GavarniBiblio.com
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réf. 55-0021Paris: Le Charivari 1841. Lithograph. Image: 19.5 x 15.5 cm. Sheet: 36.5 x 25 cm. Armelhault & Bocher no. 681. Published in Le Charivari text verso. Foxing. Paris: Le Charivari, 1841. unknown
réf. 55-0022Paris: Le Charivari 1841. Lithograph. Image: 19.5 x 15.5 cm. Sheet: 36.5 x 25 cm. Armelhault & Bocher no. 688. Published in Le Charivari text verso. Foxing. Paris: Le Charivari, 1841. unknown
réf. 55-0020Paris: Le Charivari 1840. Lithograph. Image: 19.5 x 15.5 cm. Sheet: 36.5 x 25 cm. Armelhault & Bocher no. 663. Published in Le Charivari text verso. Foxing. Paris: Le Charivari, 1840. unknown
réf. 55-0019Paris: Le Charivari 1840. Lithograph. Image: 19.5 x 15.5 cm. Sheet: 36.5 x 25 cm. Armelhault & Bocher no. 670. Published in Le Charivari text verso. Foxing. Paris: Le Charivari, 1840. unknown
réf. 76-1889Paris: Le Charivari 1841. Lithographs. 28.5 x 20 cm sheet. Text in French on verso. Very Good a few plates with light soiling.Literature: Armelhault & Bocher 662; 677; 684; 685; 691; 692; 694; 695; 698; 701; 702. Paris: Le Charivari, 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. 19877Paris, Auber, s.d. In-folio, 37pl., en feuilles (petites rousseurs, quelques restaurations et micro-déchirures du papier sans atteinte aux images).
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
1857réf. 24519Paris: Cabochet Gregoire 1857. Very good condition. Caricature by Paul Gavarni 1804 - 1866 French satirical artist noted for his clever observations of contemporary life and elegant genre scenes and imitated by artists such as James McNeill Whistler. Depicting a husband in night dress holding a revolver and confronting a "sleeping" young wife overhearing a man's voice in her room. The wife holds a top hat in her dangling hand and an open book on the wife's lap reads "Feminine Morals". Magnificently hand colored lithograph highlighted with gum arabic dated in the print at the lower left; printed at upper right border is the number 9. Slight foxing mostly in margins. Paper size approximately 9 1/2 x 12 1/2" Cabochet, Gregoire unknown
1911réf. ABE-1169775578040 PAGES FORMAT 31,5 CM X 42 CM-EN COUVERTURE PORTRAIT D'ALEXANDRE DUMAS PAR ACHILLE DEVERIA-BOILLY-MONTPENSIER-CHARLET-VERNET-GAVARNI-BELLANGE-NANTEUIL-MONNIER-DAUMIER-RAFFET-DELACROIX (PJ8)
réf. 2091139Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 19th century 1840. Professionally printed on premium fine-art paper Museum Etching museum quality in size A3. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
réf. 2091140Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 19th century 1840. Professionally printed on premium fine-art paper Photo Matt Fibre in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
réf. 2091141Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 19th century 1840. Professionally printed on premium fine-art paper Photo Rag Bright White premium quality in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
réf. 2091142Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 19th century 1840. Professionally printed on premium fine-art paper Museum Etching museum quality in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
réf. 19979Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Artic. Created in the 19th century 1834. Professionally printed on premium fine-art paper Museum Etching museum quality in size A3. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
réf. 19982Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Artic. Created in the 19th century 1834. Professionally printed on premium fine-art paper Museum Etching museum quality in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
réf. 19981Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Artic. Created in the 19th century 1834. Professionally printed on premium fine-art paper Photo Rag Bright White premium quality in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
réf. 19980Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Artic. Created in the 19th century 1834. Professionally printed on premium fine-art paper Photo Matt Fibre in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
réf. 71-6686Paris: Bauger et Cie. circa 1842. Lithograph. 34 x 25 cm sheet. Very Good minor surface soiling in margins.Provenance: ancienne galerie Vandevoorde 22 rue Vignon Paris. Paris: Bauger et Cie., circa 1842. unknown
réf. 71-8976Paris: Chez Aubert circa 1847. Lithograph. 33 x 25 cm sheet. Good minor surface soiling light specks of foxing throughout. Paris: Chez Aubert, circa 1847. unknown
réf. 71-6676Paris: Frey circa 1860. Hand-colored lithograph. 18.5 x 13.5 cm sheet. Very Good minor surface rubs and soiling in the margins.Provenance: ancienne galerie Vandevoorde 22 rue Vignon Paris. Paris: [Frey, circa 1860]. unknown
réf. 85027100 photogravures légendées reliées en 2 volumes de 245x315 mm environ, montées sur onglet, sans date (fin XIXe), A. Le Vasseur & Cie Editeurs, dans une demi reliure en chagrin vert foncé, dos à nerfs portant le titre "Estampes modernes", et tomaisons dorés. Petits frottements sur les nerfs les coins et les coupes. Nombreux onglets fendus sans que cela porte atteinte aux photogravures autrement qu'un coin un peu corné pour certaines d'entre elles. Bon état pour le reste.
1803réf. 82211803 reliure pleine toile rouge (cloth-bound) in-octavo, dos long (spine without raised band) nerfs (spine with raised bands) - pièce de titre à filets sur fond bleu-marine (label of title with gilt line), plats muets (cover without text), gouttière long papier (fore-edge great paper), légères piqûres in fine (light smalls points of redness marks at rear), 156 pages, 1803 - An XII à Paris Chez Desessarts Libraire,
réf. 16-5526Paris: Pannier circa 1843. Lithograph sur blanc. 27. 5 x 20cm. Plate no. 33 from the series: "Le Carnaval a Paris." Armelhault and Bocher no. 415 State ii/iii. Paris: Pannier, circa 1843. unknown
réf. 76-1887Paris: Le Charivari 1843. Lithographs. 28.5 x 20 cm sheet. Text in French on verso. Very Good a few plates with light soiling.Literature: Armelhault & Bocher 544; 551; 552; 554; 555; 559; 562. Paris: Le Charivari, 1843. unknown
