‎Gavarni‎

‎Gavarni, Paul‎

‎Der Provinzler in der Grosstadt Classic Reprint German Edition‎

‎hardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover‎

Bookseller reference : 0666515883.G ISBN : 0666515883 9780666515889

‎GAVARNI, PAUL‎

‎Der Provinzler in der Grosstadt. Text nach Pierre Durand.‎

‎Hardcover. Good. G. Hirth's Verlag/Munchen 1922 IN GERMAN. Cover text and binding show very moderate wear. A nice older copy. hardcover‎

Bookseller reference : CD-8GIV-V6UT

‎Gavarni, Paul et Adolphe Portier‎

‎Douze nouveaux travestissements‎

‎Paris. Au Bureau du Journal les Modes Parisiennes. 1856. Hardcover. Gut. C4 --- Recueil de 12 belles planches en couleurs représentant des femmes en robes gravées par Portier = 12 col. plates = kolorierte Stahlstichtafeln In-4 un peu taché sur les bords = a little stained at the edges = leicht fleckig an den Rändern Titel mit Wasserrand marmorierter Priv.-Hln.-Bd. dabei/avec ca: ALBUM KEEPSAKE des costumes de la cour francaise depuis Charles VII jusqu'a Louis XVI dessines par Compte-Calix sans page de titre juste 20 col. planches In-4 1854 Paris. Au Bureau du Journal les Modes Parisiennes. 1856 hardcover‎

Bookseller reference : 008813

‎Gavarni, Paul (pen name of Sulpice Guillaume Chevalier). (1804–1866)‎

‎Encore soif !.ah ! ça Mimie t'as donc le torse assuré contre le champagne " . Original lithograph.‎

‎Paris: Pannier circa 1843. Lithograph sur blanc. 27. 5 x 20cm. Plate no. 33 from the series: "Le Carnaval a Paris." Armelhault and Bocher no. 415 State ii/iii. Paris: Pannier, circa 1843. unknown‎

Bookseller reference : 16-5526

‎Gavarni, Paul. (1804-1866).‎

‎Faits et Gestes Proprietaire: Mon cedre du Liban. No. 1 from the series ‘Faits et Gestes Propreitarie’.‎

‎Paris: Chez Aubert circa 1847. Lithograph. 33 x 25 cm sheet. Good minor surface soiling light specks of foxing throughout. Paris: Chez Aubert, circa 1847. unknown‎

Bookseller reference : 71-8976

‎GAVARNI, Paul [pseudonym of Guillaume Sulpice Chevallier]‎

‎Fourberies de femmes Second Series Complete‎

‎Paris: Chez Aubert gal. Véro-Dodat 1837. The Complete Second Series of Fourberies de Femmes<br /> With Fifty-Two Lithograph Plates by Gavarni <br /> <br /> GAVARNI pseudonym of Guillaume Sulpice Chevallier. Fourberies de femmes. Paris: Chez Aubert gal. Véro-Dodat n.d. 1837.<br /> <br /> Second Series Complete. <br /> <br /> Folio 13 1/8 x 9 7/8 inches; 334 x 251 mm. Fifty-two lithograph plates. Eight-page publisher's catalog bound in at end. Plate no. 13 with an expertly and almost invisibly 3 1/8 inches repaired marginal tear. All plates with two small 'unidentified' circular stamps on the lower blank corners. Some occasional light and mainly marginal foxing still an exceptional example.<br /> <br /> Bound ca. 1840 in quarter maroon roan over maroon grained paper boards front cover lettered in gilt smooth spine plain endpapers. Extremities of binding rubbed. A wonderful example. loosely inserted at the end are three duplicate plates nos. 7 23 & 25 all with the same small marginal stamps.<br /> <br /> “In 1837 Gavarni began his connection with Le charivari which did not conclude until 1848. In all he drew 1054 lithographs for his journal…Most of these appeared in series some twenty-five of which extend to ten or more plates and were afterwards published by Aubert in albums. Perhaps the best of these collections are Fourberies de femmes en matière de sentiment Les étudiants de Paris Les débardeurs and Les lorettes; but some of the rest are of hardly inferior interest. Still further series contributed to periodicals other than Le charivari were also issued as albums. Baudelaire had this part of Gavarni’s work particularly in mind when he wrote…that ‘the true glory and the true mission of Gavarni and Daumier has been to complete Balzac.’ Certainly the pictures of Parisian society provided by the two artists perfectly complement each other. Daumier’s preoccupation was the working middle class with faces and figures heavily marked by life. Gavarni remained for the most part outside the humdrum bourgeois round. He preferred to show ‘youth at the prow and pleasure at the helm.’ His pretty girls and sleek young men are bent on enjoyment. They live lives of graceful dissipation with love intrigues and balls on the one hand and pawnbrokers’ shops and debtors’ prisons on the other. Their motto is carpe diem and they rarely think of the day or reckoning†Ray p. 217. <br /> <br /> “After the initial success of Caricaturana Philipon proposed to Gavarni that he draw ‘Mme. Robert Macaire’ for Le charivari. He responded with twelve studies of female deception in which he seems to have adopted Vigny’s belief that ‘A woman more or less is always Delilah.’ They made little impression but three years later Gavarni returned to the theme in a subtler and more amiable way with one of his most searching and amusing series. In no. 37 he offers this exchange: ‘How did you know papa that I loved Mr. Leon—Because you always talked to me about Mr. Paul.’ Gavarni’s playful mastery of female psychology is not the only attraction of the series. If Daumier could not draw a pretty woman as is sometimes alleged Gavarni at this period could hardly draw an ugly one†Ray pp. 220-221. <br /> <br /> Armelhault & Bocher 662-702; Ray The Art of the French Illustrated Book 151. Paris: Chez Aubert gal. Véro-Dodat, 1837 unknown‎

Bookseller reference : 06055

‎Gavarni, Paul (Guillaume-Sulpice Chevallier) ; Olson, Nancy‎

‎Gavarni The carnival lithographs‎

‎Gallery. As New. 1979. Paperback. 0894670093 . FREE UPGRADE to Courier/Priority Shipping Upon Request – – IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - AS NEW THE TEXT BLOCK IS PRISTINE CLEAN UNMARKED AND IN EXCELLENT CONDITION - - 48 pp. With one text ill. And 18 pls. 26 x 21 cm. -- with a bonus offer-- . Gallery paperback‎

Bookseller reference : 64998 ISBN : 0894670093 9780894670091

‎Gavarni, Paul ( Pseudonym of (Hippolyte-Guillaume-Sulpice Chevalier); Edited by Albert Smith‎

‎Gavarni in London: Sketches of Life and Character with Illustrated Essays by Popular Writers‎

‎London: David Bogue 1849. Book. Very Good. Hardcover. First Edition. 4to - over 9¾" - 12" tall. "The illustrations designed and drawn on wood by Gavarni and engraved by Henry Vizetelly". Contains extra pictorial illuminated portrait title page plus 23 other tissue-protected illustrations each at the head of a chapte except for the frontispiece. With armorial bookplate of William L. Scott to front pastedown along with smaller bookplate from the Virginia Warren Collection of Old London Street Cries. Very Good bound in contemporay half calf over marbled boards back with five raised bands black leather label with gilt lettering marbled end pages boards a bit rubbed at edges small chip to board rear cover. Subjects illustrated include Acrobats Thieves The Barmaid The Opera The Casino and The Orange-Girl. The illustrations and interior quite clean and lovely a handsome copy. David Bogue Hardcover‎

Bookseller reference : 007768

‎Gavarni, Paul (pen name of Sulpice Guillaume Chevalier). (1804–1866); Aubert, printer.‎

‎Jésus! comment que tu oses manger des champignons! Tes chamignons ma biche c'est comme les homes: rien ne ressemble aux bons comme les mauvais"from Les Lorettes: courtesans of Paris. First edition of the lithograph.‎

‎Paris: Chez Bauger Chez Aubert 1841. Lithograph sur blanc. 33.3 x 23.5 cm. Plate no. XI from the series: "Les Lorettes." Armelhault and Bocher no. 773. Les Lorettes described by scholars:MLA citation: Murphy Libby and Greggor Mattson. A la Recherche des Femmes Perdues. Oberlin College 2016.Prostitution was a common social phenomenon that was practiced by women regardless of class but the type of prostitute varied depending on the status of the men involved. The social standing of prostitutes often shifted throughout their lifetimes but their roles generally remained within four basic levels of prostitution. This exhibit focuses on these four important types of prostitutes imagined and mythologized in various media of the time. The lorette the aspiring courtesan was the prostitute of mystery elusive and secretive often evading the government’s health regulations. The grisette was a prostitute from a working-class background often found inhabiting the apartments of young Parisian students. The fille publique or streetwalker was from the lowest class of prostitute and often attracted the poorest customers. Walking the street alone or in groups la fille publique was most vulnerable to police repression. And finally women in “maisons closes†or brothels catered to men of different social classes. The most luxurious brothels attracted middle class men with their continuous business. These women though varying in status participated in a form of sexual commerce that was common in French society in the 19th century. Paris: Chez Bauger, Chez Aubert, 1841 unknown‎

Bookseller reference : 16-6135

‎Gavarni, Paul (After, 1804-1866); Geoffroy (Engraver).‎

‎La Cassolette.‎

‎Paris: L’Artiste circa 1875. Hand-colored etching and engraving. 28.5 x 17.5 cm sheet. Very Good some foxing in the margins missing lower right sheet corner.Provenance: ancienne galerie Vandevoorde 22 rue Vignon Paris. Paris: L’Artiste, circa 1875. unknown‎

Bookseller reference : 71-6846

‎Gavarni, Paul (After); Frey (Lithographer).‎

‎La Jour de l’An.‎

‎Paris: French Publisher circa 1836. Hand-colored lithograph. 29.5 x 22.5 cm sheet. Very Good light foxing in the margins water staining in margins.Provenance: ancienne galerie Vandevoorde 22 rue Vignon Paris. Paris: French Publisher, circa 1836. unknown‎

Bookseller reference : 71-6717

‎Gavarni, Paul‎

‎Le Diable Paris. Paris et les Parisiens la plume et au crayon; Volume 01 French Edition‎

‎Wentworth Press 01-08-2018. hardcover. New. 6.14x1.75x9.21. Buy with confidence. Excellent Customer Service & Return policy. Wentworth Press hardcover‎

Bookseller reference : DADAX0274480018 ISBN : 0274480018 9780274480012

‎Gavarni, Paul [illus.]; Sand George; Stahl, P -J; Pascal, P; de Balzac et al‎

‎Le Diable A Paris. Paris et Les Parisiens. Moeurs et Costumes Caractères et Portraits des Habitants de Paris. 2 volume set‎

‎Paris: J. Hetzel. VG : in very good condition without dust jacket. Respined. Covers faded. Some browning. Aeg. Heraldic book-plate on paste-downs. 1845. First Edition. Red hardback cloth cover. More images available on request. 270mm x 180mm 11" x 7". xxxii 380pp; lxxx 364pp. Numerous b/w illustrations. '. tableau complet de leur vie privée publique politique artistique littéraire industrielle etc etc.' Volume 2 published in 1846. Heraldic book-plate of George Charles Bright M.D. 'Post Tenebras Lucem'. N.B.: Heavy set - extra shipping needed for overseas. . J. Hetzel hardcover‎

Bookseller reference : g9599

‎Gavarni, Paul‎

‎Le Diable à Paris. Paris et les Parisiens à la plume et au crayon; Volume 01 French Edition‎

‎hardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover‎

Bookseller reference : 0274480018.G ISBN : 0274480018 9780274480012

‎Gavarni, Paul 1804-1866‎

‎Le Diable à Paris. Paris et les Parisiens à la plume et au crayon; Tome 01 French Edition‎

‎paperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback‎

Bookseller reference : 1372192034.G ISBN : 1372192034 9781372192036

‎Gavarni, Paul (1804-1866).‎

‎Le Dimanche No. 2. Un nid dans les bles.‎

‎Paris: La Caricature circa 1841. Lithograph. 24.5 x 36 cm sheet. Signed in the stone. Very Good light specks of foxing in the margins vertical center fold. Paris: [La Caricature], circa 1841. unknown‎

Bookseller reference : 71-9758

‎Gavarni, Paul (eig. Sulpice Guillaume Chevalier)‎

‎Le manteau d'Arlequin.‎

‎1852. Paris Imp. Lemercier 1852. Gr.-4°. 12 lithographierte Tafeln nach Gavarni. Leinenband der Zeit mit goldgepr. Deckeltitel fleckig berieben und bestossen. Lipperheide II Xe 238. Diese Folge von 12 Lithographien erschien für die Zeitschrift "l'Eclair" 1842-1843. - Im Falz gebrochen. Kleiner Buchhandlungskleber verso fliegendem Vorsatz. Durchgehend stärker stockfleckig und mit Wasserfleck am oberen Blattrand. unknown‎

Bookseller reference : 28466AB

‎Gavarni, Paul (1804-1866).‎

‎Le Piano Rue Notre-Dame de Lorette illustration in ‘Revue et Gazette Musicale’.‎

‎Paris: Thierry Freres circa 1853. Lithograph. 32.5 x 24.5 cm sheet. Very Good light specks of foxing toning along sheet edges. Paris: Thierry Freres, circa 1853. unknown‎

Bookseller reference : 71-8626

‎Gavarni, Paul (1804 - 1866).‎

‎Lecons Et Conseils‎

‎Paris: Aubert & Cie. 1843. Lithograph. Image size: 18 x 15 cm. Very Good. Paris: Aubert & Cie. 1843. unknown‎

Bookseller reference : 68-3891

‎Gavarni, Paul‎

‎Les Actrices. "Voila Mr. Granger qui apporte le bancal de Madame." Lithograph‎

‎Paris: Chez Aubert & Cie 1857. Very good condition. Magnificently hand colored lithograph highlighted with gum arabic by Paul Gavarni 1804 - 1866 French satirical artist noted for his clever observations of contemporary life and elegant genre scenes and imitated by artists such as James McNeill Whistler. <br /> <br /> Depicting an actress admiring her appearance dressed in military trousers as her maid describes additional gifts brought from other suitors. Signed in the print at the lower left. Paper size approximately 9 1/2 x 12 1/2" Chez Aubert & Cie unknown‎

Bookseller reference : 24517

‎Gavarni, Paul‎

‎Les Coulisses. "Que Veut Cet Homme . " Lithograph‎

‎Paris: Chez Aubert & Cie 1857. Very good condition. Caricature by Paul Gavarni 1804 - 1866 French satirical artist noted for his clever observations of contemporary life and elegant genre scenes and imitated by artists such as James McNeill Whistler. The image depicts a dandified prince with kneeling peasant at his feet asking for justice and hurry up my knee hurts!. Handsome colored lithograph highlighted with gum arabic printed at upper right border is the number 26. Faint damp stain upper right margin. Paper size approximately 9 1/2 x 12 1/2" Chez Aubert & Cie unknown‎

Bookseller reference : 24514

‎GAVARNI, Paul [pseudonym of Guillaume Sulpice Chevallier]‎

‎Les Débardeurs & Le Carnaval & Le Carnaval a Paris‎

‎Paris: Au Bureau du Journal Amusant & du Petit Journal pour Rire 1840. One Hundred and Twenty-Two Hand Colored Lithographed Plates by Paul Gavarni<br /> Including the "Stevedores" at the Carnival of Paris <br /> Le Carnaval a Paris 1e Série & Le Carnaval a Paris<br /> <br /> GAVARNI pseudonym of Guillaume Sulpice Chevallier. Oeuvres de Garvarni. Les Debardeurs: Le Carnaval: Le Carnaval a Paris. Paris: Chez Aubert 1838-1843. <br /> <br /> Folio. All plates measuring 13 3/8 x 10 1/8 inches; 339 x 257 mm.<br /> <br /> Contents: <br /> <br /> Les Debardeurs. A complete series of sixty-six hand colored lithographs of which nine first appeared in other journals eight in La Caricature plates 21 23 and 24 under the title “Souvenirs du Carnaval†and 32 44 49 54 and 61 under the title “Les Débardeurs†and one plate 58 in La Mode prior to the publication of the entire series in Le Charivari from 19 January 1840 to 5 February 1842. <br /> <br /> and:<br /> <br /> Le Carnaval 1e. Série. Paris: Chez Auberrt 1838-1839.<br /> <br /> First series complete. Twenty-seven superb hand colored lithograph plates all with printed captions. Armelhault & Bocher 375-397. <br /> <br /> and:<br /> <br /> Le Carnaval a Paris. Paris: Chez Aubert 1841-1843.<br /> <br /> 29 0f 40 hand colored lithograph plates missing plate nos. 1 4 5 6 15 21 22 23 24 25 & 32.<br /> <br /> A total of 122 superb hand colored lithographs all heightened with gum arabic.<br /> <br /> Housed together in the original quarter scored calf over mottled blue boards clamshell case with original blue cloth ties.<br /> <br /> “In Les Débardeurs.a series of sixty-six lithographs published in Le Charivari between 1840 and 1843 Gavarni depicts a variation on the most famous of the costumes he designed for the masquerade balls the débardeur stevedore. The braided wig loose shirt black velvet trousers fastened with brass buttons and tied with a fringed sash are derived from the working costume of the longshoreman or stevedore who unloaded the barges that traveled up the Seine to Paris. As Nancy Olsen points out in Gavarni: The Carnival Lithographs the majority of Gavarni’s carnival lithographs reflect his interest in the small groups that drift away from the crowd as a consequence of the romantic liaisons that preoccupied many of the participants at a masked ball. Intrigue was the name of the gave and the information being conveyed in this scene comes in all probability from an agent provocateur†Beatrice Farwell The Charged Image: French Lithographic Caricature 1816-1848 p. 88.<br /> <br /> “This is the most considerable of the several series of lithographs devoted by Gavarni to the balls which were a passion with him. He was an organizer and patron of the more elegant and he found the popular balls at the Opera and elsewhere an attractive subject for his designs. Théophile Gautier who believed that at this period Parisian balls had virtually ‘effaced the former carnival of Venice’ called Gavarni ‘their depicter and historian.’ As dancers throw themselves into their round of pleasure ‘a man stands with his back against a pillar; he watches he listens he observes.’ And the following day on stone ‘he lends his own wit to all the masks perhaps stupid in themselves; he sums up in a profound word the chit-chat of the foyer; he translates into a pleasant legend the hoarse excitement of the hall.’ Quoted by Lemoisne I 120†Ray The Art of the French Illustrated Book.<br /> <br /> Such elements have made Gavarni's carnival lithographs among his finest most famous and desired works of art.<br /> <br /> There was another similar title by Gavarni Le Carnaval. Paris: Chez Aubert 1838-39 which had twenty-seven completely different plates <br /> <br /> This series of plates by Gavarni is quite rare; only three copies are listed in OCLC and it has not sold at auction in the last forty-two years. <br /> <br /> In the nineteenth century the Paris carnival was the most extravagant among the European carnivals. It would last for several days and consist of masked balls both private and public street processions and feasting during which vibrant street scenes costumes and decorated floats would be on display.<br /> <br /> Armelhault & Bocher Les Debardeurs 486-542 307-309 plates 21 23 and 24 259-263 plates 44 49 32 54 and 61 and 1223 plate 58; Le Carnaval 375-397; Le Carnaval a Paris 251-257 398-422 1232 1709-1711.<br /> Ray The Art of the French Illustrated Book 154. Paris: Au Bureau du Journal Amusant & du Petit Journal pour Rire, 1840 unknown‎

Bookseller reference : 05942

‎GAVARNI, Paul [pseudonym of Guillaume Sulpice Chevallier]‎

‎Les Enfans terribles‎

‎Paris: Bauger et Cie. 1838-42. Gavarni’s “Terrible Childrenâ€<br /> Fifty Superb Hand Colored Lithographs Including the Pictorial Title-Page<br /> <br /> GAVARNI Paul pseudonym of Guillaume Sulpice Chevallier. Les Enfans terribles. Paris: Bauger et Cie. n.d. 1838-1842.<br /> <br /> First edition. Large quarto 13 11/16 x 10 1/2 inches; 345 x 267 mm. Pictorial hand-colored lithograph title-page and forty-nine numbered hand-colored lithographed plates printed by Aubert & Cie. Imprints vary plate 1 has imprint: Edite par le Charivari; plates 2-5 have imprint: Au Bureau du Charivari; plates 6-13 15-24 and 38-43 have imprint: Chez Bauger; plates 14 and 44-49 have imprint: Chez Bauger & Cie.; plates 25-37 have imprint: Se vend chez Bauger & Cie. Editeurs des Dessins de la Caricature du Figaro et du Charivari; plates 11 44 47 and 49 have additional imprint: Chez Aubert; and plate 25 has no imprint. Bound in at the end is a leaf of advertisement Des Modes Parisiennes verso blank and the sixteen page Aubert et Cie. Livres et Albums. <br /> <br /> Mid-twentieth century quarter dark blue cloth over blue imitation leather boards covers decoratively stamped in blind front cover decoratively lettered in gilt. Smooth spine lettered horizontally in gilt. The superb hand-colored lithographs bright and colorful. <br /> <br /> “Gavarni’s conception of the enfant terrible has passed into a proverb. For all their apparent ingenuousness his appealing children are preternaturally sharp. They see and hear everything in their little world and they are infallible in announcing their discoveries where they will cause the most embarrassment. So a little boy asks a visitor: ‘Sir who is it that invented gunpowder…since Papa says it isn’t you’ no. 10; or a little girl informs a suitor: ‘Aunt Amelia says that you are very nice; but it’s a pity that you are too stupid’ no. 32†Ray The Art of the French Illustrated Book.<br /> <br /> "The forty-nine prints in Gavarni’s series Les enfants terribles are among his most popular and well-known works legendary for their witty and memorable captions. Gavarni’s enfants terribles are social landmines “holy terrors†who wittingly or unwittingly reveal the pettiness and duplicity of their parents. An illustrator of children’s books Gavarni was the father of two children of his own to whom he was very attached. Gavarni loved the spontaneous poses and gestures of children and admired them for their disarming honesty. The term enfants terribles originally reserved for terrifyingly candid children who embarrass their parents came to be used to describe unconventional or unorthodox artists and writers—like Baudelaire and Flaubert—whose works reveal harsh truths about society that are embarrassing to guardians of the status quo." Allen Memorial Art Museum.<br /> <br /> “As the historical antecedent to Dennis the Menace and Calvin and Hobbes Les Enfans terribles was far more incisive and revealing in its social commentary. In its images Gavarni regularly uses the quasi-innocent questions or remarks of children to put the world of the adults around them in disarray. The subject is more often than not the marital or extra-marital situations of the grown-ups†Beatrice Farwell The Charged Image p. 91.<br /> <br /> According to OCLC there is just one example in libraries & institutions worldwide: The Gordon Ray copy at The Morgan Library & Museum NY USA - also apparently without the pictorial hand colored title-page.<br /> <br /> Paul Gavarni 1804-1866. "A French artist best known for his lithographs Paul Gavarni née Chevalier Suplice Guillaume was born in Paris on January 13 1804. Throughout his lifetime Gavarni produced over 4000 satirical prints for journals and fashion magazines. Both delicately witty and elegantly revealing of human behavior and character Gavarni's genre scenes made him one of the most important and popular nineteenth-century artists. He is often critically paired with Honoré Daumier with whom he and other young printmakers like Jean-Jacques Grandville and Joseph Traviés raised the status and importance of social lithography and printmaking as an art form…<br /> <br /> The Plates:<br /> <br /> 1. J’ai assez vu mon Cousin moi! M’man viens tu t’en<br /> 2. Adieu Madame à bientôt puisque vous permettez que je vienne amsi vous ennuyer quelquefois…<br /> 3. Petit Chérubin j’ai apporté du bonbon pour vous: Je vous le donnerai quand je m’en irai…<br /> 4. Monsieur! N’est – ce pas que ça n’est pas vrai quevous n’avez pas les Cheveux peints<br /> 5. Oh! c’est vrai! T’as les yeux comme les lanternes de ton cabriolet…ah bien!.<br /> 6. Grand Papa sa fiche de petite maman parceque petite Maman s’est fait des tetais avec du coton na!<br /> 7. Mère! Est-ce que c’est le crevè de ce matin que t’as dit que ça serit toujours assez bon pour lui<br /> 8. Petit amour comment s’appelle Madame votre maman.<br /> 9. Maman v avenir pas tout de suite: elle est avec Madame Pelet. Vous ne la connaissez pas Madame Pelet.<br /> 10. Qu’est-ce donc qui l’a inventée la poudres Monsieur.que papa dit que ce n’est pas vous.<br /> 11. Après diner Maman n’est ce pas j’ai été bien sage nous irons chez mon bon ami.<br /> 12. N’est-ce pas ma mère que c’est bien vilain de dire: vous m’embêtez Eh! bien ma bonne a dit tout-a-l’heure à mon Papa…<br /> 13. Quand Maman aime bien petit Papa elle appelle petit Papa “ma ninicheâ€.<br /> 14. La rose que vous avez donnée à Maman. Ah! oui oui!. que vous avez manque de vous casser le cou pour l’avoir.<br /> 15. N’est-ce pas Maman que le petit peigne à moustaches que Cornelie a trouvé ce matin dans ta chambre c’est pour moi<br /> 16. Maman! Maman! Ce Monsieur du Luxembourg que tu as dit tu sais bien que c’etait nn grand ami de Papa!.<br /> 17. Est-ce que c’est vrai Monsieur le Marquis que vous êtes toujours toujours oblige de regarder en Bourgogne si la Champagne brûle.<br /> 18. C’est vous qu’ètes le grand sec qui vient toujours pour diner. Monsieur Papa n’y est pas.<br /> 19. Ils t’on dit de jouer tant que tu voudras dans la salle à manger> et ta mère!. t’a donné!.<br /> 20. Voyons! Faites attention: Que doit on faire lorsqu’on a pêché.<br /> 21. Monsieur Albert C’est un monsieur du Jardin-des-Plantes qui vient tous les jours pour faire l’explication des bêtes à Maman…<br /> 22. Houp! Houp! Papa…ah! mais tu ne fais pas si bien le cheval que Janisset dam!.<br /> 23. Mais pourquoi donc Mosieu Bachu que tu viens toujours embêter Papa comme ça pour ta mécanique.<br /> 24. Le spectacle etait-ce bien Et à-t-il été raisonnable Lolo – Lolo! Ne m’en parle pas…je dis en entrant…<br /> 25. Ma bonne bisque va M’man de se lever comme ça de bonne heure depuis que l’es revenue…<br /> 26. Que tu es donc godiche Tomon de venir tous les matins comme ça pour que Papa te mette de l’argent dans ton affaire…<br /> 27. Maman c’est Mosieu…tu sais ce Mosieu qui a ce nez.<br /> 28. Maman dit que vous savez tous les secrets de Polichinelle Mosieu d’Alby: qu’est-ce qui peut donc lui avoir abime le nez comme ça…dites!<br /> 29. Tu mettras plus jamais ton chapeau qui sent la pipe n’est pas m’man<br /> 30. Je le dirai!.que t’as encore pris dans le petit pot du rouge que Maman se met.<br /> 31. Papa empèche donc Françoise de se moquer toujours de moi parceque je lui dis que Monsieur Ward a montré l’Anglais à Maman.<br /> 32. Ma tante mélie dit que t’es bien gentil; mais que c’et dommage!.<br /> 33. Tu ne sais pas Petite Papa…cet animal de Maurice il n’a fait que faire pleurer Maman ce matin…<br /> 34. Ma tante Aurélie qui disait l’autre jour à Maman qu’elle t’en ferait voir des grises sit u deviens son mari…<br /> 35. La canne que Papa a trouvée dans l’armoire de Maman le jour qu’il était si en colère elle était bien plus belle que ça!.<br /> 36. Tu ne sais pas ta leçon ta tante va venir: tu seras grondé!.<br /> 37. Est-ce que c’est vrai Mosieu d’Alby que tu couperais des liards en quatres.<br /> 38. Si tu touches encore à la bouteille du vin muscat tu seras bien attrapée parceque papa a fait une marque au bouchon etune marque au goulot.<br /> 39. Un petit de la pension qui disait que t’étais renégat; j’y ai fichu des giffles…n’est ce pas père que t’es catholique<br /> 40. Est-ce que vous payez des impositions comme papa Mosieu Pastorin pour être usurier<br /> 41. Mosieu on ne peut pas voir papa il es ten train de faire faillite.<br /> 42. Cette madame de Lieusaint est-elle bête! Puisque je suis Charles Dubourg et que tu es mon papa…<br /> 43. Dis-donc Miroux…dis-donc Miroux…dequoi donc que madame Miroux te fait porter<br /> 44. Papa voilà ton homme de paille!<br /> 45. Mosieu Belassis moi j’ai pas des jambes en manches de veste.<br /> 46. Décidément mon cher ami vous n’êtes pas de force au piquet: je vous enfonce…<br /> 47. M’man n’y est pas parceque tu rentres avant cinq heures puisque si t’etais pas revenue avant cinq heures…<br /> 48. N’est-ce pas Mosieu Prud homme qu’il ne faut pas mettre un H à omelette.là! vois-tu M’man!<br /> 49. Maman a écrit à mosieu Prosper et papa a vu la lettre. O il était joliment en colère papa…parceque maman avait fait une faute.<br /> <br /> Armelhault & Bocher 565-613; Bobins V 1538; Ray The Art of the French Illustrated Book 152. Paris: Bauger et Cie., 1838-42 unknown‎

Bookseller reference : 05982

‎Gavarni, Paul‎

‎Les Etudians sic de Paris. "Mon cher ami je suis en affaire avec mon oncle" Lithograph‎

‎Paris: Imp. d'Aubert 1857. Very good condition. Magnificently hand colored lithograph highlighted with gum arabic by Paul Gavarni 1804 - 1866 French satirical artist noted for his clever observations of contemporary life and elegant genre scenes and imitated by artists such as James McNeill Whistler. <br /> <br /> Depicting a young student with female visitor in his room fibbing to a visitor at his door that he is meeting with his uncle. Signed in the print at the lower left; Printed at the upper right border is the number 15. Paper size approximately 9 1/2 x 12 1/2" Imp. d'Aubert unknown‎

Bookseller reference : 24520

‎GAVARNI, Paul [pseudonym of Guillaume Sulpice Chevallier]‎

‎Les Lorettes‎

‎Paris: Chez Aubert 1844. Love is their business and they drive hard bargains<br /> They are as luxurious and idle as they are beautiful<br /> Their lives are a tissue of deception and hypocrisy"<br /> <br /> GAVARNI Paul. Les Lorettes. Paris: Bauger et Pannier ca. 1844-45.<br /> <br /> One of the rarest of all the Gavarni albums. Originally published from June 1841-December 1843 by Aubert et Cie. with just twenty lithographs. <br /> <br /> This the first complete suite of 79 lithographs was published slightly later ca. 1844-1845.<br /> <br /> First Complete Edition. Folio 13 1/8 x 9 7/8 inches; 334 x 251 mm. Seventy-nine hand colored lithographs all heightened with gum arabic. Plate 79 mis-bound before plate 77. Eight-page Aubert et Cie. catalog bound in at end. A few plates lightly toned in blank margins some very occasional light foxing.<br /> <br /> Publisher's violet ribbed cloth front cover lettered in gilt spine faded. Loosely inserted is a hand written note signed by Gavarni.<br /> <br /> A remarkable example of this extremely rare Gavarni Album.<br /> <br /> These 79 plates represent the complete thematic cycle Gavarni created around the "lorette"—the semi-independent fashionable demimondaine of July Monarchy Paris.<br /> <br /> OCLC locates just one example in libraries & institutions worldwide: Clark Art Institute MA US.<br /> There have been just four complete copies at auction since 1901.<br /> <br /> A second series titled Les Lorettes Vieillies appeared in the 1860's. This second series contained thirty hand colored lithographs. OCLC locates just two copies of this rare work - they do not state that the plates are colored: University of Miami FL US & Northwestern University Library IL US.<br /> <br /> "Les Lorettes… This is the most masterly of Gavarni's earlier series. Ladies of the evening of a certain standing had come to be called lorettes because they often lived in the handsome new buildings of the Rue Notre Dame de Lorette. No subject could have been better suited to Gavarni's talents. Indeed Paul de Saint Victor observed preface to D'Après nature II 2 that "the lorette is for him what the actress of the Italian Comedy was for Watteau." Gavarni shows them without malice and without indulgence exactly as they were. The grisette of Les étudiants de Paris was an ingratiating figure; not so the lorette. Love is their business and they drive hard bargains. They are as luxurious and idle as they are beautiful. Their lives are a tissue of deception and hypocrisy. Among themselves their conversation is cynical to the point of brutality. Their men usually twice their age also cut a poor figure. At best these gentlemen command a wry irony which derives from their awareness of being dupes. Gavarni presents these brittle and glittering creatures with great deftness. The packed and subtle dialogue of the legends would not be amiss in a novel by Stendhal. It is difficult to select from his remarkable compositions but one cannot overlook… no. 27 in which a lorette in her bath indulges in a rare moment of speculative conversation with a friend." Ray The Art of the French Illustrated Book pp. 223-224.<br /> Note. Gordon Ray's copy had 73 of the 79 hand colored lithographs - missing nos. 19-24.<br /> <br /> "Lorette was a colloquialism for a new type of prostitute who was kept in relative luxury in the apartment buildings that had been constructed in the Notre-Dame-de-Lorette church. Gavarni's sharp-eyed observations of Parisian society in works like these demonstrate his value as a documentarian of his times." Bobins V p. 64 #1541.<br /> <br /> “In 1837 Gavarni began his connection with Le charivari which did not conclude until 1848. In all he drew 1054 lithographs for his journal…Most of these appeared in series some twenty-five of which extend to ten or more plates and were afterwards published by Aubert in albums. Perhaps the best of these collections are Fourberies de femmes en matière de sentiment Les étudiants de Paris Les débardeurs and Les lorettes; but some of the rest are of hardly inferior interest. Still further series contributed to periodicals other than Le charivari were also issued as albums. Baudelaire had this part of Gavarni’s work particularly in mind when he wrote…that ‘the true glory and the true mission of Gavarni and Daumier has been to complete Balzac.’ Certainly the pictures of Parisian society provided by the two artists perfectly complement each other. Daumier’s preoccupation was the working middle class with faces and figures heavily marked by life. Gavarni remained for the most part outside the humdrum bourgeois round. He preferred to show ‘youth at the prow and pleasure at the helm.’ His pretty girls and sleek young men are bent on enjoyment. They live lives of graceful dissipation with love intrigues and balls on the one hand and pawnbrokers’ shops and debtors’ prisons on the other…In 1846 Gavarni returned to Le charivari to which he had hardly contributed since 1843. He wished to call the series that ensued Choses de Paris but was persuaded instead to employ the general title Oeuvres nouvelles. Its major albums were Carnaval; Impressions de ménage deuxième série thirty-nine lithographs 1846-1847; and Baliverneries parisiens twenty-four lithographs 1847†Ray The Art of the French Illustrated Book pp. 217-218.<br /> <br /> Armelhault & Bocher 763-841; Beraldi VII p.51 # 107; Bobins V 1541. Paris: Chez Aubert, 1844 unknown‎

Bookseller reference : 06211