Paul GAVARNIBiblio.com
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1837réf. 86929Paris: Galerie Vero Dodat 1837. Fine. Husbands Wives and Le Charivari Galerie Vero Dodat Paris 1837 25.50 x 35.50 cm relié Rare complete suite of Gavarnis eighteen lithographs for Les Maris vengés published in Paris by Aubert in 1837-1838 here expanded to twenty-one sheets by the presence of three plates in two states; the second state is coloured while the third of these plates also appears in two differently hand-coloured impressions. Eight lithographs are therefore hand-coloured in all. To complete the series the collector had to use for plates nos. 13 14 and 16 the impressions published in Le Charivari. All bear Auberts address at the Galerie Véro-Dodat and are numbered from 1 to 18 except for one plate numbered by hand and the final plate which is unnumbered. Modern boards made in imitation of a period binding in half green cloth the glazed cloth sides with multiple blind borders title gilt to spine and upper board. Eight prints are mounted on leaves matching the size of the largest loose plates. Browning to nos. 1 and 4; the remaining impressions are fresh and on stout paper except for those extracted from Le Charivari. An attractive copy. Published by the house of Aubert founded in 1829 in the Galerie Véro-Dodat by Gabriel Aubert brother-in-law and associate of Charles Philipon the series belongs to the period in which the firm through La Caricature and then Le Charivari became one of the principal centres of graphic satire in Paris. Gavarni quickly established a tone of his own there; less monumental than Daumier more attentive to gestures glances and small social cruelties he made relations between men and women one of his most fertile subjects. In Les Maris vengés adultery suspicion jealousy and marital revenge unfold across eighteen scenes of manners culminating in the final plate Conclusion et Morale devoted to an accusation of adultery. Gavarni is less interested in scandal itself than in the telling detail; the satire often turns on a phrase a pose or some slight reversal by which husband wife or lover suddenly becomes trapped in the role he thought he controlled. The series appeared at the same time as the first Fourberies de femmes en matière de sentiment and several years before the Lorettes; it belongs to those years in which Gavarni through the pages of Le Charivari established an entire theatre of Parisian private life with its arrangements pretences and settling of accounts. Gathered here with impressions in several states and three plates taken directly from Le Charivari the series passes from satirical newspaper to collectors suite without losing the bite of scenes first conceived to appear at the rhythm of the press. Galerie Vero Dodat hardcover
1845réf. 78015Paris: Hetzel 1845. Fine. Hetzel Paris 1845-1848 17.70 x 26.80 cm 4 volumes reliés First edition and first printing of the engravings. Contributions by Théophile Gautier Laurent-Jan Léon Gozlan Auguste Lireux and Jules Hetzel under the pseudonym P.-J. Stahl among others. Contemporary publisher's binding in full black shagreen. Smooth spine decorated with 3 ornate compartments blind and gilt fillets. Large rocaille composition on boards thick triple fillet frame. Interior frieze. White watered silk endpapers. All edges gilt. Perimeter of watered silk endpapers brown-stained. Tailcap of volume 2 with a loss. Traces of rubbing. Thin scratch on the upper board of volume 1 lower board of volume 2. Some very occasional foxing on clean white paper. The binder inverted volumes 1 and 2 and volumes 3 and 4 the error stemming from the fact that the 4 series are not numbered by volume. Very handsome copy. Work illustrated with a general frontispiece 14 vignettes including one repeated and 320 plates all wood-engraved. References: Vicaire III 953-955; Brivois pp.168-171; Carteret III-260-264: ""Cet ouvrage est fort rare en belle condition."" Remarkable copy of superb freshness in full contemporary Romantic binding. Hetzel hardcover
réf. 06217Paris: Chez Aubert 1846. Three Complete Series by Paul Gavarni GAVARNI Paul pseudonym of Guillaume Sulpice Chevallier. Affiches Illustrèes & Gentilhommes Bourgeois & Des Mères de Famille. Paris: Chez Aubert 1846-1848. Three complete series bound in one folio volume 13 5/8 x 10 3/8 inches; 345 x 268 mm. Fourteen fine lithograph plates. All plates mounted on stubs and interleaved. The last six plates with a light waterstain on the top blank margin not affecting image. Bound by Pagnant ca. 1925 in three-quarter red straight-grain morocco over red diced cloth ruled in gilt. Smooth spine decoratively tooled and lettered in gilt marbled endpapers top edge gilt. Rear cover with waterstain at top. The three series are: Affiches Illustrèes Illustrated Posters 6 plates complete: Armelhault & Bocher 998-1003 25 June 1844 - 28 May 1846 Gentilhommes Bourgeois Bourgeois Gentlemen 3 plates complete: Armelhault & Bocher 1087-1089 9 August 1846 - 3 October 1846 Des Mères de Famille Mothers of the Family 5 plates complete: Armelhault & Bocher 1076-1080 24 November 1847 - 5 February 1848 Rare: OCLC/KVL locate just one example of Affiches Illustrèes The Morgan Library & Museum NY US. No examples of Gentilhommes Bourgeois and just one example of Des Mères de Famille Ohio State Univ. OH US Armelhault & Bocher 998-1003; 1087-1089 and 1076-1080. Paris: Chez Aubert, 1846 unknown
réf. 06216Paris : Au Bureau du Charivari 1846. The Gossip of Paris as depicted by Gavarni GAVARNI Paul pseudonym of Guillaume Sulpice Chevallier. Baliverneries Parisiennes Parisian Gossip. Paris: Au Bureau du Charivari 1848. First edition complete. Folio 13 x 10 inches; 330 x 254 mm. Twenty-four fine lithograph plates. Publisher's yellow wrappers printed in dark brown. Some plates a little foxed one short 7/8 inch tear to outer margin of front wrapper otherwise near fine. Baliverneries Parisiennes is a series of lithographs originally issued in the journal Le Charivari between 14 August 1846 and 22 October 1847. The fine plates depict humorous and satirical scenes of everyday life in Paris particularly the city's working class and the social commentary of the time. Rare: OCLC/KVK locates just one complete example in libraries and institutions worldwide: The Morgan Library and Museum NY US. Armelhault & Bocher 1004-1023 & 1680-1683. Paris : Au Bureau du Charivari, 1846 unknown
réf. 06217Paris: Chez Aubert 1846. Three Complete Series by Paul Gavarni GAVARNI Paul pseudonym of Guillaume Sulpice Chevallier. Affiches Illustrèes & Gentilhommes Bourgeois & Des Mères de Famille. Paris: Chez Aubert 1846-1848. Three complete series bound in one folio volume 13 5/8 x 10 3/8 inches; 345 x 268 mm. Fourteen fine lithograph plates. All plates mounted on stubs and interleaved. The last six plates with a light waterstain on the top blank margin not affecting image. Bound by Pagnant ca. 1925 in three-quarter red straight-grain morocco over red diced cloth ruled in gilt. Smooth spine decoratively tooled and lettered in gilt marbled endpapers top edge gilt. Rear cover with waterstain at top. The three series are: Affiches Illustrèes Illustrated Posters 6 plates complete: Armelhault & Bocher 998-1003 25 June 1844 - 28 May 1846 Gentilhommes Bourgeois Bourgeois Gentlemen 3 plates complete: Armelhault & Bocher 1087-1089 9 August 1846 - 3 October 1846 Des Mères de Famille Mothers of the Family 5 plates complete: Armelhault & Bocher 1076-1080 24 November 1847 - 5 February 1848 Rare: OCLC/KVL locate just one example of Affiches Illustrèes The Morgan Library & Museum NY US. No examples of Gentilhommes Bourgeois and just one example of Des Mères de Famille Ohio State Univ. OH US Armelhault & Bocher 998-1003; 1087-1089 and 1076-1080. Paris: Chez Aubert, 1846 unknown books
réf. 06216Paris : Au Bureau du Charivari 1846. The Gossip of Paris as depicted by Gavarni GAVARNI Paul pseudonym of Guillaume Sulpice Chevallier. Baliverneries Parisiennes Parisian Gossip. Paris: Au Bureau du Charivari 1848. First edition complete. Folio 13 x 10 inches; 330 x 254 mm. Twenty-four fine lithograph plates. Publisher's yellow wrappers printed in dark brown. Some plates a little foxed one short 7/8 inch tear to outer margin of front wrapper otherwise near fine. Baliverneries Parisiennes is a series of lithographs originally issued in the journal Le Charivari between 14 August 1846 and 22 October 1847. The fine plates depict humorous and satirical scenes of everyday life in Paris particularly the city's working class and the social commentary of the time. Rare: OCLC/KVK locates just one complete example in libraries and institutions worldwide: The Morgan Library and Museum NY US. Armelhault & Bocher 1004-1023 & 1680-1683. Paris : Au Bureau du Charivari, 1846 unknown books
réf. 05550Paris: Au Bureau du Charivari 1840. Sixty-Six Lithographed Plates by Gavarni "Stevedores" at the Carnival of Paris GAVARNI pseudonym of Guillaume Sulpice Chevallier. Les Débardeurs. Album Comique par Garvarni. Paris: Au Bureau du Journal Amusant & Petit Journal pour Rire. Chez Bauger 1840-1842. Three large quarto volumes 13 1/4 x 10 inches; 337 x 253 mm. Sixty-six numbered lithographed plates. Plates printed by Aubert & Cie. Mixed states of the plates as per Armelhault & Bocher. The first forty-four plates with some occasional marginal staining not affecting images some light foxing affecting just a few plates. Publisher's printed green paper wrappers with original glassine wrappers. Front wrappers of parts 1 & 2 with some minor discoloration on foredge. Overall an excellent example - the first that we have seen in the original printed wrappers. A series of sixty-six lithographs of which nine first appeared in other journals eight in La Caricature plates 21 23 and 24 under the title "Souvenirs du Carnaval" and 32 44 49 54 and 61 under the title "Les Débardeurs" and one plate 58 in La Mode prior to the publication of the entire series in Le Charivari from 19 January 1840 to 5 February 1842. "In Les Débardeurs.a series of sixty-six lithographs published in Le Charivari between 1840 and 1843 Gavarni depicts a variation on the most famous of the costumes he designed for the masquerade balls the débardeur stevedore. The braided wig loose shirt black velvet trousers fastened with brass buttons and tied with a fringed sash are derived from the working costume of the longshoreman or stevedore who unloaded the barges that traveled up the Seine to Paris. As Nancy Olsen points out in Gavarni: The Carnival Lithographs the majority of Gavarni's carnival lithographs reflect his interest in the small groups that drift away from the crowd as a consequence of the romantic liaisons that preoccupied many of the participants at a masked ball. Intrigue was the name of the gave and the information being conveyed in this scene comes in all probability from an agent provocateur" Beatrice Farwell The Charged Image: French Lithographic Caricature 1816-1848 p. 88. "This is the most considerable of the several series of lithographs devoted by Gavarni to the balls which were a passion with him. He was an organizer and patron of the more elegant and he found the popular balls at the Opera and elsewhere an attractive subject for his designs. Théophile Gautier who believed that at this period Parisian balls had virtually 'effaced the former carnival of Venice' called Gavarni 'their depicter and historian.' As dancers throw themselves into their round of pleasure 'a man stands with his back against a pillar; he watches he listens he observes.' And the following day on stone 'he lends his own wit to all the masks perhaps stupid in themselves; he sums up in a profound word the chit-chat of the foyer; he translates into a pleasant legend the hoarse excitement of the hall.' Quoted by Lemoisne I 120" Ray The Art of the French Illustrated Book. Such elements have made Gavarni's carnival lithographs among his finest most famous and desired works of art. Armelhault & Bocher nos. 486-542 307-309 plates 21 23 and 24 259-263 plates 44 49 32 54 and 61 and 1223 plate 58. Ray The Art of the French Illustrated Book 154. Paris: Au Bureau du Charivari, 1840 unknown
réf. 05550Paris: Au Bureau du Charivari 1840. Sixty-Six Lithographed Plates by Gavarni "Stevedores" at the Carnival of Paris GAVARNI pseudonym of Guillaume Sulpice Chevallier. Les Débardeurs. Album Comique par Garvarni. Paris: Au Bureau du Journal Amusant & Petit Journal pour Rire. Chez Bauger 1840-1842. Three large quarto volumes 13 1/4 x 10 inches; 337 x 253 mm. Sixty-six numbered lithographed plates. Plates printed by Aubert & Cie. Mixed states of the plates as per Armelhault & Bocher. The first forty-four plates with some occasional marginal staining not affecting images some light foxing affecting just a few plates. Publisher's printed green paper wrappers with original glassine wrappers. Front wrappers of parts 1 & 2 with some minor discoloration on foredge. Overall an excellent example - the first that we have seen in the original printed wrappers. A series of sixty-six lithographs of which nine first appeared in other journals eight in La Caricature plates 21 23 and 24 under the title "Souvenirs du Carnaval" and 32 44 49 54 and 61 under the title "Les Débardeurs" and one plate 58 in La Mode prior to the publication of the entire series in Le Charivari from 19 January 1840 to 5 February 1842. "In Les Débardeurs.a series of sixty-six lithographs published in Le Charivari between 1840 and 1843 Gavarni depicts a variation on the most famous of the costumes he designed for the masquerade balls the débardeur stevedore. The braided wig loose shirt black velvet trousers fastened with brass buttons and tied with a fringed sash are derived from the working costume of the longshoreman or stevedore who unloaded the barges that traveled up the Seine to Paris. As Nancy Olsen points out in Gavarni: The Carnival Lithographs the majority of Gavarni's carnival lithographs reflect his interest in the small groups that drift away from the crowd as a consequence of the romantic liaisons that preoccupied many of the participants at a masked ball. Intrigue was the name of the gave and the information being conveyed in this scene comes in all probability from an agent provocateur" Beatrice Farwell The Charged Image: French Lithographic Caricature 1816-1848 p. 88. "This is the most considerable of the several series of lithographs devoted by Gavarni to the balls which were a passion with him. He was an organizer and patron of the more elegant and he found the popular balls at the Opera and elsewhere an attractive subject for his designs. Théophile Gautier who believed that at this period Parisian balls had virtually 'effaced the former carnival of Venice' called Gavarni 'their depicter and historian.' As dancers throw themselves into their round of pleasure 'a man stands with his back against a pillar; he watches he listens he observes.' And the following day on stone 'he lends his own wit to all the masks perhaps stupid in themselves; he sums up in a profound word the chit-chat of the foyer; he translates into a pleasant legend the hoarse excitement of the hall.' Quoted by Lemoisne I 120" Ray The Art of the French Illustrated Book. Such elements have made Gavarni's carnival lithographs among his finest most famous and desired works of art. Armelhault & Bocher nos. 486-542 307-309 plates 21 23 and 24 259-263 plates 44 49 32 54 and 61 and 1223 plate 58. Ray The Art of the French Illustrated Book 154. Paris: Au Bureau du Charivari, 1840 unknown books
1850réf. 28101850 Paris, G. de Gonet, Martinon, Vve L. Janet, à Leipzig, chez Ch. Twietmeyer, (1850), (3ff) 300pp & (3ff) 316pp Deux grands volumes in-8 d'une fraiche reliure en pleine percaline marine d'époque aux plats entièrement ornés d'un décor polychrome à fers spéciaux dorés et à froid reproduisant les couvertures, dos lisses ornés de même, tranches dorées (reliures des éditeurs). Quelques rares piqures intérieurs mais exemplaire est dans un etat de conservation excellant (la reliure des parures est légèrement passée en rapport avec le tome des joyaux). Agrémenté d'un frontispice répété et de 30 ravissantes planches gravées sur acier par Geoffroy h. t. d'après Gavarni.
1840réf. 84312Léopold Pannier et Cie | Paris s. d. [1840-1850] | 25.50 x 34.50 cm | 25 lithographies reliées en un volume
réf. 06055Paris: Chez Aubert gal. Véro-Dodat 1837. The Complete Second Series of Fourberies de Femmes With Fifty-Two Lithograph Plates by Gavarni GAVARNI pseudonym of Guillaume Sulpice Chevallier. Fourberies de femmes. Paris: Chez Aubert gal. Véro-Dodat n.d. 1837. Second Series Complete. Folio 13 1/8 x 9 7/8 inches; 334 x 251 mm. Fifty-two lithograph plates. Eight-page publisher's catalog bound in at end. Plate no. 13 with an expertly and almost invisibly 3 1/8 inches repaired marginal tear. All plates with two small 'unidentified' circular stamps on the lower blank corners. Some occasional light and mainly marginal foxing still an exceptional example. Bound ca. 1840 in quarter maroon roan over maroon grained paper boards front cover lettered in gilt smooth spine plain endpapers. Extremities of binding rubbed. A wonderful example. loosely inserted at the end are three duplicate plates nos. 7 23 & 25 all with the same small marginal stamps. "In 1837 Gavarni began his connection with Le charivari which did not conclude until 1848. In all he drew 1054 lithographs for his journal.Most of these appeared in series some twenty-five of which extend to ten or more plates and were afterwards published by Aubert in albums. Perhaps the best of these collections are Fourberies de femmes en matière de sentiment Les étudiants de Paris Les débardeurs and Les lorettes; but some of the rest are of hardly inferior interest. Still further series contributed to periodicals other than Le charivari were also issued as albums. Baudelaire had this part of Gavarni's work particularly in mind when he wrote.that 'the true glory and the true mission of Gavarni and Daumier has been to complete Balzac.' Certainly the pictures of Parisian society provided by the two artists perfectly complement each other. Daumier's preoccupation was the working middle class with faces and figures heavily marked by life. Gavarni remained for the most part outside the humdrum bourgeois round. He preferred to show 'youth at the prow and pleasure at the helm.' His pretty girls and sleek young men are bent on enjoyment. They live lives of graceful dissipation with love intrigues and balls on the one hand and pawnbrokers' shops and debtors' prisons on the other. Their motto is carpe diem and they rarely think of the day or reckoning" Ray p. 217. "After the initial success of Caricaturana Philipon proposed to Gavarni that he draw 'Mme. Robert Macaire' for Le charivari. He responded with twelve studies of female deception in which he seems to have adopted Vigny's belief that 'A woman more or less is always Delilah.' They made little impression but three years later Gavarni returned to the theme in a subtler and more amiable way with one of his most searching and amusing series. In no. 37 he offers this exchange: 'How did you know papa that I loved Mr. Leon-Because you always talked to me about Mr. Paul.' Gavarni's playful mastery of female psychology is not the only attraction of the series. If Daumier could not draw a pretty woman as is sometimes alleged Gavarni at this period could hardly draw an ugly one" Ray pp. 220-221. Armelhault & Bocher 662-702; Ray The Art of the French Illustrated Book 151. Paris: Chez Aubert gal. Véro-Dodat, 1837 unknown
réf. 06347Paris: Caboche Grégoire 1837. One of Paul Gavarni's Rarest and Most Famous Series Thirty-Four Superb Lithographs. GAVARNI Paul pseudonym of Guillaume Sulpice Chevallier. La Boite aux Lettres. Paris: Caboche Grégoire et Cie Chez Arnauld de Vresse libraire éditeur 1837-1839. Folio 13 1/2 x 10 1/2 inches; 343 x 267 mm. Thirty-four superb lithograph plates with captions of the 'letters' printed below. Bound without the lithograph title-page. Bound by Pagnant ca. 1920 in quarter tan morocco over red patterned boards spine with five raised bands lettered in gilt in compartments cockerel endpapers. Joints expertly repaired some light to moderate foxing to several of the plates. Still an excellent example of this rare suite of lithographs. The first twelve lithographs were published by Caboche Grégoire et Cie. The following twenty-two lithographs were published by Aubert & Cie. and appeared in the journal Le Charivari between 7 November 1837 and 6 February 1839. According to OCLC there is just one copy with all thirty-four plates in libraries and institutions worldwide: The Clark Art Institute MA USA with all thirty-four plates- but lacking the lithographed title-page. Other than that example there are only three individual lithographs at The Getty CA USA numbers 4 8 & 14. The Getty also have a plain example of number 10. Paul Gavarni 1804-1866. "A French artist best known for his lithographs Paul Gavarni née Chevalier Suplice Guillaume was born in Paris on January 13 1804. Throughout his lifetime Gavarni produced over 4000 satirical prints for journals and fashion magazines. Both delicately witty and elegantly revealing of human behavior and character Gavarni's genre scenes made him one of the most important and popular nineteenth-century artists. He is often critically paired with Honoré Daumier with whom he and other young printmakers like Jean-Jacques Grandville and Joseph Traviés raised the status and importance of social lithography and printmaking as an art form. In the 1830s he began to work for L'Artiste La Caricature and most importantly Le Charivari. The latter was owned by Charles Philipon and became Gavarni's longest running contract and most important place of publication. Here Gavarni published some of his most famous series including Les Artistes La Boite aux Lettres Clichy inspired by his month-long stay in debtor's prison Les Coulisses Les Enfants Terribles Impressions de Ménage etc. etc." childsgallery.com "Gavarni as Sainte-Beuve puts it set to depicting and silhouetting society in all directions and from top to bottom: the high society the not so high society-all sorts of societies capturing the life of his time. He grabbed modern life by every available handhold imitating no one looking for nothing else swimming in open water and taking us in his wake amidst the stream of the manners of the time. He was Gavarni with an inexhaustible wit who at the bottom of a graceful drawing always interesting thanks to rational observation would write a caption full of subtle humor. It would sometimes unfold like a short comedy or be condensed like a geometrical axiom. Amusing and light-hearted when taken separately Gavarni's captions showed their true color of skeptical melancholy and of deep and powerful meaning when considered as a whole. He could through the accuracy of faces careful rendering of clothes and the precision of poses and bearing unmistakably express the age quality occupation habits manners and ridiculous ways of the characters he depicted. He made them speak a language that was stunning with original exactness feeling and novelty. Gavarni-and that's why he is great-created two genres at once: the pencil-drawn comedy of manners and the caption. His reputation became huge. True enough much of his audience only saw the funny aspect of the genre and called his drawings "caricatures" without noticing any difference with those of Daumier. But all sensitive souls were seduced by their elegance and subtlety and easily perceived their uniqueness." oldbookillustrations.com. Armelhault & Bocher pp. 88-95 11 unnumbered 348-368. Not mentioned in Ray. Paris: Caboche, Grégoire , 1837 unknown
réf. 06002Paris: Bauger et Cie. 1838-42. Gavarni's "Terrible Children" Fifty Superb Hand Colored Lithographs Including the Pictorial Title-Page GAVARNI Paul pseudonym of Guillaume Sulpice Chevallier. Les Enfans terribles. Paris: Bauger et Cie. n.d. 1838-1842. First edition. Large quarto 13 11/16 x 10 1/2 inches; 345 x 267 mm. Pictorial lithograph title-page printed in black & blue and forty-nine numbered lithographed plates printed by Aubert & Cie. Imprints vary plate 1 has imprint: Edite par le Charivari; plates 2-5 have imprint: Au Bureau du Charivari; plates 6-13 15-24 and 38-43 have imprint: Chez Bauger; plates 14 and 44-49 have imprint: Chez Bauger & Cie.; plates 25-37 have imprint: Se vend chez Bauger & Cie. Editeurs des Dessins de la Caricature du Figaro et du Charivari; plates 11 44 47 and 49 have additional imprint: Chez Aubert; and plate 25 has no imprint. Bound in at the end is a leaf of advertisement Des Modes Parisiennes verso blank and the sixteen page Aubert et Cie. Livres et Albums. Some light foxing throughout. Late nineteenth century quarter red calf over red pebbled cloth boards. Smooth spine elaborately decorated and titled in gilt. Title-page neatly re-inserted with white archival tape. With the bookplates of Bernard Mamy and André Villet on front paste-down. A very good copy of a rare suite of plates. "Gavarni's conception of the enfant terrible has passed into a proverb. For all their apparent ingenuousness his appealing children are preternaturally sharp. They see and hear everything in their little world and they are infallible in announcing their discoveries where they will cause the most embarrassment. So a little boy asks a visitor: 'Sir who is it that invented gunpowder.since Papa says it isn't you' no. 10; or a little girl informs a suitor: 'Aunt Amelia says that you are very nice; but it's a pity that you are too stupid' no. 32" Ray The Art of the French Illustrated Book. "The forty-nine prints in Gavarni's series Les enfants terribles are among his most popular and well-known works legendary for their witty and memorable captions. Gavarni's enfants terribles are social landmines "holy terrors" who wittingly or unwittingly reveal the pettiness and duplicity of their parents. An illustrator of children's books Gavarni was the father of two children of his own to whom he was very attached. Gavarni loved the spontaneous poses and gestures of children and admired them for their disarming honesty. The term enfants terribles originally reserved for terrifyingly candid children who embarrass their parents came to be used to describe unconventional or unorthodox artists and writers-like Baudelaire and Flaubert-whose works reveal harsh truths about society that are embarrassing to guardians of the status quo." Allen Memorial Art Museum. "As the historical antecedent to Dennis the Menace and Calvin and Hobbes Les Enfans terribles was far more incisive and revealing in its social commentary. In its images Gavarni regularly uses the quasi-innocent questions or remarks of children to put the world of the adults around them in disarray. The subject is more often than not the marital or extra-marital situations of the grown-ups" Beatrice Farwell The Charged Image p. 91. According to OCLC there is just one example in libraries & institutions worldwide: The Gordon Ray copy at The Morgan Library & Museum NY USA - also apparently without the pictorial hand colored title-page. Paul Gavarni 1804-1866. "A French artist best known for his lithographs Paul Gavarni née Chevalier Suplice Guillaume was born in Paris on January 13 1804. Throughout his lifetime Gavarni produced over 4000 satirical prints for journals and fashion magazines. Both delicately witty and elegantly revealing of human behavior and character Gavarni's genre scenes made him one of the most important and popular nineteenth-century artists. He is often critically paired with Honoré Daumier with whom he and other young printmakers like Jean-Jacques Grandville and Joseph Traviés raised the status and importance of social lithography and printmaking as an art form. The Plates: 1. J'ai assez vu mon Cousin moi! M'man viens tu t'en 2. Adieu Madame à bientôt puisque vous permettez que je vienne amsi vous ennuyer quelquefois. 3. Petit Chérubin j'ai apporté du bonbon pour vous: Je vous le donnerai quand je m'en irai. 4. Monsieur! N'est - ce pas que ça n'est pas vrai quevous n'avez pas les Cheveux peints 5. Oh! c'est vrai! T'as les yeux comme les lanternes de ton cabriolet.ah bien!. 6. Grand Papa sa fiche de petite maman parceque petite Maman s'est fait des tetais avec du coton na! 7. Mère! Est-ce que c'est le crevè de ce matin que t'as dit que ça serit toujours assez bon pour lui 8. Petit amour comment s'appelle Madame votre maman. 9. Maman v avenir pas tout de suite: elle est avec Madame Pelet. Vous ne la connaissez pas Madame Pelet. 10. Qu'est-ce donc qui l'a inventée la poudres Monsieur.que papa dit que ce n'est pas vous. 11. Après diner Maman n'est ce pas j'ai été bien sage nous irons chez mon bon ami. 12. N'est-ce pas ma mère que c'est bien vilain de dire: vous m'embêtez Eh! bien ma bonne a dit tout-a-l'heure à mon Papa. 13. Quand Maman aime bien petit Papa elle appelle petit Papa "ma niniche". 14. La rose que vous avez donnée à Maman. Ah! oui oui!. que vous avez manque de vous casser le cou pour l'avoir. 15. N'est-ce pas Maman que le petit peigne à moustaches que Cornelie a trouvé ce matin dans ta chambre c'est pour moi 16. Maman! Maman! Ce Monsieur du Luxembourg que tu as dit tu sais bien que c'etait nn grand ami de Papa!. 17. Est-ce que c'est vrai Monsieur le Marquis que vous êtes toujours toujours oblige de regarder en Bourgogne si la Champagne brûle. 18. C'est vous qu'ètes le grand sec qui vient toujours pour diner. Monsieur Papa n'y est pas. 19. Ils t'on dit de jouer tant que tu voudras dans la salle à manger> et ta mère!. t'a donné!. 20. Voyons! Faites attention: Que doit on faire lorsqu'on a pêché. 21. Monsieur Albert C'est un monsieur du Jardin-des-Plantes qui vient tous les jours pour faire l'explication des bêtes à Maman. 22. Houp! Houp! Papa.ah! mais tu ne fais pas si bien le cheval que Janisset dam!. 23. Mais pourquoi donc Mosieu Bachu que tu viens toujours embêter Papa comme ça pour ta mécanique. 24. Le spectacle etait-ce bien Et à-t-il été raisonnable Lolo - Lolo! Ne m'en parle pas.je dis en entrant. 25. Ma bonne bisque va M'man de se lever comme ça de bonne heure depuis que l'es revenue. 26. Que tu es donc godiche Tomon de venir tous les matins comme ça pour que Papa te mette de l'argent dans ton affaire. 27. Maman c'est Mosieu.tu sais ce Mosieu qui a ce nez. 28. Maman dit que vous savez tous les secrets de Polichinelle Mosieu d'Alby: qu'est-ce qui peut donc lui avoir abime le nez comme ça.dites! 29. Tu mettras plus jamais ton chapeau qui sent la pipe n'est pas m'man 30. Je le dirai!.que t'as encore pris dans le petit pot du rouge que Maman se met. 31. Papa empèche donc Françoise de se moquer toujours de moi parceque je lui dis que Monsieur Ward a montré l'Anglais à Maman. 32. Ma tante mélie dit que t'es bien gentil; mais que c'et dommage!. 33. Tu ne sais pas Petite Papa.cet animal de Maurice il n'a fait que faire pleurer Maman ce matin. 34. Ma tante Aurélie qui disait l'autre jour à Maman qu'elle t'en ferait voir des grises sit u deviens son mari. 35. La canne que Papa a trouvée dans l'armoire de Maman le jour qu'il était si en colère elle était bien plus belle que ça!. 36. Tu ne sais pas ta leçon ta tante va venir: tu seras grondé!. 37. Est-ce que c'est vrai Mosieu d'Alby que tu couperais des liards en quatres. 38. Si tu touches encore à la bouteille du vin muscat tu seras bien attrapée parceque papa a fait une marque au bouchon etune marque au goulot. 39. Un petit de la pension qui disait que t'étais renégat; j'y ai fichu des giffles.n'est ce pas père que t'es catholique 40. Est-ce que vous payez des impositions comme papa Mosieu Pastorin pour être usurier 41. Mosieu on ne peut pas voir papa il es ten train de faire faillite. 42. Cette madame de Lieusaint est-elle bête! Puisque je suis Charles Dubourg et que tu es mon papa. 43. Dis-donc Miroux.dis-donc Miroux.dequoi donc que madame Miroux te fait porter 44. Papa voilà ton homme de paille! 45. Mosieu Belassis moi j'ai pas des jambes en manches de veste. 46. Décidément mon cher ami vous n'êtes pas de force au piquet: je vous enfonce. 47. M'man n'y est pas parceque tu rentres avant cinq heures puisque si t'etais pas revenue avant cinq heures. 48. N'est-ce pas Mosieu Prud homme qu'il ne faut pas mettre un H à omelette.là! vois-tu M'man! 49. Maman a écrit à mosieu Prosper et papa a vu la lettre. O il était joliment en colère papa.parceque maman avait fait une faute. Armelhault & Bocher 565-613; Bobins V 1538; Ray The Art of the French Illustrated Book 152. Paris: Bauger et Cie., 1838-42 unknown
réf. 06349Paris: Chez Aubert 1841. Love is their business and they drive hard bargains They are as luxurious and idle as they are beautiful Their lives are a tissue of deception and hypocrisy" GAVARNI Paul pseudonym of Guillaume Sulpice Chevallier. Les Lorettes. Paris: Chez Aubert June 1841-December 1843. Folio 13 1/2 x 9 3/4 inches; 342 x 248 mm. Seventy-six of seventy-nine lithograph plates. All plates mounted on stubs. The three missing plates nos. 68 69 & 70 are supplied with the illustrations that appeared in Charivari with text on verso. In addition there are duplicates of plate nos. 47 48 63 & 73 on "chine applique". Late nineteenth century marbled boards with original maroon morocco label lettered and bordered in gilt expertly rebacked and re-cornered with blue cloth spine with black morocco label lettered and ruled in gilt new endpapers. One of the rarest of all the Gavarni albums. Originally published from June 1841-December 1843 by Aubert et Cie. with just twenty lithographs. These lithographs represent the complete thematic cycle Gavarni created around the "lorette"-the semi-independent fashionable demimondaine of July Monarchy Paris. OCLC locates just one example in libraries & institutions worldwide: Clark Art Institute MA US. There have been just four complete copies at auction since 1901. A second series titled Les Lorettes Vieillies appeared in the 1860's. This second series contained thirty hand colored lithographs. OCLC locates just two copies of this rare work - they do not state that the plates are colored: University of Miami FL US & Northwestern University Library IL US. "Les Lorettes. This is the most masterly of Gavarni's earlier series. Ladies of the evening of a certain standing had come to be called lorettes because they often lived in the handsome new buildings of the Rue Notre Dame de Lorette. No subject could have been better suited to Gavarni's talents. Indeed Paul de Saint Victor observed preface to D'Après nature II 2 that "the lorette is for him what the actress of the Italian Comedy was for Watteau." Gavarni shows them without malice and without indulgence exactly as they were. The grisette of Les étudiants de Paris was an ingratiating figure; not so the lorette. Love is their business and they drive hard bargains. They are as luxurious and idle as they are beautiful. Their lives are a tissue of deception and hypocrisy. Among themselves their conversation is cynical to the point of brutality. Their men usually twice their age also cut a poor figure. At best these gentlemen command a wry irony which derives from their awareness of being dupes. Gavarni presents these brittle and glittering creatures with great deftness. The packed and subtle dialogue of the legends would not be amiss in a novel by Stendhal. It is difficult to select from his remarkable compositions but one cannot overlook. no. 27 in which a lorette in her bath indulges in a rare moment of speculative conversation with a friend." Ray The Art of the French Illustrated Book pp. 223-224. Note. Gordon Ray's copy had 73 of the 79 hand colored lithographs - missing nos. 19-24. "Lorette was a colloquialism for a new type of prostitute who was kept in relative luxury in the apartment buildings that had been constructed in the Notre-Dame-de-Lorette church. Gavarni's sharp-eyed observations of Parisian society in works like these demonstrate his value as a documentarian of his times." Bobins V p. 64 #1541. "In 1837 Gavarni began his connection with Le charivari which did not conclude until 1848. In all he drew 1054 lithographs for his journal.Most of these appeared in series some twenty-five of which extend to ten or more plates and were afterwards published by Aubert in albums. Perhaps the best of these collections are Fourberies de femmes en matière de sentiment Les étudiants de Paris Les débardeurs and Les lorettes; but some of the rest are of hardly inferior interest. Still further series contributed to periodicals other than Le charivari were also issued as albums. Baudelaire had this part of Gavarni's work particularly in mind when he wrote.that 'the true glory and the true mission of Gavarni and Daumier has been to complete Balzac.' Certainly the pictures of Parisian society provided by the two artists perfectly complement each other. Daumier's preoccupation was the working middle class with faces and figures heavily marked by life. Gavarni remained for the most part outside the humdrum bourgeois round. He preferred to show 'youth at the prow and pleasure at the helm.' His pretty girls and sleek young men are bent on enjoyment. They live lives of graceful dissipation with love intrigues and balls on the one hand and pawnbrokers' shops and debtors' prisons on the other.In 1846 Gavarni returned to Le charivari to which he had hardly contributed since 1843. He wished to call the series that ensued Choses de Paris but was persuaded instead to employ the general title Oeuvres nouvelles. Its major albums were Carnaval; Impressions de ménage deuxième série thirty-nine lithographs 1846-1847; and Baliverneries parisiens twenty-four lithographs 1847" Ray The Art of the French Illustrated Book pp. 217-218. Armelhault & Bocher 763-841; Beraldi VII p.51 # 107; Bobins V 1541. Paris: Chez Aubert, 1841 unknown
réf. 06055Paris: Chez Aubert gal. Véro-Dodat 1837. The Complete Second Series of Fourberies de Femmes With Fifty-Two Lithograph Plates by Gavarni GAVARNI pseudonym of Guillaume Sulpice Chevallier. Fourberies de femmes. Paris: Chez Aubert gal. Véro-Dodat n.d. 1837. Second Series Complete. Folio 13 1/8 x 9 7/8 inches; 334 x 251 mm. Fifty-two lithograph plates. Eight-page publisher's catalog bound in at end. Plate no. 13 with an expertly and almost invisibly 3 1/8 inches repaired marginal tear. All plates with two small 'unidentified' circular stamps on the lower blank corners. Some occasional light and mainly marginal foxing still an exceptional example. Bound ca. 1840 in quarter maroon roan over maroon grained paper boards front cover lettered in gilt smooth spine plain endpapers. Extremities of binding rubbed. A wonderful example. loosely inserted at the end are three duplicate plates nos. 7 23 & 25 all with the same small marginal stamps. "In 1837 Gavarni began his connection with Le charivari which did not conclude until 1848. In all he drew 1054 lithographs for his journal.Most of these appeared in series some twenty-five of which extend to ten or more plates and were afterwards published by Aubert in albums. Perhaps the best of these collections are Fourberies de femmes en matière de sentiment Les étudiants de Paris Les débardeurs and Les lorettes; but some of the rest are of hardly inferior interest. Still further series contributed to periodicals other than Le charivari were also issued as albums. Baudelaire had this part of Gavarni's work particularly in mind when he wrote.that 'the true glory and the true mission of Gavarni and Daumier has been to complete Balzac.' Certainly the pictures of Parisian society provided by the two artists perfectly complement each other. Daumier's preoccupation was the working middle class with faces and figures heavily marked by life. Gavarni remained for the most part outside the humdrum bourgeois round. He preferred to show 'youth at the prow and pleasure at the helm.' His pretty girls and sleek young men are bent on enjoyment. They live lives of graceful dissipation with love intrigues and balls on the one hand and pawnbrokers' shops and debtors' prisons on the other. Their motto is carpe diem and they rarely think of the day or reckoning" Ray p. 217. "After the initial success of Caricaturana Philipon proposed to Gavarni that he draw 'Mme. Robert Macaire' for Le charivari. He responded with twelve studies of female deception in which he seems to have adopted Vigny's belief that 'A woman more or less is always Delilah.' They made little impression but three years later Gavarni returned to the theme in a subtler and more amiable way with one of his most searching and amusing series. In no. 37 he offers this exchange: 'How did you know papa that I loved Mr. Leon-Because you always talked to me about Mr. Paul.' Gavarni's playful mastery of female psychology is not the only attraction of the series. If Daumier could not draw a pretty woman as is sometimes alleged Gavarni at this period could hardly draw an ugly one" Ray pp. 220-221. Armelhault & Bocher 662-702; Ray The Art of the French Illustrated Book 151. Paris: Chez Aubert gal. Véro-Dodat, 1837 unknown books
réf. 06347Paris: Caboche Grégoire 1837. One of Paul Gavarni's Rarest and Most Famous Series Thirty-Four Superb Lithographs. GAVARNI Paul pseudonym of Guillaume Sulpice Chevallier. La Boite aux Lettres. Paris: Caboche Grégoire et Cie Chez Arnauld de Vresse libraire éditeur 1837-1839. Folio 13 1/2 x 10 1/2 inches; 343 x 267 mm. Thirty-four superb lithograph plates with captions of the 'letters' printed below. Bound without the lithograph title-page. Bound by Pagnant ca. 1920 in quarter tan morocco over red patterned boards spine with five raised bands lettered in gilt in compartments cockerel endpapers. Joints expertly repaired some light to moderate foxing to several of the plates. Still an excellent example of this rare suite of lithographs. The first twelve lithographs were published by Caboche Grégoire et Cie. The following twenty-two lithographs were published by Aubert & Cie. and appeared in the journal Le Charivari between 7 November 1837 and 6 February 1839. According to OCLC there is just one copy with all thirty-four plates in libraries and institutions worldwide: The Clark Art Institute MA USA with all thirty-four plates- but lacking the lithographed title-page. Other than that example there are only three individual lithographs at The Getty CA USA numbers 4 8 & 14. The Getty also have a plain example of number 10. Paul Gavarni 1804-1866. "A French artist best known for his lithographs Paul Gavarni née Chevalier Suplice Guillaume was born in Paris on January 13 1804. Throughout his lifetime Gavarni produced over 4000 satirical prints for journals and fashion magazines. Both delicately witty and elegantly revealing of human behavior and character Gavarni's genre scenes made him one of the most important and popular nineteenth-century artists. He is often critically paired with Honoré Daumier with whom he and other young printmakers like Jean-Jacques Grandville and Joseph Traviés raised the status and importance of social lithography and printmaking as an art form. In the 1830s he began to work for L'Artiste La Caricature and most importantly Le Charivari. The latter was owned by Charles Philipon and became Gavarni's longest running contract and most important place of publication. Here Gavarni published some of his most famous series including Les Artistes La Boite aux Lettres Clichy inspired by his month-long stay in debtor's prison Les Coulisses Les Enfants Terribles Impressions de Ménage etc. etc." childsgallery.com "Gavarni as Sainte-Beuve puts it set to depicting and silhouetting society in all directions and from top to bottom: the high society the not so high society-all sorts of societies capturing the life of his time. He grabbed modern life by every available handhold imitating no one looking for nothing else swimming in open water and taking us in his wake amidst the stream of the manners of the time. He was Gavarni with an inexhaustible wit who at the bottom of a graceful drawing always interesting thanks to rational observation would write a caption full of subtle humor. It would sometimes unfold like a short comedy or be condensed like a geometrical axiom. Amusing and light-hearted when taken separately Gavarni's captions showed their true color of skeptical melancholy and of deep and powerful meaning when considered as a whole. He could through the accuracy of faces careful rendering of clothes and the precision of poses and bearing unmistakably express the age quality occupation habits manners and ridiculous ways of the characters he depicted. He made them speak a language that was stunning with original exactness feeling and novelty. Gavarni-and that's why he is great-created two genres at once: the pencil-drawn comedy of manners and the caption. His reputation became huge. True enough much of his audience only saw the funny aspect of the genre and called his drawings "caricatures" without noticing any difference with those of Daumier. But all sensitive souls were seduced by their elegance and subtlety and easily perceived their uniqueness." oldbookillustrations.com. Armelhault & Bocher pp. 88-95 11 unnumbered 348-368. Not mentioned in Ray. Paris: Caboche, Grégoire , 1837 unknown books
réf. 06002Paris: Bauger et Cie. 1838-42. Gavarni's "Terrible Children" Fifty Superb Hand Colored Lithographs Including the Pictorial Title-Page GAVARNI Paul pseudonym of Guillaume Sulpice Chevallier. Les Enfans terribles. Paris: Bauger et Cie. n.d. 1838-1842. First edition. Large quarto 13 11/16 x 10 1/2 inches; 345 x 267 mm. Pictorial lithograph title-page printed in black & blue and forty-nine numbered lithographed plates printed by Aubert & Cie. Imprints vary plate 1 has imprint: Edite par le Charivari; plates 2-5 have imprint: Au Bureau du Charivari; plates 6-13 15-24 and 38-43 have imprint: Chez Bauger; plates 14 and 44-49 have imprint: Chez Bauger & Cie.; plates 25-37 have imprint: Se vend chez Bauger & Cie. Editeurs des Dessins de la Caricature du Figaro et du Charivari; plates 11 44 47 and 49 have additional imprint: Chez Aubert; and plate 25 has no imprint. Bound in at the end is a leaf of advertisement Des Modes Parisiennes verso blank and the sixteen page Aubert et Cie. Livres et Albums. Some light foxing throughout. Late nineteenth century quarter red calf over red pebbled cloth boards. Smooth spine elaborately decorated and titled in gilt. Title-page neatly re-inserted with white archival tape. With the bookplates of Bernard Mamy and André Villet on front paste-down. A very good copy of a rare suite of plates. "Gavarni's conception of the enfant terrible has passed into a proverb. For all their apparent ingenuousness his appealing children are preternaturally sharp. They see and hear everything in their little world and they are infallible in announcing their discoveries where they will cause the most embarrassment. So a little boy asks a visitor: 'Sir who is it that invented gunpowder.since Papa says it isn't you' no. 10; or a little girl informs a suitor: 'Aunt Amelia says that you are very nice; but it's a pity that you are too stupid' no. 32" Ray The Art of the French Illustrated Book. "The forty-nine prints in Gavarni's series Les enfants terribles are among his most popular and well-known works legendary for their witty and memorable captions. Gavarni's enfants terribles are social landmines "holy terrors" who wittingly or unwittingly reveal the pettiness and duplicity of their parents. An illustrator of children's books Gavarni was the father of two children of his own to whom he was very attached. Gavarni loved the spontaneous poses and gestures of children and admired them for their disarming honesty. The term enfants terribles originally reserved for terrifyingly candid children who embarrass their parents came to be used to describe unconventional or unorthodox artists and writers-like Baudelaire and Flaubert-whose works reveal harsh truths about society that are embarrassing to guardians of the status quo." Allen Memorial Art Museum. "As the historical antecedent to Dennis the Menace and Calvin and Hobbes Les Enfans terribles was far more incisive and revealing in its social commentary. In its images Gavarni regularly uses the quasi-innocent questions or remarks of children to put the world of the adults around them in disarray. The subject is more often than not the marital or extra-marital situations of the grown-ups" Beatrice Farwell The Charged Image p. 91. According to OCLC there is just one example in libraries & institutions worldwide: The Gordon Ray copy at The Morgan Library & Museum NY USA - also apparently without the pictorial hand colored title-page. Paul Gavarni 1804-1866. "A French artist best known for his lithographs Paul Gavarni née Chevalier Suplice Guillaume was born in Paris on January 13 1804. Throughout his lifetime Gavarni produced over 4000 satirical prints for journals and fashion magazines. Both delicately witty and elegantly revealing of human behavior and character Gavarni's genre scenes made him one of the most important and popular nineteenth-century artists. He is often critically paired with Honoré Daumier with whom he and other young printmakers like Jean-Jacques Grandville and Joseph Traviés raised the status and importance of social lithography and printmaking as an art form. The Plates: 1. J'ai assez vu mon Cousin moi! M'man viens tu t'en 2. Adieu Madame à bientôt puisque vous permettez que je vienne amsi vous ennuyer quelquefois. 3. Petit Chérubin j'ai apporté du bonbon pour vous: Je vous le donnerai quand je m'en irai. 4. Monsieur! N'est - ce pas que ça n'est pas vrai quevous n'avez pas les Cheveux peints 5. Oh! c'est vrai! T'as les yeux comme les lanternes de ton cabriolet.ah bien!. 6. Grand Papa sa fiche de petite maman parceque petite Maman s'est fait des tetais avec du coton na! 7. Mère! Est-ce que c'est le crevè de ce matin que t'as dit que ça serit toujours assez bon pour lui 8. Petit amour comment s'appelle Madame votre maman. 9. Maman v avenir pas tout de suite: elle est avec Madame Pelet. Vous ne la connaissez pas Madame Pelet. 10. Qu'est-ce donc qui l'a inventée la poudres Monsieur.que papa dit que ce n'est pas vous. 11. Après diner Maman n'est ce pas j'ai été bien sage nous irons chez mon bon ami. 12. N'est-ce pas ma mère que c'est bien vilain de dire: vous m'embêtez Eh! bien ma bonne a dit tout-a-l'heure à mon Papa. 13. Quand Maman aime bien petit Papa elle appelle petit Papa "ma niniche". 14. La rose que vous avez donnée à Maman. Ah! oui oui!. que vous avez manque de vous casser le cou pour l'avoir. 15. N'est-ce pas Maman que le petit peigne à moustaches que Cornelie a trouvé ce matin dans ta chambre c'est pour moi 16. Maman! Maman! Ce Monsieur du Luxembourg que tu as dit tu sais bien que c'etait nn grand ami de Papa!. 17. Est-ce que c'est vrai Monsieur le Marquis que vous êtes toujours toujours oblige de regarder en Bourgogne si la Champagne brûle. 18. C'est vous qu'ètes le grand sec qui vient toujours pour diner. Monsieur Papa n'y est pas. 19. Ils t'on dit de jouer tant que tu voudras dans la salle à manger> et ta mère!. t'a donné!. 20. Voyons! Faites attention: Que doit on faire lorsqu'on a pêché. 21. Monsieur Albert C'est un monsieur du Jardin-des-Plantes qui vient tous les jours pour faire l'explication des bêtes à Maman. 22. Houp! Houp! Papa.ah! mais tu ne fais pas si bien le cheval que Janisset dam!. 23. Mais pourquoi donc Mosieu Bachu que tu viens toujours embêter Papa comme ça pour ta mécanique. 24. Le spectacle etait-ce bien Et à-t-il été raisonnable Lolo - Lolo! Ne m'en parle pas.je dis en entrant. 25. Ma bonne bisque va M'man de se lever comme ça de bonne heure depuis que l'es revenue. 26. Que tu es donc godiche Tomon de venir tous les matins comme ça pour que Papa te mette de l'argent dans ton affaire. 27. Maman c'est Mosieu.tu sais ce Mosieu qui a ce nez. 28. Maman dit que vous savez tous les secrets de Polichinelle Mosieu d'Alby: qu'est-ce qui peut donc lui avoir abime le nez comme ça.dites! 29. Tu mettras plus jamais ton chapeau qui sent la pipe n'est pas m'man 30. Je le dirai!.que t'as encore pris dans le petit pot du rouge que Maman se met. 31. Papa empèche donc Françoise de se moquer toujours de moi parceque je lui dis que Monsieur Ward a montré l'Anglais à Maman. 32. Ma tante mélie dit que t'es bien gentil; mais que c'et dommage!. 33. Tu ne sais pas Petite Papa.cet animal de Maurice il n'a fait que faire pleurer Maman ce matin. 34. Ma tante Aurélie qui disait l'autre jour à Maman qu'elle t'en ferait voir des grises sit u deviens son mari. 35. La canne que Papa a trouvée dans l'armoire de Maman le jour qu'il était si en colère elle était bien plus belle que ça!. 36. Tu ne sais pas ta leçon ta tante va venir: tu seras grondé!. 37. Est-ce que c'est vrai Mosieu d'Alby que tu couperais des liards en quatres. 38. Si tu touches encore à la bouteille du vin muscat tu seras bien attrapée parceque papa a fait une marque au bouchon etune marque au goulot. 39. Un petit de la pension qui disait que t'étais renégat; j'y ai fichu des giffles.n'est ce pas père que t'es catholique 40. Est-ce que vous payez des impositions comme papa Mosieu Pastorin pour être usurier 41. Mosieu on ne peut pas voir papa il es ten train de faire faillite. 42. Cette madame de Lieusaint est-elle bête! Puisque je suis Charles Dubourg et que tu es mon papa. 43. Dis-donc Miroux.dis-donc Miroux.dequoi donc que madame Miroux te fait porter 44. Papa voilà ton homme de paille! 45. Mosieu Belassis moi j'ai pas des jambes en manches de veste. 46. Décidément mon cher ami vous n'êtes pas de force au piquet: je vous enfonce. 47. M'man n'y est pas parceque tu rentres avant cinq heures puisque si t'etais pas revenue avant cinq heures. 48. N'est-ce pas Mosieu Prud homme qu'il ne faut pas mettre un H à omelette.là! vois-tu M'man! 49. Maman a écrit à mosieu Prosper et papa a vu la lettre. O il était joliment en colère papa.parceque maman avait fait une faute. Armelhault & Bocher 565-613; Bobins V 1538; Ray The Art of the French Illustrated Book 152. Paris: Bauger et Cie., 1838-42 unknown books
réf. 06349Paris: Chez Aubert 1841. Love is their business and they drive hard bargains They are as luxurious and idle as they are beautiful Their lives are a tissue of deception and hypocrisy" GAVARNI Paul pseudonym of Guillaume Sulpice Chevallier. Les Lorettes. Paris: Chez Aubert June 1841-December 1843. Folio 13 1/2 x 9 3/4 inches; 342 x 248 mm. Seventy-six of seventy-nine lithograph plates. All plates mounted on stubs. The three missing plates nos. 68 69 & 70 are supplied with the illustrations that appeared in Charivari with text on verso. In addition there are duplicates of plate nos. 47 48 63 & 73 on "chine applique". Late nineteenth century marbled boards with original maroon morocco label lettered and bordered in gilt expertly rebacked and re-cornered with blue cloth spine with black morocco label lettered and ruled in gilt new endpapers. One of the rarest of all the Gavarni albums. Originally published from June 1841-December 1843 by Aubert et Cie. with just twenty lithographs. These lithographs represent the complete thematic cycle Gavarni created around the "lorette"-the semi-independent fashionable demimondaine of July Monarchy Paris. OCLC locates just one example in libraries & institutions worldwide: Clark Art Institute MA US. There have been just four complete copies at auction since 1901. A second series titled Les Lorettes Vieillies appeared in the 1860's. This second series contained thirty hand colored lithographs. OCLC locates just two copies of this rare work - they do not state that the plates are colored: University of Miami FL US & Northwestern University Library IL US. "Les Lorettes. This is the most masterly of Gavarni's earlier series. Ladies of the evening of a certain standing had come to be called lorettes because they often lived in the handsome new buildings of the Rue Notre Dame de Lorette. No subject could have been better suited to Gavarni's talents. Indeed Paul de Saint Victor observed preface to D'Après nature II 2 that "the lorette is for him what the actress of the Italian Comedy was for Watteau." Gavarni shows them without malice and without indulgence exactly as they were. The grisette of Les étudiants de Paris was an ingratiating figure; not so the lorette. Love is their business and they drive hard bargains. They are as luxurious and idle as they are beautiful. Their lives are a tissue of deception and hypocrisy. Among themselves their conversation is cynical to the point of brutality. Their men usually twice their age also cut a poor figure. At best these gentlemen command a wry irony which derives from their awareness of being dupes. Gavarni presents these brittle and glittering creatures with great deftness. The packed and subtle dialogue of the legends would not be amiss in a novel by Stendhal. It is difficult to select from his remarkable compositions but one cannot overlook. no. 27 in which a lorette in her bath indulges in a rare moment of speculative conversation with a friend." Ray The Art of the French Illustrated Book pp. 223-224. Note. Gordon Ray's copy had 73 of the 79 hand colored lithographs - missing nos. 19-24. "Lorette was a colloquialism for a new type of prostitute who was kept in relative luxury in the apartment buildings that had been constructed in the Notre-Dame-de-Lorette church. Gavarni's sharp-eyed observations of Parisian society in works like these demonstrate his value as a documentarian of his times." Bobins V p. 64 #1541. "In 1837 Gavarni began his connection with Le charivari which did not conclude until 1848. In all he drew 1054 lithographs for his journal.Most of these appeared in series some twenty-five of which extend to ten or more plates and were afterwards published by Aubert in albums. Perhaps the best of these collections are Fourberies de femmes en matière de sentiment Les étudiants de Paris Les débardeurs and Les lorettes; but some of the rest are of hardly inferior interest. Still further series contributed to periodicals other than Le charivari were also issued as albums. Baudelaire had this part of Gavarni's work particularly in mind when he wrote.that 'the true glory and the true mission of Gavarni and Daumier has been to complete Balzac.' Certainly the pictures of Parisian society provided by the two artists perfectly complement each other. Daumier's preoccupation was the working middle class with faces and figures heavily marked by life. Gavarni remained for the most part outside the humdrum bourgeois round. He preferred to show 'youth at the prow and pleasure at the helm.' His pretty girls and sleek young men are bent on enjoyment. They live lives of graceful dissipation with love intrigues and balls on the one hand and pawnbrokers' shops and debtors' prisons on the other.In 1846 Gavarni returned to Le charivari to which he had hardly contributed since 1843. He wished to call the series that ensued Choses de Paris but was persuaded instead to employ the general title Oeuvres nouvelles. Its major albums were Carnaval; Impressions de ménage deuxième série thirty-nine lithographs 1846-1847; and Baliverneries parisiens twenty-four lithographs 1847" Ray The Art of the French Illustrated Book pp. 217-218. Armelhault & Bocher 763-841; Beraldi VII p.51 # 107; Bobins V 1541. Paris: Chez Aubert, 1841 unknown books
1840réf. 84312Paris: Léopold Pannier et Cie 1840. Fine. Stunning and rare suite by a great illustrator from the Romantic era Léopold Pannier et Cie Paris s. d. 1840-1850 25.50 x 34.50 cm 25 lithographies reliées en un volume First collective edition of this complete series of 25 original lithographed plates printed on thick vellum. Mounted engravings preceded by a title page bringing together three series: Souvenirs de Carnaval 6 plates Les bals masqués 7 plates Costumes historiques 12 plates. Each of these series first appeared in other journals: under the title 'Souvenirs de Carnaval' in Ritner et Goupil 'Les bals masqués' in La Caricature and 'Costumes historiques' in Charivari. Engravings in third state according to Vicaire. Some foxing. Red half straight-grained morocco Bradel binding smooth spine decoratively tooled and lettered in gilt with a rich ornamentation of repeated floral motifs marbled paper pastedowns and endpapers binding signed Victor Champs. Very rare collection in a deluxe edition printed on thick vellum elegantly bound. Léopold Pannier et Cie hardcover
1845réf. 2091202133212049J. Hetzel 1845. Soft Cover. Fine. Number of books: 4 books in total J. Hetzel paperback
réf. 06082Paris: Aubert & Cie. 1848. A Superb Hand-Colored Anthology of French Romantic Caricature Twenty Magnificent Lithographs by Daumier Gavarni Bouchot Pruche & Platier from Aubert's Celebrated Étrennes Comiques BOUCHOT Frédéric. PRUCHE Clément. GAVARNI Paul. PLATIER Jules & DAUMIER Honoré. Étrennes Comiques par les Principaux Dessinateurs du Journal pour Rire du Charivari du Musée Philipon et de la maison Aubert. Paris: Aubert & Cie. ca. 1848. Folio 13 1/8 x 9 7/8 inches; 333 x 251 mm. Pictorial lithographic title-page and twenty magnificent hand-colored lithographs all heightened with gum arabic. The plates comprise works by Frédéric Bouchot 6 Clément Pruche 5 Paul Gavarni 4 Jules Platier 3 and Honoré Daumier 2. Title-page neatly strengthened at the inner margin without loss. One Daumier plate with a neatly repaired marginal tear just touching the image; one Pruche plate with repaired and strengthened outer blank margin. Early twentieth-century light brown cloth over boards front cover lettered in gilt. An exceptionally handsome publisher's anthology celebrating the golden age of French Romantic caricature. Issued as an étrennes - a luxurious New Year's gift volume - Aubert assembled a selection of hand-colored impressions by the principal artists associated with Le Charivari the Journal pour rire the Musée Philipon and the publishing house itself. Rather than presenting the work of a single artist the volume offers a carefully balanced survey of the finest comic lithography of the 1830s and 1840s bringing together the distinctive artistic personalities of Daumier Gavarni Bouchot Platier and Pruche within a single album. The album is distinguished not only by the importance of its contributors but also by the exceptional quality of its hand-coloring. Executed in delicate transparent washes and frequently heightened with gum arabic the coloring preserves the richness and subtlety of the original lithographic crayon while imparting remarkable brilliance to costume interiors architecture and landscape. The impressions are uniformly fresh and well preserved and are introduced by Aubert's splendid pictorial title-page - a spirited composition crowded with comic figures that serves as both an engaging frontispiece and a visual advertisement for the publishing house that dominated French satirical lithography during the July Monarchy. The variety of subjects is one of the volume's greatest attractions. Daumier contributes two penetrating social satires of characteristic psychological insight; Gavarni observes fashionable Parisian society with his unrivalled elegance and wit; Bouchot supplies a series of charming domestic comedies drawn from Soins Tyranniques and Trop Tôt; Platier contributes fashionable figures together with scenes from La Famille Bas-Bleu; while Pruche provides lively political caricatures humorous urban incidents and comic coaching scenes. Collectively the plates present an engaging panorama of Parisian life fashion domestic manners politics travel and social aspiration during the closing years of the July Monarchy. The present volume is of particular bibliographical interest. We have previously handled another copy bearing the identical engraved title-page but containing an entirely different selection of hand-colored lithographs by Daumier Vernier Traviès Gavarni Platier and Bouchot. This strongly suggests that Aubert assembled these luxurious Étrennes Comiques albums from changing stocks of hand-colored impressions rather than issuing them in a fixed format. Each surviving copy is therefore effectively unique preserving not only a delightful anthology of French Romantic caricature but also important evidence of Aubert's publishing and marketing practices during the great flowering of nineteenth-century French satirical lithography. Paris: Aubert & Cie.,, 1848 unknown
réf. 06082Paris: Aubert & Cie. 1848. A Superb Hand-Colored Anthology of French Romantic Caricature Twenty Magnificent Lithographs by Daumier Gavarni Bouchot Pruche & Platier from Aubert's Celebrated Étrennes Comiques BOUCHOT Frédéric. PRUCHE Clément. GAVARNI Paul. PLATIER Jules & DAUMIER Honoré. Étrennes Comiques par les Principaux Dessinateurs du Journal pour Rire du Charivari du Musée Philipon et de la maison Aubert. Paris: Aubert & Cie. ca. 1848. Folio 13 1/8 x 9 7/8 inches; 333 x 251 mm. Pictorial lithographic title-page and twenty magnificent hand-colored lithographs all heightened with gum arabic. The plates comprise works by Frédéric Bouchot 6 Clément Pruche 5 Paul Gavarni 4 Jules Platier 3 and Honoré Daumier 2. Title-page neatly strengthened at the inner margin without loss. One Daumier plate with a neatly repaired marginal tear just touching the image; one Pruche plate with repaired and strengthened outer blank margin. Early twentieth-century light brown cloth over boards front cover lettered in gilt. An exceptionally handsome publisher's anthology celebrating the golden age of French Romantic caricature. Issued as an étrennes - a luxurious New Year's gift volume - Aubert assembled a selection of hand-colored impressions by the principal artists associated with Le Charivari the Journal pour rire the Musée Philipon and the publishing house itself. Rather than presenting the work of a single artist the volume offers a carefully balanced survey of the finest comic lithography of the 1830s and 1840s bringing together the distinctive artistic personalities of Daumier Gavarni Bouchot Platier and Pruche within a single album. The album is distinguished not only by the importance of its contributors but also by the exceptional quality of its hand-coloring. Executed in delicate transparent washes and frequently heightened with gum arabic the coloring preserves the richness and subtlety of the original lithographic crayon while imparting remarkable brilliance to costume interiors architecture and landscape. The impressions are uniformly fresh and well preserved and are introduced by Aubert's splendid pictorial title-page - a spirited composition crowded with comic figures that serves as both an engaging frontispiece and a visual advertisement for the publishing house that dominated French satirical lithography during the July Monarchy. The variety of subjects is one of the volume's greatest attractions. Daumier contributes two penetrating social satires of characteristic psychological insight; Gavarni observes fashionable Parisian society with his unrivalled elegance and wit; Bouchot supplies a series of charming domestic comedies drawn from Soins Tyranniques and Trop Tôt; Platier contributes fashionable figures together with scenes from La Famille Bas-Bleu; while Pruche provides lively political caricatures humorous urban incidents and comic coaching scenes. Collectively the plates present an engaging panorama of Parisian life fashion domestic manners politics travel and social aspiration during the closing years of the July Monarchy. The present volume is of particular bibliographical interest. We have previously handled another copy bearing the identical engraved title-page but containing an entirely different selection of hand-colored lithographs by Daumier Vernier Traviès Gavarni Platier and Bouchot. This strongly suggests that Aubert assembled these luxurious Étrennes Comiques albums from changing stocks of hand-colored impressions rather than issuing them in a fixed format. Each surviving copy is therefore effectively unique preserving not only a delightful anthology of French Romantic caricature but also important evidence of Aubert's publishing and marketing practices during the great flowering of nineteenth-century French satirical lithography. Paris: Aubert & Cie.,, 1848 unknown books
réf. 05405Paris: En vente Au Bureau du Journal Amusant.et au Bureau du Charivari 1840. Gavarni's Memories of his Time in the Debtors Prison 'Clichy' Depicted in Twenty-One Lithographed Plates GAVARNI pseudonym of Guillaume Sulpice Chevallier. Clichy. Album par Gavarni. Paris: Au Bureau du Charivari n.d. 1840-1841. Large quarto 13 3/4 x 10 1/2 inches; 349 x 267 mm. Publisher's yellow front wrapper with printed title. Twenty-one superb numbered lithographed plates. All plates in first printing second state with printed titles and "Chez Bauger" & "Imp. d'Aubert" with the exception of plates 17 & 19 which are in the third state. Modern quarter light blue cloth over light blue cockerel boards smooth spine lettered in gilt. Original yellow lithographed front wrapper bound in as title. These plates were initially published in Le Charivari with the exception of the nineteenth plate which was produced for La Caricature. "In 1835 Gavarni was arrested for debt and sent to Clichy. Far from being overwhelmed he saw this experience as a fresh opportunity for observation. Indeed he made a lithographic series from his memories: Clichy twenty-one lithographs 1840-1841" Ray The Art of the French Illustrated Book p. 217. "So assured did Gavarni's position seem at the end of 1833 that he began to publish the weekly Journal des gens du monde for which he also provided much of the text and illustrations. It failed after twenty numbers only eighteen of which were issued leaving him with obligations which were to embarass him for many years. In 1835 he was arrested for debt and sent to Clichy. Far from being overwhelmed he saw this experience as a fresh opportunity for observation. Indeed he made a lithographic series from his memories: Clichy twenty-one lithographs 1840-1841" Armelhault & Bocher p. 1-25 On the 23rd of July 1867 the French government abolished the ancient law decreeing imprisonment for debt. In Paris the ninety-seven inmates of the Clichy Debtor's Prison were promptly released. Exceptionally rare. According to OCLC & KVK there are no copies in libraries and institutions worldwide. We have been unable to locate any copies at auction over the past 100 years. Armelhault & Bocher nos. 429-448. The Plates: 1. Enfoncé!!!. Sunk!!!. 2. Je viens déjeuner chez toi. Ah! bon! Et diner chez toi. Ah! bah!! Et coucher chez toi! Ah! fichtre!!! I'm coming to have lunch with you. Ah! Well! And have dinner at home. Ah! bah!! And sleep at home! Ah! damn!!! 3. "Au moins un Dieu sourit encore à la jeunesse et lui rend enc e lieu de ces jours qu'on lui prend. Qui n'aurait pas pitiè des beaux ans qu'elle y laisse" "At least one God still smiles at youth and gives them back in place those days that are taken from them. Who would not pity the beautiful years she leaves there" 4. Vous le voyez le chagrin ne m'aigrit pas! Et je donnerai un conseil à mes créanciers dans leur intèrêt: s'ils veulent me tirer d'ici qu'ils se hâtent car on ne pourrait bientôt plus me passer par la porte. You see grief does not embitter me! And I will give advice to my creditors in their interest: if they want to get me out of here let them hurry because soon they won't be able to get me out the door. 5. Petit homme nous t'apportons ta casquette ta pipe d'ecume et ton Montaigne. Little man we bring you your cap your meerschaum pipe and your Montaigne. 6. Enfin à la fin je l'ai tant mijotè je l'ai tant mijotè qu'il a dit: eh! bien qu'il paye seulement les frais et j'accorderai du tems pour le reste. Et encore il a dit voyez-vous Mademoiselle c'est par consideration pour vous. Le vieux gueux!.j'espère bien que quand tu sortiras tu lui ficheras une pile soignée à celui-là! Finally at the end I simmered him so much I simmered him so much that he said: hey! Well let him just pay the cost and I'll allow time for the rest. And again he said you see Mademoiselle it's out of consideration for you. The old beggar!. I really hope that when you go out you'll give him a neat pile on that one! 7. L'amour est parti V'là l'amitiè. Love is gone That's friendship. 8. Dites donc l'ancien c'est aujourd'ui Dimanche. Ou'est-ce que ça te fait Tiens! Le Dimanche on se fiche du Garde-du-commerce: çà me fait que je pourrais aller me promener si je pouvais sortir. Say the old one is today Sunday. What does it do to you Here! On Sundays we don't care about the Garde-du-commerce: that makes me think I could go for a walk if I could go out. 9. Ne donnez pas d'acomptes! Voyez vous le créancier qu'on ne paye pas n'est qu'un créancier; le créancier qu'on paye est un tigre! Do not give deposits! You see the creditor who is not paid is only a creditor; the creditor one pays is a tiger! 10. Dites donc voisin on a peu boissonné chez vous hier! ça allait rondement! ça va bien ce matin Pas mal et vous Say neighbour we had a little drink at your house yesterday! it was going smoothly! how are you this morning Not bad and you 11. Le portrait du créancier. The portrait of the creditor. 12. Voyons! Pour aller à Tivoli ce soir il faudrait d'abord payer au greffe dix-huit-mille-cinq-cents francs pour le capital et onze-cent-vingt-neuf francs cinquante centimes de frais.et encore non je suis bête! Tivoli coûte trois francs d'entrée et je n'ai que quarante deux sous. Let's see! To go to Tivoli this evening you would first have to pay the clerk's office eighteen thousand five hundred francs for the capital and eleven hundred and twenty-nine francs fifty centimes for costs.and again no I'm silly! Tivoli costs three francs to go and I only have forty-two sous. 13. Aux Gardes-du-Commerce: que le bon Dieu les patafiole! At the Gardes-du-Commerce: may the good Lord spoil them! 14. Quand nous voulons danser Tivoli est là mon cher: Entre Tivoli et nous il n'y que deux murs et un coup de fusil. When we want to dance Tivoli is there my dear: Between Tivoli and us there are only two walls and a gunshot. 15. Mon cher Monsieur je vous laisse la guérite comme je l'ai prise et la consigne comme on me l'a donnée: "de l'amour sur la conscience et du champagne dessous".rien de bon comme ça pour les rhumes de chagrin. Courte et bonne! c'est le mot d'ordre ici comme ailleurs. My dear sir I leave you the sentry box as I took it and the instructions as they gave it to me: "love on your conscience and champagne underneath".nothing good like that for the colds of sorrow. Short and good! this is the watchword here as elsewhere. 16. Moi j'ai signé pour cinq cents francs et je n'en ai eu que trois cents et encore en vin de champagne.et on m'a repris le vin pour les frais. Ils auraient mieux fait de t'amener ici tout de suite; au moins nous aurions les fioles. I signed for five hundred francs and I only got three hundred and again in champagne wine.and they took the wine back from me for the expenses. They would have done better to bring you here straight away. after; at least we would have the vials. 17. Mias comment as-tu pu te laisser prendre comme ça Demande aux Canards sauvages comment ils se laissent prendre!. Il a tire sur moi le premier Mars on m'a ramassé le cinq Avril: voilà comme çà se fait. Mias how could you let yourself be taken like that Ask the Wild Ducks how they let themselves be caught!. He shot me on the first of March they picked me up on the fifth of April: that's how it is done. 18. Voilà un Tilbury Pamela qui nous a menés en moins de trois mois de la rue Saint Jacques à Clichy. Hein le bon cheval! Here is a Tilbury Pamela who took us in less than three months from rue Saint Jacques to Clichy. Hein the good horse! 19. Ici on ne peut pas faire de farce à sa Ninie: v'la ce qui vous chiffonne! Here you can't prank your Ninie: that's what's bugging you! 20. Entends tu; à Tivoli. Il y en a deux ici des cavaliers seuls et qui ne demanderaient pas mieux que de faire la chaîne des Dames. Do you hear; at Tivoli. There are two here single riders who would like nothing better than to make the chain of Ladies. 21. Sans le mur cette boule - là irait loin. Et ton camarade aussi. Without the wall this ball - there would go far. And your friend too. Paris: En vente Au Bureau du Journal Amusant...et au Bureau du Charivari, 1840 unknown
réf. 06466Paris: Aubert et Cie. 1839. The Fine Shades of Feeling: Gavarni and the Comedy of Modern Emotion GAVARNI Paul pseudonym of Guillaume-Sulpice Chevallier. Nuances du Sentiment. Paris: Aubert et Cie. 1839-1840. First edition. Folio 13 1/4 x 10 inches; 336 x 254 mm. Twenty-five lithograph plates. Plate no. 20 with contemporary hand-coloring heightened with gum arabic. Plate no. 10 misnumbered "9" as noted by Armelhault. Plate no. 15 slightly shorter 3/8 inch at lower margin. Some occasional light marginal foxing - most noticeable on plate 1. Early twentieth-century blue cloth covers decoratively bordered in blind front cover lettered in gilt expertly rebacked spine lettered in gilt. Aside from the occasional light marginal foxing this is a near fine copy. A charming and unusually appealing complete set from one of Gavarni's most perceptive and elegant social suites Nuances du Sentiment turns its attention to the delicate gradations of emotion courtship vanity hesitation disappointment and self-dramatization that animate Parisian life. Few artists of the July Monarchy were better equipped than Gavarni to capture these fleeting psychological states. With his incomparable economy of line and his gift for registering gesture pose and expression he transforms small moments of social comedy into scenes of remarkable acuity. The title itself is characteristic: these are not grand passions but subtleties - shades of feeling observed in drawing rooms promenades and private exchanges. Gavarni was among the supreme illustrators of modern manners and in suites such as this one he stands beside Daumier as one of the great visual chroniclers of nineteenth-century French urban life. Yet where Daumier often bites Gavarni more often insinuates; his satire is lighter cooler and at times almost tender though no less exact. Particularly attractive is the contemporary hand-coloring of plate 20 heightened with gum arabic a feature that lends that sheet a more finished and decorative quality and offers an appealing reminder of the close relationship between the lithographic satire and the luxury print market of the period. The mis-numbering of plate 10 as "9" recorded by Armelhault is present as expected. A quietly sophisticated and genuinely scarce Gavarni suite - and a reminder that the most revealing chronicles of nineteenth-century Paris are often found not in its grand narratives but in its smallest gestures. Rare: We have handles over fifty different titles illustrated by Gavarni - we have never seen nor heard of this title before. Armelhault and Bocher 877-901. Paris: Aubert et Cie., 1839 unknown
réf. 05405Paris: En vente Au Bureau du Journal Amusant.et au Bureau du Charivari 1840. Gavarni's Memories of his Time in the Debtors Prison 'Clichy' Depicted in Twenty-One Lithographed Plates GAVARNI pseudonym of Guillaume Sulpice Chevallier. Clichy. Album par Gavarni. Paris: Au Bureau du Charivari n.d. 1840-1841. Large quarto 13 3/4 x 10 1/2 inches; 349 x 267 mm. Publisher's yellow front wrapper with printed title. Twenty-one superb numbered lithographed plates. All plates in first printing second state with printed titles and "Chez Bauger" & "Imp. d'Aubert" with the exception of plates 17 & 19 which are in the third state. Modern quarter light blue cloth over light blue cockerel boards smooth spine lettered in gilt. Original yellow lithographed front wrapper bound in as title. These plates were initially published in Le Charivari with the exception of the nineteenth plate which was produced for La Caricature. "In 1835 Gavarni was arrested for debt and sent to Clichy. Far from being overwhelmed he saw this experience as a fresh opportunity for observation. Indeed he made a lithographic series from his memories: Clichy twenty-one lithographs 1840-1841" Ray The Art of the French Illustrated Book p. 217. "So assured did Gavarni's position seem at the end of 1833 that he began to publish the weekly Journal des gens du monde for which he also provided much of the text and illustrations. It failed after twenty numbers only eighteen of which were issued leaving him with obligations which were to embarass him for many years. In 1835 he was arrested for debt and sent to Clichy. Far from being overwhelmed he saw this experience as a fresh opportunity for observation. Indeed he made a lithographic series from his memories: Clichy twenty-one lithographs 1840-1841" Armelhault & Bocher p. 1-25 On the 23rd of July 1867 the French government abolished the ancient law decreeing imprisonment for debt. In Paris the ninety-seven inmates of the Clichy Debtor's Prison were promptly released. Exceptionally rare. According to OCLC & KVK there are no copies in libraries and institutions worldwide. We have been unable to locate any copies at auction over the past 100 years. Armelhault & Bocher nos. 429-448. The Plates: 1. Enfoncé!!!. Sunk!!!. 2. Je viens déjeuner chez toi. Ah! bon! Et diner chez toi. Ah! bah!! Et coucher chez toi! Ah! fichtre!!! I'm coming to have lunch with you. Ah! Well! And have dinner at home. Ah! bah!! And sleep at home! Ah! damn!!! 3. "Au moins un Dieu sourit encore à la jeunesse et lui rend enc e lieu de ces jours qu'on lui prend. Qui n'aurait pas pitiè des beaux ans qu'elle y laisse" "At least one God still smiles at youth and gives them back in place those days that are taken from them. Who would not pity the beautiful years she leaves there" 4. Vous le voyez le chagrin ne m'aigrit pas! Et je donnerai un conseil à mes créanciers dans leur intèrêt: s'ils veulent me tirer d'ici qu'ils se hâtent car on ne pourrait bientôt plus me passer par la porte. You see grief does not embitter me! And I will give advice to my creditors in their interest: if they want to get me out of here let them hurry because soon they won't be able to get me out the door. 5. Petit homme nous t'apportons ta casquette ta pipe d'ecume et ton Montaigne. Little man we bring you your cap your meerschaum pipe and your Montaigne. 6. Enfin à la fin je l'ai tant mijotè je l'ai tant mijotè qu'il a dit: eh! bien qu'il paye seulement les frais et j'accorderai du tems pour le reste. Et encore il a dit voyez-vous Mademoiselle c'est par consideration pour vous. Le vieux gueux!.j'espère bien que quand tu sortiras tu lui ficheras une pile soignée à celui-là! Finally at the end I simmered him so much I simmered him so much that he said: hey! Well let him just pay the cost and I'll allow time for the rest. And again he said you see Mademoiselle it's out of consideration for you. The old beggar!. I really hope that when you go out you'll give him a neat pile on that one! 7. L'amour est parti V'là l'amitiè. Love is gone That's friendship. 8. Dites donc l'ancien c'est aujourd'ui Dimanche. Ou'est-ce que ça te fait Tiens! Le Dimanche on se fiche du Garde-du-commerce: çà me fait que je pourrais aller me promener si je pouvais sortir. Say the old one is today Sunday. What does it do to you Here! On Sundays we don't care about the Garde-du-commerce: that makes me think I could go for a walk if I could go out. 9. Ne donnez pas d'acomptes! Voyez vous le créancier qu'on ne paye pas n'est qu'un créancier; le créancier qu'on paye est un tigre! Do not give deposits! You see the creditor who is not paid is only a creditor; the creditor one pays is a tiger! 10. Dites donc voisin on a peu boissonné chez vous hier! ça allait rondement! ça va bien ce matin Pas mal et vous Say neighbour we had a little drink at your house yesterday! it was going smoothly! how are you this morning Not bad and you 11. Le portrait du créancier. The portrait of the creditor. 12. Voyons! Pour aller à Tivoli ce soir il faudrait d'abord payer au greffe dix-huit-mille-cinq-cents francs pour le capital et onze-cent-vingt-neuf francs cinquante centimes de frais.et encore non je suis bête! Tivoli coûte trois francs d'entrée et je n'ai que quarante deux sous. Let's see! To go to Tivoli this evening you would first have to pay the clerk's office eighteen thousand five hundred francs for the capital and eleven hundred and twenty-nine francs fifty centimes for costs.and again no I'm silly! Tivoli costs three francs to go and I only have forty-two sous. 13. Aux Gardes-du-Commerce: que le bon Dieu les patafiole! At the Gardes-du-Commerce: may the good Lord spoil them! 14. Quand nous voulons danser Tivoli est là mon cher: Entre Tivoli et nous il n'y que deux murs et un coup de fusil. When we want to dance Tivoli is there my dear: Between Tivoli and us there are only two walls and a gunshot. 15. Mon cher Monsieur je vous laisse la guérite comme je l'ai prise et la consigne comme on me l'a donnée: "de l'amour sur la conscience et du champagne dessous".rien de bon comme ça pour les rhumes de chagrin. Courte et bonne! c'est le mot d'ordre ici comme ailleurs. My dear sir I leave you the sentry box as I took it and the instructions as they gave it to me: "love on your conscience and champagne underneath".nothing good like that for the colds of sorrow. Short and good! this is the watchword here as elsewhere. 16. Moi j'ai signé pour cinq cents francs et je n'en ai eu que trois cents et encore en vin de champagne.et on m'a repris le vin pour les frais. Ils auraient mieux fait de t'amener ici tout de suite; au moins nous aurions les fioles. I signed for five hundred francs and I only got three hundred and again in champagne wine.and they took the wine back from me for the expenses. They would have done better to bring you here straight away. after; at least we would have the vials. 17. Mias comment as-tu pu te laisser prendre comme ça Demande aux Canards sauvages comment ils se laissent prendre!. Il a tire sur moi le premier Mars on m'a ramassé le cinq Avril: voilà comme çà se fait. Mias how could you let yourself be taken like that Ask the Wild Ducks how they let themselves be caught!. He shot me on the first of March they picked me up on the fifth of April: that's how it is done. 18. Voilà un Tilbury Pamela qui nous a menés en moins de trois mois de la rue Saint Jacques à Clichy. Hein le bon cheval! Here is a Tilbury Pamela who took us in less than three months from rue Saint Jacques to Clichy. Hein the good horse! 19. Ici on ne peut pas faire de farce à sa Ninie: v'la ce qui vous chiffonne! Here you can't prank your Ninie: that's what's bugging you! 20. Entends tu; à Tivoli. Il y en a deux ici des cavaliers seuls et qui ne demanderaient pas mieux que de faire la chaîne des Dames. Do you hear; at Tivoli. There are two here single riders who would like nothing better than to make the chain of Ladies. 21. Sans le mur cette boule - là irait loin. Et ton camarade aussi. Without the wall this ball - there would go far. And your friend too. Paris: En vente Au Bureau du Journal Amusant...et au Bureau du Charivari, 1840 unknown books
