BOILLY, Louis-Léopold

Recueil de Grimaces

Paris: chez Delpech, 1823. A Fine Collection of Twenty-Two of Leopold Boilly's 'Grimaces' BOILLY, Louis-Leopold. Recueil de Grimaces. Paris: chez Delpech, 1824-1827. First edition. Folio (14 3/4 x 10 5/8 inches; 374 x 270 mm.). A superb collection of twenty-two fine hand-colored lithographed plates, all with the original tissue guards. Bound ca. 1830 in quarter green chagrin over patterned green cloth boards. Smooth spine decoratively ruled and lettered in gilt, all edges uncut. An excellent collection in fine condition and in it's original binding. A keen observer of society and of human expressions, Boilly was also a caricaturist.  His series Recueil de Grimaces (Collection of Grimaces), a series of 96 lithographs created in the 1820s, satirizes at different professions and societal groups.  The Grimaces were very popular during the period for their humorous observation of the society at that time. They were created and sold in separate sheets rather than bound in a book or portfolio.  They were printed at the studio of François-Séraphin Delpech (1778-1825) the most popular lithographic print shop in Paris. OCLC records only one copy worldwide of Recueil de Grimaces, prints 1-8 w/title leaf, at the Getty Research Institute in Los Angeles. According to OCLC, the BNF has the only other copy of Recueil.. in the world, one with ninety-three prints (of a total ninety-six). Individual prints, however, are found in the collections of major institutions in the United States and Europe. According to ABPC, the last complete set of Recueil de Grimaces to come to auction - was in 1949. "Today, at least outside France, Boilly is best known for his lithographs. Although credited with having drawn the first lithograph in France in 1802, he did not return to the medium until 1822, when he more or less abandoned oil painting. The caricatural aspects of his lithographic work go back to the English caricaturists Cruikshank, Gillray, and Rowlandson and the earlier innovations of Hogarth. His most popular series of lithographs, Recueil de Grimaces, was published between 1823 and 1828.. The vignetted subjects of these prints appear to be cut out and applied to a plain background, a format also used by Pigal during the Restoration. The series was so popular that Philipon's printer Aubert re-published it in 1837 under the new title Groupes physionomiques.. "The series Recueil de Grimaces, published over the course of five years, included ninety-six lithographs.. Boilly's popularity during the Restoration was largely due to this series. The interest in expressive heads had precedent in France.. During the late eighteenth century, physiognomy, the art of reading inner character by means of facial expressions, was popularized by engravings illustrating Lavater's well-known Essays on Physiognomy, which may well have influenced the format of Boilly's Recueil de Grimaces' "(Beatrice Farwell, The Charged Image: French Lithographic Caricature). The son of a wood-carver, Louis-Léopold Boilly lived in Douai until he was seventeen years of age, when he went to Arras to receive instruction in trompe-l'oeil painting at Domenica Doncre before moving to Paris in 1785. Between 1789 and 1791 he executed eight small scenes on moralizing and amorous subjects for the Avignon collector Esprit-Claude-François Calvet (1728-1810), including The Visit (1789; Saint-Omer, Musée Hôtel Sandelin). He exhibited at the Salon between 1791 and 1824 and received a gold medal at the Salon in 1804. These paintings thoroughly observed and reflected all aspects of urban life, its costumes and its habits, between the revolutionary period and the Restoration. In 1823, Boilly produced a series of humorous lithographies entitled Grimaces. In 1833, at a time when his popularity was declining, he was admitted to the Légion d'honneur and the Institut de France. His three sons, Julien Léopold (1796-1874), Édouard (1799-1854) and Alphonse Léopold (1801-1867), were also painters. The Plates: *1. Les Moustaches 2. L'Enfance (Farwell #5) 3. La Rosière 4. Les Antiquaires 5. Les Grimaces 2 6. Les Gueux 7. Finissez Donc 8. Les Grimaces 8 9. Les Fumeurs et les Priseurs *10. Les cinq sens 11. La lecture du Testament 12. Les Grimaces 3 13. Les Grimaces 6 14. Consultations de Mèdecins 1823 15. Ah! le méchant! 16. Les Grimaces 4 17. Les Grimaces 18. L'Enfance 2 19. Ah, qu'il est bon! 20. La Famille Africaine 21. Le Concert *22. Ah! Le chie-en-lit, lit, lit. (Farwell #7) Beatrice Farwell. The Charged Image, pp. 38-46; Susan Siegfried. The Art of Louis-Léopold Boilly, p. 122-123. .

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Book number: 05461

Catalogue: Color-Plate Books

Keywords: Books in French Caricatures French Caricature

NAPOLEON BONAPARTE

Carnet D'Un Voyageur

Paris: Chez Pillet Ainé, 1819. Three Fine Aquatint Plates of Lockwood House Napoleon Bonaparte's Final Residence on the Island of St. Helena [NAPOLEON BONAPARTE]. Carnet d'un Voyageur, ou Recueil de Notes Curieuses sur la Vie, les Occupations, les Habitudes de Buonaparte a Longwood.. de Sainte-Helene.. Paris: Chez Pillet Ainé, 1819. First edition. Octavo (8 3/8 x 5 5/8 inches; 213 x 143 mm.). [iv], [1]-119, [1, blank] pp. Three fine hand colored aquatint plates. Some light spotting at beginning and end, a few leaves browned. Publisher's printed cream wrappers, uncut. Front wrapper and first few leaves a little worn at lower edge. Chemised in a red cloth slipcase, spine lettered in gilt. A very good example in the publisher's printed wrappers of this travelers notebook or collection of curious notes on the life, occupations and habits of Napoleon Bonaparte at his final residence at Lockwood House on the island of St. Helena. The Plates: 1. Vue de la Maison de Longwood prise du Jardin Fleuriste (frontispiece) 2. Vue de la Nouvelle Residence de Buonaparte prise de la maison du Lieutenant Jackson (facing p. 24) 3. Vue de la Maison de Longwood prise du chemin qui conduit à Dedwood (facing p. 33) Abbey, Travel 313; Bobins III, 1154. .

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Book number: 05849

Catalogue: Color-Plate Books

Keywords: Books in French French History Views

BOUCHOT, Frédéric

Ce Que Parler Veut Dire

Paris: Paris: Chez Aubert gal: Vero-Dodat, 1837. Thirty Fine and Very Humorous & Satirical Hand Colored Lithograph Plates by Henri Bouchot BOUCHOT, Frédéric, illustrator. Ce Que Parler Veut Dire. (What Talking Means). [Paris: Chez Aubert gal: Vero-Dodat, 1837]. Folio (13 15/16 x 10 1/8 inches; 355 x 257 mm.). Complete. Thirty fine hand colored lithograph plates, heightened with gum arabic. All plates signed 'Bouchot' except numbers 22, 27 & 28. Most plates interleaved. Small (3/4 inch) neatly repaired tear to lower blank margin of plate 12. A few very light marginal spots, otherwise fine. Contemporary French maroon scored morocco over marbled boards. Spine with five raised bands, ruled and lettered in gilt, marbled endpapers. A wonderful copy of this exceptionally rare book. "French romantic lithography extended from 1817 to the 1850's. It is perhaps the greatest of all schools in the history of the medium" (Ray, p. 155). Artists like Bouchot, Gavarni, and Daumier were masters of lithography, depicting Paris life, manners, and dress with a vulgar and bawdy twist. Hand-colored lithographed plates by Bouchet are rare. Frederic Bouchot (1798-?) was a leading French lithographic caricaturist and illustrator who regularly contributed to such publications as Le Charivari, La Caricature, and Journal pour rire. He also collaborated on individually published albums with such artists as Daumier and Morin. He is known primarily for his depictions of musical subjects and domestic scenes. Exceptionally rare. OCLC locates just three copies in libraries and institutions worldwide: Getty Research Institute (CA, USA); Dorigny Unithèque, Bibliothèque Cantonale et Universitaire BCU Lausanne (Switzerland) & Kunstbiblio Staatliche Museen Zu Berlin (Germany). All three of these state 30 hand colored plates - however both Hiler & Lipperheide state 28 colored plates. The plates - all with the headline "Ce Que Parler Veut Dire" (What Talking Means): 1. Cette toilette vous sied à ravir.. / Vous avez l'air d'une borne habillée.. (This toilet is perfect for you .. / You look like a dressed bollard..) 2. Mon, mon ami, cela serait folie, je ne veux rien.. / Si tu ne me l'achête pas, nous verrons.. (My friend, it would be folly, I do not want anything .. / If you don't buy it, we'll see ..) 3. Vous nous restez, n'est-ce pas?.. Allons, acceptez sans façon / Ennuyeux personnages!.. Mon dîner va être trop court.. (You will stay with us - won't you? .. Come, accept without ceremony / Boring characters! .. My dinner will be too short ..) 4. Mais sans doute nous lui ferons faire son chemin.. / Je t'enverrai aux grandes Indiens, beau cousin de ma femme.. (But no doubt we will make him this way .. / I'll send you to the big Indians, my wife's beautiful cousin ..) 5. Vous vous ressemblez comme deux gouttes de lait / Crois ça et bois de l'eau!.. (You resemble two drops of milk / believe it - and drink water! ..) 6. Vraiment, on vous prendrait pour les deux soeurs.. / Vieille folle, va!.. (Really, I would take you for two sisters .. / You old crazy, go! ..) 7. Vous êtes lég re comme une plume! / Ouf quelle charette! (You are light as a feather! / Phew what a weight!) 8. Je suis toujours satisfaite de savoir mon mari avec vous.. / J'ésp re bien le brouiller avec une aussi mauvaise connaissance (I'm always happy to know my husband is with you .. / I hope it doesn't get twisted into gossip) 9. Il ne vous faut plus que l'air de la campagne / Pour mourir.. (All you need is the air of the countryside / To die ..) 10. Monsieur, puisque c'est la volonté de les parens / Puisque vous êtes riche et que je suis pauvre (Sir, since it is the will of my parents / Since you are rich and I am poor..) 11. Ch re amie, signez mon bonheur / Signe ma fortune, vieille folle (Dear friend, sign my happiness / Sign my fortune, old mad woman..) 12. Ruinée!.. pauvre amie.. / Tu ne m'écraseras plus avec ton luxe (Ruined! .. poor friend .. / You will not crush me anymore with your luxury..) 13. Enchanté, Madame, de vous rencontrer.. / Le diable l'emporte, je la croyais v pres (Nice to meet you, madam .. / The devil wins, I thought she was in Vespers) 14. Sublime! Admirable! Pyramidal!.. / Je n'ai jamais rien entendu d'aussi soporifique (Sublime! Admirable! Pyramidal! .. / I've never heard anything so boring..) 15. Quel bonheur.. je ne t'attendais pas sitôt / Comment vais je faire avec Jules (What happiness .. I was not expecting you soon / How shall I go with Jules?) 16. Je chante, mon oncle, parceque je suis contente / Et que c'est notre signal (I sing, Uncle, because I'm happy / And that's our signal) 17. Verser encore cent mille francs et l'affaire devient superbe!.. / J'ai mangé le premier capital et j'en veux un second.. (For another hundred thousand francs the business will become superb! .. / I ate up the first capital and I want a second..) 18. Votre fils, Mr le Comte a les plus belles dispositions.. / A devenir un crétin comme son p re (Your son, the Count has the most beautiful disposition .. / To become a moron like his father..) 19. Votre demande m'honore.. assurément.. mais ma fille est encore si jeune!.. / Tu es trop laid, trop béte et surtout trop pauvre.. (Your request honors me .. certainly .. but my daughter is still so young! .. / You are too ugly, too stupid and especially too poor .. 20. Cette pauvre amie, femme de chambre!! Je vais parter pour toi / Elle me compromettrait, je la ferai chasser (This maid - my poor friend!! I will speak to her / She'll compromise me, I'll hunt her down) 21. Le'n'est rien Madame.. peine vous ai-je sentie.. / Le diable t'emporte, maudit éléphant! (It's nothing Madame .. I hardly felt .it. / The devil take you away, you damn elephant!) 22. J'aurai bien de la peine me consoler de cette perte douloureuse / Me voila veuve et hériti re (I will have a hard time consoling myself for this painful loss / Here I am a widow and an heiress..) 23. Ne faites donc pas attention, ce n'est rien.. / Vieux maladroit il n'en fait jamais d'autres (Do not pay any attention, it's nothing .. / Clumsy old man he never thinks about others) 24. C'est une bonne fortune pour moi de reconduire madame votre soeur / A l'autre bout de Paris.. c'est amusant! (It's a good fortune for me to bring back your sister / At the other end of Paris .. it's amusing!) 25. Oh mon! Oh mon! mon cher.. cette fois.. je ne souffrirai pas.. / Paye! Paye conscrit!.. (Oh my! Oh my! my dear .. this time .. I will not suffer .. / Pay! Pay the bill..) 26. Oh! Oui, Mamzelle, c'est par par intérêt au moins.. / C'est l'chat!.. vieux grigoux, sans ton testament je te lacherais joliment (Oh! Yes, Madamoiselle, it is at least interesting.. / It's the cat! .. old devil, without your will I will let you off nicely) 27. Mon cher ami je suis horriblement g né en ce moment.. / Ce pr ter c'est donner, je serai toujours g né pour toi, mon cher.. (My dear friend, I am very annoyed at this time .. / This loan is a gift, I will always be happy for you, my dear ..) 28. Allons adieu.. ã bient r / A jamais.. je vais vous signaler au concierge, mes petits amis (Let's say goodbye .. See you soon .. I will tell the concierge, my friends..) 29. C'est drõle, mon pere, je n'ai rien entendu.. / C'est lui!.. (It's funny, father, I did not hear anything .. / It's him!) 30. Comment donc Madame, mais nous r glerons ça quand vous voudrez / Ah! Si j'avais su, je t'aurais fait manquer ta soirée.. (So how about Madame, we'll settle it when you want / Ah! If I had known, I would have missed your evening ..) Bobins V, 1530; Hiler p. 106 (28 colored plates only); Lipperheide 3574 (28 colored plates only). Not in Colas. .

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Book number: 04830

Catalogue: Color-Plate Books

Keywords: Books in French Caricatures French Caricature

BOUCHOT, Frédéric; MONNIER, Henri

Recueil de Caricatures

Paris: Delpech, 1840. Rare Collaboration Between Frédéric Bouchot and Henri Monnier BOUCHOT, Frédéric. [&] MONNIER, Henri. Recueil de Caricatures par Bouchot. [Paris, n.d. ca. 1840]. Oblong quarto (10 1/4 x 13 3/8 inches; 260 x 340 mm). Lithographed title-page and eight hand-colored lithographed plates. Four by Frédéric Bouchot and four by Henri Monnier, all lithographed by Bernard. In addition there is a ninth hand colored lithograph (mounted on a stub at end) marked in pencil "Planche Supplémentaire" and entitled "C'est donc comme ca que vous travaillez, Mesdemoiselles". All plates interleaved, some light mottling/darkening mainly to the blank margins, otherwise near fine. Bound ca. 1880 in quarter brown straight-grain morocco over marbled boards, spine with five shallow raised bands, decoratively tooled in blind and lettered in gilt in compartments, marbled endpapers. The Plates: 1. "Enfin c'est la vertu personnifiée" Finally it is virtue personified (Monnier, Henri) 2. "Grace à la Dotel" Thanks to old fool (Bouchot, Frédéric) 3. "Mon cher il faut se faire un état dans le monde" My dear, must make a statement in the world (Monnier, Henri) 4. "Madame perd sa tournure" Madame loses her turn (Monnier, Henri) 5. "Mon ami, c'est une envie de femme grosse" My friend, it's a fat woman's desire (Bouchot, Frédéric) 6. "On lit le Roman.. Madame est sortie!" We read the Roman.. Madame is out! (Bouchot, Frédéric) 7. "Madame est mon épouse et non ma fille" Madame its my wife, not my daughter (Monnier, Henri) 8. "Une consultation mise à profit" A consultation put to good use (Bouchot, Frédéric) A doctor takes a patient's pulse while another patient sticks out his tongue for diagnosis. (An example of this lithograph is held by U.S. The National Library of Medicine). 9* "C'est donc comme ca que vous travaillez, Mesdemoiselles" So that's how you work, ladies (Bouchot, Frédéric) There is a black & white example of this print in Les Musées de la Ville de Paris. Frederic Bouchot (1798-1860) was a leading French lithographic caricaturist and illustrator, who regularly contributed his art to such publications as "Le Charivari", "La Caricature" and "Journal pour rire". He also collaborated on individually published albums with such artists as Daumier and Morin. Known primarily for his depictions of musical subjects and domestic scenes. Henry Monnier (1799-1877) was a leading French caricaturist and satirical artist of the early nineteenth century, who entered the civil service at the age of sixteenth. Completely bored with his duties as a clerk he entered the atelier of Baron Gros several years later. A gifted actor, Henry Monnier entertained his fellow students with numerous impersonations, including that of his artistic master, who, when notified, quickly expelled him from his studio. Henry Monnier's real artistic training came from his frequent visits to Paris print shops where he saw the contemporary work of British satirists, most notably George Cruikshank and Thomas Rowlandson. Henry Monnier, in fact, was living in London as early as 1825 and formed a strong friendship with Cruikshank. Henry Monnier returned to Paris in 1827. During the next three years he produced some of his finest sets of lithographs depicting and satirizing the manners and customs of the period. These include, Equisses parisiennes, Les Grisettes, Moeurs administratives and Voyage en Angleterre. In the early 1830's Henry Monnier contributed political caricatures to Charles Philipon's La Caricature. Although he continued his lithographic art into the 1850's, much of his time was now engaged by another pursuit. In 1831 Henry Monnier made his debut as an actor in La Famille improvisee, a play which he co-authored. Henry Monnier retired from the stage around 1860. The Golden Age of French satirical art is generally held to be the era from 1830 to 1850. The lithographs published by the Paris journal, "Le Charivari", were at the center. Founded by the artist, writer and editor, Charles Philipon (1804-1862), "Le Charivari" commenced its daily publication in 1832. By means of both its art and commentaries this journal led the attack upon France's political leaders, royalty, priesthood, and any other possibly corrupt individuals and institutions. Artists Philipon commissioned for satirical lithographs included such masters as Daumier, Gavarni and Travies. Many more great artists, however, contributed original lithographs to the publication which today comprise a wonderful resource of French life and humor from this long past age. Beraldi, Les Graveurs du XIXe siècle, II, p. 169; Grand-Carteret, p.625; Not in Bobins, Marie or Melcher. .

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Book number: 05273

Catalogue: Color-Plate Books

Keywords: MONNIER, Henri Books in French Caricatures French Caricature

BOUCHOT, Frédéric

Tribulations de la Garde Nationale

Paris: Chez Aubert, 1835. Frédéric Bouchot Comically Illustrates the French National Guard BOUCHOT, Frédéric. Tribulations de la Garde Nationale. Paris: Chez Aubert, [1835]. First Edition. Folio (14 1/8 x 11 inches; 359 x 280 mm.). Twenty-five (of twenty-seven) highly amusing hand colored lithographs mounted on stubs. All plates heightened with gum arabic. The two missing plates are numbers 2 & 6. Plate numbers 1, 14, 24 & 27 with lower blank margins one inch shorter; plate 18 slightly toned in margins. Mid twentieth century light green cloth over boards, red morocco label on spine lettered in gilt, plain endpapers. The National Guard is a French military, gendarmerie, and police reserve force, active in its current form since 2016 but originally founded in 1789 during the French Revolution. For most of its history the National Guard, particularly its officers, has been widely viewed as loyal to middle-class interests. A rare work by Frédéric Bouchot (1798-after 1850). Bouchot was one of the leading French lithographic caricaturists and illustrators of his time, a regular contributor to Le Charivari, La Caricature and the Journal pour Rire, and a regular collaborator with Daumier and Gavarni on comical albums. He is known primarily for his depictions of domestic scenes and musical subjects. We have only seen this title once before in 2002 (private collection in US). OCLC & KVK locate just one complete copy: Brown University (RI, US), and one incomplete copy with 12 of 27 plates at Kunstbiblio Staatliche Museen zu Berlin (Germany). Not in Bobins, Colas, Lipperheide or Hiler. The Plates: 1. Le lendemain d'une garde. (No. 1) The day after a shift. 2. L'Arrestation. C'est un billet de logement pour l'Hôtel aux-z-haricots. (No. 3) The Arrest. This is a lodging ticket for the Bean Hotel. 3. L'Hôtel au-z-haricots. Le diable emporte la garde nationale. (No. 4) The Bean Hotel. The devil take away the national guard. 4. Le Couseil de Discipline. Mais Monsieur je n'ai pas des rentes, moi, et quand je monte la garde mes affaires ne se font pas. (No. 5) The Disciplinary Board. But sir, I don't have any income, and when I stand guard my business isn't done. 5. Dieu de Dieu! ma femme et le jeune homme d'en face! (No. 7) God of God! my wife and the young man opposite! 6. Diable! Diable! ça coûte cher d'être officier. (No. 8) Devil! Devil! it's expensive to be an officer. 7. L'Aubade. (No. 9) The Aubade. 8. Le diable emporte le jour de l'an. (No. 10) The Devil Takes New Year's Day. 9. Parlez-moi d'un bonnet á poil. (No. 11) Tell me about a furry hat. 10. Allons, allons! la patrouille, réveillons nous. (No. 12) Calm down! the patrol, let's wake up. 11. C'est bien long, une faction, quand on n'a pas dormi. (No. 13) It's a long time, a shift, when you haven't slept. 12. L'Officier dégommé! Nom de chien! de capitaine redevenir soldat. (No. 14) The screwed-up Officer! Dog name! from captain to soldier again. 13. Une revue pendant l'orage. (No. 15) A review during the storm. 14. Encore un billet!! Décidément le sergent-major m'en veut! que diable! je suis de garde tout les jours. (No. 16) One more ticket!! Definitely the sergeant major is angry with me! What the hell! I am on call every day. 15. La garde moutante, Composée du Capitaine et du Tambour. (Compagnie des lambins). (No. 17) The moving guard, Consisting of the Captain and the Drummer. (Company of lambins). 16. Un petit moment, un petit moment, grenadier, voici encore un écrou pour 8 autres jours. (No. 18) A little while, a little while, grenadier, here's another nut for another 8 days. 17. Prenez garde, prenez garde, Major! (No. 19) Beware, beware, Major! 18. Sapré coquin de fusil! Comme y recule. Qu'est-ce-que ma femme va dire.. (No. 20) Damn rascal of rifle! As it backs away. What will my wife say.. 19. Pauvre Sergent Major! Les réclamations pleuvent, tout le monde s'excuse, personne ne veut monter la garde, il ne sait auquel entendre. (No. 21) Poor Sergeant Major! Complaints are raining down, everyone apologizes, no one wants to stand guard, they don't know who to hear. 20. Le factionnaire des jardins royaux, ou la chasse aux chiens. (No. 22) The sentry of the royal gardens, or the hound hunt. 21. O mondieu! O mondieu! ma faction.. Je n'arriverai jamais à temps. (No. 23) Oh my God! Oh my God! my faction.. I will never arrive in time. 22. Allons, Monsieur, le tambour bat le rappel.. Vous n'aurez pas beau temps, il pleut des z'halebardes. (No. 24) Come on, sir, the drum is beating the encore.. You won't have good weather, it's raining hard. 23. Le mot d'ordre. Que diable ést-ce donc? chapeau, Amsterdam, ficelle?.. non, ce n'est pas ça. Que diable! est-ce donc. (No. 25) Watchword. What the hell is this? hat, Amsterdam, string?.. no, that's not it. What the hell! is it so. 24. Le Recensement. Allez vous en au Diable! avec votre Recensement! (No. 26) The census. Go to the Devil! with your Census! 25. Ma femme, j'ai attrapé celle nuit un fameux coup de soleil! (No. 27) My wife, I got a famous sunburn last night!.

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Book number: 05530

Catalogue: Color-Plate Books

Keywords: Books in French Caricatures French Caricature

BOYS, Thomas Shotter

Picturesque Architecture in Paris, Ghent, Antwerp, Rouen &C

London: By Thomas Boys, Printseller to the Royal Family, 1839. A Very Beautiful Book" "A Genuine Triumph" "Worthy of the Highest Possible Praise" BOYS, Thomas Shotter. Picturesque Architecture in Paris, Ghent, Antwerp, Rouen &c. Drawn from Nature and on Stone. London: By Thomas Boys, Printseller to the Royal Family, 1839. First edition. Folio (21 1/4 x 14 5/8 inches; 539 x 371 mm.). [4, as title, Dedication]. Twenty-six "lithotint" (color-printed lithograph) plates (including title page) printed by G. Hullmandel after drawings by Boys, with tissue guards. Bound without the two-page "Descriptive Notice" that appears in some copies. Publisher's original half red morocco, front board with inner red moire silk panel enclosing a red morocco label lettered in gilt with title. Expertly rebacked to style with plain spine. Original yellow endpapers with neat early ink inscription dated 1871. The blank margins of the plates have been expertly cleaned not affecting the original coloring. An excellent copy. "A very beautiful book, and one that should take preference over its later and more popular rival, the Original Views of London [by Boys, from] 1842..Apart from the brilliance, sensitivity, and technical mastery of the drawing on stone there is the great, and often under-estimated, technical and artistic achievement of Hullmandel in making possible the transmission of such drawings, and in developing the cool, transparent, graduated tints, subtle in colouring, on which the unique effect of the book depends.." (Abbey). "..A genuine triumph..by Thomas Shotter Boys, a rather neglected artist who merits a far higher place than he was ever awarded in the annals of the English water-colour school..In this book Boys is head and shoulders above them all. His drawing is refined and sensitive, and his colouring cool, simple, and direct" (Hardie). "Our recommendation of it to all who love and can appreciate art cannot be given in terms too strong; it is worthy of the highest possible praise. The Work is of exceeding beauty" (Art Union, 1839). "Apart from the brilliance, sensitivity and technical mastery of the drawing on stone, this volume features Hullmandel's great and often under-estimated technical and artistic achievement in making the transmission of such drawings possible and in devolving the cool, transparent, graduated tints - subtle in colouring - on which the unique effect of the book depends" (Bobins II, 512). Thomas Shotter Boys (1803-1874) was an English watercolor painter and lithographer. He was articled to the engraver George Cooke. When his apprenticeship came to an end he went to Paris where he met and came under the influence of Richard Parkes Bonington, who persuaded him to abandon engraving for painting. Some sources describe him as a pupil of Bonington, although William Callow, who later shared a studio with him in Paris, disputed this. He exhibited at the Royal Academy for the first time in 1824, and in Paris in 1827. In 1830 he went to Brussels, but returned to England on the outbreak of the revolution there. Paying another visit to Paris, he remained there until 1837, and then returned to England in order to lithograph the works of David Roberts and Clarkson Stanfield. His most important work, Picturesque Architecture in Paris, Ghent, Antwerp, Rouen, etc. a collection of color lithographs, appeared in 1839, attracting a great deal of admiration. Drawn on the stone by Boys and printed by Charles Joseph Hullmandel, it was described in a review in the Polytechnic Journal as "the first successful effort in chromo-lithography hitherto brought to perfection". Abbey, Travel, 33; Tooley 105; Bobins II, 512; Hardie, pp. 247-249. .

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Book number: 04775

Catalogue: Color-Plate Books

Keywords: Color Printing Topography Views

[BROWNE, H.K.]; PHIZ

How Pippins Enjoyed the Day with Fox-Hounds

London: Messrs. Fores, 1863. Twelve Amusing Hand Colored Lithograph Plates [BROWNE, H.K.]. PHIZ. How Pippins Enjoyed the Day with Fox-Hounds. London: Messrs. Fores, 1863. First edition. Oblong folio (14 5/8 x 21 1/4 in; 372 x 484 mm). Twelve hand-colored lithographed plates, each dated January 19, 1863. Printed by M. & N. Hanhart. Publisher's original binding in half calf over printed boards, rebacked and rehinged. Boards rubbed with repaired vertical crack to upper board. Occasional mild soiling to margins. Otherwise an excellent copy of a book rarely found in any condition at all. OCLC notes only two copies in libraries worldwide, at Detroit Public Library and London Library. "While illustrations to Dickens are the principal work by 'Phiz', there also exists a considerable number of his coloured illustrations for books. The plates for Mr. Facey Romford's Hounds have already been mentioned, and the best of his coloured work was of a sporting nature. How Pippins enjoyed a Day with the Fox Hounds, A Run with the Stag Hounds, and Hunting Hints (1862), are sets of twelve hand-coloured etchings, vigorous and spirited" (Hardie, p. 219). Renowned for his illustrations for novels by Charles Dickens, Hablot Knight Browne [pseud. Phiz] (1815-1882) "remained prodigiously productive throughout the 1840s and 1850s, his greatest decades.. His output was enormous - about 3660 images over his lifetime - and Phiz became a household familiar.. From 1859 to 1867 he issued around 440 more images, but changes in the visual tastes of readers, in reproductive techniques for book illustration, and in the kind of books publishers issued (more cheap, un-illustrated fiction) all worked against Browne's talent.. He also indulged his love for drawing horses in sporting journals such as the New Sporting Magazine, the Great Gun, and the Sporting Times.. Browne's brilliance as an illustrator did not satisfy him. He never shed the idea that he was first and foremost a fine artist" (Oxford Online DNB). The Plates: 1. Going to the Meet (Enough to Make Any Horse Shy! - Pippin Ungallantly Thinks). 2. The Meet. Pippins Congratulated on His Sportsmanlike Appearance. 3. The Cover Side. Cover After Cover Drawn Blank - Cutting Wind and Rain - So Nice! 4. At Last, A Find! - Pippins' Horse is Delighted. 5. Pippins' Horse Carries Him Almost Too Well - Through Everything! 6. A Cropper - Pippins Trying For the Lead, Comes to Grief. 7. Pippins on the Wrong Side of the Hedge, Crys Out, "My Horse, My Horse" &c. 8. Pippins Doing Another Fall, This Time Picks Out a Soft Place. 9. He Takes a Wash After It - A Perfect Refresher! 10. "Speed the Plough" - Indeed! - Dash the Plough! Says Pippins. 11. Though Man & Horse Are Considerably Baked - Pippins Gets a Nice View of the Finish. 12. Pippins Tramps Home With a Friend, Having Enjoyed Himself Immensely. Bobins IV, 1394; Martin Hardie p. 219; Schwerdt I, p. 84. Not in Tooley, or Siltzer. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05817

Catalogue: Color-Plate Books

Keywords: PHIZ Caricatures Hunting Sports Dogs

[BROWNE, H.K.]; PHIZ

A Run with the Stag-Hounds by Phiz

London: Messrs. Fores, 1863. Staggeringly Rare [BROWNE, H.K.]. PHIZ. A Run with the Stag-Hounds. London: Messrs. Fores, 1863. First edition. Oblong folio (14 5/8 x 21 1/4 in; 372 x 484 mm). Twelve hand-colored lithographed plates, each dated May 13, 1863 and inscribed in print, "Proof." Printed by M. & N. Hanhart. Publisher's original printed tan boards rebacked and corned in tawny crushed levant morocco. Lower corner on front board a little creased, but still an excellent copy, internally bright and clean. Small Armorial bookplate of Bibliotheque Du Compte Greffulhe on front pastedown. From the library of the renowned collector Le Compte Du Greffulhe (Henry Jules Charles Emmanuel Greffulhe) December 25 1848 - 31 March 1932. A French aristocrat who lived in the Mansion Greffulhe in Paris. From September to January he would spend most of his time in the family castle of Bois-Boudran, near Melun (Seine-et-Marne) where he devoted most of his time to hunting with hounds and the gun. The high society of the time pronounced his name as Greffeuille. Extremely rare, with ABPC recording only four copies at auction since 1935. OCLC notes only three copies in library holdings worldwide, with two at Harvard and one at the National Sporting Library. "While illustrations to Dickens are the principal work by 'Phiz', there also exists a considerable number of his coloured illustrations for books. The plates for Mr. Facey Romford's Hounds have already been mentioned, and the best of his coloured work was of a sporting nature. How Pippins enjoyed a Day with the Fox Hounds, A Run with the Stag Hounds, and Hunting Hints (1862), are sets of twelve hand-coloured etchings, vigorous and spirited" (Hardie, p. 219). Renowned for his illustrations for novels by Charles Dickens, Hablot Knight Browne [pseud. Phiz] (1815-1882) "remained prodigiously productive throughout the 1840s and 1850s, his greatest decades..His output was enormous - about 3660 images over his lifetime - and Phiz became a household familiar..From 1859 to 1867 he issued around 440 more images, but changes in the visual tastes of readers, in reproductive techniques for book illustration, and in the kind of books publishers issued (more cheap, un-illustrated fiction) all worked against Browne's talent..He also indulged his love for drawing horses in sporting journals such as the New Sporting Magazine, the Great Gun, and the Sporting Times.. Browne's brilliance as an illustrator did not satisfy him. He never shed the idea that he was first and foremost a fine artist" (Oxford Online DNB). The Plates: 1. A Short Cut to the Meet. 2. Uncarting the Deer. 3. "Hold hard! - Let the Hounds Go First if You Please Gentleman." 4. Hard Riders. 5. Something Wrong as Usual - Lost Shoes, Stirrups, Girths, &c. 6. Going the Pace. 7. A Welcome Check - Pray Have You Seen the Deer, Ladies? 8. Thrown Out - Have You Seen the Hounds, You Sir? Confound That Fellow. He's as Deaf as a Post. 9. The Sanctuary. 10. The Run of the Season. 11. Hard Pressed. 12. The Take. Bobins IV, 1393; Martin Hardie p. 219; Schwerdt I, p. 84. Not in Tooley, or Siltzer. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05818

Catalogue: Color-Plate Books

Keywords: PHIZ Caricatures Hunting Sports Dogs

BURY, T[homas T[albot]

Coloured Views on the Liverpool and Manchester Railway

London: Ackermann & Co., 1833. The Most Complete Issue With Sixteen Hand-Colored Aquatint Plates [BURY, T. T. Illustrator]. Coloured Views on the Liverpool and Manchester Railway, With Plates of the Coaches, Machines, &c. from drawings made on the spot by Mr. T. T. Bury. With descriptive particulars, serving as a guide to travellers on the railway. London: Ackermann & Co. 1833. Third edition, with the additional three folding plates. Large quarto (13 5/16 x 11 inches; 339 x 279 mm.). [ii], 8 pp. Sixteen hand-colored aquatint plates (13 by S.G. Hughes or H.Pyall after T.T. Bury, three folding by S.G. Hughes [2 after I. Shaw, one unsigned]). Text watermarked 1831-1832; plates watermarked 1832. Folding plates with folds reinforced on verso with linen (as issued), third folding plate with small marginal tear at top (just touching image) invisibly repaired. Bound ca. 1840 by Thomas Cross of Holborn Hill, London (stamp-signed "Cross, Binders to the King" on front paste-down) in three-quarter crimson straight-grain morocco over pink cloth boards, ruled in gilt. Front cover with gilt bordered red morocco label lettered in gilt. Spine with two raised bands, lettered in gilt. Bookplate of Joel Spitz on front paste-down. Housed in a fleece-lined red cloth slipcase. A wonderful copy of the most complete edition of this fine work. Provenance: purchased from Button, 15 June 1946. An eye-witness account of travel on the world's second practical railway line, with plates after Bury "an outstanding architectural designer" (Abbey) and a detailed report of the difficulties overcome during the railways construction. "A later edition with the plates re-engraved [many of them with significant changes] was issued in 1833.. Copies occur with 2 extra folding coloured aquatint plates by I. Shaw, engraved by S.G. Hughes viz. "A Train of First and Second Class Carriages with the Mail" and "Trains of Waggons with Goods, Cattle &c.. This [edition] may have a further additional [folding] plate "Bridge on the line of St. Helen's and Runcorn Gap Railway." (Tooley). "This book was first published with six plates in 1831. It proved popular, and other editions followed, of which this is the msot complete. This classic record of the beginnings of the railway age was also one of the last significant books illustrated with aquatints. Lithography was already sweeping the field for pictorial records of this kind" (Ray, The Illustrator and the Book in England). Thomas Bury, 'a pupil of Augustus Pugin, was an outstanding architectural designer, and engaged with Pugin, in designing the details of the Houses of Parliament. He was the artist responsible for the best-known views of the Liverpool and Manchester Railway. He Published as hand-colored aquatints in paper covers by Ackermann in February 1831 [titled Six Coloured Views of the Liverpool and Manchester Railway, with a plate of the coaches, machines, &c], Bury's work went through many editions covering a period of about three years. There were seven views in the first edition and thirteen in the second. A reissue appeared in 1832 followed by Spanish and French editions, while the prints were reproduced separately in France and Germany. After re-engraving, new editions appeared in England in 1833 and 1834. Ackermann clearly realized the potential of the British and European markets for railway prints as no other work passed through so many editions' (Rees). The present copy includes the first state of one of the two folding plates of carriages and engines: before canopies were added to the lower set of carriages. The view of the interior of the Wapping to Edge Hill tunnel is in a later state (possibly the fifth) dated 1833 and after the removal of the steaming train (the train was a mistake as no train under steam was allowed in the tunnel). The inspiration for the project to build the railway was the success of the Stockton to Darlington rail line and the urgent commercial need for faster links between the docks of Liverpool and the factories of Manchester ("goods have been known to make the transit from New York to Liverpool in less time than from the latter town to Manchester.") The route was proposed in 1824 and, under the direction of George Stephenson and with parliament's blessing, the immense work was completed by 1830: the line being opened to the public on the 15th September of that year. Despite the tragic death of the Liverpool member of parliament Mr. Huskisson (the first fatality attributable to the Railways) and the huge cost of the work (£740,000 by 1830), the railway was an immediate popular and financial success. Speeds in excess of 30 m.p.h. were recorded for the 31 mile journey and as the author predicted in the final paragraph "The success of this experiment.. has been.. so complete, as to justify the anticipation of the speedy introduction of railways throughout the country.." The plates include three plates of the train and rolling stock employed on the railway, and 13 others of views of the railway in operation. Abbey Life 400 (1834 edition); Tooley, 121; Ray, 45; Gareth Rees Early Railway Prints (1980) p.21 and see plates 5-9 & 13. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 03346

Catalogue: Color-Plate Books

Keywords: Railroadiana Views

[BUSBY, Thomas Lord, illustrator]

The Fishing Costume and Local Scenery of Hartlepool

London: , 1819. Lobsters and Shrimps" [BUSBY, Thomas Lord]. The Fishing Costume and Local Scenery of Hartlepool, in the County of Durham. Printed and Engraved from Nature, by T.L. Busby. London: J. Nichols and Son, 1819. First edition. Large quarto (11 11/16 x 9 1/8 in; 294 x 232 mm.). [ii], [8] pp. Six hand-colored etched plates. Text watermarked "Balston & Co. 1818". Slight offsetting from first plate onto facing text page, otherwise clean and fresh. Contemporary half green morocco over marbled boards, ruled in gilt, front cover with rectangular green morocco label bordered and lettered in gilt. Smooth spine decoratively ruled in gilt, yellow coated endpapers, all edges gilt. An excellent copy of a rare work with charming plates depicting various people involved in the booming fishing industry set against backdrops of views of the town. Thomas Lord Busby (1782-1838), was an English portrait artist, etcher, and engraver. He published several collections of etchings and engravings, including The Fishing Costume and Local Scenery of Hartlepool (1819), Costumes of the Lower Orders of London, 1819, Costumes of the Lower Orders in Paris, 1820, The Cries of London: Drawn from Life (1823), and Civil and Military Costume of the City of London, 1824. The Plates: 1. A Fishermans Son. 2. A Fishermans Daughter. 3. Shrimp Seller. 4. Lobster Catcher. 5. Shrimp Catcher. 6. Fisherman. Abbey, Scenery 154; Bobins II, 625; Hiler p. 130; Tooley 125. Not in Colas. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05842

Catalogue: Color-Plate Books

Keywords: Caricatures Costume Topography Views

COMPTE-CALIX, Francois Claudius

Keepsake de Costumes, le

Paris: Chez Aubert, 1853. Twenty Hand Colored Plates depicting the Costumes of Western Europe and North Africa COMPTE-CALIX, Francois Claudius. Le Keepsake de Costumes. Dessins de Compte Calix, gravés sur acier. Album offert aux abonées du journal Les Modes Parisiennes. Paris: [Chez Aubert], 1853. Folio 13 5/8 x 10 1/2 inches; 345 x 266 mm.). Twenty fine hand colored plates engraved on steel by Varin, Préval, Pelée, Ramus, Montaut d'Oléron, Girardet, Rebel Monnin, Portier, Desjardins and Metzmacher. All plates with original tissue guards. Publisher's pale blue paper wrappers. front cover printed in gold, most of the paper spine worn away but still sound. Minimal insect damage to fore-edge of first blank. Some marginal foxing to plate 12, light marginal foxing to a few other plates, otherwise an excellent example of this rather scarce costume book. This fine album was offered to subscribers of the newspaper Les Modes Parisiennes. The plates: 1. "Chef Arabe" An Arab chef from Algeria 2. "Femme Mauresque" A Moorish woman 3. "Paysanne" A peasant woman from the vicinity of Neuviller (Bas Rhin) 4. "Auberciste de Miesbach" An innkeeper from Miesbach (Germany, Bavaria) 5. "Costume de Tresnuzaghes" A costume from Tresnuzaghes (Sardinia) 6. "Pastora della Gallura" (Sardinia) 7. "Paysanne" A peasant woman from the vicinity of La Rochelle 8. "Femme des environs de Nimes" A woman from the vicinity of Nimes 9. "Jeune Fille de Brienz" A young girl from Brienz, canton of Bern (Switzerland) 10. "Marchand Juif" A Jewish merchant from Algeria 11. "Juive Mariée" A married Jewess from Algeria 12. "Jeune Fille Juive d'Alger" A young Jewish woman from Algiers (lightly foxed in blank margins) 13. Marchand de Tapis" A merchant from Tapis from Zell (Tyrol) 14. "Bergère de Jennbach" A shepherdess from Jennbach (Tyrol) 15. "Femme de Passau" A woman from Passau (Germany, Bavaria) 16. "Paysanne de Iffeldorf" A peasant woman from Iffeldorf (Germany, Bavaria) 17. "Rémouleur Arabe" An Arab grinder in Cairo 18. "Costume de Bosa" A man from Bosa (Sardinia) 19. "Femme de Ploaghe" A woman from Ploaghe (Sardinia) 20. "Boucher de Cagliari" The butcher from Cagliari (Sardinia). Colas 671; Gumuchian 1833; Hiler, p. 181; Not in Bobins, Lipperheide or Osborne. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05572

Catalogue: Color-Plate Books

Keywords: Books in French Costume

CARELESS, John [pseudonym]; RIVIÉRE & SON; [CHATTO, William Andrew]

Old English 'Squire, the

London: Printed for Thomas McLean, 1821. Scarce Copy With Earliest Watermarks Complete With Half-Title CARELESS, John [pseudonym]. [CHATTO, William Andrew]. The Old English 'Squire. "A Jovial Gay Fox-Hunter, Bold, Frank, and Free." A Poem in Ten Cantos. Illustrated with Plates, by One of the Family. London: Printed for Thomas McLean.. by Howlett and Brimmer, 1821. First edition, earliest issue, a Large Paper copy complete with half-title; scarce. Tall octavo (10 3/8 x 7 1/8 in; 263 x 181 mm ). viii, 136 pp. Twenty-four hand-colored aquatint plates, including frontispiece, watermarked "Whatman 1821". (The plates in Abbey's copy watermarked "Whatman 1823." Bound by Rivière & Son in full green crushed morocco, covers with French fillets, spine with five raised bands elaborately tooled and lettered in gilt in compartments, wide gilt decorated turn-ins, plum endpapers, top edge gilt, others uncut. Spine slightly sunned. With the armorial bookplate of sporting book collector Graham M. Adee on front paste-down. A fine copy. "The half-title is frequently missing" (Tooley). The story of the life of a somewhat debauched squire from birth until his bridle at marriage. "'John Careless, Esq.' is only known as the author of a rare colour-book, The Old English Squire, published by M'Lean in 1821, with twenty [i.e. 24] coloured plates 'by one of the family' in the style of Rowlandson. The literary matter differs from that of Combe and Mitford in being strongly influenced by the style of Walter Scott, wherever the galloping metre of Retaliation and Haunch of Venison is not used. Especially curious is the account of the collection of Old Masters, from which the Old English Squire bought his St Anthony preaching to the Fishes.." (Prideaux). "It is not certainly known who 'John Careless' was. He is sometimes said to have been 'Stephen Oliver' (a pseudonym of W.A. Chatto); but Chatto's poem of the same title was published in 1838 by 'Phiz.' His 'Old English Squire', with twenty-four aquatints colored by hand ('by one of the family'), is in fact something of a mystery, and, for the collector, rather an expensive one: it may cost £20, or even more. The reason of such a price (though there is the justification of rarity) lies in two features it possesses. One is the plates, which are attributed to Thomas Rowlandson, of which all that can be said is that they are utterly unworthy of the artist who in the same year completed the illustrations to 'Dr. Syntax's' three 'Tours.' However, these puzzles of authorship and illustration make the book interesting. And trashy though the verse is, it has yet one other great interest - that of life" (Sawyer and Darton, English Books 1475-1900). The stunning library of color-plate and sporting books collected by Capt. Graham M. Adee (USN, ret.) of Newport. R.I. was sold at Parke-Bernet Galleries in 1953. Tooley 128. Abbey, Life, 387. Prideaux pp. 305, 330. Schwerdt I, p. 95. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 02297

Catalogue: Color-Plate Books

Keywords: RIVIÉRE & SON [CHATTO, William Andrew] Fine Bindings Caricatures Nineteenth-Century Literature Poetry

CARELESS, John [pseudonym].; [CHATTO, William Andrew]

Old English 'Squire, the

London: Printed for Thomas McLean, 1821. Scarce Large Paper Copy in Original Boards From Chatto, Windless, and Careless, 1821 CARELESS, John [pseudonym]. [CHATTO, William Andrew]. The Old English 'Squire. "A Jovial Gay Fox Hunter, Bold, Frank and Free." A Poem, in Ten Cantos. Illustrated with Plates, by One of the Family. London: Printed for Thomas M'Lean by Howlett and Brimmer, 1821. First edition, first issue, a Large Paper copy. Large octavo (10 7/8 x 7 3/8 in; 277 x 184 mm). viii, 136 pp. Half-title, hand-colored aquatint frontispiece and twenty-three hand-colored aquatint plates. Plates watermarked "J. Whatman 1821." Plates in Abbey's copy watermarked 1823. Publisher's original boards, rebacked preserving original spine with paper label. Uncut. Upper hinge near invisibly repaired. Faint offsetting of plates. A fine copy. With the leather bookplate of Joseph Widener. Housed in a later red cloth slipcase. "The half-title is frequently missing" (Tooley) but it is present in this copy. Though no stranger to auction rooms it is scarcely encountered in the original boards. The last copy in original boards was seen at Phillips, March 14, 1991, with cracked joints and torn spine. There have been no large paper copies in original boards at auction since at least 1976. "'John Careless, Esq.' is only known as the author of a rare colour-book, The Old English Squire, published by M'Lean in 1821, with twenty coloured plates 'by one of the family' in the style of Rowlandson. The literary mater differs from that of Combe and Mitford in being strongly influenced by the style of Walter Scott, wherever the galloping metre of Retaliation and the Haunch of Venison is not used. Especially curious is the account of the collection of Old Masters, from which the Old English Squire bought his St Anthony Preaching to the Fishes, which he 'sent to the country, where it edified all, but most fishing gentry'" (Prideaux). William Andrew Chatto (1799-1864) was an English writer. In addition to "John Careless, Esq." he also used the pseudonym Stephen Oliver. He was editor in 1839-41 of the New Sporting Magazine, and in 1844 produced a penny daily comic illustrated paper entitled Puck, A Journalette of Fun. This paper, which he edited himself, had only a brief existence. His third son, Andrew Chatto (1840-1913), became a member of the publishing firm of Chatto & Windus. His epitaph, by his lifelong friend, Tom Taylor, described him as a "true-hearted and upright man." Joseph Early Widener (1871-1943) was a wealthy American art collector who was a founding benefactor of the National Gallery of Art in Washington, D.C. A major figure in Thoroughbred horse racing, he was head of New York's Belmont Park and builder of Miami, Florida's Hialeah Park racetrack. Born in Philadelphia, he was the second son of Hannah Josephine Dunton (1836-1896) and the extremely wealthy transportation and real estate magnate Peter A. B. Widener (1834-1915). Abbey, Life 387. Tooley 128. Prideaux, pp 305, 330. Schwerdt 1, p.95. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 02557

Catalogue: Color-Plate Books

Keywords: [CHATTO, William Andrew] Caricatures Hunting Nineteenth-Century Literature

CHALON, J[ohn] J[ames]

Twenty Four Subjects Exhibiting the Costume of Paris

London: Published by Rodwell and Martin, 1822. A Tall Copy and Rare With the Lithographic Title-Page CHALON, John James, illustrator. Twenty Four Subjects Exhibiting the Costume of Paris, The Incidents taken from Nature, Designed and Drawn on Stone by J.J. Chalon. London: Published by Rodwell and Martin, 1822. First edition. A Large Paper copy bound from the original four parts. Large folio (17 5/16 x 12 inches; 443 x 306 mm.). Lithographed title and twenty-four hand-colored lithographed plates. Plates printed by C. Hullmandel. The title-page is watermarked 1821 and the plates are watermarked J. Whatman 1821. Contemporary quarter tan roan over marbled boards. Spine decoratively tooled in gilt, black morocco gilt spine label. Joints a little rubbed. Armorial bookplate (unidentified) on front paste-down. A very attractive, remarkably clean copy with vivid hand-coloring. The plates are captioned: "La Marchande de Tisanne;" "Les Bonnes;" "La Petite Fruitiere;" "La Dame du Café;" "Le Café;" "Les Tondeuses de Chiens;" "Les Brodeuses;" "L'Escamoteur;" "La Porte Cochère;" "Le Journal des Débats;" "Le Restaurant;" "La Loueuse de Chaises;" "Une Matinée aux Thuilleries;" "Le Marchand de Brioches;" "Le Porteur d'Eau;" "Le Petit Décrotteur;" "Le Marche aux Fleurs;" "La Prise de Tabac;" "Les Adieux;" "Les Dames de la Halle;" "Le Cimetiere du Pere la Chaise;" "Les Dames Artistes;" "La Charette du Blanchisseur;" and "La Marchande de Modes." "According to Beraldi (XII, 232) this ‘very curious and rare album' appeared as a small quarto in London. These plates, which are large folio in size, may represent a French issue of the work, though the English edition had captions in French. Jean-Jacques Chalon was a French artist born in Switzerland who eventually settled in England. His designs are by no means mere costume plates. Instead they are animated and faithful studies of Parisian manners and costumes in the years 1820 to 1822. There is hardly a touch of caricature, though the profiles of his personages have a family likeness which suggests a domesticated Girodet" (Ray). "Published in four parts. The plates show people of various occupations, shoeblacks, venders, politicians, and general scenes, etc" (Hiler). This copy is unusually tall: Abbey's copy measured 15 x 11 1/4 inches uncut, and lacked the lithographed title-page, as did Sadleir's (though Sadleir's copy was slightly larger than the copy under notice). Only four copies with the lithographed title-page have come to auction within last 31 years. Five copies only located in KVK/OCLC but the presence of the title page is not noted. Quite rare. Abbey, Travel, 108. Colas 588. Hiler, p. 156. Lipperheide 1185. Ray, The Art of the French Illustrated Book, 124. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 02555

Catalogue: Color-Plate Books

Keywords: Caricatures Costume

CHALON, J[ohn] J[ames]

Twenty Four Subjects Exhibiting the Costume of Paris

London: Published by Rodwell and Martin, 1822. Chalon's Costume of Paris - A Superb Large Paper Example Complete with Twenty-Four Wonderful Hand Colored Lithograph Plates And the Four Original Pictorial Lithograph Wrappers CHALON, John James, illustrator. Twenty Four Subjects Exhibiting the Costume of Paris, The Incidents taken from Nature, Designed and Drawn on Stone by J.J. Chalon. London: Published by Rodwell and Martin, 1822. First edition. Large Paper copy bound from the original parts with the four original pictorial lithographed front wrappers. Large folio (16 3/16 x 12 1/4 inches; 411 x 311 mm.). Lithographed title and twenty-four hand-colored lithographed plates all interleaved. Plates printed by C. Hullmandel. The four original pictorial lithographed front wrappers bound in at end. The title-page is watermarked "J. Whatman 1821" and the plates are watermarked J. Whatman 1817, 1820 & 1822. The plates are remarkably clean, and display vivid hand-coloring. There is some light foxing/staining to the original wrappers. Handsomely bound in twentieth century dark blue straight-grain morocco, covers decoratively bordered in gilt, spine with five shallow raised bands decoratively stamped and lettered in gilt in compartments, decorative gilt board edges and turn-ins, marbled endpapers, all edges gilt. With the engraved bookplate of color-plate book collector, Alfred N. Beadleston on front paste-down. A superb copy - the best we have ever seen. The plates are captioned: "La Marchande de Tisanne;" "Les Bonnes;" "La Petite Fruitiere;" "La Dame du Café;" "Le Café;" "Les Tondeuses de Chiens;" "Les Brodeuses;" "L'Escamoteur;" "La Porte Cochère;" "Le Journal des Débats;" "Le Restaurant;" "La Loueuse de Chaises;" "Une Matinée aux Thuilleries;" "Le Marchand de Brioches;" "Le Porteur d'Eau;" "Le Petit Décrotteur;" "Le Marche aux Fleurs;" "La Prise de Tabac;" "Les Adieux;" "Les Dames de la Halle;" "Le Cimetiere du Pere la Chaise;" "Les Dames Artistes;" "La Charette du Blanchisseur;" and "La Marchande de Modes." "According to Beraldi (XII, 232) this ‘very curious and rare album' appeared as a small quarto in London. These plates, which are large folio in size, may represent a French issue of the work, though the English edition had captions in French. Jean-Jacques Chalon was a French artist born in Switzerland who eventually settled in England. His designs are by no means mere costume plates. Instead they are animated and faithful studies of Parisian manners and costumes in the years 1820 to 1822. There is hardly a touch of caricature, though the profiles of his personages have a family likeness which suggests a domesticated Girodet" (Ray). "Published in four parts. The plates show people of various occupations, shoeblacks, venders, politicians, and general scenes, etc" (Hiler). This copy is unusually tall: Abbey's copy measured 15 x 11 1/4 inches uncut, and lacked the lithographed title-page, as did Sadleir's. Only six copies with the lithographed title-page have come to auction within last 31 years. Five copies only located in KVK/OCLC but the presence of the title page is not noted. Alfred N. Beadleston (1912-2000) was an American Republican Party politician who served as Speaker of the New Jersey General Assembly and President of the New Jersey Senate. Abbey, Travel, 108; Bobins II, 514; Colas 588; Hiler, p. 156; Lipperheide 1185; Ray, The Art of the French Illustrated Book, 124. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05607

Catalogue: Color-Plate Books

Keywords: Books in French Caricatures Costume