Lami Eugene, First Edition (35 results)

First Edition. Fine cloth copy in a good if somewhat edge-torn (with some loss) and dust-toned dw, now mylar-sleeved. Remains quite well-preserved overall; tight, bright, clean and strong. ; 252 pages; Description: vii, 252 p. Col. Front. 23 cm. Subjects: Great Britain. Parliament. House of Commons --Committees. Governmental investigations --Great Britain. 3 Kg.

Hardcover. Condition: Good. with a frontispiece after Eugene Lami (illustrator). 1st Edition. Firmly bound, red cloth boards. Marks mainly on top of cover. Crease of cloth on back cover. No jacket.

Hardcover. Condition: Acceptable. No Jacket. M. Eugene Lami, Illus. (illustrator). First Edition. Not signed by the author. Inked on the endpaper: 'From my Brothell/ July 1st 1844.' (Maybe he meant 'From my Brother,' but the r looks more like an l and there is definitely an added l on the end. Maybe he meant what he wrote: after all, he was an American in Paris.) Some staining to half title page. Wear to cover and corners.

First Edition. Fine cloth copy in a good if somewhat edge-torn (with some loss) and dust-toned dw, now mylar-sleeved. Remains quite well-preserved overall; tight, bright, clean and strong. ; 252 pages; Description: vii, 252 p. Col. Front. 23 cm. Subjects: Great Britain. Parliament. House of Commons --Committees. Governmental investigations --Great Britain. 1 Kg.

Pas de couverture. Condition: Bon. Lami Eugène (illustrator). Edition originale. Edité en 1840 par Fisher son de Londres et H. Mandeville de Paris, gravure sur acier par C. Mottram. Noir et blanc. Dimensions : 11,3cm de haut sur 18 cm de large.

Hardback. Condition: Good Plus. 1st Edition. Complete set: Volumes I, II and III plus the Supplemental Volume VI. Bound in two. Half green calf leathers binding with pebbled cloth boards. Spines with five raised bands, blind decoration, morocco title label. Red speckled page edges. Heavy fading to spines, a little light marking to boards. Excellent solid bindings with no cracking to joints. Foxing to text and plates, heavier to the first and last few pages. Water stain to the frontis in Volume I. Engraved title page followed by letterpress title page for each volume. Overall condition is Good Plus. Size: 9 x 11 inches (22.5 x 28 cm).

Hard Cover. No Jacket. First Edition. Hard Cover. No Jacket. First Edition. 2 VOLUMES, 1843, 1st edition, Green embosssed decorated Cloth Gold Gilt decorations , VG+/VG, AS-IS, NODJ, Covers slight rub, wear & tiny Chips tears Extremities, some Sunning Covers SPINE, Title gold Gilt spine, beautiful Gold Gilt outer pages edges, Interior nice tight cleanlight FoX, Wear, 6 3/4 X 9 1/2 in. approx, light small tears outer spine edges , 8vo. Large , Publisher's gilt titled, elaborately gilt bordered and blind stamped cloth, INNER Hinges starting.

Hardcover. Condition: Very Good. LAMI Eugene. MONNIER H. (illustrator). 1st Edition. With Twenty Eight Fine Hand Coloured Lithographed Plates Depicting Scenes of Family and Street Life in England. [1829-1830] Title and imprint from front wrapper, large folio, bound without the four leaves of descriptive text, twenty eight numbered plates containing twenty nine hand coloured lithographs (pl No 10 with two lithographs) by Lami (seventeen), Monnier (ten), and both artists (one). Plates lithographed by Villain, most plates with imprint at bottom left, Publie a Paris par Firmin-Didot et Lami-Denozan, Libraries, and at bottom right: London published 1829 [or 30] by Colnaghi so & Co. No. 11, Pall-Mall-East. In addition to the twenty four plates described in the four leaves of text, this copy contains the following plates: Club de Fermiers (No 26); Un Trottoir dans la Cite (No 29, changed in pencil to No 26); Crescent-Park (No 27); and un Salon (No 28). Contemporary quarter red roan over marbled boards, smooth spine decoratively tooled and lettered in gilt, original printed front wrapper bound in, short marginal tear to plate No 22, not affecting image, a few additional tiny marginal repairs. Book label to fpd (James Hazen Hyde 1876-1959). (402*274 mm). (Ray, The Art of the French Illustrated Book, 139. Abbey Scenery 34. Colas 1748. Hiler p524. Lipperheide 995 (all calling for twenty four plates). This elegant and brilliant painter [Eugène Lami, 1800-1890] devoted much of his time to lithography between 1817 and 1833. The son of an Empire bureaucrat, he grew up in Paris. Beginning in 1815, he studied painting with Horace Vernet and afterwards in the studio of Baron Gros.To support himself he made lithographs for several albums, including in 1822 a Collection des uniformes des armées françaises, de 1791 à 1814. Lami paid his first visit to England in 1826, during which he drew the sketches which resulted in his Souvenirs de Londres. He fell in with Henry Monnier, already an expert in things English, and under his guidance comprehensively explored London and the countryside. Indeed, Monnier provided more than a third of the twenty-eight designs which make up Lami's finest album, the Voyage en Angleterre. It is here that for the first time Lami struck his distinctive note in lithography. These precise and sparkling plates, which show England in its most attractive aspects, brought the lithographic recording of the passing scenes to an unprecedented level of grace and refinement (Ray, The Art of the French Illustrated Book, p. 203). Lami's lithographs in this album have a salience and solidity otherwise unmatched in his work, and the bright yet harmonious coloring with which they were completed makes them hardly distinguishable from watercolors. The series also has the interest of showing English life and customs as seen through the fresh eyes of two shrewd foreigners. They emphasize the freedom and well-being of the people, which combine to ensure 'order in, apparent disorder' (text for no. 20). Coachmen, turnpike keepers, footmen, merchants, farmers, and workmen all behave with ease and confidence. The many glimpses of country and village life exude tranquility. The social order of which these men and women are a part is fixed but not oppressive. In 'Evening prayer' (no. 17), there is a solidarity about the household at its devotions, even if the family takes its ease on one side of the room, while the servants are huddled together on the other. The culminating plate of the album, in which both artists had a hand, shows Parliament Street in London during the evening rush hour (no. 20). It is a microcosm of the city's 'busy scene of crowded life,' soldiers drilling at the rear, carriages criss-crossing, and all sorts and conditions of men going their various ways in the foreground (Ray, The Art of the French Illustrated Book, pp. 204-205). An Excellent Copy.

First Edition. All edges gilt. Publisher's linen boards, very good. Slightest suggestion only of dut-dulling and toning to the spine bands and panel edges. Elaborately gilt and blind tooled boards. An exceptional copy; scans &c. On request. Illustrated by eighteen tissue protected engravings from designs by M. Eugene Lami. Subjects: Paris (France) --Description and travel. Series; Heath's Picturesque Annual for 1844. 3 Kg.

First Edition. All edges gilt. Publisher's linen boards, very good. Slightest suggestion only of dut-dulling and toning to the spine bands and panel edges. Elaborately gilt and blind tooled boards. An exceptional copy; scans &c. On request. Illustrated by eighteen tissue protected engravings from designs by M. Eugene Lami. Subjects: Paris (France) --Description and travel. Series; Heath's Picturesque Annual for 1844. 1 Kg.

Couverture rigide. Condition: Très bon. Edition originale. Paris, 1888. 1 fort volume grand in-4°( 33,3 x 23,5 cm )( 3030 gr ). Chemise éditeur cartonnée percaline imprimée illustrée. ------ 20 fascicules en pagination continue de 160 pages. ****************** Couvertures de tous les fascicules conservées. *********************** ref 474.

Couverture rigide. Condition: Très bon. Edition originale. Paris, 1888. 1 fort volume grand in-4°( 33,3 x 23,5 cm )( 2910 gr ). Chemise éditeur cartonnée percaline imprimée illustrée. ------ 20 fascicules en pagination continue de 164 pages. ****************** Couvertures de tous les fascicules conservées. ******************** ref 474.

Couverture rigide. Condition: Très bon. Edition originale. Paris, 1887, 1888. 2 forts volumes grand in-4°( 33,3 x 23,5 cm )( 5940 gr ). Chemises éditeurs cartonnées percaline imprimées illustrées. ------ 20 fascicules en pagination continue pour chaque album de 160 et 164 pages. ****************** Couvertures de tous les fascicules conservées. ********************* ref 474.

~ ~ ~ The plates depict central London at rush hour, by both Lami and Monnier. - No auction records on HUB. ~ WorldCat 2 locations, Berlin & Zurich. folio., 40x 28.3cm., being 24 hand coloured lithograph plates, in the original quarter calf spine and cloth boards, block title on the cover, Angleterre. contemporary engraved bookplate on the front paste down endpaper ~ some faint foxing on some plates (not intrusive), one faint library stamp on the verso of one plate, some shadow fading on the boards which are otherwise fine and clean, the plates are both brilliant and spectacular as issued without title page.

Leather Binding. Condition: Very Good. First Edition. Handsome depictions of the architecture and scenery of France. 4 Volumes complete. Uniformly and attractively bound in full period red morocco, spines with gilt floral tooling within gilt-ruled compartments, covers elaborately bordered and paneled in gilt and blind; gilt tooled inner dentelles, all edges gilt; each with a blue silk ribbon marker. Measuring 8.75 x 10.75 in. 80; 60; 64; 228pp., with 132 engraved plates throughout including frontispieces and title page vignettes (all are account for, and still have the original tissue guards); Vol. 4 has title: France illustrated: comprising a summer and winter in Paris / drawings by Eugene Lami. // Minor darkening and rubbing, rear hinge of Volume I and upper hinges of all volumes show evidence of repair; scattered foxing. Overall a Very Good set.

hardcover. Condition: Very Good. First Edition. Volume 2. Fine binding. Bound in 3/4 crimson morocco over marbled boards. Gilt decorated spine, gilt ruled. All edges gilt. Hardcover. Good binding and cover. Corners slightly worn. Clean, unmarked pages. 48 hand colored plates of French uniformed soldiers. Lithographic plates by Delpech or Villain after Horace and Carl Vernet and Lami. Refs: Brunet V, 1144; Lipperheide 33; Colas 2989.

Eugène Lami (illustrator). A wonderful suite of twelve hand-colored lithographs (complete) depicting highlights of a journey to London: crossing the Channel, the carriage from Brighton, Westminster Abbey, hunting, cockfights, horseracing, boxing, rowing, etc. Oblong 4to: 21.5 x 28.5 cm. The lithographs are housed in a custom-made cloth clamshell case. Occasional light foxing in margins, else FINE AND BRIGHT, with the colors very fresh. RARE.

Eugène Lami (illustrator). An outstanding suite of twenty-four hand-colored lithographs (complete) depicting highlights of a journey to England: a port scene, an inn, country scenes, butchers and fishmongers, soldiers, a burial, etc. Front wrapper (which also serves as title-page; 8 pp. descriptive text; 24 fine hand-colored lithographs. Large folio: 41 x 29 cm. Housed in a custom-made cloth clamshell case. Faint foxing on text leaves. THE COLOR PLATES ARE ALL FINE AND BRIGHT, ON EXCELLENT WOVE PAPER, with the colors very fresh. RARE. The plate depicting central London at rush hour, by both Lami and Monnier, is a masterpiece.

Grand in-8 de (4)-XV pp., 99 lithographies coloriées, et autant de feuillets de notices, demi-maroquin rouge à coins, dos à nerfs, tête dorée, non rogné (relié vers 1860). Édition originale illustrée de 99 lithographies dessinées par E. Lami et H. Vernet et gravées par Delpech. Elles ont été finement coloriées à l'époque. Selon Glasser, « l'ouvrage de Lami et Vernet est sans contredit l'un des plus beaux qui aient été faits sur l'Armée française ».Exemplaire complet de l'article supplémentaire : Sapeurs, Tambours, Cornets, Timbaliers et Trompettes. A la suite est relié le prospectus pour : Collection des Uniformes de l'Armée française de 1814 à 1824.Bel exemplaire malgré de petits défauts à quelques planches (pâle mouillures ou rousseurs, petites taches sans gravité).Glasser, Costumes militaires. Catalogue des principales suites de costumes militaires français, 99 planches, p. 253.

Hardcover. Condition: Very Good. 1st. Very Good Copy. 1st ed. About 150p. All 100 Colored Uniform plates present. Original Red cloth. Corners worn. Chipping at gutters. Spine is cracked vertically in the center. Hinges intact. Bookplate. Foxing to text but not the plates. Heavy. Very Good Copy. Book.

Paris, Chez Knecht et Roissy, Treuttel et Wurz libraires, Juin 1832, in-8°, 23,5 x 16 cm, xii pp + 239 pp + 14 lithographies hors-texte ( frontispice inclus). Broché, couverture originale imprimée. Marge extérieure de la couverture légèrement abimée. Quelques très légères rousseurs à l'intérieur ; mais un exemplaire encore très convenable de l'édition originale. Rare avec ses illustrations lithographiques à pleine page.

First Edition. Twenty Charming Hand-Colored Lithographs of French Upper Class Country Life The Copy of Ferdinand De Lesseps LAMI, Eugène. [Les Agréments de la Vie de château] [First and Second Series]. Paris: Paris H. Gache. [n.d., 1828-1833]. Two parts in one oblong folio volume (9 3/4 x 12 1/2 inches; 248 x 317 mm.). Twenty numbered hand-colored lithographed plates. All plates mounted on guards. Bound without the printed title-page. Bound ca. 1890 in three quarter orange cloth over marbled boards, smooth spine with dark green morocco label lettered in gilt. With the armorial bookplate of Ferdinand De Lesseps on front paste-down. Also a second (unidentified) bookplate on front paste-down. Binding extremities a little rubbed, still an excellent example of these two rare suites, scarce complete. Ferdinand De Lesseps (1805-1894) was a French Orientalist diplomat and administrator who was responsible for the construction of the Suez Canal. "This elegant and brilliant painter devoted much of his time to lithography between 1817 and 1833. The son of an Empire bureaucrat, [Lami] grew up in Paris. Beginning in 1815, he studied painting with Horace Vernet and afterwards in the studio of Baron Gros.To support himself he made lithographs for several albums, including in 1822 a Collection des uniformes des armées françaises, de 1791 à 1814.Lami paid his first visit to England in 1826, during which he drew the sketches which resulted in his Souvenirs de Londres.under [Henry Monnier's] guidance [he] comprehensively explored London and the countryside. Indeed, Monnier provided more than a third of the twenty-eight designs which make up Lami's finest album, the Voyage en Angleterre. It is here that for the first time Lami struck his distinctive note in lithography. These precise and sparkling plates, which show England in its most attractive aspects, brought the lithographic recording of the passing scene to an unprecedented level of grace and refinement. Lami's Tribulations de gens à équipages of 1827 and Six quartiers de Paris.treat French subjects in the same manner.After Lami gained recognition as a painter, he became a frequenter of the fashionable world, which he rendered with sympathy and brio. His chief albums of this kind are the charming Vie de château, published in two series in 1828 and 1833, and the Quadrille de Marie Stuart" (Ray, The Art of the French Illustrated Book, p. 203). First Series Plates: No. 1. "La Traverse" No. 2. "L'arrivée des Lettres et des Journaux" No. 3. "La Matinée" No. 4. "Une visite au Village" No. 5. "Les Voisins de Campagne" No. 6. "Les Amateurs de Paysage" No. 7. "Une visite dans le voisinage" No. 8. "La Chasse au Sanglier (l'attaque)" No. 9. "Les Contes de Revenants" No. 10. "Les Amusements nocturnes" Second Series Plates: No. 1. "L'arrivée. J'arrive bien crotté, bien mouillé, heureux de trouver la redingotte de mon hôte" No. 2. "La promenade après diner" No. 3. "La nôce de la fille du fermier" No. 4. "Les anglais du voisinage" No. 5. "Le Roman Nouveau" No. 6. "La Course en Sac" No. 7. "La manie de la Truelle" No. 8. "Le fils du fermier" No. 9. "Causeries du soir" No. 10. "Le départ pour la promenade" The plates all have the imprint "Paris H. Gache. 66 rue de la Victoire" and "Imp. Lemercier, Paris." Lemoisne, Lami, p. 383; Rahir, La Bibliothèque de l'amateur, p. 362; Bobins II, 534; Not in Colas or Lipperheide.

First Edition. A Fine Collection of Two Extremely Rare Suites by Eugène Lami LAMI (Eugène). Panorama du Bois de Boulogne 1828. Paris, Delpech, [1828]. First edition. Oblong folio (9 3/4 x 13 5/8 inches; 248 x 346 mm.). Vignette lithographed title-page and 10 (of 12) hand colored lithograph plates. All plates mounted on stubs. Plates Nos. 1 and 11 are missing, as almost always, the first even being "untraceable," according to Lemoisne. Rare: OCLC/KVK locate just one copy in libraries and institutions worldwide. 12 lithographs (10 color) 26 x 35 cm: Clark Art Institute (MA,US). Bound together with: LAMI, Eugène. Six Quartiers de Paris. Paris: Chez Delpech, 1828. First edition. Oblong quarto. (10 3/8 x 14 inches; 264 x 355 mm.). Lithograph vignette title in sepia and six hand colored lithographed plates. All plates mounted on stubs. Complete as issued. Not to be confused with a similar title with hand colored lithograph plates by Henri Monnier. Rare: OCLC/KVK locate no copies in libraries and institutions worldwide. Bound together in late nineteenth century half green morocco over marbled boards, smooth spine lettered horizontally in gilt, spine faded. With the bookplate of the Claude Rebeyrat library on front paste-down. Eugène Lami (1800 -1890). "This elegant and brilliant painter devoted much of his time to lithography between 1817 and 1833. The son of an Empire bureaucrat, [Lami] grew up in Paris. Beginning in 1815, he studied painting with Horace Vernet and afterwards in the studio of Baron Gros.To support himself he made lithographs for several albums, including in 1822 a Collection des uniformes des armées françaises, de 1791 à 1814.Lami paid his first visit to England in 1826, during which he drew the sketches which resulted in his Souvenirs de Londres.under [Henry Monnier's] guidance [he] comprehensively explored London and the countryside. Indeed, Monnier provided more than a third of the twenty-eight designs which make up Lami's finest album, the Voyage en Angleterre. It is here that for the first time Lami struck his distinctive note in lithography. These precise and sparkling plates, which show England in its most attractive aspects, brought the lithographic recording of the passing scene to an unprecedented level of grace and refinement. Lami's Tribulations de gens à équipages of 1827 and Six quartiers de Paris. treat French subjects in the same manner.After Lami gained recognition as a painter, he became a frequenter of the fashionable world, which he rendered with sympathy and brio. His chief albums of this kind are the charming Vie de château, published in two series in 1828 and 1833, and the Quadrille de Marie Stuart" (Ray, The Art of the French Illustrated Book, p. 203). The Plates: Panorama of the Bois de Boulogne 1828. 2. Le Harnais Neuf 3. En Marchand de Chevaux Anglais 4. Une Course Particulière 5. Tilbury 6. Coupé 7. Un Duel 8. La Grande Allée 9. Une Averse 10. Chevaux de Louage 12. La Partie d'Anes Six Quartiers de Paris 1. Le Faubourg St. Honoré 2. Le Marais 3. Le Faubourg St. Germain 4. La Chaussée d'Antin 5. Quartier de la Bourse 6. Quartier St. Denis Bobins III, 1185; Bobins V, 1544; Ray, p. 203.

First Edition. Eugène Lami's Six Quartiers de Paris LAMI, Eugène. Six Quartiers de Paris. Paris: Chez Delpech, 1828. Lithograph vignette title in sepia and six hand colored lithographed plates. All plates mounted on stubs. Complete as issued. Oblong quarto. (10 1/8 x 13 inches; 257 x 330 mm). Early-to-mid twentieth century half blue cloth over marbled boards, front cover with rectangular maroon morocco label bordered and lettered in gilt, spin lettered in gilt. A fine copy. Not to be confused with a similar title with hand colored lithograph plates by Henri Monnier. Rare: OCLC/KVK locate no copies in libraries and institutions worldwide. Eugène Lami (1800 -1890). "This elegant and brilliant painter devoted much of his time to lithography between 1817 and 1833. The son of an Empire bureaucrat, [Lami] grew up in Paris. Beginning in 1815, he studied painting with Horace Vernet and afterwards in the studio of Baron Gros.To support himself he made lithographs for several albums, including in 1822 a Collection des uniformes des armées françaises, de 1791 à 1814.Lami paid his first visit to England in 1826, during which he drew the sketches which resulted in his Souvenirs de Londres.under [Henry Monnier's] guidance [he] comprehensively explored London and the countryside. Indeed, Monnier provided more than a third of the twenty-eight designs which make up Lami's finest album, the Voyage en Angleterre. It is here that for the first time Lami struck his distinctive note in lithography. These precise and sparkling plates, which show England in its most attractive aspects, brought the lithographic recording of the passing scene to an unprecedented level of grace and refinement. Lami's Tribulations de gens à équipages of 1827 and Six quartiers de Paris. treat French subjects in the same manner.After Lami gained recognition as a painter, he became a frequenter of the fashionable world, which he rendered with sympathy and brio. His chief albums of this kind are the charming Vie de château, published in two series in 1828 and 1833, and the Quadrille de Marie Stuart" (Ray, The Art of the French Illustrated Book, p. 203). The plates: 1. Le Faubourg St. Honoré 2. Le Marais 3. Le Faubourg St. Germain 4. La Chaussée d'Antin 5. Quartier de la Bourse 6. Quartier St. Denis Bobins V, 1544; Ray, p. 203.

First Edition. Scarce Awkward Clashes! Trés Amusant! Trés Rare Inopportune Social and Personal Events Eugène Lami's Interpretation of Thomas Rowlandson's Miseries of Human Life LAMI, Eugène. Les Contretems en Caricatures. Par Eug. Lamu. Paris: Chez Gihaut, 1825. First editions of both series complete. Oblong octavo (7 7/8 x 10 7/8 in; 200 x 276 mm.). Twenty-four amusing hand-colored lithographs. The first plate with a small (7/8 inch) professionally repaired tear to the outer blank margin. Bound ca. 1930 in half gray cloth over marbled boards, spine with black morocco label lettered in gilt, marbled endpapers. Publishers pictorial stiff gray wrappers bound in at front and back. A near fine copy. The lithographs were published between December 1823 and January 1824. We have never seen another copy with the original printed wrappers. An exceptionally scarce album, with only one copy coming to auction within the last forty-two years, and OCLC /KVK recording only four copies worldwide, at the Morgan Library; Princeton; University of Miami and Kunstbiblio Staatliche Museen Zu Berlin (Germany). We know of only one copy in private hands, sold to a client of ours ten years ago. "This early album of broad caricatures hardly suggests what Lami was to become. Though he took ten of his plates from Rowlandson's Miseries of Human Life [London, 1808], he can hardly be accused of plagiarism, since he transposed the English artist's subjects to French settings, in effect making new creations of them. In plate 23 ["He! bonjour, mon cher Oncle."] the French officer treading on the gouty toe of his invalid uncle is quite a different figure from the English sea captain of Misery no. 11, while the properties beside the two valetudinarians testify to contrasting national habits. Nonetheless, the powerful influence of the English tradition of caricature on French comic artists of the 1820s could not be more clearly demonstrated than by these two albums. Quite as much as Rowlandson's aquatints, Lami's lithographs require color to be effective" (Ray, The Art of the French Illustrated Book). Eugène Lami (1800-1890). "This elegant and brilliant painter devoted much of his time to lithography between 1817 and 1833. The son of an Empire bureaucrat, [Lami] grew up in Paris. Beginning in 1815, he studied painting with Horace Vernet and afterwards in the studio of Baron Gros.To support himself he made lithographs for several albums, including in 1822 a Collection des uniformes des armées françaises, de 1791 à 1814.Lami paid his first visit to England in 1826, during which he drew the sketches which resulted in his Souvenirs de Londres.under [Henry Monnier's] guidance [he] comprehensively explored London and the countryside. Indeed, Monnier provided more than a third of the twenty-eight designs which make up Lami's finest album, the Voyage en Angleterre. It is here that for the first time Lami struck his distinctive note in lithography. These precise and sparkling plates, which show England in its most attractive aspects, brought the lithographic recording of the passing scene to an unprecedented level of grace and refinement. Lami's Tribulations de gens à équipages of 1827 and Six quartiers de Paris.treat French subjects in the same manner.After Lami gained recognition as a painter, he became a frequenter of the fashionable world, which he rendered with sympathy and brio. His chief albums of this kind are the charming Vie de château, published in two series in 1828 and 1833, and the Quadrille de Marie Stuart" (Ray, The Art of the French Illustrated Book, p. 203). Bobins III, 941; Lemoisne, L'oeuvre d'Eugène Lami, p. 369; Lipperheide 3698; Ray 137; Not in Colas or Hiler.

First Edition. Scarce Awkward Clashes! Trés Amusant! Trés Rare Inopportune Social and Personal Events Eugène Lami's Interpretation of Thomas Rowlandson's Miseries of Human Life LAMI, Eugène. Les Contretems en Caricatures. Paris: Gide fils, [Dec.]1823 - [Jan.]1824. First editions of both series complete. Oblong octavo (8 1/4 x 10 7/8 in; 210 x 276 mm.). Twenty-four amusing hand-colored lithographs. Bound c. 1900 by V[ictor] Champs in three-quarter crimson morocco, over red patterned boards, smooth spine elaborately decorated and lettered in gilt, marbled endpapers. Some minor foxing to a few plates otherwise near fine. An exceptionally scarce album, with only one copy coming to auction within the last forty-two years, and OCLC /KVK recording only four copies worldwide, at the Morgan Library; Princeton; University of Miami and Kunstbiblio Staatliche Museen Zu Berlin (Germany). We know of only one copy in private hands, sold to a client of ours ten years ago. "This early album of broad caricatures hardly suggests what Lami was to become. Though he took ten of his plates from Rowlandson's Miseries of Human Life [London, 1808], he can hardly be accused of plagiarism, since he transposed the English artist's subjects to French settings, in effect making new creations of them. In plate 23 ["He! bonjour, mon cher Oncle."] the French officer treading on the gouty toe of his invalid uncle is quite a different figure from the English sea captain of Misery no. 11, while the properties beside the two valetudinarians testify to contrasting national habits. Nonetheless, the powerful influence of the English tradition of caricature on French comic artists of the 1820s could not be more clearly demonstrated than by these two albums. Quite as much as Rowlandson's aquatints, Lami's lithographs require color to be effective" (Ray, The Art of the French Illustrated Book). Eugène Lami (1800-1890). "This elegant and brilliant painter devoted much of his time to lithography between 1817 and 1833. The son of an Empire bureaucrat, [Lami] grew up in Paris. Beginning in 1815, he studied painting with Horace Vernet and afterwards in the studio of Baron Gros.To support himself he made lithographs for several albums, including in 1822 a Collection des uniformes des armées françaises, de 1791 à 1814.Lami paid his first visit to England in 1826, during which he drew the sketches which resulted in his Souvenirs de Londres.under [Henry Monnier's] guidance [he] comprehensively explored London and the countryside. Indeed, Monnier provided more than a third of the twenty-eight designs which make up Lami's finest album, the Voyage en Angleterre. It is here that for the first time Lami struck his distinctive note in lithography. These precise and sparkling plates, which show England in its most attractive aspects, brought the lithographic recording of the passing scene to an unprecedented level of grace and refinement. Lami's Tribulations de gens à équipages of 1827 and Six quartiers de Paris.treat French subjects in the same manner.After Lami gained recognition as a painter, he became a frequenter of the fashionable world, which he rendered with sympathy and brio. His chief albums of this kind are the charming Vie de château, published in two series in 1828 and 1833, and the Quadrille de Marie Stuart" (Ray, The Art of the French Illustrated Book, p. 203). Victor Champs (1844-1912). One of the most prolific and renowned Parisian bookbinders of the late 19th century. Bobins III, 941; Lemoisne, L'oeuvre d'Eugène Lami, p. 369; Lipperheide 3698; Ray 137; Not in Colas or Hiler.

First Edition. Scarce Awkward Clashes! Trés Amusant! Trés Rare Inopportune Social and Personal Events LAMI, Eugène. Les Contretems en Caricatures. Paris: Gide fils, 1823-24. First and Second Series Complete. First edition. Oblong octavo (7 5/8 x 10 5/8 in; 195 x 272 mm). Twenty-four hand-colored lithographs printed by Villain. The first two plates only are numbered. Loose in original boards as issued. The first plate with left-hand lower blank corner of expertly renewed (not affecting image), the second plate with a small area of discoloration in lower left blank margin (from repair to previous plate) and the third plate with two neatly repaired tears in the lower blank margin (not affecting image). Some minor marginal staining otherwise an excellent example of this very rare suite of plates in their original bindings. Quarter green and quarter dark blue roan over drab boards, each volume with original printed label on front cover. Housed together in a fleece-lined quarter black morocco clamshell case, spine with five raised bands decoratively ruled and lettered in gilt in compartments. An exceptionally scarce album, with no copies coming to auction within the last thirty-six years, and OCLC /KVK recording only three copies worldwide, at the Morgan Library; Princeton; and University of Miami. We know of only one copy in private hands, which we sold to a client of ours ten years ago. "This early album of broad caricatures hardly suggests what Lami was to become. Though he took ten of his plates from Rowlandson's Miseries of Human Life [London, 1808], he can hardly be accused of plagiarism, since he transposed the English artist's subjects to French settings, in effect making new creations of them. In plate 23 ["He! bonjour, mon cher Oncle."] the French officer treading on the gouty toe of his invalid uncle is quite a different figure from the English sea captain of Misery no. 11, while the properties beside the two valetudinarians testify to contrasting national habits. Nonetheless, the powerful influence of the English tradition of caricature on French comic artists of the 1820s could not be more clearly demonstrated than by these two albums. Quite as much as Rowlandson's aquatints, Lami's lithographs require color to be effective" (Ray, The Art of the French Illustrated Book #137). Eugène Lami (1800-1890). "This elegant and brilliant painter devoted much of his time to lithography between 1817 and 1833. The son of an Empire bureaucrat, [Lami] grew up in Paris. Beginning in 1815, he studied painting with Horace Vernet and afterwards in the studio of Baron Gros.To support himself he made lithographs for several albums, including in 1822 a Collection des uniformes des armées françaises, de 1791 à 1814.Lami paid his first visit to England in 1826, during which he drew the sketches which resulted in his Souvenirs de Londres.under [Henry Monnier's] guidance [he] comprehensively explored London and the countryside. Indeed, Monnier provided more than a third of the twenty-eight designs which make up Lami's finest album, the Voyage en Angleterre. It is here that for the first time Lami struck his distinctive note in lithography. These precise and sparkling plates, which show England in its most attractive aspects, brought the lithographic recording of the passing scene to an unprecedented level of grace and refinement. Lami's Tribulations de gens à équipages of 1827 and Six quartiers de Paris.treat French subjects in the same manner.After Lami gained recognition as a painter, he became a frequenter of the fashionable world, which he rendered with sympathy and brio. His chief albums of this kind are the charming Vie de château, published in two series in 1828 and 1833, and the Quadrille de Marie Stuart" (Ray, The Art of the French Illustrated Book, p. 203). Bobins III, 941; Lemoisne, L'oeuvre d'Eugène Lami, p. 369; Lipperheide 3698; Ray 137; Not in Colas or Hiler.

First Edition. Six Hand-Colored Lithographed Plates Depicting Military Scenes LAMI, Eugène, illustrator. Souvenirs du camp de Luneville. Par E. Lami. Paris: Delpech Editeur, 1829. Oblong folio (8 5/8 x 11 3/4 inches; 220 x 298 mm.). Lithographed wrapper as vignette title-page and six hand-colored lithographed plates. Plates lithographed by Delpech. All plates mounted on guards. Some light marginal foxing. Mid-twentieth century half blue cloth over marbled boards, front cover with maroon morocco label bordered and lettered in gilt. Smooth spine with maroon morocco label lettered horizontally in gilt. With the armorial bookplate of the Comte de Bourqueney on front paste-down. The Treaty of Lunéville, signed on February 9, 1801, was a significant agreement between the French Republic and the Holy Roman Emperor Francis II. This treaty brought an end to the War of the Second Coalition and had several notable territorial implications. It reestablished the Ligurian and Cisalpine republics under French influence. Following this treaty, Piedmont was re-annexed to France in September 1802, along with the islands of Elba and Piombino. Additionally, although the duchy of Parma was annexed by France in the early 1800s, this annexation was officially recognized only in 1808. Very scarce with just one copy located by OCLC in libraries and institutions worldwide at the Bibliotheque Nationale de France. The Plates: 1. Une Alerte 2. Bivouac sur la lisière d'un bois 3. Colonne de Carabiniers passant un guel 4. Conversions par Escadrons 5. La Messe 6. Suspension d' Armes "This elegant and brilliant painter [1800-1890] devoted much of his time to lithography between 1817 and 1833. The son of an Empire bureaucrat, [Lami] grew up in Paris. Beginning in 1815, he studied painting with Horace Vernet and afterwards in the studio of Baron Gros.To support himself he made lithographs for several albums, including in 1822 a Collection des uniformes des armées françaises, de 1791 à 1814.Lami paid his first visit to England in 1826, during which he drew the sketches which resulted in his Souvenirs de Londres.under [Henry Monnier's] guidance [he] comprehensively explored London and the countryside. Indeed, Monnier provided more than a third of the twenty-eight designs which make up Lami's finest album, the Voyage en Angleterre. It is here that for the first time Lami struck his distinctive note in lithography. These precise and sparkling plates, which show England in its most attractive aspects, brought the lithographic recording of the passing scene to an unprecedented level of grace and refinement. Lami's Tribulations de gens à équipages of 1827 and Six quartiers de Paris.treat French subjects in the same manner.After Lami gained recognition as a painter, he became a frequenter of the fashionable world, which he rendered with sympathy and brio. His chief albums of this kind are the charming Vie de château, published in two series in 1828 and 1833, and the Quadrille de Marie Stuart" (Ray, The Art of the French Illustrated Book, p. 203). Béraldi, Les Graveurs du XIXe siècle, IX, p. 37.

First Edition. Ten Charming Hand-Colored Lithographs of French Upper Class Country Life LAMI, Eugène. La Vie de château. [Second Series]. Paris: Chez Gihaut frères, éditeurs, [n.d., 1832-1833]. Oblong folio volume (10 1/4 x 13 1/8 inches; 260 x 333 mm.). Ten numbered hand-colored lithographed plates. Some light, mainly marginal foxing but still an excellent example of this very rare suite of hand colored lithographs. Contemporary quarter brown straight-grain morocco over dark maroon patterned cloth boards, smooth spine decoratively tooled and lettered in gilt, plain endpapers. With the bookplate of Bibliothek Fritz Kirchhoff on front pastedown. Head and tail of spine worn, joints cracked but firm. In this second series, all of the plates have the imprint: "I. lith. de Gihaut frères éditeurs," and plate Nos. 5, 6, and 7 are dated 1832. We have only seen this book once before - we sold both series together in 2010. "This elegant and brilliant painter devoted much of his time to lithography between 1817 and 1833. The son of an Empire bureaucrat, [Lami] grew up in Paris. Beginning in 1815, he studied painting with Horace Vernet and afterwards in the studio of Baron Gros. To support himself he made lithographs for several albums, including in 1822 a Collection des uniformes des armées françaises, de 1791 à 1814. Lami paid his first visit to England in 1826, during which he drew the sketches which resulted in his Souvenirs de Londres. under [Henry Monnier's] guidance [he] comprehensively explored London and the countryside. Indeed, Monnier provided more than a third of the twenty-eight designs which make up Lami's finest album, the Voyage en Angleterre. It is here that for the first time Lami struck his distinctive note in lithography. Lami's Tribulations de gens à équipages of 1827 and Six quartiers de Paris. treat French subjects in the same manner. After Lami gained recognition as a painter, he became a frequenter of the fashionable world, which he rendered with sympathy and brio. His chief albums of this kind are the charming Vie de château, published in two series in 1828 and 1833, and the Quadrille de Marie Stuart" (Ray, The Art of the French Illustrated Book, p. 203). Second Series Plates: No. 1. "L'arrivée. J'arrive bien crotté, bien mouillé, heureux de trouver la redingotte de mon hôte" No. 2. "La promenade après diner" No. 3. "La nôce de la fille du fermier" No. 4. "Les anglais du voisinage" No. 5. "Notre-Dame de Paris" No. 6. "La Course en Sac" No. 7. "La manie de la Gruelle" No. 8. "Le fils du fermier" No. 9. "Causeries du soir" No. 10. "Le départ pour la promenade" Bobins II, 534; Lemoisne, Lami, p. 383; Rahir, La Bibliothèque de l'amateur, p. 362.

2 VOLUMES GRAND IN-8 (20,5 X 27,5 X 10 CENTIMETRES ENVIRON) DE (4) + XV + (185) + 12 + (4) ET (4) + 6 + (77) PAGES, ENTIEREMENT MONTES SUR ONGLET, RELIURE DEPOQUE 1/2 MAROQUIN BRUN FONCE A COINS, DOS A CINQ NERFS, TITRE ET TETE DORES, NON ROGNE, RARES COUVERTURES GENERALES CONSERVEES (PETITOT RELIEUR). ILLUSTRE DE 100 + 48 LITHOGRAPHIES HORS TEXTE COLORIEES AU POCHOIR, TIREES SUR PAPIER GRIS, COUPEES PUIS COLLEES SUR PAPIER VELIN AU MOMENT DE LA RELIURE. EDITION ORIGINALE ET PREMIER TIRAGE. « L?OUVRAGE DE LAMI ET VERNET EST SANS CONTREDIT L?UN DES PLUS BEAUX QUI AIENT ETE FAITS SUR L?ARMEE FRANCAISE » (GLASSER 253-257). BEL EX-LIBRIS GRAVE DANS CHACUN DES VOLUMES DE HENRI MARCUS. RARE ENSEMBLE COMPLET DE SA SECONDE PARTIE CONCERNANT LES UNIFORMES DE LA RESTAURATION. QUELQUES FROTTEMENTS D?USAGE AUX NERFS, SANS GRAVITE, QUELQUES ROUSSEURS EPARSES SUR LES FEUILLETS DE TEXTE, SINON TRES BEL EXEMPLAIRE.