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Affectionate autograph note signed by Armand Salacrou, on a card with letterhead of the Society of Dramatic Authors and Composers, 6 lines written in black ink.
"Mon cher Carlo,
Tu dis que je suis une tête ? ! Et si tu me prêtais tes jambes pour que nous partions, le coup, tous les deux, se reposer à la campagne ? Je t'aime bien. Armand Salacrou." ["My dear Carlo,
You say I'm a brain? ! And what if you lent me your legs so we could both take off together to rest in the countryside? I'm fond of you. Armand Salacrou."]
First illustrated edition by Robida, with 90 original illustrations. Limited edition of 300 numbered copies, this one unnumbered on vellum specially offered by the publisher to Mr E. Gruter with manuscript inscription and enhanced with a suite of all the engravings in black on China paper, and a duplicate state in blue.
Full brown morocco binding, spine with five raised bands decorated with gilt compartments, quadruple gilt fillets framing the covers, double gilt fillet on the leading edges, brown and blue morocco doublure with gilt fillets and corner fleurons, top edge gilt, original wrappers preserved. Light rubbing traces on some raised bands. P. 295, lower portion yellowed. Uncut copy with full margins. Interior perfectly fresh.
Very handsome copy, perfectly executed.
First edition of this complete collection, including the portrait of Cochin as frontispiece. Some of the memoirs had appeared in 1773, but the collected edition that brings them all together is indeed dated 1774; certain pieces are dated 1773 as they were added after the title page bearing the 1774 date. Although the pagination varies, the collection contains only one general title page; some memoirs have half-titles, others do not.
Contents of the collection: Mémoires de M. Caron de Beaumarchais contre M. Goezman, Supplément au mémoire à consulter, Addition au Supplément du mémoire à consulter, Requeste d'atténuation pour le Sr Caron de Beaumarchais, Quatrième mémoire à consulter, Suite de la justification du Sieur de Beaumarchais, Mémoire pour Pierre-Augustin Caron de Beaumarchais, Réponse ingénue de Beaumarchais à la consultation injurieuse que le Comte de la Blache a répandu dans Aix, Le tartare à la légion (this piece is rare and is found in very few collections).
Contemporary full speckled calf binding. Spine with gilt decorative tooling, gilt fillets at head and foot. Brown morocco label. Blue mottled edges. Rubbing to joints. A good, fresh copy, with some gatherings slightly toned.
Bookplate of J. B. Regnault, avocat.
First edition, one of 115 numbered copies on alfa paper, the only deluxe copies aside from 35 on pure thread.
Two small spots of foxing on the front cover, a discreet crease, a handsome copy as issued.
Rare and highly sought after in deluxe paper.
Second edition, after the original published in 1791. 2 large folding plates at the end of volume 2 with multiple figures.
Contemporary red Bradel binding in temporary boards. Smooth spine decorated with fillets. Brown shagreen title label. Gilt volume numbering. Volume 1: dampstain traces at mid-page from page 32 to 50, and p. 422 to 433. Humidity traces thereafter to page 250. Volume 2: light dampstain traces in upper margin p. 158 to 209, very faded thereafter. Dampstain traces in upper section on the 2 folding plates. Some signatures uncut. Rubbing traces.
One of the most important treatises on the subject, which remained for a long time the manual for dye workers. Berthollet is, after Lavoisier, undoubtedly the most important chemist of the 18th century. We owe him numerous discoveries in the field of dyeing, notably the bleaching of canvas with chlorine, Javel water.
Original colour lithographed poster depicting Jean Jaurès as an elephant sitting on a chair and holding a bottle of “water from the Jordan”. Until then portrayed as a dog – caricaturists mocking his aggressiveness – Jean Jaurès is here, for the first time, represented as an elephant. It is a question here of highlighting his potbelly and his pachyderm silhouette, but we can, nevertheless, highlight the great dignity of this massive personality with a high gaze. The water from the Jordan is held on one of his hoofs and alludes to the rumour that he had his son baptised in the scared river, thus acting against his anticlerical policy. Despite the caricaturist's desire to ridicule Jean Jaurès, the choice of the elephant, a symbol of strength, prosperity and wisdom, is ultimately positive.
Transverse folds and tiny, minor, marginal tears.
Circulated between October 1899 and December 1900 in a France set ablaze by the Dreyfus Affair, these immense colour portraits are the work of Victor Lenepveu, who announced the publication of 150 and then 200 drawings, before finally producing only around fifty. Despite the 1881 law on the freedom of press allowing the dissemination of a politically subversive image, the publication of this nightmarish pantheon was interrupted by order of the Ministry of the Interior.
The fragility of the paper and the imposing size of these very violent posters, as well as their almost immediate seizure by the police, contributed to the disappearance of these caricatures which strongly left a mark on public opinion.
These horreurs were widely promoted by anti-Semitic newspapers that announced a fantasised print of 300,000 copies, thus insinuating the success of anti-Semitic ideas in the population.
On 1st October 1899, L'Intransigeant announced the publication of the Musée des horreurs in its columns: “Un dessinateur de beaucoup d'esprit, au coup de crayon d'un comique intense, M. V. Lenepveu, a eu l'heureuse idée d'inaugurer une série de portraits des vendus les plus célèbres de la tourbe dreyfusarde. Le titre de cette série « Musée des Horreurs » est suffisamment suggestif et indique bien ce qu'il promet. [...] C'est la maison Hayard qui mettra en vente, à partir d'aujourd'hui, le numéro 1 de cette désopilante série.” “An artist of great spirit, with an intense comical pencil stroke, M. V. Lenepveu, had the happy idea of inaugurating a series of portraits of the most famous sellouts of the Dreyfusard rabble. The title of this series “ Musée des Horreurs” is sufficiently suggestive and is a good indicator of what it promises. [...] It is Maison Hayard that will put up for sale, from today, issue number 1 of this hilarious series.” First a peddler then a bookseller-publisher, Napoléon Hayard (known as Léon Hayard) specialised in the marketing of anti-Dreyfusard and anti-Semitic ephemera and advertisements.
Today, however, copies in good condition of these pamphlet caricatures, which contributed to the social and political divide of France, are very rare. Published in the booming written press - at the same time as Émile Zola's famous “J'accuse !” - these propaganda materials had a significant impact on the younger generations and preceded the ideological violence of the 20th century.
Original lithographed color poster depicting Théophile Delcassé as a circus poodle.
Transverse folds and minor marginal tears without loss.
Distributed between October 1899 and December 1900 in a France inflamed by the Dreyfus Affair, these immense color caricature portraits are the work of Victor Lenepveu who announced the publication of 150 then 200 drawings and ultimately produced only about fifty. Despite the 1881 press freedom law allowing the distribution of politically subversive imagery, the publication of this nightmarish pantheon was interrupted by order of the Ministry of the Interior.
The fragility of the paper and the imposing format of these extremely violent posters, as well as their almost immediate seizure by the police, contributed to the disappearance of these caricatures which nevertheless strongly marked public opinion.
These horrors benefited from wide promotion by antisemitic newspapers which announced a fantasized print run of 300,000 copies, thus insinuating the success of antisemitic ideas among the population.
On October 1, 1899, L'Intransigeant announced the publication of the Musée des horreurs in its columns: "A very witty artist, whose pencil stroke is intensely comic, M. V. Lenepveu, had the happy idea of inaugurating a series of portraits of the most famous sellouts of the Dreyfusard rabble. The title of this series 'Musée des Horreurs' is sufficiently suggestive and clearly indicates what it promises. [...] It is the Hayard house that will put on sale, starting today, number 1 of this hilarious series." First a street vendor then a bookseller-publisher, Napoléon Hayard (known as Léon Hayard) specialized in the commercialization of anti-Dreyfusard and antisemitic ephemera and placards.
However, only very rare examples in fine condition of these pamphlet caricatures that participated in the social and political fracture of France survive today. Published during the full expansion of the written press - at the same time as Émile Zola's famous "J'accuse...!" - these propaganda documents had a significant impact particularly on young generations and prefigure the ideological violence of the 20th century.
Original color lithographed poster depicting Georges Leygues as a donkey.
Transverse folds and minute marginal tears without loss.
Distributed between October 1899 and December 1900 in a France inflamed by the Dreyfus Affair, these immense satirical color portraits are the work of Victor Lenepveu who announced the publication of 150 then 200 drawings and ultimately produced only about fifty. Despite the 1881 press freedom law allowing the distribution of politically subversive imagery, the publication of this nightmarish pantheon was interrupted by order of the Ministry of the Interior.
The fragility of the paper and the imposing format of these extremely violent posters, as well as their almost immediate seizure by the police, contributed to the disappearance of these caricatures which nevertheless strongly marked public opinion.
These horrors benefited from extensive promotion by antisemitic newspapers which announced a fantasized print run of 300,000 copies, thus insinuating the success of antisemitic ideas among the population.
On October 1st, 1899, L'Intransigeant announced the publication of the Musée des horreurs in its columns: "A draftsman of great wit, with a pencil stroke of intense comic effect, M. V. Lenepveu, has had the happy idea of inaugurating a series of portraits of the most famous sellouts from the Dreyfusard rabble. The title of this series 'Musée des Horreurs' is sufficiently suggestive and clearly indicates what it promises. [...] It is the Hayard house that will put on sale, starting today, number 1 of this hilarious series." First a street peddler then a bookseller-publisher, Napoléon Hayard (known as Léon Hayard) specialized in the commercialization of ephemera and anti-Dreyfusard and antisemitic posters.
However, only very rare copies in fine condition of these pamphleteering caricatures that participated in the social and political fracture of France survive today. Published during the boom of the written press - at the same time as Émile Zola's famous "J'accuse...!" - these propaganda documents had a significant impact particularly on younger generations and prefigured the ideological violence of the 20th century.
Original color lithographed poster depicting Louis Lucipia as a dog wearing a masonic sash.
Transverse folds and minute marginal tears without loss.
Distributed between October 1899 and December 1900 in a France inflamed by the Dreyfus Affair, these immense satirical color portraits are the work of Victor Lenepveu who announced the publication of 150 then 200 drawings and ultimately produced only about fifty. Despite the 1881 press freedom law allowing the distribution of politically subversive imagery, the publication of this nightmarish pantheon was interrupted by order of the Ministry of the Interior.
The fragility of the paper and the imposing format of these extremely violent posters, as well as their almost immediate seizure by the police, contributed to the disappearance of these caricatures which nevertheless strongly marked public opinion.
These horrors benefited from extensive promotion by antisemitic newspapers which announced a fantasized print run of 300,000 copies, thus insinuating the success of antisemitic ideas among the population.
On October 1st, 1899, L'Intransigeant announced the publication of the Musée des horreurs in its columns: "A draftsman of great wit, with a pencil stroke of intense comic effect, M. V. Lenepveu, has had the happy idea of inaugurating a series of portraits of the most famous sellouts from the Dreyfusard rabble. The title of this series 'Musée des Horreurs' is sufficiently suggestive and clearly indicates what it promises. [...] It is the Hayard house that will put on sale, starting today, number 1 of this hilarious series." First a street peddler then a bookseller-publisher, Napoléon Hayard (known as Léon Hayard) specialized in the commercialization of ephemera and anti-Dreyfusard and antisemitic posters.
However, only very rare copies in fine condition of these pamphleteering caricatures that participated in the social and political fracture of France survive today. Published during the boom of the written press - at the same time as Émile Zola's famous "J'accuse...!" - these propaganda documents had a significant impact particularly on younger generations and prefigured the ideological violence of the 20th century.
Original color lithographed poster depicting Joseph Reinach in the guise of a king slumped on his throne.
Transverse folds and minute marginal tears without loss.
Distributed between October 1899 and December 1900 in a France inflamed by the Dreyfus Affair, these immense satirical color portraits are the work of Victor Lenepveu who announced the publication of 150 then 200 drawings and ultimately produced only about fifty. Despite the 1881 press freedom law allowing the distribution of politically subversive imagery, the publication of this nightmarish pantheon was interrupted by order of the Ministry of the Interior.
The fragility of the paper and the imposing format of these highly violent posters, as well as their almost immediate seizure by the police, contributed to the disappearance of these caricatures which nevertheless strongly marked public opinion.
These horrors benefited from extensive promotion by antisemitic newspapers which announced a fantasy print run of 300,000 copies, thus insinuating the success of antisemitic ideas among the population.
On October 1, 1899, L'Intransigeant announced the publication of the Musée des horreurs in its columns: « A draughtsman of great wit, with a pencil stroke of intense comic effect, M. V. Lenepveu, had the happy idea of inaugurating a series of portraits of the most famous sellouts of the Dreyfusard rabble. The title of this series « Musée des Horreurs » is sufficiently suggestive and clearly indicates what it promises. [...] It is the Hayard house that will put on sale, starting today, number 1 of this hilarious series. » First a street vendor then a bookseller-publisher, Napoléon Hayard (known as Léon Hayard) indeed specialized in the marketing of ephemera and anti-Dreyfusard and antisemitic broadsides.
However, today only very rare copies in fine condition survive of these pamphlet-like caricatures which participated in the social and political fracture of France. Published during the height of the written press boom - at the same time as the famous « J'accuse...! » by Émile Zola - these propaganda documents had a significant impact particularly on younger generations and prefigure the ideological violence of the 20th century.
Original color lithographed poster depicting Jude Philipp in the guise of a vulture nailed to a wall.
Transverse folds and minute marginal tears without loss.
Distributed between October 1899 and December 1900 in a France inflamed by the Dreyfus Affair, these immense satirical color portraits are the work of Victor Lenepveu who announced the publication of 150 then 200 drawings and ultimately produced only about fifty. Despite the 1881 press freedom law allowing the distribution of politically subversive imagery, the publication of this nightmarish pantheon was interrupted by order of the Ministry of the Interior.
The fragility of the paper and the imposing format of these highly violent posters, as well as their almost immediate seizure by the police, contributed to the disappearance of these caricatures which nevertheless strongly marked public opinion.
These horrors benefited from extensive promotion by antisemitic newspapers which announced a fantasy print run of 300,000 copies, thus insinuating the success of antisemitic ideas among the population.
On October 1, 1899, L'Intransigeant announced the publication of the Musée des horreurs in its columns: « A draughtsman of great wit, with a pencil stroke of intense comic effect, M. V. Lenepveu, had the happy idea of inaugurating a series of portraits of the most famous sellouts of the Dreyfusard rabble. The title of this series « Musée des Horreurs » is sufficiently suggestive and clearly indicates what it promises. [...] It is the Hayard house that will put on sale, starting today, number 1 of this hilarious series. » First a street vendor then a bookseller-publisher, Napoléon Hayard (known as Léon Hayard) indeed specialized in the marketing of ephemera and anti-Dreyfusard and antisemitic broadsides.
However, today only very rare copies in fine condition survive of these pamphlet-like caricatures which participated in the social and political fracture of France. Published during the height of the written press boom - at the same time as the famous « J'accuse ! » by Émile Zola - these propaganda documents had a significant impact particularly on younger generations and prefigure the ideological violence of the 20th century.
