forest eugène hippolyte (8 risultati)

No Binding. Condizione: Near Fine. 1st Edition. Original Lithograph. One Of A Large Collection Of Original Antique Engravings Formed By A Southern California Artist In The Early To Middle Twentieth Century. Each Plate Has Small Glue Marks On Reverse Where They Were Tipped In To An Album. Eugene Hippolyte Forest (18089-1891) Was A French Painter And Lithographer.

No Binding. Condizione: Near Fine. 1st Edition. Original Lithograph. One Of A Large Collection Of Original Antique Engravings Formed By A Southern California Artist In The Early To Middle Twentieth Century. Each Plate Has Small Glue Marks On Reverse Where They Were Tipped In To An Album. Eugene Hippolyte Forest (18089-1891) Was A French Painter And Lithographer.

No Binding. Condizione: Near Fine. 1st Edition. Original Lithograph.Browning Alon Top 1" Of Entire Lithograpoh. One Of A Large Collection Of Original Antique Engravings Formed By A Southern California Artist In The Early To Middle Twentieth Century. Each Plate Has Small Glue Marks On Reverse Where They Were Tipped In To An Album. Eugene Hippolyte Forest (18089-1891) Was A French Painter And Lithographer.

No Binding. Condizione: Near Fine. 1st Edition. Original Lithograph. Browning In Entire Top 1 1/2" Of Liothograph. One Of A Large Collection Of Original Antique Engravings Formed By A Southern California Artist In The Early To Middle Twentieth Century. Each Plate Has Small Glue Marks On Reverse Where They Were Tipped In To An Album. Eugene Hippolyte Forest (18089-1891) Was A French Painter And Lithographer.

Condizione: Good. Honoré Daumier; J. J. Grandville; Paul Gavarni; Nicolas-Toussaint Charlet; Eugène Forest; Charles-Joseph Traviès De Villers; Hippolyte Bellangé (illustratore). 536 pages. 9-/18 x 12-1/4 inches. Cloth in dust-jacket. Fully illustrated with all color prints reproduced in color. La Caricature was the 19th Century equivalent and the precursor of Charlie Hebdo. The editor Charles Philipon employed the major satirical artists of the mid-19th Century notably Daumier, Grandville, E. Forest, Charlet, Bellangé , Traviès, Raffet and Gavarni. It appeared for five years, between 1830-1835. The main subjects of the caricatures were Louis-Philippe and his entourage of July Monarchy politicians. Louis-Philippe, son of the Duke of Orléans, came to power after the 1830 Revolution as the Citizen King. However, he was not amused by the caricatures and once put Daumier in prison for 6 months, before suppressing the whole publication in 1835. He became more and more authoritarian and was finally forced to abdicate during the 1848 Revolution. The plates are numbered 1-524, but approximately 62 are double sheets so there are actually 462 separate prints. Georges Vicaire catalogued the 251 issues and 524 plates in 1895. However they have never been reproduced in a catalogue, nor has there been an English language discussion or catalogue of the corpus of prints Alan Wofsy Fine Arts of San Francisco will be publishing the first illustrated catalogue of all the lithographs that were published in La Caricature, 1830-1835 in the Spring of 2017. All of the works are described in French and English and are arranged in the order they appeared in the original publication. There is an index by artist and the catalogue by Georges Vicaire from 1895 is also included. Many of the artists contributed anonymously and were not identified by Vicaire but are now identified. Where there were no descriptions of the plates in the original publication (about 60 of the 462), this new edition now provides descriptions in French.There are essays in English are by Gordon Norton Ray and Edwin De Turck Bechtel and in French by Henri Beraldi and Georges VicaireThe general editor and designer is Corine Labridy-Stofle, a PhD candidate at the University of California, Berkeley.Melissa Bender, PhD, a lecturer at the University of California, Davis, and Joanna Oseman, a professional translator, have provided insightful English language descriptions of each of the caricatures. Alan Hyman, the editor of many catalogues raisonnés, is the Lektor.________________________Au XIXe siècle, La Caricature fut l'équivalent et le précurseur de Charlie Hebdo. Charles Philipon, son téméraire éditeur, y a rassemblé les grands plus artistes satiriques du milieu du siècle, notamment Daumier, Grandville, E. Forest, Charlet, Bellangé et Gavarni. Elle fut publiée pendant cinq ans, entre 1830-1835. Les principaux sujets des caricatures furent Louis Philippe et son entourage de politiciens, intronisés lors de la Monarchie de Juillet. Surnommé le Roi citoyen, Louis Philipe, fils du duc d'Orléans, arriva au pouvoir après la révolution de 1830. Malmené par Philipon et ses caricaturistes dès le début de son gouvernement, Louis Philipe n'était pas amusé par les dessins humoristiques qui le représentaient bien souvent sous les traits d'une poire. De rage, il fit même incarcérer Daumier, pendant 6 mois, puis bâillonnât enfin la publication pour de bon en 1835. Le Roi citoyen fut finalement forcé d'abdiquer lors de la révolution de 1848. Les planches sont numérotées de 1 à 524, mais environ 62 d'entre elles sont des planches doubles. Il y a donc 462 estampes distinctes. Georges Vicaire, le célèbre bibliographe, avait catalogué les 251 numéros de la publication et les 524 planches en 1895. Cependant, ils n'ont jamais été reproduits dans un catalogue, et il n'en existe aucune traduction en langue anglaise. Alan Wofsy Fine Arts publiera le premier catalogue illustré de toutes les lithographies qui ont été publiées dans La Caricature entre 1830 et 1835. La rédactrice est Corine Stofle, candidate au doctorat à l'Université de Californie, Berkeley. Toutes les ?uvres sont décrites en français et en anglais et seront disposées dans l'ordre chronologique de leur apparition dans la publication originale. Il y a un index par artiste, ainsi que le catalogue de Georges Vicaire de 1895. Il y a plusieurs essais de spécialistes de l'époque.

Eugène Hippolyte Forest (illustratore). Paris : Hippolyte Souverain (imprimerie Dezauche), 1832. - In-8, 200 x 127 : frontispice, (2 ff.), VII, 360 pp., (1 f.). Demi-veau glacé rouge, dos lisse orné, tranches marbrées (reliure de l'époque). Seconde édition très augmentée de ce recueil de textes littéraires et études critiques extraits de La Caricature, publiée par Auguste Audibert sous le pseudonyme de Jean-Louis. Elle réunit 51 textes répartis dans 9 catégories : M?urs de convention. - M?urs politiques. - Battements de c?ur. - Fatalités. - M?urs ecclésiastiques. - M?urs d'artistes. - M?urs populaires. - Silhouettes. - Florentine. Les textes sont pour la majorité d'Auguste Audibert, alors rédacteur en chef de La Caricature mais plus de 10 seraient de la main d'Honoré de Balzac qui avait donné sous divers pseudonymes une trentaine d'articles au journal jusqu'en février 1831. L'édition est illustrée d'un frontispice représentant l'auteur caché derrière un journal, gravé sur bois par Cherrier d'après une composition d'Eugène Hippolyte Forest (1808-1891). Il ne figurait pas dans l'édition originale. Bel exemplaire en reliure strictement d'époque, comprenant le frontispice sur chine collé. La pièce liminaire intitulée Complot littéraire et formée de 3 feuillets, a été rapportée. Nous n'avons pas pu comparer notre exemplaire avec un autre de la même édition, mais il est possible que tous contiennent ces 3 feuillets rapportés, pris dans les exemplaires de l'édition originale restants. Cette hypothèse est appuyée par l'absence de mention de ce texte liminaire dans la table. Frottements d'usage au dos et sur les plats, deux coins légèrement émoussés. Fragilité au mors supérieur du second plat. Rousseurs éparses sans gravité, déchirures à quelque pages. Provenances : M. & H. Hocquette, avec ex-libris.

Condizione: sehr guter Zustand. Pinsel in Braun, über Bleistift, auf chamoisfarbenem Velin, verso bezeichnet par Eug. Forest". 22,9:19,4 cm. Verso zur Übertragung auf einen anderen Bildträger gerötelt sowie Reste einer alten Verklebung am linken Rand., mit vertikaler Knickfalte. Der als Maler und Lithograph tätige Künstler war Schüler von C. Roqueplan (1800 od. 1803-1855) und beschickte 1847-66 den Salon in Paris mit Landschaften. Er war Mitarbeiter von J.J. Grandville (d.i. J.I.I. Gérard, 1803-1847) an den Zeitschriften La Caricature", La Silhouette" und L'Illustration". Er illustrierte verschiedene literarische Werke.

First Edition. A Parisian Theater of Illusion - Six Transforming Lithographs from the Aubert Circle A Rare Complete Suite of Hand-Colored "Images à Système," Satirizing Marriage, Money, and the Myth of Paris [FOREST, Eugène-Hippolyte]. Musée Populaire. Paris: Chez Aubert, rue du Croissant; lithographed by V.-H. Delaporte, after designs attributed to Eugène Forest, [ca. 1835-1845]. Folio (10 1/2 x 14 inches; 267 x 356 mm.). A complete suite of six hand-colored lithographs with movable flaps, each revealing a second, contrasting scene beneath. Each plate with printed captions and mounted on stubs. An excellent and unusually well-preserved set with the hand-coloring fresh and attractive. All of the flaps are present and functional. Some scattered marginal foxing, but not affecting the colored images. Mid-20th century red cloth over boards, front cover with black morocco label lettered in gilt: "Musée Populaire." An Exceptionally Rare Survival of Early Interactive Print Culture. A remarkably scarce and visually striking survival from the great age of Parisian caricature: a complete set of six "images à transformation" - mechanical lithographs in which a lifted flap reveals a second, often ironic or subversive scene. Issued by the celebrated publisher Aubert, at the center of the Philipon/Daumier/Grandville milieu (La Caricature, Le Charivari), these prints belong to a short-lived but highly inventive genre that combined: social satire; theatrical staging, and a proto-interactive mechanism. Long before the illustrated book embraced novelty and movement, these sheets invited the viewer to participate in the joke - to uncover, quite literally, the truth beneath appearances. The Plates: 1. Père avare / Enfant prodigue Miserly restraint contrasted with reckless excess - an archetypal moral inversion. 2. Avant le mariage / Après le mariage Courtship idealism gives way to domestic reality; one of the most biting commentaries in the series. 3. Le matin / Le soir The transformation of daily life - freshness into fatigue, illusion into routine. 4. Tout ce qui reluit n'est pas or A visual proverb: glittering appearances dissolve into disappointment. 5. La mariée de ville / La mariée de village Urban sophistication versus rustic innocence - an elegant satire on fashion, class, and expectation. 6. Un an à Paris / Un jour à Paris Perhaps the sharpest plate: the promise of Parisian life set against its immediate disillusionment. Artistic & Historical Context. The designs are attributed to Eugène Forest, a contributor to the Aubert circle, and a frequent co-artist of Grandville. They were lithographed by Victor-Hippolyte Delaporte, whose workshop was closely associated with the production of caricature prints for the Parisian press. The series stands at the intersection of Grandville's transformation imagery and the moralizing tradition of French popular prints and early forms of optical and mechanical amusement prints. Yet unlike purely decorative or juvenile works, these are unmistakably aimed at an adult, bourgeois audience, engaging directly with the anxieties of Marriage; Money, Social Mobility and the seductive myth of Paris itself. Complete sets are decidedly rare: we can find no complete examples in libraries & institutions worlwide. A few institutions (e.g., Carnavalet) have single sheets only. A complete suite of six, intact and functional, is a great rarity on the market. These are not merely prints - they are performances. Each sheet stages a small drama of expectation and revelation, inviting the viewer to lift the curtain and confront the truth beneath polite society. In their wit, construction, and survival, they represent one of the most engaging - and elusive - forms of early 19th-century visual culture.