Gavarni, PaulBiblio.com
953 résultats
3563049807.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1857308856Paris: Paulin et Lechevalier 1857. hardcover. very good. Paul Gavarni. Text in French. With small b/w woodcut illustrations throughout. 270 pages. 8vo rebound in modern navy cloth with part of original cover mounted. Paris: Paulin et Lechevalier 1857. Inner hinges re-enforced still a very good copy with light scuffing and fading to original front wrapper.<br/> <br/> Paulin et Lechevalier unknown
0282083375.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1146649517.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
57165Paris Adolphe Delahays 1860. 8° Frontispiz 213 S. zahlr. Textabb. Priv.-Ldr. d. Zeit. goldgepr. Rücken m. 4 Zierbünden Kopfgoldschnitt Min berieben durchgeh. etw. stockfleckig sonst gutes Exemplar. Inhalt: Les Partageuses Les lorettes vieillies La vie de jeune homme Le carnaval Fourberies de femmes etc. Text frz. 010 Paris, Adolphe Delahays, 1860 unknown
18685197BB1868. Paris Librairie du Figaro 1868. 8°. 1 Bl. 352 S. 1 Bl. Mit 1gest. Portrait 1 Frontispiz u. zahlr. Textholzstichen von Paul Gavarni. Lederband der Zeit mit Rückenvergoldung und dreis. Goldschnitt berieben. Durchgehend stockfleckig. unknown
185728570Paris: Paulin et Lechevalier 1857. First Edition. Hardcover. 248pp 4pp of publisher's advertisements. Later brown half morocco spine with four raised bands lettered and decorated in gold top edge stained red. Frontispiece and numerous in-text illustrations. Previous owner's name short corner tear to one of the leaves. A bright near fine copy. In the French language. ; Octavo. Paulin et Lechevalier hardcover
0267523319.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
0483149845.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1857918P52Paris: Paulin et Lechevalier 1857. First edition. Leather. Very Good. 8" by 5.5". Paul Gavarni. The first edition of this comical series of witty caricatures by Paul Gavarni in the original French. The first edition.In the original French.Bound in a half morocco binding with marbled paper to the boards. Original wraps are bound in. A comical work by Paul Gavarni containing a series of small caricature engravings alongside witty commentary on the personalities of those depicted. Subjects illustrated included artrices lorettes gentilshommes etudiants artistes and more. Paul Gavarni was a French illustrator the pen name of Sulpice Guillaume Chevalier. He is known for his sharp and witty drawings contributed to magazines such as 'Journal des Modes' and 'Le Charivari'.Bookplate of Ruben J. Dussaut to the front paste down. Four pages of adverts to the rear. In a half morocco binding with marbled paper to the boards. Externally smart. Small patch of worming to the front joint. A few light marks to the boards and spine. Spine is faded. Minor bumping to the extremities. Spots to the fore edge. Front hinge is starting a little but remains firm. Bookplate to the front paste down. Internally firmly bound. Pages are bright and generally clean with scattered spots. Very Good Paulin et Lechevalier hardcover
185724103Paris: Paulinet Lechevalier 1857. Fine. Paulin et Lechevalier Paris 1857 13 x 19 cm relié Edition from the year of the first edition published by the same publisher but with a different collation 248 p. including 28 pages of catalogue of Gavarni's work. A frontispiece and numerous vignettes. Half burgundy sheep binding smooth spine decorated with blind fillets dots and gilt fillets. Headcaps and spine rubbed occasional light foxing two small lacks not touching text on two leaves. Paulinet Lechevalier unknown
16-6134Paris: Chez Bauger Chez Aubert 1841. Lithograph sur blanc; contemporary handcolored. 33.3 x 23.5 cm. Plate no. XII from the series: "Les Lorettes." Armelhault and Bocher no. 774. Les Lorettes described by scholars:MLA citation: Murphy Libby and Greggor Mattson. A la Recherche des Femmes Perdues. Oberlin College 2016.Prostitution was a common social phenomenon that was practiced by women regardless of class but the type of prostitute varied depending on the status of the men involved. The social standing of prostitutes often shifted throughout their lifetimes but their roles generally remained within four basic levels of prostitution. This exhibit focuses on these four important types of prostitutes imagined and mythologized in various media of the time. The lorette the aspiring courtesan was the prostitute of mystery elusive and secretive often evading the government’s health regulations. The grisette was a prostitute from a working-class background often found inhabiting the apartments of young Parisian students. The fille publique or streetwalker was from the lowest class of prostitute and often attracted the poorest customers. Walking the street alone or in groups la fille publique was most vulnerable to police repression. And finally women in “maisons closes†or brothels catered to men of different social classes. The most luxurious brothels attracted middle class men with their continuous business. These women though varying in status participated in a form of sexual commerce that was common in French society in the 19th century. Paris: Chez Bauger, Chez Aubert, 1841 unknown
16-5527Paris: La Caricature circa 1841. Lithograph sur blanc. 28 x 21cm. Armelhault and Bocher no. 532 LIV.From the series Les Débardeurs Paris: La Caricature, circa 1841. unknown
1249225Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 19th century 1843. Professionally printed on premium fine-art paper Photo Matt Fibre in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
1249227Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 19th century 1843. Professionally printed on premium fine-art paper Museum Etching museum quality in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
1249224Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 19th century 1843. Professionally printed on premium fine-art paper Museum Etching museum quality in size A3. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
1249226Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 19th century 1843. Professionally printed on premium fine-art paper Photo Rag Bright White premium quality in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
05964Paris: Chez Aubert 1839. With 150 Hand-Colored Lithographs<br /> including Forty-Five by Honoré Daumier and Forty-Two by Gavarni<br /> <br /> DAUMIER Honoré Gavarni and others illustrators. ALHOY Maurice Louis Huart and Charles Philipon editors. Le Musée pour rire. Dessins par tous les caricaturistes de Paris; Texte par MM. Maurice Alhoy Louis Huart et Ch. Philipon. Paris: Chez Aubert Editeur des Cent-et-Un Robert-Macaire 1839-1840.<br /> <br /> Three quarto volumes 10 3/16 x 7 15/16 inches; 259 x 202 mm. 2 half-title 2 title 200 2 "Table" 4 publisher's advertisements; 2 half-title 2 title 200 2 "Table; 2 half-title 2 title 200 2 "Table 4 publisher's advertisements pp. With 150 numbered hand-colored lithographs heightened with gum arabic by Honoré Daumier forty-five Gavarni forty-two Frédéric Bouchot twenty-two Victor Adam ten Platier seven Benjamin i.e. Benjamin Roubaud four Bourdet three Pruche three Platel two Grandville two Edme-Jean Pigal two Alophe Menut two Charles Vernier two Charles-Joseph Traviès one and others.<br /> <br /> Early twentieth-century half red scored calf ruled in gilt over marbled boards by Adolphe Cuzin stamp-signed in gilt at foot of spine. Smooth spines decoratively tooled and lettered in gilt all edges gilt marbled endpapers. Expert and almost invisible minor restoration to corners and spine extremities. Occasional light foxing and/or browning. A wonderful copy.<br /> <br /> "The house of Aubert was ingenious in marketing its products. Its lithographs.were published one by one in periodicals like Le charivari and together in suites by the same artist without letterpress. Still a third form of publication was in albums made up of lithographs by several artists with accompanying texts. These collections most commonly took the form of volumes with the generic title Paris comique which consisted of twenty colored lithographs accompanied by quite unrelated texts. Aubert remarked that the resulting hodgepodge had 'a plan that is easy to follow for it consists in not having any' and in fact this was indeed a frugal procedure for reusing old texts and already published plates. The interest of the various volumes of Paris comique resides entirely in the lithographs they happen to contain. It can be considerable however since Daumier and Gavarni are the predominant artists. Le musée pour rire represents a more considerable effort on the part of Aubert. To accompany 150 lithographs including forty-five by Daumier among them twenty-seven from Croquis d'expressions and eight from La galerie physionomique and forty-two by Gavarni new commentaries were commissioned on each plate all except two by Alhoy and Huart. Daumier's lithographs were trimmed slightly and their captions were relettered. The designs of the other artists were provided with decorative frames. The whole was then published in three handsome volumes and in copies with expert contemporary coloring like this one Le musée pour rire is among the freshest and most attractive of romantic illustrated books" Ray The Art of the French Illustrated Book.<br /> <br /> Le Musée pour Rire "contained 150 lithographs by Daumier Gavarni Bouchot Traviès etc. These are re-impressions some of them in mirror image which had previously already been used for publication in Le Charivari. Most prints of the series 'Croquis d'expressions' are contained in the book. The name of the series is missing and the texts were printed in a different type than in the original Charivari version. We do not consider these prints original lithographies but rather prints 'after Daumier'" The Daumier Register at http://www.daumier-register.org.<br /> <br /> Ray The Art of the French Illustrated Book 164. Paris: Chez Aubert, 1839 unknown
04829Paris: Chez Aubert 1839. With 50 Hand-Colored Lithographs<br /> including Nine by Honoré Daumier and Fifteen by Gavarni<br /> <br /> DAUMIER Honoré Gavarni and others illustrators. ALHOY Maurice Louis Huart and Charles Philipon editors. Le Musée pour rire. Dessins par tous les caricaturistes de Paris; Texte par MM. Maurice Alhoy Louis Huart et Ch. Philipon. Paris: Chez Aubert Editeur des Cent-et-Un Robert-Macaire 1839<br /> <br /> Volume II only of 3. First edition. Quarto 10 3/8 x 8 1/8 inches; 265 x 207 mm. i-ii half-title verso blank iii-iv title verso blank v-vi Table 200 pp. With 50 numbered 51-100 hand-colored lithographs heightened with gum arabic by Honoré Daumier nine Gavarni fifteen Frédéric Bouchot seventeen Benjamin i.e. Benjamin Roubaud four Bourdet three Grandville one and Edme-Jean Pigal one. Heavy spotting in places but mainly to text leaves. Plates generally clean.<br /> <br /> Publisher's silk patterned paper over boards covers decoratively stamped in gilt smooth spine decoratively stamped and titled in gilt. Rebacked with the original spine laid down. With the engraved bookplate of author and collector Jaques Robiquet on front paste-down. <br /> <br /> A reasonably priced album containing fine hand-colored lithographs of Bouchot Daumier & Gavarni etc. etc.<br /> <br /> "The house of Aubert was ingenious in marketing its products. Its lithographs.were published one by one in periodicals like Le charivari and together in suites by the same artist without letterpress. Still a third form of publication was in albums made up of lithographs by several artists with accompanying texts. These collections most commonly took the form of volumes with the generic title Paris comique which consisted of twenty colored lithographs accompanied by quite unrelated texts. Aubert remarked that the resulting hodgepodge had 'a plan that is easy to follow for it consists in not having any' and in fact this was indeed a frugal procedure for reusing old texts and already published plates. The interest of the various volumes of Paris comique resides entirely in the lithographs they happen to contain. It can be considerable however since Daumier and Gavarni are the predominant artists. Le musée pour rire represents a more considerable effort on the part of Aubert. To accompany 150 lithographs including forty-five by Daumier among them twenty-seven from Croquis d'expressions and eight from La galerie physionomique and forty-two by Gavarni new commentaries were commissioned on each plate all except two by Alhoy and Huart. Daumier's lithographs were trimmed slightly and their captions were relettered. The designs of the other artists were provided with decorative frames. The whole was then published in three handsome volumes and in copies with expert contemporary coloring like this one Le musée pour rire is among the freshest and most attractive of romantic illustrated books" Ray The Art of the French Illustrated Book.<br /> <br /> Le Musée pour Rire "contained 150 lithographs by Daumier Gavarni Bouchot Traviès etc. These are re-impressions some of them in mirror image which had previously already been used for publication in Le Charivari. Most prints of the series 'Croquis d'expressions' are contained in the book. The name of the series is missing and the texts were printed in a different type than in the original Charivari version. We do not consider these prints original lithographies but rather prints 'after Daumier'". <br /> <br /> Ray The Art of the French Illustrated Book 164. Paris: Chez Aubert, 1839 unknown
02253Paris: Chez Aubert 1839. With 150 Hand-Colored Lithographs<br /> including Forty-Five by Honoré Daumier and Forty-Two by Gavarni<br /> <br /> DAUMIER Honoré Gavarni and others illustrators. ALHOY Maurice Louis Huart and Charles Philipon editors. Le Musée pour rire. Dessins par tous les caricaturistes de Paris; Texte par MM. Maurice Alhoy Louis Huart et Ch. Philipon. Paris: Chez Aubert Editeur des Cent-et-Un Robert-Macaire 1839-1840.<br /> <br /> First edition. Three quarto volumes bound in one 10 x 7 5/8 in; 251 x 193 mm. 1 half-title 2 title 600 pp. With 150 numbered hand-colored lithographs heightened with gum arabic by Honoré Daumier forty-five Gavarni forty-two Frédéric Bouchot twenty-two Victor Adam ten Platier seven Benjamin i.e. Benjamin Roubaud four Bourdet three Pruche three Platel two Grandville two Edme-Jean Pigal two Alophe Menut two Charles Vernier two Charles-Joseph Traviès one and others.<br /> <br /> Bound ca. 1886-1890 by James Screeton of Hull with label to rear pastedown half black pebbled morocco over gray-brown cloth. Elaborately gilt tooled compartments gilt-rolled raised bands. All edges gilt. Some foxing and toning throughout but still a very good copy.<br /> <br /> "The house of Aubert was ingenious in marketing its products. Its lithographs.were published one by one in periodicals like Le charivari and together in suites by the same artist without letterpress. Still a third form of publication was in albums made up of lithographs by several artists with accompanying texts. These collections most commonly took the form of volumes with the generic title Paris comique which consisted of twenty colored lithographs accompanied by quite unrelated texts. Aubert remarked that the resulting hodgepodge had 'a plan that is easy to follow for it consists in not having any' and in fact this was indeed a frugal procedure for reusing old texts and already published plates. The interest of the various volumes of Paris comique resides entirely in the lithographs they happen to contain. It can be considerable however since Daumier and Gavarni are the predominant artists. Le musée pour rire represents a more considerable effort on the part of Aubert. To accompany 150 lithographs including forty-five by Daumier among them twenty-seven from Croquis d'expressions and eight from La galerie physionomique and forty-two by Gavarni new commentaries were commissioned on each plate all except two by Alhoy and Huart. Daumier's lithographs were trimmed slightly and their captions were relettered. The designs of the other artists were provided with decorative frames. The whole was then published in three handsome volumes and in copies with expert contemporary coloring like this one Le musée pour rire is among the freshest and most attractive of romantic illustrated books" Ray The Art of the French Illustrated Book.<br /> <br /> Le Musée pour Rire "contained 150 lithographs by Daumier Gavarni Bouchot Traviès etc. These are re-impressions some of them in mirror image which had previously already been used for publication in Le Charivari. Most prints of the series 'Croquis d'expressions' are contained in the book. The name of the series is missing and the texts were printed in a different type than in the original Charivari version. We do not consider these prints original lithographies but rather prints 'after Daumier'". <br /> <br /> James Screeton was the son of bookbinder William Screeton of Hull. It appears that he was partner of binder William Wardell until opened his own shop in 1886. <br /> <br /> Ray The Art of the French Illustrated Book 164. Paris: Chez Aubert, 1839 unknown
14658Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Artic. Created in the 19th century 1857–58. Professionally printed on premium fine-art paper Museum Etching museum quality in size A3. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
14659Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Artic. Created in the 19th century 1857–58. Professionally printed on premium fine-art paper Photo Matt Fibre in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
14661Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Artic. Created in the 19th century 1857–58. Professionally printed on premium fine-art paper Museum Etching museum quality in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
14660Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Artic. Created in the 19th century 1857–58. Professionally printed on premium fine-art paper Photo Rag Bright White premium quality in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
1292aaAubert & Cie Paris um 1840. Maße: ca. 165 cm x 215 cm im Passepartout gering gebräunt. - Aus der Reihe: Impressions de menage No. 16 - unknown
