MONNIER, Henry

Jadis Et Aujourd'Hui

Paris: Delpech, Editeur et Imprimeur en Lithographie, 1829. Then" and "Now"— Eighteen Scarce Hand-Colored Lithographed Plates By Le Maitre Monnier MONNIER, Henri. Jadis et aujourd'hui. Paris: Delpech, 1829. Title from front wrapper. Oblong folio (Plate size: 10 3/4 x 14 inches; 274 x 356 mm.; Wrapper size: 11 5/8 x 16 1/8 inches; 296 x 410 mm.). Eighteen hand-colored lithographed plates, depicting bankruptcy, childhood, dressing, the boudoir, a physician, an attorney, the promenade, an evening gathering, etc."then" and "now." Loose, as issued, in the original cream-colored lithographed wrappers. Spine of wrappers neatly repaired. The plates are very clean, with only minimal edge browning. A wonderful copy of this extremely scarce series of plates. Very scarce, with just two copies in libraries and institutions worldwide: Kunstbibli Staatliche Museen Zu Berlin (Germany), and The Morgan Library & Museum (NY, USA). The Morgan Library copy appears to be uncolored. "Between 1825 and 1827 Monnier passed much of his time in London, where he collaborated with Lami in what was to become the Voyage en Angleterre. On his return to Paris he embarked on a series of albums in which he recorded the manners and humors of the city with unprecedented profusion. Between 1826 and 1830 he satisfied the insatiable demand for his designs with almost 500 lithographs, nearly all of which were drawn with a pen and colored by hand. For each design he himself colored a master print and carefully supervised its subsequent preparation..Some of the salient titles in his human comedy may be mentioned. There are potpourris like Recréations du coeur et de l'esprit, Paris vivant, and Rencontres Parisiennes. Macédoine pittoresque. There are more closely focussed surveys like Les grisettes, Moeurs administratives, Galerie théâtrale, Boutiques de Paris, and Six Quartiers de Paris. There are suites like Jadis et aujourd'hui and Les contrastes, which take their departure from comparisons in time or of manners..Monnier was a satirist with a difference. His attitude towards his subjects hardly varies. His aim was to set down what he saw with elegance and precision, but with no overt interpretation or judgment"(Ray, The Art of the French Illustrated Book, p. 199). The Plates: 1. Jadis. Les Banqueroutiers. 2. Aujourd'hui. Banqueroutiers. 3. Jadis. Le Complément des Etude. 4. Aujourd'hui. Le Complément des Etudes. 5. Jadis. L'Enfance. 6. Aujourd'hui. L'Enfance. 7. Jadis. La Toilette. 8. Aujourd'hui. La Toilette. 9, Jadis. Un Boudoir. 10. Aujourd'hui. Un Boudoir. 11. Jadis. Un Médecin. 12. Aujourd'hui. Un Médecin. 13. Jadis. Un Procureur. 14. Aujourd'hui. Etude d'avoué. 15. Jadis. Une Promenade. 16. Aujourd'hui. Une Promenade. 17. Jadis. Une Soirée. 18. Aujourd'hui. Une Soirée. Rahir, p. 548. Marie 399-416. .

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Book number: 01866

Catalogue: Color-Plate Books

Keywords: Books in French Caricatures Nineteenth-Century Literature French Caricature

MONNIER, Henri

Modes Et Ridicules & Exploitation Generale Des Modes Et Ridicules de Paris Et Londres

Paris: Chez Gihaut Frères, 1825. Two of Henry Monnier's Exceptionally Rare Earliest Suites of Caricatures [MONNIER, Henry, illustrator]. [Modes et Ridicules]. Paris: Chez Gihaut Frères, Editeurs, [1825]. Large quarto (13 5/16 x 10 inches; 339 x 255 mm.). Ten fine hand colored lithograph plates, complete. Plates lithographed by Villain. Henry Monnier's exceptionally rare second album of caricatures. According to OCLC there are only two copies in libraries and institutions worldwide: The Morgan Library & Museum (NY, USA) and Herzogin Anna Amalia Bibliothek Klassik (Germany). [bound together with] [MONNIER, Henry, illustrator]. Exploitation generale des modes et ridicules de Paris et Londres. Paris: Chez Gihaut Frères, Editeurs, [1825]. Henry Monnier's exceptionally rare first album of caricatures. Large quarto (13 5/16 x 10 inches; 339 x 255 mm.). Five (of six) hand-colored lithographed plates. Plates lithographed by Senefelder. Missing the first plate "L'Espoir de sa Famille" Bound together in the original publisher's quarter red roan over light brown pictorial lithograph boards. Overall, an excellent copy of these extremely scarce suites. Housed in a felt-lined, half red morocco clamshell case, spine with five raised bands, ruled and lettered in gilt in compartments. According to OCLC there are only two copies in libraries and institutions worldwide: The Morgan Library & Museum (NY, USA) and Herzogin Anna Amalia Bibliothek Klassik (Germany). The plates are captioned: 1. Avec beaucoup de plaisir, Monsieur! (With much pleasure, Sir!) 2. Voulez-vous me faire l'honneur, Mademoiselle?.. (Will you do me the honor, Miss?) 3. Satisfaction personnelle. (Personal satisfaction) 4. Embarras de Soi-meme. (Self embarrassment) 5. Mes jours de danse sont passés!.. (My dancing days are over!..) 6. Mécontentement intérieur. (Domestic discontent) 7. Le Journal ne dit rien!.. (The journal does not say anything!..) 8. Distraction. 9. Je ne trouve plus de danseur! (I cannot find a dance partner anymore!) 10. Un Chanteur de Romances. (A singer of Romances.) Marie 76-85. [2]. Ayez pitié des Chiens. [3]. Pauvre Cousin regarde ton habit. [4]. Les Extravagances. (a little foxed) [5]. Les Antipodes. [6]. Une grande Dame. (a little browned and chipped at edges) (Missing the first plate "L'Espoir de sa Famille") "Monnier [1799-1877] grew up in the Parisian bourgeois world, where his father was an employee like those he was later to depict with such mastery in his lithographs..After he finished his education, he served as a notary of Justice, where he seems to have been valued chiefly for his handwriting..He then studied in the ateliers of Girodet and later Gros, where he learned lithography and became the friend of Bonington and Lami. His first lithographs, of which the album Modes et ridicules of 1825 is representative, are grotesque exaggerations in the manner of Rowlandson that call to mind J.-B. Isabey's Caricatures de J.J. [see Ray 101] and Lami's Les contretemps [see Ray 137]. Between 1825 and 1827 Monnier passed much of his time in London, where he collaborated with Lami in what was to become the Voyage en Angleterre. On his return to Paris he embarked on a series of albums in which he recorded the manners and humors of the city with unprecedented profusion. Between 1826 and 1830 he satisfied the insatiable demand for his designs with almost 500 lithographs, nearly all of which were drawn with a pen and colored by hand" (Ray, The Art of the French Illustrated Book, p. 199). Marie 60-64; Not in Melcher. .

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Book number: 04920

Catalogue: Color-Plate Books

Keywords: Books in French Caricatures French Caricature

MONNIER, Henri

[Modes Et Ridicules] & [Séries Anglaise]

Paris: Gihaut Frères, éditeurs, 1825. One of Henry Monnier's Earliest Works Ten Superb Hand-Colored Lithograph Plates Depicting 'Absurd Fads' Bound together with Four of the Plates from the 'Série Anglaise' MONNIER, Henry, illustrator. [Modes et Ridicules] & [Séries Anglaise]. Paris: Gihaut Frères, éditeurs, 1825. Large folio (13 3/8 x 9 5/8 inches; 340 x 244 mm.). Ten superb hand colored lithograph plates, all mounted on stubs. All plates with the small oval stamp of the printer "CH.M" (Charles Motte) in the lower right-hand corner. Together with four additional plates from 'Série Anglaise' at end. The first plate a little foxed, otherwise clean. Bound ca. 1925 in quarter red calf over marbled boards, smooth spine lettered in gilt, marbled endpapers. A wonderful copy of an extremely scarce album with four superb additional lithographs at end. The plates: 1. Avec beaucoup de plaisir, Monsieur! (With a lot of fun, sir!) 2. Voulez-vous me faire l'honneur, Mademoiselle?.. (Will you do me the honor, Miss?) 3. Satisfaction personnelle. (Personal satisfaction) 4. Embarras de Soi-meme. (Self embarrassment) 5. Mes jours de danse sont passés!.. (My dance days are over!..) 6. Mécontentement intérieur. (Domestic discontent) 7. Le Journal ne dit rien!.. (The journal does not say anything!..) 8. Distraction. 9. Je ne trouve plus de danseur! (I cannot find a dance partner anymore!) 10. Un Chanteur de Romances. (A singer of Romances.) According to OCLC there are only two copies in libraries and institutions worldwide: The Morgan Library & Museum (NY, USA) and Herzogin Anna Amalia Bibliothek Klassik (Germany). The four additional hand colored lithograph plates from the 'Série Anglaise' published in June 1825. The first plate "Discontented" is very similar to plate no. 6 "Mécontentement intérieur" - the remaining three are totally different images. 1. Discontented. (London, Birchin, 1825) (Marie 69) 2. "I cannot maintain all my Relations." (Marie 72) 3. "My dear Sir, how do you do"? "Really Sir, you have the advantage of me". (Marie 73) 4. More haste, worse speed! (London, Birchin, 1825) (Marie 74) "The relatively small number of his lithographs published between 1825 and 1827 by various London editors indicates clearly enough that Monnier was not very successful in obtaining the popular favor and editorial support which would have established his reputation." (Edith Melcher. The Life and Times of Henry Monnier, p.34). There are copies of plate numbers 1 & 3, in the Bibliotheque Nationale de France. "Between 1825 and 1827 Monnier passed much of his time in London, where he collaborated with Lami in what was to become the Voyage en Angleterre. On his return to Paris he embarked on a series of albums in which he recorded the manners and humors of the city with unprecedented profusion. Between 1826 and 1830 he satisfied the insatiable demand for his designs with almost 500 lithographs, nearly all of which were drawn with a pen and colored by hand. For each design he himself colored a master print and carefully supervised its subsequent preparation.. Some of the salient titles in his human comedy may be mentioned. There are potpourris like Recréations du coeur et de l'esprit, Paris vivant, and Rencontres Parisiennes. Macédoine pittoresque. There are more closely focussed surveys like Les grisettes, Moeurs administratives, Galerie théâtrale, Boutiques de Paris, and Six Quartiers de Paris. There are suites like Jadis et aujourd'hui and Les contrastes, which take their departure from comparisons in time or of manners..Monnier was a satirist with a difference. His attitude towards his subjects hardly varies. His aim was to set down what he saw with elegance and precision, but with no overt interpretation or judgment" (Ray, The Art of the French Illustrated Book, p. 199). Marie, 76-85 & 69, 72, 73 & 74; Melcher, p.34. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05312

Catalogue: Color-Plate Books

Keywords: Books in French Caricatures French Caricature

MONNIER, Henri

Moeurs Administratives

Paris: Delpech, 1828. One of Monnier's Great Albums Groveling Bureaucrats at Work, aka Idle MONNIER, Henry. Moeurs Administratives, Dessinées d'apres Nature par.. Paris: Delpech, 1828. First edition, Series II only. Oblong quarto (10 1/4 x 13 7/8 inches; 262 x 352 mm.). Complete with the engraved vignette title-page and twelve hand-colored lithographed plates, all mounted on stubs. Bound ca. 1925 [by René Kieffer] in half maroon straight-grain morocco over marbled boards. Spine decoratively tooled and lettered in gilt, marbled end-papers. The plates: 1. Huit heures. (Eight o'clock) 2. Neuf heures. (Nine o'clock) 3. Dix heures. (Ten o'clock) 4. Dix heures et demie. (Half past ten)) 5. Midi. (Noon) 6. Une heure. (One o'clock) 7. Deux heures. (Two o'clock) 8. Quatre heurs. (Four o'clock) 9. M. le Chef de Division donnant une audience. (the head of division giving a lecture) 10. Un jour d'audience. A day of lecturing) 11. Demande d'Augmentation. (Increased requests) 12. MM. le Directeur, Chefs, Sous-Chefs, Employés, Surnumérarires, etc. etc. (The whole staff, etc.) A rare album with OCLC locating just one copy of this second series in libraries & institutions worldwide (Gordon N. Ray #136) at the Morgan Library & Museum NY, USA). "Here Monnier mocks the hypocritical, self-serving bureaucrat" (Farwell, The Charged Image). "In this album, "drawn after nature by Henry Monnier, former employee at the Ministry of Justice," the artist shows a typical governmental office hour by our from eight to four and concludes with four salient scenes outside this time scheme. His principle themes are the inactivity of the staff, their lack of individual character, and their entire submission to superior authority. The curve of supple obsequiousness in terms of which Monnier depicts the office hierarchy "going to compliment a New Excellency" (no. 12) shows how far he was from being a "stenographic copyist" or a "mirror."" (Ray, The Art of the French Illustrated Book, pp. 202-203). "In the album of lithographs called Moeurs administratives (1828) he [Monnier] represented the hierarchy of a government bureau, from the janitors up to the chef de division, and the daily routine, from the gossip around the stove between eight and nine in the morning, through the series of social calls and official inspections, the leisurely luncheon hours, the complimentary call of ceremony upon a newly appointed cabinet minister, to the departure with great-coats, top hats, and umbrellas at four in the afternoon. (Edith Melcher. The Life and Times of Henry Monnier, p. 20). "Between 1825 and 1827 Monnier passed much of his time in London, where he collaborated with Lami in what was to become the Voyage en Angleterre. On his return to Paris he embarked on a series of albums in which he recorded the manners and humors of the city with unprecedented profusion. Between 1826 and 1830 he satisfied the insatiable demand for his designs with almost 500 lithographs, nearly all of which were drawn with a pen and colored by hand. For each design he himself colored a master print and carefully supervised its subsequent preparation.. Some of the salient titles in his human comedy may be mentioned. There are potpourris like Recréations du coeur et de l'esprit, Paris vivant, and Rencontres Parisiennes. Macédoine pittoresque. There are more closely focussed surveys like Les grisettes, Moeurs administratives, Galerie théâtrale, Boutiques de Paris, and Six Quartiers de Paris. There are suites like Jadis et aujourd'hui and Les contrastes, which take their departure from comparisons in time or of manners..Monnier was a satirist with a difference. His attitude towards his subjects hardly varies. His aim was to set down what he saw with elegance and precision, but with no overt interpretation or judgment" (Ray, The Art of the French Illustrated Book, p. 199). The first series (Marie, 185-190) was published in the same year (in regular quarto format) and contained six hand-colored lithographed plates: 1. Chef de division. (Head of division) 2. Chef de bureau. (Office manager) 3. Sous chef. (Trainee chef) 4. Employé. (Employee) 5. Surnuméraire. (Supernumerary officer) 6. Garcon de bureau. (Office boy) Marie, 191-203; Melcher, p. 20; Ray, #136. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 04494

Catalogue: Color-Plate Books

Keywords: Books in French Caricatures French Caricature

MONNIER, Henry

Moeurs Parisiennes

Paris: Chez Gihaut frères, 1828. Henry Monnier's Rare Album of Parisian Manners MONNIER, Henry. Moeurs Parisiennes.. [Parisian Manners]. Paris: Chez Gihaut frères, 1828. First edition. Quarto (10 7/8 x 8 1/2 inches; 276 x 216 mm.). Ten humorous hand colored plates lithographed by de Villain. Minimal, mainly marginal foxing, otherwise near fine. Recently bound by Roger Devauchelle in full violet cloth, black leather label lettered in gilt on front board. Publishers pink printed wrapper/title bound in before the plates. A very scarce little album - we have only seen this title once before. According to OCLC there are just two copies located in institutions worldwide (Herzogin Anna Amalia Biblithek Klassik, and Kunstbiblio Staatliche Museen Zu Berlin) . The plates: 1. "Les Sots sont ici bas pour nos menus plaisirs" - (The fools are down here for our pleasures) 2. "Un Futur" - (A future) 3. "Une Education à faire" - (An education..) 4. "Inutilités" - (Utilities) 5. "On ne vous voit plus Milord!." - (We can not see you My Lord!) 6. "La rafraichissemens sont pour les dames" - (The refreshments are for the ladies) 7. "Une demoiselle à produire" - (Introducing a young lady) 8. "Des Mamans de Comédie" - (The mothers of comedy) 9. "Monsieur mon Fils est-il chez lui?.." - (Sir, my son is home) 10. "Le Contentement de sa personne" - (Contented People) Henry Monnier (1799-1877) was a French dramatist, caricaturist and actor. Between 1827 and 1832, he produced several albums of lithographs, representing the customs and features of his contemporaries. "Between 1825 and 1827 Monnier passed much of his time in London, where he collaborated with Lami in what was to become the Voyage en Angleterre. On his return to Paris he embarked on a series of albums in which he recorded the manners and humors of the city with unprecedented profusion. Between 1826 and 1830 he satisfied the insatiable demand for his designs with almost 500 lithographs, nearly all of which were drawn with a pen and colored by hand. For each design he himself colored a master print and carefully supervised its subsequent preparation.. Some of the salient titles in his human comedy may be mentioned. There are potpourris like Recréations du coeur et de l'esprit, Paris vivant, and Rencontres Parisiennes. Macédoine pittoresque. There are more closely focussed surveys like Les grisettes, Moeurs administratives, Galerie théâtrale, Boutiques de Paris, and Six Quartiers de Paris. There are suites like Jadis et aujourd'hui and Les contrastes, which take their departure from comparisons in time or of manners..Monnier was a satirist with a difference. His attitude towards his subjects hardly varies. His aim was to set down what he saw with elegance and precision, but with no overt interpretation or judgment"(Ray, The Art of the French Illustrated Book, p. 199). Marie, Henry Monnier, #115-124; Melcher, p.31 (note). .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 04508

Catalogue: Color-Plate Books

Keywords: Books in French Caricatures French Caricature

MONNIER, Henri

Moeurs Parisiennes

Paris: Chez Gihaut frères, 1828. Henry Monnier's Rare Album of Parisian Manners MONNIER, Henry. Moeurs Parisiennes.. [Parisian Manners]. Paris: Chez Gihaut frères, 1828. First edition. Large oblong quarto (10 7/8 x 14 inches; 276 x 355 mm.). Original wrapper as lithograph title-page and ten humorous hand colored plates lithographed by de Villain. First plate with tiny (5/8 inch) repairs to lower blank margin. Handsomely bound ca. 1920 by Yseux sr. de Thierry-Simier (stamp-signed on verso of front free-endpaper) in three quarter crushed maroon morocco over dark red boards ruled in blind, smooth spine decoratively ruled and lettered in gilt, marbled endpapers, all edges uncut. Original printed front and back lilac wrappers bound in (minimal expert repairs to edges of wrappers). A superb uncut copy in an attractive binding. A very scarce album - we have only seen this title once before. According to OCLC there are just two copies located in institutions worldwide (Herzogin Anna Amalia Biblithek Klassik, and Kunstbiblio Staatliche Museen Zu Berlin) . The Plates: 1. "Les Sots sont ici bas pour nos menus plaisirs" - (The fools are down here for our pleasures) 2. "Un Futur" - (A future) 3. "Une Education à faire" - (An education..) 4. "Inutilités" - (Utilities) 5. "On ne vous voit plus Milord!." - (We can not see you My Lord!) 6. "La rafraichissemens sont pour les dames" - (The refreshments are for the ladies) 7. "Une demoiselle à produire" - (Introducing a young lady) 8. "Des Mamans de Comédie" - (The mothers of comedy) 9. "Monsieur mon Fils est-il chez lui?.." - (Sir, my son is home) 10. "Le Contentement de sa personne" - (Contented People) Henry Monnier (1799-1877) was a French dramatist, caricaturist and actor. Between 1827 and 1832, he produced several albums of lithographs, representing the customs and features of his contemporaries. "Between 1825 and 1827 Monnier passed much of his time in London, where he collaborated with Lami in what was to become the Voyage en Angleterre. On his return to Paris he embarked on a series of albums in which he recorded the manners and humors of the city with unprecedented profusion. Between 1826 and 1830 he satisfied the insatiable demand for his designs with almost 500 lithographs, nearly all of which were drawn with a pen and colored by hand. For each design he himself colored a master print and carefully supervised its subsequent preparation.. Some of the salient titles in his human comedy may be mentioned. There are potpourris like Recréations du coeur et de l'esprit, Paris vivant, and Rencontres Parisiennes. Macédoine pittoresque. There are more closely focussed surveys like Les grisettes, Moeurs administratives, Galerie théâtrale, Boutiques de Paris, and Six Quartiers de Paris. There are suites like Jadis et aujourd'hui and Les contrastes, which take their departure from comparisons in time or of manners..Monnier was a satirist with a difference. His attitude towards his subjects hardly varies. His aim was to set down what he saw with elegance and precision, but with no overt interpretation or judgment"(Ray, The Art of the French Illustrated Book, p. 199). Marie, Henry Monnier, #115-124; Melcher, p.31 (note). .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05325

Catalogue: Color-Plate Books

Keywords: Books in French Caricatures French Caricature

MONNIER, Henri

Les Petites Félicités Et Les Petites Misères Humaines

Paris: Delpech, 1829. Henry Monnier's Parody on Thomas Rowlandson's Miseries of Human Life "From Childhood to Old Age" MONNIER, Henry. Les Petites Félicités et Les Petites Misères Humaines. Paris: Delpech, 1829. Oblong quarto (10 x 13 1/8 inches; 253 x 332 mm.). Ten fine and amusing hand colored lithograph plates (all mounted on stubs). Bound ca. 1925 by René Kieffer (with his binders label on verso of front end-paper) in half dark blue straight-grain morocco over marbled boards. Spine decoratively tooled and lettered in gilt, marbled end-papers. Fine. The amusing images cover life in France from L'Enfance to La Vieilesse (from Childhood to Old Age). The plates: Les Petites Félicités 1. L'Enfance. 2. La Jeunesse. 3. L'Age Mur. 4. La Vieillesse. 5. La Chaleur. Les Petites Misères Humaines 1. L'Enfance. 2. La Jeunesse. 3. L'Age Mur. 4. Vieillesses. 5. Le Froid. Exceptionally rare with only one copy in libraries and institutions worldwide: The Gordon N. Ray copy (dated as 1840) at the Morgan Library & Museum (NY, USA). "When Henry Monnier was barely old enough to trot off to school in his first pair of buttoned trousers and Charles Dickens was not yet born, Rowlandson was publishing the Comforts of Bath, and Miseries of Human Life. These humorous sketches of contemporary society suggest in their general plan and point of view Monnier's Esquisses Parisiennes (1827), Vues de Paris (1829), and various other works containing groups of scenes connected by a central theme, particularly the Petites Misères Humaines, for which Monnier may have borrowed Rowlandson's title and its companion work, Les Petites Félicités Humaines (1829). (Edith Melcher. The Life and Times of Henry Monnier, p.37). Marie, 427-431 & 432-436; Melcher, p.37. Not mentioned in Gordon Ray. The Art of the French Illustrated Book. Assumedly Gordon Ray must have acquired his copy after his book was published. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 04492

Catalogue: Color-Plate Books

Keywords: Books in French Caricatures French Caricature

MONNIER, Henri

Six Quartiers de Paris

Paris: Delpech, 1828. Extremely Rare Monnier MONNIER, Henri. Six Quartiers de Paris. Paris: [François Séraphin] Delpech, 1828. A rare suite of six hand colored lithographed plates, (without the hand colored lithographed title) otherwise complete as issued. Oblong quarto. Plate size: 9 x 12 inches (231 x 307 mm). Bound to contemporary style in full dark green morocco. Gilt ruled borders. Gilt panel. Gilt lettering and ornaments to spine. Restoration to lower corner of plate four, otherwise a fine copy. According to the ABPC Index, since 1923 only three copies have come to auction (1938, 1949, 1979). There are only three copies in institutional holdings worldwide. The plates: 1. Le Marais 2. Quartier St. Denis 3. Quartier de la Bourse 4. Chaussée d'Antin 5. Faubourg St. Honoré 6. Le Faubourg St. Germain For reasons unknown, Ray identifies this suite as being by Eugene Lami, despite the plates clearly identified as by Monnier; the only copy to come to auction in the last thirty-five years is also identified Lami as the artist. Melcher, however, correctly identifies the suite as Monnier's, as does Marie (Marie, Aristide. Henri Monnier 1799-1877. Paris, 1931) and Champfleury. Curiously, the only copy in institutional holdings, that in the Morgan Library, belonged to Ray but though the note is under Lami's authorship the Responsibility detail in OCLC/RILN clearly states: "par Monnier." "Between 1825 and 1827 Monnier passed much of his time in London..On his return to Paris he embarked on a series of albums in which he recorded the manners and humors of the city with unprecedented profusion. Between 1826 and 1830 he satisfied the insatiable demand for his designs with almost 500 lithographs, nearly all of which were drawn with a pen and colored by hand. For each design he himself colored a master print and carefully supervised its subsequent preparation" (Ray, p. 199). François Séraphin Delpech was a French lithographer, mainly of portraits and costumes after his contemporaries.  His portrait lithographs are in the collection of Britain's National Portrait Gallery and the Louvre. He also lithographed the work of others, as here. Marie pp. 296-302. Melcher, The Life and Times of Henri Monnier, p. 211. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 01858

Catalogue: Color-Plate Books

Keywords: Books in French Caricatures French History Nineteenth-Century Literature

MONNIER, Henri; LAMI, Eugene

Six Quartiers de Paris

Paris: Delpech, 1828. Extremely Rare Monnier or Lami? MONNIER, Henri. [LAMI, Eugène ?]. Six Quartiers de Paris. Paris: [François Séraphin] Delpech, 1828. A rare suite of six hand colored lithographed plates, (without the hand colored lithographed title) otherwise complete as issued. Oblong quarto. Plate size: 11 x 14 1/8 inches (279 x 370 mm). Bound to contemporary style in full dark green morocco. Gilt ruled borders. Gilt panel. Gilt lettering and ornaments to spine. Restoration to lower corner of plate four, otherwise a fine copy. According to the ABPC Index, since 1923 only three copies have come to auction (1938, 1949, 1979). There are only three copies in institutional holdings worldwide. The plates: 1. Le Marais 2. Quartier St. Denis 3. Quartier de la Bourse 4. Chaussée d'Antin 5. Faubourg St. Honoré 6. Le Faubourg St. Germain For reasons unknown, Ray identifies this suite as being by Eugene Lami, despite the plates clearly identified as by Monnier; the only copy to come to auction in the last thirty-five years is also identified Lami as the artist. Melcher, however, correctly identifies the suite as Monnier's, as does Marie (Marie, Aristide. Henri Monnier 1799-1877. Paris, 1931) and Champfleury. Curiously, the only copy in institutional holdings, that in the Morgan Library, belonged to Ray but though the note is under Lami's authorship the Responsibility detail in OCLC/RILN clearly states: "par Monnier." "Between 1825 and 1827 Monnier passed much of his time in London..On his return to Paris he embarked on a series of albums in which he recorded the manners and humors of the city with unprecedented profusion. Between 1826 and 1830 he satisfied the insatiable demand for his designs with almost 500 lithographs, nearly all of which were drawn with a pen and colored by hand. For each design he himself colored a master print and carefully supervised its subsequent preparation" (Ray, p. 199). François Séraphin Delpech was a French lithographer, mainly of portraits and costumes after his contemporaries.  His portrait lithographs are in the collection of Britain's National Portrait Gallery and the Louvre. He also lithographed the work of others, as here. Marie pp. 296-302. Melcher, The Life and Times of Henri Monnier, p. 211. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 01864

Catalogue: Color-Plate Books

Keywords: LAMI, Eugene? Books in French Caricatures French Literature Nineteenth-Century Literature

MONTAUT, Henri de

Vertus & Qualités

Paris: chez Arnauld de Vresse, 1860. Extremely Scarce Children Satirize Good Adult Behavior MONTAUT, Henri de. Vertus & Qualités. Dessins Composés par.. Paris: chez Arnauld de Vresse, n.d. [c. 1860s]. Colored issue. Oblong folio (11/4 x 15 7/8 in; 285 x 403 mm). Twelve hand-colored lithographed plates with interleaves. Each plate is imprinted "chez Aubert," the renowned Parisian printmaking house who also issued the book with plain (tinted) lithographs. Original cloth with blind-stamped arabesque panel enclosing an elaborately gilt centerpiece with title within. A few very light marginal finger-marks, inner hinges expertly strengthened. Excessively scarce, with OCLC recording only one copy in institutional holdings worldwide, at Princeton. The companion volume to Montaut's Defauts et Vices. Charming period plates in the rococo style reminiscent of Boucher (1703-1770) illustrate children in Ancien Regime costume acting out various adult virtues and qualities in behavior and character, i.e. talent, generosity, courtesy, propriety, valor, etc. to beguiling comic effect. Henri de Montaut (1825- c. 1890) was a caricaturist, writer and French illustrator. He was responsible, along with other artists such as Riou and Roux, for illustrations to the novels of Jules Verne. He was a contributor to Journal amusant, Journal pour rire, and La Vie parisienne, and editor-in-chief of Le Journal Illustré. The plates: 1. Humanité - Générosité 2. Etude - Talente 3. Politesse Amabilite 4. Travail - Savoir 5. Dévouement - Générosité 6. Valeur - Courage 7. Adresse - Précision 8. La Propreté 9. Plaison - Philanthropie 10. Bonté - Bienfaisance 11. La Poiété 12. Le Dévouement. .

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Book number: 02896

Catalogue: Color-Plate Books

Keywords: Books in French French Literature Nineteenth-Century Literature

MORIN, Edmond, illustrator

Bons Parisienes, Ces

Paris: Chez Aubert & Cie. Editeurs, 1842. 'The Parisians at Play' Twenty Superb Hand Colored Lithograph Plates by Edmond Morin MORIN, Edmond, illustrator. [Ces Bons Parisiens]. (These Good Parisians). Paris: Chez Aubert & Cie. Editeurs, [ca. 1842]. Folio (13 3/16 x 9 5/8 inches; 335 x 245 mm.). Twenty highly amusing, hand colored lithograph plates, all heightened with gum arabic. A few plates with light marginal foxing. Publisher's? black paper over boards, covers elaborately stamped in gilt with "1842 Album" in the center. Covers a little worn at joints and corners, some old 'tape' stains on endpapers. An excellent example of a super rare album. This is only the second time in over 50 years that we have ever seen this suite of colored lithographs. According to OCLC there are just two copies located in libraries and institutions worldwide: The Morgan Library & Museum and the New York Public Library (NY, USA). Note: Neither of these copies are recorded as having color plates. The plates - all with the headline "Ces Bons Parisienes!": 1. Est-ce que vous návez pas peur d'être volé, Monsieur, dans un endroit aussi écarte?.. (Are not you afraid of being robbed, sir, in a place so remote?) 2. Chasseur Chassé. Que diable me veulent-elles, ces vilaines bêtes la?.. (Hunted Hunter. What the hell do they want, these ugly beasts?) 3. Sapristi! Quel poisson!! (Damn! What a fish !!) 4. Au voleur! Au voleur!!..arrétez! (Thief! thief! .. stop!) 5. Premiére leçon de chasse (First hunting lesson) 6. Il rêve qu'il s'amuse.. (He dreams he's having fun ..) 7. Ouverture de la chasse dans la plaine St. Denis (Opening of the hunt in the plain St. Denis) 8. Monsieur, voici ma carte! (Sir, here is my card!) 9. Ce qu'on appelle un renfoncement.. (What is called a recess ..) 10. Si je tenais le gueux qui dèvalise mon ètang, il passerait un fichu quart d'heure.. (If I got the beggar who devours my pond, he would spend an awful quarter of an hour ..) 11. Vue prise de la marre d'Auteuil!!! (View taken of the embarrassed student!!!) 12. Le Retour de la Chasse. Accommodez nous ça, avec beaucoup de choux, beaucoup, beaucoup.. (Le cuisinier) oui, ce sera un plat de choux blanc.. (The return of Hunting. Accommodate us, with a lot of cabbage, a lot, a lot .. (The cook) yes, it will be a dish of white cabbage ..) 13. Par où faut-il passer pour aller au.. Allez au diable (Where do I go to go to .. Go to the devil) 14. STATU QUO fort dèsagrèable (STATUS QUO very unpleasant) 15. La Friture manquée tableau en un petít acte. (La scène se passe sur la Seine.) (Missed the frying pan - because of a small mistake. (The scene is on the Seine.) 16. Partie de Campagne. Le dimanche est un jour de plaisir... et de repos (Into the countryside. Sunday is a day of fun ... and rest 17. Chien de Chasse Parisien. Va Cherche, Azor, va chercher! (Parisian hunting dog. Go find it, Azor, go get it!) 18. Pêcheur a repêcheur!.. (The fish has a fisherman!) 19. Une Journée de Plaisir. De St. Cloud à Paris, par terre... et par eau (A day of pleasure. From St. Cloud to Paris, on the ground ... and by water) 20. Une Bonne Farce. Pousse á l'eau, Cadet, pousse! (A good joke. Push in the water, Cadet, push!) Edmond MORIN (1825-1882) "was a French painter, illustrator and engraver of some fame in his day. Wood engravings after his designs appeared in L'Illustration and Le monde illustré, as well as in many books." (Gordon Ray. The Art of the French Illustrated Book 1700-1914, pp. 353-354). Hennri Beraldi. Les Graveurs du XIXe Siècle, volume X, p. 131. Frederik Muller. La Lithographie. Ecoles Francaise Néerlandaose Allemande Anglais & Russe. No. 357. Lucien Monot. Le Prix des Estampes Anciennes et Modernes, volume V, p. 112. .

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Book number: 04779

Catalogue: Color-Plate Books

Keywords: Books in French Caricatures French Caricature

MÖRNER, Carl Gustav Hjalmar

Stockholmska Scener Tecknade Och Lithografierade. [Caricature Scenes of Stockholm in Lithograph]

Stockholm: Gjöthström and Magnusson, [1830]. A Remarkable Suite of Sixteen Lithograph Plates - Including Four with Hand-coloring A Wonderful Caricaturists View of Stockholm MÖRNER, Carl Gustav Hjalmar. Stockholmska Scener Tecknade och lithografierade. [Caricature Scenes of Stockholm in Lithograph] Stockholm: Gjöthström & Magnusson, [1830]. First Edition in Book Form. Oblong folio (10 1/8 x 13 5/8 inches; 257 x 345 mm.). Sixteen superb, large lithographed plates including four that are hand colored, all by Gjöthström and Magnusson after Mörner. Contemporary quarter dark brown calf over mottles paper boards, pale gray endpapers. Extremities a little rubbed, otherwise an excellent copy. Originally published in four parts, each with three uncolored and one colored plate. Excessively rare with only two copies listed in institutions worldwide: Kunstbiblio Staatliche Museen Zu Berlin (Germany); National Library of Sweden. (both with just four hand colored plates). Not in any of the standard bibliographies although Colas 2141 & 2142 does make mention of the two editions of one of Mörner's other works Scènes populaires de Naples.. (1828 edition & 1829 edition). The plates (translated from the Swedish) 1. Kállare - The Cellar 2. Hyrvagn - Slå bak! - A rental carriage with two stowaways 3. Roddare Båt - Rowers Boat 4. Restauration - Jungfru! Ska bli - Restoration - Oh, my God! To be young.. 5. Musikaliskt Sállskap - Musical Society 6. [Untitled] - [Two Police Officers escorting a criminal?] (Colored) 7. Si opp! - Get up! 8. Division hallt - Division kept 9. Får jag den áran att proponera - May I propose that year (Colored) 10. Vira - The card game 11. Upphålls váder - Staying wet (Colored) 12. Kládstånd - Clothes Shop 13. Brunns Bal - Wells Ball 14. Thé Visit - The Visit 15. [Untitled] - [A country picnic in the rain] 16. Á ju full? Sa du - Did you say you are full? (Colored) Carl Gustav Hjalmar Mörner, born May 7, 1794 in Stockholm, died September 15, 1837 in Paris, was a Swedish artist. He devoted himself first to the military court and participated in the battles of Grossbeeren, Dennewitz, Leipzig and Bornhöved. As with many other officers at the same time he devoted himself to amateur painting, which is testified by many of his sketches from youth, conviviality and the campaign in Germany. Later he turned seriously to art and traveled in 1816 over Germany and France to Italy, where he stayed until 1828. Mörner tried to paint larger compositions with historical or folklore motifs in oil, but had little success with them. One of the more famous paintings in this genre include Odin's arrival to Sweden's Rosendal Palace. His greatest contribution was made as a draftsman and lithographer. In 1820 he published a series of Roman carnival images in outline etching Il Carnevale di Roma, but these was later transformed into lithographs, which suited his drawing much better, as shown in Italian costume pictures (1825), Scenes populaires de Naples (printed in Naples in 1826, French edition 1828), Travel Memories France, Germany and Italy (1829) and Stockholmska Scenes (1830). During a stay in London from 1830-36, Mörner published a lithographic album, Miscellaneous Sketches of Contrasts (1831). A scheduled work on physiognomy was not completes due to the artist's death in Paris in 1837. Hjalmar Mörner's work is represented in the Gothenburg Museum of Art, Östergötland County Museum, Orebro County Museum, and the University Library in Uppsala. .

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Book number: 04913

Catalogue: Color-Plate Books

Keywords: Caricatures Voyages and Travels

PANORAMA; MOTTE, Charles Étienne Pierre, lithographer

A Paris. Promenades Sur Les Quais

[Paris]: Lithographie de C. Motte rue des Marais, no. 15, 1825. 'Walks on the Parisian Quays' A Wonderful Tour of the River Seine from Quai de Bourbon to Quai d'Orsay in Panorama Form [PANORAMA]. MOTTE, Charles Étienne Pierre, lithographer. A Paris. Promenades sur les Quais. [Paris]: Lithographie de C. Motte rue des Marais, no. 15, [circa 1825] A Spectacular hand colored lithograph (in nine sections) measuring 250 1/2 x 3 7/8 inches; 3616 x 98 mm. [Captions on top]: Quais Bourbon - Quai de l'Archevèché - Quai aux Fleurs - Quai de l'horloge - Quai de la Monnaie - Quais Molaquay - Quai Voltaire - Quai d'Orsay [Captions below]: Isle St. Louis - Pont de la Cité, cid. pont rouge - Pantheon Jardin de l'Archevèche - Eglise Metropolitaine de Notredame - Restes de l'Oratoire St. Landry - Marché aux Fleurs - Pont au Change - Tour de 'Horloge du Palais - Tours de la Concierege - Prisons de Palais de Justice - Pont neuf, Rue Dauphine - Hotel des Monnaie - Pont des Arts - Palais de l'Institut - Hotel Bouillon - Rue des St. Peres - Grand hotel Porteriffe - Pont Royal - Hotel des gardes du corps du Roi - Hotel du Ministre des relations exterieure - Palias de la liasons d'hommage - hotel de la Marseilles - Legation Prussienne - Hote Charvost - hotel d'Havre - hotel de Trevise - Hotel de la Tremouille - Hotel de Massena - Chambre des Députées - Pont Louis seize - Hotel des Invalides. Housed in the original cylindrical wooden drum case with the original wrap-around hand-colored pictorial lithographed title (slightly darkened but complete) with elaborate blind-stamped gilt borders and original printed label on bottom of drum of the renowned Parisian art dealer "Alph: Giroux, Rue de Coq St. Honoré No. 7." on underside. Original ivory top and original wooden pull affixed to end of panorama. It would appear that the first few inches of the panorama have been lost - just before the Quais Bourbon and Isle St. Louis. There are a few small tears and stains but overall this exceptionally rare and original panorama is in remarkable condition. Charles Etienne Pierre Motte (1784-1836) French artist and lithographer. François-Simon-Alphonse Giroux (1776-1848) was a Parisian art restorer and ébéniste (cabinet maker). He studied painting under Jacques-Louis David, and founded an art restoration business near the end of the 18th century. Also known as "Merchant of Princes", Giroux was an important Parisian cabinetmaker and creator of luxury accessories, in various styles, for the French royal family and other aristocratic and noble clientele. In early 1799 his atelier was located at No. 7, rue du Coq Saint -Honoré, then Boulevard des Capucines. "A. GIROUX in PARIS", it was taken over by the Giroux children and remained active under the name of "Alphonse Giroux et Cie" until 1867. Quai de Bourbon is located at the western end of Île Saint-Louis . It runs along the Seine from the northern end of rue des Deux-Ponts to the southern end of rue Jean-du-Bellay . It largely includes private mansions, most of which are listed, which have housed many historical personalities, artists and politicians. Quai d'Orsay is located in the 7th arrondissement of Paris. It is part of the left bank of the Seine opposite the Place de la Concorde. The Quai becomes the Quai Anatole-France east of the Palais Bourbon, and the Quai Branly west of the Pont de l'Alma. The Quai has historically played an important role in French art as a location to which many artists came to paint along the banks of the river Seine. Rare: We have been able to locate one other example of this wonderful panorama - at the Getty Research Institute Panorama Collection (Los Angeles, CA, US). "1 print (9 sheets) : lithography, hand colored ; 9.2 x 412 cm rolled to 9.2 x 4.4 cm, container 14.7 x 5.15 cm. The scroll presents a panoramic view of the quays of the Seine from the Ile de la Cité to the Hotel des Invalides, seen from the north bank of the river. Stored on a rolling stick in a cylindrical wooden box. Title from print affixed to box." (http://primo.getty.edu/GRI:GETTY_ALMA21122145050001551). .

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Book number: 05352

Catalogue: Color-Plate Books

Keywords: MOTTE, Charles Étienne Pierre, lithographer Books in French Panoramas

MUDFORD, William; CRUIKSHANK, George

Historical Account of the Campaign in the Netherlands, in 1815, an

London: Henry Colburn, 1817. The Fall of Emperor Napoleon I and the Victory of the English Armies Illustrated with Twenty-Eight Superb Hand Colored Aquatint Plates MUDFORD, William. CRUIKSHANK, George. An Historical Account of the Campaign in the Netherlands, in 1815, Under His Grace the Duke of Wellington, and Marshall Prince Blucher. Comprising the Battles of Ligny, Quatre Bras, and Waterloo; with a Detailed Narrative of the Political Events connected with Those Memorable Conflicts Down to the Surrender of Paris and the Departure of Bonaparte for St. Helena.. Embellished with a Series of Plates, descriptive of the country between Brussels and Charleroi, from Drawings made on the Spot by James Rouse, Esq. Also a Plan of the Battles , and a Map, shewing the March of the Allied Armies to Paris. London: Printed for Henry Colburn, 1817. First edition of this story of the fall of Emperor Napoleon I and the victory of the English armies. Large quarto (12 3/4 x 10 3/4 inches; 324 x 273 mm.). [iii]-xviii, [2, list of plates, errata and directions to the binder], [1]-368 pp. Twenty-eight fine hand colored aquatint plates including the frontispiece and pictorial title. Folding map "Brussels to Paris", folding plan of the battles printed in black, green and red. All plates with the original tissue guards. Plates watermarked "J. Whatman 1818". Contemporary full dark blue straight-grain morocco, covers bordered in gilt, smooth spine ruled and lettered in gilt in compartments. With the armorial bookplate of Delapre Abbey and Adrian W. Flühmann on front patse-down. Apart from some light marginal foxing to some text leaves a superb example with wonderful hand coloring. "Some copies carry a plate 'Waterloo, in Memory of the Heroic Deeds of Shaw of the 1st Life Guards'; this is usually missing. Number 19, 'Portraits of the General Officers', taking its place. No copies were issued with both, and there does not appear to be any evidence that could give either plate priority in issue." (Abbey Life, p. 315). Four of the plates are entirely by George Cruikshank: the frontispiece portraits of the generals, the illustrated title, the large folded plate depicting the battle of Waterloo and the last plate, "The flight of Napoleon". According to Cohn, all the figures in the other plates are also by him. Cohn, Reid and Douglas say the complete volume with 30 plates (including the engraved illustrated title and the two maps). Only Tooley describes 31 plates, including an additional plate entitled Waterloo, in memory of heroic deeds of Shaw of first life guards, which would generally be missing, which is the case here. The Plates: Plate 1. A. The city of Brussels, from the entrance of the Forêt de Soigne, with the Barrier Rouse delin. & sculp. Plate 2. B. Entrance to the Forêt de Soigné, where the two roads from Brussels meet Rouse delin. & sculp. Plate 3. C. Approach to the village of Waterloo, with the chapel of Waterloo seen in the distance. Rouse delin & sculp. Plate 4. D. Chapel of Waterloo Rouse delin. & sculp. Plate 5. DD. Interior of the Chapel of Waterloo Rouse delin. & sculp. Plate 6. E. Headquarters of the Duke of Wellington in the village of Waterloo Rouse delin. & sculp. Plate7. F. Skirt of the Foret de Soigne, with a distant view of the village of Mont St Jean Rouse delin. & sculp. Plate 8. G. Part of the village of Mont St Jean Rouse delin. & sculp. Plate 9. H. The farm house of Mont St Jean Rouse delin. & sculp. Plate 10. I. View of the cottage of Valette Rouse delin. & sculp. Plate 11. J. Chateau of Frischermont Rouse delin & sculp. Plate 12. K. The farm of La Haye Sainte Rouse delin. & sculp. Plate 13. L. A front view of the farm of La Haye Sainte Rouse delin. & sculp. Plate 14. M. La Belle Alliance, the centre of the French position Rouse delin. & sculp. Plate 15. N. Another View of La Belle Alliance Rouse delin. & sculp. Plate 16. 0. Another View of La Belle Alliance Rouse delin. & sculp. Plate 17. P. Hougoumont View of wood skirting chateau Rouse delin. & sculp: Plate 18. Q. Hougoumont Burial ground after battle Rouse delin. & sculp. Plate 19. R. Hougoumont Interior Rouse delin. & sculp. Plate 20. S. Observatory Rouse delin. & sculp. Plate 21. T. Village of Genappe Rouse sculp. C. C. Hamilton del. Plate 22. V. Les Quatre Bras Rouse sculp. C. C. Hamilton del. Plate 23. U. Ligny Castle Rouse sculp. C. C. Hamilton del. Plate 24. W. The ruins of the village of Ligny Rouse sculp. C. C. Hamilton del. Plate 25. Y. Flight of Bonaparte from the Field of Waterloo accompanied by his Guide Drawn & Etched G. Cruikshank Rouse sculp. Plate 26. Portraits of the General Officers 1. The Prince of Orange 2. The Duke of Brunswick 3. The Duke of Wellington 4. Gen. Lord Hill 5. Genl. Sir Thos. Picton 6. Prince Blucher 7. Marquis of Anglesea Drawn & Etched by G. Cruikshank James Rouse sculp. Plate 27. Fronispiece. Portraits of the General Officers. Drawn & Etched by G. Cruikshank. James Rouse sculp. Plate 28. p. 1. The Battle of Waterloo Delineated under the inspection of Officers who were present at memorable conflict. Drawn & Etched by G. Cruikshank James Rouse sculp. (folding). Plate 29. p. 1. Plan of the Battles of Ligny, Quatre Bras & Waterloo (folding). Plate 30. p. 1. Map from Brussels to Paris (folding). Abbey Life, 372; Cohn 580; Prideaux pp. 310 & 345; Tooley 336. .

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Book number: 05555

Catalogue: Color-Plate Books

Keywords: CRUIKSHANK, George Fine Bindings Caricatures Naval and Military Cruikshankiana

NAYLER, George

Coronation of His Most Sacred Majesty King George the Fourth, the

London: Published by Henry Bohn, 1837. The Coronation of King George the Fourth Forty-Two Magnificent Hand Colored Plates NAYLER, Sir George. The Coronation of His Most Sacred Majesty King George the Fourth solemnized in the Collegiate Church of Saint Peter Westminster upon the Nineteenth Day of July MDCCCXXI. Undertaken by His Majesty's Especial Command, by the Late Sir George Nayler, Garter Principal King at Arms, and since his Decease Completed from the Official Documents. London: Published by Henry George Bohn, 1837. Large folio (22 1/2 x16 1/2 inches; 571 x 419 mm.). [6], lvi, 134, [8, indexes], [1, list of plates], [1, blank] pp. With forty-five plates, of which forty-two are mezzotint, stipple, and aquatint, beautifully colored by hand, and three are uncolored outline plates. All plates interleaved. Text watermarked 1824. Two of the plates watermarked 1824 and one 1837. Small newspaper report of the sale of another copy in 1902 tipped onto title-page. Publisher's three-quarter red hard-grain morocco over green cloth boards ruled in gilt. Front cover with large onlaid rectangular red morocco panel elaborately decorated in gilt. Spine with five double raised bands, elaborately decorated and lettered in gilt in compartments, yellow coated endpapers, all edges gilt. Armorial bookplate of William Bagnall on front paste-down. A full pictorial and written account of the coronation of King George IV. Though originally a miniature painter, George Nayler successfully pursued a career as a herald, paying £60 for a place in the College of Arms in 1793. On 25 November 1813 his standing was increased by a knighthood bestowed by the prince regent, ‘possibly as a consolation for failing to be appointed Garter's deputy to invest the Tsar with the Order of the Garter' (ODNB). He officiated as Clarenceux King of arms at the coronation of George IV on 19 July 1821, the last coronation to include the full ceremony of the banquet in Westminster Hall. His magnificent record of this occasion appeared posthumously. As Bohn outlines in the ‘Advertisement'. Nayler embarked on a five-part work, completing only two by his death in 1831. Bohn acquired the plates and augmented them with those of Whittaker's Ceremonial to give a good overview of the event and the names of all participants for the first time. "Intended to be issued in 5 parts, the first appeared in 1823, the second in 1827. Sir George Nayler died in 1831 and further work was suspended. Bohn acquired the copperplates and copyright in 1837, and combining them with Whittakers plates ‘Ceremonial of the Coronation of George IV', produced the above work. It was republished in 1839" (Tooley). "In Bohn's edition thirty-three of the costume plates are reprinted from the Whittaker edition, and..with the exception of one by Uwins, the drawings are all by Francis [Philip] and James Stephanoff; while the engravers are S.W. Reynolds, H. Meyer, W. Bond, W. Bennett, E. Scriven, and P.W. Tomkins. Reynolds's work, as might be expected, is mainly in mezzotint. Besides the costume plates there are eight others in aquatint of the Ceremony of the Homage, the Banquet, etc. printed in colour and finished by hand, by Bennett, R. Havell, and M. Dubourg after C. Wild, J. Stephanoff, and Augustus Pugin, the two last working together on architectural views..Another coloured plate, making forty-two in all, is a mezzotint in colour, by S.W. Reynolds after Stephanoff, of the Court of Claims" (Martin Hardie). Abbey, Scenery, 260 (describing the 1839 impression); Bobins II, 694; Hiler, p. 645; Lipperheide 2690; Martin Hardie, pp. 70-71, 148; Prideaux, pp. 147-148, 330; Tooley 343. .

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Book number: 05617

Catalogue: Color-Plate Books

Keywords: English History