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06040Paris: Au Bureau du Charivari Maison Martinet 1860. Charles-Édourd de Beaumont's<br /> Au Bal Masqué - At the Masked Ball<br /> <br /> BEAUMONT Charles-Édouard de. Au Bal Masqué. At the Masked Ball Album par Beaumont. Paris: Au Bureau du Charivari Maison Martinet 1860.<br /> <br /> Fifth Series. Quarto 13 x 10 inches; 330 x 254 mm. Pictorial lithograph title-page and thirty superb lithograph plates printed on strong white paper and mounted on stubs. Publisher's yellow pictorial wrapper bound in at front. The plates clean and fresh.<br /> <br /> Bound ca. 1925 by Semet & Plumelle in half quarter black scored calf over marbled boards ruled in gilt. Smooth spine richly decorated and lettered in gilt with small red morocco onlays marbled endpapers top edge gilt. Joints rubbed but sound. Small rectangular leather bookplate of noted bibliophile Henri Lafond on front pastedown. <br /> <br /> This rare album of lithographs echoes that of Gavarni who dedicated works of the same theme at the same time.<br /> <br /> We have only seen one other example of this 'fifth' series of Au Bal Masqué.<br /> <br /> 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<br /> <br /> 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.<br /> <br /> De Beaumont's satirical images of gender relations are not always as progressive as this description of the series might suggest. In 1848 after Au Bal Masqué de Beaumont stopped depicting women in acceptable female roles and instead reconnected them to the role of prostitute. He would also reverse their gender roles to support an antifeminist backlash prompted by a conservative political climate. Out of this same school of thought de Beaumont authored a book titled The Sword and Womankind that attributes a range of historical calamities to the deeds of wayward women. For example depictions of women castrating men and enacting other violent acts spread from the belief that women were responsible for the failure of the 1848 revolution. 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.<br /> <br /> Bibliothèque de M. René Descamps-Scrive Volume II no. 468<br /> <br /> The plates:<br /> <br /> 1. Ohé!. Fanny déguisée en femme honnête. ohé!. t'es bien sûre que ce soir personne ne te reconnaîtra!.<br /> 2. Ma chére amie. je suis avec mon époux qui ne veut pas me quitter je ne sais vraiment pas par quel moyen m'en débarrasser!.<br /> 3. Allons bon!. Caroline s'est endormie sur la table que vais-je en faire.<br /> 4. C'est la seconde fois depuis huit jours que je vois Georgina avec un Anglais!. mais pas le même!.<br /> 5. Fanny serre-moi davantage.<br /> 6. Voyons Turlurette. lève donc mieux la jambe que ça!.<br /> 7. Combien me vendrez-vous ce costume de débardeur.<br /> 8. Tu t'imagines que ta Caroline dort tranquillement chez elle. eh! Bien tu te trompes je viens de la recontrer ici.<br /> 9. La première fois que je te verrai parler à Adolphe tu.<br /> 10. Tiens! Te voilà seule. là bas tout à l'heure dans cette loge ne parlais-tu pas à des Anglais.<br /> 11. Tiens voilà un cigare de cinq sous prends-le.<br /> 12. Maudit portier!. il ne viendra donc pas vous ouvrir.<br /> 13. Pourquoi cette manivelle.<br /> 14. Comment Laure. je vous ai demandé ce matin si vous vouliez venir avec moi au bal de l'opéra. vous avez refusé sous prétexte que vous aviez la grippe. et la première personne que je rencontre ici. c'est vous!.<br /> 15. Pardon monsieur. mais il me semble bien vous reconnaître.<br /> 16. Comment. vous ma p'tite dame. vous fumez des cigares.<br /> 17. Charmant débardeur! Permets-moi de t'aimer et de t'emmener avec moi dans une île déserte!.<br /> 18. Comment! On t'a donc t'a laissé sortir toute seule ce soir.<br /> 19. Si tu veux. charmant petit cuisinier. je te prends à mon service.<br /> 20. On vient encore de me payer un bâton de sucre de pomme!.<br /> 21. En v'la une idée de prendre un costume pareil et qui ne se porte plus!.<br /> 22. Ah! Bien tu es bonne toi d'apporter tes rafraîchissements!.<br /> 23. Paméla tu viens encore de parler à mon Alfred. et tu lui as même demandé de l'argent carotteuse!.<br /> 24. Partons-nous.<br /> 25. Je peux bien faire joujou avec lui il n'y a pas trop grande disproportion d'age!. c'est aussi un bébé. puisqu'il est trombé en enfance!.<br /> 26. Théophile attends moi là. je vais danser je viendrai te reprendre dans deux heures!.<br /> 27. Moi qui en acceptant à souper chez un noble Hidlgo croyais faire un festin de Balthazar et je ne trouve que du fromage d'Italie!. quelle chance!.<br /> 28. Avec qui es-tu dans cette loge.<br /> 29. Bébé! Veux-tu venir vivre avec moi dans mon île.<br /> 30. Tenez. voilà ce que je peux vous donner pour avoir gardé mon manteau. un bâton de sucre de pomme. c'est tout ce que je possède! Paris: Au Bureau du Charivari, Maison Martinet, 1860 unknown
04619Paris: Au Bureau du Charivari Maison Martinet 1848. Charles-Édourd de Beaumont's<br /> Au Bal Masqué - At the Masked Ball<br /> <br /> BEAUMONT Charles-Édouard de. Au Bal Masqué. At the Masked Ball Album par Beaumont. Paris: Au Bureau du Charivari Maison Martinet 1848.<br /> <br /> First Series. Quarto 13 1/4 x 10 inches; 336 x 254 mm. Pictorial lithograph title-page and thirty superb lithograph plates. Some light foxing mainly marginal to a few plates otherwise fine.<br /> <br /> Later violet cloth over boards spine lettered in gilt. Publisher's pictorial yellow wrappers bound in.<br /> <br /> This exceptionally rare album of lithographs echoes that of Gavarni who dedicated works of the same theme at the same time. Mr. Descamps-Scrive who had a colored copy of the same thirty prints prints of this album indicated that the date was "towards 1860" catalog Descamps-Scrive second part. <br /> <br /> OCLC locates just two complete copies in libraries and institutions worldwide both at The Morgan Library & Museum NY USA one of which appears to be partially colored.<br /> <br /> 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<br /> <br /> 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.<br /> <br /> De Beaumont's satirical images of gender relations are not always as progressive as this description of the series might suggest. In 1848 after Au Bal Masqué de Beaumont stopped depicting women in acceptable female roles and instead reconnected them to the role of prostitute. He would also reverse their gender roles to support an antifeminist backlash prompted by a conservative political climate. Out of this same school of thought de Beaumont authored a book titled The Sword and Womankind that attributes a range of historical calamities to the deeds of wayward women. For example depictions of women castrating men and enacting other violent acts spread from the belief that women were responsible for the failure of the 1848 revolution. 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.<br /> <br /> Plates:<br /> <br /> 1. Chère enfant avant que tu n'entre dans cebal laisse moi te bènir.<br /> 2. Si quelque gandin t'invite à souper. tâche de m'emmener.<br /> 3. Mesdames entrez dans la loge.<br /> 4. Tu es joliment costume!.on jurerait que tu es une femme!.<br /> 5. Le pantalon à la nouvelle ordonnance. c'est ça qui est commode pour aller.<br /> 6. Mon petit bébé. nous irons demain acheter des joujoux chez Giroux.<br /> 7. Vois-tu ce gros monsieur là-bas.<br /> 8. Tiens!.une femme honnête!.<br /> 9. Je ne veux pas qu'on m'embrasse!.<br /> 10. Oh!. Adolphe. j'ai un bien grand service à te demander.<br /> 11. Adéle. il n'y a qu'un instant je te voyais causer à l'ètage supérieur avec un monsieur.<br /> 12. Vas donc t'asseoir sur cette banquette au lieu de fatigue ce malheureux Paul.<br /> 13. Comment! Vous M. Dugardin un homme sérieux un maître clerc de notaire vous.<br /> 14. Vois-tu la bas c'est mon Eléonore.<br /> 15. Comment. monster!.tu me dis que tu pars pour Meaux pour affaires.et je.<br /> 16. Vue prise dans un cabinet particulier. au moment ou le monsieur regarde la carte.<br /> 17. Nêtes-vous pas mademoiselle Elisa.<br /> 18. Après Souper. Dieu que je suis malheureuse de ne pas être restée vertueuse!.<br /> 19. Comme je suis portiere je sais tout et je puis te tirer la bonne aventure.<br /> 20. Veux-tu souper Eugénie.<br /> 21. Je suis la femme qui doit faire votre bonheur donnez moi une petite maison.<br /> 22. Ainsi vous ne voulez pas me permettre d'aller vous render visite demain.<br /> 23. Est ce que tu vas encore carotter ce soir une pièce dix sous à chaque personne qui voudre.<br /> 24. Si tu adresses encore la parole à mon Ernest tu auras affaire à moi.<br /> 25. Tu serais bien aimable de me prendre dix billets de loterie à un franc.<br /> 26. Comme tu as deux batons de sucre de pomme donne m'en un.<br /> 27. Allons-nous souper Adolphe.<br /> 28. Comme tu as l'air de mauvaise humeur!.<br /> 29. Pendant le bal un Anglais m'a offert ce baton de sucre de pomme que la marchande.<br /> 30. Mademoiselle Adèle. si vous continuez à rentrer à des heures aussi indues je. Paris: Au Bureau du Charivari, Maison Martinet, 1848 unknown
200900232Geneva: Editions D. Printed in Switzerland by Juillerat Chervet 2009. First Edition 1 of 450 copies. Hardcover. Very Good Plus/Very Good. 0x0x0. OCEANIA. Denise Wenger Charles-Edouard Duflon and Frederic-Karim Dawance. "Bijoux Polynesiens: Regards sure une Selection de Parures de Nouvelle-Zelande des Marquises des Fidji et d'Hawaii French." Geneva: Editions D. Printed in Switzerland by Juillerat Chervet 2009. First edition limited to 450 copies. French language. Black cloth boards dye-stamped metallic green in pictorial jacket. Text with black and white illustrations and full-color photo reproductions. 12 x 8 1/2 inches. 27 oz. 64 pp. Shelf-wear use. Slight toning. Text clean. Very Good Plus in Very Good jacket. ISBN: 9783952256765. "This high-quality work offers a look at a selection of ornaments from New Zealand the Marquesas Fiji and Hawaii. Often worn to emphasize an individual's belonging to a given social group these ornaments were also highly prized for their beauty. Indeed their refined style their precious materials jade sperm whale ivory or even human bones as well as the extraordinary know-how of their manufacturing still contribute to their great aesthetic value today. The photographs by Sebastien Dubouchet and the particularly careful layout enhance these works of art while the designs of Frederic Buhler bring out their strong lines. Geneva: Editions D. Printed in Switzerland by Juillerat Chervet hardcover
