Exceptionally Scarce, Attractive Imitation of Grandville'sMetamorphoses Du Jour[GRANDVILLE, J.J., imitation of]. [GARNEREY, Hippolyte Jean-Baptiste, artist]. La Métempsycose réalisée. Brussels: Chez Daems / Paris: Chez Méant, 1828. First edition. Oblong folio (9 7/8 x 13 7/8 ini; 250 x 352 mm). Twenty hand-colored stub-mounted lithographed plates in the style of Granville's Les Métamorphoses du jour. Lithography by Gobert et Cie. Later half red cloth over marbled boards. Black spine label. Gilt ornament to spine. Mild foxing. Paper flaw at bottom edge of plate no. 8. An excellent copy.Extremely and exceptionally scarce, with no copies recorded by OCLC/KVK in institutional holdings worldwide and none at auction, according to ABPC, since at least 1928. It would appear that most copies were broken up for the plates at an early date.A clever imitation of Grandville's Les Metamorphoses du jour, whose first series of prints was published earlier in 1828 and became a popular success that immediately (and unsurprisingly) attracted and prompted Garnerey's publisher to hire him and issue lithographs in the same vein: humans whose character is revealed by possessing the heads of beasts, with satiric captions. Garnerey's second album of Grandville imitations is the equally scarce La Petite ménagerie (Paris, Piaget, s.d. [1828-1829]). Grandville complained about both the album under notice and La Petit ménagerie; they were so obviously and blatantly copycats of his work, down to Garnerey signing only his initial, "G," to the plates, which only added to the confusion and what was surely an effort to deceive. These anthropomorphic human menagerie lithographs established a genre that would later be explored by Amédée Varin in his L'Empire des Légumes (1851), aka Drôleries végétales, with people as plants, and Les Papillons Métamorphoses Terrestres de Peuples de l'Ai (1852), with people as butterflies. The difference between the Grandville and Garnerey books and Varin's being that the former were satirists while Varin a fantasist."Les Métamorphoses du jour ont, des leur apparition, provoqué de la part d'autres artistes des imitations, dont Grandville ne manqua pas de se plaindre. V. la planche 33 du recueil de 1829 qui porte cette légende: Il est assez de geais à deux pieds comme lui. Grandville y fait allusion aux deux albums que publiait, ds 1828, Hippolyte Garnerey et qui sont les suivants: 1 La Metamorphoses réalisée, 20 planches lthographiées; les unes signées G., la plupart non signées; les 10 premières planches portent l'adresse sivante: A Bruxelles chez Daems et à Oaris chez Meant fils, rue St-Antoine, no. 9. les pl. 11 à 20: A Paris, chez Genty, éditeur, rue St-Jacques, no. 22 [1828-1829]" (Vicaire).Hippolyte Jean-Baptiste Garnerey (1787-1858) was a French watercolor painter, engraver, and lithographer. He debuted at the Salon in 1831. Of Grandville's Les Metamorphoses du jour, Gordon N. Ray wrote, "This famous album, which established Grandville's early stye of bitter burlesque, has become rare. Indeed, it is known to many of his admirers only through the greatly inferior album of seventy wood-engraved reproductions published by Harvard in 1854? Lust, gluttony, anger, and the other deadly sins are stigmatized, now with the blow of a hammer, now with the thrust of a stiletto; while the foibles and humors of mankind also receive due attention. Throughout the series Grandville's choice of beast-heads is inspired; and the force of his conceptions and the wit of his captions rarely falter. Occasionally, he produces a design of universal application that calls Goya to mind, as in the bat and owl creatures bewildered by the sunshine of 'The light that hurts them' (no. 12). Perhaps his most terrifying plate is 'Ménagerie (no. 67), which shows four prison cells. In the first are complacent commercial offenders, enjoying all the comforts of home; in the second violent criminals, sly or stupid; in the third murderers, one with a countenance of. Bookseller Inventory #
Title: La Métempsycose réalisée
Publisher: Brussels [&] Paris: Chez Daems [&] Chez Méant fils, 1828
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