DAUMIER, HonoreABAA
4.307 Ergebnisse
Best.-Nr. 04953Paris: Léopold Pannier et Cie. 1841. One Hundred Masterpieces by Honoré Daumier Two Exceptionally Rare Complete Albums Bound Together One Hundred Superb Lithographs Satirizing Parisian Life and the Classical World DAUMIER Honoré illustrator. Variétés Drolatiques. Paris: Léopold Pannier et Cie. 1841. First collected edition. Folio 13 3/16 x 10 inches; 335 x 254 mm. Publisher Léopold Pannier gathered together seven of Daumier's finest humorous series into a single album comprising fifty lithographs: Vulgarités 10 plates complete Les Musiciens de Paris 6 plates complete Proverbes de Famille 2 plates complete Proverbes et Maximes 12 plates complete La Pêche 7 plates complete La Journée du Célibataire 12 plates complete Les Saltimbanques 1 plate as issued in the album A total of fifty lithographs. As noted by the Daumier Register: "Pannier published a separate album with the title Variétés Drolatiques. containing seven complete series. bringing the total number of prints to fifty. This album can be considered rare." Far scarcer than the individual lithographs themselves this publisher's album represents one of the earliest attempts to preserve Daumier's celebrated caricatures in collected form. The seven suites encompass every aspect of Parisian life - from domestic quarrels and bachelorhood to musicians fishermen itinerant entertainers and the comic absurdities of bourgeois society. Together they provide an extraordinary survey of Daumier's mature genius during the early years of the July Monarchy. Institutionally the album is exceptionally elusive. OCLC records only three individual plates from Proverbes et Maximes in public collections while we have located only a single complete copy appearing at auction sold between October 1898 and July 1899. Even the celebrated Armand Hammer Collection includes only a single plate from La Pêche. Bound with Histoire Ancienne Daumier's Brilliant Satire on Classical Antiquity DAUMIER Honoré illustrator. PHILIPON Charles. Histoire Ancienne. Paris: Chez Aubert 1841-1843. Complete with fifty lithographed plates. Together the two works comprise one hundred superb lithographs. Contemporary quarter dark brown morocco over marbled boards spine with four raised bands ruled in blind and lettered in gilt marbled endpapers. A near fine complete example. One of Daumier's most original and intellectually ambitious achievements Histoire Ancienne transforms the heroes and gods of Greece and Rome into recognizably nineteenth-century Parisians. Achilles Ulysses Hercules Jupiter and countless other classical figures are stripped of their heroic grandeur and recast as vain bourgeois comic bureaucrats quarrelsome husbands and pretentious social climbers. Published between 1841 and 1843 the series formed part of the Romantic assault upon academic Classicism then dominating French art and literature. Charles Philipon's witty accompanying texts contain numerous veiled political references to the reign of King Louis-Philippe making the series not merely humorous but a sophisticated exercise in social and political satire. Among the finest plates are: Le Baptême d'Achille in which the infant Achilles is plunged into the Styx with comic domestic realism rather than epic grandeur. La Mère des Gracques perhaps the best-known image in the series where the famous Roman matron proudly presents her boisterous children as her "only jewels" allowing Daumier to transform an episode from Plutarch into a scene from contemporary Parisian family life. Complete copies are extraordinarily uncommon. We have located only a single institutional example worldwide at the Bibliothèque nationale de France. Bound together these two remarkable albums contain one hundred original lithographs spanning every facet of Daumier's genius - from the comic theater of everyday Parisian existence to his devastating reinterpretation of the ancient world. Few nineteenth-century caricature albums combine such artistic brilliance historical importance and genuine rarity. An exceptional opportunity to acquire two of the master's most elusive and complete lithographic series in a handsome contemporary binding. Paris: Léopold Pannier et Cie., 1841 unknown books
Best.-Nr. 06343Paris: Chez Aubert 1844. One of Daumier's most Iconic Albums from the early 1840s Published at the height of Parisian Tourism and Bourgeois Curiosity Twenty Magnificent Hand Colored Lithographs DAUMIER Honoré de. Les Étrangers à Paris. Paris: Chez Aubert 1844. First edition. Folio 13 1/8 x 9 7/8 inches; 333 x 251 mm. Complete with twenty magnificent hand-colored lithographs heightened with gum arabic drawn and lithographed by Honoré Daumier printed on strong wove paper. Publisher's dark blue ribbed cloth covers bordered in blind upper cover decoratively lettered in gilt. Smooth spine original pale yellow endleaves. Sixteen-page Aubert publisher's catalogue at rear moderately foxed. Plates crisp and luminous colors vibrant and unfaded gum arabic highlights glossy and intact; with just a few faint marginal fox spots. A fine fresh and very scarce complete copy of this celebrated satirical album caricaturing foreign tourists and provincials adrift in mid-nineteenth-century Paris. Rarely found with the hand-coloring so vivid and the publisher's binding so well preserved. Les Étrangers à Paris stands as one of Daumier's most iconic albums from the early 1840s published by Aubert at the height of Parisian tourism and bourgeois curiosity. It forms a satirical ethnography of the provincial rural and foreign types who in increasing numbers descended upon the capital with wonder - and were swiftly disillusioned or ridiculed. These lithographs were originally issued separately in the Charivari and then collected by Aubert for publication in this folio edition. The rarity of complete hand-colored examples especially in such crisp condition with the original Aubert publisher's cloth binding and catalogue cannot be overstated. Two of the lithographs nos. 3 & 14 are featured in Daumier 120 Great Lithographs edited by Charles F. Ramus nos. 48 & 49. 1. L'arivée 2. L'Indispensable visite chez le tailleur du Palais-Royal 3. Ce qu'on appèle diner au restaurant 4. Quelques lègères emplèttes 5. Un obligeant cicerone 6. Une émotion au jardin des plantes 7. Une lègère queue a la porte du Palais de L'Industrie 8. Un èpisode de l'Exposition 9. Ce qu'on appelle les sèductions de Paris 10. La visite a L'Hotel des Invalides 11. Une Llègère promenade en omnibus 12. Un diner a prix fixe 13. Un bal champètre de Paris 14. Grandes eaux à Versailles! 15. Les Étrangers dévisagés par eux memes 16. Le portrait au daguéréotype 17. Les magasins de plus en plus monstres 18. Le chapeau qu'on rapporte de Paris 19. Voi-tu cet imbècile qui ne s'appercoit pas que son tonneau fuit. 20. Le départ Carteret IV p.130 "rare et recherché"; L'Archtambault Catalogue de l'œuvre lithographié de Daumier p. 238; Ray The Art of the French Illustrated Book 162; Vicaire III 190. Paris: Chez Aubert, 1844 unknown
Best.-Nr. 06343Paris: Chez Aubert 1844. One of Daumier's most Iconic Albums from the early 1840s Published at the height of Parisian Tourism and Bourgeois Curiosity Twenty Magnificent Hand Colored Lithographs DAUMIER Honoré de. Les Étrangers à Paris. Paris: Chez Aubert 1844. First edition. Folio 13 1/8 x 9 7/8 inches; 333 x 251 mm. Complete with twenty magnificent hand-colored lithographs heightened with gum arabic drawn and lithographed by Honoré Daumier printed on strong wove paper. Publisher's dark blue ribbed cloth covers bordered in blind upper cover decoratively lettered in gilt. Smooth spine original pale yellow endleaves. Sixteen-page Aubert publisher's catalogue at rear moderately foxed. Plates crisp and luminous colors vibrant and unfaded gum arabic highlights glossy and intact; with just a few faint marginal fox spots. A fine fresh and very scarce complete copy of this celebrated satirical album caricaturing foreign tourists and provincials adrift in mid-nineteenth-century Paris. Rarely found with the hand-coloring so vivid and the publisher's binding so well preserved. Les Étrangers à Paris stands as one of Daumier's most iconic albums from the early 1840s published by Aubert at the height of Parisian tourism and bourgeois curiosity. It forms a satirical ethnography of the provincial rural and foreign types who in increasing numbers descended upon the capital with wonder - and were swiftly disillusioned or ridiculed. These lithographs were originally issued separately in the Charivari and then collected by Aubert for publication in this folio edition. The rarity of complete hand-colored examples especially in such crisp condition with the original Aubert publisher's cloth binding and catalogue cannot be overstated. Two of the lithographs nos. 3 & 14 are featured in Daumier 120 Great Lithographs edited by Charles F. Ramus nos. 48 & 49. 1. L'arivée 2. L'Indispensable visite chez le tailleur du Palais-Royal 3. Ce qu'on appèle diner au restaurant 4. Quelques lègères emplèttes 5. Un obligeant cicerone 6. Une émotion au jardin des plantes 7. Une lègère queue a la porte du Palais de L'Industrie 8. Un èpisode de l'Exposition 9. Ce qu'on appelle les sèductions de Paris 10. La visite a L'Hotel des Invalides 11. Une Llègère promenade en omnibus 12. Un diner a prix fixe 13. Un bal champètre de Paris 14. Grandes eaux à Versailles! 15. Les Étrangers dévisagés par eux memes 16. Le portrait au daguéréotype 17. Les magasins de plus en plus monstres 18. Le chapeau qu'on rapporte de Paris 19. Voi-tu cet imbècile qui ne s'appercoit pas que son tonneau fuit. 20. Le départ Carteret IV p.130 "rare et recherché"; L'Archtambault Catalogue de l'œuvre lithographié de Daumier p. 238; Ray The Art of the French Illustrated Book 162; Vicaire III 190. Paris: Chez Aubert, 1844 unknown books
Best.-Nr. 2998Album romantique de 205x260 mm, relie en basane maroquinee verte portant en super- libros sur le premier plat « Album ». Il se compose de feuillets de papier fort bleu montes sur onglets. Sur le verso de la premiere page, une table des matieres manuscrite.Les dessins au nombre de 39 sont colles a pleine page et certains d’entre eux sont decoupes, amputant une partie du dessin, ou sommairement replies en haut ou en bas. Certains dessins decoupes dans leur partie inferieure laissent deviner des ecritures au crayon qui ont ete otees. Un seul dessin, celui d’Anthony Thouret comporte une legende manuscrite.Le papier utilise est un papier fin, hativement decoupe. La plupart des dessins ont ete plies en deux ou en quatre. Certains semblent avoir ete mis sous enveloppe , certains ont ete dechires en tout ou partie puis recolles avec une bande en papier.
Best.-Nr. 05441Paris: Chez Aubert 1838. Daumier's Masterpiece of French Social Satire The Complete Les Robert Macaire - One Hundred Magnificently Hand-Colored Lithographs Heightened with Gum Arabic An Extraordinary Copy in the Original Publisher's Blue Cloth with an Additional Plate from the Exceedingly Rare Second Series DAUMIER Honoré 1808-1879 illustrator and PHILIPON Charles 1800-1862. Les Robert Macaire Caricaturana. Paris: Chez Aubert August 1836-November 1838. First edition. Folio 13 3/16 x 10 3/8 inches; 338 x 263 mm. One hundred original hand-colored lithographed plates all heightened with gum arabic together with one additional hand-colored plate from the exceptionally scarce second series. The complete suite of one hundred plates from the first series is present. A remarkable bibliographical curiosity: In this copy plate 96 À tous les cœurs bien nés que la patrie est chère!! Daumier Register 451 published October 28 1838 was originally replaced by a plate from the second series Robert Macaire 2e Série No. 7: Nouveautés philanthropiques Daumier Register 872 published April 4 1841. The plate number has been altered in old ink to read "96" apparently at or before the time of binding although the circumstances of the substitution cannot be established with certainty. An original hand-colored impression of the correct plate 96 DR 451 has subsequently been supplied and inserted immediately following plate 95 thereby restoring the complete first series while preserving the unusual second-series plate in its original bound position. The first plate bound a little tightly at the upper margin just touching the image. Plate 13 DR 366 with a small expertly repaired marginal tear extending approximately 1 1/2 inches and just touching the image; plate 46 DR 401 with a small expert repair approximately 5/8 inch to the inner blank margin; plates 11 DR 364 31 DR 385 and 48 DR 403 each with a tiny repaired marginal tear approximately 5/16 inch. A few plates very slightly toned; plate 34 DR 388 with some light foxing. Overall the plates are remarkably fresh with exceptionally vivid hand-coloring. Original publisher's diaper-grain blue cloth covers ruled in blind front cover decoratively lettered in gilt "Robert-Macaire." Plain endpapers. Expertly recased with inner hinges repaired. An early bookseller's catalogue description dated April 1942 affixed to the front free endpaper making no reference to the substituted plate. Traces of old tape residue on the front and rear endpapers. An excellent and unusually desirable example retaining the exceptionally scarce original publisher's binding and displaying the superb quality of the contemporary hand-coloring throughout. The Great Masterpiece of Daumier's Social Satire: Among the many achievements of Honoré Daumier few have exercised so enduring an influence upon the history of caricature as Les Robert Macaire. First published in the pages of Le Charivari between 1836 and 1838 this extraordinary series of one hundred lithographs constitutes one of the most penetrating inventive and entertaining portrayals of nineteenth-century French society. The series arose from the increasingly restrictive political climate of Louis-Philippe's July Monarchy. Following the September Laws of 1835 which severely curtailed political caricature Daumier and his publisher and collaborator Charles Philipon redirected their formidable satirical talents toward the absurdities pretensions and moral corruption of contemporary bourgeois life. Their vehicle was Robert Macaire the flamboyant confidence trickster made famous by the actor Frédérick Lemaître in the melodrama L'Auberge des Adrets. In Daumier's hands Macaire became something altogether more significant: the embodiment of a society in which speculation self-interest hypocrisy and dishonesty appeared to flourish in virtually every profession. Accompanied by his long-suffering accomplice Bertrand Macaire appears in an astonishing succession of disguises and occupations: banker lawyer physician businessman journalist financier entrepreneur philanthropist and opportunist of every conceivable description. No institution escapes scrutiny. The law courts the stock exchange the medical profession commercial speculation fashionable society marriage religion and charitable enterprise all provide opportunities for Macaire's inexhaustible ingenuity in separating the gullible from their money. Daumier's genius lies not merely in the grotesque exaggeration of his figures but in his extraordinary understanding of human character. Macaire's expansive gestures magnificent self-assurance and perpetual air of injured respectability are rendered with such brilliance that the character becomes at once ludicrous recognizable and disturbingly convincing. The accompanying captions largely devised by Philipon are an essential part of the achievement. Their wit irony and perfectly judged dialogue transform each lithograph into a miniature theatrical performance. Together artist and writer created a sustained comic portrait of an entire social order one whose relevance has scarcely diminished in the intervening two centuries. The original album was published by Aubert in a reported edition of 2500 copies a considerably larger printing than was customary for contemporary lithographic series. However the overwhelming majority were issued with the plates uncolored and complete copies with contemporary hand-coloring are particularly desirable. The present example is distinguished by the brilliance and freshness of its coloring enhanced throughout by the application of gum arabic which lends a characteristic luminosity and richness to selected details. The original publisher's blue cloth binding is another feature of exceptional importance. Most surviving copies have been rebound and examples retaining their original publisher's cloth are seldom encountered. This is only the second such copy we have handled. The present copy possesses the additional distinction of containing a plate from the exceedingly scarce second series of Robert Macaire issued between 1840 and 1842. This later continuation comprised twenty lithographs Daumier Register 866-885 and individual impressions are themselves difficult to obtain. The presence of Nouveautés philanthropiques DR 872 incorporated into the original sequence and renumbered in contemporary ink is an intriguing survival. Whether introduced by the publisher or by an early owner it provides unusual evidence of the manner in which these lithographic albums could be assembled and altered. With the correct original plate 96 now supplied the album preserves the complete first series while retaining this additional and exceptionally uncommon impression. The bibliographical importance of Les Robert Macaire has long been recognized. Charles Baudelaire singled out the series for discussion in his essay on French caricaturists while Philip Hofer Gordon N. Ray and other historians of illustrated books have acknowledged its central position in the development of modern graphic satire. Gordon Ray described it as Daumier's best-known work and noted the extraordinary contemporary popularity that led to the publication of 6000 copies of the smaller-format two-volume Les Cent-et-Un Robert Macaire beginning in 1839. Despite this popularity complete copies of the original folio series are uncommon and those combining contemporary hand-coloring exceptional condition and the publisher's original binding are rarer still. A magnificent survival of one of the most celebrated achievements in the history of European caricature combining artistic brilliance bibliographical rarity and an unusually interesting publishing history. References: Daumier Register 354-373 375-455 first series; 872 additional plate from second series. Ray The Art of the French Illustrated Book 161. Beraldi Les Graveurs du XIXe Siècle V p. 124. Paris: Chez Aubert, 1838 unknown
Best.-Nr. 05441Paris: Chez Aubert 1838. Daumier's Masterpiece of French Social Satire The Complete Les Robert Macaire - One Hundred Magnificently Hand-Colored Lithographs Heightened with Gum Arabic An Extraordinary Copy in the Original Publisher's Blue Cloth with an Additional Plate from the Exceedingly Rare Second Series DAUMIER Honoré 1808-1879 illustrator and PHILIPON Charles 1800-1862. Les Robert Macaire Caricaturana. Paris: Chez Aubert August 1836-November 1838. First edition. Folio 13 3/16 x 10 3/8 inches; 338 x 263 mm. One hundred original hand-colored lithographed plates all heightened with gum arabic together with one additional hand-colored plate from the exceptionally scarce second series. The complete suite of one hundred plates from the first series is present. A remarkable bibliographical curiosity: In this copy plate 96 À tous les cœurs bien nés que la patrie est chère!! Daumier Register 451 published October 28 1838 was originally replaced by a plate from the second series Robert Macaire 2e Série No. 7: Nouveautés philanthropiques Daumier Register 872 published April 4 1841. The plate number has been altered in old ink to read "96" apparently at or before the time of binding although the circumstances of the substitution cannot be established with certainty. An original hand-colored impression of the correct plate 96 DR 451 has subsequently been supplied and inserted immediately following plate 95 thereby restoring the complete first series while preserving the unusual second-series plate in its original bound position. The first plate bound a little tightly at the upper margin just touching the image. Plate 13 DR 366 with a small expertly repaired marginal tear extending approximately 1 1/2 inches and just touching the image; plate 46 DR 401 with a small expert repair approximately 5/8 inch to the inner blank margin; plates 11 DR 364 31 DR 385 and 48 DR 403 each with a tiny repaired marginal tear approximately 5/16 inch. A few plates very slightly toned; plate 34 DR 388 with some light foxing. Overall the plates are remarkably fresh with exceptionally vivid hand-coloring. Original publisher's diaper-grain blue cloth covers ruled in blind front cover decoratively lettered in gilt "Robert-Macaire." Plain endpapers. Expertly recased with inner hinges repaired. An early bookseller's catalogue description dated April 1942 affixed to the front free endpaper making no reference to the substituted plate. Traces of old tape residue on the front and rear endpapers. An excellent and unusually desirable example retaining the exceptionally scarce original publisher's binding and displaying the superb quality of the contemporary hand-coloring throughout. The Great Masterpiece of Daumier's Social Satire: Among the many achievements of Honoré Daumier few have exercised so enduring an influence upon the history of caricature as Les Robert Macaire. First published in the pages of Le Charivari between 1836 and 1838 this extraordinary series of one hundred lithographs constitutes one of the most penetrating inventive and entertaining portrayals of nineteenth-century French society. The series arose from the increasingly restrictive political climate of Louis-Philippe's July Monarchy. Following the September Laws of 1835 which severely curtailed political caricature Daumier and his publisher and collaborator Charles Philipon redirected their formidable satirical talents toward the absurdities pretensions and moral corruption of contemporary bourgeois life. Their vehicle was Robert Macaire the flamboyant confidence trickster made famous by the actor Frédérick Lemaître in the melodrama L'Auberge des Adrets. In Daumier's hands Macaire became something altogether more significant: the embodiment of a society in which speculation self-interest hypocrisy and dishonesty appeared to flourish in virtually every profession. Accompanied by his long-suffering accomplice Bertrand Macaire appears in an astonishing succession of disguises and occupations: banker lawyer physician businessman journalist financier entrepreneur philanthropist and opportunist of every conceivable description. No institution escapes scrutiny. The law courts the stock exchange the medical profession commercial speculation fashionable society marriage religion and charitable enterprise all provide opportunities for Macaire's inexhaustible ingenuity in separating the gullible from their money. Daumier's genius lies not merely in the grotesque exaggeration of his figures but in his extraordinary understanding of human character. Macaire's expansive gestures magnificent self-assurance and perpetual air of injured respectability are rendered with such brilliance that the character becomes at once ludicrous recognizable and disturbingly convincing. The accompanying captions largely devised by Philipon are an essential part of the achievement. Their wit irony and perfectly judged dialogue transform each lithograph into a miniature theatrical performance. Together artist and writer created a sustained comic portrait of an entire social order one whose relevance has scarcely diminished in the intervening two centuries. The original album was published by Aubert in a reported edition of 2500 copies a considerably larger printing than was customary for contemporary lithographic series. However the overwhelming majority were issued with the plates uncolored and complete copies with contemporary hand-coloring are particularly desirable. The present example is distinguished by the brilliance and freshness of its coloring enhanced throughout by the application of gum arabic which lends a characteristic luminosity and richness to selected details. The original publisher's blue cloth binding is another feature of exceptional importance. Most surviving copies have been rebound and examples retaining their original publisher's cloth are seldom encountered. This is only the second such copy we have handled. The present copy possesses the additional distinction of containing a plate from the exceedingly scarce second series of Robert Macaire issued between 1840 and 1842. This later continuation comprised twenty lithographs Daumier Register 866-885 and individual impressions are themselves difficult to obtain. The presence of Nouveautés philanthropiques DR 872 incorporated into the original sequence and renumbered in contemporary ink is an intriguing survival. Whether introduced by the publisher or by an early owner it provides unusual evidence of the manner in which these lithographic albums could be assembled and altered. With the correct original plate 96 now supplied the album preserves the complete first series while retaining this additional and exceptionally uncommon impression. The bibliographical importance of Les Robert Macaire has long been recognized. Charles Baudelaire singled out the series for discussion in his essay on French caricaturists while Philip Hofer Gordon N. Ray and other historians of illustrated books have acknowledged its central position in the development of modern graphic satire. Gordon Ray described it as Daumier's best-known work and noted the extraordinary contemporary popularity that led to the publication of 6000 copies of the smaller-format two-volume Les Cent-et-Un Robert Macaire beginning in 1839. Despite this popularity complete copies of the original folio series are uncommon and those combining contemporary hand-coloring exceptional condition and the publisher's original binding are rarer still. A magnificent survival of one of the most celebrated achievements in the history of European caricature combining artistic brilliance bibliographical rarity and an unusually interesting publishing history. References: Daumier Register 354-373 375-455 first series; 872 additional plate from second series. Ray The Art of the French Illustrated Book 161. Beraldi Les Graveurs du XIXe Siècle V p. 124. Paris: Chez Aubert, 1838 unknown books
Best.-Nr. 51-1018Paris: Aubert & Cie. 1845-1848. A suite of 38 lithographs on wove paper without verso text. Delteil 1337-1374. Images: 9 1/2 by 7 1/2 in. 24.1 by 19.1 cm. Uniformly framed. This collection includes the 37 published ones in the series and the unpublished one Delteil 1362 no. 26. From the collection of the celebrated Wall Street attorney Robert S. Pirie. The illustration shows the lithographs on the staircase in situ at his Greenwich Village townhouse. Pirie was a member of the family who owned the famous namesake Chicago department store chain and was educated at Harvard. He was also the foremost collector of 17th Century English literature. Paris: Aubert & Cie. 1845-1848. unknown
