Small 4to (200 x 150 mm), pp.  (blank), , 218,  (last 2 blank), with etched portrait of Gustave Dore by Lalauze after C. Duran in two states; a very good, uncut copy, preserving the original printed grey wrappers, bound in near contemporary brown morocco, elaborately gilt, with green morocco spine label, small chip to head of spine. With the large bookplate of N. Dujardin Van der Avoort, c. 1900.
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Gustave Doré had died in 1883. This is one of the first commemorative exhibitions of his drawings and prints. Here are 374 pieces listed (provenances are always given). This is also one of the earliest monographs on one of the most popular French illustrators of his time. George Duplessis, curator of the Print cabinet of the Louvre, and the acknowledged authority on French prints gives a chronologiical bibliography of Dore’s printed books and his contribution to periodicals. In 1876 Duplessis wrote a monograph on the other great French illustrator, Gavarni. The volume concludes with the funeral address given by Alexandre Dumas, on whose bust Dore worked just before he died, in the Père Lachaise cemetery.
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The Shepherd’s Calendar; with Village Stories and other Poems …
First edition. The Shepherd’s Calendar was a work of long gestation and many delays, partly because of the inchoate form in which Clare presented his original manuscript to Taylor and partly because of Taylor’s slash and burn editorial policy. Though the work was finally ready by November 1826, the first drawing for the frontispiece was deemed unsuitable and two months were lost as a second was made and engraved. The delays were not in Clare’s favour: tastes had moved on, the work was not a commercial success, and Clare was left with a stack of remainders. The Shepherd’s Calendar has since, however, acquired a critical reputation for its ‘extraordinary blend of observation and delicate fantasy’ (Jonathan Wordsworth, Visionary Gleam).