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734:). These attacks on monarchy were taken seriously and were not without consequences. Louis Philippe's regime seized papers, levied fines, and sent editors, writes, and illustrators to prison. Daumier was fined 500 francs and spent six months in prison in 1832. Charles Philipon received even greater fines and longer prison terms as did other publishers. Grandville endured persistent harassment from the police, including searches, and one incident described as a mugging in his own building by thuggish policemen, foiled by a neighbor who confronted them with pistols. He is said to have been deeply distressed by these events. Grandville filed criminal charges asserting the police had entered his residence by force, and he later published a lithograph
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308:, Meurthe-et-Moselle, in northeastern France. His parents called him Adolphe, a name that originated from an older brother who had died three months before Grandville was born, and a name that followed him through the rest of his life. His father, Jean-Baptiste Gérard, was a noted painter of miniatures. He inherited his father's talent and exhibited an aptitude for drawing at an early age. He received his earliest education in art from his father and several authors have noted his father's influence on his draftsmanship and dense compositions, even in his mature work. Another painter of miniatures and lithographer, Léon-André Larue, called Mansion, was a relative who encouraged Grandville to go to Paris and learn lithography.
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coming into vogue, and opportunities for draftsmen and illustrators were also on the rise among the publishers and lithography studios in Paris at that time. Grandville was drawn to and influenced by the satirical prints, caricatures, and illustrations (often political) that were growing in popularity in France. Sources differ on the exact year and age, but after completing school, c. 1823–1825, Grandville moved to Paris and began pursuing a career in illustration and lithography. One account states his first lithograph titled
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328:. He began using his pseudonym, "Grandville" in Paris. It was derived from "Gérard de Grandville", his paternal grandparents stage name when they were actors and worked in the court of Lorraine. The pseudonym Grandville appeared in numerous variations throughout his career, including Grandville, Jean-Jacques Granville, J. J. Grandville, Jean Ignace Isidore Grandville, J. I. I. Grandville, Jean de Granville, and other variants. He designed illustrations for decks of playing cards and worked with
1225:, and his correspondence with publishers reflect a clear and rational mind anticipating future projects. By all accounts the sudden illness and death of his third son George affected him deeply, some saying this occurred "around late 1846 or early 1847", others place it only three days before his own death. On March 1, 1847, Grandville begin suffering from a sore throat and his condition progressively deteriorated over the following weeks. It has been speculated he had
429:), a set of 70 color lithographs published in 1829. In this series, figures with human bodies but the heads of various animals, from fish to elephants, are depicted acting out a human comedy, perceptively satirizing the bourgeois of Paris and human nature in general. It established his reputation with the public and he was thereafter sought after as an illustrator by publishers and periodicals. In 1830 he published
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appearing before the authors on the title page, in which his illustrations were equally as important as the text, if not the main focus of the book. Not surprisingly some of his finest work and that for which he is best remembered today appeared in this period. Most of the authors he worked with had some past connections or background with the radical press of the early 1830s. The first was
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July 1833 he married a cousin from Nancy, Marguerite
Henriette Fischer and the couple maintained an apartment close to his studio, and rented a house near the outskirts of town. In 1834 their first son Ferdinand was born. A second son, Henri, was born in fall of 1838, but tragedy soon struck the family. Marguerite's health is said to have declined with each birth and Ferdinand died of
167:) throughout his career. Art historians and critics have called him "the first star of French caricature's great age", and described his illustrations as featuring "elements of the symbolic, dreamlike, and incongruous" while retaining a sense of social commentary, and "the strangest and most pernicious transfigurement of the human shape ever produced by the Romantic imagination". The
1803:, or the other surrealists in the formative years of the movement in the 1920s. After a period of relative obscurity in the early 20th century, Grandville's work became widely reproduced in the 1930s. Renewed interest in his work coincided with the rise of surrealism as a mainstream movement. It was apparently only in hindsight that André Breton,
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end-cut wood engravings, fine detail could be achieved on the hard end grain of wooden blocks, that could then be placed with the typographical blocks and printed on the same page with the text, lowering cost, and increasing the speed and quality of illustrated texts. Wood engravings also deteriorate less quickly than metal plates used for
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942:. While his illustrations for classic prose include some fine, if conventional illustrations, they did not provide him with the opportunity to give free range to his imagination. He had a greater affinity for children's literature, that shows in his illustration for La Fontaine Fables, and later the Fables of Lavalette and
441:), a series of nine lithographs in which death, in the form of a variously dressed skeleton, pays visits to a variety of Parisians, and is finally seen triumphantly leading a parade of young soldiers to their fate. Printing was stopped after only few copies were made due to the dark theme, which was possibly inspired by
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A romanticized myth emerged around
Grandville's death that persisted for 150 years or more. Traditional accounts asserted Grandville's bizarre imagery was symptomatic of a disturbed mind, and the death of his family left him gray-haired and hunchbacked by the time he was forty, ultimately sending him
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later that month. Grandville remarried in
October 1843 to Catherine Marceline Lhuillier (1819–1888) who was the mother of his fourth son Armand, born in 1845. One source states that from her deathbed, his first wife Marguerite, had a hand in selecting Catherine as a second wife and stepmother for her
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periodicals about 1831, he typically turned his original drawings over to publishers who had professional lithographers copy his images for printing. Color was sometimes added in colorist studios, almost always women, who applied watercolor or gouache by hand, following notes supplied by the artists.
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was among the milieu and later wrote of the time, "If we had money, we had beer. If not, we were happy just to smoke, joke and argue." Grandville was described as a thin, somewhat quiet, and at times melancholy man, although Dumas noted he also had a sharp wit and a competitive side to him. It was in
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There are superficial people whom
Grandville amuses, but as for me, he frightens me. When I enter into Grandville's work, I feel a certain discomfort, like in an apartment where disorder is systematically organized, where bizarre cornices rest on the floor, where paintings seem distorted by an optic
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in the early 1830s, where Balzac worked as an editor, and caricatures were an integral part of the newspaper. However in the 1840s, when publishers begin including illustrations in books, Balzac became more critical. He believed illustrations competed with the written word, distorted and diluted the
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includes a short chapter on
Grandville. Over 25 years after Grandville's death, Gautier wrote that Grandville still enjoyed "a popular reputation and whose drawings, caricatures, and illustrations are known to everyone". Although Gautier judged Grandville less a colorist than Daumier and less a poet
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were passed in 1835, he was a 31-year-old husband, and a father. He quit producing political cartoons after the
September Laws and turned to illustrating books. It has been postulated that he was relieved and even happy to leave the politics and police harassment behind at this point in his life. In
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and "the fire" of book-burning), criticizing censorship of the press, was published in June 1830 and quickly proscribed by the government. La
Silhouette had a short run (December 1829 – January 1831), folding after the administration's fines and pressure. It was only one in a succession of papers of
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He married his cousin
Marguerite Henriette Fischer in 1833 and they had three sons, but Marguerite and all three sons predeceased him, all on separate occasions. He remarried in 1843 to Catherine Marceline "Céline" Lhuillier and they had one son, Armand in 1845. Traditional accounts say that he went
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of Paris next to his first wife and three sons. The artist wrote his own epitaph, translations vary: "Here lies
Grandville; he loved everything, made everything live, speak, and walk, but he could not make a way for himself." or "Here lies J. J. Grandville. He could bring anything to life and, like
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By the early 1840s, Grandville was increasingly illustrating books that were centered around his images. Working in collaboration with publishers and contemporary
Parisian writers, he was at times given free regain of his imagination and the images. He produced about one book a year, his name often
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Grandville adapted and refined his style in switching from cartoons to book illustrations, which coincided with the evolving printing technology and a shift from lithography to wood engraving. Previously, illustrations were typically printed on separate pages that were inserted into the text. With
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The business of caricaturing was financially tenuous. The papers typically paid cartoonists by the print and artist considered themselves lucky to receive a contract for drawing on a regular basis. Grandville had made his earlier lithographs himself, but after he started producing cartoons for the
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had only recently been invented in Germany in the 1790s and was rapidly gaining popularity in Paris as a fast and cheap alternative to engraving and etching, for mass-producing prints and illustrated publications. In a period of social and political turmoil, inexpensive illustrated newspapers were
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wrote in his memoirs: "Grandville had a delicate and sarcastic smile, eyes that sparkled with intelligence, a satirical mouth, short figure, large heart and a delightful tincture of melancholy perceptible everywhere — that is your portrait, dear Grandville!" Interest in Grandville's art remained
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as cartoonist and lithographers. As one author put it "From 1830 to 1835 Philipon and La Caricature waged all-out war against Louis-Philippe." As part of this "war" Grandville designed numerous prints, including multi-part lithographs published over a period of weeks that collectors could piece
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in 1832, in which political attacks were more subtle, oblique, and veiled and the cartoons often addressed broader, less political, social satire. Grandville, Philipon, and Daumier, achieved a level of celebrity status among factions of the public, as much for their defiant opposition as their
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soon followed, with censorship of the press and significantly longer prison sentences for publishing criticisms of the king and his administration. Caricatures required approval from the government before they were published and the press was forbidden to report on trials involving the press.
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Un autre monde: Transformations, visions, incarnations, ascensions, locomotions, explorations, pérégrinations, excursions, stations, cosmogonies, fantasmagories, rêveries, folâtreries, facéties, lubies, métamorphoses, zoomorphoses, lithomorphoses, métempsycoses, apothéoses et autres
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life in the late 1820s and early 1830s, renting in a small room on the upper floor of a building which is said to have been crowded with pens and papers where he drew incessantly. It became a gathering place for artist, writers, singers, lithographers and others. The painter
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Another world: Transformations, visions, incarnations, ascents, locomotions, explorations, peregrinations, excursions, stations, cosmogonies, phantasmagoria, reveries, frolics, pranks, fads, metamorphoses, zoomorphoses, lithomorphoses, metempsychoses, apotheoses and other
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Though the designs of Grandville are occasionally unnatural and absurd, they usually display keen analysis of character and marvellous inventive ingenuity, and his humour is always tempered and refined by delicacy of sentiment and a vein of sober thoughtfulness.
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mad and died in an insane asylum; however, recent authors say that although the hospital where he died in Paris, Maison de Santé in Vanves, did treat the mentally ill among other illnesses, he was not "mad" and likely died of a throat infection, possibly
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is known to have fought with the workers and it is possible that Grandville and others in his circle participated in the fighting as well. Several satirical republican periodicals begin to emerge in Paris at this time, including La Silhouette, Tribune,
651:, Corsaire, Réformateur, Bon Sens, Populaire, and others. These papers were often political, provocative, and pressed the issue that the workers had been pivotal in bringing Louis Philippe to power, but were now dismissed by the new monarchy.
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relatively high for a few of decades after his death. His final works were published posthumously and several of his books were reissued in later editions and translated into other languages. Rue Grandville (48.83919°N, 2.42015°E), in the
1118:), a satirical compilation of articles and short stories, first published in serial form over a couple of years, then in a two volume set in 1842, with 320 wood engravings by Grandville. Multiple authors contributed to the books including
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into a family of artist and actors and received his earliest instruction in drawing from his father. He moved to Paris about 1823–1825 and began designing illustrations. His reputation was established in 1829 when he published a set of 70
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1193:) in 1844, regarded by many as Grandville's masterpiece and ironically the least successful volume in his lifetime. Delord, a writer and critic who was editor-in-chief of Le Charivari and later entered French politics, also wrote
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over the edge into madness, and he died in an insane asylum. However, recent scholarship does not support this tale. In the days and weeks before his death Grandville was still producing some of his finest drawings, such as
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962:. Grandville did not engrave the wooden blocks himself. Typical of 19th century illustrators, he provided his original drawings to his publishers which were then carved by professional engravers for his book illustrations.
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and others came to recognize Grandville as a significant precursor to the movement (but not an influence). Max Ernst was particularly enthusiastic about Grandville's work and included him in a montage of 40 names, titled
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Philipon organized L'Association Mensuelle lithographique which offered fine prints to its members in the early 1830s. Grandville produced over half the prints, with the profits going to pay the paper's fines.
1763:, both of which involve subjects from the two dimensional surface of a painting emerging from the canvas into the real three dimensional space of the viewer. Janson asserted that Grandville's illustration
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1509:
1653:, he stated, "His original pen-and-ink drawings are exquisite in finesse, liveliness, and well rendered, and will gain in value year after year. We can ape Grandville, but will not equal it again."
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Grandville's parents had friends and family in Paris working in the theater who provided work and connections early on, including a relative, Frédéric Lemétheyer, who was a stage manager in the
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about the time Henri was born. In 1841 Henri choked to death on a piece of bread while his parents helplessly watched. A third son, Georges, was born in July 1842 but, Marguerite died of
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The success of Grandville's previous lithographic series led to invitations to design cartoons for these papers. The first of these was the satirical paper La Silhouette where his friend
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275:(1846). Grandville typically made drawings for publishers that were later copied into lithographs and woodcuts by professional engravers, only occasionally did he make his own prints.
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912:, first published with 38 wood engravings in 1835, and an expanded edition with 100 engravings in 1837. This was followed by several volumes of classic literature, including as
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628:. These same republican workers were rapidly marginalized as the bourgeoisie appropriated the social, economic, and political gains of the revolution to their own ends.
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1668:(1842) which was one of the bestsellers of the 1840s, selling 25,000 copies, while Balzac's first edition novels of the period were only selling 1,200–3,000 copies.
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Grandville's ability for political provocation made his work much in demand. He worked in a wide variety of formats, from his first job illustrating the parlor game
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lens, where objects are deformed by being shoved together at odd angles, where furniture has its feet in the air, and where drawers push in instead of pulling out.
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similar content, many of which buckled under government pressure, and in some cases the same editors, writers, and illustrators moved from one paper to the next.
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223:. After strict censorship laws were passed and threats from the police in 1835, Grandville turned to book illustration. He illustrated several classics such as
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The Diary of J. J. Grandville and the Missouri Album: The Life of an Opposition Caricaturist and Romantic Book Illustrator in Paris under the July Monarchy.
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The Diary of J. J. Grandville and the Missouri Album: The Life of an Opposition Caricaturist and Romantic Book Illustrator in Paris under the July Monarchy.
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expressed ambivalent views of Grandville. He was an enthusiastic supporter and collector of Grandville's early print series, and the two worked together at
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for his study of that city as an urban organism. One of Grandville's supreme achievements, at a time when French printing technology was ascendant, was
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cartoons. His political cartoons enjoyed great popularity with the public and were held in high regard by many. Publishers and editors such as
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773:", an unsuccessful assassination attempt on King Louis Philippe occurred on July 28, 1835, the fifth anniversary of the July Revolution. The
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The first major undertaking in book illustration that Grandville undertook was a volume of song lyrics by the popular French songwriter
616:, the "Three Glorious Days" (July 27–29) saw the liberal, republican, working class of Paris fighting in the streets to bring down the
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text, and were undermining the market for novels, perhaps with some justification. Balzac contributed chapters to Grandville's
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At the outbreak of the July Revolution of 1830, Grandville was a 26-year-old bachelor living a bohemian life. By the time the
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figures that populated his cartoons anticipated and influenced the work of generations of cartoonists and illustrators from
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257:. In later years his books were increasingly centered around his illustrations, with the text written for his images e.g.
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2701:(The Association of Monthly Lithographs), 16 lithographs, 1 etching, 1 engraving, periodical illustrations, 1832–1834
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677:(c. 1835): Grandville produced this picture of himself in response to threats from the police regarding his cartoons.
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in 1826. That set was followed by additional series including 12 lithographs created for the printer Langlumé titled
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and others producing provocative political cartoons for periodicals that were highly critical of the new monarchy of
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1783:) in 1966. Grandville's affinity with surrealism has been recognized since the 1930s. His work was included in the
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151:(13 September 1803 – 17 March 1847) was a prolific French illustrator and caricaturist who published under the
1895:" also featured one of this characters on the back of the sleeve and as the basis for a picture disc release.
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3314:
History of Art: A Survey of the Major Visual Arts from the Dawn of History to the Present Day. 2nd. edition.
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of Le magasin pittoresque, as gave Grandville the freedom to choose his own subjects and create his images.
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1959:
1696:, felt frightened by the images of Grandville. Today his criticisms read like an underhanded compliment.
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Edition d'Art Albert Skira/Rizzoli International Publishing. New York, N. Y. 269 pp. (pages 148–158)
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published in 1846 and a great success, was the last book completed and published in his lifetime.
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God, he made it live, talk and walk. Only one thing eluded him: how to live a life of his own."
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A posthumous portrait of Grandville by Pierre-Gustave Staal (c. 1850), engraving, 28.4 x 19 cm.
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2731:), 38 wood engravings, Fournier et Perrotin, Paris, 1835 (100 wood engravings in 1837 edition)
332:, a painter and ballet set designer in Paris, for whom he produced a set of color lithographs
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451:. However, it did succeed in gaining him more notoriety and the admiration of a few such as
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2906:), text by Taxile Delord, 2 wood engravings, 50 engravings, Gabriel de Gonet, Paris 1846
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featured animated versions of the illustrations inspired by Grandville, and the single "
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3300:. Présent, October 1. (Yves Florence editor. 1971. Paris Gallimard. Vol. I, page 349.)
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Digestion of the Budget: Administrative, Political, Moral and above all Economic Work
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The allegorical artist and the cries of history: Benjamin, Grandville, Baudelaire.
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1771:, must have been familiar to pop artists producing large scale sculptures such as
1447:, to illustrated newspaper strips of which he was a master. His illustrations for
1229:. He was eventually taken to a private clinic, 8 Maison de Santé in Vanves, where
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who sometimes published under the pseudonym "Old Nick". Old Nick also coauthored
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Would you like to go up to my place, my little sir, You will not be disappointed!
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worked. He died there on March 17, 1847 and was buried in the Cimetière Nord of
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Les Dimanches d'un bourgeois de Paris ou Les tribulations de la petite propriété
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946:, collectively ranking among his finest work. He made a series of drawings for
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2070:(1843–44), preliminary drawings: graphite, pen & ink, some with watercolor
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Texas Scholar Works, University of Texas at Austin. (accessed July 28, 2022).
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Fighting for the page: Balzac, Grandville and the power of images, 1830–1848.
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1727:(1847), wood engraving. The original drawing was made 12 days before he died.
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Jean Ignace Isidore Gerard, "Grandville", was born on September 15, 1803, in
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University of Missouri Library, Special Collections. (accessed 6 July 2022)
2846:(The Illustration), 17 wood engravings, periodical illustrations, 1843–1845
2840:), by Old Nick & Grandville, 222 wood engravings, Fournier, Paris, 1843
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1618:(c. 1835), pen and ink with gouache 11.8 x 9.4 cm., Cleveland Museum of Art
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191:. He has also been called a "proto-surrealist" and was greatly admired by
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2707:(The Picturesque Store), 67 woodcuts, periodical illustrations, 1833–1857
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pointed out the absence of any reference or recognition of Grandville by
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with a caption reading "A new world is born. All praise to Grandville."
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Perhaps his most original contribution to the illustrated book form was
2804:), 21 etchings, Paulin et Hetzel, Paris, 1841 (33 etchings in 1847 ed.)
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As La Caricature was collapsing, Philipon launched yet another review,
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2689:(The Caricature), 120 lithographs, periodical illustrations, 1830–1835
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2858:), text by Taxile Delord, 185 wood engravings, Fournier, Paris, 1844.
1808:
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2695:(Le Charivari), 106 lithographs, periodical illustrations, 1832–1835
2683:(The Silhouette), 9 lithographs, periodical illustrations, 1829–1831
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Fairleigh Dickinson University Press. Madison, New Jersey. 354 pp.
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Institute for the Arts, Rice University. Houston, Texas. 159 pp.
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and alternate pieces for most of the subsequent single releases:
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2924:, 18 wood engravings, 8 engravings, Ad Mame et Cie, Tours, 1848
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1678:, was not a fan of Grandville. It seems odd that the author of
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414:, an editor and lithographer with the newspaper La Silhouette.
84:
2745:), 258 wood engravings, Fournier et Perrotin, Paris, 1838–1840
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by Ernest Bussière was erected in the Parc de la Pépinière in
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of 1830 and the turbulent years that followed, he worked with
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French Government Attack on the Freedom of the Printing Press
3336:. The Museum of Modern Art. New York. 248 pp. (page 209-210)
3102:
The Wonderfully Odd World of French Artist J. J. Grandville.
828:(1833), L'Association Mensuelle No. 10, 23.4 x 33.7 cm.
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Chartwell Books, Inc. Secaucus, N. J.304 pp. (pages 87-88)
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commune of Paris, is named in his honor. A monument with a
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noted Grandville's imagery anticipated various aspects of
1522:) undated, pen and ink, watercolor, 18.2 x 25.6 cm,
1459:, a series of images that are both poetic and satirical.
354:), in 1826. Subsequent collections included 53 prints in
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Madison, NJ: Fairleigh Dickinson University Press, 2010
3030:
Chartwell Books, Inc. Secaucus, N. J.288 pp. (page 99)
1558:(1835), pen, ink, and watercolor, 12.5 x 21.3 cm.,
608:
Pen drawing for a fan project (Maison de Balzac, Paris).
3485:
free, available files : html, epub, kindle, text.)
2991:
Weird and Wonderful Images from Artist J.J. Grandville.
1926:
Grandville's art is used extensively in the video game
624:, who was replaced by his more liberally minded cousin
3361:
Hofmann, Werner, Wieland Schmied, Werner Spies. 1973.
3316:
Harry N. Abrams, Inc., Publishers. New York. 767 pp.
3226:
Paulson, Noelle C. 2011. Book Review: Clive F. Getty.
736:
Oh!! Les vilaines mouches!!(Oh!! These nasty flies!! )
392:(1830), hand-colored lithograph, alluding to syphilis.
3355:
3352:
Harry N. Abrams, Inc., Publishers. New York. 525 pp.
2828:), 320 wood engravings, Hetzel et Paulin, Paris, 1842
2792:), periodical illustrations, 18 wood engravings, 1840
2761:, 346 wood engravings, Fournier et Furne, Paris, 1838
1932:, which is set during a fictionalized version of the
1175:
One Hundred Proverbs: Text by Three Heads in a Bonnet
300:
Grandville, Self-portrait (c. 1820–1822), pen-and-ink
2879:
Jérôme Paturot à la recherche d'une position sociale
2425:
Jérôme Paturot à la recherche d'une position sociale
1923:
was greatly inspired by Grandville's illustrations.
1207:
Jérôme Paturot à la recherche d'une position sociale
1171:
Cent proverbes: têxte par trois Tetes dans un bonnet
798:(1832), La Caricature, No. 62, 21.7 x 26.5 cm..
410:
this period that he met the charismatic 28-year-old
266:
Cent proverbes: têxte par trois Tetes dans un bonnet
3272:
Charpentier et cie. Paris. 464 pp. (pages 231-233).
541:
Would you like to have lunch with us, mother Pilon?
3298:crits sur l’art, Quelque caricaturistes françaises
3137:. Vol. 11 (11th ed.). 1911. p. 765.
658:was working as an editor. Grandville's lithograph
3290:
3222:
3220:
3187:
3185:
3183:
3181:
3179:
3177:
3175:
3121:
3119:
3117:
3115:
3113:
3111:
2249:In a Case Attached to the Bottle was a Manuscript
2235:200 Trombones Performing a Tune from the Symphony
1945:La Fontaine 's Fables (1838–1840) wood engravings
1205:), completed in 1846 and published posthumously.
813:(1832), La Caricature, No. 82, 16.7 x 31 cm.
3530:
3308:
3306:
3002:
3000:
2917:The Ingenious Gentleman Don Quixote of La Mancha
2868:One Hundred Proverbs: by Three Heads in a Bonnet
2826:Scenes of the Private and Public Life of Animals
1755:(1918) could have been inspired by Grandville's
1116:Scenes of the Private and Public Life of Animals
3344:
3342:
3249:
3065:
3063:
2984:
2982:
2821:Scènes de la vie privée et publique des animaux
1709:His style and humour had a marked influence on
1666:Scènes de la vie privée et publique des animaux
1540:(undated), pen & ink, 9.9 x 11.7 cm.,
1451:("The Devil In Paris"; 1844–1846) were used by
1111:Scènes de la vie privée et publique des animaux
966:Book illustrations (after 1836) wood engravings
3260:
3217:
3172:
3154:
3152:
3150:
3148:
3146:
3144:
3108:
3095:
3093:
3091:
3089:
3087:
3085:
3083:
3081:
3061:
3059:
3057:
3055:
3053:
3051:
3049:
3047:
3045:
3043:
3020:
2966:
2964:
2962:
2960:
2958:
2911:L'Ingénieux hidalgo Don Quichotte de La Mancha
2863:Cent proverbes: par trois Tetes dans un bonnet
1863:used part of his artwork for their 1991 album
660:Let's Put Out the Light and Rekindle the Fire!
606:Balzac and the Characters of the Human Comedy.
535:Voulez-vous déjeuner avec nous, la mére Pilon?
3303:
3206:
3204:
2997:
2973:J. J. Grandville: A Matter of Line and Death.
2956:
2954:
2952:
2950:
2948:
2946:
2944:
2942:
2940:
2938:
2884:Jérôme Paturot in Search of a Social Position
1498:Bird's Eye View of a Man and Woman Conversing
1301:Follow me! said a voice, my bad side no doubt
1211:Jérôme Paturot in Search of a Social Position
104:Illustrator, caricaturist, artist, printmaker
3490:Works by or about Jean Ignace Isidore Gérard
3339:
3243:
2979:
2890:, 186 wood engravings, Dubochet, Paris, 1846
2874:, 105 wood engravings, Fournier, Paris, 1845
2816:), 95 wood engravings, Dubochet, Paris, 1842
2780:, 206 wood engravings, Fournier, Paris, 1840
2567:The hall is solid, it can take the strain! (
1906:used part of Grandville's artwork for their
858:(1833), La Caricature, No. 113, 23.4 x 20.4.
843:(1833), La Caricature, 35.4 x 53.3 cm.
724:
712:
581:
557:
533:
509:
485:
464:
431:
419:
382:
364:
341:
334:
270:
264:
258:
3326:
3275:
3141:
3078:
3040:
2375:Summer Chose this Place to Make its Thunder
2263:Puff's Shop Sign for Transvestite Disguises
1538:A Bulldog Butcher with a Rabbit on his Knee
1500:(c. 1830), graphite, 18.3 x 17.8 cm.,
1100:Don Quixote's fight with the red wine skins
3201:
2976:The Comics Journal. (accessed 6 July 2022)
2935:
1692:, and the great admirer and translator of
1371:Fools invent fashions, and the wise follow
863:
40:
3404:Bizarreries & fantasies of Grandville
3401:
3214:Harry N. Abrams, Inc., New York, 160 pp.
3105:antiquetrader.com (accessed July 2, 2022)
3075:encyclopedia.com. (accessed July 2, 2022)
1598:(1846), pen and ink, 20.4 x 14 cm.,
1435:(1843, watercolor, graphite, pen and ink)
826:The People Delivered to the Vampire Taxes
3198:The Public Domain Review (accessed 2022)
3008:The Concise Encyclopedia of Romanticism.
1719:
1610:
1422:
1283:He spins his cocoon and buries in a book
1144:
867:
741:
669:
600:
597:The French Revolution of 1830: 1830–1835
376:
321:), was published in Nancy 1824 or 1825.
295:
291:
3505:, with 96 library catalogue records
3212:Daumier, The Library of Great Painters.
3028:The Concise Encyclopedia of Surrealism.
1814:Max Ernst's favorite poets and painters
710:together into one, e.g. the seven part
14:
3531:
2699:L'Association Mensuelle lithographique
2663:), 73 lithographs, Aubert, Paris, 1829
1466:, which approaches the status of pure
2870:), by Old Nick, Taxile Delord, &
2677:), 9 lithographs, Aubert, Paris, 1830
1791:in 1936. However, the art historian
693:as a literary editor and Grandville,
18:Jean Ignace Isidore Gérard Grandville
3508:
2719:), 8 lithographs, Bulla, Paris, 1835
417:Grandville's first real success was
96:Cimetière Nord de Saint-Mandé, Paris
3128:"Gérard, Jean Ignace Isidore"
2724:Oeuvres complétes de P. de Beranger
2417:His Skill Consist of Being Immobile
1789:Fantastic Art, Dada, and Sureealism
1250:Later work (1840s), wood engravings
997:, Complete Works of Béranger (1836)
982:, Complete Works of Béranger (1836)
405:was a neighbor during this period.
24:
3554:French speculative fiction artists
3437:
3334:Fantastic Art, Dada and Surrealism
352:The Tribulations of Small Property
25:
3580:
3511:"Grandville, Visions, and Dreams"
3467:
2833:Petites misères de la vie humaine
2785:Les Français peints par eux-mêmes
2646:
1357:Petites misères de la vie humaine
1339:Petites misères de la vie humaine
1320:Petites misères de la vie humaine
1155:Petites misères de la vie humaine
782:Political lithographs (1830–1835)
732:The Hunters in Pursuit of Liberty
720:The Great Crusade Against Liberty
714:Grande Croisade contre la Liberté
707:Charles-Joseph Traviès de Villers
159:, and numerous variations (e. g.
46:Portrait by Émile Lassalle (1840)
2790:The French Painted by Themselves
2766:Les Aventures de Robinson Crusoe
2729:Complete works of P. de Béranger
2632:
2618:
2604:
2590:
2576:
2560:
2546:
2532:
2518:
2504:
2490:
2476:
2459:
2453:The Bonnet of the Great Romantic
2445:
2433:
2409:
2395:
2381:
2367:
2353:
2339:
2325:
2311:
2297:
2291:Blind, Deaf, and Impartial Judge
2283:
2269:
2255:
2241:
2227:
2212:
2197:
2181:Bibliothèque municipale de Nancy
2169:
2154:
2139:
2124:
2109:
2091:
2076:
2059:The Two Rats the Fox and the Egg
2051:
2034:
2026:The Earthen Pot and the Iron Pot
2017:
2002:
1985:
1968:
1951:
1588:
1566:
1548:
1530:
1508:
1490:
1400:
1382:
1363:
1345:
1327:
1311:
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1275:
1256:
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1047:
1032:
1017:
1002:
987:
972:
848:
833:
818:
803:
788:
572:
548:
524:
500:
476:
198:Grandville was born in 1803, in
3449:Word & Image. 10(1); 38–54.
3375:
3194:Grandville, Visions, and Dreams
1879:These Are the Days of Our Lives
1574:The Visiting of the Piggy Banks
747:New-Year's Gifts for the People
366:Titres pour morceaux de musique
27:French caricaturist (1803–1847)
2512:Breakfast with the emancipated
954:but these were not published.
165:Jean Ignace Isidore Grandville
13:
1:
2928:
2838:Little Miseries of Human Life
1582:Musée des Beaux-Arts de Rouen
1408:All that glitters is not gold
1159:Little Miseries of Human Life
685:and Auguste Audibert founded
681:Before La Silhouette closed,
3564:French editorial cartoonists
3402:Appelbaum, Stanley (1987) .
3363:Max Ernst: Inside the Sight.
3296:Baudelaire, Charles. 1857. É
2099:The Circus Seen from the Sky
1390:For the money the dogs dance
1305:Scènes de la vie des animaux
1287:Scènes de la vie des animaux
1268:Scènes de la vie des animaux
487:Attends Attends! petit matou
427:The Metamorphoses of the Day
348:Sundays of a Paris Bourgeois
195:and others in the movement.
7:
3266:Gautier, Théophile. 1874.
2612:Skeletons of the Moon Sheep
2361:A Magician with the Planets
1580:(1843), pen, ink and wash,
1542:Morgan Library & Museum
1070:The Carp and the Carpillons
1027:, Gulliver's Travels (1838)
1012:, Gulliver's Travels (1838)
362:) in 1827 and 12 prints in
10:
3585:
3549:Artists from Nancy, France
3332:Barr, Alfred H. Jr. 1936.
3240:. College Art Association.
2132:The Celebration of Flowers
2010:The Monkey and the Dolphin
1939:
1816:, originally published in
1600:Metropolitan Museum of Art
1163:Paul-Émile Daurand-Forgues
1087:, Fables de Florian (1842)
1072:, Fables de Florian (1842)
1025:Gulliver pulling the fleet
796:Resurrection of Censorship
149:Jean Ignace Isidore Gérard
34:Jean Ignace Isidore Gérard
3191:Mainardi, Patricia 2018.
2654:Les Métamorphoses du jour
2484:The Asp, Literary Journal
2147:The Bridge of the Planets
1934:French Revolution of 1848
1674:, friend and champion of
1606:
1177:) with Taxile Delord and
1124:Louis-François L'Héritier
614:French Revolution of 1830
470:(1829), color lithographs
466:Les Métamorphoses du jour
421:Les Métamorphoses du jour
372:Titles for Musical Pieces
209:Les Métamorphoses du jour
142:
134:
130:
108:
100:
92:
73:
51:
39:
32:
3443:Michele Hannoosh. 1994.
3383:"Aviary Attorney review"
3350:Dada and Surrealist Art.
3348:Rubin, William S. 1968.
3269:Portraits Contemporains.
3250:J.J. Grandville (1844).
3160:The Art of Illustration.
3006:Claudon, Francis. 1980.
2660:Metamorphoses of the Day
2584:Artist admiring his work
1977:Death and the Woodcutter
1801:manifestos of surrealism
1427:Preliminary drawing for
1215:Marie Roch Louis Reybaud
1161:) in 1843, with text by
1057:, Robinson Crusoe (1840)
1042:, Robinson Crusoe (1840)
675:Oh!! These nasty flies!!
3422:266 illustrations from
3134:Encyclopædia Britannica
2712:24 breuvages de l'homme
2427:(1846), wood engravings
2403:The Battle of the Cards
2333:An Amphibious Dromedary
2191:(1844), wood engravings
2043:The Turtle and the Hare
1871:the album's title track
1787:'s landmark exhibition
1757:View of the Paris Salon
1747:. Janson speculated if
1646:Portraits contemporains
1560:Cleveland Museum of Art
1502:National Gallery of Art
1085:The Viper and the Leech
1055:At the foot of the hill
1010:Giants look at Gulliver
910:Pierre-Jean de Béranger
864:Later career: 1836–1847
360:The Sibyl of the Salons
315:La Marchande de cerises
286:
161:Jean-Jacques Grandville
3452:Getty, Clive F. 2010.
3281:Berg, Keri Ann. 2003.
3026:Passeron, René. 1975.
2705:Le Magasin pittoresque
2668:Voyage pour l'éternité
1908:self-titled 1995 album
1893:I'm Going Slightly Mad
1875:I'm Going Slightly Mad
1728:
1707:
1688:), with poems such as
1619:
1516:Le cabinet particulier
1436:
1418:
1213:), a social satire by
1185:provided the text for
1150:
952:Little Red Riding Hood
888:
750:
726:La Chasse à la Liberté
725:
713:
678:
609:
582:
559:Une vilaine commission
558:
534:
511:L'attente d'un convive
510:
486:
465:
433:Voyage pour l'éternité
432:
420:
393:
384:Voyage pour L'éternite
383:
365:
342:
335:
301:
271:
265:
259:
3256:. H. Fournier, Paris.
3158:Melot, Michel. 1984.
3069:Melot, Michel. 2007.
2988:Hansen, Kelli. 2014.
2970:Rose, Cynthia. 2020.
2742:La Fontaine 's Fables
2736:Fables de La Fontaine
1885:". The video clip of
1723:
1698:
1614:
1429:Combat of Two Refined
1426:
1153:This was followed by
1148:
871:
745:
673:
604:
493:Wait wait! little cat
380:
356:La Sibylle des salons
299:
292:Early life: 1803–1830
138:Grandville, Granville
3559:French caricaturists
3515:Public Domain Review
3509:Mainardi, Patricia.
3312:Janson, H. W. 1977.
2164:, private collection
2149:, private collection
2134:, private collection
2119:, private collection
2086:, private collection
1994:The Oak and the Reed
1960:The Fox and the Crow
1785:Museum of Modern Art
915:La Fontaine's Fables
225:La Fontaine's Fables
116:La Fontaine's Fables
3569:French illustrators
3503:Library of Congress
3210:Rey, Robert. 1965.
3099:Manty, Kris. 2020.
2904:Flowers Personified
2802:Fables of Lavalette
2797:Fables de Lavalette
2750:Voyages de Gulliver
2717:24 Beverages of Man
2526:The hat on the move
1883:The Show Must Go On
1725:Crime and Expiation
1686:The Flowers of Evil
1318:Frontispiece: from
1264:The Garden of Beast
1223:Crime and Expiation
1203:Flowers Personified
1179:Louis Amédée Achard
1165:, a contributor to
885:Flowers Personified
856:Gifts to the People
749:(1833), pen and ink
701:, Edme Jean Pigal,
517:Waiting for a guest
396:Grandville lived a
336:Costumes De Théãter
3475:"J. J. Grandville"
3391:. 21 January 2016.
3072:Grandeville, J. J.
2895:Les fleurs animées
2771:The Adventures of
2755:Gulliver's Travels
2674:Voyage to Eternity
2319:Venus of the Opera
2084:Concert a la Vapor
1913:The graphic novel
1820:, 1941, alongside
1731:The art historian
1729:
1713:and various other
1703:Charles Baudelaire
1672:Charles Baudelaire
1632:bust of Grandville
1620:
1520:The Private Office
1457:Les Fleurs Animées
1437:
1335:Gallery of Horrors
1235:Jean-Pierre Falret
1195:Les fleurs animées
1151:
936:, and Cervantes's
927:Gulliver's Travels
889:
877:Les fleurs animées
751:
679:
610:
565:An Ugly Delegation
439:Voyage to Eternity
394:
302:
272:Les fleurs animées
244:Gulliver's Travels
125:Les Fleurs Animées
3486:
3371:978-0-914412-06-9
2814:Fables of Florian
2809:Fables de Florian
2389:Gold is a Chimera
2347:An Elastic Rocket
2177:A Dramatic Radish
2162:The Big and Small
2117:The Finger of God
2046:, Vol. VI, no. 10
1765:The Finger of God
1681:Les Fleurs du mal
1642:Théophile Gautier
1484:Original drawings
1449:Le Diable à Paris
1237:, two innovative
960:intaglio printing
905:husband and son.
664:the Enlightenment
583:Temps de canicule
443:Thomas Rowlandson
330:Hippolyte Lecomte
319:The Cherry Seller
146:
145:
62:13 September 1803
16:(Redirected from
3576:
3525:
3523:
3521:
3499:J. J. Grandville
3494:Internet Archive
3484:
3482:
3432:
3393:
3392:
3379:
3373:
3359:
3353:
3346:
3337:
3330:
3324:
3310:
3301:
3294:
3288:
3279:
3273:
3264:
3258:
3257:
3247:
3241:
3224:
3215:
3208:
3199:
3189:
3170:
3156:
3139:
3138:
3130:
3123:
3106:
3097:
3076:
3067:
3038:
3024:
3018:
3004:
2995:
2986:
2977:
2968:
2900:Animated Flowers
2640:The genius cooks
2636:
2626:A Strange Funnel
2622:
2608:
2594:
2580:
2564:
2550:
2536:
2522:
2508:
2494:
2480:
2467:The premiere of
2463:
2449:
2437:
2413:
2399:
2385:
2371:
2357:
2343:
2329:
2315:
2305:Conjugal Eclipse
2301:
2287:
2273:
2259:
2245:
2231:
2216:
2201:
2173:
2158:
2143:
2128:
2113:
2103:Musée Carnavalet
2095:
2080:
2055:
2038:
2021:
2012:, Vol. IV, no. 7
2006:
1997:, Vol. I, no. 22
1989:
1980:, Vol. I, no. 16
1972:
1955:
1805:Georges Bataille
1773:César Baldaccini
1657:Honoré de Balzac
1592:
1570:
1552:
1534:
1512:
1494:
1404:
1386:
1367:
1349:
1331:
1315:
1297:
1279:
1260:
1199:Animated Flowers
1128:Alfred de Musset
1120:Honoré de Balzac
1096:
1081:
1066:
1051:
1040:My journey began
1036:
1021:
1006:
991:
976:
881:Animated Flowers
852:
837:
822:
807:
792:
771:Fieschi attentat
728:
716:
691:Honoré de Balzac
683:Charles Philipon
662:("the light" of
656:Charles Philipon
626:Louis Philippe I
585:
576:
561:
552:
537:
528:
513:
504:
489:
480:
468:
457:Honoré de Balzac
435:
423:
412:Charles Philipon
386:
368:
345:
338:
274:
268:
262:
221:Louis Philippe I
135:Other names
111:
80:
61:
59:
44:
30:
29:
21:
3584:
3583:
3579:
3578:
3577:
3575:
3574:
3573:
3529:
3528:
3519:
3517:
3473:
3470:
3440:
3438:Further reading
3435:
3418:
3397:
3396:
3381:
3380:
3376:
3360:
3356:
3347:
3340:
3331:
3327:
3311:
3304:
3295:
3291:
3280:
3276:
3265:
3261:
3248:
3244:
3225:
3218:
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3202:
3190:
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3109:
3098:
3079:
3068:
3041:
3025:
3021:
3005:
2998:
2987:
2980:
2969:
2936:
2931:
2773:Robinson Crusoe
2649:
2642:
2637:
2628:
2623:
2614:
2609:
2600:
2595:
2586:
2581:
2572:
2565:
2556:
2551:
2542:
2540:A Small Paturot
2537:
2528:
2523:
2514:
2509:
2500:
2495:
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2481:
2472:
2464:
2455:
2450:
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2386:
2377:
2372:
2363:
2358:
2349:
2344:
2335:
2330:
2321:
2316:
2307:
2302:
2293:
2288:
2279:
2277:An April Voyage
2274:
2265:
2260:
2251:
2246:
2237:
2232:
2223:
2217:
2208:
2202:
2183:
2174:
2165:
2159:
2150:
2144:
2135:
2129:
2120:
2114:
2105:
2096:
2087:
2081:
2062:
2061:, Vol. X, no. 1
2056:
2047:
2039:
2030:
2029:, Vol. V, no. 2
2022:
2013:
2007:
1998:
1990:
1981:
1973:
1964:
1963:, Vol. I, no. 2
1956:
1942:
1929:Aviary Attorney
1904:Alice in Chains
1694:Edgar Allan Poe
1623:Alexandre Dumas
1609:
1602:
1593:
1584:
1571:
1562:
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1526:
1513:
1504:
1495:
1453:Walter Benjamin
1421:
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1323:
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1013:
1007:
998:
992:
983:
977:
921:Robinson Crusoe
866:
859:
853:
844:
838:
829:
823:
814:
808:
799:
793:
760:Edouard Charton
695:Achille Devéria
630:Alexandre Dumas
599:
592:
577:
568:
553:
544:
529:
520:
505:
496:
481:
407:Alexandre Dumas
294:
289:
234:Robinson Crusoe
213:July Revolution
171:vegetables and
169:anthropomorphic
109:
88:
87:, Paris, France
82:
78:
69:
63:
57:
55:
47:
35:
28:
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3468:External links
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2851:Un autre monde
2847:
2844:L'Illustration
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2762:
2759:Jonathan Swift
2746:
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2647:Selected works
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2016:
2014:
2008:
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1967:
1965:
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1950:
1941:
1938:
1850:Un autre monde
1769:Un autre monde
1761:Un autre monde
1749:Marcel Duchamp
1717:-cartoonists.
1676:Honoré Daumier
1608:
1605:
1604:
1603:
1596:Jérôme Paturot
1594:
1587:
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1572:
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1556:An Insect Ball
1554:
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1464:Un Autre Monde
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1412:Cent Proverbes
1406:
1399:
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1388:
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1132:Paul de Musset
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893:September Laws
865:
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832:
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689:in 1830, with
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217:Honoré Daumier
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3462:9780838642009
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3424:Un autre mode
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2888:Louis Reybaud
2885:
2881:
2880:
2876:
2873:
2872:Amédée Achard
2869:
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2864:
2860:
2857:
2856:Another World
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2721:
2718:
2714:
2713:
2709:
2706:
2703:
2700:
2697:
2694:
2691:
2688:
2687:La Caricature
2685:
2682:
2681:La Silhouette
2679:
2676:
2675:
2670:
2669:
2665:
2662:
2661:
2656:
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2641:
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2250:
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2222:, Frontispice
2221:
2220:Another World
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2206:
2205:Another World
2200:
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2015:
2011:
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1996:
1995:
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1971:
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1961:
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1798:
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1793:William Rubin
1790:
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1673:
1669:
1667:
1662:
1661:La Caricature
1658:
1654:
1652:
1651:Tony Johannot
1647:
1643:
1639:
1637:
1636:Nancy, France
1633:
1629:
1624:
1617:
1613:
1601:
1597:
1591:
1586:
1583:
1579:
1578:Another World
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1433:Another World
1430:
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1398:
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1391:
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1376:
1372:
1366:
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1354:
1353:The Nightmare
1348:
1343:
1340:
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1325:
1321:
1314:
1309:
1306:
1302:
1296:
1291:
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1278:
1273:
1269:
1265:
1259:
1254:
1253:
1252:
1251:
1247:
1244:
1240:
1239:psychiatrists
1236:
1232:
1228:
1224:
1218:
1216:
1212:
1208:
1204:
1200:
1196:
1192:
1191:Another World
1188:
1184:
1183:Taxile Delord
1180:
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1172:
1168:
1164:
1160:
1156:
1147:
1143:
1141:
1140:Louis Viardot
1137:
1133:
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1125:
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1095:
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1015:
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1005:
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985:
981:
980:The Good Pope
975:
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969:
968:
967:
963:
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949:
945:
941:
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935:
934:
933:The Decameron
929:
928:
923:
922:
917:
916:
911:
906:
903:
899:
894:
886:
882:
878:
875:(1846), from
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688:
687:La Caricature
684:
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636:La Caricature
631:
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623:
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379:
375:
373:
369:
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361:
357:
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344:
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331:
327:
326:Opéra-Comique
322:
320:
316:
311:
307:
298:
284:
282:
276:
273:
267:
261:
256:
255:
250:
246:
245:
240:
236:
235:
230:
226:
222:
218:
214:
211:. During the
210:
206:
201:
200:Nancy, France
196:
194:
190:
186:
185:Félicien Rops
182:
178:
174:
170:
166:
162:
158:
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141:
137:
133:
129:
126:
122:
118:
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93:Resting place
91:
86:
77:17 March 1847
76:
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67:
54:
50:
43:
38:
31:
19:
3520:28 September
3518:. Retrieved
3514:
3478:
3453:
3444:
3427:
3423:
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3403:
3386:
3377:
3362:
3357:
3349:
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3297:
3292:
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3277:
3268:
3262:
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3245:
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3211:
3192:
3159:
3132:
3100:
3070:
3027:
3022:
3007:
2989:
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2878:
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2825:
2820:
2819:
2813:
2808:
2807:
2801:
2796:
2795:
2789:
2784:
2783:
2778:Daniel Defoe
2770:
2765:
2764:
2754:
2749:
2748:
2740:
2735:
2734:
2728:
2723:
2722:
2716:
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2704:
2698:
2693:Le Charivari
2692:
2686:
2680:
2672:
2667:
2666:
2658:
2653:
2652:
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2611:
2597:
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2374:
2360:
2346:
2332:
2318:
2304:
2290:
2276:
2262:
2248:
2234:
2219:
2204:
2188:
2187:
2186:
2176:
2161:
2146:
2131:
2116:
2098:
2083:
2067:
2066:
2065:
2058:
2041:
2024:
2009:
1992:
1975:
1958:
1944:
1943:
1927:
1925:
1921:Bryan Talbot
1914:
1912:
1897:
1886:
1864:
1854:
1849:
1813:
1797:André Breton
1788:
1780:
1776:
1768:
1767:, also from
1764:
1760:
1756:
1752:
1733:H. W. Janson
1730:
1724:
1711:John Tenniel
1708:
1699:
1689:
1685:
1679:
1670:
1665:
1655:
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1471:
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193:André Breton
181:Gustave Doré
177:John Tenniel
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110:Notable work
79:(1847-03-17)
3544:1847 deaths
3539:1803 births
3428:Les animaux
3410:(reprint).
2440:Title page
1830:Shakespeare
1799:in his two
1628:Saint-Mandé
1243:Saint-Mandé
939:Don Quixote
902:peritonitis
453:Champfleury
374:) in 1828.
310:Lithography
254:Don Quixote
205:lithographs
189:Walt Disney
3533:Categories
2929:References
2554:The hungry
1916:Grandville
1741:surrealism
1616:The Relics
1468:surrealism
1227:diphtheria
924:, Swift's
918:, Defoe's
898:meningitis
873:Water lily
589:A Heatwave
281:diphtheria
173:zoomorphic
157:Grandville
58:1803-09-13
3388:Eurogamer
2922:Cervantes
1898:American
1809:Max Ernst
1781:The Thumb
1638:in 1893.
1181:in 1845.
642:L'Artiste
622:Charles X
388:, No. 6:
249:Cervantes
153:pseudonym
1888:Innuendo
1866:Innuendo
1855:British
1842:Van Gogh
1777:Le pouce
1445:Old Maid
1102:(1847)
948:Perrault
620:monarch
579:No. 52:
555:No. 46:
531:No. 43:
507:No. 23:
398:bohemian
263:(1844),
68:, France
3492:at the
2598:Tobacco
2569:Berlioz
2469:Hernani
1940:Gallery
1881:" and "
1846:Chirico
1759:, from
1745:pop art
1576:, from
1410:: from
1392:: from
1373:: from
1355:: from
1337:: from
1266:: from
944:Florian
618:Bourbon
612:In the
483:No. 2:
207:titled
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1900:grunge
1743:, and
1705:(1857)
1690:Spleen
1607:Legacy
1524:Louvre
1478:things
1473:choses
1431:: for
1377:(1845)
1322:(1843)
1270:(1842)
1138:, and
722:) and
705:, and
247:, and
187:, and
85:Vanves
3408:Dover
1902:band
1861:Queen
1859:band
1834:Blake
1826:Vinci
1822:Bosch
1753:Tu m'
1715:Punch
1649:than
769:The "
306:Nancy
239:Swift
229:Defoe
183:, to
179:, to
66:Nancy
3522:2018
3458:ISBN
3426:and
3412:ISBN
3367:ISBN
3318:ISBN
3234:ISBN
3164:ISBN
3032:ISBN
3012:ISBN
1877:", "
1857:rock
1818:View
1737:dada
1233:and
455:and
287:Life
74:Died
52:Born
3501:at
2902:or
1919:by
1873:, "
1838:Poe
1775:'s
1751:'s
1644:'s
1480:).
1419:Art
1201:or
950:'s
883:or
445:'s
350:or
251:'s
241:'s
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