‎Gavarni‎

‎Gavarni, Paul‎

‎La Mode ca. 1835 Museum Etching Museum Quality A2‎

‎Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 19th century 1835. Professionally printed on premium fine-art paper Museum Etching museum quality in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown‎

Referentie van de boekhandelaar : 2113500

‎Gavarni, Paul‎

‎La Mode ca. 1835 Photo Rag Bright White Premium Quality A2‎

‎Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 19th century 1835. Professionally printed on premium fine-art paper Photo Rag Bright White premium quality in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown‎

Referentie van de boekhandelaar : 2113499

‎GAVARNI, Paul [pseudonym of Guillaume Sulpice Chevallier]‎

‎Le Carnaval à Paris and Les Bals Masqués‎

‎Paris: Chez Bauger 1834. Midnight in Paris - Gavarni and the Secret Theater of Carnival<br /> <br /> A Superb Hand-Colored Copy of Le Carnaval à Paris in the Original Publisher's Binding<br /> Together with the Very Rare and Complete Suite of Les Bals Masqués<br /> <br /> GAVARNI Paul pseudonym of Guillaume Sulpice Chevallier. Le Carnaval à Paris. February 1841 - February 1842. and Les Bals Masqués. Paris: Chez Bauger Rue du Croissant 16; variously printed by Aubert & Cie. and Kaeppelin February 1834.<br /> <br /> Folio 13 1/8 x 9 7/8 inches; 333 x 251 mm. A superb carnival album containing twenty-eight magnificent hand-colored lithographs heightened throughout with gum arabic including the complete suite of seven plates from Les Bals Masqués together with an additional related carnival plate "Bal Masqué No. 8" all bound after the first twenty hand-colored lithographs of Le Carnaval à Paris. Eight-page Aubert et Cie. catalog bound in at end.<br /> <br /> Publisher's quarter maroon calf over red patterned boards front cover decoratively lettered in gilt: "Le Carnaval à Paris" smooth spine. A remarkably fresh and well-preserved copy the plates with exceptionally bright contemporary hand-coloring and luminous gum-arabic heightening the binding with only minor wear at extremities. An unusually handsome survival.<br /> <br /> The Les Bals Masqués sequence forms a brilliant miniature drama of Parisian carnival life. <br /> <br /> 1. C'est toi mauvais sujet! "It's you you wicked creature!" A masked reveler in dazzling Oriental costume leans intimately toward a richly dressed young woman whose expression balances amusement and suspicion amid the crowded ballroom. <br /> <br /> 2. T'en souviens tu friponne. "Do you remember you little minx" This plate captures a moment of flirtatious accusation between a masked cavalier dressed in vivid blue and his companion the theatrical gesture and conspiratorial proximity perfectly conveying the coded language of carnival seduction.<br /> <br /> 3. Vois mon mari derrière! "Look - my husband is behind us!" Gavarni brilliantly stages bourgeois panic and comic intrigue as a masked woman urgently warns her companion while curious revelers peer from the theater box above. <br /> <br /> 4. Les apprêts du bal. "Preparations for the Ball" shifts backstage to the private preparations before the festivities two young women dressing in Pierrot-inspired white costumes beneath heavy green drapery the quiet intimacy contrasting sharply with the social theater of the ballroom itself.<br /> <br /> 5. Un cabinet chez Pétron. "A Private Room at Pétron's" - the mood darkens delightfully when an exhausted young woman reclines dreamily in a private dining cabinet while her companion smokes and pours wine after the night's excesses. <br /> <br /> 6. Un souper de carnaval. "A Carnival Supper" - a masked beauty bends toward her seated admirer in a dim attic interior littered with dishes and bottles one of Gavarni's most psychologically suggestive images of post-ball intimacy.<br /> <br /> 7. Le retour du bal masqué. "The Return from the Masked Ball" - this plate is from the series Fantaisies the emotional climax of the suite is undoubtedly portrayed where a pale and utterly exhausted reveler collapses into a chair while attendants remove her costume after the night's pleasures and deceptions have run their course. The theatricality fatigue and melancholy glamour of Carnival Paris are distilled here with extraordinary elegance and humanity.<br /> <br /> 8. The additional hand colored lithograph "Bal Masqué No. 8" C'est vieux et laid mon cher; tu es volè comme dans un bois. "It's old and ugly my dear! You've been robbed as if in a forest" - this plate is from the series Fantaisies and serves almost as an epilogue to the series: a weary bourgeois gentleman trapped between two masked women whose expressions suggest equal measures of intrigue manipulation and amusement. Framed within an elaborate ornamental border it possesses the sharp observational wit characteristic of Gavarni at his finest.<br /> <br /> A visually dazzling and socially revealing document of Parisian carnival life during the July Monarchy Le Carnaval à Paris ranks among the most evocative lithographic productions of the great age of French caricature. Combining theatricality fashion illustration social satire and romantic intrigue the plates capture the masked balls flirtations backstage preparations clandestine suppers exhausted dawn returns and coded erotic freedoms of carnival Paris with extraordinary wit and elegance.<br /> <br /> Paul Gavarni was among the supreme interpreters of nineteenth-century Parisian society standing beside Honoré Daumier and Grandville as one of the defining graphic artists of the period. Yet where Daumier's art often bites with political ferocity Gavarni's genius lay in psychological nuance gesture costume flirtation and the delicate ambiguities of urban social performance. His carnival subjects remain among the most sophisticated visual chronicles of Parisian pleasure culture produced during the nineteenth century.<br /> <br /> The present copy is especially desirable for its rich contemporary hand-coloring lavish gum-arabic enhancement and survival in the original binding. The gum arabic was applied to heighten reflective surfaces and luxurious fabrics producing a shimmering effect intended to imitate satin silk velvet candlelight and theatrical costume textures. Such deluxe issues were considerably more expensive than ordinary tinted or uncolored impressions and survive far less frequently today.<br /> <br /> A splendid and highly decorative survival from the golden age of Parisian lithography - simultaneously theatrical satirical elegant and deeply evocative of the secret life of Carnival Paris.<br /> <br /> Le Carnaval à Paris. February 1841 - February 1842. Plates 1-20.<br /> <br /> 1. Nèfie-loi Coquardeau! si tu ne finis pas de t'amuser comme ca on va te fich'au violon. "Watch it Coquardeau! If you don't stop carrying on like this they'll throw you in jail."<br /> 2. Rue Coquenard au cinquième; une porte jaune. Ton portier fait des chaufferettes et tu joues de la flûte ainsi! "Rue Coquenard fifth floor; a yellow door. Your porter makes foot-warmers and you play the flute - like this!"<br /> 3. -Il n'est pas ici! Madame. -Il y viendra! Madame. "He isn't here Madam. - He'll come Madam."<br /> 4. Qu'est-ce Les gens de Qualité se commettent-ils maintenant avec ceux de votre sorte Pandour! "What's this People of quality mix nowadays with people of your sort Scoundrel!"<br /> 5. -Jai un mal à la tète de chien! -C'est le champagne. -Ah! Dieu je ne bois jamais de vin; c'est le rhum. "I've got a splitting headache! It's the champagne. Oh God I never drink wine; it's the rum."<br /> 6. -Qui diable ca peut-il être -Voyons mon Oncle: ma cosine Claire. . . . a la migraine; Madame; Madame d'Asté est en deuil; ma sœur a horreur des bals masqués d'abord; Madame Debry. . . . Philippe défend à sa femme d'y venir; ma tante Clèmence. . . . - Ta tante est couchée. . . . Mais qui diable ca peut-il être "Who the devil can it be Let's see Uncle: my cousin Claire. has a migraine Madam; Madame d'Asté is in mourning; my sister detests masked balls anyway; Madame Debry. Philippe forbids his wife to come; my Aunt Clémence. Your aunt is in bed. But who the devil can it be"<br /> 7. -Parbleu! si vous deviez les èpouser toutes mauvais sujets! les oncles n'y suffiraient pas. -Ni les neveux non plus mon oncle. "Good heavens! If you had to marry all of them you rogues there wouldn't be enough uncles to go around! Nor nephews either Uncle."<br /> 8. -Tu vois bien la blonde d'henri là! qui parle à ce grand avec une barbe. . . . -Cà! . . . . c'est la femme de Clément. . . . -Éh! bien oui c'est cà. . . . tu vois elle va souper avec le petit Russe. . . . eh! bien mon Nini Chèvrier l'attend au café anglais. . . . un si brave garçon! . . . . -Cà c'est pas gentil. "You see Henri's blonde over there talking to that tall fellow with the beard. That one . that's Clément's wife. Well yes that's her. you see she's going to supper with the little Russian. and meanwhile my dear Nini Chèvrier is waiting for her at the Café Anglais. such a nice fellow too!<br /> That's really not nice."<br /> 9. "On désire cèder Monsieur avec tous les avantages y attachès Sàdresser à Monsieur." "Wanted to transfer Sir together with all attached advantages. Apply to Monsieur."<br /> 10. -Prête-moi vingt frances Guillemain j'ai le Domino rose à dèjeûner. -Je l'ai eu à souper mon pauvre bonhomme et je n'ai plus le sou. "Lend me twenty francs Guillemain; I've got the Pink Domino coming for breakfast.I had her for supper my poor fellow and I haven't a sou left."<br /> 11. -Les rats couchés nous sommes venus. -Et. . . . vos petits voisins de l'entresol. . . . vous ne les avez pas débauchés -Eux des poules comme çà! çà se couche à minuit en carnival et puis çà vient vous dire que le carnival est triste. -Epiciers! "Once the old rats were in bed we came out. And your little neighbors on the mezzanine. you didn't lead them astray Them Chickens like that! They go to bed at midnight during Carnival then come and tell you Carnival is dull. Grocers!"<br /> 12. Oh! hè! Dufrène oh! hè les pistons oh! èh! affûetz vos becs: faut de l'harmonie aux flambards de la chouette harmonie! "Hey! Dufrène! Hey there brass players! Sharpen your beaks - the torchbearers need music splendid owl-like music!"<br /> 13. Voilà la petite avec le brun qui l'amène toujours: le blond qui la remmène toujours va venir. "There's the little brunette with the dark-haired fellow who always brings her; the blond who always takes her home will be here soon."<br /> 14. -C'est donc comme çà que ça mène la joie les houzards de ce règiment là -Turlututu mon ange nous sortons d'en prendre et toi "So this is how the hussars of that regiment enjoy themselves Turlututu my angel we've just come from having a drink - and you"<br /> 15. -C'est un diplomate. . . -C'est un epicier. . . -Non! c'est un mari d'une femme agréable. -Non! Cabocher mon ami vous avez donc bu. . . que vous ne voyez pas que Mosieu est un jeune homme farceur comme tout déguise en un qui sembête à most. . . . le roué masque! "He's a diplomat. He's a grocer. No! He's the husband of an attractive woman. No Cabocher my friend you must be drunk. can't you see that the gentleman is just a practical joker disguised as one of those dreadfully boring fellows. the sly masked rogue!"<br /> 16. -Reflèchissez mon cher ange. . . .: une couchette de noyer toute neuve! et la commode. . . . et quatre belles petites chaises. . . . avec les rideaux jannes et la flèche. . . . cest un aveniur çá! -Je ne dis pas! Mosieu Coquardeau; mais jaime mieux Henri sans rien. "Think about it my dear angel. a brand-new walnut bed! And the chest of drawers. and four lovely little chairs. with yellow curtains and the canopy. that's a future for you! I'm not saying otherwise Monsieur Coquardeau; but I prefer Henri with nothing."<br /> 17. Veux-tu te Sauver Sauvage! "Get lost savage!"<br /> 18. Tenez Clara je suis contrairé comme tout! c'est ma bête de femme qui est partie avec le numéro de mon paletot et ma clef! à prèsent faut que j'attende le jour et que jáille aux Batignolles pour avior ma clef. . . . je suis contraire comme tout. "Look Clara I'm furious! My idiot wife went off with the number tag for my overcoat and my key! Now I have to wait until daylight and go all the way to Batignolles to get my key. I'm absolutely beside myself."<br /> 19. A sept heures ma fille se lève; le temps de faire ses quinze tours il est bien huit heures; faut travailler son piano; on déjeune à neuf; à dix c;est son anglais; ma fille chante sur les midi; et puis sa mère veut qu'elle couse qu'elle fasse un peu de cuisine un peu de tout: bon! la maitresse de paysage arrive à trois hèures; et puis nous avons des serins faut nettoyer çà les fleurs des pots n'importe quoi; les uns et les autres viennent: arrivent cing heures. Et le soir c'est Monsieu Marritou qui lui fait repasser son orthographe. . . . et après çà vous croyez qu'une jeunesse a beaucoup le temps de s'amuser vous! "At seven my daughter gets up; by the time she's done her fifteen turns it's already eight; then she must practice the piano; breakfast is at nine; at ten she has English lessons; around noon she sings; and then her mother wants her to sew do a little cooking a bit of everything; good! the landscape drawing teacher arrives at three; then we have canaries that need cleaning flowers in pots goodness knows what; visitors begin arriving around five. And in the evening Monsieur Marritou makes her review her spelling. and after all that you think young people have much time for amusement!"<br /> 20. . . . . Elle ètait donc censée garder sa tante Grayet qui tenait le lit. . .depuis le Rois pour ses dameuses coliques quand un soir je monte au Grand-Vainqueur pour voir un peu: qu'est-ce'que je vois . . . . mon èspouse en Garde-Française! ! ! !. . . . . ".So she was supposedly staying home to care for her Aunt Grayet who had been bedridden since Twelfth Night with dreadful colic when one evening I went up to the Grand-Vainqueur just to have a look: what do I see . my wife dressed as a French Guardsman!!!".<br /> <br /> Armelhault & Bocher 397-409 Le Carnaval a Paris; 2058 2057 2065 2060 2061 also see pp. 87/88 Les Bals Masques; & 1726 Fantaisies. Paris: Chez Bauger, 1834 unknown‎

Referentie van de boekhandelaar : 06687

‎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

Referentie van de boekhandelaar : 1372192034.G ISBN : 1372192034 9781372192036

‎GAVARNI, Paul‎

‎Le diable à Paris. Paris et les Parisiens. Texte par Mm. George Sand Charles Nodier Gererad de Nerval e.a‎

‎Paris: J. Hetzel 1845. First edition. Very nice copy. Two volumes. Half dark blue leather with gilt decoration. Buckram boards. The edges of the spine are a little scuffed but overall in good clean condition. Internally in excellent condition throughout. Small closed tear has been repaired to the bottom edge of the frontis illustration. The inside boards of each volume hold the armourial bookplate of the Swiss naturalist Camille Pictet. 212 engravings after Garvarni & Bertall. 800 vignettes. xxxii 380. Lxxx 364. pages. 28cm x 18.5cm. . Première édition. Très bel exemplaire. Deux volumes. Cuir bleu foncé rigide avec décorations dorées. Plaques de bougran. Les bords du dos sont un peu éraflés mais l'ensemble est en bon état. L'intérieur est en excellent état. Les plats intérieurs de chaque volume portent l'ex-libris armorié du naturaliste suisse Camille Pictet. 212 gravures d'après Garvarni & Bertall. 800 vignettes. xxxii 380 Lxxx 364 pages. 28cm x 18.5cm. J. Hetzel hardcover‎

Referentie van de boekhandelaar : 5089

‎Gavarni, Paul‎

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

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

Referentie van de boekhandelaar : DADAX0274480018 ISBN : 0274480018 9780274480012

‎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

Referentie van de boekhandelaar : 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

Referentie van de boekhandelaar : 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

Referentie van de boekhandelaar : 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

Referentie van de boekhandelaar : 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

Referentie van de boekhandelaar : 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

Referentie van de boekhandelaar : 24514

‎GAVARNI, Paul [pseudonym of Guillaume Sulpice Chevallier]‎

‎Les Débardeurs‎

‎Paris: Au Bureau du Charivari 1840. Sixty-Six Lithographed Plates by Gavarni<br /> "Stevedores" at the Carnival of Paris <br /> <br /> GAVARNI pseudonym of Guillaume Sulpice Chevallier. Les Débardeurs. Album Comique par Garvarni. Paris: Au Bureau du Journal Amusant & Petit Journal pour Rire. Chez Bauger 1840-1842.<br /> <br /> Three large quarto volumes 13 1/4 x 10 inches; 337 x 253 mm. Sixty-six numbered lithographed plates. Plates printed by Aubert & Cie. Mixed states of the plates as per Armelhault & Bocher. The first forty-four plates with some occasional marginal staining not affecting images some light foxing affecting just a few plates.<br /> <br /> Publisher's printed green paper wrappers with original glassine wrappers. Front wrappers of parts 1 & 2 with some minor discoloration on foredge. Overall an excellent example - the first that we have seen in the original printed wrappers.<br /> <br /> A series of sixty-six 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 /> "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 /> Armelhault & Bocher nos. 486-542 307-309 plates 21 23 and 24 259-263 plates 44 49 32 54 and 61 and 1223 plate 58. Ray The Art of the French Illustrated Book 154. Paris: Au Bureau du Charivari, 1840 unknown‎

Referentie van de boekhandelaar : 05550

‎GAVARNI, Paul [pseudonym of Guillaume Sulpice Chevallier]; [pseudonym of Guillaume Sulpice Chevallier]‎

‎Les Débardeurs‎

‎Paris: Au Bureau du Charivari 1840. Sixty-Four of Sixty-Six<br /> Hand-Colored Lithographed Plates by Gavarni<br /> Depicting "The Stevedores"<br /> <br /> GAVARNI Paul pseudonym of Guillaume Sulpice Chevallier. Les Débardeurs. Album par Garvarni. Paris: Au Bureau du Charivari n.d. 1840-1842.<br /> <br /> Large quarto 14 1/2 x 11 1/4 inches; 367 x 285 mm. Sixty-four of sixty-six superb numbered hand-colored lithographed plates heightened with gum arabic loose as issued. Plates printed by Aubert & Cie.<br /> <br /> The two missing plates are numbers 59 & 65.<br /> <br /> A few plates with some light foxing to blank margins only plates 14 29 43 & 51 with small marginal tears not affecting images otherwise a remarkably fine and clean suite of these wonderful plates. <br /> <br /> A series of sixty-six 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 /> "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 /> "In this work "Ton Alfred est un gueux: il est ici avec l'autre.calme-toi!" from 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 the 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 /> Armelhault & Bocher nos. 486-542 307-309 plates 21 23 and 24 259-263 plates 44 49 32 54 and 61 and 1223 plate 58. Ray The Art of the French Illustrated Book 154.<br /> <br /> The Plates:<br /> <br /> 1. Le Débardeur mâle et femelle.vivants!.<br /> 2. Caporal on gele dans votre satanè violon!.<br /> 3. Amanda l'Ecuyer. Rue.<br /> 4. Qui Moi et Zélie Achille et toi.<br /> 5. Un amour de petit ménage; quoi! Ça se retire à la pointe du jour bien paisibles!.<br /> 6. On va pincer son petit cancan mais bien en douceur.<br /> 7. Le Vicomte Aime de Trois Etoiles et Dame Eloa de Tremblement.<br /> 8. Ah! qu'il est beau!.<br /> 9. Malheureuse enfant! Qu'as - tu fait de ton sexe.<br /> 10. Pauvre Elvire emportée aux flots du bal Musard.<br /> 11. C'est comme ça que tu les intrigues.merci!<br /> 12. En voulez-vous de la crevette.pas cher.<br /> 13. Va dire à ta mère qu'a te mouche.<br /> 14. Je vous dis que vous avez dansé d'une façon.<br /> 15. Comment Lili ne reconnait pas son Nini!<br /> 16. Y en-a-ti des femmes y'en a-t-i.<br /> 17. Allons Landerneau mon bonhomme!.<br /> 18. Ça ne te regarde pas de quoi te mèles-tu.<br /> 19. .être fichues au violon comme des rien du tout!.<br /> 20. Six pouces de jambes et le dos tout de suite!.<br /> 21. "L'Intolérance est fille des faux Dieux!".<br /> 22. Voyons Angelina as-tu assez fait poser Mosieu<br /> 23. Va donc!.Singulier masculin!<br /> 24. C'est mon Débardeur!.<br /> 25. C'est d'main matin qu'mon tendre époux va beugler.<br /> 26. Te v'la ici toi! C'est comme ça qu'tas ta migraine.<br /> 27. J'espère que tu vas te tenir Angélique.<br /> 28. Voilà un fénéant qui dort et qui laisse une pauv femme danser toute la nuit!.<br /> 29. .une douzaine d'huitres et mon coeur.<br /> 30. V'la qu'i fait jour: j'suis échigné moi dam! Et toi.<br /> 31. On rit avec vous et tut e faches.en voilà un drôle de pistolet!<br /> 32. Tais-toi moutard faut laisser jaser l'autorité!.<br /> 33. V'là un gueux de petit pékin qui se divertit au bal comme un grain de plomb dans du champagne.<br /> 34. .Et si Cornélie ne trouvait pas de voiture.<br /> 35. Toi je te repigerai!<br /> 36. Qu'est-ee que c'est Tu vous deranges pour ça et t'en voudrais déja p'us.<br /> 37. Le Débardeur - Ne me parlez pas des femmes en Carnaval pour s'amuser!.<br /> 38. Ils vont venir: écoute Hortense! Sur le coup de minuit minuit et demi vois-tu.<br /> 39. V'là qu'elles ont des mots!.Fameux!.<br /> 40. Et ton Epouse.<br /> 41. Est-ce que vous n'en avez pas bientot assez Angélina du Carnaval.<br /> 42. As-tu vu M'ame Alexandre et l'ancienne à Paul qui sont à se peigner en bas pour ce Paltoquet d'Eugène!.<br /> 43. Aurai-je l'honneur de danser un galop ávec Mosieu le Baron.<br /> 44. P'us que ça de bouillon! Merci.<br /> 45. J'te parie mon Alezan doré contre ta Vicomtesse que j'emporte ce soir le petit rat du Baron.<br /> 46. Ton Alfred est un gueux: il est ici avec l'autre.<br /> 47. Qu'est-ce que t'as mon vieux Auguste - Rien!.<br /> 48. Eh! b'en Landerneau ça ne vas donc pas mieux.<br /> 49. Allons! allons Mazuzi! Tiens-toi allons!.<br /> 50. Mon cher le municipal a emporté le petit muf'e avec qui je dansais parcequ'I voulait pincer son Cancan.<br /> 51. Ah! ça décidément Caroline est folle du petit Anglais.<br /> 52. J'i ai dit! J i dit Madame si vous vous permettez de fich.<br /> 53. As tu vu M'ame Chose et le petit Baron qui ne peuvent pas se voir.<br /> 54. Monter à cheval sur le cou d'un homme qu'on ne connait pas t'appelle çà plaisanter toi!<br /> 55. Je f'avertis Milord.sit u dines demain avec cette Andalouse-lá.<br /> 56. Qu'est que t'as la Mômignarde.<br /> 57. Çà! C;est pas la perruque à Jules!.<br /> 58. Un honnête Domino! Des airs décents.<br /> <br /> 60. Voyez-vous mon petit Larrims j'ai de l'amitié pour vous tout plein tout plein! Mais.<br /> 61. Tu danseras Coquardeau!.<br /> 62. Doux Jésus! Où que je vas me sauver.<br /> 63. Agathe et toi mon vieux Ferdinand ça ne sera pas long.<br /> 64. V'là trois heures Titine; filons! Faut que je sois levé au petit jour.<br /> <br /> 66. Oh! Hé! Viens-tu souper la Gustine! Paris: Au Bureau du Charivari, 1840 unknown‎

Referentie van de boekhandelaar : 05232

‎GAVARNI, Paul [pseudonym of Guillaume Sulpice Chevallier]‎

‎Les Enfans terribles‎

‎Paris: Bauger et Cie. 1838-42. Gavarni's "Terrible Children"<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 niniche".<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

Referentie van de boekhandelaar : 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

Referentie van de boekhandelaar : 24520

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

‎Les Gens de Paris. Wood-engravings.‎

‎Paris: Hetzel circa 1840s. 33 wood-engravings sur blanc. 28 x 18cm. OCLC Number38921095 Paris: Hetzel, circa 1840s. unknown‎

Referentie van de boekhandelaar : 16-5528

‎Gavarni, Paul‎

‎Les Lorettes. "Voyons Lodie! voyons! ." Lithograph‎

‎Paris: Chez Aubert & Cie 1857. Very good condition. Handsomely 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 disapproving mother attempting to convince her singing & dancing daughter to calm down and get dressed. Printed at upper right border is the number 44. Paper size approximately 9 1/2 x 12 1/2" Chez Aubert & Cie unknown‎

Referentie van de boekhandelaar : 24516

‎Gavarni, Paul‎

‎Les Martyrs. "Deux heures de pose hors de tour". Lithograph‎

‎Paris: Imp. d'Aubert 1857. Very good overall. 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. <br /> <br /> Depicting a young female model in long red dress posing in artist's studio with engaged artist his head down at the left. Magnificently hand colored lithograph highlighted with gum arabic printed upper right border is the number 7. Slight foxing mostly in margins. Paper size approximately 9 1/2 x 12 1/2". Tipped on at right edge to heavier stock. Imp. d'Aubert unknown‎

Referentie van de boekhandelaar : 24522

‎GAVARNI, Paul [pseudonym of Guillaume Sulpice Chevallier]‎

‎Les Étudiants de Paris & Le Carnaval à Paris & Les Débardeurs‎

‎Paris: Chez Aubert 1840. Sixty Superb Hand Colored Lithographs from three of Gavarni's Most Celebrated Series<br /> <br /> GAVARNI Paul pseudonym of Guillaume Sulpice Chevallier. Les Étudiants de Paris & Le Carnaval à Paris & Les Débardeurs. Paris: Chez Aubert 1840-1842.<br /> <br /> Folio 13 × 9 in.; 330 × 250 mm. An exceptional compilation of sixty hand-colored lithographs each heightened with gum arabic all by Paul Gavarni. A few plates with minor foxing to blank margins.<br /> <br /> Contemporary quarter black diced calf over patterned black paper-covered boards extremities a little rubbed.<br /> <br /> A striking and well-assembled album - sixty vivid gum-arabic-heightened lithographs by Gavarni drawn from three of his most celebrated series. Together they offer a lively social commentary and a cohesive survey of the artist's sharp eye for character and nuance realized in brilliantly hand-colored lithographs of great visual appeal and presence.<br /> <br /> Contents: <br /> <br /> Les Étudiants de Paris 1839-40: 16 plates of 60 - nos. 2 3 4 6 7 9 10 15 16 18 20 21 22 25 stained at top blank fore-margin just touching image 30 31.<br /> <br /> Le Carnaval à Paris 1841-42: 16 plates of 30 - nos. 1 2 4 5 7 8 11 12 13 14 17 19 20 22 23 27.<br /> <br /> Les Débardeurs 1840-42: 28 plates of 66 - nos. 1 2 3 4 5 6 7 8 9 10 11 12 15 18 19 20 22 27 33 34 43 45 47 slightly worn at fore-margin 53 54 55 56 slightly worn at fore-margin 63.<br /> <br /> <br /> Les Étudiants de Paris captures the comedic sometimes absurd university life of Paris's law and medical students-a defining early Gavarni series.<br /> <br /> Le Carnaval à Paris explores the flamboyant masked festivities of Parisian carnival blending costume satire and street theater-these sixteen plates suggest sequential extraction from the original issue.<br /> <br /> Les Débardeurs offers spirited depictions of carnival dock-working women-humorous lively and deeply grounded in Gavarni's keen observational style.<br /> <br /> <br /> Armelhault & Bocher: "Les Étudiants de Paris" nos. 626-657; "Le Carnaval à Paris" nos. 729-755; "Les Débardeurs" nos. 800-866. Colas: 1292 Étudiants 1295 Carnaval 1298 Débardeurs; Lipperheide: Lc 2312 Étudiants Lc 2315 Carnaval Lc 2317 Débardeurs. Paris: Chez Aubert, 1840 unknown‎

Referentie van de boekhandelaar : 06246

‎Gavarni, Paul‎

‎Love couple on a forest path Museum Etching Museum Quality A2‎

‎Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 19th century 1843. Professionally printed on premium fine-art paper Museum Etching museum quality in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown‎

Referentie van de boekhandelaar : 1249344

‎Gavarni, Paul‎

‎Love couple on a forest path Photo Matt Fibre A2‎

‎Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 19th century 1843. Professionally printed on premium fine-art paper Photo Matt Fibre in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown‎

Referentie van de boekhandelaar : 1249342

‎Gavarni, Paul‎

‎Man and woman on the street at night Museum Etching Museum Quality A3‎

‎Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 19th century 1840. Professionally printed on premium fine-art paper Museum Etching museum quality in size A3. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown‎

Referentie van de boekhandelaar : 1249406

‎Gavarni, Paul‎

‎Man and woman on the street at night Museum Etching Museum Quality A2‎

‎Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 19th century 1840. Professionally printed on premium fine-art paper Museum Etching museum quality in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown‎

Referentie van de boekhandelaar : 1249409

‎Gavarni, Paul (1804-1866); J Birouste (Engraver).‎

‎Man holding an umbrella.‎

‎Paris: French Publisher circa 1841. Book illustration. 190 x 138 mm. sheet. Very Good.Provenance: From the collection of the Late Frederick G. Ruffner Jr. founder of Gale Research Detroit. [Paris: French Publisher, circa 1841]. unknown‎

Referentie van de boekhandelaar : 71-3244