Brown leather spine with raised gilt banding, decoration and title. Green textured boards with gilt title on the front board.Top edge gilt. marbled endpapers.
F.B.A. provides an in-depth photographic presentation of this item to stimulate your feel and touch. More traditional book descriptions are immediately available.
100 Full-Page Illustrations, each with an accompanying text on the front section, each picture
page printed on one side only.
The Dore Gallery: A Descriptive Catalogue of the Pictures by M. Gustave Dore on view at 35, New Bond Street, London at the commencement of the 20th century.
The foundation of the Doré Gallery in Bond Street, London occurred in 1869. Blanchard Jerrold, the son of Douglas William Jerrold, suggested that they work together to produce a comprehensive portrait of London.
Paul Gustave Louis Christophe Doré 6 January 1832 – 23 January 1883 was a French artist, printmaker, illustrator, comics artist, caricaturist, and sculptor who worked primarily with wood-engraving. Doré was born in Strasbourg on 6 January 1832. By age 5 he was a prodigy artist, creating drawings that were mature beyond his years. Seven years later, he began carving in stone. At the age of 15, Doré began his career working as a caricaturist for the French paper Le journal pour rire. Wood-engraving was his primary method at this time. In the late 1840s and early 1850s, he made several text comics, like Les Travaux d’Hercule (1847), Trois artistes incompris et mécontents (1851), Les Dés-agréments d’un voyage d’agrément (1851) and L’Histoire de la Sainte Russie (1854). Doré subsequently went on to win commissions to depict scenes from books by Cervantes, Rabelais, Balzac, Milton, and Dante. He also illustrated “Gargantua et Pantagruel” in 1854.
In 1853 Doré was asked to illustrate the works of Lord Byron. This commission was followed by additional work for British publishers, including a new illustrated Bible. In 1856 he produced 12 folio-size illustrations of The Legend of The Wandering Jew, which propagated longstanding antisemitic views of the time, for a short poem which Pierre-Jean de Béranger had derived from a novel of Eugène Sue of 1845.
In the 1860s he illustrated a French edition of Cervantes’s Don Quixote, and his depictions of the knight and his squire, Sancho Panza, became so famous that they influenced subsequent readers, artists, and stage and film directors’ ideas of the physical “look” of the two characters. Doré also illustrated an oversized edition of Edgar Allan Poe’s “The Raven”, an endeavour that earned him 30,000 francs from publisher Harper & Brothers in 1883.
Doré’s illustrations for the Bible (1866) were a great success, and in 1867 Doré had a major exhibition of his work in London. This exhibition led to the foundation of the Doré Gallery in Bond Street, London. In 1869, Blanchard Jerrold, the son of Douglas William Jerrold, suggested that they work together to produce a comprehensive portrait of London. Jerrold had obtained the idea from The Microcosm of London produced by Rudolph Ackermann, William Pyne, and Thomas Rowlandson (published in three volumes from 1808 to 1810). Doré signed a five-year contract with the publishers Grant & Co that involved his staying in London for three months a year, and he received the vast sum of £10,000 a year for the project. Doré was mainly celebrated for his paintings in his day. His paintings remain world-renowned, but his woodcuts and engravings, like those he did for Jerrold, are where he excelled as an artist with an individual vision.
The completed book London: A Pilgrimage, with 180 wood-engravings, was published in 1872. It enjoyed commercial and popular success, but the work was disliked by many contemporary critics. Some of these critics were concerned by the fact that Doré appeared to focus on the poverty that existed in parts of London. Doré was accused by The Art Journal of “inventing rather than copying”. The Westminster Review claimed that “Doré gives us sketches in which the commonest, the vulgarest external features are set down”. The book was a financial success, however, and Doré received commissions from other British publishers.
Doré’s later work included illustrations for new editions of Coleridge’s Rime of the Ancient Mariner, Milton’s Paradise Lost, Tennyson’s Idylls of the King, The Works of Thomas Hood, and The Divine Comedy. Doré’s work also appeared in the weekly newspaper The Illustrated London News.
Doré never married and, following the death of his father in 1849, he continued to live with his mother, illustrating books until his death in Paris on January 23, 1883, following a short illness. The city’s Père Lachaise Cemetery contains his grave. At the time of his death in 1883, he was working on illustrations for an edition of Shakespeare’s plays. The government of France made him a Chevalier de la Légion d’honneur in 1861.
William Blanchard Jerrold (London 23 December 1826 – 10 March 1884), was an English journalist and author. He was born in London, the eldest son of the dramatist, Douglas William Jerrold. Due to his disagreements with the practices at the elite Mao (“Martin’s Academy at Old Slaughter’s”) school, where he was educated for two and a half years, he left school and began working on newspapers at an early age. He was appointed the Crystal Palace commissioner to Sweden in 1853 and wrote A Brage-Beaker with the Swedes (1854) on his return. In 1855 he was sent to the World’s Fair in Paris, the Exposition Universelle, as correspondent for several London papers, and from that time he lived much in Paris. In 1857 he succeeded his father as editor of Lloyd’s Weekly Newspaper, a post which he held for twenty-six years.
During the American Civil War, he strongly supported the North, and several of his leading articles were reprinted and placarded in New York City by the federal government. He was the founder and president of the English branch of the international literary association for the assimilation of copyright laws.
He is buried with his father at West Norwood Cemetery.
Four of his plays were successfully produced on the London stage, the popular farce, Cool as a Cucumber (Lyceum 1851), being the best known. His French experiences resulted in a number of books, most important of which is his Life of Napoleon III (1874). On his death, he was occupied in writing the biography of Gustave Doré, who had illustrated several of his books.
Among his books are:
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