15 résultats
18506500Bath c. 1850. Very Good. 1 page 205 x 129mm; small cello tape repair on lower left later docketed Alfred Guidant and Gavarni lightly toned. Gavarni was a French illustrator and caricaturist whose work is widely known for its polished wit and cultured observation of life of his time. About 1831 Gavarni began publishing his ironic scenes of contemporary life and praise from writers such as Honore de Balzac gained him popularity. Gavarni worked for journals like La Mode L'Artiste La Silhouette his most known work appeared in Charivari and the weekly paper L'Illustration. He also illustrated the first collective edition of Balzac's works and Eugene Sue's Wandering Jew. He is known for his sketches of social contrasts between extremes of luxury and poverty. This tendency was strengthened by a visit to England in 1849. He returned from London deeply impressed with the scenes of misery and degradation which he had observed among the lower classes of that city. This unique autograph poem and combined letter with mention of delivering the letter by Alfred Guidant of London refers to the English land as friend to which he greets with a hearty "Bonjour l'anglais." The message clearly reflects Gavarni's newfound confidence and solidarity with human nature found opposite the English Channel. <br/><br/> unknown books
1849007768London: David Bogue 1849. "The illustrations designed and drawn on wood by Gavarni and engraved by Henry Vizetelly". Contains extra pictorial illuminated portrait title page plus 23 other tissue-protected illustrations each at the head of a chapte except for the frontispiece. With armorial bookplate of William L. Scott to front pastedown along with smaller bookplate from the Virginia Warren Collection of Old London Street Cries. Very Good bound in contemporay half calf over marbled boards back with five raised bands black leather label with gilt lettering marbled end pages boards a bit rubbed at edges small chip to board rear cover. Subjects illustrated include Acrobats Thieves The Barmaid The Opera The Casino and The Orange-Girl. The illustrations and interior quite clean and lovely a handsome copy. . First Edition. Half Calf Over Marbled Boards. Very Good/No Jacket As Issued. 4to - over 9¾" - 12" tall. David Bogue Hardcover books
18505995Paris: Beauger et Cie; Lith Coulon et Cie n.d. about 1850. Acceptable/One of the great masters of lithography" says Gordon N. Ray. 35 cm; Lithographed title page and 40 full-page lithographed plates with captions. Bound in plain black morocco with leather backstrip decorated in gilt. Head and tail worn with loss. Corners and edges worn with some fraying. Light scattered foxing. Beauger et Cie; Lith Coulon et Cie hardcover books
1840WRCLIT46333Paris: Beauger & Cie 1840. Quarto 31 x 23.8 cm. Late 19th century cloth and marbled boards gilt morocco spine label original wrappers bound in upper wrapper pictorial lower wrapper unprinted. Scattered foxing binding a bit rubbed and hand-soiled but very good. A charming album made up solely of twelve original monochrome plates of children lithographed by Coulon after Gavarni's designs. Beauger & Cie hardcover books
184560586Paris: En vente au bureau du Charivari et au bureau du Journal pour Rire Lith. de Destouches Paris 1845. 4to 13 x 10 inches. 2 volumes: 25 full-page lithographs with captions in each volume complete each with the imprint: "Chez Aubert & Cie. Imp. d'Aubert & Cie.". Title from letterpress on each plate: "Oeuvres nouvelles du Gavarni." Gavarni 1804-1866; nom-de-plume of Sulpice Guillaume Chevalier began his career taking drawing classes while working as a mechanic in a machine factory turning to his vocation as an artist in his early thirties. "His sharp and witty pencil gave to generally commonplace and unartistic figures a life-likeness and an expression which soon won for him a name in fashionable circles for his lithographed sketches portraying the most striking characteristics foibles and vices of the various classes of French society" Wikipedia. A popular series of mid-nineteenth century lithographs picturing costume ball guests issued in various formats some hand-colored; this edition seems to be scarce as we could locate no complete copy i.e. both volumes on OCLC. Very good. Original printed glossy yellow wrappers soiled some wear at extremities light foxing in margins of some plates. #7792. <br/><br/> En vente au bureau du Charivari et au bureau du Journal pour Rire (Lith. de Destouches, Paris) unknown books
1845169114Paris: Hetzel 1845. hardcover. very good. Paris et les Parisiens. 2 volumes 380pp 363pp numerous text vignettes and full page woodcut illustrations scattered foxing original 1/2 black calf ornately gilt spine marbled boards rubbed and endpapers. Paris: J. Hetzel 1845-6. First Edition. Very Good.<br/><br/> The texts made up of stories and dialogues with Parisian subjects are by well known writers including Balzac Gautier de Musset and Georges Sand.<br/><br/> Hetzel unknown books
1845WRCLIT29295Paris: Publie par J. Hetzel 1845. Two volumes. Thick quarto. 19th century three quarter crimson morocco raised bands spines gilt extra t.e.g. Profusely illustrated with plates and vignettes in text the large majority being after drawings by Gavarni. Very shallow snag at crown of one spine light occasional rubbing at edges otherwise a large generally clean largely untrimmed set. First editions of this ambitious undertaking featuring contributions by Balzac Sue Sand Stendahl Musset Nodier Gautier Nerval and many others preceded by a general history of the city by Theophile Lavallee. The over two hundred wood-engraved plates are based on Gavarni's drawings and Ray lauds them as being "of even greater interest than the 320 wood engravings of his OEUVRES CHOISIES.The engraving is superior for the most part and they are new conceptions not versions of his lithographs.His designs make LE DIABLE A PARIS the culmination of the Romantic tradition of DIABLERIE which began with the lithographic albums of the 1820s. It is also the last of the big books of collaborative illustration." RAY 236. CARTERET III:203-7. Publie par J. Hetzel hardcover books
18463650Paris: J. Hetzel 1846. First edition. Two large octavo volumes 10 3/8 x 6 7/8 inches; 263 x 175 mm. Contemporary half black hard-grain morocco ruled in gilt over black morocco-grain paper over boards. Smooth spines decoratively tooled in gilt and blind and lettered in gilt. Marbled edges and endpapers. Minor rubbing to extremities head of spine of Volume II expertly and almost invisibly repaired front hinge of Volume I cracked but sound. Minimal foxing and soiling. Small area of surface abrasion to upper blank margin of plate Artistes —6 facing page 160 in Volume II where it was once adhered to the facing page. Bookplate Bibliothèque de A. Vautrain on front pastedown of each volume. Collating 4 xxxii 380; 4 lxxx 364. Wood- engraved title vignette in each volume 212 wood-engraved plates 208 after Gavarni and four after Bertall with tissue guards and numerous wood-engraved head- and tail-pieces vignettes and initials. This copy with a duplicate of the plate facing in Volume I. Music. Overall an excellent copy.<br/><br/>"The book appeared in part-issues at the rate of one or two a week between April of 1843 and December of 1845. The major attraction of Le diable à Paris resides in Gavarni's plates which are of even greater interest than the 320 wood engravings of his Oeuvres choisies 207. The engraving is superior for the most part and they are new conceptions not versions of his lithographs. He limits himself almost entirely to single figures or pairs evoked with his usual concentration and psychological subtlety. He had a free hand with his subjects since his designs are quite unrelated to Hetzel's text. As usual he arranged them as series some of which those devoted to writers and politicians for example are largely unprecedented in his previous repertory. He invaded Daumier's world with success in the fifteen plates of ‘Bourgeois' exampled in the self-satisfied worthy reproduced II 328" Ray.<br/><br/>Hiler 237. J. Hetzel unknown books
18468462Paris: J. Hetzel 1846. First Edition. Page size: 10-1/2" x 7". I lxxx 363pp; II xxxii 380pp; in two text volumes; numerous vignettes 212 illustrations in two plate volumes; contemporary quarter deep blue-green morocco over marbled boards title and volume in gilt on the spine marbled endpapers. Minor rubbing to the extremities limited abrading to the marbling causing loss in a few small areas boards exposed at the corners 1" band of discoloration to the front board beginning at ½" from the top edge and descending 8" but pronounced only near the top impression from the half-binding of another volume on the front board of Volume III hinges beginning to show on Volumes I and II occasional foxing and minor discoloration.<br/> Gordon Ray in The Art of the French Illustrated Book describes this title as „something of a potpourri". The texts are by well-known writers including Balzac Gauthier Musset George Sand and the publisher Hetzel. Although there are historical geographical and statistical details about the city of Paris the bulk of the text is made up of stories and dialogues with Parisian subjects. The illustrations are wood engravings. Ray states the "most impressive are the 208 .after Gavarni." Sulpice-Guillaume Chevallier known as Gavarni also worked in lithography. In either medium his psychological portraits were telling. Ray especially praises his wood engravings for this title however noting that they were superior to much of his other work and all new conceptions not versions of his lithos. Hetzel imposed unity on the texts and images by presenting them as documents bearing on the Devil's visitation of Paris. This is the culmination of the Romantic tradition of diablerie and the last of the big books of collaboration. Ray The Art of the French Illustrated Book #236. J. Hetzel unknown books
18395976Paris: Chez Aubert 1839-40. First edition. The great Parisian caricaturists of the mid-19th-century: Daumier Gavarni Grandville Travies and others represented with original lithographs illustrating short prose pieces by Alhoy Huart and Philipon. 27 cm; 3 volumes in two. 150 lithographs including 45 by Daumier among them 27 from "Croquis d'expression" and 42 by Gavarni. Half titles present. Plates not colored in. Bound in recent green crushed morocco over marbled boards ruled in gilt; spines titled in gilt. Marbled edges. Endleaves foxed; some scattered toning. Overall a clean copy. References: Ray #164 "one of the freshest and most attractive of romantic illustrated books"; Carteret III 426-27. Chez Aubert hardcover books
1842123046Paris: L. Curmer 1842. First edition of this collection which Carteret considers to be one of the most important illustrated books of the 19th century. Octavo elaborately bound in full red morocco with elaborate gilt titles and tooling to the spine in six compartments within raised gilt bands elaborate gilt ruling and stamping to the front and rear panels gilt turn-ins and inner dentelles elaborately decorated green morocco doublures hand-stitched patterned endpapers all edges gilt with intricate botanical carvings illustrated with eleven frontispiece titles by Trimolet Charles Jacque Penguilly etc. and numerous vignettes throughout the text. In fine condition. Rare and desirable. "This collection of ten short narratives mostly Gothic or exotic from the literatures of several countries is one of the most charming books of the Romantic period" Ray. L. Curmer unknown books
185791052Paris: Paulin et Lechevalier 1857. First Edition. hardcover. near fine. Frontispiece portrait fully illustrated in black and white 267pp. slim 8vo 1/2 green morocco pebbled green cloth gilt-stamped raised bands ornately gilt spine a.e.g. Paris: Paulin et Lechevalier 1857. Near fine.<br/><br/> Paulin et Lechevalier unknown books
1850WRCLIT46300Paris: G. de Gonet et al.& a Leipzig: Chez Charles Twietmeyer 1850. Two volumes. 4316pp. plus frontis and fifteen plates; 2300pp. plus frontis and fifteen plates. Large octavo 27.5 x 18.7cm. Very handsome 20th century half tan morocco raised bands ruled in blind lettered in gilt and marbled boards t.e.g. others rough-trimmed with the original decorative pictorial rose-on- cream wrappers bound in. Occasional very minor foxing or dust-soiling wrappers a trace soiled with a couple of small edge mends a handful of small creases or snags to the edges of the lace borders see below light rubbing to extremities but a near fine large crisp set. First editions in the most desirable form with the texts printed on vélin and with the frontispieces and plates engraved by Geoffrey after Gavarni delicately hand- colored. The plates are of particular interest because in this format they are printed on sheets with elaborate and delicate stencil-cut lace pattern frames and borders. The plates "are studies of beautiful women fashionably attired for the most part which were drawn in London. Méry wrote the 'fantasy' accompanying them to fit Gavarni's designs.in this special edition.Gavarni's designs become fashion plates of the first order" - Ray. "La réunion des deux ouvrages avec les gravures à marges de dentelles est assez rare à recontrer" - Carteret. RAY FRENCH 209a-210. CARTERET III:460-1. VICAIRE V:770-1. G. de Gonet [et al]...[&] a Leipzig: Chez Charles Twietmeyer hardcover books
18421941842. Lithograph. Armelhault & Bocher 34 iii/v. On chine appliqué. Image: 8 x 6¼. 225 x 156mm. Margins: 12 x 9 . Foxing in margins. Prov. I. Curmer with his stamp. A charming portrait at age 38 of the greatest French lithographer after Daumier of the 19th century. A prolific illustrator he depicted all facets of the French Bourgeois life in newspapers and periodicals. Signed in the plate. books
1850WRCLIT74481Paris: Imp. Lemercier for: Librairie Nouvelle 1850. 19 plates and 18 plates. Loose sheets. Images including captions ca. 27 x 18.5 cm. Margins vary. Some creasing to the larger margins two plates exhibit foxing and a couple more show some slight marginal tanning otherwise very good or better. Decent representation of two of the sub- elements of Gavarni's extended work which when completed included 329 lithographic plates. The first element lacks plate 1 of the twenty present and the second lacks plates 4 and 5 of twenty present duplicates of 2 and 7 are also present but not included in the count above. Ray treats the series at some length describing Thomas Virelogue as "one of Gavarni's most brilliant inspirations" and the work as a whole as "a neglected masterpiece of nineteenth-century French graphic art." RAY ART OF THE FRENCH ILLUSTRATED BOOK 157. Imp. Lemercier [for:] Librairie Nouvelle unknown books