22 first edition). .

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Book number: 05732

Catalogue: Color-Plate Books

Keywords: EGAN, Pierce (imitation) ALKEN Henry Fine Bindings Caricatures

BEAUMONT, Charles-Édouard de

Au Bal Masqué

Paris: Au Bureau du Charivari, Maison Martinet, 1848. Charles-Édourd de Beaumont's Au Bal Masqué - At the Masked Ball BEAUMONT, Charles-Édouard de. Au Bal Masqué. [At the Masked Ball] Album par Beaumont. Paris: Au Bureau du Charivari, Maison Martinet, [1848]. [First Series]. Quarto (13 1/4 x 10 inches; 336 x 254 mm.). Pictorial lithograph title-page and thirty superb lithograph plates. Some light foxing (mainly marginal) to a few plates, otherwise fine. Later violet cloth over boards, spine lettered in gilt. Publisher's pictorial yellow wrappers bound in. This exceptionally rare album of lithographs echoes that of Gavarni who dedicated works of the same theme at the same time. Mr. Descamps-Scrive who had a colored copy of the same thirty prints prints of this album indicated that the date was "towards 1860" (catalog Descamps-Scrive, second part). OCLC locates just two complete copies in libraries and institutions worldwide, both at The Morgan Library & Museum (NY, USA), one of which appears to be partially colored. Charles-Édouard de Beaumont (1819-1888) was one of the great caricaturists and lithographers that illustrated the beautiful pages of Charivari and other fashionable image journals. He produced all the illustrations for the picturesque Revue, Le Diable Amoureux (The Devil in Love) and many of the illustrations for the 1844 edition of Victor Hugo's Notre-Dame de Paris. Often criticized for drawing too much inspiration from Paul Gavarni, he published between 1228 and 1273 lithographs in the years 1842 to 1866. He was often criticized for drawing too much inspiration from Paul Gavarni. In 1879 he co-founded the Societe d'Aquarellistes Francais in 1879, where he exhibited several watercolors Masquerades were popular imagery in France at this time, which suggests that de Beaumont might have implied that the latent qualities of the masquerade, such as anonymity, deceit, promiscuity and superficiality, equally exist in more everyday settings. Additionally, because masked balls were contexts that permitted forms of interaction and intimacy otherwise prohibited, they can be regarded as occasions where gender and sexual norms could be transgressed. De Beaumont's satirical images of gender relations are not always as progressive as this description of the series might suggest. In 1848, after Au Bal Masqué, de Beaumont stopped depicting women in acceptable female roles and instead reconnected them to the role of prostitute. He would also reverse their gender roles to support an antifeminist backlash prompted by a conservative political climate. Out of this same school of thought, de Beaumont authored a book titled The Sword and Womankind that attributes a range of historical calamities to the deeds of wayward women. For example, depictions of women castrating men and enacting other violent acts spread from the belief that women were responsible for the failure of the 1848 revolution. While the prints from Au Bal Masqué may not depict these same sentiments, it satirizes diversions from gender norms while also depicting women outside of the domestic sphere, behaving contrary to traditional social expectations. Plates: 1. Chère enfant avant que tu n'entre dans cebal laisse moi te bènir.. 2. Si quelque gandin t'invite à souper.. tâche de m'emmener?.. 3. Mesdames, entrez dans la loge.. 4. Tu es joliment costume!..on jurerait que tu es une femme!.. 5. Le pantalon à la nouvelle ordonnance.. c'est ça qui est commode pour aller.. 6. Mon petit bébé.. nous irons demain acheter des joujoux chez Giroux.. 7. Vois-tu ce gros monsieur, là-bas?.. 8. Tiens!..une femme honnête!.. 9. Je ne veux pas qu'on m'embrasse!.. 10. Oh!.. Adolphe.. j'ai un bien grand service à te demander?.. 11. Adéle.. il n'y a qu'un instant, je te voyais causer à l'ètage supérieur, avec un monsieur?.. 12. Vas donc t'asseoir sur cette banquette, au lieu de fatigue ce malheureux Paul.. 13. Comment! Vous M. Dugardin, un homme sérieux un maître clerc de notaire, vous.. 14. Vois-tu la bas c'est mon Eléonore.. 15. Comment.. monster!..tu me dis que tu pars pour Meaux, pour affaires..et, je.. 16. Vue prise dans un cabinet particulier.. au moment ou le monsieur regarde la carte.. 17. Nêtes-vous pas mademoiselle Elisa?.. 18. Après Souper. Dieu que je suis malheureuse de ne pas être restée vertueuse!.. 19. Comme je suis portiere, je sais tout et je puis te tirer la bonne aventure.. 20. Veux-tu souper? Eugénie.. 21. Je suis la femme qui doit faire votre bonheur donnez moi une petite maison.. 22. Ainsi vous ne voulez pas me permettre d'aller vous render visite demain?.. 23. Est ce que tu vas encore carotter ce soir une pièce dix sous à chaque personne qui voudre.. 24. Si tu adresses encore la parole à mon Ernest, tu auras affaire à moi.. 25. Tu serais bien aimable de me prendre dix billets de loterie à un franc.. 26. Comme tu as deux batons de sucre de pomme, donne m'en un.. 27. Allons-nous souper, Adolphe?.. 28. Comme tu as l'air de mauvaise humeur!.. 29. Pendant le bal, un Anglais m'a offert ce baton de sucre de pomme que la marchande.. 30. Mademoiselle Adèle.. si vous continuez à rentrer à des heures aussi indues, je...

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Book number: 04619

Catalogue: Illustrated Books

Keywords: Books in French Caricatures French Caricature

BEAUMONT, Charles-Édouard de

Les Vésuviennes

Paris: Chez Aubert & Cie. Editeurs, 1848. Les Vésuviennes - The Radical feminist Group as Depicted by Charles Édouard de Beaumont Twenty Superb Hand Colored Lithographs BEAUMONT, [Charles-]É[douard] de. Les Vésuviennes ou les Soldats pour rire.. Paris: Chez Aubert & Cie. Editeurs, [1848]. Folio (12 15/16 x 9 3/4 inches; 328 x 247 mm.). Pictorial lithograph title and twenty superb hand-colored lithograph plates, all heightened with gum arabic. Publishers lithographed pale green wrappers, rear wrapper expertly replaced with near identical paper. Original glassine wrapper. An exceptionally fine copy. Housed in a felt-lined half black morocco over gray cloth boards clamshell case, spine with five raised bands, ruled and lettered in gilt. The twenty superb hand colored lithographs in Les Vésuviannes depict an imagined state of society in which there is great suffering and injustice, in which women take the functions of national guards and policemen. The title is linked to the resumé of a radical feminist group that actually existed following the February revolution which militated the female military service the ability to dress like men, as well as women for the equality in housework. Historically, the first community of Vesuvius was established in Belleville. On March 26, 1848, at the foot of the Vendôme column. A whole legion of young women from 15 to 30 years old passed behind a tricolor banner with the word 'Vésuviennes'. At noon, they went to the city hall, to ask for the help and protection of the provisional government. The Vésuviennes were a radical feminist group that existed in France in the middle of the 19th century. They chose their name (derived from Mount Vesuvius) because, in their words, "Like lava, so long held back, that must at last pour out around us, [our idea of feminist equality] is in no way incendiary but in all ways regenerating." With the overthrow of King Louis-Philippe of France in 1848, the newly formed Republic lifted all restrictions on the press and assembly. This encouraged a proliferation of new feminist publications, organizations, and groups. The Vésuviennes were among the latter. Considered to be the most radical of all of the feminist factions of the time, the Vésuviennes promoted female military service, the right of women to dress the same as men, and legal and domestic equality between husband and wife, even as that extended to the distribution of household chores. Most Vésuviennes were between the ages of 15 and 30, unmarried, poorly paid workers. Even some other feminists disapproved of their tactics, which included wearing culottes (not unlike the bloomers worn by radical American feminists at the time) and staging frequent street demonstrations. The image of a young woman in culottes came to represent all feminists to some, as can be seen in the caricatures of Charles-Édouard de Beaumont, one of several artists who satirized the efforts of feminists of the period in popular political papers such as Le Charivari. Until recently the existence of this feminist organization was regarded as genuine, if poorly documented. Some historians have recently argued that the organization was itself "a burlesque creation of the French police who drew up a constitution for it and provided it with prostitutes as members". (Wikipedia). The Plates: 1. Mâme Coquardeau, j'te défends d'aller au rappel..n'y a pas d'bon sens de me laisser comme ça avec trois enfans sur les bras..et pas de biberon!.. Mâme Coquardeau, I forbid you to go to the rappel..it doesn't make sense to leave me like that with three children on my arms..and no bottle!.. 2. Grosse Ronde-Major. Big Round-Major. 3. Entre Deux Patrouilles. Between Two Patrols. 4. Tambour, tes flas commencent à être agréables mais trop souvent tes ras sont rates!.. Drum, your flas are starting to be nice but too often your ras are misses!.. 5. Tiens, Virginie c'est la première fois qu'on peut se flatter de m'avoir mise au pas!.. Hey, Virginie, it's the first time you can flatter yourself that you've brought me to heel!.. 6. Comment pt'ite malhureuse, je te donne un état honorable, je te mets dans les chemises d'homme, et v'là que je te r'trouve dans les culottes d'une Vésuvienne..va, tu n'es plus ma fille!.. How unfortunate you, I give you an honorable status, I put you in men's shirts, and here I find you in the panties of a Vesuvian woman.. come on, you're no longer my daughter !.. 7. Qui vive?.. Eh! mais je ne me trompe pas, c'est m'am'selle Virginie! N'y a pas de Virginie qui tienne..réponds au qui vive ou j'témbroche!.. Who lives?.. Hey! but I'm not mistaken, it's madame Virginie! There's no Virginia that holds .. answer the question or I stumble!.. 8. Danger d'insulter une femme armée. Danger of insulting an armed woman. 9. Il est gentil tout d'même notre vivandier..allons versez, petit.. He is nice all the same, our vivandier.. let's pour, little one.. 10. Me conseilles-tu de me mettre une barbe?.. Do you advise me to put on a beard?.. 11. Allons habille-toi, Clorinde, essaye ton uniforme..je t'apporte une carabine toute neuve, elle est à piston.. Tiens j'croyais qu'il n'y avait que la trompette de m'sieu Dufrène qui était a piston! Come on, get dressed, Clorinde, try on your uniform.. I'm bringing you a brand new rifle, it's piston-powered.. Well, I thought only M'sieu Dufrène's trumpet was piston-powered! 12. Entre camarades. Between comrades. 13. Prête-moi donc la plume de ton chapeau de paille d'italie, j'ai envie de l'ajouter encore á mon panache.. So lend me the feather of your Italian straw hat, I want to add it to my panache.. 14. Phrasie..recouds-moi rien que ce bouton là, je n'peux pas sortir sans ça!.. Plus souvent!.. Phrase.. sew me back on just that button, I can't go out without it!.. More often!.. 15. Sergente..voici un homme à fourrer au violon..la patrouille l'a surprise au moment même ou il était en train d'être battu par sa femme..elle était bien fatigue, faut que ce soit un fier gueux!.. Sergente..here is a man to fuck with the violin..the patrol surprised him at the very moment when he was being beaten by his wife..she was very tired, he must be a proud beggar!.. 16. Caporale, faites courir après un homme qui se sauve..il m'a offense moi factionnaire!.. Il fallait l'arrêter toi mème!.. Je n'ai pas pu..il m'a insultée par derrière..le lâche!.. Corporal, run after a man who is running away..he offended me, sentry!.. You had to stop him yourself!.. I couldn't..he insulted me from behind..the coward !.. 17. Un homme découvert pour avoir été surpris. Bourgeois, si vous voulez ravoir votre chapeau c'est cinq sous!.. A man discovered to have been surprised. Bourgeois, if you want your hat back, it's five sous!.. 18. Pour un Mobile. For a Mobile. 19. Eh! bien pékines..qu'est-ce que vous attendez encore pour vous enrôler dans mon regiment? Hey! good beijing.. what are you still waiting for to enroll in my regiment? 20. Enrolement des Vésuviennes dans le parti Napoléonien. Joséphine Frenouillot abuse de sa resemblance avec Napoléon pour faire croire à sa troupe que l'Empereur n'est pas mort, comme la police en avait fait courir le bruit. Enlistment of the Vésuviennes in the Napoleonic party. Joséphine Frenouillot abuses her resemblance to Napoleon to make her troops believe that the Emperor is not dead, as the police had spread the rumor. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05256

Catalogue: Color-Plate Books

Keywords: Books in French Caricatures Women Naval and Military

BEAUMONT, Charles-Édouard de

Les Vésuviennes [and] Quartier de la Boule Rouge [and] la Guerre Des Femmes [and] Fariboles [and] Au Bal Masqué [and] Les Jolies Femmes de Paris

Paris: Chez Aubert & Cie. Editeurs, 1848. Three incredibly rare suites by Charles Beaumont bound together in one album Together with Eighteen Hand Colored Lithographs from Three of his Other Works BEAUMONT, Charles-Édouard de. Les Vésuviennes ou les Soldats pour rire.. complete [and] Quartier de la Boule Rouge.. complete [and] La Guerre des Femmes [and] Fariboles [and] Au Bal Masqué [and] Les Jolies Femmes de Paris [The Pretty Women of Paris]. Paris: Chez Aubert & Cie. Editeurs, [1846-1849]. Three incredibly rare complete suites by Charles Beaumont, together with eighteen hand colored lithographs from three of his other works, bound together in one album. A total of fifty-seven hand colored lithographs and forty black & white lithographs. Folio (13 1/8 x 10 inches; 334 x 254 mm.). Late nineteenth century quarter red morocco over marbled boards, spine with five raised bands ruled in blind and lettered in gilt, marbled endpapers. Les Vésuviennes ou les Soldats pour rire.. Paris: Au Bureau du Charivari, [1848]. Complete. Pictorial lithograph title and twenty superb hand-colored lithograph plates, all heightened with gum arabic. All plates mounted on stubs. Quartier de la Boule Rouge. Paris: Au Bureau du Charivari, [1847-48]. Complete. Nineteen superb hand-colored lithograph plates, all heightened with gum arabic. All plates mounted on stubs. La Guerre des Femmes. Paris: Au Bureau du Charivari, [ca.1848]. One superb hand-colored lithograph plate, heightened with gum arabic. Mounted on a stub. Fariboles. Paris: Au Bureau du Charivari, [1848-49]. Three superb hand-colored lithograph plates, all heightened with gum arabic. All plates mounted on stubs. Au Bal Masqué. Paris: Au Bureau du Charivari, [1848]. Fourteen superb hand-colored lithograph plates, all heightened with gum arabic. All plates mounted on stubs. Les Jolies Femmes de Paris. Paris: Au Bureau du Charivari, [1846]. Complete. Forty superb black & white lithograph plates. All plates mounted on stubs. The twenty superb hand colored lithographs in Les Vésuviannes depict an imagined state of society in which there is great suffering and injustice, in which women take the functions of national guards and policemen. The title is linked to the resumé of a radical feminist group that actually existed following the February revolution which militated the female military service the ability to dress like men, as well as women for the equality in housework. Historically, the first community of Vesuvius was established in Belleville. On March 26, 1848, at the foot of the Vendôme column. A whole legion of young women from 15 to 30 years old passed behind a tricolor banner with the word 'Vésuviennes'. At noon, they went to the city hall, to ask for the help and protection of the provisional government. The Vésuviennes were a radical feminist group that existed in France in the middle of the 19th century. They chose their name (derived from Mount Vesuvius) because, in their words, "Like lava, so long held back, that must at last pour out around us, [our idea of feminist equality] is in no way incendiary but in all ways regenerating." With the overthrow of King Louis-Philippe of France in 1848, the newly formed Republic lifted all restrictions on the press and assembly. This encouraged a proliferation of new feminist publications, organizations, and groups. The Vésuviennes were among the latter. Considered to be the most radical of all of the feminist factions of the time, the Vésuviennes promoted female military service, the right of women to dress the same as men, and legal and domestic equality between husband and wife, even as that extended to the distribution of household chores. Most Vésuviennes were between the ages of 15 and 30, unmarried, poorly paid workers. Even some other feminists disapproved of their tactics, which included wearing culottes (not unlike the bloomers worn by radical American feminists at the time) and staging frequent street demonstrations. The image of a young woman in culottes came to represent all feminists to some, as can be seen in the caricatures of Charles-Édouard de Beaumont, one of several artists who satirized the efforts of feminists of the period in popular political papers such as Le Charivari. Until recently the existence of this feminist organization was regarded as genuine, if poorly documented. Some historians have recently argued that the organization was itself "a burlesque creation of the French police who drew up a constitution for it and provided it with prostitutes as members". (Wikipedia) Charles-Édouard de Beaumont (1821-1888) was one of the great caricaturists and lithographers that illustrated the beautiful pages of Charivari and other fashionable image journals. He produced all the illustrations for the picturesque Revue, Le Diable Amoureux (The Devil in Love) and many of the illustrations for the 1844 edition of Victor Hugo's Notre-Dame de Paris. Often criticized for drawing too much inspiration from Paul Gavarni, he published between 1228 and 1273 lithographs in the years 1842 to 1866. In 1879 he co-founded the Societe d'Aquarellistes Francais in 1879, where he exhibited several watercolors. De Beaumont's satirical images of gender relations are not always as progressive as this description of the series might suggest. In 1848, after Au Bal Masqué, de Beaumont stopped depicting women in acceptable female roles and instead reconnected them to the role of prostitute. He would also reverse their gender roles to support an antifeminist backlash prompted by a conservative political climate. Out of this same school of thought, de Beaumont authored a book titled The Sword and Womankind that attributes a range of historical calamities to the deeds of wayward women. For example, depictions of women castrating men and enacting other violent acts spread from the belief that women were responsible for the failure of the 1848 revolution. The Plates: Les Vésuviennes (The Vesuvians) 1. Mâme Coquardeau, j'te défends d'aller au rappel..n'y a pas d'bon sens de me laisser comme ça avec trois enfans sur les bras..et pas de biberon!.. Mâme Coquardeau, I forbid you to go to the rappel..it doesn't make sense to leave me like that with three children on my arms..and no bottle!.. 2. Grosse Ronde-Major. Big Round-Major. 3. Entre Deux Patrouilles. Between Two Patrols. 4. Tambour, tes flas commencent à être agréables mais trop souvent tes ras sont rates!.. Drum, your flas are starting to be nice but too often your ras are misses!.. 5. Tiens, Virginie c'est la première fois qu'on peut se flatter de m'avoir mise au pas!.. Hey, Virginie, it's the first time you can flatter yourself that you've brought me to heel!.. 6. Comment pt'ite malhureuse, je te donne un état honorable, je te mets dans les chemises d'homme, et v'là que je te r'trouve dans les culottes d'une Vésuvienne..va, tu n'es plus ma fille!.. How unfortunate you, I give you an honorable status, I put you in men's shirts, and here I find you in the panties of a Vesuvian woman.. come on, you're no longer my daughter !.. 7. Qui vive?.. Eh! mais je ne me trompe pas, c'est m'am'selle Virginie! N'y a pas de Virginie qui tienne..réponds au qui vive ou j'témbroche!.. Who lives?.. Hey! but I'm not mistaken, it's madame Virginie! There's no Virginia that holds .. answer the question or I stumble!.. 8. Danger d'insulter une femme armée. Danger of insulting an armed woman. 9. Il est gentil tout d'même notre vivandier..allons versez, petit.. He is nice all the same, our vivandier.. let's pour, little one.. 10. Me conseilles-tu de me mettre une barbe?.. Do you advise me to put on a beard?.. 11. Allons habille-toi, Clorinde, essaye ton uniforme..je t'apporte une carabine toute neuve, elle est à piston.. Tiens j'croyais qu'il n'y avait que la trompette de m'sieu Dufrène qui était a piston! Come on, get dressed, Clorinde, try on your uniform.. I'm bringing you a brand new rifle, it's piston-powered.. Well, I thought only M'sieu Dufrène's trumpet was piston-powered! 12. Entre camarades. Between comrades. 13. Prête-moi donc la plume de ton chapeau de paille d'italie, j'ai envie de l'ajouter encore á mon panache.. So lend me the feather of your Italian straw hat, I want to add it to my panache.. 14. Phrasie..recouds-moi rien que ce bouton là, je n'peux pas sortir sans ça!.. Plus souvent!.. Phrase.. sew me back on just that button, I can't go out without it!.. More often!.. 15. Sergente..voici un homme à fourrer au violon..la patrouille l'a surprise au moment même ou il était en train d'être battu par sa femme..elle était bien fatigue, faut que ce soit un fier gueux!.. Sergente..here is a man to fuck with the violin..the patrol surprised him at the very moment when he was being beaten by his wife..she was very tired, he must be a proud beggar!.. 16. Caporale, faites courir après un homme qui se sauve..il m'a offense moi factionnaire!.. Il fallait l'arrêter toi mème!.. Je n'ai pas pu..il m'a insultée par derrière..le lâche!.. Corporal, run after a man who is running away..he offended me, sentry!.. You had to stop him yourself!.. I couldn't..he insulted me from behind..the coward !.. 17. Un homme découvert pour avoir été surpris. Bourgeois, si vous voulez ravoir votre chapeau c'est cinq sous!.. A man discovered to have been surprised. Bourgeois, if you want your hat back, it's five sous!.. 18. Pour un Mobile. For a Mobile. 19. Eh! bien pékines..qu'est-ce que vous attendez encore pour vous enrôler dans mon regiment? Hey! good beijing.. what are you still waiting for to enroll in my regiment? 20. Enrolement des Vésuviennes dans le parti Napoléonien. Joséphine Frenouillot abuse de sa resemblance avec Napoléon pour faire croire à sa troupe que l'Empereur n'est pas mort, comme la police en avait fait courir le bruit. Enlistment of the Vésuviennes in the Napoleonic party. Joséphine Frenouillot abuses her resemblance to Napoleon to make her troops believe that the Emperor is not dead, as the police had spread the rumor. Quartier de la Boule Rouge (19 hand colored plates): 3. Je ne sais pas trop si je dois vous pardoner..vous êtes un despote..un tyran!.. I don't know if I should forgive you..you are a despot..a tyrant!.. 9. Le soir où il n'y a ni Ranelagh, ni Mabille, ni Château-Rouge. The evening when there is neither Ranelagh, nor Mabille, nor Château-Rouge. 17. Le Monsieur qui ne se fait pas announcer. The gentleman who does not announce himself. 18. Tiens..on dirait que votre bague est faite pour mon doigt..allons, bon, voilà que je ne peux plus la retirer!.. Here.. it looks like your ring was made for my finger.. come on, now I can't take it off!.. 19. Une Lettre d'Amour de Quatre Pages. Post-Scriptum. Mon cher ami, pourriez-vous m'envoyer cinq cents francs. A Four Page Love Letter. Post Scriptum. My dear friend, could you send me five hundred francs. 21. Un mauvais quart d'heure. A bad quarter of an hour. 22. C'est rempli de sentiment cette lettre-là..il doit demeurer au cinquième.. This letter is full of feeling..he must live on the fifth floor.. 24. Envoyé extraordinaire et plénipotentiaire. Envoy Extraordinary and Plenipotentiary. 25. Les seules chaînes que les femmes se décident à porter volontiers. The only chains that women decide to wear willingly. 28. Passée à l'état de maîtresse..de table d'hôte. Passed to the state of mistress.. of table d'hôte. 26. Ma nièce a droit à des dommages-intérêts, puis qu'il a promis de l'épouser..dans un cabinet de chez Véfour..non, dans un cabinet de la maison d'or.. Je ne puis pas me charger de cette affaire là, du moment où c'est une question de cabinet!.. My niece is entitled to damages, since he promised to marry her..in a practice at Véfour..no, in a practice at the Maison d'Or.. I can't take care of that case. as long as it's a matter of practice!.. 27. Après un excellent diner, il n'y a rien de tel que du vrai moka.. Et il y a encore des chipies qui osent dire que nous ne vivons pas bien!.. After an excellent dinner, there is nothing like real mocha.. And there are still bitches who dare to say that we do not live well!.. 31. Un Nouveau Prétendant. La dame à part - Il n'est pas déja trop bien..mais après ça, cette année-ci les chinoiseries sont à la mode!.. A New Suitor. The lady apart - He is not already too good..but after that, this year the chinoiseries are in fashion!.. 32. Je suis venu cinq fois hier sans vous trouver, madame!.. Mais puisque je vous dis que je suis allé poser des sangsues à ma tante.. N'y a pas de sangsue qui tienne..je suis venu cinq fois!.. I came five times yesterday without finding you, madam!.. But since I tell you that I went to put leeches on my aunt.. No leeches..I came five times!.. 33. Je ne prise jamais madame.. Vous préferez sans doute le cigarre..j'en ai d'excellens!.. I never break madam.. You probably prefer the cigar.. I have some excellent ones!.. 40. C'est que je suis bien embarrassée pour lui donner son congé comme ça, du jour au lendemain.. Faut lui dire que ta famille trouvant que tu as mené assez long-tems la vie de garçon, a résolu de te marier dans les quarante huit heures.. It's because I'm very embarrassed to give him his leave like that, overnight.. You have to tell him that your family, finding that you've lived the life of a bachelor for quite a long time, has resolved to marry you within forty-eight. time.. 45. Les affaires reprennent, le barons reviennent. Business resumes, the barons return. 47. C'est drôle!..voilà plus d'un quart d'heure que le gros monsieur marié d'en face est sorti et le petit jeune homme d'à côté n'est pas encore entré..faut qu'il soit malade!.. It's funny!..It's been more than a quarter of an hour since the fat married gentleman opposite left and the little young man next door hasn't come in yet..he must be sick !.. 49. Tiens, tu dis que tu as mal à l'estomac, et voilà ton régime!..Puisque c'est de la tisane de Champagne, ça ne peut que me faire du bien!.. Here, you say you have a stomach ache, and here's your diet!..Since it's Champagne tea, it can only do me good!.. La Guerre des Femmes (1 hand colored plate): 7. Complication de la crise. Complication of the crisis. Fariboles (3 hand colored plates): 10. Une vue au bord de la mer. A view by the sea. 15. Henriette, faut pas l'écouter..j'sais que c'est un communiste..il veut d'toute les femmes!.. Henriette, don't listen to him..I know he's a communist..he wants all the women!.. 22. Une copie qui coûtera l'original. A copy that will cost the original. Au Bal Masqué (14 hand colored plates): 17. Laisse le donc, c'pauv' petit, tu vois bien que le cigarre l'incommode..si nous le ramenions à sa maman? So leave him, you poor kid, you can see that the cigar bothers him.. if we took him back to his mum? 18. Deux costumes anciens mais également mal portés. Two old costumes but also badly worn. 19. C'est l'propriétaire qui nous donne congé, sous le prétexte que nous sortons trop tard et que nous rentrons trop tôt!..où allons nous nicher mon pauv Pierrot! It's the owner who gives us leave, on the pretext that we're going out 20. Portier, pourriez-vous nous dire si nous sommes chez nous!.. Doorman, could you tell us if we are at home!.. 21. Je ne veux pas t'écouter, bel Espagnol..la jalousie me rendrait trop malheureuse, toutes les femmes doivent être folles de toi! I don't want to listen to you, handsome Spaniard..jealousy would make me too unhappy, all women must be crazy about you! 22. Après Le Bal Masqué. Hussard Chamboran petite tenue. After The Masked Ball. Hussar Chamboran undress. 23. Est-y laid, ce sauvage là! N'en dis pas d'mal, Nini, c'est un Californien. How ugly is that savage! Don't say anything bad about it, Nini, he's a Californian. 24. Veux-tu finir, villain satyre, veux-tu bien ne pas m'embrasser comme ça..tu vas faire rougir ce mossieu qu'est à côté de nous..il s'est dèguisé en pharmacien, ce doit être un homme vertueux!.. Do you want to finish, villainous satyr, do you mind not kissing me like that..you're going to make this guy next to us blush..he's disguised himself as a pharmacist, he must be a virtuous man!.. 25. Un Pierrot Blanc. Fais-donc attention!..pour un Pierrot réactionnaire, tu vas trop en avant! A White Pierrot. So be careful!..for a reactionary Pierrot, you're going too far! 26. Ayez pitié d'un pauvre roi sans travail..un p'tit baiser pour l'amour de dieu! Mon brave homme!..j'ai mes pauvres!.. Have mercy on a poor king out of work..a little kiss for god's sake! My brave man!..I have my poor!.. 28. Jeune homme!..si vous vous livrez encore à des pas subversifs de l'ordre dans cette société, je vous ferai transporter au violon!.. Young man!..if you still indulge in subversive steps towards order in this society, I will have you transported to the violin!.. 29. Le Roi du Carnaval de 1850. The Carnival King of 1850. 31. Au Violon: Côté des hommes, Côté des Dames. Dis-donc, Nini, veux-tu que je te repasse un peu de ma philosophie? J'aimerais mieux du tabac! Violin: Men's side, Ladies' side. Tell me, Nini, do you want me to tell you a bit about my philosophy? I'd rather have tobacco! 45. Après le Carnaval. Le marchand - Un pantalon de débardeur, en velours, ça vaut trois francs! La dame - Allons donc!..un pantalon qui a eu tant de succés!.. Le marchand - Ça vaut trois francs, que je vous dis..et encore c'est parceque j'espére le vendre à un travailleur de la Californie..je lui ferai croire que c'est un pantalon d'Auvergnat!.. After Carnival. The Merchant - A pair of corduroy tank top pants is worth three francs! The lady - Come on!.. pants that have been so successful!.. The merchant - It's worth three francs, I'm telling you.. and again it's because I hope to sell them to a worker in the California..I'll make him believe it's Auvergnat pants!.. Les Jolies Femmes de Paris (40 black & white plates - complete) 1. Quelle chance..dire que je n'aurai eu une petite voiture à mes ordres que pendant un mois de ma vie, et ça tombe juste en fèvrier qui n'a que vingt huit jours!.. What luck..to say that I will only have had a small car under my orders for one month of my life, and that just happened in February, which is only twenty-eight days old!.. 2. Un monsieur qui cause sérieusement. A gentleman who talks seriously. 3. Etude sérieuse et au piano de la partition du Larifla, fla, fla. Serious study and at the piano of the score of Larifla, fla, fla. 4. Envoyée extraordinaire d'un Prince du nord, remise d'une missive et de plusieurs fourrures, prèsens diplomatiques. Envoy extraordinary from a Prince of the North, delivery of a missive and several furs, diplomatic presents. 5. Moi je n'aimerais que cette rivière en diamans.. Diable..voila des gouts peu modestes..filons!.. Me, I would only like this diamond river.. Devil.. here are not very modest tastes.. let's go!.. 6. Comment..Céline qui lit un livre de morale!.. Eh! mon dieu..il faut bien connaitre un peu de tout!.. How.. Céline reading a moral book!.. Hey! my god.. you have to know a bit of everything!.. 7. (Le monsieur lisant.) "Mon cher monsieur Bienaimé, pour solder un petit restant de compte avec ma blanchisseuse, j'aurais besoin ce matin de conq cent francs, si vous pouvez remettre cette bagatelle à Florine ma femme de chambre en un billet de la banque, vous l'obligerez.." (The gentleman reading.) "My dear Monsieur Beloved, to settle a little remaining account with my laundress, I would need five hundred francs this morning, if you can give this trifle to Florine, my chambermaid, in a note of the bank, you will oblige it.." 8. Prenons garde, la portiere nous écoute..je la soupçonne d'être un agent soudoyé par l'or de l'Angleterre!.. Let's be careful, the portress is listening to us..I suspect her of being an agent bribed by England's gold!.. 9. Deux philosophes qui étudient le monde du haut d'un balcon de la rue Notre dame de Lorette. Two philosophers studying the world from a balcony on rue Notre Dame de Lorette. 10. Voyons mon petit Jules..je ne peux pas être plus mal meublée que Clarisse..rien qu'une pendule rocaille..et tout le reste assorti.. Let's see my little Jules..I couldn't be worse furnished than Clarisse..nothing but a rockery clock..and everything else to match.. 11. Madame est sortie..elle est allée au bain.. Comment au bain..elle y est déja allé ce matin, de dix heures à midi!.. Madam went out..she went to the bath..How to the bath..she already went there this morning, from ten o'clock to noon!.. 12. On rend une petite visite à ce bon monsieur Thèodore. We pay a little visit to this good Mr. Theodore. 13. Il m'a acheté hier cette robe de cinq louis et demi.. Il s'est conduit en parfait gentilhomme.. He bought me this dress for five and a half louis yesterday.. He behaved like a perfect gentleman.. 14. On en est encore au respect! We are still respectful! 15. Madame, fut'il laisser entrer ce M'sieu?.. Il ne t'a pas dit son nom?.. Non..mais il m'a l'air bien comme il faut..il fume du Camphre!.. Madame, was he to let this gentleman in?.. He didn't tell you his name?.. No.. but he looks fine to me.. he smokes Camphor!.. 16. Si ma femme me voyait..mais non, il n'y a pas de danger..les rideaux de sa chambre sont soigneusement tirés..ah! ça mais, au fait, pourquoi diable ses rideaux sont-ils si soigneusement tirés!.. If my wife saw me..no, there is no danger..the curtains of her room are carefully drawn..ah! that but, by the way, why the hell are her curtains so carefully drawn!.. 17. Mon petit mimi..ne faut zamais dire à un monsieur qui vient voir ta maman: tu m'embêtes..faut touzour lui répondre bien sentiment..comme si c'était papa!.. My little cutie..never say to a gentleman who comes to see your mum: you bother me..always have to answer him with good feeling..as if it were daddy!.. 18. Quel dommage que les cheveux ne restent pas toujours de la même couleur, et que ça change avec l'âge!.. C'est vrai..tu connais bien la propriétaire d'en face..celle qui se donne vingt neu fans depuis quinze ans..elle a perdu son mari il y à six mois, et elle a eu tant de chagrin que, dans une seule nuit, tout ses cheveux sont devenus noirs!.. What a pity that the hair doesn't always stay the same color, and that it changes with age!.. It's true..you know the owner opposite well..the one who has given herself twenty-nine fans for fifteen years..she lost her husband six months ago, and she was so sad that, in a single night, all her hair turned black!.. 19. Divertissement matrimonial - monsieur mène madame sur la butte Montmartre pour lui faire contempler le coucher du soleil. Matrimonial entertainment - Monsieur takes Madame to the Butte Montmartre to make her contemplate the sunset. 20. Parisienne tournant à la Varsovienne. Parisian turning Warsaw style. 21. On demande une réponse par le courier. A response by courier is requested. 22. Costume national français du commencement de décembre à la fin de février. French national costume from the beginning of December to the end of February. 23. Quant à moi si j'aimais bien quelqu'un..oh! mais là bien!..je m'abstiendrais à des économies, et je serais capable de ne pas dépenser avec lui, plus de trois mille cinq cent francs..par mois!.. As for me, if I loved someone..oh! but that's fine!..I would abstain from saving money, and I would be able not to spend more than three thousand five hundred francs with him..a month!.. 24. Une étoile qui file. A spinning star. 25. Tenue champêtre des Parisiennes pour aller au bois. Country outfit for Parisiennes to go to the woods. 26. Dames sur le Turf. Checkers on the Turf. 27. Tiens, je te le vends bien bon marché sit u veux..je me suis donnè beaucoup de mal pendant trois mois à lui apprendre à dire j'aime Frédéric, et voilà que depuis quinze jours mon chérie s'appelle Théobald..c'est gènant..on ne devrait jamais apprendre aux perroquets qu'à dire qu'ils n'ont pas déjeuné!.. Here, I'll sell it to you very cheaply if you want..I went to great lengths for three months to teach her to say I love Frédéric, and now for two weeks my darling has been called Théobald..it's embarrassing ..parrots should only ever be taught to say that they have not eaten!.. 28. Madame Diogène. Madame Diogenes. 29. Allons donc? Marguerite, allons donc!.. J'fais tout ce que je peux..mais j'savais pas qu'en entrant chez une dame seule, la première chose qu'y fallait apprendre c'était à vernir des bottes!.. So let's go? Marguerite, come on!.. I'm doing everything I can.. but I didn't know that when I went to a lady alone, the first thing you had to learn was how to varnish boots!.. 30. Dire pourtant que me voila en Madeleine..je ne suis peut-être pas bien ressemblante de figure. Ça ne fait rien..beaucoup de personnes vous reconnaîtront!.. To say, however, that here I am in Madeleine..I am perhaps not a good resemblance in face. It doesn't matter..a lot of people will recognize you!.. 31. Pélerinage au moulin de la galette, butte Montmartre. Pilgrimage to the Moulin de la Galette, butte Montmartre. 32. Elle m'écrivait en m'attendant..cette bonne petite..tiens!..elle commence sa lattre par cher Casimir..quand elle sait que je m'appelle Philémon! She wrote to me expecting me..that good little one..hold on!..she begins her letter with dear Casimir..when she knows that my name is Philemon! 33. Je l'aime un peu..beaucoup..passionément..est-il permis, passionément!..un homme de quarante neu fans et qui a le nez d'Odry..ces marguerite c'est bête comme choux!.. I love him a little..a lot..passionately..is it allowed, passionately!..a man of forty nine fans and who has Odry's nose..these daisies are stupid as cabbage!.. 34. Conversation conjugale à huis clos. Marriage conversation behind closed doors. 35. A quoi sert un Kings - Charles de cinquante écus, - à abimer une robe de deux cents francs. Of what use is a Kings-Charles of fifty crowns, - to damage a dress of two hundred francs. 36. Oh!..la belle dame don't mon maître a fait connaissance hier à l'Opéra, qui dine avec du fromage d'Italie!.. Après ça c'est peut-être une Napolitaine! Oh!..the beautiful lady whom my master met yesterday at the Opera, who dines with Italian cheese!.. After that she may be a Neapolitan! 37. Le prix courant d'un bouquet. The current price of a bouquet. 38. C'est une dame..vite mon châle!.. It's a lady..quick my shawl!.. 39. Il a l'honneur de saluer Mme. De Ste. Amaranthe et sa nièce. He has the honor to greet Mrs. De Ste. Amaranthe and her niece. 40. Archicivilisées! Archivilized!.

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Book number: 05309

Catalogue: Color-Plate Books

Keywords: Books in French Caricatures Women Naval and Military

BEETON, Isabella Mrs

Book of Household Management; the

London: S. O. Beeton, 1861. The First Edition of Mrs. Beeton An interesting look at life in a Victorian household, and the running of it BEETON, Isabella Mrs. The Book of Household Management.. With a History of the Origin, Properties, and Uses of all things connected with Home Life and Comfort. London: S.O. Beeton, 1861. First edition, first impression with 18 Bouverie St. stated to the illustrated title page, and the farmyard frontispiece. One volume rebound in two small octavo volumes (6 3/4 x 4 1/4 inches; 172 x 108 mm.). xxxix, [1, blank]. [1]-512; [513]-1112 pp. Colored frontispiece, color title-page and twelve color plates. Page 887/888 slightly frayed at outer margin. Mid twentieth-century three-quarter dark red morocco over red cloth boards, decoratively ruled in gilt, spines with five raised bands, paneled and lettered in gilt in compartments, top edges stained black. pp. 887 and 888 slightly frayed at outer margin. A very good copy. Isabella Beeton's comprehensive guide to cookery, with a wide variety of recipes, advice for the organization of kitchens and larders, marketing, and a calendar of food in season. She also gave advice on table decorations, how to wait a table, how to set a table, and how to carve meats and fish. Some of the recipes included vary from meat, poultry, salads, tarts, cold sweets, sandwiches, bread, jams, and icing. She played a pivotal role in shaping Victorian notions of household management and became an influential guide for generations. This is an interesting look at life in a Victorian household, and the running of it. It remains a valuable historical document, offering insights into the daily lives and cultural values of the 19th-century middle-class households. "First edition in book form, London, 1861. First printing, with Cox and Wyman the printers and with the first line of the errata correctly referring to p. 57 , not p. 657. This work was originally published in 24 monthly parts, 1859-1861." (William R. Cagle. A Matter of Taste. p. 391). Isabella Mary Beeton (1836-1865), known as Mrs Beeton, was an English journalist, editor and writer. Her name is particularly associated with her first book, the 1861 work Mrs Beeton's Book of Household Management. She was born in London and, after schooling in Islington, north London, and Heidelberg, Germany, she married Samuel Orchart Beeton, an ambitious publisher and magazine editor. In 1857, less than a year after the wedding, Beeton began writing for one of her husband's publications, The Englishwoman's Domestic Magazine. She translated French fiction and wrote the cookery column, though all the recipes were plagiarized from other works or sent in by the magazine's readers. In 1859 the Beetons launched a series of 48-page monthly supplements to The Englishwoman's Domestic Magazine; the 24 instalments were published in one volume as Mrs Beeton's Book of Household Management in October 1861, which sold 60,000 copies in the first year. Bitting p. 32; Cagle 561. .

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Book number: 05764

Catalogue: Food

Keywords: Cookery

[COOKERY]. BEETON, Isabella Mrs

Book of Household Management; the

London: S. O. Beeton, 1861. The First Edition of Mrs. Beeton An interesting look at life in a Victorian household, and the running of it BEETON, Isabella Mrs. The Book of Household Management.. With a History of the Origin, Properties, and Uses of all things connected with Home Life and Comfort. London: S.O. Beeton, 1861. First edition, first impression with 18 Bouverie St. stated to the illustrated title page, and the farmyard frontispiece. Two small octavo volumes (7 1/8 x 4 1/2 inches; 181 x 114 mm.). [iii]-xxxix, [1, blank]. [1]-512; [ii, title-page, verso imprint], [513]-1112 pp. Colored frontispiece, color title-page and twelve color plates. Frontispiece and colored title browned in blank margins, a few mainly marginal light stains. Contemporary three-quarter dark blue calf over gray marbled boards, decoratively ruled in blind, spines with four raised bands decoratively ruled in gilt and blind, red morocco label lettered in gilt, pale blue/gray endpapers. Contemporary ink signature of Cecilia Noble at top of front free endpapers. Extremities of bindings rubbed but quite sound. An excellent example of this landmark cookery book in a contemporary binding. Housed in a felt-lined, red cloth clamshell case, spine decoratively tooled and lettered in gilt. Isabella Beeton's comprehensive guide to cookery, with a wide variety of recipes, advice for the organization of kitchens and larders, marketing, and a calendar of food in season. She also gave advice on table decorations, how to wait a table, how to set a table, and how to carve meats and fish. Some of the recipes included vary from meat, poultry, salads, tarts, cold sweets, sandwiches, bread, jams, and icing. She played a pivotal role in shaping Victorian notions of household management and became an influential guide for generations. This is an interesting look at life in a Victorian household, and the running of it. It remains a valuable historical document, offering insights into the daily lives and cultural values of the 19th-century middle-class households. "First edition in book form, London, 1861. First printing, with Cox and Wyman the printers and with the first line of the errata correctly referring to p. 57 , not p. 657. This work was originally published in 24 monthly parts, 1859-1861." (William R. Cagle. A Matter of Taste. p. 391). Isabella Mary Beeton (1836-1865), known as Mrs Beeton, was an English journalist, editor and writer. Her name is particularly associated with her first book, the 1861 work Mrs Beeton's Book of Household Management. She was born in London and, after schooling in Islington, north London, and Heidelberg, Germany, she married Samuel Orchart Beeton, an ambitious publisher and magazine editor. In 1857, less than a year after the wedding, Beeton began writing for one of her husband's publications, The Englishwoman's Domestic Magazine. She translated French fiction and wrote the cookery column, though all the recipes were plagiarized from other works or sent in by the magazine's readers. In 1859 the Beetons launched a series of 48-page monthly supplements to The Englishwoman's Domestic Magazine; the 24 instalments were published in one volume as Mrs Beeton's Book of Household Management in October 1861, which sold 60,000 copies in the first year. Bitting p. 32; Cagle 561. .

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Book number: 05779

Catalogue: Food

Keywords: Cookery

BEETON, Isabella Mrs

Mrs. Beeton's Book of Household Management

London: Ward Lock & Co. Limited, 1913. An interesting look at life in a Victorian and then Edwardian household, and the running of it BEETON, Isabella Mrs. Mrs. Beeton's Book of Household Management. A Guide to Coookery in all Branches.. New edition. Revised, enlarged, brought up to date and fully illustrated. London: Ward Lock & Co. Limited, 1913. Thick octavo ( 8 1/8 x 5 1/4 inches; 207 x 133 mm.). [viii], [1]-1997, [3, blank], [16, advertisements] pp. Thirty-two color plates, one hundred and forty-two black & white plates and two illustrations in the text. Publisher's quarter red morocco over green cloth boards, spine richly decorated in gilt and blind, yellow coated endpapers with printed advertisements, all edges speckled brown. A remarkable, almost untouched copy. Isabella Beeton's comprehensive guide to cookery, with a wide variety of recipes, advice for the organization of kitchens and larders, marketing, and a calendar of food in season. She also gave advice on table decorations, how to wait a table, how to set a table, and how to carve meats and fish. Some of the recipes included vary from meat, poultry, salads, tarts, cold sweets, sandwiches, bread, jams, and icing. She played a pivotal role in shaping Victorian notions of household management and became an influential guide for generations. This is an interesting look at life in a Victorian and then an Edwardian household, and the running of it. It remains a valuable historical document, offering insights into the daily lives and cultural values of the 19th-century middle-class households. Isabella Mary Beeton (1836-1865), known as Mrs Beeton, was an English journalist, editor and writer. Her name is particularly associated with her first book, the 1861 work Mrs Beeton's Book of Household Management. She was born in London and, after schooling in Islington, north London, and Heidelberg, Germany, she married Samuel Orchart Beeton, an ambitious publisher and magazine editor. In 1857, less than a year after the wedding, Beeton began writing for one of her husband's publications, The Englishwoman's Domestic Magazine. She translated French fiction and wrote the cookery column, though all the recipes were plagiarized from other works or sent in by the magazine's readers. In 1859 the Beetons launched a series of 48-page monthly supplements to The Englishwoman's Domestic Magazine; the 24 instalments were published in one volume as Mrs Beeton's Book of Household Management in October 1861, which sold 60,000 copies in the first year. Bitting p. 32; Cagle 561. .

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Book number: 05782

Catalogue: Food

Keywords: Cookery

BELL, Robert Anning, illustrator; SHAKESPEARE, William

Tempest, the

London: Freemantle & Co., 1901. Hell is Empty and all the Devils are Here" (The Tempest, William Shakespeare) Illustrated by Robert Anning Bell One of 174 Numbered Copies Signed by the Artist BELL, Robert Anning, illustrator. SHAKESPEARE, William. The Tempest. A Comedy by William Shakespeare. Decorated by Robert Anning Bell. London: Freemantle & Co. 1901. First edition thus. One of 174 copies (this being No 94) signed by the artist. Quarto ( 10 1/16 x 7 1/4 inches; 256 x 184 mm.). [xii], 106, [1], [1, imprint] pp. With a frontispiece, pictorial title-page, twenty-five full-page illustrations, numerous half-page illustrations, head and tailpieces and initial letters all by Robert Anning Bell. Publisher's yap-edged vellum, front cover pictorially stamped in gilt, spine decoratively stamped and lettered in gilt, pictorial end-papers printed in green, top edge gilt, others uncut, three (of four) silk ties missing. A near fine copy housed in a custom made black cloth clamshell case. Robert Anning BELL, R.A. R.W.S. (1863-1933) was educated at University College School in London. At the age of fifteen he was articled for two years to an architect uncle before studying at the Royal Academy Schools, the Westminster School of Art (under Fred Brown), in Paris (under Aimé Morot) and, later, in Italy. On his return from Paris, he shared a studio with portrait sculptor George Frampton and together they developed a line in hand-colored plaster reliefs, in imitation of Della Robbia. His early architectural training and his close friendship with architects and sculptors made him the ideal artist for decorative schemes, and by the eighteen-nineties he had become an important figure in the Arts and Crafts Movement. His early illustrative work, in pen and ink and watercolor, includes a number of Shakespeare-related volumes: Lamb's Tales from Shakespeare (1899), A Midsummer Night's Dream (1895), The Tempest (1901) and Shakespeare's Heroines (1901). These display a concern for the page as a whole of flatness and lightness similar to those found in Walter Crane and Charles Ricketts. From 1894, he was on the staff of the School of Architecture, University College, Liverpool, later becoming a Professor of both University College, Liverpool, later becoming a Professor of both Glasgow School of Art (1918-24). He was also an honorary associate of the Royal Institute of British Architects (1916), and Master of the Art Workers' Guild (1921).ß He began to exhibit at the Royal Academy in 1885 (ARA 1914, RA 1922) and at the New English Art Club in 1888 (NEAC 1892), while his solo shows included one at the Fine Art Society in 1907. He was also organized a number of international exhibitions of arts and crafts. His paintings were worked in both oil and tempera, but with an increasing preference for watercolor he became an active member of the Royal Society of Painters in Water-Color (ARWS 1901, RWS 1904) and, in 1925, wrote an essay in praise of the medium (Old Water-Color Society's Club, Volume 11). His death on 27 November 1933 was followed in March 1934 by a memorial exhibition at the Fine Art Society. .

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Book number: 03731

Catalogue: English Literature

Keywords: SHAKESPEARE, William Illustrated Books Fine Printing Plays Signed Limited Edition

COSWAY-STYLE BINDING; BICKNELL, Anna L.

Story of Marie-Antoinette, the

London: T. Fisher Unwin, 1897. The Story of the Last Queen of France before the Revolution In a Fine Cosway-Style Binding [COSWAY-STYLE BINDING]. BICKNELL, Anna L. The Story of Marie-Antoinette. London: T. Fisher Unwin, 1897. First edition. Octavo (8 3/8 x 5 3/4 inches; 212 x 146 mm.). [i]-xiv, [2], 334, [2, blank] pp. Twenty-seven photogravure plates. Bound ca 1960 in full red crushed levant morocco, covers decoratively bordered in gilt, front cover with a central gilt design surrounding a fine oval hand-painted portrait miniature of Marie-Antoinette (3 1/4 x 2 1/2 inches; 82 x 63 mm.), set under glass. Spine with five raised bands elaborately tooled and lettered in gilt in compartments. Double-ruled gilt board edges and wide turn-ins, red silk liners and endleaves, all edges gilt. Housed in the original fleece-lined, red cloth clamshell case, spine lettered in gilt. The binding is unsigned but is very similar to the Cosway-Style bindings that were done by Sangorski & Sutcliffe for Asprey's. Marie-Antoinette (1755-1793) was the last queen of France before the French Revolution. She was born an archduchess of Austria and was the penultimate child and youngest daughter of Empress Maria Theresa and Emperor Francis I. She became dauphine of France in May 1770 at age 14 upon her marriage to Louis-Auguste, heir apparent to the French throne. On 10 May 1774, her husband ascended the throne as Louis XVI and she became queen. Anna Louise Bicknell (1835?-) also wrote Life in the Tuleries under the Second Empire. 1894, and published several articles in the Century Magazine and National Geographic including: The Pretenders to the Throne of France. 1883 Marie-Antoinette as Dauphine. 1897 The Last Days of Louis XVI and Marie-Antoinette. 1897 French Wives and Mothers. 1898. .

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Book number: 05088

Catalogue: Fine Bindings

Keywords: BICKNELL, Anna L Cosway-Style Bindings French History

VENETIAN BINDING; BOOK OF HOURS

Officium Beatae Mariae Virginis S. Pii V. Pontificis Maximi

Venice: Ex Typographia Balleoniana, 1754. A Fine Eighteenth Century Italian Book of Hours in its Original Red Morocco Binding With Hand-Painted Gauffered Edges [VENETIAN BINDING]. [BOOK OF HOURS]. Officium Beatae Mariae Virginis S. Pii V. Pontificis Maximi. Venetiis [Venice]: Ex Typographia Balleoniana, 1754. Octavo (7 3/4 x 4 5/8 inches; 197 x 117 mm.). [i]-xxxxiv, [1]-453, [3, indices] pp. Vignette engraved title-page and seven full page copperplate engravings in the text. Full contemporary red morocco, covers elaborately decorated in gilt, spine with five raised bands decoratively gilt in compartments, decorative gilt board edges, marbled liners. The edges are gilt and exquisitely gauffered with small diamond shaped lozenges hand-painted in red. An exquisite example in exceptionally fine and untouched condition with just the smallest amount of light scuffing to the extremities. A remarkable survival from nearly two hundred and seventy years ago.. Books of Hours were bestsellers. They were the first text read across Europe by people at every level of literacy. These devotional books, containing a daily routine of prayers for the reader to follow, reached a huge audience, more than any previously written text. Children were taught to read with Books of Hours. Repeated daily, the passages found in these books, usually in Latin, were committed to heart. Prayers on death, plague, warfare, travel, and bad weather were all found in Books of Hours. The plates: 1. Office of the Blessed Virgin Mary (p. xxiv) 2. Office of the Blessed Virgin Mary (p. 80) 3. Office of the Blessed Virgin Mary (p. 150) 4. Office of the dead (p. 226) 5. Seven penitential psalms (p. 294) 6. Office of the holy cross (p. 334) 7. Office of the holy spirit (p. 342). .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05459

Catalogue: Fine Bindings

Keywords: BOOK OF HOURS Books in Latin

BLAGDON, Francis Wiliam; MORLAND, George

Authentic Memoirs of the Late George Morland

London: Printed for Edward Orme.. by Barnard and Sultzer, 1806 [1824]. An Admirable Album" BLAGDON, Francis Wiliam. MORLAND, George. Authentic Memoirs of the late George Morland, with remarks on his abilities and progress as an artist: in which are interspersed a variety of anecdotes never before published; together with a Fac-simile of his writing, specimens of his hieroglyphical sketches, &c. &c. The whole collected from numerous manuscript communications. London: Printed for Edward Orme.. by Barnard and Sultzer, 1806 [i.e. 1824]. Second (uniform) edition. Oblong folio. (17 1/2 x 22 1/4 in; 445 x 565 mm). Hand-colored engraved portrait frontispiece, [1, titlepage], [1, blank], nineteen hand-colored engravings (including one aquatint) with guards, watermarked J. Whatman Turkey Mill 1820 and 1824, 3-15, [1, blank] pp. including three text engravings (text bound at rear). Early twentieth century quarter brown calf over marbled boards decoratively ruled in gilt. Front cover with rectangular brown morocco gilt lettering label. Two inch repaired, clean tear to lower margin of plate 14. An excellent copy. Of Blagdon and this volume, Prideaux notes: " Even better are his Memoirs of George Morland, an admirable volume full of just yet not excessive appreciation, and now extremely scarce, owing to its being frequently broken up for the value of the plates. Of these, only one is in aquatint, the rest are in soft ground etching, mezzotint and stipple, the colour-printed mezzotints, rarely found associated with aquatint in illustration, being specially sought for" (p. 222). "Blagdon's Memoirs of George Morland is an extremely rare book and I have had great difficulty in tracing copies to compare..In 1824, however, there was a definite uniform edition with 20 plates all colored. The title page is still dated 1806 and the plates still bear their original imprints but the watermark is 'J. Whatman Turkey Mills 1824'" (Tooley). "George Morland, (1763-1804), landscape and genre painter.. His strict upbringing and enforced study in early childhood may account for his wayward and rebellious character in later life..In 1784, when his apprenticeship expired, Morland set up on his own account and moved out of the family home. Once freed from parental constraints, his life of extravagance, hard drinking, and association with low-life characters commenced. At first he was exploited by an unscrupulous picture dealer in Covent Garden, for whom he produced ‘galanteries' of an immodest nature.. "Morland's work from 1790 to about 1794 was lively and fresh.. His most enduring subjects were of farmyards, cottage scenes, stables, and country alehouses.His achievement in his best work of the early 1790s was to offer the viewer a relatively unaffected representation of rural life and yet to do so in conformity with the standards of taste of the period that would have found ugliness offensive. His pictures can thus be described as having a ‘picturesque propriety' that sets them apart from his contemporary landscape and genre painters.. "Morland's practice as an artist is important in that he was one of the first painters to break away from the traditional arrangements between artists and patrons. He produced his own designs, not relying on commissions, and sold directly to dealers, print publishers, or ‘agents'.. his aversion to polite society meant that he missed out on important commissions.. Despite his enormous output—probably in the region of 1000 paintings—his life of poverty and debt is evidence that the pictures were usually sold for little, or traded against debts.. "The last decade of Morland's career was one of decline, as drink, debt, and poor health took their toll on him, and his powers as a painter diminished rapidly..Morland's reputation in his own lifetime was high and based primarily on the large number of prints after his works..Morland's importance as an artist began to be reassessed somewhat in the last decade or two of the twentieth century.. he is now regarded as an interesting minor master, much of whose work was innovative at the time in both subject matter and style and who can now be seen as a recognizable influence on both John Constable and David Wilkie" (Oxford DNB). The Plates: 1. George Morland. Publ. Jany. 1805 by Edwd.Orme. 2. A Mad Bull (aquatint by R. Dodd). Publ. Nov. 20, 1789 by P. Cornman and Republished 1805 by Edwd. Orme. 3. The Cottage Sty. Sold and published Jany. 1, 1804 by Edwd. Orme 4. Conversation. Published and sold by Edwd. Orme..July, 1, 1804. 5. (Rustic Scene - Two women, two men, & stile). Sold and Published June 4, 1804 by Edwd. Orme. 6. (Washing). Republished by Orme..Jany 1, 1799. 7. (Stable &c.). Sold and Publd. Jany. 1, 1793 by D. Orme. Republished by Orme Jany 1, 1799. 8. Morland's Ass. Published 1804 by Edwd. Orme. 9. Ass & Pigs. Published and Sold by edwd. Orme..Jany 1, 1804. 10. (Water Mill). Sold & Published..Septr. 1802 by Edwd. Orme. 11. (Rustic scene - Cottage and Cart). Sold & Publd. Jany 1, 1793 by D. Orme & Co.. 12. (Rustic Bridge &c.). Sold & Published Jany. 1794 by D. Orme & Co.. 13. (Horse and Ostler). Republished by Orme..Jany, 1, 1799. Sold and Published May 1, 1793 by D. Orme & Co.. 14. (Pony figures in rain). Sold and Published June 4th 1804 by Edwd. Orme.. 15. The Rustic Hovel). Sold and Published Jany. 1, 1804 by Edwd. Orme.. 16. (Horse drinking). Republished by Orme..Jany. 1, 1799. Sold & Published May 1, 1793 by D. Orme.. 17. Alehouse seat). Republished by Orme Jany. 1, 1799. Sold & Published May 1, 1793 by D. Orme.. 18. (Two children picking flowers). Sold & Published..Septr. 1802 by Edwd. Orme.. 19. (Haymakers by stile). Sold & Published Jany. 1, 1794 by Danl. Orme & Co. Sold & republished by Danl. Orme, Jany. 1, 1799. 20. An Ass Race. Pubd. Novr. 20 1789 by P. Cornman and republished 1805 by Edwd. Orme.. Prideaux p. 221-222. Tooley 91. Abbey, Life in England, 208. .

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Book number: 03272

Catalogue: Color-Plate Books

Keywords: MORLAND, George Caricatures Sports