DAUMIER, Honoré

Pastorales

Paris: Aubert & Cie,, 1851. 'Pastorales' or The Romance of Country Life Fifty highly amusing hand-colored Lithographs by Honoré Daumier Depicting the trials and tribulations of Country Life Exceptionally Rare with no other Examples Located DAUMIER, Honoré. Pastorales. [Romance of Country Life]. Paris: Aubert & Cie, [1851]. First Collected Edition, Complete. Folio. 13 x 10 inches; 330 x 254 mm.). Fifty highly amusing hand colored lithographs, stitched as issued, all heightened with gum arabic. Fourteen page Aubert et Cie. catalog bound in at end (a little foxed). Plate no. 1 has a 1/2 inch neatly repaired closed tear to upper blank margin. Plate no 10 has a 2 1/2 inch neatly repaired closed tear to lower blank margin. Plate no 23 is 'toned'. Plate no 25 is 'slightly toned' and has a 1 1/4 inch neatly repaired closed tear to lower blank margin. Plate no 26 is 'slightly toned' and has a 5 inch neatly repaired closed tear to lower margin affecting lower part of image. Plate no 27 is 'slightly toned' and has a 3 inch neatly repaired closed tear to lower margin affecting lower part of image. Plate no 28 is 'slightly toned' and has a 1 3/4 inch neatly repaired closed tear to lower margin just affecting lower part of image and also a 3/4 inch neatly repaired closed tear to lower blank margin. Plate no 39 has a 1 inch closed tear to lower blank margin. All of the repaired plates have been fixed with plain white paper on the verso. Publisher's dark green diaper-grain cloth over boards, covers paneled in blind, front cover lettered in gilt "Pastorales", smooth spine, plain end-papers, inner hinges repaired. Excessively Rare: we have been unable to locate any complete copies at auction over the past 100 years - also we have been unable to locate any individual prints in color. This is certainly one of the scarcest of all the Daumier Albums. In over fifty-five years of dealing in Antiquarian Books I have never seen this suite before (DJB). Four of the plates appear in Hazard & Delteil pp. 88-92 (nos. 73, 74, 75 & 77 - all in black & white only and some from the actual newspaper with printing on the verso). "Del. 1401, [plate no. 14] second state / Pastorales / Pastoral Scenes / Charivari, 10 July 1845 The scene is a simple country boardinghouse with pelting rain outside the window. The boredom of the husband and wife flanked by two sullen children is extreme. St. Médard was the French equivalent of the Anglo-Saxon St. Swithin. In both countries, local tradition was that if rain fell on the saints' feast days, it would continue for forty days." "Del. 1402, [plate no. 15] second state / Pastorales / Pastoral Scenes / Charivari, 12 July 1845 How do you like this little wine..." "Del. 1405, [plate no. 15] second state / Pastorales / Pastoral Scenes / Charivari, 14 August 1845.." "Del. 1417, [plate no. 30] second state / Pastorales / Pastoral Scenes / Charivari, 14 December 1845 The humor in the delightful set called Pastorales is often the depiction of the loss of equilibrium suffered by urban folk when confronted by the simplest aspects of nature. The landscape here suggests a feeling of Corot." According to OCLC & KVK there are no examples in libraries and institutions worldwide. We have been able to locate the following individual prints - all uncolored: Brandeis University, Robert D. Farber Archive have 20 plates (all in B&W); Metropolitan Museum of Art - nos. 9 & 49 (B&W); University of North Dakota #5 (B&W); University of Iowa #45 (B&W); Art Institute of Chicago #8 (B&W); Cleveland Museum of Art #33 (B&W); National Galleries of Scotland #25 (B&W); National Gallery of Art, Washington DC #41 (B&W); Philadelphia Museum of Art #8 (B&W); San Francisco Fine Arts Museum #16 (B&W); Tucson Museum of Art #21 (B&W); Victoria & Albert Museum #7 (B&W); Daumier Register 1388-1437; Hazard & Delteil 2216-2265; Not in Bobins, Carteret, Descamps Scrive or Ray. The Plates: 1. - Reviens y donc encore.. grand enjeoleu!.. mors-y les mollets, pataud, mors y les mollets!.. - Sapristi!. je n'avais jamais connu de vertu de cette force là.. sur le coup du poing!... (DR 1388) - Come back you brute.. come and bite his calf. - Dammit, who ever thought that such a virtue still exists.. and what a knock out! 2. Danger de secouer trop fortement un prunier, quand on est soi-même un homme mûr. (DR 1389) It is risky to shake a prune tree too much, when one is "ripe "as well. 3. - Oh!.. une bête à cornes.. ça doit être un taureau.. si c'est un taureau il doit être furieux.. et s'il est furieux je dois être perdu! (DR 1390) Oh.. a beast with horns.. this must be a bull.. and if it is a bull it must be ferocious, and if it's ferocious I'm lost. 4. - Ah! saperlotte, je crois que nous sommes pincés!.. (DR 1391) Damn it! We are caught! 5. - Est-ce que votre mari serait jaloux... il me semble que depuis quelques jours il me bat froid? - Attends, attends, puisque tu l'aimes mieux, j'te vas battre chaud!... (DR 1392) - I have the impression that your husband might be jealous? He seems to be showing me the cold shoulder. - Just you wait, if this was too cold for you, I can also give you a hot beating! 6. Un monsieur qui a voulu étudier de trop près les mÅ“urs si intéressantes des abeilles. (DR 1393) A gentleman who wanted to study the habits of bees too closely. 7. - Ma greffe d'un cerisier sur un abricotier n'a pas pris.. c'est singulier, j'avais pourtant bien suivi la méthode donnée par mon journal des Connaissances utiles! (DR 1394) My graft of a cherry slip on an apricot tree really didn't take.. strange.. after all, I followed exactly the instructions in the "Manual of Useful Knowledge". 8. Où peut conduire la lecture du Constitutionnel! (DR 1395) This is where the lecture of the Constitutionnel might take you. 9. - Voyageur, votre passeport?.. (DR 1396) Traveller, your passport?.. 10. Le danger de vouloir visiter un site par trop sauvage. (DR 1397) Beware of visiting lonely places. 11. Comme quoi, au milieu du calme des champs, l'on peut éprouver tout-à-coup une vive émotion. (DR 1398) Suddenly in the calm of the countryside one may experience a strong emotion. 12. Danger de se trouver au milieu d'une course au clocher, ou étable-chase! (DR 1399) The danger of being caught in a steeple chase. 13. - Comment!.. tous mes moutons sont morts de la pépie et tous mes poulets de la clavelée!.. et voilà ce qu'on m'a vendu comme une maison de campagne de produit et d'agrément!.. (DR 1400) What do you mean?.. all my sheep have died of the pip and all my chickens of the rot.. and this house in the country was sold to me for pleasure and as a good investment! 14. - Et dire que c'est aujourd'hui la St. Médard!.. (DR 1401) And to think this is Saint Médard's Day! 15. - Comment trouvez-vous ce petit vin-là.. hein?.. eh bien j'en ferai plus de trente tonneaux comme ça! (DR 1402) Well, how do you like my little wine?..he?.. I'll make more than 30 barrels like that! The visitor (aside): it's sour! 16. Comme quoi, au village, la vertu la plus grêlée finit toujours par trouver une récompense digne d'elle, - à savoir, une couronne de quinze sous et une somme de cinquante écus. - Par malheur l'autorité n'y joint pas un mari, ses moyens ne lui permettent pas cette dernière munificence. (DR 1403) So at the end of the day in this village even the most bony spinster gets her well deserve prize for virtue: in this case a crown worth 15 Sous and prize money of 50 Ecus. - Unfortunately, the authorities are not able to add a husband on top of it.. they simply don't have the necessary funds. 17. DÉSAGRÉMENT DE DINER AU TROP GRAND AIR. (DR 1404) INCONVENIENCE TO HAVE A PICNIC WITH TOO MUCH WIND. 18. - Allons bon!.. voila les Grafignons qui viennent à six de Paris pour nous demander à dîner sans façon, et pas moyen de dire que nous n'y sommes pas!.. (DR 1405) Oh no, look, the Grafignons just arrived from Paris, all six of them, just in time for lunch, and there is no way to hide away from them and say we're not in! 19. - Que nous sommes bêtes d'avoir une peur pareille.. Ça n'est qu'un affreux mannequin!... - J'ai cru que c'était mon mari!.. (DR 1406) - How foolish of us to be so frightened, look, it is only a horrid scare crow. - Oh, I thought it was my husband! 20. - Ouf!.. je ne me serais pas mis en route si j'avais su que la butte Montmartre était une des plus hautes montagnes du globe!.. (DR 1407) Ouffff.. I would have never climbed up here, if I had known that the knoll of Montmarte was one of the highest mountains on the Globe. 21. - L'eau est délicieuse.. je t'assure que tu as bien tord de ne pas venir me rejoindre, Virginie.. (DR 1408) The water is delicious... I assure you that you are making a mistake by not joining me, Virginia! 22. - J' vous dis que vous avez dérangé la limite et que vous l'avez fait avancer sur mon champ!.. - Moi j'vous dis que non.. et je soutiendrai devant tous les tribunaux que c'est d'mon père et même de mon grand père que je tiens d'être borné comme je le suis!.. Ah! mais!.. (DR 1409) - And I am telling you that you moved this boundary stone into my field! - And I am telling you I did not! I am ready to swear in front of any Court that I have taken on the same "limitations" my father and my grandfather had. Really.. 23. - Dis donc ma femme, c'est singulier.. je ne vois rien!.. (DR 1410) Strange, my dear, I don't see a thing! 24. Ah! saprelotte!..décidément le raisin n'est pas bon cette année!.. (DR 1411) Oh Blast! .. the grapes really aren't good this year! 25. - C'est ta faute ma femme.. à la campagne on ne devrait jamais aller se promener par le beau temps parce qu'on doit toujours craindre un orage.. voila une jolie route maintenant pour retourner chez nous, et dire que cela s'appelle un chemin vicinal!. - Ah! jules.. pourvu que le torrent ne nous emporte pas!. (DR 1412) - My dear, this is your mistake! One should never go for a stroll in the countryside, when the weather is good.. you always have to expect a storm.. and now we still have quite a long way home.. and this is called a communal country road! My foot! - Oh, Jules, let's hope we won't get flushed away by the torrents! 26. - Ah! Ciel maman maman! ah! Dieu ma fille, ma fille!.. (DR 1413) Oh my God, Mama, mama!.... For heaven's sake... my daughter, my daughter!!! 27. - Ah! Gringalet d'Paris.. tu viendras faire danser deux fois ma Catherine toi.. tiens essaye maintenant d'l'y faire l'oeil!.. (DR 1414) So, show-off from Paris!.. you will dance twice with my Catherine ... try again now to make eyes at her. 28. - Ah! ciel voila qu'il dévorent tous mes choux.. j'ai acheté des lapins pour m'en faire trois mille livres de rentes, et ce sont eux qui vivent comme s'ils avaient trente mille francs de revenus!.. (DR 1415) Good heavens, they are eating away all my cabbage. I bought these rabbits so they would bring me an income of 3'000 Francs. Now look at them, they live as if they had revenues of 30'000 Francs. 29. Ce qu'on appelle, aller jouir à la campagne des plaisirs de l'automne. (DR 1416) That's what's called enjoying the pleasures of autumn in the countryside. 30. Au secours, au secours!.. mon mari qui se bat contre un taureau!.. (DR 1417) Help.. my husband is fighting a bull! 31. - Malheureux enfant!.. ça t'apprendra à faire ta société des canards!.. (DR 1418) Unfortunate child!... that'll teach you not to play with the ducks. 32. - Brigand de hanneton.. c'est toi qui dévore ma propriété.. tu ne périras que de ma main! (DR 1419) Brigand of a may-bug.. it's you who devours all my property. You shall perish through my hand! 33. - Dire pourtant que j'avais planté des pommes de terre.. et v'la que je récolte des truffes!.. (DR 1420) How strange .. I had actually planted potatoes here, and now I am harvesting truffles.. 34. - Vas-tu te taire avec tes Cocoricos... c'est bien la peine de venir à la campagne pour dormir tranquillement. - Je suis tous les jours réveillé à trois heures du matin.. je dormais encore mieux à Paris même du vivant de ma femme!.. (DR 1421) Oh, shut up with this cock-a-doodle-do! To think that I came to the countryside to sleep peacefully. Every morning I am being woken up at 3 o'clock! I slept better in Paris, even when my wife was still alive. 35. Je croyais que c'était plus amusant que ça d'arroser ses fleurs pendant la canicule!... (DR 1422) I thought it was by far more amusing than that to water the flowers during dog days. 36. UNE TERRIBLE RENCONTRE. (DR 1423) FACE TO FACE WITH A FRIGHTFUL CREATURE. 37. Nouveau propriétaire faisant connaissance avec le chien de sa ferme. (DR 1424) The new owner getting acquainted with the dog on his farm. 38. Allons bon!.. voilà qu'elle me cueille une rose.. comme si les roses c'était fait pour être cueilli!.. (DR 1425) Hang it!.. there she goes plucking one of my roses.. as if these roses were made for cutting. 39. Saperlotte!.. j'ai manqué la taupe et j'ai attrapé mon melon!. (DR 1426) Damn it! I missed the mole and hit my melon! 40. Il n'ya pas à dire, il faut que je traverse ce diable de bois pour rentrer chez moi.. je suis fâché d'être resté si tard chez le voisin Rigolard, à faire un cent de piquet.. si j'avais réfléchi je n'en aurais fait qu'un demi-cent. (DR 1427) It can't be helped. I'll have to walk through this damned little wood to get home... why did I have to stay so late at neighbour Rigolard's just to finish a hundred point game of piquet.. had I known this, I had only played for fifty points. 41. - Monsieur voilà vingt ans que je poursuis l'union de la reinette et de la pomme d'apis... je suis enfin arrivé cette année à produire ce fruit vert qui me revient à trois mille sept cent quatre vingt sept francs.. mais qui me vaudra une mention bien honorable à la Société Centrale de Pommiculture!.. (DR 1428) For 20 years I was trying to cross a Rennet apple with a Rosey apple... this year I am finally successful. It has cost me 3'787 Francs in all for this green apple.. but it'll be worth it, since I'll be mentioned in the Central Society of Apple Culture. 42. Avantages des terrasses italiennes pour y prendre le frais en compagnie d'une foule de cousins français. (DR 1429) The advantage of sharing the fresh air on an Italian terrace together with a great number of insects. 43. UNE COURSE AU COUCOU. (DR 1430) CHASING THE COOCOO. 44. Inconvénient pour un propriétaire de ne pas bien se rappeler au juste ou il a fait placer des pièges à loup. (DR 1431) Quite embarrassing not to remember where one has hidden the wolf traps. 45. Aux petits des oisons, ils donnent la mangeaille, Et leur bonté s'étend sur toute la volaille. (DR 1432) To the small of the goslings they are giving the feed, and their kindness extends all of the poultry. 46. Inconvénient de se bâtir une maison de campagne dans une plaine et à proximité d'une rivière. (DR 1433) There are certain drawbacks when building a summer house in the plain close by a river. 47. Un léger coup de vent. (DR 1434) A light breeze. 48. - En v'la, mon biau monsieu, du lait comme vous n'en trouvais point dans vot Paris!... - C'est singulier comme pour du lait pur il a une légère nuance de café! (DR 1435) - Here you are my good Sir, milk like you'll never get in your Paris.. - isn't it peculiar that fresh milk seems to have a shade of coffee? 49. Quand on fait ses foins, et qu'on veut surveiller de trop ces faucheurs. (DR 1436) When one makes hay one should not be too close to the reapers. 50. - J'ai vu un lièvre de l'autre côté d'la ferme.. (à part) il y a huit jours!.. (DR 1437) I have seen a hare on the other side of the farm.. (aside) eight days ago!.

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05505

Catalogue: Color-Plate Books

Keywords: Books in French Caricatures

DAUMIER, Honoré; PHILIPON, Charles

Robert Macaire, Les

Paris: Chez Aubert, 1838. The First Twenty Hand Colored Lithographs of Daumier's Most Celebrated Work DAUMIER, Honoré and Charles Philipon. Les Robert Macaire [Caricaturana]. Paris: Chez Aubert, 1836-1838. First edition. Oblong folio (10 3/8 x 14 inches; 264 x 355 mm.). Twenty hand-colored lithographed plates (numbered 1 - 20) heightened with gum arabic. Plate no. 7 supplied and expertly re-margined at gutter and lower margins. Contemporary quarter green calf over green patterned boards decoratively ruled in gilt with gilt corner pieces, smooth spine. Inner hinges repaired, slight rubbing to extremities. An excellent collection of the first twenty plates of Daumier's Caricaturana. "Les Robert Macaire remains Daumeir's best-known work.. Baudelaire chose it.. for specific discussion in his essay on French caricaturists and Carteret accorded it a place in his bibliography. Its contemporary popularity was immense. As an album it was published by Aubert in an edition of 2500 copies, a far larger number than for any other series. Yet so persistent was the demand that 6000 two-volume sets of reduced copies, called Les cent-et-un Robert Macaire, were published in 1839.." (Ray). Though 2,500 may have been printed few have survived. OCLC/KVK records only two copies in institutions worldwide, Sadleir's at the Morgan Library, and at Yale. Though both are complete only the Morgan copy is in the original cartonnage portfolio. ABPC reports only three complete copies at auction since 1935 and it appears that at least two were rebound; it is safe, we think, to presume that the third copy was also rebound. The 'reduced' edition of 1839 is still quite rare at auction (two copies only since 1975) but there are more copies in institutional holdings. "When politics became a forbidden topic in Le Charivari, where Caricaturana first appeared, Daumier and Philipon turned to social satire. If they could not attack Louis-Philippe directly, they could at least show the kind of society that flourished under his gross and venal regime. Taking the flamboyant and florid swindler Macaire from the character that Frederick Lemaitre had created in a hack melodrama called L'Auberge des adrets, they showed him..ranging through all kinds of commercial enterprise, in the stock market, in the banks, in the courts, and in dozens of other public settings, never failing to find eager dupes..Though Daumier's designes are are superb in themselves..they would be incomplete without the unfailing wit and point of Philipon's captions" (Ray). Ray, Art of the French Illustrated Book 161. Beraldi V, p. 124. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05492

Catalogue: Color-Plate Books

Keywords: PHILIPON, Charles Books in French Caricatures French Caricature

DAUMIER, Honoré; PHILIPON, Charles

Robert Macaire, Les

Paris: Chez Aubert, 1838. Daumier's Most Celebrated Work Les Robert Macaire [Caricaturana] Complete with 100 Spectacular Hand-Colored Plates, All Heightened with Gum Arabic A Remarkable Example in the Original Publisher's Blue Cloth DAUMIER, Honoré and Charles Philipon. Les Robert Macaire [Caricaturana]. Paris: 1838. First edition. Folio (13 3/16 x 10 3/8 inches; 338 x 263 mm.). One hundred [and one] hand-colored lithographed plates (complete) heightened with gum arabic. In this copy plate 96 "A tous les coeurs bien nés que le patrie est chère!!" (DR-451 published 10/28/1838) has been substituted by the insertion of "Robert Macaire 2e. Sèrie 7. Nouveautés philantropiques." (DR-872 published 04/04/1841) - The plate number has been changed in old ink to "96" - most likely by the publisher prior to binding - see note below. [An original hand colored example of plate 96 "A tous les coeurs bien nés que le patrie est chère!!" (DR-451 published 10/28/1838) has now been inserted after plate 95]. The first plate bound a little tight at top margin just touching image, plate 13 (DR-366) with small (1 1/2 inch) expertly repaired marginal tear just touching image, plate 32 (DR- 385); Small expert repair (5/8 inch) to inner blank margin of plate 46 (DR-401); tiny (5/16 inch) repaired tear on blank margins of plates 11 (DR-364), 31 (DR-385) and 48 (DR-403) - a few plates very slightly toned, plate 34 (DR-388) a little foxed. Publisher's diaper grain blue cloth, covers ruled in blind, front cover with "Robert - Macaire" decoratively stamped in gilt, plain endpapers (expertly re-cased, inner hinges repaired). Old (April 1942) booksellers catalog description on front free-endpaper (not mentioning the substituted plate). Old tape residue on front free and rear endpapers. An excellent example of Honoré Daumier's most celebrated work, the superb hand coloring bright and fresh. This is only the second time we have seen this book in the publisher's binding. Note: The second series of Robert Macaire - twenty lithographs (DR-866 - DR-885 was published from 10/25/1840 to 09/11/1842) and is excessively rare - we have never seen or handled any of these plates before. "Les Robert Macaire remains Daumier's best-known work.. Baudelaire chose it.. for specific discussion in his essay on French caricaturists and Carteret accorded it a place in his bibliography. Its contemporary popularity was immense. As an album it was published by Aubert in an edition of 2500 copies, a far larger number than for any other series [however the vast majority of these copies were issued with plain lithographs - only a few copies were issued with hand-coloring]. Yet so persistent was the demand that 6000 two-volume sets of reduced copies, called Les cent-et-un Robert Macaire, were published in 1839.." (Ray). Though 2,500 may have been printed few have survived. OCLC/KVK records only two complete copies in institutions worldwide, Sadleir's at the Morgan Library, and one at Yale. ABPC reports only seven complete copies at auction since 1935. The 'reduced' edition of 1839-41 Les cent-et-un Robert Macaire is still quite rare at auction (two complete copies only since 1975) but there are more copies in institutional holdings. "When politics became a forbidden topic in Le Charivari, where Caricaturana first appeared, Daumier and Philipon turned to social satire. If they could not attack Louis-Philippe directly, they could at least show the kind of society that flourished under his gross and venal regime. Taking the flamboyant and florid swindler Macaire from the character that Frederick Lemaitre had created in a hack melodrama called L'Auberge des adrets, they showed him.. ranging through all kinds of commercial enterprise, in the stock market, in the banks, in the courts, and in dozens of other public settings, never failing to find eager dupes.. Though Daumier's designs are are superb in themselves.. they would be incomplete without the unfailing wit and point of Philipon's captions" (Ray). Daumier Register 354-373, 375-455; Ray, Art of the French Illustrated Book 161. Beraldi V, p. 124. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05441

Catalogue: Color-Plate Books

Keywords: PHILIPON, Charles Books in French Caricatures French History French Caricature

DAUMIER, Honoré

Variétés Drolatiques [Bound with] Histoire Ancienne

Paris: Léopold Pannier et Cie. 1841. An Exceptionally Rare Daumier Album Seven Series Complete Containing Fifty Humorous Lithographs DAUMIER, Honoré, illustrator. Variétés Drolatiques. Vulgarités. - Les Musiciens de Paris. - Proverbes de famille. - Proverbes et Maximes. - La Peche. - La Journée du Celibataire. - Les Saltimbanques. 50 Planches. Paris: Léopold Pannier et Cie. [1841]. Vulgarités. 10 plates complete DR 905-914 Les Musiciens de Paris. 6 plates complete DR 919-924 Proverbes de famille. 2 plates complete DR 797-798 Proverbes et Maximes. 12 plates complete DR 803-814 La Peche. 7 plates complete DR 815-821 La Journée du Celibataire. 12 plates complete DR 607-618 Les Saltimbanques. 1 plate (of 2) DR 620 Total 50 plates complete. "Pannier published a separate album with the title "Variétés Drolatiques", par Daumier, Paris , 1 vol. in-4°, demi chagr. It contains the following complete series,sur blanc, bringing the total of prints to 50:Vulgarités, Musiciens de Paris, Proverbes de Famille, Proverbes et Maximes, La Pêche, Journée du Célibataire und Les Saltimbanques." This album can be considered rare." (Daumier Register). OCLC locates just three of the plates from Proverbes Maximes. Nos. 6, 9, and 11 (all at Washington University, OR, USA). We located just one copy at auction - sold between October 1898 and July 1899!!! The only plate that appears in the Armand Hammer Daumier collection is the second plate of La Peche (p.67) [Bound together with]: Exceedingly Rare Daumier Histoire Ancienne Complete with Fifty Superb Lithographs DAUMIER, Honoré. illustrator. PHILIPON, Charles. Histoire Ancienne. Paris: Chez Aubert, [1841-1843]. Folio (13 3/16 x 10 inches; 335 x 254 mm.). Fifty superb lithograph plates. Some intermittent, mainly marginal foxing. Together 100 fine lithograph plates containing two of Daumier's rarest suites, both complete. Contemporary quarter dark brown morocco over marbled boards, spine with four raised bands, ruled in blind and lettered in gilt, marbled end-papers. A near fine and complete example of two of Honoré Daumier's finest and rarest works. There is only one copy of Histoire Ancienne located in libraries and institutions worldwide (The Bibliotheque Nationale de France). "This series of 50 lithos on characters in ancient history and mythology appeared between 1841 and 1843. Daumier's irreverent satirizing of the sacred characters in Greek and Roman mythology contributed to the Romantic attack upon the Classical school in the continuing battle waged in the theater, literature and the arts. Philipon's contrived poems, as captions to the series, contain many veiled allusions to Louis-Philippe and individuals in his reign." Plate no. 22. "Le Baptême D'Achille.." (The baptism of Achilles; As one tempers a weapon of war, Thetis wishing to make a hero of her brat, dipped him in the Styx, as soon as he saw the light, which proves that a bath is good for all purposes. - On the Influence of Baths, poem by Mr. Vigier.) Deltail # 946. Plate no. 46. "La Mère des Gracques.." (The mother of the Gracchi: One day when a gay lady was shamelessly praising her jewels, which were worth a few cents, this Roman mother, showing her two young sons, the hope of the country, said, "Behold my only jewels!" - Plutarch.) Deltail # 970. This well-known story provided Daumier the chance to portray two typical Frenchwomen with typical unruly children. Deltail # 970. Plate no. 47. "Pygmalion.." (O triumph of the arts! What was your amazement, great sculptor, when you saw your marble come to life and, in a chaste and gentle manner, slowly bow down to ask you for a pinch of snuff. - Count Siméon.). Deltail # 971. (Charles F. Ramus, editor. Daumier 120 Great Lithographs) Histoire Ancienne is a series consisting of 50 numbered lithographs (DR. 925-974), which appeared in the Charivari between December 1841 and January 1843. Between December 1841 and January 1843, Honoré Daumier in the Charivari published a series devoted to ancient history: fifty plates to antique themes, seventeen of which illustrating the Iliad, the Odyssey and Telemachus of Fenelon. "Alone, without scientific mission, Daumier traveled Greece, drawing where a beautiful feeling attached him, crying where a touching tradition was waiting. Drawing day and night, he finally found the original Greek sense." says the satirical newspaper. The cartoonist wants to infuse "life, movement, privacy, anything that lacked" the Greek hero petrified by ancient sculpture. Some illustrations, comic relief, reminiscent of Greek tombstones Daumier modernized by the effects of perspective or shortcuts. For each board, a comment from a few to a "translation" of Homer crazy, "light poetry", underline the ironic look worn by Daumier on antiquity. "A quarrel between painters of the classic and romantic schools had fully flared up. Delacroix asked the "loaded" question: "Qui me délivrera des Grecs et des Romains?" (Who redeems us from the Greeks and Romans?). Daumier succeeded to answer it his own way by showing historic personalities such as Hercules, Pygmalion or Agamemnon in absurd situations. It was his method to put history into perspective. In December 1841, the Charivari announced the arrival of this series as follows: "We have sent Monsieur Daumier to Greece, alone and without any scientific support. He worked day and night to reveal the Greek soul of the past.. Daumier brings antiquity back to us". The lithographs of the series "Histoire Ancienne" were published between 1841 and 1843. Daumier was far ahead of his time when he started as one of the first to show how relative the importance of Greek and Roman Mythology can be in a modern world. The admirers of ancient history especially in Arts however were not dissipated easily. It would take another 15 years until Baudelaire in literature and Offenbach in music de-mystified the "old Greeks" and removed the centuries old dust from them." (The Daumier Registry) Deltail. Catalogue raisonné de l'oeuvre lithographées de Honoré Daumier, 925-974; Beraldi, Les Graveurs du XIX siècle, V, p. 126; Ramus, p. 126. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 04953

Catalogue: Illustrated Books

Keywords: Books in French Caricatures French Caricature

MOVABLE BOOK; DELCOURT, Pierre

Les Amis de Polichinelle

Paris: A. Capendu, Editeur, 1890. Les Amis de Polichinelle [MOVABLE BOOK]. Les Amis de Polichinelle par Pierre Delcourt. Paris: A. Capendu, Editeur, [ca. 1890]. Small quarto (8 1/2 x 6 3/8 inches; 216 x 162 mm.). [10] pp. Lithograph title-page and four full-page colored lever-operated moveable plates, each with leaf of text opposite. Publisher's black cloth over color pictorial boards. On the first movable plate Polichinelle is missing the bell that he was holding in his right hand (see cover illustration) and on the second movable plate Madam is missing the fan held in her right hand (as per the text). Otherwise an excellent example in near fine condition. This delightful movable has four wonderfully vivid colored movable plates portraying Monsieur & Madame Polichinelle, Jocrisse & Cassandre. "Polichinelle is the Punch of the old French puppet-shows, and his secrets are stage whispers told to all the audience" (Brewer's Dictionary of Phrase and Fable). Very scarce. OCLC locates just one copy in libraries and institutions worldwide: University of Virginia (VA,US). Pierre Delcourt also wrote Le Grand Guignol which was also published by A. Capendu around the same time. .

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Book number: 05545

Catalogue: Children's Books

Keywords: DELCOURT, Pierre Books in French Color Printing Movable Books

DICKENS, Charles

Mystery of Edwin Drood, the [and] John Jasper's Secret

London: Chapman and Hall, 1870. First Edition of Edwin Drood and The First 'Conclusion' - John Jasper's Secret Bound from the Original Parts with all the Wrappers and Advertisements The Copy of the Bibliographer Charles Plumtre Johnson DICKENS, Charles. The Mystery of Edwin Drood. With Twelve Illustrations by S.L. Fildes, and a Portrait. London: Chapman and Hall, 1870. First edition bound from the original parts of Dickens's final work, left unfinished at the time of his death. Octavo (8 5/8 x 5 1/2 inches; 222 x 140 mm.). vii, [1, "Illustrations"], 190 pp. Frontispiece portrait of Dickens ("Engraved by J.H. Baker, from a Photograph taken in 1868, by Mason & Co."), wood-engraved vignette title by J. Brown, and twelve wood-engraved plates, two by the firm of Dalziel Brothers, ten by Charles Roberts, all after Samuel Luke Fildes. Bound from the original parts with all wrappers correct and the vast majority of the advertisements including "The Cork Hat" Bound together with: [EDWIN DROOD], MORFORD, Henry, attributed to]. John Jasper's Secret: Being a Narrative of Certain Events Following and Explaining "The Mystery of Edwin Drood." With Twenty Illustrations. London: Publishing Offices, 1872. First English edition bound from the original parts of the first of many attempts to solve The Mystery of Edwin Drood. Octavo (8 5/8 x 5 1/2 inches; 222 x 140 mm.). [iv], 252 pp. Twenty wood-engraved plates. Page 251 is mispaginated 521 as called for. Bound from the original parts with all wrappers correct and with substantially more advertisements than called for by Sadleir. Bound by Zaehnsdorf ca. 1900 in full green morocco, covers ruled in gilt, spine with five raised bands, decoratively stamped and lettered in gilt in compartments, marbled endpapers, top edge gilt, others uncut. With the engraved bookplate of celebrated bibliographer and collector Charles Plumptre Johnson on front paste-down. Spine faded to olive green, otherwise near fine. Housed in a brown cloth slipcase. A fine, clean example. "When Dickens died on June 9, 1870, he had completed only enough of his manuscript to make up six instalments, leaving unfinished a work which had commanded the widest attention for its opening numbers, and which promised to be one of his most effective and popular books. Although only three parts had been issued prior to his death, publication of the work continued, and on completion with Part 6 of all available material, the vast army of readers was left high and dry as to ‘The Mystery.' The Author during the writing of the story never disclosed the ultimate development of his plot" (Hatton and Cleaver). John Jasper's Secret was the first of many attempts to solve The Mystery of Edwin Drood. The work was written by the New York journalist Henry Morford (1823-1881) and his wife. Smith I, 16; Gimbel H330; Sadleir 705. .

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Book number: 05929

Catalogue: English Literature

Keywords: English Literature Nineteenth-Century Literature Books in Parts Illustrated Books Books in Parts Mystery and Detective Fiction Nineteenth-Century Literature

DICKENS, Charles; CRUIKSHANK, George, illustrator

Oliver Twist

London: Richard Bentley, 1838. Charles Dickens Unromantic Portrayal of Criminals and Their Sordid Lives DICKENS, Charles. Oliver Twist. By Charles Dickens. Author of "The Pickwick Papers" In Three Volumes. Vol. I. [II. III. ] London: Richard Bentley, 1838. First edition of Dickens' second novel. The "Charles Dickens" issue, with the title-page authorship credit to Charles Dickens instead of "Boz" and with the "Church" version of the final plate. First state of volume III with "pilaster" instead of "pier" or "pedestal" on page 164. Almost all the internal flaws according to Smith present. Three octavo volumes (7 15/16 x 4 7/8 inches; 202 x 124 mm.). Volumes I and III in twelves, volume II in eights. [iv], [1]2-331, [1, blank], [4, advertisements]; [iv], [1]2-307, [1, blank]; [iv], [1]2-315, [1, blank] pp. No half-title called for in Volume III. Twenty-four engraved plates by George Cruikshank. Small piece (3/4 x 3/8 inch) torn away from upper corner of second plate in volume II, repaired tear to top margin of following pages (61/62; E7). Original (Smith primary binding; Carter binding variant B) reddish brown fine-diaper cloth, front and back covers stamped in blind with an arabesque design, spines ruled in blind and lettered in gilt, original pale yellow coated endpapers. Some light foxing to plates as usual, some light occasional marginal soiling. Spine ends and inner hinges of volume three expertly and almost invisibly repaired, spines very slightly faded but gilt still bright. Armorial bookplate of Adrian Hoffman Joline on front paste-downs (bookplate for volume two removed). Housed in a quarter brown morocco clamshell case. An excellent and very attractive set. For this novel, Dickens's first in the standard three-volume form, Bentley divided the printing task between two firms: Volume I was printed in a twelvemo format by Samuel Bentley; Volume II in octavo format by Whiting; and Volume III preliminaries and signatures A-F and probably G by Whiting with the remaining text by Samuel Bentley, again in twelvemo format. The three-decker publication date was 9 November 1839, and within a week, at Dickens's insistence, the title-pages were changed to include his name, and the "Church" version of the final plate was substituted for the "Fireside" version. Smith I, 4. Oliver Twist, is the second novel by Charles Dickens, and was first published as a serial 1837-39. The story is of the orphan Oliver Twist, who starts his life in a workhouse and is then sold into apprenticeship with an undertaker. He escapes from there and travels to London, where he meets the Artful Dodger, a member of a gang of juvenile pickpockets led by the elderly criminal Fagin. Oliver Twist is notable for its unromantic portrayal by Dickens of criminals and their sordid lives, as well as for exposing the cruel treatment of the many orphans in London in the mid-19th century. "My dear child,' said the old gentleman, moved by the warmth of Oliver's sudden appeal, 'you need not be afraid of my deserting you, unless you give me cause.' I never, never will, sir,' interposed Oliver." In this early example of the social novel, Dickens satirizes the hypocrisies of his time, including child labor, the recruitment of children as criminals, and the presence of street children. The novel may have been inspired by the story A Memoir of of Robert Blincoe, (1832), an orphan whose account of working as a child laborer in a cotton mill was widely read in the 1830s. It is likely that Dickens's own youthful experiences contributed as well. Oliver Twist has been the subject of numerous adaptations for various media, including a highly successful musical play, Oliver!, and the multiple Academy Award-winning 1968 motion picture which featured Mark Lester as Oliver, Jack Wild as the Artful Dodger, Ron Moody as Fagin and Oliver Reed as Bill Sykes. .

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Book number: 03743

Catalogue: English Literature

Keywords: CRUIKSHANK, George, illustrator Illustrated Books Nineteenth-Century Literature Cruikshankiana

DIETZ, Howard

Dancing in the Dark

New York: Quadrangle, 1974. With an Inscribed Photograph of Howard Dietz DIETZ, Howard. Dancing in the Dark. Words by Howard Dietz. New York: Quadrangle, [1974]. With a signed photograph of Howard Dietz inscribed "To Paul R. Palmer. Howard Dietz" pasted to the front free endpaper. First edition. Octavo (9 1/4 x 6 inches; 235 x 152 mm.). [xiv], [1]-370 pp. Illustrated throughout with black & white photogravures. Publisher's blue boards, spine lettered in silver, printed dust jacket. A fine copy. "Dancing in the Dark" is a popular American song, with music by Arthur Schwartz and lyrics by Howard Dietz, that was introduced by John Barker with Tilly Losch dancing in the 1931 revue The Band Wagon. The song was first recorded by Bing Crosby on August 19, 1931 with Studio Orchestra directed by Victor Young, staying on the pop charts for six weeks, peaking at #3, and helping to make it a lasting standard. Howard Dietz (1896-1983) was an American publicist, lyricist, and librettist, best remembered for his songwriting collaboration with Arthur Schwartz. .

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Book number: 05874

Catalogue: Modern Firsts

Keywords: Music Songs Theater Signed Photograph

DIGHTON, Richard

Characters at the West End of the Town. Drawn and Etched by Richard Dighton

London: Thomas M'Lean: Repository of Wit and Humour, 1825. Richard Dighton's Caricatures of British Society Forty Fine Hand Colored Engraved Plates DIGHTON, Richard. Characters at the West End of the Town. Drawn and Etched by Richard Dighton. London: Thomas M'Lean, Repository of Wit and Humour, 1825. First edition. Large folio (14 x 10 inches; 356 x 254 mm.). Letterpress title and forty hand-colored engraved plates watermarked "J. Whatman 1824." Small closed (1 1/8 inch) marginal tear to plate no. 4, some mostly marginal thumb marks to lower outer corners, some occasional soiling. Still a fine collection seldom seen. Expertly rebound to period style in full dark red straight grain morocco, covers ruled in gilt and decoratively bordered in blind with blind stamped diamond within central gilt panel. Original red morocco gilt lettering label on front cover. Spine with five raised bands decoratively tooled in gilt, panels lettered and decoratively tolled in gilt, marbled endpapers. A fine copy. A rare set of caricatures of West End characters, amusingly drawn and finely hand-colored, caricaturing various figures of British society. including the Persian Ambassador. Richard Dighton was best known for his numerous portraits of City and West End characters. Apprenticed in his father Robert Dighton's studio, he continued with the production of full-length, profile etchings. He began his extensive series of City and West End characters in 1817, publishing over one hundred etchings during the next ten years. The Plates: 1. A View of Nugent. (July 1822) 2. Up-Town. (1817) 3. A Big-Wig. (July 26, 1820) 4. A View of Londonderry. (N.d.) 5. A View of Gloucester. (April 1821) 6. A View from St. James's Street. (May 1818) 7. A View of Argyle. (May 1819) 8. A Stirling Banker. (June 1824) 9. A Thin Piece of Parliament. (April 1822) 10. A View of Yarmouth. (1818) 11. A Welch Castle. (April 1818) 12. Elegant Manners. (1821) 13. A Good Soldier, but no General. (Octr. 30th, 1821) 14. A View taken at Eaton. (N.d.) 15. A View of a Lake. (May 1818) 16. A Good Whip. (1818) 17. Mr. Hobhouse. (1819) 18. A View of Burghersh. (April 13, 1822) 19. One of the Rakes of London. (March 1818) 20. A View from Knightsbridge Barracks. (May 1817) (Plate 2nd) 21. The Golden Ball. (May 1819) 22. A View of Devonshire. (October 1820) 23. Mr. C. Kemble as Charles Surface, in the School for Scandal. (1821) 24. Sir Murray Maxwell Kt CB. (N.d.) 25. The Honble. Geoge. Lamb. (1819) 26. Sir Francis Burdett. (Jan 1820) 27. No Title. (1820) 28. A View from the Horse Guards. (July 16th, 1817) 29. Going to Whites. (Jan 1819) 30. A View of Westmoreland or an Imprefsion of the Privy Seal. (July 1821) 31. Byng-Go. (Jan 1820) 32. A View taken in Hyde Park. (1817) 33. A View of Hill near Downshire. (1817) 34. The Dandy Club. (Decr. 29, 1818) 35. His Excellency The Persian Ambassador. (May 1819) 36. Mr. Kean as Lucias Junius, in Brutus. (1818) 37. Mr. W. Farren, as Sir Peter Teasle. (1818) 38. Miss Wilson, in Artaxerxes. (1821) 39. Miss M. Tree, of Covent Garden Theatre. (Novr. 16, 1821) 40. An Illustrious Consort. (July 1818) Robert Dighton was born c.1752 in London and died there in 1814. An English portrait painter, printmaker and caricaturist, he was the founder of a dynasty of artists who followed in his footsteps. He was the son of the London printseller John Dighton. In the 1770s he began acting and singing in plays at the Haymarket Theatre, Covent Garden and Sadler's Wells while at the same time training and exhibiting at the Royal Academy. He also exhibited at the Free Society of Artists between 1769-73. The first prints he designed were of actors for John Bell's edition of Shakespeare (1775-76). As an artist, he was first offered consistent employment by the publisher Carington Bowles (fl. 1752-93). This was the heyday of the so-called 'droll' mezzotint and Robert's output of designs, executed in watercolor and then engraved, was an integral part of his stock. Carington Bowles was among of the most active map-sellers of his day in London, which will explain Dighton's caricature maps in his "Geography Bewitched" series, including Ireland, England and Wales , and Scotland. Much of Dighton's early work was issued anonymously, but by the early 1790s it became increasingly well known and he began etching and publishing under his own name. In awkward poses and with ruddy faces, Dighton's satirical caricatures included lawyers, military officers, actors and actresses who were seen about town, as well as down-at-heel types. In 1795 he brought out a Book of Heads and thenceforth devoted himself chiefly to caricature. His work is noted as being less savage than that of his contemporaries, James Gilray and George Cruickshank. By the start of the century, his success allowed him to open a shop in Charing Cross, where he sold his own prints and those of others until it emerged in 1806 that part of his stock was stolen from the British Museum. An art dealer by the name of Samuel Woodburn had purchased a print, an impression of Rembrandt's Coach Landscape, from Dighton and, supposing it might be a copy, took the print to the British Museum to compare it with the impression there. When it was discovered that their impression was missing, Dighton confessed that he had befriended a museum official by drawing portraits of him and his daughter during his visits and used this relationship to remove prints from the museum hidden in his portfolio. Because of his co-operation, Dighton escaped prosecution but was forced to lie low in Oxford until the scandal died down. While there he did an amusing series of portraits of academic types and country gentlemen, as well as in Bath and Cambridge. Returning to London in 1810, he reopened his studio, where he worked with his sons (Richard Dighton 1795-1880) and Denis Dighton (1792-1827) until his death in 1814. His son Richard Dighton was best known for his many satirical profile portraits of contemporary London celebrities and characters. Bobins III, 852; Tooley 181. .

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Book number: 05626

Catalogue: Color-Plate Books

Keywords: Caricatures English History

DIGHTON, Robert

[Collection of Forty Caricature Portraits of Public Characters - 1801-1812]

London: Published by Dighton, Charing Cross, 1801. Robert Dighton (1752-1814) Actor, Artist and Printseller A Superb Collection of Forty Hand Colored Etched Plates Depicting some famous and some not so famous late eighteenth century characters DIGHTON, Robert. [A Collection of Forty Caricature Portraits of Public Characters]. London: Published by Dighton, Charing Cross, 1801-1812. Folio (12 7/8 x 10 1/8 inches; 327 x 257 mm.). Forty superb hand colored etched plates. Contemporary quarter red morocco over marbled boards, smooth spine ruled in gilt. Minor wear to board extremities. With the small pink paper binders ticket "Cherry/Bookbinder/Wellington" [Somerset, UK]. 1. "A View from Oriel College, Oxford" (May 1808) "Dr. Eveleigh" - plate watermarked 1800. (Rose p.38). 2. "A Noble Commander from South Gloucester.. Steyne in Brighton" (Dec. 1801) "Lord Berkeley" (Rose p.37). 3. "A View from Trinity College, Cambridge" (Jan. 10 1810) "Bishop of Bristol" (Rose p.39). 4. "The Father of the Corporation of Oxford. Omnibus Carus" (March 1808) "Alderman Fletcher" (Rose p.39). 5. "A View from the Swan Brewhouse Oxford" (June 12, 1807) "Mr. Hall" (Rose p.38). 6. "A View from Jesus College, Oxford" (May 1808), "Dr. Hughes" (Rose p.38). 7. "Agamemnon A Great General. Taken on the Steyne at Brighton" (Jan. 1, 1804) "General Dalrymple" (Rose p.38). 8. "A View Taken from Christ Church Meadows Oxford" (May 1807) "Drs. Jackson & Webber" (Not in Rose). 9. "A View Taken at Oxford" (Jan. 1808), "Mr. Smith" (Rose p.38). 10. "The Classical Almamater Coachman Oxford" (Jan. 1808) "Mr. Brobart" (Rose p.39). 11. "The-Late-Right Revd. Dr. Samuel Horsley, Lord Bishop of St Asaph" (December 1809) (Not in Rose). 12. "The Principal Arch of Lambeth Palace" (Jan. 1808) "Dr. Moore" (Not in Rose). 13. "A Master Parson & His Journeyman" (May 1812) (Rose p.39). 14. "A View of Somerset" [Duke of Somerset] (Dec. 1811) (Rose p.39). 15. "A View from Peter House, Cambridge" (Jan. 1810) "Dr. Barnes" (Rose p.39). 16. "A Noble Duke. Taken on the Steyne at Brighton" (Nov. 1801) "Duke of Grafton" (Rose p.37). 17. "A Celebrated Public Orator" (Jan. 1808) "Dr. Crow" Not in Rose). 18. [Dr. Parson, Oxford] (Feb. 1808) "Dr. Parson" (Rose p.38). 19. "A View from Merton College, Oxford" (June 1808) "Mr. Kilner"? (Rose p.38). 20. "The Major Part of the Town of Portsmouth" (Aug. 1807) "Major Ashurst" (Rose p.38). 21. "A Noble Student of Oxford" (Jan. 1808) "Lord Grenville" (Rose p.38). 22. "A View from St John's College at Cambridge" (May 1809) "Dr. Wood" (Rose p.39). 23. "A View from the Pump Room, Bath" (Jan. 1809) "Genl. Dankin" (Rose p.39). 24. "A View from Merton College Oxford" (June 1808) "Dr. Killian"? (Not in Rose). 25. "A View from St Aldates Oxford" (Jan. 1808), "Dr. Grovenor" (Not in Rose). 26. "A View Taken from Bladuds Buildings, Bath" (Jan. 1809), "Counsellor Morris"? (Rose p.39). 27. "A Gloomy Day. Taken on the Steyne at Brighton" (Nov. 1801) "Mr. Day" (Rose p.37). 28. "A View Taken from Portland Place, Bath" (Jan. 1809) [Mr. Banks]. (Rose p.39). 29. "A View Taken from the Town Hall Oxford" (May 1807) "Mr. Taunton" (Rose p.38). 30. "A View from Magdalen Hall Oxford" (June 1808) "Dr. Ford" (Rose p.38). 31. "Sr David Dundas, KB, Commander in Chief" (April, 1810) (Rose p.39). 32. "A View from Brazen Nose College, Oxford" (May, 1808) "Dr. Cleaver" (Rose p.38). 33. "A View from Magdalen College, Cambridge" (June, 1809) "Dr. Grattan"? (Rose p.39). 34. "A First Rate Man of War, taken from the Dock Yard Plymouth" (Jany 1809) "Admiral Young" (Rose p.39). 35. "A View taken from Chatham Row, Bath" (Jany. 1809) "Dr. Shepherd" (Rose p.39). 36. "A View of a Temple near Buckingham" (July, 1811) "Marquiss of Buckingham" (Rose p.39). 37. "Ireland in Scotland, or a trip from Oxford to the land of Cakes" (June 1807) "Mr. Ireland" (Rose p.38). 38. "A View from Trinity College Oxford" (June, 1807) "Dr Kell" (Rose p.38). 39. "A View of the Telegraph, Cambridge" (May, 1809) "Dick Vaughan" (Rose p.39). 40. "A View from Baxter's Livery Stables, Cambridge" (Jany. 1810) "Mr. Baxter" (Rose p.39). Robert Dighton Senior was born c.1752 in London and died there in 1814. An English portrait painter, printmaker and caricaturist, he was the founder of a dynasty of artists who followed in his footsteps. He was the son of the London printseller John Dighton. As a boy his father's print shop must have been a big influence in his early life and he was, no doubt, very much acquainted with the caricatures of contemporary artists such as Gillray, Rowlandson, Sayer, Cruikshank and also of course with the great painter and satirist Hogarth. In the 1770s he began acting and singing in plays at the Haymarket Theatre, Covent Garden and Sadler's Wells while at the same time training and exhibiting at the Royal Academy. He also exhibited at the Free Society of Artists between 1769-73. The first prints he designed were of actors for John Bell's edition of Shakespeare (1775-76). As an artist, he was first offered consistent employment by the publisher Carington Bowles (fl. 1752-93). This was the heyday of the so-called 'droll' mezzotint and Robert's output of designs, executed in watercolor and then engraved, was an integral part of his stock. Carington Bowles was among of the most active map-sellers of his day in London, which will explain Dighton's caricature maps in his "Geography Bewitched" series, including Ireland, England and Wales , and Scotland. Much of Dighton's early work was issued anonymously, but by the early 1790s it became increasingly well known and he began etching and publishing under his own name. In awkward poses and with ruddy faces, Dighton's satirical caricatures included lawyers, military officers, actors and actresses who were seen about town, as well as down-at-heel types. In 1795 he brought out a Book of Heads and thenceforth devoted himself chiefly to caricature. His work is noted as being less savage than that of his contemporaries, James Gilray and George Cruikshank. By the start of the century, his success allowed him to open a shop in Charing Cross, where he sold his own prints and those of others until it emerged in 1806 that part of his stock was stolen from the British Museum. An art dealer by the name of Samuel Woodburn had purchased a print, an impression of Rembrandt's Coach Landscape, from Dighton and, supposing it might be a copy, took the print to the British Museum to compare it with the impression there. When it was discovered that their impression was missing, Dighton confessed that he had befriended a museum official by drawing portraits of him and his daughter during his visits and used this relationship to remove prints from the museum hidden in his portfolio. Because of his co-operation, Dighton escaped prosecution but was forced to lie low in Oxford until the scandal died down. While there he did an amusing series of portraits of academic types and country gentlemen, as well as in Bath and Cambridge. Returning to London in 1810, he reopened his studio, where he worked with his sons (Richard Dighton 1795-1880) and Denis Dighton (1792-1827) until his death in 1814. His son Richard Dighton was best known for his many satirical profile portraits of contemporary London celebrities and characters. Dennis Rose. Life, Times and Recorded Works of Robert Dighton, pp. 37,38 & 39. .

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Book number: 05527

Catalogue: Color-Plate Books

Keywords: Caricatures English History

DIGHTON, Richard

A London Nuisance

London: Thos. McLean, 1821. The Satirical Art of Richard Dighton - A London Nuisance DIGHTON, Richard. A London Nuisance. London: Thos. McLean, [1821]. First edition. Folio (16 5/8 x 11 1/8 inches; 422 x 282 mm.). Six fine hand colored etched plates published October 1821. Each plate with the series title and number "A London Nuisance" in the upper margin. The lower margin with the artist's name, "Richard Dighton Invt. et Sculp." and the publisher's name and address "Pub'd by Tho's McLean, 26 Haymarket, London." Bound by Root & Son ca. 1900 in three quarter red morocco over red cloth boards ruled in gilt. Front cover lettered in gilt, smooth spine horizontally lettered in gilt, marbled endpapers, top edge gilt. Expertly rebacked with the original spine laid down. Old booksellers description on front paste-down erroneously giving the date as 1835. A prime, original example of the early nineteenth century satirical art of Richard Dighton. This actual copy has appeared at auction several times over the past one hundred and thirteen years: 1910; 1957; 1990 (purchased by E. Joseph of London); 2013 (purchased by Bobins). OCLC & KVK locate just three copies in libraries and institutions worldwide: Harvard University - dated 1830s (MA, US); Yale University Library - dated 1830 (CT/US) & Kunstbiblio Staatliche Museen zu Berlin (dated 1816). The Harvard and Yale copies would appear to have the margins cut very close as they measure just 10 5/8 inches; 270 cm. The Plates: 1) "Passing a Mud Cart" 2) "A Heavy Fall of Snow" 3) "One of the Advantages of Oil Over Gas" 4) "A Pleasant Way to Lose an Eye" 5) "One of the Advantages of Gas Over Oil" 6) "An Unlucky Hit" The Golden Age of English satirical art began in the late eighteenth century with the etchings of Thomas Rowlandson and James Gillray and ended in the mid 1830's with the etchings of William Heath and George Cruikshank. After that time the emerging morals of Victorian society put an end to such forms of always exuberant and often outrageous compositions. During its height many artists supplied the London print sellers with their satirical etchings and caricatures. A father and sons, the Dightons, were major contributors. "Richard Dighton trained in London under his father, Robert Dighton (1752-1814). Both father and son were popular etchers in the English satirical tradition. Unlike their contemporaries, however, their compositions are distinguishable by a more gentle and less critical brand of caricature. With the emphasis applied more to character the Dightons have often been seen as precursors of the Vanity Fair style of the late nineteenth century. Richard Dighton published his first etching in 1815. By 1828 he had created over one hundred works of art in this medium. At that date he ceased etching and moved to the provinces, settling in both Cheltenham and Worcester. Over the next twenty years Richard Dighton worked mainly as a watercolor portraitist. After 1835 he again produced original prints, this time in the medium of lithography." (M. Dorothy George. Catalogue of Political and Personal Satire. The British Museum, London, 1952). .

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Book number: 05699

Catalogue: Color-Plate Books

Keywords: Caricatures London

DISTON, Alfred

Costumes of the Canary Islands

London: Smith, Elder and Co. 1829. Scarce Costume Book on The Canary Islands Six Hand Colored Lithographs - In the Original Printed Wrappers [DISTON, Alfred]. Costumes of the Canary Islands. Smith, Elder, and Co. 1829. First edition Large quarto (11 7/8 x 9 1/2 inches; 301 x 241 mm.). [2, title, verso blank], six leaves of text (not numbered) and six hand colored lithograph plates (four with tissue guards) by W. Fisk after A. Diston. Some light marginal staining and light foxing, some light dust soiling to blank margins on first leaf of text. The plates generally bright and fresh. Publisher's drab printed wrappers, rebacked? Stitching loose, top corner of verso of front wrapper strengthened with tape. Some slight chipping to extremities. Housed in a dark blue cloth clamshell case, rectangular black morocco labels on front and spine, lettered in gilt. Rare: OCLC/KVK locate just one example in libraries and institutions worldwide: Kunstbiblio Staatliche Museen zu Berlin (Germany) - that copy appears to be uncolored. Costumes of the Canary Islands stands as a testament to Alfred Diston's multifaceted contributions to documenting and understanding the cultural and natural aspects of the Canary Islands during the 19th century. Alfred Diston (1793-1861) was a British merchant and writer on a wide variety of subjects who lived in Puerto de la Cruz (former Puerto Orotava), Tenerife, between 1810 and 1861. His illustrated manuscripts, his notebooks, and his watercolors and drawings represent a valuable documentary source to learn about many aspects of the society and the natural environment of Tenerife and the rest of the Canary Islands during the first half of the 19th century. His relevance to the culture of the Canary Islands lies in the fact that he contributed in many disciplines, especially in those related to the knowledge and study of Canary Islands' traditional clothing and customs of the time. His major role in the introduction of the Cavendish banana in the Canary Islands was also very significant, and some of its cultivars are known today as "plátano de Canarias" (Canary Islands banana). The expansion of its cultivation throughout the islands and its export to England from 1870 to 1878 had an enormous impact on the economy of the Canary Islands for more than a century until the consolidation of mass tourism. The plates: 1. Tapadas, or Walking Dress-Canaries. 2. Winter Dress of A Native of Lanzarote. 3. Hat Seller of Grand Canary. 4. Natives of Fuerteventura. 5. Militiaman of Grand Canary. 6. Manto Y Saya. Canaries. A rare costume work, not found in Colas, Hiler, or Lipperheide. Abbey, Travel 75; Bobins 93. .

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Book number: 05676

Catalogue: Color-Plate Books

Keywords: Costume Sports Voyages and Travels

DODWELL, Edward; THOUVENIN JÉUNE, binder

Views in Greece

London: Rodwell and Martin, 1821. Thirty Magnificent Hand Colored Aquatint Plates One of a Few Copies with the Plates Mounted on Card DODWELL, Edward. Views in Greece, From Drawings by Edward Dodwell, Esq. F.S.A. & c. London: Rodwell and Martin, 1821. First edition. Large folio (20 7/8 x 14 1/2 inches; 530 x 368 mm.). [vi], [60] pp. Thirty hand colored aquatint plates. One of a very few copies with each mounted on card with printed captions on verso. Text printed in English and French. Title with aquatint vignette, list of plates, introduction and 30 hand-colored aquatint plates by R. Havell, T. Fielding, F.C. Lewis and others after Dodwell and Pomardi, on guards, all mounted on card in imitation of drawings, mounts tinted in gray on upper surface, complete with the original printed 'prospectus' bound-in before the title-page and all of the printed title-slips on the back of the mounts (five with the title trimmed-off). Some leaves of text with mainly marginal foxing and or offsetting. The plates bright and fresh. The most desirable issue of one of the most spectacular aquatint travel books of its era. Bound by Thouvenin Jéune (stamp -signed in gilt at foot of spine). Full contemporary tan calf, decoratively paneled in gilt and blind with floral and greek-key roll-tooling. Spine with six shallow raised bands, decoratively tooled and lettered in gilt in compartments, gilt-ruled board edges, decorative gilt turn-ins, marbled end-papers. Expertly re-backed with the original spine laid-down, reinforced inner cloth hinges. A near fine example. A cornerstone of any collection of Greek topography. Standard format on thick paper. The work was issued in six parts from 1819 to 1821; most copies were issued in this format although a few copies were mounted on card in portfolios (Abbey and Gennadius Library copies). The plates in this work had been intended to illustrate Dodwell's Tour of Greece, 1819, but the cost of production proved too much and a selection of 30 plates were separately published under this title. Edward Dodwell, (1776/7-1832, traveler and archaeologist, was born in West Molesey, Surrey. In April 1801 he arrived at Trieste to embark on his first tour of Greece; his 'intention was to visit Greece, to explore its antiquities, to compare its past with its present state, and to leave nothing unnoticed, which, to the classical reader, can be an object of interest, or a source of delight'. On this journey, he was accompanied by his friend Sir William Gell (1777-1836), who also travelled with Dodwell through Greece in 1805 and 1806. By the end of May 1801 they had reached Corfu. In June 1801 Dodwell travelled on to Ithaca, the island of Cephalonia, Patras, and through the provinces of Phocis and Boeotia, to Athens, and then on to the islands of the Greek archipelago, the coast of Troy, and Constantinople. Dodwell's second tour of Greece began on 1 February 1805 when he departed from Messina with his artist, Signor Simone Pomardi. They landed at Zákinthos, and after about a week proceeded on their journey to Mesolóngion, Patras, Galaxidhion, and Ámfissai. Dodwell also visited the ruins at Delphi, Mount Parnassos, Levádhia, Thebes, and by about 26 March 1805 he had proceeded to Athens. At Athens Dodwell was required to make a payment to the disdar, or Turkish governor, for the privilege of making drawings and observations of the Acropolis. Dodwell offered only part payment of the fee, with the promise of full payment on completion of his drawings. The disdar, however, demanded the whole sum, which Dodwell refused: in turn, he was banned from entering the Acropolis. However, on reaching the Acropolis, Dodwell procured his entrance by bribing the guards 'by throwing a few paras amongst them'. Repeatedly visiting the Acropolis by this means, he 'acquired the name of the Frank of many Paras, and for a small expense purchased the civility of the soldiers'. From Athens, Dodwell journeyed out to the Attic Mountains, visiting Aegina, Piraeus, Thessalía, Chaeroneia and Orchomenos, Eleusis, and (about 30 November 1805) Corinth. After leaving Corinth, Dodwell also travelled across the Peloponnese, visiting Mycenae, Tiryns, Epídavros, Messene, Megalopolis, and Sparta. On 2 April 1806 he left Patras for Mesolóngion, and a week later set out for Ithaca. Dodwell made a prolonged stay at Corfu until 16 May 1806. Whilst in Greece, Dodwell also made some four hundred drawings, while his artist, Pomardi, made about six hundred. Joseph Thouvenin Jéune (1796-1844) was the younger brother of Joseph Thouvenin (1790-1834) who started as a pupil of François Bozerian le Jeune in 1802, and one of the most decorative binders of his time. He was one of the three most important bookbinders of the 19th century and the Restoration in particular, with René Simier and Jean-Georges Purgold. "The style of Thouvenin the younger is typically romantic and of high quality execution without appearing original. At the exhibition of the products of industry of the department of the Seine in 1823, he exhibited "various bindings like his brother" but "the particular care that he puts to the execution of his works has Fixed the jury's attention"! This earned him an honorable mention (when his brother gets a silver medal.)" (http://bibliophilie.blogspot.com). The catalog of the exhibition of the Society of the original binding (Paris, BNF , 1953) presented romantic decorations executed by binders of the Thouvenin family. Joseph Thouvenin, the eldest, from 1813 to 1834; Joseph Thouvenin, a young brother of the first from 1822 to 1844, and François Thouvenin, who died in 1832. From this last, a signed binding is known: The Iliad of Homer (Paris, Belin-Mandar, 1830, 2 volumes). Abbey, Travel 130; Blackmer 493; Bobins I, 13. Colas, 875. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 04224

Catalogue: Color-Plate Books

Keywords: THOUVENIN JÉUNE, binder Books in French Voyages and Travels

[PAPER DOLL]

La Coquette

Paris: H. Rousseau, [1856]. An Elegant 19th Century Paper Doll With Multiple Gowns [PAPER DOLLS]. La Coquette. Paris: H. Rousseau, n.d. [1856]. Hand-colored, double-sided lithographed French paper doll with twelve hand-colored lithographed gowns with matching hats including a magnificent wedding ensemble. Lithography by H. Jannin. Housed in a remarkable facsimile of the original presentation box, with the original colored lithographed title laid-on. Complete with a later slotted wooden disc to display the doll in its finery. An item of great scarcity, an ephemeral work not meant to last but of lasting charm. We have been able to locate only one other recorded example, which came to auction at Theriaults Antique Doll Auctions, November 12, 2006, and sold for €1,900 ($2,590). .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 02698

Catalogue: Children's Books

Keywords: Color-Plate Books Games Nineteenth-Century Literature Toys

[PAPER DOLLS]; Librarie Enfantine Illustrée

La Maison Des Poupées

Paris: A. Capendu Successeur, ca 1880. Exceptionally Rare 'Paper Doll' Book with 'cut-out' Dolls, Dresses and Various Accoutrements [PAPER DOLLS]. Librarie Enfantine Illustrée. La Maison des Poupées. Paris: Guérin-Muller & Cie. Editeurs, A. Capendu Successeur, ca. 1880. Square quarto (11 1/8 x 9 inches; 282 x 229 mm.). [2, title, verso blank], [4, text], four colored plates, all interleaved,depicting various rooms in the house, all with slots in which to place a selection of the four dolls with their fourteen dress wardrobe and eighteen objects, all in their three original wood textured envelopes. The four colored scenes all have slots within which to place the dolls, their dresses and various objects to complement the final picture. Publisher's dark blue cloth over pale blue boards, the front cover with a large pasted-on illustration in full color depicting a cottage with three dogs on the foreground, titled "La Maison des Poupées" and the publisher "G.M. et Cie A Capendu, successeur.." Explication [page 3] translation "First of all, start by cutting the leaves where the furniture is drawn and painted; Each item must be carefully cut with scissors. So, we glue the furniture with liquid glue in their respective places as follows.." The four scenes: 1. Salle à manger 2. Salon 3. Chambre à coucher 4. Cuisine The contents of the three envelopes: 1. 4 colored dolls 2. 14 colored dresses 3. 18 various accoutrements including a bouquet of flowers; a milk jug; a kettle; a tea service; a mixing bowl; a barrel; a mug, a looking glass; a cooked turkey; five bread rolls on a plate etc. etc. A remarkable survivor, the book and the three envelopes, one with the four dolls, one with the fourteen colored dresses and the third with the eighteen various objects all in very near fine condition. French movable book publisher Guérin-Müller pre-dated Capendu and was in business from 1850 to 1880. A. Capendu published many children's books including Cendrillon; Le Chat Botté; Le Petit Poucet and Contes de Fées. Exceptionally Rare with no copies located by OCLC - nine other titles in the series are listed; KVK locates just one example listed by Cooperative Library Network Berlin Brandenburg. Not in Cotsen. Children's Library; Gumuchian. Les Livres de d'Enfance or The Osborne Collection of Children's Books. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05700

Catalogue: Children's Books

Keywords: Librarie Enfantine Illustrée Illustrated Books Books in French