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.
Rare poster-catalogue of the exhibition “Les gens sont bien plus beaux qu'ils croient. Vive leur vraie figure. “People are much more beautiful than they believe. Long live their true face. Portraits.” by Jean Dubuffet at the Galerie René Drouin which took place from 7 to 31 October 1947.
Beautiful copy of this catalogue, in poster format, two folds, one horizontal and one vertical, facilitating the storage of this document which presents as four-leaf journal illustrated with portraits of writers and artists such as Henri Michaux, Henri Calet, René Bertelé, Francis Ponge, Antonin Artaud, Jean Fautrier...
Text by Jean Dubuffet entitled “Causette”.
Rare.
First edition of this exhibition catalogue held at 32, place Saint Georges in November–December 1903.
Bound in contemporary chocolate brown morocco-backed marbled boards, spine plain, corners in matching morocco, marbled endpapers, gilt top edge, original wrappers and spine preserved; signed binding by Lortic.
Pasted on the rear pastedown is the invitation card to the exhibition, illustrated by Théophile-Alexandre Steinlen.
Preface by Anatole France.
A handsome copy finely bound by Lortic, son of Charles Baudelaire’s bookbinder.
Original drawing dated and signed by Louis Pons, to his friend art critic Georges Raillard, specialist in the works of Joan Miro and Antoni Tapies, which he dedicated to him on the invitation card for the opening of the exhibition of his works at the Château de Vascoeuil on Saturday, March 29, 2008.
Louis Pons drew, in black ink, on the recto and verso, a curious bird: a magpie huddled in on itself and apparently convalescent surmounted by this manuscript dedication: "Paris ? ? Mars 2008, j'espère que ta santé est meilleure. Amitiés de Nelly et Louis Pons." ["Paris ? ? March 2008, I hope your health is better. Friendship from Nelly and Louis Pons."]
