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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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. -
Two volumes 23.2 x 15.6 cm, uniformly bound in full polished calf by Riviere and Son (signed on fep verso), boards with triple gilt fillet border, spine with raised bands, gilt in compartments, gilt-lettered labels; dark blue endpapers, armorial bookplate of William Jennings with the motto “Honor Virtutis Premium” to front pastedown. Vol. 1: THE | ENGLISH SPY: | An Original Work | CHARACTERISTIC, SATIRICAL, AND | HUMOROUS. | COMPRISING | SCENES AND SKETCHES IN EVERY RANK OF SOCIETY, | BEING | PORTRAITS | OF THE | Illustrious, Eminent, Eccentric, and Notorious. | DRAWN FROM THE LIFE | BY BERNARD BLACKMANTLE. | THE ILLUSTRATIONS | DESIGNED BY | ROBERT CRUIKSHANK. | {vignette w/inscription: ‘By Frolic, Mirth, and Fancy gay, | Old Father Time is borne away.’ | — | LONDON : | PUBLISHED BY SHERWOOD, JONES, AND CO. | PATERNOSTER-ROW. | – | 1825. || Collation: [a]8 b4 B-H8 I4 K2 L-Z8 2A-2E8 2F3; total 221 leaves Pagination: [i-iii] iv-xxiii [xxiv] [1-3] 4-417 [418]; total 442 pages. Illustrations: 35 coloured plates, 1 uncoloured plate, and 29 woodcuts in text, incl vignette on title, all but four by Robert Cruikshank, 1 by G. M.B rightly (p. 335), 1 by T. Wageman (p. 413), and 2 by T. Rowlandson (pp. 411 and 416) Vol. 2: THE | ENGLISH SPY: | An Original Work | CHARACTERISTIC, SATIRICAL, AND | HUMOROUS. | COMPRISING | SCENES AND SKETCHES IN EVERY RANK OF SOCIETY, | BEING | PORTRAITS | OF THE | Illustrious, Eminent, Eccentric, and Notorious. | DRAWN FROM THE LIFE | BY BERNARD BLACKMANTLE. | THE ILLUSTRATIONS | DESIGNED BY | ROBERT CRUIKSHANK. | — | VOL. II. | — | {vignette w/inscription: ‘By Frolic, Mirth, and Fancy gay, | Old Father Time is borne away.’ | — | LONDON : | PUBLISHED BY SHERWOOD, GILBERT, AND PIPER, | PATERNOSTER-ROW. | – | 1826. || Collation: [A]-Z8 2A-2C8; total 208 leaves. [i-iii] iv-xv [xvi] [1-3] 4-399 [400]; total 416 pages. Illustrations: 36 coloured plates and 25 woodcuts in text. Catalogue raisonné: Martin-Hardie pp. 191-2; Tooley pp. 266-9; Abbey 325, pp.272-4 (see reflections regarding the ‘first issue’). Contributors: Charles Molloy Westmacott (British, c. 1788 – 1868) – author. Isaac Robert Cruikshank (British, 1789 – 1856) – artist, engraver. G. M. Brightly (British, fl. 1809 – 1827) – artist, engraver. Thomas Charles Wageman (British, 1787-1868) – artist, engraver Thomas Rowlandson (British, 1757 – 1827) – artist. Thomas Davison (British, 1794 – 1826) – printer. Sherwood, Jones, and Co. (London) – publisher. Sherwood, Gilbert, and Piper (London) – publisher. William Jennings – provenance -
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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Softcover, collated 8vo, 19.5 x 14.2 cm, French flapped wrappers, lettering to front: MANUEL | DE | CIVILITÉ | POUR LES | PETITES FILLES | À L’USAGE DES | MAISONS D’ÉDUCATION | {checks} ||; printed on BFK Rives wove paper with watermark, with blue vertical and horizontal lines to imitate notebook checkered paper; pp.: [8] [1-15] 16-177 [7]; π4 1-118 124; total 96 leaves (192 pages), incl. those in wrappers. Cardboard double slipcase with vellum spine lettered in black: MANUEL | DE | CIVILITÉ | POUR | LES PETITES | FILLES ||. Title-page: similar to cover, within the frame: MANUEL | DE | CIVILITÉ | POUR LES | PETITES FILLES | À L’USAGE DES | MAISONS D’ÉDUCATION | {checks} || Edition: 1st clandestine limited edition of 600 copies of which 1 copy on papier de chine (№ 1), 15 copies on japon impérial (№№ 2-16), 20 copies on papier de Hollande (№№ 17-36), and 564 copies on vélin de Rives (№№ 37-600) ; this is copy № 473. Enrichment: Accompanied by 5 loose sheets of thin paper blind stamped in the upper-left corner “WHATMAN” with pencil and watercolour drawings, one on both sides, unsigned. Insert two printouts from the previous sellers. Catalogue raisonné: Pia 800/801; Dutel (III) 1916 (indicates 180 pp.). Nordmann II 315 describes copy № 246 illustrated with 86 compositions by Rojankovsky, all signed by Rojan. Later edition, see: LIB-2972.2022. Contributors: Pierre Louÿs (French, 1870 – 1925) Feodor Rojankovsky [Rojan, Фёдор Степанович Рожанковский] (Russian-American, 1891 – 1970). -
A three-volume unique copy of Louÿs’s poetical work ‘Pybrac’; edition published in 1928 by Marcel Vertès limited to 30 copies; contains 31 drypoints by Marcel Vertès, incl. frontispiece, nine full-page plates and twenty in-text vignettes; enriched with a volume of three suites of plates (first state b/w on Van Gelder paper, final state b/w on Japon nacré paper, final state hand-coloured on Van Gelder paper) plus 5 refused plates; and with a volume of one original watercolour, five ink drawings, three suites of plates (first state b/w on Van Gelder paper, final state b/w on Japon nacré paper, final state hand-coloured on Van Gelder paper) plus similar 5 refused plates, one b/w plate and one coloured plate, and a drypoint metal plate; two volumes of three are in a slipcase. Same edition in this collection: LIB-2919.2022. Details: (1) The ‘Texte’ volume, collated in-4to, 26 x 20.5 cm bound by Creuzevault (signed inside the front cover, in the bottom) in full tan morocco, blind fillets and a brown strip in the bottom to boards, double gilt fillet and a brown label along the spine, gilt-lettered vertically “PYBRAC | TEXTE”; gilt on black faux marbled endpapers, printed on watermarked Van Gelder Zonen laid paper; collated as follows: [3] blank flyleaves, [1] wrapper ‘PYBRAC’, [5] leaves with pasted original ink drawings on white paper, [1] leaf with pasted original hand-coloured ink drawings on blue paper, [1] drypoint frontispiece, [2] blank leaves, [1] half-title/limitation, [1] t.p., [2] blank leaves, 1-104 (pp. 1-78 [2]), [4] blank leaves plus nine full-page drypoint plates; total 70 leaves. Title-page: PYBRAC | ILLUSTRE DE TRENTE POINT SÈCHES | D’UN | ARTISTE INCONNU | PARIS | AUX DÉPENS D’UN AMATEUR | — | M. CM. XXVIII || Limitation: Edition limited to 30 copies; 1 copy unique on Japon Nacré with 30 original sketches, one suite in colour, two suites in black and 5 cancelled plates; 29 copies on Hollande Van Gelder, with one original watercolour, four original sketches, one suite in colour, two suites in black and 5 cancelled plates. This is copy № 12. (2) The ‘Suites’ volume, 26 x 20.5 cm, uniformly bound in quarter tan morocco over faux marbled paper, blind fillets, horizontal brown strip in the bottom, a vertical brown strip along the border, double gilt fillet and a brown label along the spine, gilt-lettered vertically “PYBRAC | SUITES”; gilt on black faux marbled endpapers; collated as follows: [3] blank flyleaves, three suites of prints: first state on Van Gelder paper, the final state on ‘Japon nacré’ paper, and hand-coloured final state on Van Gelder (31 x 3 = 93 leaves) plus [5] refused plates and [3] blank leaves; total 104 leaves. ‘Texte’ and ‘Suites’ volumes are placed in a faux marbled slipcase. (3) The ‘Suites 2’ volume, 26 x 21.5 cm, bound similarly to the ‘Suites’ volume (quarter morocco), gilt-lettered vertically “PYBRAC | SUITES 2” to spine; front cover with a hollow placement with the drypoint metal plate inside (plate #3), [3] blank wove paper leaves, [1] section title (s.t.) ‘AQUARELLE ORIGINALE’, [1] ink and crayon drawing, [1] s.t. ‘CROQUIS ORIGINAUX’, [5] ink drawings, [1] s.t. ‘PREMIER ÉTAT DES PLANCHES’, [31] plates on Van Gelder, [1] s.t. ‘SUITE EN NOIR SUR JAPON NACRÉ’, [31] plates, s.t. ‘SUITE COLORIÉE A LA MAIN’, [31] plates, [1] s.t. ‘PLANCHES REFUSÉS’, [5] plates, [1] coloured plate #13, [1] uncoloured plate #10, [3] wove paper blank leaves; total 118 leaves. Catalogue raisonné: Dutel (1920-70) № 2279 ; Fekete № 216; Nordmann (I) № 235; Vokaer 23. Ref.: honesterotica.com Contributors: Pierre Louÿs (French, 1870 – 1925) – author. Marcel Vertès [Marcell Vértes] (Jewish-Hungarian-French, 1895 – 1961) – artist. Henri Creuzevault (French, 1905 – 1971) – bookbinder. Seller's description: [ENRICHI & HORS-COMMERCE NON JUSTIFIÉ] Pierre LOUŸS - Marcel VERTÈS. Pybrac, illustré de trente pointes sèches d’un artiste inconnu. Paris, aux dépens d’un amateur, 1928. 3 volumes in-4 de 79 pages, 98 et 76 feuillets. Le volume contenant le texte est relié d'un plein chagrin havane à dos lisse, une pièce de titre en long et un filet doré à froid en bas (Creuzevault). Les deux autres volumes sont reliés à l'identiques, demi chagrin havane, dos lisse, pièce de titre en long, filets dorés sur le dos et filet doré à froid sur le bas et le long du mors. Le cuivre est placé dans le plat intérieur du volume 3, les suites dans le 2. Les deux premiers volumes sont rassemblés dans un étui. Illustré de 31 gravures originales dont 11 hors-texte par Marcel Vertès pour l’une des premières publications obscènes de Pierre Louÿs. Tirage à 30 exemplaires. La justification indique : "Il a été tiré de ce livre 30 exemplaires : 1 exemplaire unique sur Japon nacré avec trente croquis originaux, une suite en couleur, deux suites en noir et une épreuve des cinq planches refusées ; 29 exemplaires sur grand papier de Hollande Van Gelder avec une aquarelle originale, quatre croquis originaux, une suite en couleur, deux suites en noir et une épreuve des cinq planches refusées.". Exemplaire n°12 (Volume 1 Texte). Cet exemplaire est composé différemment soit : Volume 1, Texte : La couverture conservée, 5 dessins originaux à l'encre, 1 dessin sur papier bleu à l'estompe de couleur, le texte, les gravures in-texte et hors-texte. — Volume 2, Suites : les 31 planches en 3 états (1 en couleur et 2 en noir) et une épreuve des 5 planches refusées. — Volume 3, Suites 2 : 1 cuivre, 1 aquarelle, 5 dessins originaux à l'encre, 2 suites en noir, 1 suite coloriée à la main, 1 épreuve des 5 planches refusées, 1 dessin refusé à l'encre et à l'aquarelle et 1 dessin refusé à l'encre. Dutel précise : « Elle est ornée de 11 gravures originales hors-texte dont un titre et 20 gravures dans le texte par Marcel Vertès qui fut aussi l’éditeur de cet ouvrage. Il s’agit d’une des plus belles et des plus rares productions bibliophiliques de l’artiste. » Et surtout la plus rare… (Dutel 2279, pas à l’Enfer de la BnF). -
Description: One volume in French flapped cream wrappers, 25.5 x 19.5 cm, lettered “PYBRAC”, in glassine DJ, collated 4to, printed on watermarked Van Gelder laid paper, outer and bottom margins untrimmed, illustrated with 20 in-text drypoints on recto of each 1st and 3rd leaf of 1-10 gatherings, some with tipped-in tissue guards, unbound. This copy lacks the frontispiece, 10 full-page plates, and does not have any enrichment. It is one volume instead of two. Title-page: PYBRAC | ILLUSTRE DE TRENTE POINT SÈCHES | D’UN | ARTISTE INCONNU | PARIS | AUX DÉPENS D’UN AMATEUR | — | M. CM. XXVIII || Limitation: Edition limited to 30 copies, 1 copy unique on Japon Nacré with 30 original sketches, one suite in colour, two suites in black and 5 cancelled plates; 29 copies on Hollande Van Gelder, with one original watercolour, four original sketches, one suite in colour, two suites in black and 5 cancelled plates. This is copy № 8 (but without 11 full-page plates and with no enrichment). For a unique copy of the enriched edition in this collection, see LIB-3065.2022. Collation: π4 (2 blanks, h.t., t.p.), 1-104, χ2 (2 blanks), total 46 leaves. Pagination: [8] 1-78 [2] [4], total 92 pages. Catalogue raisonné: Dutel (1920-1970): № 2279, p. 334, Pia (Enfer):№ 1117, p. 586, Nordmann (I):№ 235; Vokaer № 23, p. 13; Fekete:№ 216. Contributors: Pierre Louÿs (French, 1870 – 1925) – author. Marcel Vertès [Marcell Vértes] (Jewish-Hungarian-French, 1895 – 1961) – artist. -
Two softcover volumes bound in one, 28.7 x 20.5 cm, quarter blue morocco over marbled boards, raised bands and gilt lettering to spine, top margin gilt, other untrimmed, marbled endpapers, original covers and spines preserved; 20 full-page etchings by Louis Berthommé Saint-André, incl. 2 frontispieces; vignettes, initials, head- and tailpieces in pink after André Collot. Title-page: TROIS FILLES | DE | LEUR MÈRE | {vignette} | TOME PREMIER (SECOND) | AUX DÉPENS D'UN AMATEUR | ET POUR SES AMIS || Collation: v.1 2ffl, front cover, [1-8] 2 blanks, h.t., t.p., pp. 9-94 [95, 96]; v.2 back cover, spine, front cover, 2 blanks, h.t., t.p., 97-201 [202-4] back cover, spine, 2ffl; plus 20 plates extraneous to collation. Limitation: A print run of 150 copies, of which this is copy № 76. Catalogue raisonné: Dutel III № 2521. As per Dutel, pp: 96+106 (conforms), and the year of 2 vol. publication 1933; however, the etchings are dated to 1926 by many. Contributors: Pierre Louÿs (French, 1870 – 1925) – author. Louis Berthommé Saint-André (French, 1905 – 1977) – artist. André Collot (French, 1897 – 1976) – artist. -
![[Barham, Richard Harris]. The Ingoldsby Legends or Mirth and Marvels by Thomas Ingoldsby, esquire / First, Second and Third Series - 3 volumes; Illustr.: George Cruikshank and John Leech. — London: Richard Bentley, 1840-1847. — Vol. 1: Printed by London: Samuel Bentley, 1840. pp.: ff, [2 blank] [i ht] [ii colophon] [title, verso blank] [iii] iv-v [vi blank] [contents, list of ill.] [blank, etching on verso] [1] 2-338 [339] [7, incl. orig. FC and Sp.] bf, 6 plates: 1 by Buss, 3 by Leech, 2 by Cruikshank. — Vol. 2: Printed by London: S. & J. Bentley, Wilson, and Fley, 1842. pp.: ff, [2 blank] [i ht] [ii colophon] [title, verso blank] [v] vi-vii [viii blank] [contents, verso blank] [blank, etching on verso] [1] 2-288 [6, incl. orig. FC and Sp.] bf, 7 plates: 3 by Leech, 4 by Cruikshank. — Vol. 3: Printed by London: S. & J. Bentley, Wilson, and Fley, 1847. pp.: ff, [2 blank] [i ht] [ii colophon] [title, verso blank] [iii] iv-vi [contents, list of ill.] [blank, portrait on verso] [1] 2-364 [6, incl. orig. FC and Sp.] bf, 6 plates: 2 portraits, 2 by Leech, 2 by Cruikshank.](https://varshavskycollection.com/wp-content/uploads/2021/02/LIB-2483-1.2020-c-1-500x500.jpeg)
3-volume set, 1st edition, with original wrappers. Vol. 1: Half-title: THE | INGLODSBY LEGENDS. Title (in black and red, emblematic, engraved): THE | Ingoldsby Legends | OR | MIRTH AND MARVELS | by | THOMAS INGOLDSBY | ESQUIRE | In frame: | LONDON. | RICHARD BENTLEY. | MDCCCXL. | Under the frame: J. S. GWILT. | INV. Pagination: ffl, [2] – blanks, [i, ii] – h.t./ colophon, [2] – t.p. / verso blank, [iii] iv-v [vi] – blank, contents / list of ill., blank / etching, [1] 2-338 [339], [7] incl. orig. covers and spine bound in, bfl; 6 plates: 1 by Buss, 3 by Leech, 2 by Cruikshank. Vol. 2: Half-title: THE | INGLODSBY LEGENDS. |—| SECOND SERIES.|| Title (in black and red, emblematic, engraved): THE | Ingoldsby Legends | OR | MIRTH AND MARVELS | by | THOMAS INGOLDSBY | ESQUIRE | SECOND SERIES | In frame: | LONDON | RICHARD BENTLEY. | MDCCCXLII. | Under the frame: G. COOK SCULPo|| Pagination: ffl, [2] – blanks, [i, ii] – h.t. / colophon, [iii, iv] – t.p. / verso blank, [v] vi-vii [viii ] – blank, contents / blank, blank / etching, [1] 2-288 [6], incl. orig. covers and spine bound in, bfl; 7 plates: 3 by Leech, 4 by Cruikshank. Vol. 3: Half-title: THE | INGLODSBY LEGENDS. |—| THIRD SERIES.|| Title (in black and red, emblematic, engraved): THE | Ingoldsby Legends | OR | MIRTH AND MARVELS | by | THOMAS INGOLDSBY | ESQUIRE | THIRD SERIES | In frame: | LONDON | RICHARD BENTLEY. | MDCCCXLVII. | Under the frame: COOK || Pagination: ffl, [2] – blanks] [i, ii] – h.t. / colophon, [2] – t.p. / verso blank], [iii] iv-vi – contents / list of ill., blank / portrait, [1] 2-364 [6], incl. orig. covers and spine bound in, bfl; 6 plates: 2 portraits, 2 by Leech, 2 by Cruikshank. Binding: 3 volumes, 8vo, 20.5 x 13.5 cm, hardcover, full carmine morocco, triple ruled in gilt, top edge gilt, slightly raised bands, gilt lettering and double fillet gilt panels to spine by T. W. Morrell & Co. (London) for Brentano's bookstore in New York. 6, 7, and 6 (19 total) plates inset. The original brown figured cloth covers and spines preserved at the end of each volume. Catalogue raisonné: Albert M. Cohn, 1924: №50, p.20. Contrary to A. Cohn's description, the first etching in the first series is signed “Dalton del.” bottom left and “Buss sculp.” bottom right. It has been suggested that the name Dalton might refer to Richard Harris Dalton Barham (British, 1815-1886). Robert William Buss (1804 – 1875). Portrait (v.3, p.1): John William Cook (fl.1819 - 1862) after Richard James Lane (British, 1800 – 1872). Portrait (v.3, p.127): Henry Griffiths after Dalton. Seller's description: First editions, mixed states, in full crimson levant morocco by Morrel for Brentanos, New York. Vol.1, p. 236 is NOT blank, but unpaginated; Vol. 2 does NOT have a list of ill's on verso of contents; Vol. 3, p. 351 'to pot' NOT run together. Cloth spine and front cover bound in the back of each volume, all volumes have half-titles, with engraved titles and 19 plates by Cruikshank, Leech, et al. Conforms in the main to Sadlier 156b, 156e, and 156f. -
![[RASPE, Rudolf Erich]. The Travels and Surprising Adventures of Baron Munchausen. / Illustrated with 37 curious engravings, from the Baron's own designs, and five woodcuts, by G. Cruikshank. — London: William Tegg, 1869. — xii + [10] + 268 pp.](https://varshavskycollection.com/wp-content/uploads/2021/02/LIB-2269.2019-5-scaled-500x500.jpeg)
Half-title: BARON MUNCHAUSEN Title: THE TRAVELS | AND | SURPRISING ADVENTURES | OF | BARON MUNCHAUSEN. | ILLUSTRATED WITH | THIRTY-SEVEN CURIOUS ENGRAVINGS, | FROM | THE BARON'S OWN DESIGNS, | AND FIVE WOODCUTS, | BY G. CRUIKSHANK. | [device] | LONDON : WILLIAM TEGG. | 1869.|| [RASPE, Rudolf Erich]. The Travels and Surprising Adventures of Baron Munchausen. / Illustrated with 37 curious engravings, from the Baron's own designs, and five woodcuts, by G. Cruikshank. — London: William Tegg, 1869. Pagination: xii + [10] + 268 pp, 23 plates: hand-coloured engraved frontispiece, 5 woodcuts by Cruikshank, other b/w etchings, two folding plates. Binding: 19 x 13 cm; hardbound, 8vo, early 20th century 3/4 dark plum morocco gilt-ruled, raised bands, title label, gilt lettering, gilt in compartments, top edge gilt. Catalogue raisonné: A. Cohn: #584, p. 172. This edition is an identical re-issue of the 1867 edition. -
Description: One volume, collated 4t0, 27.3 x 20 cm, bound in contemporary quarter black chagrin, gilt ornaments and lettering to spine (reliure à l'époque romantique), marbled end-papers; printed on wove paper (vélin fort). Title-page (red): UN | AUTRE MONDE | TRANSFORMATIONS, VISIONS, INCARNATIONS | ASCENSIONS, LOCOMOTIONS, EXPLORATIONS, PÉRÉGRINATIONS | EXCURSIONS, STATIONS || COSMOGONIES, FANTASMAGORIES, RÈVERIES, FOLATRERIES | FACÉCIES, LUBIES || MÉTAMORPHOSES, ZOOMORPHOSES | LITHOMORPHOSES, MÉTEMPSYCHOSES, APOTHÉOSES | ET AUTRES CHOSES | PAR GRANDVILLE | [device] | PARIS | H. FOURNIER, LIBRAIRE-ÉDITEUR | RUE SAINT-BENOIT, 7 | M DCCC XLIV Pagination: ff, [2] half-title in red / imprim., [2] blank / frontis. in black, [2] title page in red / blank, [1] 2-295, [1] explication and erratum, bf, illustrations. Collation: 4to, (1)-(37)4 with frontispiece, 133 woodcut vignettes, 15 full-page black woodcuts, and 36 hand-coloured plates. Catalogue raisonné: Carteret (p. 285) describes the book as 'in-8', but the collation is actually in quarto (in-4, or 4to) with series signed in Arabic numerals. Ray (French): p. 275-7. The publication is anonymous, however, Grandville reveals the author's name (that's Taxile Delord) on the vignette on p. 292 at the bottom of the plate (under ICI).
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Half title: LA PUCELLE | D’ORLEANS.|| Title: LA PUCELLE | D’ORLEANS , | POEME , | DIVISÉ EN VINGT-UN CHANTS , AVEC | LES NOTES DE M. DE MORZA. | Nouvelle édition, corrigée, augmentée d'un Chant | entier, & de plusieurs morceaux répandus dans | le corps de l'ouvrage, avec les Variantes que | l'on a jointes à la fin de chaque Chant. | [ornament] | A LONDRES. |—| M. DCC. LXXV. || Pagination : [4] – two blank unnumbered fly leaves, [i,ii] – h.t. / double-ruled blank leaf, [2] – blank / frontispiece on verso, [iii, iv] – t.p. ruled and bordered / double-ruled blank leaf, [v]vi-viii – table, ix-xv – preface, [xvi] – double-ruled blank leaf, [1]2-447 [448] – double-ruled blank leaf, [2] – two blank unnumbered fly leaves; page 14 misnumbered 18; title within ornamental border; text within double-ruled borders; head- and tail-pieces; 22 leaves of plates (frontis. + one before each chant.) Collation: 8vo; a8 A-Z8 Aa-Ee8 Binding: 19.9 x 13.2 cm; full contemporary brown calf, blind ruled plates, spine with raised bands, gilt-ruled and tooled in compartments, red label with gilt lettering, all edges red; plate for chant 6, H4, H5 - separated from the block. De Morza is Voltaire (Cf. Quérard, v. 10, p. 306). Engravings unsigned; attributed to Desrais, Claude-Louis (French, 1746 – 1816). False imprint; possibly printed in Paris. -
LA PUCELLE | D'ORLÉANS, | POËME HÉROÏ-COMIQUE, | EN DIX-HUIT CHANTS. |{vignette}| A GENEVE. | M. DCC.LXXXVIII.|| Pagination: engraved frontis., engraved portrait, [1, 2] – t.p. / blank, [3] 4-304; plates: engraved frontispiece, engraved portrait of Jeanne d'Arc and 18 engraved plates (the so-called 'suite anglaise' by Marillier, Clément-Pierre (French, 1740 – 1808) after Duflos, Pierre (French, 1742 – 1816). Publisher: Cazin, Hubert-Martin (French, 1724 – 1795). Modern binding to imitate full mottled calf of the 18th century, gilt double-ruled boards, gilt decorated spine with the crimson label “LA PUCELLE”, AEG, laid paper. Size: 13.3 x 8.7 cm; 18mo. Catalogue raisonné: Cohen, De Ricci 1032 (for 1777 and 1780 editions). J. Lewine p.559 (for 1777 16mo and even 12mo editions). The 'correct' 1st thus edition is called suite anglaise because instead of 'chant number' it's printed 'book number' on top of the pages. This copy is definitely a later pirated edition. -
[François Marie Arouet de Voltaire]. La Pucelle d'Orléans, poëme, divisé en vingt chants, avec des notes. Nouvelle édition, corrigée, augmentée & collationnée sur le manuscript de l'auteur. – [Geneva: Gabriel Cramer], 1762.Illustrated book with 20 etchings and numerous woodcut vignettes.Illustrated by: Hubert-François Bourguignon, a.k.a. Gravelot (French, 1699–1773) Author: François Marie Arouet de Voltaire (French, 1694–1778) Printer: Gabriel Cramer (Swiss, 1723–1793)Pagination: [2 blanks, "Ex libris JCP" to recto] [2 - h.t., blank] [2 - t.p., blank], [i] ii-viii, [1] 2-358 [2 blanks]; 20 engraved plates, unsigned, one before every chant, by Gravelot (Hubert-François Bourguignon).Year of Publication: 1762Place of Publication: Geneva, SwitzerlandSize: 8vo, 19.8 x 12.6 x 3.7 cm.Binding: Full mottled calf, restored, flat spine, decorated in gilt, red labels with gilt lettering "Oeuvres de Voltaire; La Pucelle, tom XXII"; marbled endpapers and all margins.CATALOGUE RAISONNÉ: Cohen-de Ricci 1029.Mentions: MFA: ACCESSION NUMBER 25.701.Another copy in this collection: LIB-2580.2020. -
![[Voltaire]. La pucelle d'Orléans. Nouvelle édition. — [Geneve: Gabriel Cramer], 1762](https://varshavskycollection.com/wp-content/uploads/2021/02/LIB-2580.2020-1-6-500x500.jpeg)
[François Marie Arouet de Voltaire]. La Pucelle d'Orléans, poëme, divisé en vingt chants, avec des notes. Nouvelle édition, corrigée, augmentée & collationnée sur le manuscript de l'auteur. – [Geneva: Gabriel Cramer], 1762. Half-title: LA PUCELLE. Title: LA | PUCELLE D'ORLÉANS, | POËME, | DIVISÉ EN VINGT CHANTS, | AVEC DES NOTES. | Nouvelle Edtition, corrigée, augumentée & colla- | tionnée sur le Manuscript de l'Auteur. | MDCCLXII || Pagination: [2] – blank leaf, [2] – h.t. / blank, [2] – t.p. / blank, [i] ii-viii, [1] 2-358 [2]– blank leaf; after p. 272 the following p. 277, collation and key words correct; 20 plates, one before every chant, by Gravelot, woodcut cul-de-lamps. Collation: 8vo; [π7] A-Y8 Z2 Binding: Hardcover; contemporary full mottled calf, re-backed, flat spine, ruled in gilt, remains of gilt lettering and decorations, marbled end-papers and all margins red. Catalogue raisonné: Cohen-de Ricci 1029: "Première édition avouée par l'auteur". Dimensions: book 20.2 x 12.5 cm; page 19.5 x 11.6 cm. Author: Voltair, François Marie Arouet de (French, 1694 – 1778). Printer: Gabriel Cramer (Swiss, 1723–1793). Artist: Gravelot, Hubert François (French, 1699 – 1773). Another copy in this collection: LIB-2504.2020. -
Single volume, 20 x 13 cm, quarter brown morocco over marbled boards tooled in gilt, spine with raised bands, gilt in compartments, and gilt lettering, marbled endpapers, printed on wove paper on recto with verso blank, collated 1-48; total 32 leaves, 11 torn off, 47,8 blanks, ; uneven pagination [1] 2-41 [4 blanks], plus engraved title-page and 12 engraved half-page plates with text, uncoloured, by Louis Jaugey (unsigned), one for each month. Title-page (engraved): vignette with lettering "1775. ANNÉE | GALANTE | OU | ETRENNE | A L'AMOUR | CONTES! | Enrichis de Figures | et d'Ariettes. ||" Catalogue raisonné: Dutel I: A-82. Catalogue Poulet-Malassis & ses amis description: № 68. [Auteur inconnu]. Année galante ou Etrenne à l’amour. Contes, enrichis de Figures et d’Ariees. [Vital Puissant, Bruxelles, 1876 ?] 1775. In-8, 3 .n.ch., 29 . imprimés au recto, chirés de 2 à 41, demi-chagrin brun, dos à nerfs orné, let doré sur les mors, tête et tranches jaspées (reliure ancienne). Illustrée de 13 planches dont l’une en frontispice par Louis Jaugey. Les figures sont à mi-page, une pour chaque mois. Contributors: Louis Jaugey (French, fl. 1871 – 1876) – artist. Vital Puissant (Belgian, 1835 – 1878) – publisher. -
An album of the "Le Bon-Bock" dinners for the year 1884. Author, designer and publisher – Emile Bellot (French, 1831 – 1886), a Parisian artist and engraver. "Le Bon-Bock" was a monthly dinner of artists and men of letters, who gathered in Paris for good food, good company, and artistic performances, from 1875 to at least 1925. The story behind these gatherings as told by Emile Bellot, the founder, is this:In February 1875, Pierre Cottin1 came to me and said: 'I discovered a poet and tragedian of immense talent and who interprets the poems of the Great Victor Hugo in an astonishing way. Monsieur Gambini. I promised him that I would make it heard by an audience of artists and men of letters. I am counting on you who have many connections to keep my promise to him'. I gathered about 25 of my friends and acquaintances in a picnic dinner which took place at a restaurant 'Krauteimer' on the rue Rochechouart in Montmartre. They heard from Mr Gambini first, then my friends Étienne Carjat2, J. Gros3, Adrien Dézamy4, etc. performed. These gentlemen completed the evening so brilliantly that it was unanimously decided that we would start a similar dinner every month. Poets, musicians, men of letters, singers would be invited to this dinner. I was in charge of the organization of this little party and as it was the dream of my life to bring together old comrades, I was careful not to refuse and I pursued this good idea. Cottin and René Tener5 were kind enough to help me in this joyous task and especially my old friend Carjat. The following March began our 1st monthly dinner.
The name "Le Bon-Bock" means "The Good Bock", whilst Bock is a kind of beer, a dark, malty, lightly hopped ale. The dinner was named "Le Bon-Bock" in honour of the Éduard Manet painting (1873), a famous portrait of Emile Bellot, called "Le Bon-Bock".
The invitations to the dinner were also produced by the artists and looked like this one by Alexandre Ferdinandus (October 3, 1883).
Besides this sketch of the Parisian social and artistic life at the end of the 19th century, the provenance of the album in our collection generates additional interest. The ink stamp to the front flyleaf reads: "Docteur Henry Uzan, 29 Avenue Perrichont, Paris XVI".
Doctor Henry Uzan was Jewish. He was arrested by the Pétain police on October 1, 1941, and interned in Drancy. With the few means at his disposal, he undertook to treat the sick whom he then saw leaving, week after week, towards their terrible destiny in the extermination camps. In October 1943 doctor Uzan was deported to the island of Alderney. After the Normandy Landing of June 6, 1944, Nazis evacuated the island detainees and transfer them to the Neuengamme camp, via northern France and Belgium. During the transfer, doctor Uzan managed to escape from the train on the night of September 3 to 4 around Dixmude in Flanders. He was taken in by the Belgian Resistance, which he joined before being repatriated to France.
In France, he continued working as a physician and was one of the founders of Association des internés et déportés politiques (AIDP). In 1945, together with his friends, the doctor designed the symbol for the Fédération nationale des déportés et internés résistants et patriotes:
The story behind the number on the emblem (178284) is fascinating but it is out of the scope of this material.
1. Pierre Cottin (French, 1823 – c. 1887) – Engraver, mezzotinter, genre and landscape painter; born in Chappelle-Saint-Denis (near Paris), a pupil of Jazet. Exhibited at the Salon from 1845, also in London from 1876 to 1879.↩ 2. Étienne Carjat (French, 1828 – 1906) – Journalist, caricaturist and photographer. ↩ 3. Jean Baptiste Louis Gros (French, 1793 – 1870) – Painter. ↩ 4. Adrien Dézamy (French, 1844 – 1891) – Writer, poet, general secretary of the Théâtre des Bouffes in Paris. ↩ 5. Rene Tener (French, 1846 – 1925) – Painter. ↩ Sources:Auguste Lepage. Les dîners artistiques et littéraires de Paris / Bibliothèque des Deux mondes (2e éd.) – Paris: Frinzine, Klein et Cie., 1884. [Accession № LIB-2606.2021 in this collection]
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Volume bound by Boichot (signed on front pastedown), 25.3 x 20.2 cm in a 25.9 x 20.3 slipcase, the book and the case uniformly in beige, brown, and blue diaper paper with a navy blue label with gilt lettering to book's spine, top edge gilt, J.-P. Dutel’s bookplate to fep, portfolio cover preserved. Pp.: [1-4] 5-37 [38 blank]; collated 4to, 13 2-54; total 19 leaves (38 pages), plus 12 plates coloured in stencil technique (pochoir), produced after watercolours by Gerda Wegener in c. 1917 on Arches or Whatman laid paper, watermarked. Each illustration bears a small masquerade mask at the bottom as a signature. Text printed on laid paper without a watermark; starting from 2nd gathering, the text printed on recto only; minor traces of water stain to some pages. Title-page (red and black): ALEXANDRE DE VÉRINEAU | Douze Sonnets lascifs | pour accompagner la suite d’aquarelles intitulée | Les Délassements d’Éros | {vignette medallion} | ÉROTOPOLIS | A L’ENSEIGNE DU FAUNE | 1925 || First edition, first printing (incl. plates); clandestine. Catalogue raisonné: Dutel 1356, 1434; Pia 363/4; Noedmann I 310; Fekete 221. Contributors: Louis Perceau (French, 1883 – 1942) – author (see LIB-2633.2021: Guillaume Apollinaire, Fernand Fleuret, Louis Perceau. L'enfer de la Bibliothèque Nationale. — Paris: Mercure de France, 1913). Gerda Wegener (Danish, 1886 – 1940) – artist. Maurice Duflou (French, 1885 – 1951) – publisher. Boichot – bookbinder. -
Single volume, 17.1 x 11.2 cm, quarter black sheepskin over faux chagrin, gilt lettering to spine, marbled endpapers, bottom and outer margin untrimmed, pp.: [i-v] vi- xxxvi, [1] 2-218 [2], collated 4to: π2, a-d4, 1-274 282, total 256 pages or 128 leaves, plus 20 engraved plates by Paul Sellier, including frontispiece portrait of Alexis Piron after bust by Caffieri. Vol. 8 of Bibliothèque Libre, Œuvres badines de Piron, printed on February 15, 1872. Text printed on dense wove paper watermarked P or M, plates printed on India wove paper. A reprint of an edition published in 1796 plus illustrations. Title-page: ŒUVRES | BADINES | D’ALEXIS PIRON | PRÉCÉDÉES | D’UNE NOTICE SUR SA VIE | Nouvelle édition, ornée de 20 figures en taille-douce | {vignette} | IMPRIMÉ PAR LES PRESSES DE LA SOCIÉTÉ | A NEUCHATEL | – | 1872 || Limitation: 100 numbered copies, of which this is № 75. Catalogue raisonné: Dutel I: A-788; Pia: 953-6; Kearney 377 (Patrick J. Kearney. A Catalogue of the publications of Jules Gay, Jean-Jules Gay & Gay et Doucé, revised & expanded. — Santa Rosa, CA Scissors & Paste Bibliographies, 2019) Catalogue Poulet-Malassis & ses amis description: № 81. Alexis PIRON. Œuvres badines précédées d’une notice sur sa vie. Nouvelle édition ornée de 20 figures en taille-douce. [ Jules Gay] Imprimé par les presses de la société, à Neufchatel, 1872. In-8, xxxvi, 218 pages et un feuillet d’achevé d’imprimer de table, demi-basane noire, dos à faux nerfs, tête et tranches naturelles. Illustré d’un portrait et de 20 figures par Paul Sellier. Tirage limité à 100 ex. numérotés. De la « Bibliothèque libre ou collection choisie d’ouvrages du genre libre, imprimés ou réimprimés par les soins de la Société des Bibliophiles Cosmopolites et pour les membres de cette société, à cent exemplaires numérotés ». Bibliographie : Pia 1030, Enfer 1274, Lem 3-454, Gay 5-339, PC 353, G* 38, Pey 203, Dutel A-788." Contributors: Alexis Piron (French, 1689 – 1773) – author. Paul Sellier (French, 1842 – 19..?) – artist. Jules Léopold Gay (French, 1807 – 1887) – publisher. -
Hardcover volume 28.5 x 20.8 cm, quarter brown morocco over marbled boards, ruled in gilt, spine with raised bands, gilt in compartments, gilt lettering, marbled endpapers, top margin gilt, original lithographic wrappers designed by A. Willette preserved; pp.: [4] h.t., t.p., [1] 2-350 [2], 300 b/w ils in-text and 12 coloured photomechanical reproductions extraneous to collation; collated in-4o: π2 1-444; Title-page: L'ART DU RIRE | ET DE | LA CARICATURE | PAR ARSÈNE ALEXANDRE | 300 FAC-SIMILÉS EN NOIR ET 12 PLANCHES EN COULEURS | D’APRÈS LES ORIGINAUX | {vignette} | PARIS | ANCIENNE MAISON QUANIN | LIBRAIRIES-IMPRIMERIES RÉUNIES | 7, RUE ST-BENOIT | MAY & MOTTEROZ, DIRECTEURS || Contributors : Librairie-Imprimerie réunies (Paris, 1880-1908) – publisher. Arsène Alexandre (French, 1859 – 1937) – author. Adolphe Willette (French, 1857 – 1926) – artist (wrapper) -
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 -
[Jean de LA FONTAINE]. Contes et nouvelles en vers. De Monsieur de La Fontaine. Nouvelle édition enrichie de tailles-douces. À Amsterdam | Chez Henry Desbordes, MDCLXXXV [1685]. — 2 vol. in 1. Pagination: [1] - frontispiece with pasted illustr., [*1] - title p. with blank verso, *2-*5 (only recto numbered) - advertisement, [1] - preface vol. 1, [2] table, 1-236; [6] - preface vol. 2, 1-216, illustr. (in text). Etched frontispiece plate and 58 half-page etchings at the head of each chapter as well as endpiece vignettes, all by R. de Hooge (Romeyn de Hooghe, 1645 – 1708, a Dutch painter, sculptor, engraver and caricaturist. First illustrated edition. "Publication of the scandalous fables was forbidden in France from 1674. According to Van Eeghen, this edition was published without the knowledge of La Fontaine. ...This is the edition with ‘Le Juge de Nêle’ (instead of Mesle) in the contents of the first volume, as well as page 211 for 'Dissertation sur la Joconde'; 16 lines of text on page 211; and 19 lines of text on the first page of the preface of volume 2" [1]. Pott 8vo (15.4 x 10 cm), hardcover; owner's later tan polished half-calf, marbled boards, marbled pastedowns and flyleaves, 5 raised bands, dark brown labels with gilt lettering and gilt roll patterns on spine, tail of the spine slightly damaged. Corners bumped, spotted stains on leather. Henri Desbordes (d. ca. 1722) was a Huguenot printer who was exiled from his business in France and set up as a publisher in Amsterdam in the 17th century. -
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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Title: Life in Paris ; | COMPRISING THE | RAMBLES, SPREES, AND AMOURS, | OF | DICK WILDFIRE, | OF CORINTHIAN CELEBRITY, | And his Bang-up Companions, SQUARE JENKINS | AND | CAPTAIN O’SHUFFLETON ; | WITH THE | Whimsical Adventures of the Halibut family ; | Including Sketches of a Variety of other Eccentric Characters in the | FRENCH METROPOLIS. | BY DAVID CAREY |[Vignette]| Embellished with Twenty-One COLOURED PLATES, representing SCENES from REAL LIFE, | designed and engraved by Mr. GEORGE CRUIKSHANK. | Enriched also with Twenty-Two Engravings on Wood, drawn by the same Artist, and | executed by Mr. WHITE. | LONDON : | PRINTED FOR JOHN FAIRBURN, BROADWAY, LUDGATE HILL; | Sold by Sherwood, Neely, and Jones ; Langman, Hurst, Rees, Orme, and Brown ; and | Baldwin, Craddoc, and Joy ; Paternoster-Row ; Simpkin and Marshall, Statio- | ners’ Court ; Whittakers Ave-Maria-Lane ; Humphrey, St. James’s | Street ; and Wilson, Royal Exchange. | 1822. ||
Edition: 1st edition in book form, 1st issue; large-paper copy bound from the parts in original blue paper boards, "most scarce" (Cohn).
Pagination: ffl, [i, ii] – h.t. ‘LIFE IN PARIS’ / ‘MARCHANT, Printer, Ingram-Court, London’, [2] – blank / Frontispiece (Ville la Bagatelle!!) hand-coloured, [iii, iv] – t.p. with vignette / blank, [v] vi-xxiv, [1] 2-489 [490 blank], [2] – 'TO THE BINDER' and 'Marchant, Printer, Ingram-Court, Fenchurch Street' "considered indispensable to a complete copy" (Cohn) / blank, bfl watermarked 1800; 21 hand-coloured aquatints and 22 wood-engraved text vignettes; cancelled leaves 143/4 and 335/6; pinholes from printing visible in most gatherings.
Collation: 4to; [a]-c4, B-Z4 Aa-Zz4 3A-3Q4 3R1 + [Ω]1
Binding: Original boards sometime re-backed with red paper, binder's end leaf watermarked 1800; red hard-grained morocco clamshell box.
Catalogue raisonné: Albert M. Cohn, 1924: № 109 p. 37/8; Abbey, J. R. (Life in England), 112; Tooley (Some English Books with Coloured Plates) 129; Hardie (English coloured books) 199.
Description of Shapero Rare Books, London: Of the copies that have come to auction since 1975 only one has been a large-paper copy in original boards. "The pictures are extremely spirited and true and are all the more wonderful in view of the fact that the artist’s continental experiences were limited to one day spent in Boulogne." (Hardie). In 1821, the journalist Pierce Egan published Life in London, an immediate success illustrated by the Cruikshank brothers, George and Robert. In order to capitalise on this success, another journalist, David Carey, decided to publish his own Life in Paris in monthly instalments (just like Life in London) and with a very similar frontispiece to the one that appears in Egan’s work; Life in Paris, however, was illustrated only by George Cruikshank. One of the earliest and most notable examples of the work of George Cruikshank, with fine, clean plates. -
Description: French flapped wrappers, 27 x 20.5 cm, 134 gatherings, plus two leaves (blank, h.t. / limitation) at the beginning (54 leaves total), the first and the last two leaves blank, two pages in each of 12 gatherings (24 total) are hand-painted photogravures after etchings by an anonymous artist, attributed to Santippa, pseudonym of Georges or Gaston Hoffmann, or, possibly, of André Collot; the gatherings are unbound, pp. [1-10] 11-99 [100] [8] (108 pages total). Title-page: ÉPICES | REFLEXIONS | sur quelques à-côtés de l'amour | destinées à des personnes | expérimentées | ILLUSTREES | DE | VINGT-QUATRE PLANCHES | HORS-TEXTE | COLORIÉES A LA MAIN | {vignette} | ÉDITÉ | POUR UN GROUPE DE BIBLIOPHILES || Edition: limited to 500 copies numbered from 1 to 480 + 20 hand-numbered with Roman numbers. This is copy № 273. Enrichment: one original sketch (for Coucou… ou l’erreur de porte), one etching before letters and the same after letters and coloured (Le petit coin tranquille.. 19/20), and a full suite of 24 original etchings in sepia on cream paper, 20 of them on Arches and 4 on BFK Rives) printed for the first 17 copies of the 1950 edition (55 copies were printed then). In addition: one graphite pencil sketch which is not part of the suite. Catalogue raisonné: Dutel 1920 – 1970: № 1490 (for 1950), № 1491 (for 1955).
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NEWFramed pencil and watercolour drawings with 4-line manuscript pen and ink French text under the frame on paper 255 x 175 mm mounted on card stock sheets 290 x 210 mm. Illustrations correspond to the 1st edition of Pierre Louÿs’ « Pybrac / Poésies » published by Cythère Au coq hardi in 1927 [LIB-3061.2022], pp. 25, 37, 64, 69, 85, 86, and 94. Illustrations here are placed in the order they would have appeared in the book.- Je n’aime pas à voir deux sœurs l’une sur l’autre, L’une étendue, ouvrant ses deux cuisses en l’air, Et l’autre qui s’y plonge et s’y frotte et s’y vautre, Corps à corps, ventre à ventre et leurs cons chair à chair.
- Je n’aime pas à voir la douce concubine Qu’on encule toujours et qui, d’un doigt lascif Se branle le bouton, se tire la barbiche, Pour soulager son cul douloureux et passif
- Je n’aime pas à voir cette Sappho mascule Qui, dans sa chambre, habille une fille en garçon, Lui baisse la culotte et froidement l’encule Avec un godmiché plus gros qu’un saucisson.
- Je n’aime pas à voir la vierge au doigt lubrique Qui, les deux pieds en l’air, masturbe sur le lit Son pucelage en rut, gonflé, couleur de brique, Et décharge en baisant le roman qu’elle lit.
- Je n’aime pas à voir le garçon sur la fille Donner des coups au cul et danser le galop Aux applaudissements de toute la famille Qui dit : « Ça vient, putain ! Fais-la jouir, salop ! »
- Je n’aime pas à voir la princesse de Grèce, Qui, menée au bordel par sa fille d’honneur, Frotte sa bouche obscène au cul de la négresse Et crie en déchargeant : « C’est là qu’est le bonheur ! »
- Je n’aime pas à voir dans un bal de familles Que l’hôtesse dispose une chambre d’ami Et des lits de repos, au gré des jeunes filles, Pour sucer leurs danseurs ou se faire mimi.
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FABLES | DE FLORIAN | ILLUSTRÉES | PAR J.-J. GRANDVILLE , | SUIVIES | DE TOBIE ET RUTH , | Poëmes tirés de l'Ecriture Sainte | ET | PRECEDEES D'UNE NOTICE SUR LA VIE ET LES OUVRAGES DE FLORIAN , | PAR P.-J. STAHL. | [Vignette] PARIS. | J.-J. DUBOCHET ET Cie , ÉDITEURS , | 1842. Pagination: ffl, [2 blanks] [i, ii - ht/imp.] [2 - blank/engr. t.p. by Grandville] [iii, iv - t.p./blank] [v] vi-xx; 2 sheets of plates, [3] 4-292, bfl; engraved t.p. + [79] leaves of plates + 5 faux t.p. (total 85 plates) Size: In-8vo, 23.8 x 15 cm. Binding: Orig. blind-stamped navy cloth with gilt Grandville characters to boards and spine. First edition, first printing. Reference: Léopold Carteret (Le trésor du bibliophile. Epoque romantique. 1801-1875 / Livres illustrés du XIXe siècle. – Paris: L. Carteret; imprim. Lahure, 1927). Wood engravers: Adolphe Best (French, 1808 – 1860): 22 plates Louis-Henri Brévière (French, 1797 – 1869): 3 plates Brugnot (French, active 19th century): 7 plates Prosper-Adolphe-Léon Cherrier (French, born 1806): 6 + Tobie et Ruth + vignettes Louis Dujardin (French, 1808 – 1859): 2 plates Monogram GO–> (possibly for Godard) : 1 plate Halley-Hiback (French, 19th century): 1 + vignette Henri-Désiré Porret (French, 1800–1867): 2 + vignette Lacoste père et fils aîné et Auguste-Alexandre Guillaumot (French, 1815 – 1892): 5 plates Quichon (French, 19th century): 10 plates + Tobie et Ruth François Rouget (Belgian, born bef., 1825): 19 + vignette Unsigned or with an illegible signature: 6 plates -
Fables de La Fontaine / édition illustrée par J. J. Grandville (in 2 volumes). – Paris: H. Fournier Ainé, Perronin, 1838. Imp. H. Fournier et Ce, 14 rue de Seine (Premier Tirage). Vol 1: [2 - ht, imprim.] [2 - blank with handwritten inscription, frontis.] [2 - t.p., blank], [ [i] ii-xxviii - épitre, préface, [2 - plate 'fables', [1] 2 - dedication, [3, 4 - pltate: livre 1, blank] [5, 6 - plate: blank, cigale] [7] 8 - fab.1 (the subsequent plates are not paginated) - 292. (245-246 - Avertissement), (247-248 - A mamdam de Montespan); Wood engravings: frontispiece + half-title Fables + 7 running half-titles Livres des Fables + 72 plates. Vol. 2: [2 - ht, imprim.] [2 - t.p., blank] [1, 2 - plate 'livre 8', blank] [3] 4-312 (191-192 épilogue), (195-196 Au duc de Bourgogne), (268 - fin des fables), (269-296 Philemon et Baucis | D. O. M. | La Martone Déphèse | Belphegor), (297 -308 notice), (309-312 table); Wood engravings: 5 running half-titles Livres des Fables + 1 half-title Philemon et Baucis + 48 plates. Size: 8vo, 23.2 x 15 cm. Binding: Full tree-calf, flat spine stamped with gilt, red and brown labels with gilt lettering, marbled endpapers. Handwritten nut ink inscription to blank recto of frontispiece: the history of Millet-Fontaine family (provenance?) There were two print-runs in the year 1838. According to Léopold Carteret (Le trésor du bibliophile. Epoque romantique. 1801-1875 / Livres illustrés du XIXe siècle. – Paris: L. Carteret; imprim. Lahure, 1927, pp. 357-9), the first run (Premier Tirage) published by H. Fournier and Perrotin, while the Second Tirage by H. Fournier Ainé. Though, the initial cap character "N" at p. xiii (vie d'Ésope) in this copy is formed by 'faite de lignes bouclées' as in the first print-run, rather than by 'petits carreaux noirs et blances' as in the second. We can conclude with confidence that this copy belongs to Premier Tirage.
Wood engravings (135 plates, including frontispiece, and numerous headpieces and initial letters) were cut by the following artists (the first number is the number of the chapter ('livre'), the second – the number of the fable within the 'livre':
Wood engravers:
John Bastin, (British, fl. 1840 – 1850): 6-6, 7-13, and 8-9.
Alexandre Belhatte (French, born in 1811): 3-11 and chapter title pages to 'livres' 6, 11, 12, headpices on p. 117 in vol. 2, and 'Philemon et Baucis' section title page.
J. Constantine Beneworth (active France, 19th century): 1-6.
Louis-Henri Brévière (French, 1797 – 1869): 1-10, 2-7, 6-10, 6-21, 7-4, 8-10, 8-27, 9-3, 10-4, 12-11, frontispice, together with François-Louis Français (French, 1814–1897), and 'Fin des fables' tailpiece.
Brévière et Hébert: Louis-Henri Brévière (French, 1797 – 1869) and César-Auguste Hébert (French, active 19th century): 1-1, 1-2, 1-13, 1-18, 2-2, 2-11, 3-1, 3-3, 3-4, 3-18, 4-20, 4-21, 4-22, 5-5, 5-20, 6-2, 6-8, 7-3, 8-7, 8-12, 8-14, 8-17, 9-14, 10-6, 10-16, 11-6, 12-4, 12-25.
Joseph-Hippolyte-Jules Caqué (French, 1814 – 1885): 7-11 and headpieces on p. 251 in vol. 1 and on p. 197 in vol. 2.
Prosper-Adolphe-Léon Cherrier (French, born 1806): 8-6.
Henry Isidore Chevauchet (French, fl. 1837 – 1850): 1-19, 2-4, and 4-5.
Louis Dujardin (French, 1808 – 1859): 10-9.
Pierre-François Godard (French, 1768 – 1838): 1-5, 1-16, 5-2, and 10-11.
Charles David Laing (British, fl. 1836 – 1853): 7-9.
Lacoste père et fils aîné et Auguste-Alexandre Guillaumot (French, 1815 – 1892): 1-4, 1-20, 9-17, and 11-5.
Laisné (Alfred, Adèle, and Aglaé) (French, active 1835–1868): 5-8, 6-5, 6-17, 8-2, 8-15, 9-9, 9-10, 11-1, 11-8, 12-10.
(Alfred, Adèle, and Aglaé) Laisné (French, active 1835–1868): 5-8, 6-5, 6-17, 8-2, 8-15, 9-9, 9-10, 11-1, 11-8, 12-10.
Théodore Maurisset (French, fl. 1834 – 1859): 2-14 and 6-13.
Antoine-Alphée Piaud (French, 1813 – 1867): 1-17, 2-9, 2-16, 4-1, 4-4, 5-15, 5-17, 5-18, 5-21, 8-22, 8-23, 8-25, 9-19, 10-13, 11-3, 11-9, 12-13, 12-15, 12-21, three 'livres': 3, 9, 10, and headpiece on p. 71 in vol. 2.
Roux-Jourdain: Two 'livre' title pages, 1 and 2.
John Orrin Smith (British, 1799 – 1843): 2-13, 2-18, 3-9, 3-14, 4-9, and 4-14.L. Chauchefoin (French): 2-3 and 5.13.
Matthew Urlwin Sears (British, 1799 – 1870): 10-1 and 12-9.
Monogram TM or MT (possibly for Théodore Maurisset): 6-16 and 10-3.
Monogram GO–> (possibly for Godard) : 5-3, 7-1, and 9-5.
Monogram B and BV: 4-11, 12-6, 'livre' 4, and headpieces on p. 1 in vol. 1 and on p. 167 in vol. 2.
Unsigned or with an illegible signature: "fables' section title, 1-3, 1-9, 3-5, 3-8, 4-15, 4-18, 5-10, 7-7, 7-16, 9-2, 9-4, 12-2, 12-3, 12-17, and two 'livre' title pages, 5 and 8.
Little is know about Matthew Urlwin Sears. He was a wood engraver of good reputation who is known to have worked in London in the early 1820s, Paris and Leipzig. Listed as "wood engraver" on records of the UK Printing Historical Society. Work The British Museum owns three of his earliest published works, engravings for Northcote's Fables (1828). He authored "Specimen of stereotype ornaments, 1825" which was reprinted as a facsimile in 1990 by the Printing Historical Society (London), with a foreword by James Mosley. He is mentioned by Pierre Gusman in "La Gravure sur Bois en France" (Paris, 1929). Laurent's Histoire de l'Empereur Napoleon, (1839) is one of many publications on which both Sears and his partner John Quartly worked, as well as numerous other engravers. His work appeared in "Aunt Effie's Rhymes" (1852) and "Uncle Tom's Cabin", by Harriet Beech Stowe (Edinburgh: Adam and Charles Black, 1853) [Claire-Juliette Beale, December 2009]. -
Etching and drypoint on wove paper, depicting a woman with a face mask on her buttocks. Monogrammed in the plate 'FR'. Owner's stamp 'LvM' on verso.
Dimensions: Papaer: 22.2 x 18.5 cm; Plate: 17.5 x 13.3 cm; Image: 15.5 x 12 cm.
Catalogue raisonné: Arthur Hubschmid (1977): 448; Graphics irreverent and erotic (1968): 106; Rouir 648.
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Sanguine print on toned China paper pasted on cream wove paper sheet, depicting a dressed-up man trying to copulate with a hanged sow. Inscription on top of the plate: "Ne faites pas aux truies ce que vous ne voudriez pas qu'on vous fit", and below: "Visection" (sic.). Owner's stamp 'LvM' on verso.
Dimensions: Paper: 26.8 x 20.6 cm; India paper: 21.5 x 16.2 cm; Image: 19.3 x 14.2 cm.
Catalogue raisonné: Arthur Hubschmid (1977): 661; Graphics irreverent and erotic (1968): 42.
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Hardcover, 333 x 247 mm, black cloth with gilt facsimile to front board and gilt lettering to spine, aubergine dust jacket with white lettering and red facsimile over black panel to front and back, crimson endpapers, laid paper, unpaginated; pp.: [4] h.t./blank, t.p./imprint, [2] text by John Hollander, 61 leaves of plates; originally published in 1969 by Rhinoceros Press, New York, as a limited-edition portfolio with slipcase. Title-page: Fornicon | (in frame) BY TOMI UNGERER | GROVE PRESS NEW YORK || Jean-Thomas [Tomi] Ungerer (French,1931 – 2019) John Hollander (American, 1929 – 2013) -
![George Cruikshank's omnibus / edited by Laman Blanchard. – London : Tilt and Bogue, 1842. – [2], vi, [2], [2] 300 p., [22] leaves of plates : ill's.](https://varshavskycollection.com/wp-content/uploads/2021/02/LIB-2558.2020-6-500x500.jpeg)
Title: GEORGE CRUIKSHANK'S | OMNIBUS. | ILLUSTRATED WITH ONE HUNDRED ENGRAVINGS ON STEEL | AND WOOD. | "De omnibus rebus et quibusdam aliis." | EDITED BY LAMAN BLANCHARD, ESQ. | LONDON : | TILT AND BOGUE, FLEET STREET. | MDCCCXLII. Pagination: ffl, [2] – blanks [i, ii] – blank / engraved t.p. w/guard, [iii, iv] – t.p., colophon] [v], vi – contents, [vii, viii] – h.t. / blank, [ix] – list of etchings on steel, [x] – list of wood-cuts, [2] – blank, frontis. engraves portrait of G. Cruikshank; [1] 2-300 [2] – blanks, bfl; 22 full-page steel engravings (three not by Cruikshank) and 78 woodcuts. As per A. M. Cohn: i-ii+i-viii+1-2+1-300. Binding: 24 x 14 cm, later full red morocco by Kelly and Sons with gilt and embossed designs to covers, designs, title and year lettering to spine, facsimile in gilt of Cruikshank's signature to front cover, gilt line to inner edges, top edge gilt, marbled endpapers. Armorial bookplate of Harold A. Wernher of Luton Hoo to front pastedown. Major-General Sir Harold Augustus Wernher (1893 – 1973) – British military officer. Originally bound in green, then red cloth, this binding by Kelly and Sons (Packer, Maurice. Bookbinders of Victorian London. London: British Library, 1991 page 84). A. M. Cohn № 190, p. 65-66. Motto translation: (About all things and something more besides). -
![George Cruikshank's table-book / edited by Gilbert Abbott à Beckett. – London: Punch office, 1845. – viii, 284 p., [12] leaves of plates : ill's.](https://varshavskycollection.com/wp-content/uploads/2021/02/LIB-2557.2020-5-500x500.jpeg)
Title: GEORGE CRUIKSHANK'S | TABLE-BOOK. | EDITED BY | GILBERT ABBOTT À BECKETT. | ILLUSTRATED BY GEORGE CRUIKSHANK. | LONDON : | PUBLISHED AT THE PUNCH OFFICE, 92, FLEET STREET ; | AND SOLD BY ALL BOOKSELLERS. | MDCCCXLV.|| Pagination: ffl [2 blanks] [i, ii - engaved t.p. w/guard, verso blank] [iii], iv - letterpress t.p., colophon] [v], vi - list of engravings on still and on wood, [vii] viii - contents [2 - blank, engraved frontispiece] [1] 2-284 [2 blanks] bfl; 12 full-page steel etchings and 116 woodcuts and glyphographs by G. Cruikshank. Binding: Hardcover, 4to, 24.4 x 17 cm, later full red morocco by Kelly and Sons with gilt and embossed designs to covers, designs, title and year lettering to spine, facsimile in gilt of Cruikshank's signature to front cover, gilt line to inner edges, top edge gilt, marbled endpapers. Armorial bookplate of Harold A. Wernher of Luton Hoo to front pastedown. Major-General Sir Harold Augustus Wernher (1893 – 1973) – British military officer. Originally bound in red cloth, this binding by Kelly and Sons (Packer, Maurice. Bookbinders of Victorian London. — London: British Library, 1991 page 84). Title without the bottom section with lettering, on top lacking the 'Price one shilling', № 1, Vol. 1. inscriptions. Catalogue raisonné: A. M. Cohn № 191, p. 66-67. -
Vol. 1: Title page (red and black): THE | COMIC HISTORY OF ENGLAND • | BY GILBERT ABBOTT A'BECKETT. | {vignette with one line caption} | WITH TEN COLOURED ETCHINGS AND ONE HUNDRED AND TWENTY | WOODCUTS, | BY JOHN LEECH. | VOL. I. | PUBLISHED AT THE PUNCH OFFICE, 85, FLEET STREET. | MDCCCXLVII. || Pagination: [iii-iv] – t.p. / imprint., [v]-vi – preface, [vii]-viii – contents, [ix]-xii – list of ills. [1] 2-320, lacking half-title otherwise as called for by Tooley (1935) p. 161. Collation: 8vo; π3 b2 B-X8 plus 10 plates, incl. frontispiece, of hand-coloured steel engravings and 120 in-text woodcuts by John Leech. Vol. 2: Title page: similar but “VOL. II.” And “MDCCCXLVIII”; typeface “with ten coloured…” is different (sans serif). Pagination: [iii-iv] – t.p. / imprint., [v]-vi – advert., [vii]-viii – contents, [ix]-xii – list of ills. [1] 2-304, lacking half-title otherwise as called for by Tooley (1935) p. 161. Collation: 8vo; π3 b2 B-U8 X2 plus 10 plates, incl. frontispiece, of hand-coloured steel engravings and 120 in-text woodcuts by John Leech. Binding: two volumes 22 x 14.5 cm each uniformly bound in full tan calf with gilt double-fillet border, spine gilt in compartments with red and green morocco labels lettered in gilt, blind-stamped dentelle inside, blue marbled endpapers, all edges marbled, additional flyleafs at the front and end. Catalogue raisonné: Hardie p. 210-11; Abbey, Life № 434, p. 362; Tooley (1935) p. 161 Contributors: Gilbert Abbott à Beckett (British, 1811 – 1856) – author. John Leech (British, 1817 – 1864) – artist. Bradbury & Evans (Whitefriars); William Bradbury (British, 1799 – 1869); Frederick Mullett Evans (British, 1804 – 1870) – printer. Punch – publisher. -
Woodcut pictorial title page (red and black): THE | COMIC | HISTORY | OF | ROME | By GILBERT ABBOTT À BECKETT. | ILLUSTRATED BY JOHN LEECH. | BRADBURY AND EVANS, 11, BOUVERIE STREET. || Pagination: [iii-iv] – t.p. / imprint., [v]-vi – preface, [vii]-viii – contents, [ix]-xii – list of ills., [1] 2-308, lacking half-title (i-ii) otherwise as called for by Tooley (1935) p. 162. Collation: π1 b4 B-U8 X2 plus 10 plates, incl. frontispiece, of hand-coloured steel engravings and 98 in-text woodcuts by John Leech. Imprint: “LONDON: | BRADBURY AND EVANS, PRINTERS, WHITEFRIARS.”; same in the colophon on p. 308, in one line. Binding: 22 x 14.5 cm, full tan calf with gilt double-fillet border, spine gilt in compartments with red morocco label lettered in gilt, blind-stamped dentelle inside, marbled endpapers, additional flyleaf at the end (binding similar to 2-volume “The Comic History of England” LIB-2847.2021, making three volumes in total). Edition: 1st thus (in book form), without “and Co.” in the imprint on t.p. verso. Catalogue raisonné: Tooley (1935) p. 162. Catalogue raisonné: Hardie p. 210; Abbey, Life № 435, p. 365-6; Tooley (1935) p. 162. Contributors: Gilbert Abbott à Beckett (British, 1811 – 1856) – author. John Leech (British, 1817 – 1864) – artist. Bradbury & Evans (Whitefriars); William Bradbury (British, 1799 – 1869); Frederick Mullett Evans (British, 1804 – 1870) – printer.
