GAVARNI, Paul; [pseudonym of Guillaume Sulpice Chevallier]
One of Gavarni's Earliest and Rarest Works - 'Grotesque Disguises' An Wonderful Album with Twelve Superb Hand Colored Etched Plates Depicting Cross-Dressers - Transvestites GAVARNI, Paul. [pseudonym of Guillaume Sulpice Chevallier]. Grotesque Disguises. Travestissemens Grotesques. London [&] Paris: McLean [&] Giraldon Bovinet, 1st Jany. 1829. First edition of Gavarni's exceptionally rare second? album. Folio (12 5/8 x 9 7/8 inches; 321 x 251 mm.). Twelve fantastic hand colored etched plates, the first four with the subtitle Travestissemens Grotesques (Grotesque Cross-Dressers). Plate no. 2 with expert lower right corner margin repair (not affecting image). Plates nos. 3, 5, 7, 9, 10 & 11 with minor expert marginal repairs. Plate no. 11 with light water-stain on lower portion. Twentieth century purple cloth over boards, front cover with dark purple straight-grain morocco label, bordered and lettered in gilt. One of Gavarni's earliest and rarest albums depicting strange and grotesque figures - in transvestite costumes - a really interesting and quite amazing look at Parisian life in the late 1820s. OCLC locates just one copy in libraries & institutions worldwide: Northwest University Library (IL, US). KVK locates just one of the plates - No. 2 Bergère des Pyrénées (Pyrenean Shepherdess) in the French National Library. We have been unable to locate any copies appearing at auction over the past one hundred years. Armelhault & Bocher, the standard catalog of Gavarni's work, only saw eight of the twelve plates: "Suite of twelve lithographs with pen and water-color. After all our research, we have discovered only a few parts of this suite, of which we can therefore only describe in part below. Each of the pieces represents a full-length character, male or female, in a transvestite costume." (Armelhault & Bocher, pp. 599-600). 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. "He soon tried his hand at lithography, and in 1824 prepared his first and exceptionally rare album, entitled Étrennes de 1825: Récréations diabolico-fantasmagoriques par H. Chevallier, for the publisher Blaisot, to whom Mademoiselle Naudet had introduced him. The "H" that here replaces his real initials was intended for "Hippolyte," which name for some reason he had chosen to replace "Guillaume Sulpice", indicating already a fondness for pseudonyms." from 1824 until 1828 he was in Tarbes in the Hautes-Pyrénées under the wing of Monsieur Leleu, director of the cadastre for the Hautes-Pyrénées. "After the quietness of the provinces, Paris with its teeming life seemed like a new world, and he decided to become its explorer and historian. The first year was one of struggle, but he managed to get some work to do from publishers, illustrating "Beranger's Songs" and doing some Pyreneean and other figure subjects." In 1829 he changed his name to Gavarni. "The advent of the new name seemed to mark a fresh departure in the artist's career. His work began to interest publishers and collectors. He took a studio in Montmartre in July 1829, and set out to sketch the gardens that then covered the Butte. He made many studies of the picturesque types and corners of Paris, and gathered an immense amount of material that served him for reference all through his life." (Armelhault & Bocher pp. 8 - 11). The Plates: 1. White Dwarf - Magot 2. Pyrenean Shepherdess - Bergére des Pyrénées 3. Wizard - Enchanteur 4. Jew - Juif 5. Consolation monger - Md. de consolation 6. Rats bane monger - Md. de morte aux rats (The Rat Catcher) 7. Paper costume - Costume de papier 8. Babe Eater - Ogre 9. Idol of the Negroes - Fétiche 10. Sultaness - Sultane 11. Persian genius - Péri 12. Lie Cage - Cage à mensonges Armelhault & Bocher 2707-2714 (plates III, VI, VII, VIII, not in A & B); Not in Bobins, Colas, Hiler or Lipperheide.
ACKERMANN, Rudolph; COMBE, William; PUGIN, Augustus; ROWLANDSON, Thomas
With Eight of Abbey's Twelve Key Plates in Their First "Luminous" State A Wonderful Example Bound in Early Twentieth Century Three-Quarter Red Straight-Grain Morocco [ACKERMANN, R[udolph]. The Microcosm of London; or, London in Miniature]. London: R. Ackermann's Repository of Arts, [1808-1810]. First edition, early issue, bound from the original parts, with eight of Abbey's twelve key plates in their first state. Text watermarked J. Whatman 1806 & 1807 and also L & D 1807; plates watermarked J. Whatman 1806, 1807, 1808 & 1809. "Contents" leaf in volume one in first state. With all of the errata uncorrected, except for that reading "coustom" for "custom" on p. 218 of Volume I (see Abbey, Scenery, p. 138). Complete with the half-titles, woodcut titles and engraved dedication leaves in each volume. Three large quarto volumes (12 5/8 x 10 1/2 inches; 321 x 267 mm.). [1, pictorial woodcut title], [1, blank], [1, dedication], [1, blank], iv, introduction, 1, contents, [1, blank], [1, half-title]-231, [1, blank]; [1, pictorial woodcut title], [1, blank], [1, dedication], [1, blank], [1, contents], [1, blank], [1, half-title], [1, blank], [iii]-vi, introduction, [1]-239, [1, blank]; [1, pictorial woodcut title], [1, blank], [1, dedication], [1, blank], [1, contents], [1, publisher's note], [1, half-title], [1, blank], [iii]-iv, introduction, [1]-280, [6, index and errata] pp. With 104 hand-colored aquatint plates, including fifty-four by J. Bluck, twenty-nine by J.C. Stadler, ten by T. Sutherland, ten by J. Hill, and one by Harraden, after Rowlandson and Pugin. First state of Abbey's key plates 1, 4, 5, 6, 7, 9, 10 & 11. Plates 3, 12 and 39 in second state as usual, plate 91 in third state. Four plates in volume II (nos. 49, 50, 51 & 52) with hardly noticeable tiny wormholes. The plates all bright and fresh, a very few plates with the slightest hint of offsetting from the facing page of text. A few text leaves with slight offsetting from the facing plate. Apart from some scattered foxing to the preliminary leaves of each volume and a few light marginal spots to the text, this is one of the cleanest examples of the Microcosm that we have seen. Handsomely bound by Bayntun of Bath ca. 1920. Three-quarter red straight-grain morocco over marbled boards, double-ruled in gilt, spine with five raised bands, elaborately decorated and lettered in gilt in compartments, matching marbled endpapers, all edges gilt. Fine. "The book was issued in twenty-six monthly parts, each part containing four plates, and at 7s. a part, a price that was advanced early on to 10. 6d. for non-subscribers. A thousand sets are said to have been issued, a statement that may be correct for the original part publication, but must be considerably short of the final number, when bound sets distributed later are taken into account" "At the end of the third volume, a list of thirteen errata for the three volumes is given. If these have been corrected then the set will be found to be a late issue: if all the errata are uncorrected (this is rare), then the book has been bound from parts; the same claim of part binding can be made for sets that have errata uncorrected except for that reading 'coustom' for 'custom' on page 218 of volume 1. This is the case with the present copy -- all errata uncorrected except one." (Abbey). "The [book's] striking feature is not so much the text (though the third volume is notable as the work of W. Combe) but the coloured illustrations, in this case the combined work of Pugin and Rowlandson.The pictures in this book cover all the well-known public buildings of Londonâ"churches, banks, prisons, theatres, etc.,â"capitally portrayed by Pugin.The great metropolis, with its high life and low, its light and its shade, could have had no one better fitted [than Rowlandson] to portray its inmates. The spirited figures that he adds to Pugin's backgrounds show that his talents were not limited to the ludicrous and grotesque. With the happiest faculty for expressing character, he is equally at home amid a serious discussion of naval policy at the Admiralty Board-Room, or among the excited, gambling crowd of the Royal Cockpit. At Westminster Abbey or Bridewell, the College of Physicians or Billingsgate, everywhere he has seized on the essential features and the typical frequenters of the place.The book is a living and delightful record of the old metropolis of [two] hundred years ago, the London of Lamb, Jane Austen, Dickens, and Thackeray, of places and incidents that are now mere memories" (Martin Hardie, pp. 101-102). "The âMicrocosm of London' is one of the great colour-plate books, and a carefully selected copy should form the corner stone of any collection of books on this subject. The plates by Rowlandson and Pugin present an unrivaled picture of London in early 19th century, of historic value, as many of the buildings no longer exist" (Tooley). Early impressions are particularly prized: "original impressions of these splendid plates have a luminous quality entirely absent from later printings" (Abbey). Abbey, Scenery, 212. Adams, London Illustrated, 99. Martin Hardie, pp. 100-103. Prideaux, pp. 121-124 and 348. Tooley 7.
ROSCOE, William
Rare First Edition of William Roscoe's The Butterfly's Ball, and the Grasshopper's Feast One of the Earliest Examples of Fantasy Writing for Children, Which Uses Strange Situations and Gives Human Features to Animals ROSCOE, William. MULREADY, William, illustrator. The Butterfly's Ball, and the Grasshopper's Feast. Said to be written for the Use of his Children, by Mr. Roscoe. London: Printed for J. Harris, Jany. 1st, 1807. First Edition, First Issue. (5 1/8 x 3 3/4 inches; 130 x 95 mm.). Sixteen leaves (32 pp). The final blank leaf attached to the back wrapper. Hand colored engraved frontispiece and thirteen fine hand colored engraved plates with the text at the top of the leaf. The illustrations are by William Mulready. Nineteenth century full black morocco, front and back covers covers with a geometric design border. The front cover also with the title in gilt. Spine with four raised bands lettered in gilt. Dark green floral design endpapers, edges uncut. The original printed front & back yellow card wrappers bound in. Remains of the manuscript price of 1/6 on top blank margin of front wrapper. The rear wrapper lists eight other book printed by J. Harris. A spectacular copy of this great rarity, Harris's most famous publication. "The work is illustrated with 12 hand-coloured engravings totally different from the second issue of the work. The second issue has the text printed and not engraved and in many respects is different or variant." (Gumuchian 4967). The Butterfly's Ball, and the Grasshopper's Feast is a poem by William Roscoe, which first published in the November 1806 edition of The Gentleman's Magazine. The poem is an early example of fantasy writing for children, which uses strange situations and gives human features to animals. What sets it apart from other children's literature of the time is that there is no underlying moral tale. The poem was purely for fun and amusement, written in lively and light hearted rhyming couplets. It tells the story of a procession of insects and small animals who make their way to a ball being held by the butterfly. The guests range from a blind mole, assisted by a dormouse, to a wasp and hornet, both of whom promise not to use their stings during the evening. They eat supper and watch the spider's acrobatics, then everyone returns home, accompanied by the light of the glow worm watchman. The Butterfly Ball and the Grasshopper's Feast is also the title of a 1973 picture book by Alan Aldridge and William Plomer, loosely based on the poem. This greatly expanded and altered the original work, focusing more on the animals' preparations for the Ball. William Roscoe (1753-1831) was an English banker, lawyer, and briefly a Member of Parliament. He is best known as one of England's first abolitionists, and as the author of the poem The Butterfly's Ball, and the Grasshopper's Feast,which he wrote for the amusement of his children. William Mulready (1786-1863) was born in Ennis, County Clare. Early in his life, in 1792, the family moved to London, where he was able to get an education and was taught painting well enough so that he was accepted at the Royal Academy School at the age of fourteen. Many of his early pictures show landscapes, before he started to build a reputation as a genre painter from 1808 on, painting mostly everyday scenes from rural life. He also illustrated children's books including the first edition of Charles and Mary Lamb's Tales from Shakespeare in 1807; William Roscoe's entertaining poem The Butterfly's Ball, and the Grasshopper's Feast in the same year; and a sequel to the latter by Catherine Ann Dorset. Some of these were for the Juvenile Library of William Godwin and Mary Jane Clairmont; Godwin in turn wrote, under a pseudonym, an account of Mulready's early life, suitable for children. Gumuchian 4967; Moon 725(1); Osborne 1, 76.
MONNIER, Henri; DEVÈRIA, Achille; BÉRANGER, Pierre-Jean de
Pierre-Jean de Béranger "The Most Popular French Songwriter of All Time" "The First Superstar of French Popular Music" Thirty Three (of Forty, as is often the case) Hand Colored Lithograph Plates by Henri Monnier MONNIER, Henri, illustrator. Chansons de P.J. Béranger Anciennes, Nouvelles et Inédites, avec des vignettes de Devéria et des dessins coloriées d'Henri Monnier. Suivies des Procès Intentés a l'Auteur. Paris: Baudouin Frères, Éditeurs, 1828. First edition. Two octavo volumes (8 1/4 x 5 1/8 inches; 209 x 130 mm.). [ii], [1]-439, 1, blank]; [ii], [1]-438 pp. Bound without the half-titles and the additional four-page preface in volume one. Plate 18 (Le Maitre D'École) and the following two leaves of text (pp. 135-138 with neatly repaired tears (marginal on plate). Light scattered foxing throughout, mainly affecting text only. **Thirty-three (of forty) superb hand colored lithograph plates by Henri Monnier and numerous charming black & white vignettes by Achille Devèria. The plates that were never included in this copy are numbers: 21, 26, 28, 31, 35, 37, & 39. (These seven plates are highlighted below within the listing of all 40 plates). Contemporary English, bead-grain, brown morocco, covers elaborately decorated in gilt and blind. Spines with four raised bands elaborately tooled and lettered in gilt in compartments, powder blue coated endpapers, all edges gilt. Spines slightly darkened, light rubbing to extremities. With the armorial bookplate of Stephens Lyne Stephens on front pastedowns. A very good copy in a contemporary binding. **"The forty drawings by Henri Monnier, lithographed with a pen on stone and colored with a brush, are very rare complete. Seven of these lithographs are often missing, they are: The Court Dress, The Exile, The Good Old Man, The Marquise of Pretintaille, The Flight of Love, The Voyager, The two Grenadiers." (Carteret III, p. 72). KVK locates no complete copies; OCLC locates just one complete copy in libraries and institutions worldwide: Paris-Est Marne-La-Vallee-Bu (France). Pierre-Jean de Béranger (1780-1857) was a prolific French poet and chansonnier (songwriter), who enjoyed great popularity and influence in France during his lifetime, but faded into obscurity in the decades following his death. He has been described as "the most popular French songwriter of all time" and "the first superstar of French popular music". The Chansons were composed with fastidious care and are most notable for their clarity, wit and incisiveness, however the socialist and revolutionary content of his songs resulted in several brushes with the authorities, resulting in his nine month incarceration in La Force Prison. Stephens Lyne-Stephens (1801-1860) was an English Tory politician who represented Barnstaple before the 1832 Reform Act. After inheriting a family fortune from glass manufacture in Portugal, he was later reputed to be the richest commoner in England. The plates: 1. Le Roi d'Yvetot 2. La Bacchante 3. Le Sénateur 4. La Gaudriole 5. Roger Bontemps 6. Ma Grand'Mère 7. Ma Mère Aveugle 8. Le Petit Homme Gris 9. La Bonne Fille 10. L'Éducation des Demoiselles 11. Madame Grégoire 12. Les Gueux 13. Le Vieux Célibataire 14. Le Commencement du Voyage 15. Requête des Chiens de Qualité 16. Vieux Habits! Vieux Galons! 17. Le Nouveau Diogène 18. Le Maitre d'École 19. La Chatte 20. Bon Vin et Fillette 21. L'Habit de Cour ***(p. 205) 22. Ce n'est plus Lisette 23. L'Hiver 24. la Bonne Vieille 25. La Vivandière 26. L'Exilé ***(p. 285) 27. La Bouquetière et le Croque-Mort 28. Le Bon Vieillard ***(p. 315) 29. L'Aveugle de Bagnolet 30. Les Cartes ou L'Horoscope 31. La Marquise de Pretintaille ***(p. 402) 32. Le Tailleur et la Fée 33. Le Violon Brisé 34. Les Hirondelles 35. La Fuite de l'Amour ***(p. 87) 36. Le Vieux Sergent 37. Le Voyageur ***(p. 111) 38. Le Grenier 39. Les Deux Grenadiers ***(p. 169) 40. Les Souvenirs du Peuple Champfleury, Monnier p.364; Escoffier, The Romantic Movement N°675; Marie, 653-692; Vicaire I-402.
BURY, T[homas T[albot]; Pyall, H.; Hughes, S.G.
With Thirteen Fine Hand-Colored Aquatint Plates Uncut in the Original Printed Wrappers BURY, T[homas] T[albot]. Coloured Views on the Liverpool and Manchester Railway, with Plates of the Coaches, Machines, &c. From Drawings Made on the Spot by Mr. T.T. Bury. With Descriptive Particulars, Serving as a Guide to Travellers on the Railway [&] Six Coloured Views on the Liverpool and Manchester Railway, with a plate of the Coaches, Machines, &c. From Drawings made on the spot by Mr. T.T. Bury. Price twelve shillings. London: Published by R. Ackermann, and Sold by R. Ackermann, Jun., 1831. First edition. Two parts in one large quarto volume (14 1/8 x 11 1/2 inches; 359 x 292 mm.). [2, title], 8 pp; [2, (2nd) title] pp. Thirteen hand-colored aquatint plates by H. Pyall (Plates 1-7, and 11-13) and S.G. Hughes (Plates 8-10) after T.T. Bury. Second title-page watermarked: "J. Whatman 1831". No watermarks visible on the plates. Plates 1-7 are dated "Feb. 1, 1831" or "Feby. 1831." Plates 8-13 are dated 1831. Complete with both title pages. Loose in the original drab printed wrappers as issued, spine expertly and almost invisibly restored. Chemised in a fleece-lined quarter black morocco over tan cloth boards clamshell case. Spine with five raised bands decoratively tooled and lettered in gilt in compartments. An exceptional copy, entirely uncut, a full one inch taller than Abbey's (1834) edition. The plates are captioned: 1. "The Tunnel;" 2. "Entrance of the Railway at Edge-Hill, Liverpool;" 3. "Excavation of Olive Mount, 4 Miles from Liverpool;" 4. "Viaduct across the Sankey Valley;" 5. "View of the Railway across Chat Moss;" 6. "Entrance into Manchester across Water Street;" 7. "Coaches, &c. employed on the Railway. No. 1, The Northumbrian, Steam-Engine, &c.â"2, 3, 5, Carriages for Passengers.â"4, Private Carriage.â"6, 7, Carriages for Cattle;" 8. "Railway Office, Liverpool;" 9. "Warehouses, &c. at the end of the Tunnel towards Wapping;" 10. "Moorish Arch, looking from the Tunnel;" 11. "Near Liverpool, looking towards Manchester;" 12. "Rainhill Bridge;" and 13. "Taking in Water, at Parkside. (The station where Mr. Huskifson fell.)." "A later edition with the plates re-engraved [many of them with significant changes] was issued in 1833" (Tooley). "This book was first published with six plates in 1831. It proved popular, and other editions followed.This classic record of the beginnings of the railway age was also one of the last significant books illustrated with aquatints. Lithography was already sweeping the field for pictorial records of this kind" (Ray, The Illustrator and the Book in England). Thomas Bury (1811-1877), "a pupil of Augustus Pugin, was the artist responsible for the best-known views of the Liverpool and Manchester Railway. Published as hand-coloured aquatints in paper covers by Ackermann in February 1831 [titled Six Coloured Views of the Liverpool and Manchester Railway, with a plate of the coaches, machines, &c], Bury's work went through many editions covering a period of about three years. There were seven views in the first edition and thirteen in the second. A reissue appeared in 1832 followed by Spanish and French editions, while the prints were reproduced separately in France and Germany. After re-engraving, new editions appeared in England in 1833 and 1834.Ackermann clearly realized the potential of the British and European markets for railway prints as no other work passed through so many editions" (Rees). Abbey, Life, 400 (1833 edition). Prideaux, p. 329. Ray, The Illustrator and the Book in England, 45 (1833 edition). Gareth Rees, Early Railway Prints, p. 21 and Plates 5-9 and 13. Tooley 121 (1831 edition).
[SCHEFFER, Jean-Gabriel] J.S-; PIGAL, Edmé-Jean; &c
Familiar Scenes of Parisian Society Caught in the Wry [SCHEFFER, Jean-Gabriel]. J.S-------, PIGAL, &c, &c. Recueil des Scènes Familiéres, et de Société de Paris. Paris: n.p. [Chez Martinet], 1824. First (only) issue. Folio (14 1/8 x 10 3/16 inches: 359 x 263 mm.). Three parts in one volume. Printed front wrapper from Seconde Partie as title. Twenty one hand-colored lithographed plates, most signed: Chez Martinet, Lith. de Villain; numbered and captioned, watermarked "J Whatman 1823." Light waterstain at top margin of printed wrapper, also affecting blank top margin of first plate. Wrapper slightly soiled and with very small expert repair on fore-margin. The last two plates supplied from a slightly shorter copy. Bound ca. 1890 in three-quarter dark green morocco over green marbled boards, ruled in gilt. Smooth spine ruled and lettered in gilt, dark green marbled end-papers, all edges gilt. An excellent copy, the vivid hand-coloring startlingly bright and fresh, of an extremely scarce collection. With the armorial bookplate of Laurence Currie "Ex Libris Laurentii Currie" on front paste-down. An excellent example. Laurence Currie (1867-1934). British collector of books, prints, paintings and furniture. Only one institutional copy worldwide, at Yale, but it is incomplete with only three parts (twenty-one plates). No copies have come to auction within the last thirty-five years. Lipperheide's copy contained only thirty-four plates. Not in Colas, Hiler, OCLC or RLIN. The contemporary manners, customs, and costumes of Parisian society in typical scenes, illustrated with great charm and wry,understated humor by Swiss genre painter and lithographer Jean Gabriel Scheffer (1797-1876), who studied with Regnault and was a friend of Corot, Aligny, and Léopold Robert. His work was shown at the Salon de Paris beginning in 1822; his reputation as a designer of many wryly humorous lithographs, typically signed "J.S.," was firm. (See Benezit Vol. 9, p.354). Closely associated with printer-publisher Chez Martinet and lithographer Villain, Scheffer also created Scènes de jeunes gens (1825), Ce qu'on dit et ce qu'on pense (1829), and Petits travers (1830) with them. Première Partie: 1. 8 heures du soir - signed J.S. 2. 8 heures du matin - signed J.S. 3. Comme on l'écoute - signed J.S. 4. Que je vous y'reprenne. - signed J.S. 5. La Confidence - signed J.S. 6. Il m'a fait des traits ma chère! - unsigned 7. Faut lui répondre. signed J.S. Seconde Partie: 8. Derniers instans d'une demoiselle - signed J.S. 9. Dépêche-toi donc, n'y aura plus de places - unsigned 10. Dieux! si un homme me battait! - unsigned 11. 'A-ton été bien sage? - unsigned 12. Un Cabinet - le dîner dans une heure - signed J.S. 13. Ça serait joli en blouze. - signed J.S. 14. Surtout n'allez pas la compromettre - unsigned Troisieme Partie: 15. A-ton une tournure? - signed J.S. 16. Le jour de la blanchisseuse - signed J.S. 17. La fin de Décembre - signed J.S. 18. Me soupçonner, moi!! - signed J.S. 19. A belle l'air gamain! - signed J.S. 20. D'ou diable sait-elle tout cela? - signed J.S. 21. On ne passe pas sans payer - signed J.S. Lipperheide 3684 (with thirty-four plates).
MCKENNEY, Thomas L.
One of the Finest Artistic and Anthropological Records of the Native Americans ever Published MCKENNEY, Thomas L. History of the Indian Tribes of North America, with Biographical Sketches and Anecdotes of the Principal Chiefs. Embellished with One Hundred Portraits from the Indian Gallery in the War Department at Washington. In two Volumes. Philadelphia: D. Rice & Co., 1872. Two large octavo volumes (10 11/16 x 7 5/8 inches; 272 x 194 mm.). [iv], [1]-450; [1]-541, [1, blank] pp. Complete with *ninety-nine hand-colored lithographic plates heightened with gum arabic, as enumerated in the list of illustrations at the beginning of each volume (61 in volume one, and 38 in volume two, all with original tissue-guards). Some occasional and very minor foxing otherwise a near fine and clean example, the lithograph plates with superb hand coloring. Original half dark brown morocco over diced brick-red cloth, spines with five raised bands decoratively ruled and decorated in blind in compartments, second and third compartments lettered in gilt, marbled endpapers. Cloth sides with some minor discoloration, otherwise fine. Small neat blue ink stamp "A. Noel" on top blank margin of both title-pages. *Most catalogers take their cue from the title page which states 'one hundred illustrations' but this is incorrect as the list of plates makes clear. The plates are after illustrations, chiefly by Charles Bird King, selected from the Indian Gallery, of important chiefs and characteristic individuals in native dress from the various Indian tribes and nations of pre-1830 America. This work was first published in three volumes in folio between 1836 and 1844, with 120 hand colored plates. It was reissued in octavo with the plates reduced in 1850. Several octavo editions were published between 1850 and the 1870s, with varying number of plates, some maintaining the original 120 and some abridged to contain as few as forty or fifty plates. All are highly prized today. "As early as 1824, the practice was begun of taking portraits of the principal Indians who came to Washington, and depositing them in the War Department. They were chiefly painted by Mr. King, an artist of high repute, who has been remarkably successful in transferring to his canvas the strong lineaments of the Indian countenance. Col. M'Kinney [sic], who was for many years superintendent of Indian affairs at Washington, and was thus brought in constant association with the principal men of the nations and tribes which sent representatives to the seat of government, conceived the plan of making this rare and curious collection more valuable to the world by publishing a series of engraved portraits exactly copies and colored from these paintings. With each portrait is connected a biographical sketch of the individual whom it is intended to represent, interspersed with anecdotes and narrations. The work contains also a historical account of the various Indian tribes within the borders of the United States" (Sabin 43410a, describing the 1836-1844 edition). "The original oil paintings of which the plates were copies were all destroyed in the 1865 Smithsonian fire" (Howes). Thomas McKenney (1785-1859), served as the United States superintendent of Indian trade in Georgetown and later as the head of the Bureau of Indian Affairs, initiated the government's commissioning of the portraits. Like many others, at the time he believed that the indigenous people were nearing extinction, and he was seeking ways to preserve their history and culture. McKenney sought to preserve Native American culture while carrying out governmental policies that were responsible for its erasure. He first tried to collect artifacts from various tribes, then thought of having portraits painted for the government. About this time, he met Charles Bird King (1785-1862), whose talent he appreciated. "The arrival of Charles Bird King on the Washington scene inspired the imaginative McKenney to add portraits to his archives." King painted the subjects in his own studio, as McKenney easily obtained the consent for the portraits from Native American leaders coming to Washington to do business with the US through his new department. King's 20-year role in painting works for the collection was profitable for the artist. He charged at least $20 for a bust, and $27 for a full-figure portrait, allowing him to collect an estimated $3,500 from the government. The portraits gained widespread publicity beyond Washington during this period as McKenney broadened his project by publishing a book on Native Americans. In 1829 he began what would become many years' worth of work on the three-volume work, History of the Indian Tribes of North America. The project featured the many portraits of Native Americans, mostly King's, in lithograph form, accompanied by an essay by the author James Hall. Bennet, p. 79 (folio); Field, p. 256 (folio); Howes M-129; Sabin 43411 (first octavo).
MADOU, Jean-Baptiste; HAMELRYCK, Jean-Louis Van
A Superb Set in the Original Wrappers of Madou & Van Hamelryck's Costumes of Belgium Complete with 124 Fine Hand Colored Lithograph Plates MADOU, Jean-Baptiste, and [Jean-Louis Van HAMELRYCK]. Costumes Belgiques, Civils, Militaires, Religieux, Anciens et Modernes. Dessinés par Madou. Vingt-cinq livraisons de cinq planches, et une feuille de texte. Bruxelles: J.B.A.M. Jobard & Jobard Freres, 1825, 1826, 1827, 1828 & 1830. First edition in the original twenty-five parts as issued. Folio (12 3/8 x 9 1/2 inches; 314 x 241 mm.). [i-ii, engraved vignette title-page, verso blank], [iii]-iv, Introduction, [1-9]; [10-17]; [18-25]; [26-33]; [34-41]; [42-49]; [50-57]; [58-65]; [66-73]; [74-81]; [82-89]; [90-97]; [98-105]; [106-113]; [114-121]; [122-129]; [130-137]; [138-145]; [146-153]; [154-161]; [162-169]; [170-177]; [178-185]; [186-193]; [193-196], [i]-iv, table. pp. Paper fault on lower margin of pp. 58-59 (part 11), not affecting text. Complete with 124 fine hand colored lithograph plates, the first 55 signed by Madou, plates 56-124 signed by Van Hamelryck. Plate 68 (part 14) with small stain just touching image; plates 69 & 70 with blank lower right hand corner torn away, not affecting images; Plate 94 (part 17) with stains to outer blank margins, not affecting image; Plate 96 (part 20) with very slight marginal foxing, plates 97, 98 & 100 with light marginal staining, none affecting images; Plate 111 (part 23) with light marginal staining, not affecting image; Plates 116, 117, 119 & 120 (part 24) with light marginal staining, not affecting images; Publishers lithographed blue/gray wrappers with advertisements on back covers. Wrapper of part 14 with small tear to lower corner of spine. Aside from the aforementioned minor faults this is a near fine set. A remarkable survival, housed in a tan cloth chemise within a full red straight-grain morocco folding case, smooth spine decoratively ruled and lettered in gilt in compartments, marbled edges. "Some of the first plates are drawn by Madou, while the last 60 bear the letters V.H. or the full name Van Hemelryck with the dates 1828 to 1830. Cf. Vinet No. 2208, where the work is listed under J. Madou." (Von Lipperheide II, 963). Jean-Baptiste Madou (1796-1877) was a Belgian painter and lithographer. Madou was born in Brussels. He studied at the Brussels Academy of Fine Arts and was a pupil of Pierre Joseph Célestin François. While draftsman to the topographical military division at Kortrijk, he received a commission for lithographic work from a Brussels publisher. It was about 1820 that he began his artistic career. Between 1825 and 1827 he contributed to Les Vues pittoresques de la Belgique, to a Life of Napoleon, and to works on the costumes of the Netherlands, Costumes Belgiques, Civils, Militaires, Religieux, Anciens et Modernes (1825-1830), XII dessins lithographies pour 1833 and later made a great reputation by his work in La Physionomie de la société en Europe depuis 1400 jusqu'à nos jours (1836) and Les Scenes de la vie des peintres and Soixante-Dix Vues Pittoresques de la Hollande, de la Belgique et du Grand-Duche de Luxembourg (1842). Madou was also the lithographer for most of the hand-colored plates in Jean Joseph de Cloet's rare Voyage Pittoresque en Belgique. collection comprenant plus de 200 vues interessantes. (1835). "His works would appear to be scarce on the market" (Bobins II, p. 46). Jean-Louis Van Hamelryck (active 1825-1850) was a Belgian painter and lithographer. Several of his works are in the Rijks Museum, Amsterdam. Bobins II, 538; Brunet III, 1289; Colas, 1932; Hiler, p. 560; Lipperheide II, 962.
ROBINSON, W. Heath
"The more serious the business undertaking, the funnier his drawings became" ROBINSON, W. Heath. Absurdities. A Book of Collected Drawings. London: Hutchinson & Co., Ltd., [1934]. First Edition. Folio (12 1/4 x 9 7/8 inches; 311 x 251 mm.). [i]-vi, 7-95, [96] pp. Ninety full-page drawings and six vignettes. Publisher's white paper boards, front cover pictorially printed in black and green, spine printed in black. Apart from the slightest rubbing to the extremities this is the finest copy that we have seen in over fifty years. "The more serious the business undertaking, the funnier his drawings became." (John Lewis. Heath Robinson. Artist and Comic Genius, p. 181. William Heath Robinson (1872-1944) was an English cartoonist and illustrator best known for drawings of ridiculously complicated machines for achieving simple objectives. His brothers, Thomas Heath Robinson and Charles Robinson were also artists. In the United Kingdom, the term "Heath Robinson" entered the language during the 1914-1918 First World War as a description of any unnecessarily complex and implausible contrivance, much as "Rube Goldberg machines" came to be used in the United States from the 1930s onwards as a term for similar efforts. The term "Heath Robinson contraption" is perhaps more often used in relation to temporary fixes using ingenuity and whatever is to hand, often string and tape, or unlikely cannibalizations. Its continuing popularity was undoubtedly linked to Second World War Britain's shortages and the need to "make do and mend". Lewis, pp. 153, 162, 181-182.
NUMA (pseudonym of Pierre-Numa BASSAGET); BASSAGET, Pierre-Numa
The Chaos and Pleasantries of Human Relationships NUMA (pseudonym of Pierre-Numa BASSAGET). Le Tohu-Bohu Plaisant. Paris: Chez Bulla Freres, [ca. 1850]. Folio (16 1/4 x 12 1/8 inches; 413 x 308 mm.). Sixty superb hand colored lithograph plates + duplicates (with different hand coloring) of numbers 39 & 40 and an additional smaller (mounted) hand colored lithograph at end. All plates mounted on stubs. Some light sporadic foxing affecting many of the plates. Bound by Pagnant ca. 1920, stamp-signed on verso of front free endpaper. Three quarter red straight-grain morocco over red diced cloth boards ruled in gilt, smooth spine decoratively tooled and lettered in gilt, gray marbled endpapers, top edge gilt. Apart from the sporadic foxing a wonderful copy of this exceptionally rare and amusing look at the personal side of Parisian life in the early nineteenth century. Le Tohu-Bohu Plaisant means chaos, confusion and pleasantries of human relationships. The only auction records that we could find was a single plate: number 18 "Gloire à Venus, gloire à Bacchus" (sold in at a Paris auction in 2021 (Euros 1,504); and a collection of sixteen plates only which was sold at Parke-Bernet Galleries, New York in March 1959. The Paris Musée Collections have just one of the plates: number 6. La Pie aux Bois. (The Magpie in the Woods). Pierre-Numa Bassaget, aka Numa (French artist, lithographer & printmaker active 1830-1854). He was a contributor to Le Charivari and La Caricature. He illustrated Costumes Civils et militaires depuis le ve. siècle. [1833-1835] Colas 2228, Hiler, p.68; Fantaisies Gracieuses [1850] Colas 2229; Costumes Cosmopolites [184-?] Colas 2230, Hiler, p. 68; Caricatures anti-cholériques, 1832. Hiler p.68, Lipperheide 3670; La Guirlande choix de Danses a caractère de tous le pays, and Moeurs et Usages (Beraldi X, p.273), all of which are excessively rare. The Plates: 1. Où dinon nous aujourd'hui? Where are we dining today? 2. L'as de trefle! C'est de l'argent. The ace of clubs! It's money. 3. Mademoiselle! Encore un autre. Miss! Yet another. 4. Nos succès sont certains. Our successes are certain. 5. Un moyen d'Introduction. A means of introduction. 6. La Pie aux Bois. The Magpie in the Woods 7. Quand on a tout perdu et qu'on n'a plus d'espoir!!! When we have lost everything and we have no more hope!!! 8. Nous demandons les Russes et les Anglais. We ask for the Russians and the English. 9. Distractions du matin. Morning distractions. 10. Une chère connaissance. A dear acquaintance. 11. L'appétit vient en mangeant. Appetite comes with eating. 12. C'est toujours comme ça. It's always like that. 13. Les Maris pêcheure. Fisher Husbands. 14. Oh!! Les beaux hommes. Oh!! The handsome men. 15. Paul & Virginie. Paul & Virginia. 16. Un gibier de Roi. A king's game. 17. Le plus altéré des trois n'est pas celui qu'on pense. The most altered of the three is not the one we think. 18. Gloire à Vénus, gloire à Bacchus. Glory to Venus, glory to Bacchus. 19. Un malheur n'arrive jamais seul. A bad thing never comes alone. 20. A tout malheur, bonheur est bon. In all misfortune, happiness is good. 21. Une lecture sans profit. Unprofitable reading. 22. Une fiévre brûlante. A burning fever. 23. La Culipe orageuse. The Stormy Culipus. 24. Un bon coup de queue. A good kick. 25. Je ne trouve plus ma rosette! I can't find my rosette anymore! 26. Vois dans la Psyché, comme il est petit. See in the Psyche how small he is. 27. Pourra-t-il tenir tout ce qu'il promet. Will he be able to keep everything he promises. 28. Oh! Gaston! Ces boucles me lient à toi. Oh! Gaston! These curls bind me to you. 29. Le jeu de Dames. Checkers game. 30. Chacun prend son Plaisir où il le trouve. Everyone takes his Pleasure where he finds it. 31. Ce qu'on désire. What we desire. 32. Ce qu'on rêve. What we dream. 33. Seule? Hélas oui! Only? Unfortunately, yes! 34. Finis donc! Tu me mouilles. So finish! You wet me. 35. La veille des épousailles. The day before the wedding. 36. Il aurait bien dû m'envoyer la paire. He should have sent me the pair. 37. Le Champagne et l'Amour (1ére Bouteille). Champagne and Love (1st Bottle). 38. Le Champagne et l'Amour (2me Bouteille). Champagne and Love (2nd Bottle). 39. Le Champagne et l'Amour (3me Bouteille). Champagne and Love (3rd Bottle). 39bis. Le Champagne et l'Amour (3me Bouteille). Champagne and Love (3rd Bottle). 40. Le Champagne et l'Amour (4éme Bouteille). Champagne and Love (4th Bottle). 40bis. Le Champagne et l'Amour (4éme Bouteille). Champagne and Love (4th Bottle). 41. Le Champagne et l'Amour (5éme Bouteille). Champagne and Love (5th Bottle). 42. Le Champagne et l'Amour (6me Bouteille). Champagne and Love (6th Bottle). 43. Il vaut mieux glisser sur le gazon que sur la glace. It is better to slide on grass than on ice. 44. Une chambrée de Rats. A room of Rats. 45. Des Messieurs trop presses. Gentlemen in too much of a hurry. 46. Une noce sans les grands Parents. A wedding without the grandparents. 47. La Perdrix mouillée est facile à prendre. The wet Partridge is easy to take. 48. Il vaut mieux tenir que courir. It is better to hold on than to run. 49. Le Départ. Departure. 50. Le Retour. The return. 51. La leçon de Mazurka. Mazurka's lesson. 52. Le leçon de Schottisch. Schottisch's lesson. 53. Le bon Ménage. The Good Household. 54. Le mauvais Ménage. The Bad Household. 55. L'entrée au Bain. Entrance to the Bath. 56. Les loisirs du Bain. Bath recreation. 57. La Toilette. The toilet. 58. Les Peureuses. The Frightened. 59. La sortie de Bain. Leaving Bath. 60. Une visite trop matinale. Too early a visit. [61]. [Unnumbered/Untitled] (8 3/4 x 7 1/8 inches; 222 x 181 mm.).
NIELSEN, Kay, illustrator; ASBJÖRNSEN, Peter Christen; MOE, Jörgen Ingebreksten
Perhaps the Most Beautiful Children's Book Ever Published One of Five Hundred Copies Signed by Kay Nielsen NIELSEN, Kay, Illustrator. [ASBJÖRNSEN, Peter Christen, and Jörgen Ingebreksten Moe]. East of the Sun and West of the Moon. Old Tales from the North. London: Hodder and Stoughton, [1914]. Edition De Luxe. Limited to 500 copies signed by Kay Nielsen of which this is number 104. Large quarto (11 1/4 x 8 7/8 in; 285 x 225 mm.). [iv], 206 , [1 printer's imprint], [1 blank] pp. Twenty-five mounted color plates with descriptive tissue guards, numerous black and white text illustrations. Neat early ink inscription on verso of front free-endpaper. Publisher's full vellum decoratively stamped and lettered in gilt and blue on front cover and in gilt on spine, top edge gilt. Pictorial end-papers in gold and black. Some light browning to the fore-edges of the text leaves. Silk ties renewed, light soiling to vellum spine otherwise a near fine copy. Housed in a fleece-lined, quarter dark blue morocco over blue cloth boards clamshell case, spine with five raised bands, lettered in gilt in compartments. Danish illustrator and designer Kay Nielsen (1886-1957) "was drawn early on to fairy tales and illustrated many volumes for Hodder & Stoughton: In Powder and Crinoline (1913), East of the Sun, West of the Moon (1914), Hans Andersen's Fairy Tales (drawings completed in 1912, but first published in 1924), Hansel and Gretel (1925), and Red Magic (Jonathan Cape, 1930), a collections of fairy tales from around the world. Nielsen's designs unite strong linearity with delicate colouring. Characterized by a sense of two-dimensional flatness, Nielsen's objects and people are highly stylized: foxglove blossoms hang in measured asymmetry; princes and princesses stand on improbably long legs; and their garments billow in gravity-defying parabolas. The power of his illustrations lies in his uncanny ability to retrieve a story's emotional effect on its reader and to recreate it visually in two dimensions" (The Oxford Companion to Fairy Tales).
ALEXANDER, William
First Issue of William Alexander's Costume of the Russian Empire In a Spectacular Neoclassical Binding in the Style of Staggemeier & Welcher [ALEXANDER, William]. The Costume of the Russian Empire, illustrated by a series of seventy-three engravings. With descriptions in English and French. London: Printed for W. Miller, 1803. First edition, first issue with text and plates watermarked '1796'. Folio (13 3/8 x 10 1/8 inches; 340 x 257 mm.). [xviii], 73 leaves of text. Text printed in English and French. Seventy-three hand colored stipple-engravings, all with their original tissue-guards. Plates, text and tissue-guards watermarked "W. Elgar 1796". A few plates with very light and minor marginal discoloration, otherwise fine. The hand coloring bright and fresh. Full contemporary red straight-grain morocco in the Neoclassical style similar to that of Staggemeier & Welcher. Covers with a Greek key roll border surrounding a wide inlaid black morocco border decoratively tooled in gilt, in turn surrounding a gilt 'chain' pattern. Spine with five 'double' raised bands, decoratively tooled and lettered in gilt in compartments. The third panel has a small oval inlaid black morocco crest with a bull's head and an arrow and the motto in gilt 'Prodesse Quam Conspici' (To accomplish without being conspicuous). Decorative gilt edges and turn-ins, marbled endpapers, all edges stained red, blue silk marker. A remarkable binding in superlative condition from the library of Cecil Bisshopp, 12th Baron Zouche. Cecil Bisshopp (1752-1828), 12th Baron Zouche, FRS was a Member of Parliament for New Shoreham who afterwards became the 12th Baron Zouche. "In the two former works of a similar nature to the present, - the Costume of Turkey, and the Costume of China, - the utility and advantage of such publications have been sufficiently dilated upon; and the approbation with which they have been honoured has evinced, that the opinion, the Publisher had formed of their value, was not ill-founded. This present work possesses all the advantages, which the former ones embraced, and has the further merit of rather a more systematic arrangement. The Russian empire is of an extent unknown to other modern nations, and hardly equalled by that of the Romans in the summit of their power. It embraces within its limits, nations the most various, with countries and climates the most opposite. The authenticity of the present work is undoubted, being in fact copied from a series of engravings begun at Petersburg in 1776, and finished in 1779. The descriptions to the plates have been derived from the most authentic sources, more particularly from Professor Müller's "Description de toutes les Nations de l'Empire de Russie -- Voyage en Sibérie, par D'Auteroche -- Description de Kamtshatka, par M. Kracheninnikow --Plescheëf's Survey of the Russian Empire -- Pallas's Travels through the Southern Parts of Russia -- Saür's Account of Commodore Billing's Expedition to the Northern Parts of Russia," &c. &c. as well as from information procured from several gentlemen, who have been resident for some time in different parts of that empire." (Preface). "The fourth in the series of costume books issued by William Miller. The plates for this book are closely copied, but somewhat enlarged, from a book by J.G. Georgi published by Carl Wilhelm Müller in St. Petersburg, four volumes, 4to, 1776-80, under the patronage of the Empress. The text to this English edition is said to be by William Alexander." Abbey) Abbey, Travel, 244; Colas, Hiler & Lipperheide only mentioning the later edition of 1814.
ACKERMANN, Rudolph; PUGIN, Augustus Charles, artist; COMBE, William
"Highest Praise" For Ackermann's Colleges "Equals, If Not Surpasses, That of Oxford and Cambridge" [ACKERMANN, Rudolph, publisher]. The History of the Colleges of Winchester, Eton, and Westminster; with the Charter-House, the Schools of St. Paul's, Merchant Taylors, Harrow, and Rugby, and the Free-School of Christ's Hospital. London: Printed for and Published by R. Ackermann, 1816. First edition, early issue. Large quarto (13 3/8 x 11 1/8 inches; 340 x 282 mm.). vi, [1, "Arrangement of Plates"], [1, blank], 56; 72; 27, [1, blank]; 32; 34; 22; 40; 34; 43, [1, blank] pp. With forty-eight hand-colored plates (forty-five aquatint and three engraved), including four costume plates and forty-four views by Havell, Stadler, Bluck, and others, after Westall, Mackenzie, Pugin, and others. All plates with tissue guards. Text watermarked 1816, plates watermarked 1812 and 1816. Abbey's second state of Plate 6 ("Winchester College, from the Meadow"), dated "Jany. 1, 1816"; Abbey's second state of Plate 23 ("Westminster School Room"), with hats added to the masters; Abbey's second state of Plate 26 ("Charter House, from the Play Ground"), depicting thirteen boys and masters playing cricket (instead of washerwomen). Handsomely bound ca. 1940 by Birdsall of Northampton & London (stamp-signed in gilt on lower front turn-in). Full red morocco, covers decoratively paneled and tooled in gilt. Spine with five raised bands decoratively ruled and lettered in gilt in compartments, decorative gilt board edges and turn-ins, cockerel endpapers, top edge gilt. Housed in a later leather-edged slipcase. A wonderful example - the plates with early watermarks, all clean and fresh with superb hand coloring. With the pencil marks of the late, great bookseller Charles W. Traylen of Guildford on the verso of the front free endpaper date "30. 11. 63" "[Ackermann's History of the University of Oxford (1813) and History of the University of Cambridge (1814)] were fittingly followed by a History of the Colleges.Of this also a thousand copies were issued in monthly parts, the first appearing on January 1, 1816.The text, with the exception of the parts dealing with Winchester, Eton, and Harrow (the work of W.H. Pyne), were entirely written by Combe, and the same artists were employed in its decoration, the highest praise for which is that it equals, if not surpasses, that of Oxford and Cambridge. The original drawings for the forty-eight coloured plates were distributed among Westall, who executed fifteen, and Pugin and Mackenzie, who did fourteen each, while one is by J. Gendall, who besides illustrating Ackermann's publications was employed for some years in managing his business, particularly in developing the new art of lithography. The actual engraving was done by Havell and Stadler, with a few plates by Bluck and Bennett, and four line engravings of costume by Agar after Uwins. Here again it may be noticed that many of the aquatints are printed in two colours before being finished by hand" (Martin Hardie). The roots of Birdsall of Northampton "stretch back to the early eighteenth century but it was in 1792 that John Lacy's Northampton bindery was acquired by William Birdsall, continuing in his family until 1961.In Birdsall's heyday, Gerring (Notes on Bookbinding, 1899) reported a staff of 250 engaged in making ladies handbags, fancy boxes, and stationary; as well as all types of bookbinding. The firm seemed always ready to experiment and careful records and samples were kept by Richard Birdsall, great-great-nephew of the founder, until he died in 1909.The firm's collection of over 3,000 finishing tools passed to the University of Toronto" (Maggs, Bookbinding in the British Isles II, #262, and #321). "Birdsall's is notable for the high quality of their leathers and finishings, as well as for the inventive style of their 'inlaid pictorial bindings'" (Chevalier Collection, Christie's November 9, 1990). Abbey, Scenery, 440; Adams, London Illustrated, 116; Martin Hardie, pp. 106-107; Prideaux, pp. 126 and 332; Tooley 3.
LECOMPTE, Hippolyte; SCHARF, George, artist; HULLMANDEL, Charles, printer; BAYNTUN, binder
One Hundred Fine Hand Colored Lithographs Depicting French Costume Between 1200 and 1715 [LECOMPTE, Hippolyte]. SCHARF, George, artist. Costumes Francais, de 1200 à 1715. London: Printed by C. Hullmandel for Rodwell & Martin, ca. 1830. Small octavo (5 9/16 x 4 1/4 inches; 142 x 108 mm.). One hundred fine numbered hand colored lithograph plates with legends (including pictorial title-page) drawn on stone by George Scharf. Plates nos. 50 & 52 slightly shorter on lower blank margin. Handsomely bound ca. 1920 by Bayntun of Bath for C.E. Lauriat Co., Boston. Full dark red crushed morocco, covers with gilt-rule border, three gilt dots at corners, blind-tooled lances extending onto boards from raised bands. Spine with five raised bands decoratively paneled and lettered in gilt in compartments, decorative gilt board edges, gilt ruled turn-ins, marbled endpapers, all edges gilt. A wonderful example of historical French costume with fine hand coloring. The subjects include Joan of Arc, Bloody Mary, Queen of Scots, Ninon de Lenclos, many French kings and queens, courtiers, mistresses, soldiers, knights, politicians and admirals, from five centuries of French history. According to Hiler, these plates are reduced and reversed copies of those in [Hippolyte Lecomte's] Costumes Civils et Militaires de la Monarchie Française, which was first published in 1820 in four volumes. The present work was published as a single volume and in a smaller format by the renowned London-based printer and lithographer Charles Hullmandel (1789-1850). According to DNB, "Most of the major improvements made to lithography in Britain in the 1820s and 1830s can be attributed to Hullmandel, and in this period he was also the most prolific printer of pictorial lithographs in the country." In addition to earning his living through printing, Hullmandel also worked with scientists like Michael Faraday in search of new ways to perfect the art of lithography. Images for the present work were actually executed by Hullmandel's friend George Scharf (1788-1860), a Bavarian-born artist who was among the vanguard of lithographers operating in London. Bobins II, 551; Colas, 1808; Hiler 533 (1820 edition); Lipperheide, 1074 (1820 edition).
GAVARNI, Paul; [pseudonym of Guillaume Sulpice Chevallier]
Extremely Scarce No Copies Recorded in Libraries & Institutions Worldwide GAVARNI [pseudonym of Guillaume Sulpice Chevallier]. Fashionables. Paris: Chez Tessari et Cie., [n.d., 1837]. Large quarto (13 x 9 3/4 inches; 330 x 248 mm.). Twelve hand-colored lithographed plates, heightened with gum arabic, depicting couples during the twelve months of the year. Plates lithographed by Lemercier. Contemporary half green roan, ruled in gilt, over marbled boards, smooth spine decoratively tooled in gilt. Spine extremities a little worn. Some minimal marginal foxing or staining not affecting any images. An excellent copy of this extremely scarce series of plates. Not in Bobins, Colas, Hiler, or Lipperheide. Each plate, Janvier to Decembre, depicts the appropriate fashion for each month of the year. No records in OCLC and KVK (OCLC notes one of the lithographs, Avril, at Clark Art Institute). "In 1837 Gavarni began his connection with Le charivari, which did not conclude until 1848. In all he drew 1054 lithographs for his journal.Most of these appeared in series, some twenty-five of which extend to ten or more plates, and were afterwards published by Aubert in albums. Perhaps the best of these collections are Fourberies de femmes en matière de sentiment, Les étudiants de Paris, Les débardeurs, and Les lorettes; but some of the rest are of hardly inferior interest. Still further series, contributed to periodicals other than Le charivari, were also issued as albums. Baudelaire had this part of Gavarni's work particularly in mind when he wrote.that âthe true glory and the true mission of Gavarni and Daumier has been to complete Balzac.' Certainly the pictures of Parisian society provided by the two artists perfectly complement each other. Daumier's preoccupation was the working middle class with faces and figures heavily marked by life. Gavarni remained for the most part outside the humdrum bourgeois round. He preferred to show âyouth at the prow and pleasure at the helm.' His pretty girls and sleek young men are bent on enjoyment. They live lives of graceful dissipation" (Ray, The Art of the French Illustrated Book, p. 217). Not in Bobins, Colas, Hiler or Lipperheide. Armelhault & Bocher 2331-2342. The Plates: 1. Janvier 2. Février 3. Mars 4. Avril 5. Mai 6. Juin 7. Juillet 8. Août 9. Septembre 10. Octobre 11. Novembre 12. Décembre.
RICHTER, Johann Salomo
Exceptionally Rare Complete with Forty-Eight Hand Colored Engravings Depicting the Street Vendors of Leipzig in the Late Eighteenth Century RICHTER, Johann Salomo. Leipziger National Trachten. Leipzig: [Johann Baptist Klein, 1790-1791]. First edition Complete. Octavo (7 3/8 x 4 7/8 inches; 187 x 124 mm.). Forty-eight fine hand colored engraved plates printed on "Dutch paper" Bound ca. 1930 in full red morocco, covers with single line border, spine with five raised bands, decoratively tooled and lettered in gilt in compartments, edges stained red. Some occasional very light spots, still a very fine copy of this exceptionally rare book. The National Costumes of Leizig contains forty-eight beautifully hand colored engravings depicting street vendors of foods including butter, cheese, fruit, vegetables, fish, & juice seltzer water; household items including brooms, porcelain, sieves & mousetraps; consumer goods including coal, sawdust & flints; printed works including calendars, religious pamphlets, decorative graphics & views; peddlers of various services and any more, all based on original models from the streets of Leipzig. "Salomon Richter has the gift of unsentimentally depicting the hard labor and the poverty, while renouncing the picturesque effect" (Maurenbrecher I, p. 76; citing this copy in the E. Hauswedell collection sale catalog (item 34). Pltes 1-36 first appeared in 1791 as part 5 of Richter's Unterweisung für Anfänger beyderley Geschlechts im Zeichnen, which was also published by J.B. Klein. The present example is numbered 1 thru 48 - they are all inscribed with a short printed description, publisher's note and artist's signature on plates 1 thru 37. Plates 38 thru 48 have only the descriptive phrase on the plate except for plate 48 which also has the artist's signature. Plates 1, 13, 25 , have the heading title "Leipziger National Trachten", "Leipziger National Trachten. 2te Liefrung" & "Leipziger National Trachten. 3te Liefrung" respectively. OCLC & KVK locate just one complete copy (with 48 plates) in libraries and institutions worldwide: Harvard University (MA, US). Colas and Hiler knew only of the first two series of 24 plates. Lipperheide had the three series of 36 plates. The final section with plates 37 thru 48 appears to be unknown to the relevant bibliographers, with the exception of Thieme-Becker. These 12 plates are not mentioned in the detailed description of the series by G. Wustmann in Leipziger Ausrufer vor hundert Jahren. Provenance: Presumably the copy from the 1928 catalog of K.W. Hiersemann , no. 1513 (still unbound, 'wohl unikum' - probably unique); Collection of Ernst Hauswedell, Hauswedell & Nolte auction catalog 252, lot 34 (private collection). Johann Salomo Richter (1761-1798). German engraver and book illustrator. A series of engravings by him was published in 1793 by Johann Baptist Klein in Leipzig. One of these engravings was a costume design for Mozart's most famous opera "The Magic Flute". Colas 2552 (24 plates only); Hiler, p. 750 (24 plates only); Lipperheide I, 826 (36 plates only); Thieme-Becker, 4. XXVIII, 296 (48 plates). The Plates: 1. Leipziger National Trachten. 2. Brezeln, weege, warme, San-Kimel Brezeln! 3. Spennat, Geren! Meine grüne Suppe? 4. Siöft Wacholder Saft! 5. Sallat, Sallat, Redisgen! 6. Aeppel, äppel, äppel, Borfteräppel! 7. Fifche! Meine Nege Tirebse? 8. Bonen, Bonen, wer koft-weide Bonen? 9. Buttermelch, Sane, Buttermelch! 10. Koft Hüdelbeern, Hüdelbeern! 11. Brauchen Se kenen Befen zu Haufe Köchlgen? 12. E. E. Raths Kohlenträger, ruft nicht aus. 13. Kaufmer mein Bükse ab! 14. Stiefelwachs, Schuwachs, Barthwachs. 15. Haben Sie Stiefeln zu wikfen? 16. Sandsiebe, Harsibe! 17. Meine Kirschen sind manguth. 18. Noth-Röhren-Wächter im kalten Winter. 19. Na wie is! Nischt? 20. Limburger Kaes! 21. Lumpen Samlerin. 22. Meine Madam Komt! 23. Schöne Markstorden meine Herren Makro nen, alles frifch! 24. Koft Rulzbutten, koft! - zwe um ae Dreier. 25. Köfen se Sägelpine dort cben troben? 26. Frifch Selzer-Wasfer. 27. Helinrigen zu Fusfbädern, meinen Feibs. 28. Kalender, Chocolade, Brufs-Texte, die Handling gehtgut meine Herren! 29. Sowiediefes mahle ich auch nach dem Leben, wen eines viel bezahlt u:lange sitz. 30. Zum Feierabend ä'Glaszkäftgen, seÿn Se so gütig! 31. Nehm er doch ene mit, er kan sich e'nne rechte Güte thun. 32. Nichts zu Schachern? En'exqufier Stöckgen. 33. Bruder den Reft! 34. Pariser Feuersteine! 35. Meine Herren, der Saal-Eÿer-Mann geht fort! 36. Erdbi'ren! Hingbi'ren! 37. Feztkömt der Porzelmann von Paris! 38. Duglaubst mirs nit Dubist stark kranck! 39. Nehem Sie, was ich Sie gebe! - reibe u: Ziegen Käse. 40. Mir is moch keener entlofen beÿ meinen Scheron bleibt ken Haar! 41. Zwiebeln, Zwibeln, Madam. 42. A sche Stückgen, wegen Kuchen, und é Gläsgen Lustwasfer! 43. Sane und Milch Transport. 44. Schön, und wohlfeil!! 45. Haben Sie kene Pfeifen aurzubrenen? 46. Häkele, Mausefalle, auf viel Persohne! 47. Madam, einen schönen Rest Zilteronen. 48. Gescháftsträger.
DAUMIER, Honoré; CHAM (pseudonym of Amédée de Noé)
'Let's make Caricatures of the Russians' An Album of Forty Lithographs by Daumier & Cham DAUMIER, Honoré & CHAM (pseudonym of Amédée de Noé). Chargeons les Russes. Paris: Au Bureau du Charivari et Maison Martinet, [1854]. Folio (13 1/2 x 10 5/8 inches; 342 x 270 mm.). Forty fine lithograph plates including eleven plates by Daumier and Twenty-nine plates by Cham. All plates lithographed by Destouches. Most of the plates have very small worm-tracks in the lower blank fore-margins. Ten of the Daumier plates are for Chargeons les Russes, the eleventh Daumier plate is from Actualités (DR-2539). Modern half red cloth over marbled boards, spine lettered in gilt. Aside from the aforementioned very small worm tracks the plates are bright & fresh. Chargeons les Russes (Let's make Caricatures of the Russians) was a collaboration between Daumier & Cham. As was often the case these albums were issued using the original lithographs which had not been sold individually. According to the Daumier Register there were sixteen lithographs by Daumier for this series (DR-2491-DR-2505 & DR-2356). The last Daumier lithograph in the present copy is in fact from Actualités (DR-2539) - "T'as eu tort de prendre ce costume-là pour venir au bal de l'opéra. le temps des princes russes est passé. t'auras pas d'agrément!." (You made a wrong choice wearing this costume at the opera ball. the time of the Russian princes is over. you won't cause any enjoyment). Scarce. OCLC and KVK locate just two examples in libraries and institutions worldwide: The Morgan Library & Museum (the Gordon Ray colored copy - lacking the first plate) (NY, US); The Austrian National Library (plain) (Vienna, Austria). The Plates: 1. Ah ça! mais il est insatiable, ce gaillard là, il n'a pas plutôt lini un morceau au'il en demande un autre! (Cham) Oh that! but he's insatiable, that fellow, he didn't rather finish a piece than he asks for another! 2. Je viens faire un voyage d'agrément chez vous et voici ma feuille de rpute, si vous avez des commissions pour St. Petersbourg faut pas vous gèner! (Cham) I'm coming for a pleasure trip to your place and here is my reputation sheet, if you have any commissions for St. Petersburg, don't be embarrassed! 3. EN VALACHIE. Généraux russes venant de faire leurs dévotions dans des chapelles catholiques. (DR 2499) IN WALLACHIA. Russian generals about to show their devotions to the Catholic church. 4. I, Hercule du nord se cassant les reins pour avoir voulu se mettre trop de monde sur le dos. (Cham) I, Hercules from the north breaking his back for wanting to put too many people on his back. 5. LE PAPIER MONNAIE RUSSE. Le Général Gortschakoff, se mettant en mesure de faire face aux dépenses de l'armée russe, en Valachie. (Cham) THE RUSSIAN PAPER CURRENCY. General Gortschakoff, putting himself in a position to meet the expenses of the Russian army, in Wallachia. 6. L'Empereur Nicolas recevant une députation de ses fidèles Lapons qui viennent s'offrir pour combattre les ennemis de la foi orthodoxe. (DR 2492) The emperor Nicholas receiving a deputation of his faithful Lapps offering themselves to wage war against the enemies of orthodox faith. 7. Le colosse du nord se sentant trébucher sur sa base et craigant de perdre l'équilibre. (Cham) The colossus of the north feeling himself stumbling on his base and afraid of losing his balance. 8. Diable, Diable! j'ai trop présumé de mes forces.je commence à reconnaitre que je ne pourrai plus aller bien loin avec ces deux gaillards là sur les bras! (Cham) Devil, Devil! I presumed too much of my strength.I'm beginning to recognize that I won't be able to go very far with these two fellows there on my arms! 9. Comme te voilà fait, mon pauvre ami, on ne saura bientôt plus par quel bout te prendre si je ne te rends pas le service de te donner une brossée. (Cham) As you are done, my poor friend, we will soon no longer know how to take you if I do not do you the service of giving you a brush. 10. Allons voyons, vous vous tracassiez tant sur l'étât de ma santé dans votre correspondance que je ne doute pas du plaisir que vous aurez à payer les frais de la consultation. (Cham) Come on, you worried so much about the state of my health in your correspondence that I have no doubt of the pleasure you will have in paying the cost of the consultation. 11. Le Cosaque. - Mon honneur est engagè, je ne retirerai ma main qu'avec votre foulard et tout ce que vous avez dans votre poche! (Cham) The Cossack. - My honor is engaged, I will only withdraw my hand with your scarf and everything you have in your pocket! 12. L'Ours du nord, le plus désagréable de tous les ours connus. (DR 2493) The northern bear is the most unpleasant species of all bears. 13. Ayant attrapé un coup de Soleil. (DR 02504) Having caught a sunburn. 14. CATHERINE II - Mon pauvre Pierre-le-Grand, après nous être donné tant de mal pour le mettre sur ce piédestal, voir un maladroit qui vient tout culbuter.c'est dur! (Cham) CATHERINE II - My poor Pierre-le-Grand, after having gone to so much trouble to put him on this pedestal, to see a clumsy man who comes to topple everything.it's hard! 15. Le Czar réduisant considérablement ses frais de table, pour ètre á même de faire face aux dépenses occasionées par la guerre. (Cham) The Czar considerably reduced his table expenses, in order to be able to meet the expenses occasioned by the war. 16. Nouvelle attitude du Prince Menschikoff, depuis la bataille d'Alma il cherche vainement son portefeuille dns toutes les poches de son paletot noisette. (Cham) New attitude of Prince Menschikoff, since the battle of Alma he searches in vain for his wallet in all the pockets of his hazel overcoat. 17. Le grand équilibriste Nicolas manquant son coup et perdant la boule. (Cham) The great equilibrist Nicolas missing his shot and losing the ball. 18. COURANT REJOINDRE LES INSURGÉS. - Au Diable ma petite Couronne, elle ne peut plus me servir, puisque je suis Empereur de BYZANCE! (DR 2495) RUNNING TO JOIN T
VENETIAN BINDING; BOOK OF HOURS
A Fine Eighteenth Century Italian Book of Hours in its Original Red Morocco Binding With Hand-Painted Gauffered Edges [VENETIAN BINDING]. [BOOK OF HOURS]. Officium Beatae Mariae Virginis S. Pii V. Pontificis Maximi. Venetiis [Venice]: Ex Typographia Balleoniana, 1754. Octavo (7 3/4 x 4 5/8 inches; 197 x 117 mm.). [i]-xxxxiv, [1]-453, [3, indices] pp. Vignette engraved title-page and seven full page copperplate engravings in the text. Full contemporary red morocco, covers elaborately decorated in gilt, spine with five raised bands decoratively gilt in compartments, decorative gilt board edges, marbled liners. The edges are gilt and exquisitely gauffered with small diamond shaped lozenges hand-painted in red. An exquisite example in exceptionally fine and untouched condition with just the smallest amount of light scuffing to the the extremities. A remarkable survival from nearly two hundred and seventy years ago. Books of Hours were bestsellers. They were the first text read across Europe by people at every level of literacy. These devotional books, containing a daily routine of prayers for the reader to follow, reached a huge audience, more than any previously written text. Children were taught to read with Books of Hours. Repeated daily, the passages found in these books, usually in Latin, were committed to heart. Prayers on death, plague, warfare, travel, and bad weather were all found in Books of Hours. The plates: 1. Office of the Blessed Virgin Mary (p. xxiv) 2. Office of the Blessed Virgin Mary (p. 80) 3. Office of the Blessed Virgin Mary (p. 150) 4. Office of the dead (p. 226) 5. Seven penitential psalms (p. 294) 6. Office of the holy cross (p. 334) 7. Office of the holy spirit (p. 342).
[BON GENRE, LE]
Seven Fine Hand Colored Lithographs from Le Bon Genre BON GENRE, LE. [Observations sur les Modes et les Usages de Paris], Seven fine hand colored lithograph plates. [Paris: Chez L'Editeur [Pierre de Crapelet, 1830]. Seven plates from a later edition of ca. 1830. Each plate measures 10 7/8 x 8 1/2 inches; 276 x 216 mm. Some very small light stains affecting the lower portion of the first four plates. Le Bon Genre was one of the earliest series of prints to record the social trends and leisure activities of contemporary Parisians. It is the most important fashion portfolio of its time documenting, through its caricatures, the rise of the modern city of Paris and the emerging middle-class bourgeois, its fashions, recreations and dating customs. It also has fun at visitors' expense, particularly the English, whose customs and fashions the French found incomprehensible and unfashionable; the years of hostility between France and England did nothing to improve relations and the French lost few opportunities to ridicule the British. Le Bon Genre's popularity influenced most of the later fashion illustrators and journals, as well as the satirical albums so typical of mid-19th century France, and remains a key record of French social history. Overall, Le Bon Genre bears witness to the colorful post-Revolution period of Parisian society as it evolves into the early Republican era. "Le Bon Genre.was first published in 1817 and went through several editions. This is a record of English and French fashions since the beginning of the nineteenth century; the English fashions are more in the nature of caricatures, to show how badly Englishwomen dress as compared with the Parisiennes" (Vyvyan Holland, Hand Coloured Fashion Plates 1770 to 1899, p. 51). The plates: 1. Le Bon Genre, N0. 42. Les Graces en Pantalon 2. Le Bon Genre, N0. 50. Les Garnitures 3. Le Bon Genre, N0. 51. Le Chapeau en Ballon 4. Le Bon Genre, N0. 53. Cheveaux à la Chérubin. 5. Le Bon Genre, N0. 54. Manches en spirale. 6. Le Bon Genre, N0. 55. Lecon de Diable. 7. Le Bon Genre, N0. 57. Carrick à Cinq Pélerines.
DAUMIER, Honoré; PHILIPON, Charles
Daumier's Most Celebrated Work Les Robert Macaire [Caricaturana] Complete with 100 Spectacular Hand-Colored Plates, All Heightened with Gum Arabic A Remarkable Example in the Original Publisher's Blue Cloth DAUMIER, Honoré and Charles Philipon. Les Robert Macaire [Caricaturana]. Paris: Chez Aubert, August 1836- November 1838. First edition. Folio (13 3/16 x 10 3/8 inches; 338 x 263 mm.). One hundred hand-colored lithographed plates (complete) heightened with gum arabic. In this copy plate 96 "A tous les coeurs bien nés que le patrie est chère!!" (DR-451 published 10/28/1838) has been substituted by the insertion of "Robert Macaire 2e. Sèrie 7. Nouveautés philantropiques." (DR-872 published 04/04/1841) - The plate number has been changed in old ink to "96" - most likely by the publisher prior to binding - see note below. An original black & white example of plate 96 "A tous les coeurs bien nés que le patrie est chère!!" (DR-451 published 10/28/1838) is loosely inserted. The first plate bound a little tight at top margin just touching image, plate 13 (DR-366) with small (1 1/2 inch) expertly repaired marginal tear just touching image, plate 32 (DR- 385); Small expert repair (5/8 inch) to inner blank margin of plate 46 (DR-401); tiny (5/16 inch) repaired tear on blank margins of plates 11 (DR-364), 31 (DR-385) and 48 (DR-403) - a few plates very slightly toned, plate 34 (DR-388) a little foxed. Publisher's diaper grain blue cloth, covers ruled in blind, front cover with "Robert - Macaire" decoratively stamped in gilt, plain endpapers (expertly re-cased, inner hinges repaired). Old (April 1942) booksellers catalog description on front free-endpaper (not mentioning the substituted plate). Old tape residue on front free and rear endpapers. An excellent example of Honoré Daumier's most celebrated work, the superb hand coloring bright and fresh. This is only the second time we have seen this book in the publisher's binding. Note: The second series of Robert Macaire - twenty lithographs (DR-866 - DR-885 was published from 10/25/1840 to 09/11/1842) and is excessively rare - we have never seen or handled any of these plates before. "Les Robert Macaire remains Daumeir's best-known work. Baudelaire chose it. for specific discussion in his essay on French caricaturists and Carteret accorded it a place in his bibliography. Its contemporary popularity was immense. As an album it was published by Aubert in an edition of 2500 copies, a far larger number than for any other series [however the vast majority of these copies were issued with plain lithographs - only a few copies were issued with hand-coloring]. Yet so persistent was the demand that 6000 two-volume sets of reduced copies, called Les cent-et-un Robert Macaire, were published in 1839." (Ray). Though 2,500 may have been printed few have survived. OCLC/KVK records only two complete copies in institutions worldwide, Sadleir's at the Morgan Library, and one at Yale. ABPC reports only seven complete copies at auction since 1935. The 'reduced' edition of 1839-41 Les cent-et-un Robert Macaire is still quite rare at auction (two complete copies only since 1975) but there are more copies in institutional holdings. "When politics became a forbidden topic in Le Charivari, where Caricaturana first appeared, Daumier and Philipon turned to social satire. If they could not attack Louis-Philippe directly, they could at least show the kind of society that flourished under his gross and venal regime. Taking the flamboyant and florid swindler Macaire from the character that Frederick Lemaitre had created in a hack melodrama called L'Auberge des adrets, they showed him. ranging through all kinds of commercial enterprise, in the stock market, in the banks, in the courts, and in dozens of other public settings, never failing to find eager dupes. Though Daumier's designs are are superb in themselves. they would be incomplete without the unfailing wit and point of Philipon's captions" (Ray). Daumier Register 354-373, 375-455; Ray, Art of the French Illustrated Book 161. Beraldi V, p. 124.
SPILSBURY, Francis B.
Francis B. Spilsbury's Account of his Travels in the Holy Land and Syria During the Napoleonic Campaigns SPILSBURY, Francis B. Picturesque Scenery in the Holy Land and Syria, Delinieated during the Campaigns of 1799 and 1800. By F.B. Spilsbury, of his Majesty's ship Le Tigre; Surgeon in that expedition during both campaigns. London: Edward Orme, 1803. First edition, earliest issue. Folio (18 1/4 x 12 7/8 inches; 464 x 327 mm.). [iv], [i]-iv, [1]-42, [2, list of engravings, verso blank] pp. Small oval aquatint portrait of Sir John Douglas on page 26. Fine mezzotint portrait of Sir William Sydney Smith, and nineteen fine hand colored aquatint plates. Plates and text watermarked "J. Whatman 1801". All plates tissue guards. Full contemporary brown calf, covers with triple gilt and decorative blind-stamped borders. Expertly and almost invisibly rebacked with the original spine laid down. Spine with five raised bands decoratively tooled in gilt in compartments, red morocco label lettered in gilt, marbled endpapers, all edges gilt. With the armorial bookplate of the Stanley Family, Earls of Derby on front paste-down. The quality of the plates in this first edition is far superior to that of the later issues. They include views of Acre, Sidon, Tyre, Beirut, Jaffa, Mount Tabor, Tripoli, Caeserea and also fine genre scenes showing costumes, etc., etc. Note: In the later editions of 1819 & 1823 which were published by Thomas M'Lean, the plates were closely copied, reduced in size, and were uniformly in aquatint, but with nothing like the sublety of technique of the first edition of 1803 which was published by Edward Orme. The portrait of Sir Sydney Smith was also omitted. English naval surgeon Francis B. Spilsbury's account of his travels in the Holy Land and Syria during the Napoleonic campaigns there. Spilsbury was surgeon on board the newly commissioned HMS Tigre (French prize Tigre 74) during the campaigns of 1799 and 1800. The Tigre brought Sir William Sidney Smith to defend Acre against Napoleon's siege, and led a naval force in support of Turkish armies which finally relieved Acre, and his text gives some account of the military campaigns and the Turkish dignitaries. In his reminiscences Napoleon accused Smith of making him miss his destiny, as Smith's timely appearance thwarted Napoleon's drive to invade Syria and forced him to retreat to Egypt. The Plates: Sir William Sidney Smith - Mezzotint Portrait 1. View of Acre & H.M. Ship Le Tigre 2. Jezzar Pacha condemning a Criminal 3. Sidon 4. Tyre 5. Daniel Bryan 6. A Market in Acre 7. A Burial Place at Beirout 8. Zeta near Jaffa in Syria 9. Arab Huts at Zeta 10. A Dance at Genin 11. Mount Tabor 12. Joseph's Pit and Well 13. The Lake of Tiberia 14. Jacob's Bridge 15. Tripoli 16. Caesaria 17. The Pilgrim's Castle 18. Dede, near Tripoli 19. The Grand Vizier's Tent Abbey, Travel II, 381; Blackmer 1585; Bobins, I, 163; Brunet, V, 491; Colas 2788; Hiler, p. 811 (1823 edition); Lipperheide 1460; Martin Hardie, p. 131; Prideaux, p. 353; Tooley 464 (1819 edition).
GAVARNI, Paul; [pseudonym of Guillaume Sulpice Chevallier]
Twelve Fine Hand-Colored Engraved Plates Showing the Fashionable Women of Paris in the 1850's GAVARNI [pseudonym of Guillaume Sulpice Chevallier]. Douze Nouveaux Travestissements. Gravés sur acier par Portier. Paris: Au Bureau du Journal Les Modes Parisiennes, 1856. Folio (13 1/2 x 10 inches; 343 x 254 mm.). Lithograph title-page and twelve fine hand-colored engraved costume plates depicting the women of Paris in theater costume, all interleaved with tissue guards. The plates are engraved by Adolphe Portier. Publisher's dark blue patterned cloth over boards, covers bordered in gilt, front cover lettered in gilt. Inner hinges cracked but sound, otherwise a near fine copy. 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. Colas, 1198; Not in Armelhault & Bocher, or Bobins.
BEAUMONT, Charles-Édouard de
The French Opera in the Nineteenth Century Sixty Superb Hand-Colored Lithographs BEAUMONT, Charles-Édouard de. L'Opèra au XIXeme. Siècle. Paris: Chez Aubert & Cie., [1844-46]. Folio (13 3/8 x 10 1/4 inches; 339 x 260 mm.). Sixty fine hand colored lithograph plates heightened with gum arabic numbered 1 thru 60. All plates mounted on stubs. **Plate numbers 38, 40, 42, 43, & 44, somewhat toned, plate number 14 very slightly toned, otherwise fine with superb bright hand coloring. Plate 33 mis-numbered 32 (corrected in ink ms.). Plate no. 2 with tiny and almost invisible loss (1/8/x/1/16 inch) due to adhesion, plate no. 55 with neatly repaired inner marginal tear not affecting image. Contemporary quarter plum calf over maroon patterned cloth boards, front cover lettered in gilt "Beaumont Caricatures", smooth spine decoratively tooled and lettered in gilt, marbled endpapers. Spine slightly faded, corner extremities with minor rubbing, otherwise near fine. **We have seen just one example of this book in the past fifty-five years - and like the Hiler and Lipperheide references it lacked the last two plates. What is most interesting is that the same six aforementioned plates were identically toned - one must assume from this that the fault was in the quality of the paper sheet used for these plates. This is the only time that we have ever seen a complete copy with all sixty plates. Rare. According to OCLC there is just one copy in libraries and institutions worldwide: New York Public Library (NY, USA) 56 plates only (gift of Lillian Moore). We have been unable to locate any example appearing at auction over the past one hundred years. Charles-Édouard de Beaumont (1819-1888) was one of the great caricaturists and lithographers that illustrated the beautiful pages of Charivari and other fashionable image journals. He produced all the illustrations for the picturesque Revue, Le Diable Amoureux (The Devil in Love) and many of the illustrations for the 1844 edition of Victor Hugo's Notre-Dame de Paris. Often criticized for drawing too much inspiration from Paul Gavarni, he published between 1228 and 1273 lithographs in the years 1842 to 1866. He was often criticized for drawing too much inspiration from Paul Gavarni. In 1879 he co-founded the Societe d'Aquarellistes Francais in 1879, where he exhibited several watercolors De Beaumont's satirical images of gender relations are not always as progressive as this description of the series might suggest. In 1848, after L'Opèra au XIXeme. Siècle and Au Bal Masqué, de Beaumont stopped depicting women in acceptable female roles and instead reconnected them to the role of prostitute. He would also reverse their gender roles to support an antifeminist backlash prompted by a conservative political climate. Out of this same school of thought, de Beaumont authored a book titled The Sword and Womankind that attributes a range of historical calamities to the deeds of wayward women. For example, depictions of women castrating men and enacting other violent acts spread from the belief that women were responsible for the failure of the 1848 revolution. While the prints from Au Bal Masqué may not depict these same sentiments, it satirizes diversions from gender norms while also depicting women outside of the domestic sphere, behaving contrary to traditional social expectations. Colas 256 (60 plates); Lipperheide 3563 (57 plates only - missing plate nos. 26, 52, & 53); Hiler, p. 73 (57 plates). Paris, Lith. Falconer; en vente au Bureau du Journal amusant & du Petit journal pour rire 56 plates 34 cm. Masquerades were popular imagery in France at this time, which suggests that de Beaumont might have implied that the latent qualities of the masquerade, such as anonymity, deceit, promiscuity and superficiality, equally exist in more everyday settings. Additionally, because masked balls were contexts that permitted forms of interaction and intimacy otherwise prohibited, they can be regarded as occasions where gender and sexual norms could be transgressed. Translations: L'Opèra au XIXeme. Siècle The Opera in the 19th Century 1. Moi!.vous m'avez vu hier entrer chez Véry avec le petit blond de l'Ambassade d'Autriche. Me!.yesterday you saw me go into Véry's with the little blond guy from the Austrian Embassy. 2. Avec de l'ordre et de l'économie on se tire toujours d'affaire! With order and economy we always get out of the way! . 3. Oui.nous avons été tous unanimes à l'orchestre pour vous trouver ce soir des pointes divines et un ballon ravissant! Yes . we were all unanimous in the orchestra to find you divine points and a lovely balloon tonight! . 4. On voit bien que Fifine est sage.elle porte encore des socques! We can see that Fifine is wise.she still wears clogs! 5. A ma prochaine leçon nous passerons à d'autres exercices.en attendant, mes demoiselles, appliquez vous à bien executer à la representation de ce soir le pas que nous venons de répéter.rendez bien surtout, comme je vous l'indique, ce movement gracieux! At my next lesson we will move on to other exercises. in the meantime, my ladies, apply yourself to perform well in tonight's performance the step that we have just repeated. make good above all, as I indicate to you, this movement gracious! 6. T'nez, j'suis sur que dans ce moment ci.tout en fesant l'ange celeste.votre femme fait encore l'oeil à mon petit baron de la loge du rez de chaussée.et vous souffrez ça?.vrai, Glandureau, vous n'êtes pas esprit malin! You're on, I'm sure at this moment . while doing the celestial angel . your wife is still looking at my little baron of the lodge on the ground floor . and you suffer that? . true , Glandureau, you are not a clever mind! . 7. Mademoiselle, voici une lettre que mon maître m'a chargé de vous remettre. Un négre.un négre pour de bon!.décidément ce prince russe est bon teint! Mademoiselle, here is a letter that my master has asked me to give you . A negro . a negro for good! . this Russian prince is decidedly good-look
DULAC, Edmund, illustrator; HOUSMAN, Laurence; ARABIAN NIGHTS, (uniform title)
"So Exquisite as to Make One Hold One's Breath" [DULAC, Edmund, illustrator]. [ARABIAN NIGHTS]. Princess Badoura. A Tale from the Arabian Nights. Retold by Laurence Housman. Illustrated by Edmund Dulac. London: Hodder and Stoughton, [n.d., 1913]. Edition De Luxe. Limited to seven hundred and fifty copies signed by Edmund Dulac (this being No. 252). Large quarto (11 3/16 x 8 7/8 inches; 287 x 226 mm.). [viii], 113, [1, printer's imprint], [2, blank] pp. Ten mounted color plates (including frontispiece), with tissue guards printed at top with the design from the title-page and descriptive letterpress in light olive ink. Title within fanciful line border and with design of two winged figures holding high an urn of flowers in light olive ink. Text within similar line border in light olive ink. Publisher's cream buckram pictorially stamped in pale green and gilt (with design from title-page embellished by two peacocks and additional lines) and lettered in gilt on front cover and decoratively stamped in pale green and gilt and lettered in gilt on spine. Top edge gilt, others uncut. Spine very slightly darkened, otherwise a near fine copy. With the original Leicester Galleries 1913 exhibition advertisement sheet laid in. Princess Badoura. A Tale from the Arabian Nights is a 1913 short story written by Laurence Housman and illustrated by Edmund Dulac. Based on a tale from "One Thousand and One Nights", this beautifully-illustrated story is highly recommend for lovers of folklore and collectors of classic fairy tales. Edmund Dulac (1882 - 1953) was a French-born British illustrator and stamp designer. He was born in Toulouse and studied law there, but later, realising that his true passion was illustration, studied art the École des Beaux-Arts. Having moved to London in the early 20th century, Dulac received his first commission to illustrate the novels of the Brontë Sisters in 1905. During the First World War, he illustrated relief books; and after the war, when children's books were in low demand, he began illustrating magazines. Other notable works containing Dulac's illustrations include: "The Sleeping Beauty and Other Fairy Tales" (1910), "Stories from Hans Christian Andersen" (1911), and "The Bells and Other Poems by Edgar Allan Poe" (1912). Pook Press celebrates the great 'Golden Age of Illustration' in children's literature - a period of unparalleled excellence in book illustration. We publish rare and vintage classic illustrated books, in high-quality colour editions, so that the masterful artwork and story-telling can continue to delight both young and old. "Nothing more purely beautiful has ever come even from Dulac's fairy brush than the picture of Badoura in the arms of Camaralzaman against a background so exquisite as to make one hold one's breath" (from the review in The Outlook, November 15, 1913, Supplement XIII, quoted in Hughey). Hughey 31.
ACKERMANN, Rudolph
One of Twenty-Five Large Paper Copies With all but one of the plates in first state ACKERMANN, Rudolph. A History of the University of Oxford. Its Colleges, Halls, and Public Buildings. In Two Volumes. London: R. Ackermann, 1814. Large Paper Copy. First edition, first issue (without the Founders), earliest state of plates. One of twenty-five (of fifty) large paper copies on thick paper with hand-colored plates. Two elephant folio volumes (16 1/2 x 13 inches; 420 x 330 mm.). [i]-xiv, [2, arrangement of the plates], [i]-xxv, [1, blank], [1]-275, [1, blank], [6, index] pp.; [i11], [1, blank], 262, [6, index] pp. Complete with both half-titles. With the list of subscribers, the dedication to Lord Grenville and the uncolored engraved portrait of Lord Grenville mounted on India paper (portrait a little foxed). Eighty-one plates (bound without the thirty-three portraits of Founders as is most often the case with the large paper issues), all hand-colored aquatints or stipple-engravings by Bluck, Stadler, Hill and others after Pugin, Westall, Mackenzie and others. The plates are watermarked "J. Whatman 1811" and the text is also watermarked "J. Whatman 1811." Bound by Zaehnsdorf ca. 1900 in full red morocco (stamp-signed on front turn-ins), covers with double gilt ruled borders, spines with five raised bands, decoratively tooled and lettered in gilt in compartments, wide elaborate gilt turn-ins, top edge gilt, others uncut, marbled endpapers. This remarkable example, which is exactly the same size as Tooley's example, possesses eight of Abbey & Tooley's nine points for "really choice copies": Volume 1, plate 1 with misprint "Cambridge" for "Oxford"; Plate 15, signed R. Hills after F. Nash: Plate 39 (without overslip); Volume 2, plate 50, dated May 1; Plate 78, dated June 1; Plate 84, signed J. Bluck af F. Mackenzie; Plate 94, (dated Novr.) and Plate 95 (dated April 1). The only plate that is not in first state is Plate 74 (second state with overslips). Portrait frontispiece on India paper very slightly foxed as usual, small stain on lower blank margin of plate 21, plates 68 & 72 of the costume plates are slightly foxed and there is the occasional marginal spot. Otherwise a very fine and fresh copy with superior hand-coloring and more first issue points than any other copy that we have handled or seen. "Of the forty or fifty copies I have examined, not one has contained all of the above plates in the first state. The B.M. copy has all but two in the first state, and the Victoria & Albert Museum copy has likewise all but two." (Tooley. p. 18). "Ackermann's books were issued in relatively small editions of around 1,000 copies, but the production of such fully illustrated books called for an extensive network of artists and craftsmen as well as a workshop of some size. The drawings and engravings were produced on a commission basis, and the letterpress executed by a firm of printers nearby. Only the printing and coloring of the illustrations themselves was done in Ackermann's workshop. The labor and expense of all this was considerable. It is not surprising that these books, then as now, were priced as luxury objects. A History of the University of Oxford sold for £8. when completed in two volumes. 50 copies were produced on large paper of which 25 were printed on thick paper and these sold for £11." (Lowndes. Bibliographers Manual). These copies which have superior hand coloring have gloss, an incomparably rich glow which is absent from the regular small paper copies fine as these are in early impressions, the text is also on thick Whatman paper which contributes to the luxurious feel of the books. "These two books [Ackermann's History of Oxford and History of Cambridge] are among the finest ever executed. A. Pugin, F. Nach, F. Mackenzie, and W. Westall were associated in the drawings, which are worthy even of the splendid architectural monuments they commemorate, while the engraving was carried out by such masters of aquatint as J. Bluck, J.C. Stadler, F.C. Lewis, D. Havell and others of like reputation. The result was the production of plates of unequaled merit in their particular line" (Prideaux, pp. 125-6). Abbey, Scenery, 278; Tooley 5; Prideaux pp. 125-6.
