Page 30 - ernst - grandville_Demo

13. GAVARNI (Sulpice-Guillaume Chevallier). Méry, Joseph and Le Cte. Foelix. Perles et Parures: Les Joyaux Fantaisie. Minéralogie des Dames. [&:] Les Parures Fantaisie. Histoire de la Mode. Paris / Leipzig. G. de Gonet, Editeur ... &c; Chez Charles Twietmeyer. (1850).
2 vols. Large 8vo. (270 x 184 mm). pp. (ii), (i), (i), 316; (ii), (i), (i), 300. Half-titles with printer’s credit verso, engraved pictorial titles with additional colour by hand, printed titles to each vol., and text illustrated 3ith 31 engraved plates by Gavarni, each with additional colour by hand and with the margins cut ‘à la dentelle’ and backed with pink paper, final leaf of each vol. with ‘Table des Matières’. Original publisher’s midnight blue percaline with elaborate polychromatic decoration, front boards with elaborate gilt decorative oval titles to surround central vignettes, matching gilt vignettes to rear covers, smooth spines with elaborate decorative tooling and titles in gilt, all with additional colour heightening, cream glazed endpapers (vol. 1) and yellow (vol. 2), a.e.g.
The most desirable issue of Perles et Parures with the hand-coloured plates on vélin découpés en dentelles and in the original polychromatic percaline bindings.
Published under the collective title Perles et Parures, these first editions of Les Joyaux Fantaisie (with Minéralogie des Dames) and Les Parures Fantaisie (with Histoire de la Mode), are here in the most desirable form, with Gavarni’s plates printed on vélin, deli- cately hand- coloured and with the leaves stencil-cut to a lace pattern to form delicate frames and backed with pink paper. The two volumes contain jewel- and fashion-inspired texts with matching illustration, as stated by Ray: They are studies of beautiful women, fashionably attired ... which were drawn in London.
... more appealing [than the normal edition] is this special edition in which the steel engravings are printed and delicately colored on paper with borders cut to various lace patterns. So presented, Gavarni’s designs become fashion plates of the first order. (Ray).
La réunion des deux ouvrages avec les gravures à marges de dentelles est assez rare à recontrer. (Carteret). [Ray 209A / 210; Carteret III, 460 / 461].
14. VARIN, Amédée. Nus, Eugène & Antony Meray. Les Papillons. Métamorphoses Terrestres des Peuples de l’Air. Paris Gabriel de Gonet. (c.1852).
2 vols. Large 8vo. (270 x 190 mm). pp. (ii), (i), (i), (i), 232, (i), (i); (ii), (i), (i), (i), 258, (i), (i). Half-titles with printer’s credit verso, engraved pictorial titles with additional colour by hand and printed titles to each vol. and text illustrated with 35 wood-engravings by Varin (including pictorial titles) each with additional colour by hand, final section ‘Entomologie des Dames’ with numerous mono- chrome text vignettes. Original publisher’s dark blue percaline with elaborate polychromatic decoration, front boards with gilt title and elaborate decorative border to surround central vignette (‘Le Bolero’ see vol. 2, page 87) with additional colour, butterfly vignette to rear covers, smooth spines with gilt titles and elaborate gilt tooling, yellow glazed endpapers, a.e.g.
[PROVENANCE: Printed bookplate of Paul Eluard designed by Max Ernst (with the text: Après moi / le Sommeil) to front pastedown of vol. 1].
Paul Eluard’s copy of of Les Papillons in the publisher’s polychromatic binding.
Although not a work by Grandville, Les Papillons with its anthropomorphic depictions is very much in a similar style. The series of texts by Nus and Meray are illustrated with fancifully inspired and characterised butterflies by Amédée Varin. Like Grandville’s oeuvre, Les Papillons can also be seen as a precursor of Surrealism as the present copy, from the collection of founding Surrealist Paul Eluard with his Ernst-designed bookplate attests. The present copy retains its beautiful polychromatic binding with elabo- rate gilt stamps heightened with colour.
[Carteret III, 452].