Titles: Rêverie, Gaspillage, Exagération, Simplicité, Gourmandise, Abondance, Violence, Fantaisie, Faiblesse, Curiosité, Obligeance, Surprise.
Contributors:Gaston Hoffmann [Santippa] (French, 1883 – 1977)
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Publisher's flapped folder of black velvet paper with dark green embossed vignette, 494 x 325 mm, with a pink limitation label inside the front cover and a printed spade with 'FIN" inside the back cover; a set of 13 lithographs signed Santippa, 936; 480 x 310 mm each, twelve in black and one (title) coloured with sanguine. Limited edition of 250 copies, 1-100 printed on Hollande and 150 on Japon; this is copy № 127. -
Description: Pictorial album 29.7 x 24 cm, bound in ¾ red morocco over marbled boards with gilt lettering “LA BIBLIOTHÈQUE DES ROMANS” and raised bands to spine; marbled endpapers, two flyleaves, tan original wrapper lettered “La Bibliothèque des Romans. (gothic, arch) | {colour vignette} | UNE VEILLÉE DE JEUNE FILLE. | 1840. || Six hand-coloured lithographs, each in a double-rule border with the series title above it and image title below. Sequential numbers are hand-inscribed within the border in the upper-right corner. Frame 23.5 x 18.3 cm, image 21.5 x 16.5 cm. Three flyleaves at the end. A bookplate to front pastedown: “GERARD NORDMANN EX-LIBRIS”. Content:- Front wrapper (title-page)
- SŒUR ANNE (Sister Anne)
- LA GRISETTE (The grisette)
- LÉONIDE OU LA VIEILLE DE SURÊNE (Léonide or the old lady of Surêne)
- LA PUCELLE DE BELLEVILLE (The maid of Belleville)
- MON VOISIN RAYMOND (My neighbor Raymond)
- LE COCU (The cuckold)
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12 hand-coloured soft-ground etchings by André Collot, unbound, in a paper folder with pink lettering and vignette engraved on wood, with a title-page in black: JEUNESSE | 12 VERNIS MOUS COLORIÉS | tires à exemplaires | réservés aux Amis de l’Artiste | 1933 ||, in a frame. Edition: 1st edition, limited to 60 copies. Catalogue raisonné: Dutel 1920-70: 1786. -
Description: Suite of 16 hand-coloured drypoints, in 39 x 29 cm, in cream French flapped wrappers with lavender lettering “SYMPHONIES AMOUREUSES” and a sanguine drypoint vignette (platemark 15 x 13 cm) to front, 17 leaves plus 2 leaves in the wrappers, 38.5 x 57 cm vertically folded once, lettering to one page, plate to another page, unbound, only the top margin trimmed, unpaginated, wove paper watermarked "BFK Rives", in a faux chagrin double slipcase 39.8 x 30 cm. Title-page (in lavender and black): SYMPHONIES AMOUREUSES | Suite de seize gravures | à la pointe sèche | rehaussées | {blank} | imprimé aux dépens | de Bibliophiles et non mis dans le commerce || Titles of the plates : 1. Ouverture. 2. Gamme. 3. Rêverie. 4. Pas redoublé. 5 Fantasia. 6. Pastorale. 7. Estudiantina. 8. Presto. 9. Arpège. 10. Menuet. 11 .Symphonie médiévale. 12. Jeux d’eau. 13. Galop. 14. Impromptu. 15. Variation. 16. Ariette. Limitation: Print run of 100 copies, 5 copies on Japon Manchou, numbered №№ 1-5, enriched; 11 copies on vélin à la forme de Rives, numbered №№ 6-16, enriched; 84 copies on vélin à la forme de Rives, numbered №№ 17-100, of which this is copy № 32. Cat. raisonné: Dutel III, № 2478. Contributors: André Collot (French, 1897 – 1976) – artist, engraver. -
Title page: Text engraved within a vignette with two naked female torses in garlands: Plãs et profilz | des principales villes de | la prouince de L'ISLE DE | FRANCE, auec la carte gene~ | rale & les particulieres de chaf~ | cun gouuernement d'icelles. Below handwritten pencil inscription by a previous owner: "par ... Tassin ... 1634". Size: 17.6 x 23.7 cm, Binding: Italian style, green half-vellum, burgundy morocco title label with vertical gilt lettering to spine, peacock marbled boards. Pagination: Two blank flyleaves in the front and two in the back; 18 numbered engraved plates, including:- Title page
- Table of Contents
- Normandie
- Environs de Paris
- Folding map of Paris – a simplified copy of Mathieu Merian's 1615 perspective plan, with minor updates, notably on the current housing estate of Ile Saint-Louis.
- Paris
- Gouvernment de Soissons
- Soissons
- Gouvernment de Beauvais
- Beauvais
- Gouvernment de Compiègne
- Compiègne
- Gouvernment de Noyon
- Noyon
- Gouvernment de Coussi
- Coussi
- Gouvernment de Senlis
- Senlis
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Portfolio of 14 original watercolour illustrations for Vers Libres by Raymond Radiguet. Painted on wove paper of different sizes, each mounted in a passe-partout 39,5 x 33 cm and enclosed in a flapped portfolio with a white label to front cover lettered "14 études originales | pour | VERS LIBRES | de | Raymond Radiguet | par | ROJAN". For published versions see:- [LIB-2830.2021] Raymond Radiguet. Vers libres / [Illustrés par Rojan]. — Champigny: Au Panier Fleuri [i.e. Paris, René Bonnel, c. 1935].
- [LIB-2827.2021] Raymond Radiguet. Vers libres / Illustrés par Rojan. — Nogent: Au Panier Fleuri [i.e. Paris, c. 1937].
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Title: IDYLLE | PRINTANIÈRE || Verso: {Headpiece} | Justification du tirage | {7 lines of text} | Exemplaire № 56 (digits by hand) | HP (monogram by hand) | {tailpiece} || Album of 30 hand-coloured lithographs and frontispiece in a cardboard folder; each sheet mounted in a 32.5 x 25 cm passepartout with 19 x 13 cm window; published in Paris in 1938 by Henri Pasquinelli (attributed). No artist, no publisher name indicated. According to Justification du tirage, the print run of 516 copies on Arches laid tinted paper (vergé), copy A – control artist’s uncoloured, 15 copies B–P reserved for collaborators and friends, copies 1–500 – for bibliophiles. This copy № 56, autographed by the publisher's monogram: "HP". Catalogue Raisonné: J.-P. Dutel, vol 2 (1920–1970), #1726, p. 207-8. Provenance: J.-P. Dutel. -
Seventeen drypoint prints in purple plus one original ink sketch by Marcel Vertés (French, 1895 – 1961) – illustrations to the book by Pierre Louÿs Trois filles de leur mère, in a paper folder. Front : DIX-SEPT POINTES SÈCHES | D'UN ARTISTE INCONNU | POUR | TROIS FILLES | DE | LEUR MÈRE | {space} | AUX DÉPENS D'UN AMATEUR | NON MIS DANS LE COMMERCE || Pencil manuscript Vertés under “ARTISTE”, autograph vignette above “AMATEUR”, erased dedication inscription above “DÉPENS” À L’AMI [erased] X. Back: JUSTIFICATION DU TIRAGE | 17 EXEMPLAIRES SUR VÉLIN D’ARCHES CONTENANT | UNE SUITE DES DIX-SEPT POINTES SÈCHES EN | NOIR : UNE SUITE EN COULEURS COLORIÉE PAR | L’ARTISTE ; UN DESSIN ORIGINAL ET SA PLANCHE | DE CUIVRE ; DIX-SEPT CROQUIS ORIGINAUX | MARQUÉS A à Q. | 50 EXEMPLAIRES SUR VÉLIN D’ARCHES CONTE- | NANT UNE SUITE DES DIX-SEPT POINTES | SÈCHES ET TROIS CROQUIS ORIGINAUX | NUMÉROTÉS DE 1 à 50. | {space} | EXEMPLAIRE № {by hand} H. C. || Size : folder 28 x 17.5 cm; sketch 26.6 x 17.6 cm; prints 27.5 x 19 cm. Printed on wove paper with MBM watermark (Arches MBM Paper). Bookplate pasted to the makeshift extra folder with title: “EX-LIBRIS | Jacques | Crepineau”. Provenance: Jacques Crepineau (French, 1932 – 2017). Description by seller: [CURIOSA - VERTÈS (Marcel)]. Dix-sept pointes sèches d'un artiste inconnu pour Trois filles de leur mère. S.l. : Aux dépens d'un amateur, [1927]. — In-8, en feuilles. Dutel 2517*. Rare suite de 17 pointes-sèches libres réalisées par Marcel VERTÈS, probablement publiée par Marcel Cotinaud. Elle était destinée à accompagner l'édition originale de Trois filles de leur mère de Pierre Louÿs publiée un an plus tôt. Tirage à 67 exemplaires sur vélin d'Arches. Les épreuves sont tirées en violet. Exemplaire sans le feuillet de titre, ni celui de la justification. Il comprend un croquis original de l'artiste, non signé, ayant servi d'étude pour l'une des planches. Selon les tirages, chaque exemplaire devrait comprendre 17 croquis pour les 17 premiers, ou 3 pour les 50 autres, non n'en avons ici qu'un seul. Envoi de Vertès sur la couverture, accompagné d'un dessin original. Le nom du destinataire a été effacé. Manque la chemise et l'étui. Description by DUTEL v.3, p. 389, № 2517: In-4 (28 x 19) de 2 ff., 17 pointes sèches, étui, chemise. … publiée en 1927 probablement par Marcel Cotinaud (SV : publisher of Vertés was Paul Cotinaud)… Les planches sont tirées en violet (SV : like this one). Tirage : 17 ex. …avec une suite coloriée par l’artiste, un dessin, un cuivre et 17 croquis. 50 ex. … avec 3 croquis. Other names: Marcel Vertès, Marcel Vertes, Marcell Vértes -
Pictorial album 31 x 22.8 cm, bound in quarter red calf over marbled boards with gilt lettering “SCÈNES | DE | LA VIE | PRIVÉE” and gilt ornament to spine; marbled endpapers, flyleaf, blue original wrapper (title-page) lettered SCÈNES | DE LA VIE PRIVÉE. | {vignette} | SIX DESSINS || «Six dessins» struck out, ms inscription beneath “Douze”. Twelve hand-coloured lithographs, some inscribed with letters and/or numbers in reverse, each in a double-rule frame 22 x 16.5 cm, images 18 x 14.5 cm (approx.); series title “Scènes de la vie intime” printed above the frame, image title printed in the lower compartment; ms numbers above the upper-right corner of the frame (state before sequential numbers, ms numbers do not correspond with artist numbering). Flyleaf at the end. Two bookplates to front pastedown: “EX-LIBRIS PAUL GAVAULT” and armorial “IN ROBORE ROBUR | Ex Libris Bourlon de Rouvre”. Content (Roman numerals in parenthesis are publisher's numbers; numerals in italic are Armelhault-Bocher reference numbers):- Titre de la couverture (Title-page) – 2001
- (III) Un nid dans les blés (A nest in the wheat) – 2004
- (II) Amitié de pension (Friendship in the pension) – 2003
- (XI) Bras dessus, bras dessous (Arm up, arm down) – 2012
- (I) Causerie (Chat) – 2002
- (VI) Prélude (Prelude) – 2007
- (IX) Le guet-apens (Ambush) – 2010
- (V) Le cabinet noir (The dark chamber) – 2006
- (IV) Distraction (Entertainment) – 2005
- (X) Leçon de paysage (Landscape lesson) – 2011
- (VII) Avant le péché (Before sin) – 2008
- (VIII) Après le péché (After sin) – 2009
- (XII) La femme du peintre (The painter's wife) – 2013
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Lithography on paper by Charles Fichot (French, 1817 – 1903), published in a supplement to the Illustrated London News of July 6, 1867.
The construction on the foreground is the International Exposition of 1867 (Exposition universelle d'art et d'industrie de 1867). Dimensions: Sheet: 130 x 58 cm; Image: 118 x 43 cm. -
An uncut fan print uchiwa-e, size 22.7 x 28.7cm, by an unknown artist. -
Mori Sosen (1747-1821). A Monkey Seated on a Rock with an Infant Monkey. Hanging scroll painting. Ink and colour on silk. Signed: Sosen. Sealed: Sosen. 108.3 x 38.3 cm. Provenance: According to the box inscriptions, the painting was in the possession of Itakura Katsunao, a daimyo lord in present-day Gunma, in 1808. In 1881, the painting was subsequently acquired by Negishi Shôrei (1833-1897) a master swordsman who established the Negishi school of shuriken ("The only specialist school to have survived is the Negishi-ryū, which was founded by Negishi Shorei in the mid-1800s".) -
In pictorial frame: A PLAN of | the CITY of PARIS. || Under the border: Published by I. Stockdale Piccadilly 1800 || Dimensions: Sheet: 29 x 34.5 cm; Image: 22.7 x 25.9 cm. -
A portrait of Marcello Malpighi from his book Opera posthuma: figuris aeneis illustrata, quibus praefixa est ejusdem vita a seipso scripta, Londini:Churchill, 1697. Inscription: Marcellus Malpighius | Medicus Bononiensis mortuus 29 Novemb. Anno Dom. 1694. Anno aetatis 67. I. Kip. sculp.
Marcello Malpighi (10 March 1628 – 29 November 1694) was an Italian biologist and physician, who is referred to as the "Father of microscopical anatomy, histology, physiology and embryology" [Wikipedia].
From European Journal of Anatomy 22(5):433-439 · September 2018, an article by Sanjib Ghosh and Ashutosh Kumar 'Marcello Malpighi (1628-1694): Pioneer of microscopic anatomy and exponent of the scientific revolution of the 17th Century': Italian anatomist and an eminent scientist who significantly contributed to the advancement of the anatomical sciences in the 17th century. Malpighi was one of the first to use the compound microscope (an instrument designed by Galileo in 1609) and made the most important discovery of his life in 1661 when he identified capillaries as connecting vessels between small arteries and veins in the lungs. Malpighi thus provided the missing link in William Harvey's theory of blood circulation. He made significant contributions in the field of embryology based on his observations on chick embryo, and his efforts provided deep insights into the development of the heart and the nervous system. His communications based on microscopic studies scripted valuable details on the structural organization of organs like the liver, kidney and spleen. He identified the hepatic lobule as the fundamental unit of the liver and noted that bile was being secreted by these lobules and not from the gall bladder (the popular belief then). In the kidney, he discovered the glomerulus (Malpighian Corpuscle) and was the first to observe the convoluted tubules in the renal cortex. He was the first to describe the presence of lymphatic bodies (Malpighi's Corpuscle) in the spleen. Although he was exceedingly successful in his scientific activities, his life was fraught with unfortunate events and savage criticism from detractors arising out of professional jealousy and personal feuds. Nevertheless, his exploits were instrumental in understanding the human microscopic anatomy (histology) and his accomplishments have etched his name in the pages of medical science forever.
The portrait was engraved by Johannes "Jan" Kip (1652/53, Amsterdam – 1722, Westminster) - a Dutch draftsman, engraver and print dealer.
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A series of seven political caricatures with indecent content, ink and pigment on paper, bound in a grey-blue folder. Each drawing is pasted to a grey-blue sheet of paper 32 x 24 cm. PLATES: 1) Villette; Bazaine; Alvarez Rull: 250 x 192 mm
Villette Adieu, cher maréchal, je réponds de mon dard C’est un morceau d’acier… Là bas, sur le rempart, Sa cartouche à la main, dans un cul qui le charme, Lançant à gros bouillons son foutre de gendarme Plantin plante Delille et lui font le Caisson. Bazaine Sur ton vit de dragon Sur le nœud de Plantin, sur le cul de Delille, Je ne t’oublierai pas, Villette, adieu, je file Et je vais baiser ma femme. Alvarez Rull (à Josépha) Il ne saurait tarder, Ton epoux va venir, mais tu me fais bander, Le parfum de ton con me monte à la cervelle, Ma gaule se raidit . Josépha, la nacelle Est dans l’ obscurité, là haut, le ciel est noir, Bazaine en descendant ne peut t’ apercevoir … Pour la dernière fois, torche moi la houlette. Bazaine Eh ! là bas, du canot, j’allume une allumette!
Villette Farewell, dear Marshal, I vouch for my dick. It’s like a steel rod … Over there, on the ramparts, Plantin, his dick in hand, pounds Delisle’s beckoning ass And fills it with his bubbling gendarme’s cum. Bazaine For your dragoon’s dick, For Plantin's prick, for Delisle's ass, I won't forget you, Villette, goodbye, I'm leaving And I'm going to fuck my wife. Alvarez Rull (to Josépha) Hurry up, Your husband is coming, but I got a hard on you, The scent of your cunt penetrates my brain, My rod stiffened. Josépha, the gondola Is in the dark, the sky is black, Bazaine coming down and cannot see you... Give me one last blowjob.Bazaine Hey! Over there, from the canoe, I light a match!
French marshal Achille Bazaine capitulated to Bismarck during the Franco-Prussian war on 27 October 1870. In 1873, he was tried for treason and received a death sentence, later commuted to 20 years' imprisonment. Bazaine was incarcerated in the Fort Royal on Île Sainte-Marguerite, from which he escaped on August 9–10, 1874, with the help of Colonel Villette [Willette], his wife Josefa [Pepita Peña], and her nephew Alvarez Rull. They sailed to Genoa in Italy and from there to London. Plantin and Delisle were prison guards. The story was described in detail during the Trial of Col. Villette and his Accomplices in 1874 and published later in Robert Christophe. La Vie tragique du maréchal Bazaine. — Paris: Vautrain Jacques, 1947.
2) Impératrice Eugénie: 218 x 165 mm
Ça, Français, mes amis, regardez sa matrice, Et quand vous aurez vu, vous serez tous certains Que le cul si vanté de votre Impératrice, N’est pas autrement fait que le cul des putains!
That, French, my friends, look at her cunt, And when you have seen, you will all be certain That the so acclaimed ass of your Empress, Is no different than the ass of whores! 3) Napoléon III: 215 x 168 mm
J’ai pris Paris, mon oncle a pris Berlin et Vienne. Comme lui je languis en exil …… et là bas, On abat sa colonne; Ici, je fous la mienne…. Triste et cruel retour des choses d’ici bas!! Chilshurst 1871. [i.e. Chislehurst]
I took Paris, my uncle took Berlin and Vienna. Like him, I, too, languish in exile. His column there was demolished; I’m jerking mine off here…. Cruel and sorrowful deeds!! 4) La confession: 216 x 168 mm (Georges Darboy?)
5) Napoléon III et Thérèsa (chanteuse Désirée Emma Valladon): 216 x 176 mm
C’est toi de tout Paris la meilleure chanteuse, Thérèsa mon enfant, chante-moi ton sapeur. C’est toi de mes Etats la meilleure fonteuse.. Thérèsa je t’en prie … Ouvre-moi ton sapeur!
You, the best singer in all of Paris, Teresa, my child, sing for me where to insert. You are the best padding in my entire country… Teresa, please... Open your slit for me! 6) Thiers: 219 x 168 mm
Maintenant, je me fous de votre République, Des Versaillais et des Prussiens, Aussi, tous les matins, je me branle la pique A la santé des Parisiens!
Yes, I don’t care about your Republic now, About Versailles and the Prussians, And every morning I jerk off For the health of Parisians! 7) Émile Ollivier/Rochefort/Jules Favre/Gambetta : 212 x 168 mm
« — Emile Ollivier, raidis bien la houlette! — Enfonce ton ringard mon petit Rochefort!! — Jules Favre mon vieux, redresse bien la tête De ton vi! — Gambetta, pousse encore plus fort!!! »
Emile Ollivier, tighten your dick! - Stick in your poker, my little Rochefort!! - Jules Favre, old man, straighten your dickhead Damn it! – Gambetta, push even harder!!!Characters: Bazaine, François Achille (French, 1811 – 1888) Darboy, Georges (French, 1813 – 1871) Favre, Jules (French, 1809 – 1880) Gambetta, Léon (French, 1838 – 1882) Montijo, Eugénie de (Spanish-French, 1826 – 1920) Napoleon III [Bonaparte, Charles-Louis Napoléon] (French, 1808 – 1873) Ollivier, Émile (French, 1825 – 1913) Peña Azcárate, Josefa [Peña, Pepita] (Mexican-French, 1847 – 1900); Alvarez Rull – nephew of Josefa Peña Azcárate. Rochefort, Henri (French, 1831 – 1913) Thérésa [Valladon, Désirée Emma] (French, 1836 – 1913) Thiers, Adolphe (French, 1797 – 1877)
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Hand-coloured etching by Thomas Rowlandson, printed on May 30, 1810, in London; № 20 from the series The Caricature Magazine or Hudibrastic Mirror Vol. 2. Description by Metropolitan Museum (59.533.978): "Guests of a dinner sit at a long narrow table in a magnificent room with an ornate ceiling. Two men and a young woman serve wine, one drawing a cork, the others spilling wine over the guests. Another waiter spills soup in an elderly guest's face. A woman and a little girl with a begging dog play tambourine and triangle at left." Inscribed in plate lower left: "Rowlandson Del."; bottom centre: "A TABLE DHOTE, OR FRENCH ORDINARY IN PARIS." Our copy is lacking the publication details: "Pub.d May 30. 1810 by Tho.s Tegg 111 Cheapside, London." and similar to the copy in Boston Public Library (18_03_000394). Dimensions: Sheet 27 x 40.5 cm; Image: 23.5 x 35 cm. Contributors: Thomas Rowlandson (British, 1756 – 1827) – artist. Thomas Tegg (British, 1776 – 1846) – publisher. -
The 103rd Bon Bock Dinner Invitation
Artist: François Avenet a.k.a. Alexandre Ferdinandus (French, 1850 – 1888).
Cher monsieur, Le 103ème Dîner du Bon-Bock aura lieu mardi prochain / à 7h précises aux Vendanges de Bourgognel / 14, rue Jessaint (place de la Chapelle). Si vous nous faites le plaisir d’y assister : Veuillez écrire à Mr. E. Bellot, / 37 rue St Marc, au plus tard lundi soir. Votre réponse / est absolument obligatoire pour faire mettre votre couvert (nos camarades des théâtres exceptés.) L’affirmative entraine le paiement de la cotisation présence ou absence. / Programme de notre dernière soirée. 1e H Covin (piano) une valse de sa compo- / sition. 2e de Courment : Le Chanteur du roi (1ère série) par l’auteur. / 3e Dulin de l’o.p.e. Rondeau de la petite mariée 4e Doublemard : / souvenir de la Plage La baigneuse 5e "la famille des Saltimbanque" / 6e C. Maubant Romance de la Traviata. 7e Ct. Carjat Toast à l’Alsace-/Lorraine vers par l’auteur. 8e Guillabert de l’ap. de Nantes : le Pressoir mud. de / Faure . 9e Ch. Delacour : le Poete, Sonnet. 10e if. le Duc Jean if. 11e / Fromentin. Panurge (Mus. d’Hervé) 13e A. Claris la Haine vers par l’aut. / Benty : mon p’tit neveu : paroles d’Po Clouvier. mus. de Darcier. 15e Charles / Delacour : la leçon d’Arithmétique. 16e J.B. Collegnon Fanchette, romance/ par l’auteur. 17e Doublemard : le Cocher (monologue de P. Marzin) 18e / Dulin : le Cor musique de Flégier. 19e J. M. Collignon : Elle s’appela/ Marguerite par. De L. Baillet mus de Collignon. 20e L. Bellot / annonce de l’exposition des arts incohérents sous la direction de / Jules Féry. Tous nos remerciements à Mr. Henri Covin qui a tenu le/ piano toute la soirée et a nos Camarades Ferdinandus pour son / croquis qui est absolument v’lan et à O. Pradels pour son quatrain/ des plus pachutt. // Recevez, cher Monsieur, nos salutations bien Cordiale / E. Bellot, G durater E. Cottin, R. Géner, L. Bocilart, H. Héger comba / assistaient au Dernier Dîner Mrs : Henner, Jean Brenner, Et. Carjat / Margue, Dulin, Fromentin, H. Stéger, A . Stéger, eh. Delacour, G. Mayer, Sanzel/ Denis Poulot, Bricaire, Doublemard, Vigneron, T. Boulart, L. Mayeur, Mayeur/ flle, Magnan, E. Maubant, Guillabert, H. Corin. ___ Lebreton, Tucy, Blangarnon. / Comt. Vallée, Dr Pourbain, Latapie, E. Colleville, Roumier, Hoffer, Ollivier / Verchère, Delhaye, Dr Deschamps, Ch. Hofer, Dr Geneirp, Péginissel p, et F. , Pierson, Guérin, Cronnot, de Courmont, Eliot, Fasquelle et filsm Malasamy, Guillaume fils /G Caux, Dabert, Michel p, et f.s, ___Rey. Vaundremer, Girau, general Lipovvski, Ballin, Ersetemenn, Délivré, Lepéné, de Bouillanne, V. Roser, Delbroueth. Pasquet, Treterre, / A. Claris, Thoniel, du Castaings, Pingray, Benjamin, I. Petit, Champon, Destape, Viotlat, F. Percheron, Dr Hubert, A. Aubin, Zimmermann, Vannes, A. Heulard, / Gourlet, Coppin, Hubner, laprandie, Samuel, Séguin, Ménard, Cougoul, J. B. Collignon, Beri L. Besnier, Gillandi. // 9e Année 103e Diner du Bon-Bock (Les 2e Mardi de Chaque Mois). Cotisation 5h50 / Cette invitation est strictement personnelle / Paris 3 8bre 83.Bismarck à Alphonse
Alphonse, cher poissure! Roi pschutt du monde u’lan! Je te fais Colonel des pillards de pendules! Si cela fait rager le Bon-Bock et les Jules Tant mieux! Mais garde bien to Trône Basque-Uhlan. O. Pradels.
Bismarck to Alphonse Alphonse, dear annoyance! King shushh from the Uh'lan world I name you Colonel of the looters of pendulums! If this makes the Bon-Bock and Jules angry All the better! But protect your Basque-Uhlan throne well. O. Pradels.
Dear sir, The 103rd Dinner of the Bon-Bock will take place next Tuesday at 7 pm precisely at the Grape Harvest of Bourgognel, 14, Jessaint street (la Chapelle plaza). If you would do us the honour of coming: Please write to Mr E. Bellot, 37 St Marc street, on Monday night at the latest. Your answer is absolutely mandatory to prepare the place settings (our friends from the theatres excluded.) The 'yes' comes with a payment of the due whether or not you end up attending. Program for our last evening. 1st – H. Covin (piano) a waltz composed by him. 2nd – Courment: Le Chanteur du roi (King's singer) (1st series) by the author. 3rd – Dulin: Rondeau from opera "Le petite mariée" (The Little Bride) 4th – Doublemard: Memory of the bather's beach 5th – "The Saltimbanque family" 6th – Maubant: Romance of "La Traviata". 7th – Étienne Carjat Toast to the Alsace-Lorraine, verses by the author. 8th – Guillabert from the opera "Nantes: le Press mud" by Fauré. 9th – Charles Delacour: the Poet, Sonnet. 10th – "Duke Jean" 11th – Fromentin. Panurge (Mus. of Hervé) 13th – A. Claris "The Hatred" verses by the author, Benty: my lil’ nephew: lyrics by Clouvier, music by Darcier. 15th – Charles Delacour: the lesson in arithmetic. 16th – J.-B.Collegnon, "Fanchette", romance by the author. 17th – Doublemard: the Coach driver (monologue by P. Marzin). 18th – Dulin: the horn music by Flégier. 19th – J.-B. Collignon: "Her name was Marguerite", lyrics by L. Baillet music by Collignon. 20th – L. Bellot, an announcement from the incoherent arts exhibition curated by Jules Férry. All of our thanks to Mr Henri Covin who played the piano all night and to our Friends Ferdinandus for his sketch that is absolutely bam and to O. Pradels for his quatrain among the most pazazz worthy. We send you our most cordial salutation, Monsieur. E. Bellot, G. Durater, E. Cottin, R. Géner, L. Bocilart, H. Héger, Henner, Jean Brenner, Et. Carjat, Margue, Dulin, Fromentin, H. Stéger, A . Stéger, Ch. Delacour, G. Mayer, Sanzel, Denis Poulot, Bricaire, Doublemard, Vigneron, T. Boulart, L. Mayeur, Mayeur daugter, Magnan, E. Maubant, Guillabert, H. Corin. Lebreton, Tucy, Blangarnon. Comt. Vallée, Dr Pourbain, Latapie, E. Colleville, Roumier, Hoffer, Ollivier, Verchère, Delhaye, Dr. Deschamps, Ch. Hofer, Dr. Geneirp, Péginissel père et fils, Pierson, Guérin, Cronnot, de Courmont, Eliot, Fasquelle et fils Malasamy, Guillaume fils, G. Caux, Dabert, Michel père et fils, Rey. Vaundremer, Girau, General Lipovvski, Ballin, Ersetemenn, Délivré, Lepéné, de Bouillanne, V. Roser, Delbroueth, Pasquet, Treterre, A. Claris, Thoniel, du Castaings, Pingray, Benjamin, J. Petit, Champon, Destape, Viotlat, F. Percheron, Dr. Hubert, A. Aubin, Zimmermann, Vannes, A. Heulard, Gourlet, Coppin, Hubner, Laprandie, Samuel, Séguin, Ménard, Cougoul, J. B. Collignon, Berti, Besnier, Gillandi. 9th Year 103rd Dinner of the Bon-Bock (The 2nd Tuesdays of Each Month). Due 5:50 pm. This invitation is strictly personal. Paris 3 October 1883. Bismarck hands a certificate for the title of colonel along with a lance, an Uhlan helmet (Polish cavalry) and a sword to a joker. The joker wears a traditional Polish folk hat inscribed with 'XIV' and holds a guitar. ______ Comments: Émile Bellot [L. Bellot] (French, the second half of the 19th century) – engraver, model for a painting by Édouard Manet "Le bon bock", the founder of Le Bon Bock Dinner. Covin, Henri (French, 1845 – 1887) – Musician, arranger. Étienne Carjat (French, 1828 – 1906) – Journalist, caricaturist and photographer. Charles Delacour (French, 18.. – 1898) – Composer. Jean-Baptiste Collignon (French, 18..-1906) – Composer. Ange Flégier (French, 1846 – 1927) – Composer. Joseph Darcier (French, 1819 – 1883) – Composer, singer and actor. Le petite mariée (The Little Bride) – a three-act opéra-bouffe, music by Charles Lecocq, libretto by Eugène Leterrier and Albert Vanloo. La plage de la Baigneuse – beach of Saint Jean de Monts in the Vendée department in the Pays de la Loire region in western France. La Famille du Saltimbanque: L'Enfant Blessé – The Family of Street Acrobats: the Injured Child – painting by Gustave Doré (French, 1832 – 1883) produced in 1873. Henri-Polydore Maubant (1821-1902) – actor, vocalist (baritone) Gabriel Urbain Fauré (French, 1845 – 1924) – French composer, organist, pianist, and teacher. Hervé [Louis Auguste Florimond Ronger] (French, 1825 – 1892) – French singer, composer, librettist, conductor and scene painter, inventor of the genre of operetta in Paris. -
La vénus espagnole et le prince de Joinville par Zut [The Spanish Venus and the Prince of Joinville, by Zut]. Empress Eugénie poses naked for the Prince de Joinville holding a cigarette in her hand. He stares at her intently from his easel. -
Hand-coloured woodcut on wove paper, 440 x 285 mm; black ink stamp “5049” to reverse. Top left: "AMIRAL"; right: "349". Below: "Imagerie de DIDION, à Metz, DELHALT Successeur." — "Déposé." Paulin Didion (French, 1831 – 1879) – publisher/printer. -
Artist: André Gill [real name Louis-André Gosset] (French, 1840 – 1885). L'Esclave Ivre [The Drunken Slave] was a Parisian weekly, published in 1881, 4 issues total. Léon Gambetta (French, 1838 – 1882) stands arm in arm with Marshal Patrice de MacMahon (French, 1808 – 1893). Dead bodies of communards lie in the midground and a landscape is faintly perceived in the background. 1871 is written on the hill on the left. L'Esclave Ivre, Issue 1. Entre Amis. Text below the image: - Qu'est-ce que je veux, moi? Faire notre affaire. / - Bien sûr! Moi aussi. / - Comme il me comprend cet animal-là, et on ne veut pas que je le gobe! [In between friends / - What do I want? To make a deal. / - Of course! Me too. / - How well this animal understands me, and we do not want me to swallow him!] -
Hand-coloured woodcut on wove paper, 265 x 378 mm; black ink stamp “5051 1” to reverse. Top left: "ARMÉE FRANCAISE. ARTILLERIE"; right: (gothic font) "Französische Armee Artillerie" — "№ 107". Below left: "Fabrique d’Images de Fr. Wentzel à Wissembeurg. Bas-Rhin." — "Déposé" —, centre: "Bilderfabrit von Fr. Wentzel in Weissenburg", right: "Fr. Wentzel, Éditeur, rue St. Jacques, 65, Paris". Bottom: "Trompette | Trompeter" — "Capitaine | Gauptmann" — "Porte-Étendard | Fahnenträger" — "Artilleur | Artillerist" — "Cantinière | Marketenderin". Jean Frédéric Wentzel (French, 1807 – 1869) – publisher/printer. -
Hand-coloured woodcut on wove paper, 282 x 392 mm; black ink stamp “5051 2” to reverse. Top: "Armée française. Garde–mobile. Artillerie." — (gothic font) "Französische Armee. Mobil–Garde. Artillerie." — "№103". Below left: "Lith F. C. Wentzel édit. à Wissembourg. (Alsacé); center: Déposé; right: Druck u. Verlag v. F. C. Wentzel in Weissemburg. (Elsass)."; Bottom: "Trompette" — "Capitaine" — "Porte-Drapeau". — "Soldat" — "Cantinière." Jean Frédéric Wentzel (French, 1807 – 1869) – publisher/printer. -
Audrey Hepburn [Audrey Kathleen Ruston] (British, 1929 – 1993) black and white head-shot in profile to right, pre-production photo testing hairstyle. "War and Peace", a 1956 epic historical drama film based on Leo Tolstoy's 1869 novel of the same name. Stamp on verso: Blue ink, in oval, "AUDREY | HEPBURN | The Personal Collection Part III | May 2018 | CHRISTIE'S || Size: 12.0 x 17.5 cm sheet; 12.0 x 16.7 cm image. Condition: small abrasion to cheek and rough lower edge. Certificate of authenticity from John Reznikoff, University Archives. -
Hand-coloured woodcut on wove paper, 610 x 390 mm; black ink stamp “5207” to reverse, attached to a larger sheet of thick paper with a red ink stamp: “COLLECTION JEAN-CLAUD LACHNITT | REPRODUCTION INTERDIT”. Top: Baptême de S. A. le PRINCE IMPÉRIAL. 14 Juin 1856; image of baptism of Prince-Impérial; two-column text with a small loss in the lower left corner (C'est à cinq heures du soir que le cortège impérial quitta le Palais des Tuileries. De nombreux escadrons de cavalerie, musique en tête ouvraient la marche. ...); bottom under the text: "Fabrique d'Images de GANGEL, à Metz." — "49". -
Hand-coloured woodcut on wove paper, 460 x 363 mm; black ink stamp “5054” to reverse. Four tiers with groups of people dressed in uniform, captioned: Bedeau — Suisse — Chanoines — Évêque — Porte croix — Évêque — Cardinal — Cardinal | Généraux français — Le prince Napoléon — L’Empereur et l’Impératrice — Marraine — Le Prince — Parrain | Meur l’Archevêque | Porte crosse Diacre servant | Préfet — Sénateur — Conseiller de cour — Président — Dames de la cour — Gral Piémontais — Chef arabe | Aide-de-camp de l’Empereur — Chambellan de l’Empereur — Ministre d’état — Ambassadeur de Turque | Ambassadeur d’Angleterre — Ambassadeur d’Autriche — Ambassadeur de Russie — Ambassadeur de Prusse — Gral anglaise — Lord anglais || Bottom left: Imprimerie Lith. de Pellerin, à Épinal; right: Propriété de l’Éditeur. — Déposé. Jean Charles Pellerin (French, 1756 – 1836) – printer/publisher. -
An album 45 of 50 prints, 31 photogravures and 14 in raster chromotype after drawings and paintings by Franz von Bayros; most with tissue guards, some in passepartout; colour prints mounted on the same paper that is used for photogravures. Title-page: BAYROS | MAPPE | MIT VORWORT VON | RUDOLF HANS BARTSCH | VERLAG ED. STRACHE / WIEN • PRAG • LEIPZIG || Limited edition of 500 copies. This is copy № 286. Lacking 5 prints: (1) Abschied vom Paradies, (2) Weihnacht, and (3) Harmonie from Symphonie von der Gūte, die Schönheit ist; (4) Divina commedia from Florentiner Phantasien; and (5) Mozart from Varia. Contributors: Franz von Bayros (Austrian, 1866 – 1924) Rudolf Hans Bartsch (Austrian, 1873 – 1952) -
Hand-coloured lithography on wove paper, 250 x 332 mm; black ink stamp “5035” to reverse. Under the frame left: "Paris, chez Riboni, éd. r. Galande, 51"; right: "Paris, lith. Bulla, Pl. Maubert, 26". Below: "BOMBARDEMENT DE SEBASTOPOL. — THE BOMBARDMENT OF SÉBASTOPOLE". Text to bottom. Printers/publishers: Antoine Bulla (fl. 1815 – 1877), François Bulla (fl. c. 1814 – 1855). -
Lithography and etching on wove paper432 x 362 mm, black ink stamp “5022” to reverse, horizontal and vertical centrefolds. Depicts Diogenes (Ancient Greek, 412/404 – 323 BC) beside his barrel and extinguishing his torch when approached by Napoléon III ahorseback. Top: "1857 | HONNEUR ET PATRIE"; lettering on ribbons (top-down): SCIENCES, TRAVAIL, COMMERCE, ARTS, CHARPENTIERS, IMPRIMEURS, "MECHANICIENS, AGRICULTEURS, MAÇONS, FONDEURS, TERRASIERS, CIZELEURS, CARRIERS, ORFEVRES, BIJOUTIERS, CHAPELIERS, MENUISIERS, VERRIERS, SERRURIERS, TAILLEURS, SELLIERS, POTIERS, PORCELAINIERS, CORDONNIERS, TISSERANDS, INDUSTRIE, COMMERCE | CALENDRIER DE L'ABEILLE | EMPIRE, FRANÇAIS. Below left: "lith. Barousse Cour du Comm. 11 et 12. Paris"; right: "Dépôt rue des Cannettes, 20. Paris"; bottom: "Et, pour trouver un homme, il quitte son tonneau, | Voyant Napoléon, – il éteint son flambeau!" [And, to find a man, he leaves his barrel, | Seeing Napoleon, – he extinguishes his torch!]. Six months on the left and six months on the right-hand side of the calendar, surrounding the image. -
Le Grelot / journal illustré politique et satirique, №21, dimanche, 3 septembre 1871. Artist: Caporal (signed in the lower-left corner) Engraver/Printer: J. Lefman (signed LEFMAN SC in the lower-right corner) Title: LE COUP D'ÉTAT DU 4 SEPTEMBRE 1871. The Coup d'Etat of September 4th 1871. The artist equalled the 4th of September revolution when Napoleon III was ousted and the Second Empire collapsed, to a coup d'Etat. Although the number is marked September 3, it is dedicated to the events of September 4th. This was a usual French newspaper practice to postdate their issues. That's why they almost always operated with categories such as "today", "yesterday", and "tomorrow" instead of definitive calendar dates. "Le Grelot" means "The Sleigh Bell". Personages: Ratapoil – fictional personage invented by Honoré Daumier (French, 1808 – 1879), a Napoleon III caricaturized figure. Ratapoil is addressing the audience holding up Napoléon Bonaparte's tricorn cocked hat. Pietri – Joseph Marie Piétri [Joachim Piétri] (French, – is sitting in the first row, taking notes. Rouher – Eugène Rouher (French, 1814 – 1884), president of the Senat. Canrobert – François Marcellin Certain de Canrobert (French, 1809 – 1895), French Marshal, captured by the Prussian army in Metz with Marshal Bazaine during the surrender of Metz on October 28, 1870. Ollivier – Olivier Émile Ollivier (French, 1825 – 1913), head of the government. Hiding behind the theater decoration are: Napoleon III (Lui!), his wife Eugénie (Elle!), their son Prince Imperial (Le P'tit!), and Pierre Bonaparte (L'Autre). Sitting in the theatre box facing the scene: Adolphe Thiers (French, 1797 – 1877), Jules Favre (French, 1809 – 1880), Louis-Jules Trochu [Le General Trochu] (French, 1815 – 1896), and the other members of the "Government of National Defence". On the gallery: youngsters and two men in sans-culottes hats. An unidentified person on a ladder holding to an eagle figure is having a paintbrush and a bucket with 'tender green' paint. Ref: Musée Carnavalet -
Charges sur le Communisme, le socialisme et sur les idées de ce genre par les dessinateurs du Charivari. Binding: original cardboard. Catalogue raisonée: Hazard & Delteil 1904 / Catalogue raisonné de l'oeuvre lithographié de Honoré Daumier [LIB-2176.2019 in this collection], p. 267: 20 illustrations by Daumier, Cham, Vernier, Ed. de Beaumont. Sticker: Vendu par Francois, Grande-Rue №33, à Rouen. Bought in Paris, seller claimed 1848, first edition. Similar title here : #31. Charges sur le communisme Le socialisme et sur les idées de ce genre par les dessinateurs. Paris, Chez Aubert & Cie., Éditeurs du Journal pour rire, sans date (vers 1865). Relié, plein cartonnage vert décoré et illustré de l'éditeur, in-folio (34,5 x 26 cm) de 20 planches lithographiées. 250 €. Caricatures par Cham (11), Gustave Janet (1), ADC (1), sans nom (3), Daumier (1), Lorentz-Jean-Paul Laurens (3). Nous trouvons pour ce même cartonnage des recueils différents à diverses périodes ; le nôtre doit dater des années 1865-67, moment où Jean-Pierre Laurens fut condamné par la justice du Second Empire pour son anticléricalisme. -
A set of sixteen planographic prints, signed and titled in pencil by owner “Chevalier F. de Bouval” (pseudonym of Franz von Bayros (Austrian, 1866 – 1924). Titles include: 1) Ouverture, 2) champagne brut, 3) maternité, 4) piano, 5) crudité délicieuse, 6. la belle vue, 7) au pensionnat, 8) le collier, 9) languelles pénètrelles, 10) introduction, 11) le sourrogat, 12) variation amoureuse, 13) la surprise, 14) le clef délicat, 15) le monstre gomme, 16) fruits de sud. Printed on wove paper, possibly engraved on wood after ink drawings by Franz von Bayros (Austrian, 1866 – 1924) under the pseudonym Chevalier F. de Bouval. Size: sheet 30 x 24 cm, image 18 x 17.5 cm. In another source, there are two more images from the same set: le passe-partout and la doublette, making 18 images altogether; the set is titled “Lesbia: XVIII sujets”, signed by Chevalier François René de Bouval. -
Woodblock print album of thirteen prints, ōban, nishiki-e. Artist: Chōkyōsai Eiri [鳥橋斎 栄里] (Japanese, fl. c. 1789 ~ 1801 ). Models of calligraphy (Fumi no kiyogaki), New Year 1801. This title is taken from Chris Uhlenbeck's Japanese Erotic Fantasies Sexual Imagery of the Edo Period. — Hotei Publishing, 2005, ISBN 90-74822-66-5):. A detailed description of the album can be found at The Complete Ukiyo-e Shunga №9 Eiri, 1996, ISBN 4-309-91019. Most of the edition is in Japanese, though Richard Lane writes a section in English: Eiri: Love-letters, Love Consummated: Fumi-no-kiyogaki. The article starts with the following statement: "Why all the fuss about Sharaku? Because he is so "mysterious"? No, not at all: because he is such a good artist. But Sharaku is not the only great yet enigmatic ukiyo-e artist and I propose to resurrect here one of his important contemporaries who has been all too long neglected: Chōkyōsai Eiri. As with many of the notable ukiyo-e masters, nothing is known of Eiri's biography. All we can say is what we learn from his extant prints and paintings: that he flourished during the second half of the Kansei Period [1789-1801]; and that he was a direct pupil of the great Eishi - who, being of eminent samurai stock, may well have attracted pupils of similar background." Another citation from Japanese Erotic Fantasies: "This album is one of the boldest sets of ōban-size shunga known, The first edition contains thirteen instead of the customary twelve designs". Here I present all thirteen prints, though the edition I bought in Kyoto in 2014 contained only twelve. The thirteenth print was purchased later in the United States (sheet №12).
№1: "...one of the most exotic scenes in all shunga. A Dutch kapitan is discovered coupling with a lovely Japanese courtesan, beside a large window opening upon a garden...".
№2: "...a fair young harlot is seen masturbating with a grinding-pestle - a man watches intently from under bedding." [I have two specimens of this design; the one from album is more soiled but less faded].
№3: "...the artist has effectively contrasted the lovers by depicting the man's face as seen through the geisha's gauze skirt. [...] we are impressed more by strikingly elegant composition, the dramatic coloring, rather than feeling any great urge to participate in the energetic proceedings..."
№4: "This scene is a most straightforward one, featuring the standard Missionary Position [capitalization by R. Lane].; but withal, the contrast of the young and naked, secret lover and the richly-clothed courtesan amid luxurious bedding..."
№5: "In a striking lesbian scene (which has no equivalent in Utamaro, and is, incidentally, often omitted in later editions of this album), the girl at left prepares to receive the harikata (dildo) worn by the older girl at right (who holds a seashell containing lubricant)."
№6: "In the first appearance of a matronly heroine in this series, we find a widow - with shaven eyebrows and clipped hair - sporting with a handsome yound shop-clerk, mounting him with all her might."
№7: "... lady of samurai court: here, shown taking advantage of an official outing to temple and theatre, to rendezvous with a secret lover on a teahouse balcony." R. Lane considers this design the least successful in the series, especially in comparison with the same theme by Utamaro: "Utamaro female is almost ferocious in her lust for sexual gratification", which does not sound true to me. See Utamaro's sheet №5 from the album Utamakura (歌まくら, Poem of the Pillow) [courtesy The British Museum without permission]:
Then, as Richard Lane states, "we are flung suddenly to the bottom rung of Edo society":
№8: "Here we find a fair yotaka ('night-hawk', e.i. streetwalker) accommodating a lusty client in a lumberyard by the bank of the Sumida River".
№9: '... a slightly plump harlot of the lower class receives a night visit from her lover, whose naked form she tries to cover with a cloak."
№10: "...likely maidservant and lackey - are depicted in bath-room, their passions are all too obviously fired by steaming water."
№11: "...this scene of courtesan and secret lover ranks high not only in Eiri's œuvre but also in the annals of the ukiyo-e genre itself. Both design and colouring are impeccable and, for this period, there is nothing even in the work of great Utamaro that really surpasses it." Again, a doubtful statement, however, this is Utamaro's design for the reader to judge:
The last design in my album is this:
#13: In most reference books it goes under number 13, and we will assign this number to the sheet. "The final scene of the album features naked participants, probably samurai man and wife. The print is rather subdued in tone and colour, if not in the degree of the passion displayed..."
An additional sheet, acquired separately from a reputable dealer in New York, is usually listed as №12:
№12: "One might think that Eiri has reached his peak with the preceding plate 11 - and indeed he has, in both esthetic and erotic terms. But the album is not yet finished, and the next scene lends a needed variety to the series, a slightly comic tableau featuring a middle-aged lackey attempting to forcibly seduce a servant girl of the same domicile". Utamaro's design, that inspired Eiri is here:
All descriptions are taken from Richard Lane's article at The Complete Ukiyo-e Shunga №9 Eiri, 1996. He concluded: "...Eiri's erotic series represents a major contribution to shunga art towards the close of ukiyo-e "Golden Age". In part inspired by Utamaro's classic album, this series withal constitutes a unified and original achievement, providing a cumulative effect of gracefully elegant yet glowing eroticism, which remains in the mind's eye long after the pictures themselves are far away."
I only would like to mention here that in several reference sources this album goes under name of Eisho; unfortunately, this mistake is reproduced at www.ukiyo-e.org, which miraculously shows exactly my print, but under the wrong name of the artist. The same mistake can be found at Shunga. The art of love in Japan. Tom and Mary Anne Evans. Paddington Press Ltd., 1975. ISBN 0-8467-0066-2; plates 6.74-6.77: Chōkyōsai Eishō, c. 1800. Even the British Museum edition of 2010 gives the same erroneous attribution: Chōkyōsai Eishō (1793-1801); they provide the following translation of title: "Clean Draft of a Letter" [see: Shunga. Erotic art in Japan. Rosina Buckland. The British Museum Press, 2010; pp. 110-112]. To the honour of the British Museum, I must admit that they have corrected themselves in Shunga. Sex and pleasure in Japanese art. Edited by Timothy Clark, et al. Hotei Publishing, 2013. Now, they say Chōkyōsai Eiri (worked c. 1790s-1801); they also provide a new title: "Neat Version of the Love Letter, or Pure Drawings of Female Beauty". I have already mentioned Richard Lane's version of title: "Love-letters, Love Consummated", and Chris Uhlenbeck's "Models of calligraphy". In poorly designed and printed Shunga. Erotic figures in Japanese art. Presented by Gabriele Mandel. Translated by Alison L'Eplattenier. Crescent Books, New York, 1983, the artist is named Shokyosai Eisho (beginning of the 19th century); title provided: "Models of Calligraphy". Correct attribution to Chōkyōsai Eiri also can be found at Poem of the pillow and other stories by Utamaro, Hokusai, Kuniyoshi and other artists of the floating world. Gian Carlo Calza in collaboration with Stefania Piotti. Phaidon Press, 2010; though the title is translated as "Clean Copy of Female Beauty".
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Description by British Museum (1865,1111.2128): "Two designs, side by side. [1] A dandy (probably a portrait), florid, whiskered, and bearded, steps jauntily from the pavement, hand extended, saying: Ah! my dear fellow — How are you? Devilish glad to see ye!— He holds a closed umbrella, ferrule erect, and wears a long tight-waisted coat to the heels, unbuttoned, tight pantaloons and spurred boots. In the middle distance, another dandy grasps the hand of a friend on horseback. Behind are houses with shop-fronts. A man raises his hat to a lady who curtseys. [2] The same dandy steps from the roadway onto the pavement, his handkerchief to his nose; he stoops, trying to conceal himself from a dandy cantering past in a cloud of dust, his eye-glass to his eye. He is without gloves, extraordinary for a dandy, and his trousers are strapped over pumps; he says: Con-found it! — Didn't expect to meet Him!! The street is otherwise empty; against the (large) houses are scaffolding and a tall ladder." Lettered with title, text within image including production details: 'Ego. delt / Etched by G. Ck / Pubd by J Fairburn Broadway Ludgate Hill August 18 1826'. Dimensions: Sheet: 25.5 x 36 cm, Image: 21.7 x 33.8 cm. Catalogue raisonné: A. M. Cohn (1924): № 1001, p. 262.: "A wretched plate. Difficult to believe G. C. had anything to do with it." — Bruton. Value.— £1. -
Pictorial album of 41 etchings, incl. two portraits, by various engravers after Achille Devéria, printed on India paper (after letters) and pasted on thick wove paper, bound with tissue guards in half calf over marbled boards bordered gilt, spine decorated gilt, marbled endpapers; base paper and tissue guards are substantially foxed, images mostly intact. The title page and the subscription page are bound-in at the beginning and at the end, respectively. Title page: (in ornamental frame): COLLECTION | DE VIGNETTES | POUR LES ŒUVRES | DE | J.-J. ROUSSEAU | GRAVÉES | PAR MM. FORSTER, LAUGIER, LEROUX, MULLER, ETC. | D'APRÈS LES DESSINS DE DEVÉRIA. | (pasted over) ÉPREUVES CHOISIES, SUR PAPIER DE CHINE. | {publisher’s device} | A PARIS, | CHEZ DALIBON, LIBRAIRE | DE S. A. R. MGR LE DUC DE NEMOURS, | Palais-Royal, galerie de Nemours. | M DCCC XXV. | Under the frame: Le portrait de Mme de Warens étant terminé, nous y avons joint trois vignettes pour former la quatrième livraison. — Le portrait de | J.-J. Rousseau avec deux vignettes en formera une aussi ; de cette manière le nombre des livraisons reste le même. || This collection was published by Dalibon the same year as the 25-volume Rousseau's Œuvres completes. Related persons: Jean-Jacques Rousseau (French, 1712 – 1778). Mme de Warens: Françoise-Louise de Warens [Louise Éléonore de la Tour du Pil] Swiss, 1699 – 1762). S.A.R. Mgr Le Duc de Nemours: Prince Louis of Orléans, Duke of Nemours [Louis Charles Philippe Raphaël d'Orléans] (French, 1814 – 1896). Contributors: François-Denis Dalibon (French, 1794 – 1853) – publisher. L'Imprimerie de Rignoux (Paris); Thomas-François Rignoux (1781 – 1863?) – printer. Achille Devéria (French, 1800 – 1857) – artist. Engravers : François Forster (French, 1790 – 1872) Jean Nicolas Laugier (French, 1785 – 1875) Jean Marie Leroux (French, 1788 – 1871) Henri Charles Müller (French, 1784 – 1845) Herbert König (German, 1820 – 1876) Louis Jean Désiré Delaistre (French, 1800 – 1871) Jean Louis Toussaint Caron (French, 1790 – 1832) Pierre Michel Adam (French, 1799 – 1853) Ferdinand Sébastien Goulu (French, 1796 – 1848) Jean-François Pourvoyeur (French, 1784 – 1851) Jean Baptiste Touzé (French, fl. 1810 – 1830) Narcisse Lecomte (French, 1794 – 1882) Louis Hercule Sisco (French, 1778 – 1861) Edme Jean Ruhierre (French, 1789 – fl. 1826) Auguste Thomas Marie Blanchard (French, 1819 – 1898) François Manceau (French, 1768 – after 1837) Gabriel Louis Lacour-Lestudier (French, 1800 – 1849) Fulley [Frilley?] Jean Jacques Frilley (French, 1797 – after 1850) Philippe Joseph Augustin Vallot (French, 1796 – 1870) Etienne Devilliers (French, 1784 – after 1844) Jean Bosq (French, fl. c. 1801 – 1844) Zachée Prévost (French, 1797 – 1861) Jean Baptiste Guyard II (French, 1787 – 1831/32) Antoine François Gelée (French, 1796-1860) Constant Louis Antoine Lorichon (French, 1800-1856?) Antoine Joseph Chollet (French, 1793 – after 1848) Adrien Migneret (French, 1786 – 1840) Alfred Johannot (French, 1800 – 1837) Arnold Jéhotte (French, 1789 – 1836) Hippolyte Prudhomme (French, 1793 – 1853) Achille Lefèvre (French, 1798 – 1864) Pierre Pelée (French, 1801 – 1871) Antoine [Tony] Johannot (French, 1803 – 1852) Pierre Joseph Tavernier (French, 1787 – after 1845) Leclerc (?) Levasseur (?) -
Title: COSTUMES ET MODES | D’AUTREFOIS | HORACE VERNET | Incroyables | et | Merveilleuses | Paris | 1810–1818 | TEXTE PAR | ROGER–ARMAND WEIGERT | Conservateur au Cabinet des Estampes | de la Bibliothèque Nationale | ÉDITIONS ROMBALDI | PARIS || Content: 24 photomechanical reproductions of the images from Bibliothèque nationale de France, printed on vélin paper from Papeteries Aussedat by Papeteries de la Moselle printing presses and stencil-coloured by Edmond Vairel. Text printed by Imprimerie Kapp on October 20, 1955. A print run of 4,000 copies, of which this is №122. Exterior: Pink lettered dust jacket over wrappers. Pagination: loose double leaves, [4 blanks] [4 h.t. and t.p.], i-xi [xii], 24 unnumbered plates, [4 blanks].Weigert, Roger-Armand (French, 1907-1986).
Émile Jean-Horace Vernet [Horace Vernet] (French, 1789 – 1863). Gatine, Georges Jacques (French, 1773 – after 1841). -
Two prints on one sheet of watermarked laid paper.
Coupe de la ville de Paris prise du septentrion au midy, depuis la porte St Martin jusqu'à l'Observatoire en passant par l'isle du Palais... Coupe de la ville de Paris depuis la porte St Martin jusqu'à l'Observatoire... Plan des rues comprises dans la direction dela coupe... / Le tout dressé par Philippe Buache... ; Desbruslins, sculpsit.
Watermark: "IHS" within circle; countermark of "FIN/ DUPUY/ AUVERGNE 1749".
LOC dates it to 1757. Gallica – to 1742, though the watermark is 1749.
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A limited-edition (№26/500) set of 42 etchings and drypoints after Félicien Rops (Belgian, 1833 – 1898), each mounted in a numbered passe-partout, printed posthumously by an anonym in Germany in 1905; in a flapped half faux suede-backed cardboard portfolio with straps, 442 x 335 mm, red embossed lettering to the front cover, bookplate of Richard Teschner (Austrian, 1879 – 1948) pasted inside.
Title-page (in a red frame): Das erotische Werk | des Felicien Rops | Zweiundvierzig Radie- | rungen des Meisters | in schwarzem und | farbigem Lichtdruck | 1905 | Privatdruk ||
Limitation (in a red two-section frame) : Dieses Werk wurde in einer | einmaligen Auflage von | 500 numerierten Exemplaren | hergestellt. — Ein Nachdruck | findet nicht statt, die Platten | == sind vernichtet == | Exemplar Nr. 26 ||
Verzeichnis der Tafeln (Table of Contents): 1. Initiation sentimentale; 2. La croix; 3. Entre-acte; 4. Holocauste; 5. La bonne hollandaise; 6. Étude; 7. La femme au pantin; 8. L’amour de Satan; 9. Au pays des féminies; 10. La volupté; 11. Evocation; 12. De castitate; 13. Joujou; 14. Vengeance d’une femme; 15. Phantasies; 16. Indolence; 17. Théâtre gaillard; 18. Appel au peuple; 19. Masques modernes; 20. Tout est grand chez les rois; 21. Marie-Madeleine; 22. L’amante du Christ; 23. Feuille de vigne; 24. La messe de Guide; 25 Viol et prostitution; 26. Le maillot; 27. Les jeunes France; 28. Les diaboliques; 29. Coquetterie au miroir; 30. Jeune homme; 31. La femme et la mort; 32. Confidence; 33. La bergère; 34. La mère aux satyrions; 35. Les exercices de dévotion de Mr. Henri Roch; 36. Mademoiselle de Maupin; 37. Le bonheur dans le crime; 38. La sirène; 39. Les cabotinages de l’amour; 40. Document sur l’impuissance d’aimer; 41. A cœur perdu; 42. Curieuse.
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Hand-coloured etching by L. Schlemer from Nürnberg, printed in c. 1815. Napoleon, with long ears, is seated on a throne made of a pile of crockery, which is falling over. Referring to the Battle of Waterloo. See p. 134 in vol. 2 of A. M. Broadley. Napoleon in caricature, 1795-1821. — London, New York: John Lane, 1911. -
M. de Chertablon. La maniere de se bien preparer a la Mort par des Considerations sur la Cene, la Passion, et la Mort de Jesu-Christ. – Antwerp: George Gallet, 1700. Pagination: ff, [2 - blanks] [2 - t.p., blank] [3 - advert.] 4-63 [64]; 42 copper etched plates by Romeyn de Hooghe: A, B, C, 1-39; [20 - Dutch plate description of the David de la Vigne's Miroir de la bonne mort], bf. Full title: La maniere de se bien preparer a la Mort par des Considerations sur la Cene, la Passion, et la Mort de Jesu-Christ, Avec de très-belles Estampes Emblematiques, Expliquées par Mr. de Chertablon, Piêtre & Licentié en Theologie. Vivere totâ vitâ discendum est; & quòd mage fortasse miraberis, tôtâ vitâ discendum est mori. Seneca de brevit. vitæ. Cap. VII. A Anvers, Chez George Gallet. M DCC, Avec Approbation. / David de La Vigne. Spiegel om wel te sterven, annwyzende met beeltenissen van het lyden onses zaligmaakers Jesu Christi. Verzierd met 42 fyne Geërste Kopere Platen, Door Romain de Hooghe; Te Amsterdam, Voor dezen gedrukt by J. Stigter. Size: 4to, 27.2 x 21.6 cm. Binding: Late 19th century brown calf over marbled boards, spine with gilt lettering, raised bands, double fillet blind panels in compartments; marbled end-papers; bookplate of Samuel Ashton Thompson Yates library, AD 1894. Book illustrated with 42 copperplate etched engravings by Romeyn de Hooghe (Dutch, Amsterdam 1645–1708 Haarlem). According to Bonhams: the plates were "first printed for David de la Vigne's Miroir de la bonne mort. Each of the plates depicts a man contemplating a religious image in order to ease the passing of death, accompanied by commentary and an appropriate verse of scripture for each plate. The present French edition is bound with, as issued, the Dutch translation of David de La Vigne's aforementioned work." -
A woodcut illustration after drawing by Leo von Elliot, published at Illustrirte Zeitung, 17 January 1863. English translation: Student bar "The Hole" in Brussels.
The official name of this bar, located at Rue des Sols in Bussels, was "À la vue de l'Université" (In sight of the University). This was the place where the students of the Université libre de Bruxelles (Free University of Brussels), and especially the members of Société, ou Cercle, des Crocodiles (The Crocodile Society, or Circle), gathered in the 1860s. -
Top right: EASTERN DIVISION OF | PARIS. | Containing the Quartiers | {5 lines in italic} | Published under the Superintendence of the Society for the | Diffusion of Useful Knowledge || Bottom left: WESTERN DIVISION OF | PARIS. | Containing the Quartiers | {4 lines in italic} | Published under the Superintendence of the Society for the | Diffusion of Useful Knowledge || Under the frame: Drawn by W. B. Clarke, Archt. […] Published by Baldwin & Cradock, 47 Paternoster Row, A April 1st, 1834. [...] Engraved by J. Shury || Dimensions: Sheet: 40.8 x 57 cm; Image: 38.7 x 52.5 cm. Contributors: William Barnard Clarke (British, 1806 – 1865) – artist. John Shury (fl. c. 1814-1844) – engraver. Baldwin & Cradock (London) – publisher. Society for the Diffusion of Useful Knowledge (SDUK) (British firm, 1826 – 1846). -
Top right: EASTERN DIVISION OF | PARIS. | Containing the Quartiers | {5 lines in italic} | Published under the Superintendence of the Society for the | Diffusion of Useful Knowledge || Bottom left: WESTERN DIVISION OF | PARIS. | Containing the Quartiers | {4 lines in italic} | Published under the Superintendence of the Society for the | Diffusion of Useful Knowledge || The map is framed, but there is no lettering beneath the frame to identify the cartographer, engraver, and publisher. However, we can attribute it to William Barnard Clarke (British, 1806 – 1865) and John Shury (fl. c. 1814-1844). The publisher is either Baldwin & Cradock or Chapman and Hall. Dimensions: Sheet: 40 x 60.8 cm; Image: 40 x 53.5 cm. -
Top right: EASTERN DIVISION OF | PARIS. | Containing the Quartiers | {5 lines in italic} | Published under the Superintendence of the Society for the | Diffusion of Useful Knowledge || Bottom left: WESTERN DIVISION OF | PARIS. | Containing the Quartiers | {4 lines in italic} | Published under the Superintendence of the Society for the | Diffusion of Useful Knowledge || Under the frame: Drawn by W. B. Clarke, Archt. […] London: Published by Chapman and Hall, 186, Strand. April 1st, 1834. [...] Engraved by J. Shury || Dimensions: Sheet: 40.8 x 57 cm; Image: 38.7 x 52.5 cm. Contributors: William Barnard Clarke (British, 1806 – 1865) – artist. John Shury (fl. c. 1814-1844) – engraver. Chapman and Hall (London) – publisher. Society for the Diffusion of Useful Knowledge (SDUK) (British firm, 1826 – 1846). -
EASTERN DIVISION | OF | PARIS. | The Arrondissements are defined by colour | and numbered. || London, Edward Stanford 6 Charing Cross. | Published under the Superintendence of the Society for the Diffusion of Useful Knowledge. || Dimensions: Sheet: 43.5 x 35.5 cm; Image: 39.5 x 30 cm. Contributors: Edward Stanford (British, 1827 – 1904) – cartographer, engraver, publisher. Society for the Diffusion of Useful Knowledge (SDUK) (British firm, 1826 – 1846). -
Colour (tone) lithography, image 268 x 410 mm, sheet 317 x 470 mm; signed on bottom-left of the image “Pelikan 1905”, and pencil ms inscription: E. Pelikan to the lower-right corner of the sheet. Contributor: Emilie Mediz-Pelikan (Austrian, 1861 – 1908) – artist. Seller's description: Austrian-German painter and graphic artist. Emilie Mediz-Pelikan was born in Vöcklabruck in 1861. She studied at the Vienna Academy and followed her teacher Albert Zimmermann to Salzburg and in 1885 to Munich. In 1891 she married the painter and graphic artist Karl Mediz (1868 - 1945), with whom she lived in Vienna and from 1894 in Dresden. She was in contact with the Dachau Artists' Colony and went on study trips to Paris, Belgium, Hungary and Italy. In the Dachau artists' colony she was friends with Adolf Hölzel and Fritz von Uhde. In 1889 and 1890 she spent time in Paris and in the Belgian artists' colony Knokke. In 1898 she was represented at the first art exhibition of the Vienna Secession, and in 1901 at the International Art Exhibition in Dresden. In 1903 she and her husband had a group exhibition, at the Hagenbund in Vienna. In 1904, she showed graphic works at the Dresden royal court art dealer Richter, and in 1905 and 1906 she exhibited at the Berlin Künstlerhaus. It was not until around 1900 that she achieved her artistic breakthrough with her landscape paintings. Since the estate of the artist, who died prematurely in Dresden in 1908, was lost in the former GDR until the 1980s, it was quite late that the artist was rediscovered and revalued both in Austrian art history and on the art market. In 1986, the first major exhibitions took place at the Upper Austrian State Museum and the University of Applied Arts in Vienna, followed by numerous smaller exhibitions in private galleries in Vienna, Linz and Munich. The artist received recognition during her lifetime from numerous prominent fellow painters as well as from the art critic Ludwig Hevesi. Together with Tina Blau, Herbert Boeckl, Marie Egner, Theodor von Hörmann, Franz Jaschke, Eugen Jettel, Ludwig Heinrich Jungnickel, Rudolf Junk, Gustav Klimt, Oskar Kokoschka, Johann Victor Krämer, Heinrich Kühn, Carl Moll, Rudolf Quittner, Rudolf Ribarz, Emil Jakob Schindler, Max Suppantschitsch, Max Weiler, Olga Wisinger-Florian and Alfred Zoff, she was a protagonist of the reception of Impressionism in Austria. This style went down in Austrian art history under the term "Stimmungsimpressionismus". -
Colour (tone) lithography, image 396 x 508 mm, sheet 532 x 654 mm; before signature, undated; pencil ms inscription: Föhrenhain — E. Pelikan / 200M to the lower-right corner of the sheet. Contributor: Emilie Mediz-Pelikan (Austrian, 1861 – 1908) – artist. Seller's description: Austrian-German painter and graphic artist. Emilie Mediz-Pelikan was born in Vöcklabruck in 1861. She studied at the Vienna Academy and followed her teacher Albert Zimmermann to Salzburg and in 1885 to Munich. In 1891 she married the painter and graphic artist Karl Mediz (1868 - 1945), with whom she lived in Vienna and from 1894 in Dresden. She was in contact with the Dachau Artists' Colony and went on study trips to Paris, Belgium, Hungary and Italy. In the Dachau artists' colony she was friends with Adolf Hölzel and Fritz von Uhde. In 1889 and 1890 she spent time in Paris and in the Belgian artists' colony Knokke. In 1898 she was represented at the first art exhibition of the Vienna Secession, and in 1901 at the International Art Exhibition in Dresden. In 1903 she and her husband had a group exhibition, at the Hagenbund in Vienna. In 1904, she showed graphic works at the Dresden royal court art dealer Richter, and in 1905 and 1906 she exhibited at the Berlin Künstlerhaus. It was not until around 1900 that she achieved her artistic breakthrough with her landscape paintings. Since the estate of the artist, who died prematurely in Dresden in 1908, was lost in the former GDR until the 1980s, it was quite late that the artist was rediscovered and revalued both in Austrian art history and on the art market. In 1986, the first major exhibitions took place at the Upper Austrian State Museum and the University of Applied Arts in Vienna, followed by numerous smaller exhibitions in private galleries in Vienna, Linz and Munich. The artist received recognition during her lifetime from numerous prominent fellow painters as well as from the art critic Ludwig Hevesi. Together with Tina Blau, Herbert Boeckl, Marie Egner, Theodor von Hörmann, Franz Jaschke, Eugen Jettel, Ludwig Heinrich Jungnickel, Rudolf Junk, Gustav Klimt, Oskar Kokoschka, Johann Victor Krämer, Heinrich Kühn, Carl Moll, Rudolf Quittner, Rudolf Ribarz, Emil Jakob Schindler, Max Suppantschitsch, Max Weiler, Olga Wisinger-Florian and Alfred Zoff, she was a protagonist of the reception of Impressionism in Austria. This style went down in Austrian art history under the term "Stimmungsimpressionismus". -
The portrait of Erasmus of Rotterdam (1466 – 1536), half-length, head to the right, body facing right, looking away, in a trompe-l'oeil octagonal frame. Inscriptions: Top right: Tom IV, pag. 686. Center of the image: DIDIER ERASME / Ne a Rotterdam en 1467, mort a Basle en 1536. Bottom of the plate: Holbein pinxit | Flipart Sculp. From the book Histoire générale des Provinces-Unies by Bénigne Dujardin (French, 1689 – 1771?) and Gottfried Sellius (real name Gottfried Sell) (1704? – 1767), published in 1757 in Paris by P. G. Simon. Volume 4, facing p. 686. Size: Sheet: 25 x 17.5 cm; Plate: 19.5 x 13.5 cm; Image: 18 x 12 cm. References: (1) Van Someren v.2, p.249, №1688; (2) https://archive.org/details/histoiregnra04duja/page/n714/mode/2up. Inscription above the plate: nut ink, hand, "231". -
Four maps 34 x 47.5 cm each. Include insets of Versailles, Fontainebleau, Saint Cloud and St. Germain en Laye. Lithograph by Edward Weller after a map drawn and engraved by John Dower. "These maps originally appeared in the Weekly Dispatch newspaper from 1856 to 1862. They were reissued between 1863 and 1867 by Cassell, Petter and Galpin and then published collectively as Cassell's Atlas. The plates were acquired by G.W. Bacon & Co., and reissued in 1876 under the title Bacon's New Quarto Atlas ... of the Counties of England, and many times since under various titles." [WorldCat]Dimensions: 34 x 47.5 cm each.
Contributors: Weller, Edward (British, 1819 – 1884) – lithographer. Dower, John Crane (British, 1791 – 1847) – artist, engraver. Dower, John James (British, 1825 – 1901) – artist, engraver (son of John Crane Dower). -
Half calf binding 33.5 x 25 cm, gilt lettering within rules “GODAL | JO”, engraved title-page and 9 etchings printed in sepia on sheets 32.5 x 24 cm of thick wove paper, pencil signed, presumably, by the artist; a newspaper clipping tipped-in. The number of copies is unknown. Ticket to front pastedown: "Haeusgen |8 München 90 | Reinekestrasse 36" According to seller: “Extraordinarily rare series of erotic original etchings. - Cf. Bilderlexikon II, 451 u. Vollmer II, 261 - According to KVK not in any library”. Contributors: Erich Godal [Erich Goldbaum] (German-Jewish, 1899 – 1969) – artist. -
Publisher's flapped portfolio 32.8 x 26.8 cm, gilt-ruled and gilt-lettered quarter faux-parchment waxed paper over brown paper boards with pasted illustration after von Bayros within gilt arabesque frame. Possibly published in Vienna by Heinrich Conrad in 1905 or 1908. The portfolio contains the title page with a vignette and 15 loose wove paper sheets 32 x 26.2 cm of collotype reproductions after drawings by Franz von Bayros. Cover gilt lettering: Choisÿ | le Conin | Erzählungen | am | Toiletten- | tische || Title-page: Erzählungen | am Toilettentische | von | CHOISY LE CONIN | {vignette} || Title-page verso: Inhalt: | 1. Die Tabaksdose | 2. Viola de Gamba | 3. Der Bote | 4. Nicht drängeln, Kinder! | 5. Die blaue Feder | 6. O what a pretty like-place! | 7. Die Sonnenuhr |8. Der Temel der der Cotÿs | 9. Der Fetischist | 10. Jupiter und Europa | 11. Die Witwe | 12. Paroxÿsme-erotique | 13. Der Rivale | 14. Die rote Lehrerin | 15. Tantalus | Nicht im Handel. || Catalogue raisonné: The amorous drawings of the Marquis von Bayros / Part I and II. — NY: Cythera Press, 1968; pp. 95-111 [LIB-2246.2019] -
Hand-coloured woodcut on wove paper, 400 x 270 mm; black ink stamp “5306” to reverse. Top centre: "FAMILLE IMPÉRIALE", right: "62."; below centre: "Fabrique d'Images de GANGEL et P. DIDION, à Metz."; right: "Déposé." Publisher/printer: Gangel et P. Didion (Metz); Paulin Didion (French, 1831 – 1879). Characters: Napoleon III [Charles-Louis Napoléon Bonaparte] (French, 1808 – 1873) Eugénie de Montijo [L'impératrice Eugénie] (Spanish-French, 1826 – 1920) Napoléon, Prince Imperial (Napoléon Eugène Louis Jean Joseph Bonaparte] (French, 1856 – 1879) Napoléon II [Napoléon François Joseph Charles Bonaparte] (French, 1811 – 1832) Napoléon Ier [Napoléon Bonaparte] (French, 1769 – 1821) -
Hand-coloured woodcut on wove paper, 288 x 426 mm; black ink stamp “5305” to reverse. Top centre: "FAMILLE IMPÉRIALE", right: "67." Under the image: "Le Prince Murat." — "Le Prince Impérial." — "L' Empereur et l'Impératrice." — "Le Prince Napoléon." Bottom: "Fabrique d'Estampes de Gangel et P. Didion, à Metz." — "Déposé." Bottom: ms in pencil "1861 – 1868". Publisher/printer: Gangel et P. Didion (Metz); Paulin Didion (French, 1831 – 1879). Characters: Napoleon III [Charles-Louis Napoléon Bonaparte] (French, 1808 – 1873) Eugénie de Montijo [L'impératrice Eugénie] (Spanish-French, 1826 – 1920) Napoléon, Prince Imperial (Napoléon Eugène Louis Jean Joseph Bonaparte] (French, 1856 – 1879) Prince Murat [Lucien Charles Joseph Napoléon] (French, 1803 – 1878) Napoléon-Jérôme Bonaparte [Prince Napoléon] (French, 1822 – 1891) -
Hand-coloured woodcut on wove paper, 487 x 365 mm; black ink stamp “5056” to reverse. Top left: imperial coat of arms; centre: "FAMILLE IMPERIALE. GRANDS DIGNITAIRES DE L'EMPIRE, MAISON DE L'EMPEREUR."; right: "№144." Image of the imperial family under imperial eagle and standards; besides – four tiers of captioned cartoons. Bottom left: "Imprimerie Lith. de Pellerin, à Épinal"; right: "Propriété de l’Éditeur. — Déposé." Jean Charles Pellerin (French, 1756 – 1836) – printer/publisher. -
A woman from Antwerp or a servant, another title "Laitière anversoise"; 2nd state. Etching on wove paper. Owner's stamp LVM on verso.
Dimensions: Paper: 24.4 x 15.8 cm; Image: 12 x 7.5 cm
Catalogue raisonné: Arthur Hubschmid (1977): 343.
