EGERTON, Daniel Thomas

Country Versus Town. Designed and Etched by D.T. Egerton

London: Published by Thomas M'Lean, 1823. Excessively Rare Egerton Title A Colorful Country Life in Comparison to an Exhausting Urban Life EGERTON, Daniel Thomas. Country versus Town, Twelve Plates, Designed and Etched by D.T. Egerton. London: Published by Thomas M'Lean, 1823. First edition. Oblong quarto (9 1/4 x 14 inches; 235 X 356 mm.). Printed title-page and twelve interleaved hand-colored aquatint plates. The plates watermarked "J. Whatman 1823. Title-page 1/4" short at lower edge (not affecting print area). Bound ca. 1900 by Tout of London. Three quarter red morocco over marbled boards ruled in gilt. Spine with two raised bands lettered horizontally in gilt, marbled endpapers, top edge gilt. Ink name and address on verso of front free endpaper. An excellent example of a very rare book. One of Egerton's rarest satires, the twelve plates depict a colorful country life in comparison to an exhausting urban life. Daniel Thomas Egerton (1797-1842) was a British landscape painter and engraver. Egerton was a founding member of the Society of British Artists where he exhibited his work in the years 1824-1829 and 1838-1840. He spent much of the later part of his life in Mexico, and in 1840 published Egerton's Views in Mexico, a portfolio of lithographs described in the subtitle as "being a Series of Twelve Coloured Plates, executed by himself from his Original Drawings, accompanied with a short Description. Having abandoned his family in England, Egerton returned to Mexico in 1841 with Alice Edwards, the teenaged daughter of another British painter. He and the eight-month pregnant Alice were murdered in the village of Tacubaya (present day Mexico City), Mexico, where they had rented a house, on 27 April 1842. Egerton was carrying large amounts of money, and both he and Alice were wearing jewelry which was untouched, although the murder was attributed to a robbery. British diplomatic pressure to solve the crime led to the arrest of three local petty thieves, two of whom were hanged, and one of whom was allowed to escape from prison. There has been speculation that Egerton's alleged involvement in fraudulent land sales in Texas, his ties to a Masonic order, or an unknown jealous lover of Alice was behind the killing. (Wikipedia). The Plates: 1. COUNTRY. Instead of being awoke from your rosy slumbers on a beautiful morn by "the Cock's shrill clarion, or the echoing horn." 2. TOWN. You are disturbed, after having been tofs'd with distempered dreams half the night, by the clang of pewter pots; the cry of soot ho! The pafsing knell of the Dustman, and other melodious sounds equally agreeable. 3. COUNTRY. How sweet to take your morning repast, beneath the shade of clustering Roses; to inhale the "Incense-breathing morn"; and to listen to the early carols of the Lark. 4. TOWN. On the contrary, how enervating - having resorted to stimulants to recruit exhausted nature after the intemperate excefses of the preceeding night, still unrefreshed to take an unsocial meal in your room, half obscured from the rays of a noon-day sun. 5. COUNTRY. The very appearance of a Country Church and the simplicity of it's attendants inspire devotion; to witnefs the serene contentment, the unruffled bloom of health depicted on every countenance fills the heart with that gratitude.. 6. TOWN. How widely different every thing that relates to the Metropolitan Church, where people resort with as much parade as if they were about performing a Pilgrimage to Mecca, to gaze at painted windows, new fashions & pretty faces.. 7. COUNTRY. When the heat of the weather prevents your partaking of the more robust exercises of the Country, make up a water party - who would not prefer spreading the cloth for a collation beneath a shady grove of trees, and within sound of a murmuring water fall. 8. TOWN. To partaking of Eel Pies in a well-smoked room at Putney, or to steering below Bridge, amid groves of masts, and deriving amusement from the native slang of contending watermen.. 9. COUNTRY. Who would leave the gaieties of the Race-course, where all that is pleasing is concentrated, and resign the sight of the contesting emulation of the High mettled Racer. 10. TOWN. To be suffocated with dust in Hyde Park, and have, at least, your limbs endangered by every Blade, who chooses to convert his Tilbury into a Break. 11. COUNTRY. With what pleasure may you dispense with your equipage on an evening, and ramble home lighted by the silver beams of Cynthia, thro' fertile vales, watered by rippling brooks; whilst - "all the air a solemn stillnefs holds." 12. TOWN. In town your nocturnal rambles if lefs pleasing may be more diversified for there whilst pausing at your own door to relieve a suffering Fair one you may find others active in administering to their own necefsities at your expense. Bobins II, 641; Not in Abbey, Tooley or Prideaux, and no copies located in BM, NUC, OCLC, or RLIN. .

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Book number: 05680

Catalogue: Color-Plate Books

Keywords: Caricatures English History

EGERTON, Michael

A Day's Journal of a Sponge

London: Published for the Proprietor, by Rowney & Forster, 1824. The Profoundly Rare Misadventures of a Free-Loader Told in Six Beautifully Hand-Colored Aquatint Plates [EGERTON, Michael]. A Day's Journal of a Sponge. By Peter Pasquin. London: Published for the Proprietor, by Rowney and Forster, 51, Rathbone Place. 1824. First edition. Oblong folio (10 1/2 x 14 1/2 inches; 267 x 369 mm.). Printed title-page and six bright and beautifully hand-colored aquatint plates. The plates are unsigned, with imprint: London, Published by W. Egerton, 1824, and do not possess watermarks, as noted by Abbey. Of extraordinary significance and scarcity is the presence of the title page, lacking in the copy Abbey examined, and, as a result, Abbey notes the title simply as Sponge. The title page is missing from the precious few that we have had the opportunity to examine over the last forty years. Houfe notes this volume but under the title Sponge as well. Original printed drab wrappers. Three inch split to spine foot. Small chip to upper corner of front wrapper. Tear to rear wrapper professionally repaired. Quarter inch stain at bottom edge to first plate not affecting image. Otherwise an excellent copy of a scarce volume. Housed in a blue cloth clamshell case. OCLC notes only one copy (with title page; ascension no. 78397586) but does not identify the holding institution; no copies located in KVK: A work of profound rarity, rarer still with the title page. These satiric plates with their lengthy droll and witty captions depict the comic misadventures of a pretentious, social striving man about town free-loader, moocher, muzzler, cadger, touch-artist; a Regency Period slacker who is thick as a brick but convinced otherwise. This work has been attributed by Abbey and Houfe to M[ichael]. Egerton, a social caricaturist who worked in London in the 1820s in the manner of George Cruikshank. The Plates, untitled but each with three-five lines of text that begin: 1. Was stirring with the lark.. 2. Feeling one of those pangs.. 3. Having returned, & hired a Chaise.. 4. Former fears confirmed.. 5. Sauntering down Bond Street.. 6. Being recovered from the effects.. Abbey, Life, 289. Houfe, p. 294. Prideaux, p. 347. .

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Book number: 01212

Catalogue: Color-Plate Books

Keywords: Caricatures

EGERTON, Michael, illustrator

Here and There over the Water

London: Geo: Hunt, 1825. A Regency Excursion to The Low Countries of Europe with Twenty-Four Magnificent Hand-Colored Plates E[GERTON], M[ichael]. Here and There Over the Water: Being Cullings in a Trip to the Netherlands. By Omnium Gatherum. Drawn and Written by M.E. Esq. Engraved by Geo: Hunt. London: Geo: Hunt, 1825. First edition. Large quarto (10 1/2 x 8 1/2 inches; 267 x 215 mm.). [2, title-page], 34 pp. Twenty-four hand-colored aquatint plates and four uncolored aquatint plates of Waterloo memorials. Bound by Zaehnsdorf ca. 1900 (stamp-signed on verso of front free endpaper) in three quarter red crushed levant morocco over red cloth boards, covers ruled in gilt, spine with five raised bands elaborately stamped and lettered in gilt in compartments, marbled endpapers, top edge gilt, others uncut. Lower portion of front joint slightly cracked but still sound. Plate no. 4 with two small and insignificant fox marks, some very minor offsetting from the plates to the text. A fine and large copy with superb hand-coloring, the plates and the text watermarked "Whatman Turkey Mills 1824". A scarce work, describing and illustrating a Regency excursion to the Low Countries. Egerton begins his tour at Ostend where he was stuck for a day as it was a Sunday. He took time to describe the people, the 'Custom House', the hotel and the 'Purgatory Gate' attached to the Church (destroyed in a fire later in the nineteenth century) before traveling the next day by 'Great Coach' and barge to Ghent observing the 'Belgic Military' various 'Diligences' and peasant costumes before continuing onto Brussels. Here he examined the Market Pavilion of the Prince of Orange before traveling on the the next leg of the journey which takes the artist once more to Ghent where he describes and illustrates the Exchange. Egerton then returns to Brussels to view the Palace of Schoonenberg; and then on to the main reason for his excursion: a trip to Waterloo taking in all the main sites of the battle including graves and monuments. Michael Egerton(also known as Omnium Gatherum flourished between 1821 and 1828 and produced a number of caricatures mainly of social comedy sporting scenes and jokes on the weather; almost all his work was engraved by George Hunt. OCLC records just six copies in North America: Harvard; Yale; New York Public Library; Brown University; Claremont College & the Art Institute of Chicago. The plates:: 1. Frontispiece. [Flying over the Channel]. 2. Quay, Custom House & Hotel-Ostend. 3. The Purgatory Gate, Ostend. 4. Post Office-Ostend. 5. [Dandy chimney sweeper & Merry making party]. 6. The Great Coach. 7. Trekschuit or Barge. 8. Military-Ghent. 9. Diligences. Starting from the Messageries - Ghent. 10. Peasants in the Neighbourhood of Brussells. 11. Market-Brussells. 12. Pavilion of the Prince of Orange at Terrevueren. 13. Peasants &c. near Antwerp. 14. Exchange at Antwerp. 15. A Bird's Eye. 16. Palace of Schoonenberg near Brussells. 17. Cottage - Waterloo/Occupied by the Marquis of Anglesea. 18. [Tomb & Trees]. 19. Tombs in the Burial Ground of Waterloo Church. 20. Church & Village of Waterloo. 21. [Tombstones] uncolored. 22. [Tombstones] uncolored. 23. [Tombstones] uncolored. 24. [Tombstones] uncolored. 25. Monuments-Field of Waterloo. 26. Ruins of the Chateau de Goumont. 27. La Belle Alliance. 28. [Similar to frontispiece - Returning across the Channel]. Abbey, Travel, 188; Bobins, II, 417; Martin Hardie, p. 157; Tooley, 207. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05694

Catalogue: Color-Plate Books

Keywords: Caricatures Voyages and Travels

FELLOWES, W.D.

Visit to the Monastery of la Trappe, in 1817: A.

London: Printed for Thomas M'Lean, 1823. With Thirteen Fine Hand-Colored Plates FELLOWES, W.D. A Visit to the Monastery of La Trappe, in 1817: with notes, taken during a tour through Le Perche, Normandy, Bretagne, Poitou, Anjou, Le Bocage, Touraine, Orleanois, and the Environs of Paris. Illustrated with numerous coloured engravings, from drawings made on the spot. London: Printed for Thomas M'Lean, 1823. Fourth Edition, Large Paper Copy. Text watermarked J. Whatman, 1823; Plates watermarked J. Whatman, 1827. Large octavo (10 1/4 x 6 7/8 inches; 261 x 175 mm.). xii, 188 pp. Thirteen fine hand colored aquatint plates and two plain plates. Contemporary dark blue straight-grain morocco, covers decoratively bordered in gilt and blind, spine with five raised bands, decoratively tooled and lettered in gilt, gilt board edges and turn-ins, brown endpapers, all edges gilt. First page of preface with small paper-flaw on blank margin. A clean, near fine copy. "First published by William Stockdale in 1818, with new editions in 1818 and 1820. Judging by the late watermark in the plates this 1823 M'Lean edition was kept in print for some years" (Abbey). "I performed this journey during the months of June, July, August, and September, a distance of near one thousand miles, and had the singular good fortune to enjoy the finest weather possible. The perusal of Madame de La Roche-Jaquelin's interesting work on the Vendean war, first gave me the idea of visiting the country called le Bocage, the theatre of so many events, and sufferings of the brave royalists; and, as the province of le Perche, in which is situated the ancient convent of La Trappe, was in my route to Bretagne, I resolved to make an excursion there, in order to satisfy myself of the truth of those austerities which I had read of in the Memoirs of the Count de Comminge.." (Chapter 1). Tooley, 212; Abbey, Travel, 91; Martin Hardie, p. 313; Prideaux, p.335 (1818 edition). .

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Book number: 03443

Catalogue: Color-Plate Books

Keywords: Views Voyages and Travels

FERRARI, Filippo; LENGHI, Giacomo

[Italian Trades and Costumes]

Naples & Rome: , 1824. A Fascinating Album Containing Thirty Superb Hand Colored Lithographs of Italian Trades and Costumes FERRARI, Filippo. LENGHI, Giacomo. [Costumi No. XXX di Roma e di altri paesi dello Stato pontificio, designati ed incini all' acqua forte da Filippo Ferrari]. [Italian Trades and Costumes]. Naples & Rome, [1824-1835]. An album of thirty fine hand colored lithograph plates and one original gouache painting. Folio (12 x 8 3/4 inches; 305 x 222 mm.). Twenty two (of thirty) fine hand colored lithograph plates plates heightened with gum arabic, mostly with tissue guards, and one fine gouache painting. Many of the plates neatly inscribed in ink ‘Dorothea Power, March 21st 1835'. Eight hand colored lithograph plates by Giacomo Lenghi and one original gouache painting - possibly by Giacomo Lenghi. Contemporary quarter dark green straight-grain morocco over marbled boards, smooth spine decoratively tooled and lettered in gilt, marbled endpapers. Neatly inscribed in ink on front blank leaf "Constance Hastings, Sharavogue, from Granny'" Some of the original tissue guards crease or torn, the second plate with a small 5/8 inch lower margin tear, otherwise fine. Dorothea Power who has inscribed her name and the date 1835 on many of the plates was most likely the sister or cousin of Lady Constance Hastings. It is possible that she was a highly accomplished colorist who colored a plain version of the book - or that she just signed her name.. what is certain is that the coloring is of the highest quality with the typical use gum arabic to heighten the lithographs (see note from Hiler below). "Also known with plates in black and white. The plates have been reproduced in color for [part 1] of Costumes des differens etats de l'Italie." (Hiler). Rare: The last copy to appear at auction was in 1983. According to OCLC there are just five copies recorded in libraries and institutions worldwide: Univ. of San Francisco (CA, USA); Yale Univ. Library (CT, USA); Univ. of Georgia (GA, USA);The British Library (UK) and Kunstbiblio Staatliche Museen zu Berlin (Germany). Provenance: Lady Constance Wilmot Annie Hastings Pasley (1870-1922) daughter of Francis Power Plantagenet Hastings, 14th Earl of Huntingdon and Mary Anne Wilmot Westenra. Lady Contance married Major Sir Thomas Edward Sabine Pasley, 3rd Bt. in 1890. The family home was Sharavogue House, Sharaovoge, County Offaly, Ireland. Sharavogue house was completely destroyed by fire in the 1920s. By descent to Thomasina Beck, granddaughter of Lady Constance Hastings. Filippo Ferrari (1819-1897) "was a disciple and imitator of Bartolmeo Pinelli (1781-1835), a popular painter of Roman folk costumes and rural life. In this series of plates, Ferrari illustrates various types of Roman dress as well as the costume of the surrounding areas within the Vatican State. It is an expanded edition of an 1826 issue which contained only 15 plates. Ferrari had originally trained as a sculptor and was employed in stage design being responsible, for example, for a well-known scene of the eruption of Vesuvius for La Scala Theatre in Bologna." (Bobins, 1222). Giacomo Lenghi published Raccolta di Costumi Napoltani. [Napoli], 1854as well as the three-panel frescoe of Pompei (ca. 1840). The Victoria & Albert Museum, London has a few examples of Giacomo Lenghi's lithographs including "Bagatterello". The Plates: 1. Ritorno della Madôna dell'Arco (lith. A. Ledoux) 2. Venditore di Sorbetto 3. Brigante Calabrese (lith. Ledoux) 4. Briganta Calabrese (lith. A. Ledoux) 5. Venditrice di Uova (L. Ledoux) 6. Venditòre d'Olio (lith. A. Ledoux) 7. Ritorno della Madôna dell'Arco (lith. A. Ledoux) 8. Facchino Napolitano 9. Donna Ciociara (Ferrari Fece. Roma 1825) 10. Eminente di Roma (Ferrari) 11. Donna di Nettuno (Ferrari Fece. Roma 1825) 12. Donna di Norcia 13. Donna di Frascati (Ferrari Fece. 24) 14. Donna di Tagliacozzo (Ferrari Fece.) 15. Donna di Civita Castellana (Ferrari Fece. 1825) 16. Ciociaro (Ferrari Fece. 1825) 17. Donna di Ponte Corvo 18. Donna di Serre (F. Ferrari Fece. 1825) 19. Fusagliaro. Costume di Camerino. (F. Ferrari Fece. 1825) 20. Matriciana (Ferrari Fece.) 21. Donna di Cingoli (F. Ferrari Fece. Roma 1825) 22. Original watercolor [Untitled] Possibly by Filippo Ferrari? 23. Donna di Palestrina (F. Ferrari Fece. 1825) 24. Donna di Alatri (F. Ferrari Fece. 1825) 25. Donna di Pofi (F. Ferrari) 26. Donna di Sora di Campagna 27. Donna di Terni (F. Ferrari Fece.) 28. Donna dell'Atricia (F. Ferrari Fece. 1825) 29. Donna di Filettino (F. Ferrari Fece.) 30. Donna di Cori (F. Ferrari Fece.) 31. Donna di Castel Madama (F. Ferrari) Bobins IV, 1222; Colas I, 1046; Hiler, p. 310; Lipperheide I, 1276. .

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Book number: 05068

Catalogue: Color-Plate Books

Keywords: LENGHI, Giacomo Books in Italian Costume Street Vendors

FINDEN, William; FINDEN, Edward; MITFORD, Mary Russell, Editor; PERRING, W., Painter

Findens' Tableaux of the Affections; [with: ] Finden's Tableaux

London: Charles Tilt, 1839; 1840. Two of the Exceptionally Rare Hand-Colored Deluxe Issues for 1839 and 1840" FINDEN, William and Edward. Finden's Tableaux or the Affections; A Series of Picturesque Illustrations of the Womanly Virtues. From paintings by W. Perring. Edited by Mary Russell Mitford [With:] Findens' Tableaux: The Iris of Prose, Poetry, and Art, for MDCCCXL. Illustrated with Engravings by W. and E. Finden, from Paintings by J. Browne. Edited by Mary Russell Mitford. London: Charles Tilt, 1839; [1840]. First Deluxe Hand-Colored Editions. Two folio volumes (14 9/16 x 10 7/8 inches; 370 x 276 mm.). [vi], 60; [3]-70 pp. Twenty-four hand-colored engraved plates after Perring or Browne, engraved by Holl, Finden, Egleton, Freeman, Scriven, Hollis, Gibbs and others, all heightened with gum arabic. Publishers red and green morocco, covers elaborately tooled in gilt and blind. Slight rubbing to extremities, otherwise near fine. Two issues of the exceptionally rare hand-colored deluxe edition of a noted English Literary Gift annual. Finden's Tableaux was issued between 1837 and 1844. A publisher's ad reveals that this work was issued in three forms: uncolored on regular paper, uncolored India proofs, or "a few copies with the plates beautifully coloured after the original Drawings". The hand colored deluxe issues, as here, are considerably more scarce than the others, making these among the most desirable of the illustrated English literary annuals of the nineteenth century. "I do not, I hope, sin against editorial modesty, when in returning my most earnest thanks to the Friends whose Contributions have given to this Volume its literary value, I congratulate myself upon being enabled to offer to the Public Poems of an importance and interest which will far outlast the date of an Annual." (Preface). Plates in the 1839 volume: The Romaunt of the Page; The Buccaneer; The Treason of Gomez Arias; The Sister of Charity; The Minstrel of Provence; The Baron's Daughter; The Greek Wife; The Cartel; Zulette; A Story of the Woods; The Coronation; The Novice. Plates in the 1840 volume: The Dream; The King's Page; Legend of the Brown Rosarie; The Proud Ladye; The Maid's Trial; The Roundhead's Daughter; The King's Forester; The Beacon; Venice; The Bride; The Fetches; The Woodcutter. William Finden (1787-1852) was an English line engraver. He served his apprenticeship to James Mitan, but appears to have owed far more to the influence of James Heath, whose works he privately and earnestly studied. His first employment on his own account was engraving illustrations for books, and among the most noteworthy of these early plates were Smirke's illustrations to Don Quixote. His neat style and smooth finish made his pictures very attractive and popular, and although he executed several large plates, his chief work throughout his life was book illustration. His younger brother, Edward Finden (1791-1857), worked in conjunction with him, and so much demand arose for their productions that ultimately a company of assistants was engaged, and plates were produced in increasing numbers, their quality as works of art declining as their quantity rose. The largest plate executed by William Finden was the portrait of King George IV seated on a sofa, after the painting by Sir Thomas Lawrence. For this work he received two thousand guineas, a sum larger than had ever before been paid for an engraved portrait. Finden's next and happiest works on a large scale were the Highlanders Return and the Village Festival, after Wilkie. Later in life he undertook, in co-operation with his brother, aided by their numerous staff, the publication as well as the production of various galleries of engravings. The first of these, a series of landscape and portrait illustrations to the life and works of Byron, appeared in 1833 and following years, and was very successful. But by his Gallery of British Art (in fifteen parts, 1838-1840), the most costly and best of these ventures, he lost the fruits of all his former success. Finden's last undertaking was an engraving on a large scale of William Hilton's Crucifixion. The plate was bought by the Art Union of London for £1,470." Coxhead Thomas Stothard (1906) p. 96; Not in Hammelmann Book Illustrators in Eighteenth Century England; Jaggard p. 287. .

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Book number: 03178

Catalogue: Color-Plate Books

Keywords: FINDEN, Edward MITFORD, Mary Russell, Editor PERRING, W., Painter Costume Women

LA FONTAINE, [Jean de]; Bayntun of Bath

Tales and Novels in Verse of J. De la Fontaine

Paris: J. Lemonnyer, 1884. Lusty Stories With Eighty-Five Hand-Colored Engravings From the Original Plates By Eisen LA FONTAINE, [Jean de]. Tales and Novels in Verse of J. De La Fontaine. With Eighty-Five Engravings by Eisen Printed From the Original Plates. In Two Volumes. Paris: J. Lemonnyer, 1884. Third edition in English thus, all rare, originally issued in 1877, and a Large Paper Copy. Two octavo volumes. xi, 252; x, 334, [1] pp. Eighty-five hand-colored stipple and line engravings. Printed by Charles Hérissey, Evreux. Bound by Bayntun of Bath for Brentano's of New York in early twentieth century full midnight blue crushed morocco with gilt-ruled border and four-fillet geometric frame with open dots at corners. Gilt tooled raised bands, gilt ruled compartments. All edges gilt. Blue silk endleaves. A fine copy. A fine reprint of the first edition in English of Charles-Dominique-Joseph Eisen's (1720-1778) richly illustrated edition of La Fontaine's Contes et nouvelles en vers (1762). "It is as a designer of illustrations and vignettes for books that [Eisen] is best known. The most remarkable of these are the designs for the Fermiers généraux edition of the Contes of La Fontaine, published at Amsterdam [i.e. Paris: Barbou]in 1762; Ovid's Metamorphoses, 1767-71; the Henriade of Voltaire, 1770; the Baisers of Dorat, 1770; and the Vies des Peintres hollandais et flamands of Descamps, published in 1751-63" (Wiki). "Eisen's..designs for La Fontaine are the liveliest and most adroit that he ever drew. Thoroughly at home with the varied action of these lusty stories - their love passages, their intrigues, their practical jokes - he is also expert in choosing the moment in each that will best serve his purpose as an illustrator..The detailed meaning of his concentrated compositions is to be grasped only after prolonged examination. The world that they depict is that of the homme moyen sensuel, where beauty exists only to satisfy desire and youth has its way over age, where cynicism is the common coin and virtue the calculated means to an end. But before the force and vitality of Eisen's scenes, normal scruples dissolve in admiration" (Ray, The Art of the French Illustrated Book 1700-1914, p. 54). Jean de La Fontaine (1621-1695) was the most famous French fabulist and one of the most widely read French poets of the 17th century. He is known above all for his Fables , which provided a model for subsequent fabulists across Europe and numerous alternative versions in France, and in French regional language. "Like his miscellaneous works, La Fontaine's Contes et nouvelles en vers (Tales and Novels in Verse) considerably exceed the Fables in bulk. The first of them was published in 1664, the last posthumously. He borrowed them mostly from Italian sources, in particular Giovanni Boccaccio, but he preserved none of the 14th-century poet's rich sense of reality. The essence of nearly all his Contes lies in their licentiousness, which is not presented with frank Rabelaisian verve but is transparently and flippantly disguised. Characters and situations are not meant to be taken seriously; they are meant to amuse and are too monotonous to amuse for long. The Contes are the work far less of a poet than of an ingenious stylist and versifier. The accent of La Fontaine the narrator enlivens the story with playfully capricious comments, explanations, and digressions" (Enclyclopedia Britannica). .

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Book number: 02840

Catalogue: Color-Plate Books

Keywords: Bayntun of Bath Fine Bindings French Literature Gift Books

FONTALLARD, Henri-Gérard, illustrator; DUCARME, lithographer

Histoire D'Une épingle Par Elle Mème

Paris: Chez Osterwald ainé, 1827. The History of a Pin" Sixteen Fine Hand Colored Lithograph Plates [FONTALLARD, Henri-Gérard, illustrator]. Histoire d'une Épingle Par elle mème. [En seize tabeaux]. Composé et dessine par H. Gérard-Fontallard, [accompagnés d'un texte], extrait du Corsaire. Du 17 Juillet, 1827. Paris: Chez Osterwald ainé, et chez Rittner, 1827. Large folio (14 3/4 x 11 inches; 374 x 280 mm.). One lithographed leaf of text with head-piece vignette (at end) and sixteen fine hand colored lithographed plates. Plates lithographed by Ducarme, and mounted on stubs. Early-to-mid twentieth century half red cloth over marbled boards, spine lettered in gilt. With the bookplate of antiquarian book dealer Antoine Vautier on front paste-down. Henri-Gérard Fontallard (1798-?) was one of the contributing artists to La Silhouette and La Caricature. (Benezit volume 4, p. 423). OCLC locates just three copies in libraries and institutions worldwide: The Morgan Library (NY, USA); The Getty Institute (CA, USA); Kumstbiblio Staatlische Museen zu Berlin (Germany). We have been able to trace just one copy at auction over the past fifty years (Christie's, Paris May 27th, 2002, lot 322 (Euros 1,645/$1,500). The Plates: 1. Les mais..les Si..les Cav..bref, la rouille survint et j'en aurais été malade moi-méme, si les huissiers accoutumés à tirev leur Epingle du jeu, n'eussent fain d'avance leur provision. 2. Un jeune homme à la mode, me pris un matin, pour soutenir l'edifice de sa cravate. 3. J'en revins au fichu d'une jeune personne dom je servais à réparer le dèsordre. 4. Je suivis avec tour le déshabillé la blanchifseuse à la campagne. 5. Lea fils du paysan s'empariereur de moi pour jouer à la poucette. 6. Bientôt reprise malgré leurs pleurs, je me sentis eufoneer dans la tête d'un canard. 7. Le Restaurateur qui fit emplête de l'animal, me server avec lui sur la table d'un Milord. 8. Milord m'oublia avec une liasse de Billets de banque, sur le canapé d'une danseuse. 9. Je ne tardai pas à passer, avec le dernier billen, dance la Caisse des Philellènear. 10. En Grèce, j'attachai un premier appareil sur la blessure d'un soldat qui retournair à la mélée. 11. En Eocilé en Sibérie s'empara de moi pour piquer sur le papier une page de ses infortunes. 12. En Italie, je retins au bout d'une corde une lettre glissée par une Jalousie. 13. Enfermé avec un Espagnol dans les cachots de l'inquisition, je lui rendis le triste ministère de lui ouvrir les veines. 14. En angleterre, je mèlai aux cheveux d'une anglaise le Crêpe du deuil que répandait la mors d'un grand-homme. 15. De retour en France, je fixai le sigue de l'honneur sur la poitrine d'un Brave. 16. Enfin j'habite entre la robe et le Corset d'une jeune ouvrière occuppée à retenir sur son coeuv la première missive d'amour. .

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Book number: 05133

Catalogue: Color-Plate Books

Keywords: DUCARME, lithographer Books in French Caricatures French Caricature

FRANKLAND, Sir Robert, Illustrator

Delights of Fishing

London: Thomas McLean, 1823. One of the Rarest of all Color Plate 'Angling' Books FRANKLAND, Sir Robert, artist. TURNER, Charles, illustrator. [Delights of Fishing]. London: Thomas McLean, 1823-25. First edition, second issue. Oblong quarto (10 x 12 1/2 inches; 255 x 317 mm.). Six fine hand-colored aquatint plates. All plates mounted on stubs and interleaved. The last plate watermarked "J. Whatman 1827". Bound ca. 1933 by Alfred de Sauty of Donnelly's in half red morocco over red cloth boards decoratively ruled in gilt. Rectangular black morocco label on front cover decoratively ruled and lettered in gilt. Spine with five raised bands decoratively tooled in gilt, brown endpapers. Bookplate of Joel Spitz on front paste-down. Housed in the original red cloth slipcase. A fine copy of this great angling rarity. The first issue has the imprint C. Turner. Pencil note at end "Bot. from Hart - NY. 1/20/33 / Bound by de Sauty of Donnellys /Although only fair execution of plates, quite rare & seldom met with. / Complete in six plates - reference "Slater" --- "Siltzer" / watermarked 1827." The plates are all by Charles Turner (1773-1857) after Sir Robert Frankland (1784-1849) and have printed quotes from Virgils Aenid, Eclogues & Georgics; Horace's Odes, and Ovid's Metamorphoses. 1. "Nune me fluctus habet" "Nune me fluctus habet. Ibi omnis Effusus labor atque immitis rupta tyranni" (Virgil) London, Published June 18, 1823, by Thos. Mc. Lean. 26, Haymarket 2. "Hine toto praeceps se corpore ad undus" "Et ramos compesce fluentes" (Virgil) London, Published June 18, 1823, by Thos. Mc. Lean. 26, Haymarket 3. "Sic omnia retro In pejus ruere" (Virgil) "Perchicos odi, puer, apparatus" (Horace) London, Published June 18, 1823, by Thos. Mc. Lean. 26, Haymarket 4. "Piscium et summa genus haesit ulmo" (Horace) "et fluvios tentare minaces" (Virgil) London, Published June 18, 1825, by Thos. Mc. Lean. 26, Haymarket 5. "Dux ego vester eram" (Virgil) "Heu nimis longo satiate ludo" (Horace) London, Published June 18, 1825, by Thos. Mc. Lean. 26, Haymarket 6. "Terribili petit irritamina cornu" (Ovid) "nec severus" (Horace) Watermarked "J. Whatman 1827" London, Published June 18, 1825, by Thos. Mc. Lean. 26, Haymarket Exceptionally rare with just two copies (including the copy here offered) having appeared at auction over the past fifty years. OCLC locates just one copy in libraries and institutions worldwide (Athenaeum of Philadelphia, USA, PA). Bobins V, 1630; Siltzer. The Story of British Sporting Prints, p.122; Not in Prideaux or Hardie. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05681

Catalogue: Color-Plate Books

Keywords: Angling Caricatures Sports

FRANKLAND, Sir Robert, Illustrator

Eight Representations of Shooting

Cambridge: W.D. Jones, at His Repository of Arts.. 1813. A scarce set of amusing shooting incidents. In draftsmanship and colouring they are superior to "Indispensable Accomplishments."" (Schwerdt). FRANKLAND, Sir Robert, Illustrator. Eight Representations of Shooting. Engraved by Woodman & Turner from Drawings by Robert Frankland Esqr. To whom these Plates are most Respectfully dedicated by his very Obedient & Obliged Ser[van]t. W.D. Jones. Cambridge: W.D. Jones, 1813. First edition. Oblong quarto (7 7/8 x 11 inches; 200 x 280 mm.). Engraved title-page and eight amusing hand colored engraved plates. Each plate bears the publisher's name and address with the date Aug. 1st, 1813. All plates with original tissue guards. Publisher's stiff paper wrappers with printed label lettered "Shooting." Original? red roan spine. Housed in a felt-lined half black morocco clamshell case, spine with five raised bands decoratively ruled and lettered in gilt. "A scarce set of amusing shooting incidents. In draftsmanship and colouring they are superior to "Indispensabe Accomplishments."" (Schwerdt). "Issued in paper wrappers with printed label lettered "Shooting."" (Tooley). "A rare set of plates showing shooting mishaps, poking fun at the gentleman hunter." (Bobins). OCLC locates just four copies in libraries and institutions worldwide: Art Institute of Chicago (IL, US); Harvard University Library (MA, US); Yale University Library (CT, US); Transylvania University (KY, US). We know of one other copy in the Bobins The Exotic and the Beautiful - The World in Colour Collection. The Victoria & Albert Museum in South Kensington, London have just one of the plates. The last copy to appear at auction was in 2008 (Christie's S. Kensington, Sept. 1st, 2008, lot 100. (£4,200/$7,477). The Plates: 1. Grouse shooter and wounded dog; horseman bogged in distance. 2. Sportsman with gun following bird; dog worrying sheep. 3. Sportsman firing at hare; second sportsman wounded. 4. Sportsman watching dog pursuing hare; birds disappearing. 5. Sportsman raising right arm; dogs approaching wounded bird. 6. Sportsman whipping dog, second dog with bird in mouth; gun on the ground. 7. Sportsman climbing hedge, second sportsman following with dog and pointing gun dangerously; birds disappearing. 8. Sportsman fallen, with broken gun; pheasant escaping. Bobins III, 1179; Schwerdt 1, 286; Tooley 230. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05233

Catalogue: Color-Plate Books

Keywords: Caricatures Hunting Sports Dogs

GAVARNI, Paul

Les Artistes

Paris: Chez Aubert, 1838. Sixteen Hand-Colored Lithographed Plates by Gavarni "Les Artistes" GAVARNI, Paul. [pseudonym of Guillaume Sulpice Chevallier]. Les Artistes. Paris: Chez Aubert, [1838]. Oblong folio (9 7/8 x 13 5/8 inches; 251 x 346 mm.). Sixteen hand-colored lithographed plates, heightened with gum arabic. Plates printed by Aubert et Cie. All plates mounted on guards. Plate nos. 5, 6, 8, 9 & 13 with repaired tears to blank lower margins, plate no. 2 with small repair to blank fore-margin. Chemised in a quarter black morocco over black cloth boards clamshell case. Spine with five raised bands decoratively tooled and lettered in gilt. "Nearly every lithographic artist recorded in caricature some aspect of his own profession. Gavarni devoted an entire series, Les Artistes, to this theme, usually exposing the contrast between the illusory nature of the image being represented and the more ludicrous reality of the subject, or sometimes, as here, treating confrontations between bohemian and bourgeois. The artist, as in this image, is often portrayed in some degree of bohemian dishevelment. The pose being adopted by the self-conscious bourgeois sitter bears a striking resemblance to the portrait of the publisher Louis Bertin, painted by Ingres in 1832" (Beatrice Farwell, The Charged Image, p. 83, describing plate no. 7 in Les Artistes). Paul Gavarni (1804-1866). "A French artist best known for his lithographs, Paul Gavarni (née Chevalier Suplice Guillaume) was born in Paris on January 13, 1804. Throughout his lifetime Gavarni produced over 4000 satirical prints for journals and fashion magazines. Both delicately witty and elegantly revealing of human behavior and character, Gavarni's genre scenes made him one of the most important and popular nineteenth-century artists. He is often critically paired with Honoré Daumier with whom he (and other young printmakers like Jean-Jacques Grandville and Joseph Traviés) raised the status and importance of social lithography and printmaking as an art form.. In the 1830s he began to work for L'Artiste, La Caricature, and, most importantly, Le Charivari. The latter was owned by Charles Philipon, and became Gavarni's longest running contract and most important place of publication. Here Gavarni published some of his most famous series, including Les Artistes, La Boite aux Lettres, Clichy (inspired by his month-long stay in debtor's prison), Les Coulisses, Les Enfants Terribles, Impressions de Ménage, etc. etc." (childsgallery.com) Armelhault & Bocher, nos. 332-345; Not in Bobins. The Plates: 1. Ma Sainte te ressemble, n'est pas Nini? P'us souvent que j'ai un air chose comme ça! 2. Vois-tu amarade voilà comme tu trouveras toujours les vrais Artistes.. 3. La Madelaine c'était une femme qu'avait fait des bêtises n'est-pas m'sieu Henry?.. 4. (Le Patissier au Mannequin) M'sieu Chandellier? Mosieu Chandellier, si vous plait?.. 5. (Etienne) Tu ne fais donc pas d'études? (Prosper) Je me servirai des tiennes.. 6. Ces messieurs sont sans doute officiers de messieurs les hussards en garnison dans cette ville. 7. Voyons! me trouvez-vous bien comme ça? 8. Le feu, mon brave, est un élément de nostre existence - Bien obligé! 9. Ô bon! M'ame Jean! v'la qui tire vot' clos! In peu qui tire l'clos de m'ame Jean! 10. Un peu de poèsie dans cette tête-la et vous serez joliment ressemblant, allez! 11. Monsieur le duc!..donnez vous la peine d'entrer. 12. Mon Général..mon Général! vous dormez en faction! 13. St. Pierre, mon ami, vous êtes capot! 14. Et à quelle heure puis-je venir vous voir, mon cher monsieur..sans vous déranger?.. 15. C'est vraiment une chose profondément pénible à considérer que l'ignoble allure de ces tristes bourgeois.. 16. (L'Atelier du Lithographe.) Comme c'est leger!.

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05490

Catalogue: Color-Plate Books

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

GAVARNI, Paul [pseudonym of Guillaume Sulpice Chevallier]

Les Débardeurs

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

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05386

Catalogue: Color-Plate Books

Keywords: Books in French Caricatures Dance French Caricature

GAVARNI, Paul; [pseudonym of Guillaume Sulpice Chevallier]

Les Débardeurs

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

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05232

Catalogue: Color-Plate Books

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

GAVARNI, Paul [pseudonym of Guillaume Sulpice Chevallier]

Souvenirs de Carnaval

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

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05611

Catalogue: Color-Plate Books

Keywords: Books in French Caricatures French Caricature

GERNING, J.J. [Johann Isaac] von

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

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

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Book number: 04831

Catalogue: Color-Plate Books

Keywords: Color-Plate Books Germany Views Voyages and Travels