GAVARNI, Paul [pseudonym of Guillaume Sulpice Chevallier]

Clichy

Paris: En vente Au Bureau du Journal Amusant..et au Bureau du Charivari, 1840. Gavarni's Memories of his Time in the Debtors Prison 'Clichy' Depicted in Twenty-One Lithographed Plates GAVARNI [pseudonym of Guillaume Sulpice Chevallier]. Clichy. Album par Gavarni. Paris: Au Bureau du Charivari, [n.d. 1840-1841]. Large quarto (13 3/4 x 10 1/2 inches; 349 x 267 mm.). Publisher's yellow front wrapper with printed title. Twenty-one superb numbered lithographed plates. All plates in first printing, second state with printed titles and "Chez Bauger" & "Imp. d'Aubert" with the exception of plates 17 & 19 which are in the third state. Modern quarter light blue cloth over light blue cockerel boards, smooth spine lettered in gilt. Original yellow lithographed front wrapper bound in as title. These plates were initially published in Le Charivari with the exception of the nineteenth plate which was produced for La Caricature. "In 1835 [Gavarni] was arrested for debt and sent to Clichy. Far from being overwhelmed, he saw this experience as a fresh opportunity for observation. Indeed, he made a lithographic series from his memories: Clichy, twenty-one lithographs, 1840-1841" (Ray, The Art of the French Illustrated Book, p. 217). "So assured did Gavarni's position seem at the end of 1833, that he began to publish the weekly Journal des gens du monde, for which he also provided much of the text and illustrations. It failed after twenty numbers, only eighteen of which were issued, leaving him with obligations which were to embarass him for many years. In 1835 he was arrested for debt and sent to Clichy. Far from being overwhelmed, he saw this experience as a fresh opportunity for observation. Indeed, he made a lithographic series from his memories: Clichy, twenty-one lithographs, 1840-1841" (Armelhault & Bocher p. 1-25) On the 23rd of July 1867 the French government abolished the ancient law decreeing imprisonment for debt. In Paris, the ninety-seven inmates of the Clichy Debtor's Prison were promptly released.. Exceptionally rare. According to OCLC & KVK there are no copies in libraries and institutions worldwide. We have been unable to locate any copies at auction over the past 100 years. Armelhault & Bocher, nos. 429-448. The Plates: 1. Enfoncé!!!.. Sunk!!!.. 2. Je viens déjeuner chez toi. Ah! bon! Et diner chez toi. Ah! bah!! Et coucher chez toi! Ah! fichtre!!! I'm coming to have lunch with you. Ah! Well! And have dinner at home. Ah! bah!! And sleep at home! Ah! damn!!! 3. "Au moins un Dieu sourit encore à la jeunesse et lui rend, enc e lieu, de ces jours qu'on lui prend. Qui n'aurait pas pitiè des beaux ans qu'elle y laisse?" "At least one God still smiles at youth and gives them back, in place, those days that are taken from them. Who would not pity the beautiful years she leaves there?" 4. Vous le voyez, le chagrin ne m'aigrit pas! Et je donnerai un conseil à mes créanciers, dans leur intèrêt: s'ils veulent me tirer d'ici qu'ils se hâtent, car on ne pourrait bientôt plus me passer par la porte. You see, grief does not embitter me! And I will give advice to my creditors, in their interest: if they want to get me out of here, let them hurry, because soon they won't be able to get me out the door. 5. Petit homme nous t'apportons ta casquette, ta pipe d'ecume, et ton Montaigne. Little man, we bring you your cap, your meerschaum pipe, and your Montaigne. 6. Enfin, à la fin, je l'ai tant mijotè, je l'ai tant mijotè, qu'il a dit: eh! bien, qu'il paye seulement les frais et j'accorderai du tems pour le reste. Et encore, il a dit, voyez-vous, Mademoiselle, c'est par consideration pour vous.. Le vieux gueux!..j'espère bien que quand tu sortiras tu lui ficheras une pile soignée à celui-là! Finally, at the end, I simmered him so much, I simmered him so much, that he said: hey! Well, let him just pay the cost and I'll allow time for the rest. And again, he said, you see, Mademoiselle, it's out of consideration for you.. The old beggar!.. I really hope that when you go out you'll give him a neat pile on that one! 7. L'amour est parti? V'là l'amitiè. Love is gone? That's friendship. 8. Dites donc, l'ancien, c'est aujourd'ui Dimanche. Ou'est-ce que ça te fait? Tiens! Le Dimanche on se fiche du Garde-du-commerce: çà me fait que je pourrais aller me promener, si je pouvais sortir. Say, the old one is today Sunday. What does it do to you? Here! On Sundays we don't care about the Garde-du-commerce: that makes me think I could go for a walk, if I could go out. 9. Ne donnez pas d'acomptes! Voyez vous, le créancier qu'on ne paye pas n'est qu'un créancier; le créancier qu'on paye est un tigre! Do not give deposits! You see, the creditor who is not paid is only a creditor; the creditor one pays is a tiger! 10. Dites donc, voisin, on a peu boissonné chez vous hier! ça allait rondement! ça va bien ce matin? Pas mal, et vous? Say, neighbour, we had a little drink at your house yesterday! it was going smoothly! how are you this morning? Not bad and you? 11. Le portrait du créancier. The portrait of the creditor. 12. Voyons! Pour aller à Tivoli ce soir, il faudrait d'abord payer au greffe dix-huit-mille-cinq-cents francs pour le capital et onze-cent-vingt-neuf francs, cinquante centimes de frais..et encore, non (je suis bête!) Tivoli coûte trois francs d'entrée, et je n'ai que quarante deux sous. Let's see! To go to Tivoli this evening, you would first have to pay the clerk's office eighteen thousand five hundred francs for the capital and eleven hundred and twenty-nine francs, fifty centimes for costs..and again, no (I'm silly!) Tivoli costs three francs to go, and I only have forty-two sous. 13. Aux Gardes-du-Commerce: que le bon Dieu les patafiole! At the Gardes-du-Commerce: may the good Lord spoil them! 14. Quand nous voulons danser, Tivoli est là, mon cher: Entre Tivoli et nous il n'y que deux murs et un coup de fusil. When we want to dance, Tivoli is there, my dear: Between Tivoli and us there are only two walls and a gunshot. 15. Mon cher Monsieur, je vous laisse la guérite comme je l'ai prise et la consigne comme on me l'a donnée: "de l'amour sur la conscience et du champagne dessous"..rien de bon comme ça pour les rhumes de chagrin. Courte et bonne! c'est le mot d'ordre ici, comme ailleurs. My dear sir, I leave you the sentry box as I took it and the instructions as they gave it to me: "love on your conscience and champagne underneath"..nothing good like that for the colds of sorrow. Short and good! this is the watchword here, as elsewhere. 16. Moi j'ai signé pour cinq cents francs et je n'en ai eu que trois cents, et encore en vin de champagne..et on m'a repris le vin pour les frais.. Ils auraient mieux fait de t'amener ici tout de suite; au moins nous aurions les fioles. I signed for five hundred francs and I only got three hundred, and again in champagne wine..and they took the wine back from me for the expenses.. They would have done better to bring you here straight away. after; at least we would have the vials. 17. Mias comment as-tu pu te laisser prendre comme ça? Demande aux Canards sauvages comment ils se laissent prendre!.. Il a tire sur moi le premier Mars, on m'a ramassé le cinq Avril: voilà comme çà se fait. Mias how could you let yourself be taken like that? Ask the Wild Ducks how they let themselves be caught!.. He shot me on the first of March, they picked me up on the fifth of April: that's how it is done. 18. Voilà un Tilbury, Pamela, qui nous a menés en moins de trois mois de la rue Saint Jacques à Clichy.. Hein le bon cheval! Here is a Tilbury, Pamela, who took us in less than three months from rue Saint Jacques to Clichy.. Hein, the good horse! 19. Ici on ne peut pas faire de farce à sa Ninie: v'la ce qui vous chiffonne! Here you can't prank your Ninie: that's what's bugging you! 20. Entends tu; à Tivoli?.. Il y en a deux ici, des cavaliers seuls, et qui ne demanderaient pas mieux que de faire la chaîne des Dames. Do you hear; at Tivoli?.. There are two here, single riders, who would like nothing better than to make the chain of Ladies. 21. Sans le mur cette boule - là irait loin. Et ton camarade aussi. Without the wall this ball - there would go far. And your friend too. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05405

Catalogue: Books in French

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

GAVARNI, Paul [pseudonym of Guillaume Sulpice Chevallier]

Les Débardeurs

Paris: Au Bureau du Charivari, 1840. Sixty-Six Lithographed Plates by Gavarni "Stevedores" at the Carnival of Paris GAVARNI [pseudonym of Guillaume Sulpice Chevallier]. Les Débardeurs. Album Comique par Garvarni. Paris: Au Bureau du Journal Amusant & Petit Journal pour Rire. [Chez Bauger], [1840-1842]. Three large quarto volumes (13 1/4 x 10 inches; 337 x 253 mm.). Sixty-six numbered lithographed plates. Plates printed by Aubert & Cie. Mixed states of the plates as per Armelhault & Bocher. The first forty-four plates with some occasional marginal staining (not affecting images), some light foxing affecting just a few plates. Publisher's printed green paper wrappers with original? glassine wrappers. Front wrappers of parts 1 & 2 with some minor discoloration on foredge. Overall an excellent example - the first that we have seen in the original printed wrappers. A series of sixty-six lithographs, of which nine first appeared in other journals (eight in La Caricature (plates 21, 23, and 24 under the title "Souvenirs du Carnaval" and 32, 44, 49, 54, and 61 under the title "Les Débardeurs") and one (plate 58) in La Mode) prior to the publication of the entire series in Le Charivari from 19 January 1840 to 5 February 1842. "In [Les Débardeurs]..a series of sixty-six lithographs published in Le Charivari between 1840 and 1843, Gavarni depicts a variation on the most famous of the costumes he designed for the masquerade balls, the débardeur [stevedore]. The braided wig, loose shirt, black velvet trousers fastened with brass buttons and tied with a fringed sash are derived from the working costume of the longshoreman or stevedore, who unloaded the barges that traveled up the Seine to Paris. As Nancy Olsen points out [in Gavarni: The Carnival Lithographs], the majority of Gavarni's carnival lithographs reflect his interest in the small groups that drift away from the crowd as a consequence of the romantic liaisons that preoccupied many of the participants at a masked ball. Intrigue was the name of the gave, and the information being conveyed in this scene comes in all probability from an agent provocateur" (Beatrice Farwell, The Charged Image: French Lithographic Caricature 1816-1848, p. 88). "This is the most considerable of the several series of lithographs devoted by Gavarni to the balls which were a passion with him. He was an organizer and patron of the more elegant, and he found the popular balls at the Opera and elsewhere an attractive subject for his designs. Théophile Gautier, who believed that at this period Parisian balls had virtually ‘effaced the former carnival of Venice,' called Gavarni ‘their depicter and historian.' As dancers throw themselves into their round of pleasure, ‘a man stands with his back against a pillar; he watches, he listens, he observes.' And the following day on stone ‘he lends his own wit to all the masks, perhaps stupid in themselves; he sums up in a profound word the chit-chat of the foyer; he translates into a pleasant legend the hoarse excitement of the hall.' (Quoted by Lemoisne, I, 120)" (Ray, The Art of the French Illustrated Book). Such elements have made Gavarni's carnival lithographs among his finest, most famous and desired works of art. Armelhault & Bocher, nos. 486-542, 307-309 (plates 21, 23, and 24), 259-263 (plates 44, 49, 32, 54, and 61), and 1223 (plate 58). Ray, The Art of the French Illustrated Book, 154. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05550

Catalogue: Books in French

Keywords: Caricatures Dance French Caricature

GAVARNI, Paul [pseudonym of Guillaume Sulpice Chevallier]

Les Débardeurs

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

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05386

Catalogue: Color-Plate Books

Keywords: Books in French Caricatures Dance French Caricature

GAVARNI, Paul; [pseudonym of Guillaume Sulpice Chevallier]

Les Débardeurs

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

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05232

Catalogue: Color-Plate Books

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

GAVARNI, Paul [pseudonym of Guillaume Sulpice Chevallier]

Manteau D'Arlequin, le

Paris: Imp. Lemercier, 57 R. de Seine, 1852. The Harlequin Coat Twelve Lithographed Plates by Gavarni GAVARNI, Paul [pseudonym of Guillaume Sulpice Chevallier]. Le Manteau d'Arlequin par Gavarni. Paris: Imp. Lemercier, n.d. 1852]. Large folio (14 9/16 x 10 1/2 inches; 370 x 267 mm.). Twelve lithographed plates. Title from front cover. Publisher's dark blue pebble-grain cloth with covers decoratively stamped in blind and front cover lettered in gilt. Expertly and almost invisibly rebacked with the original spine laid down. Yellow coated endpapers, all edges gilt. Minimal marginal foxing to a few plates, otherwise a very fine copy. Scarce; no copies recorded by OCLC and no copies seen at auction since at least 1975. The plates are captioned: 1. "..oui mon chair Auguste Ge suis décidé arestée dan les queur tant que mon poliçon de direqueteur aura çelui demi laissée.." 2. "..alors, si vous permettez, j'aurai l'honneur de vous envoyer ma voiture à onze heures..Ça me botte." 3. "..Ah!, M'ame Ado'phe! M'ame Ado'phe!..je ne serais pas ce que je suis, sans mon vieux serpent de mère!" 4. "—Qu'est-ce que tu dirais d'une bague comme ça, toi, qu'on donnerait à ton épouse?—Je dirais que c'est du faux." 5. "..et je vas tout à l'heure être précipitée les quatre fers en l'air, du sommet de la tour du nord!..tout ça, Messeigneurs, rapport à ma vertu." 6. "—Voyons, chaste auteur de mes mots, vous me faites un rôle..?—Inouï!—Quel costume?—Une mise indécente est de rigueur." 7. "—Eh! bien, tu verras, ma fille, comme tu le seras, toi, dans tous tes états, aux débuts de ta petite..C'est aux miens que fallait voir feue ma mère." 8. "LE MOSIEU DE LA DÉBUTANTE." 9. "LE MARI DE MA'M'SELLE CIGALE." 10. "—C'est ma drôlesse qu'est applaudie!..et qui qu'a l'mal?" 11. "—Tenez, M'ame Cabestan, vous ne saisissez pas le poème..—Si, mais qu'est-ce que nos petites font dans le dessous?—Faut bien qu'on garde les vases sacrés!—C'est donc des manières de vestales?—Sensé." 12. "—Si le parterre est gentil, mon bonhomme, y a de quoi..une fichue situation à nettoyer!..c'est fini: le Scélérat a déjà le pied sur la poitrine de l'autre qui n'en peut plus et, à la vue de la Baronne, sans=dessus=dessous, le Sénéchal est comme imbécile..et on ne sait pas où est la clé!..sans compter que la nuit tombe et que le château brûle pendant que..tu ne donnerais pas deux sous de l'honneur de ma Dame!..me v'là et, paf! ça y est..mais avec leur satané pistolet je m'abîme tout le doigt." Armelhaut & Bocher 1152-1163. .

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Book number: 05356

Catalogue: Books in French

Keywords: Books in French Illustrated Books Caricatures Caricatures Costume French Caricature

GAVARNI, Paul [pseudonym of Guillaume Sulpice Chevallier]

Oeuvres Choisies de Gavarni

Paris: J. Hetzel, 1846. A Remarkable Survival GAVARNI, Paul, illustrator. Oeuvres Choisies de Gavarni. Revues, corrigées et nouvellemant classées par l'Auteur. Études de Moeurs Contemporaines. Paris: J. Hetzel, 1846. First Collected Edition. Two octavo volumes (10 7/16 x 7 1/4 inches; 265 x 184 mm.). Lithograph frontispiece, [xii], 39 plates; [iv], 5 plates; [iv], 25 plates; [iv], 11 plates, [2, list of plates]. [viii], 48 plates; [iv], 19 plates; [iv], 13 plates, [2, list of plates], [2, advertisements]. Each of the seven title pages with a vignette. A total of 160 wood engraved plates + wood engraved frontispiece and 7 wood engraved vignette title-pages. Publisher's blue cloth, covers ruled in blind and elaborately decorated in gilt, spines with titles and elaborate gilt decoration, yellow coated endpapers, all edges gilt. Fine and untouched copies of the first two (of four) volumes of this first collected edition. Two further volumes were published two years later in 1848. Contents: Les Enfants Terribles; Traduction en Langue Vulgaire; Les Lorettes; Les Actrices [and] Fourberies de Femmes en Matière de Sentiment; Clichy; Paris le Soir. .

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Book number: 05549

Catalogue: Illustrated Books

Keywords: Books in French Caricatures French Caricature

GAVARNI, Paul [pseudonym of Guillaume Sulpice Chevallier]

Souvenirs de Carnaval

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

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Book number: 05611

Catalogue: Color-Plate Books

Keywords: Books in French Caricatures French Caricature

FORE-EDGE PAINTING; GAY, John; COLLINS, William

Fables

London: Printed for J. Sharpe, 1824. 'The Entrance to Hyde Park' An Early-to-Mid Twentieth Century Fore-Edge Painting FORE-EDGE PAINTING. GAY, John. Fables. London: Printed for J. Sharpe, 1812 [i.e. 1824]. With an early to mid twentieth century fore-edge painting of the "Entrance to Hyde Park" by an unidentified artist. Volumes I & II (of three) bound in one. Sixteenmo (4 3/4 x 3 inches; 121 x 76 mm.). Engraved frontispiece , engraved general title-page, [iv], [1]-155, [1, blank], engraved frontispiece, [1]-142 pp. Bound ca. 1824 in full red straight grain morocco, covers decoratively bordered in gilt and blind, smooth spine decoratively tooled and lettered in gilt in compartments, gilt board edges, blind tooled turn-ins, gray endpapers, all edges gilt. Contents: Volume I The Fables of John Gay; Volume II The Poetical Works of John Gay (volume I only). .

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Book number: 05177

Catalogue: Fine Bindings

Keywords: GAY, John COLLINS, William Fore-Edge Paintings Bindings English Literature Eighteenth-Century Literature Eighteenth-Century Literature Fore-Edge Paintings Poetry

[BON GENRE, LE]

Observations Sur Les Modes Et Les Usages de Paris

Paris: Chez L'Editeur [Pierre de Crapelet], 1827. Seven Fine Hand Colored Lithographs from Le Bon Genre BON GENRE, LE. [Observations sur les Modes et les Usages de Paris], Seven fine hand colored lithograph plates. [Paris: Chez L'Editeur [Pierre de Crapelet, 1830]. Seven plates from a later edition of ca. 1830. Each plate measures 10 7/8 x 8 1/2 inches; 276 x 216 mm. Some very small light stains affecting the lower portion of the first four plates. Le Bon Genre was one of the earliest series of prints to record the social trends and leisure activities of contemporary Parisians. It is the most important fashion portfolio of its time documenting, through its caricatures, the rise of the modern city of Paris and the emerging middle-class bourgeois, its fashions, recreations and dating customs. It also has fun at visitors' expense, particularly the English, whose customs and fashions the French found incomprehensible and unfashionable; the years of hostility between France and England did nothing to improve relations and the French lost few opportunities to ridicule the British. Le Bon Genre's popularity influenced most of the later fashion illustrators and journals, as well as the satirical albums so typical of mid-19th century France, and remains a key record of French social history. Overall, Le Bon Genre bears witness to the colorful post-Revolution period of Parisian society as it evolves into the early Republican era. "Le Bon Genre..was first published in 1817 and went through several editions. This is a record of English and French fashions since the beginning of the nineteenth century; the English fashions are more in the nature of caricatures, to show how badly Englishwomen dress as compared with the Parisiennes" (Vyvyan Holland, Hand Coloured Fashion Plates 1770 to 1899, p. 51). The plates: 1. Le Bon Genre, N0. 42. Les Graces en Pantalon 2. Le Bon Genre, N0. 50. Les Garnitures 3. Le Bon Genre, N0. 51. Le Chapeau en Ballon 4. Le Bon Genre, N0. 53. Cheveaux à la Chérubin.. 5. Le Bon Genre, N0. 54. Manches en spirale.. 6. Le Bon Genre, N0. 55. Lecon de Diable.. 7. Le Bon Genre, N0. 57. Carrick à Cinq Pélerines. .

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Book number: 05447

Catalogue: Caricatures

Keywords: French Caricature Prints

CRUIKSHANK, George and Robert; EGAN, Pierce

Diorama Anglais

Paris: chez Jules Didot [and] Baudouin Frères, 1823. Tom, Jerry, and Bob Logic en Français Twenty-Four Hand-Colored Aquatint Engravings [CRUIKSHANK, George and Robert, illustrators]. EGAN, Pierce. Diorama Anglais, ou Promenades Pittoresques a Londres, Renfermant les Notes les plus Exactes sur les Caracteres, les Moeurs et usages de la Nation Anglaise, Prises dans les Differentes Classes de la Societe. Par M. S... Ouvrage orné de vingt-quatre Planches Gravées et Enluminées, et de Plumieurs Sujets Caracteristiques. Paris: chez Jules Didot [and] Baudouin Frères, 1823. First edition in French of Egan's Life in London. Octavo (8 1/2 x 5 9/16 inches; 217 x 141 mm). [4], 235, [1, blank] pp. Twenty-four hand-colored aquatint engravings, with tissue guards, after George and Robert Cruikshank, unsigned, but similar to those used in the English version of Egan's classic, which contained thirty-six plates. Contemporary quarter red roan over red diaper pattern paper boards. Smooth spine with five decorative gilt rules, lettered in gilt. Engraved bookplate of Sir David Lionel Goldsmit-Stern-Salomons on front paste-down. Old booksellers description pasted onto front flyleaf. Some light foxing to text. An excellent copy with great provenance. "By finding the right men [the Cruikshanks] for his work [Egan] made Life In London one the great successes of the day, comparable to that other triumphant alliance of humour and art in the pages of Dr Syntax" (Prideaux). "A journalist, and a well-known character in his day, [Pierce Egan] wrote nothing so popular as this Life in London. Indeed, the taste for it amounted to a craze. For his illustrations, Egan went to two brothers, Isaac Robert and George Cruikshank..the success of the work was so great that the artists could not colour the engravings fast enough for the demand. It suited the taste of the time, when a ‘fast' life had become a sophisticated and conscious aim. Life in London is a guide to a fast life.. Part of the success enjoyed by [Pierce Egan's Life in London] was due, no doubt, to its readers' belief that they could name the originals of the fictitious characters. Imitations came swift and frequent.." (The Cambridge History of English and American Literature ). Cohn 263. .

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Book number: 04314

Catalogue: English Literature

Keywords: EGAN, Pierce Color-Plate Books Books in French Nineteenth-Century Literature Cruikshankiana

GERNING, J.J. [Johann Isaac] von

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

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

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Book number: 04831

Catalogue: Color-Plate Books

Keywords: Color-Plate Books Germany Views Voyages and Travels

GERNING, J.J. [Johann Isaac] von

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

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

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Book number: 04820

Catalogue: Color-Plate Books

Keywords: Color-Plate Books Germany Views Voyages and Travels

GILBERT, Anne Yvonne, artist

Little Son, Hush-a-Bye

: , 1991. A Lovely Dual Watercolor Lullaby Framed Together with a Stunning Custom Mat GILBERT, Anne Yvonne, artist. "Little Son, Hush-a-Bye". From Baby's Book of Lullabies & Cradle Songs. [N.p.], 1991. Two original pen, ink and watercolor illustrations. Image sizes: 7 1/2 x 7 1/2 inches; 191 x 191 mm. Beautifully matted, framed and glazed together. (Frame size: 15 7/8 x 27 inches; 403 x 686 mm.). This lovely illustrated spread was inspired by the illustrator's son. One side features handwritten lyrics to the lullaby, "Little Son, Hush-a-Bye" and the other depicts a mother cradling her son. Beautifully framed with a pink-cream silk mat bordered with decorative cream and pink ribbons. Anne Yvonne Gilbert is a British artist and book illustrator. Her controversial cover design of Frankie Goes To Hollywood's 1983 single "Relax" became "one of the most famous record sleeves of all time". While much of her career since then has focused on illustrating the covers and interiors of popular books, Gilbert has also designed series of stamps produced by the Royal Mail depicting Christmas themes and Arthurian mythology. She illustrated several of the books in the popular Ologies series, among other children's books. In 1991, Gilbert compiled sixteen traditional lullabies into her book, Baby's Book of Lullabies & Cradle Songs, which she illustrated using watercolors. The selections included songs in English, French, and Norwegian, among other languages. She illustrated Rebecca Hickox's children's book Per and the Dala Horse in 1997, and M.C. Helldorfer's Night of the White Stag in 1999. Gilbert has provided artwork for many other children's books, including A Visit from St. Nicholas and Vivien French's A Christmas Star Called Hannah, both published in 2000. She illustrated Billy Joel's first children's book, "Goodbye My Angel", in 2004, which he based off a song he wrote for his daughter. .

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Book number: 04004

Catalogue: Original Art

Keywords: Gift Books

GILLRAY, James

Buonaparté Leaving Egypt

London: H. Humphrey, 1800. Napoleon's Abandonment of General Duga in Egypt James Gillray's Satirical Representation of an Event Which Changed the Face of Events in France and Throughout Europe GILLRAY, James. Buonaparté Leaving Egypt. For an Illustration of the above, see Intercepted Letters from the Republican General Kleber, to the French Directory respecting the Courage, Honor, & Patriotic-Views, of "the Deserter of the Army of Egypt". Published March 8th 1800 - by H. Humphrey. No. 27. St. James's Street, London. Hand colored etching (14 1/8 x 10 1/16 inches; 358 x 250 mm.). A few small fox marks at top, otherwise near fine. Matted. A satirical representation of an event which changed the face of events in France and throughout Europe. The designation of "The Deserter of the Army of Egypt," here applied to the hero of Egypt was echoed by many of his countrymen. (Wright & Evans, p. 194). Caricaturist and engraver James Gillray (1757-1815) "was apprenticed to a letter engraver and worked under classical engravers such as Ryland and Bartolozzi in stipple. He trained at the R.A. Schools and did some book illustrations for Macklin's Tom Jones before turning to caricature in about 1780. His earlier works were published by the printseller Robert Wilkinson of Cornhill, forsaking him for Fores in about 1787. Gillray finally came to rest as chief caricaturist to Mrs. Humphrey at New and Old Bond Street, where he lodged till his death. Gillray was the first professional caricaturist in this country, he simplified the art of the amateurs by replacing archaic symbols with forceful design and his art training enabled him to work on a more heroic scale than his predecessors. His work hit very hard and as the artist was something of a political maverick, he was assiduously courted by all parties. His frequent satires on Royal extravagance such as ‘A Voluptuary under the horrors of Digestion' 1792 and the caricatures of Napoleon and Charles James Fox, created in their realism and savagery a whole new field for the caricaturist. Although much of his work dates from before 1800, a group of marvellous caricatures appeared in the early 1800s including ‘Tiddy-Doll, the great French-Gingerbread Baker', 1806, ‘Uncorking Old Sherry', 1805, ‘The Plum-pudding in danger', 1805 and most famous of all ‘The King of Brobdingnag and Gulliver', 1803. Gillray's last work was engraved in 1811 shortly before he became insane; his position was taken by the young George Cruikshank" (Houfe). Wright & Evans, James Gillray, #254. .

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Book number: 03500

Catalogue: Caricatures

Keywords: English History French History

GILLRAY, James

Cockney-Sportsmen

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

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Book number: 04975

Catalogue: Color-Plate Books

Keywords: Caricatures Sports