GAVARNI, Paul

Les Artistes

Paris: Chez Aubert, 1838. Sixteen Hand-Colored Lithographed Plates by Gavarni "Les Artistes" GAVARNI, Paul. [pseudonym of Guillaume Sulpice Chevallier]. Les Artistes. Paris: Chez Aubert, [1838]. Oblong folio (9 7/8 x 13 5/8 inches; 251 x 346 mm.). Sixteen hand-colored lithographed plates, heightened with gum arabic. Plates printed by Aubert et Cie. All plates mounted on guards. Plate nos. 5, 6, 8, 9 & 13 with repaired tears to blank lower margins, plate no. 2 with small repair to blank fore-margin. Chemised in a quarter black morocco over black cloth boards clamshell case. Spine with five raised bands decoratively tooled and lettered in gilt. "Nearly every lithographic artist recorded in caricature some aspect of his own profession. Gavarni devoted an entire series, Les Artistes, to this theme, usually exposing the contrast between the illusory nature of the image being represented and the more ludicrous reality of the subject, or sometimes, as here, treating confrontations between bohemian and bourgeois. The artist, as in this image, is often portrayed in some degree of bohemian dishevelment. The pose being adopted by the self-conscious bourgeois sitter bears a striking resemblance to the portrait of the publisher Louis Bertin, painted by Ingres in 1832" (Beatrice Farwell, The Charged Image, p. 83, describing plate no. 7 in Les Artistes). Paul Gavarni (1804-1866). "A French artist best known for his lithographs, Paul Gavarni (née Chevalier Suplice Guillaume) was born in Paris on January 13, 1804. Throughout his lifetime Gavarni produced over 4000 satirical prints for journals and fashion magazines. Both delicately witty and elegantly revealing of human behavior and character, Gavarni's genre scenes made him one of the most important and popular nineteenth-century artists. He is often critically paired with Honoré Daumier with whom he (and other young printmakers like Jean-Jacques Grandville and Joseph Traviés) raised the status and importance of social lithography and printmaking as an art form.. In the 1830s he began to work for L'Artiste, La Caricature, and, most importantly, Le Charivari. The latter was owned by Charles Philipon, and became Gavarni's longest running contract and most important place of publication. Here Gavarni published some of his most famous series, including Les Artistes, La Boite aux Lettres, Clichy (inspired by his month-long stay in debtor's prison), Les Coulisses, Les Enfants Terribles, Impressions de Ménage, etc. etc." (childsgallery.com) Armelhault & Bocher, nos. 332-345; Not in Bobins. The Plates: 1. Ma Sainte te ressemble, n'est pas Nini? P'us souvent que j'ai un air chose comme ça! 2. Vois-tu amarade voilà comme tu trouveras toujours les vrais Artistes.. 3. La Madelaine c'était une femme qu'avait fait des bêtises n'est-pas m'sieu Henry?.. 4. (Le Patissier au Mannequin) M'sieu Chandellier? Mosieu Chandellier, si vous plait?.. 5. (Etienne) Tu ne fais donc pas d'études? (Prosper) Je me servirai des tiennes.. 6. Ces messieurs sont sans doute officiers de messieurs les hussards en garnison dans cette ville. 7. Voyons! me trouvez-vous bien comme ça? 8. Le feu, mon brave, est un élément de nostre existence - Bien obligé! 9. Ô bon! M'ame Jean! v'la qui tire vot' clos! In peu qui tire l'clos de m'ame Jean! 10. Un peu de poèsie dans cette tête-la et vous serez joliment ressemblant, allez! 11. Monsieur le duc!..donnez vous la peine d'entrer. 12. Mon Général..mon Général! vous dormez en faction! 13. St. Pierre, mon ami, vous êtes capot! 14. Et à quelle heure puis-je venir vous voir, mon cher monsieur..sans vous déranger?.. 15. C'est vraiment une chose profondément pénible à considérer que l'ignoble allure de ces tristes bourgeois.. 16. (L'Atelier du Lithographe.) Comme c'est leger!.

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05490

Catalogue: Color-Plate Books

Keywords: Books in French Color-Plate Books Books in French Caricatures French Caricature

GAVARNI, Paul [pseudonym of Guillaume Sulpice Chevallier]

Les Débardeurs

Paris: Au Bureau du Charivari, 1840. Sixty-Six Magnificent Hand-Colored Lithographed Plates by Gavarni Depicting "The Stevedores" GAVARNI, Paul [pseudonym of Guillaume Sulpice Chevallier]. Les Débardeurs. Paris: Au Bureau du Charivari, [n.d. 1840-1842]. Folio (13 7/8 x 10 3/8 inches; 353 x 264 mm.). Sixty-six superb numbered hand-colored lithographed plates, heightened with gum arabic. Plates printed by Aubert & Cie. Plate numbers 3,16, 29, 32, 33, 39, 43, 51 & 52 a little shorter on outer margins. Plate number 52 with neat repairs to top and bottom blank margins. A few plates slightly toned, still an excellent copy of this extremely rare Gavarni title. Modern blue cloth over boards, front cover with dark green straight-grain morocco label, bordered and lettered in gilt. An excellent example of this exceptionally rare and highly amusing book A series of sixty-six lithographs, of which nine first appeared in other journals (eight in La Caricature (plates 21, 23, and 24 under the title "Souvenirs du Carnaval" and 32, 44, 49, 54, and 61 under the title "Les Débardeurs") and one (plate 58) in La Mode) prior to the publication of the entire series in Le Charivari from 19 January 1840 to 5 February 1842. Exceptionally Rare with OCLC locating just one complete colored copy in libraries and institutions worldwide: Morgan Library and Museum - the Gordon Ray copy (NY, US). OCLC also locates two other copies neither of which states 'color' plates: Yale University Library (CT, US) and Clark Art Institute (MA, US). "In this work.. from a series of sixty-six lithographs published in Le Charivari between 1840 and 1843, Gavarni depicts a variation on the most famous of the costumes he designed for the masquerade balls, the débardeur [the stevedore]. The braided wig, loose shirt, black velvet trousers fastened with brass buttons and tied with a fringed sash are derived from the working costume of the longshoreman or stevedore, who unloaded the barges that traveled up the Seine to Paris. As Nancy Olsen points out [in Gavarni: The Carnival Lithographs], the majority of Gavarni's carnival lithographs reflect his interest in the small groups that drift away from the crowd as a consequence of the romantic liaisons that preoccupied many of the participants at a masked ball. Intrigue was the name of the gave, and the information being conveyed in this scene comes in all probability from an agent provocateur" (Beatrice Farwell, The Charged Image: French Lithographic Caricature 1816-1848, p. 88). Armelhault & Bocher, nos. 486-542, 307-309 (plates 21, 23, and 24), 259-263 (plates 44, 49, 32, 54, and 61), and 1223 (plate 58). Ray, The Art of the French Illustrated Book, 154. The Plates: 1. Le Débardeur mâle et femelle..vivants!.. 2. Caporal, on gele dans votre satanè violon!.. 3. Amanda l'Ecuyer. Rue?.. 4. Qui? Moi et Zélie, Achille et toi.. 5. Un amour de petit ménage; quoi! Ça se retire à la pointe du jour, bien paisibles!.. 6. On va pincer son petit cancan, mais bien en douceur.. 7. Le Vicomte Aime de Trois Etoiles et Dame Eloa de Tremblement.. 8. Ah! qu'il est beau!.. 9. Malheureuse enfant! Qu'as - tu fait de ton sexe?.. 10. Pauvre Elvire, emportée aux flots du bal Musard.. 11. C'est comme ça que tu les intrigues?..merci! 12. En voulez-vous de la crevette?..pas cher. 13. Va dire à ta mère qu'a te mouche. 14. Je vous dis que vous avez dansé d'une façon.. 15. Comment Lili ne reconnait pas son Nini! 16. Y en-a-ti des femmes, y'en a-t-i.. 17. Allons Landerneau, mon bonhomme!.. 18. Ça ne te regarde pas, de quoi te mèles-tu?.. 19..être fichues au violon comme des rien du tout!.. 20. Six pouces de jambes et le dos tout de suite!.. 21. "L'Intolérance est fille des faux Dieux!".. 22. Voyons Angelina, as-tu assez fait poser Mosieu? 23. Va donc!..Singulier masculin! 24. C'est mon Débardeur!.. 25. C'est d'main matin qu'mon tendre époux va beugler.. 26. Te v'la ici, toi! C'est comme ça qu'tas ta migraine?.. 27. J'espère que tu vas te tenir Angélique.. 28. Voilà un fénéant qui dort et qui laisse une pauv femme danser toute la nuit!.. 29..une douzaine d'huitres et mon coeur.. 30. V'la qu'i fait jour: j'suis échigné moi, dam! Et toi?.. 31. On rit avec vous et tut e faches..en voilà un drôle de pistolet! 32. Tais-toi, moutard, faut laisser jaser l'autorité!.. 33. V'là un gueux de petit pékin qui se divertit au bal comme un grain de plomb dans du champagne. 34..Et si Cornélie ne trouvait pas de voiture?.. 35. Toi je te repigerai! 36. Qu'est-ee que c'est? Tu vous deranges pour ça, et t'en voudrais déja p'us.. 37. (Le Débardeur) - Ne me parlez pas des femmes en Carnaval pour s'amuser!.. 38. Ils vont venir: écoute Hortense! Sur le coup de minuit, minuit et demi, vois-tu?.. 39. V'là qu'elles ont des mots!..Fameux!.. 40. Et ton Epouse?.. 41. Est-ce que vous n'en avez pas bientot assez, Angélina, du Carnaval?.. 42. As-tu vu? M'ame Alexandre et l'ancienne à Paul qui sont à se peigner en bas pour ce Paltoquet d'Eugène!.. 43. Aurai-je l'honneur de danser un galop ávec Mosieu le Baron?.. 44. P'us que ça de bouillon! Merci. 45. J'te parie mon Alezan doré contre ta Vicomtesse que j'emporte ce soir le petit rat du Baron.. 46. Ton Alfred est un gueux: il est ici avec l'autre.. 47. Qu'est-ce que t'as mon vieux Auguste? - Rien!.. 48. Eh! b'en Landerneau ça ne vas donc pas mieux?.. 49. Allons! allons Mazuzi! Tiens-toi, allons!.. 50. Mon cher, le municipal a emporté le petit muf'e avec qui je dansais, parcequ'I voulait pincer son Cancan.. 51. Ah! ça décidément Caroline est folle du petit Anglais.. 52. J'i ai dit! J i dit, Madame, si vous vous permettez de fich.. 53. As tu vu? M'ame Chose et le petit Baron qui ne peuvent pas se voir.. 54. Monter à cheval sur le cou d'un homme qu'on ne connait pas, t'appelle çà plaisanter, toi! 55. Je f'avertis, Milord..sit u dines demain avec cette Andalouse-lá.. 56. Qu'est que t'as, la Mômignarde?.. 57. Çà! C;est pas la perruque à Jules!.. 58. Un honnête Domino! Des airs décents?.. 59. Avec l'agrément de cet agréable muf'e là, pourraît-on, Madame, pincer avec toi le prochain rigodon? 60. Voyez-vous, mon petit Larrims, j'ai de l'amitié pour vous, tout plein, tout plein! Mais.. 61. Tu danseras Coquardeau!.. 62. Doux Jésus! Où que je vas me sauver?.. 63. Agathe et toi, mon vieux Ferdinand, ça ne sera pas long.. 64. V'là trois heures, Titine; filons! Faut que je sois levé au petit jour.. 65. Voyons sit u te souviens!..Numéro?.. 66. Oh! Hé! Viens-tu souper la Gustine!.

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05386

Catalogue: Color-Plate Books

Keywords: Books in French Caricatures Dance French Caricature

GAVARNI, Paul; [pseudonym of Guillaume Sulpice Chevallier]

Les Débardeurs

Paris: Au Bureau du Charivari, 1840. Sixty-Four (of Sixty-Six) Hand-Colored Lithographed Plates by Gavarni Depicting "The Stevedores" GAVARNI, Paul [pseudonym of Guillaume Sulpice Chevallier]. Les Débardeurs. Album par Garvarni. Paris: Au Bureau du Charivari, [n.d. 1840-1842]. Large quarto (14 1/2 x 11 1/4 inches; 367 x 285 mm.). Sixty-four (of sixty-six) superb numbered hand-colored lithographed plates, heightened with gum arabic, loose as issued. Plates printed by Aubert & Cie. The two missing plates are numbers 59 & 65. A few plates with some light foxing to blank margins only, plates 14, 29, 43 & 51 with small marginal tears not affecting images, otherwise a remarkably fine and clean suite of these wonderful plates. A series of sixty-six lithographs, of which nine first appeared in other journals (eight in La Caricature (plates 21, 23, and 24 under the title "Souvenirs du Carnaval" and 32, 44, 49, 54, and 61 under the title "Les Débardeurs") and one (plate 58) in La Mode) prior to the publication of the entire series in Le Charivari from 19 January 1840 to 5 February 1842. "This is the most considerable of the several series of lithographs devoted by Gavarni to the balls which were a passion with him. He was an organizer and patron of the more elegant, and he found the popular balls at the Opera and elsewhere an attractive subject for his designs. Théophile Gautier, who believed that at this period Parisian balls had virtually ‘effaced the former carnival of Venice,' called Gavarni ‘their depicter and historian.' As dancers throw themselves into their round of pleasure, ‘a man stands with his back against a pillar; he watches, he listens, he observes.' And the following day on stone ‘he lends his own wit to all the masks, perhaps stupid in themselves; he sums up in a profound word the chit-chat of the foyer; he translates into a pleasant legend the hoarse excitement of the hall.' (Quoted by Lemoisne, I, 120)" (Ray, The Art of the French Illustrated Book). "In this work ["Ton Alfred est un gueux: il est ici avec l'autre...calme-toi!"] from a series of sixty-six lithographs published in Le Charivari between 1840 and 1843, Gavarni depicts a variation on the most famous of the costumes he designed for the masquerade balls, the débardeur [the stevedore]. The braided wig, loose shirt, black velvet trousers fastened with brass buttons and tied with a fringed sash are derived from the working costume of the longshoreman or stevedore, who unloaded the barges that traveled up the Seine to Paris. As Nancy Olsen points out [in Gavarni: The Carnival Lithographs], the majority of Gavarni's carnival lithographs reflect his interest in the small groups that drift away from the crowd as a consequence of the romantic liaisons that preoccupied many of the participants at a masked ball. Intrigue was the name of the gave, and the information being conveyed in this scene comes in all probability from an agent provocateur" (Beatrice Farwell, The Charged Image: French Lithographic Caricature 1816-1848, p. 88). Armelhault & Bocher, nos. 486-542, 307-309 (plates 21, 23, and 24), 259-263 (plates 44, 49, 32, 54, and 61), and 1223 (plate 58). Ray, The Art of the French Illustrated Book, 154. The Plates: 1. Le Débardeur mâle et femelle..vivants!.. 2. Caporal, on gele dans votre satanè violon!.. 3. Amanda l'Ecuyer. Rue?.. 4. Qui? Moi et Zélie, Achille et toi.. 5. Un amour de petit ménage; quoi! Ça se retire à la pointe du jour, bien paisibles!.. 6. On va pincer son petit cancan, mais bien en douceur.. 7. Le Vicomte Aime de Trois Etoiles et Dame Eloa de Tremblement.. 8. Ah! qu'il est beau!.. 9. Malheureuse enfant! Qu'as - tu fait de ton sexe?.. 10. Pauvre Elvire, emportée aux flots du bal Musard.. 11. C'est comme ça que tu les intrigues?..merci! 12. En voulez-vous de la crevette?..pas cher. 13. Va dire à ta mère qu'a te mouche. 14. Je vous dis que vous avez dansé d'une façon.. 15. Comment Lili ne reconnait pas son Nini! 16. Y en-a-ti des femmes, y'en a-t-i.. 17. Allons Landerneau, mon bonhomme!.. 18. Ça ne te regarde pas, de quoi te mèles-tu?.. 19..être fichues au violon comme des rien du tout!.. 20. Six pouces de jambes et le dos tout de suite!.. 21. "L'Intolérance est fille des faux Dieux!".. 22. Voyons Angelina, as-tu assez fait poser Mosieu? 23. Va donc!..Singulier masculin! 24. C'est mon Débardeur!.. 25. C'est d'main matin qu'mon tendre époux va beugler.. 26. Te v'la ici, toi! C'est comme ça qu'tas ta migraine?.. 27. J'espère que tu vas te tenir Angélique.. 28. Voilà un fénéant qui dort et qui laisse une pauv femme danser toute la nuit!.. 29..une douzaine d'huitres et mon coeur.. 30. V'la qu'i fait jour: j'suis échigné moi, dam! Et toi?.. 31. On rit avec vous et tut e faches..en voilà un drôle de pistolet! 32. Tais-toi, moutard, faut laisser jaser l'autorité!.. 33. V'là un gueux de petit pékin qui se divertit au bal comme un grain de plomb dans du champagne. 34..Et si Cornélie ne trouvait pas de voiture?.. 35. Toi je te repigerai! 36. Qu'est-ee que c'est? Tu vous deranges pour ça, et t'en voudrais déja p'us.. 37. (Le Débardeur) - Ne me parlez pas des femmes en Carnaval pour s'amuser!.. 38. Ils vont venir: écoute Hortense! Sur le coup de minuit, minuit et demi, vois-tu?.. 39. V'là qu'elles ont des mots!..Fameux!.. 40. Et ton Epouse?.. 41. Est-ce que vous n'en avez pas bientot assez, Angélina, du Carnaval?.. 42. As-tu vu? M'ame Alexandre et l'ancienne à Paul qui sont à se peigner en bas pour ce Paltoquet d'Eugène!.. 43. Aurai-je l'honneur de danser un galop ávec Mosieu le Baron?.. 44. P'us que ça de bouillon! Merci. 45. J'te parie mon Alezan doré contre ta Vicomtesse que j'emporte ce soir le petit rat du Baron.. 46. Ton Alfred est un gueux: il est ici avec l'autre.. 47. Qu'est-ce que t'as mon vieux Auguste? - Rien!.. 48. Eh! b'en Landerneau ça ne vas donc pas mieux?.. 49. Allons! allons Mazuzi! Tiens-toi, allons!.. 50. Mon cher, le municipal a emporté le petit muf'e avec qui je dansais, parcequ'I voulait pincer son Cancan.. 51. Ah! ça décidément Caroline est folle du petit Anglais.. 52. J'i ai dit! J i dit, Madame, si vous vous permettez de fich.. 53. As tu vu? M'ame Chose et le petit Baron qui ne peuvent pas se voir.. 54. Monter à cheval sur le cou d'un homme qu'on ne connait pas, t'appelle çà plaisanter, toi! 55. Je f'avertis, Milord..sit u dines demain avec cette Andalouse-lá.. 56. Qu'est que t'as, la Mômignarde?.. 57. Çà! C;est pas la perruque à Jules!.. 58. Un honnête Domino! Des airs décents?.. 60. Voyez-vous, mon petit Larrims, j'ai de l'amitié pour vous, tout plein, tout plein! Mais.. 61. Tu danseras Coquardeau!.. 62. Doux Jésus! Où que je vas me sauver?.. 63. Agathe et toi, mon vieux Ferdinand, ça ne sera pas long.. 64. V'là trois heures, Titine; filons! Faut que je sois levé au petit jour.. 66. Oh! Hé! Viens-tu souper la Gustine!.

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05232

Catalogue: Color-Plate Books

Keywords: [pseudonym of Guillaume Sulpice Chevallier] Books in French Color-Plate Books Books in French Caricatures Costume Dance

GAVARNI, Paul [pseudonym of Guillaume Sulpice Chevallier]

Souvenirs de Carnaval

Paris: Rittner et Goupil, 1837. French Society Enjoying the Foibles and Vices of Carnival as Depicted by Gavarni Six Exceptionally Rare Hand Colored Lithograph Plates GAVARNI, Paul [Sulpice Guillaume Chevalier]. Souvenirs de Carnaval par Gavarni. Paris: Rittner et Goupil, [1837]. First edition, first issue. Elephant folio (20 3/4 x 13 1/2 inches; 527 x 343 mm.). Original front pink wrapper (as title) with small lithograph illustration by Gavarni. Six superb hand-colored lithograph plates, all heightened with gum-arabic and all with the small oval, marginal blind-stamp of the publishers. Some occasional light marginal foxing. Contemporary half red scored calf over red cloth boards. Front cover with rectangular red scored calf label bordered and lettered in gilt, smooth spine. Some light wear to extremities, still a very fine copy of this great rarity. Exceedingly rare suite of whimsical prints depicting French society enjoying the foibles and vices of carnival. Gavarni, the pen name of Sulpice Guillaume Chevalier, was a highly successful French illustrator and his work is accredited with capturing the essence of excess that enraptured Paris in the 19th century. Souvenirs de Carnaval is given the date ‘1837' based on the date inscribed on the stone on plate 5. The majority of Gavarni's later works centered around serious subject matter: they sought to unpack the failings of French familial life and directly and pointedly critiqued Parisian society. However, his earlier published prints, as seen with the present suite, displayed a more whimsical and lighter satirical take on the popular pleasures of the Capital, capturing the debauchery and decadence of high society life. Most of Gavarni's later works, which became more serious, were aimed at a different section of the public, which had previously granted him so wide a popularity, as did his works on Carnival, of which this was one of the last. RBH only lists one copy at auction in the last 50 years (this copy). OCLC & KVK locate just one (uncolored) example in libraries and institutions worldwide: The Gordon N. Ray copy at The Morgan Library & Museum (NY, US). That copy is uncolored and much smaller with a sheet size of just (13 7/8 x 10 5/8 inches; 352 x 270 mm.). "Suite of nine lithographs, six of which were previously published by Rittner and Goupil under the title: Souvenirs de Carnaval". (Armelhault & Bocher, p.74). The Plates: 1. L'ENTRÉE AU BAL. Ne perdez pas la tête mon cher! ENTRANCE TO THE BALL. Don't lose your head my dear! 2. UNE TOMBOLA. Le No. 43 a gagné...une chandelle! A RAFFLE. No. 43 won...a candle! 3. LE PLATEAU DES RAFRAICHISSEMENS. Pour les Dames Messieurs. THE REFRESHMENT TRAY. For ladies and gentlemen. 4. LE CORRIDOR DES LOGES. à Minuit. THE LODGING CORRIDOR. at midnight. 5. LA LOGE D'AVANT-SCÈNE. Veux-tu souper avec nous beau page! THE STAGE BOX. Do you want to have dinner with us, handsome page! 6. UN DÉJEUNER. au petit Jour. A LUNCH. at dawn. Armelhault & Bocher 308; Beraldi VII, 50; Bobins III, 936; Not in Colas. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05611

Catalogue: Color-Plate Books

Keywords: Books in French Caricatures French Caricature

GERNING, J.J. [Johann Isaac] von

Picturesque Tour Along the Rhine, from Mentz to Cologne... , A.

London: Published by R. Ackermann..Printed by L. Harrison, 1820. One of the Great Nineteenth-Century Color-Plate Books, with Twenty-Four Hand-Colored Aquatints GERNING, J.J. [Johann Isaac] von. A Picturesque Tour Along the Rhine, from Mentz to Cologne: With Illustrations of the Scenes of Remarkable Events, and of Popular Traditions. Embellished with Twenty-Four Highly Finished and Coloured Engravings, from the Drawings of M. Schuetz; and Accompanied by a Map. Translated from the German by John Black. London: Published by R. Ackermann.. Printed by L. Harrison, 1820. First English edition, early issue. (The original German edition was published in Wiesbaden in 1819 as Die Rheingegenden von Mainz bis Cölln.) Large quarto (13 1/4 x 10 3/4 inches; 336 x 273 mm.). xiv, [xv, xvi], 178 pp. Complete with the list of subscribers (pp. [v]-viii). Large folding engraved map with color highlights and twenty-four fine hand-colored aquatint plates by D. Havell and T. Sutherland after C.G. Schutz, with tissue guards. Text watermarked 1817 and 1818, plates watermarked 1818 and 1819. In this copy, the plates are unnumbered and the Mentz plate is dated "Octor. 1 1819" and the Biebrich plate is dated "Septr. 1 1819." Minimal offsetting from plates to text. Contemporary plum diced morocco, covers richly bordered in gilt and blind. Spine with five shallow raised bands ruled in gilt and elaborated gilt and title in compartments. Decorative gilt board edges and turn-ins, pale gray endpapers, all edges gilt. With the armorial bookplate of Sarah Marie Turnor on front pastedown. Spine slightly faded. A fine copy. "The original [unillustrated] German edition was published in Wies-baden in 1819 as Die Rheingegenden von Mainz bis Cölln, and it is clear from the..‘Vorerinnerung', which is dated 14 June 1819, that Ackermann's edition was already planned; it seems possible in the circumstances, in fact, that the text was commissioned by Ackermann, as were the views for the plates..Another German edition, this time containing twenty-four views, was published in Frankfurt in 1822" (Abbey). "Containing a complete History and Picturesque Description of a portion of Country so full of curious and interesting circumstances, as well as so resplendent for its landscape, grandeur, and beauty. The Work will be embellished with Twenty-four highly finished and coloured Engravings, from Drawings expressly made by an eminent Artist, resident near the Banks of the Rhine, and habitually familiar with every part of it..The romantic, beautiful, and ever-varying Scenery of this River forms a distinguished feature of every modern foreign Tour; and no one can consider himself as an accomplished traveller who is not more or less acquainted with it..Baron von Gerning, whose literary character is so well established in Germany, has undertaken to write the Historical Part; and Mr. Schutz, so well known as an artist, will furnish the Drawings" (Ackermann's prospectus for the completed work, printed on the rear wrapper of Part I and others). "There are definitely later issues of the book..and these can be recognized by having plate numbers at the top right-hand corner. The impressions in these issues are poor and the colouring less good" (Abbey). Abbey, Travel, 217. Martin Hardie, pp. 107-108 and 312. Prideaux, pp. 337 and 375. Tooley 234. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 04831

Catalogue: Color-Plate Books

Keywords: Color-Plate Books Germany Views Voyages and Travels

GERNING, J.J. [Johann Isaac] von

Picturesque Tour Along the Rhine, from Mentz to Cologne... , A.

London: Published by R. Ackermann..Printed by L. Harrison, 1820. Cologne! Cologne! Thy Walls are Won" One of the Great Nineteenth-Century Color-Plate Books, with Twenty-Four Hand-Colored Aquatints GERNING, J.J. [Johann Isaac] von. A Picturesque Tour Along the Rhine, from Mentz to Cologne: With Illustrations of the Scenes of Remarkable Events, and of Popular Traditions. Embellished with Twenty-Four Highly Finished and Coloured Engravings, from the Drawings of M. Schuetz; and Accompanied by a Map. Translated from the German by John Black. London: Published by R. Ackermann.. Printed by L. Harrison, 1820. First English edition, early issue. (The original German edition was published in Wiesbaden in 1819 as Die Rheingegenden von Mainz bis Cölln.) Large quarto (13 1/4 x 10 3/4 inches; 336 x 273 mm.). xiv, [xv, xvi], 178 pp. Complete with the list of subscribers (pp. [v]-viii). Large folding engraved map with color highlights and twenty-four fine hand-colored aquatint plates by D. Havell and T. Sutherland after C.G. Schutz, with tissue guards. Text watermarked 1817 and 1818, plates watermarked 1816, 1818 and 1819. In this copy, the plates are unnumbered and the Mentz plate is dated "Octor. 1 1819" and the Biebrich plate is dated "Septr. 1 1819." Slightly later (ca. 1840) quarter brown calf over publisher's original pictorial boards. Spine with five shallow bands decoratively ruled and decorated in gilt in compartments, blue morocco label lettered in gilt. Marbled endpapers and marbled edges. Inner hinges neatly strengthened. Some very minor foxing and minimal offsetting. The original tissue-guards are soiled at edges. A fine, tall copy in a contemporary binding, albeit rebacked some twenty years later. Two blank leaves at the beginning contain three pages of early ink manuscript from J.R. Planché Lays and Legends of the Rhine. Frankfurt: 1830. The poems included are The Lake of Constance; The Rhine Wine Song and L'Envoy. (Cologne) "The original [unillustrated] German edition was published in Wies-baden in 1819 as Die Rheingegenden von Mainz bis Cölln, and it is clear from the..‘Vorerinnerung', which is dated 14 June 1819, that Ackermann's edition was already planned; it seems possible in the circumstances, in fact, that the text was commissioned by Ackermann, as were the views for the plates..Another German edition, this time containing twenty-four views, was published in Frankfurt in 1822" (Abbey). "Containing a complete History and Picturesque Description of a portion of Country so full of curious and interesting circumstances, as well as so resplendent for its landscape, grandeur, and beauty. The Work will be embellished with Twenty-four highly finished and coloured Engravings, from Drawings expressly made by an eminent Artist, resident near the Banks of the Rhine, and habitually familiar with every part of it..The romantic, beautiful, and ever-varying Scenery of this River forms a distinguished feature of every modern foreign Tour; and no one can consider himself as an accomplished traveller who is not more or less acquainted with it..Baron von Gerning, whose literary character is so well established in Germany, has undertaken to write the Historical Part; and Mr. Schutz, so well known as an artist, will furnish the Drawings" (Ackermann's prospectus for the completed work, printed on the rear wrapper of Part I and others). "There are definitely later issues of the book..and these can be recognized by having plate numbers at the top right-hand corner. The impressions in these issues are poor and the colouring less good" (Abbey). Abbey, Travel, 217. Martin Hardie, pp. 107-108 and 312. Prideaux, pp. 337 and 375. Tooley 234. .

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Book number: 04820

Catalogue: Color-Plate Books

Keywords: Color-Plate Books Germany Views Voyages and Travels

GILLRAY, James

Cockney-Sportsmen

London: H. Humphrey, 1800. One of the Scarcest of all James Gillray's Works GILLRAY, James. Cockney-Sportsmen. London: H[annah] Humphrey, November 12th, 1800. Oblong folio (13 1/2 x 19 1/8 inches; 342 x 485 mm. Plate mark 10 1/8 x 14 1/8 inches; 254 x 358 mm.). Four magnificent hand-colored soft-ground etched aquatint plates. Chemised in a felt-lined half black morocco over red cloth clamshell case, spine with five raised bands, ruled and lettered in gilt in compartments. A very fine set. "As we know from the first plate, the cockney sportsmen are hunting in Hornsey Wood, a refuge for City dwellers about six miles from St Paul's. Gillray's print may be intended to show or recall the Hornsey Wood House, which was famous in its time. About a mile nearer to London than Hornsey," observes the Ambulator, in 1774, "is a coppice of young trees called Hornsey Wood, at the entrance of which is a public-house, to which great numbers of persons resort from the City." "Hornsey Wood House," for such was the name of this place of entertainment, stood on the summit of some rising ground on the eastern side of the parish. It was originally a small roadside public-house, with two or three wide-spreading oaks before it, beneath the shade of which the weary wayfarer could rest and refresh himself. But whether public house or farm, the birds are flocking to or emerging from a large bird house on the premises. That may suggest that the birds are being raised for food or sale. In either case, the depredation of the flock by our intrepid hunters would not be appreciated. Fortunately, the unthinking enthusiasm of the young cockney sportsman, leaping over the fence in his excitement, is not matched by his aim. He misses the birds entirely. As so often in comic caricature, the dogs in the series are reflections of their masters." (www.james-gillray.org). "This and the three following prints form another series of sporting subjects, a burlesque companion to the preceding [Hounds Finding; Hounds in Full Cry; Hounds Throwing Off & Coming in at the Death." (Wright & Evans 488-491)]. "They are the work of another amateur, who has only favoured us with his initials. They explain themselves. Hornsey Wood was a celebrated haunt of the sportsmen of the city." (Wright & Evans, pp. 460-461). The Plates: 1. "Cockney Sportsmen Marking Game" Nov. 12th, 1800. 2. "Cockney Sportsmen Shooting Flying" Nov. 12th, 1800. 3. "Cockney Sportsmen Recharging" Nov. 12th, 1800. 4. "Cockney Sportsmen Finding A Hare" Nov. 12th, 1800. We know of two other complete sets of this exceptionally rare suite of plates - The National Portrait Gallery (London, UK) and Bobins. The Exotic and the Beautiful vol. IV, 1339. According to OCLC there is just one complete set of the four prints located in libraries & institutions worldwide, The Morgan Library & Museum (NY, USA). That set appears to be uncolored. Two of the prints "..Shooting Flying" & "..Finding A Hare" are held at the Yale University Library (CT, USA) - these two prints are hand-colored. Wright & Evans, 492-495; Bobins IV, 1339. .

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Book number: 04975

Catalogue: Color-Plate Books

Keywords: Caricatures Sports

GILLRAY, James

Habits of New French Legislators

London: H. Humphrey, 1798. Gillray Punctures Parliament Complete and Exceedingly Scarce [GILLRAY, James]. Habits of New French Legislators and other Public Functionaries. London: H. Humphrey, 1798. First edition, complete; both series. Folio (platemarks c. 260 x 195 mm). Twelve hand-colored engravings, some stipple and aquatint, lettered with series title and plate number 1-12 above the image, lettered below the image with the title in French, engraver's name A"J.s.G.y.d. & f.t. and the publication line. Housed loose in a blue cloth portfolio. A very fine set. Not in Abbey, Tooley, or Ray. The copy in the British Museum Satires collection is incomplete. OCLC records only one complete copy, at the BNF. Only two complete copies at auction within the last ninety years, in 1926 and 1956. James Gillray (1756 or 1757 - 1815), was a British caricaturist and printmaker famous for his etched political and social satires, mainly published between 1792 and 1810. The name of Gillray's publisher and print seller, Miss Hannah Humphrey is inextricably associated with that of the caricaturist. Gillray lived with Miss (often called Mrs) Humphrey during the entire period of his fame. It is believed that he several times thought of marrying her, and that on one occasion the pair were on their way to the church, when Gillray said: "This is a foolish affair, methinks, Miss Humphrey. We live very comfortably together; we had better let well alone." The times in which Gillray lived were peculiarly favourable to the growth of a great school of caricature. Party warfare was carried on with great vigour and not a little bitterness; and personalities were freely indulged in on both sides. Gillray's incomparable wit and humour, knowledge of life, fertility of resource, keen sense of the ludicrous, and beauty of execution, at once gave him the first place among caricaturists. He is honorably distinguished in the history of caricature by the fact that his sketches are real works of art. The ideas embodied in some of them are sublime and poetically magnificent in their intensity of meaning, while the forthrightness - which some have called coarseness -which others display is characteristic of the general freedom of treatment common in all intellectual departments in the 18th century. The historical value of Gillray's work has been recognized by many discerning students of history. "Gillray's treatment ranged from the heroic to the broadly comic, but his excesses at either extreme are excused to the discerning student because of the presence of that relevant satire which distinguishes caricature from crude foolishness..When Gillray [as here] illustrated his suspicion that [Sir Charles] Fox and others were inclining towards the advanced ideas of the French revolutionaries sans-culottes, by drawing them always without any trousers, he produced 'vulgarity' but not silliness. Fox was much incensed" (David Low, British Cartoonists. p. 12-13). Pub.d April 18, 1798: 1. Le Ministre d'Etat, en Grand Costume [Mr. Fox]. 2. Le Membres du Conseil des Anciens [Duke of Norfolk, the Marquis of Sansdown, Duke of Grafton]. 3. Le Membres du Conseil des Cinq Cents [Mr. Byng, Michaelangelo Taylor, Lord Lauderdale, Lord Stanhope, Lord Derby]. 4. Membre de Directoire Executif [ Francis Duke of Bedford]. 5. President d'Administration Municipale [Horne Looke]. 6. Le Boureau [ Mr. Tierney]. Pub.d May 21, 1798: 1. L'Avocat de la Republique [Lord Erskine]. 2. Membre de la Haute Cour de Justice [Sir George Shuckborough]. 3. Juge de Tribunal Correctionnel [ Mr. Courtney]. 4. Juge de Paix [Mr. Nical]. 5. Le Tresorier [ Sir William Putney]. 6. Messager d'Eatat [Sir Francis Burdett]. Cf. BM Satires 9197-9201, 9208-13. Wright and Evans 185-196. .

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Book number: 02603

Catalogue: Color-Plate Books

Keywords: Caricatures English History Nineteenth-Century Literature

GILLRAY, James

Life of Cobbett, the

London: H. Humphrey, 1809. James Gillray's Life of Cobbett with Eight Superb Hand-Colored Etched Plates GILLRAY, James. The Life of Cobbett, written by himself. London: H[annah] Humphrey, 1809. First edition. Large folio (19 3/8 x 12 inches; 492 x 305 mm.). The complete set of eight etchings, with large margins and original hand-coloring, each one with printed text underneath. Three of the plates with watermark 'Whatman 1808' and two of the plates with watermark "1806". Occasional minor surface dirt or stains, not affecting image, plates 1 & 8 with small expert repairs to blank lower corner, not affecting plate mark. Bound by Root & Son in early twentieth century half red morocco over red cloth boards ruled in gilt. Front cover with title in gilt, spine with two raised bands, ruled and lettered in gilt, marbled endpapers. Spine ends expertly and almost invisibly repaired. An excellent example with very large margins of this very rare suite. "This series of bitter satirical prints against the grand radical of the day are parodies on the autobiographical sketch in his own Register, published during this year. They need little further explanation than that given in the inscriptions beneath each plate, the first of which represents the pretended amusements of his childhood." (Wright & Evans, pp. 350-352). James Gillray (1756 or 1757 - 1815), was a British caricaturist and printmaker famous for his etched political and social satires, mainly published between 1792 and 1810. The name of Gillray's publisher and print seller, Miss Hannah Humphrey is inextricably associated with that of the caricaturist. Gillray lived with Miss (often called Mrs) Humphrey during the entire period of his fame. It is believed that he several times thought of marrying her, and that on one occasion the pair were on their way to the church, when Gillray said: "This is a foolish affair, methinks, Miss Humphrey. We live very comfortably together; we had better let well alone." Gillray has been called the father of the political cartoon, with his satirical works calling the king, prime ministers and generals to account. Regarded as being one of the two most influential cartoonists, the other being William Hogarth, Gillray's wit and humour, knowledge of life, fertility of resource, keen sense of the ludicrous, and beauty of execution, at once gave him the first place among caricaturists. "For Gillray, as for any perceptive humorist, comedy and tragedy were the opposite sides of the same coin. In his eyes, human experience seems to resolve itself into a grim sort of carnival roller-coaster on which trial is inevitably followed by error and aspiration necessarily results in disillusion" (Hill, Mr. Gillray The Caricacurist, p. 136). "Gillray was the first professional caricaturist in this country..forceful design..His work hit very hard..Although much of his work dates from before 1800, a group of marvelous caricatures appeared in the early 1800s..Gillray's last work was engraved in 1811 shortly before he became insane" (Houfe, p. 317-18). "William Cobbett (1763-1835) was an English radical pamphleteer, journalist, politician, and farmer born in Farnham, Surrey. He was one of an agrarian faction seeking to reform Parliament, abolish "rotten boroughs", restrain foreign activity, and raise wages, with the goal of easing poverty among farm laborers and small land holders. Cobbett backed lower taxes, saving, reversing commons enclosures and returning to the gold standard. He opposed borough-mongers, sinecurists, bureaucratic "tax-eaters" and stockbrokers. His radicalism furthered the Reform Act 1832 and gained him one of two newly created seats in Parliament for the borough of Oldham. His polemics range from political reform to religion, including Catholic emancipation. His best known book is Rural Rides, London, 1830. He argued against Malthusianism, saying economic betterment could support global population growth." (Wikipedia). BM Satires 11372-11379; Bobins V, 1614; Wright & Evans pp. 350-352. .

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Book number: 05693

Catalogue: Color-Plate Books

Keywords: Caricatures English History Politics

GRANDVILLE, J.J. (pseud. of Jean-Ignace-Isidore Gerard); DELORD, Taxile

Les Fleurs Animées

Paris: Gabriel De Gonet, Éditeur, 1847. Grandville's Favorite Work "Poetic and Gracious Originality, Dexterity of Mind and Observation" [GRANDVILLE, J.J. illustrator]. DELORD, Taxile. Les Fleurs Animées. Introductions Par Alph. Karr, Texte Par Taxile Delord Première Partie [&] Deuxième Partie. Paris: Gabriel De Gonet, Éditeur, [no date but 1847]. First edition, second issue, with discontinued pagination in vol. II and with the frontispieces signed "E. de Soye, à Paris". Two large octavo volumes bound in one (10 x 6 3/4 inches; 254 x 172 mm.). [ii], blank], [iii-v], 6-260, [2, table des matières]; [iv], [i]-iv, [1]-102,[105]-166, [2 table des matières, verso blank], [i]-iv, [169]-234, [2, table des matières, verso blank] pp. Added hand-colored wood-engraved title in each volume, fifty hand-colored wood-engraved plates by Geoffroy after Grandville, and two unsigned engraved botanical plates. All plates with original tissue-guards. The final sections are "Botanique des dames," which includes two botanical plates illustrating the physiology of plants, "Horticulture des dames," and "Culture des fleurs." Publishers full dark brown morocco over beveled boards, covers elaborately stamped in gilt. Spine with five shallow raised bands, elaborately decorated and lettered in gilt in compartments, gilt baord edges, pale gray endpapers, all edges gilt. Some light foxing to text pages only. An excellent example of Grandville's favorite work. "After Un autre monde the fifty-two colored engravings of Les fleurs animées are the chief example of Grandville's effort to penetrate to the meaning of objects like an ‘intellectual miner' (preface to Les étoiles, p. xi), even though only fifteen of the designs are entirely from his hand (Bouchot, p. 58). Though the images in the book are of Grandville's time, his manner of proceeding is that of an artist of the modern movement, exploring the same subject through a sequence of slight but significant variations. Most of the plates show an elegant lady in a garden, her dress covered with an extraordinary pattern of flowers. She is sometimes accompanied by respectful creatures, animals and insects, even fish and reptiles. As the series nears its end there are more elaborate scenes of flower-ladies in groups. A little world is created, governed by its own laws, which was full of significance to Grandville and hence becomes so to the reader as well. His first biographer wrote in the preface to Les étoiles (pp. xiii-ix): ‘The Fleurs animées are the very thought of Grandville; they were his favorite work, the work into the execution of which he put all that was in him of poetic and gracious originality, of dexterity of mind and observation, of that prodigious perspicacity which made him divine affinities hitherto unperceived by anyone and discover new worlds'" (Ray, The Art of the French Illustrated Book). Ray, The Art of the French Illustrated Book, 198. Vicaire III, cols. 133-134. .

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Book number: 05519

Catalogue: Color-Plate Books

Keywords: DELORD, Taxile Books in French Gardening

GRANDVILLE, J.J. (pseud. of Jean-Ignace-Isidore Gerard)

Les Métamorphoses Du Jour

Paris: Gustave Havard, 1854. Grandville's Beast-Headed People [GRANDVILLE, J.J. illustrator]. Les Métamorphoses du jour. Accompagnées d'un texte par MM. Albéric Second, Louis Lurine, Clément Caraguel, Taxile Delord, H. de Beaulieu, Louis Huart, Charles Monselet, Julien Lemer. Précédées d'une notice sur Grandville par M. Charles Blanc. Paris: Gustave Havard, 1854.  First edition to include the text by Second and others. Octavo (10 7/6 x 6 5/8 inches; 265 x 168 mm.). [4], xxviii, 283, [1, blank] pp. Seventy hand-colored wood-engraved plates by Mouard, Sotain, and others after the drawings by Grandville. Contemporary quarter red hard-grain morocco over marbled boards. Smooth spine decoratively tooled and lettered in gilt, sprinkled edges, marbled endpapers. Preliminary leaves and text with light to moderate foxing. The superb hand-colored plates fresh and clean with just a few scattered marginal spots. Aside from the foxing to the text this is really good copy with wonderful coloring of the most famous work by this master of "bitter burlesque" (Ray, p. 198). These famous drawings of beast-headed people, "which established Grandville's early style of bitter burlesque" (Ray, p. 198), first appeared in an album of hand-colored lithographs printed by Langlumé in 1829 (and reprinted in 1836). This 1854 edition is the first to include the accompanying text. "Lust, gluttony, anger, and the other deadly sins are stigmatized, now with the blow of a hammer, now with the thrust of a stiletto; while the foibles and humors of mankind also receive due attention. Throughout the series Grandville's choice of beast-heads is inspired; and the force of his conceptions and the wit of his captions rarely falter" (Ray, p. 198). Ray, The Art of the French Illustrated Book, 132 (describing the 1829 edition). Vicaire, V, cols. 783-787. .

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Book number: 04848

Catalogue: Color-Plate Books

Keywords: Books in French Caricatures Fantasy Literature French Caricature

GREEVEN, Hendrik

Collection Des Costumes Des Provinces Septentrionales Du Royaume Des Pays-Bas

Amsterdam & Paris: Frans Buffa & Chez Engelmann et Cie. 1828. The Costumes of the Netherlands in Twenty Vividly Hand-Colored Lithographed Plates [GREEVEN, H. illustrator]. Collection des Costumes des Provinces Septentrionales du Royaume des Pays-Bas, Dessinés d'après Nature par H. Greeven et lithographiés par Vallon de Villeneuve. Amsterdam: Chez François Buffa et fils [and] Paris: Chez Engelmann et Cie. 1828 [i.e. 1829]. First edition. Folio (13 5/8 x 10 1/8 inches; 346 x 257 mm.). Lithographed title in French and Dutch, lithographed list of plates in Dutch and French, Preface (dated 1829) in French and English by François Buffa et fils. [48] pp. Twenty fine hand-colored lithographed plates of costumes of the Netherlands by Vallon de Villeneuve after drawings by H. Greeven. Each plate with leaf of descriptive text in French and English and original tissue guard. The last page of text with light staining to the blank fore-margin only. Otherwise a near fine copy - the hand colored plates bright and fresh. Later three-quarter black morocco over marbled boards, spine with five raised bands lettered in gilt in compartments, green marbled endpapers, board edges slightly rubbed, otherwise fine. These colorful plates depict men, women, and children from all classes and walks of life in native costumes. The informative text for each plate gives details about the country, cities, and villages, and culture of the people, as well as their habits and modes of dress. Bobins II, 419; Colas 1311; Hiler, p. 395; Lipperheide 960. The Plates: 1. Paysan et Paysanne de l'Isle de Walcheren, Province de Zeeland. Peasant and Peasant Woman from the Isle of Walcheren, Province of Zeeland. 2. Jeunes demoiselles de la Frise et de Groningue. Young ladies from Friesland and Groningen. 3. Paysan et Paysanne de la Frise, aux environs de Leeuwarden. Peasant and Peasant Woman from Friesland, around Leeuwarden. 4. Une servante d'Amsterdam et une laitiére des environs. A servant from Amsterdam and a milkmaid from the neighborhood. 5. Une Paysanne avec son enfanct, et une jeune fille de Assendelf, de la nord Hollande. A Peasant Woman with her Child, and a Young Girl from Assendelf, North Holland. 6. Femme mariée et un e jeune fille de Hinloopen, province de Frise. Married woman and a young daughter from Hinloopen, province of Friesland. 7. Pêcheur et sa fille de l'isle de Schokland, dans le Zuiderzee. Fisherman and his daughter from the island of Schokland, in the Zuiderzee. 8. Femme et fille de la communauté des frères Moraves à Zeist près d'Utrecht. Woman and daughter of the Moravian Brethren community in Zeist near Utrecht. 9. Femme mariée, une fianciée et un jeune garçon de l'isle de Marken dans le Zuiderzee. Married woman, a fiancée and a young boy from the island of Marken in the Zuiderzee. 10. Une Dame d'Alkmaar et une jeune fille de Zaandam. A Lady from Alkmaar and a young girl from Zaandam. 11. Paysan et Paysanne de l'Isle de Schounen allant au marché. Peasant and Peasant Woman from the Isle of Schounen going to the market. 12. Laitiére et Servante de Nimègue, Province de Gueldre. Milkmaid and Servant from Nijmegen, Province of Gelderland. 13. Pêcheur de Scheveningue et sa femme. Fisherman from Scheveningen and his wife. 14. Deux Pleureurs d'Amsterdam. Two Mourners from Amsterdam. 15. Paysan et Paysanne de l'Isle de Luid-Beveland. Peasant and Peasant Woman of the Isle of Luid-Beveland. 16. Paysan et Paysanne des environs de Parmerend en Nord Hollande. Peasant and Peasant Woman from around Parmerend in North Holland. 17. Jeune Paysan et Villageoise des environs de Bois le Duc, allant au marché. Young Peasant and Village Woman from around Bois le Duc, going to the market. 18. Paysan et Pasanne des environs de Leyde. Peasant and Peasant Woman from around Leyden. 19. Une Poissarde d'Amsterdam et une servante. A Fishwoman from Amsterdam and a servant. 20. Orphelines Luthérienne, Catholique et Réformée. Lutheran, Catholic and Reformed orphans. .

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Book number: 05426

Catalogue: Color-Plate Books

Keywords: Books in French Color-Plate Books Books in French Caricatures Costume Books in Dutch

HASSELL, John

Picturesque Rides and Walks

London: Printed for J. Hassell.. 1817. Large-Paper Copy With 120 "Charmingly Composed " Hand-Colored Aquatint Plates HASSELL, J[ohn]. Picturesque Rides and Walks, with Excursions by Water, Thirty Miles round the British Metropolis; Illustrated in a Series of Engravings, Coloured after Nature: with an Historical and Topographical Description of the Country within the Compass of that Circle. London: Printed for J. Hassell.. Islington; and sold by all Booksellers, 1817-1818. First edition. Large paper copy. Two octavo volumes (8 3/8 x 5 1/4 inches; 213 x 134 mm.). [iii]-viii, 249, [1, blank], [2, "Directions for Placing the Cuts"], [8, index]; [2], 272, [9, index], [1, blank], [2, "Directions for Placing the Cuts"] pp. Bound without the half-titles, as usual. With 120 hand-colored aquatint plates. Bound ca. 1817 in half dark green roan, ruled in gilt, over drab boards. Smooth spines decoratively tooled and lettered in gilt, with the gilt cipher of the Earl of Essex surmounted by a coronet at head of spine. Marbled edges and endpapers. Some scattered light foxing and occasional offsetting from the plates. Pencilled note on the verso of the front free endpaper of Volume I: From the library of the Earl of Essex. Bookplate of John H. Baker on front pastedown of each volume. A wonderful example of the large-paper issue. Originally issued in twenty-four parts, May 1816-May 1818. "In 1817 was published [Hassell's] Picturesque Rides and Walks..round the British Metropolis, two dumpy volumes in small octavo. These are copiously illustrated by a hundred and twenty views, which, though small, are charmingly composed and tinted, and make an interesting record of the topography of London and its suburbs in the early part of last century, when Paddington and Kensington were still rural villages. The sixty plates of the first volume are all drawn and engraved by Hassell; in the second volume the majority are by D. Havell after Hassell" (Martin Hardie). Abbey, Scenery, 218. Martin Hardie, p. 140. Tooley 251. .

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Book number: 00638

Catalogue: Color-Plate Books

Keywords: Color-Plate Books English History Topography Views

HASSELL, John

Tour of the Grand Junction

London: Printed for J. Hassell.. 1819. A Rare Large-Paper Copy In the Original Drab Boards Twenty-Four Hand-Colored Aquatint Plates HASSELL, J[ohn]. Tour of the Grand Junction, Illustrated in a Series of Engravings; with an Historical and Topographical Description of Those Parts of the Counties of Middlesex, Hertfordshire, Buckinghamshire, Bedfordshire, and Northamptonshire, Through Which the Canal Passes. London: Printed for J. Hassell..Islington; And sold by all Booksellers, 1819. First edition. Large paper copy. Octavo (8 7/8 x 5 1/2 inches; 225 x 138 mm.). viii, 147, [1, blank], [3, index], [1, "Directions for Placing the Cuts"] pp. With twenty-four hand-colored aquatint plates by J. Hassell. Dates not visible on the plate watermarks. Uncut, in the original drab boards, expertly rebacked to style at an early date. Front cover with the original printed paper label. Bookplate of John H. Baker on front pastedown. Some minor offsetting from a few plates to the facing text otherwise a very fine and large uncut copy. The Grand Junction Canal was designed to facilitate water transport from Oxford Canal to London, in place of the uncertain Thames River. The canal was opened in 1800 and pretty well completed in 1805, and its 93 miles of waterway, with two long tunnels, did greatly improve cargo shipping. It is now, like all the canals of England, used almost entirely for pleasure cruising. "The Tour of the Grand Junction, an octavo volume with twenty-four aquatints drawn, and probably engraved, by Hassell, appeared in 1819.. Canals at this period were the great highways of commerce, and the shares of the Grand Junction, opened as far as Uxbridge in 1801, had risen in 1818 from their original price of £100 to £250. Shortly before the publication of this book it had been the vogue for London Society to visit Uxbridge on barges drawn by horses gaily decked with ribbons" (Martin Hardie). In 1877, Charles Kingsley suggested that urbanites should go into the countryside as a desirable escape from the city, but in 1819, the artist John Hassell (1767-1825) had already suggested in his Tour of the Grand Junction that his readers could observe some excellent scenery when they escaped from ‘the populous town' and the ‘busy hum of men', and traveled through the countryside by boat. Hassell, who published fifteen engraving of the canal, explains: "The Grand Junction or Braunston Canal is so peculiarly distinguished, that truly it may be said, from its junction with the Thames to its termination at Braunston, to be an almost perpetual succession of variegated beauty, shaping its devious course through some of the richest vallies of Middlesex, Hertfordshire, Buckinghamshire and Northamptonshire, accompanied by a redundance of the most luxuriant scenery, and lined on its sides with a succession of rising eminences. It gradually ascends from the bed of the Thames by the means of its locks, the entire way to Marsworth, a distance of nearly forty miles, by the banks of the canal" (page 4). John Hassell (c. 1767 - 1825) was an English watercolor landscape painter, engraver, illustrator, writer, publisher and drawing-master. He drew many views of local scenery, which he engraved himself in aquatint, most of them colored. They were published in various topographical works. He also had a large practice as a drawing-master, and published some books on water-color painting and drawing. Abbey, Scenery, 30; Martin Hardie, pp. 140-141; Tooley 252. .

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Book number: 00637

Catalogue: Color-Plate Books

Keywords: Color-Plate Books Topography English History Topography Views

HEATH, Henry

Heath's Oddities

London: W.Spooner, 1830. A Most Delightful Group of Characters by Henry Heath HEATH, Henry, illustrator. Heath's Oddities. London: W. Spooner, [c.1830]. Large quarto (11 3/4 x 9 1/4 inches; 298 x 235 mm.). Hand colored lithograph title and twenty-two numbered hand colored lithograph plates, all with head-title "Heath's Oddities." Six plates signed "HH" and two other plates with "H.H. Delt." Extra-illustrated with three original watercolors for plates 14, 32 and 35 (facing plates on an inserted leaf, each with a manuscript caption). Bound by Rivière and Son, ca. 1910. Full olive green morocco, covers ruled in gilt, spine ruled and lettered in gilt in compartments, gilt ruled board edges and decorative gilt turn-ins, marbled endpapers, top edge gilt. Housed in a fleece-lined brown cloth slipcase. Expertly and almost invisibly rebacked with the original spine laid down. The Schwerdt copy of this scarce series with three of the original watercolors by Henry Heath added at a later date most probably by Joel Spitz. The satirical plates depict both social and sporting scenes. Schwerdt had another example under the the title "Toast & Oddities" which had thirty-eight plates + Toast & Sentiments (seven plates) making a total of forty-five plates. "Although the title here differs from that of Heath's "Oddities," 38 plates included in both publications are identical. In the present issue, however, there are seven additional plates of "Toasts & Sentiments." (Schwerdt I, pp. 236/237). The title Heath's Oddities appears to be a generic one. Over the past fifty-five years we have now handled three examples: The first one in 1998 contained twenty-four hand colored lithographs; the second in 2018 contained sixty-eight hand colored lithographs by Henry & William Heath; and now the Schwerdt/Spitz copy with thirty-eight hand colored lithographs. We have checked the present copy against the one we sold in 2018 and whilst a few of the plates are the same, the vast majority are different. This of course contradicts what Schwerdt said. Whatever the case, these are exceptionally rare hand colored lithograph caricatures. We believe that they were never published as book but collected sometime after the 1820s and 1830s and then later assembled into these fantastic albums. An amusing and exceedingly rare group of caricatures by Henry Heath depicting mainly humorous sporting scenes. Heath "did imitation caricatures in the style of John Doyle 'HB' signed 'HH' for Messrs. Fores, 1831 and etched vignettes in the style of Cruikshank and lithographs in the style of Seymore from 1834. He was employed to make political caricatures by Spooner, the publisher and his work was collected and published by Charles Tilt" (Houfe, The Dictionary of British Book Illustrators and Caricaturists 1800-1914, p. 337). OCLC/KVK locates just one example in libraries and institutions worldwide: Harvard University (MA, US). The Victoria & Albert Museum in London have just twelve of the thirty-eight plates. Provenance: C.F.G.R. Schwerdt (bookplate; Sotheby's London, 10th July 1939, lot 1515) and Joel Spitz (bookplate; Christie's, 27th May 2015, lot 59 - £4,000) Bobins IV, 1340; Schwerdt I, 236 (before the addition of the three original watercolor drawings). The Plates: 1. Vy if it aint a regler Preserve!! 2. This warm shower vill set em a biting!! 3. May the present moment be the worst of our lives! 4. Hanged if I arnt leaving every thing behind! 5. We shall certainly bring down something directly. 6. Egad! I'm afeard I've shot Phillpot. 7. Well Jack, do they bite? I b'lieve yer, and plaguy sharp too, Zur!! 8. You aint seen a little bit of a Pig, have yer Gentlemen? Pig? No! Do you take us for a couple of Pig stealers, good homan? 9. THE FIRST OF SEPTEMBER NO.1. The Turn out in the Morning. I say, Filkins, that's as right as a trivit - aint it? 10. THE FIRST OF SEPTEMBER NO.2. Only a trifling Mistake. My good feller, we took you for one o' them things as frightens the Birds! 11. THE FIRST OF SEPTEMBER NO.3. Filkins losing his feit but not his Feeling! Gad, Filkins, I should have hit him that time if your Head had not been in the way. 12. THE FIRST OF SEPTEMBER NO.4. The Sportsmen's return. How is your head, Filkins, vill yer have a bit o' Turnip? 13. Relief again! Why you had two shillings the week afore last! Your a regler Himposter I'll give yer a Ticket to break stones! 14. We've threatened to come and dine with you a long time, and here We are at last. 15. I say, Sam, is Crows good eating? Good eating! Why they're beautiful with sage & onion! 16. My good feller I've come down to have a week's regler Peasant Shooting! Lord Zur you beant in arnest surely! 17. Here's a pretty go! My friend Hitchin blow'd away and taken my shot belt with him! 18. Stand fast, Higginbottom, we shall have rare sport directly! 19. Jack how can I get to Cover? Why Zir, I doant know yaw mought come in here only the Sow be got Young uns. 20. Spring Guns! The Deuce! Then I shant go over. 21. Tally-Ho! Eh? I shall Cut it I wonder how the devil they knew I was a Tally Man? 22. I beg your pardon Zir but you be'nt seen my Feythur ha'ye? Your Father Lord a mercy upon me No!!! 23. Vot is that you Mister Sykes? Vell you does it up pretty midfinish I must say!!! Vy our perfession is werry dull so I'm agoing to take a bit of a Untin Tower. 24. Drunk? Vell every Body must get drunk now according to Hact o'Parliament!! 25. My good Lady vos your'n a game un? Cos this aint. 26. My good Fellow how are we to get out o' this. We what be there more than one o'yer? 27. I thought they wouldn't Dare to come out while I was here!! 28. Vot Old Stump's gone at last? They say as how he died insolwent! I'll lay yer a Pot he didn't - for he died over at Charlie Mags's in - Vestminster! 29. I say my Lad where do they let out Jack Asses? Why where you lodges to be sure! 30. O! Steward! I've been so precious sick! Have you Sir? Can I bring anything up for you? Oh! Don't mention it!! 31. Well, I must say, Marm, that's wery perlite! I see as how you don't stand on trifles! 32. I say, Bates, what's Physiognomy? "Physiognomy" - why if you look at a person's.. 33. As I'm a hindependent Helector, I means to give my Wote according to conscience, and him as Tips most! 34. Neighbour Scrap'em wots the defference ‘tween a Whig and a Tory? Between a Whig and a Tory? Let me see, Why just as much as between a Tory and a Whig! 35. Vy Mister Nibs ye'r never comes amongst us now at the old shop! Cos I goes to our Diwan now, regler, every Night!! 36. ‘Stitchem, do you take Coffee with yr Cigar? Eh? - Oh! - No! Iced Rose Water! 37. Let's have half a Quarten o' Champagne! 38. Please Missis Skinflint, Mother says will you give her change for Sixpence and she will send you the sixpence next week?.

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05682

Catalogue: Color-Plate Books

Keywords: Caricatures Sports