PIGAL, Edme-Jean; ARAGO, Joseph Honoré; PAJOU, Augustin

Proverbes Et Bons Mots Mis En Action, D'Après Les Moeurs Populaires;

Paris: Chez Noël et Dauty, 1823. Proverbs and Good Words Put Into Action.. Complete With Sixty-Six Fine Hand Colored Lithographs PIGAL, Edme-Jean (1798-1873). ARAGO, Jacques (1790-1855). PAJOU, Augustin (1800-1878). [Proverbes et Bons Mots Mis en Action, d'après les Moeurs Populaires; Composés et Lithographiés par MM. Pigal, Pajou et J.s Arago, avec Texte explicatif rédigé par J.s Arago..]. Paris: Chez Noël et Dauty, 1822-24. First and only edition. Large folio (13 3/8 x 10 inches; 340 x 254 mm.). Sixty-six fine hand colored plates lithographed by Langlumé, each with a printed leaf of explanation by Jacques Arago. Many plates with light foxing and or staining, the most noticeable being on plate 51. Plates 56 & 58 with erroneous numbers changed in early ink; Plates 57 & 59 with erroneous numbers changed in pencil. Light foxing and or staining to text leaves. Still a wonderful copy of this very rare and amusing book - the contemporary coloring of the plates quite superb. Bound ca. 1840 in full brown pebble-grain morocco over boards, smooth spine ruled and lettered in gilt, marbled end-papers. Excessively rare with just three copies located in libraries and institutions worldwide (all with sixty-six plates) This exceptionally rare and beautiful book of sixty-six hand colored caricatures depicting French proverbs is complete as issued. It was published in fascicules (parts), each with six hand colored plates and apparently was intended to run to twelve fascicules, but it was discontinued after the eleventh part. The amusing proverbs include "Un peu d'aide fait grand bien." (A little help does a lot of good..); "Honni soit qui mal y pense." (Evil be to him that thinks evil..); "L'occasion sait le larron." (Opportunity makes the thief..); "Battons le ser tandis qu'il est chaud." (Strike while the iron is hot..); "Ventre assamé n' a pas d'oreilles." (A hungry stomach has no ears..); "Pierre qui roule n'amasse pas mousse." (A rolling stone gathers no moss..); "Tout ce qui reluit n'est pas or." (All that glitters is not gold..); "Tôt ou tard la vérité se découvre." (Sooner or later the truth is discovered..); "Il vaut mieux tard que jamais." (It is better late than never..); and "Mari sourd et Femme aveugle sont toujours bon ménage." (A deaf husband and a blind wife are always a happy couple..). "Pigal produced an album illustrating proverbs which is not listed in standard reference books. Precedent for this subject had been set by Breugel in the sixteenth century, but Goya's Disparates were not published until 1964. The French proverbs represented in the exhibition are by and large close to similar sayings in English, and the pictures are self-explanatory."(Beatrice Farwell. The Charged Image, French Lithographic Caricature 1816-1848, pp.132-135 and full-page color illustration La nuit, tous chats sont gris on p. 34). "Like the caricatures in La Charge, Arago's prints were both thematically and stylistically similar to the caricatures published in Philipon's newspapers. This is hardly surprising since Arago, like his brothers Étienne [who was the owner of the Théâtre du Vaudeville and the foremost republican militant in the theatrical world] and Francois, was a committed republican and one of Philipon's friends. He had in fact contributed to La Caricature in 1833; it is hardly surprising that he used Philipon's arsenal of anti-Louis-Philippe imagery in his work for the legitimists.." (David S. Kerr. Caricature and French Political Culture 1830-1848, pp. 176-177). We can locate just three copies in Libraries and Institutions worldwide: 1. (BNF) Bibliotheque Nationale de France, 2. Universitätsbibliothek Erlangen-Nürnberg, Hauptbibliothek, 3. (BVB) Bibliotheksverbund Bayern No complete copies have appeared at auction over the past one hundred years. The plates: 1. Un peu d'aide fait grand bien. A little help does a lot of good.. (Pigal) 2. Nécessité n' a pas de lois. Necessity has no law.. (Pajou) 3. A l'impossible nul n'est tenu. No one is bound to do impossibilities.. (Arago) 4. Celui qui s'attend à l'écuelle d'autrui a souvent mal dîné. He who expects from another man's bowl often dines poorly.. (Pajou) 5. Bien embarrassé qui tient la queue de la poële. He has enough to do who hold the handle of the frying-pan.. (Arago) 6. Honni soit qui mal y pense. Evil be to him that thinks evil.. (Pigal) 7. La Moitié du monde se moque de l'autre. One half of the world laughs at the other half.. (Pajou) 8. Il faut gratter les gens par où il leur démange. Scratch people where they itch.. (Pajou) 9. Qui se ressemble s'assemble. Birds of a feather flock together.. (Pigal) 10. Il ne faut jeter le manche après la cognée. One should not throw in the towel.. (Pajou) 11. Le deux sont la paire. The perfect pair.. (Pigal) 12. Sandis! Si je le tenais!.. Sandis! If I had him.. (Pajou) 13. A beau mentir qui vient de loin. He who comes from afar may lie boldly.. (Arago) 14. A bon vin point d'enseigne. Good wine needs no sign.. (Pigal) 15. 99 Moutons et un Champenois sont 100 bétes. 99 sheep and one shepherd are 100 beasts.. (Arago) 16. Selon les gens l'encens. Like saint like incense.. (Pajou) 17. Tel maître tel valet. Like master, like man.. (Pigal) 18. L'occasion sait le larron. Opportunity makes the thief.. (Arago) 19. Battons le ser tandis qu'il est chaud. Strike while the iron is hot.. (unsigned) 20. Il, n'y a si méchant pot qui ne trouve son couvercle. There is no pot so bad that it doesn't have a lid.. (Pajou) 21. La propreté est une demi-vertu. Cleanliness is half a virtue.. (Arago) 22. Chacun son métier. Let everyone mind his own business.. (unsigned) 23. On prend son bien où on le trouve. A man takes his own wherever he finds it.. (Pajou) 24. Les hommes se prennent par la douceur. The men have their soft spots.. (Arago) 25. Petit-à-petit l'oiseau sait son nid. Little by little the birds builds its nest.. (Arago) 26. On ne court pas deux lièvres à-la-fois. One cannot have two hares at the same time.. (Arago) 27. Ventre assamé n' a pas d'oreilles. A hungry stomach has no ears.. (Arago) 28. Qui a bu, boira. He who has drunk will drink.. (Arago) 29. Tel qui rit vendredi, dimanche pleurera. He that laughs on Friday may cry on Sunday.. (Arago) 30. Qui trop embrasse mal étreint. He who grasps too much does not hold firmly.. (Arago) 31. Pierre qui roule n'amasse pas mousse. A rolling stone gathers no moss.. (Pigal) 32. Qui aime bien, châtie bien. Who loves well chastises well.. (Arago) 33. On ne saurait tirer de l'huile d'un mur. You cannot get oil out of a wall.. (Pajou) 34. Tout ce qui reluit n'est pas or. All that glitters is not gold.. (Arago) 35. Où la chèvre est attachée il faut qu'elle broute. Where the goat is tied is where she must graze.. (Pajou) 36. La nuit, tous chats sont gris. All cats are gray in the dark.. (Pigal) 37. La raison de plus fort est toujours la meilleure. The argument of the strongest have always the most weight..(Pigal) 38. L'eau éloignée n' éteint pas le feu qui brûle. Removing the water does not extinguish the burning fire.. (Pajou) 39. Qui refuse, muse. Who refuses, muses.. (Arago) 40. Deux chiens ne sont jamais d'accord pour un seul os. Two dogs will never share a single bone.. (Pigal) 41. A défaut de pain les gâteaux sont bons. If one can't have bread then cake is good.. (Arago) 42. Au dernier les os. For the last-comer, the bones.. (Pigal) 43. Il n'y aurait pas de grands, s'il n'y avait pas de petits. There would be no greats if there were no children.. (Arago) 44. La femme et le verre sont toujours en danger. The woman and the glass are still in danger.. (unsigned) 45. Vie sans amis, mort sans témoins. Live without friends, die without witnesses.. (unsigned) 46. Tôt ou tard la vérité se découvre. Sooner or later the truth is discovered.. (Arago) 47. Rien n'est beau que le vrai, le vrai seul est aimable. Nothing is as beautiful as the real, the real one is kind.. (Arago) 48. Il vaut mieux tard que jamais. It is better late than never.. (Pigal) 49. Il faut avoir des amis partout. You have to have friends everywhere.. (Pigal) 50. Femme qui souvent se mire peu sile. Women who often find disapproval.. (Pigal) 51. Péril passé, promesses oubliées. Danger past, promises forgotten.. (Pigal) 52. A fripon, fripon et demi. To a rogue, a rogue and a half.. (Pigal) 53. Un clou chasse l'autre. One nail drives out another.. (Pigal) 54. A d'autres, dénicheur de merles. The others scout blackbirds.. (Pigal) 55. Aujourd' hui ami, demain ennemi. Today friend, tomorrow enemy.. (Pigal) 56. Les petits Présens entretiennent l' amitié. Little presents maintain friendship.. (Pigal) 57. Il ne faut pas s'en rapporter à l'Etiquette du sac. Don't rely on the label of the bag.. (Pigal) 58. Point d'argent, point de Suisse. No money no Swiss.. (Pigal) 59. L'appétit vient en mangeant. The appetite comes with eating.. (Pigal) 60. Les bons comptes sont les bons amis. Good accounts make good friends.. (Pigal) 61. Mieux vaut le lien que la gerbe. Better link the wreath.. (Pigal) 62. L'Oeil du Maître. The Eye of the Master.. (Pigal) 63. Dis-moi qui tu hantes, je te dirai qui tu es. Tell me the company you keep, and I will tell you who you are.. (Pigal) 64. Il n'est voisin qui ne voisine. There is no nearby neighbor.. (Pigal) 65. Qui trop se hâte, en beau chemin se fourvoie. He that is in too much haste, may stumble on a good road.. (Pigal) 66. Homme sourd et Femme aveugle sont toujours bon ménage. A deaf husband and a blind wife are always a happy couple.. (Pigal) Hiler, p. 711; Lipperheide 3677; Not in Bobins or Colas. Note: Both Hiler & Lipperheide erroneously quoting sixty-seven plates. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05399

Catalogue: Color-Plate Books

Keywords: ARAGO, Joseph Honoré PAJOU, Augustin Books in French Caricatures French Caricature

PIGAL, Edmé-Jean; ARAGO, Joseph Honoré; PAJOU, Augustin

Proverbes Et Bons Mots Mis En Action, D'Après Les Moeurs Populaires;

Paris: Chez Noel et Dauty, 1823. Proverbs and Good Words Put Into Action.. Complete With Sixty-Six Fine Hand Colored Lithographs PIGAL, Edme-Jean (1798-1873). ARAGO, Jacques (1790-1855). PAJOU, Augustin (1800-1878). Proverbes et Bons Mots Mis en Action, d'après les Moeurs Populaires; Composés et Lithographiés par MM. Pigal, Pajou et J.s Arago, avec Texte explicatif rédigé par J.s Arago.. Paris: Chez Noel et Dauty, 1823. First and only edition. Large folio (14 x 10 1/4 inches; 355 x 260 mm.). Sixty-six fine hand colored plates lithographed by Langlumé, each with a printed leaf of explanation by Jacques Arago. Bound ca. 1840 in quarter green calf over mottled boards, smooth spine ruled and lettered in gilt, marbled end-papers. Some intermittent foxing to a few plates. A fine example complete with the text leaves. Excessively rare with just three copies located in libraries and institutions worldwide. This exceptionally rare and beautiful book of sixty-six hand colored caricatures depicting French proverbs is complete as issued. It was published in fascicules (parts), each with six hand colored plates and apparently was intended to run to twelve fascicules, but it was discontinued after the eleventh part. The amusing proverbs include "Un peu d'aide fait grand bien." (A little help does a lot of good..); "Honni soit qui mal y pense." (Evil be to him that thinks evil..); "L'occasion sait le larron." (Opportunity makes the thief..); "Battons le ser tandis qu'il est chaud." (Strike while the iron is hot..); "Ventre assamé n' a pas d'oreilles." (A hungry stomach has no ears..); "Pierre qui roule n'amasse pas mousse." (A rolling stone gathers no moss..); "Tout ce qui reluit n'est pas or." (All that glitters is not gold..); "Tôt ou tard la vérité se découvre." (Sooner or later the truth is discovered..); "Il vaut mieux tard que jamais." (It is better late than never..); and "Mari sourd et Femme aveugle sont toujours bon ménage." (A deaf husband and a blind wife are always a happy couple..). "Pigal produced an album illustrating proverbs which is not listed in standard reference books. Precedent for this subject had been set by Breugel in the sixteenth century, but Goya's Disparates were not published until 1964. The French proverbs represented in the exhibition are by and large close to similar sayings in English, and the pictures are self-explanatory."(Beatrice Farwell. The Charged Image, French Lithographic Caricature 1816-1848, pp.132-135 and full-page color illustration La nuit, tous chats sont gris on p. 34). "Like the caricatures in La Charge, Arago's prints were both thematically and stylistically similar to the caricatures published in Philipon's newspapers. This is hardly surprising since Arago, like his brothers Étienne [who was the owner of the Théâtre du Vaudeville and the foremost republican militant in the theatrical world] and Francois, was a committed republican and one of Philipon's friends. He had in fact contributed to La Caricature in 1833; it is hardly surprising that he used Philipon's arsenal of anti-Louis-Philippe imagery in his work for the legitimists.." (David S. Kerr. Caricature and French Political Culture 1830-1848, pp. 176-177). We can locate just three copies in Libraries and Institutions worldwide: 1. (BNF) Bibliotheque Nationale de France, 2. Universitätsbibliothek Erlangen-Nürnberg, Hauptbibliothek, 3. (BVB) Bibliotheksverbund Bayern Hiler, p. 377; Lipperheide, 3677; Not in Bobins, Colas or Ray. The plates: 1. Un peu d'aide fait grand bien. A little help does a lot of good.. (Pigal) 2. Nécessité n' a pas de lois. Necessity has no law.. (Pajou) 3. A l'impossible nul n'est tenu. No one is bound to do impossibilities.. (Arago) 4. Celui qui s'attend à l'écuelle d'autrui a souvent mal dîné. He who expects from another man's bowl often dines poorly.. (Pajou) 5. Bien embarrassé qui tient la queue de la poële. He has enough to do who hold the handle of the frying-pan.. (Arago) 6. Honni soit qui mal y pense. Evil be to him that thinks evil.. (Pigal) 7. La Moitié du monde se moque de l'autre. One half of the world laughs at the other half.. (Pajou) 8. Il faut gratter les gens par où il leur démange. Scratch people where they itch.. (Pajou) 9. Qui se ressemble s'assemble. Birds of a feather flock together.. (Pigal) 10. Il ne faut jeter le manche après la cognée. One should not throw in the towel.. (Pajou) 11. Le deux sont la paire. The perfect pair.. (Pigal) 12. Sandis! Si je le tenais!.. Sandis! If I had him.. (Pajou) 13. A beau mentir qui vient de loin. He who comes from afar may lie boldly.. (Arago) 14. A bon vin point d'enseigne. Good wine needs no sign.. (Pigal) 15. 99 Moutons et un Champenois sont 100 bétes. 99 sheep and one shepherd are 100 beasts.. (Arago) 16. Selon les gens l'encens. Like saint like incense.. (Pajou) 17. Tel maître tel valet. Like master, like man.. (Pigal) 18. L'occasion sait le larron. Opportunity makes the thief.. (Arago) 19. Battons le ser tandis qu'il est chaud. Strike while the iron is hot.. (unsigned) 20. Il, n'y a si méchant pot qui ne trouve son couvercle. There is no pot so bad that it doesn't have a lid.. (Pajou) 21. La propreté est une demi-vertu. Cleanliness is half a virtue.. (Arago) 22. Chacun son métier. Let everyone mind his own business.. (unsigned) 23. On prend son bien où on le trouve. A man takes his own wherever he finds it.. (Pajou) 24. Les hommes se prennent par la douceur. The men have their soft spots.. (Arago) 25. Petit-à-petit l'oiseau sait son nid. Little by little the birds builds its nest.. (Arago) 26. On ne court pas deux lièvres à-la-fois. One cannot have two hares at the same time.. (Arago) 27. Ventre assamé n' a pas d'oreilles. A hungry stomach has no ears.. (Arago) 28. Qui a bu, boira. He who has drunk will drink.. (Arago) 29. Tel qui rit vendredi, dimanche pleurera. He that laughs on Friday may cry on Sunday.. (Arago) 30. Qui trop embrasse mal étreint. He who grasps too much does not hold firmly.. (Arago) 31. Pierre qui roule n'amasse pas mousse. A rolling stone gathers no moss.. (Pigal) 32. Qui aime bien, châtie bien. Who loves well chastises well.. (Arago) 33. On ne saurait tirer de l'huile d'un mur. You cannot get oil out of a wall.. (Pajou) 34. Tout ce qui reluit n'est pas or. All that glitters is not gold.. (Arago) 35. Où la chèvre est attachée il faut qu'elle broute. Where the goat is tied is where she must graze.. (Pajou) 36. La nuit, tous chats sont gris. All cats are gray in the dark.. (Pigal) 37. La raison de plus fort est toujours la meilleure. The argument of the strongest have always the most weight..(Pigal) 38. L'eau éloignée n' éteint pas le feu qui brûle. Removing the water does not extinguish the burning fire.. (Pajou) 39. Qui refuse, muse. Who refuses, muses.. (Arago) 40. Deux chiens ne sont jamais d'accord pour un seul os. Two dogs will never share a single bone.. (Pigal) 41. A défaut de pain les gâteaux sont bons. If one can't have bread then cake is good.. (Arago) 42. Au dernier les os. For the last-comer, the bones.. (Pigal) 43. Il n'y aurait pas de grands, s'il n'y avait pas de petits. There would be no greats if there were no children.. (Arago) 44. La femme et le verre sont toujours en danger. The woman and the glass are still in danger.. (unsigned) 45. Vie sans amis, mort sans témoins. Live without friends, die without witnesses.. (unsigned) 46. Tôt ou tard la vérité se découvre. Sooner or later the truth is discovered.. (Arago) 47. Rien n'est beau que le vrai, le vrai seul est aimable. Nothing is as beautiful as the real, the real one is kind.. (Arago) 48. Il vaut mieux tard que jamais. It is better late than never.. (Pigal) 49. Il faut avoir des amis partout. You have to have friends everywhere.. (Pigal) 50. Femme qui souvent se mire peu sile. Women who often find disapproval.. (Pigal) 51. Péril passé, promesses oubliées. Danger past, promises forgotten.. (Pigal) 52. A fripon, fripon et demi. To a rogue, a rogue and a half.. (Pigal) 53. Un clou chasse l'autre. One nail drives out another.. (Pigal) 54. A d'autres, dénicheur de merles. The others scout blackbirds.. (Pigal) 55. Aujourd' hui ami, demain ennemi. Today friend, tomorrow enemy.. (Pigal) 56. Les petits Présens entretiennent l' amitié. Little presents maintain friendship.. (Pigal) 57. Il ne faut pas s'en rapporter à l'Etiquette du sac. Don't rely on the label of the bag.. (Pigal) 58. Point d'argent, point de Suisse. No money no Swiss.. (Pigal) 59. L'appétit vient en mangeant. The appetite comes with eating.. (Pigal) 60. Les bons comptes sont les bons amis. Good accounts make good friends.. (Pigal) 61. Mieux vaut le lien que la gerbe. Better link the wreath.. (Pigal) 62. L'Oeil du Maître. The Eye of the Master.. (Pigal) 63. Dis-moi qui tu hantes, je te dirai qui tu es. Tell me the company you keep, and I will tell you who you are.. (Pigal) 64. Il n'est voisin qui ne voisine. There is no nearby neighbor.. (Pigal) 65. Qui trop se hâte, en beau chemin se fourvoie. He that is in too much haste, may stumble on a good road.. (Pigal) 66. Mari sourd et Femme aveugle sont toujours bon ménage. A deaf husband and a blind wife are always a happy couple.. (Pigal). .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05275

Catalogue: Color-Plate Books

Keywords: ARAGO, Joseph Honoré PAJOU, Augustin Books in French Caricatures French Caricature

PIGAL, Edmé-Jean

Recueil de Scenes Populaires

Paris: Chez Martinet et Gihaut, 1822. Fifty-Two Highly Amusing Hand Colored Lithograph Plates Showing the People of Paris PIGAL, Edmé-Jean. Recueil de Scenes Populaires. [Collection of Popular Scenes]. Paris: Chez Martinet et Gihaut, [1822]. First edition. Folio (12 1/2 x 10 1/8 inches; 318 x 258 mm.). Lithograph title-page and fifty-two superb hand colored lithograph plates all mounted on stubs. All of the plates are lithographed by Langlumé. Late nineteenth century maroon pattered boards, smooth spine with brown morocco label ruled and lettered in gilt. A few plates with light mainly marginal foxing, plate no. 37 with small 3/4 inch lower marginal repair; plate no. 39 with lower blank corner restored (1 1/8 x 7/8 inch); plate no 48 slightly shorter on top and lower margins and plate 49 with light marginal stain fro stub of previous plate. Still a near fine example of this very scarce and highly amusing book. The two additional plates are numbers 6 [bis] and 37 [bis]. We can locate just three copies in Libraries and Institutions worldwide (all with fifty plates only): 1. The Morgan Library & Museum (NY, US) 2. The Art Institute of Chicago (IL, US) 3. Brown University RI, US) These plates exist colored or plain, they all bear the title Popular Scenes at the top, followed by the plate number and below the title, the Publisher and the Lithographer. These humorous scenes each show two or three characters and are highly interesting for depicting the costumes of the people of Paris. (Translated from Colas). "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." (Gordon Ray, The Art of the French Illustrated Book, p. 196). "A major French nineteenth century artist and caricaturist, Edmé-Jean Pigal [1798-1873] 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).   "Pigal's early lithographic work (c. 1820-1830) concentrates upon the actions of one or two main figures and provides little or no background setting.. His lithographs created for individual sale (as opposed to those appearing in the journals) were most often hand-colored before publication.   "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'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" (Baudelaire, Oeuvres complètes, 1964 edition, p. 995). "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). Colas and Hiler highly commend these plates for their humor and depiction of contemporary fashion and costume. Colas 2365; Hiler, p. 710; Ray, The Art of the French Illustrated Book 1700-1914, No. 130. Not in Bobins or Lipperheide The Plates: 1. Grand Savoyard!. Méchant Gamin.. Great Savoyard!. Bad Kid.. 2. Tais-toi, rosse! Tu m'em..bétes. Shut up, bastard! You annoy me. 3. On vient. We come. 4. Ah! Chienne. Ah! Gueuse. Ah! Female dog. Ah! Pigeon. 5. à bas les pattes!.. hands off!.. 6. Femme, sachez vous taire? Woman, can you be silent? 6 bis. Dis-donc, bel homme?.. Say, handsome man?.. 7. C'que c'est que d'nous! What it is that of us! 8. Queq'tu veux, Gringalet? What do you want, Gringalet? 9. C'est ma fille, Monsieur. She's my daughter, sir. 10. Y es tu? Là. Are you there? The. 11. Respect au sesque et à la vieillesse, canailles! Respect to the sense that and to old age, scoundrels! 12. Reviens-y, polisson! Come back, prank! 13. Mords-le, faro!.. Bite it, faro!.. 14. Je l'aurai! Tu ne l'auras pas! I will have it! You won't get it! 15. Allons! Faignant! Lets go! Lazy! 16. Ça va bien!! Things are going well!! 17. Qué qui te pale, blanc bec? What pales you, white beak? 18. Ces dames dansant ells? These dancing ladies? 19. Ah! j'ris ti!.. Ah! I'm laughing!.. 20. Qui s'y frotte s'y pique. If you go looking for trouble you'll find it. 21. Manman, z'ai fini! Mom, I'm done! 22. Ohe! C'te farce. Ah! It's a joke. 23. Ah! Ah! la vilaine bête. Ah! Ah! the ugly beast. 24. Li après? Read after? 25. Parlons peu z'et parlons bien. Let's talk little and let's talk well. 26. Qué dui t'a fait, c'coquin là? What did you do, that rascal? 27. Savez-vous lire? Can you read? 28. Pour un iard, Madame? For a fortune, Madame? 29. N'nos fâchons pas, cadet! Don't get mad, cadet! 30. Je ne donne pas aux fainéans. I don't give to lazy people. 31. Haie! Haie! Les bébêtes. Hedge! Hedge! The cornies. 32. Tout à l'heure, bobonne, tout à l'heure. Any time, bobonne, any time. 33. Tu sais c'qu'on f'dit? Do you know what we say? 34. A mon tour! My turn! 35. Voyez vous ça? Do you see that? 36. Et moi aussi, je la suis. And so am I. 37. Père et mère honoreras. Father and mother will honor. 37 bis. Quelle voix d'Centaure!.. What a Centaur's voice!.. 38. Léusses tu cru? Je m'en avais douté. Did you believe it? I had suspected it. 39. Ce n'est pas pour vous, beau Sire. This is not for you, fair Sire. 40. Aprés moi, s'il en reste. After me, if there are any left. 41. De quoi vous mêlez-vous? What are you getting involved in? 42. C'et mon cousin. It's my cousin. 43. J't'aim' tant! I love you so much! 44. u..u..un instant, cam'rade. u..u..wait a minute, mate. 45. Amoroso. Amorous. 46. J'vous valons ben, p-t-etre? Am I worth you, maybe? 47. Avalons la douleur. Let's swallow the pain. 48. Pour qui me prenez-vous? Who do you take me for? 49. Quel gaillard! Qu'en dis-tu, ma femme? Hé! Hé! Hé! What a fellow! What do you say, my wife? Hey! Hey! Hey! 50. Comme ça vous va! As it suits you!.

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Book number: 05255

Catalogue: Color-Plate Books

Keywords: Books in French Caricatures Costume French Caricature

PINEL, Honoré

ABC Du Sportsman

Paris: Librairie Ducrocq, 1869. Practical Knowledge of the Horse With Seventy-Two Colored Lithograph Plates on all Aspects of the Horse PINEL, Honoré. ABC du Sportsman Robes et Marques; Conformations, Tares, Vices Rédhibitoires; [&] LesRaces. Paris: Librairie Ducrocq, 1869. Large octavo (9 1/4 x 6 7/8 inches; 236 x 175 mm.). [48], [52], [52] pp. Three parts in one volume: Robes et Marques (Dresses and Brands) ; Conformations, Tares, Viceste LesRaces. Seventy-two colored lithograph plates - each part with twenty-four plates. First title-page slightly browned, otherwise a near fine copy. Publisher's red cloth over boards, covers decoratively bordered in black, front cover lettered in gilt. The author states that the alphabetic form which he has adopted has a twofold aim: 1. To facilitate the child's study of the horse, because the dictionary form is more favorable for those whose attention span is quickly tired, or those who can only study at intervals. 2. To offer to the amateur an explanatory lexicon of the usual words used by the horseman. Three parts in one volume, each in the form of an ABC. The first devoted to 'Dresses and brands', the second to 'conformations, flaws, and injuries', and the the third on 'The races'. Text on the left page, and color lithographed illustration on the right page. Apparently a fairly scarce little book with just a handful of copies located in libraries and institutions worldwide including The Bibliotheque Nationale de France; The Morgan Library (NY); Yale University Library (CT) and Texas A. & M. University (TX). Huth, Works on Horses and Equitation, p. 258. .

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Book number: 04393

Catalogue: Color-Plate Books

Keywords: Books in French Natural History Alphabet

PINELLI, Bartolomeo; HULLMANDEL, C.

Roman Costumes

London: Rodwell & Martin, 1820. The Way They Wore In Italy An Early Example of Lithography PINELLI, [Bartolomeo] and HULLMANDEL, C[harles Joseph]. Roman Costumes; Drawn From Nature by Pinelli and C. Hullmandel: On Stone by C. Hullmandel. London: Rodwell & Martin, n.d. [1820]. Large oblong folio (12 x 17 1/8 inches; 305 x 435 mm). Vignette lithograph title-page and twenty-four hand-colored lithographed plates. The plates are watermarked 1817. Early twentieth century half red calf over marbled boards ruled in blind. Smooth spine ruled and lettered in gilt, marbled endpapers, top edge gilt. A near fine copy. Rare; scarce with hand-coloring. An early book from the dawn of lithography by Hullmandel "the man who did more than any other to establish lithography in England" (Abbey). These plates reproduce in part the scenes and costumes created after the aquatint plates executed by Pinelli in 1809. "If you want to know about the culture and costumes in Rome during the early nineteenth century, look no further than Bartolomeo Pinelli. His portfolios of etchings include Collection of Roman Costumes, Another Collection of Roman Costumes, The Carnival of Rome, Roman History, Costumes of the Roman Countryside and so on. These unbound sets have often been broken up, sold individually, and reassembled into personalized compilations for private collectors. Graphic Arts holds such an album titled Twenty-Seven Etchings Illustrative of Italian Manners and Costume (1844), comprising Picturesque Costumes of Rome, in twelve plates; The Carnival, in five plates; and Adventures of Massaroni, in ten plates." (Julie L. Melby / Princeton). The present work appears to be the first substantial book to be printed entirely by Charles Hullmandel (his earlier Twenty-four views of Italy [1818] includes a varying number of plates printed by Moser & Harris). It is very rare and was unknown to Abbey. Hullmandel appears to have begun the publication on his own, presumably in an attempt to build on the success of his earlier work, and using the highly fashionable Pinelli's etchings as his models. The plates: 1. Woman of Frascati. (Feb 25, 1820). 2. Women of Tivoli. (Feb 25, 1820). 3. The Tarantella. (Feb 25, 1820). 4. Piferari Playing Before a Madonna. (Feb 25, 1820). 5. Woman of the Environs of Terni. (Feb 25, 1820). 6. Sbirri of the Kingdom of Naples. (Feb 25, 1820). 7. Romans Playing at Ruzzola. (March 10, 1820). 8. Washer-women at Tivoli. (March 10, 1820). 9. Peasants of the Sabine Country. (March 10, 1820). 10. Peasants of Tivoli singing Litanies. (March 10, 1820). 11. Women of Marino, near Frascati. (March 10, 1820). 12. Women of La Cervara, near Subiaco. (March 10, 1820). 13. The Game of Morra. (May 1, 1820). 14. A common scene in Italy. (May 1, 1820). 15. Ha toccato la Chiesa! (May 1, 1820). 16. A vender of Water-melons. (May 1, 1820). 17. A Roman Beggar. (May 1, 1820). 18. Peasants of Arpino, Kingdom of Naples. (May 1, 1820). 19. A Scene in Rome. (October 1, 1820). 20. The Roman Swing. (October 1, 1820). 21. Roman Discoveries. (October 1, 1820). 22. Ma che Fritto! (October 1, 1820). 23. Itinerant Tinkers. (October 1, 1820). 24. The Serenade. (October 1, 1820). Bobins II, 594; Colas 2382; Twyman, M. Lithography 1800-1850, p. 188. .

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Book number: 05686

Catalogue: Color-Plate Books

Keywords: HULLMANDEL, C. Costume Fashion

PLATIER, Jules

Les Lions

Paris: Chez Bauger, 1842. Jules Platier - Les Lions A Virtually Unknown Suite of Hand Colored Lithographs PLATIER, Jules. Les Lions. Paris: Chez Bauger, [1842]. First and only edition. Oblong folio (13 1/4 x 9 11/16 inches; 335 x 246 mm.). Six (of eight?) magnificent hand colored lithographs heightened with gum arabic. First plate with expert and almost invisible restoration to blank lower left hand corner (1/2 x 1/2 inch; 12 x 12 mm.). Chemised in a quarter black morocco over black cloth boards clamshell case. Spine with five raised bands decoratively tooled and lettered in gilt. This suite is virtually unknown. There is no record of any other example.. It is possible and highly likely that the suite consisted of eight lithographs as there are records of two uncolored prints from this series - numbers 7 & 8 at Le Musée Carnavalet in Paris (see below). The Cleveland Museum of Art have one uncolored Le Charivari print from this exceptionally rare suite (number 3). Le Musée Carnavalet in Paris have two uncolored prints titled Le Faux Lion - The False Lion (no. 7) & Le Vieux Lion - The Old Lion (no. 8) According to OCLC & KVK there are no other examples in libraries & institutions worldwide. Jules Platier was an artist, active in the 1830s to 1840s and who notably drew a series of caricatures on the various types of male characters called "lions", published in Le Charivari, in 1842. This series is called The Lions, with: "The false lion", "The low floor lion", "The old lion", "The artistic lion", "the Sunday lion", "The literary lion", etc. He also collaborated with the newspaper La Mode among others. Jules Platier was a caricaturist and lithographer who published a number of works through the Parisian publishing house established by Charles Philippon and Gabriel Aubert but otherwise little is known of his life and works (see James Cuno, 'The Business and Politics of Caricature - Charles Philipon and the Maison Aubert', Gasette des Beaux-Arts, cvi (1985) pp. 95-112). "Platier, Dessinateur-lithographe, qui a travaillé surtout entre 1840 et 1855. Une de ses suites: Le Bureau du Commissaire de Police, eut, à l'epoque, un grand succès de popularité." (Grand Carteret. Bibliographie des Artistes Caricaturistes, p. 665). Jules Platier, Draftsman-Lithographer, who worked mainly between 1840 and 1855. One of his suites: The Office of the Police Commissioner, had, at the time, a great success of popularity. (Grand Carteret. Bibliographie des Artistes Caricaturistes, p. 665). The Plates: Plate 1. LE LION LITTÉRAIRE. Le Lion littéraire est le cauchemar des directeurs de théâtres et des rédacteurs de journaux, il a la manie du drame et des nocturnes à 2 voix, il se nourrit de lait et de fromage et passe ses soirées dans les coulisses de théâtres extra-muros, il meurt poitrinaire laissant une foule d'ouvrages inédits. THE LITERARY LION. The literary Lion is the nightmare of theater directors and newspaper editors, he has a mania for drama and 2-voice nocturnes, he feeds on milk and cheese and spends his evenings backstage at extramural theaters, he dies chest-deep leaving a host of unpublished works. Plate 2. LE LION EXCENTRIQUE. Il a 40 ans 1500 livres de rente, un faux râtelier et perche dans une mansarde de la rue de la Paix ; il fréquente les maisons de jeux et fait une grande consommation de modistes, son excentricité s'étend aussi sur son langage ; il dit c'est chamant, admiable, étoudissant, il porte corset. THE ECCENTRIC LION. He is 40 years old with 1500 pounds of rent, a fake rack and perch in a garret on the rue de la Paix; he frequents gambling houses and makes a great consumption of milliners, his eccentricity also extends to his language; he says it's embarrassing, admirable, suffocating, he wears corset. Plate 3. LE LION DE BAS ÈTAGE. Il est marchand de contremarques, courtier-marron ou professeur de pugilat; sa tournure est athlitique sa chevelure abondante et sa barbe inculte. On le trouve passade du Saumon, boulevard du Temple et à la porte de tous les théâtres; il exerce de grands ravages parmi les écaillères de la rue Montorgueil; du reste il est insolent et porte des chemises de couleur. THE LOW LEVEL LION. He is a countermark dealer, maroon-broker or professor of fistfights; his figure is athletic, his hair abundant and his beard uncultivated. You can find it on the Passade du Saumon, Boulevard du Temple and at the door of all the theatres; it exerts great ravages among the scales of the rue Montorgueil; besides, he is insolent and wears colored shirts. Plate 4. LE LION DU DIMANCHE. C'est aux Tuileries ou au jardin des plantes qu'il a placè le théâtre de ses exploits, là le binocle d'une main et le jonc proverbial de l'autre, il se livre à une foule de poses plus ou moins excentriques. Bien différent du véritable lion, notre héros ne sort que le Dimanche, fait cirer ses botles dans un passage et rentre avant minuit pour ne pas payer d'amendes au portier. THE SUNDAY LION. It was at the Tuileries or the Jardin des Plantes that he set up the theater of his exploits, there with binoculars in one hand and the proverbial rush in the other, he engaged in a host of more or less eccentric poses. Very different from the real lion, our hero only goes out on Sundays, has his shoes shined in a passage and comes back before midnight so as not to pay a fine to the doorman. Plate 5. LE LION ARTISTIQUE. Il est chevelu, mèlancolique et musard, mais il est laid, sale et vaniteux : ses promenades favorites sont les galeries du Louvre. (Ecole Flamande.) Il se nourrit de farineux tels que lentilles, haricots. Sur ses vieux iours il vend des allumettes chimiques. THE ARTISTIC LION. He is hairy, melancholic and dawdling, but he is ugly, dirty and vain: his favorite walks are the galleries of the Louvre. (Flemish School.) It feeds on mealy foods such as lentils, beans. In his old days he sells chemical matches. Plate 6. LE VÈRIABLE LION. De toutes les variétés du Lion celle-ci est la plus belle et la moins nombreuse. Le vrai Lion est menbre du Jockey-Club, le jour on le rencontre au bois, au café de Paris, le soir dans sa loge aux Italiens; il se nourrit de beafsteack de salmis et d'omelettes au rhum, il ne sort jamais le Dimanche. (Voir Buffon.) THE REAL LION. Of all the varieties of the Lion, this is the most beautiful and least numerous. The real Lion is a member of the Jockey-Club, during the day one meets him in the woods, at the Cafe de Paris, in the evening in his box at the Italians; he eats beefsteak, salmis and rum omelettes, he never goes out on Sundays. (See Buffon.). .

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Book number: 05489

Catalogue: Color-Plate Books

Keywords: Books in French Caricatures French Caricature

POLLARD, James

[Coaching Subjects]

London: R. Pollard & Sons, 1819. Five Wonderful Hand Colored Aquatint Coaching Plates by James Pollard POLLARD, James. [Coaching Subjects]. London: R. Pollard & Sons, 1819-1823. Folio (15 1/4 x 19 7/8 inches; 386 x 504 mm.). Five hand-colored aquatint plates by and after James Pollard. Sizes varying slightly from 14 1/2 x 18 3/4 to 15 1/4 x 19 7/8 inches. All tipped into an album and interleaved. First plate with very small (5/8 inch) repaired tear at upper blank margin, the second plate with some scattered stains, mainly marginal. All but the second plate watermarked "J. Whatman/Turkey Mill". Bound ca. 1940s in quarter brown morocco over light brown buckram boards with dark blue morocco gilt cover label "Coaching: A Series of/Prints by James Pollard/London, 1819-1823", spine lettered in gilt, brown paper end-leaves. Bookplate of Joel Spitz on front paste-down. Housed in a light brown buckram slipcase. Fine. The plates: 1. "Cottagers Hospitality to Travellers/Or the Coach Broke Down" 2. "Stage Coach Passengers/at Breakfast" 3. "Stage Coach" 4. "Tandem" 5. "Four in Hand" Pollard's accomplished travelling scenes, published as separate engravings without title-page or running title. The first two, 'Cottagers Hospitality to Travellers' and 'Stage Coach Passengers at Breakfast' have the imprint of R. Pollard and Sons and date 27 March 1819; the pair are listed by Siltzer (p. 214) who notes that they were reissued in 1820 and 1824. The first of the two is also in the Mellon collection (Mellon/Snelgrove 35, p. 137). 'Tandem' and 'Four in Hand' are two of the three plates engraved by J. Gleadah and published by J. Watson in 1823 (Siltzer, p.216). James Pollard (1792-1867) was a British painter noted for his mail coach, fox hunting and equine scenes. Born in Baynes Spa Fields (later renamed Exmouth Street) in Islington, he was the son of the painter and publisher, Robert Pollard (1755-1838). Between 1821 and 1839, James Pollard exhibited at the Royal Academy. He exhibited at the British Institution in 1824 and 1844. During his career, he also worked with John Frederick Herring, Sr. on several horse racing paintings in which he painted the backgrounds and spectators while Herring painted the horses. Many of his compositions were published as aquatints, although, unlike his father, he engraved only a few plates himself. .

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Book number: 04580

Catalogue: Color-Plate Books

Keywords: Caricatures Coaching

QUILLENBOIS, pseudonym of Charles Marie de Sarcus; SARCUS, Charles Marie de

Conservatoire de la Danse Moderne, le

Paris: Chez Aubert & Cie. 1845. The Academy of Modern Dance" Forty-Four Highly Amusing, Hand Colored Vignettes Depicting Parisian Dances [QUILLENBOIS, pseudonym of Charles-Marie de Sarcus, illustrator]. Le Conservatoire de la Danse Moderne. Charges Parisiennes. Paris: Chez Aubert & Cie, [1845]. Folio (13 1/4 x 9 3/4 inches; 337 x 248 mm.). [1, advertisement], [1, blank], 16 pp Aubert et Cie. catalog bound in at end. Twelve superb hand-colored lithographed plates, containing forty-four humorous captioned vignettes depicting 'The Academy of Modern Dance.' Plates heightened with gum arabic. The plates are all titled: "Conservatoire de Danse Moderne" and are numbered from 1 - 12. Each of the forty-four hand-colored vignettes is captioned. Publisher's yellow pictorial boards, corners a little rounded otherwise very fine. Chemised in a brown buckram portfolio within a matching brown buckram slipcase with a facsimile of the original cover pasted on front panel. "The artist, under the pseudonym Quillenbois, gives caricatures of the most popular Parisian dances of the period, [including the Polka and the Cancan]" (Hiler). Extremely rare with KVK, OCLC and RLIN only locating two colored copies, at the Harvard Theatre Collection and the New York Public Library. The Bibliotheque Nationale de France and Harvard University, Houghton Library also have examples - but their copies appear to be uncolored. Charles-Marie de Sarcus, a.k.a. Quillenbois, (1821-1867) was born in Dijon and died in Paris. He was a French painter and caricaturist during the middle of the nineteenth century, best known for his cartoons, which were published in many newspapers and albums between 1845 and 1853, and signed Quillenbois. This pseudonym was due to the crutches that the young, disabled artist used to move around. He was a friend of Cham, a.k.a. Charles Amédée de Noé (1818-1879) and he contributed to the satirical newspaper La Revue Comique (1848-1849), providing drawings to Fashion, L Éclair as well as L'Illustration, and was the official draftsman of the Caricaturist (1849-1851). Hiler, p. 777; Lipperheide, 3105. .

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Book number: 04794

Catalogue: Color-Plate Books

Keywords: SARCUS, Charles Marie de Books in French Caricatures Dance French Caricature

RALFE, James

Naval Chronology of Great Britain, the

London: Whitmore and Fenn, 1818. Scarcer Than a Battleship in a Bathtub In the Original Twelve Parts as Issued The Genuine Hand-Colored Issue RALFE, Mr. J[ames]. Naval Chronology of Great Britain. Or, an Historical Account of Naval and Maritime Events, From the Commencement of the War in 1803, to the end of the year 1816: also, Particulars of the Most Important Court-Martial, Votes of Parliament, Lists of Flag-Officers in Commission, and of Promotions for Each year: The Whole forming a complete Naval History of the above Period. Illustrated with Numerous Engravings. London: Whitmore and Fenn, 1818-1819. First edition, early issue with plates watermarked 1818 & 1819. Twelve original parts, 1818-1819, in tall octavo (10 1/8 x 6 7/8 in; 256 x 175 mm). Sixty "genuine" hand-colored aquatint plates (with printed inscriptions, i.e. "from a sketch by.." "from a plan by.."), including frontispiece, with original tissue guards. Original buff printed wrappers, with expert renewal by master restoration artist, Bruce Levy. Vol. 1: facsimile wrappers; Vol. 2: joints and endcaps restored, rear wrapper facsimile; Vol. 3: endcaps repaired, front wrapper re-attached; Vol. 4: plate with loss filled-in, front wrapper fill-in at fore-edge; Vol. 6: Front wrapper reattached; Vol. 7: facsimile wrappers, seven plates re-attached; Vol. 8: facsimile wrappers, six plates re-attached; Vol. 9: backstrip repair, wrappers re-attached; Vol. 10: Joints and endcaps repaired; Vol. 11: Front joint and endcaps repaired, 5 plates re-attached; Vol. 12: backstrip repaired, corner restoration. A fine set. Housed in a blue cloth drop-back clamshell box. A book of incredible scarcity in the original parts with only one copy seen at auction within the last fifty-three years, in 1960. This copy was stashed in the 1930s and forgotten in the vault of a bookselling firm until recently. The rare 1820 three-volume first edition in book format is relatively common by comparison. According to Abbey, plates later colored lack the inscriptions as noted above for genuine hand-colored plates, i.e. colored at time of issue. "Genuine colored copies are rare" (Tooley). The rear wrappers state "Price to Subscribers 10s 6d plain, and 15s coloured." The key, invaluable reference on the British Navy during the Napoleonic Wars and American War of 1812 with plates based on drawings by officers, many of whom were participants in the naval battles: T. Sutherland, F.C. Lewis, D. Havel and others after T. Whitcombe, J. Beresford, W.A. Armstrong, J. Gore, W. Hill. With List of Subscribers "The object of this work is, more particularly, to perpetuate the names of those individuals who have, by their talents, courage, and professional abilities, increased the honour and reputation of the British Navy, and secured the peace and independence of the Country. "It will form a complete Naval History from 1802 (the time at which Captain Schomberg's Chronology terminates) to 1817, under the form generally acknowledged to be the most convenient for an historical work of reference. From the arrangements which have been made, it is expected that the work will answer every purpose of information not only to gentlemen of the Navy, but to those who feel an interest in the naval events of the last fourteen years; while the correctness of the drawings, the superior style of the engravings, and the neatness of execution, will render it worthy of the attention of every lover of the fine arts. Indeed, throughout the greatest pains will be taken to make this publication of the utmost utility, and deserving of general patronage" (rear wrapper). Abbey, Life 342. Bobins IV, 1290; Tooley 392. Sabin 67602. Howes R21. Cf. Prideaux, p. 348 (book edition). .

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Book number: 05704

Catalogue: Color-Plate Books

Keywords: Americana Books in Parts English History History

REPTON, Humphry

Odd Whims; and Miscellanies

London: Printed for William Miller by W. Bulmer, 1804. A Humorous Work by Humphry Repton, with Ten Hand-Colored Aquatint Plates Fine in the Original Boards, Uncut REPTON, Humphry. Odd Whims; and Miscellanies. London: Printed for William Miller, by W. Bulmer and Co. 1804. First edition. Two small octavo volumes (7 3/4 x 4 7/8 inches; 196 x 124 mm.). [1]-xii, [2], 171, [1, blank]; [vi], 164 pp. Ten hand-colored aquatint plates by J. Stadler after Repton. Stipple-engraved title vignettes by H.R. Cook after Repton. Complete with both half-titles. Plates 1 (volume 1 facing p. 24), 4 (volume 1 facing p. 126) and 10 (volume 2 facing p. 114) slightly stained in blank margins, short marginal tear on fore-edge of leaf G (pp. 81/2) in volume 1. Plates watermarked "1798". Original pink boards, printed paper labels on spines. Ink note on front board of volume 2. A remarkable copy of this rare and charming work. Better known for his 1803 work with intricate hand-colored plates after his own drawings of landscapes, Observations on the Theory and Practice of Landscape Gardening, Repton both wrote the several amusing essays and dialogues that comprise Odd Whims and furnished the drawings for the aquatint plates. The plates: 1. A View of the Life & the Mountain of Calamity 2. The Hall of Silence 3. 1745-1787-1804 4. The Bashful Man 5. The Friars Tale 6. Sir Geffry Oddwhim, Lady Jane, Charlotte & Peerson 7. Sir Geffry & Sir James Oddwhim 8. Charlotte & Madame Crepon 9. Lady Jane & Lord Blazon 10. Peerson, Stanley, Sir Geffry, Ruki & Tim Humphry Repton (21 April 1752 - 24 March 1818) was the last great English landscape designer of the eighteenth century, often regarded as the successor to Capability Brown. He is well-known for his fine books on Architecture and Landscape Gardening - Sketches and Hints on Landscape Gardening (1794), Observations on the Theory and Practice of Landscape Gardening (1803), Designs for the Pavilion at Brighton (1808) and Fragments on the Theory and Practice of Landscape Gardening (1816). Repton sowed the seeds of the more intricate and eclectic styles of the 19th century. His Odd Whims; and Miscellanies (1804) were dedicated to William Windham, the British Whig Statesman. Some of the essays in Variety were reprinted in this collection, and in the second volume is Odd Whims, or Two at a Time; a Comedy, Written in the year 1783, which was played at Ipswich in 1804. Abbey, Life, 246 and 247 (large paper copy measuring 9 x 5/38 inches). Prideaux, p. 349. .

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Book number: 03777

Catalogue: Color-Plate Books

Keywords: Caricatures Plays

RICHTER, Johann Salomo

Leipziger National Trachten

Leipzig: Johann Baptist Klein, 1790. Exceptionally Rare Complete with Forty-Eight Hand Colored Engravings Depicting the Street Vendors of Leipzig in the Late Eighteenth Century RICHTER, Johann Salomo. Leipziger National Trachten. Leipzig: [Johann Baptist Klein, 1790-1791]. First edition Complete. Octavo (7 3/8 x 4 7/8 inches; 187 x 124 mm.). Forty-eight fine hand colored engraved plates printed on "Dutch paper" Bound ca. 1930 in full red morocco, covers with single line border, spine with five raised bands, decoratively tooled and lettered in gilt in compartments, edges stained red. Some occasional very light spots, still a very fine copy of this exceptionally rare book. The National Costumes of Leizig contains forty-eight beautifully hand colored engravings depicting street vendors of foods including butter, cheese, fruit, vegetables, fish, & juice seltzer water; household items including brooms, porcelain, sieves & mousetraps; consumer goods including coal, sawdust & flints; printed works including calendars, religious pamphlets, decorative graphics & views; peddlers of various services and any more, all based on original models from the streets of Leipzig. "Salomon Richter has the gift of unsentimentally depicting the hard labor and the poverty, while renouncing the picturesque effect" (Maurenbrecher I, p. 76; citing this copy in the E. Hauswedell collection sale catalog (item 34). Pltes 1-36 first appeared in 1791 as part 5 of Richter's Unterweisung für Anfänger beyderley Geschlechts im Zeichnen, which was also published by J.B. Klein. The present example is numbered 1 thru 48 - they are all inscribed with a short printed description, publisher's note and artist's signature on plates 1 thru 37. Plates 38 thru 48 have only the descriptive phrase on the plate except for plate 48 which also has the artist's signature. Plates 1, 13, 25 , have the heading title "Leipziger National Trachten", "Leipziger National Trachten. 2te Liefrung" & "Leipziger National Trachten. 3te Liefrung" respectively. OCLC & KVK locate just one complete copy (with 48 plates) in libraries and institutions worldwide: Harvard University (MA, US). Colas and Hiler knew only of the first two series of 24 plates. Lipperheide had the three series of 36 plates. The final section with plates 37 thru 48 appears to be unknown to the relevant bibliographers, with the exception of Thieme-Becker. These 12 plates are not mentioned in the detailed description of the series by G. Wustmann in Leipziger Ausrufer vor hundert Jahren. Provenance: Presumably the copy from the 1928 catalog of K.W. Hiersemann , no. 1513 (still unbound, 'wohl unikum' - probably unique); Collection of Ernst Hauswedell, Hauswedell & Nolte auction catalog 252, lot 34 (private collection). Johann Salomo Richter (1761-1798). German engraver and book illustrator. A series of engravings by him was published in 1793 by Johann Baptist Klein in Leipzig. One of these engravings was a costume design for Mozart's most famous opera "The Magic Flute". Colas 2552 (24 plates only); Hiler, p. 750 (24 plates only); Lipperheide I, 826 (36 plates only); Thieme-Becker, 4. XXVIII, 296 (48 plates). The Plates: 1. Leipziger National Trachten. 2. Brezeln, weege, warme, San-Kimel Brezeln! 3. Spennat, Geren! Meine grüne Suppe? 4. Siöft Wacholder Saft! 5. Sallat, Sallat, Redisgen! 6. Aeppel, äppel, äppel, Borfteräppel! 7. Fifche! Meine Nege Tirebse? 8. Bonen, Bonen, wer koft-weide Bonen? 9. Buttermelch, Sane, Buttermelch! 10. Koft Hüdelbeern, Hüdelbeern! 11. Brauchen Se kenen Befen zu Haufe Köchlgen? 12. E. E. Raths Kohlenträger, ruft nicht aus. 13. Kaufmer mein Bükse ab! 14. Stiefelwachs, Schuwachs, Barthwachs. 15. Haben Sie Stiefeln zu wikfen? 16. Sandsiebe, Harsibe! 17. Meine Kirschen sind manguth. 18. Noth-Röhren-Wächter im kalten Winter. 19. Na wie is! Nischt? 20. Limburger Kaes! 21. Lumpen Samlerin. 22. Meine Madam Komt! 23. Schöne Markstorden meine Herren Makro nen, alles frifch! 24. Koft Rulzbutten, koft! - zwe um ae Dreier. 25. Köfen se Sägelpine dort cben troben? 26. Frifch Selzer-Wasfer. 27. Helinrigen zu Fusfbädern, meinen Feibs. 28. Kalender, Chocolade, Brufs-Texte, die Handling gehtgut meine Herren! 29. Sowiediefes mahle ich auch nach dem Leben, wen eines viel bezahlt u:lange sitz. 30. Zum Feierabend ä'Glaszkäftgen, seÿn Se so gütig! 31. Nehm er doch ene mit, er kan sich e'nne rechte Güte thun. 32. Nichts zu Schachern? En'exqufier Stöckgen. 33. Bruder den Reft! 34. Pariser Feuersteine! 35. Meine Herren, der Saal-Eÿer-Mann geht fort! 36. Erdbi'ren! Hingbi'ren! 37. Feztkömt der Porzelmann von Paris! 38. Duglaubst mirs nit Dubist stark kranck! 39. Nehem Sie, was ich Sie gebe! - reibe u: Ziegen Käse. 40. Mir is moch keener entlofen beÿ meinen Scheron bleibt ken Haar! 41. Zwiebeln, Zwibeln, Madam. 42. A sche Stückgen, wegen Kuchen, und é Gläsgen Lustwasfer! 43. Sane und Milch Transport. 44. Schön, und wohlfeil!! 45. Haben Sie kene Pfeifen aurzubrenen? 46. Häkele, Mausefalle, auf viel Persohne! 47. Madam, einen schönen Rest Zilteronen. 48. Gescháftsträger. .

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Book number: 05454

Catalogue: Color-Plate Books

Keywords: Books in German Caricatures Costume Street Vendors

ROBERTS, Peter; HAVELL, John, engraver

Cambrian Popular Antiquities, the

London: Printed for E. Williams, 1815. With Nine Hand Colored Aquatint Plates Depicting the Traditions, Customs, and Superstitions of Wales ROBERTS, Peter. The Cambrian Popular Antiquities; or, an Account of some Traditions, Customs, and Superstitions, of Wales: with Observations as to their origin, &c. &c. Illustrated with Copper-Plates, Coloured from Nature. London: Printed for E. Williams, 1815. First edition. Octavo (8 3/4 x 5 1/2 inches; 222 x 140 mm.). [iii]-viii, [1]-333, [334, list of plates] pp. Nine hand colored aquatint plates, all with tissue guards. Bound without half-title. Small expert repair to upper blank inner margin of title-page and index leaves. Neat repair to blank margin of pp. 159/160. Some occasional light marginal foxing. Early twentieth century three quarter tan calf over marbled boards, ruled in gilt. Spine with five raised bands decoratively tooled in gilt in compartments, red morocco label lettered in gilt, top edge gilt, others uncut. Slight wear to top of spine. A very good example. "The interest in Wales, from the point of view of the tourist a newly discovered country, showed itself in the production of numerous illustrated books.. The earliest book on our list is by a Welshman, Peter Roberts, rector of Llanarmon, and vicar of Madeley, who was an ardent student of its history and traditions. The Cambrian Popular Antiquities (1815), an account of the traditions, customs, and superstitions of Wales, is illustrated by nine plates by J. Havell." Peter Roberts (c. 1760-1819) was a Welsh Anglican divine and antiquary. He graduated MA at Dublin, was ordained, and held successively several livings. His chief works were Sketch of the Early History of the Cymry, 1803, and Cambrian Popular Antiquities, 1815. The Plates: 1. The Bidder (frontispiece) 2. Fives Playing 3. Easter Monday 4. The Quintain 5. Singing to the Harp & Dancing 6. The Funeral 7. The Fairies 8. The Bow of War & Peace 9. Ancient Method of Reaping Facing p. 213 is a black & white engraving, Plan of the City of Troy as Delineated by the Welsh Shepherds. Abbey, Scenery 520; Bobins 713; Prideaux, pp. 278 & 349; Tooley 403. .

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Book number: 05852

Catalogue: Color-Plate Books

Keywords: HAVELL, John, engraver Topography Views

ROWLANDSON, Thomas; BUNBURY, Henry; GAMBADO, Geoffrey

Academy for Grown Horsemen, an

London: Printed for Vernor, Hood, and Sharpe, 1808. With Twenty-Nine Hand Colored Etched Plates by Thomas Rowlandson ROWLANDSON, Thomas, illustrator. [BUNBURY, Henry]. GAMBADO, Geoffrey. An Academy for Grown Horsemen Containing the completest instructions for Walking, Trotting, Canering, Galloping, Stumbling, and Tumbling. [and] The Annals of Horsemanship: Containing Accounts of Accidental Experiments and Experimental Accidents, both successful and unsuccessful; Communicated by various Correspondents to the author.. London: Printed for Vernor, Hood, and Sharpe, 1808. First edition, first issue with the Hand-Colored Rowlandson plates. Small octavo (6 5/8 x 4 inches; 169 x 102 mm.). [iv], xvi, 28; xvi, 69, [1, directions to the binder], [2, advertisements], pp. Twenty-nine hand colored etched plated by Thomas Rowlandson, including two frontispieces. Bound ca. 1900 by Rivière & Son (stamp-signed on front turn-in) in full polished tan calf, covers with double gilt rules, spine with five raised bands, decoratively tooled in compartments, two green morocco gilt lettering labels, gilt board edges and turn-ins, top edge gilt, others uncut, dark blue coated end-papers. Expertly and almost invisibly rebacked with the original spine laid-down. A near fine copy, the plates bright and fresh. According to ABPC it would appear that the last copy of this book to appear at auction was at Swann Galleries, NY, in 1979. "Gambado is said to have been Francis Grose, compiler of A Classical Dictionary of the Vulgar Tongue" (Riely, John C. Horace Walpole and ‘the Second Hogarth', in Eighteenth Century Studies, Vol. 9, No. 1, Autumn, 1975). In addition to his works on antiquities, satiric essays, and volumes on non-standard words and meanings, Francis Grose (1731-1791) wrote Rules for Drawing Caricaturas: with an Essay on Comic Painting (1788); "though only an indifferent draughtsman, he mixed with professional and amateur artists, and exhibited at the Society of Artists in 1767-8 and at the Royal Academy in the nine years following" (Oxford Online DNB) - the frontispiece portrait of "Gambado" in The Academy, unsigned (all other signed Bunbury), bears an uncanny resemblance to Grose: a "stocky, corpulent figure which Grose himself caricatured (DNB)," perhaps here. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 03284

Catalogue: Color-Plate Books

Keywords: BUNBURY, Henry GAMBADO, Geoffrey Caricatures Sports

[ROWLANDSON, Thomas, in the style of].; [COMBE, William, imitation of]

Adventures of Doctor Comicus, the

London: Printed for B. Blake, 1815. In The Original Printed Boards The First Dr. Syntax Imitation [ROWLANDSON, Thomas, in the style of]. [COMBE, William, imitation of]. The Adventures of Doctor Comicus, or the Frolicks of Fortune. A Comic Satirical Poem for the Squeamish & the Queer. In Twelve Cantos, by a Modern Syntax. London: Printed for B. Blake. n.d. [1815]. First edition. Octavo (8 7/8 x 5 1/4 in; 226 x 133 mm). [2], 269, [1] pp. Fifteen hand-colored engraved plates including frontispiece and extra-title in the style of Rowlandson. Original printed boards uncut. Neatly rebacked preserving original spine label, new endpapers. Corners a little bumped and creased. Chemised and housed within a later quarter red morocco slipcase. Scarce in original boards. The first of many imitations of Combe's Dr. Syntax. Another edition was published in 1820 with only twelve colored plates. Reissued in 1828 by Jaques & Wright using the same sheets as the first edition but with their name and later date to titlepage. Abbey, Life 255. Tooley 431. Prideaux, p. 334. .

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Book number: 02652

Catalogue: Color-Plate Books

Keywords: [COMBE, William, imitation of] Caricatures

ROWLANDSON, Thomas

Comforts of Bath, the

London: , 1860. The Complete and Scarce 1860 Hand-Colored Reprint ROWLANDSON, Thomas. The Comforts of Bath. [London, 1860]. Reprint edition, complete and scarce. Oblong quarto (10 5/16 x 12 5/8 in; 261 x 322 mm.). No text or title, as issued. Twelve hand-colored aquatint plates with gray wash borders after Rowlandson, each one aperture mounted onto a paper sheet. Average plate size including gray wash borders 6 3/8 x 8 11/16 inches; 162 x 221 mm.). Bound ca. 1900 by Rivière & Son (stamp signed on lower turn-in) in full crimson morocco. Covers with double gilt rules, front cover lettered in gilt, spine with two raised bands lettered and bordered in gilt, gilt board edges and turn-ins, all edges gilt, dark green coated end-papers. Ex libris S.P. Lohia with his circular bookplate on front paste-down. Short tear (neatly repaired) on top margin of sheet containing plate 6. A very fine set, the plates as fresh and clean as one could hope for. The first edition of 1798 was designed to illustrate Anstey's New Bath Guide, and according to Tooley, is "one of the rarest of Rowlandson items." This reprint in excellent facsimile was published about 1860; apart from difference in the texture of the paper they can be recognized by the absence of the Fores imprint. Never issued with text." (Abbey, Scenery, 40, note). This series of watercolor drawings gives us Rowlandson's visual satire on the activities at Bath, whether bathing, gaming, dining, sitting for a portrait, enjoying a concert, dancing or romancing.  In each drawing, the figure of the rotund visitor to the Bath, reminiscent of Humphry Clinker's fussy Mr. Bramble, provides one point of view from which to view the scene, while Rowlandson gives us an outsider's view as well. Abbey, Scenery 40 (1798 edition); Tooley 408. Prideaux, p. 350. BM Satires 9321. The plates: [titles taken from the 1798 edition]. 1. The Physicians 2. The Concert 3. The Pump Room 4. The Fish Market 5. A Day Out Riding 6. The Portrait 7. The Baths 8. The Games 9. The Dinner 10. The Dancing 11. Public Breakfast 12. Bath Races Abbey, Scenery, 40 (note); Tooley, 408 (1798 first edition). .

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Book number: 03283

Catalogue: Color-Plate Books

Keywords: Caricatures