ANGAS, George French

Kafirs Illustrated, the

London: J. Hogarth, [1849]. Of the three works, The Kaffirs Illustrated is the most uncommon" (Tooley). With Thirty Beautiful Hand-Colored Plates ANGAS, George French. The Kafirs Illustrated, in a Series of Drawings taken among the Amazulu, Amaponda, and Amakosa Tribes; also, Portraits of the Hottentot, Malay, Fingo, and other races inhabiting Southern Africa: Together with Sketches of Landscape Scenery in the Zulu Country, Natal, and the Cape Colony. London: G. Barclay for J. Hogarth, [1849]. First Edition. Large folio (19 9/16 x 14 1/8 inches; 497 x 359 mm.). [ii], [i]-viii, [9-52] pp. Lithographed frontispiece portrait on India proof paper mounted, lithographed title-page, lithographed dedication leaf, and thirty finely hand-colored lithographed plates drawn on stone by G.F. Angas, M. & N. Hanhart, B.W. Hawkins, A. Laby, J. Needham, and W. Wing, after Angas. Eleven wood-engraved illustrations in the text. Small closed tear repaired to margin of plate 17, not affecting illustration. Plate number 18 slightly toned and with very small chip to margin, again not affecting illustration. With a chapter entitled "General Remarks on the Races Inhabiting Southern Africa." Bound ca. 1849 by Bull & Son of Surbiton (stamp-signed in black on front free endpaper). Contemporary half black straight-grain morocco over green cloth boards ruled in gilt, front board with title printed in gilt, within decorative gilt border. Spine ruled and lettered in gilt. Expertly rebacked with original spine laid down. Some occasional very light foxing to a few plates. Small ex-library sticker on front pastedown. First edition of this scarce and important nineteenth century survey of South Africa, including outstanding portraits, depicting the local ethnic groups such as the Khoikhoi (then referred to as Hottentots), Cape Malays and Zulus. The plates also include superb views of Cape Town, Durban, Wynberg, Hottentot Holland, Genadendal, Paarl and Somerset West. "The three large works by George French Angas, The Kaffirs Illustrated, The New Zealanders Illustrated and South Australia Illustrated, are amongst the most important of the illustrated travel books of their period.. Of the three works, The Kaffirs Illustrated is the most uncommon" (Tooley). According to OCLC there are just 15 copies of The Kafirs Illustrated in libraries and institutions worldwide compared to 38 copies of South Australia Illustrated and 42 copies of The New Zealanders Illustrated. George French Angas (1822-1886), also known as G.F.A. was an English explorer, artist, naturalist, zoologist, painter and poet who emigrated to Australia. He studied anatomical drawing and lithography in London prior to traveling to New Zealand and Australia, and, for two years, in South Africa - resulting in the present work. His paintings are held in a number of important Australian public art collections. He was the eldest son of George Fife Angas, who was prominent in the early days of the colonization of South Australia. Angas painted some of the earliest views of South Australia. Arriving in Adelaide in January 1844, Following a trip to New Zealand he returned to South Australia in 1845 and traveled to Port Lincoln. In the following year he returned for a short while to England, accompanied by a young M ori man, Hemi Pomara, who was exhibited alongside Angas's paintings at the Egyptian Hall in London. Angas' next journey in 1846 was to South Africa, where he spent two years in Natal and the Cape, working on a series of drawings and watercolors which were published in 1849 as The Kafirs Illustrated. Abbey, Travel, 339; Bobins I, 71; Colas 134; Mendelssohn I, pp. 45-46; Theal p.9; Tooley 60. .

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Book number: 04947

Catalogue: Color-Plate Books

Keywords: Africana Voyages and Travels

ASPIN, Jehoshaphat

Naval and Military Exploits Which Have Distinguished the Reign of George the Third, the

London: Printed for Samuel Leigh, by W. Clowes, 1820. Complete with the Two Additional Plates ASPIN, Jehoshaphat. The Naval and Military Exploits Which Have Distinguished the Reign of George the Third. Accurately described, and methodically arranged. Embellished with numerous color plates. London: Printed for Samuel Leigh, by W. Clowes, 1820. First edition. Twelvemo (5 3/8 x 3 1/2 inches; 137 x 89 mm.). viii, [2], 784 pp. Hand-colored aquatint frontispiece and thirty-five circular hand-colored aquatint plates (measuring 2 1/2 inches in diameter). Complete with the two extra plates, "Vittoria" and "Pampeluna" (facing pp. 665 and 677, respectively), not present in all copies. Bound ca. 1900 in full red morocco, covers ruled in blind. Spine with five raised bands, lettered in gilt in compartments, gilt decorated turn-ins, marbled endpapers, all edges gilt. Armorial bookplate of The Reverend Samuel Ashton Thompson-Yates on front paste-down. Occasional light offsetting from plates, but overall an excellent example, containing some of the smallest and most finely engraved aquatints of the period. The text chronicles the Battles that George III (1738-1820) was engaged in from his accession to the throne in 1760 to the storming of Algiers in 1816. Included are accounts of the naval and military campaigns and encounters with France, Spain, Native Americana, the New United States of America during the American Revolution, the wars in India as well as conflicts with Holland, Cuba, Napoleon, etc. "..the tiny and beautiful circular plates of J. Aspin's Naval and Military Exploits, only two and a half inches in diameter.." (Prideaux, p. 14) Jehoshaphat Aspin (fl. c. 1805 - c. 1832) was a British author, humorist, historian, and geographer active in the early 19th century. Aspin is a bit of a mystery, but the name believed to be a nom-de-plume for an unknown female author. Aspin produced a number of children's books, geographies, geographical games, and histories. Her primary work Cosmorama focuses on connections between culturally and geographically disparate peoples, for example, comparing Italian and Malay. Cartographically she appears to have worked with John Thompson, Matthew Carey, and C. V. Lavoisne. Abbey, Life, 350; Bobins II, 343; Prideaux, pp. 14, 326; Tooley 70; Ogilby, British Military Costume Prints, 70. .

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Book number: 05733

Catalogue: Color-Plate Books

Keywords: Americana Naval and Military

ATKINSON, John Augustus, illustrator; WALKER, James

Picturesque Representation of the Manners, Customs, and Amusements of the Russians, A.

London: W. Bulmer for Boydell, Alici of St. Petersburg, and others, 1803-1804. The Hand Colored Plates Show the Spontaneity and Spirit Possible When the Artist is His Own Engraver ATKINSON, John Augustus, illustrator & engraver. WALKER, James. A Picturesque Representation of the Manners, Customs, and Amusements of the Russians, in one hundred coloured plates; with an accurate explanation of each plate in English and French. In three volumes. London: Printed by W. Bulmer.. and sold by .. Messrs. Boydell, Shakespeare Gallery.. Mr. Alici, St. Petersburg: and Messrs. Riss and Saucet, Moscow, 1803-1804-1804. First edition. Three folio volumes bound in one, (18 1/2 x 12 3/4 inches; 469 x 323 mm.). [xi], [i, blank], 33 leaves of text; [v], [i, blank], 34 leaves of text; [v], [i, blank], 33 leaves of text. Engraved frontispiece portrait of Alexander I in volume three. One hundred hand-colored etched and aquatint plates, by and after Atkinson. Text in English and French. Some occasional light offsetting from plates, occasional scattered spotting, most prominent in volume II, plate 21 & volume III, plates 10, 11 & 14. Plates watermarked J. Whatman 1801, E.P. 1801 & I. Taylor 1801 & 1804. Text watermarked J. Whatman 1801 & J. Ruse 1802. Full contemporary diced russia, covers decoratively bordered in gilt. Expertly rebacked, spine with five raised bands, original dark green morocco label lettered in gilt, gilt ruled board edges, decorative gilt turn-ins, marbled endpapers, all edges gilt, corners and board edges rubbed. A wonderful copy. "The first wok in English "To give an accurate representation in both text and illustrations of the manners and customs of the ordinary Russian people", demonstrating 'Atkinson's lively draughtsmanship and the width of his observations" (ODNB). According to Abbey the plates ‘show the spontaneity and spirit possible when the artist is his own engraver. It seems possible that in some passages sugar aquatint was used. The coloring is beautifully and skillfully done, in soft washes. ATKINSON, John Augustus (1775-1831) was born in London. In 1784, he went to St. Petersburg to his uncle James Walker, engraver to the empress Catherine the Great . There he studied in the picture galleries, encouraged by Catherine and her son Paul I and was commissioned by Paul to paint large pictures of Russian history. In 1801, Atkinson returned to England, and in 1803 published A Picturesque Representation of the Manners, Customs, and Amusements of the Russians, in 100 plates, drawn and etched by himself. He also painted in watercolors and in 1808 was elected to the Society of Painters in Water Colors. Many of his works, during the Napoleonic wars, were of naval subjects. He painted many battle scenes including a Battle of Waterloo, which was engraved by John Burnet. His last contribution to the Royal Academy exhibition was in 1829. WALKER, James (1748-1808). The son of a captain in the merchant navy, Walker became a pupil of Valentine Green. In 1784 he went to St. Petersburg, appointed engraver to the Empress Catherine II. He remained in Russia till 1802, engraving portraits of the imperial family and of the Russian aristocracy, as well as pictures by Old Masters in the imperial collection. Walker's appointment as court engraver was renewed by the Emperor Alexander I, and he was a member of the Imperial Academy of Arts at St. Petersburg. He returned to England with a pension in 1802. Abbey Travel 223; Bobins I, 180; Colas 171; Lipperheide 1343; Tooley 72. .

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Book number: 05604

Catalogue: Color-Plate Books

Keywords: WALKER, James Books in French Caricatures Views Voyages and Travels

ATKINSON, John Augustus

Sixteen Scenes Taken from the Miseries of Human Life. By One of the Wretched

London: Wm. Miller, 1807. The Miseries of Human Life" Depicted in Sixteen Amusing Hand Colored Etched Plates [ATKINSON, John Augustus]. Sixteen Scenes taken from The Miseries of Human Life. By one of The Wretched. London: Published by Wm. Miller, 1807. First edition. Small oblong quarto (6 3/4 x 8 1/8 inches; 172 x 206 mm.). Hand-colored etched vignette title and sixteen hand-colored etched plates (one folding). At the top of each plate a reference is given to its place in James Beresford's Miseries of Human Life. Each plate accompanied by a leaf of descriptive text. Plates watermarked 1802, text watermarked 1806. Three plates with professionally repaired tears (see below), another with marginal foxing. One leaf of text with small (one inch) lower blank marginal tear. Some minor mainly marginal foxing or soiling. Modern full red morocco, covers ruled and decorated in gilt, front cover titles in gilt, spine with five raised bands ruled in gilt,marbled endpapers. Old booksellers description on front paste-down. An excellent uncut copy. "[Atkinson's] Sixteen Scenes taken from the miseries of Human Life, by one of the Wretched..was published by W. Miller in 1807, and is illustrated by etchings, mostly in soft-ground, coloured by hand. His spirited and clever drawings are full of character, surpassing those of Alken. No. II, ‘Seeing the boy who is next above you flogged for a repetition which you know you cannot say,' should appeal to most Britons. The angry schoolmaster, laying on the birch with will, the pathetic countenance of the horsed victim, and the anguished stare of the miserable onlooker, waiting his turn with the book in hand, are all most happily and naturally expressed. Another excellent drawing, well worthy of Rowlandson, is No. IX.—‘Miseries of Watering-Places.' A noteworthy point about the book is that the title and the idea of the illustrations seem to have inspired Rowlandson, whose Miseries of Human Life appeared, a year later, in 1808" (Martin Hardie). The Plates: 1. Miseries of the Country. 2. Miseries of Games, Sports, &c. 3. Miseries of London. (text leaf with 1 inch tear at lower blank margin) 4. Miseries of Stage Coaches. 5. Miseries of Social Life 6. Miseries of Reading and Writing. 7. Miseries Domestic. 8. Miseries Miscellaneous. 9. Miseries of Watering Places. 10. Miseries of Fashionable Life. (blank margins a little spotted) 11. Miseries of Fashionable Life. 12. Miseries of London - The Theatres. 13. Miseries of Travelling. 14. Miseries of the Table. (folding - professionally repaired tear and strengthened at fold) 15. Miseries Domestic. 16. Miseries Miscellaneous. (text plate neatly repaired at inner blank margin) Abbey, Life, 259. Bobins IV, 1321; Martin Hardie, p. 156. Prideaux, p. 319. Not in Tooley. .

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Book number: 05671

Catalogue: Color-Plate Books

Keywords: Caricatures

AUBRY, Charles; CHAZAL; BELLANGÉ; PIGAL

Album Comique de Pathologie Pittoresque

Paris: Chez Ambroise Tardieu, Editeur, 1823. Twenty Hand-Colored Lithographed Plates Depicting Caricatures of Various Diseases AUBRY, Charles and others. Album Comique de Pathologie Pittoresque, Recueil de vingt caricatures médicales dessinées par Aubry, Chazal, Colin, Bellangé, et Pigal. Paris: Huzard-Courcier (for) Chez Ambrose Tardieu, 1823. First edition of this exceptionally rare work depicting caricatures of various diseases as social satire. The illnesses lampooned include gout, vapors, indigestion, colic, apoplexy, madness, St-Guy's dance, asthma, jaundice, smallpox, tics, toothache and migraine. Oblong folio (9 7/16 x 12 1/2 inches; 240 x 317 mm). [8, half-title, vignette title & Introduction], [40] pp. of text in double columns. Twenty hand-colored lithographed plates by Aubry, Chazal, Colin, Bellangé, et Pigal. Plates lithographed by Langlumé. Scattered foxing and browning. Tiny paper flaw (3/8 x 1/4 inch) to lower-margin of last plate. Each plate accompanied by two pages of text. Neat ink inscription on front free endpaper. Publisher's dark red decorative paper over boards with hand-colored lithographed pictorial label (by Colin) on front cover depicting two men kneeling, each kissing a hand of an elegantly dressed female skeleton with a wide brim hat. At the feet of one man are open and stacked books; at the feet of the other man is a collection of bottles. A skull and crossbones are in a tree, and in the background are tombstones. Covers decoratively bordered in gilt, spine ruled and lettered in gilt. Spine expertly restored, some wear to extremities and corners. Overall, an excellent copy in the original binding. Housed in a fleece-lined quarter black morocco clamshell case, spine with five raised bands, decoratively tooled and lettered in gilt in compartments. 1. ‘L'Apoplexie foudroyante' (Charles Aubry 1822) 2. ‘L'Asthme,' 3. ‘Le Cauchemar,' (Alexandre-Marie Colin) 4. ‘La Colique,' 5. ‘Les Cors aux Pieds,' (Edme-Jean Pigal) 6. ‘La Courbature,' (Alexandre-Marie Colin) 7. ‘La Danse de Saint Guy,' 8. ‘Les Envies de Femmes Grosses,' (Edme-Jean Pigal) 9. ‘La Folie,' (Charles Aubry) 10. ‘La Gale,' (Hippolyte Bellangé) 11. ‘'La Goutte,' (Hippolyte Bellangé) 12. ‘L'Indigestion,' (Charles Aubry) 13. ‘La Jaunisse,' (Alexandre-Marie Colin) 14. ‘Les Loupes,' (Edme-Jean Pigal) 15. ‘t,' (Charles Aubry) 16. ‘La Migraine,' 17. ‘La Petite Vérole,' 18. ‘Les Tics,' (Edme-Jean Pigal) 19. ‘Les Vapeurs,' (Alexandre-Marie Colin) 20. ‘Le Ver Solitaire' Charles Aubry (fl. 1817-1837). Charles Aubry was an early lithographic artist who made his reputation with hunting scenes and military subjects. In 1822 he accepted the post of professor of art at l'Ecole Militaire de Saumur. In 1823 he published Album Comique de Pathologie Pittoresque in which he wrote the forty pages of text and together with Antoine Chazal (1793-1854), Alexandre-Marie Colin (1798-1875), Edme-Jean Pigal (1798-1872) & Hippolyte Bellangé (1800-1866) made the illustrations for the twenty highly amusing lithographs. Listings from the records of the Restoration Salon indicates that Charles Aubry contributed one lithograph to the 1824 exhibition. Norman Library 30.  . .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05381

Catalogue: Color-Plate Books

Keywords: CHAZAL BELLANGÉ PIGAL Books in French Caricatures Medicine French Caricature

AUBRY, Charles; BOILLY, Louis Leopold; [SCHEFFER, Jean-Gabriel] J.S.

Les Jeux de L'Enfance [with] Recueil de Cinquante Scenes de Grisetes [with] Recueil Des Scènes Familiéres, Et de Société de Paris [with] Les Sept Péchés Capital [with] Miscellaneous Prints

Paris: Delpech, 1826 / 1824. Mischievous Children, Grisettes and Deadly Sins In Sixty Hand-Colored Lithographs AUBRY, Charles. BOILLY, Louis Leopold. [SCHEFFER, Jean-Gabriel]. J.S. Les Jeux de L'Enfance [with]Recueil de Cinquante Scenes de Grisettes [with] Recueil des Scenes Familiéres [with] Boilly Les Sept péchés capital [with] Miscellaneous Prints. Paris: Delpech, 1824-1826. Folio (13 3/4 x 10 inches; 349 x 254 mm.). Les Jeux de L'Enfance, eight hand-colored lithographed plates - complete; Recueil de Cinquante Scenes de Grisetes, twenty-eight hand-colored lithographed plates of fifty; Recueil des Scenes Familiéres, nineteen of twenty-one hand colored lithograped plates; Boilly. Les Sept péchés capital (three of seven) hand-colored lithographed plates & two hand-colored lithographs by Aubry (1824). Mid-nineteenth century quarter crimson straight-grained morocco over straight-grained paper boards. Smooth spine ruled and lettered in gilt "Recueil De Lithograph", later plain endpapers. This album containing sixty hand colored lithograph plates was most likely issued by Delpech as a compilation of unsold prints, a common practice of contemporary printmakers and sellers, or assembled by a collector. Contents: Les Jeux de L'Enfance Paris: Delpech, [1824]. (Games of Childhood). Complete set of eight hand colored lithograph plates - two by Leopold Boilly and six by Charles Aubry. (active 1818-1837). 1. La Perruque de Grand-Pere [Boilly, Delpech, 1824] 2. Le Bonnet de la Grand-Mere [Boilly, Delpech, 1824] 3 La Barbe du Sapeur. 1824 4. La Chiquenaude 5. La Petite Tabagie 6. Le Remede 7. Les Papillotes 8. Les Petits Acteurs Les Jeux de L'Enfance - Other than the five plates (of eight) listed in Gumuchian, this suite of plates is unknown to all the children's books, biographies, and bibliographies on lithography. An exceptionally scarce and complete set of eight hand colored lithograph plates (two by Leopold Boilly and six by Charles Aubry) depicting mischievous children. "Un très rare album lithographié pet. in-folio, demi-maroquin bleu canard à coins, dos à nerfs titre doré, tête dorée [Rel. moderne], premier plat de couv. lithographié conservé.. L'exemplaire de la BnF (le seul au CcFr) n'a que 5 planches. Inconnu à toutes les bibliographies sur l'enfance, ainsi qu'à toutes celles sur la llithographie. Très rare recueil de 8 lithographies (2 par L. Boilly et 6 par Aubry) aquarellées à l'époque présentant autant de bêtises que les enfants aiment à accomplir tres bel ensemble." Bibliographie de la France, 1825, p. 30. OCLC locates just one example [but with only the six Aubry plates] in libraries & institutions worldwide: The Morgan Library & Museum, NY, US (ex Michael Sadleir / Paul Gavault/Gordon Ray). Gumuchian 5970-5975; (plate nos. 1, 3, 6, 7 and 8 only); Not in Cotsen; Not in Osborne. Journal général d'annonces des oeuvres de musique, gravures et lithographies Vol. I (January 1825), 61 (Les Jeux de l'enfance). Charles Aubry (fl. 1817-1837). Charles Aubry was an early lithographic artist who made his reputation with hunting scenes and military subjects. In 1822 he accepted the post of professor of art at l'Ecole Militaire de Saumur. In 1823 he published Album Comique de Pathologie Pittoresque in which he wrote the forty pages of text and together with Antoine Chazal (1793-1854), Alexandre-Marie Colin (1798-1875), Edme-Jean Pigal (1798-1872) & Hippolyte Bellangé (1800-1866) made the illustrations for the twenty highly amusing lithographs. Listings from the records of the Restoration Salon indicates that Charles Aubry contributed one lithograph to the 1824 exhibition. Louis-Léopold Boilly (1761-1845). was the son of a wood-carver. Boilly lived in Douai until he was seventeen years of age, when he went to Arras to receive instruction in trompe-l'oeil painting at Domenica Doncre before moving to Paris in 1785. Between 1789 and 1791 he executed eight small scenes on moralizing and amorous subjects for the Avignon collector Esprit-Claude-François Calvet (1728-1810), including The Visit (1789; Saint-Omer, Musée Hôtel Sandelin). He exhibited at the Salon between 1791 and 1824 and received a gold medal at the Salon in 1804. These paintings thoroughly observed and reflected all aspects of urban life, its costumes and its habits, between the revolutionary period and the Restoration. In 1823, Boilly produced a series of humorous lithographies entitled Grimaces. In 1833, at a time when his popularity was declining, he was admitted to the Légion d'honneur and the Institut de France. SCHEFFER. Recueil de Cinquante Scenes de Grisettes. 28 of 50 plates. The 28 plates are clean and fresh. -. Dieu, que je suis lasse! -. Eh bien, tiens..ne crie plus. 2. Que c'est ennuyeux les vacances! -. Allons, allons, pas tant de raisons.. 5. Ah vous me faites des niches! 6. Et puis vous épouserez une femme riche. 7. Vous ne serez plus méchant? 8. Ça ne vous regarde pas. 9. Nous serons comme frère et soeur? 10. C'est un beau jeune homme. 11. Ah bah! un de perdue, deux de retrouvés. 12. C'est un gage de fidelite.. 13. Nous les rattraperons. 14. Le te pardonne mais tu me le pairas. 15. Sans compter..qu'il fait des Romances.. 16. Il set passé - ai-je eu peur. 17. Ah, si j'avais su comme tu es! 18. Le loyer, 2000 francs.. 19. Oh, qui je voudrais use chaine comme ça! 20. Et ce monsieur..? - il est très riche mais.. 21. Tu n'es pas gentil ce soir. 21. Votre fidèle ami pour la vie ton nom..et enfoncé. 22. Oh, je t'en pie, ne me, parle pas raison.. 22. Pas possible! 26. Est-ce que je peux empêcher qu'on m'aime? 27. Dis done, Constance.. 25. Puisqu'il me la juré.. 28. Je comprends ma bonne, je comprends. Lipperheide 3685; Not in Colas or Hiler. Rare: OCLC/KVK locate just three examples (all complete with 50 color plates) in libraries and institutions worldwide: Morgan Library & Museum (NY, US); Harry Ransom Library, University of Texas, Austin (TX, US); Kunstbiblio Staatliche Museen zu Berlin (Germany). The contemporary manners and customs of Parisian couples, illustrated with great charm and wry, understated humor by Swiss genre painter and lithographer Jean Gabriel Scheffer (1797-1876), who studied with Regnault and was a friend of Corot, Aligny, and Léopold Robert. His work was shown at the Salon de Paris beginning in 1822; his reputation as a designer of many wryly humorous lithographs, typically signed "J.S." was firm. Recueil des Scènes Familiéres, et de Société de Paris (Scheffer) 19 of 21 plates. 1. 8 heures du soir - signed J.S. 2. 8 heures du matin - signed J.S. 3. Comme on l'écoute - signed J.S. 4. Que je vous y'reprenne.. - signed J.S. 5. La Confidence - signed J.S. 6. Il m'a fait des traits ma chère! - unsigned 7. Faut lui répondre.. signed J.S. 8. Derniers instans d'une demoiselle - signed J.S. 9. Dépêche-toi donc, n'y aura plus de places - unsigned 10. Dieux! si un homme me battait! - unsigned 11. ´A-ton été bien sage? - unsigned 12. Un Cabinet - le dîner dans une heure - signed J.S. 13. Ça serait joli en blouze.. - signed J.S. 14. Surtout n'allez pas la compromettre - unsigned 15. ´A-ton une tournure? - signed J.S. 16. Le jour de la blanchisseuse - signed J.S. 17. La fin de Décembre - signed J.S. 18. Me soupçonner, moi!! - signed J.S. 19. A belle l'air gamain! - signed J.S Plate one with foxing, damp stains, repairs to verso but not affecting image; plates 2 & 3 with light foxing to lower blank margins; plate 4 with small repair to lower blank margin; plate 5 with heavy foxing/staining to blank lower margin-not affecting image; plates 6, 7 & 8 cut short by one inch at lower blank margin; plate 10 with lower corner torn away; scattered light foxing to many of the plates. Altogether an imperfect and problem copy - very little value has been allocated to these plates. Miscellaneous Prints: Aubry, Les Soins d'une Mere (The Solicitude of a Mother), Delpech , 1824. Aubry, La Nourrice Imprudente (The Imprudent Nurse), Delpech, 1824. OCLC locates just one example of the first lithograph in libraries & institutions worldwide: Wellcome Library (UK). No examples of the second lithograph located. BOILLY. Les Sept péchés capital Boilly, L'Envie (Envy), (Les Sept péchés capitaux) Delpech, 1824. Boilly, ah! le méchant (Ah! The mean one!) (Recuils de Dessins lithographiques) Delpech, 1824. Boilly, La Paresse (Sloth), (Les Sept péchés capitaux) Delpech, 1824. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 02310

Catalogue: Color-Plate Books

Keywords: BOILLY, Louis Leopold [SCHEFFER, Jean-Gabriel] J.S. Books in French Caricatures Nineteenth-Century Literature French Caricature

BARIC, [Jules Jean Antoine]

Les Autrichiens En Italie

Paris: Arnauld de Vresse, Editeur, [1860]. Eighteen Hand-Colored Lithographs Depicting the Antics of the Austrian Army During the Italian Campaign of 1859. BARIC, [Jules Jean Antoine]. Les Autrichiens en Italie. Par Baric. Paris: Arnauld de Vresse, Editeur, [n.d. ca. 1860]. First (only?) edition. Folio (13 1/4 x 10 inches; 336 x 254 mm.). Pictorial hand colored lithograph title and seventeen un-numbered hand-colored lithographed plates depicting the antics of the Austrian army. The plates are captioned below. All plates heightened with gum arabic. Plates lithographed by Génix. Modern quarter dark brown cloth over marbled boards, spine lettered in gilt, marbled endpapers. Original pictorial lithographed front wrapper (same image as title) on thin yellow paper bound in. An excellent copy of this very scarce album in which Baric humorously caricatures the antics of the Austrian army during the Italian campaign of 1859. Jules Jean Antoine Baric (ca. 1825 or 1830-1905) illustrated several books of caricatures or cartoons for Arnauld de Vresse between 1857 and 1863. He also illustrated Les Fourberies d'Arlequin and Ou Diable L'Esprit Va-T-Il se Nicher. The Italian campaign of 1859, also called the Second War of Italian Independence, saw the armies of the French Empire and the Kingdom of Sardinia clash with those of the Empire of Austria. Its conclusion favorable to the Italians allowed the reunion of Lombardy with the Kingdom of Sardinia and to lay the foundations for the constitution of the Kingdom of Italy. Not in Bobins, Colas, Gumuchian, Hiler, Lipperheide, or BM. No copy has sold at auction since 1975. The Plates: 1. Le Piémontais - Que Diable! Quand on se pose en bretteur, on ne recule pas comme vous faites! Le Souave - Garde-toi toujours bien, mon fils, c'est peut-être pour ménage rune feinte que ce gros malin là rompt devant toi. 2. Gare les Quilles! 3. - Oh les français sont encore loin! - Pas tant qu'ça!..est-ce que nous ne sommes pas toujours prêts, nous autres? Tu as mal tourné ta lunette mon p'tit, et ton général aussi! 4. AVANT L'INTERVENTION FRANÇAISE. - Si il puche, ch'l'égrase! Terteufel! 5. - Qué qu'c'est que c't oiseau là? Ait i'laid! - Tu n'vois pas qu'c'est un phénomène? il est malade..ça vit très difficilement les phénomènes, et si on ne réglait pas leur nourriture, ils seraient bientôt dans le Royaume des Taupes! 6. - Grâce!! - Tu as fouetté des femmes qui te demandaient grâce aussi!.. - Men gott! Cétre pas mon faute! Cétre la gonsigne: Si che ne leur affre bas tonné le schlag, che l'affre reçu!!! 7. Aussi braves que généreux!.. 8. - Mon gros, je conçois que tu desires rester sur le Pô! Nonobstant je te conseille dans l'intérêt de ta santé, de ne pas tant tourner autour. 9. Les Canards l'ont bien passé, tire lire lire. 10. - Pattus bar tes français téguisés en Italiens, pattus bar tes Italiens téguisés en français, che n'y rien gombrendre: - ce qu'il être blus glair c'est nous être tuchurs pattus!! 11. - Soldats! Si fus affre été vaincus par des Italiens, c'est que c'etait des vrançais téguisés en Italiens! Mais ici ce sont des Italiens téguisés en vrançais ce sont eux qui fus affre pattus à Novarre! Vous êtes six gontre un..marchez..et vous aurez la fictoire!!! 12. - Rends toi ou tu es mort! - Terteffle, le chenéral nous affre vichus tetans! c'être pas un Italien téguisé lui barle trop pien vrançais ça je me rends!.. 13. - Eh pien? Affre-fus aviché que dude manivesdation en fafeur tes repelles, il être bunie des beines les blis séfères? - Mas chénéral, les repelles il être maîtres te la fille..et en téménachant nous affre uplié la crosse gaisse! - Terteuffle! Fus affre tonc pertu la poule!! - Nein! Ma chénéral, nous affre den upon, mais ces vrançais c'être bas tes hommes, c'être tes tables!!! 14. APRÈS L'INTERVENTION FRANÇAISE. - Franchement, c'eut été dommage de ne pas donner un coup de main à ce p'tit là! 15. - Ces queux d'Autrichiens, ils n'ous auraient s'ment pas offert un canon, d'un temps qui fait si soif. - Heureusement nous nous sommes servis nous mêmes! 16. - Pigeon vole! Autrichien vole! - Comment! Est-ce que ça a des ailes, ces Autrichiens? - Qu'est-ce qui te parle d'aile? est-ce que piller et voler c'est pas synagogue? 17. On n'est pas des Turcs. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05337

Catalogue: Color-Plate Books

Keywords: Books in French Caricatures Naval and Military French Caricature

NUMA (pseudonym of Pierre-Numa BASSAGET); BASSAGET, Pierre-Numa

La Guirlande Choix de Danses a Caractère de Tous Les Pays

Paris: Paris: H. Gache [&] London: E. Gambart, 1850. The Traditional Dances of France, Italy, Spain and the Czech Republic Six Superb Hand Colored Lithograph Plates by Pierre-Numa Bassaget NUMA (pseudonym of Pierre-Numa BASSAGET). La Guirlande choix de Danses a caractère de tous les pays. Lithographiées par Régnier & Bettannier d'apres Numa. Paris: H. Gache [&] London: E. Gambart, [ca. 1850]. First (only) edition. Large folio (19 5/8 x 13 5/8 inches; 499 x 346 mm.). Six superb hand colored lithograph plates. All plates interleaved, each with a gold border, lithographed by Régnier & Bettannier d'apres Numa, and printed by Lemercier. Publishers lithographed cream boards, spine expertly and almost invisibly repaired. An exceptionally fine copy in its original binding. Although other works by Numa are principally related to fancy dress costume and European women's costume, these have an additional dimension, showing as they do the traditional dances of a variety of nationalities, and the costumes of the women participating. These superb hand colored lithographs depict traditional folk dances from France, Spain, Italy and the Czech Republic. The dances include the Fandango, Tarantella and the Bolero. OCLC locates no copies in libraries and institutions worldwide. According to ABPC no copies have appeared at auction over the past fifty years.. Pierre-Numa Bassaget, aka Numa (French artist, lithographer & printmaker active 1830-1854). He was a contributor to Le Charivari and La Caricature. He illustrated Costumes Civils et militaires depuis le ve. siècle.. [1833-1835] Colas 2228, Hiler, p.68; Fantaisies Gracieuses [1850] Colas 2229; Costumes Cosmopolites [184-?] Colas 2230, Hiler, p. 68; Caricatures anti-cholériques, 1832. Hiler p.68, Lipperheide 3670; La Guirlande choix de Danses a caractère de tous le pays, and Moeurs et Usages (Beraldi X, p.273), all of which are excessively rare. The Plates: 1. La Farandolle. (A dance from Provence, Southern France) 2. Le Fandango. (An exuberant Spanish courtship dance) 3. La Tarentelle. (Also known as "the dance of the spider," the Tarantella is derived from the Italian word tarantola, meaning "tarantula." The tarantola gets its name from the town of Taranto in Puglia, where the bite of the local wolf spider (the tarantula) was widely believed to be highly poisonous and led to a condition known as "tarantism". 4. La Fuga. (A Spanish Dance - The Escape..) 5. Le Bolero. (The Boléro is a slow form of Spanish dance with roots in Spain and Cuba. Contemporary boléro is a hybrid of other Latin and ballroom dances and combines the lilting rise and fall of the waltz, the contra-body movement of tango, and the slow movement and Latin music associated with the rumba. 6. La Rédowa. (A Bohemian dance in two forms, one resembling the waltz or the mazurka, the other resembling the polka. The name comes from the Czech name rejdovák, derived from rej ("whirl"). Originally a folk dance, it first appeared into the salons in Prague in 1829 and fell out of fashion by 1840, though in the meantime it had spread beyond Bohemia. A dance in triple time resembling a waltz. Bobins III, 1058; Not in Beraldi, Colas, Hiler or Lipperheide. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05429

Catalogue: Color-Plate Books

Keywords: BASSAGET, Pierre-Numa Books in French Caricatures Dance

NUMA (pseudonym of Pierre-Numa BASSAGET); BASSAGET, Pierre-Numa

Le Tohu-Bohu Plaisant

Paris: Chez Bulla Frères, 1850. The Chaos and Pleasantries of Human Relationships NUMA (pseudonym of Pierre-Numa BASSAGET). Le Tohu-Bohu Plaisant. Paris: Chez Bulla Freres, [ca. 1850]. Folio (16 1/4 x 12 1/8 inches; 413 x 308 mm.). Sixty superb hand colored lithograph plates + duplicates (with different hand coloring) of numbers 39 & 40 and an additional smaller (mounted) hand colored lithograph at end. All plates mounted on stubs. Some light sporadic foxing affecting many of the plates. Bound by Pagnant ca. 1920, stamp-signed on verso of front free endpaper. Three quarter red straight-grain morocco over red diced cloth boards ruled in gilt, smooth spine decoratively tooled and lettered in gilt, gray marbled endpapers, top edge gilt. Apart from the sporadic foxing a wonderful copy of this exceptionally rare and amusing look at the personal side of Parisian life in the early nineteenth century. Le Tohu-Bohu Plaisant means chaos, confusion and pleasantries of human relationships.. The only auction records that we could find was a single plate: number 18 "Gloire à Venus, gloire à Bacchus" (sold in at a Paris auction in 2021 (Euros 1,504); and a collection of sixteen plates only which was sold at Parke-Bernet Galleries, New York in March 1959. The Paris Musée Collections have just one of the plates: number 6. La Pie aux Bois. (The Magpie in the Woods). Pierre-Numa Bassaget, aka Numa (French artist, lithographer & printmaker active 1830-1854). He was a contributor to Le Charivari and La Caricature. He illustrated Costumes Civils et militaires depuis le ve. siècle.. [1833-1835] Colas 2228, Hiler, p.68; Fantaisies Gracieuses [1850] Colas 2229; Costumes Cosmopolites [184-?] Colas 2230, Hiler, p. 68; Caricatures anti-cholériques, 1832. Hiler p.68, Lipperheide 3670; La Guirlande choix de Danses a caractère de tous le pays, and Moeurs et Usages (Beraldi X, p.273), all of which are excessively rare. The Plates: 1. Où dinon nous aujourd'hui? Where are we dining today? 2. L'as de trefle! C'est de l'argent. The ace of clubs! It's money. 3. Mademoiselle! Encore un autre. Miss! Yet another. 4. Nos succès sont certains. Our successes are certain. 5. Un moyen d'Introduction. A means of introduction. 6. La Pie aux Bois. The Magpie in the Woods 7. Quand on a tout perdu et qu'on n'a plus d'espoir!!! When we have lost everything and we have no more hope!!! 8. Nous demandons les Russes et les Anglais. We ask for the Russians and the English. 9. Distractions du matin. Morning distractions. 10. Une chère connaissance. A dear acquaintance. 11. L'appétit vient en mangeant. Appetite comes with eating. 12. C'est toujours comme ça. It's always like that. 13. Les Maris pêcheure. Fisher Husbands. 14. Oh!! Les beaux hommes. Oh!! The handsome men. 15. Paul & Virginie. Paul & Virginia. 16. Un gibier de Roi. A king's game. 17. Le plus altéré des trois n'est pas celui qu'on pense. The most altered of the three is not the one we think. 18. Gloire à Vénus, gloire à Bacchus. Glory to Venus, glory to Bacchus. 19. Un malheur n'arrive jamais seul. A bad thing never comes alone. 20. A tout malheur, bonheur est bon. In all misfortune, happiness is good. 21. Une lecture sans profit. Unprofitable reading. 22. Une fiévre brûlante. A burning fever. 23. La Culipe orageuse. The Stormy Culipus. 24. Un bon coup de queue. A good kick. 25. Je ne trouve plus ma rosette! I can't find my rosette anymore! 26. Vois dans la Psyché, comme il est petit. See in the Psyche how small he is. 27. Pourra-t-il tenir tout ce qu'il promet. Will he be able to keep everything he promises. 28. Oh! Gaston! Ces boucles me lient à toi. Oh! Gaston! These curls bind me to you. 29. Le jeu de Dames. Checkers game. 30. Chacun prend son Plaisir où il le trouve. Everyone takes his Pleasure where he finds it. 31. Ce qu'on désire. What we desire. 32. Ce qu'on rêve. What we dream. 33. Seule? Hélas oui!.. Only? Unfortunately, yes!.. 34. Finis donc! Tu me mouilles. So finish! You wet me. 35. La veille des épousailles. The day before the wedding. 36. Il aurait bien dû m'envoyer la paire. He should have sent me the pair. 37. Le Champagne et l'Amour (1ére Bouteille). Champagne and Love (1st Bottle). 38. Le Champagne et l'Amour (2me Bouteille). Champagne and Love (2nd Bottle). 39. Le Champagne et l'Amour (3me Bouteille). Champagne and Love (3rd Bottle). 39bis. Le Champagne et l'Amour (3me Bouteille). Champagne and Love (3rd Bottle). 40. Le Champagne et l'Amour (4éme Bouteille). Champagne and Love (4th Bottle). 40bis. Le Champagne et l'Amour (4éme Bouteille). Champagne and Love (4th Bottle). 41. Le Champagne et l'Amour (5éme Bouteille). Champagne and Love (5th Bottle). 42. Le Champagne et l'Amour (6me Bouteille). Champagne and Love (6th Bottle). 43. Il vaut mieux glisser sur le gazon que sur la glace. It is better to slide on grass than on ice. 44. Une chambrée de Rats. A room of Rats. 45. Des Messieurs trop presses. Gentlemen in too much of a hurry. 46. Une noce sans les grands Parents. A wedding without the grandparents. 47. La Perdrix mouillée est facile à prendre. The wet Partridge is easy to take. 48. Il vaut mieux tenir que courir. It is better to hold on than to run. 49. Le Départ. Departure. 50. Le Retour. The return. 51. La leçon de Mazurka. Mazurka's lesson. 52. Le leçon de Schottisch. Schottisch's lesson. 53. Le bon Ménage. The Good Household. 54. Le mauvais Ménage. The Bad Household. 55. L'entrée au Bain. Entrance to the Bath. 56. Les loisirs du Bain. Bath recreation. 57. La Toilette. The toilet. 58. Les Peureuses. The Frightened. 59. La sortie de Bain. Leaving Bath. 60. Une visite trop matinale. Too early a visit. [61]. [Unnumbered/Untitled] (8 3/4 x 7 1/8 inches; 222 x 181 mm.). .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05422

Catalogue: Color-Plate Books

Keywords: BASSAGET, Pierre-Numa Books in French Caricatures Fashion French Caricature

BAYNTUN, binders; EGAN, Pierce (imitation); ALKEN Henry

Real Life in London;

London: Printed for Jones & Co. 1827. Real Life in London with Thirty-Four Hand Colored Plates Two Superb Inlaid Bindings by Bayntun, Bath EGAN, Pierce (imitation of). ALKEN, Henry, illustrator. BAYNTUN, binder. Real Life in London. or, The Rambles and Adventures of Bob Tallyho, Esq. and His Cousin, the Hon. Tom Dashall, through the Metropolis; Exhibiting a Living Picture of Fashionable Characters, Manners, and Amusements in High and Low Life. By an Amateur. Embellished and Illustrated with a Series of Coloured Prints, Designed and Engraved by Messrs. Heath, Alken, Dighton, Brooke, Rowlandson, &c. London: Printed for Jones & Co. 1827-29. Later issue (first published 1821-22). Two octavo volumes (8 3/8 x 5 1/4 in; 213 x 343 mm.). [ii, title, verso blank], [iii]-x, [1]-656; [2, title, verso blank], [i]-ix, [x, advertisement for British Classic Authors 1827], [3]-668 pp. Hand-colored engraved frontispiece and pictorial hand-colored title in each volume. Thirty-four hand-colored aquatint plates, including the sometimes lacking plate nos. 31 and 34, "St. George's Day, Presentation at the Levee" and "Tom and Bob catching a Charley Napping" Handsomely bound ca. 1925 by Bayntun of Bath, stamp-signed in gilt on front turn-ins. Full red morocco, covers bordered with an interwoven gilt design. In the center of each front cover, a superb, inlaid group of fashionable society characters, in multi-colored morocco. Spines with five raised bands, decoratively tooled and lettered in gilt in compartments, gilt ruled board edges and turn-ins, marbled endpapers, all edges gilt. A fine set. Sixteen of the hand colored aquatint plates are by Henry Alken. "From a bibliographical point of view, one of the most complicated and bewildering books ever published, rivaling Pickwick in the tangle of variant states that exist both in text and plates. The work had a tremendous success, probably out-rivaling in popularity its prototype, Egan's Life in London, and even the three Tours of Syntax. A difficult feature of the book is that two printers.. printed copies, textually the same page by page, with only minor variations in the settings, and this, coupled with the fact that during the eight or nine years it was being reprinted, makes the whole vast output all 'first editions' but with innumerable states and variants that continually overlap one with the other" (Abbey). "Originally published in 56 parts, on completion the work was issued in boards. A few large paper copies were printed on royal paper hot pressed with proof impressions of the plates. Later copies were bound in publisher's cloth.. A book full of contrarities and difficulties for the bibliographer, there being innumerable variations of the plates. I have examined twenty or thirty copies and noted their peculiarities and points but doubt if I have run them all to earth. The difficulties are further increased by many copies in modern bindings having been completed or made up of different issues giving combinations that are not true variations" (Tooley). An imitation of Pierce Egan's Life in London "a work which was issued in and after July, 1821, in shilling numbers.. Imitations came swift and frequent..Out of the sixty-five imitations of it which Egan stated that he had reckoned, the most important was Real Life in London.. which was published in sixpenny numbers in 1821, with excellent illustrations by Heath, Alken, Dighton, Rowlandson and others. Real Life in London is a pleasanter book than its prototype. Some have held that Egan wrote it; but the author had a purer style, a cleaner mind and a wider knowledge of London than Egan. The book shows many more sides of London life than his; though the formal descriptions of well-known scenes or buildings, here and there inserted amid matter of a very different character, recall very forcibly Mr. Bouncer's letters to his aunt in Verdant Green" (The Cambridge History of English and American Literature Abbey, Life 280 (1821-22 first edition); Tooley 198 (1821-22 first edition). .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05732

Catalogue: Color-Plate Books

Keywords: EGAN, Pierce (imitation) ALKEN Henry Fine Bindings Caricatures

BEAUMONT, Charles-Édouard de

Les Vésuviennes

Paris: Chez Aubert & Cie. Editeurs, 1848. Les Vésuviennes - The Radical feminist Group as Depicted by Charles Édouard de Beaumont Twenty Superb Hand Colored Lithographs BEAUMONT, [Charles-]É[douard] de. Les Vésuviennes ou les Soldats pour rire.. Paris: Chez Aubert & Cie. Editeurs, [1848]. Folio (12 15/16 x 9 3/4 inches; 328 x 247 mm.). Pictorial lithograph title and twenty superb hand-colored lithograph plates, all heightened with gum arabic. Publishers lithographed pale green wrappers, rear wrapper expertly replaced with near identical paper. Original glassine wrapper. An exceptionally fine copy. Housed in a felt-lined half black morocco over gray cloth boards clamshell case, spine with five raised bands, ruled and lettered in gilt. The twenty superb hand colored lithographs in Les Vésuviannes depict an imagined state of society in which there is great suffering and injustice, in which women take the functions of national guards and policemen. The title is linked to the resumé of a radical feminist group that actually existed following the February revolution which militated the female military service the ability to dress like men, as well as women for the equality in housework. Historically, the first community of Vesuvius was established in Belleville. On March 26, 1848, at the foot of the Vendôme column. A whole legion of young women from 15 to 30 years old passed behind a tricolor banner with the word 'Vésuviennes'. At noon, they went to the city hall, to ask for the help and protection of the provisional government. The Vésuviennes were a radical feminist group that existed in France in the middle of the 19th century. They chose their name (derived from Mount Vesuvius) because, in their words, "Like lava, so long held back, that must at last pour out around us, [our idea of feminist equality] is in no way incendiary but in all ways regenerating." With the overthrow of King Louis-Philippe of France in 1848, the newly formed Republic lifted all restrictions on the press and assembly. This encouraged a proliferation of new feminist publications, organizations, and groups. The Vésuviennes were among the latter. Considered to be the most radical of all of the feminist factions of the time, the Vésuviennes promoted female military service, the right of women to dress the same as men, and legal and domestic equality between husband and wife, even as that extended to the distribution of household chores. Most Vésuviennes were between the ages of 15 and 30, unmarried, poorly paid workers. Even some other feminists disapproved of their tactics, which included wearing culottes (not unlike the bloomers worn by radical American feminists at the time) and staging frequent street demonstrations. The image of a young woman in culottes came to represent all feminists to some, as can be seen in the caricatures of Charles-Édouard de Beaumont, one of several artists who satirized the efforts of feminists of the period in popular political papers such as Le Charivari. Until recently the existence of this feminist organization was regarded as genuine, if poorly documented. Some historians have recently argued that the organization was itself "a burlesque creation of the French police who drew up a constitution for it and provided it with prostitutes as members". (Wikipedia). The Plates: 1. Mâme Coquardeau, j'te défends d'aller au rappel..n'y a pas d'bon sens de me laisser comme ça avec trois enfans sur les bras..et pas de biberon!.. Mâme Coquardeau, I forbid you to go to the rappel..it doesn't make sense to leave me like that with three children on my arms..and no bottle!.. 2. Grosse Ronde-Major. Big Round-Major. 3. Entre Deux Patrouilles. Between Two Patrols. 4. Tambour, tes flas commencent à être agréables mais trop souvent tes ras sont rates!.. Drum, your flas are starting to be nice but too often your ras are misses!.. 5. Tiens, Virginie c'est la première fois qu'on peut se flatter de m'avoir mise au pas!.. Hey, Virginie, it's the first time you can flatter yourself that you've brought me to heel!.. 6. Comment pt'ite malhureuse, je te donne un état honorable, je te mets dans les chemises d'homme, et v'là que je te r'trouve dans les culottes d'une Vésuvienne..va, tu n'es plus ma fille!.. How unfortunate you, I give you an honorable status, I put you in men's shirts, and here I find you in the panties of a Vesuvian woman.. come on, you're no longer my daughter !.. 7. Qui vive?.. Eh! mais je ne me trompe pas, c'est m'am'selle Virginie! N'y a pas de Virginie qui tienne..réponds au qui vive ou j'témbroche!.. Who lives?.. Hey! but I'm not mistaken, it's madame Virginie! There's no Virginia that holds .. answer the question or I stumble!.. 8. Danger d'insulter une femme armée. Danger of insulting an armed woman. 9. Il est gentil tout d'même notre vivandier..allons versez, petit.. He is nice all the same, our vivandier.. let's pour, little one.. 10. Me conseilles-tu de me mettre une barbe?.. Do you advise me to put on a beard?.. 11. Allons habille-toi, Clorinde, essaye ton uniforme..je t'apporte une carabine toute neuve, elle est à piston.. Tiens j'croyais qu'il n'y avait que la trompette de m'sieu Dufrène qui était a piston! Come on, get dressed, Clorinde, try on your uniform.. I'm bringing you a brand new rifle, it's piston-powered.. Well, I thought only M'sieu Dufrène's trumpet was piston-powered! 12. Entre camarades. Between comrades. 13. Prête-moi donc la plume de ton chapeau de paille d'italie, j'ai envie de l'ajouter encore á mon panache.. So lend me the feather of your Italian straw hat, I want to add it to my panache.. 14. Phrasie..recouds-moi rien que ce bouton là, je n'peux pas sortir sans ça!.. Plus souvent!.. Phrase.. sew me back on just that button, I can't go out without it!.. More often!.. 15. Sergente..voici un homme à fourrer au violon..la patrouille l'a surprise au moment même ou il était en train d'être battu par sa femme..elle était bien fatigue, faut que ce soit un fier gueux!.. Sergente..here is a man to fuck with the violin..the patrol surprised him at the very moment when he was being beaten by his wife..she was very tired, he must be a proud beggar!.. 16. Caporale, faites courir après un homme qui se sauve..il m'a offense moi factionnaire!.. Il fallait l'arrêter toi mème!.. Je n'ai pas pu..il m'a insultée par derrière..le lâche!.. Corporal, run after a man who is running away..he offended me, sentry!.. You had to stop him yourself!.. I couldn't..he insulted me from behind..the coward !.. 17. Un homme découvert pour avoir été surpris. Bourgeois, si vous voulez ravoir votre chapeau c'est cinq sous!.. A man discovered to have been surprised. Bourgeois, if you want your hat back, it's five sous!.. 18. Pour un Mobile. For a Mobile. 19. Eh! bien pékines..qu'est-ce que vous attendez encore pour vous enrôler dans mon regiment? Hey! good beijing.. what are you still waiting for to enroll in my regiment? 20. Enrolement des Vésuviennes dans le parti Napoléonien. Joséphine Frenouillot abuse de sa resemblance avec Napoléon pour faire croire à sa troupe que l'Empereur n'est pas mort, comme la police en avait fait courir le bruit. Enlistment of the Vésuviennes in the Napoleonic party. Joséphine Frenouillot abuses her resemblance to Napoleon to make her troops believe that the Emperor is not dead, as the police had spread the rumor. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05256

Catalogue: Color-Plate Books

Keywords: Books in French Caricatures Women Naval and Military

BEAUMONT, Charles-Édouard de

Les Vésuviennes [and] Quartier de la Boule Rouge [and] la Guerre Des Femmes [and] Fariboles [and] Au Bal Masqué [and] Les Jolies Femmes de Paris

Paris: Chez Aubert & Cie. Editeurs, 1848. Three incredibly rare suites by Charles Beaumont bound together in one album Together with Eighteen Hand Colored Lithographs from Three of his Other Works BEAUMONT, Charles-Édouard de. Les Vésuviennes ou les Soldats pour rire.. complete [and] Quartier de la Boule Rouge.. complete [and] La Guerre des Femmes [and] Fariboles [and] Au Bal Masqué [and] Les Jolies Femmes de Paris [The Pretty Women of Paris]. Paris: Chez Aubert & Cie. Editeurs, [1846-1849]. Three incredibly rare complete suites by Charles Beaumont, together with eighteen hand colored lithographs from three of his other works, bound together in one album. A total of fifty-seven hand colored lithographs and forty black & white lithographs. Folio (13 1/8 x 10 inches; 334 x 254 mm.). Late nineteenth century quarter red morocco over marbled boards, spine with five raised bands ruled in blind and lettered in gilt, marbled endpapers. Les Vésuviennes ou les Soldats pour rire.. Paris: Au Bureau du Charivari, [1848]. Complete. Pictorial lithograph title and twenty superb hand-colored lithograph plates, all heightened with gum arabic. All plates mounted on stubs. Quartier de la Boule Rouge. Paris: Au Bureau du Charivari, [1847-48]. Complete. Nineteen superb hand-colored lithograph plates, all heightened with gum arabic. All plates mounted on stubs. La Guerre des Femmes. Paris: Au Bureau du Charivari, [ca.1848]. One superb hand-colored lithograph plate, heightened with gum arabic. Mounted on a stub. Fariboles. Paris: Au Bureau du Charivari, [1848-49]. Three superb hand-colored lithograph plates, all heightened with gum arabic. All plates mounted on stubs. Au Bal Masqué. Paris: Au Bureau du Charivari, [1848]. Fourteen superb hand-colored lithograph plates, all heightened with gum arabic. All plates mounted on stubs. Les Jolies Femmes de Paris. Paris: Au Bureau du Charivari, [1846]. Complete. Forty superb black & white lithograph plates. All plates mounted on stubs. The twenty superb hand colored lithographs in Les Vésuviannes depict an imagined state of society in which there is great suffering and injustice, in which women take the functions of national guards and policemen. The title is linked to the resumé of a radical feminist group that actually existed following the February revolution which militated the female military service the ability to dress like men, as well as women for the equality in housework. Historically, the first community of Vesuvius was established in Belleville. On March 26, 1848, at the foot of the Vendôme column. A whole legion of young women from 15 to 30 years old passed behind a tricolor banner with the word 'Vésuviennes'. At noon, they went to the city hall, to ask for the help and protection of the provisional government. The Vésuviennes were a radical feminist group that existed in France in the middle of the 19th century. They chose their name (derived from Mount Vesuvius) because, in their words, "Like lava, so long held back, that must at last pour out around us, [our idea of feminist equality] is in no way incendiary but in all ways regenerating." With the overthrow of King Louis-Philippe of France in 1848, the newly formed Republic lifted all restrictions on the press and assembly. This encouraged a proliferation of new feminist publications, organizations, and groups. The Vésuviennes were among the latter. Considered to be the most radical of all of the feminist factions of the time, the Vésuviennes promoted female military service, the right of women to dress the same as men, and legal and domestic equality between husband and wife, even as that extended to the distribution of household chores. Most Vésuviennes were between the ages of 15 and 30, unmarried, poorly paid workers. Even some other feminists disapproved of their tactics, which included wearing culottes (not unlike the bloomers worn by radical American feminists at the time) and staging frequent street demonstrations. The image of a young woman in culottes came to represent all feminists to some, as can be seen in the caricatures of Charles-Édouard de Beaumont, one of several artists who satirized the efforts of feminists of the period in popular political papers such as Le Charivari. Until recently the existence of this feminist organization was regarded as genuine, if poorly documented. Some historians have recently argued that the organization was itself "a burlesque creation of the French police who drew up a constitution for it and provided it with prostitutes as members". (Wikipedia) Charles-Édouard de Beaumont (1821-1888) was one of the great caricaturists and lithographers that illustrated the beautiful pages of Charivari and other fashionable image journals. He produced all the illustrations for the picturesque Revue, Le Diable Amoureux (The Devil in Love) and many of the illustrations for the 1844 edition of Victor Hugo's Notre-Dame de Paris. Often criticized for drawing too much inspiration from Paul Gavarni, he published between 1228 and 1273 lithographs in the years 1842 to 1866. In 1879 he co-founded the Societe d'Aquarellistes Francais in 1879, where he exhibited several watercolors. De Beaumont's satirical images of gender relations are not always as progressive as this description of the series might suggest. In 1848, after Au Bal Masqué, de Beaumont stopped depicting women in acceptable female roles and instead reconnected them to the role of prostitute. He would also reverse their gender roles to support an antifeminist backlash prompted by a conservative political climate. Out of this same school of thought, de Beaumont authored a book titled The Sword and Womankind that attributes a range of historical calamities to the deeds of wayward women. For example, depictions of women castrating men and enacting other violent acts spread from the belief that women were responsible for the failure of the 1848 revolution. The Plates: Les Vésuviennes (The Vesuvians) 1. Mâme Coquardeau, j'te défends d'aller au rappel..n'y a pas d'bon sens de me laisser comme ça avec trois enfans sur les bras..et pas de biberon!.. Mâme Coquardeau, I forbid you to go to the rappel..it doesn't make sense to leave me like that with three children on my arms..and no bottle!.. 2. Grosse Ronde-Major. Big Round-Major. 3. Entre Deux Patrouilles. Between Two Patrols. 4. Tambour, tes flas commencent à être agréables mais trop souvent tes ras sont rates!.. Drum, your flas are starting to be nice but too often your ras are misses!.. 5. Tiens, Virginie c'est la première fois qu'on peut se flatter de m'avoir mise au pas!.. Hey, Virginie, it's the first time you can flatter yourself that you've brought me to heel!.. 6. Comment pt'ite malhureuse, je te donne un état honorable, je te mets dans les chemises d'homme, et v'là que je te r'trouve dans les culottes d'une Vésuvienne..va, tu n'es plus ma fille!.. How unfortunate you, I give you an honorable status, I put you in men's shirts, and here I find you in the panties of a Vesuvian woman.. come on, you're no longer my daughter !.. 7. Qui vive?.. Eh! mais je ne me trompe pas, c'est m'am'selle Virginie! N'y a pas de Virginie qui tienne..réponds au qui vive ou j'témbroche!.. Who lives?.. Hey! but I'm not mistaken, it's madame Virginie! There's no Virginia that holds .. answer the question or I stumble!.. 8. Danger d'insulter une femme armée. Danger of insulting an armed woman. 9. Il est gentil tout d'même notre vivandier..allons versez, petit.. He is nice all the same, our vivandier.. let's pour, little one.. 10. Me conseilles-tu de me mettre une barbe?.. Do you advise me to put on a beard?.. 11. Allons habille-toi, Clorinde, essaye ton uniforme..je t'apporte une carabine toute neuve, elle est à piston.. Tiens j'croyais qu'il n'y avait que la trompette de m'sieu Dufrène qui était a piston! Come on, get dressed, Clorinde, try on your uniform.. I'm bringing you a brand new rifle, it's piston-powered.. Well, I thought only M'sieu Dufrène's trumpet was piston-powered! 12. Entre camarades. Between comrades. 13. Prête-moi donc la plume de ton chapeau de paille d'italie, j'ai envie de l'ajouter encore á mon panache.. So lend me the feather of your Italian straw hat, I want to add it to my panache.. 14. Phrasie..recouds-moi rien que ce bouton là, je n'peux pas sortir sans ça!.. Plus souvent!.. Phrase.. sew me back on just that button, I can't go out without it!.. More often!.. 15. Sergente..voici un homme à fourrer au violon..la patrouille l'a surprise au moment même ou il était en train d'être battu par sa femme..elle était bien fatigue, faut que ce soit un fier gueux!.. Sergente..here is a man to fuck with the violin..the patrol surprised him at the very moment when he was being beaten by his wife..she was very tired, he must be a proud beggar!.. 16. Caporale, faites courir après un homme qui se sauve..il m'a offense moi factionnaire!.. Il fallait l'arrêter toi mème!.. Je n'ai pas pu..il m'a insultée par derrière..le lâche!.. Corporal, run after a man who is running away..he offended me, sentry!.. You had to stop him yourself!.. I couldn't..he insulted me from behind..the coward !.. 17. Un homme découvert pour avoir été surpris. Bourgeois, si vous voulez ravoir votre chapeau c'est cinq sous!.. A man discovered to have been surprised. Bourgeois, if you want your hat back, it's five sous!.. 18. Pour un Mobile. For a Mobile. 19. Eh! bien pékines..qu'est-ce que vous attendez encore pour vous enrôler dans mon regiment? Hey! good beijing.. what are you still waiting for to enroll in my regiment? 20. Enrolement des Vésuviennes dans le parti Napoléonien. Joséphine Frenouillot abuse de sa resemblance avec Napoléon pour faire croire à sa troupe que l'Empereur n'est pas mort, comme la police en avait fait courir le bruit. Enlistment of the Vésuviennes in the Napoleonic party. Joséphine Frenouillot abuses her resemblance to Napoleon to make her troops believe that the Emperor is not dead, as the police had spread the rumor. Quartier de la Boule Rouge (19 hand colored plates): 3. Je ne sais pas trop si je dois vous pardoner..vous êtes un despote..un tyran!.. I don't know if I should forgive you..you are a despot..a tyrant!.. 9. Le soir où il n'y a ni Ranelagh, ni Mabille, ni Château-Rouge. The evening when there is neither Ranelagh, nor Mabille, nor Château-Rouge. 17. Le Monsieur qui ne se fait pas announcer. The gentleman who does not announce himself. 18. Tiens..on dirait que votre bague est faite pour mon doigt..allons, bon, voilà que je ne peux plus la retirer!.. Here.. it looks like your ring was made for my finger.. come on, now I can't take it off!.. 19. Une Lettre d'Amour de Quatre Pages. Post-Scriptum. Mon cher ami, pourriez-vous m'envoyer cinq cents francs. A Four Page Love Letter. Post Scriptum. My dear friend, could you send me five hundred francs. 21. Un mauvais quart d'heure. A bad quarter of an hour. 22. C'est rempli de sentiment cette lettre-là..il doit demeurer au cinquième.. This letter is full of feeling..he must live on the fifth floor.. 24. Envoyé extraordinaire et plénipotentiaire. Envoy Extraordinary and Plenipotentiary. 25. Les seules chaînes que les femmes se décident à porter volontiers. The only chains that women decide to wear willingly. 28. Passée à l'état de maîtresse..de table d'hôte. Passed to the state of mistress.. of table d'hôte. 26. Ma nièce a droit à des dommages-intérêts, puis qu'il a promis de l'épouser..dans un cabinet de chez Véfour..non, dans un cabinet de la maison d'or.. Je ne puis pas me charger de cette affaire là, du moment où c'est une question de cabinet!.. My niece is entitled to damages, since he promised to marry her..in a practice at Véfour..no, in a practice at the Maison d'Or.. I can't take care of that case. as long as it's a matter of practice!.. 27. Après un excellent diner, il n'y a rien de tel que du vrai moka.. Et il y a encore des chipies qui osent dire que nous ne vivons pas bien!.. After an excellent dinner, there is nothing like real mocha.. And there are still bitches who dare to say that we do not live well!.. 31. Un Nouveau Prétendant. La dame à part - Il n'est pas déja trop bien..mais après ça, cette année-ci les chinoiseries sont à la mode!.. A New Suitor. The lady apart - He is not already too good..but after that, this year the chinoiseries are in fashion!.. 32. Je suis venu cinq fois hier sans vous trouver, madame!.. Mais puisque je vous dis que je suis allé poser des sangsues à ma tante.. N'y a pas de sangsue qui tienne..je suis venu cinq fois!.. I came five times yesterday without finding you, madam!.. But since I tell you that I went to put leeches on my aunt.. No leeches..I came five times!.. 33. Je ne prise jamais madame.. Vous préferez sans doute le cigarre..j'en ai d'excellens!.. I never break madam.. You probably prefer the cigar.. I have some excellent ones!.. 40. C'est que je suis bien embarrassée pour lui donner son congé comme ça, du jour au lendemain.. Faut lui dire que ta famille trouvant que tu as mené assez long-tems la vie de garçon, a résolu de te marier dans les quarante huit heures.. It's because I'm very embarrassed to give him his leave like that, overnight.. You have to tell him that your family, finding that you've lived the life of a bachelor for quite a long time, has resolved to marry you within forty-eight. time.. 45. Les affaires reprennent, le barons reviennent. Business resumes, the barons return. 47. C'est drôle!..voilà plus d'un quart d'heure que le gros monsieur marié d'en face est sorti et le petit jeune homme d'à côté n'est pas encore entré..faut qu'il soit malade!.. It's funny!..It's been more than a quarter of an hour since the fat married gentleman opposite left and the little young man next door hasn't come in yet..he must be sick !.. 49. Tiens, tu dis que tu as mal à l'estomac, et voilà ton régime!..Puisque c'est de la tisane de Champagne, ça ne peut que me faire du bien!.. Here, you say you have a stomach ache, and here's your diet!..Since it's Champagne tea, it can only do me good!.. La Guerre des Femmes (1 hand colored plate): 7. Complication de la crise. Complication of the crisis. Fariboles (3 hand colored plates): 10. Une vue au bord de la mer. A view by the sea. 15. Henriette, faut pas l'écouter..j'sais que c'est un communiste..il veut d'toute les femmes!.. Henriette, don't listen to him..I know he's a communist..he wants all the women!.. 22. Une copie qui coûtera l'original. A copy that will cost the original. Au Bal Masqué (14 hand colored plates): 17. Laisse le donc, c'pauv' petit, tu vois bien que le cigarre l'incommode..si nous le ramenions à sa maman? So leave him, you poor kid, you can see that the cigar bothers him.. if we took him back to his mum? 18. Deux costumes anciens mais également mal portés. Two old costumes but also badly worn. 19. C'est l'propriétaire qui nous donne congé, sous le prétexte que nous sortons trop tard et que nous rentrons trop tôt!..où allons nous nicher mon pauv Pierrot! It's the owner who gives us leave, on the pretext that we're going out 20. Portier, pourriez-vous nous dire si nous sommes chez nous!.. Doorman, could you tell us if we are at home!.. 21. Je ne veux pas t'écouter, bel Espagnol..la jalousie me rendrait trop malheureuse, toutes les femmes doivent être folles de toi! I don't want to listen to you, handsome Spaniard..jealousy would make me too unhappy, all women must be crazy about you! 22. Après Le Bal Masqué. Hussard Chamboran petite tenue. After The Masked Ball. Hussar Chamboran undress. 23. Est-y laid, ce sauvage là! N'en dis pas d'mal, Nini, c'est un Californien. How ugly is that savage! Don't say anything bad about it, Nini, he's a Californian. 24. Veux-tu finir, villain satyre, veux-tu bien ne pas m'embrasser comme ça..tu vas faire rougir ce mossieu qu'est à côté de nous..il s'est dèguisé en pharmacien, ce doit être un homme vertueux!.. Do you want to finish, villainous satyr, do you mind not kissing me like that..you're going to make this guy next to us blush..he's disguised himself as a pharmacist, he must be a virtuous man!.. 25. Un Pierrot Blanc. Fais-donc attention!..pour un Pierrot réactionnaire, tu vas trop en avant! A White Pierrot. So be careful!..for a reactionary Pierrot, you're going too far! 26. Ayez pitié d'un pauvre roi sans travail..un p'tit baiser pour l'amour de dieu! Mon brave homme!..j'ai mes pauvres!.. Have mercy on a poor king out of work..a little kiss for god's sake! My brave man!..I have my poor!.. 28. Jeune homme!..si vous vous livrez encore à des pas subversifs de l'ordre dans cette société, je vous ferai transporter au violon!.. Young man!..if you still indulge in subversive steps towards order in this society, I will have you transported to the violin!.. 29. Le Roi du Carnaval de 1850. The Carnival King of 1850. 31. Au Violon: Côté des hommes, Côté des Dames. Dis-donc, Nini, veux-tu que je te repasse un peu de ma philosophie? J'aimerais mieux du tabac! Violin: Men's side, Ladies' side. Tell me, Nini, do you want me to tell you a bit about my philosophy? I'd rather have tobacco! 45. Après le Carnaval. Le marchand - Un pantalon de débardeur, en velours, ça vaut trois francs! La dame - Allons donc!..un pantalon qui a eu tant de succés!.. Le marchand - Ça vaut trois francs, que je vous dis..et encore c'est parceque j'espére le vendre à un travailleur de la Californie..je lui ferai croire que c'est un pantalon d'Auvergnat!.. After Carnival. The Merchant - A pair of corduroy tank top pants is worth three francs! The lady - Come on!.. pants that have been so successful!.. The merchant - It's worth three francs, I'm telling you.. and again it's because I hope to sell them to a worker in the California..I'll make him believe it's Auvergnat pants!.. Les Jolies Femmes de Paris (40 black & white plates - complete) 1. Quelle chance..dire que je n'aurai eu une petite voiture à mes ordres que pendant un mois de ma vie, et ça tombe juste en fèvrier qui n'a que vingt huit jours!.. What luck..to say that I will only have had a small car under my orders for one month of my life, and that just happened in February, which is only twenty-eight days old!.. 2. Un monsieur qui cause sérieusement. A gentleman who talks seriously. 3. Etude sérieuse et au piano de la partition du Larifla, fla, fla. Serious study and at the piano of the score of Larifla, fla, fla. 4. Envoyée extraordinaire d'un Prince du nord, remise d'une missive et de plusieurs fourrures, prèsens diplomatiques. Envoy extraordinary from a Prince of the North, delivery of a missive and several furs, diplomatic presents. 5. Moi je n'aimerais que cette rivière en diamans.. Diable..voila des gouts peu modestes..filons!.. Me, I would only like this diamond river.. Devil.. here are not very modest tastes.. let's go!.. 6. Comment..Céline qui lit un livre de morale!.. Eh! mon dieu..il faut bien connaitre un peu de tout!.. How.. Céline reading a moral book!.. Hey! my god.. you have to know a bit of everything!.. 7. (Le monsieur lisant.) "Mon cher monsieur Bienaimé, pour solder un petit restant de compte avec ma blanchisseuse, j'aurais besoin ce matin de conq cent francs, si vous pouvez remettre cette bagatelle à Florine ma femme de chambre en un billet de la banque, vous l'obligerez.." (The gentleman reading.) "My dear Monsieur Beloved, to settle a little remaining account with my laundress, I would need five hundred francs this morning, if you can give this trifle to Florine, my chambermaid, in a note of the bank, you will oblige it.." 8. Prenons garde, la portiere nous écoute..je la soupçonne d'être un agent soudoyé par l'or de l'Angleterre!.. Let's be careful, the portress is listening to us..I suspect her of being an agent bribed by England's gold!.. 9. Deux philosophes qui étudient le monde du haut d'un balcon de la rue Notre dame de Lorette. Two philosophers studying the world from a balcony on rue Notre Dame de Lorette. 10. Voyons mon petit Jules..je ne peux pas être plus mal meublée que Clarisse..rien qu'une pendule rocaille..et tout le reste assorti.. Let's see my little Jules..I couldn't be worse furnished than Clarisse..nothing but a rockery clock..and everything else to match.. 11. Madame est sortie..elle est allée au bain.. Comment au bain..elle y est déja allé ce matin, de dix heures à midi!.. Madam went out..she went to the bath..How to the bath..she already went there this morning, from ten o'clock to noon!.. 12. On rend une petite visite à ce bon monsieur Thèodore. We pay a little visit to this good Mr. Theodore. 13. Il m'a acheté hier cette robe de cinq louis et demi.. Il s'est conduit en parfait gentilhomme.. He bought me this dress for five and a half louis yesterday.. He behaved like a perfect gentleman.. 14. On en est encore au respect! We are still respectful! 15. Madame, fut'il laisser entrer ce M'sieu?.. Il ne t'a pas dit son nom?.. Non..mais il m'a l'air bien comme il faut..il fume du Camphre!.. Madame, was he to let this gentleman in?.. He didn't tell you his name?.. No.. but he looks fine to me.. he smokes Camphor!.. 16. Si ma femme me voyait..mais non, il n'y a pas de danger..les rideaux de sa chambre sont soigneusement tirés..ah! ça mais, au fait, pourquoi diable ses rideaux sont-ils si soigneusement tirés!.. If my wife saw me..no, there is no danger..the curtains of her room are carefully drawn..ah! that but, by the way, why the hell are her curtains so carefully drawn!.. 17. Mon petit mimi..ne faut zamais dire à un monsieur qui vient voir ta maman: tu m'embêtes..faut touzour lui répondre bien sentiment..comme si c'était papa!.. My little cutie..never say to a gentleman who comes to see your mum: you bother me..always have to answer him with good feeling..as if it were daddy!.. 18. Quel dommage que les cheveux ne restent pas toujours de la même couleur, et que ça change avec l'âge!.. C'est vrai..tu connais bien la propriétaire d'en face..celle qui se donne vingt neu fans depuis quinze ans..elle a perdu son mari il y à six mois, et elle a eu tant de chagrin que, dans une seule nuit, tout ses cheveux sont devenus noirs!.. What a pity that the hair doesn't always stay the same color, and that it changes with age!.. It's true..you know the owner opposite well..the one who has given herself twenty-nine fans for fifteen years..she lost her husband six months ago, and she was so sad that, in a single night, all her hair turned black!.. 19. Divertissement matrimonial - monsieur mène madame sur la butte Montmartre pour lui faire contempler le coucher du soleil. Matrimonial entertainment - Monsieur takes Madame to the Butte Montmartre to make her contemplate the sunset. 20. Parisienne tournant à la Varsovienne. Parisian turning Warsaw style. 21. On demande une réponse par le courier. A response by courier is requested. 22. Costume national français du commencement de décembre à la fin de février. French national costume from the beginning of December to the end of February. 23. Quant à moi si j'aimais bien quelqu'un..oh! mais là bien!..je m'abstiendrais à des économies, et je serais capable de ne pas dépenser avec lui, plus de trois mille cinq cent francs..par mois!.. As for me, if I loved someone..oh! but that's fine!..I would abstain from saving money, and I would be able not to spend more than three thousand five hundred francs with him..a month!.. 24. Une étoile qui file. A spinning star. 25. Tenue champêtre des Parisiennes pour aller au bois. Country outfit for Parisiennes to go to the woods. 26. Dames sur le Turf. Checkers on the Turf. 27. Tiens, je te le vends bien bon marché sit u veux..je me suis donnè beaucoup de mal pendant trois mois à lui apprendre à dire j'aime Frédéric, et voilà que depuis quinze jours mon chérie s'appelle Théobald..c'est gènant..on ne devrait jamais apprendre aux perroquets qu'à dire qu'ils n'ont pas déjeuné!.. Here, I'll sell it to you very cheaply if you want..I went to great lengths for three months to teach her to say I love Frédéric, and now for two weeks my darling has been called Théobald..it's embarrassing ..parrots should only ever be taught to say that they have not eaten!.. 28. Madame Diogène. Madame Diogenes. 29. Allons donc? Marguerite, allons donc!.. J'fais tout ce que je peux..mais j'savais pas qu'en entrant chez une dame seule, la première chose qu'y fallait apprendre c'était à vernir des bottes!.. So let's go? Marguerite, come on!.. I'm doing everything I can.. but I didn't know that when I went to a lady alone, the first thing you had to learn was how to varnish boots!.. 30. Dire pourtant que me voila en Madeleine..je ne suis peut-être pas bien ressemblante de figure. Ça ne fait rien..beaucoup de personnes vous reconnaîtront!.. To say, however, that here I am in Madeleine..I am perhaps not a good resemblance in face. It doesn't matter..a lot of people will recognize you!.. 31. Pélerinage au moulin de la galette, butte Montmartre. Pilgrimage to the Moulin de la Galette, butte Montmartre. 32. Elle m'écrivait en m'attendant..cette bonne petite..tiens!..elle commence sa lattre par cher Casimir..quand elle sait que je m'appelle Philémon! She wrote to me expecting me..that good little one..hold on!..she begins her letter with dear Casimir..when she knows that my name is Philemon! 33. Je l'aime un peu..beaucoup..passionément..est-il permis, passionément!..un homme de quarante neu fans et qui a le nez d'Odry..ces marguerite c'est bête comme choux!.. I love him a little..a lot..passionately..is it allowed, passionately!..a man of forty nine fans and who has Odry's nose..these daisies are stupid as cabbage!.. 34. Conversation conjugale à huis clos. Marriage conversation behind closed doors. 35. A quoi sert un Kings - Charles de cinquante écus, - à abimer une robe de deux cents francs. Of what use is a Kings-Charles of fifty crowns, - to damage a dress of two hundred francs. 36. Oh!..la belle dame don't mon maître a fait connaissance hier à l'Opéra, qui dine avec du fromage d'Italie!.. Après ça c'est peut-être une Napolitaine! Oh!..the beautiful lady whom my master met yesterday at the Opera, who dines with Italian cheese!.. After that she may be a Neapolitan! 37. Le prix courant d'un bouquet. The current price of a bouquet. 38. C'est une dame..vite mon châle!.. It's a lady..quick my shawl!.. 39. Il a l'honneur de saluer Mme. De Ste. Amaranthe et sa nièce. He has the honor to greet Mrs. De Ste. Amaranthe and her niece. 40. Archicivilisées! Archivilized!.

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05309

Catalogue: Color-Plate Books

Keywords: Books in French Caricatures Women Naval and Military

BLAGDON, Francis Wiliam; MORLAND, George

Authentic Memoirs of the Late George Morland

London: Printed for Edward Orme.. by Barnard and Sultzer, 1806 [1824]. An Admirable Album" BLAGDON, Francis Wiliam. MORLAND, George. Authentic Memoirs of the late George Morland, with remarks on his abilities and progress as an artist: in which are interspersed a variety of anecdotes never before published; together with a Fac-simile of his writing, specimens of his hieroglyphical sketches, &c. &c. The whole collected from numerous manuscript communications. London: Printed for Edward Orme.. by Barnard and Sultzer, 1806 [i.e. 1824]. Second (uniform) edition. Oblong folio. (17 1/2 x 22 1/4 in; 445 x 565 mm). Hand-colored engraved portrait frontispiece, [1, titlepage], [1, blank], nineteen hand-colored engravings (including one aquatint) with guards, watermarked J. Whatman Turkey Mill 1820 and 1824, 3-15, [1, blank] pp. including three text engravings (text bound at rear). Early twentieth century quarter brown calf over marbled boards decoratively ruled in gilt. Front cover with rectangular brown morocco gilt lettering label. Two inch repaired, clean tear to lower margin of plate 14. An excellent copy. Of Blagdon and this volume, Prideaux notes: " Even better are his Memoirs of George Morland, an admirable volume full of just yet not excessive appreciation, and now extremely scarce, owing to its being frequently broken up for the value of the plates. Of these, only one is in aquatint, the rest are in soft ground etching, mezzotint and stipple, the colour-printed mezzotints, rarely found associated with aquatint in illustration, being specially sought for" (p. 222). "Blagdon's Memoirs of George Morland is an extremely rare book and I have had great difficulty in tracing copies to compare..In 1824, however, there was a definite uniform edition with 20 plates all colored. The title page is still dated 1806 and the plates still bear their original imprints but the watermark is 'J. Whatman Turkey Mills 1824'" (Tooley). "George Morland, (1763-1804), landscape and genre painter.. His strict upbringing and enforced study in early childhood may account for his wayward and rebellious character in later life..In 1784, when his apprenticeship expired, Morland set up on his own account and moved out of the family home. Once freed from parental constraints, his life of extravagance, hard drinking, and association with low-life characters commenced. At first he was exploited by an unscrupulous picture dealer in Covent Garden, for whom he produced ‘galanteries' of an immodest nature.. "Morland's work from 1790 to about 1794 was lively and fresh.. His most enduring subjects were of farmyards, cottage scenes, stables, and country alehouses.His achievement in his best work of the early 1790s was to offer the viewer a relatively unaffected representation of rural life and yet to do so in conformity with the standards of taste of the period that would have found ugliness offensive. His pictures can thus be described as having a ‘picturesque propriety' that sets them apart from his contemporary landscape and genre painters.. "Morland's practice as an artist is important in that he was one of the first painters to break away from the traditional arrangements between artists and patrons. He produced his own designs, not relying on commissions, and sold directly to dealers, print publishers, or ‘agents'.. his aversion to polite society meant that he missed out on important commissions.. Despite his enormous output—probably in the region of 1000 paintings—his life of poverty and debt is evidence that the pictures were usually sold for little, or traded against debts.. "The last decade of Morland's career was one of decline, as drink, debt, and poor health took their toll on him, and his powers as a painter diminished rapidly..Morland's reputation in his own lifetime was high and based primarily on the large number of prints after his works..Morland's importance as an artist began to be reassessed somewhat in the last decade or two of the twentieth century.. he is now regarded as an interesting minor master, much of whose work was innovative at the time in both subject matter and style and who can now be seen as a recognizable influence on both John Constable and David Wilkie" (Oxford DNB). The Plates: 1. George Morland. Publ. Jany. 1805 by Edwd.Orme. 2. A Mad Bull (aquatint by R. Dodd). Publ. Nov. 20, 1789 by P. Cornman and Republished 1805 by Edwd. Orme. 3. The Cottage Sty. Sold and published Jany. 1, 1804 by Edwd. Orme 4. Conversation. Published and sold by Edwd. Orme..July, 1, 1804. 5. (Rustic Scene - Two women, two men, & stile). Sold and Published June 4, 1804 by Edwd. Orme. 6. (Washing). Republished by Orme..Jany 1, 1799. 7. (Stable &c.). Sold and Publd. Jany. 1, 1793 by D. Orme. Republished by Orme Jany 1, 1799. 8. Morland's Ass. Published 1804 by Edwd. Orme. 9. Ass & Pigs. Published and Sold by edwd. Orme..Jany 1, 1804. 10. (Water Mill). Sold & Published..Septr. 1802 by Edwd. Orme. 11. (Rustic scene - Cottage and Cart). Sold & Publd. Jany 1, 1793 by D. Orme & Co.. 12. (Rustic Bridge &c.). Sold & Published Jany. 1794 by D. Orme & Co.. 13. (Horse and Ostler). Republished by Orme..Jany, 1, 1799. Sold and Published May 1, 1793 by D. Orme & Co.. 14. (Pony figures in rain). Sold and Published June 4th 1804 by Edwd. Orme.. 15. The Rustic Hovel). Sold and Published Jany. 1, 1804 by Edwd. Orme.. 16. (Horse drinking). Republished by Orme..Jany. 1, 1799. Sold & Published May 1, 1793 by D. Orme.. 17. Alehouse seat). Republished by Orme Jany. 1, 1799. Sold & Published May 1, 1793 by D. Orme.. 18. (Two children picking flowers). Sold & Published..Septr. 1802 by Edwd. Orme.. 19. (Haymakers by stile). Sold & Published Jany. 1, 1794 by Danl. Orme & Co. Sold & republished by Danl. Orme, Jany. 1, 1799. 20. An Ass Race. Pubd. Novr. 20 1789 by P. Cornman and republished 1805 by Edwd. Orme.. Prideaux p. 221-222. Tooley 91. Abbey, Life in England, 208. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 03272

Catalogue: Color-Plate Books

Keywords: MORLAND, George Caricatures Sports

BOILLY, Louis-Léopold

Boilly's Humorous Designs

London: E. & C. M'Lean, 1823. Scarce First British Appearance of Boilly's Grimaces BOILLY, Louis-Léopold. Boilly's Humorous Designs. Seven Plates, Coloured After the Original Drawings. Price One Guinea. London: E. & C. M'Lean, 1823. First UK publication of a selection of Boilly's initial plates from his Recueil de Grimaces (1823). Folio (14 1/2 x 11 in; 375 x 275 mm). Seven hand-colored lithographed plates after Boilly with original tissue guards. The third plates is watermarked "J. Whatman 1823". The wrappers are watermarked "1820". Original printed buff wrappers. An excellent copy, housed in a later black cloth portfolio, lettered in gilt on front cover and with the bookplate of Alfred N. Beadleston. Exceedingly scarce, with only one copy in institutional holdings worldwide, at Harvard's Houghton Library  "Address to the Public. On or before November the 1st, will be Published by E. and C. M'Lean, a Second Series of Boilly's Designs, executed in the same superior and elegant form. October 1, 1823" (inside front wrapper). The first plate is unnumbered and the only one with title, Reading the Will ("La lecture du testament," Les Grimaces 10 in the French original). The remaining six plates are identified only as Grimaces Pl. 1 through Grimaces Pl. 6. Grimaces Pl. 1 is Les Grimaces 1 in the French original; Grimaces Pl. 2 is Les Grimaces 6; Grimaces Pl. 3 is Les Grimaces 3; Grimaces Pl. 4 is Les Grimaces 7; Grimaces Pl. 6 is Les Grimaces 34, "Les Fumeurs et les Priseurs. We've yet to identify the French original of Grimaces Pl. 5 but it is likely within the first ten plates of Recueil de Grimaces. "Today, at least outside France, Boilly is best known for his lithographs. Although credited with having drawn the first lithograph in France in 1802, he did not return to the medium until 1822, when he more or less abandoned oil painting. The caricatural aspects of his lithographic work go back to the English caricaturists Cruikshank, Gillray, and Rowlandson and the earlier innovations of Hogarth. His most popular series of lithographs, Recueil de Grimaces, was published between 1823 and 1828.. The vignetted subjects of these prints appear to be cut out and applied to a plain background, a format also used by Pigal during the Restoration. The series was so popular that Philipon's printer Aubert re-published it in 1837 under the new title Groupes physionomiques.. "The series Recueil de Grimaces, published over the course of five years, included ninety-six lithographs.. Boilly's popularity during the Restoration was largely due to this series. The interest in expressive heads had precedent in France.. During the late eighteenth century, physiognomy, the art of reading inner character by means of facial expressions, was popularized by engravings illustrating Lavater's well-known Essays on Physiognomy, which may well have influenced the format of Boilly's Recueil de Grimaces' (The Charged Image: French Lithographic Caricature). The son of a wood-carver, Louis-Léopold Boilly lived in Douai until he was seventeen years of age, when he went to Arras to receive instruction in trompe-l'oeil painting at Domenica Doncre before moving to Paris in 1785. Between 1789 and 1791 he executed eight small scenes on moralizing and amorous subjects for the Avignon collector Esprit-Claude-François Calvet (1728-1810), including The Visit (1789; Saint-Omer, Musée Hôtel Sandelin). He exhibited at the Salon between 1791 and 1824 and received a gold medal at the Salon in 1804. These paintings thoroughly observed and reflected all aspects of urban life, its costumes and its habits, between the revolutionary period and the Restoration. In 1823, Boilly produced a series of humorous lithographies entitled Grimaces. In 1833, at a time when his popularity was declining, he was admitted to the Légion d'honneur and the Institut de France. His three sons, Julien Léopold (1796-1874), Édouard (1799-1854) and Alphonse Léopold (1801-1867), were also painters. (Susan Siegfried. The Art of Louis-Léopold Boilly, p. 122-123). Alfred Nash Beadleston, Sr. (1848-1915), partner in the Beadleston & Woerz Empire brewery of New York City, made headlines when, in 1909, the 60 year old Beadleston married 21 year old Helen F. Hazard (1888-1937), daughter of Edward Clarke Hazard of the grocery firm E. C. Hazard and Company, thus uniting stale old beer and ripe fresh groceries in one cart down the supermarket aisle. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 02545

Catalogue: Color-Plate Books

Keywords: Caricatures

BOILLY, Louis-Léopold

Boilly's Humorous Designs

London: E. & C. M'Lean, 1823 & D. Alexander, 1823. Scarce First British Appearance of Boilly's Grimaces Eleven Superb Hand Colored Lithographs BOILLY, Louis-Léopold. Boilly's Humorous Designs. London: E. & C. M'Lean, 1823 & D. Alexander, 1824. A fine collection from the first UK publication of Boilly's initial plates from his Recueil de Grimaces (1823). Folio (14 5/8 x 10 3/8 inches; 372 x 264 mm). Eleven superb hand-colored lithographed plates after Boilly. Plate numbers one & six are watermarked "J. Whatman 1823". Original half red morocco over drab gray boards, expertly rebacked to style, original rectangular red morocco label on front cover lettered in gilt "Humorous Designs by L. Boilly". Later endpapers. A superb collection with bright and vivid hand coloring. Exceedingly scarce. 1. Grimaces. Pl:1. Pubd by E & C McLean (Emotions- five male figures) 2. Grimaces. Pl:2. Pubd by E & C McLean (Emotions- five female figures) 3. Grimaces. Pl:3. Pubd by E & C McLean (five men tasting gruel) 4. Grimaces. Pl:4. Pubd by E & C McLean (four men and one woman expressions) 5. Grimaces. Pl:5. Pubd by E & C McLean (five men - various expressions) 6. Grimaces. Pl:6. Pubd by E & C McLean (three men and two women smoking, drinking and using snuff) 7. Beggars. London Pub. by E & C McLean - 1823 (five male beggars) 8. Grimaces. Drawn on Stone and Published by D Alexander, 10 Belgrade Place East Lane, Walworth Road (PL.5) (four men and a woman - various expressions) 9. Mustachios. Drawn on Stone and Published by D Alexander, 10 Belgrade Place East Lane, Walworth Road Nov: 1824 (Pl. 2) (two boys and one girl drawing a moustache on another sleeping young girl) 10. Perfect Felicity. Drawn on Stone and Published by D Alexander, 10 Belgrade Place East Lane, Walworth Rd. (PL.VI) (A man and a woman drinking wine and getting drunk) 11. O you ugly Dog! L. Boilly Aglio Lith. (three boys pointing to an 'ugly' figure) From 1823 to 1828 Boilly worked on a series of ninety-five lithographs, all caricatures representing various human emotions, such as alarm, menace, pain, disgust, or exasperation. "Today, at least outside France, Boilly is best known for his lithographs. Although credited with having drawn the first lithograph in France in 1802, he did not return to the medium until 1822, when he more or less abandoned oil painting. The caricatural aspects of his lithographic work go back to the English caricaturists Cruikshank, Gillray, and Rowlandson and the earlier innovations of Hogarth. His most popular series of lithographs, Recueil de Grimaces, was published between 1823 and 1828.. The vignetted subjects of these prints appear to be cut out and applied to a plain background, a format also used by Pigal during the Restoration. The series was so popular that Philipon's printer Aubert re-published it in 1837 under the new title Groupes physionomiques.. "The series Recueil de Grimaces, published over the course of five years, included ninety-six lithographs.. Boilly's popularity during the Restoration was largely due to this series. The interest in expressive heads had precedent in France.. During the late eighteenth century, physiognomy, the art of reading inner character by means of facial expressions, was popularized by engravings illustrating Lavater's well-known Essays on Physiognomy, which may well have influenced the format of Boilly's Recueil de Grimaces' (The Charged Image: French Lithographic Caricature). The son of a wood-carver, Louis-Léopold Boilly lived in Douai until he was seventeen years of age, when he went to Arras to receive instruction in trompe-l'oeil painting at Domenica Doncre before moving to Paris in 1785. Between 1789 and 1791 he executed eight small scenes on moralizing and amorous subjects for the Avignon collector Esprit-Claude-François Calvet (1728-1810), including The Visit (1789; Saint-Omer, Musée Hôtel Sandelin). He exhibited at the Salon between 1791 and 1824 and received a gold medal at the Salon in 1804. These paintings thoroughly observed and reflected all aspects of urban life, its costumes and its habits, between the revolutionary period and the Restoration. In 1823, Boilly produced a series of humorous lithographies entitled Grimaces. In 1833, at a time when his popularity was declining, he was admitted to the Légion d'honneur and the Institut de France. His three sons, Julien Léopold (1796-1874), Édouard (1799-1854) and Alphonse Léopold (1801-1867), were also painters. (Susan Siegfried. The Art of Louis-Léopold Boilly, p. 122-123). .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 04773

Catalogue: Color-Plate Books

Keywords: English Literature Nineteenth-Century Literature Caricatures French Caricature