CHAM (pseudonym of Amédée de Noé)

Må“Urs Britanniques

Paris: Chez Aubert & Cie. 1850. Fifteen Hand-Colored Lithographed Plates Caricaturing the British [CHAM, illustrator]. MÅ“urs Britanniques. Paris: Chez Aubert & Cie. [n.d. ca. 1850]. Large folio (12 7/8 x 9 5/8 inches; 327 x 244 mm.). Hand-colored lithographed title and fifteen numbered hand-colored lithographed plates, heightened with gum arabic. Publisher's advertisement leaf at end. Small neat (1 1/8 inch) repair to top margin of plate 12 (not affecting image), some minor and mainly marginal scattered foxing, otherwise an excellent example. Contemporary quarter dark brown ribbed cloth over marbled boards. Some wear to corners and edges of boards. The plates are captioned: "Une femme bien attachée;" "Le Quaker;" "Le Recruteur;" "Visite au Musée;" "Mariage d'inclination;" "Les Hauts grades;" "Philanthropie. Bien entendue," "Les Boxeurs;" "L'Écossais;" "Un Costume national;" "Baragouin Britannique;" "In the Stocks;" "Le Péage du turn-pike;" "L'Invalide de Chelsea;" and "Smithfied Market." Of Amédée de Noé, "known as Cham (that is, Ham, the son of Noah)..it was said that he had ‘an idea a day' for Le charivari. A good proportion of his thousands of lithographs were gathered into albums. His contributions to the Album du siège (173), in which Daumier was his collaborator, are typical of his work" (Ray, The Art of the French Illustrated Book, pp. 155-156). .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05311

Catalogue: Color-Plate Books

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

CHAM (pseudonym of Amédée de Noé)

Nos Gentils Hommes a Gout

Paris: Chez Aubert & Cie., [1846]. The Pleasures of Youth.. Young Parisian Gentlemen At Play CHAM (pseudonym of Amédée de Noé). Nos Gentils Hommes a Gout. Tournure, Elégance, Moeurs et Plaisirs de la Jeunesse Dorée. Par Cham Paris: Chez Aubert & Cie. n.d. [1846]. First (only) edition, complete. Folio (13 1/4 x 9 7/8 inches; 336 x 250 mm.). Hand-colored lithographed title page and twenty hand-colored lithographed plates. Pictorial lithographed advertisement and Aubert et Cie. catalogue (16 pp.) at rear. Original pictorial lithographed green boards. Later dark green pebbled cloth spine and endpapers. Board edges and corners a little rubbed, some light, mainly marginal foxing. Small repaired tear to outer margin of lithographed advertisement leaf. An excellent example. With the bookplate of Joel Spitz on front paste-down. Provenance: purchased in Paris, 1947. Rare, with OCLC recording only six copies in institutional holdings worldwide, and no auction records since 1923. We have only seen one other copy of this title. A satire of the bustle, behavior, customs, and pleasures of young, Parisian gentlemen - golden youth. Of Amédée de Noé, "known as Cham (that is, Ham, the son of Noah)..it was said that he had ‘an idea a day' for Le charivari. A good proportion of his thousands of lithographs were gathered into albums. His contributions to the Album du siège (173), in which Daumier was his collaborator, are typical of his work" (Ray, pp. 155-156). The Plates: 1. Ne vous effrayez pas! 2. Un objet de prix pour ne rien prendre 3. Fol de carrossier. 4. Un maitre dans une peau de domestique. 5. Des gages fabuleux. 6. Ton vicomte est un cuistre! 7. Pauvre créancier! 8. L'ami de coeur. 9. Tiens! C'est le m'sieu du château! 10. Palsambleu quél bon petit chic!! 11. L'etat d'heritier a bien ses charges! 12. Monsieur le baron après souper. 13. Prenez y garde, John! 14. Un ci-devant. 15. Tachez donc de faire aller mes cheveux! 16, Le tir des pigeons. 17. Oh he! Ce cavalier! Ohe! 18. Bravo Marquis! Tu arrives le premier. 19. Dieu! La belle chasse. 20. Au diable les préjugés!.

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 03321

Catalogue: Color-Plate Books

Keywords: Books in French Caricatures French Caricature

CHAM (pseudonym of Amédée de Noé)

Nos Gentils Hommes a Gout

Paris: Chez Aubert & Cie., 1846. The Pleasures of Youth.. Young Parisian Gentlemen At Play CHAM (pseudonym of Amédée de Noé). Nos Gentils Hommes a Gout. Tournure, Elégance, Moeurs et Plaisirs de la Jeunesse Dorée. Par Cham Paris: Chez Aubert & Cie. n.d. [1846]. First (only) edition, complete. Folio (13 x 9 5/8 inches; 330 x 245 mm.). Hand-colored lithographed title page and twenty hand-colored lithographed plates, all heightened with gum arabic. Original pictorial lithographed green boards. Minimal rubbing to board edges and corners, near fine. Rare, with OCLC recording only six copies in institutional holdings worldwide, and only one auction record since 1923. We have only seen one other copy of this title. A satire of the bustle, behavior, customs, and pleasures of young, Parisian gentlemen - golden youth. Of Amédée de Noé, "known as Cham (that is, Ham, the son of Noah)..it was said that he had ‘an idea a day' for Le charivari. A good proportion of his thousands of lithographs were gathered into albums. His contributions to the Album du siège (173), in which Daumier was his collaborator, are typical of his work" (Ray, pp. 155-156). The Plates: 1. Ne vous effrayez pas! 2. Un objet de prix pour ne rien prendre 3. Fol de carrossier. 4. Un maitre dans une peau de domestique. 5. Des gages fabuleux. 6. Ton vicomte est un cuistre! 7. Pauvre créancier! 8. L'ami de coeur. 9. Tiens! C'est le m'sieu du château! 10. Palsambleu quél bon petit chic!! 11. L'etat d'heritier a bien ses charges! 12. Monsieur le baron après souper. 13. Prenez y garde, John! 14. Un ci-devant. 15. Tachez donc de faire aller mes cheveux! 16, Le tir des pigeons. 17. Oh he! Ce cavalier! Ohe! 18. Bravo Marquis! Tu arrives le premier. 19. Dieu! La belle chasse. 20. Au diable les préjugés!.

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05327

Catalogue: Color-Plate Books

Keywords: Books in French Caricatures French Caricature

CHAM (pseudonym of Amédée de Noé)

Souvenirs de Garnison Et Des Plaisirs Attachés a la Chose

Paris: Chez Aubert & Cie. 1850. Amusing Memories from a French Military Post.. With Thirty Finely Hand-Colored Comical Scenes.. [CHAM, illustrator, pseud. of Charles Amédée de Noé]. Souvenirs de Garnison et des plaisirs attachés a la chose. Paris: Chez Aubert, n.d. [ca. 1850]. First edition. Large oblong quarto (10 1/8 x 12 7/8 inches; 258 x 327 mm). Pictorial lithographed title and thirty fine comical hand-colored lithographed plates all heightened with gum arabic. Each plate with printed caption below. Publisher's tan lithographed boards. Rebacked to style. Boards a little soiled, corners and extremities a little worn, inner hinges strengthened. Some occasional light and mainly marginal foxing, still an excellent copy of this extremely rare Cham title. A highly amusing collection of lithographs by Cham.. his comic view of the French military. Although this title is sometimes seen with the plates uncolored - this hand colored edition is somewhat scarce - we have only handled one other colored copy over the past fifty years (2011). CHAM (pseudonym of Amédée de Noé) (1818-1879). French caricaturist and lithographer, published his first book Monsieur Lajeunesse in 1839 and from 1843 began to be regularly published in illustrated magazines such as Le Charivari (which in 1835 focused primarily on publishing satires of everyday life), thereafter becoming one of the most popular of French caricaturists through entertaining storybooks such as this work which satirized 'jokes in poor taste.' Several artists "followed in the wake of Daumier and Gavarni. Among the most attractive of the former is Amédéé de Noé, "known as Cham (that is, Ham, the son of Noah)..it was said that he had ‘an idea a day' for Le charivari. A good proportion of his thousands of lithographs were gathered into albums. His contributions to the Album du siège (173), in which Daumier was his collaborator, are typical of his work" (Ray, pp. 155-156). Cham had contacts with English artists, many of whom had trained on the Continent, most in company with English artist and follower of the pioneering German lithographer Alois Senefelder. The Plates: 1. L'Infanterie à Cheval 2. De la Coupe. 3. La Thèorie. 4. En V'la du Grueau! 5. Cas non prévu par la loi. 6. C'est pas amusant la Guerre. 7. Merci de la Préférence! 8. Heureux Conscrit! 9. Le Pansage. 10. Ah ça pekin, tu n'as donc jamais vu deux troupiers.. 11. Non mon colonel la musique ne marche pas trop.. 12. Coupe à 10 centimes, frisure gratis. 13. Monsieur le Vicomte. 14. Qué Bétise! 15. Petit Inconvenient de la Salle de Police. 16. Oui, j'ai quitté le Service. 17. Cap'taine! 18. Ce qui prouve la nécessité de L'Etude. 19. Quel artifice!.. 20. Réformes dans l'uniforme. 21. Le pas gymnastique. 22. Il faut consoler les malades. 23. Quel amour de bonnet!.. 24. Inspection de Cavalerie. 25. Gueux D'Arabes! 26. En V'la des Inventions. 27. M'est avis, Jean Piarre, que ce beau Monchieu qu'tire le village.. 28. Pacot, le pot-aux-roses est decouvert.. 29. Je fus hier à l'opera.. Fus-tu content? 30. Y ne savent quoi inventer pour nous époumonner!.

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05373

Catalogue: Color-Plate Books

Keywords: Books in French Color-Plate Books Caricatures Books in French Caricatures Naval and Military French Caricature

CHAM (pseudonym of Amédée de Noé)

Les Toqués Du Jour

Paris: Arnauld De Vresse, 1850. Exceedingly Scarce Highly Amusing Hand-Colored Caricatures Showing "The Crazy's of the Day" [CHAM, illustrator, pseud. of Charles Amédée de Noé]. Les Toqués Du Jour. Paris: Arnauld De Vresse, [n.d. ca. 1847]. First edition. Large folio (13 3/4 x 10 5/16 inches; 349 x 261 mm.). Hand-colored lithographed title and thirty-six comical scenes on eighteen fine hand-colored lithographed plates heightened with gum arabic. Each scene with printed caption below. Publisher's brown ribbed cloth, bordered in blind, front cover lettered in gilt. Expertly rebacked to style at an early date. Inner hinges cracked but sound, corners very slightly rubbed. A near fine copy of this exceedingly scarce album. A highly amusing collection of lithographs by Cham (1819-1879) satirizing the varieties of Les Toqués Du Jour (The Crazy's of the Day). Of Charles Amédée de Noé, "known as Cham (that is, Ham, the son of Noah)..it was said that he had ‘an idea a day' for Le charivari. A good proportion of his thousands of lithographs were gathered into albums. His contributions to the Album du siège (173), in which Daumier was his collaborator, are typical of his work" (Ray, The Art of the French Illustrated Book, pp. 155-156). Exceedingly scarce. No copies found in WorldCat or KVK, and apparently no copies have appeared at auction, certainly during the past thirty-five years. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 04212

Catalogue: Color-Plate Books

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

CHAM (pseudonym of Amédée de Noé)

Turlupinades Contrariétés Et Autres Amusemens Négatifs

Paris: Chez Aubert & Cie. 1850. Jokes in Poor Taste CHAM (pseudonym of Amédée de Noé). Turlupinades Contrariétés et Autres Amusemens Négatifs [Jokes in Poor Taste], Par Cham. Paris: Chez Aubert & Cie. [ca. 1850]. First edition. Folio (13 1/4 x 9 7/8 inches; 337 x 251 mm.). Hand-colored lithographed title and fifteen full-page, hand-colored lithographed plates with captions. Advertisement leaf at end (Maison de Commission. Des Modes Parisiennes). Publisher's pictorial glazed green boards, lower portion of spine renewed, inner front hinge cracked, some light wear to corners. An excellent copy. OCLC locates just four copies worldwide: Morgan Library & Museum; New York Public Library; Getty Institute; University of Illinois. CHAM (pseudonym of Amédée de Noé) (1818-1879). French caricaturist and lithographer, published his first book Monsieur Lajeunesse in 1839 and from 1843 began to be regularly published in illustrated magazines such as Le Charivari (which in 1835 focused primarily on publishing satires of everyday life), thereafter becoming one of the most popular of French caricaturists through entertaining storybooks such as this work which satirized 'jokes in poor taste.' Several artists "followed in the wake of Daumier and Gavarni. Among the most attractive of the former is Amédéé de Noé, "known as Cham (that is, Ham, the son of Noah)..it was said that he had ‘an idea a day' for Le charivari. A good proportion of his thousands of lithographs were gathered into albums. His contributions to the Album du siège (173), in which Daumier was his collaborator, are typical of his work" (Ray, pp. 155-156). Cham had contacts with English artists, many of whom had trained on the Continent, most in company with English artist and follower of the pioneering German lithographer Alois Senefelder. The Plates: 1. Tout ça c'est bel et bon! It's all well and good! 2. L'éducation es tune bonne chose! Education is a good thing! 3. Hardi! Conscrit, la patrie a les yeux sur toi!.. Daring! Conscript, the fatherland has its eyes on you!.. 4. Je veux que mon fils ait un prix! I want my son to have a prize! 5. Mes papiers?..mes papiers! My papers?..my papers! 6. Tiens, tiens, elle était pressée, c'tte lettre? Well, well, she was in a hurry, that letter? 7. De de quoi?..de de quoi!.. From what?..from what!.. 8. Malheureux! Tu me feras blancher avant l'âge. Unfortunate! You will make me white before my age. 9. Enfin j'en tiens un!.. Finally I got one!.. 10. Non, vous ne vous trompez pas! No, you are not mistaken! 11. Je risqué tout, tant pis pour moi! I risked everything, too bad for me! 12. Ah! Vous êtes ambitieux! Ah! You are ambitious! 13. Qué bonheur, m'ssieu! What happiness, sir! 14. Cré coquin mes chemises neuves.. Naughty creation my new shirts.. 15. Y sont drôles les maitres! The masters are funny there!.

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05330

Catalogue: Color-Plate Books

Keywords: Books in French Caricatures French Caricature

CHAM (pseudonym of Amédée de Noé)

Turlupinades Contrariétés Et Autres Amusemens Négatifs

Paris: Chez Aubert & Cie. 1850. Jokes in Poor Taste CHAM (pseudonym of Amédée de Noé). Turlupinades Contrariétés et Autres Amusemens Négatifs [Jokes in Poor Taste], Par Cham. Paris: Chez Aubert & Cie. [ca. 1850]. First edition. Folio (13 1/4 x 9 7/8 inches; 337 x 251 mm.). Hand-colored lithographed title and fifteen full-page, hand-colored lithographed plates with captions. Advertisement leaf at end (Maison de Commission. Des Modes Parisiennes). Publisher's pictorial glazed green boards. Original? glassine wrapper. A superb example. OCLC locates just four copies worldwide: Morgan Library & Museum; New York Public Library; Getty Institute; University of Illinois. CHAM (pseudonym of Amédée de Noé) (1818-1879). French caricaturist and lithographer, published his first book Monsieur Lajeunesse in 1839 and from 1843 began to be regularly published in illustrated magazines such as Le Charivari (which in 1835 focused primarily on publishing satires of everyday life), thereafter becoming one of the most popular of French caricaturists through entertaining storybooks such as this work which satirized 'jokes in poor taste.' Several artists "followed in the wake of Daumier and Gavarni. Among the most attractive of the former is Amédéé de Noé, "known as Cham (that is, Ham, the son of Noah)..it was said that he had ‘an idea a day' for Le charivari. A good proportion of his thousands of lithographs were gathered into albums. His contributions to the Album du siège (173), in which Daumier was his collaborator, are typical of his work" (Ray, pp. 155-156). Cham had contacts with English artists, many of whom had trained on the Continent, most in company with English artist and follower of the pioneering German lithographer Alois Senefelder. The Plates: 1. Tout ça c'est bel et bon! It's all well and good! 2. L'éducation es tune bonne chose! Education is a good thing! 3. Hardi! Conscrit, la patrie a les yeux sur toi!.. Daring! Conscript, the fatherland has its eyes on you!.. 4. Je veux que mon fils ait un prix! I want my son to have a prize! 5. Mes papiers?..mes papiers! My papers?..my papers! 6. Tiens, tiens, elle était pressée, c'tte lettre? Well, well, she was in a hurry, that letter? 7. De de quoi?..de de quoi!.. From what?..from what!.. 8. Malheureux! Tu me feras blancher avant l'âge. Unfortunate! You will make me white before my age. 9. Enfin j'en tiens un!.. Finally I got one!.. 10. Non, vous ne vous trompez pas! No, you are not mistaken! 11. Je risqué tout, tant pis pour moi! I risked everything, too bad for me! 12. Ah! Vous êtes ambitieux! Ah! You are ambitious! 13. Qué bonheur, m'ssieu! What happiness, sir! 14. Cré coquin mes chemises neuves.. Naughty creation my new shirts.. 15. Y sont drôles les maitres! The masters are funny there!.

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05541

Catalogue: Color-Plate Books

Keywords: Books in French Caricatures French Caricature

ORME, Edward

Historic, Military, and Naval Anecdotes

London: Edward Orme, 1819. A Handsome Volume" In Scarce Earliest Issue, A Scarce Tall Copy ORME, Edward. Historic, Military, and Naval Anecdotes, Of Personal Valour, Bravery, and particular Incidents which occurred to the Armies of Great Britian and her Allies, in the last long-contested War, terminating with the Battle of Waterloo. Under the Patronage of, and Dedicated with Permission to His Royal Highness the Commander in Chief. London: Edited and Published by, and engraved under the direction of Edward Orme, 1819. First Edition, earliest issue with title-page dated 1819 and plates watermarked Whatman 1812 & 1816. Folio (13 3/16 x 10 3/8 in' 335 x 264 mm). [4], 94, [4] pp. Forty hand-colored aquatint plates, chiefly by Dubourg after Atkinson, Manskirsch, Clark, W. Heath, etc. Contemporary full straight-grained dark green morocco with gilt decorated border and inner blind-stamped frame. Smooth spine with gilt decorated compartments and gilt rules and lettering. Gilt-ruled turn-ins. All edges gilt. Expertly and almost invisibly rebacked with original spine laid-down. A fine, clean copy. While well-represented at auction, this appears to be the only copy to come to market within the last forty-five years to possess the earliest recorded watermarks and in tall format with title-page dated 1819. "A handsome volume.. nor could one desire a finer record of heroic deeds" (Prideaux). "There is another issue of the book recognizable by two rules below 'Battle of Waterloo' on the title, and without the date at the foot. According to Tooley the undated issue carries text paged to '98,' and the dated only to page '94.' This is incorrect, all 98 pages being present in complete copies, but it should be noted that pages 95 to 98 are without pagination in the dated issue. "Coupled with the fact that dated copies carry early watermarks and that the undated ones do not, it would appear reasonable to assume that the early state of the book had dated title-page such as the above" (Abbey). Tooley 353; Abbey, Life 376; Prideaux. p. 224 Ogilby, British Military Costume Prints, 683. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 02231

Catalogue: Color-Plate Books

Keywords: Fine Bindings History Naval and Military

ORME, Edward

Historic, Military, and Naval Anecdotes

London: Edward Orme, 1819. First Edition, Earliest Issue "A Handsome Volume" (Prideaux) ORME, Edward. Historic, Military, and Naval Anecdotes, Of Personal Valour, Bravery, and particular Incidents which occurred to the Armies of Great Britian and her Allies, in the last long-contested War, terminating with the Battle of Waterloo. Under the Patronage of, and Dedicated with Permission to His Royal Highness the Commander in Chief. London: Edited and Published by, and engraved under the direction of Edward Orme, 1819. First Edition, earliest issue and complete, with the plates watermarked "Whatman 1812" and "Whatman 1816," and the text watermarked "Whatman 1812. A scarce tall copy of the first issue, lacking rules to title-page and with "1819" at title-page foot. Folio (13 1/2 x 10 1/2 inches; 343 x 267 mm.). [4], 94, [4] pp. Forty hand-colored aquatint plates, chiefly by Dubourg after Atkinson, Manskirsch, J.H. Clark, W. Heath, G. Scharf, Dubourg and Rigaud. Some light offsetting from the plates onto the text, occasional pale, mainly marginal spotting, a little heavier at the end. Contemporary full straight-grained maroon morocco with gilt decorated border and inner blind-stamped frame. Smooth spine with gilt decorated compartments and gilt rules and lettering. Decorative gilt-ruled turn-ins. All edges gilt, yellow coated endpapers. With the bookplate of Joel Spitz on the front paste-down. Lower joint very slightly cracked but firm. A near fine copy. Housed in a fleece-lined red buckram slipcase. Provenance: acquired at Parke-Bernet, 1944. In his address to the reader, Orme describes his patriotic aim as being "to see recorded and embellished by the Fine Arts, those particular exploits of personal valour -- together with their attendant dangers, difficulties, and privations, the surmounting of which has shed a lustre upon the British Name, unexampled in the history of former ages." While well-represented at auction, this appears to be the only copy to come to market within the last thirty-six years to possess the earliest recorded watermarks and in tall format. "A handsome volume.. nor could one desire a finer record of heroic deeds" (Prideaux) "There is another issue of the book recognizable by two rules below 'Battle of Waterloo' on the title, and without the date at the foot. According to Tooley the undated issue carries text paged to '98,' and the dated only to page '94.' This is incorrect, all 98 pages being present in complete copies, but it should be noted that pages 95 to 98 are without pagination in the dated issue. "Coupled with the fact that dated copies carry early watermarks and that the undated ones do not, it would appear reasonable to assume that the early state of the book had dated title-page such as the above" (Abbey). Tooley 353; Abbey, Life 376; Prideaux. p. 224 Ogilby, British Military Costume Prints, 683. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 03342

Catalogue: Color-Plate Books

Keywords: History Naval and Military

PAPWORTH, John Buonarotti

Rural Residences

London: J.Diggens for R. Ackermann, 1818. Papworth's Rural Residences First Edition in the Original Boards Uncut PAPWORTH, John Buonarotti. Rural Residences, Consisting of A Series of Designs for Cottages, Decorated Cottages, Small Villas, and Other Ornamental Buildings, Accompanied by Hints on Situation, Construction, Arrangement and Decoration, In the Theory & Practice of Rural Architecture; Interspersed with Some Observations on Landscape Gardening. London: J.Diggens for R. Ackermann, 1818. First edition. Imperial octavo (11 x 7 1/2 inches; 278 x 192 mm.). viii, [9]-106, [2, index], [1, list of plates], [1, publisher's imprint] pp. Twenty-seven hand colored aquatint plates after Papworth. Text watermarked 1816 & 1817. Original drab boards uncut, neatly rebacked to style, endpapers renewed. Small light stain on pp.26/27, neat early ink signature dated 1822 at top of title-page. A spectacular, fine and fresh copy. Chemised in a later quarter green morocco slipcase, lerttered in gilt on spine. The genesis of this important work is explained in the introduction: "the following designs for rural buildings, accompanied by some practical observations, were presented to the public in the "Repository of Arts," under the title Architectural Hints, during successive months of the years 1816 and 1817. The proprietor of that work having received such applications for the series of designs in a separated form, as induces him to re-publish them; further observations have been added to supply, in part, the many deficiencies which necessarily occurred from so desultory a manner of publication." "A happy by-product of the designs having been published periodically is that they cover a large range of design: from small cottages for estate workers (including a garden, so that the uncultivated mind of the husbandman is kept occupied and out of the local village alehouse), through various cottage orné, a vicarage, a dairy, a fishing lodge, to perhaps the height of luxury: an ice house "calculated for an embellishment to the grounds of a nobleman, and contain[ing] in its plan and section all the requisites to the construction of an ice-well" (p.99). The fine hand colored plates include designs for various buildings including "Steward's Cottage", "A Bailiff's Cottage", "Gothic Cottage", several "Cottage Orné" plates, "A Vicarage House", several "Villas", "A Park Entrance", "A Gothic Conservatory", "A Dairy", "Fishing Lodge", "An Ice House", "Garden Seats", "A Verandah" and "A Domestic Chapel". A second edition was published in 1832. John Buonarotti Papworth (1775-1847) was an architect, artist, and founding member of the Royal Institute of British Architects. He was described by John Summerson as "one of the most versatile architects and decorative artists of the period". He contributed designs to Ackermann's Repository of the Arts for almost twenty years, and published some of his designs for houses as Designs for Rural Residences in 1818. In London, he designed shop fronts (one, for a tea merchant in Ludgate Hill, was in a "Chinese" style) and warehouses, and built or remodeled many villas for middle-class clients in the countryside. At Cheltenham he laid out the Montpellier Estate, and extended the Montpellier Pump Room (1825-26), with a domed rotunda inspired by the Pantheon. He popularized the rustic "cottage ornée" style. Abbey Life 45; Archer 246.2; Brunet IV, 9814; Prideaux p. 347; Martin-Hardie, pp, 112,129, 312; Tooley 359. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 03172

Catalogue: Color-Plate Books

Keywords: Architecture English History

PAUQUET, Jean Louis Charles, illustrator

Jardin Des Plantes: La Ménagerie Et la Vallée Suisse

Paris: Amédée Bédelet, [1857]. Twenty Hand Colored Lithograph Plates Depicting the Species in the Second Oldest Zoological Gardens in the World PAUQUET, Jean Louis Charles, illustrator. Jardin des Plantes: La Ménagerie et la Vallée Suisse. Dessins d'après Nature par Pauquet, Lithographiés par Bocquin. Texte Illustré de 140 Vignettes sur Bois. Paris: Amédée Bédelet, [1857]. First edition. Oblong quarto (9 3/16 x 12 1/4 inches; 234 x 310 mm.). [3]-44 pp. Hand colored lithograph frontispiece and nineteen fine hand-colored lithograph plates, all with their original tissue-guards and all marked Bocquin, del et lith. & Imp. Lemercier, Paris. Numerous woodcut illustrations in the text. Tile-page with early ink inscription on top right blank margin dated "15 Juillet 1858". Original black diaper-grain cloth, covers decoratively stamped in gilt, red, cream, blue, green and blind. Spine decoratively lettered in gilt, pale yellow coated endpapers, all edges gilt. Spine ends and front inner-hinge expertly repaired, some light marginal foxing or staining, otherwise a near fine copy. The animals depicted include Hyena, Tiger, Lion, Bears, Elephant, Rhinoceros, Camels, Giraffe, Buffalo, Zebra, Monkees, Rams, Elan, Antelope, Gazelle, Llama, Flamingo, Emu, Peacock, Owl, Hawk, Parrots, etc. etc. Very scarce. OCLC locates just two other copies worldwide at the Free Library of Philadelphia and the Bibliothèque Nationale. La Ménagerie du Jardin des Plantes is a zoo in Paris, France, belonging to the botanical garden Jardin des Plantes. It is the second oldest zoological garden in the world (after Tiergarten Schönbrunn). Today it does not have very large animals like elephants, but a lot of rare smaller and medium sized mammals and a variety of birds and reptiles. In the beginning the term Jardin des Plantes referred only to a botanical garden of 58 acres, created and built by the royal physicians Jean Herouard and Guy de La Rousse. It therefore became known as the royal herb garden. Created in 1626 and opened for the public in 1635, it is the oldest part of the national research and educational institute for science, the Muséum national d'histoire naturelle, which was founded in 1793. In the course of the French Revolution the menagerie was founded in 1793. According to a decision of the National Assembly in 1793, exotic animals in private hands were to be donated to the Menagerie in Versailles or killed, stuffed and donated to the natural scientists of the Jardin des Plantes. However, the scientists let the animals (the exact number of which is unknown) live. In due course the Royal Menagerie in Versailles (ménagerie royale) was dissolved and these animals were also transferred to the Jardin des Plantes. Jacques-Henri Bernardin de Saint-Pierre (1737-1814) is considered to be the founder of the menagerie. He was committed to the principles of keeping exotic animals in their natural environment, having regard to their needs, placing them under scientific supervision, and allowing public access in the interest of public education. The Jardin was free for all visitors and tourists right from its inception. While the menagerie at first was just provisional it grew in the first three decades of the 19th century to be the largest exotic animal collection in Europe. The Zoo was under the scientific leadership of the former head of the zoological department at the museum, Étienne Geoffroy Saint-Hilaire (1772-1844). From 1805 onwards the menagerie was under the leadership of Frédéric Cuvier, who was replaced in 1836 by Geoffroy's son Isidore Geoffroy Saint-Hilaire. The institutional incorporation of the menagerie within the National Research Institute of the National Natural History Museum facilitated the academic study of the animals by doctors and zoologists. Studies related to systematics, morphology and anatomy were all carried out, notably by Georges Cuvier. Étienne Geoffroy, Frédéric Cuvier (the brother of Georges Cuvier) performed research in the area of behavioral observation. Étienne Geoffroy Saint-Hilaire and Frédéric Cuvier published their results in the quarterly work Histoire des Mammifières. It was first published in 1826 and became one of the foundational books concerning the biology of exotic animals. Furthermore, F. Cuvier's plans regarding the breeding of new domestic animal species were formulated. The expanding range of species was chiefly the result of French traveling researchers, colonial officials and donations from private people, which accounts for the fact that the animals in the Jardine were not limited to local French species. The so-called Rotonde was added to the basic enclosures in 1804, and from 1808 was used to harbour large animals such as elephants. In 1805 the bear ditch followed and in 1821, a so-called Fauverie or predator enclosure. The Volieren enclosure (voleries, birdhouses) for diurnal birds of prey was added in 1825, and two years later a birdhouse specifically for pheasants. A monkey house was set up for the first time in 1837, while reptiles had to wait until 1870 for their enclosure. Most animals were kept in functional, classicist, gallery-like buildings. These buildings and the zoo itself can be seen as an expression of the Imperial Power of France. In another part was the Vallée Suisse which had been built as a romantic garden. Here were several small enclosures which held exotic animals such as antelopes. Some buildings from this period still exist today - the semicircular birdhouse for pheasants (1827), the reptile house and the new pheasants enclosure (1881). At the beginning of the 20th century a hibernation enclosure (1905), a small monkey house (1928), a vivarium (1929), another monkey house (1934) and a reptile house (1932) had been built. A half century passed after this improvement without any further innovations except the restoration of the bear pit and some technical corrections. A new enclosure for diurnal birds of prey was built in 1983. A variety of renovations were carried out in the 1980s. At the beginning of the 21st century the pheasants enclosure from 1881 was renovated. However, as all of the structures are listed buildings, it is almost impossible to create new structures here. However the Jardin des Plantes still exists today and is the second oldest civil zoo in the world. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05353

Catalogue: Color-Plate Books

Keywords: Books in French

PEAKE, Richard Brinsley

The Characteristic Costume of France

London: William Sams, 1819. Superb and Very Lively Depictions of French Scenes in Vivid Colors [PEAKE, Richard Brinsley]. The Characteristic Costume of France; from drawings made on the spot, with appropriate descriptions. By an Artist recently returned from the Continent. London: William Sams, 1819. Later issue. Folio (14 1/8 x 10 1/4 inches; 359 x 260 mm.). Engraved title, verso blank and nineteen leaves of text printed on recto only. All plates interleaved. Hand-colored aquatint frontispiece and eighteen hand colored plates, etched by Sheridan, aquatinted by R. Havell. Later issue with the plates watermarked J. Whatman 1835. Title-page with a little marginal foxing. The plates are bright and fresh. The blank leaves facing the plates on one side and the text on the other are somewhat foxed but the plates are generally very clean. Bound by Rivière & Son ca. 1920 in three quarter red morocco over red cloth boards ruled in gilt. Spine withsix raised bands, paneled and lettered in gilt in compartments, marbled endpapers. With the armorial bookplate of Sir David Lionel Goldsmid-Stern-Salomons on front paste-down. Hinges slightly rubbed but quite sound. An excellent example of the first edition in book form (albeit a later issue) of this charming work which amply demonstrates Peake's abilities as both an artist and a writer. Depicting a variety of scenes including arriving at Calais, fishermen, the interior of a coffee house, the Palais Royale, a gambling table, street characters, the catacombs and a morgue. Superb and very lively depictions of French scenes in vivid colors. The scenes include; Palais Royale, A Trip to Versailles, La Morgue, Figures at St. Denis, Le Grimacier, Interior of a Coffee House, A Group at Calais, and many others. This work was first issued in six parts in 1815-1816, under the title French Characteristic Costumes [Abbey Travel I, 85]. It was subsequently re-issued under the present title, in a slightly different order, in a single volume, in 1819. The book really does live up to the promise of its title, showing both men and women from various economic strata, in both rural and urban settings. The artist and illustrator, Richard Brinsley Peake worked for the engraver James Heath from 1809 to 1817, and went on to pursue a successful career as a dramatist and author. The text and the plates form a pleasing whole: the images are charming and lively, whilst the insightful text also offers an historical perspective on an early nineteenth-century Englishman's view of the French. Provenance: Sir David Lionel Goldsmid-Stern-Salomons. Abbey Travel I, 87; Bobins II, 544; Colas II, 2297; Lipperheide, 1155. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05851

Catalogue: Color-Plate Books

Keywords: Books in French Caricatures Costume

PHILIPON, Charles, illustrator; WATTIER, Émile

Les Compensations

Paris: Chez Ostervald ainé, Rittner, & HautecÅ“ur, 1828. An Exceptionally Rare and Amusing Suite of Hand Colored Lithographs PHILIPON, Charles. WATTIER, Émile. Les Compensations Composées et Dessinées par Ch. Philipon, Lithographies par Wattier. Paris: Chez Ostervald ainé, Rittner, & HautecÅ“ur, [1828]. First edition. Quarto (10 7/8 x 8 1/2 inches; 276 x 216 mm.). Pictorial lithograph title and thirty-six (of forty-eight) hand colored lithograph plates. Some light foxing, mainly marginal. The coloring of the plates is quite exceptional. Recently bound by Roger Devauchelle in full violet cloth, printed paper label on front board. According to OCLC there are no copies in libraries and institutions worldwide. We have seen this title only once before - seventeen years ago in 2002. Not in Colas Hiler or Lipperheide. Charles Philipon (1800-1861) was a French lithographer, caricaturist and journalist. He was the editor of La Caricature and of Le Charivari, both of which were satirical political journals. Émile-Charles Wattier (1800-1868) was a French painter, illustrator, engraver and lithographer. The plates: 1. Amours d'Inclination. 1 bis. Amours de Convenance. 2. L'art remplace la nature. 2 bis. La nature se passe de l'art. 3. L'un monte. 3 bis. L'autre descend. 4. Actrice le soir. 4 bis. Marquis le matin. 5. Bonheur réel. 5 bis. Bonheur chimérique. 6. Sommes-nous de feu? Elles sont de glace! 6 bis. Nous refroidissons-nous? Elles s'enflamment. 7. Rodomont en public. 7 bis. Poltron en particulier. 8. Rampant avec un Supérieur. 8 bis. Impudent avec un Subordonné. 9. Nomination. 9 bis. Démission. 10. Brebis la veille.. 10 bis. Tigre le lendemain. 11. Celui-ci voudrait remonter. 11 bis. Celui lá voudrait redescemdre 12. Vues de dos. 12 bis. Vues de face. 13. Le Créancier. 13 bis. Le Débiteur. 14. Jeunesse et beauté. 14 bis. Vieillesse et Laideur. 15. Petits voleurs. 15 bis. Grand voleur. 16. Bonjour. 16 bis. Bonsoir. 17. Lettre d'amour. 17 bis. Lettre de Change. 18. La Demoiselle sennuye. 18 bis. La Grisette s'amuse. Not in Colas Hiler or Lipperheide. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 04512

Catalogue: Color-Plate Books

Keywords: WATTIER, Émile Books in French Caricatures French Caricature

PHILIPON, Charles, illustrator; WATTIER, Émile

Les Compensations

Paris: Chez Ostervald ainé, Rittner, & HautecÅ“ur, 1828. An Exceptionally Rare and Amusing Suite of Hand Colored Lithographs PHILIPON, Charles. WATTIER, Émile. Les Compensations Composées et Dessinées par Ch. Philipon, Lithographies par Wattier. Paris: Chez Ostervald ainé, Rittner, & HautecÅ“ur, [1828]. First edition. Quarto (14 x 11 inches; 355 x 280 mm.). Forty-eight hand colored lithograph plates, all mounted on stubs. Plate 3 bis with two small clean marginal tears; plate 4 with small inner marginal stain not affecting image; plate 16 slightly shorter (1/2 inch) at fore-margin. There is some light, mainly marginal foxing and toning, still an excellent example of this great rarity. The hand-coloring of the plates is quite exceptional. Contemporary quarter maroon straight-grain morocco over pebbled cloth boards. Smooth spine ruled and lettered in gilt, marbled endpapers. Small piece missing from bottom of spine, extremities a little rubbed. This excessively rare and complete suite of forty-eight superb hand-colored lithographs was issued in four parts, each having twelve plates. Without title as issued. According to OCLC there are no copies in libraries and institutions worldwide. They do record nine institutions each with one of the plates. We have seen only one other complete example - eighteen years ago in 2002 (private collection). Not in Bobins, Colas, Hiler, Lipperheide or Ray. Charles Philipon (1800-1861) was a French lithographer, caricaturist and journalist. He was the editor of La Caricature and of Le Charivari, both of which were satirical political journals. Émile-Charles Wattier (1800-1868) was a French painter, illustrator, engraver and lithographer. He was the younger brother of artist Édouard Wattier (1793-1871). The plates: 1. Amours d'Inclination. 1 bis. Amours de Convenance. 2. L'art remplace la nature. 2 bis. La nature se passe de l'art. 3. L'un monte. 3 bis. L'autre descend. 4. Actrice le soir. 4 bis. Marquis le matin. 5. Bonheur réel. 5 bis. Bonheur chimérique. 6. Sommes-nous de feu? Elles sont de glace! 6 bis. Nous refroidissons-nous? Elles s'enflamment. 7. Rodomont en public. 7 bis. Poltron en particulier. 8. Rampant avec un Supérieur. 8 bis. Impudent avec un Subordonné. 9. Nomination. 9 bis. Démission. 10. Brebis la veille.. 10 bis. Tigre le lendemain. 11. Celui-ci voudrait remonter. 11 bis. Celui lá voudrait redescemdre 12. Vues de dos. 12 bis. Vues de face. 13. Le Créancier. 13 bis. Le Débiteur. 14. Jeunesse et beauté. 14 bis. Vieillesse et Laideur. 15. Petits voleurs. 15 bis. Grand voleur. 16. Bonjour. 16 bis. Bonsoir. 17. Lettre d'amour. 17 bis. Lettre de Change. 18. La Demoiselle sennuye. 18 bis. La Grisette s'amuse. 19. Un Bienfaiteur 19. bis. Une Bienfaitrice 20. Canaille du paradis 20 bis. Beau monde des loges 21. L'Eligible chez l'Electeur 21 bis. L'Electeur chez le Député 22. Ostentation 22 bis. Charité 23. Celui-ci feint de savoir 23 bis. Celui-là feint d'ignorer 24. Charmant Réveil 24 bis. Vilain Réveil Not in Colas, Hiler or Lipperheide. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 04943

Catalogue: Color-Plate Books

Keywords: WATTIER, Émile Books in French Caricatures French Caricature

PIGAL, Edmé-Jean

Moeurs Parisiennes Par Pigal

Paris: Chez Gihaut Frères, 1830. Parisian Customs and Social Interactions as Seen by Edmé-Jean Pigal Seventy Superb Hand Colored Lithograph Plates PIGAL, Edmé Jean. Moeurs Parisiennes par Pigal. Paris: Chez Gihaut Frères, [1823]. First and only edition. Folio (13 1/8 x 9 7/8 inches; 333 x 252 mm.). Lithographed title-page and **seventy (of one hundred) fine hand colored lithograph plates. Some plates with minimal light staining or foxing. **The missing plates are listed in red. Late nineteenth century quarter red morocco over marbled boards, smooth spine ruled and lettered in gilt, marbled endpapers. Expertly rebacked with most of the original spine laid down. A wonderful collection of mostly jovial and colorful characters depicting Parisian customs of social interactions in Pigal's unassuming style of caricature, which is closer to the English satirical art of Gillray, Cruikshank and Rowlandson than to the political and social satires of his French contemporaries, such as Daumier and Gavarni. The publication date of this magnificent costume book is somewhat of a mystery. Our copy has the title-page and was published in Paris "Chez Gihaut Frères" [1823] the same as the Gordon Ray copy. Colas, Hiler, Lipperheide & Bobins state the publisher as being "Chez Gihaut et Martinet" The dates they give are (1823); ca. 1823; (1830) and [1822] respectively. The Gordon Ray copy (in OCLC) states the publisher as Paris: Gihaut Frères, 1823. OCLC locates just two complete copies in libraries and institutions worldwide: The Morgan Library & Museum (NY, US) and The Baltimore Museum of Art Library (MD, US). "The Garnier copy had a title but this was never seen by Hiler nor apparently has it been seen by Colas, who states that the plates are interesting for the costumes of Paris, and confirms that he has never seen a title page nor original wrappers with title for this work. Interestingly Baudelaire wrote in support of the artist, that "Pigal's scenes are good. It is not that the originality is very lively, or even that the design is very comic. Pigal is comical in moderation, but the feeling in his compositions is good and just. Pigal does play to the groundlings, but no one would accuse him of excessive delicacy, he knows his world and can depict it incisively in his lithographs." It has been said that whilst Pigal was a fine painter, it is his lithographic art which remains his finest legacy. His earthy brand of caricature was closer to the satirical art of Gillray, Cruikshank and Rowlandson in England, rather than the contemporary political caricature of France." (Bobins III, p. 145). "Beraldi makes the painter Pigal the occasion for denouncing the vulgarity of the caricaturists of the 1820s, allowing only that his Scènes de société may offer "some information about the costume of the period." The "superlatively vulgar" Pigal, he concludes, was "the Paul de Kock of the print." (x, 276-278.) Surely Baudelaire (p. 995) is nearer the mark in what he writes of this "amusing and kindly" artist. "Pigal's scenes of the people are good. It is not that the originality is very lively, nor even that the design is very comic. Pigal is comical in moderation, but the feeling in his compositions is good and just. These are vulgar truths, but still truths." Pigal does play to the groundlings, and no one would accuse him of excessive delicacy, but he knew his world and could depict it incisively in his lithographs. Consider the economy of "Rely on me, my dear fellow," of Scènes de société (no. 30). A nervous suitor, hat in hand and fumbled glove on the floor before him, is approaching a bureaucrat, who gives him his little finger. In the official's other hand is the suitor's letter, which will shortly join many similar appeals in the basket beside him. This study of abjectness and disdain epitomizes the insolence of office. Even Beraldi admits that Pigal is an "expert lithographer in execution." The drawing for "Rely on me, my dear fellow" shows how little has been lost between it and the print." (Ray, p. 129) Edmé-Jean Pigal [1798-1873] a major French nineteenth century artist and caricaturist, studied art in Paris in the studio of Baron Gros. He first exhibited his paintings at the Paris Salon in 1827 and continued to annually exhibit his art there for more than thirty years. Pigal's early art was mainly in the medium of lithography. After 1838 he turned more towards painting, particularly religious and historical scenes commissioned by the French government. His last years were spent as a professor of art at the Lycee in Sens.   "Although he was a fine painter it is the lithographic art of Pigal which remains his finest legacy. Beatrice Farwell writes: 'From the late 1820's to the late 1830's, he (Pigal) produced numerous lithographs caricaturing contemporary customs and social types, in which he ridiculed the hypocrisy of the bourgeoisie and the vulgarity of the lower classes. His favorite characters were the street urchins of Paris, servants, coachmen and doormen, and lecherous old men' (Beatrice Farwell, The Charged Image: French Lithographic Caricature, 1816-1848, Santa Barbara Museum of Art, Santa Barbara, 1989, p. 127). "In some respects Pigal's earthy brand of caricature was closer to the English satirical art of Gillray, Cruikshank and Rowlandson than to the political and social satires of his French contemporaries, such as Daumier and Gavarni. Perhaps for this reason Pigal's lithographs were very popular in Britain.." (http://www.artoftheprint.com/artistpages/pigal_edme_jean_). "Pigal does play to the groundlings, and no one would accuse him of excessive delicacy, but he knew his world and could depict it incisively in his lithographs" (Ray, The Art of the French Illustrated Book, p.196). Pigal's albums "have documentary value, and their fresh and unaffected representation of the people, dress, and scenes of the time gives them a degree of charm' (Ray, p. 189). The Plates: 1. Des sang-sues; Messieurs, des sang-sues!.. 2. Vive la joie et les pommes de terre! Ou Misère et Gaité. 3. Je n'y suis pas. 4. Une marchande!.. 5. Faut le faire aller. 6. C'est z-un héritier. 7. On n'est jamais bien servi que par soi-même, ou le déjeuner de Garçon. 8. Ne t'ennuie pas, ma bonne! 9. Où allons nous? - Coujours tout droit. 10. C'était le bon tems! 11. C'est lui!.. 12. C'est ma femme, parbleu! - Pas possible! 13. Chien de métier. 14. De la philosophie, mon cher. 15. Tout le monde s'en méle, je vous dis. 16. Je suis Français, moi.. 17. Le Roi et la Vole. 18. Je vous ai fait mal peut-être? Non, Madame..au contraire. 19. Aux derniers les bons! 20. Gare les taches! 21. C'es ben fier à présent? 22. C'est peut-être un homme de lettres? 23. Ah!..vous n'êt' un farceur! 24. Les amis ne sont pas des Turcs. 25. Et v'la comme on descend gaîment le fleuve de la vie. 26. Est-ce pour de rire ou pour de bon? 27. Parbleu! J'arrive à propos. 28. Toutes et quants fois.. Toutes foit et quantes.. 29. Ma foi, tout est pour le mieux! 30. Charles, vous me négligez! 31. A c'te niche. 32. Ce sont des bêtes bien précieuses! 33. Eh!..bonjour donc les anciens! 34. Dieux! Quelle peau. 35. Tu n'es jamais contente. 36. Ah! j't'y prends! 37. Encore aujourd'hui! Mais demain.. 38. Jeune homme, sans vous déranger? 39. Ça ne vit plus que pour manger. 40. Aprés vous. 41. Ces Messieurs font ses farces. 42. Aprés moi. 43. C'est mon subordonné. 44. Un Dimanche! C'est-il guignolant! 45. C'est mon Chef. 46. Comme c'est amusant un Gouverneur! 47. Ah! la mauvaise air. 48. Il m'dit, sui dit..dit-y. 49. Aureriez vous de l'huile de Coterêts. 50. Pas mauvais, pas mauvais. 51. Câchons de nous entendre. 52. Portez-vous bien. 53. Mariez-vous donc. 54. Foi de Madeleine. 55. Arrivera-t-il ce coquin la! 56. La Mort n'a pas faim. 57. C'est vraiment une horreur! 58. Tu dérangeras mon homme! 59. Elle aime à rire, elle aime à boire.. 60. Ces Maîtres sont si cancres! 61. Ça veut raisonner peinture. 62. Touche donc, voyons? 63. La Légume est si chère. 64. Attendez-moi sous l'orme. 65. Un jeune homme, c'est pas de r'fua. 66. Ris donc, imbécille! 67. Mes respects à Madame. 68. Attendez; c'est moi qui s'trompe. 69. Mon bon papa, j'ne l'f'rai pus! 70. Qué beau tems! 71. La vie est un voilliage. 72. Sans nous u crev'raient tous. 73. Siècle d'égoisme! 74. Les arts sont frères, Mr. Bouton. 75. Nous en rappellerons, croyez moi. 76. Et la concurrence! 77. Nous y voilà. 78. Il n'est pire eau que l'eau qui dort. 79. Comment va la bosse? 80. Les acides mangent la couleur. 81. Voici l'auteur. 82. Fructus belli, Docteur! 83. J'ai pris le métique! 84. Quand reviendras tu? 85. Mon Dieu, qu't'es longue! 86. Chacun son tour, mes enfans. 87. Voyons cette langue? 88. Qué v'lours! 89. Queu drôle de vin! 90. Y a quéqu'un!..y a quéqu'un! 91. Gare-toi! Toi, vous-même! 92. Y pensez vous, Mr. Guillaume? 93. Eune pratique, canailles! 94. Gare l'eau! 95. Trois sous deux becquets? 96. Je ne suis qu'amateur. 97. Si j'étions roi.. 98. Et ta famille, vrogne? J'ai la bouche sèche. 99. Moyennant votre crédit. 100. Monsieur Jules, finissez! Ray, The Art of the French Illustrated Book, 130; Colas 2367; Hiler, p. 710; Lipperheide, 3676 (incomplete); Bobins III, 958 (50 plates only). .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05234

Catalogue: Color-Plate Books

Keywords: Books in French Caricatures Costume French History