HEIDELOFF, Nikolaus Wilhelm von

Gallery of Fashion, the

London: Pub..by N. Heideloff, 1794. The First Two Volumes of "the Most Splendid of English Costume Books" "A Very Difficult Book to Find in Good Condition" The Copy of Maria Christina, Queen of Spain [HEIDELOFF, Nikolaus Wilhelm von, publisher]. Gallery of Fashion. Vol. I, April 1794-March 1796. [London]: Pub..by N. Heideloff, 1794-1796. First edition of volumes 1 & 2. Quarto (11 1/8 x 8 3/4 inches; 284 x 222 mm.). [2] Advertisement, [48], [3] List of Subscribers, [1] blank; [2] Advertisement, [48], [2] List of Subscribers. Two hand-colored engraved title-pages and forty-nine hand-colored aquatint plates depicting ninety figures of fashionably dressed ladies. Each plate with descriptive text. Spectacularly bound c. 1835 in red straight-grain morocco, unsigned, yet to all appearances the work of the firm of Charles Hering, "the artistic successor to Roger Payne, the doyen of English bookbinders" (Marks). With a broad and boldly gilt tooled frame with corner devices enclosing a gilt panel featuring large gilt pointillé cornerpieces, an intermediate gilt ornamented frame sandwiched in between, to both covers. Elegantly gilt decorated compartments. Extra-wide gilt tooled and rolled turn-ins with gilt fillet and Greek key borders framing gilt rolled and ornamented pale blue moiré silk pastedown endpapers. Gilt rolled and ornamented pale blue moiré silk free-endpapers. All edges gilt. Attribution to the Hering bindery based upon close comparison with the Hering bindings found in Maggs' Bookbinding in the British Isles and Marks' Bookbinding Practices of the Hering Family 1794-1844. With the royal armorial bookplate of Maria Christina Reina de Espana (1806-1878), wife of Ferdinand VII. Only 167 copies were subscribed to for this first volume in 1794, including "the Princess Royal, the Princess Augusta, the Princess Elizabeth, the Duke of York and the Empress of Germany" (Holland, p. 48). Complete sets in fine condition, when found, have sold for upwards of $100,000. "The most splendid of English costume books, and the first real venture in this country of a periodical devoted to the changing taste in dress..Volume IX is notoriously rare.. No artist's or engraver's names are given, but the plates are probably the work of the publisher, Nikolaus Wilhelm von Heideloff (1761-1839). After April 1802 (Volume IX), the name of Heideloff ceases to appear in the imprint. Many plates also after that month are undated, and the magazine seems to have passed into other, and less competent, hands" (Abbey, Life). "After the Gallerie des Modes came to an end in 1787, there was a gap in the production of really fine costume-plates until 1794, when Nicolaus Wilhelm von Heideloff appears on the scene. Heideloff was born in Stuttgart in 1761, and was brought up to be an engraver. In the 1780s he migrated to Paris, where he lived by painting miniatures until the outbreak of the French Revolution dispersed his clientèle. We next hear of him in London, where he obtained employment with R. Ackermann..This connection is significant in view of Ackermann's subsequent interest in fashion-plates; it is not known how long it lasted, but in April 1794, when Heideloff was thirty-three years of age, he struck out on his own and started issuing The Gallery of Fashion. The Gallery of Fashion was nearer to the true fashion-plate than anything of its ambitious nature that had preceded it, though it was still meant to be more a record of existing modes than designs for the future. Indeed, in an advertisement announcing his forthcoming publication, Heideloff says that the dresses ‘are not imaginary but really existing ones', and he goes on to say that they are intended to be ‘a Repository of English National Dresses of Ladies'. This publication was issued in monthly parts, each part consisting of two aquatints, beautifully coloured by hand and enriched with gold, silver and other metallic tints. The yearly subscription was three guineas, and it lasted until March 1803, when it had completed exactly nine years of existence. Thus, with twenty-four plates issued each year (except in the second year, when the number was twenty-five), the total number of plates issued by Heideloff was 217. In addition to this, each yearly volume was supplied with a beautiful allegorical title-page, also in hand-coloured aquatint. And, of course, each plate was accompanied by a detailed description of the dresses which it depicted. Each plate showed either one, two or three figures, the total number shown being 362. The groups of figures in The Gallery of Fashion are shown in a large number of different occupations, such as out driving in a berlin, playing and singing at the harpsichord or the harp, taking tea and strolling at the seaside with their children. They are provided with accessories, such as muffs, fans, telescopes, bonnets, books and parasols, to say nothing of dogs, watches, tippets, gloves and a vast variety of trinkets. The majority of the plates represent outdoor scenes. We can arrive at a fairly accurate estimate of the circulation of The Gallery of Fashion, as in many of the volumes are given lists of subscribers..So we find that the total number of copies subscribed for was 347 in Great Britain and sixty-seven abroad. It is therefore reasonable to say that the total issue was never more than 450 at any time of its career; the number of separate copies sold (at seven shillings and sixpence an issue) must have been very small..The Gallery of Fashion..is a very difficult book to find in good condition and complete in every respect" (Vyvyan Holland, Hand Coloured Fashion Plates 1770 to 1899, pp. 46-48). Charles Hering was a master bookbinder and native of Germany who settled in London and "by 1794 had his own business.. He soon became one of the principal West End binders with three finishers, six forwarders, and two apprentices. He worked for many of the great libraries of the day, including Lord Spencer's [George John Spencer, 2nd Earl Spencer, ancestor of Princess Diana] and Thomas Grenville's. Dibdin states that 'till the star of Charles Lewis rose above the bibliopegistic horizon, no one could presume to measure business with him. There was a strength, squareness, and a good style of work about his volumes which rendered him deservedly a good favourite'" (Marks, Bookbinding Practices of the Hering Family 1794-1844). Hering's sons took over the firm at their father's death and continued managing the firm until it was bought in 1845. Abbey, Life, 218. Colas 1170. Hiler, p. 351. Lipperheide 4578. Tooley 258. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05206

Catalogue: Color-Plate Books

Keywords: Costume Color-Plate Books Fine Bindings Costume

HERING, G[eorge].E.

Mountains and the Lakes, the

London: Messrs Ackermann & Co. 1845. The Exceptionally Rare First Issue with Twenty Hand-Colored Lithograph Plates Mounted on Card HERING, G[eorge].E[dwards]. The Mountains and the Lakes. Sketches in Switzerland, the Tyrol and Italy. London: Messrs. Ackermann & Co. [1845]. The true first edition (reissued by M.A. Nattali in 1847 with letterpress title and text). Large folio (17 7/8 x 13 7/8 in; 453 x 352 mm). Hand-colored lithographed Title and Dedication, and eighteen hand-colored lithographed plates, all trimmed and mounted on card stock, loose as issued. Publisher's black cloth chemised portfolio with black silk ties. Gilt lettered and decorated on front cover. Expertly rebacked and re-cornered. With an unidentified armorial bookplate and that of Dayton Art Institute. A very fine copy. This is the true first edition, noted by Abbey but not seen by him; he catalogued the smaller, remaindered edition by Nattali issued in 1847 which measured 14 1/4 x 10 7/8 inches and is the commonly found issue. The edition under notice, however, is distinctly larger at 17 7/8 x 13 7/8 inches and is very scarce, with only five copies in institutional holdings worldwide (only two of which are in the United States) and a mere two copies at auction within the last thirty-six years. "According to the English Catalogue the book was published by Ackermann in 1845 at £2.2s, and by Nattali in 1847 at 1.1s. It seems likely, therefore, that Ackermann published the plates, without text, in 1845, and that in 1847 Nattali, who was a remainder publisher, took over the sets of plates, added a text and republished the work as [The Mountains and Lakes of Switzerland, the Tyrol, and Italy. From Drawings made during a tour through those countries]" (Abbey). George Edwards Hering (1805-1879) was an English landscape painter.. At an early age he lost his father. Hering was at first placed as clerk in a bank, but was soon permitted by his family to adopt art as his profession. In 1829 he studied in the art school at Munich, and was patronised by Lord Erskine, who sent him with letters of introduction to Venice. After residing there for about two years, he traveled in Italy, and round the Adriatic to Constantinople, Smyrna, &c.. While a resident at Rome, Hering, owing to his mixed origin, was able to bring together the somewhat rival colonies of German and English artists in that city. Finally he settled in London, where he practised as a landscape-painter for the rest of his life, paying occasional visits to Italy. His favourite subject was Italian scenery, in which he showed a free touch, careful finish, and bright, lucid colouring. He especially excelled in lake scenery" (Oxford DNB). Tooley 260. Abbey, Travel 63. Cf. Bobins, 1042. .

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Book number: 02415

Catalogue: Color-Plate Books

Keywords: Nineteenth-Century Literature Views Voyages and Travels

HERRING, John Frederick

Portraits of the Winning Horses of the Great St. Leger Stakes at Doncaster

London: S. & J. Fuller at their Sporting-Gallery, 1827-1843. Twelve Magnificent Hand Colored Aquatint Plates of The St. Leger Winners and The Derby Winners HERRING, John Frederick. Portraits of the Winning Horses of the Great St. Leger Stakes at Doncaster, [and] Portraits of the Winning Horses of the Derby Stakes at Epsom. London: S. & J. Fuller at their Sporting-Gallery, 1827-1843. Oblong folio (22 1/2 x 25 1/2 inches; 572 x 649 mm.). Average plate size 16 1/4 x 22 3/8 inches; 412 x 568 mm. Average image size 12 1/4 x 16 1/2 inches; 311 x 419 mm. Twelve color-printed aquatints by R.G. Reeve and C. Hunt after Herring, Abraham Cooper and H. Hall, each titled with letterpress description, finished by hand in color and heightened with gum arabic, several with Minerva head blind-stamp (subscribers copies), all mounted. Housed in a mid twentieth century cloth clamshell case. A fine collection of classic racing prints from Herring's second series of St. Leger and Derby winners. The first and second series consisted of twenty-nine St. Leger winners and seventeen Derby winners making a grand total of forty-six hand-colored aquatint plates. St. Leger Winners: (the numbers are as listed by Tooley). 15. 1829. Rowton (Aquatint by R.G. Reeve). No watermark. Lower margin cut to edge of plate mark, some small expert marginal repairs. 16. 1830. Birmingham (Aquatint byR.G. Reeve). No watermark. 'Minerva Head' blindstamp on lower margin. 17. 1831. Chorister (Aquatint by C. Hunt). Watermarked J. Whatman 1831. 'Minerva Head' blindstamp on lower margin. 18. 1832. Margrave (Aquatint by C. Hunt). Watermarked J. Whatman 1832. 'Minerva Head' blindstamp on lower margin. 21. 1835. The Queen of Trumps (Aquatint by C. Hunt). No watermark. 'Minerva Head' blindstamp on lower margin. 25. 1839. Charles Xll (Aquatint by C. Hunt). Watermarked J. Whatman 1839. 29. 1843. Nutwith (Aquatint by C. Hunt). No watermark. Marked "Proof". Backed. Derby Winners: 30. 1827. Mameluke (Aquatint by R.G. Reeve). Watermarked J. Whatman 1829. Ink stamp of the Duc d'Orleans on right hand margin. 31. 1828. Cadland (Aquatint by R.G. Reeve). No watermark. 36. 1833. Dangerous (Aquatint by C. Hunt). Watermarked J. Whatman 1832. 'Minerva Head' blind-stamp on lower margin. 43. 1840. Little Wonder (Aquatint by C. Hunt). Watermarked J. Whatman 1839. Outer margin (5/8 inch) backed. 'Minerva Head' blind-stamp on lower margin. 45. 1842. Attila. Aquatint by C. Hunt). No watermark. (with ink stamp of Duc d'Orleans) Expert repair to upper left corner (not affecting plate mark). Ex Libris Norman R. Bobins with his engraved bookplate on inside of clamshell case. "John Frederick Herring, senior was born in Surrey in 1795.. [He] spent the first eighteen years of his life in the city of London, where his father, an American whose parents were Dutch, was a fringe-maker in Newgate Street. As a child he showed an aptitude for handling both whip and pencil. Having married against his father's wishes, he went, without settled plans, to Doncaster, where he arrived during the races in September 1814, and saw the Duke of Hamilton's horse William win the St. Ledger. The sight inspired him to attempt the art of animal-painting, in which he subsequently excelled. At first he did not success as an animal-painter, but executed some satisfactory work in coach-painting, which led him to aspire to drive a coach. For two years he drove the Nelson coach from Wakefield to Lincoln. He was afterwards transferred to the Doncaster and Halifax coach. While he was engaged on that road, his artistic powers, which he continually exercised, were discovered and appreciated, and he received many commissions to paint horses for gentlemen in the neighbourhood. Inspite of increasing success as a painter of horses, he refused to hurriedly abandon his calling as coachman, and for some time drove the Highflyer coach between London and York. When eventually retired from the road and settled at Doncaster, he immediately obtained very numerous commissions. It was as the portrait-painter of racehorses that Herring earned his especial fame, and no great breeder or owner of racehorses is without some treasured production of Herring's brush." (DNB). "In 1825 the Doncaster Gazette commissioned Herring to paint a series of pictures of the winners of the St. Ledger starting in 1815.. W. Sheardown and Sons of Doncaster published these brilliantly engraved prints (by Thomas Sutherland) in 1825.. Messrs. Fuller of London.. continued the series until the mid-1840s. Fullers also published a similar series of Derby winners after Herring's paintings between 1827 and 1841.. These prints provide a 'benchmark' in their quality of painting, engraving and printing which subsequent publishers attempted to emulate, but rarely with such success". (Charles Lane, British Racing Prints p.120). Tooley, 261; Lane, British Racing Prints p.121; Mellon British Sporting and Animal Prints p.94; Siltzer pp. 145-147. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 03267

Catalogue: Color-Plate Books

Keywords: Caricatures Sports

HESS, H[ieronymus]

Galerie Musicale

Paris: Publiée par Engelmann & Cie. 1827. Twelve Exceptionally Rare and Satirical Hand Colored Lithographs Showing Musicians Performing HESS, H[ieronymus]. Galerie Musicale par H. Hess. Paris: Publiée par Engelmann & Cie. [1827]. First (and only) edition. Quarto (10 7/8 x 8 1/2 inches; 276 x 216 mm.). Twelve (of thirteen) satirical hand colored lithograph plates without titles, showing musicians performing. Drawn by Käppelin d'après H. Hess and lithographed by Engelmann & Cie. The missing plate is number eleven. Recently bound by Roger Devauchelle in full violet cloth, printed paper label on front board. Publishers brown printed wrapper/title bound in before the plates. The Plates: 1. [The Conductor] 2. [The Violin] 3. [The Oboe] 4. [The Bassoon] 5. [The French Horn] 6. [The Tenor Trombone] 7. [The Clarinet] 8. [The Flute] 9. [The Bass Trombone] 10. [The Fiddle] 11. 12. [Man playing the Guitar] 13. [Woman playing the Guitar] Hieronymus HESS (1799-1850) was a Swiss draftsman and painter during the first half of the 19th century. He is best known for his time-critical cartoons and templates for Zizenhauser terracotta. His high quality, romantically inspired drawings, watercolors, prints and paintings depict genre scenes, histories, allegories, portraits and caricatures of political, anticlerical and social content. In the latter, Hess' disillusionment broke out over the artistically less open-minded Basler Gesellschaft. His works have historical significance as pictorial documents of the period of restoration and regeneration in Basel. We have only been able to locate one other example in libraries and institutions worldwide - The British Museum (London, UK). Lucien Monod. Le Prix des Estampes, Vol III, p.81 (13 plates). .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 04507

Catalogue: Color-Plate Books

Keywords: Books in French Caricatures Music French Caricature

HORT, Sir John J.

Horse Guards, the

London: J. & D. A. Darling, 1850. Ten Charming Hand Colored Lithograph Plates [HORT, Sir John J.]. The Horse Guards, by the Two Mounted Sentries. With twelve coloured illustrations. London: J. & D. A. Darling, 1850. First edition. Octavo (8 11/16 x 5 5/16 inches; 221 x 135 mm.). viii, 104 pp. Ten hand-colored lithograph plates and hand colored lithograph illustrations on the front and rear boards. Publishers hand colored lithograph boards neatly re-backed, yellow coated endpapers. Corners and board edges worn. Early ink signature on front free endpaper. The plates are bright and fresh. Abbey, Life, 363. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 03093

Catalogue: Color-Plate Books

Keywords: Caricatures

HULLEY, Thomas

Six Views of Cheltenham

London: R. Ackermann's, 1813. A Rare Series of Views Showing Cheltenham - the Spa Town at the Height of its Fashion HULLEY, T[homas]. Six Views of Cheltenham: From Drawings made by Mr. T. Hulley. Price, in Colours, £1 1s. London: Published at R. Ackermann's, 1813. Oblong folio (11 1/2 x 14 inches; 292 x 355 mm.). Six superb hand-colored aquatint plates by H. Merke and J. Buck after Hulley. All plates with "London, Pubd. 1 June 1813 at R. Ackermann's Repository of Arts, 101 Strand." The third plate watermarked "J. Whatman 1812". Publishers printed drab stitched wrappers with title and imprint on upper cover within a decorative border. Bookplate of Joel Spitz tipped onto verso of front cover and Maxine and Joel Spitz library stamp on inside of rear cover. Housed in a green cloth clamshell case, spine with black morocco label lettered in gilt. Maxine and Joel Spitz library stamp repeated three times on inside of case. A remarkable survival - a fine uncut copy of this rare series of views showing the spa town at the height of its fashion. This historical account highlights the evolution of Cheltenham from a modest town to a renowned spa destination, driven by the discovery and promotion of its healing spring. The royal visit further solidified its status, and subsequent developments contributed to its popularity in the nineteenth century. The town attracted notable visitors, including Jane Austen, Oscar Wilde, Charles Dickens, and Liszt. Cheltenham is a spa town and borough on the edge of the Cotswolds in Gloucestershire, England. Cheltenham became known as a renowned health and holiday spa town resort since the discovery of mineral springs there in 1716. The visit of George III with the queen and royal princesses in 1788 set a stamp of fashion on the spa. Cheltenham is famed for its fine Georgian architecture, recorded in the present set of fine fresh plates. Thomas Hulley (active 1798-1819) was a British artist who worked in oil and watercolors. The plates: 1. Montpellier Pump Room. 2. The Assembly Room. 3. Hygeia House. 4. The Crescent. 5. Well Walk. 6. Old Wells & Pump Room. Provenance: Maxine and Joel Spitz (bookplate and ink stamp, sold their sale, Christie's, 27th May, 2015, lot 6). Abbey, Scenery 93; Bobins IV, 1439; Prideaux, p. 331; Tooley 274. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05683

Catalogue: Color-Plate Books

Keywords: Topography Views

IRELAND, Samuel

Picturesque Views on the River Medway, from the Nore to the Vicinity of Its Source in Sussex

London: T. and J. Egerton, 1793. Scarce With Hand-Colored Aquatints IRELAND, Samuel. Picturesque Views on the River Medway, from the Nore to the Vicinity of its Source in Sussex: With observations on the public buildings and other works of art in its neighbourhood. London: T. and J. Egerton, 1793. First edition, the scarce hand-colored issue. Octavo (9 x 6 1/8 in; 229 x 155 mm). xii, 206, [1, adv.], [1] pp. Extra hand-colored engraved title-page, black and wite map, and twenty-eight hand-colored aquatint plates. Bound by Root & Son (stamp-signed) in full brown morocco, with multiple gilt-rolled borders and gilt corner-pieces, gilt-rolled turn-ins. Gilt-ruled and ornamented compartments. Top edge gilt. A fine, clean and tight copy of a book generally found with plates in sepia. "Samuel Ireland (17?-1800) was one of the most successful artists who devoted himself to the career of topographic print-making. In the ten years between 1790 and 1800 he brought out six books of views, containing in all some two hundred and eighty plates, all aquatinted by himself after his own drawings.. He began his artistic career as a copier of prints and a dealer in them, and in 1760 gained a medal from the Society of Arts.. The success of his first book, A Picturesque Tour through Holland, Brabant, and part of France (1790) encouraged him to other work of the sort, and in 1793 and 1793 appeared to other books, Picturesque Views on the River Thames and Medway, and later again on the Avon (1795) and Wye (1797) and (posthumously) the Severn (1824). His son, William, was the notorious Shakespeare forger. The London bindery of W. Root & Son consistently turned-out excellent work, both on fine bindings as here, and on trade bindings and sets. Packer lists the firm in business in Red Lion Square in 1899-1901, and the December 1942 issue of The Rotarian notes with regret that W. Root had been bombed out (uprooted?) of their premises on Paternaster Row during the 1941 Blitz. Abbey, Scenery 428. Prideaux, p. 341. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 02662

Catalogue: Color-Plate Books

Keywords: Fine Bindings Topography Views Voyages and Travels

JENKINS, James; HEATH, William, artist

Martial Achievements of Great Britain and Her Allies; from 1799 to 1815, the

London: Printed for Js. Jenkins.. by L. Harrison & J.C. Leigh, [1814-15]. An Amazing Large-Paper Copy with the Majority of the Plates in Three States [JENKINS, James]. [HEATH, William, artist]. The Martial Achievements of Great Britain and Her Allies; From 1799 to 1815. London: Printed for Js. Jenkins.. by L. Harrison & J.C. Leigh, [1814-1815]. First Edition, Large Paper Copy with the majority of the plates in three states. Large quarto (13 1/8 x 11 inches; 335 x 277 mm.). Engraved (uncolored) vignette title-page (verso blank); engraved dedication leaf to the Duke of Wellington in two states, uncolored and colored; dedication to Duke of Wellington 2 pp. Description of vignette title (verso blank), Introduction 4 pp. Contents (list of plates) 2 pp. 60 unnumbered leaves of text, List of subscribers 4 pp. Extra 'colored' copy of plate 35 "Siege of St. Sebastian" used as an additional frontispiece and fifty-two hand-colored aquatint plates, including frontispiece (described as vignette title), dedication, and fifty-one views of military scenes and battles, by T. Sutherland, D. Havell, M. Dubourg, J. Hill et al from drawings by William Heath. Forty-nine of the plates are in three states, outline, uncolored and colored. The two other plates (numbers 11 & 18) are in two states, uncolored and colored. Plates watermarked "J. Whatman 1812"; text watermarked, "J. Whatman 1812." With the exception of the 'Duke of Wellington' dedication leaves (uncolored and colored) which are watermarked "J. Whatman 1818" and "J. Whatman 1820", and plate 42 'Blowing up of the Bridge at Elster' which is watermarked "J. Whatman 1820". Contemporary maroon scored calf, covers decoratively paneled in gilt. Expertly rebacked (about 50 years ago) with original spine laid down. Spine with five raised bands, decoratively tooled and lettered in gilt, gilt board edges and turn-ins, red cloth endpapers, all edges gilt. Bookplate of Joel Spitz on front paste-down. Housed in a fleece-lined red buckram slipcase. A wonderful copy with the majority of the plates in three states. Abbey had a large-paper copy in the original thirteen parts (December 1814 through December 1815), but with the plates in colored state only. He makes no mention of copies with the 'plates in three states' - only Tooley makes note of this. It is quite fascinating to see the progression of the plates from the outline to the uncolored and then finally to hand-coloring. Provenance: acquired from Ackermann, Chicago, 1944. Excessively rare - the last copy with the plates in three states to appear at auction was nearly forty years ago. The Abbey copy (together with the Naval Achievements) sold for just under $9,000 in April 1976. In a discussion of color plate books on Wellington and Waterloo ("a literature in themselves"), Prideaux distinguishes this volume and Jenkins's 1817 companion volume, Naval Achievements of Great Britain and Her Allies, as "worthy of their theme; nor could one desire a finer record of heroic deeds" (pp. 223, 224). William Heath (1794 - 1840) was a British artist. His early works often dealt with military themes, and this is probably the best known of his illustrated military books. Some of his later caricature works were published under the pseudonym Paul Pry. Abbey Life 365; Prideaux, p. 34; Ogilby, British Military Costume Prints, 498; Tooley 281 ("Large-paper copies exist with the plates in three states."). .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 03340

Catalogue: Color-Plate Books

Keywords: HEATH, William, artist Fine Bindings Caricatures English History Voyages and Travels

JENKINS, James

Naval Achievements of Great Britain from the Year 1793 to 1817, the

London: Printed for J. Jenkins.. by L. Harrison, 1817. First Edition, First Issue With Pre Publication Watermarks Fifty-Five Superb Hand-Colored Aquatint Plates JENKINS, James. The Naval Achievements of Great Britain from the Year 1793 to 1817. London: Printed for J. Jenkins.. by L. Harrison, [1817]. First edition, First Issue With Pre-Publication Watermarks Large quarto (13 7/8 x 11 5/16 inches; 352 x 287 mm.). xii, pp. (including dedication, introduction, list of plates and list of subscribers) and [74] leaves of descriptive text. Engraved title with hand-colored vignette and fifty-five hand-colored aquatint plates by T. Sutherland, J. Baily, and J. Jeakes after T. Whitcombe and Pocock. One uncolored plate with plan of the Bombardment of Algiers and plan of the Battle of Trafalgar. Text watermarked J. Whatman 1812; twelve plates watermarked J. Whatman 1811 and two plates watermarked J. Whatman 1816. Bound without the list of subscribers. Contemporary half red roan over marbled boards. Spine with five double raised bands, ruled in blind and lettered in gilt in compartments. Armorial bookplate of William Hutton on front paste-down. A large and tall example (Abbey's copy measured 13 1/8 x 10 5/8 inches). In this copy, which is a first issue with pre-publication watermarks throughout, the engraved-title vignette is colored. This is quite unusual with early issues as all the literature states that only later issues had the title vignette colored. "As in the "Martial Achievements" there are late issues of the plates which must be examined to see that the watermarks are pre-publication. Some copies of this work have one or two additional plates, namely portraits of Nelson and Lord St. Vincent. The work is complete without them. Copies were issued with the plates on India paper and also in etched outline. Some large-paper copies have the plates in three states. More sought after than the Martial Achievements, it is becoming uncommon". (Tooley p. 234-5). "Collectors should note that evidence of early state in this book can be found in the title-page vignette, originally issued uncoloured, and coloured only in later issues. The book was reprinted as late at 1840, copies having been seen with watermarks of the date." (Abbey, Life. p. 287). Abbey's copy measured 13 1/8 x 10 5/8 inches. Abbey, Life, 337; Bobins II, 360; Tooley 282. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 04313

Catalogue: Color-Plate Books

Keywords: English History Naval and Military

JOLY, Adrien Jean-Baptiste (Muffat)

Les Petits Acteurs Du Grand Theatre

Paris: Martinet, 1822. Exceptionally Rare Series of Sixty Hand-Colored Engraved Plates Depicting the "Cries of Paris" JOLY, Adrien Jean-Baptiste (Muffat). Les Petits Acteurs du Grand Theatre ou Recueil de divers Cris de Paris. Paris: Chez Martinet, 1822. Fourth edition, the rarest of all, and a Large Paper copy. Quarto (11 3/4 x 8 13/16 inches; 298 x 220 mm.). engraved title-page, 8 pp text. Sixty superb hand colored engraved plates. Plate no. 45 with repaired tear in fore-margin, not touching image, and three other plates (numbers 6, 12 & 54) with small 1/2 inch fore-margin repairs' Mid twentieth century quarter green paper over black boards. Smooth spine ruled in gilt, maroon morocco label lettered in gilt. A spectacular copy. Of the genre that began with Cryes of London (1689), here presenting the little actors in the grand theater of Paris, i.e. the vendors of various products and services who colorfully plied their wares and talents on the streets of the French capital, selling geese, grapes, oranges, beer, umbrellas, raspberries, café au lait, crêpes and beignets, asparagus, cherries, etc. and featuring, as well, a conjurer, a fortune-teller, a cobbler, a chimneysweep, a charcoal seller, a porter, and a bill-sticker, etc. First published in 1810, this series precedes the celebrated series Cris de Paris by Carle Vernet (Paris: Chez Delpech, ca. 1820), which contained 100 hand-colored lithographed plates also depicting Parisian street vendors. "The streets of Paris in Vernet's time seem to have been an out-of-doors department store which catered to most needs for goods and services" (Ray, The Art of the French Illustrated Book, 121). OCLC records three editions, 1810 (1 cc), 1815 (4 cc), and 1819 (1 cc), each with only sixty plates. The edition under notice is unrecorded. Only the copy of the 1815 edition noted by Colas has sixty-two plates, and the last two are by Maleuve, not Joly. ABPC records only three copies at auction since 1961, two of which lacked the title page, and only one with sixty-two plates. Cf. Colas 1552 (1815 ed.). The plates are captioned: 1: "Balayeur." 2. "Marchand de Tisanne." 3. "Marchande d'Oies." 4. "Tondeur de Chiens." 5. "Marchande de Raisin." 6. "Porteur d'Eau." 7. "Marchande d'Oranges." 8. "Marchand de Biere." 9. "Chiffonniere." 10. "Escamoteur." 11. "Marchand de Chansons. Faites-vous servir, j'ai des Recueils de 2. 4. et 6. même de 15 et de 30 pour ceux qui en désirent." 12. "Marchand de Guêtres." 13. "Marchande de Seaux ferrés." 14. "Marchand de Parapluies. Parapluies, Parasols à raccommoder les Soufflets." 15. "Marchande de Plaisirs. Régalez-vous Mesdames voilà le plaisir." 16. "Carreleur de Souliers." 17. "Tireuse de Cartes. Avec trois cartes je veux vous donner la solution des évenemens heureux ou malheureux de votre vie." 18. "Marchand de planches à Bouteilles." 19. "Marchand d'Encre. V'la de l'Encre, à 2.s l'Encre et la bouteille." 20. "Ramoneur." 21. "Des Fraises fraises Framboises." 22. "Charbonier." 23. "Laitiere." 24. "Paniers Corbeilles Marchand de Paniers." 25. "Buvez la Goute cassez la Croute." 26. "De bien jolies Cannes à Vendres." 27. "des Gateaux, de Nanterre, des Gateaux, fins." 28. "N'oubliez pas des Alumetes et de la bonne Amadoue" 29. "Mes enfants régalez vous des Saucisses, et du Boudin." 30. "Porte-faix." 31. "Tapissez vos Chambres à bon marché." 32. "Voulez-vous des Lattes V'la le Marchand de Lattes." 33. "V'la la Mde. de Café au Lait" 34. "Tous les Marons au Sûcre allons quatre un sou quatre quatre pour un sou quatre." 35. "Des Crêpes et des Beignets." 36. "Habits vieux Galons." 37. "V'la la Mde. d'Haricots et de Lantilles." 38. "Pommes de Raînettes Pommes de Raînettes." 39. "Le Printemps la Violete." 40. "V'la d'Zanetons d'Zanetons pour un yard." 41. "Des Radis rose un Sou la Bote." 42. "Ma belle bote d'Asperges." 43. "Toutes mes belles Cerises à la livre, a un sou la livre." 44. "De la Romaine en voulez vous." 45. "Pois ramés pois écossés." 46. "Douze cents Francs, peut-être pour douze Sous. aux derniers les bons, quest-ce qui les veux." 47. "Messieurs mes dames, achetez-moi quelque chose, des passe-lacets, des cure-oreilles.." 48. "Grateur de Ruisseau." 49. "Du bon Beure, à la Crême du bon beure." 50. "un sou la plotte de Ficelle un sou." 51. "Chiffons à vendre des vieux Chiffons. Avez-vous des vieux Chiffons à vendre?" 52. "Me voici me voila ha! ha! famelo flo flo ha! ha!" 53. "Il arrive il arrive le Maquereau à qu'il est donc beau le Maquereau." 54. "Artichaut, des grôs artichauts, toute la tendres se tout la verdurette." 55. "haricots tendre haricots." 56. "A la fraiche qui veut boire v'la l'coco?" 57. "Afficheur." 58. "Blanchisseuse de Linge fin." 59. "Coeffeur." 60. "A r'passer couteaux ciseaux, a r'passer les rasoirs." Plate 57 is also the "Frontispice" and has the added title: "Arts, métiers et cris de Paris dessinés par Joly d'après nature. A Paris, chez Martinet rue du Coq, No. 15." "Plates 56 to 60 are signed by Joly. The others are probably not his work" (Hiler). In this copy, Plates 56 to 59 are signed by Joly. Plates 33, 34, 35, 39, 40, 42, 43, 44, 47, 48, and 49 are signed "A.B." or "B." Plates 1, 4, 11, 13, 14, 15, 17, 18, 19, 27, 43, 46, 47, 49, 50, 51, 52, 53, 57, 58, 59, and 60 are titled: "Arts, Métiers et Cris de Paris," and have imprint: "chez Martinet, rue du Coq, No. [or Nos.] 13. et 15."; "chez Martinet, rue du Coq, No. [or Nos.] 13. et 15. à Paris"; or "A Paris, chez Martinet, Libraire, rue du Coq. No. 15." Plates 2, 3, 5, 6, 7, 8, 12, 16, 20, 21, 23, 24, 25, 26, 28, 29, 31, 32, 33, 34, 35, 36, 37, 38, 39, 40, 41, 42, 44, 45, 54, and 55 are titled: "Cris de Paris," and have imprint: "à Paris, chez L.M. Petit, Md. d'Estampes, rue St. Martin, No. 95. au grand Raphaël. chez Martinet, rue du Coq, No. 13. et 15"; "à Paris, chez L.M. Petit, rue du Battoir, St. André, No. 3. chez Martinet, rue du Coq, No. 13. et 15."; or "à Paris, chez L.M. Petit, rue du Battoir, St. André, No. 3. chez Martinet, rue du Coq, No. 13. et 15. et rue des Mathuruns, No. 18." Plates 9, 10, and 48 are not titled, but have imprint: "à Paris, chez L.M. Petit, rue du Battoir, St. André, No. 3. chez Martinet, rue du Coq, No. 13. et 15. et rue des Mathuruns, No. 18." Plates 22 and 30 are not titled and have imprint: "à Paris:,chez L.M. Petit, Md. d'Estampes, rue St. Martin, No. 95. au grand Raphaël. chez Martinet, rue du Coq, No. 13. et 15. et rue des Mathuruns, No. 18." Plate 48 is not titled and has imprint: "à Paris, chez L.M. Petit, Md. d'Estampes, rue St. Martin, No. 95. au grand Raphaël. chez Martinet, rue du Coq, No. 13. et 15.". .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05608

Catalogue: Color-Plate Books

Keywords: Books in French Color-Plate Books Caricatures Costume Books in French Caricatures Costume French History

LAMI, Eugéne

Les Contretems En Caricatures

Paris: Gide fils, 1823-24. Scarce Awkward Clashes! Trés Amusant! Trés Rare Inopportune Social and Personal Events LAMI, Eugène. Les Contretems en Caricatures. Paris: Gide fils, 1823-24. First and Second Series Complete. First edition. Oblong octavo (7 5/8 x 10 5/8 in; 195 x 272 mm). Twenty-four hand-colored lithographs printed by Villain. The first two plates only are numbered. Loose in original boards as issued. The first plate with left-hand lower blank corner of expertly renewed (not affecting image), the second plate with a small area of discoloration in lower left blank margin (from repair to previous plate) and the third plate with two neatly repaired tears in the lower blank margin (not affecting image). Some minor marginal staining otherwise an excellent example of this very rare suite of plates in their original bindings. Quarter green and quarter dark blue roan over drab boards, each volume with original printed label on front cover. Housed together in a fleece-lined quarter black morocco clamshell case, spine with five raised bands decoratively ruled and lettered in gilt in compartments. An exceptionally scarce album, with no copies coming to auction within the last thirty-six years, and OCLC /KVK recording only three copies worldwide, at the Morgan Library; Princeton; and University of Miami. We know of only one copy in private hands, which we sold to a client of ours ten years ago. "This early album of broad caricatures hardly suggests what Lami was to become. Though he took ten of his plates from Rowlandson's Miseries of Human Life [London, 1808], he can hardly be accused of plagiarism, since he transposed the English artist's subjects to French settings, in effect making new creations of them. In plate 23 ["He! bonjour, mon cher Oncle.."] the French officer treading on the gouty toe of his invalid uncle is quite a different figure from the English sea captain of Misery no. 11, while the properties beside the two valetudinarians testify to contrasting national habits. Nonetheless, the powerful influence of the English tradition of caricature on French comic artists of the 1820s could not be more clearly demonstrated than by these two albums. Quite as much as Rowlandson's aquatints, Lami's lithographs require color to be effective" (Ray, The Art of the French Illustrated Book #137). Eugène Lami (1800-1890). "This elegant and brilliant painter devoted much of his time to lithography between 1817 and 1833. The son of an Empire bureaucrat, [Lami] grew up in Paris. Beginning in 1815, he studied painting with Horace Vernet and afterwards in the studio of Baron Gros..To support himself he made lithographs for several albums, including in 1822 a Collection des uniformes des armées françaises, de 1791 à 1814..Lami paid his first visit to England in 1826, during which he drew the sketches which resulted in his Souvenirs de Londres..under [Henry Monnier's] guidance [he] comprehensively explored London and the countryside. Indeed, Monnier provided more than a third of the twenty-eight designs which make up Lami's finest album, the Voyage en Angleterre. It is here that for the first time Lami struck his distinctive note in lithography. These precise and sparkling plates, which show England in its most attractive aspects, brought the lithographic recording of the passing scene to an unprecedented level of grace and refinement. Lami's Tribulations de gens à équipages of 1827 and Six quartiers de Paris..treat French subjects in the same manner..After Lami gained recognition as a painter, he became a frequenter of the fashionable world, which he rendered with sympathy and brio. His chief albums of this kind are the charming Vie de château, published in two series in 1828 and 1833, and the Quadrille de Marie Stuart" (Ray, The Art of the French Illustrated Book, p. 203). Bobins III, 941; Lemoisne, L'oeuvre d'Eugène Lami, p. 369; Lipperheide 3698; Ray 137; Not in Colas or Hiler. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05314

Catalogue: Color-Plate Books

Keywords: Books in French Caricatures French Caricature

LAMI, Eugéne

Les Contretems En Caricatures

Paris: Gide fils, 1823-24. Scarce Awkward Clashes! Trés Amusant! Trés Rare Inopportune Social and Personal Events Eugène Lami's Interpretation of Thomas Rowlandson's Miseries of Human Life LAMI, Eugène. Les Contretems en Caricatures. Paris: Gide fils, [Dec.]1823 - [Jan.]1824. First editions of both series complete. Oblong octavo (8 1/4 x 10 7/8 in; 210 x 276 mm.). Twenty-four amusing hand-colored lithographs. Bound c. 1900 by V[ictor] Champs in three-quarter crimson morocco, over red patterned boards, smooth spine elaborately decorated and lettered in gilt, marbled endpapers. Some minor foxing to a few plates otherwise near fine. An exceptionally scarce album, with only one copy coming to auction within the last forty-two years, and OCLC /KVK recording only four copies worldwide, at the Morgan Library; Princeton; University of Miami and Kunstbiblio Staatliche Museen Zu Berlin (Germany). We know of only one copy in private hands, sold to a client of ours ten years ago. "This early album of broad caricatures hardly suggests what Lami was to become. Though he took ten of his plates from Rowlandson's Miseries of Human Life [London, 1808], he can hardly be accused of plagiarism, since he transposed the English artist's subjects to French settings, in effect making new creations of them. In plate 23 ["He! bonjour, mon cher Oncle.."] the French officer treading on the gouty toe of his invalid uncle is quite a different figure from the English sea captain of Misery no. 11, while the properties beside the two valetudinarians testify to contrasting national habits. Nonetheless, the powerful influence of the English tradition of caricature on French comic artists of the 1820s could not be more clearly demonstrated than by these two albums. Quite as much as Rowlandson's aquatints, Lami's lithographs require color to be effective" (Ray, The Art of the French Illustrated Book). Eugène Lami (1800-1890). "This elegant and brilliant painter devoted much of his time to lithography between 1817 and 1833. The son of an Empire bureaucrat, [Lami] grew up in Paris. Beginning in 1815, he studied painting with Horace Vernet and afterwards in the studio of Baron Gros..To support himself he made lithographs for several albums, including in 1822 a Collection des uniformes des armées françaises, de 1791 à 1814..Lami paid his first visit to England in 1826, during which he drew the sketches which resulted in his Souvenirs de Londres..under [Henry Monnier's] guidance [he] comprehensively explored London and the countryside. Indeed, Monnier provided more than a third of the twenty-eight designs which make up Lami's finest album, the Voyage en Angleterre. It is here that for the first time Lami struck his distinctive note in lithography. These precise and sparkling plates, which show England in its most attractive aspects, brought the lithographic recording of the passing scene to an unprecedented level of grace and refinement. Lami's Tribulations de gens à équipages of 1827 and Six quartiers de Paris..treat French subjects in the same manner..After Lami gained recognition as a painter, he became a frequenter of the fashionable world, which he rendered with sympathy and brio. His chief albums of this kind are the charming Vie de château, published in two series in 1828 and 1833, and the Quadrille de Marie Stuart" (Ray, The Art of the French Illustrated Book, p. 203). Victor Champs (1844-1912). One of the most prolific and renowned Parisian bookbinders of the late 19th century. Bobins III, 941; Lemoisne, L'oeuvre d'Eugène Lami, p. 369; Lipperheide 3698; Ray 137; Not in Colas or Hiler. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05342

Catalogue: Color-Plate Books

Keywords: Books in French Caricatures French Caricature

LAMI, Eugène

Souvenirs de Londres

Paris: Lami Denozan, 1826. Eugene Lami's Exceptionally Rare First Account of his Visit to England in 1826 Including Two Wonderful Scenes of a 'Cock Fight' and a 'Boxing Match' LAMI, Eugène, illustrator. Souvenirs de Londres. Paris: Lami Denozan, 1826. First edition. Large oblong quarto (10 5/16 x 13 3/8 inches; 262 x 340 mm.). Twelve fine hand-colored lithograph plates. Late nineteenth century quarter green calf over marbled boards. Smooth spine lettered in gilt, marbled endpapers. Publisher's brown wrappers printed in black bound in. Some light scattered foxing, mainly marginal, still a very fine example of this exceptionally rare title. With the bookplate of renowned French collector and bibliographer Claude Rebeyrat (Un Autre Monde) on front pastedown. Very scarce. OCLC locates just two copies in libraries and institutions worldwide: The Morgan Library and Museum, NY. (the Michael Sadleir/Gordon Ray copy) and Yale University Library, CT. (the Abbey copy). Eugène Louis Lami (1800-1890) was a French painter, watercolorist, lithographer, illustrator and designer. He was a painter of fashionable Paris during the period of the July Monarchy and the Second French Empire and also made history paintings and illustrations for books such as Gil Blas and Manon Lescaut . "This elegant and brilliant painter devoted much of his time to lithography between 1817 and 1833. The son of an Empire bureaucrat, [Lami] grew up in Paris. Beginning in 1815, he studied painting with Horace Vernet and afterwards in the studio of Baron Gros..To support himself he made lithographs for several albums, including in 1822 a Collection des uniformes des armées françaises, de 1791 à 1814..Lami paid his first visit to England in 1826, during which he drew the sketches which resulted in his Souvenirs de Londres.. under [Henry Monnier's] guidance [he] comprehensively explored London and the countryside. Indeed, Monnier provided more than a third of the twenty-eight designs which make up Lami's finest album, the Voyage en Angleterre. It is here that for the first time Lami struck his distinctive note in lithography. These precise and sparkling plates, which show England in its most attractive aspects, brought the lithographic recording of the passing scene to an unprecedented level of grace and refinement. Lami's Tribulations de gens à équipages of 1827 and Six quartiers de Paris..treat French subjects in the same manner..After Lami gained recognition as a painter, he became a frequenter of the fashionable world, which he rendered with sympathy and brio. His chief albums of this kind are the charming Vie de château, published in two series in 1828 and 1833, and the Quadrille de Marie Stuart" "This album of twelve small lithographs is best regarded as a trial run for the masterly Voyage en Angleterre. After a short visit to England in 1826, Lami set down the hasty impressions of a tourist who has glimpsed some of the obvious sights. The besetting fault of the series is crowding too many figures into the picture. Hence, subjects limited in scope, like the cock fight and the boxing match, yield Lami his best results." (Ray, The Art of the French Illustrated Book, pp. 203-204). Abbey Scenery, 228; Bobins III, 868; Ray. The Art of the French Illustrated Book 1700-1914, #138. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05193

Catalogue: Color-Plate Books

Keywords: Books in French Caricatures French Caricature

LAMI, Eugène

Souvenirs Du Camp de Luneville

Paris: Delpech Editeur, 1829. Six Hand-Colored Lithographed Plates Depicting Military Scenes [LAMI, Eugène, illustrator]. Souvenirs du camp de Luneville. Paris: Delpech Editeur, 1829. Oblong folio (8 5/8 x 11 3/4 inches; 220 x 298 mm.). Lithographed vignette title-page and six hand-colored lithographed plates. Plates lithographed by Delpech. All plates mounted on guards. The plates are captioned: "Conversions par Escadrons;" "La Messe;" "Colonne de Carabiniers passant un qué;" "Bivouac sur la lisière d'un bois;" "Une Alerte;" and "Suspension d'Armes." Mid-twentieth century half blue cloth over marbled boards, front cover and spine with maroon morocco labels lettered in gilt. With the armorial bookplate of the Comte de Bourqueney on front pastedown. Very scarce with just one copy located by OCLC in libraries and institutions worldwide at the Bibliotheque Nationale de France. The Plates: 1. Bivouac sur la lisière d'un bois 2. Conversions par Escadrons 3. Colonne de Carabiniers passant un guel 4. La Messe 5. Une Alerte 6. Suspension d' Armes "This elegant and brilliant painter [1800-1890] devoted much of his time to lithography between 1817 and 1833. The son of an Empire bureaucrat, [Lami] grew up in Paris. Beginning in 1815, he studied painting with Horace Vernet and afterwards in the studio of Baron Gros..To support himself he made lithographs for several albums, including in 1822 a Collection des uniformes des armées françaises, de 1791 à 1814..Lami paid his first visit to England in 1826, during which he drew the sketches which resulted in his Souvenirs de Londres..under [Henry Monnier's] guidance [he] comprehensively explored London and the countryside. Indeed, Monnier provided more than a third of the twenty-eight designs which make up Lami's finest album, the Voyage en Angleterre. It is here that for the first time Lami struck his distinctive note in lithography. These precise and sparkling plates, which show England in its most attractive aspects, brought the lithographic recording of the passing scene to an unprecedented level of grace and refinement. Lami's Tribulations de gens à équipages of 1827 and Six quartiers de Paris..treat French subjects in the same manner..After Lami gained recognition as a painter, he became a frequenter of the fashionable world, which he rendered with sympathy and brio. His chief albums of this kind are the charming Vie de château, published in two series in 1828 and 1833, and the Quadrille de Marie Stuart" (Ray, The Art of the French Illustrated Book, p. 203). Béraldi, Les Graveurs du XIXe siècle, IX, p. 37. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05289

Catalogue: Color-Plate Books

Keywords: Books in French Caricatures Naval and Military French Caricature

LAMI, Eugène

Vie de Château, la

Paris: Chez Gihaut frères, 1832. Ten Charming Hand-Colored Lithographs of French Upper Class Country Life LAMI, Eugène. La Vie de château. [Second Series]. Paris: Chez Gihaut frères, éditeurs, [n.d. 1832-1833]. Oblong folio volume (10 1/4 x 13 1/8 inches; 260 x 333 mm.). Ten numbered hand-colored lithographed plates. Some light, mainly marginal foxing but still an excellent example of this very rare suite of hand colored lithographs. Contemporary quarter brown straight-grain morocco over dark maroon patterned cloth boards, smooth spine decoratively tooled and lettered in gilt, plain endpapers. With the bookplate of Bibliothek Fritz Kirchhoff on front pastedown. Head and tail of spine worn, joints cracked but firm. In this second series, all of the plates have the imprint: "I. lith. de Gihaut frères éditeurs," and plate Nos. 5, 6, and 7 are dated 1832. We have only seen this book once before - we sold both series together in 2010. "This elegant and brilliant painter devoted much of his time to lithography between 1817 and 1833. The son of an Empire bureaucrat, [Lami] grew up in Paris. Beginning in 1815, he studied painting with Horace Vernet and afterwards in the studio of Baron Gros.. To support himself he made lithographs for several albums, including in 1822 a Collection des uniformes des armées françaises, de 1791 à 1814.. Lami paid his first visit to England in 1826, during which he drew the sketches which resulted in his Souvenirs de Londres.. under [Henry Monnier's] guidance [he] comprehensively explored London and the countryside. Indeed, Monnier provided more than a third of the twenty-eight designs which make up Lami's finest album, the Voyage en Angleterre. It is here that for the first time Lami struck his distinctive note in lithography.. Lami's Tribulations de gens à équipages of 1827 and Six quartiers de Paris.. treat French subjects in the same manner.. After Lami gained recognition as a painter, he became a frequenter of the fashionable world, which he rendered with sympathy and brio. His chief albums of this kind are the charming Vie de château, published in two series in 1828 and 1833, and the Quadrille de Marie Stuart" (Ray, The Art of the French Illustrated Book, p. 203). Second Series Plates: No. 1. "L'arrivée. J'arrive bien crotté, bien mouillé, heureux de trouver la redingotte de mon hôte" No. 2. "La promenade après diner" No. 3. "La nôce de la fille du fermier" No. 4. "Les anglais du voisinage" No. 5. "Notre-Dame de Paris" No. 6. "La Course en Sac" No. 7. "La manie de la Gruelle" No. 8. "Le fils du fermier" No. 9. "Causeries du soir" No. 10. "Le départ pour la promenade" Bobins II, 534; Lemoisne, Lami, p. 383; Rahir, La Bibliothèque de l'amateur, p. 362. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05284

Catalogue: Color-Plate Books

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