19th Century Prints & Lithographs

First edition. Wood engraving signed in the plate by the artist.

Plate created specifically for the illustration of Cervantes' Don Quixote for the Hachette edition of 1863.

Gustave Doré first traveled to Spain in 1855, in the company of Théophile Gautier and publisher Paul Dalloz. In 1861, responding to a commission from the journal Le Tour du monde, he returned there with Baron Jean Charles Davillier, an experienced hispanophile, who would recount their journey in his Voyage en Espagne.
Doré went there primarily with a view to illustrating Don Quixote: "I am therefore going to the homeland of this illustrious hidalgo to study all the places he traveled through and filled with his exploits and thus create something that will have its local flavor". Gustave Doré would thus conduct several working sessions with Louis Viardot, translator of Cervantes' text.
Cervantes' novel is among the most illustrated stories in European literature but Doré wanted to surpass his predecessors (Tony Johannot, Grandville, Daumier...). When it appeared in 1863, the work received unanimous praise, notably from Emile Zola: "They call that illustrating a work: I contend that it is remaking it. Instead of one masterpiece, the human spirit counts two".

See our other engravings by Gustave Doré

Gustave Doré, L'Imaginaire au pouvoir (Musée d'Orsay, 2014)

Virtual exhibition on Gustave Doré on the Gallica website

Original black lithograph executed specially by the artist for l'Estampe Moderne. Proof printed on heavy laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate. Very handsome copy.
Lithograph inspired by Vitraux by Laurent Tailhade, an extract of which is reproduced on the print's tissue guard.
Published by Ch. Masson and H. Piazza, the two years of l'Estampe Moderne constitute one of the finest lithographic achievements of the period. Each print is an original work created specially for the review by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and "Belle Époque" movements.

Original color lithograph executed specially by the artist for l'Estampe Moderne. Proof printed on heavy laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate. Very handsome copy.
Lithograph inspired by an eponymous text by Ermolaï Erémitch, an extract of which is reproduced on the print's tissue guard.
Published by Ch. Masson and H. Piazza, the two years of l'Estampe Moderne constitute one of the finest lithographic achievements of the period. Each print is an original work created specially for the review by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and "Belle Époque" movements.

Original color lithograph executed specially by the artist for l'Estampe Moderne. Proof printed on heavy laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate. Very handsome copy.
Lithograph inspired by a poem from Trophées by José-Maria de Heredia, an excerpt of which is reproduced on the print's tissue guard.
Published by Ch. Masson and H. Piazza, the two years of l'Estampe Moderne constitute one of the finest lithographic achievements of the period. Each print is an original work created specially for the review by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and "Belle Époque" movements.

Original color lithograph executed specially by the artist for l'Estampe Moderne. Proof printed on heavy laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate. Very handsome copy.
Lithograph inspired by an extract from a text by Pierre Burman, an excerpt of which is reproduced on the print's tissue guard.
Published by Ch. Masson and H. Piazza, the two years of l'Estampe Moderne constitute one of the finest lithographic achievements of the period. Each print is an original work created specially for the review by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and "Belle Époque" movements.

Original colour lithograph executed specifically by the artist for l'Estampe Moderne. Proof printed on strong laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate. Very handsome copy.
Lithograph inspired by an excerpt from Germinal by Emile Zola, of which an extract is reproduced on the print's tissue guard.
Published by Ch. Masson and H. Piazza, the two years of l'Estampe Moderne constitute one of the finest lithographic achievements of the period. Each print is an original work created specifically for the review by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and "Belle Epoque" movements.

Original color lithograph executed specially by the artist for l'Estampe Moderne. Proof printed on heavy laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate. Very handsome copy.
Lithograph inspired by a poem entitled Les Fraises by P. Dupont, an extract of which is reproduced on the print's tissue guard.
Published by Ch. Masson and H. Piazza, the two years of l'Estampe Moderne constitute one of the finest lithographic achievements of the period. Each print is an original work created specially for the review by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and "Belle Epoque" movements.

Original color lithograph executed specially by the artist for l'Estampe Moderne. Proof printed on heavy laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate. Very handsome copy.
Lithograph inspired by a poem by Francis Fièlé-Griffin, an extract of which is reproduced on the print's tissue guard.
Published by Ch. Masson and H. Piazza, the two years of l'Estampe Moderne constitute one of the finest lithographic achievements of the period. Each print is an original work created specially for the review by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and "Belle Epoque" movements.

Original lithograph in colors executed specially by the artist for l'Estampe Moderne. Proof printed on strong laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate. Handsome copy.
Lithograph inspired by a text entitled Aux Champs by Paul Delaroche, an extract of which is reproduced on the print's tissue guard.
Published by Ch. Masson and H. Piazza, the two years of l'Estampe Moderne constitute one of the finest lithographic achievements of the period. Each print is an original work created specially for the review by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and "Belle Epoque" movements.

Original lithograph in colors executed specially by the artist for l'Estampe Moderne. Proof printed on strong laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate. Handsome copy.
Lithograph inspired by the poem "La Maison d'Exil" by Edmond Pilon, an extract of which is reproduced on the print's tissue guard.
Published by Ch. Masson and H. Piazza, the two years of l'Estampe Moderne constitute one of the finest lithographic achievements of the period. Each print is an original work created specially for the review by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and "Belle Epoque" movements.

Original color lithograph executed specially by the artist for l'Estampe Moderne. Proof printed on heavy laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate. Handsome copy.
Lithograph inspired by the poem "Les Tendresses" by Armand Sylvestre, an extract of which is reproduced on the print's tissue guard.
Published by Ch. Masson and H. Piazza, the two years of l'Estampe Moderne constitute one of the finest lithographic achievements of the period. Each print is an original work created specially for the magazine by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and "Belle Époque" movements.

Original color lithograph executed specially by the artist for l'Estampe Moderne. Proof printed on heavy laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate. Handsome copy.
Lithograph inspired by a text by Jean Kervadec, an extract of which is reproduced on the print's tissue guard.
Published by Ch. Masson and H. Piazza, the two years of l'Estampe Moderne constitute one of the finest lithographic achievements of the period. Each print is an original work created specially for the magazine by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and "Belle Époque" movements.

Original color lithograph executed specially by the artist for l'Estampe Moderne. Proof printed on laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate. Very fine copy.
Lithograph inspired by a poem by Henri de Régnier, an extract of which is reproduced on the print's tissue guard.
Published by Ch. Masson and H. Piazza, the two years of l'Estampe Moderne form one of the finest lithographic achievements of the period. Each print is an original work created specially for the review by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and "Belle Epoque" movements.

Original color lithograph executed specially by the artist for l'Estampe Moderne. Proof printed on laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate. Very fine copy.
Lithograph inspired by the poem "L'Or des couchants" by Armand Silvestre, an extract of which is reproduced on the print's tissue guard.
Published by Ch. Masson and H. Piazza, the two years of l'Estampe Moderne form one of the finest lithographic achievements of the period. Each print is an original work created specially for the review by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and "Belle Epoque" movements.

Original color lithograph executed specially by the artist for L'Estampe Moderne. Proof printed on heavy laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate.
Very handsome copy.
Lithograph inspired by Vamireh, roman des temps primitifs by J.-H. Rosny, an extract of which is reproduced on the print's tissue guard.
Published by Ch. Masson and H. Piazza, the two years of L'Estampe Moderne constitute one of the finest lithographic achievements of the period. Each print is an original work created specially for the review by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and "Belle Epoque" movements.

Original color lithograph executed specially by the artist for L'Estampe Moderne. Proof printed on heavy laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate.
Very handsome copy.
Lithograph inspired by the eponymous poem by Charles Baudelaire, an extract of which is reproduced on the print's tissue guard.
Published by Ch. Masson and H. Piazza, the two years of L'Estampe Moderne constitute one of the finest lithographic achievements of the period. Each print is an original work created specially for the review by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and "Belle Epoque" movements.

Original color lithograph executed specially by the artist for l'Estampe Moderne. Proof printed on strong laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate. Very handsome copy.
Lithograph inspired by a poem from "Le Miroir" by Léo Desmarais, an extract of which is reproduced on the print's tissue guard. Published by Ch. Masson and H. Piazza, the two years of l'Estampe Moderne constitute one of the finest lithographic achievements of the period. Each print is an original work created specially for the review by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and "Belle Époque" movements.

Original color lithograph executed specially by the artist for l'Estampe Moderne. Proof printed on strong laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate. Very handsome copy.
Lithograph inspired by Nos petites filles by Alfred Le Roux, an extract of which is reproduced on the print's tissue guard.
Published by Ch. Masson and H. Piazza, the two years of l'Estampe Moderne constitute one of the finest lithographic achievements of the period. Each print is an original work created specially for the review by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and "Belle Époque" movements.

Original color lithograph executed specially by the artist for l'Estampe Moderne. Proof printed on heavy laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate. A very handsome copy.
Lithograph inspired by Train de 8h47 by Georges Courteline, an extract of which is reproduced on the print's tissue guard.
Published by Ch. Masson and H. Piazza, the two years of l'Estampe Moderne constitute one of the finest lithographic achievements of the period. Each print is an original work created specially for the review by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and "Belle Epoque" movements.

Original black lithograph executed specially by the artist for l'Estampe Moderne. Proof printed on heavy laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate. A very handsome copy.
Lithograph inspired by La danse et les ballets by J. Reading, an extract of which is reproduced on the print's tissue guard.
Published by Ch. Masson and H. Piazza, the two years of l'Estampe Moderne constitute one of the finest lithographic achievements of the period. Each print is an original work created specially for the review by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and "Belle Epoque" movements.

Épinal print, colored lithograph, small format, printed on soft paper.
Very fine condition, colors very well preserved.
These sheets are cardboard constructions or models, on which a pattern was printed.
This pattern must be cut out then assembled to build various objects or life scenes. The Épinal imagery published several series of cut-out models including the "Grandes Constructions" in 39 x 49 cm format, the "Moyennes Constructions" and the "Petites Constructions". From 1880 to 1908, constructions were published featuring architecture, costumes, ships and various vehicles. During this same period, paper theaters or "théâtre chez soi" also enjoyed great success. This toy model developed and endured until the Second World War.
Once sold by peddlers, the Épinal prints owe their name to Jean-Charles Pellerin, who was the first printer to publish this type of image in series, and who lived in the town of Épinal (Vosges). The subjects are very varied but generally revolve around religion, history (French Revolution, battles, military uniforms), or drawn from successful novels. Épinal imagery has its origins in popular imagery, a folk art born in the 15th century intended mainly for the illiterate rural public.
Originally, the image is engraved on a wooden plate and printing is done using a hand press. It is then colored by means of stencils. In the 19th century, lead castings were made from the engraved wood blocks: the stereotypes, which allowed production to be increased. In 1820, lithography was adopted, which induced a radical style change, with finer drawings. In 1900, coloring was still done by stencil, thanks to a machine that could color 300 images per hour, the Aquatype.

Épinal print, colored lithograph, small format, printed on soft paper.
Very fine condition, colors very well preserved.
These sheets are cardboard constructions or models, on which a pattern was printed.
This pattern must be cut out then assembled to build various objects or life scenes. The Épinal imagery published several series of cut-out models including the "Grandes Constructions" in 39 x 49 cm format, the "Moyennes Constructions" and the "Petites Constructions". From 1880 to 1908, constructions were published featuring architecture, costumes, ships and various vehicles. During this same period, paper theaters or "théâtre chez soi" also enjoyed great success. This toy model developed and endured until the Second World War.
Once sold by peddlers, the Épinal prints owe their name to Jean-Charles Pellerin, who was the first printer to publish this type of image in series, and who lived in the town of Épinal (Vosges). The subjects are very varied but generally revolve around religion, history (French Revolution, battles, military uniforms), or drawn from successful novels. Épinal imagery has its origins in popular imagery, a folk art born in the 15th century intended mainly for the illiterate rural public.
Originally, the image is engraved on a wooden plate and printing is done using a hand press. It is then colored by means of stencils. In the 19th century, lead castings were made from the engraved wood blocks: the stereotypes, which allowed production to be increased. In 1820, lithography was adopted, which induced a radical style change, with finer drawings. In 1900, coloring was still done by stencil, thanks to a machine that could color 300 images per hour, the Aquatype.

Image d'Épinal, color lithograph, small format, printed on flexible paper.
Very fine condition, colors very well preserved.
These sheets are cardboard constructions or models, on which a pattern was printed.
This pattern must be cut out and then assembled to construct various objects or life scenes. The Épinal imagery published several series of cut-out models including the "Grandes Constructions" in 39 x 49 cm format, the "Moyennes Constructions" and the "Petites Constructions". From 1880 to 1908, constructions were published featuring architecture, costumes, boats and various vehicles. During this same period, paper theaters or "home theater" also enjoyed great success. This type of toy developed and lasted until the Second World War.
Once sold by peddlers, the images d'Épinal owe their name to Jean-Charles Pellerin, who was the first printer to publish this type of image in series, and who lived in the town of Épinal (Vosges). The subjects are very varied but generally revolve around religion, history (French Revolution, battles, military uniforms), or drawn from successful novels. The imagery of Épinal has its origins in imagery, a popular art born in the 15th century intended primarily for the illiterate public of the countryside.
Originally, the image is engraved on a wooden block and printing is carried out using a hand press. It is then colored using stencils. In the 19th century, lead castings were made from the engraved wood blocks: stereotypes, which made it possible to increase production. In 1820, lithography was adopted, which induced a radical change in style, with finer drawings. In 1900, coloring was still done by stencil, thanks to a machine that could color 300 images per hour, the Aquatype.

Image d'Épinal, color lithograph, small format, printed on flexible paper.
Very fine condition, colors very well preserved.
These sheets are cardboard constructions or models, on which a pattern was printed.
This pattern must be cut out and then assembled to construct various objects or life scenes. The Épinal imagery published several series of cut-out models including the "Grandes Constructions" in 39 x 49 cm format, the "Moyennes Constructions" and the "Petites Constructions". From 1880 to 1908, constructions were published featuring architecture, costumes, boats and various vehicles. During this same period, paper theaters or "home theater" also enjoyed great success. This type of toy developed and lasted until the Second World War.
Once sold by peddlers, the images d'Épinal owe their name to Jean-Charles Pellerin, who was the first printer to publish this type of image in series, and who lived in the town of Épinal (Vosges). The subjects are very varied but generally revolve around religion, history (French Revolution, battles, military uniforms), or drawn from successful novels. The imagery of Épinal has its origins in imagery, a popular art born in the 15th century intended primarily for the illiterate public of the countryside.
Originally, the image is engraved on a wooden block and printing is carried out using a hand press. It is then colored using stencils. In the 19th century, lead castings were made from the engraved wood blocks: stereotypes, which made it possible to increase production. In 1820, lithography was adopted, which induced a radical change in style, with finer drawings. In 1900, coloring was still done by stencil, thanks to a machine that could color 300 images per hour, the Aquatype.

Épinal print, color lithograph, small format, printed on flexible paper.
Very handsome condition, colors very well preserved.
These sheets are cardboard constructions or models, on which a pattern was printed.
This pattern must be cut out then assembled to construct various objects or life scenes. The Épinal imagery published several series of cut-out models including the "Grandes Constructions" in 39 x 49 cm format, the "Moyennes Constructions" and the "Petites Constructions". From 1880 to 1908, constructions were published featuring architecture, costumes, boats and various vehicles. During this same period, paper theaters or "theater at home" also enjoyed great success. This type of toy developed and endured until the Second World War.
Once sold by peddlers, Épinal prints owe their name to Jean-Charles Pellerin, who was the first printer to publish this type of image in series, and who lived in the town of Épinal (Vosges). The subjects are very varied but generally revolve around religion, history (French Revolution, battles, military uniforms), or drawn from successful novels. Épinal imagery has its origins in popular imagery, a folk art born in the 15th century intended mainly for the illiterate rural public.
Originally, the image is engraved on a wooden block and printing is carried out using a hand press. It is then colored using stencils. In the 19th century, lead castings were made from the engraved wood blocks: stereotypes, which allowed production to be increased. In 1820, lithography was adopted, which brought about a radical change in style, with finer drawings. In 1900, coloring was still done by stencil, using a machine that could color 300 images per hour, the Aquatype.

Épinal print, color lithograph, small format, printed on flexible paper.
Very handsome condition, colors very well preserved.
These sheets are cardboard constructions or models, on which a pattern was printed.
This pattern must be cut out then assembled to construct various objects or life scenes. The Épinal imagery published several series of cut-out models including the "Grandes Constructions" in 39 x 49 cm format, the "Moyennes Constructions" and the "Petites Constructions". From 1880 to 1908, constructions were published featuring architecture, costumes, boats and various vehicles. During this same period, paper theaters or "theater at home" also enjoyed great success. This type of toy developed and endured until the Second World War.
Once sold by peddlers, Épinal prints owe their name to Jean-Charles Pellerin, who was the first printer to publish this type of image in series, and who lived in the town of Épinal (Vosges). The subjects are very varied but generally revolve around religion, history (French Revolution, battles, military uniforms), or drawn from successful novels. Épinal imagery has its origins in popular imagery, a folk art born in the 15th century intended mainly for the illiterate rural public.
Originally, the image is engraved on a wooden block and printing is carried out using a hand press. It is then colored using stencils. In the 19th century, lead castings were made from the engraved wood blocks: stereotypes, which allowed production to be increased. In 1820, lithography was adopted, which brought about a radical change in style, with finer drawings. In 1900, coloring was still done by stencil, using a machine that could color 300 images per hour, the Aquatype.

Image d'Épinal, color lithograph, small format, printed on soft paper.
Very fine condition, colors very well preserved.
These plates are cardboard constructions or models, on which a pattern was printed.
This pattern should be cut out and then assembled to construct various objects or life scenes. The Épinal imagery published several series of cut-out models including the "Large Constructions" in 39 x 49 cm format, the "Medium Constructions" and the "Small Constructions". From 1880 to 1908, constructions were published featuring architecture, costumes, boats and various vehicles. During this same period, paper theaters or "home theater" also enjoyed great success. This type of toy developed and lasted until the Second World War.
Once sold by peddlers, images d'Épinal owe their name to Jean-Charles Pellerin, who was the first printer to mass-produce this type of image in series, and who lived in the town of Épinal (Vosges). The subjects are very varied but generally revolve around religion, history (French Revolution, battles, military uniforms), or drawn from successful novels. Épinal imagery has its origins in popular imagery, a folk art born in the 15th century intended primarily for the illiterate rural public.
Originally, the image is engraved on a wooden block and printing is done using a hand press. It is then colored using stencils. In the 19th century, lead casts were made from the engraved wood blocks: stereotypes, which allowed for increased production. In 1820, lithography was adopted, which induced a radical change in style, with finer drawings. In 1900, coloring was still done by stencil, thanks to a machine that could color 300 images per hour, the Aquatype.

First edition.
Hand-colored and gum arabic highlighted lithograph depicting a theatrical scene with numerous costumed characters (Commedia dell'Arte figures, oriental characters, clowns...).
Very handsome plate with brilliant colors.

First edition, illustrated with 72 engravings (etchings), re-engraved after the originals. All plates, printed before lettering, have been annotated in pencil (author and title).
Publisher's binding. Special plate by Souze. Binding by Charles Magnier. Half red shagreen richly decorated; red percale boards stamped with a large decorative gilt plate on black ground. All edges gilt. White moiré endpapers. Upper joint slightly cracked at head. Some foxing on the first leaves and on the index.
Handsome copy

Original Japanese print. Two sheets from what was certainly a large set of eight.
Printed on mulberry paper. The sheets have been backed, due to paper weakened in the upper section by wormholes.
Member of the Utagawa school, and undoubtedly the best student of the school's founder, Utagawa Kunisada I. He created several large sets of prints, not only of processions, but of the city of Yokohama to which he devoted much of his work.

Original print.
Triptych of three prints joined together (glued at the back with a paper strip). Three sheets assembled as one. Hole at each extremity. A lack to the left margin. A central fold.
In the 12th century, Tokimune avenges his father's death by killing his murderer, Kudo Suketsune. Toshihide was a pupil of Yoshitoshi, his prints are characterized by a blend of traditional and Western styles.

First edition, illustrated with an engraved title page and 26 plates each containing two figures, half-page, drawn and engraved by Rinaldi. The index leaves have been bound before the title page.
Contemporary half brown sheep binding; smooth spine decorated with fillets. Gilt title. Paper partly torn on both boards. Very fresh paper.
Very beautiful series of engravings of views of ancient and modern Rome, with small figures. Some landscape views, notably Neptune's grotto.

Original wood engraving heightened with watercolor and gum arabic of the period, signed in the plate by Clerman lower right.
Print created for "Recuerdos de un viage por España" by Francisco de Paula Mellado, an account of his journey through the multiple provinces of Spain and overseas territories in which the author studies the customs, legends, literature, history and geography of each place. This type of illustration is emblematic of Spanish Romantic aesthetics and its fashion for "tableaux de coutumes" ("Cuadro de costumbres"), veritable galleries of generic characters in the manner of "Les Français peints par eux-mêmes" of the same period.
Superb watercolor whose gum arabic varnish accentuates the contrasts.

Original wood engraving heightened with watercolor and gum arabic of the period, signed in the plate by Clerman lower right. Plate engraved by Pannemaker.
Print created for "Recuerdos de un viage por España" by Francisco de Paula Mellado, an account of his journey through the multiple provinces of Spain and overseas territories in which the author studies the customs, legends, literature, history and geography of each place. This type of illustration is emblematic of Spanish Romantic aesthetics and its fashion for "tableaux de coutumes" ("Cuadro de costumbres"), veritable galleries of generic characters in the manner of "Les Français peints par eux-mêmes" of the same period.
Superb watercolor whose gum arabic varnish accentuates the contrasts.

Original wood engraving heightened with watercolor and gum arabic of the period. Plate engraved by Pannemaker.
Print created for "Recuerdos de un viage por España" by Francisco de Paula Mellado, an account of his journey through the multiple provinces of Spain and overseas territories in which the author studies the customs, legends, literature, history and geography of each place. This type of illustration is emblematic of Spanish Romantic aesthetics and its fashion for "costume paintings" ("Cuadro de costumbres"), veritable galleries of generic characters in the manner of "Les Français peints par eux-mêmes" at the same period.
Superb watercolor whose gum varnish accentuates the contrasts.

Original wood engraving heightened with watercolor and gum arabic of the period, signature in the plate by Clerman at bottom right. Plate engraved by Duverger.
Print created for "Recuerdos de un viage por España" by Francisco de Paula Mellado, an account of his journey through the multiple provinces of Spain and overseas territories in which the author studies the customs, legends, literature, history and geography of each place. This type of illustration is emblematic of Spanish Romantic aesthetics and its fashion for "costume paintings" ("Cuadro de costumbres"), veritable galleries of generic characters in the manner of "Les Français peints par eux-mêmes" at the same period. Superb watercolor whose gum varnish accentuates the contrasts.

Original wood engraving enhanced with watercolor and gum arabic highlights from the period, signature in the plate by Clerman at lower right. Plate engraved by Duverger.
Print created for "Recuerdos de un viage por España" by Francisco de Paula Mellado, an account of his journey through the multiple provinces of Spain and overseas territories in which the author studies the customs, legends, literature, history and geography of each place. This type of illustration is emblematic of Spanish Romantic aesthetics and its fashion for "costume studies" ("Cuadro de costumbres"), veritable galleries of generic characters in the manner of "Les Français peints par eux-mêmes" from the same period.
Superb watercolor whose gum arabic varnish accentuates the contrasts.

Original wood engraving enhanced with watercolor and gum arabic highlights from the period. Plate engraved by Pannemaker.
Print created for "Recuerdos de un viage por España" by Francisco de Paula Mellado, an account of his journey through the multiple provinces of Spain and overseas territories in which the author studies the customs, legends, literature, history and geography of each place. This type of illustration is emblematic of Spanish Romantic aesthetics and its fashion for "costume studies" ("Cuadro de costumbres"), veritable galleries of generic characters in the manner of "Les Français peints par eux-mêmes" from the same period. Superb watercolor whose gum arabic varnish accentuates the contrasts.

Original wood engraving heightened with watercolor and gum arabic highlights of the period, signature in the plate by Clerman at lower right. Plate engraved by Pannemaker.
Print created for "Recuerdos de un viage por España" by Francisco de Paula Mellado, an account of his journey through the multiple provinces of Spain and overseas territories in which the author studies the customs, legends, literature, history and geography of each place. This type of illustration is emblematic of Spanish Romantic aesthetics and its fashion for "tableaux de costumbres" ("Cuadro de costumbres"), veritable galleries of generic characters in the manner of "Les Français peints par eux-mêmes" of the same period. Superb watercolor whose gum arabic varnish accentuates the contrasts.

Original wood engraving heightened with watercolor and gum arabic highlights of the period. Plate engraved by Pannemaker.
Print created for "Recuerdos de un viage por España" by Francisco de Paula Mellado, an account of his journey through the multiple provinces of Spain and overseas territories in which the author studies the customs, legends, literature, history and geography of each place. This type of illustration is emblematic of Spanish Romantic aesthetics and its fashion for "tableaux de costumbres" ("Cuadro de costumbres"), veritable galleries of generic characters in the manner of "Les Français peints par eux-mêmes" of the same period.
Superb watercolor whose gum arabic varnish accentuates the contrasts.

Original woodcut heightened with watercolor and gum arabic highlights of the period, signed lower right by Clerman. Plate engraved by Pannemaker.
Print created for "Recuerdos de un viage por España" by Francisco de Paula Mellado, an account of his journey through the multiple provinces of Spain and overseas territories in which the author studies the customs, legends, literature, history and geography of each place.
This type of illustration is emblematic of Spanish Romantic aesthetics and its fashion for "tableaux de coutumes" ("Cuadro de costumbres"), veritable galleries of generic characters in the manner of "Les Français peints par eux-mêmes" of the same period.
Superb watercolor whose gum arabic varnish accentuates the contrasts.

Original woodcut heightened with watercolor and gum arabic highlights of the period, signed lower left by Clerman. Plate engraved by Duverger. Print created for "Recuerdos de un viage por España" by Francisco de Paula Mellado, an account of his journey through the multiple provinces of Spain and overseas territories in which the author studies the customs, legends, literature, history and geography of each place.
This type of illustration is emblematic of Spanish Romantic aesthetics and its fashion for "tableaux de coutumes" ("Cuadro de costumbres"), veritable galleries of generic characters in the manner of "Les Français peints par eux-mêmes" of the same period.
Superb watercolor whose gum arabic varnish accentuates the contrasts.

Original color lithograph executed specifically by the artist for l'Estampe Moderne. Proof printed on heavy laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate.
Very handsome copy.
Lithograph inspired by a poem by Henri de Régnier, an excerpt of which is reproduced on the print's tissue guard.
Published by Ch. Masson and H. Piazza, the two years of l'Estampe Moderne constitute one of the finest lithographic achievements of the period. Each print is an original work created specifically for the journal by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and "Belle Epoque" movements.

Original color lithograph executed specifically by the artist for l'Estampe Moderne. Proof printed on heavy laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate.
Very handsome copy.
Lithograph inspired by "La Maison d'exil" by Edmond Pilon, an excerpt of which is reproduced on the print's tissue guard.
Published by Ch. Masson and H. Piazza, the two years of l'Estampe Moderne constitute one of the finest lithographic achievements of the period. Each print is an original work created specifically for the journal by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and "Belle Epoque" movements.

Original color lithograph executed specially by the artist for L'Estampe Moderne. Proof printed on heavy laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate.
Very handsome copy.
Published by Ch. Masson and H. Piazza, the two years of L'Estampe Moderne constitute one of the finest lithographic achievements of the period. Each print is an original work created specially for the review by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and "Belle Epoque" movements.

Original color lithograph executed specially by the artist for L'Estampe Moderne. Proof printed on heavy laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate.
Very handsome copy.
Lithograph inspired by a passage from Germinal by Emile Zola.
Published by Ch. Masson and H. Piazza, the two years of L'Estampe Moderne constitute one of the finest lithographic achievements of the period. Each print is an original work created specially for the review by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and "Belle Epoque" movements.

Original color lithograph executed specially by the artist for l'Estampe Moderne. Proof printed on strong laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate.
Handsome copy.
Published by Ch. Masson and H. Piazza, the two years of l'Estampe Moderne form one of the finest lithographic achievements of the period. Each print is an original work created specially for the review by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and "Belle Epoque" movements.

Original color lithograph executed specially by the artist for l'Estampe Moderne. Proof printed on strong laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate.
Handsome copy.
Lithograph inspired by a poem by Paul Verlaine ("Fêtes Galantes") reproduced on the print's tissue guard.
Published by Ch. Masson and H. Piazza, the two years of l'Estampe Moderne form one of the finest lithographic achievements of the period. Each print is an original work created specially for the review by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and "Belle Epoque" movements.

Original color lithograph executed specially by the artist for l'Estampe Moderne. Proof printed on strong laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate.
Very handsome copy.
Lithograph inspired by "Traité de 9h47" by G. Courteline, an extract of which is reproduced on the print's tissue guard.
Published by Ch. Masson and H. Piazza, the two years of l'Estampe Moderne constitute one of the finest lithographic achievements of the period. Each print is an original work created specially for the review by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and "Belle Epoque" movements.

Original lithograph in black executed specially by the artist for l'Estampe Moderne. Proof printed on strong laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate.
Very handsome copy.
Lithograph inspired by "La Danse et les Ballets" by J. Reading, an extract of which is reproduced on the print's tissue guard.
Published by Ch. Masson and H. Piazza, the two years of l'Estampe Moderne constitute one of the finest lithographic achievements of the period. Each print is an original work created specially for the review by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and "Belle Epoque" movements.

Original color lithograph executed specially by the artist for l'Estampe Moderne. Proof printed on strong laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate.
Handsome copy.
Lithograph inspired by "La Chanson des Gueux" by J. Richepin, an extract of which is reproduced on the print's tissue guard.
Published by Ch. Masson and H. Piazza, the two years of l'Estampe Moderne constitute one of the finest lithographic achievements of the period. Each print is an original work created specially for the magazine by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and "Belle Epoque" movements.

Original sepia lithograph executed specially by the artist for l'Estampe Moderne. Proof printed on strong laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate.
Handsome copy.
Lithograph inspired by "Nos petites filles" by Alfred Le Roux, an extract of which is reproduced on the print's tissue guard. Published by Ch. Masson and H. Piazza, the two years of l'Estampe Moderne constitute one of the finest lithographic achievements of the period. Each print is an original work created specially for the magazine by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and "Belle Epoque" movements.

Original color lithograph executed specially by the artist for l'Estampe Moderne. Proof printed on strong laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate.
Handsome copy.
Lithograph inspired by "La Mer" by Jean Richepin, an extract of which is reproduced on the print's tissue guard.
Published by Ch. Masson and H. Piazza, the two years of l'Estampe Moderne constitute one of the finest lithographic achievements of the period. Each print is an original work created specially for the review by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and "Belle Epoque" movements.

Original lithograph in black executed specially by the artist for l'Estampe Moderne. Proof printed on strong laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate.
Handsome copy.
Lithograph inspired by a poem from "Les Fleurs du Mal" by Charles Baudelaire, an extract of which is reproduced on the print's tissue guard.
Published by Ch. Masson and H. Piazza, the two years of l'Estampe Moderne constitute one of the finest lithographic achievements of the period. Each print is an original work created specially for the review by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and "Belle Epoque" movements.

Original color lithograph executed specially by the artist for l'Estampe Moderne. Proof printed on strong laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate.
Very handsome copy.
Lithograph inspired by a novel by J.-H. Rosny, an extract of which is reproduced on the print's tissue guard.
Published by Ch. Masson and H. Piazza, the two years of l'Estampe Moderne constitute one of the finest lithographic achievements of the period. Each print is an original work created specially for the review by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and "Belle Epoque" movements.

Original color lithograph executed specially by the artist for l'Estampe Moderne. Proof printed on strong laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate.
Very handsome copy.
Lithograph inspired by a poem by Armand Silvestre, an extract of which is reproduced on the print's tissue guard. Published by Ch. Masson and H. Piazza, the two years of l'Estampe Moderne constitute one of the finest lithographic achievements of the period.
Each print is an original work created specially for the review by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and "Belle Epoque" movements.

Original color lithograph executed specially by the artist for l'Estampe Moderne. Proof printed on strong laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate.
Very handsome copy.
Lithograph inspired by a poem by Francis Vièle-Griffin, an extract of which is reproduced on the print's tissue guard.
Published by Ch. Masson and H. Piazza, the two years of l'Estampe Moderne constitute one of the finest lithographic achievements of the period. Each print is an original work created specially for the review by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and "Belle Epoque" movements.

Original color lithograph executed specially by the artist for l'Estampe Moderne. Proof printed on strong laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin.
Artist's signature in the plate. Very handsome copy.
Lithograph inspired by a poem by Max Elskamp, an extract of which is reproduced on the print's tissue guard. Published by Ch. Masson and H. Piazza, the two years of l'Estampe Moderne constitute one of the finest lithographic achievements of the period. Each print is an original work created specially for the review by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and "Belle Epoque" movements.

Original color lithograph executed specially by the artist for l'Estampe Moderne. Proof printed on heavy laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate.
The print is inspired by "Kacia" by Ermolaï Erémitch, a passage of which is reproduced on the tissue guard.
Very fine copy.
Published by Ch. Masson and H. Piazza, the two years of l'Estampe Moderne constitute one of the finest lithographic achievements of the period. Each print is an original work created specially for the review by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and "Belle Epoque" movements.

Épinal print, color lithograph, large format, printed on heavy paper.
Two tears to right margin affecting the print, slight lack to left margin, corners folded.
These plates are cardboard constructions or models, on which a pattern was printed.
This pattern must be cut out then assembled to construct various objects or life scenes. Épinal imagery published several series of cut-out models including the "Grandes Constructions" in 39 x 49 cm format, the "Moyennes Constructions" and the "Petites Constructions". From 1880 to 1908, constructions were published featuring architecture, costumes, boats and various vehicles. During this same period, paper theaters or "théâtre chez soi" also enjoyed great success. This type of toy developed and lasted until the Second World War.
Once sold by peddlers, Épinal prints owe their name to Jean-Charles Pellerin, who was the first printer to publish this type of image in series, and who lived in the town of Épinal (Vosges). The subjects are very varied but generally revolve around religion, history (French Revolution, battles, military uniforms), or drawn from popular novels. Épinal imagery has its origins in imagery, a popular art form born in the 15th century intended primarily for the illiterate rural public.
Originally, the image is engraved on a wooden plate and printing is carried out using a hand press. It is then colored using stencils. In the 19th century, lead castings were made from the engraved wood blocks: stereotypes, which allowed production to be increased. In 1820, lithography was adopted, which brought about a radical change in style, with finer drawings. In 1900, coloring was still done by stencil, using a machine that could color 300 images per hour, the Aquatype.

Rare first edition. Illustrated with 44 plates including one double-page, totaling 110 figures enhanced in period colors by Yanagawa Jushin.
Contemporary wrappers, original binding in cold-embossed green paper with cloud motifs. Excellent condition.
The author published 5 volumes of this type, each addressing a different theme—animals, flowers; this one depicts the mountains and rivers of Japan represented in prints by the artist.

Épinal print, color lithograph, small format, printed on flexible paper.
Very fine condition, colors very well preserved.
These plates are cardboard constructions or models, on which a pattern was printed.
This pattern must be cut out then assembled to construct various objects or scenes of life. The Épinal imagery published several series of cut-out models including the "Large Constructions" in the format of 39 x 49 cm, the "Medium Constructions" and the "Small Constructions". From 1880 to 1908, constructions were published featuring architecture, costumes, boats and various vehicles. During this same period, paper theaters or "theater at home" also enjoyed great success. This toy model developed and lasted until the Second World War.
Formerly sold by peddlers, Épinal prints owe their name to Jean-Charles Pellerin, who was the first printer to publish this type of image in series, and who lived in the town of Épinal (Vosges). The subjects are very varied but generally revolve around religion, history (French Revolution, battles, military uniforms), or drawn from successful novels. Épinal imagery has its origins in imagery, popular art born in the 15th century intended mainly for the illiterate public of the countryside.
Originally, the image is engraved on a wooden plate and printing is carried out using a hand press. It is then colored using stencils. In the 19th century, lead castings are made from the engraved wood blocks: stereotypes, which allow production to be increased. In 1820, lithography was adopted, which induced a radical change in style, with finer drawings. In 1900, coloring was still done by stencil, thanks to a machine that could color 300 images per hour, the Aquatype.

Image d'Épinal, color lithograph, small format, printed on soft paper.
Very fine condition, colors very well preserved.
These plates are cardboard constructions or models, on which a pattern was printed.
This pattern must be cut out then assembled to construct various objects or life scenes. The Épinal imagery published several series of cut-out models including the "Grandes Constructions" in 39 x 49 cm format, the "Moyennes Constructions" and the "Petites Constructions". From 1880 to 1908, constructions were published featuring architecture, costumes, boats and various vehicles. During this same period, paper theaters or "théâtre chez soi" also enjoyed great success. This toy model developed and endured until the Second World War.
Formerly sold by peddlers, the Images d'Épinal owe their name to Jean-Charles Pellerin, who was the first printer to publish this type of image in series, and who lived in the town of Épinal (Vosges). The subjects are very varied but generally revolve around religion, history (French Revolution, battles, military uniforms), or drawn from successful novels. The Épinal imagery has its origins in imagery, a popular art born in the 15th century intended mainly for the illiterate public of the countryside.
Originally, the image is engraved on a wooden plate and printing is carried out using a hand press. It is then colored by means of stencils. In the 19th century, lead castings were made from the engraved wood: the stereotypes, which made it possible to increase production. In 1820, lithography was adopted, which induced a radical change in style, with finer drawings. In 1900, coloring was still done by stencil, thanks to a machine that could color 300 images per hour, the Aquatype.

Image d'Épinal, color lithograph, medium format, printed on heavy paper.
Corners very slightly bumped, otherwise very fine condition, colors very well preserved.
These plates are cardboard constructions or models, on which a pattern was printed.
This pattern must be cut out then assembled to construct various objects or life scenes. The Épinal imagery published several series of cut-out models including the "Grandes Constructions" in 39 x 49 cm format, the "Moyennes Constructions" and the "Petites Constructions". From 1880 to 1908, constructions were published featuring architecture, costumes, boats and various vehicles. During this same period, paper theaters or "théâtre chez soi" also enjoyed great success. This toy model developed and endured until the Second World War.
Formerly sold by peddlers, the Images d'Épinal owe their name to Jean-Charles Pellerin, who was the first printer to publish this type of image in series, and who lived in the town of Épinal (Vosges). The subjects are very varied but generally revolve around religion, history (French Revolution, battles, military uniforms), or drawn from successful novels. The Épinal imagery has its origins in imagery, a popular art born in the 15th century intended mainly for the illiterate public of the countryside.
Originally, the image is engraved on a wooden plate and printing is carried out using a hand press. It is then colored by means of stencils. In the 19th century, lead castings were made from the engraved wood: the stereotypes, which made it possible to increase production. In 1820, lithography was adopted, which induced a radical change in style, with finer drawings. In 1900, coloring was still done by stencil, thanks to a machine that could color 300 images per hour, the Aquatype.

Image d'Épinal, color lithograph, medium format, printed on heavy paper.
Light creases at the upper corners, pen inscription in the upper right corner, otherwise very fine condition, colors very well preserved.
These sheets are cardboard constructions or models, on which a pattern was printed.
This pattern should be cut out then assembled to construct various objects or life scenes. The Épinal imagery published several series of cut-out models including the "Grandes Constructions" in 39 x 49 cm format, the "Moyennes Constructions" and the "Petites Constructions". From 1880 to 1908, constructions were published featuring architecture, costumes, boats and various vehicles. During this same period, paper theaters or "théâtre chez soi" also enjoyed great success. This toy model developed and endured until the Second World War.
Once sold by peddlers, the images d'Épinal owe their name to Jean-Charles Pellerin, who was the first printer to publish this type of image in series, and who lived in the town of Épinal (Vosges). The subjects are very varied but generally revolve around religion, history (French Revolution, battles, military uniforms), or drawn from successful novels. The Épinal imagery has its origins in imagery, a popular art born in the 15th century intended mainly for the illiterate public of the countryside.
Originally, the image is engraved on a wooden board and printing is done using a hand press. It is then colored using stencils. In the 19th century, lead castings are made from the engraved woods: stereotypes, which allow production to be increased. In 1820, lithography was adopted, which induced a radical change in style, with finer drawings. In 1900, coloring was still done with stencils, using a machine that could color 300 images per hour, the Aquatype.

Image d'Épinal, color lithograph, medium format, printed on heavy paper.
Pen cross in upper right corner, otherwise very fine condition, colors very well preserved.
These sheets are cardboard constructions or models, on which a pattern was printed.
This pattern should be cut out then assembled to construct various objects or life scenes. The Épinal imagery published several series of cut-out models including the "Grandes Constructions" in 39 x 49 cm format, the "Moyennes Constructions" and the "Petites Constructions". From 1880 to 1908, constructions were published featuring architecture, costumes, boats and various vehicles. During this same period, paper theaters or "théâtre chez soi" also enjoyed great success. This toy model developed and endured until the Second World War.
Once sold by peddlers, the images d'Épinal owe their name to Jean-Charles Pellerin, who was the first printer to publish this type of image in series, and who lived in the town of Épinal (Vosges). The subjects are very varied but generally revolve around religion, history (French Revolution, battles, military uniforms), or drawn from successful novels. The Épinal imagery has its origins in imagery, a popular art born in the 15th century intended mainly for the illiterate public of the countryside.
Originally, the image is engraved on a wooden board and printing is done using a hand press. It is then colored using stencils. In the 19th century, lead castings are made from the engraved woods: stereotypes, which allow production to be increased. In 1820, lithography was adopted, which induced a radical change in style, with finer drawings. In 1900, coloring was still done with stencils, using a machine that could color 300 images per hour, the Aquatype.

Image d'Épinal, color lithograph, medium format, printed on heavy paper.
Missing corners, significant tears in right and lower margins with loss but without damage to the print, colors very well preserved.
These plates are cardboard constructions or models, on which a pattern was printed.
This pattern must be cut out then assembled to construct various objects or life scenes. The Épinal imagery published several series of cut-out models including the "Large Constructions" in 39 x 49 cm format, the "Medium Constructions" and the "Small Constructions". From 1880 to 1908, constructions were published featuring architecture, costumes, boats and various vehicles. During this same period, paper theaters or "theater at home" also enjoyed great success. This toy model developed and lasted until the Second World War.
Once sold by peddlers, the images d'Épinal owe their name to Jean-Charles Pellerin, who was the first printer to publish this type of image in series, and who lived in the town of Épinal (Vosges). The subjects are very varied but generally revolve around religion, history (French Revolution, battles, military uniforms), or drawn from successful novels. Épinal imagery takes its origins in imagery, popular art born in the 15th century intended mainly for the illiterate rural public.
Originally, the image is engraved on a wooden plate and printing is done using a hand press. It is then colored by means of stencils. In the 19th century, lead castings are made from the engraved wood: stereotypes, which allow production to be increased. In 1820, lithography was adopted, which induced a radical change in style, with finer drawings. In 1900, coloring was still done by stencil, thanks to a machine that could color 300 images per hour, the Aquatype.

Image d'Épinal, color lithograph, large format, printed on heavy paper.
Significant tear in upper left section restored, folds in lower right corner with tears, slight folds to upper right and lower left corners, colors very well preserved.
These plates are cardboard constructions or models, on which a pattern was printed.
This pattern must be cut out then assembled to construct various objects or life scenes. The Épinal imagery published several series of cut-out models including the "Large Constructions" in 39 x 49 cm format, the "Medium Constructions" and the "Small Constructions". From 1880 to 1908, constructions were published featuring architecture, costumes, boats and various vehicles. During this same period, paper theaters or "theater at home" also enjoyed great success. This toy model developed and lasted until the Second World War.
Once sold by peddlers, the images d'Épinal owe their name to Jean-Charles Pellerin, who was the first printer to publish this type of image in series, and who lived in the town of Épinal (Vosges). The subjects are very varied but generally revolve around religion, history (French Revolution, battles, military uniforms), or drawn from successful novels. Épinal imagery takes its origins in imagery, popular art born in the 15th century intended mainly for the illiterate rural public.
Originally, the image is engraved on a wooden plate and printing is done using a hand press. It is then colored by means of stencils. In the 19th century, lead castings are made from the engraved wood: stereotypes, which allow production to be increased. In 1820, lithography was adopted, which induced a radical change in style, with finer drawings. In 1900, coloring was still done by stencil, thanks to a machine that could color 300 images per hour, the Aquatype.

Épinal print, color lithograph, large format, printed on heavy paper.
Tear with lack to left margin not touching the print, light creases in lower corners, colors very well preserved.
These sheets are cardboard constructions or models, on which a pattern was printed.
This pattern must be cut out then assembled to build various objects or life scenes. The Épinal imagery published several series of cut-out models including the "Grandes Constructions" in 39 x 49 cm format, the "Moyennes Constructions" and the "Petites Constructions". From 1880 to 1908, constructions were published featuring architecture, costumes, boats and various vehicles. During this same period, paper theaters or "théâtre chez soi" also enjoyed great success. This toy model developed and lasted until the Second World War.
Once sold by peddlers, the Épinal prints owe their name to Jean-Charles Pellerin, who was the first printer to publish this type of image in series, and who lived in the town of Épinal (Vosges). The subjects are very varied but generally revolve around religion, history (French Revolution, battles, military uniforms), or drawn from successful novels. Épinal imagery has its origins in imagery, a popular art form born in the 15th century intended mainly for the illiterate rural public.
Originally, the image is engraved on a wooden plank and printing is carried out using a hand press. It is then colored using stencils. In the 19th century, lead castings were made from the engraved wood blocks: stereotypes, which made it possible to increase production. In 1820, lithography was adopted, which induced a radical change in style, with finer drawings. In 1900, coloring was still done by stencil, thanks to a machine that could color 300 images per hour, the Aquatype.

Épinal print, color lithograph, large format, printed on heavy paper.
Light crease marks in corners, otherwise very fine condition, colors very well preserved.
These sheets are cardboard constructions or models, on which a pattern was printed.
This pattern must be cut out then assembled to build various objects or life scenes. The Épinal imagery published several series of cut-out models including the "Grandes Constructions" in 39 x 49 cm format, the "Moyennes Constructions" and the "Petites Constructions". From 1880 to 1908, constructions were published featuring architecture, costumes, boats and various vehicles. During this same period, paper theaters or "théâtre chez soi" also enjoyed great success. This toy model developed and lasted until the Second World War.
Once sold by peddlers, the Épinal prints owe their name to Jean-Charles Pellerin, who was the first printer to publish this type of image in series, and who lived in the town of Épinal (Vosges). The subjects are very varied but generally revolve around religion, history (French Revolution, battles, military uniforms), or drawn from successful novels. Épinal imagery has its origins in imagery, a popular art form born in the 15th century intended mainly for the illiterate rural public.
Originally, the image is engraved on a wooden plank and printing is carried out using a hand press. It is then colored using stencils. In the 19th century, lead castings were made from the engraved wood blocks: stereotypes, which made it possible to increase production. In 1820, lithography was adopted, which induced a radical change in style, with finer drawings. In 1900, coloring was still done by stencil, thanks to a machine that could color 300 images per hour, the Aquatype.

Image d'Épinal, color lithograph, large format, printed on heavy paper.
Light fold marks in the lower corners, otherwise very fine condition, colors very well preserved.
These sheets are constructions or cardboard models, on which a pattern was printed.
This pattern must be cut out then assembled to construct various objects or life scenes. The Épinal imagery published several series of cut-out models including the "Large Constructions" in 39 x 49 cm format, the "Medium Constructions" and the "Small Constructions". From 1880 to 1908, constructions were published featuring architecture, costumes, boats and various vehicles. During this same period, paper theaters or "home theater" also enjoyed great success. This toy model developed and lasted until the Second World War.
Once sold by peddlers, the images d'Épinal owe their name to Jean-Charles Pellerin, who was the first printer to publish this type of image in series, and who lived in the town of Épinal (Vosges). The subjects are very varied but generally revolve around religion, history (French Revolution, battles, military uniforms), or drawn from successful novels. The Épinal imagery has its origins in imagery, popular art born in the 15th century intended mainly for the illiterate public of the countryside.
Originally, the image is engraved on a wooden board and printing is done using a hand press. It is then colored using stencils. In the 19th century, lead castings were made from the engraved wood blocks: stereotypes, which made it possible to increase production. In 1820, lithography was adopted, which induced a radical change in style, with finer drawings. In 1900, coloring was still done with stencils, thanks to a machine that could color 300 images per hour, the Aquatype.

Image d'Épinal, color lithograph, large format, printed on heavy paper.
Marginal tears not affecting the print, small tears to left corners, colors very well preserved.
These sheets are constructions or cardboard models, on which a pattern was printed.
This pattern must be cut out then assembled to construct various objects or life scenes. The Épinal imagery published several series of cut-out models including the "Large Constructions" in 39 x 49 cm format, the "Medium Constructions" and the "Small Constructions". From 1880 to 1908, constructions were published featuring architecture, costumes, boats and various vehicles. During this same period, paper theaters or "home theater" also enjoyed great success. This toy model developed and lasted until the Second World War.
Once sold by peddlers, the images d'Épinal owe their name to Jean-Charles Pellerin, who was the first printer to publish this type of image in series, and who lived in the town of Épinal (Vosges). The subjects are very varied but generally revolve around religion, history (French Revolution, battles, military uniforms), or drawn from successful novels. The Épinal imagery has its origins in imagery, popular art born in the 15th century intended mainly for the illiterate public of the countryside.
Originally, the image is engraved on a wooden board and printing is done using a hand press. It is then colored using stencils. In the 19th century, lead castings were made from the engraved wood blocks: stereotypes, which made it possible to increase production. In 1820, lithography was adopted, which induced a radical change in style, with finer drawings. In 1900, coloring was still done with stencils, thanks to a machine that could color 300 images per hour, the Aquatype.

Épinal image, color lithograph, large format, printed on heavy paper.
Fold marks in the upper corners, otherwise very fine condition, colors very well preserved.
These sheets are cardboard constructions or models, on which a pattern was printed.
This pattern should be cut out then assembled to construct various objects or life scenes. The Épinal imagery published several series of cut-out models including the "Grandes Constructions" in 39 x 49 cm format, the "Moyennes Constructions" and the "Petites Constructions". From 1880 to 1908, constructions were published featuring architecture, costumes, boats and various vehicles. During this same period, paper theaters or "théâtre chez soi" also enjoyed great success. This toy model developed and lasted until the Second World War.
Once sold by peddlers, Épinal images owe their name to Jean-Charles Pellerin, who was the first printer to publish this type of image in series, and who lived in the town of Épinal (Vosges). The subjects are very varied but generally revolve around religion, history (French Revolution, battles, military uniforms), or drawn from successful novels. Épinal imagery has its origins in imagery, a popular art born in the 15th century intended primarily for the illiterate rural public.
Originally, the image is engraved on a wooden block and printing is done using a hand press. It is then colored using stencils. In the 19th century, lead casts are made from the engraved woods: stereotypes, which allow production to be increased. In 1820, lithography was adopted, which induced a radical change in style, with finer drawings. In 1900, coloring was still done with stencils, thanks to a machine that could color 300 images per hour, the Aquatype.

Épinal image, color lithograph, large format, printed on heavy paper.
Very light fold marks in the corners, otherwise very fine condition, colors very well preserved.
These sheets are cardboard constructions or models, on which a pattern was printed.
This pattern should be cut out then assembled to construct various objects or life scenes. The Épinal imagery published several series of cut-out models including the "Grandes Constructions" in 39 x 49 cm format, the "Moyennes Constructions" and the "Petites Constructions". From 1880 to 1908, constructions were published featuring architecture, costumes, boats and various vehicles. During this same period, paper theaters or "théâtre chez soi" also enjoyed great success. This toy model developed and lasted until the Second World War.
Once sold by peddlers, Épinal images owe their name to Jean-Charles Pellerin, who was the first printer to publish this type of image in series, and who lived in the town of Épinal (Vosges). The subjects are very varied but generally revolve around religion, history (French Revolution, battles, military uniforms), or drawn from successful novels. Épinal imagery has its origins in imagery, a popular art born in the 15th century intended primarily for the illiterate rural public.
Originally, the image is engraved on a wooden block and printing is done using a hand press. It is then colored using stencils. In the 19th century, lead casts are made from the engraved woods: stereotypes, which allow production to be increased. In 1820, lithography was adopted, which induced a radical change in style, with finer drawings. In 1900, coloring was still done with stencils, thanks to a machine that could color 300 images per hour, the Aquatype.

Image d'Épinal, colour lithograph, large format, printed on heavy paper.
Very light traces of creasing in the corners, otherwise very fine condition, colours very well preserved.
These plates are cardboard constructions or models, onto which a pattern was printed.
This pattern must be cut out and then assembled to construct various objects or life scenes. The Épinal imagery published several series of cut-out models including the "Grandes Constructions" in 39 x 49 cm format, the "Moyennes Constructions" and the "Petites Constructions". From 1880 to 1908, constructions were published featuring architecture, costumes, boats and various vehicles. During this same period, paper theatres or "théâtre chez soi" also enjoyed great success. This toy model developed and endured until the Second World War.
Once sold by peddlers, the images d'Épinal owe their name to Jean-Charles Pellerin, who was the first printer to publish this type of image in series, and who lived in the town of Épinal (Vosges). The subjects are very varied but generally revolve around religion, history (French Revolution, battles, military uniforms), or drawn from successful novels. Épinal imagery has its origins in imagery, a popular art form born in the 15th century intended mainly for the illiterate rural public.
Originally, the image is engraved on a wooden plate and printing is carried out using a hand press. It is then coloured using stencils. In the 19th century, lead castings are made from the engraved wood blocks: stereotypes, which allow production to be increased. In 1820, lithography was adopted, which induced a radical change in style, with finer drawings. In 1900, colouring was still done by stencil, using a machine that could colour 300 images per hour, the Aquatype.

Image d'Épinal, colour lithograph, large format, printed on heavy paper.
Tear to left margin with very slight damage to the print, light tear to lower margin, colours very well preserved.
These plates are cardboard constructions or models, onto which a pattern was printed.
This pattern must be cut out and then assembled to construct various objects or life scenes. The Épinal imagery published several series of cut-out models including the "Grandes Constructions" in 39 x 49 cm format, the "Moyennes Constructions" and the "Petites Constructions". From 1880 to 1908, constructions were published featuring architecture, costumes, boats and various vehicles. During this same period, paper theatres or "théâtre chez soi" also enjoyed great success. This toy model developed and endured until the Second World War.
Once sold by peddlers, the images d'Épinal owe their name to Jean-Charles Pellerin, who was the first printer to publish this type of image in series, and who lived in the town of Épinal (Vosges). The subjects are very varied but generally revolve around religion, history (French Revolution, battles, military uniforms), or drawn from successful novels. Épinal imagery has its origins in imagery, a popular art form born in the 15th century intended mainly for the illiterate rural public.
Originally, the image is engraved on a wooden plate and printing is carried out using a hand press. It is then coloured using stencils. In the 19th century, lead castings are made from the engraved wood blocks: stereotypes, which allow production to be increased. In 1820, lithography was adopted, which induced a radical change in style, with finer drawings. In 1900, colouring was still done by stencil, using a machine that could colour 300 images per hour, the Aquatype.

Image d'Épinal, color lithograph, large format, printed on heavy paper.
Very slight fold marks in the corners, otherwise very fine condition, colors very well preserved.
These plates are cardboard constructions or models, on which a pattern was printed.
This pattern must be cut out and then assembled to construct various objects or scenes of life. The Épinal imagery published several series of cut-out models including the "Grandes Constructions" in 39 x 49 cm format, the "Moyennes Constructions" and the "Petites Constructions". From 1880 to 1908, constructions were published featuring architecture, costumes, boats and various vehicles. During this same period, paper theaters or "théâtre chez soi" also enjoyed great success. This toy model developed and endured until the Second World War.
Once sold by peddlers, the images d'Épinal owe their name to Jean-Charles Pellerin, who was the first printer to publish this type of image in series, and who lived in the town of Épinal (Vosges). The subjects are very varied but generally revolve around religion, history (French Revolution, battles, military uniforms), or drawn from successful novels. The Épinal imagery has its origins in imagery, a popular art form born in the 15th century intended mainly for the illiterate public of the countryside.
Originally, the image is engraved on a wooden plate and printing is carried out using a hand press. It is then colored by means of stencils. In the 19th century, lead castings were made from the engraved wood: the stereotypes, which allowed production to be increased. In 1820, lithography was adopted, which induced a radical change in style, with finer drawings. In 1900, coloring was still done by stencil, thanks to a machine that could color 300 images per hour, the Aquatype.

Image d'Épinal, color lithograph, large format, printed on heavy paper.
Very slight fold marks at corners, otherwise very fine condition, colors very well preserved.
These plates are cardboard constructions or models, on which a pattern was printed.
This pattern must be cut out and then assembled to construct various objects or scenes of life. The Épinal imagery published several series of cut-out models including the "Grandes Constructions" in 39 x 49 cm format, the "Moyennes Constructions" and the "Petites Constructions". From 1880 to 1908, constructions were published featuring architecture, costumes, boats and various vehicles. During this same period, paper theaters or "théâtre chez soi" also enjoyed great success. This toy model developed and endured until the Second World War.
Once sold by peddlers, the images d'Épinal owe their name to Jean-Charles Pellerin, who was the first printer to publish this type of image in series, and who lived in the town of Épinal (Vosges). The subjects are very varied but generally revolve around religion, history (French Revolution, battles, military uniforms), or drawn from successful novels. The Épinal imagery has its origins in imagery, a popular art form born in the 15th century intended mainly for the illiterate public of the countryside.
Originally, the image is engraved on a wooden plate and printing is carried out using a hand press. It is then colored by means of stencils. In the 19th century, lead castings were made from the engraved wood: the stereotypes, which allowed production to be increased. In 1820, lithography was adopted, which induced a radical change in style, with finer drawings. In 1900, coloring was still done by stencil, thanks to a machine that could color 300 images per hour, the Aquatype.

Épinal Image, color lithograph, large format, printed on heavy paper.
Very slight fold marks at lower corners, otherwise in very fine condition with very well-preserved colors.
These sheets are cardboard constructions or models, on which a pattern was printed.
This pattern is meant to be cut out and then assembled to build various objects or life scenes. The Épinal imagery published several series of cut-out models including the "Grandes Constructions" in 39 x 49 cm format, the "Moyennes Constructions" and the "Petites Constructions". From 1880 to 1908, constructions were published featuring architecture, costumes, boats and various vehicles as subjects. During this same period, paper theaters or "théâtre chez soi" also enjoyed great success. This toy model developed and lasted until the Second World War.
Once sold by peddlers, the Épinal images owe their name to Jean-Charles Pellerin, who was the first printer to publish this type of image in series, and who lived in the town of Épinal (Vosges). The subjects are very varied but generally revolve around religion, history (French Revolution, battles, military uniforms), or drawn from popular novels. Épinal imagery has its origins in imagery, a popular art form born in the 15th century intended primarily for the illiterate rural public.
Originally, the image is engraved on a wooden board and printing is carried out using a hand press. It is then colored using stencils. In the 19th century, lead castings called stereotypes were made from the engraved wood blocks, which allowed production to be increased. In 1820, lithography was adopted, which brought about a radical change in style, with finer drawings. In 1900, coloring was still done by stencil, using a machine that could color 300 images per hour, the Aquatype.

Épinal Image, color lithograph, large format, printed on heavy paper.
Very slight fold marks at corners, otherwise in very fine condition with very well-preserved colors.
These sheets are cardboard constructions or models, on which a pattern was printed.
This pattern is meant to be cut out and then assembled to build various objects or life scenes. The Épinal imagery published several series of cut-out models including the "Grandes Constructions" in 39 x 49 cm format, the "Moyennes Constructions" and the "Petites Constructions". From 1880 to 1908, constructions were published featuring architecture, costumes, boats and various vehicles as subjects. During this same period, paper theaters or "théâtre chez soi" also enjoyed great success. This toy model developed and lasted until the Second World War.
Once sold by peddlers, the Épinal images owe their name to Jean-Charles Pellerin, who was the first printer to publish this type of image in series, and who lived in the town of Épinal (Vosges). The subjects are very varied but generally revolve around religion, history (French Revolution, battles, military uniforms), or drawn from popular novels. Épinal imagery has its origins in imagery, a popular art form born in the 15th century intended primarily for the illiterate rural public.
Originally, the image is engraved on a wooden board and printing is carried out using a hand press. It is then colored using stencils. In the 19th century, lead castings called stereotypes were made from the engraved wood blocks, which allowed production to be increased. In 1820, lithography was adopted, which brought about a radical change in style, with finer drawings. In 1900, coloring was still done by stencil, using a machine that could color 300 images per hour, the Aquatype.

Image d'Épinal, color lithograph, large format, printed on heavy paper.
Slight marginal tear on the left side, colors very well preserved.
These plates are cardboard constructions or models, on which a pattern was printed.
This pattern must be cut out and then assembled to construct various objects or life scenes. The Épinal imagery published several series of cut-out models including the "Grandes Constructions" in 39 x 49 cm format, the "Moyennes Constructions" and the "Petites Constructions". From 1880 to 1908, constructions were published featuring architecture, costumes, boats and various vehicles. During this same period, paper theaters or "théâtre chez soi" also enjoyed great success. This toy model developed and persisted until the Second World War.
Once sold by peddlers, the images d'Épinal owe their name to Jean-Charles Pellerin, who was the first printer to publish this type of image in series, and who lived in the town of Épinal (Vosges). The subjects are very varied but generally revolve around religion, history (French Revolution, battles, military uniforms), or drawn from successful novels. The Épinal imagery has its origins in imagery, a popular art born in the 15th century intended primarily for the illiterate rural public.
Originally, the image is engraved on a wooden plate and printing is carried out using a hand press. It is then colored by means of stencils. In the 19th century, lead moldings are made from the engraved wood: the stereotypes, which allow production to be increased. In 1820, lithography was adopted, which induced a radical change in style, with finer drawings. In 1900, coloring was still done by stencil, thanks to a machine that could color 300 images per hour, the Aquatype.

Image d'Épinal, color lithograph, large format, printed on heavy paper.
Very fine condition, colors very well preserved.
These plates are cardboard constructions or models, on which a pattern was printed.
This pattern must be cut out and then assembled to construct various objects or life scenes. The Épinal imagery published several series of cut-out models including the "Grandes Constructions" in 39 x 49 cm format, the "Moyennes Constructions" and the "Petites Constructions". From 1880 to 1908, constructions were published featuring architecture, costumes, boats and various vehicles. During this same period, paper theaters or "théâtre chez soi" also enjoyed great success. This toy model developed and persisted until the Second World War.
Once sold by peddlers, the images d'Épinal owe their name to Jean-Charles Pellerin, who was the first printer to publish this type of image in series, and who lived in the town of Épinal (Vosges). The subjects are very varied but generally revolve around religion, history (French Revolution, battles, military uniforms), or drawn from successful novels. The Épinal imagery has its origins in imagery, a popular art born in the 15th century intended primarily for the illiterate rural public.
Originally, the image is engraved on a wooden plate and printing is carried out using a hand press. It is then colored by means of stencils. In the 19th century, lead moldings are made from the engraved wood: the stereotypes, which allow production to be increased. In 1820, lithography was adopted, which induced a radical change in style, with finer drawings. In 1900, coloring was still done by stencil, thanks to a machine that could color 300 images per hour, the Aquatype.

Épinal image, color lithograph, large format, printed on heavy paper.
Upper right corner slightly folded, colors very well preserved.
These sheets are cardboard constructions or models, on which a pattern was printed.
This pattern must be cut out and then assembled to construct various objects or life scenes. The Épinal imagery published several series of cut-out models including the "Large Constructions" in 39 x 49 cm format, the "Medium Constructions" and the "Small Constructions". From 1880 to 1908, constructions were published featuring architecture, costumes, boats and various vehicles. During this same period, paper theaters or "home theater" also enjoyed great success. This toy model developed and persisted until the Second World War.
Once sold by peddlers, Épinal images owe their name to Jean-Charles Pellerin, who was the first printer to publish this type of image in series, and who lived in the town of Épinal (Vosges). The subjects are very varied but generally revolve around religion, history (French Revolution, battles, military uniforms), or drawn from successful novels. Épinal imagery has its origins in imagery, a popular art born in the 15th century intended mainly for the illiterate rural public.
Originally, the image is engraved on a wooden board and printing is done using a hand press. It is then colored using stencils. In the 19th century, lead castings are made from the engraved woods: stereotypes, which allow production to be increased. In 1820, lithography was adopted, which induced a radical change in style, with finer drawings. In 1900, coloring was still done by stencil, thanks to a machine that could color 300 images per hour, the Aquatype.

Épinal image, color lithograph, large format, printed on heavy paper.
Very fine condition, colors very well preserved.
These sheets are cardboard constructions or models, on which a pattern was printed.
This pattern must be cut out and then assembled to construct various objects or life scenes. The Épinal imagery published several series of cut-out models including the "Large Constructions" in 39 x 49 cm format, the "Medium Constructions" and the "Small Constructions". From 1880 to 1908, constructions were published featuring architecture, costumes, boats and various vehicles. During this same period, paper theaters or "home theater" also enjoyed great success. This toy model developed and persisted until the Second World War.
Once sold by peddlers, Épinal images owe their name to Jean-Charles Pellerin, who was the first printer to publish this type of image in series, and who lived in the town of Épinal (Vosges). The subjects are very varied but generally revolve around religion, history (French Revolution, battles, military uniforms), or drawn from successful novels. Épinal imagery has its origins in imagery, a popular art born in the 15th century intended mainly for the illiterate rural public.
Originally, the image is engraved on a wooden board and printing is done using a hand press. It is then colored using stencils. In the 19th century, lead castings are made from the engraved woods: stereotypes, which allow production to be increased. In 1820, lithography was adopted, which induced a radical change in style, with finer drawings. In 1900, coloring was still done by stencil, thanks to a machine that could color 300 images per hour, the Aquatype.

Image d'Épinal, color lithograph, large format, printed on heavy paper.
Upper left corner very slightly bumped, otherwise very fine condition, colors very well preserved.
These sheets are cardboard constructions or models, on which a pattern was printed.
This pattern must be cut out then assembled to construct various objects or life scenes. The Épinal imagery published several series of cut-out models including the "Grandes Constructions" in 39 x 49 cm format, the "Moyennes Constructions" and the "Petites Constructions". From 1880 to 1908, constructions were published featuring architecture, costumes, ships and various vehicles. During this same period, paper theaters or "home theater" also enjoyed great success. This toy model developed and endured until the Second World War.
Once sold by peddlers, the images d'Épinal owe their name to Jean-Charles Pellerin, who was the first printer to publish this type of image in series, and who lived in the town of Épinal (Vosges). The subjects are very varied but generally revolve around religion, history (French Revolution, battles, military uniforms), or drawn from successful novels. The Épinal imagery has its origins in imagery, a popular art born in the 15th century intended primarily for the illiterate rural public.
Originally, the image is engraved on a wooden board and printing is carried out using a hand press. It is then colored by means of stencils. In the 19th century, lead castings are made from the engraved wood blocks: stereotypes, which allow production to be increased. In 1820, lithography was adopted, which induced a radical change in style, with finer drawings. In 1900, coloring was still done with stencils, thanks to a machine that could color 300 images per hour, the Aquatype.

Image d'Épinal, color lithograph, large format, printed on heavy paper.
Very fine condition, colors very well preserved.
These sheets are cardboard constructions or models, on which a pattern was printed.
This pattern must be cut out then assembled to construct various objects or life scenes. The Épinal imagery published several series of cut-out models including the "Grandes Constructions" in 39 x 49 cm format, the "Moyennes Constructions" and the "Petites Constructions". From 1880 to 1908, constructions were published featuring architecture, costumes, ships and various vehicles. During this same period, paper theaters or "home theater" also enjoyed great success. This toy model developed and endured until the Second World War.
Once sold by peddlers, the images d'Épinal owe their name to Jean-Charles Pellerin, who was the first printer to publish this type of image in series, and who lived in the town of Épinal (Vosges). The subjects are very varied but generally revolve around religion, history (French Revolution, battles, military uniforms), or drawn from successful novels. The Épinal imagery has its origins in imagery, a popular art born in the 15th century intended primarily for the illiterate rural public.
Originally, the image is engraved on a wooden board and printing is carried out using a hand press. It is then colored by means of stencils. In the 19th century, lead castings are made from the engraved wood blocks: stereotypes, which allow production to be increased. In 1820, lithography was adopted, which induced a radical change in style, with finer drawings. In 1900, coloring was still done with stencils, thanks to a machine that could color 300 images per hour, the Aquatype.

Épinal print, color lithograph, large format, printed on heavy paper.
Left corners very slightly bumped, otherwise very fine condition, colors very well preserved.
These sheets are constructions or cardboard models, on which a pattern was printed.
This pattern must be cut out and then assembled to construct various objects or life scenes. The Épinal imagery published several series of cut-out models including the "Grandes Constructions" in 39 x 49 cm format, the "Moyennes Constructions" and the "Petites Constructions". From 1880 to 1908, constructions were published featuring architecture, costumes, boats and various vehicles. During this same period, paper theaters or "théâtre chez soi" also enjoyed great success. This toy model developed and lasted until the Second World War.
Once sold by peddlers, Épinal prints owe their name to Jean-Charles Pellerin, who was the first printer to publish this type of image in series, and who lived in the town of Épinal (Vosges). The subjects are very varied but generally revolve around religion, history (French Revolution, battles, military uniforms), or drawn from successful novels. Épinal imagery has its origins in popular art imagery born in the 15th century mainly intended for the illiterate rural public.
Originally, the image is engraved on a wooden plate and printing is done using a hand press. It is then colored using stencils. In the 19th century, lead castings were made from the engraved wood blocks: stereotypes, which allowed production to be increased. In 1820, lithography was adopted, which induced a radical change in style, with finer drawings. In 1900, coloring was still done with stencils, thanks to a machine that could color 300 images per hour, the Aquatype.

Épinal print, color lithograph, medium format, printed on heavy paper.
Very fine condition, colors very well preserved.
These sheets are constructions or cardboard models, on which a pattern was printed.
This pattern must be cut out and then assembled to construct various objects or life scenes. The Épinal imagery published several series of cut-out models including the "Grandes Constructions" in 39 x 49 cm format, the "Moyennes Constructions" and the "Petites Constructions". From 1880 to 1908, constructions were published featuring architecture, costumes, boats and various vehicles. During this same period, paper theaters or "théâtre chez soi" also enjoyed great success. This toy model developed and lasted until the Second World War.
Once sold by peddlers, Épinal prints owe their name to Jean-Charles Pellerin, who was the first printer to publish this type of image in series, and who lived in the town of Épinal (Vosges). The subjects are very varied but generally revolve around religion, history (French Revolution, battles, military uniforms), or drawn from successful novels. Épinal imagery has its origins in popular art imagery born in the 15th century mainly intended for the illiterate rural public.
Originally, the image is engraved on a wooden plate and printing is done using a hand press. It is then colored using stencils. In the 19th century, lead castings were made from the engraved wood blocks: stereotypes, which allowed production to be increased. In 1820, lithography was adopted, which induced a radical change in style, with finer drawings. In 1900, coloring was still done with stencils, thanks to a machine that could color 300 images per hour, the Aquatype.

Image d'Épinal, color lithograph, large format, printed on heavy paper.
Light creases in lower right corner, tiny marginal tear on left side, colors slightly faded.
These sheets are cardboard constructions or models, on which a pattern was printed.
This pattern must be cut out then assembled to construct various objects or life scenes. The Épinal imagery published several series of cut-out models including the "Grandes Constructions" in 39 x 49 cm format, the "Moyennes Constructions" and the "Petites Constructions". From 1880 to 1908, constructions were published featuring architecture, costumes, boats and various vehicles. During this same period, paper theaters or "théâtre chez soi" also enjoyed great success. This toy model developed and lasted until the Second World War.
Once sold by peddlers, the images d'Épinal owe their name to Jean-Charles Pellerin, who was the first printer to publish this type of image in series, and who lived in the town of Épinal (Vosges). The subjects are very varied but generally revolve around religion, history (French Revolution, battles, military uniforms), or drawn from successful novels. The Épinal imagery has its origins in imagery, a popular art born in the 15th century intended mainly for the illiterate rural public.
Originally, the image is engraved on a wooden board and printing is done using a hand press. It is then colored using stencils. In the 19th century, lead castings are made from the engraved wood: the stereotypes, which allow production to be increased. In 1820, lithography was adopted, which induced a radical change in style, with finer drawings. In 1900, coloring was still done by stencil, thanks to a machine that could color 300 images per hour, the Aquatype.

Image d'Épinal, color lithograph, large format, printed on heavy paper.
Light tear in upper margin, colors very well preserved.
These sheets are cardboard constructions or models, on which a pattern was printed.
This pattern must be cut out then assembled to construct various objects or life scenes. The Épinal imagery published several series of cut-out models including the "Grandes Constructions" in 39 x 49 cm format, the "Moyennes Constructions" and the "Petites Constructions". From 1880 to 1908, constructions were published featuring architecture, costumes, boats and various vehicles. During this same period, paper theaters or "théâtre chez soi" also enjoyed great success. This toy model developed and lasted until the Second World War.
Once sold by peddlers, the images d'Épinal owe their name to Jean-Charles Pellerin, who was the first printer to publish this type of image in series, and who lived in the town of Épinal (Vosges). The subjects are very varied but generally revolve around religion, history (French Revolution, battles, military uniforms), or drawn from successful novels. The Épinal imagery has its origins in imagery, a popular art born in the 15th century intended mainly for the illiterate rural public.
Originally, the image is engraved on a wooden board and printing is done using a hand press. It is then colored using stencils. In the 19th century, lead castings are made from the engraved wood: the stereotypes, which allow production to be increased. In 1820, lithography was adopted, which induced a radical change in style, with finer drawings. In 1900, coloring was still done by stencil, thanks to a machine that could color 300 images per hour, the Aquatype.