19th Century Prints & Lithographs

Image d'Épinal, color lithograph, large format, printed on heavy paper.
Light crease to lower left corner, 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 imagerie d'Épinal 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 imagerie d'Épinal takes 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 block 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 woods: 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.
Light creases at the corners, 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 imagerie d'Épinal 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 imagerie d'Épinal takes 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 block 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 woods: 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 strong paper.
Significant marginal tears with damage to the print in various places, creases at the corners, colors very well preserved.
These plates are cardboard constructions or models, on which a pattern was printed.
This pattern must be cut out and 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 "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 popular imagery, a folk art born in the 15th century mainly intended 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 castings were made from the engraved wood blocks: stereotypes, which made it possible to increase production. In 1820, lithography was adopted, which brought about 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 strong 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 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 "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 popular imagery, a folk art born in the 15th century mainly intended 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 castings were made from the engraved wood blocks: stereotypes, which made it possible to increase production. In 1820, lithography was adopted, which brought about 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.

Images d'Épinal, color lithographs, large formats, printed on heavy paper. The two prints are stapled together.
Slight folds in the upper right corner of the first plate, 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 type of toy 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 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 using stencils, thanks to a machine that could color 300 images per hour, the Aquatype.

Image d'Épinal, color lithograph, small format, printed on flexible paper.
Lower left corner folded, slight fold to lower right corner, minor tear to upper margin, 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 type of toy 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 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 using stencils, thanks to a machine that could color 300 images per hour, the Aquatype.

Image d'Épinal, color lithograph, medium 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 is to 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, 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 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 are made from the engraved wood blocks: the stereotypes, which make 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, medium format, printed on heavy paper.
Tear to lower margin not affecting the print, colors very well preserved.
These plates are cardboard constructions or models, on which a pattern was printed.
This pattern is to 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, 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 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 are made from the engraved wood blocks: the stereotypes, which make 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, medium 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 Imagerie d'Épinal 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 popular novels. The Imagerie d'Épinal has its origins in imagery, a popular art form born in the 15th century primarily intended for the illiterate rural public.
Originally, the image was engraved on a wooden block and printing was done using a hand press. It was then colored by means of 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, medium format, printed on heavy paper.
Very slight tear to upper margin not affecting the print, 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 life scenes. The Imagerie d'Épinal 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 popular novels. The Imagerie d'Épinal has its origins in imagery, a popular art form born in the 15th century primarily intended for the illiterate rural public.
Originally, the image was engraved on a wooden block and printing was done using a hand press. It was then colored by means of 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, medium 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, 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, 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, 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 castings are made from the engraved wood blocks: stereotypes, which allow production to be increased. In 1820, lithography is adopted, which induces a radical change in style, with finer drawings. In 1900, coloring is still done by stencil, thanks to a machine that can color 300 images per hour, the Aquatype.

Image d'Épinal, color lithograph, medium format, printed on heavy paper.
Creases at the upper and lower right corners, slight tear in the right margin not touching the print, 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 Imagerie d'Épinal 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 Imagerie d'Épinal 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 using stencils. In the 19th century, lead castings were made from the engraved woods: 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.

American Express: 1st sheet - Locomotive; 2nd sheet - Tender and baggage car; 3rd sheet - Wagon.
Image d'Épinal, color lithograph, medium format, printed on heavy paper. 3 sheets stapled together.
Left corners of the three sheets very slightly bumped, colors slightly faded.
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 Imagerie d'Épinal 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 Imagerie d'Épinal 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 using stencils. In the 19th century, lead castings were made from the engraved woods: 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.

Etching printed on China paper. A tissue guard protects the engraving.
Proof before lettering, without the painter's and engraver's names. The painting from which this engraving is taken is in the Henner museum.
Perfect condition.

NB: This work is available at the bookshop on request within 48 hours.

Original lithograph on heavy laid paper, superbly heightened with watercolor and gum arabic.
Drawing by François Grenier (1793-1867) and lithographed by Charles Motte (1785-1836) for the "Victoires et Conquêtes" series. Watercolored proof in very fine condition, colors well preserved, presented under a mat.

Original lithograph on heavy laid paper, superbly heightened with watercolor and gum arabic.
Drawing signed and dated in the plate by François Grenier (1793-1867) and lithographed by Charles Motte (1785-1836) for the "Victoires et Conquêtes" series.
Watercolored proof in very fine condition, colors well preserved, presented under a mat.

Original lithograph on heavy vellum, superbly heightened in watercolour and gum arabic. Drawing by François Grenier (1793-1867) and lithographed by Charles Motte (1785-1836) for the "Victoires et Conquêtes" series.
Watercoloured proof in very fine condition, colours well preserved, presented under a mount.

Original etching before letters enhanced with aquatint and signed in the plate.
Created on laid paper at the request of publisher A. QUANTIN to illustrate La Fontaine's fable: "The Farmer, the Dog and the Fox".
Very fine condition, presented in a modern black mat and protected by a tissue guard.
Auguste Delierre (1829-1891) is referenced in Bénézit, dictionary of painters, sculptors, draughtsmen and engravers: "history painter, genre scenes, animated landscapes, still lifes, illustrator. A pupil of Eugène Ciceri, he participated in the Paris Salon between 1852 and 1889. His compositions of landscapes animated with hunting dogs show the influence of the works of Desportes and Oudry which he long copied. He shows moreover a predilection for still lifes. He also illustrated the Fables of La Fontaine." Alain-Marie Bassy in his book "Les Fables de La Fontaine, quatre siècles d'illustration" analyzes his style for the representation of fables: "If he seeks the same angle of view on the animal as Gustave Doré, he dismisses any sense of terror. The bird wounded by an arrow is no longer a large migratory bird but the deliciously colored quail of still lifes. [...] Before [the animals among which we live], Delierre's eye is as cold as that of an entomologist. The art of the fable becomes in his hands the finest example of pictorial naturalism." A deluxe edition in two volumes: Fables de La Fontaine. Edition illustrated with 75 etched plates by A. Delierre, Paris, Quantin, 1883, is catalogued at the Bibliothèque Nationale. The etchings of the fables are before letters and enclosed in beautiful Louis XVI frames."

Original etching before letters enhanced with aquatint and signed in the plate.
Created on laid paper at the request of publisher A. QUANTIN to illustrate La Fontaine's fable: "The Two Rats, the Fox and the Egg".
Very fine condition, presented in a modern black mat and protected by a tissue guard.
Auguste Delierre (1829-1891) is referenced in Bénézit, dictionary of painters, sculptors, draughtsmen and engravers: "history painter, genre scenes, animated landscapes, still lifes, illustrator. A pupil of Eugène Ciceri, he participated in the Paris Salon between 1852 and 1889. His compositions of landscapes animated with hunting dogs show the influence of the works of Desportes and Oudry which he long copied. He shows moreover a predilection for still lifes. He also illustrated the Fables of La Fontaine." Alain-Marie Bassy in his book "Les Fables de La Fontaine, quatre siècles d'illustration" analyzes his style for the representation of fables: "If he seeks the same angle of view on the animal as Gustave Doré, he dismisses any sense of terror. The bird wounded by an arrow is no longer a large migratory bird but the deliciously colored quail of still lifes. [...] Before [the animals among which we live], Delierre's eye is as cold as that of an entomologist. The art of the fable becomes in his hands the finest example of pictorial naturalism." A deluxe edition in two volumes: Fables de La Fontaine. Edition illustrated with 75 etched plates by A. Delierre, Paris, Quantin, 1883, is catalogued at the Bibliothèque Nationale. The etchings of the fables are before letters and enclosed in beautiful Louis XVI frames."

Original etching before lettering heightened with aquatint and signed in the plate. Created on laid paper commissioned by publisher A. QUANTIN to illustrate La Fontaine's fable: "Le paysan du Danube".
Very fine condition, presented in a modern black mat and protected by a tissue guard.
Auguste Delierre (1829-1891) is referenced as follows in the Bénézit, dictionary of painters, sculptors, draftsmen and engravers: "history painter, genre scenes, animated landscapes, still lifes, illustrator. Student of Eugène Ciceri, he participated in the Paris Salon between 1852 and 1889. His compositions of landscapes animated with hunting dogs show the influence of works by Desportes and Oudry which he long copied. He also shows a predilection for still lifes. He also illustrated the Fables of La Fontaine." Alain-Marie Bassy in his book "Les Fables de La Fontaine, quatre siècles d'illustration" ["The Fables of La Fontaine, four centuries of illustration"] analyzes his style for the representation of fables: "S'il recherche le même angle de vue sur l'animal que Gustave Doré, il écarte tout sens de l'effroi. L'oiseau blessé d'une flèche n'est plus un grand oiseau migrateur mais la caille délicieusement colorée des natures mortes. [...]Devant [les animaux au milieu desquels nous vivons], l'œil de Delierre est aussi froid que celui d'un entomologiste. L'art de la fable devient chez lui le plus bel exemple de naturalisme pictural." ["If he seeks the same angle of view on the animal as Gustave Doré, he eliminates all sense of terror. The bird wounded by an arrow is no longer a great migratory bird but the deliciously colored quail of still lifes. [...] Before [the animals among which we live], Delierre's eye is as cold as that of an entomologist. The art of the fable becomes in his work the finest example of pictorial naturalism."] A deluxe edition in two volumes: Fables de La Fontaine. Edition illustrée de 75 planches à l'eau-forte par A. Delierre, Paris, Quantin, 1883, is catalogued at the Bibliothèque Nationale. The etchings of the fables are before lettering and enclosed in lovely Louis XVI frames."

Original etching before lettering heightened with aquatint and signed in the plate.
Executed on laid paper at the request of publisher A. QUANTIN to illustrate La Fontaine's fable: "Les deux coqs".
Very fine condition, presented in a modern black mount and protected by tissue guard.
Auguste Delierre (1829-1891) is referenced in the Bénézit dictionary of painters, sculptors, draughtsmen and engravers as: "history painter, genre scenes, animated landscapes, still lifes, illustrator. Student of Eugène Ciceri, he participated in the Paris Salon between 1852 and 1889. His compositions of landscapes animated with hunting dogs show the influence of works by Desportes and Oudry which he copied for a long time. He also shows a predilection for still lifes. He also illustrated the Fables of La Fontaine." Alain-Marie Bassy in his book "Les Fables de La Fontaine, quatre siècles d'illustration" analyzes his style for the representation of fables: "If he seeks the same angle of view on the animal as Gustave Doré, he avoids all sense of terror. The bird wounded by an arrow is no longer a large migratory bird but the deliciously colored quail of still lifes. [...] Before [the animals among which we live], Delierre's eye is as cold as that of an entomologist. The art of the fable becomes in his work the finest example of pictorial naturalism." A deluxe edition in two volumes: Fables de La Fontaine. Edition illustrée de 75 planches à l'eau-forte par A. Delierre, Paris, Quantin, 1883, is catalogued at the Bibliothèque Nationale. The etchings of the fables are before lettering and enclosed in pretty Louis XVI frames.

Original etching before letters heightened with aquatint and signed in the plate.
Executed on laid paper at the request of publisher A. QUANTIN to illustrate La Fontaine's fable: "Le gland et la citrouille".
Very fine condition, presented in a modern black mat and protected by tissue guard.
Auguste Delierre (1829-1891) is referenced in Bénézit, dictionary of painters, sculptors, draughtsmen and engravers as follows: "history painter, genre scenes, animated landscapes, still lifes, illustrator. Student of Eugène Ciceri, he participated in the Paris Salon between 1852 and 1889. His compositions of landscapes animated with hunting dogs show the influence of works by Desportes and Oudry which he long copied. He shows moreover a predilection for still lifes. He also illustrated La Fontaine's Fables." Alain-Marie Bassy in his book "Les Fables de La Fontaine, quatre siècles d'illustration" analyzes his style for the representation of fables: "If he seeks the same angle of view on the animal as Gustave Doré, he dismisses all sense of terror. The bird wounded by an arrow is no longer a great migratory bird but the deliciously colored quail of still lifes. [...] Before [the animals among which we live], Delierre's eye is as cold as that of an entomologist. The art of the fable becomes in his work the finest example of pictorial naturalism." A deluxe edition in two volumes: Fables de La Fontaine. Edition illustrated with 75 etched plates by A. Delierre, Paris, Quantin, 1883, is catalogued at the Bibliothèque Nationale. The etchings of the fables are before letters and enclosed in pretty Louis XVI frames."

Original etching before letters heightened with aquatint and signed in the plate.
Created on laid paper at the request of publisher A. QUANTIN to illustrate La Fontaine's fable: "Le cierge".
Very fine condition, presented in a modern black mat and protected by a tissue guard.
Auguste Delierre (1829-1891) is referenced thus in Bénézit, dictionary of painters, sculptors, draughtsmen and engravers: "history painter, genre scenes, animated landscapes, still lifes, illustrator. Student of Eugène Ciceri, he participated in the Paris Salon between 1852 and 1889. His compositions of landscapes animated with hunting dogs show the influence of works by Desportes and Oudry which he copied for a long time. He shows moreover a predilection for still lifes. He also illustrated La Fontaine's Fables." Alain-Marie Bassy in his book "Les Fables de La Fontaine, quatre siècles d'illustration" analyzes his style for the representation of fables: "If he seeks the same angle of view on the animal as Gustave Doré, he dismisses all sense of terror. The bird wounded by an arrow is no longer a great migratory bird but the deliciously colored quail of still lifes. [...]Before [the animals among which we live], Delierre's eye is as cold as that of an entomologist. The art of the fable becomes in his work the finest example of pictorial naturalism." A deluxe edition in two volumes: Fables de La Fontaine. Edition illustrated with 75 etched plates by A. Delierre, Paris, Quantin, 1883, is catalogued at the Bibliothèque Nationale. The etchings of the fables are before letters and enclosed in pretty Louis XVI frames."

Original etching before letters heightened with aquatint.
Created on laid paper at the request of publisher A. QUANTIN to illustrate La Fontaine's fable: "The Lark and her Young Ones, with the Master of a Field".
Very fine condition, presented in a modern black mat and protected by tissue guard.
Auguste Delierre (1829-1891) is referenced thus in Bénézit, dictionary of painters, sculptors, draughtsmen and engravers: "history painter, genre scenes, animated landscapes, still lifes, illustrator. Student of Eugène Ciceri, he participated in the Paris Salon between 1852 and 1889. His compositions of landscapes animated with hunting dogs show the influence of works by Desportes and Oudry which he long copied. He moreover shows a predilection for still lifes. He also illustrated La Fontaine's Fables." Alain-Marie Bassy in his book "Les Fables de La Fontaine, quatre siècles d'illustration" ["La Fontaine's Fables, Four Centuries of Illustration"] analyzes his style for the representation of fables: "S'il recherche le même angle de vue sur l'animal que Gustave Doré, il écarte tout sens de l'effroi. L'oiseau blessé d'une flèche n'est plus un grand oiseau migrateur mais la caille délicieusement colorée des natures mortes. [...]Devant [les animaux au milieu desquels nous vivons], l'œil de Delierre est aussi froid que celui d'un entomologiste. L'art de la fable devient chez lui le plus bel exemple de naturalisme pictural." ["If he seeks the same angle of view on the animal as Gustave Doré, he dismisses all sense of fear. The bird wounded by an arrow is no longer a large migratory bird but the deliciously colored quail of still lifes. [...] Before [the animals among which we live], Delierre's eye is as cold as that of an entomologist. The art of the fable becomes in his work the finest example of pictorial naturalism."] A deluxe edition in two volumes: Fables de La Fontaine. Edition illustrée de 75 planches à l'eau-forte par A. Delierre, Paris, Quantin, 1883, is catalogued at the Bibliothèque Nationale. The etchings of the fables are before letters and enclosed in handsome Louis XVI frames."

Original etching before letters heightened with aquatint and signed in the plate.
Created on laid paper at the request of publisher A. QUANTIN to illustrate La Fontaine's fable: "La vieille et les deux servantes" ["The Old Woman and the Two Servants"].
Very fine condition, presented in a modern black mat and protected by tissue guard.
Auguste Delierre (1829-1891) is referenced thus in the Bénézit dictionary of painters, sculptors, draughtsmen and engravers: "history painter, genre scenes, animated landscapes, still lifes, illustrator. A pupil of Eugène Ciceri, he participated in the Paris Salon between 1852 and 1889. His compositions of landscapes animated with hunting dogs show the influence of the works of Desportes and Oudry which he long copied. He shows moreover a predilection for still lifes. He also illustrated the Fables of La Fontaine." Alain-Marie Bassy in his book "Les Fables de La Fontaine, quatre siècles d'illustration" ["The Fables of La Fontaine, Four Centuries of Illustration"] analyzes his style for the representation of the fables: "S'il recherche le même angle de vue sur l'animal que Gustave Doré, il écarte tout sens de l'effroi. L'oiseau blessé d'une flèche n'est plus un grand oiseau migrateur mais la caille délicieusement colorée des natures mortes. [...]Devant [les animaux au milieu desquels nous vivons], l'œil de Delierre est aussi froid que celui d'un entomologiste. L'art de la fable devient chez lui le plus bel exemple de naturalisme pictural." ["If he seeks the same angle of view on the animal as Gustave Doré, he dismisses all sense of dread. The bird wounded by an arrow is no longer a great migratory bird but the deliciously colored quail of still lifes. [...] Before [the animals among which we live], Delierre's eye is as cold as that of an entomologist. The art of the fable becomes in his work the finest example of pictorial naturalism."] A deluxe edition in two volumes: Fables de La Fontaine. Edition illustrée de 75 planches à l'eau-forte par A. Delierre, Paris, Quantin, 1883, is catalogued at the Bibliothèque Nationale. Les eaux-fortes des fables sont avant la lettre et enfermées dans de jolis cadres Louis XVI." ["The etchings of the fables are before letters and enclosed in pretty Louis XVI frames."]

Original etching before letters heightened with aquatint and signed in the plate.
Created on laid paper at the request of publisher A. QUANTIN to illustrate La Fontaine's fable: "Le cerf et la Cigne" ["The Stag and the Swan"].
Very handsome condition, presented in a modern black mount and protected by tissue guard. Auguste Delierre (1829-1891) is referenced in Bénézit, the dictionary of painters, sculptors, draughtsmen and engravers: "history painter, genre scenes, animated landscapes, still lifes, illustrator. Student of Eugène Ciceri, he participated in the Paris Salon between 1852 and 1889. His compositions of landscapes animated with hunting dogs show the influence of works by Desportes and Oudry which he long copied. He also shows a predilection for still lifes. He also illustrated La Fontaine's Fables." Alain-Marie Bassy in his book "Les Fables de La Fontaine, quatre siècles d'illustration" ["La Fontaine's Fables, four centuries of illustration"] analyzes his style for the representation of the fables: "S'il recherche le même angle de vue sur l'animal que Gustave Doré, il écarte tout sens de l'effroi. L'oiseau blessé d'une flèche n'est plus un grand oiseau migrateur mais la caille délicieusement colorée des natures mortes. [...]Devant [les animaux au milieu desquels nous vivons], l'œil de Delierre est aussi froid que celui d'un entomologiste. L'art de la fable devient chez lui le plus bel exemple de naturalisme pictural." ["If he seeks the same angle of view on the animal as Gustave Doré, he discards any sense of terror. The bird wounded by an arrow is no longer a large migratory bird but the deliciously colored quail of still lifes. [...] Before [the animals among which we live], Delierre's eye is as cold as that of an entomologist. The art of the fable becomes in his work the finest example of pictorial naturalism."] A deluxe edition in two volumes: Fables de La Fontaine. Edition illustrée de 75 planches à l'eau-forte par A. Delierre, Paris, Quantin, 1883, is catalogued at the Bibliothèque Nationale. Les eaux-fortes des fables sont avant la lettre et enfermées dans de jolis cadres Louis XVI." ["The etchings of the fables are before letters and enclosed in lovely Louis XVI frames."]

Original etching before letters heightened with aquatint and signed in the plate.
Created on laid paper at the request of publisher A. QUANTIN to illustrate La Fontaine's fable: "Le chat et le Renard" ["The Cat and the Fox"].
Very handsome condition, presented in a modern black mount and protected by tissue guard.
Auguste Delierre (1829-1891) is referenced in Bénézit, the dictionary of painters, sculptors, draughtsmen and engravers: "history painter, genre scenes, animated landscapes, still lifes, illustrator. Student of Eugène Ciceri, he participated in the Paris Salon between 1852 and 1889. His compositions of landscapes animated with hunting dogs show the influence of works by Desportes and Oudry which he long copied. He also shows a predilection for still lifes. He also illustrated La Fontaine's Fables." Alain-Marie Bassy in his book "Les Fables de La Fontaine, quatre siècles d'illustration" ["La Fontaine's Fables, four centuries of illustration"] analyzes his style for the representation of the fables: "S'il recherche le même angle de vue sur l'animal que Gustave Doré, il écarte tout sens de l'effroi. L'oiseau blessé d'une flèche n'est plus un grand oiseau migrateur mais la caille délicieusement colorée des natures mortes. [...] Devant [les animaux au milieu desquels nous vivons], l'œil de Delierre est aussi froid que celui d'un entomologiste. L'art de la fable devient chez lui le plus bel exemple de naturalisme pictural." ["If he seeks the same angle of view on the animal as Gustave Doré, he discards any sense of terror. The bird wounded by an arrow is no longer a large migratory bird but the deliciously colored quail of still lifes. [...] Before [the animals among which we live], Delierre's eye is as cold as that of an entomologist. The art of the fable becomes in his work the finest example of pictorial naturalism."] A deluxe edition in two volumes: Fables de La Fontaine. Edition illustrée de 75 planches à l'eau-forte par A. Delierre, Paris, Quantin, 1883, is catalogued at the Bibliothèque Nationale. Les eaux-fortes des fables sont avant la lettre et enfermées dans de jolis cadres Louis XVI." ["The etchings of the fables are before letters and enclosed in lovely Louis XVI frames."]

Image d'Épinal, color lithograph, large format, printed on heavy paper.
Light marginal foxing, otherwise handsome condition, colors very well preserved.
These plates 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 "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 imagery of Épinal 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 block 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 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, large format, printed on heavy paper.
Light marginal foxing, otherwise 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 endured until World War II.
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 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 done 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 increased production. 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, large format, printed on heavy paper.
Light marginal foxing, otherwise 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 endured until World War II.
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 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 done 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 increased production. 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, large format, printed on heavy paper.
Marginal foxing, otherwise handsome condition, colors very well preserved.
These plates are constructions or cardboard models, on which a pattern was printed. This pattern must be cut out then assembled to construct various objects or scenes of daily 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, ships 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, 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 popular novels. The imagery of Épinal takes 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 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, large format, printed on heavy paper.
Light marginal foxing, otherwise handsome condition, colors very well preserved.
These plates are constructions or cardboard models, on which a pattern was printed. This pattern must be cut out then assembled to construct various objects or scenes of daily 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, ships 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, 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 popular novels. The imagery of Épinal takes 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 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.

Épinal print, color lithograph, large format, printed on heavy paper.
Light and marginal foxing, otherwise 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 type of toy developed and persisted 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 takes its origins from 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 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 for increased production. In 1820, lithography was adopted, which induced a radical style change, 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, large format, printed on heavy paper.
Light marginal foxing, a small repaired tear in right margin not touching the engraving, otherwise 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 print works 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 type of toy developed and endured 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 takes 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 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 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.
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 print works 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 type of toy developed and endured 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 takes 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 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 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.
A tiny corner chip, otherwise 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 "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 takes its origins in popular art imagery 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 were made from the engraved wood: 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 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.
Light marginal foxing otherwise handsome condition, two tears restored in margin not touching the engraving, otherwise 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 "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 takes its origins in popular art imagery 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 were made from the engraved wood: 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 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.
Light marginal foxing otherwise 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 "Large Constructions" in 39 x 49 cm format, the "Medium Constructions" and the "Small Constructions". From 1880 to 1908, constructions were published with subjects including 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.
Formerly 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 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: 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, using a machine that could color 300 images per hour, the Aquatype.

Épinal Image, color lithograph, large format, printed on heavy paper.
Light marginal foxing otherwise 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 "Large Constructions" in 39 x 49 cm format, the "Medium Constructions" and the "Small Constructions". From 1880 to 1908, constructions were published with subjects including 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.
?Formerly 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 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: 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, using a machine that could color 300 images per hour, the Aquatype.

Image d'Épinal, color lithograph, large format, printed on heavy paper.
Light marginal foxing otherwise 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, 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 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 from 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 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 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 light marginal foxing otherwise 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, 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 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 from 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 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 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.
Very light marginal foxing, otherwise 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 "home theater" also enjoyed great success. This toy model 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 takes its origins from imagery, a popular art born in the 15th century intended primarily for the illiterate rural public.
Originally, the image is engraved on a wood block 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 is still done by stencil, thanks to a machine that can color 300 images per hour, the Aquatype.

Épinal print, color lithograph, large format, printed on heavy paper.
Small tears restored with tiny lacks to margins not affecting the engraving, otherwise 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 "home theater" also enjoyed great success. This toy model 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 takes its origins from imagery, a popular art born in the 15th century intended primarily for the illiterate rural public.
Originally, the image is engraved on a wood block 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 is still done by stencil, thanks to a machine that can color 300 images per hour, the Aquatype.

Image d'Épinal, color lithograph, large format, printed on heavy paper.
Very light marginal foxing, two small inconsequential tears to right margin, otherwise 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 with subjects including 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 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 popular novels. Épinal imagery takes 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 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 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 light marginal foxing, otherwise 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 with subjects including 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 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 popular novels. Épinal imagery takes 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 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 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.
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 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 mass-produce this type of image, 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 bestselling 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 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 increase. In 1820, lithography was adopted, which induced 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, large format, printed on heavy paper.
Small tears with minor lacks to lower margin, not affecting the image, otherwise 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 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 mass-produce this type of image, 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 bestselling 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 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 increase. In 1820, lithography was adopted, which induced 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.
Light foxing and minimal tears in left margin, otherwise handsome condition, colors very well preserved.
These plates 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 "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 imagery of Épinal 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 block 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 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.

Épinal print, color lithograph, large format, printed on heavy paper.
Light foxing, otherwise 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 "theater at home" also enjoyed great success. This toy model developed and persisted 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 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 done 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 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.
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 "theater at home" also enjoyed great success. This toy model developed and persisted 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 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 done 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 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 marginal foxing, otherwise 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, 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 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 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 colored by means of 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, thanks to a machine that could color 300 images per hour, the Aquatype.

Image d'Épinal, color lithograph, large format, printed on heavy paper.
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, 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 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 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 colored by means of 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, thanks to a machine that could color 300 images per hour, the Aquatype.

Épinal print, color lithograph, large format, printed on heavy paper.
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 printing house 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, 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 primarily for the illiterate rural public.
Originally, the image was engraved on a wooden plate and printing was carried out using a hand press. It was then colored using stencils. In the 19th century, lead castings were made from the engraved wood: 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, large format, printed on heavy paper. Fine condition, colors very well preserved.
These plates are cardboard constructions or models, on which a pattern was printed.
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 printing house 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, 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 primarily for the illiterate rural public.
Originally, the image was engraved on a wooden plate and printing was carried out using a hand press. It was then colored using stencils. In the 19th century, lead castings were made from the engraved wood: 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.
Fine condition, colors very well preserved. These plates are cardboard constructions or models, on which a pattern was printed.
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 lasted 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 takes its origins in imagery, 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 using stencils. In the 19th century, lead castings were made from the engraved wood: the stereotypes, which allowed production to be increased. In 1820, they switched to lithography, 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.

Épinal Image, color lithograph, large format, printed on heavy paper.
Repaired tears to left margin slightly affecting the engraving and with small lacks, otherwise 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 "théâtre chez soi" also enjoyed great success. This toy model developed and endured 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 successful novels. Épinal imagery takes its origins from 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 by means of 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 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.
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 "théâtre chez soi" also enjoyed great success. This toy model developed and endured 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 successful novels. Épinal imagery takes its origins from 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 by means of 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 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.
Small tears and marginal lacks not touching the engraving, otherwise handsome 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 Imagerie d'Épinal 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 bestselling novels. The Imagerie d'Épinal 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 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, large format, printed on heavy paper.
Lacks to lower margin not touching the engraving, otherwise handsome 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 Imagerie d'Épinal 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 bestselling novels. The Imagerie d'Épinal 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 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, large format, printed on heavy paper.
Tiny tears to lower margin, otherwise 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, 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. Épinal imagery takes 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 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 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.
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, 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. Épinal imagery takes 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 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 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.
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, 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 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 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 castings were made from the engraved wood: 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.
Small repaired tears to upper margin, and small lacks of no consequence, otherwise 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 model 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. 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 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 by stencil, thanks to a machine that could color 300 images per hour, the Aquatype.

Épinal print, color lithography, large format, printed on heavy paper.
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 "théâtre chez soi" also enjoyed great success. This type of toy developed and persisted 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 block 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 woodblocks, allowing 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, using a machine that could color 300 images per hour, the Aquatype.

Épinal print, color lithography, large format, printed on heavy paper.
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 "théâtre chez soi" also enjoyed great success. This type of toy developed and persisted 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 block 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 woodblocks, allowing 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, using a machine that could color 300 images per hour, the Aquatype.

Épinal print, colour lithograph, large format, printed on thick paper.
A tiny marginal lack without any damage to the print, otherwise very fine condition, colours 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 printing house 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 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 print 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 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 done using a hand press. It is then coloured by means of stencils. In the 19th century, lead casts 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, colouring was still done by stencil, thanks to a machine that could colour 300 images per hour, the Aquatype.

Épinal print, colour lithograph, large format, printed on thick paper.
A small repaired tear in the margin (2 cm) without any damage to the print, otherwise very fine condition, colours 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 printing house 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 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 print 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 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 done using a hand press. It is then coloured by means of stencils. In the 19th century, lead casts 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, colouring was still done by stencil, thanks to a machine that could colour 300 images per hour, the Aquatype.

Image d'Épinal, color lithograph, large format, printed on heavy paper.
Minimal marginal lacks without any damage to the engraving, 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 scenes from life.
The Imagerie d'Épinal 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, 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 Imagerie d'Épinal 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 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 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 then assembled to construct various objects or scenes from life.
The Imagerie d'Épinal 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, 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 Imagerie d'Épinal 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 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 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.
Small tears with lacks to margins not touching the plate, otherwise 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, 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 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 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 castings were made from the engraved wood: 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.
Minor stains of no consequence to the back, otherwise 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 type of toy developed and lasted 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 takes its origins from 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 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 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.
Light stains of no consequence to verso, three minute tears at margin edges, otherwise very fine condition, colors exceptionally 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 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 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 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, using 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 exceptionally 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 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 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 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, using a machine that could color 300 images per hour, the Aquatype.

Image d'Épinal, color lithograph, large format, printed on heavy paper.
Light stains of no consequence on the back, 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 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. The 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 using stencils. In the 19th century, lead castings were made from 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 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.
Foxing at the edge of the lower margin, without any damage to the engraving, 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 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. The 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 using stencils. In the 19th century, lead castings were made from 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 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.
A light corner fold not affecting the engraving, 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 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 type of toy 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. 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 done using a hand press. It is then colored using stencils. In the 19th century, lead castings were made from the engraved wood: 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.
Minor inconsequential stains to verso, otherwise 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, ships and various vehicles. During this same period, paper theaters or "home theater" also enjoyed great success. This type of toy 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. Épinal imagery has its origins in imagery, a popular art born in the 15th century intended mainly for the illiterate public of the countryside. Metz and Nancy are also cities where imagery centers with important production can be found.
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: 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.
A small tear repaired in right margin (3 cm), a pale angular dampstain without damage to the engraving, otherwise 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 "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 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 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: 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, using a machine that could color 300 images per hour, the Aquatype.

Image d'Épinal, color lithograph, large format, printed on heavy paper.
Three small tears repaired in margin (1 cm) without any damage to the engraving, 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 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 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 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: 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, using a machine that could color 300 images per hour, the Aquatype.

Image d'Épinal, color lithograph, large format, printed on heavy paper.
Three small repaired tears in margin (1 cm) without any damage to the engraving, 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 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 Épinal imagery has its origins in 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 using stencils. In the 19th century, lead molds were made from the engraved woods: 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, using a machine that could color 300 images per hour, the Aquatype.

Images d'Épinal, color lithographs, large format, printed on heavy paper. The two engravings are stapled together.
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 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 Épinal imagery has its origins in 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 using stencils. In the 19th century, lead molds were made from the engraved woods: 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, using a machine that could color 300 images per hour, the Aquatype.

First edition.
Half red shagreen. Spine with raised bands in Jansenist style. Gilt title and date at foot. Light rubbing. Scattered pale foxing.
A handsome copy nonetheless.

NB: This work is available at the bookstore upon request within 48 hours.

First edition.
Work illustrated with 50 unpublished drawings by the author.
Spine and boards very slightly and marginally faded, otherwise a handsome copy.