Gavarni, PaulBiblio.com
953 résultats
2089321Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 19th century 1830. 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
1845037483Paris: Maresque 1845. 1st Edition . Hardcover. Near Fine. 416 Pp. With Original Wrappers Bound In At Front And Rear. 1/3 Red Morocco5 Raised Bands Gilt Marbled Boards And Marbled Endpapers Deckled Edges. Very Lightly Used Slight Rubbing Tiny Chips To Surface Paper At Tips. Browning To Additional White Endpapers And To Covers Pages White But With Some Foxing To Many Pages Also Foxing To Plates And Tissue Guards. <br/> <br/> Maresque hardcover
04-1769Paris: Le Charivari 1847. Lithograph. Image: 20.5 x 17.5 cm. Sheet: 37 x 25 cm. Armelhault & Bocher no. 1015. Published in Le Charivari text verso. Foxing. Paris: Le Charivari, 1847. 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
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
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
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
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
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
201273975X.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1857105618Paris : Paulin et Lechvalier 1857. 205x140mm. illustrÂŽ avec publicitÂŽ du catalogue de lՎditeur 2 ff. reliure dՎpoque demi-maroquin ˆ coins avec auteur titre lieu et date dorÂŽs au dos ˆ cinq nerfs. Plats et garde marbrÂŽ. Tranche supÂŽrieure dorÂŽe. Couvertures et dos conservÂŽs. TrÂs belle reliure. Bel exemplaire. Ex-libris: Aug. Vincent Parisis. 399 Paulin et Lechvalier unknown
185719504Paris: Paulin et Lechevalier 1857. In-16 gr. mz. pelle coeva dorso a cordoni con fregi e titolo oro pp. 2484. "Edizione originale" e "premier tirage". Cfr. CarteretIII264. Qualche lieve fioriture ma certamente buon esemplare. Paulin et Lechevalier, unknown
186825906Paris: Librairie du Figaro 1868. In-8 gr. tela editoriale fregi e titolo oro al dorso restaurato per mancanza tagli dorati pp. 352 con un autoritratto inciso su acciaio da Nargeot illustrato nel testo da numerosissime vignette incise su legno. "Les dessins de Gavarni sont interpétés en réduction par Godefroy-Durand" come cita CarteretIII264. Introdotto da una prefazione di H. Rochefort e da uno studio sull'A. di J. Claretie il volume raccoglie "les plus fins de ses dessins et de ses légendes" di 21 serie quali: "Les Lorettes vieillies. Le Carnaval. Les invalides du sentiments ecc.". Seconda edizione. Con lievi fioriture ma certamente buon esemplare. Librairie du Figaro, hardcover
25275Masques et visages Paris Paulin & Lechevalier 1857. Original wrappers 248 pag. illustrations. Good copy. unknown
18686685Paris: Du Figaro 1868. Gebunden. Du Figaro unknown
185746093Paris: Paulin et Lechevalier 1857. Gebunden. Paulin et Lechevalier unknown
273Paris C. Levy ca. 1860. . Beschabt Ecken bestoßen Erste Lage lose. Paris, C. Levy, [ca. 1860]. unknown
