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Grandville (Nancy, 15–09–1803 - Vanves, 17–03–1847) -Desperet ou Desperret, AugusteLivre Rare Book

1833251941833 Planche HT double parue dans La Caricature politique, morale, littéraire et scénique, volume 6, 7 novembre 1833 (n°328-329) : Hauteur: 35.8cmx Largeur: 53cm- Image Hauteur: 22cm x Largeur: 53cmDescription:Titre en ht au centre : « EMPRESSÉES. » ; légendes, en bas, de gche à dte : « L’omnibus trainé [traîné] par les quatre boiteuses. », « Les Débats. », « Le Constitutionnel. », « Le Moniteur. », « Le Journal de Paris. » ; indications : en ht au centre : « La Caricature (Journal) N°157. », en ht à dte : « Pl. 328 et 329. »Inscription - Dans la lettre : « L. de Becquet, rue Furstemberg. 9. » [imprimeur], « Chez Aubert, galerie véro d […] [dodat] » [feuille coupée] [éditeur] ; dans l’image, en bas au centre, signature : « G. invt A.D. » [Jean-Jacques Grandville, dessinateur, et Auguste Desperet, lithographe]Inscription - Sur le nez de d’Argout, inscription : « DE PARIS A LISIEUX ». Sur le devant de la cabine du cocher, le slogan « VIVE LE RÔA » : « le cocher, en appuyant le pied sur un petit buffet d’orgue, peut, au moyen de cet appareil, produire un volume satisfaisant d’amour unanime » (in explication)Description iconographique: Pl. n°5 et 6 du "Voyage de la pensée immuable à travers les populations empressées". Cf. pl. n°1 et 2 (pl. 324-325 du numéro 155) et pl. n°3 et 4 (pl. 326-327 du numéro 156). Les deux dernières pl. de la série montrent « l’auguste omnibus, traîné par ses quatre boiteuses » (in explication), c'est-à-dire un carrosse traîné par des chevaux. Sur le toit du carrosse sont assis, de gche à dte : d’Argout, faisant le cocher, un homme de dos (« M. Faim », in explication), Montalivet habillé en cuisiner et tenant une casserole, et Barthe. L’emblème de la monarchie de Juillet imaginé par Grandville se trouve sur le la petite cabine du cocher : il est constitué d’une grande paire de ciseaux ouverts, entourée d’un parapluie, d’une seringue à clystère, d’un chapeau à cocarde tricolore et d’une toque de magistrat. Deux municipaux, « M. Corneille, adjoint d’Evreux, et M. Criquet, maire de Falaise » (in explication) se cramponnent au carrosse (au marche-pied et à la portière arrière) afin de saluer Madame Adélaïde se trouvant à l’intérieur. L’un d’eux souhaite lui offrir un bouquet de fleurs. Des motifs partiels de poire à face humaine décorent le carrosse. A l’arrière-plan, des petits enfants montés sur les branches d’un arbre lèvent le poing au passage du cortège. Derrière le carrosse suivent les incarnations des journaux, sous la forme d’hommes pourvus d’attributs. Le Journal des débats, portant un pantalon fleurdelysé et une poire sur son bicorne, prend des notes sur un petit carnet. "Le Constitutionnel", écrivant sur un cahier dont le titre a le nom du journal, porte un bonnet et tient une vessie au bout d’un bâton sur laquelle peut se lire « ON SE // DESABONN […] [DESABONNE] » ("La Caricature" se moque fréquemment des désabonnements dont est victime ce journal). Un sac d’argent pend de son pantalon (« 1,000 »). Son encrier, accroché à son vêtement, à la forme du buste de Dupin en habit de magistrat. Enfin, « son araignée dilettante » (in explication) court à côté de lui, au bout d’un fil. Puis vient le "Moniteur", « avec ses plumes d’oie et son appareil vélocipède » (in explication). Il est coiffé d’un chapeau en forme de poire à face humaine. A la bicyclette sont accrochés de nombreux symboles des différents régimes successifs en France : la poire à tête de Louis-Philippe de la monarchie de Juillet, la fleur de lys monarchique (représentée à l’envers), le bonnet phrygien à cocarde tricolore, et l’aigle de l’Empire (représenté à l’envers). La tête d’un homme (non identifié) pend dans son dos. Enfin, le "Journal de Paris" ferme la marche : homme barbu et pourvu de gros favoris, il porte un haut chapeau décoré du motif de la poire à face humaine de Louis-Philippe. Il est décoré de la croix d’honneur. Il porte un gros encrier en bandoulière dans le dos. Il est « le seul journal qui n’écrive point, par l’excellente raison qu’il ne sait pas écrire » (in explication). A l’extrême gche, à l’arrière-plan, des enfants du peuple montés sur des branches d’arbres, lèvent le poing en signe de protestation.

(BINDINGS - CUNEO). (COLOR PLATE BOOKS, ENGLISH AQUATINTS). HARDY, JOSEPHBiblio.com

A PICTURESQUE AND DESCRIPTIVE TOUR IN THE MOUNTAINS OF THE HIGH PYRENEES

1825ST20491London: R. Ackermann 1825. FIRST EDITION. 236 x 144 mm. 9 1/4 x 5 3/4". vii 1 84 pp. STRIKING DARK GREEN MOROCCO VERY ELABORATELY GILT BY CUNEO stamp-signed on lower front turn-in for Mildred B. Davey named stamped on upper front turn-in covers with geometric Art Deco frame smooth spine in compartments with triangle ornaments gilt lettering git-ruled turn-ins marbled endpapers. Housed in matching green morocco-backed clamshell box lined with fleece. Engraved map and 24 FINE DELICATELY HAND-COLORED PLATES inlaid on heavy stock as issued; original tissue guards. Verso of front free endpaper with engraved bookplate of Mildred Davey and red morocco ex-libris of Paul Edward Chevalier; front flyleaf with 19th century ink owner inscription of William Mitchell. A Large Paper Copy. Abbey Travel 210; Tooley 245; S. T. Prideaux "Aquatint Engraving: A Chapter in the History of Book Illustration" p. 229. See Peter Thorold "The British in France: Visitors and Residents since the Revolution" p. 64. A very small ink spot just intruding on very bottom edge of a handful of leaves a few vague spots of foxing to map isolated faint offsetting from illustrations but A VERY FINE COPY in all other ways--the text clean fresh and bright the plates immaculate the margins spacious the binding lustrous and sparkling. This is a lovely copy of a work with plates Prideaux considers "among the most beautiful to be found in aquatint engraving" and it comes in a handsome binding commissioned by Mildred Benson Davey and later owned by Paul Chevalier. Issued by a publisher known for his lavishly illustrated travelogues the volume takes us on a journey through the scenic French Pyrenees escorted by Englishman Joseph Hardy who adds his insights on the local population and government gives recommendations on the best mineral baths and describes in word and image the breathtaking scenery. The views are small measuring approximately 90 x 70 mm. but as Abbey notes "part of their charm is certainly in their small size." Sarah Prideaux praised their composition: "The ground is exceedingly fine and there is no line whatever. The colouring is most delicate and all the twenty-four illustrations are exquisite." We can only be impressed by the achievement of the colorist; the detail is cleanly executed the colors are luminescent and the images do not disappoint even under magnification. Thorold notes that this work was "a great success" and was later translated into French. Our copy was bound in a bold modern design at the Chicago workshop founded by in 1926 by John Cuneo 1884-1977. Cuneo hired fine British craftsmen like the Englishman Leonard Mounteney to create bibliophile-quality bindings for American collectors. After apprenticing at the bindery of G. & J. Abbott in Nottingham and studying ornamental design at the Battersea Polytechnic Mounteney worked as an exhibition finisher for Riviere before emigrating to Chicago where he initially worked with Alfred de Sauty at the R. R. Donnelley bindery before joining Cuneo's hand bindery. The present binding was a commission for Mildred Benson Davey 1890-1953 daughter of the founder of Benson & Rixon men’s clothiers. Cuneo also bound books for Chicago retail magnate Marshall Fields. Later our binding was appreciated by distinguished connoisseur Paul Chevalier whose library of beautiful volumes was uniformly characterized by outstanding workmanship and superb condition. The sale of his books in 1990 represented one of the best collections of 20th century bindings brought to auction in the past half century. Laid in is Christie's slip from Chevalier's 9 November sale where this appeared as lot 23 selling for $935. R. Ackermann unknown

Phillip J. Pirages Fine Books and Medieval Manuscripts · États-Unis4 680,00 $US≈ 3 959,75 €

(COLOR PLATE BOOKS). (EXTRA-ILLUSTRATED). (NAPOLEONIC WARS). MUDFORD, WILLIAMBiblio.com

AN HISTORICAL ACCOUNT OF THE CAMPAIGN IN THE NETHERLANDS IN 1815 UNDER HIS GRACE THE DUKE OF WELLINGTON . . . COMPRISING THE BATTLES OF LIGNY QUATRE BRAS AND WATERLOO

1817ST19508aLondon: Henry Colburn 1817. FIRST EDITION. 322 x 274 mm. 12 3/4 x 10 3/4". One volume extended to two. SUMPTUOUS CRIMSON STRAIGHT-GRAIN MOROCCO GILT BY MORRELL stamp-signed on front turn-ins covers with wide frame decorated with Neoclassical ornaments raised bands spine compartments framed by volutes and flowers gilt lettering gilt-framed turn-ins scarlet watered silk endleaves leather hinges top edges gilt. WITH 30 HAND-COLORED PLATES as called for including a double-page view of the Battle of Waterloo a folding battle plan for Ligny and a folding map of the route from Brussels to Paris the last two expertly repaired and backed in linen and EXTRA-ILLUSTRATED WITH 66 PLATES eight of these hand-colored most portraits of military leaders. With "Portraits of General Officers" used as the frontispiece as in Abbey in place of the seldom-seen plate "Waterloo in Memory of Shaw of the Life Guards" that appears in some copies but is not on the list of plates. With an ALS dated Dublin Castle 1st Oct 1819 signed by Lord Whitworth. Front flyleaves with engraved armorial bookplate of Frederick S. Peck. Abbey "Life" 372; Tooley 336; Cohn "Cruikshank" 556. ◆Joints edges and corners with visible but not serious wear one plate with neatly repaired marginal tear just touching edge of image occasional mild foxing additional trivial imperfections otherwise fine--clean and fresh internally with richly colored plates in a lustrous binding bright with gilt. This is a very attractively illustrated celebration of Wellington's victorious campaign against Napoleon offered here in a special copy enhanced by additional plates many depicting principal actors in the conflict and a stately Neoclassical binding. Famed illustrator George Cruikshank drew the frontispiece depicting the seven general officers for the British side along with the ebullient illustrated title depicting victory the double-page plate of the fateful Battle of Waterloo and the ignominious "Flight of Bonaparte." The plates contributed by James Rouse mostly depict the countryside and villages in the area where fighting was taking place. Journalist and novelist William Mudford 1782-1848 wrote the text with assistance from primary sources among these the Duke of Wellington himself to whom the work is dedicated. Mudford was the editor of the "Courier" an evening journal with a conservative stance on politics. His prose is described as "vigorous" by the "Dictionary of Literary Biography" which also notes his flair for creating atmosphere. These gifts were brought to bear on the present account rendering this historic campaign in vivid terms. The manuscript letter inserted into the second volume was written by Lord Charles Whitworth 1752-1825 Lord Lieutenant of Ireland at the time of writing. He had been the British Ambassador to France when Napoleon was first consul and had gained much respect for the determination and dignity with which he had handled the mercurial Bonaparte's tirades against his country. Here he recommends to an unknown recipient the person who had conducted financial affairs for him in France. The present bindings are the work of the London bindery of W. T. Morrell established about 1861 as successor to the firm begun by Francis Bedford who in turn had taken over the famous bindery of Charles Lewis. Prideaux in her "Modern Bookbindings" says that Morrell at that time had a very large business that supplied "all the booksellers with bindings designed by his men" which were "remarkable for their variety and merit." The scion of an old and prosperous New England family former owner Frederick Stanhope Peck 1868-1947 was an avid collector of books and manuscripts amassing a collection of more than 8000 titles. When his library went to auction in 1944 it was noted for its fine bindings and excellent condition. Henry Colburn unknown

Phillip J. Pirages Fine Books and Medieval Manuscripts · États-Unis7 800,00 $US≈ 6 599,58 €

(COLOR PLATE BOOKS). (LEPIDOPTERA). DENTON, SHERMAN FOOTEBiblio.com

AS NATURE SHOWS THEM MOTHS AND BUTTERFLIES OF THE UNITED STATES EAST OF THE ROCKY MOUNTAINS

1900CJW1901Boston: J. B. Millet Company 1900. No. 306 OF 500 COPIES. 256 x 181 mm. 10 x 7 1/8". Two volumes. Very attractive contemporary olive green morocco covers with gilt border incorporating an elaborate cornerpiece design of a butterfly; raised bands expertly rebacked preserving original backstrips spines gilt in compartments with lacy frames enclosing a large central butterfly gilt turn-ins marbled endpapers leather hinges all edges gilt. With more than 400 photographic illustrations and 62 ACTUAL ENTOMOLOGICAL TRANSFERS FROM LIFE all but one of the latter with original tissue guards. Bennett p. 33; McGrath p. 177; Nissen ZBI 1079; Reese "Nineteenth Century American Color Plate Books" 107. Spines faintly sunned two leaves with minor thumbing one corner crease otherwise AN EXTREMELY FINE SET the very appealing bindings quite lustrous and entirely sound and the text and plates clean fresh and bright with virtually no signs of use. This is a collection of butterfly and moth illustrations printed by direct transfer from the insects the creation of a leading innovator in the display of lepidoteral specimens. Sherman Foote Denton 1854-1937 came from a family of amateur naturalists who managed to turn their favorite pastime into a global business. Denton patented a butterfly mount that captured a specimen on a white plaster tablet where it could be pressed under glass avoiding the mess smell and eventual degradation of butterflies and moths mounted on paper using pins. The present publication presents a collection of specimens in a far more portable form that still preserves the color and detail of the insects' wings. The author collected by his own count more than 50000 specimens to produce the color plates for this limited edition. He explained his process: "The colored plates or Nature Prints used in the work are direct transfers from the insects themselves; that is to say the scales of the wings of the insects are transferred to the paper while the bodies are printed from engraving and afterward colored by hand." Since each specimen could be used only once it was necessary to obtain 500 perfect specimens of each species pictured. The effort and expense prevented larger runs of such publications and Reese observes that "new methods of printing color often too difficult to be practical were sometimes undertaken by enthusiasts.". J. B. Millet Company unknown

Phillip J. Pirages Fine Books and Medieval Manuscripts · États-Unis4 992,00 $US≈ 4 223,73 €

(BINDINGS - SILVER, 18TH CENTURY)Biblio.com

covering THE BOOK OF COMMON PRAYER

1885ST20549cOxford: Printed at the University Press for Peacock Mansfield and Britton London ca. 1885. 146 x 80 mm. 5 3/4 x 3 1/8". 536 pp. IN A LOVELY 18TH CENTURY SILVER BINDING over contemporary brown morocco DONE IN THE FRENCH RÉGENCE STYLE combining piercing with repoussé ornamentation the covers with central cartouche depicting a scene from the life of Christ in repoussé that on the front cover showing the Baptism of Christ with two hallmarks at the upper left an "A" and a rooster that on the lower cover showing the Ascension this surrounded by a pierced frame of rocaille drawer handles vases of flowers swans a leafy fronds spine pierced with rocaille and flowers separating three allegorical putti ornaments representing Faith Hope and Charity two openwork rocaille clasps. Endpapers rather worn at fore edge isolated very faint foxing otherwise A FINE COPY the text clean and fresh and THE SILVER BINDING SPARKLING AND UNMARRED. This glittering binding is a lovely example of 18th century silverwork in nearly flawless condition. While we have been unable to identify the maker the binding is probably French. A silver binding on a 1686 copy of a Rotterdam "Speculum Poenitentiae" catalogued by Antiquariat Roo is identical to ours in size and design except for the content in the large central frames and is identified by them as French. They find a master's mark of "T. G" beneath the front scene not present on our binding. In any case the delicate symmetrical ornamentation featured on our binding is typical of French Régence decorative arts with scrolls studded with naturalistic embellishments that reward close inspection. Many charming details are hidden within the sea of volutes such as the swans stealing treats from overflowing baskets of fruit. The central scenes from the life of Christ come to life through meticulous execution as our silversmith has taken great care with the details: water trickles from John the Baptist's outstretched arm and voluminous curls of cloud frame Christ's Ascension. The later Book of Common Prayer the binding now contains is a testament to the binding's enduring appeal as a precious devotional object. Printed at the University Press for Peacock, Mansfield, and Britton, London unknown

Phillip J. Pirages Fine Books and Medieval Manuscripts · États-Unis7 800,00 $US≈ 6 599,58 €