Daumier, HonoreBiblio.com
4 307 résultats
réf. 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 This collection includes the 37 published ones in the series and the unpublished one Delteil 1362 no. 26.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
réf. 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
réf. 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
réf. 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.
réf. 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
réf. 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
réf. 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
réf. 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
1823réf. B6599Honore Daumier incl. Chez Aubert and Cie; mostly 18230-1860's. Plates in very good condition; mostly crisp and clean; some minor reinforcements and tear repairs mainly marginal. Binding: Contemporary marbled boards; rebacked expertly saving the contemporary spine; flat spine with gilt lettered title on two and four; marbled endpapers. Marbled endpaper pasted to contemporary free endpaper. Notes: Honoré-Victorin Daumier 1808 – 1879 was a French printmaker caricaturist painter and sculptor whose many works offer commentary on social and political life of 19th century France. ‘Daumier produced more than 4000 lithographs 1000 wood engravings 1000 drawings . . perhaps best known for his caricatures of political figures and satires on the behavior of his countrymen. ‘During the reign of Louis Philippe Charles Philipon launched the comic journal 'La Caricature'. Daumier joined its staff which included such powerful artists as Devéria Raffet and Grandville and started upon his pictorial campaign of satire targeting the foibles of the bourgeoisie the corruption of the law and the incompetence of a blundering government. His caricature of the king as Gargantua led to Daumier's imprisonment for six months at Ste Pelagie in 1832. Soon after the publication of 'La Caricature' was discontinued but Philipon provided a new field for Daumier's activity when he founded the 'Le Charivari'. ‘Daumier produced his social caricatures for 'Le Charivari' in which he held bourgeois society up to ridicule in the figure of Robert Macaire hero of a popular melodrama. In another series 'L'histoire ancienne' he took aim at the constraining pseudo-classicism of the art of the period. In 1848 Daumier embarked again on his political campaign still in the service of 'Le Charivari' which he left in 1863 and rejoined in 1864. ‘Around the mid-1840s Daumier started publishing his famous caricatures depicting members of the legal profession known as 'Les Gens de Justice' a scathing satire about judges defendants attorneys and corrupt greedy lawyers in general. A number of extremely rare albums appeared on white paper covering 39 different legal themes of which 37 had previously been published in the 'Charivari'. It is said that Daumier's own experience as an employee in a bailiff's office during his youth may have influenced his rather negative attitude towards the legal profession. ‘In 1834 he produced the lithograph 'Rue Transnonain 15 April 1834' depicting the massacre in the rue transnoin which was part of the April 1834 riots in Paris. It was designed for the subscription publication 'L’Association Mensuelle'. The profits were to promote freedom of the press and defrayed legal costs of a lawsuit against the satirical politically progressive journal 'Le Charivari' to which Daumier contributed regularly. The police discovered the print hanging in the window of printseller Ernest Jean Aubert in the Galerie Véro-Dodat passageway in 1st arrondissement and subsequently tracked down and confiscated as many of the prints they could find along with the original lithographic stone on which the image was drawn. Existing prints of Rue Transnonain are survivors of this effort. The present collection is from series published in the Charivari: ACTUALITES CARICATURES DU JOUR. Celebrites de la Caricature CES BONS PARISIENS CROQUIS AQUATIQUES CROQUIS D’EXPRESSONS EN CHINE HISTOIRE ANCIENNE. La Caricature LA PECHE. LES BAIGNEURS. LES BANQUETEURS. LES BAS-BLEUS. LES BEAUX JOURS DE LA VIE. LES BONS BOURGEOIS LES PAPAS LES PHILANTROPES DU JOUR. LOCATAIRES ET PROPRIETAIRES. MOEURS CONJUGALES. PASTORALES. SILHOUETTES. TOUT CE QU’ON VOUDRA. Size: folio 350x258mm; plates Illustration: Illustrated with Charivari’s publication title ‘Les Bohemiens’; and a collection of onehundred 100 leaves with lithographs by Honore Daumier most signed within the plate in black 73 or contemporary hand-colour 27; plates from various series listed below of varying sizes printed in the publication ‘Le Charivari’. Two plates are repeated 52 & 63 and 45 & 65 respectively. Provenance: The thirty-seventh 37th bound plate has a marginal round ink stamp: Transation: Titles and captions Pages: Ll: bl. title 100 engraved leaves bl. Category: Book Caricatures; Book Europe France; Book Plate Books Colour; Honore Daumier, incl. Chez Aubert and Cie; hardcover
réf. 51-2812Paris: Charles Philipon 1832-1833. A complete run of the first 211 issues each with an original lithograph. 2 volumes. Also included is the specimen issue no. 56 torn but all parts present.31 x 24 cm. Original red boards in poor condition. A few of the prints are torn without loss. Includes all the issues between December 1 1832 and June 30 1833. These early issues are printed on rag paper not the later wood pulp. Contains all 19 lithographs by Daumier: Delteil nos. 136-154. All prints with the "Timbre Royal" stamp. Paris: Charles Philipon, 1832-1833. hardcover
réf. 05957Paris: Chez Aubert et Cie Éditeurs du Musée pour Rire 1839. An Exceptionally Rare Hand-Colored Copy DAUMIER Honoré illustrator. Les Cent et un Robert-Macaire composés et dessinés par M. H. Daumier sur les idées et les légendes de M. Ch. Philipon réduits et lithographiés par MM. ; texte par MM Maurice Alhoy et Louis Huart. Paris: Chez Aubert et Cie Éditeurs du Musée pour Rire 1840 and 1839. First Printing of 101 lithographed plates after Honoré Daumier reduced from the plates published in the Charivari in 1836-1838. Two quarto volumes 10 1/4 x 8 inches; 260 x 203 mm. 8 200 4 publisher's advertisements; 8 204 4 publisher's advertisements pp. With 101 fine hand-colored lithographed plates heightened with gum arabic. Contemporary half dark purple polished calf decoratively ruled in gilt over brown diaper-grain cloth boards. Smooth spines decoratively tooled and lettered horizontally in gilt. Marbled edges. Joints expertly and almost invisibly restored. Some occasional light foxing and browning small light damp-stain in the upper blank margin of a few leaves in each volume. Volume I with small portion 5/8 x 1/4 inch of lower blank corner of second leaf of No. 4 torn away small piece torn from upper blank margin 1/4 x 1/2 inch of first leaf of No. 50. Volume II with a short tear 1/2 inch neatly repaired in the lower gutter of both leaves of No. 53. An excellent copy with superb hand coloring. "Les Robert-Macaire remains Daumier's best-known series.Baudelaire chose it along with Histoire ancienne for specific discussion in his essay on French caricaturists and Carteret accorded it a place in his bibliography. Its contemporary popularity was immense. As an album it was published by Aubert in an edition of 2500 copies a far larger number than for any other series. Yet so persistent was the demand that 600 two-volume sets of reduced copies called Les cent-et-un Robert-Macaire were published in 1839.When politics became a forbidden topic in Le charivari where Caricaturana Les Robert-Macaire first appeared Daumier and Philipon turned to social satire. If they could not attack Louis Philippe directly they could at least show the kind of society that flourished under his gross and venal regime. Taking the flamboyant and florid swindler Macaire from the character that Frédérick Lemaître had created in a hack melodrama called L'Auberge des adrets they showed him and his inseparable companion the dejected and meager Bertrand ranging through all kinds of commercial enterprise in the stock market in the banks in the courts and in dozens of other public settings never failing to find eager dupes. Macaire is equally persuasive in the encounters of private life where no situation finds him at a loss for an appropriate flower of sentiment.Though Daumier's designs are superb in themselves particularly in the variety of supple and telling poses.that he conceives for Macaire and Bertrand they would be incomplete without the unfailing wit and point of Philipon's captions" Ray The Art of the French Illustrated Book pp. 234-236. "These reduced and for the most part reversed copies of Daumier's lithographs apparently drawn by Menut Alophe are greatly inferior to the originals. Unlike Caricaturana the series is not often found colored" Ray The Art of the French Illustrated Book p. 236. Carteret III 187; Ray The Art of the French Illustrated Book 162; Vicaire III cols. 31-32 under Alhoy and V cols. 572-573 under Philipon. Paris: Chez Aubert et Cie, Éditeurs du Musée pour Rire, 1839 unknown
réf. 05964Paris: Chez Aubert 1839. With 150 Hand-Colored Lithographs including Forty-Five by Honoré Daumier and Forty-Two by Gavarni DAUMIER Honoré Gavarni and others illustrators. ALHOY Maurice Louis Huart and Charles Philipon editors. Le Musée pour rire. Dessins par tous les caricaturistes de Paris; Texte par MM. Maurice Alhoy Louis Huart et Ch. Philipon. Paris: Chez Aubert Editeur des Cent-et-Un Robert-Macaire 1839-1840. Three quarto volumes 10 3/16 x 7 15/16 inches; 259 x 202 mm. 2 half-title 2 title 200 2 "Table" 4 publisher's advertisements; 2 half-title 2 title 200 2 "Table; 2 half-title 2 title 200 2 "Table 4 publisher's advertisements pp. With 150 numbered hand-colored lithographs heightened with gum arabic by Honoré Daumier forty-five Gavarni forty-two Frédéric Bouchot twenty-two Victor Adam ten Platier seven Benjamin i.e. Benjamin Roubaud four Bourdet three Pruche three Platel two Grandville two Edme-Jean Pigal two Alophe Menut two Charles Vernier two Charles-Joseph Traviès one and others. Early twentieth-century half red scored calf ruled in gilt over marbled boards by Adolphe Cuzin stamp-signed in gilt at foot of spine. Smooth spines decoratively tooled and lettered in gilt all edges gilt marbled endpapers. Expert and almost invisible minor restoration to corners and spine extremities. Occasional light foxing and/or browning. A wonderful copy. "The house of Aubert was ingenious in marketing its products. Its lithographs.were published one by one in periodicals like Le charivari and together in suites by the same artist without letterpress. Still a third form of publication was in albums made up of lithographs by several artists with accompanying texts. These collections most commonly took the form of volumes with the generic title Paris comique which consisted of twenty colored lithographs accompanied by quite unrelated texts. Aubert remarked that the resulting hodgepodge had 'a plan that is easy to follow for it consists in not having any' and in fact this was indeed a frugal procedure for reusing old texts and already published plates. The interest of the various volumes of Paris comique resides entirely in the lithographs they happen to contain. It can be considerable however since Daumier and Gavarni are the predominant artists. Le musée pour rire represents a more considerable effort on the part of Aubert. To accompany 150 lithographs including forty-five by Daumier among them twenty-seven from Croquis d'expressions and eight from La galerie physionomique and forty-two by Gavarni new commentaries were commissioned on each plate all except two by Alhoy and Huart. Daumier's lithographs were trimmed slightly and their captions were relettered. The designs of the other artists were provided with decorative frames. The whole was then published in three handsome volumes and in copies with expert contemporary coloring like this one Le musée pour rire is among the freshest and most attractive of romantic illustrated books" Ray The Art of the French Illustrated Book. Le Musée pour Rire "contained 150 lithographs by Daumier Gavarni Bouchot Traviès etc. These are re-impressions some of them in mirror image which had previously already been used for publication in Le Charivari. Most prints of the series 'Croquis d'expressions' are contained in the book. The name of the series is missing and the texts were printed in a different type than in the original Charivari version. We do not consider these prints original lithographies but rather prints 'after Daumier'" The Daumier Register at http://www.daumier-register.org. Ray The Art of the French Illustrated Book 164. Paris: Chez Aubert, 1839 unknown
réf. 05964Paris: Chez Aubert 1839. With 150 Hand-Colored Lithographs including Forty-Five by Honoré Daumier and Forty-Two by Gavarni DAUMIER Honoré Gavarni and others illustrators. ALHOY Maurice Louis Huart and Charles Philipon editors. Le Musée pour rire. Dessins par tous les caricaturistes de Paris; Texte par MM. Maurice Alhoy Louis Huart et Ch. Philipon. Paris: Chez Aubert Editeur des Cent-et-Un Robert-Macaire 1839-1840. Three quarto volumes 10 3/16 x 7 15/16 inches; 259 x 202 mm. 2 half-title 2 title 200 2 "Table" 4 publisher's advertisements; 2 half-title 2 title 200 2 "Table; 2 half-title 2 title 200 2 "Table 4 publisher's advertisements pp. With 150 numbered hand-colored lithographs heightened with gum arabic by Honoré Daumier forty-five Gavarni forty-two Frédéric Bouchot twenty-two Victor Adam ten Platier seven Benjamin i.e. Benjamin Roubaud four Bourdet three Pruche three Platel two Grandville two Edme-Jean Pigal two Alophe Menut two Charles Vernier two Charles-Joseph Traviès one and others. Early twentieth-century half red scored calf ruled in gilt over marbled boards by Adolphe Cuzin stamp-signed in gilt at foot of spine. Smooth spines decoratively tooled and lettered in gilt all edges gilt marbled endpapers. Expert and almost invisible minor restoration to corners and spine extremities. Occasional light foxing and/or browning. A wonderful copy. "The house of Aubert was ingenious in marketing its products. Its lithographs.were published one by one in periodicals like Le charivari and together in suites by the same artist without letterpress. Still a third form of publication was in albums made up of lithographs by several artists with accompanying texts. These collections most commonly took the form of volumes with the generic title Paris comique which consisted of twenty colored lithographs accompanied by quite unrelated texts. Aubert remarked that the resulting hodgepodge had 'a plan that is easy to follow for it consists in not having any' and in fact this was indeed a frugal procedure for reusing old texts and already published plates. The interest of the various volumes of Paris comique resides entirely in the lithographs they happen to contain. It can be considerable however since Daumier and Gavarni are the predominant artists. Le musée pour rire represents a more considerable effort on the part of Aubert. To accompany 150 lithographs including forty-five by Daumier among them twenty-seven from Croquis d'expressions and eight from La galerie physionomique and forty-two by Gavarni new commentaries were commissioned on each plate all except two by Alhoy and Huart. Daumier's lithographs were trimmed slightly and their captions were relettered. The designs of the other artists were provided with decorative frames. The whole was then published in three handsome volumes and in copies with expert contemporary coloring like this one Le musée pour rire is among the freshest and most attractive of romantic illustrated books" Ray The Art of the French Illustrated Book. Le Musée pour Rire "contained 150 lithographs by Daumier Gavarni Bouchot Traviès etc. These are re-impressions some of them in mirror image which had previously already been used for publication in Le Charivari. Most prints of the series 'Croquis d'expressions' are contained in the book. The name of the series is missing and the texts were printed in a different type than in the original Charivari version. We do not consider these prints original lithographies but rather prints 'after Daumier'" The Daumier Register at http://www.daumier-register.org. Ray The Art of the French Illustrated Book 164. Paris: Chez Aubert, 1839 unknown books
réf. 05957Paris: Chez Aubert et Cie Éditeurs du Musée pour Rire 1839. An Exceptionally Rare Hand-Colored Copy DAUMIER Honoré illustrator. Les Cent et un Robert-Macaire composés et dessinés par M. H. Daumier sur les idées et les légendes de M. Ch. Philipon réduits et lithographiés par MM. ; texte par MM Maurice Alhoy et Louis Huart. Paris: Chez Aubert et Cie Éditeurs du Musée pour Rire 1840 and 1839. First Printing of 101 lithographed plates after Honoré Daumier reduced from the plates published in the Charivari in 1836-1838. Two quarto volumes 10 1/4 x 8 inches; 260 x 203 mm. 8 200 4 publisher's advertisements; 8 204 4 publisher's advertisements pp. With 101 fine hand-colored lithographed plates heightened with gum arabic. Contemporary half dark purple polished calf decoratively ruled in gilt over brown diaper-grain cloth boards. Smooth spines decoratively tooled and lettered horizontally in gilt. Marbled edges. Joints expertly and almost invisibly restored. Some occasional light foxing and browning small light damp-stain in the upper blank margin of a few leaves in each volume. Volume I with small portion 5/8 x 1/4 inch of lower blank corner of second leaf of No. 4 torn away small piece torn from upper blank margin 1/4 x 1/2 inch of first leaf of No. 50. Volume II with a short tear 1/2 inch neatly repaired in the lower gutter of both leaves of No. 53. An excellent copy with superb hand coloring. "Les Robert-Macaire remains Daumier's best-known series.Baudelaire chose it along with Histoire ancienne for specific discussion in his essay on French caricaturists and Carteret accorded it a place in his bibliography. Its contemporary popularity was immense. As an album it was published by Aubert in an edition of 2500 copies a far larger number than for any other series. Yet so persistent was the demand that 600 two-volume sets of reduced copies called Les cent-et-un Robert-Macaire were published in 1839.When politics became a forbidden topic in Le charivari where Caricaturana Les Robert-Macaire first appeared Daumier and Philipon turned to social satire. If they could not attack Louis Philippe directly they could at least show the kind of society that flourished under his gross and venal regime. Taking the flamboyant and florid swindler Macaire from the character that Frédérick Lemaître had created in a hack melodrama called L'Auberge des adrets they showed him and his inseparable companion the dejected and meager Bertrand ranging through all kinds of commercial enterprise in the stock market in the banks in the courts and in dozens of other public settings never failing to find eager dupes. Macaire is equally persuasive in the encounters of private life where no situation finds him at a loss for an appropriate flower of sentiment.Though Daumier's designs are superb in themselves particularly in the variety of supple and telling poses.that he conceives for Macaire and Bertrand they would be incomplete without the unfailing wit and point of Philipon's captions" Ray The Art of the French Illustrated Book pp. 234-236. "These reduced and for the most part reversed copies of Daumier's lithographs apparently drawn by Menut Alophe are greatly inferior to the originals. Unlike Caricaturana the series is not often found colored" Ray The Art of the French Illustrated Book p. 236. Carteret III 187; Ray The Art of the French Illustrated Book 162; Vicaire III cols. 31-32 under Alhoy and V cols. 572-573 under Philipon. Paris: Chez Aubert et Cie, Éditeurs du Musée pour Rire, 1839 unknown books
1842réf. 73008Paris: FurneDubochetHetzel & Paulinpuis Alexandre Houssiaux 1842. Fine. Furne Dubochet Hetzel & Paulin puis Alexandre Houssiaux Paris 1842-1855 14.50 x 22 cm 20 volumes reliés Honoré de BALZAC & Honoré DAUMIER & Charles Constant Albert Nicolas d'Arnoux de Limoges Saint-Saëns dit BERTALL & Paul GAVARNI & Tony JOHANNOT & Célestin NANTEUIL uvres complètes de H. de Balzac Complete Works Furne Dubochet Hetzel Paulin puis Alexandre Houssiaux Paris 1842-1855 14.5 x 22 cm 20 volumes in contemporary half shagreen First collective edition sold as the Works comprising as well as numerous texts published for the first time a new version of the Human Comedy reviewed and revised by Balzac. This is also the first illustrated edition. Contemporary half blue shagreen over marbled paper boards spines slightly sunned in five compartments with thin raised bands decorated with gilt dots and compartments with triple blind-ruled frames gilt fleurons to centre marbled endpapers and pastedowns. A little foxing in some volumes a very small stain to page 119 of volume 4 another to page 321 of volume 8 a tear to half-title of volume 9 a small damp stain to corner of pages 449 and following of volume 10 stain to pp. 173-74 of volume 14 stains to pages 303 to 307 of vol. 16. The full set of 152 hors-texte plates by the best artists of the age including Bertall Daumier Gavarni Johannot Nanteuil as well as illustrations to text. Four rejected plates have been added bringing the number of plates in this copy to 156. There are so many reasons for emphasising the interest of this edition one of the most important in French literature. Having had a turbulent existence and confused and having been several times republished in a great number of copies it is very rare in its first form and in this first version even rarer in a contemporary uniform binding than with a modern binding and the wrappers preserved cf Clouzot. A very good and rare copy in a contemporary uniform binding ca 1855 with all the plates called for by Clouzot and four additional ones. FurneDubochetHetzel & Paulinpuis Alexandre Houssiaux hardcover
1840réf. 77055Paris: Léon Curmer 1840. Fine. Léon Curmer Paris 1840-1842 18 x 26.50 cm 11 volumes reliés Les Français peints par eux-mêmes. Encyclopédie morale du dix-neuvième siècle Le Prisme with Les Anglais peints par eux-mêmes The French painted by themselves The English painted by themselves Léon Curmer Paris 1840-1842 18 x 265 cm 11 volumes in half morocco First edition one of the grand papier deluxe copies with two states of the illustrations for the 8 volumes of Les Français peints par eux-mêmes: one in black on tinted paper and one enhanced by hand using the so-called coloris gommé technique with watercolour and varnish on white paper. Les Anglais peints par eux-mêmes includes the engravings in black. No deluxe copies in colour have been made for this rare set of Les Français. Bound in half brown morocco spine in five compartments enhanced with stipple engraving and double gilt panels richly decorated with gilt floral motifs framing a mosaic medallion of green morocco with a gilt rose stamped in the center cartouches at the top decorated with a gilt garland framing the place and publication date some light minor rubbing on some compartments gilt fillets on the marbled paper boards comb-patterned endpapers top edges gilt. Elegant late nineteenth century bindings signed Durvand-Thiret. Complete with all engravings along with added engravings i.e. 930 engravings including 415 in colour. Title pages dated 1841 for all volumes of Les Français except for volume 5 of Les Parisiens and volume 3 of La Province dated 1842. Les Français peints par eux-mêmes has 415 engravings in black including that of Napoleon on horseback instead of the 405 announced and 415 in colour including a double page map of France in volume III of the Province. The English volume illustrated by Kenny Meadous is complete with 100 plates in black. This unique set contains in total almost a thousand black and coloured engravings and more than 1500 in-text illustrations. Famous gallery of woodcut portraits depicting the social classes of the 19th century by the greatest artists of the time: Gavarni Daumier Delacroix Grandville Johannot Bellangé Charlet Daubigny etc. The portraits are all accompanied by original texts from the most famous Romantic authors including: Balzac Nodier Gautier Nerval Gozlan Janin Karr etc. Scarce foxing affecting mainly the Prism and the Anglais. The texts and illustrations of the book paint a lively picture of inhabitants and their trade in metropolitan France and its colonies. It sets the tone for panoramic literature a new genre coined by Walter Benjamin in Charles Baudelaire. A lyric poet at the height of capitalism. In addition to these portraits of the Français the contribution of a whole areopagus of great and small authors and illustrators S. Le Men La 'littérature panoramique' dans la genèse de la Comédie Humaine: Balzac et Les Français peints par eux-mêmes L'Année balzacienne 2002/1 No. 3 CAIRN includes some of the most renowned authors and cartoonists of the time each of whom made an original creation for the project. This protean fresco was directed by editor Léon Curmer already known for the publishing success of Paul et Virginie between 1836 and 1838. Curmer is represented here by an article L'éditeur in volume IV written by Elias Regnault. The latter takes example in Louis-Sebastien Mercier's Tableau de Paris published in 1781 whose vision is even further extended by the representation of French provinces in Les Français. Thanks to Curmer the work finds an even deeper meaning: the editor has widened his frame and instead of letting a few fleeting portraits get lost in the immense daily whirlwind that engulfs all things he has sought to bring together the most salient physiognomies of that time. S. Le Men Ibid. Curmer selected the authors and illustrators closest to the ones they depict: It is therefore a question of calling upon authors and illustrators who are wel Léon Curmer hardcover
réf. 04944Paris: Chez Aubert et Cie 1839. Daumier's Greatest Comic Masterpiece The Exceptionally Rare Original Hand-Colored Quarto Edition One Hundred and One Magnificent Hand-Colored Lithographs DAUMIER Honoré. PHILIPON Charles. Les Cent et Un Robert-Macaire composés et dessinés par M. H. Daumier. Paris: Aubert et Cie 1839. First quarto edition. Original hand-colored issue. Two quarto volumes 10 3/8 x 8 inches; 264 x 203 mm. With 101 magnificent hand-colored lithographed plates all heightened with gum arabic. Contemporary red chagrin over silk paper-covered boards elaborately blocked in gilt all edges gilt. A few text leaves toned occasional scattered foxing largely confined to margins but an unusually attractive copy. The original contemporary hand-coloring remains exceptionally bright and fresh throughout. Few creations in the history of nineteenth-century illustration proved more influential than Robert Macaire. Originally a theatrical rogue invented by Frédérick Lemaître for the melodrama L'Auberge des Adrets the character was transformed by Charles Philipon and Honoré Daumier into the very personification of modern society's corruption speculation opportunism and commercial fraud. Unable to attack King Louis-Philippe directly after the tightening of censorship Philipon and Daumier turned their attention from politics to society itself. Robert Macaire became the perfect vehicle through which they could ridicule bankers lawyers stockbrokers politicians journalists industrialists doctors inventors philanthropists publishers and virtually every profession created by the rapidly expanding bourgeois economy. No enterprise was too respectable to escape his schemes no victim too sophisticated to become his dupe. The result was one of the supreme achievements of French social satire. First issued individually in Le Charivari and later collected in the celebrated Caricaturana the series enjoyed immense contemporary popularity. So great was the demand that Aubert published this reduced quarto edition in 1839 in an edition of approximately six hundred sets. While the lithographs are reductions of Daumier's original folio compositions they preserve the extraordinary vitality of his draftsmanship and remain among the most entertaining illustrated books of the nineteenth century. As Gordon N. Ray observed: "Les Robert-Macaire remains Daumier's best-known series." He further noted that although these reduced lithographs are generally less accomplished than the original folio issues they are "not often found colored." That observation greatly understates the rarity of copies retaining their original contemporary hand-coloring. The present example is distinguished not only by its completeness but by the remarkable freshness of its coloring whose delicate palette and gum arabic highlights considerably enhance the visual brilliance of every plate. More than simply comic entertainment Les Cent et Un Robert-Macaire constitutes one of the great illustrated chronicles of the July Monarchy. Daumier and Philipon expose an age intoxicated by speculation finance political ambition and commercial enterprise yet their satire remains astonishingly modern. Robert Macaire is not merely a nineteenth-century swindler; he is the eternal confidence man continually reinventing himself to exploit every new opportunity offered by society. Few illustrated books better demonstrate Daumier's extraordinary gifts as both artist and storyteller. Across one hundred and one brilliantly conceived scenes Robert Macaire appears in every imaginable disguise - stock promoter publisher lawyer inventor politician philanthropist physician military entrepreneur newspaper editor art dealer and countless others - each episode exposing another facet of bourgeois hypocrisy with inexhaustible invention and comic brilliance. Beautiful original hand-colored examples of this celebrated work are among the most desirable of all nineteenth-century French illustrated books and are encountered only rarely on the market. Paris: Chez Aubert et Cie, , 1839 unknown
réf. 04944Paris: Chez Aubert et Cie 1839. Daumier's Greatest Comic Masterpiece The Exceptionally Rare Original Hand-Colored Quarto Edition One Hundred and One Magnificent Hand-Colored Lithographs DAUMIER Honoré. PHILIPON Charles. Les Cent et Un Robert-Macaire composés et dessinés par M. H. Daumier. Paris: Aubert et Cie 1839. First quarto edition. Original hand-colored issue. Two quarto volumes 10 3/8 x 8 inches; 264 x 203 mm. With 101 magnificent hand-colored lithographed plates all heightened with gum arabic. Contemporary red chagrin over silk paper-covered boards elaborately blocked in gilt all edges gilt. A few text leaves toned occasional scattered foxing largely confined to margins but an unusually attractive copy. The original contemporary hand-coloring remains exceptionally bright and fresh throughout. Few creations in the history of nineteenth-century illustration proved more influential than Robert Macaire. Originally a theatrical rogue invented by Frédérick Lemaître for the melodrama L'Auberge des Adrets the character was transformed by Charles Philipon and Honoré Daumier into the very personification of modern society's corruption speculation opportunism and commercial fraud. Unable to attack King Louis-Philippe directly after the tightening of censorship Philipon and Daumier turned their attention from politics to society itself. Robert Macaire became the perfect vehicle through which they could ridicule bankers lawyers stockbrokers politicians journalists industrialists doctors inventors philanthropists publishers and virtually every profession created by the rapidly expanding bourgeois economy. No enterprise was too respectable to escape his schemes no victim too sophisticated to become his dupe. The result was one of the supreme achievements of French social satire. First issued individually in Le Charivari and later collected in the celebrated Caricaturana the series enjoyed immense contemporary popularity. So great was the demand that Aubert published this reduced quarto edition in 1839 in an edition of approximately six hundred sets. While the lithographs are reductions of Daumier's original folio compositions they preserve the extraordinary vitality of his draftsmanship and remain among the most entertaining illustrated books of the nineteenth century. As Gordon N. Ray observed: "Les Robert-Macaire remains Daumier's best-known series." He further noted that although these reduced lithographs are generally less accomplished than the original folio issues they are "not often found colored." That observation greatly understates the rarity of copies retaining their original contemporary hand-coloring. The present example is distinguished not only by its completeness but by the remarkable freshness of its coloring whose delicate palette and gum arabic highlights considerably enhance the visual brilliance of every plate. More than simply comic entertainment Les Cent et Un Robert-Macaire constitutes one of the great illustrated chronicles of the July Monarchy. Daumier and Philipon expose an age intoxicated by speculation finance political ambition and commercial enterprise yet their satire remains astonishingly modern. Robert Macaire is not merely a nineteenth-century swindler; he is the eternal confidence man continually reinventing himself to exploit every new opportunity offered by society. Few illustrated books better demonstrate Daumier's extraordinary gifts as both artist and storyteller. Across one hundred and one brilliantly conceived scenes Robert Macaire appears in every imaginable disguise - stock promoter publisher lawyer inventor politician philanthropist physician military entrepreneur newspaper editor art dealer and countless others - each episode exposing another facet of bourgeois hypocrisy with inexhaustible invention and comic brilliance. Beautiful original hand-colored examples of this celebrated work are among the most desirable of all nineteenth-century French illustrated books and are encountered only rarely on the market. Paris: Chez Aubert et Cie, , 1839 unknown books
réf. 12412S.l. signée en bas à gauche des initiales HD première moitié du XIXe siècle plaque de verre peinte en couleurs sur les deux côtés (25,4 x 22 cm), coins coupés en biseau (sur 7,5 cm)
1842réf. 73008Furne Dubochet Hetzel & Paulin puis Alexandre Houssiaux | Paris 1842-1855 | 14.50 x 22 cm | 20 volumes reliés
1840réf. 77055Léon Curmer | Paris 1840-1842 | 18 x 26.50 cm | 11 volumes reliés
réf. 05269Paris: Au Bureau du Charivari.et chez Martinet 1859. The Moroccan Sultan Monsieur Prudhomme and the Chinese Emperor Thirty Fine Humorous Lithographs by Honoré Daumier Bound together with Les Cosaques Pour Rire Forty fine lithographs by Daumier Cham & Vernier DAUMIER Honoré. Album des Charges du Jour. 30 Lithographies par H. Daumier. Paris: Au Bureau du Charivari.et chez Martinet 1859-60. First edition. Oblong folio 10 3/8 x 13 5/16 inches; 264 x 338 mm. Lithographed pictorial title-page and thirty superb plates by Daumier lithographed by Destouches. This scarce album contains thirty fine and humorous lithographs by Daumier which had previously appeared in the Le Charivari in the series: Actualités En Chine Croquis de Chasse Ces Bons Parisiens and Emotions Nautiques. The three figures featured on the front cover and the title-page are: the Moroccan sultan Mr. Prudhomme a stereotypical bourgeois and the Chinese emperor. OCLC locates just two copies in libraries and institutions worldwide New York Public Library NY USA & The Morgan Library & Museum NY USA. and CHAM DAUMIER & Charles VERNIER. Les Cosaques Pour Rire. Album de Quarante Caricatures. Paris: Au Bureau du Charivari 1853-54. First edition. Oblong folio 10 3/8 x 13 5/16 inches; 264 x 338 mm. Original lithographed yellow wrapper title-page and forty superb plates by Daumier 18 Cham 11 and Vernier 11 all lithographed by Destouches. This scarce album contains forty amusing lithographs by Daumier Cham and Vernier "Les Cosaques Pour Rire" or "The Cossacks in Jest" illustrates caricatures from the Crimean War 1853-1856. Daumier humorously depicts Russian military command soldiers and the czar pertaining to either the Crimean War or to the Cossacks. OCLC locates just two copies of this work in libraries and institutions worldwide Brown University RI USA & The Bibliotheque Nationale de France. Two works bound together in one volume. The plates have been expertly washed. Both of the original front wrappers are present. Modern tree calf front cover lettered in gilt "Album Comique" smooth spine lettered in gilt "Daumier". Cockerel style endpapers. The Plates: Album des Charges du Jour 1. - Dire que nous v'la Parisiens!. Unbelievable. we are Parisians now too! DR #3235; Actualités 2. Mr. Prudhomme - Mon fils rappelle toi ce jour mémorable où tu as vu démolir à jamais le mur d'octroi. rappelle-toi que tôt ou tard la philosophie produit de la raison humaine; renversera de même les barrières des préjugés sociaux!. Le Petit Adolphe- Oui papa!. mais dis donc. papa . pourquoi qu'on les reconstruit un peu plus loin. Mr. Prudhomme - My son remember that memorable day when you saw the wall of the grant being demolished forever . remember that sooner or later philosophy product of human reason; will also reverse the barriers of social prejudice! . Little Adolphe- Yes dad! . but say so . dad . why do we rebuild them a little further . DR #10945; Actualités 141 3. Le Diamant Magnétiseur. Nouveau divertissement des soirées. - ou manière de s'amuser et de se faire loucher en société sans se fâcher. The Diamond Hypnotist. A new pastime at evening parties - or how to have fun and get someone to squint without getting into trouble. DR #3227; Actualités 134 4. Une Application Utile du Diamant Magnétiseur. - Ma femme est bien magnétisée!. je peux filer tranquillement pour le bal de l'opéra. dors bien bobonne!. Practical Application for a Diamond Hypnotist. My wife is hypnotized. now I can quietly leave for the opera ball. sleep well my dear! DR #3230; Actualités 140 5. Toujours les merveilles du diamant magnétiseur. - ou manière en société de faire prendre aux dames des poses non moins fatigantes que disgracieuses. More marvels from the diamond hypnotist. Or how to make the ladies pose in society in exhausting and not very gracious positions. DR #3228; Actualités 137 6. - Mon ami. viens donc voir ces jolis diamants!. - Ne regarde pas cela. imprudente!. ça te ferait loucher!!. - My dear come and have a look at these beautiful diamonds! - Don't even look at them you careless woman. they'll make you cross-eyed! DR #3229; Actualités 138 7. La Chiromancie Nouveau Passe Temps Des Bons Parisiens. - Adélaïde. j'ai beau chercher. je ne me trouve pas la petite ligne qui annonce une longue vie. mon Dieu!. dois-je donc mourir à la fleur de l'âge!. Palmistry New Parisian Pastime. - Adelaide. no matter how intensely I am searching I simply cannot find the line for long life. oh my God must I die in the prime of my days! DR #3240; Actualités 142 8. - Ah! Théophile. j'en apprends de belles sur ton compte. d'après le livre de Mr. Desbarolles je vois que tu as dans la main la ligne du libertinage!. - Ah!. bah. - Ah Théophile what ghastly things I am reading about you. According to the book by Mr. Desbarolles I can tell that you have in your palm the lines of a libertinage!. - Oh well. DR #3241; Ces Bons Parisiens 1 9. L'empereur du maroc consultant le celèbre sorcier desbarolles. - Voici une petite ligne qui m'indique que vous êtes destiné à recevoir une grande raclée!. The Emperor of Morocco in consultation with the Famous Magician Desbarolles. - This small line here indicates to me that you are going to get a royal thrashing! DR #3225 10. À Tanger - Sublime Majesté! . . . . . voici les Espagnols qui arrivent . . . . . je crois aller au devant de vos désirs afin de leur inspirer du respect . de déployer votre auguste parasol ! . - Laisse-moi donc tranquille Belboul avec mon parasol . . . . en ce moment-ci j'aimerais mieux avoir un Pare-à-balle ! . . . . . . In Tangiers. - Sublime Majesty. the Spanish are coming. in order to frighten them off I took the liberty to fully open your umbrella as a sign of your greatness! - Leave me alone with your umbrella Belboul. I would rather like to have an umbrella protecting me from their bullets. DR #3223 11. Le Cid se mettant aussi en campagne pour aller combattre les Maures. El Cid also takes to the field to fight against the Moors. DR #3233 12. Combat singulier entre le Cid et l'Empereur du Maroc. A unusual battle between El Cid and the emperor of Morocco. DR #3234 13. Un parasol dans une position difficile. An umbrella in a difficult position. DR #3224 14. - Voilà un vent qui va joliment contrarier le débarquement des Espagnols!. - Oui. mais c'est aussi un bien fichu temps pour mon parasol . - This wind will give the Spanish a hard time when disembarking. - Sure but look at what it is doing at my umbrella! DR #3226 15. - Dire que c'est là ce que les Français appellent des chinois!. Strange. this is what the French call "Chinois". DR #3120 16. - Ils vont être bien attrapés ces européens!. ils ont des canons qui sont terribles parce qu'ils sont rayés moi j'ai eu l'excellente idée de faire rayer tous mes soldats!. These Europeans will be quite surprised. they are using "rifled cannons" . thus I had the clever idea to add "rifles" stripes to the uniforms of my soldiers. DR #3118 17. Patrouille chinoise en reconnaissance. Chinese reconnaissance unit in action. DR #3117 18. - Tiens regarde cette caisse. elle renferme les envoyés Américains qui se rendent à Pékin!. - On dirait que cette voiture contient des animaux curieux. - Ma foi! s'ils sont curieux. tant pis pour eux car ils ne voient pas beaucoup le pays qu'ils traversent! - Look at that box - it contains the American envoys on the way to Peking! - Anyone would say it was a coach full of curious animals. - Well if they are curious so much the worse for them for they can't see much of the country they are travelling through. DR #3114 19. Arrivée à Pékin des ambassadeurs Américains. Arrival of the American Ambassador in Beijing. DR #3115 20. L'envoyé américain obtenant une audience de l'Empereur de la Chine. The Emperor of China receives the American Ambassador. DR #3116 21. - Tchinn-tchinn. tu m'apportes une bonne nouvelle!. je t'accorde l'insigne honneur de baiser l'auguste poussière de mes augustes souliers!. Tchinn Tchinn. you are bringing me good news! As a special sign of grace I will allow you to kiss the sublime dust of my sublime shoes! DR #3119 22. La Chine se civilisant. - Voyons. attention!. voici la théorie européenne. les yeux à quinze pas de distance et que le pied qui est à terre vienne rejoindre vivement celui qui est en l'air. China on its way to become civilized. Attention!. this is European theory now. the eyes must look fifteen feet ahead. . the foot on the ground must quickly join the one in the air. DR #3124 23. Fonctionnaires chinois veillant au salut de l'empire ! . Chinese civil servants diligently guarding over the welfare of the nation. DR #3123 24. -Tenez je viens de tuer un magnifique coq de bruyère!. -Mais malheureux!. c'est le coq Brahma de la ferme voisine. un coq qui vous coûtera peut-être plus de trente francs. sans compter les coups de fourche!. - Look! I just killed this magnificent grouse! . - Poor you! That is the rooster of the farm next door. That cock will cost you more than thirty francs not counting the pitchfork jabs! DR #3216 25. - Eh! bien. as-tu l'intention de rester là . - Non certes!. je t'attendais pour que tu me transportes sur ton dos jusqu'au village. - Merci à une lieue et demie d'ici!!. es-tu fou. - Allons!. voyons mon ami. fais comme si tu avais tué un chevreuil et que tu sois obligé de le rapporter chez toi!. - What about it. are you planning to stay here all day - Surely not. I thought you were going to carry me to the next village! - You must be joking. one and a half leagues. you must be crazy! - Oh come on. just pretend I were a stag you shot you would have had to carry him too. DR #3217 26. - Eh! bien. allons-nous continuer notre chasse malgré le vilain temps . . . . . - Non ! du tout . . . . . il pleut . . . . le gibier craint autant la pluie que nous . . . . il ne pourra manquer de venir se mettre à l'abri dans cette chaumière et nous allons en prendre beaucoup ! . . . . . . - Now what Are we going to continue hunting during the rain - Not at all! The animals are just as afraid of the rain as we are. They might not be able to find this shelter and we would end up losing too many of them! DR #3215 27. Mr. Prudhomme. - Comment . . . flots impudents ! . . . . . vous ne savez donc pas qui vous portez en ce moment que vous vous montrez si hardis à mon égard . . . . mer audacieuse! . . . apprends que comme Xerxès je pourrais te faire fouetter ! . . . . . Mme. Prudhomme Toute tremblante. - Oh! . . . mon ami . . . . . je t'en supplie ! . . . . ne lui dis pas d'insolences tu la mettrais en colère et elle serait capable de nous engloutir! . . . . . Mr. Prudhomme: - Obnoxious waves. don't you know whom you are carrying in this moment. oh audacious. know I shall like Xerxes whip you terribly. Mme Prudhomme: shivering of fear - Pray my dear friend do not offend the sea any longer. you might wake its fury and it might devour us completely! DR #3218 28. Les Eunuques Réformés par le Bey de Tunis. - Qu'allons-nous devenir. nous voilà mis à pied!. - Nous n'avons plus qu'à nous faire cochers de Constantinople!. Eunuchs reformed by the Bey of Tunis. - What's going to become of us. we have been fired. - The only thing we can do is go to Constantinople and become coachmen. DR #3237 29. Le nouveau costume des cochers turcs à Constantinople - Ni hommes ni femmes. tous eunuques!. Extrait de la nouvelle ordonnance. The new uniform of the Turkish coachmen in Constantinople. neither male nor female. all eunuchs. from the new ordinances. DR #3238 30. Une position difficile. - Tiraillé entre la civilisation et le parti rétograde. A difficult position. Torn between civilization and the conservative party. DR #3221 The Plates: Les Cosaques Pour Rire 1. Comme quoi la chasse ouvrira cette année bien avant le mois de Septembre. Cham Like what the hunt will open this year well before September. 2. Ayant eu l'imprudence de se lancer à toute Vitesse sur la route de St. Petersbourg à Constantinople. Cham Having had the imprudence to launch at full speed on the road from St. Petersburg to Constantinople. 3. Les soldats les mieux disciplines du monde. Daumier The best disciplined soldiers in the world. 4. Les Boyards réduits à cultivar eux-mêmes leurs terres par suite de l'enrôlement de leurs derniers paysans. Daumier The Boyars reduced to cultivating their land themselves following the enlistment of their last peasants. 5. Mes amis n'ayez pas peur je n'oublierai pas mon ancient état.j'vas tanner la peau aux Cosaques.travailler dans du vrai cuir de Russie quelle chance! Vernier My friends don't be afraid I won't forget my former state.I'm going to tan the skin of the Cossacks.working in real leather from Russia what luck! 6. l'Amiral Menschikoff en tournée d'inspection. Daumier Admiral Menschikoff on an inspection tour. 7. Le Faisceau. Il est solide je t'en préviens n'y touche pas. Vernier The beam. It's solid I warn you don't touch it. 8. Enrôlemens Volontaires en Russie. Pas tant de zèle!.il est inutile de vous bousculer comme ça pour signer.chacun son tour mes braves!. Vernier Voluntary enlistments in Russia. Not so zealous!.it is useless to rush you like that to sign.each in turn my braves!. 9. C'est drôle tout d'même!.dire qu'on ne pas la même langue et qu'on s'entend à merveille!. Vernier It's funny all the same! . to say that we don't speak the same language and that we get along wonderfully! 10. À Odessa. Bourgeois.je viens de vous donner ces torches avec la manière de vous en server.le premier d'enter vous qui ne mettra pas le feu à sa maison au premier signal aura affaire à moi.je ne vous dis que ça!. Vernier In Odessa. Bourgeois.I have just given you these torches with the way to use them.the first of you who does not set fire to his house at the first signal will have to deal with me.I am only telling you that!. . 11. Enflammant Le Courage De Ses Cosaques. Il sera distribué aux plus braves des chandelles d'honneur! Daumier Igniting the Courage of His Cossacks. It will be distributed to the bravest candles of honor! 12. Commençant à s'apercevoir qu on va le faire danser à grand orchestre et qu'il aura pas mal de violons à payer. Cham Beginning to realize that we are going to make him dance with a big orchestra and that he will have a lot of violins to pay for. 13. Soldats russes se préparant par le jeûne et l'abstinence à monter à l'assaut de Silistrie. Daumier Russian soldiers preparing by fasting and abstinence to mount the assault on Silistrie. 14. Un terrible cauchemar. Daumier A terrible nightmare. 15. Les Artilleurs de Nouvelle Création à Sébastopol. Le sentiment du devoir et quelque chose de plus les enchaine à leur poste. Vernier The New Creation Gunners in Sevastopol. A sense of duty and something more binds them to their post. 16. Manière d'entrainer les Cosaques. Daumier Manner of training the Cossacks. 17. Oursikoff!.trouvez-vous cela ressemblant. Non Sire!. À la bonne heure.je vous aurais envoyé en Sibérie si vous m'aviez reconnu.toutes ces mauvaises charges du CHARIVARI n'empêchent pas que je ne sois toujours le plus bel homme de mon empire!. Oui Sire!. Daumier Oursikoff!.do you find that similar. No Sire!. Good luck.I would have sent you to Siberia if you had recognized me.all these bad charges from the CHARIVARI do not prevent I am still not the handsomest man in my empire!. Yes Sire!. 18. Devant Kalafat. Une fois.deux fois.trois fois!.je vous somme de mettre bas les armes.faites bien attention je ne vous le repeterai plus.c'est bien decide vous ne voulez pas vous render.eh! bien alors je m'en vais!. Vernier In front of Kalafat. Once.twice.three times!.I summon you to lay down your arms.be careful I won't repeat it to you again.it's decided you don't want to surrender.eh! well then I'm leaving!. 19. À Buckarest: C'est ici.entrez.on va vous payer!. Daumier To Buckarest: It's here.come in.we'll pay you!. 20. Distribution de vivres un jour de gala. Daumier Distribution of food on a gala day. 21. Allons camarade.faut trinquer avec les amis.vous pouvez avaler ça sans scrupule ça n'est pas du vin!. Vernier Come on comrade. you have to toast with friends. you can swallow that without scruple it's not wine!. 22. En Valachie. Confiscation Générale des faux pioches et rateaux at autres instrumens aratoires propres à défricher le dos des Cosaques. Daumier In Wallachia. General confiscation of scythes pickaxes and rakes and other plowing instruments suitable for clearing the backs of Cossacks. 23. L'Empereur de Russie témoignant toute sa satisfaction aux autorités militaires de Cronstad après l'inspection des travaux de défense. Cham The Emperor of Russia expressing his satisfaction to the military authorities of Kronstad after the inspection of the defense works. 24. Tenant aussi à consulter sa petite table pour savoir s'il sera définitivement vainqueur. Daumier Also wanting to consult his little table to find out if he will definitely be the winner. 25. Mais Colonel au commandement FIXE vos hommes regardant en arrière!. Ne faites pas attention mon Général c'est une habitude qu'ils ont contractée en Valachie. Vernier But Colonel at the FIXED command your men looking back!. Don't mind General it's a habit they picked up in Wallachia. 26. Officier russe suivi de son brosseur. Cham Russian officer followed by his brusher. 27. Le Roi Othon se fesant mal en voulant manger de la brioche faite par l'Empereur de Russie. Cham King Othon hurting himself trying to eat brioche made by the Emperor of Russia. 28. Ce que les Russes appellant un Mouvement Stratégique. Daumier What the Russians call a Strategic Movement. 29. L'Escamoteur Manquant Son Tour Faute D'Un Compère: Si une personne de la société veut bien m'honorer un instant de sa confiance je commence immédiatement mon tour J'escamote le Sultan!.personne n'accepte.le tour est enfoncé!. Cham The Conjurer Missing His Turn For Lack Of A Compère: If a person from society wants to honor me for a moment with his confidence I immediately begin my turn I conjure the Sultan!.nobody accepts. the turn is down!. 30. L'Empereur Nicolas finissant par en pincer un qui moins fin que les autres s'est laisse prendre au piége. Cham The Emperor Nicolas ended up pinching one who less fine than the others let himself be trapped. 31. À Sébastopol. C'est insupportable.Ces vaisseaux sont toujours.pas moyen d'aller un peu flâner dans la mer noire!.nous n'y serions pas blancs!. Daumier In Sevastopol. It's unbearable.These ships are still.no way to go and stroll a little in the black sea!.we wouldn't be white there!. 32. La Crèce Mise en Ébullition. C'est très imprudent ce que vous faites là car sans parler des taches Ce qui vous inquiete peu il pourrait bien finir par vous en cuire!. Vernier The Boiling Crib. It's very reckless what you're doing there because not to mention the stains which doesn't worry you much he could end up cooking you!. 33. Comment ils emportent mon argent.et ils ne s'insurgent pas mieux que cela.allons j'ai fait une fichue opératiou!. Daumier What they're taking my money.and they don't rise up any better than that.come on I've had a bloody operation!. 34. Bertrand voila des gaillards qui ont toutes mes sympathies. Ils partent pour une expedition aventureuse le moment est venu de leur donner nos bénédictions les plus orthodoxes!. Daumier Bertrand here are some fellows who have all my sympathies. They are leaving for an adventurous expedition the time has come to give them our most orthodox blessings!. 35. Enthousiasme Russe. Enrolés volontaires rejoignant leurs regiments. Daumier Russian enthusiasm. Volunteers joining their regiments. 36. Je vous demande pardon si je ne peux rien vous offrir pour vous raffraîchir mais les Cosaques ne font que de nous quitter et voilá dans quelle position ils nous ont laisse!!. Vernier I beg your pardon if I can't offer you anything to refresh you but the Cossacks are just leaving us and that's the position they left us in!!. 37. Un inspecteur general russe. Daumier A Russian Inspector General. 38. À St. Pétersbourg. Le Grand Duc Amiral en chef mettant en requisition tous les banquets de St. Petersbourg pour la composition de sa flotte à rames. Cham In St. Petersburg. The Grand Duke Admiral-in-Chief requisitioning all the banquets of St. Petersburg for the composition of his rowing fleet. 39. Un chef de sauvage se préparant à scalper un Parlementaire. Cham A savage chief preparing to scalp a Parliamentarian. 40. Excellente charge militaire faite à l'Empereur de Russie au moment oû il croyait s'asseoir bien tranquillement sure le Divan. Cham Excellent military charge made to. Paris: Au Bureau du Charivari...et chez Martinet, 1859 unknown
réf. 05943Paris: Aubert & Cie. 1840. One of the Rarest of all the Daumier Albums Bohemiens de Paris - Complete with all Twenty-Eight Superb Lithographs DAUMIER Honoré. Bohemiens de Paris. Paris: Chez Bauger et Cie. 1840-1842. Folio 13 1/2 x 10 5/8 inches; 343 x 270 mm. Twenty-eight superb lithograph plates all are 'sur blanc' printed on superior white wove paper. Contemporary quarter red morocco over red paper boards smooth spine elaborately decorated and titled in gilt. Corners and edges of boards a little worn. Some occasional light mainly marginal foxing the first plate with a small 1 1/2 inch inner marginal tear not affecting image. An excellent example of one of Daumier's rarest suites. "What oddities what contrasts what a jumble in the existence of these pariahs of civilization whose nomadic life and comical or terrible tribulations are told by Daumier's pencil! We find in this album the debris of all positions of all classes of all ranks: the man of letters next to the dog shearer the former trader next to the political refugee the prerogative of the empire with the clothes merchant. It is the summary of all the random industries the history of all the appetites which await in Paris the manna of chance it is the basis of society laid bare by a hand as spiritual as it is vigorous." translated from Hazard & Deltail p. 201. Les Bohémiens de Paris figures prominently in Charles F. Ramus' Daumier: 120 Great Lithographs which specially reproduces and describes Plate 9 "A Professional Sponger about to crash a fashionable Wedding Party" December 25th 1841; Plate 15 "A Sick-Nurse the French equivalent of Dickens' Sairey Gamp" May 22nd 1842 and Plate 20 "A Minor Actor in a small theater who plays wealthy monarchs though actually starving" February 19th 1842. Excessively rare with no complete copies located by OCLC. There are however several individual prints in libraries and institutions worldwide. The Plates: 1. LE MD. DE CHAINES DE SURETÉS. La chaîne de sureté ainsi nommée parce qu'elle est un moyen sûr de faire savoir que le badaud qui l'achète possède une montre. Des compères stationnent dans le voisinage et ne tardent pas à mettre l'indication à profit. Bertrand a vendu la chaîne Macaire fait la montre. DR 822 SECURITY CHAIN DEALER. The coupling chain is named after the way its used by an unsuspecting victim who wears it thus signaling that he is in the possession of a watch. The cronies stationed in the neighborhood are not dallying to put the information to profit. This way Bertrand has sold the chain and Macaire gets the watch. 2. LA GLANEUSE. Comment pas une épingle. pas un mouchoir!. il n'y a plus moyen de faire son métier. c'est des femmes de banquier; ça ne laisse rien traîner!. DR 823 GLEANING WOMAN. Indeed not a single scarf pin not a handkerchief! It's getting more and more difficult to do my job. It's the wives of the bankers they leave nothing behind! 3. LE GROOM PUBLIC. Madame la comtesse n'oubliez pas le garçon père de six enfants ancien propriétaire. où va madame à l'Assomption. - Je n'ai pas de monnaie vous m'ennuyez! - Tiens c'te lorette . allons cadet file au bastringue! DR 824 THE STREET TOUT. - Madame la Comtesse don't forget your servant the father of six children a former house owner. where are you going Madame! to the Assumption - I don't have any change you are annoying me! - What a chick. driver take her to the dancing halls. 4. LE RAMASSEUR DE BOUTS DE CIGARES. Ils n'en finiront pas ces oiseaux là! c'est des clercs d'huissiers ça fume jusqu'à la cendre et pas moyen de leur tirer des carottes. DR 825 THE COLLECTOR OF CIGAR STUBS. When will these buggers finally have finished smoking! They're bailiff's clerks; they smoke until the ashes are left. No way to squeeze a centime out of them. 5. LE MARAUDEUR. Mr. Minet entrepreneur général de gibelottes de Paris Diners à 32 sous ".moumout.mou.mout.viens mon lapin!." DR 826 THE MARAUDER. Mr. Minet general contractor for Parisian rabbit-stews dinners for 32 sous. "Come - come - come - come along my rabbit!!" 6. LE MENDIANT À DOMICILE. Sacrebleu! il ne répond pas! est-ce qu'il se douterait que je viens lui emprunter dix francs. DR 827 THE BEGGAR MAKING HOUSE CALLS. Blast! No answer! I wonder whether they are suspecting that I am here to borrow ten francs. 7. L'ALLUMEUR DE CHALANDS. Du mot allume! inspecte guette dictionnaire du floueur. Ce personnage sous la figure d'un simple flaneur se consacre au commerce des chaînes de sureté des bijoux en or controlés; des porte-crayons d'argent et d'autres embarras de la voie public il flaire le sergent de ville; et dès que la sureté des chaînes est compromise il file avec le magasin. DR 828 THE LIGHTER. Originates from the word: light! This person disguised as a simple loafer devoting himself to the business of coupling chains jewels in gold stamped pencil cases in silver and other superfluities of public interests. He smells the police before they come and as soon as the chain business is in danger he runs away with the shop! 8. L'AMI DE COLLÈGE. Ah! cher ami comme il est engraissé. dans mes bras! dans mes bras! l'instant d'après ça n'était qu'une méprise et le monsieur découvre que son ami improvisé voulait faire connaissance avec. sa montre! DR 829 A HIGH SCHOOL FRIEND. Ah dear friend how fat you have become. in my arms in my arms!. A moment later when the misunderstanding has been cleared up the gentleman realizes that his friend had only improvised to make an acquaintance . with his watch! 9. PIQUE-ASSIETTE. Voyons! une noce de première classe chez Very! en avant les gants blancs je salue la mariée comme ami du mari. et le mari; comme connaissance de la mariée! DR 830 THE SPONGER. Well well a wedding dinner in first class at Véry's. Out with the white gloves. I'll salute the bride as a friend of the husband. and then the husband as a friend of the bride. 10. LE PRÉFET DE L'EMPIRE. Diable diable! j'ai exploité Véry Véfour le Café Anglais j'ai fait des poufs sous prétexte d'un poste important que j'attends. me voilà descendu aux diners de 32 sous et on me donne mon compte. il faut que je change de position. .je vais me faire banquier qui a oublié sa bourse. DR 831 THE PREFECT OF THE EMPIRE. I have exploited Véry Véfour the English Café I have put on airs and pretended to be waiting for a very important position. but now I am down to dinners at 32 cents. they even dare to present a bill to me. I must change my image urgently . I will be a banker who forgot his wallet. 11. LE RÉFUGIÉ POLITIQUE. Oui madame je me présente comme Bélisaire excepté que j'y vois clair et que j'ai perdu mon petit. Vous voyez en moi le généralissime des armées de terre et de mer du Prince de Monaco!. Exilé par un tyran jaloux de ma gloire. je ne vous demanderai pas une obole. je préférais cinquante centimes! DR 832 THE POLITICAL REFUGEE. Madame allow me to present myself like Belisarius except that I am able to see and that I lost my guide. I am the greatest general of all the armies and navies of the prince of Monaco. Exiled by a tyrant jealous of my glory. I don't just ask you for a farthing. I would prefer a coin of 50 centimes! 12. LE RECORS. Ils nous appellent ennemis de la liberté. de quoi se plaignent ils ces cadets là. on les mène en voiture et ils ont un groom par derrière. en v'la un genre!. DR 833 THE BAILIFF'S MAN. They call us enemy of liberty. What are those cadets there complaining about!. they are being chauffeured around and they have a valet behind them. What a way to behave! 13. LE MARCHAND DE CONTREMARQUES. Une contremarque là notre bourgeois; vingt sous madame Doche dans la dernière pièce - Dix sous - De quoi madame Doche pour 10 sous. On vous la fichera des actrices qu'est jolie et qu'a du talent comme ça. madame Doche pour dix sous excusez!. DR 834 THE DEALER OF CHECK TICKETS. Here a check ticket citizen. For just 20 sous Madame Doche in the last act. 10 sous. Come on Madame Doche for only 10 sous. The actresses are beautiful and as talented as they get. Madame Doche for just 10 sous. really! 14. LE RAVAGEUR. En v'là une position sociale! ramasser des épingles des vieux clous. et on nous appelle ravageurs: dire qui en a qui font le métier si grand qui ravagent le budget et qui ont des appointements! DR 835 THE MUD LARK. What a social position: to gather pins old nails . and people call us the mud larks of Paris brooks. But let's be honest who is it that made this business so big it's those who ravage the budget and draw fat salaries! 15. LA MARCHEUSE - Psit!!!. DR 836 THE STREET WALKER Psst!!!!. 16. LE PROTECTEUR. - Eh mon cher!. je vous retrouve enfin; vous ne me remettez pas c'est moi qui avant mes malheurs. vous ai fait faire ce superbe marché. - Lequel - Vous ne vous rappelez pas. enfin c'est grâce à moi. à mon tour il me manque des fonds pour une spéculation prêtez-moi donc cinq francs! DR 837 THE PATRON. - Eh my dear I found you at last. you don't remember me It was me who helped you before my misfortune to do this superb deal. - Which one - What you don't remember. well it's thanks to me. but now it's me who needs some money for a speculation could you please lend me five francs. 17. LE PLACEUR. Employé à quinze sous par jour afficheur clandestin quelle destinée! On demande un remplaçant pardine et mon chapeau et mon habit aussi; et c'est surtout mon souper d'hier soir qui demande un remplaçant! DR 838 THE POSTER MAN. Employed at 15 Sous a day to paste up posters secretly. what a destiny. They look for a substitute by Jove. and I surely need a replacement for my hat and my coat. But it's above all my supper of yesterday that urgently demands a replacement. 18. L'AGENT D'AFFAIRES. Diable!. je suis en retard. on a peut être appelé l'affaire de l'épicier Flachonneau à qui Mlle. Coquillard ma cliente doit pour six livres dix sous de pains à cacheter une jeune personne qui a des relations fort étendues!. DR 839 A BUSINESS AGENT. Confound it! I am late! .They have probably already called up the case of the grocer Flachonneau to whom my client Mlle. Coquillard a young person who really is very well connected owes for six pounds of wafers. 19. LE CLAQUEUR. Nom d'un; il va falloir chauffer ça ce soir une pièce nouvelle en trois actes; le comique veut que j'éclate de rire l'héroïne veut que je pleure l'auteur veut que je trépigne jusqu'à la vieille mère noble qui désire que je la claque. en v'là de l'ouvrage. DR 840 THE HIRED CLAPPER. Devil this is going to be a heated night : A new play in three acts; the comedian wants me to burst out laughing the heroine wants me to cry the author wants me to stamp my feet and the noble old lady wants me to applaud. that's how it is done! 20. L'ACTEUR DES FUNAMBULES. - En v'là un temps qui vous rend passionné! et tout à l'heure va falloir être brûlant d'amour en turc. et dire "ô Zuléma partage mes trésors et mon trône. viens viens t'enivrer dans les plaisirs et l'abondance!" avec un sou de pommes de terre frites dans le ventre! DR 841 THE ACTOR OF THE GROTESQUES. This surely is the kind of weather that makes you burn with passion! And in a few minutes I'll have to be a Turk blazing with love and say: "Oh Zuléma share my treasures and my throne. and indulge in pleasures and riches!" And all that with just a penny's worth of chips in my belly! 21. LE TONDEUR DES CHIENS. Pauvre cher animal quel patience si on ne jurerait pas un petit ange du bon Dieu!. plus souvent que mon canaille d'époux se tient comme ça quand il va chez son perruquier! DR 842 THE CLIPPER OF DOGS. Poor dear animal what a patience! One might almost swear he is an angel of God. Much more so than my scoundrel of a husband who curses every time he goes to the wig-maker. 22. LE MARCHAND D'HABITS. "Habits à vendre!. avez vous des chapeaux des souliers des vieux habits à vendre!" Ce commerce fleurit à l'époque du carnaval aux environs des écoles de droit et de médecine: l'étudiant cède volontiers sa garde-robe pour se procurer un costume de débardeur une épouse un léger doigt de champagne et le cancan à discrétion! DR 843 THE SECOND HAND CLOTHES DEALER. "Clothes for sale!. Do you have hats shoes old dresses for sale" This trade florishes especially during carnival season and in the vicinity of the medical and law schools. Students are happy to sell their wardrobe in order to afford a docker's costume a wife a glass of champaign and unlimited cancan visits. 23. L'ANCIEN NÉGOCIANT - Je ne connais pas cette signature. - C'est la mienne. - C'est possible connais pas. - Ancien fondateur de plusieurs banques. des fameuses banques retiré des affaires et engageant ma signature pour voler. au secours de l'industrie! DR 844 THE OLD MERCHANT. - I don't know this signature. - But it's mine. - May be but I don't know it. - Former founder of several banks. of famous banks I retired from business and use my signature to.support rob industry. 24. LE CHEVALIER DE L'ÉPERON D'OR. Se disant ancien Colonel des gardes de sa Sainteté depuis aide de camp du Prince de Monaco attendant pour prix de ses services un poste distingué dans le Gouvernement. cependant il accepterait volontiers un bureau de tabac ou une place d'inspecteur du balayage; du reste brave comme tout chevalier de son ordre pour un rien demandant raison aux enfants de cinq ans faisant parfaitement des excuses dès qu'on le regarde en face. DR 845 THE KNIGHT OF THE GOLDEN SPUR. Self-styled colonel of the guards of his Holiness since then aide de camp to the Prince of Monaco. He holds a distinguished post in Government. Nevertheless he will gladly accept a job in the cleaning services at the tobacco depot. He remains the gallant reminder of all knights of this order scolding 5 year old children for no reasonand always ready to make perfect excuses when one looks him straight into the eyes. 25. LE MEMBRE DE TOUTES LES ACADÉMIES. Diable de discours; impossible de retenir. ah! j'y suis Messieurs c'est avec émotion que je viens donner à l'Europe des preuves d'un savoir. qui pourrait être plus étendu. mais si je n'en sais pas davantage c'est par modestie! La séance d'aujourd'hui sera consacrée aux bouchons de liège. cette question si futile au point de vue ordinaire; et si intéressante pour l'humanité; nous examinerons ensuite l'influence des pains à cacheter sur la littérature. j'aurai ensuite l'honneur de vous faire entendre un rapport lumineux sur les allumettes chimiques Séance du 20 Janvier 1842. DR 846 A MEMBER OF ALL ACADEMIES. Blasted speech; impossible to remember it all. ah there we are. Gentlemen it is with great emotion that I am able to present to Europe the findings of a scientist. who else would have such an abundance of knowledge at his fingertips! And in case I don't know something it is out of pure modesty. Our session today will be focused on the cork; while from an ordinary point of view this may seem to be a futile topic but it is of great interest for humanity. After that we shall examine the influence of the wafer on literature in general. finally I will have the honour presenting to you an illuminated report on chemical matches. Session of January 20 1842 26. L'AMI D'UN GRAND HOMME. O mon illustre ami mort comme un simple particulier génie à qui la science doit tant et qui me devait davantage. mille écus! que j'espérais rattraper sur son fameux traité de la culture des épinards! DR 847 THE FRIEND OF A GREAT MAN. Oh my illustrious friend who died like any common individual oh genius to whom science owes so much and who owes me still more. a thousand écus! Which I hoped to recover with his famous treatise on the growing of spinach! 27. LES COMÉDIENS DE PROVINCE. - Oui mon cher oui les barbares m'ont sifflé dans Cinna; et cependant tu m'as vu dans Cinna! - Oui je t'ai vu je peux m'en flatter mais vois-tu les provinciaux c'est de la panade; débuté aux Français va trouver Mr. J.J. fais toi soigner demande cent mille francs par an et on t'applaudira. mais tu veux réussir avec 1500 f. d'appointemens et à Beauvais. cornichon! DR 848 THE COMEDIANS FROM THE PROVINCE. - Can you imagine my dear these barbarians were hissing during my performance in "Cinna"; and you have seen me in "Cinna". - Yes I flatter myself having seen you but you must understand that these provincials are utter simpletons. Once you have your debut at the Theatre Français you'll be seeing Mr. J.J. who will pamper you you'll be asking 100'000 francs annual salary and they'll applaud you. how can you possibly succeed with 1'500 francs at the Beauvais. you fool! 28. L'EX-COLONEL. Douze quinze. vingt cinq. ça fait deux poules et un dindon que j'ai plumés. DR 849 THE EX-COLONEL. Twelve fifteen. twenty-five. I surely have plucked more than a couple of greenhorns! Hazard & Deltail 826-852; DR 822-849. Paris: Aubert & Cie., 1840 unknown
réf. 14808`. Daumier Honore French 180.8-1879. LE VENTRE LEGISLATIF. Lithograph 1834. Published by L'Association Mensuelle in the issue of January 1834. With the ceneterfold but also folded horizontally. Signed in the stone. 11 x 17 1/8 inches image 14 x 21 1/2 inches sheet. The folds are apparent in the margins but very unobtrusive in the image. The title translates as "The Legislative Belly." The print is Daumier's satirical commentary on kind of people who made up the Chamber of Deputies in January of 1834. He shows them fat and self-satisfied implying that concern for the public good was not first on their minds. 1834 was a very volatile year in French politics with an insurrection in Lyon which was put down by military force. Conservatives who supported the monarchy and the status quo won the elections to the Chamber of Deputies. Only 200000 people those who paid a minimum of 200 Francs in taxes were eleigible to vote the population of France was then 30000000. This print with its strong graphic design and its forthright critique is among Daumiers most significant works. unknown
réf. 02253Paris: Chez Aubert 1839. With 150 Hand-Colored Lithographs including Forty-Five by Honoré Daumier and Forty-Two by Gavarni DAUMIER Honoré Gavarni and others illustrators. ALHOY Maurice Louis Huart and Charles Philipon editors. Le Musée pour rire. Dessins par tous les caricaturistes de Paris; Texte par MM. Maurice Alhoy Louis Huart et Ch. Philipon. Paris: Chez Aubert Editeur des Cent-et-Un Robert-Macaire 1839-1840. First edition. Three quarto volumes bound in one 10 x 7 5/8 in; 251 x 193 mm. 1 half-title 2 title 600 pp. With 150 numbered hand-colored lithographs heightened with gum arabic by Honoré Daumier forty-five Gavarni forty-two Frédéric Bouchot twenty-two Victor Adam ten Platier seven Benjamin i.e. Benjamin Roubaud four Bourdet three Pruche three Platel two Grandville two Edme-Jean Pigal two Alophe Menut two Charles Vernier two Charles-Joseph Traviès one and others. Bound ca. 1886-1890 by James Screeton of Hull with label to rear pastedown half black pebbled morocco over gray-brown cloth. Elaborately gilt tooled compartments gilt-rolled raised bands. All edges gilt. Some foxing and toning throughout but still a very good copy. "The house of Aubert was ingenious in marketing its products. Its lithographs.were published one by one in periodicals like Le charivari and together in suites by the same artist without letterpress. Still a third form of publication was in albums made up of lithographs by several artists with accompanying texts. These collections most commonly took the form of volumes with the generic title Paris comique which consisted of twenty colored lithographs accompanied by quite unrelated texts. Aubert remarked that the resulting hodgepodge had 'a plan that is easy to follow for it consists in not having any' and in fact this was indeed a frugal procedure for reusing old texts and already published plates. The interest of the various volumes of Paris comique resides entirely in the lithographs they happen to contain. It can be considerable however since Daumier and Gavarni are the predominant artists. Le musée pour rire represents a more considerable effort on the part of Aubert. To accompany 150 lithographs including forty-five by Daumier among them twenty-seven from Croquis d'expressions and eight from La galerie physionomique and forty-two by Gavarni new commentaries were commissioned on each plate all except two by Alhoy and Huart. Daumier's lithographs were trimmed slightly and their captions were relettered. The designs of the other artists were provided with decorative frames. The whole was then published in three handsome volumes and in copies with expert contemporary coloring like this one Le musée pour rire is among the freshest and most attractive of romantic illustrated books" Ray The Art of the French Illustrated Book. Le Musée pour Rire "contained 150 lithographs by Daumier Gavarni Bouchot Traviès etc. These are re-impressions some of them in mirror image which had previously already been used for publication in Le Charivari. Most prints of the series 'Croquis d'expressions' are contained in the book. The name of the series is missing and the texts were printed in a different type than in the original Charivari version. We do not consider these prints original lithographies but rather prints 'after Daumier'". James Screeton was the son of bookbinder William Screeton of Hull. It appears that he was partner of binder William Wardell until opened his own shop in 1886. Ray The Art of the French Illustrated Book 164. Paris: Chez Aubert, 1839 unknown
