3 942 résultats
1863réf. 70409Traductions de Louis Viardot, avec les dessins de Gustave Doré, gravés par H. Pisan, 2 vol. in-folio reliure postérieure demi-chagrin à coins rouge, dos à 5 nerfs orné, tête dorée, triple filet doré en mors et coins, daté "1883" au dos en queue, Louis Hachette, Paris, 1863, 2 ff., XXIII-459 pp., et 1 f. (paginé I-II) de table des grandes compositions, avec 62 planches hors texte (y compris le frontispice) sur papier vélin fort, gravées sur bois et tirées sur fond teinté chine ; 2 ff., 515 pp. et 1 f. (paginé I-II) de table des grandes compositions, avec 58 planches hors texte (y compris le frontispice) sur papier vélin fort, gravées sur bois et tirées sur fond teinté chine
1867réf. 2080502106916969Not Available 1867. Soft Cover. Fine. The book is in fine condition. Not Available paperback
19882 vols., roy. 8vo., First Edition thus, with numerous full-page and smaller engraved illustrations; red cloth, blocked and lettered in gilt, red goatskin backs lettered in gilt, gilt tops, silk ribbon markers, a fine copy in publisher's cloth slip-case blocked and lettered in gilt. EDITION LIMITED TO 500 NUMBERED COPIES (THIS COPY NO. 462). All five books are contained in two volumes, uniting for the first time Screech's new translation [2006] with Dore's immortal illustrations (all reproduced at their original size) from the famous Garnier Freres edition of 1854.
1854réf. 44612, , 1854-1858. 9 en-têtes originaux au crayon et à l'encre noire, brune et rouge, dessinés en marge d'illustrations découpées et collées en un album in-12 oblong de (24) ff., demi-toile verte chagrinée, dos lisse muet (reliure de l'époque).
1855réf. 73043Se trouve à Paris, ez bureaux de la Société générale de librairie [on esté imprimez par Bénard et Ce.], 1855, in-8, XXXI-[1]-614-[1] pages, bois gravés dans le texte et à pleine page, Percaline noire de l'éditeur, titre et composition dorés sur le dos, "Comprenez-vous maintenant pourquoi tout ce qui est amateur de livres a une dévotion spéciale aux Contes drolatiques, et les estime au point de s'exclamer que, de tous les ouvrages de Doré, S'il n'en reste qu'un seul, ce sera celui-là (Béraldi)?" Cinquième édition, posthume, et première édition illustrée des Contes drolatique, "chef-d'oeuvre où chaque vignette est une trouvaille" (Béradi). Rare en reliure d'éditeur. Leblanc, bibliographe de Gustave Doré, relève que les tirages de cette cinquième édition ont été très variés ; il constate en effet que, sur 8 exemplaires collationnés, aucun n'est exactement semblable à l'autre. Voici les particularités qui caractérisent le nôtre : - Le titre annonce 425 dessins ; - On lit "sujets" en page VIII ; - La page XXI est chiffrée XX ; - La légende de la page 326 est "Le joyeulx curé de Meudon" ; - Le nom et l'adresse de Fain n'apparaissent pas à la page 425, ni la signature 36. ; - Le titre du conte Naifveté apparait bien à la table des matières de la page 426. Au demeurant, les bibliographes ne s'accordent pas tout à fait pour définir quel serait le tout premier tirage. Leblanc penche pour ceux qui, entre autres particularités, annoncent 424 dessins au titre. Gustave Doré (1832-1883) a dessiné les très beaux bois de ces Contes drolatiques à l'âge de 21 ans, de manière concomitante à ceux de l'édition des Oeuvres de Rabelais. L'idée d'illustrer ces textes lui avait été suggérée par le Bibliophile Jacob, Paul Lacroix, qui avait été chargé par la veuve de Balzac de la révision philologique du texte. Les illustrations se placent dans une veine caricaturale et "drolatique" ; elles révèlent l'immense talent de Gustave Doré, son attrait pour le paysage et son aisance dans le portrait de personnages grotesques comme dans les scènes burlesques. "Cette illustration est à nulle autre semblable par sa puissante originalité : elle est gauloise, rabelaisienne, et pétillante d'esprit. Doré a certainement, dans les Contes drolatiques, répandu le meilleur de son talent. Ils n'eurent cependant aucun succès et toute l'édition fut mise au rabais. Aujourd'hui, c'est l'un des ouvrages de Doré les plus recherchés" (Leblanc). Ex-libris manuscrit au faux-titre : "Hadriani Seguilii". Fine mouillure en tête des premiers feuillets, percaline un peu fatiguée. Leblanc, p. 39 et suiv. ; Carteret III, p. 48 et suiv. ; Béraldi, T. VI, p. 34, n° 89 ; Brivois, p. 32; Vicaire I, 190-193. Couverture rigide
réf. 63705Paris: Bureaux de la Société générale de librairie 1855. FIRST EDITION THUS. 8vo. 20 x 12.5 cm. pp.xxxi16141. Contemporary full red morocco signed by Galette sides with triple gilt fillet borders spine with richly gilt decorated compartments between raised bands gilt decorated inner dentelles marbled endpapers all edges gilt. Contained in a green marbled paper covered slipcase with red morocco trim. 425 illustrations by Gustave Doré engraved on wood by Lavieille Rouget Pisan Brévière and Piaud. A very pretty copy in excellent fresh condition. First illustrated edition of the Contes drolatiques with 425 illustrations by Gustave Dore praised by Ray "Doré's early masterpiece" Carteret "le chef-d'œuvre d'illustrations de Gustave Doré" and Beraldi who though it the most likely to endure of all Doré's books - "S'il n'en reste qu'un seul ce sera celui-là !" Béraldi. Although the title refers to this edition as the "cinquiesme édition" it is actually the fourth edition of Les contes drolatiques which was first published between 1832-1837. It is well recorded that Balzac's widow granted permission for the illustrated edition only on the condition: "that no artist but Doré should be allowed to illustrate her husband's works" Anthony North-Peat Gossip from Paris 1864-69 p. 324. Carteret III pp. 48-53; Bulletin de la Librairie Morgand et Fatout II 6445; Berny Livres anciens romantiques et modernes III 92; Rahir VI 1875; Ray 244. Paris: Bureaux de la Société générale de librairie, 1855. hardcover
réf. 06698Paris: Au Bureau du Journal Amusant 1859. Gustave Dorés Amusing Attack on the 'Excesses' in French History DORÉ Gustave. Les Folies Gauloises Depuis les Romains Jusqu'a nos Jours. Album de Moeurs et de Costumes par Gustave Doré. Paris: Au Bureau du Journal Amusant 1859. First edition. Oblong folio 10 7/8 x 14 1/8 inches; 277 x 359 mm. Twenty fine numbered lithographed plates by Gustave Doré printed by Vayron. Later quarter red cloth over marbled boards spine lettered in gilt. Some light wear to corners. Varying degrees of foxing throughout most noticeable on plates nos. 4 5 16 17 & 18. Still a very good example of this rather scarce Doré album. "This dazzling survey of French manners and costume through the ages was the last of Doré's albums. It is marked by a solidity of conception and a sophistication of outlook to which he hardly aspired in his earlier collections of lithographs. His measured satire of the sedate Romanticism of Lamartine no. 20 should be compared with Thomas' broad burlesque of Delacroix's Faust in Le rêve 144. Though Beraldi places Les folies gauloises in 1852 remarking that its earlier plates anticipate Les contes drolatiques in their presentation of the Middle Ages it did not appear until 1859 Ray 245; Leblanc p. 115. La Menagerie Parisienne; Les Differents Publics de Paris; and Les Folies Gauloises: These three oblong lithographic albums all contain full-page satirical cartoons with Doré captions. They are Doré's book editions by Philipon/Aubert Doré did contribute heavily to one or more of their magazines Musee Francais-Anglais. They are all about the same size in the 10 ½ x 13 ½ range. All are undated but Menagerie and Publics are almost certainly 1854 while the date of Folies continues to be debated but it was probably 1859. The evidence in favor of the early Folies date was that Doré's art style had changed considerably by 1859 but there is one other possibility - Doré may have drawn the illustrations in 1854 but for some unknown reason they might not have been published until 1859. The name of the publishing company headed by Philipon/Aubert was in a state of flux in the 1850s which these albums reflect. Menagerie was published by the Bureau du Journal pour Rire while Publics and Folies were published by the Bureau du Journal Amusant. All three of these lithographic albums are very rare. Most copies were long ago taken apart to sell the lithographs individually. But Les Folies Gauloises literally "Gallic Follies" is a much stronger attack on the excesses in French history. Like Publics it also contains 20 lithographs. Amusingly enough the English edition of Folies actually claims that the illustrations are of British history adding a new full page of text by Thomas Wright to accompany each illustration. The quality of the English edition is not that great but it is the only edition you have a realistic chance of acquiring without paying a fortune. Malan p. 35. Each of the twenty lithographs represent a particular period in French history beginning with the barbarian hordes Gauls observing a human sacrifice then proceeding to a thirteenth-century Inquisition a fifteenth-century tournament a festival during the reign of Henri III the premiere performance of a 1695 drama by Racine the "edifices" of fashionable women's wigs in the court of Louis XVI a harp recital in 1810 and finally ending with the Romanticism of 1830 and 1840. These fine lithographs typify Doré's vivid and witty imagination. Ray Art of the French Illustrated Book 245; Beraldi VI p. 29; Malan Gustave Doré p. 35; Renonciat La Vie et l'Oeuvre de Gustave Doré p. 46-47; Leblanc p. 115. Paris: Au Bureau du Journal Amusant, 1859 unknown
réf. 06698Paris: Au Bureau du Journal Amusant 1859. Gustave Dorés Amusing Attack on the 'Excesses' in French History DORÉ Gustave. Les Folies Gauloises Depuis les Romains Jusqu'a nos Jours. Album de Moeurs et de Costumes par Gustave Doré. Paris: Au Bureau du Journal Amusant 1859. First edition. Oblong folio 10 7/8 x 14 1/8 inches; 277 x 359 mm. Twenty fine numbered lithographed plates by Gustave Doré printed by Vayron. Later quarter red cloth over marbled boards spine lettered in gilt. Some light wear to corners. Varying degrees of foxing throughout most noticeable on plates nos. 4 5 16 17 & 18. Still a very good example of this rather scarce Doré album. "This dazzling survey of French manners and costume through the ages was the last of Doré's albums. It is marked by a solidity of conception and a sophistication of outlook to which he hardly aspired in his earlier collections of lithographs. His measured satire of the sedate Romanticism of Lamartine no. 20 should be compared with Thomas' broad burlesque of Delacroix's Faust in Le rêve 144. Though Beraldi places Les folies gauloises in 1852 remarking that its earlier plates anticipate Les contes drolatiques in their presentation of the Middle Ages it did not appear until 1859 Ray 245; Leblanc p. 115. La Menagerie Parisienne; Les Differents Publics de Paris; and Les Folies Gauloises: These three oblong lithographic albums all contain full-page satirical cartoons with Doré captions. They are Doré's book editions by Philipon/Aubert Doré did contribute heavily to one or more of their magazines Musee Francais-Anglais. They are all about the same size in the 10 ½ x 13 ½ range. All are undated but Menagerie and Publics are almost certainly 1854 while the date of Folies continues to be debated but it was probably 1859. The evidence in favor of the early Folies date was that Doré's art style had changed considerably by 1859 but there is one other possibility - Doré may have drawn the illustrations in 1854 but for some unknown reason they might not have been published until 1859. The name of the publishing company headed by Philipon/Aubert was in a state of flux in the 1850s which these albums reflect. Menagerie was published by the Bureau du Journal pour Rire while Publics and Folies were published by the Bureau du Journal Amusant. All three of these lithographic albums are very rare. Most copies were long ago taken apart to sell the lithographs individually. But Les Folies Gauloises literally "Gallic Follies" is a much stronger attack on the excesses in French history. Like Publics it also contains 20 lithographs. Amusingly enough the English edition of Folies actually claims that the illustrations are of British history adding a new full page of text by Thomas Wright to accompany each illustration. The quality of the English edition is not that great but it is the only edition you have a realistic chance of acquiring without paying a fortune. Malan p. 35. Each of the twenty lithographs represent a particular period in French history beginning with the barbarian hordes Gauls observing a human sacrifice then proceeding to a thirteenth-century Inquisition a fifteenth-century tournament a festival during the reign of Henri III the premiere performance of a 1695 drama by Racine the "edifices" of fashionable women's wigs in the court of Louis XVI a harp recital in 1810 and finally ending with the Romanticism of 1830 and 1840. These fine lithographs typify Doré's vivid and witty imagination. Ray Art of the French Illustrated Book 245; Beraldi VI p. 29; Malan Gustave Doré p. 35; Renonciat La Vie et l'Oeuvre de Gustave Doré p. 46-47; Leblanc p. 115. Paris: Au Bureau du Journal Amusant, 1859 unknown books
1873réf. 159315Paris: Garnier Frères 1873. First Edition. Folio. First Edition. A monumental two-volume collection of the works of François Rabelais illustrated with frontispiece portrait 60 plates and 658 in-text illustrations by Gustave Doré. Text and titles in French. Both volumes Very Good plus with light foxing on the endpapers and page edges. Garnier Frères unknown
1873réf. 159315Paris: Garnier Frères 1873. First Edition. Folio. First Edition. A monumental two-volume collection of the works of François Rabelais illustrated with frontispiece portrait 60 plates and 658 in-text illustrations by Gustave Doré. Text and titles in French. Both volumes Very Good plus with light foxing on the endpapers and page edges. Garnier Frères unknown books
1884réf. 71939New York: Harper & Brothers Publishers 1884. First edition illustrated by Doré. Hardcover. Good. Gustave Dore. Elephant folio 46.5 cm Gray pictorial cloth with full-cover angel illustration by Doré stamped in gold and black on the front board. All edges gilt. Captioned pages before the illustrations. Original binding. General overall wear. Boards lightly soiled and stained. Front hinge broken. Rear hinge starting. Front free endpaper absent. Rear free endpaper detached at the head. A brief name with the date "June 1911" appears in pencil on the front flyleaf. ---Complete. Illustrated with a title vignette and twenty-six engravings by the pre-eminent French Victorian artist Gustave Doré. The first edition thus of this beautifully illustrated edition of the classic Poe poem. This was Doré's last book a masterpiece published a year after his death. Six-page introduction by Edmund Stedman- "plainly there was something in common in the working moods of Poe and Doré." The Poe-Doré combination is indeed one of the most revered author-illustrator relationships. Title page vignette designed by Elihu Vedder. If shipping this item will require extra postage charges due to its size and weight. Harper & Brothers, Publishers hardcover
1884réf. 71939New York: Harper & Brothers Publishers 1884. First edition illustrated by Doré. Hardcover. Good. Gustave Dore. Elephant folio 46.5 cm Gray pictorial cloth with full-cover angel illustration by Doré stamped in gold and black on the front board. All edges gilt. Captioned pages before the illustrations. Original binding. General overall wear. Boards lightly soiled and stained. Front hinge broken. Rear hinge starting. Front free endpaper absent. Rear free endpaper detached at the head. A brief name with the date "June 1911" appears in pencil on the front flyleaf. ---Complete. Illustrated with a title vignette and twenty-six engravings by the pre-eminent French Victorian artist Gustave Doré. The first edition thus of this beautifully illustrated edition of the classic Poe poem. This was Doré's last book a masterpiece published a year after his death. Six-page introduction by Edmund Stedman- "plainly there was something in common in the working moods of Poe and Doré." The Poe-Doré combination is indeed one of the most revered author-illustrator relationships. Title page vignette designed by Elihu Vedder. If shipping this item will require extra postage charges due to its size and weight. Harper & Brothers, Publishers hardcover books
réf. 8526Paris, Garnier frères, [1875]. In-8 (244 x 162 mm), XXXII pp., 614 pp., 1 f. n. ch. Maroquin marron clair, large encadrement de filets dorés et à froid s’entrecroisant sur les plats, fleurons dorés, dos à nerfs orné dans le même goût, auteur, titre et illustrateur en doré, coupes filetées, sextuple filet doré encadrant les chasses avec larges fleurons d’angle, non rogné, couvertures et dos conservés, étui, rousseurs marginales sur quelques feuillets, dos très légèrement passé (Weckesser et ses fils).
1872réf. 21212321872. London: Grant & Co. 1872. Folio. Original burgundy cloth lettered in gilt to front and spine bevelled edges; pp. x xii 191 1 illustrated by Dore with 54 full page wood engraved plates with titled tissue-guards and 126 engravings throughout the text; a little shelf wear to extremities occasional foxing generally very good.First edition. The theme of this book had been anticipated by Matthew Arnold three years earlier when he wrote of ""London with its unutterable external hideousness and with its internal canker of publice egestas priviatim opulentia - to use the words which Sallust puts into Cato's mouth about Rome - unequalled in the world"" Culture and Anarchy London 1869 p.31. Gustave Dore collaborated with the journalist Blanchard Jerrold to explore Victorian London spending four years to produce this masterpiece in which the chiaroscuro illustrations embody the light and shade of the city. ""Dore's devastating realization of the contrast of wealth and poverty in a modern metropolis makes London one of the great illustrated books of the world."" Gordon Ray The Illustrator and the Book in England from 1790 to 1914 describing the English edition.This book had a considerable influence on Vincent van Gogh who dubbed it ""superb and noble in sentiment"". hardcover
1854réf. 190121854 Paris, Au Bureau du Journal pour Rire, sans date (1854), in-4 oblong à l'italienne, de 26 cm x 33,5 cm, 1er plat de couverture conservée, imprimée sur papier glacé vert reproduisant le titre en lettes or (très frais), elle remplace la page de titre qui manque ici, 24 lithographies légendées à pleine page, rel. d'ép. de demi-chagrin brun foncé, dos lisse orné de larges filets à froid soulignés de filets dorés, sans la page de titre mais avec le 1er plat de couverture qui lui est exactement identique, mais imprimé or sur papier glacé vert, 2 légendes ont été coupés à la reliure, sinon bon ex. sans rousseurs.
1854réf. es293J. Bry Ainé, éditeur Sélection Le Seanachi, Sélection Abraxas-libris Relié 1854 "EDITION ORIGINALE--LETTRE MANUSCRITE DE GUSTAVE DORE. ""Histoire dramatique, pittoresque et caricaturale de la sainte Russie, d'après les chroniqueurs et historiens Nestor, Nikan, Sylvestre, Karamsin, Ségur, etc. commentée et illustrée de 500 magnifiques gravures de Gustave Doré gravées sur bois par toute la nouvelle école sous la direction générale de Sotain, graveur de l'histoire de Russie, de batailles, de protraits, de paysages, de genre, de fleurs, d'animaux, de crustacés et de plantes rares"". Un volume in-4 (20,8 x 31 cm), reliure pleine toile beige de Behrends, dos lisse orné d'une pièce de titre et d'un fer estampé à froid, ex-libris de Maurice Decroix, couverture conservée, 207 pages imprimées uniquement au recto, la page 89 porte la tache rouge caractéristique de l'édition originale rare et recherchée de cet ouvrage satirique critiquant les menées de la Russie en Europe, notamment en Crimée, qui fut par la suite censuré par le gouvernement de Napoéon III en 1856. Il est aussi considéré comme la première bande dessinée française. Notre exemplaire est en outre doté d'une lettre manuscrite de Gustave Doré à son éditeur. ""Cher Monsieur, je vous prie de croire que je ne donnerais pas un dessin à un graveur sans que vous le vissiez et sans qu'il vous l' [apporte?]. Aussi je m'empresse de vous écrire pour vous exprimer mon étonnement de ce que M. Viand n'ait pas, comme je le lui ai recommandé expressément, été vous porter son bois. Il [demeure?] 133 avenue de Châtillon au Grand Montrouge. Vous aurez demain deux nouveaux dessins sans faute. Votre bien dévoué, Gustave Doré ; dos bruni, rousseurs et taches aux plats, manque dans le coin inférieur de la page 49 avec légère atteinte de quelques mots au texte et sans atteinte à l'illustration, par ailleurs intérieur frais et bien conservé, bel exemplaire. Livraison a domicile (La Poste) ou en Mondial Relay sur simple demande."
1860réf. 84302Féchoz & Letouzey | Paris s. d. [1860] | 36 x 27.50 cm | relié
réf. lom-MS001919In French. Short description: Gustave Dore. Histoire pittoresque dramatique et caricaturale de la sainte Russie. Paris: J. Bry aine 1854. The French painter Gustave Dor 1832-1883 is known to many primarily as an illustrator of the Bible and works of classical literature. However he was also a talented cartoonist. During the Crimean War when France together with Great Britain and the Ottoman Empire fought against Russia Dor like some other European artists of that era touched on the topic of anti-Russian propaganda in his work. In 1854 his book-album The History of Holy Rus' was published in Paris. It was an anti-Russian military pamphlet in graphic novel format. The album contains over 500 cartoons. All illustrations are provided with comments written by Dore himself. The History of Holy Rus' depicted Russia as a terrible country inhabited by crazy savages. The album was replete with all sorts of propaganda clichs negative clichs stereotypes and myths. The book showed the entire history of Russia from Rurik to the Crimean War in an acutely satirical vein. Dore paid especially close attention to the key figures of Russian history - Ivan the Terrible methodically destroying his own subjects and Peter the Great paving the way for reforms over the mountains of the corpses of his fellow citizens. However Nicholas I his domestic and foreign policy got the most of course. In the Russian Empire History of Holy Rus' for obvious reasons was immediately banned. For the first time as a separate edition in Russian it was published only in 2012. Please feel free to contact us for a detailed description of the copies available. SKUMS001919 unknown
réf. lom-MS001919In French. Short description: Gustave Dore. Histoire pittoresque, dramatique et caricaturale de la sainte Russie. Paris: J. Bry aine, 1854. The French painter Gustave Dor? (1832-1883) is known to many primarily as an illustrator of the Bible and works of classical literature. However, he was also a talented cartoonist. During the Crimean War, when France, together with Great Britain and the Ottoman Empire, fought against Russia, Dor?, like some other European artists of that era, touched on the topic of anti-Russian propaganda in his work. In 1854, his book-album The History of Holy Rus' was published in Paris. It was an anti-Russian military pamphlet in graphic novel format. The album contains over 500 cartoons. All illustrations are provided with comments written by Dore himself. The History of Holy Rus' depicted Russia as a terrible country inhabited by crazy savages. The album was replete with all sorts of propaganda clich?s, negative clich?s, stereotypes and myths. The book showed the entire history of Russia from Rurik to the Crimean War in an acutely satirical vein. Dore paid especially close attention to the key figures of Russian history - Ivan the Terrible, methodically destroying his own subjects, and Peter the Great, paving the way for reforms over the mountains of the corpses of his fellow citizens. However, Nicholas I, his domestic and foreign policy, got the most, of course. In the Russian Empire, History of Holy Rus', for obvious reasons, was immediately banned. For the first time, as a separate edition in Russian, it was published only in 2012. Please feel free to contact us for a detailed description of the copies available. SKUMS001919
1875réf. 76484London:: Dore Gallery 1875. First edition thus; presentation copy inscribed by Dore on the original plain front wrapper to a contemporary publisher "A Monsieur Goupil Hommage Affectueux G. Dore.". rebound inappropriately in 20th c. gilt-lettered leatherette but with the original plain wrappers bound in. Custom clamshell box. Some scattered foxing and slight marginal waterstaining to a few leaves. Oversised folio. Illustrated by Gustave Dore: title page vignette frontispiece and 38 black and white plates. Additional postage charge applicable for this oversized book. Dore Gallery, hardcover
1872réf. 34677London: Grant & Co. 1872. First Edition of “Doré’s chef d’oeuvre” Bland. With one hundred and eighty truly brilliant engraved illustrations by Gustave Doré including many folio size plates each with descriptive tissue guard. Large Folio in a stately and handsome binding of three-quarter blue-black polished calf over blue cloth covered boards the spine with raised bands ruled in gilt the compartments fully gilt decorated with panels incorporating double gilt fillet rules corner and central tooling gilt one compartment with a red morocco label gilt lettered turnovers and borders of the calf ruled in gilt the upper cover with gilt titling and authorship decoration marbled endpapers all edges gilt. xii 191 10 Table of Contents and Table of Illustrations pp. A handsome and stately copy very sturdy and the binding strong and well preserved the thick paper generally clean and crisp and solid. Some occasional foxing to some leaves as is normal with the book more to the front preliminary leaves some rubbing to the extremities some age . A very well preserved copy. FIRST EDITION IN A STATELY BINDING OF WHAT MANY CONSIDER TO BE DORE'S GREATEST MOST IMPORTANT AND FANTASTIC WORK. This is also one of Doré’s less common works rarely encountered and a superb example of his talent. It is a great book especially because it is the work of an artist capturing what he sees of the London of the streets and of the backs a place seldom encountered by the public at large. It is a book that rocked the book world and English sensibilities when it first appeared. "Doré produced the drawings for this work under great emotional strain. France was involved in the Franco-Prussian War and his brother was a soldier in it. With Jerrold he had walked the streets of London like Dickens and Wilkie Collins before at night and viewed the working of the City the London labourers and the London poor. At this period he had also attended a garden party with Queen Victoria with whom he had a long conversation. He experienced all the delights of the London Season from the Boat Race the Derby and various Balls and Salons. His work was criticised for its exposure of the less salubrious side of the city from its Opium dens the homeless and the ugly back streets at the same time gently mocking Society Ladies admiring monkeys in cages from the animals point of view and the prisoners exercise yard which inspired Van Gogh. The British public were not amused with what had promised to be a light and entertaining work. Instead came a work of uncomfortable social reflection of the juxtaposition between wealth and poverty the upper classed the work and dispossessed. The text by Blanchard Jerrold is light and amusing hardly reflecting the grim realities of Doré's representation. “Doré’s devastating realization of the contrast of wealth and poverty in a modern metropolis makes LONDON one of the great illustrated books of the world. The English edition antedates the French by four years and indeed it is a handsomer book” Ray. Ruari McLean in his book VICTORIAN BOOK DESIGN says of it: “.perhaps the finest and most original book of monochrome wood engraving published in London during this period was the work of a Frenchman Gustave Doré. This was his LONDON A PILGRIMAGE. Doré’s illustrations make the English illustrations of the sixties look puny.” The engraved illustrations and accompanying text show many aspects of the city but dwell on the picturesque clutter and the squalor of the poorer districts. ‘Jerrold whose text accompanies the plates was a well known London journalist who conceived the work and accompanied the artist in exploring London--sometimes with special police protection. Doré was able to explore the vitality and ruthlessness of Victorian London and depict these conditions through his extraordinary graphics.’ Grant & Co. hardcover
1911réf. CLL-833Shangaï, Impr. de la Mission catholique, 1911-1938 18 volume in-4, cartonnages imprimés de l'éditeur bordés de percaline rouge reliés à la mode chinoise (dos du livre simplement broché, premier et second plat non solidaires mais fixés au corps de l'ouvrage par des cordons) de façon uniforme à l'époque.
1856réf. 32735Michel Lévy Frères Couverture rigide illustrée Paris 1856 Edition originale
1860réf. 84302Paris: Féchoz & Letouzey 1860. Fine. Before the golden age of comics the ""Age of Doré"" Féchoz & Letouzey Paris s. d. 1860 36 x 27.50 cm relié Album of lithographed plates in third state first cover printed in 3 tones black bistre with gradients and white highlights followed by 24 lithographs in black on 12 double-sided pages. Gray half calf binding smooth spine some foxing original soft cover preserved binding signed by Charles Septier. Created in 1851 this youthful work influenced by Rodolphe Töppfer's style is now considered an incunabulum of comic strips. Féchoz & Letouzey paperback
1911réf. 22701Shanghai mprimerie de la Mission Catholique à l'Orphelinat de T'Ou-Sè-Wè, ZI-KA-Wei 1911/18 -in-8 cartonné 13 volumes, cartonnage à la chinoise avec lacets reliant les plats, rouge et gris-jaune in-octavo Editeur (paperback in-octavo Editor) (25 x 17,5 cm), dos imprimé en noir, plats décorés à la chinoise : mors de toile rouge, plats décorés à froid (plaque spéciale Editeur), 1er plat orné d'une illustration en rouge (différente sur chaque volume), toutes tranches lisses jaspées rouges, abondamment illustré en couleurs : - PREMIERE PARTIE - Premier volume. TOME I N° 1. V. S. n° 32, 1911, XII+VI+146 pages+75 illustrations+10 photos. - Deuxième volume. 1ERE PARTIE - TOME I N° 2. V. S. n° 33, 1911, 70 pages+88 illustrations+1 photo. - Troisième volume. 1ERE PARTIE - TOME II N° 3. V. S. n° 34, 1912, X+106 pages+35 illustrations+2 photos, - Quatrième volume.1ERE PARTIE - TOME II N° 4. V. S. n° 35, 1912, 166 pages+55 illustrations+3 photos, - Cinquième volume.1ERE PARTIE - TOME V V. S. n° 36, 1913, XVII+92 pages+104 illustrations:La lecture des talismans chinois. Explication de ceux qui ont paru dans les N° 1 et n° 2 - 2EME PARTIE - TOME VI: Variétés Sinologiques n° 39, 1914, XII+196 pages+54 illustrations+3 photos.Recherches sur les superstitions en Chine. Deuxième partie, Le panthéon chinois. - 2EME PARTIE - TOME VII.:Variétés sinologiques n° 41, Imprimerie de la Mission catholique, Zi-ka-wei, 1914, VI+102 pages+53 illustrations. - 2EME PARTIE - TOME VIII.: Variétés sinologiques n° 42, Imprimerie de la Mission catholique, Zi-ka-wei, 1914, VIII+164 pages+40 illustrations. - 2EME PARTIE - TOME IX: CHAPITRE IV : Taoïsme : Dieux, Immortels, Génies.: Variétés sinologiques n° 44, Imprimerie de la Mission catholique à lorphelinat de Tou-sé-wé, Zi-ka-wei, 1915, X+218 pages+76 illustrations. -2EME PARTIE - TOME X: CHAPITRE V : Ministères transcendants -Variétés sinologiques n° 45, Imprimerie de la Mission catholique à lorphelinat de Tou-sé-wé, Zi-ka-wei, 1915, VIII+180 pages+39 illustrations. 2EME PARTIE - TOME XI: Chap. VI, Dieux protecteurs et Patrons. Variétés sinologiques n° 46, Imprimerie de la Mission catholique à lorphelinat de Tou-sé-wé, Zi-ka-wei, 1916, XII+192 pages+59 illustrations. 2EME PARTIE - TOME XII. Chapitres VI, Dieux protecteurs et Patrons ; VII, Dieux composites ; VIII, Divinités stellaires. Variétés sinologiques n° 48. Zi-ka-wei, 1918, VIII+234 pages+57 illustr.-TROISIEME PARTIE : Popularisation des trois religions -Section II : Confucius, ses disciples, le confucéisme - A. VIE DE CONFUCIUS ILLUSTRÉE - B. LES 144 SAGES DU TEMPLE DE CONFUCIUS d'après les documents chinois - Recherches sur les superstitions en Chine, TOME XIII.: Variétés sinologiques n° 49, Zi-ka-wei, 1918. XVI+262 pages + 81 illustrations, 1911/1918 Chang-Hai, Imprimerie de la Mission Catholique à l'Orphelinat de T'Ou-Sè-Wè, ZI-KA-Wei EDITEUR
