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• Clément Charles André Fernique (1808–1871).

• Fernique, Charles Antoine Activity Start Date: September 21, 1851 – Activity end date: August 27, 1869

• http://elec.enc.sorbonne.fr/imprimeurs Node 27117

Catalogue thématique. Catalogues et répertoires: 24. Dictionnaire des imprimeurs-lithographes du XIX^e siècle

[Thematic catalogue. Catalogues and directories: 24. Dictionary of 19th Century Lithographic Printers.]

Name: FERNIQUE First name:

• Charles, Antoine

Date of start of activity: 09/21/1851 Date of end of activity: 08/27/1869 Professional addresses: 15, rue de Clichy (1851)

City - Department: Paris Personal address: 7, rue des Poitevins

Predecessors: FERNIQUE Successors: PÉPIN

Publication

24. Dictionnaire des imprimeurs-lithographes du XIXe siècle

Corinne Bouquin et Élisabeth Parinet

http://elec.enc.sorbonne.fr/imprimeurs/

Derrière l’énorme production lithographique du XIXe siècle, il y a tout un monde d’imprimeurs spécialisés que ce Dictionnaire se propose de faire connaître à partir des dossiers de candidature pour l’obtention du brevet d’imprimeur-lithographe. Aux éléments fournis par ces dossiers déposés aux Archives nationales ont été ajoutées des informations puisées à d’autres sources : correspondances, dossiers de faillite, brevets d’invention, archives notariales, sources policières, collections d’estampes... Chacun des imprimeurs-lithographes ainsi recensés fait l’objet d’une notice rassemblant données personnelles et professionnelles, complétées de références bibliographiques et iconographiques.

Corinne Bouquin and Élisabeth Parinet

Behind the enormous lithographic production of the 19th century, there is an entire world of specialized printers that this Dictionary seeks to introduce, drawing from the application files for obtaining the printer-lithographer license. To the information provided by these files, which are stored in the National Archives, additional details have been added from other sources: correspondence, bankruptcy files, invention patents, notarial archives, police records, print collections... Each printer-lithographer listed in this dictionary is the subject of an entry that compiles personal and professional data, supplemented by bibliographical and iconographic references.

Early years and family

• link

He was married to Marie Joséphine Delanneau. He is the son of André Simon Fernique (1780–1856) and Marie Eléonore Gillotin (died 1832). They were the parents of pioneering photographer Albert Fernique (fr) (1841–1898). At the age of 11, he left school to enter an apprenticeship with Étienne Mantoux (1794-1856), then did his military service and, for 4 years, he practiced lithography at the train of the equables. He then worked at Gabriel Aubert (1784–1847) – see Aubert & Cie (fr) – and Charles Philipon (1800–1862), had the idea of ​​printing drawings in black and white pencils. It was [Fernique] who was tasked with finding the means to succeed. Which he achieved after four months of testing." He asked that his participation as a combatant in the July Days of 1830 be recognized by the award of a medal.

Career

In 1843, wishing to make the most of his experience, he requested the transfer to his benefit of his father's patent. He renounced it a few months later. Indeed, on September 4, 1843, Bailleul made a report in which he recognized his skills in lithography, but deplored his lack of education, advising, in conclusion, to refuse him a patent, but to give him a simple authorization for the personal possession of a press; he could thus continue to practice printing while taking lessons to improve his education. Without being exceptional, this type of decision is rare. Even though some lines written by the candidate show clumsy handwriting, a very embarrassed expression and hesitant spelling, one may wonder whether the decision was not influenced by the poor opinion that Bailleul had of the father and the good relations of the son with Philipon and Aubert for whom he worked.

The file of André Simon Fernique mentions a transmission to his son on February 21, 1851 but there is no file in the name of his son. In any case, it seems that Charles Fernique worked under his father's patent, in particular for the satirical production of the years 1847–1851, signed simply Lith. Fernique or Fernique et Cie. From 1851, the signature Lith. Ch. Fernique appears on an abundant and diversified production, often in chromolithography. In June 1852, he obtained a permit to own two intaglio presses for printing business cards, letterheads and reports, to the exclusion of any other work.

He printed satirical prints by Henry Emy (1820-1874)

• Bric-à-brac caricatural: This series likely featured satirical and exaggerated depictions of everyday objects or situations, a common theme in 19th-century caricature.
• Les plaisirs du jeune âge: This could be a satirical reflection on the pleasures and follies of youth, a recurring theme in many satirical prints of the time.
• La ville et le village: Contrasting urban and rural life, this work likely humorously portrayed the differences between the city and the countryside, often highlighting the absurdities of both settings.

He also printed saitirical prints by Cham (1819–1879), the pseudonym of Amédée de Noé (1818–1879), was one of the most prominent French caricaturists and satirists of the 19th century. His humorous and sometimes biting works were widely appreciated in French society. Some of his notable works include:

• Cham & Fernique (1856). Mr. Papillon ou l'Amour autour du monde [Mr. Papillon, or, Love Around the World] (in French). Cham (illustrator), Charles Fernique (lithographer). Paris: 41 rue Vivienne et 146 rue de Rivoli : Maison Martinet → Aaron Martinet (1762–1841). BnF cb400558049; OCLC 693217353 (all editions)

• Cham (Abt 1945). L'art de réussir dans le monde. Procédé simple et facile pour se faire jeter a la porte en fort peu de temps [The Art of Succeeding in the World. A Simple and Easy Method to Get Thrown Out the Door in Very Little Time]. Charles Fernique (lithographer). Paris: Maison Martinet → Aaron Martinet (1762–1841). {{cite book}}: Check date values in: |date= (help) OCLC 82692315 (all editions), 693217347, and 1038081484.
• L'art de réussir dans le monde: A humorous take on the "art" of succeeding in society, probably offering satirical advice or anecdotes about social ambition and behavior.
• Les tâtonnements de Jean Bidoux dans la carrière militaire: This work satirizes military life and the struggles of the titular character, Jean Bidoux, likely portraying the absurdities and challenges of a military career.

Cham also contributed to several almanacs, which were popular publications in the 19th century combining practical information, calendars, and often humorous or satirical content:

• Almanach comique (1858): A humorous almanac likely filled with jokes, caricatures, and entertaining illustrations.
• Almanach de la vigne (1860): An almanac related to wine, perhaps humorously reflecting on winemaking or wine culture.
• Almanach pour rire (1867): Another almanac for laughter, filled with comic content to entertain readers throughout the year.

La Caricature, a forerunner of Le Charivari

La Caricature, a French satirical monthly illustrated magazine, debuted on November 4, 1830, as La Caricature morale, religieuse, littéraire et scénique. Charles Philipon established it in reaction to the press freedoms guaranteed by Louis-Philippe during the July Monarchy. The publication showcased the works of notable artists such as Daumier (1808–1879), Gavarni (1804–1866), Monnier (1799–1877), Granville (1803–1847), and Traviès (1804–1859). However, due to the constraints imposed by the September Laws, Charles Philipon discontinued La Caricature in August 1835.

Daumier initiated his visual satire campaign, critiquing the bourgeoisie's shortcomings, the legal system's corruption, and the government's ineptitude. His depiction of the king as Gargantua resulted in a six-month imprisonment at Sainte-Pélagie Prison in 1832. Shortly thereafter, La Caricature ceased publication. However, Philipon soon offered Daumier a new platform for his work by establishing Le Charivari.

Founding of Le Charivari

27 février 1834

Croquades faites à l’audience du 14 nov.
(Cour d’assises)

Si, pour reconnaître le monarque dans une caricature, vous n'attendez pas qu'il soit désigné autrement que par la ressemblance, vous tomberez dans l'absurde. Voyez ces croquis informes, auxquels j'aurais peut-être dû borner ma défense :

1) Ce croquis ressemble à Louis-Philippe, vous condamnerez donc ?

2) Alors il faudra condamner celui-ci, qui ressemble au premier.

3) Puis condamner cet autre, qui ressemble au second.

4) Et enfin, si vous êtes conséqnens, vous ne sauriez absoudre cette poire, qui ressemble aux croquis précédens.

Ainsi, pour une poire, pour une brioche, et pour toute, tes têtes grotesques dans lesquelles le hasard ou la malice aura placé cette triste ressemblance, vous pourrez infliger à l'auteur cinq ans de prison et cinq mille francs d'amende!!

Avouez, Messieurs, que c'est là une singulière liberté de la presse!!

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Fig. 111. — Les poires de Philipon, d'après la page publiée par le Charivari (17 janvier 1834).

N. B. — Les Poires parurent d'abord en une feuille autographiée (texte et dessins) signée : Ch. Philipon, et sous le titre de : Croquades faites à L'audience du 14 novembre.

The precise explanation: "The supplement attached to today's issue contains the four drawings depicting the progressive resemblance of the king, which Philipon submitted to the Court of Assizes to prevent his judges from conflating in a single proscription the different genres of the legal, animal, mineral, and vegetable reigns." Introductory text: "If, to recognize the monarch in a caricature, you do not wait for him to be designated otherwise than by resemblance, you will fall into the absurd. Look at these formless sketches to which I perhaps should have limited my defense:" Argumentative texts, accompanied by sketches: "This sketch resembles Louis-Philippe, will you therefore condemn?", "Then you must condemn this one, which resembles the first.", "then condemn for this other one which resembles the second...", "And finally, if you are consistent, you cannot absolve this pear which resembles the previous sketches." Conclusion text: "Thus, for a pear, for a brioche, and for all the grotesque heads in which chance or malice has placed this sad resemblance, you could inflict on the author five years in prison and five thousand francs fine!! Admit, Gentlemen, that this is a peculiar freedom of the press!!" Signature: "(trial of the newspaper La caricature) // Ch. Philipon" Person / Character represented: Louis-Philippe I, King of the French.

"1934: Les Poires" [The Pears], depicting 4 caricatures of Louis-Philippe, morphing into a pear, mirroring the deterioration of his popularity. Drawing by Honoré Daumier after the sketch by Philipon, who was jailed for the original.

"1934: Les Poires" [The Pears], depicting 4 caricatures of Louis-Philippe, morphing into a pear, mirroring the deterioration of his popularity. Drawing by Honoré Daumier after the sketch by Philipon, who was jailed for the original.

27 février 1834

LES POIRES,

Faites à la cour d'assises de Paris par le directeur de la Caricature.

Vendues pour payer les 6,000 fr. d'amende du journal le Charivari.

Sûr la demande d'un grand nombre d'abonnés des départe mens, nous donnons aujourd'hui dans le Charivari les paires qui serviront à notre' défense, dans l'affaire où la caricature fut condamnée à six mois de prison et 2,000. fr. d'amende.

Si, pour reconnaître le monarque dans une caricature, vous n'attendez pas qu'il soit désigné autrement que par la ressemblance, vous tomberez dans l'absurde. Voyez ces croquis informes, auxquels j'aurais peut-être dû borner ma défense :

1) Ce croquis ressemble à Louis-Philippe, vous condamnerez donc ?

2) Alors il faudra condamner celui-ci, qui ressemble au premier.

3) Puis condamner cet autre, qui ressemble au second.

4) Et enfin, si vous êtes conséqnens, vous ne sauriez absoudre cette poire, qui ressemble aux croquis précédens.

Ainsi, pour une poire, pour une brioche, et pour toute, tes têtes grotesques dans lesquelles le hasard ou la malice aura placé cette triste ressemblance, vous pourrez infliger à l'auteur cinq ans de prison et cinq mille francs d'amende!!

Avouez, Messieurs, que c'est là une singulière liberté de la presse!!

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Fig. 111. — Les poires de Philipon, d'après la page publiée par le Charivari (17 janvier 1834).

N. B. — Les Poires parurent d'abord en une feuille autographiée (texte et dessins) signée : Ch. Philipon, et sous le titre de : Croquades faites à L'audience du 14 novembre.

Les Poires (translated)

27 février 1834

THE PEARS,

Made at the Paris Assize Court by the director of Caricature.

Sold to pay the 6,000 francs fine of the newspaper Le Charivari.

At the request of a large number of subscribers from the depart­ments, today in Le Charivari we present the pairs that will serve in our defense in the case where the caricature was sentenced to six months in prison and a 2,000 francs fine.

If, to recognize the monarch in a caricature, you do not wait for him to be desig­nated otherwise than by resem­blance, you will fall into the absurd. Look at these form­less sketches, to which I perhaps should have limited my de­fense:

1) This sketch resembles Louis-Philippe, will you therefore condemn?

2) Then you must condemn this one, which resembles the first.

3) Then condemn this other one, which resembles the second.

4) And finally, if you are consistent, you cannot absolve this pear, which resembles the preceding sketches.

Thus, for a pear, for a brioche, and for all the grotesque heads in which chance or malice has placed this sad re­sem­blance, you could inflict on the author five years in prison and five thou­sand francs fine!!

Admit, Gentlemen, that this is a peculiar freedom of the press!!

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Fig. 111. — Philipon's pears, from the page published by Le Charivari (January 17, 1834).

N.B. — The Pears first appeared in an autographed sheet (text and drawings) signed: Charles Philipon, and under the title of: Croquades faites à L'audience du 14 novembre [Sketches made at the hearing of November 14].

6,000 francs in 1834 (see note).

Continued

Louis-Philippe endured relentless caricatures throughout his reign. Notably, Honoré Daumier depicted him with biting wit, as evidenced in his satirical work, "Louis-Philippe" from circa 1833. Another seminal portrayal is Charles Philipon's "Les Poires" (The Pears) from 1834, which artfully transitions Louis-Philippe from a sinister, jowled figure to a pear complete with leaves. This depiction carried a layered insult, as "poire" in the vernacular of the time also connoted a fool, amplifying the mockery embedded in Philipon's caricature.

Le Charivari, the main French opposition satirical, published daily from 1832 to 1936, and then weekly until 1937. Le Charivari endorsed Republican causes following the French Revolution of 1830 that overthrew King Charles X, a Bourbon Monarch. The revolution led to the establishment of the July Monarchy under Louis-Philippe, Duke of Orléans, who was proclaimed "King of the French" rather than "King of France," indicating a shift towards a more constitutional and bourgeois monarchy intended to reflect a more representative form of governance.

Despite the establishment of the July Monarchy, which attempted to placate liberal sentiments, there was a significant growth in republican sentiment among the populace, who were dissatisfied with what they perceived as half-measures toward real democracy. French Republicans in this period advocated for a democratic republic, universal suffrage, and greater civil liberties. They were often critical of the limited voting rights, which were based on property qualifications under Louis-Philippe.

Influence of the 1832 June Rebellion:
Inspired by the death of General Lamarque, a popular military leader and a critic of the monarchy, the June Rebellion of 1832 was a failed attempt by Republican and Bonapartist forces to overthrow the monarchy. Although quickly suppressed, it was immortalized in Victor Hugo's Les Misérables and highlighted the ongoing restlessness and the demand for a more representative and equitable government.

Transformation of Louis-Philippe into a pear according to the "croquades", by Charles Philipon, republished in a modified form in 1834.

Le Charivari, a French satirical newspaper established in 1832, and its related publication, Almanach du Charivari, played significant roles in the French public discourse, particularly through their satirical commentary on politics, society, and culture. During the turbulent periods of the 1830s and 1840s, these publications did indeed have an influence, although their support of specific political causes, such as the French Republican cause, was often nuanced and complex.

Key Points on the Role of Le Charivari and Almanach du Charivari:

1. Satirical Commentary:

Le Charivari was renowned for its biting satire and caricatures, primarily targeting the government, public figures, and societal norms. The publication used humor and irony to criticize the status quo, which often aligned with Republican critiques of the monarchy and conservative policies.


2. Censorship and Press Laws:

During the July Monarchy of Louis-Philippe, stringent press laws were enacted to curb political dissent, leading publications like Le Charivari to employ satire and caricature as a means to circumvent censorship. These artistic expressions allowed them to critique the government subtly and indirectly, supporting democratic ideals and freedom of expression which were core to the Republican agenda.


3. Public Influence:

The widespread circulation and popularity of Le Charivari meant that it had a substantial influence on public opinion. By mocking the government and highlighting the absurdities of political decisions and social inequalities, it helped foster a public discourse that was more questioning of authority and supportive of Republican ideals of liberty and justice.


4. Shifts in Political Alignment:

While Le Charivari and Almanach du Charivari were critical of the government and supportive of certain liberal ideals, their alignment with the Republican cause was not always straightforward. The publications were primarily liberal and critiqued the government from a broadly progressive standpoint, but they did not necessarily advocate for a complete overthrow of the monarchy until later in the period, particularly as the Republican movement gained more traction.


5. Artistic Contributions:

The contributions of notable artists like Honoré Daumier (1808–1879), who regularly contributed to Le Charivari up until 1860, were instrumental in shaping the publication’s political and social commentary. Daumier’s caricatures often depicted the struggles of the common man and the hypocrisy of the elites, resonating with Republican principles and garnering public empathy and support for social reform.

French Republican causes included opposition to limited voting rights, which were based on property qualifications under Louis-Philippe.

Excerpt

The rise of press cartoons from 1789 to 1914

Although the Revolution led to the circulation of a large number of satirical prints – which mocked the nobility, the clergy, Louis XVI from his flight to Varenne (1791), Marie-Antoinette, foreign leaders who were enemies of the revolution, etc. – these drawings did not, strictly speaking, fall under the category of press cartoons. And until 1830, the satirical press was mainly written, rather than drawn. Thus, at the beginning of the Restoration and during the Hundred Days, Le Nain jaune (a newspaper created in 1814, which ceased publication in 1815) mocked the members of the “order of the extinguisher”, who wanted to reverse the achievements of the Enlightenment, the Revolution and the Empire, and the opportunists of the “order of the Weathercock”. It was from 1830, the year the newspaper La Caricature was created (1830-1835), that drawn political caricature developed. Two drawings that animalize or reify Charles X have remained famous: "The Greatest Beast Ever Seen" by Langlumé (1830), and the "Monarch Stake" by Decamps (1830). Against Louis-Philippe, we remember Honoré Daumier's "Gargantua" (1831), which earned him six months in prison and a fine, but also and above all Charles Philipon's "Pears" (1831), which were taken up by many designers, such as Daumier himself or anonymous people such as the author of the "Projet de monument expia-poire" (1832). But the law of 1835 made political satire more difficult, and it was the social satire drawing, with an entertaining rather than denunciatory tone, that developed in the middle of the 19th century, with cartoonists such as Daumier and Cham in Le Charivari (1832-1926) or André Gill in Le Journal drôle (1856-1933) and Le Hanneton (1862-1868). The fall of the Second Empire and the Paris Commune revived political caricature, particularly in the form of the caricature, and gave rise to religious satire drawings. It would seem that the first caricature of God dates from a drawing entitled "The Eternal Father" that Paul Klenck published during the Commune: God is a bespectacled old man smoking a pipe, with pockets full of bonds and railway shares. But religious caricature is above all anticlerical: it denounces the harmful influence of the clergy (Catholic hierarchy and monks, nuns and priests) in political and social matters, Christian dogmas, the Bible and even the morality of a greedy and lecherous clergy. In his drawing "Our Holy Father the Pope ("Let the little children come to me")" (1871), Paul Klenck shows the Pope in a suggestive position in the company of children.

The rise and decline of the satirical press

While drawing in the general press has been in decline “only” since 1945, the decline of the satirical press is older: it dates back to before the First World War. From the revolutionary period to the 1860s, illustrated satirical magazines remained rare, despite Le Nain Jaune then La Caricature and then, from 1832, Le Charivari. Illustrated satirical magazines began to become more numerous from the 1860s onwards, thanks to the fall in the cost of printing images, and perhaps in connection with the first liberalisation of the press regime in 1868. Thus, Le Hanneton, La Vie parisienne (1863-1938) and La Lune (1865-1869) were created, then, at the end of the Second Empire, La Charge (1870-1871), Le Grelot (1871-1907) and Le Trombinoscope (1871-1876). The number of these magazines, weekly or daily, and with very variable print runs and distribution, increased until 1899: at the height of the Dreyfus affair, there were a maximum of 28 illustrated satirical magazines in France (graph below). But since then, their number has fallen sharply: the development of drawing in the general press made specifically satirical newspapers rare.

Notable offshoot

Le Charivari should not be mistaken for The London Charivari, also known as Punch, a weekly British magazine celebrated for its political satire and sharp humor. Punch was established in 1841 by the journalist and playwright Henry Mayhew (1812–1887) and the wood-engraver Ebenezer Landells (1808–1860) .

Editors in Chief (rédacteurs en chef)

Jean Théophile Gustave Lesestre (1815-1873), The Three Statesmen of Charivari (the three editors-in-chief of Charivari in the 1830s-1840s: Agénor Altaroche, Louis Desnoyers, Albert Cler), engraving, 1842, private collection.

• Gabriel Aubert and Charles Philipon (December 1832 – December 1836)
• Armand Dutacq (fr) (December 1836 – July 1856) and Charles Philipon (until 1862)
• Louis Huart (fr) (1860–1865)
• Pierre Véron (December 1865 – March 1899)
• Henriot (April 1899 – 1909)
• Édouard Rullier, known as Bettex (1909 – July 1926) – Nouvelle Société de journaux humoristiques
• Sennep (June 1926 – summer 1927)
• Georges Larpent (fr) – the daily was owned by Société française des périodiques illustrés (also Nouvelle Société des journaux humoristiques) (1926–1937)

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• Jean Théophile Gustave Lesestre (1815–1873)
• Agénor Altaroche
• Louis Desnoyers
• Albert Cler

• 1870s Pierre Véron (1831–1900)

Les Poires

27 février 1834

Le Charivari,

JOURNAL PUBLIANT CHAQUE JOUR UN NOUVEAU DESSIN.

     Nous donnons ci-dessous, conformément à la volonté de nos juges, le dispositif et l’arrêt du jugement en dernier ressort qui
a frappé le Charivari. Le jugement de nos derniers juges est absolument pareil à celui de nos seconds juges, lequel était lui-
même la reproduction de celui de nos premiers juges. Tant il est vrai que les beaux esprits se rencontrent. Gomme ce juge-
ment, tout spirituel qu’il soit, risquerait d’offrir peu d’agrément à nos lecteurs, nous ayons tâché de compenser du moins par
la forme, ce qu’il pourrait y avoir d’un peu absurde au fond.

|

|
Louis–
Philippe, roi
des Français, à
tous présens et
à venir salut. La
cour d’assises du
département de Seine-
et-Oise, séant à Ver-
sailles, a rendu l’arrêt sui-
vant. – La cour, etc. – Con-
sidérant que l’opposition est
régulière, – Reçoit Cruchet op-
posant à l’arrêt par défaut du 20
mars dernier. – Faisant droit sur
son opposition, et statuant par arrêt
nouveau. – Considérant que la question
de compte rendu ne pourrnit être examinée
par la cour sans remettre en question la com-
pétence irrévocable          ment fix          ée par l’arrêt de la
cour d'asises de Sein          e-et-Oise          du dix août dernier
et celui de la cour          de cassation          le 19 octobre suivant.
– Considérant d’ail          leurs, que les          articlesincriminés re-
latant les interrogatoir          es des prévenus          et et les dépositions
des témoins entendus          dans les audiences          de la cour d’assises
de la Seine, des onze et douze mars dernier, renfermant ainsi, un véri-
table compte-rendu de ces audiences. – Considérant que de la compa-
raison des deux articles incriminés avec le procès-verbal dressé par les mem-
bres de la cour d’assises de la Seine le dix-neuf mars dernier, il résulte que le compte
qu’ils contiennent, des audiences de ladite cour des onze et douze mars dernier, dans le
procès, concernant Bergeron et Benoist          est infidèle,          qu'en effet les interrogatoires des ac-
cusés, les dépositions des témoins, les paroles          pro non          cées par le président et par le procureur-
général y sont pour la plupart tronquée et dénatu          rés, qu          e même on y prête au président, au procu-
reur-général et à plusieurs des témoins des paroles          qui          n’ont pas réellement été proférées. – Considé-
rant que ces infidélités ont pour motif de jeter le ridi          cul          e soit sur l’accusation, soit sur le président, et que
d’ailleurs les deux articles dont il s’agit sont remplies de          réflexions et de qualifications offensantes pour le prési-
dent et le procureur-général; d’où il suit que le compte-rendu l’a été de mauvaise foi, et qu’il est injurieux pour le
président et le procureur-général. – Considérant que Cruchet a de son aveu signé lesdits articles comme gérant respon-
sable. – Déclare Cruchet coupable d’avoir, dans le journal le Charivari, dont il est gérant, imprimé, vendu et distribué, rendu
de mauvaise foi un compte non seulement infidèle des audiences de la cour d’assises de la Seine des 11 et 12 mars dernier, mais
encore injurieux pour le président et le procureur-géné                               rai, ce qui constitue le délit prévu par les articles 7,16,
de la loi du 25 mars 1822; 26 de la loi du 26 mai 1819;                               11 de la loi du 9 juin 1819, et 14 de la loi du 18 juillet
1828, lus à l’audience par le président. – Faisant application de ces dispositions de lois. – Condamne Isidore Mathias
Cruchet, en un mois d’emprisonnement et en 5,000 fr. d’amende. – Interdit pendant un an aux éditeurs du journal dit
le Charivari de rendre compte des débats judiciaires. – Condamne ledit Cruchet aux frais du procès. – Ordonne en exé-
cution dudit article 26 de la loi du 26 mai 1819 la destruction desdits numéros du journal le Charivari, qui pour-
raient être ultérieurement saisis. – Ordonne que dans le mois, à partir de ce jour, le gérant du journal le Chari
vari, sera tenu d’insérer dans l’une des feuilles dudit journal qui paraîtront, un extrait contenant les motifs et le
dispositif du-président arrêt. – Ordonne que le présent arrêt sera exécuté à la diligence du procureur du roi,
conformément à la loi. – Fait et jugé à Versailles en audience publique au Palais-de-Justice le lundi 9 dé-
cembre 1833 en présence de M. Salerai, procureur du roi, par MM. Antoine AiméMarie Lefebvre, con-
seiller à la cour royale de Paris,                                              président de la cour d’assises, Louis
Claude Mirofle, vice-président du tribunal de première instance de l'arrondissement de Ve-
rsailles et Arnould Teissier, juge au même tribunal composant la cour d’assises du dé-
partement de Seine-et-Oise,                                        qui ont signé avec Jean Ma-
rie Fontaine, commis greffier assistant. – En foi de quoi la minute du
présent arrêt a été signée par le président et le commis greffier

ainsi signé Lefebvre Mirofle, Teissier et Fontaine.

Cover of Le Charivari from February 27, 1834, with the pear-shaped court verdict against the editor of Le Charivari – Caricature of Louis Philippe. The editors, under a mandatory injunction (French: injonction judiciaire) or order to do something (French: injonction de faire) – specifically a publication order – were required to publish the above.

Raw text

Le Charivari,

JOURNAL PUBLIANT CHAQUE JOUR UN NOUVEAU DESSIN.

     Nous donnons ci-dessous, conformément à la volonté de nos juges, le dispositif et l’arrêt du jugement en dernier ressort qui a frappé le Charivari. Le jugement de nos derniers juges est absolument pareil à celui de nos seconds juges, lequel était lui-même la reproduction de celui de nos premiers juges. Tant il est vrai que les beaux esprits se rencontrent. Gomme ce jugement, tout spirituel qu’il soit, risquerait d’offrir peu d’agrément à nos lecteurs, nous ayons tâché de compenser du moins par la forme, ce qu’il pourrait y avoir d’un peu absurde au fond. 

Louis-Philippe, roi des Français, à tous présens et à venir salut. La cour d’assises du département de Seine-et-Oise, séant à Versailles, a rendu l’arrêt suivant. – La cour, etc. – Considérant que l’opposition est régulière, – Reçoit Cruchet opposant à l’arrêt par défaut du 20 mars dernier. – Faisant droit sur son opposition, et statuant par arrêt nouveau. – Considérant que la question de compte rendu ne pourrnit être examinée par la cour sans remettre en question la compétence irrévocable ment fixée par l’arrêt de la cour d'asises de Seine-et-Oise du dix août dernier et celui de la cour de cassation le 19 octobre suivant. – Considérant d’ail leurs, que les articles incriminés re- latant les interrogatoires des prévenus et et les dépositions des témoins entendus dans les audiences de la cour d’assises de la Seine, des onze et douze mars dernier, renfermant ainsi, un véritable compte-rendu de ces audiences. – Considérant que de la comparaison des deux articles incriminés avec le procès-verbal dressé par les membres de la cour d’assises de la Seine le dix-neuf mars dernier, il résulte que le compte qu’ils contiennent, des audiences de ladite cour des onze et douze mars dernier, dans le procès, concernant Bergeron et Benoist est infidèle, qu'en effet les interrogatoires des accusés, les dépositions des témoins, les paroles pro noncées par le président et par le procureur-général y sont pour la plupart tronquée et dénaturés, que même on y prête au président, au procureur-général et à plusieurs des témoins des paroles qui n'ont pas réellement été proférées. – Considérant que ces infidélités ont pour motif de jeter le ridicule soit sur l’accusation, soit sur le président, et que d’ailleurs les deux articles dont il s’agit sont remplies de réflexions et de qualifications offensantes pour le président et le procureur-général ; d’où il suit que le compte-rendu l’a été de mauvaise foi, et qu’il est injurieux pour le président et le procureur-général. – Considérant que Cruchet a de son aveu signé lesdits articles comme gérant responsable. – Déclare Cruchet coupable d’avoir, dans le journal le Charivari, dont il est gérant, imprimé, vendu et distribué, rendu de mauvaise foi un compte non seulement infidèle des audiences de la cour d’assises de la Seine des 11 et 12 mars dernier, mais encore injurieux pour le président et le procureur-géné rai, ce qui constitue le délit prévu par les articles 7,16, de la loi du 25 mars 1822 ; 26 de la loi du 26 mai 1819 ; 11 delà loi du 9 juin 1819, et 14 de la loi du 18 juillet 1828, lus à l’audience par le président. – Faisant application de ces dispositions de lois. – Condamne Isidore Mathias Cruchet, en un mois d’emprisonnement et en 5,000 fr. d’amende. – Interdit pendant un an aux éditeurs du journal dit le Charivari de rendre compte des débats judiciaires. – Condamne ledit Cruchet aux frais du procès. – Ordonne en exécution dudit article 26 de la loi du 26 mai 1819 la destruction desdits numéros du journal le Charivari, qui pourraient être ultérieurement saisis. – Ordonne que dans le mois, à partir de ce jour, le gérant du journal le Charivari, sera tenu d’insérer dans l’une des feuilles dudit journal qui paraîtront, un extrait contenant les motifs et le dispositif du-président arrêt. – Ordonne que le présent arrêt sera exécuté à la diligence du procureur du roi, conformément à la loi. – Fait et jugé à Versailles en audience publique au Palais-de-Justice le lundi 9 décembre 1833 en présence de M. Salerai, procureur du roi, par MM. Antoine AiméMarie Lefebvre, conseiller à la cour royale de Paris, président de la cour d’assises, Louis Claude Mirofle, vice-président du tribunal de première instance de l'arrondissement de Versailles et Arnould Teissier, juge au même tribunal composant la cour d’assises du département de Seine-et-Oise, qui ont signé avec Jean Marie Fontaine, commis greffier assistant. – En foi de quoi la minute du présent arrêt a été signée par le président et le commis greffier ainsi signé Lefebvre, Mirofle Teissier et Fontaine.

Translation

27 February 1834

Le Charivari,

NEWSPAPER PUBLISHING A NEW DRAWING EVERY DAY.

We give below, in accordance with the wishes of our judges, the operative part and the ruling of the final judgment that struck the Charivari. The judgment of our last judges is absolutely identical to that of our second judges, which was itself a reproduction of that of our first judges. So true is it that great minds think alike. As this judgment, however witty it may be, risks offering little pleasure to our readers, we have tried to compensate at least in form, what could be a little absurd in substance.

     Louis-Philippe, King of the French, to all present and future greetings. The Assize Court of the Department of Seine-et-Oise, sitting at Versailles, has rendered the following judgment.

– The court, etc.

– Considering that the opposition is regular,

– Receives Cruchet opposing the default judgment of March 20 last.

– Granting his opposition, and ruling by new judgment.

– Considering that the question of reporting cannot be examined by the court without calling into question the jurisdiction irrevocably established by the judgment of the Seine-et-Oise Assize Court of August 10th and that of the Court of Cassation of October 19th.

– Considering, moreover, that the incriminated articles reporting the interrogations of the accused and the depositions of the witnesses heard in the hearings of the Seine Assize Court of March 11th and 12th, thus containing a true report of these hearings.

– Whereas from the comparison of the two incriminated articles with the report drawn up by the members of the Assize Court of the Seine on March 19th, it results that the account they contain of the hearings of the said court on March 11th and 12th, in the trial concerning [Louis] Bergeron [(1811–1890)] and Benoist is unfaithful, that in fact the interrogations of the accused, the depositions of the witnesses, the words spoken by the President and by the Attorney General are for the most part truncated and distorted, that even the President, the attorney-general and several of the witnesses are attributed words that were not actually uttered.

– Whereas these infidelities are intended to cast ridicule either on the accusation or on the President, and that moreover the two articles in question are filled with reflections and qualifications offensive to the President and the Attorney General; from which it follows that the report was made in bad faith, and that it is insulting to the President and the Attorney General.

– Considering that Cruchet admittedly signed the said articles as responsible manager.

– Declares Cruchet guilty of having, in the newspaper Le Charivari, of which he is manager, printed, sold and distributed, given in bad faith an account not only untrue of the hearings of the Assize Court of the Seine of 11 and 12 March last, but also insulting to the president and the attorney general, which constitutes the offence provided for by Articles

7, 16, of Lhe law of 25 March 1822;

26 of the Law of 26 May 1819;

11 of the Law of 9 June 1819, and

14 of the Law of 18 July 1828,

Read at the hearing by the President.

– Applying these provisions of law.

– Sentences Isidore Mathias Cruchet to one month’s imprisonment and a fine of 5,000 francs.

– Forbids the editors of the newspaper known as Le Charivari from reporting on the court proceedings for one year.

– Orders the said Cruchet to pay the costs of the trial.

– Orders, in execution of the said

Article 26 of the Law of 26 May 1819,

The destruction of the said issues of the newspaper Le Charivari, which could subsequently be seized.

Orders that within the month from this day, the manager of the newspaper Le Charivari will be required to insert in one of the pages of the said newspaper which will appear, an extract containing the reasons and the operative part of the presiding judgement.

– Orders that this judgement will be executed at the diligence of the King's Prosecutor, in accordance with the law.

– Done and judged at Versailles in public hearing at the Palais of Justice on Monday 9 December 1833 in the presence of Mr. Salerai, King’s Prosecutor, by Messrs. Antoine Aimé Marie Lefebvre (1788–1866), Counselor at the Royal Court of Paris, president of the Assize Court, Louis Claude Mirofle (born abt. 1774), Vice-President of the Court of first instance of the District of Versailles and Arnould Teissier, judge at the same court composing the Assize Court of the Department of Seine-et-Oise, who signed with Jean Marie Fontaine, Assistant Clerk.

– In witness whereof the original of this judgment has been signed by the President and the Clerk thus signed Lefebvre, Mirofle, Teissier, and Fontaine.

Founding of Almanach du charivari

The Almanach du charivari was founded in 1860, borrowing "Charivarie" from the publication Le chirivari that ran from 1830 to 1835.

The Almanach du charivari was an annual collection of illustrations from the Le chirivari. Contrary to the magazine Le Charivari, the Almanach du Charivari – issued annually from 1860 to 1905 (46 volumes) – primarily featured light-hearted caricatures (French word), cartoons (dessin humoristique), and jokes (plaisanterie or blague) with minimal political content.

According to the Saturday Evening Post from 1883, the Almanach du Charivari is recognized as a quintessential French "humorous" almanac that has garnered notable attention from an English audience. The Post describes this publication as replete with caricatures that blend light-heartedness and risqué humor. The almanac frequently employs visual gags that navigate the realms of nudity and societal conventions, crafted by artists who deftly highlight the whimsical elements of human anatomy and social interactions. Although the humor is acknowledged as rich and diverse, the article suggests that the artists may exploit these themes with excessive zeal.

Digitized issues of Almanach du charivari

• Almanach du charivari [Almanac of the Charivari] (46 volumes: 1860–1905). Associated with Le Charivari, a well-known satirical magazine in France, this almanac likely included political and social satire.{{cite book}}: CS1 maint: postscript (link) Via Internet Archive (Getty Research Institute), unless otherwise noted. Retrieved September 23, 2024.

1. doi:10.11588/diglit.26972
3. ZDB-ID 23929-X
5. ZDB-ID 2791380-6
7. EZB 455970
8. urn:nbn:de:bsz:16-diglit-269727
10. BnF 326883394
12. ISSN 2612-8977
14. ISSN 2606-2356
16. OCLC 906668687 (all editions)
18. OCLC 643937277 (all editions) and 472037883.

Paris: Pagnerre, éditeur, rue de Seine, 18. Laurent-Antoine Pagnerre (fr) (1805–1854), a French bookseller and politician.
Paris. — Imp. Simon Raçon et Comp., rue d'Erfurth, 1. [Printed by Simon Raçon and Company, 1 Erfurth Street]. Simon Claire Raçon (1811–1903). The Simon Raçon printing house was acquired in 1876 the Lahure printing house, founded by Charles Auguste Lahure (fr) (1809–1887) and carried on by his sons, Louis Justin Lahure (1846–1877) and Aléxis-Etienne Lahure (1849–1928)). His third son, Auguste Lahure (1854–1883), introduced chromotypography.
1. 1860: 1ʳᵉ année.
2. 1861: 2ᵉ année.
3. 1862: Troisième année.
4. 1863: Quatrième année.
5. 1864: 5ᵉ année.
6. 1865: 6ᵉ année.
Paris: Pagnerre, Librairie-éditeur, rue de Seine, 18.
7. 1866: 7ᵉ année.
8. 1867: 8ᵉ année.
9. 1868: 9ᵉ année.
Paris: Librairie Pagnerre, rue de Seine, 18.
10. 1869: 10ᵉ année.
11. 1870: 11ᵐᵉ année.
    
    1870: 11ᵐᵉ année. Paris: Librairie Pagnerre, rue de Seine, 18 – via Google Books (Royal Library of the Netherlands → Two ink stamps are present on the title page: (i) an oval stamp enclosing the text 'Littéraire Societeit, 's Gravenhage' and (ii) a landscape-oriented rounded rectangle stamp containing the words "Koninklijke Bibliotheek te 's Hage)".
12. 1871: 12ᵉ année.
13. 1872: 13ᵉ année.
14. 1873: 14ᵐᵉ année.
15. 1874: 15ᵉ année.
Paris: Au Dépôt central des Almanachs, publiés à Paris, Librairie de E. Plon et Cⁱᵉ, rue Garancière, 10. Éditions Plon was formed in 1852 by Henri Plon (fr) (1806–1872) and his brothers Charles (1810–1881) and Hippolyte (1809–1868). Henri's son, Eugène Plon (1836–1895) joined the firm in 1873, as did his brother-in-law, Louis-Robert Nourrit (1833–1894), and also Émile Perrin (1828–1884) [see Éditions Perrin (fr); in French]
16. 1875: 16ᵉ année.
17. 1876: 17ᵉ année.
18. 1877: 18ᵉ année.
19. 1878: 19ᵉ année.
20. 1879: 20ᵉ année.
21. 1880: 21ᵉ année.
22. 1881: 22ᵉ année.
23. 1882: 23ᵉ année.
24. 1883: 24ᵉ année.
25. 1884: 25ᵉ année.
26. 1885: 26ᵉ année.
27. 1886: 27ᵉ année.
28. 1887: 28ᵉ année.
29. 1888: 29ᵉ année.
30. 1889: 30ᵉ année.
31. 1890: 31ᵉ année (missing).
Paris: Au Dépôt central des Almanachs, publiés à Paris, Librairie Plon, Nourrit et Cⁱᵉ, rue Garancière, 10. Henri Plon's son, Eugène Plon (1836–1895) joined the firm in 1873, as did his brother-in-law, Louis-Robert Nourrit (1833–1894), and also Émile Perrin (1828–1884) [see Éditions Perrin (fr); in French]
32. 1891: 32ᵉ année.
33. 1892: 33ᵉ année.
34. 1893: 34ᵉ année.
35. 1894: 35ᵉ année.
36. 1895: 36ᵉ année.
37. 1896: 37ᵉ année.
38. 1897: 38ᵉ année.
39. 1898: 39ᵉ année.
40. 1899: 40ᵉ année.
41. 1900: 41ᵉ année.
Paris: Au Dépôt central des Almanachs, publiés à Paris, Librairie Plon-Nourrit et Cⁱᵉ, rue Garancière, 8.
42. 1901: 42ᵉ année.
43. 1902: 43ᵉ année.
44. 1903: 44ᵉ année.
45. 1904: 45ᵉ année.
46. 1905: 46ᵉ année.

Contributors

Text

• Louis Adrien Huart (fr) (1813–1865)
• Jean François Clément Caraguel (fr) (1816–1882)
• Pierre-Louis Véron (1831–1900)
• Louis Joseph Leroy (1812–1885)
• Victor Henri Rochefort, Marquis de Rochefort-Luçay (1831–1913)
• Adrien Brémond, the pseudonym of Louis Huart’s son, Huart

Advertisement on back of 1st issue

1860, Vol. 1, no. 1

ALMANACH POUR RIRE

RÉDIGÉ PAR [Written By]

Messrs. Louis Adrien Huart (fr) (1813–1865), Taxile Belord, Clément Caraguel (fr) (1816–1882), Henry Monnier (1799–1877), Hippolyte-Jules Demolière (1802–1877), Jules Lovy (fr) (1801–1863), etc.

Illustré par [Illustrated by] CHAM

Années 1854 à 1859. — Prix : 50 c. chaque année.

---

ALAMANCHS POUR 1860

>Publiés par PAGNERRE, Éditeur.

---

• Almanach lunatique [Lunatic Almanac]. in-8° illustré de 85 gravures.

• Almanach comique [Comic Almanac], picturesque, humorous, critical, and Charivari-like, illustrated with 150 comic vignettes by Cham and Theodore Maurisset (Wikidata Q37885507). 1 volume in-52 of 192 pages.

• Almanach du Charivari [Almanac of the Charivari]. 1 Vol. in-16 illustrated with a large number of engravings.

• Almanach prophétique, pittoresque et utile pour 18XX. [Prophetic Almanac, Picturesque and Useful, for 18XX]. 1 Vol. in-32 of 192 pages, decorated with 120 vignettes.

• Link 1 → 1ʳᵉ Année. Publié par l'auteur de Nostradamus [Published by the author of Nostradamus (Eugène Barest; 1814–1861)]. Rédigé par les notabilités scientifiques et littéraires [Compiled by scientific and literary notables], et illustré par [and illustrated by] Messrs. GA^P Arni (aka Gavarni, aka Paul Gavarni, pseudonym of Sulpice-Guillaume Chevallier; 1804–1866), Honoré Daumier (1808–1879), Louis Joseph Trimolet (fr) (1812–1843), Charles Vernier (1831–1887), and Charles-Michel Geoffroy (fr) (1819–1882). Éducation, amélioration, progrès [Education, Improvement, Progress]. 1850 – via Google Books (Hendrik Conscience Heritage Library).{{cite book}}: CS1 maint: others (link) OCLC 14815278 (all editions).

• Link 2 → Bareste, Eugène (1814–1861) (1840). Nostradamus (2nd ed.). Maillet, éditeur, rue de l'Est, 31. Et chez tous les marchands de Nouveautés [And at all the New Arrivals merchants]. Retrieved September 29, 2024 – via Internet Archive (New York Public Library).{{cite book}}: CS1 maint: numeric names: authors list (link) (Also via Google Books (link) (Bibliothèque municipale de Lyon). Retrieved September 29, 2024.

• Almanach pour rire [Almanac for Laughter], illustrated by Cham. 1 Vol. in-16.

• Almanach astrologique [Astrological Almanac], astronomical, physical, satirical, etc., 1 Vol. in-16, illustrated with 150 engravings, with a pretty colored cover. BnF cb32686397t.

• Almanach de la Bonne Cuisine et de la Maitresse de Maisôn [Almanac of Good Cooking and the Mistress of the House]. 4 Vols. in-16, illustrated with beautiful engravings and a colored cover (1858–1914). Link → 3ᵐᵉ Année. 1860 – via Google Books (Harvard).

• La Mère Gigogne, Almanach des Enfants [Mother Gigogne, Children's Almanac]. 1 Vol. in-16 Jésus, decorated with very pretty engravings, luxury printed.

• Almanach des Dames et des Demoiselles [Almanac of Ladies and Young Ladies]. 1 Vol. in-16 Jésus, with a large number of engravings (1851–1904). BnF 358407633; OCLC 10351856769, 693992138, 693992140, 767193155, 767193146, 693992142, 767193162, 465264862, 72772980, 436472608, 477375753, 492110373, 797576558, 873402180, and 42685416.

• Almanach du Jardinier [Almanac of the Gardener]. by the editors of the Maison Rustique of the nineteenth century. 1 Vol. in-16, decorated with pretty engravings.

• Almanach du cultivateur [Almanac of the Farmer]. by the editors of La Maison Rustique. 1 Vol. in-16, adorned with engravings.

• Almanach de la Chanson [Almanac of Song]. by the members of the Caveau (fr), decorated with engravings.

• Almanach du marin et de la France maritime [Almanac of the Sailor and Maritime France]. in-16.

• Almanach de France [Almanac of France]. 1 Vol. in-16. Published by Société nationale (founded 1833). BnF 6317818t; OCLC 84325208 (all editions).
  
  

Three years after the July Revolution, Émile de Girardin, as editor, founded Almanach de France, intended to replace in the hands of the people the ridiculous Matthieu Laënsberg who had for too long maintained superstitions and prejudices in the countryside; the Institut de Coëtbo (Institut agricole de Coëtbo à Guer), a sort of primary school of agriculture; the Musée des Familles, a publication imitated from the English, and which the Magasin pittoresque had already taken the initiative of in our country; finally the Panthéon littéraire, a collection in which the publisher had proposed to bring together in a limited number of volumes and at a moderate price the masterpieces of the human spirit.

From 1833 to 1837, the Agricultural Institute of Coëtbo in Guer (Morbihan) welcomed a hundred apprentice students. Hippolyte de Béchènec then Mr. Doncker, successive directors of the establishment, worked there to teach future agronomists as well as to modernize French agriculture.

The Société nationale [National Society], in 1864, purchased Almanach du Musée des Familles from Société du Musée des Familles [Society of the Museum of Families] and merged it with the Almanach de France. The publications were combined and published as Almanach de France et du Musée des Familles.

Link 1 → 1ʳᵉ Année. Almanach de France (1st ed.). Société pour l'émancipation intellectuelle. 1833. Retrieved September 29, 2024 – via BnF. (founded 1833)

Link 2 → 27ᵐᵉ Anneé. Almanach de France. Société nationale. 1859. Retrieved September 29, 2024 – via BnF.

Link 3 → 32ᵐᵉ Anneé. Almanach de France et du Musée des Familles. Société nationale. 1864. Retrieved September 29, 2024 – via BnF. (last issue 1905)

• Almanach du Figaro [Figaro Almanac]. in-4° with engravings. (founded 1856)

Main article: Le Figaro

Link 1 → 1ʳᵉ Année. Paris: Martinon, éditeur, rue de Grenelle Saint-Honoré, 9. — Aux bureaux du Figaro, rue Vivienne, 55. 1856. Retrieved September 29, 2024 – via BnF. (founded 1833)

• Almanach d'illustrations modernes [Almanac of Modern Illustrations], 1 Vol. in-4°, gilded on the edge, illustrated with a large number of vignettes engraved by renowned artist.

• Almanach illustré des deux mondes [Illustrated Almanac of the Two Worlds], by Oscar Comettant (1819–1898). 1 Vol. in-8, doré sur tranche.

• Almanach de la littérature du théâtre et des beaux-arts [Almanac of Literature, Theater, and Fine Arts], Containing, in addition to numerous pieces of information that have never been compiled before, a literary and dramatic history of the year by Jules Janin (1804–1874). One 8º volume, gilt-edged, illustrated with numerous portraits and engravings (1853–1869).

Link → 1ʳᵉ Année. 1853 – via Google Books (Cal Berkeley). BnF 34398182p; ISSN 2391-1565, ISSN 0765-8427; OCLC 8755063 (all editions) and 764137990.

• Almanach de l'Illustration [Almanac of Illustration] (1 Vol. Grand in-8, gilded on the edge, illustrated with a large number of vignettes engraved by skilled artists).

• Almanach des Salons [Almanac of the Salons], grand in-4, illustrated with engravings.
  
  

Almanachs Liégeois et Normands à Divers Prix
[Liège Almanacs (a type of almanac published in Liège, Belgium),
and Normandy Almanacs at Various Prices]

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Paris. — Imp. Simon Raçon et Comp., rue d'Erfurth, 1 [Printed by Simon Raçon and Company, 1 Erfurth Street] → Simon Claire Raçon (1811–1903).

Gallery

• 
  Poster:
  Almanachs (1876)
• 
  Poster:
  Almanach prophétique (1847)
• 
  Almanach de la Bonne Cuisine et de la Maitresse de Maisôn (1860)
• 
  Almanach du Figaro (March 4, 1878)
• 
  Alfred de Dreux from the Almanach de la littérature, du théâtre et des beaux-arts (1860)
• 
  <bPoster:
  Almanach du France
• 
  Almanach des Muses (Yves & Barret, engravers)

Continued

See also List of satirical magazines

Cham also printed many portraits of actors for the Galerie dramatique, games:

• La Campagne. Nouveau jeu de Dominos Pittoresques, 1851

and albums of illustrations for children, scores:

• La mélancolique, polka-mazurka

lithographed texts, plans...For satirical drawings and portraits, he worked mainly on behalf of the publisher and dealer Martinet.

Archival notes

Bibliography Sources:

Ministére de la Culture, Archives Nationales F18 1763; F/1d111/52

Archives Nationales F18 1763; F/1d111/52

Reference codes: F/1dIII/83 – F/1dIII/98

The documents contained in the Sub-Series F18 relate to printing, bookstore, and press censorship during the 19th century.

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The initial nominative inventory Récompenses honorifiques, insurgés de 1848 [Honorary awards, insurgents of 1848], by Monique Mayeur, Paris (2001), was dematerialized and encoded in 2020. This dematerialization was an opportunity to correct some typos and add new fields from the existing data (sex, formatting of the nature of the facts, date of death on if applicable, standardization of dates and place of birth, standardization of domicile). The files concerning the other insurrections than 1848 were set aside in the final classification plan.

• Récompenses honorifiques, Insurgés de 1848 [Honorary awards, Insurgents of 1848] (inventory-index). Established by Monique Mayeur. Archives Nationales, accessible on the GALLICA. 2001.{{cite book}}: CS1 maint: others (link)

• Histoire de France [History of France]. Vol. 2 (of 2). Under the direction of Marcel Robert Michel Reinhard (fr) (1899–1973) with the collaboration of Norbert Stéphane Jean-Marie Dufourcq (1904–1990). Hachette, Paris: Librairie Larousse. 1954.{{cite book}}: CS1 maint: others (link) BnF 362523497; OCLC 407555 (all editions).

• Fernique, Charles Antoine (Inventaire - F/1dIII/83-F/1dIII/98). France Archives Portail national des archives. 1848.

The files marked F/1dIII/83-F/1dIII/98, classified in alphabetical order probably in the 19th century, seem to come from at least two different producers:

The office of national guards and military affairs, 1st division of the Ministry of the Interior, the commission for the distribution of national rewards, attached to the Prefecture of the Seine.

Entry and conservation

Mode of entry

Transfer to the National Archives in [?]

Sources and references

Documents from the same source

Inventory of Rewards for the victors of the Bastille in 1789

Inventory of Rewards and aid for combatants, wounded and victims of the February days of 1830

Cham

• Notes.

A publié d'abord des albums genre Tœpffer , faisant partie de la collection dite : « Collection des Jabots » ; — M. Lamélasse , histoire d'un épicier ; M. Lajaunisse , malheurs d'un beau garçon ; M. Jobard, mésaventures d'un homme naïf ; Deux vieilles filles à mûrier, tribulations de famille. Puis vint la collection des Miroirs Comiques : Miroir de l'Étudiant, de l'Étudiant en vacances, de l'Artiste, de l'Amateur, de l'Épicier, du Moutard, du Calicot, etc., plaquettes rarissimes qui ne se rencontrent que fort rarement.

1° Albums. — Voici, d'autre part, la liste des principaux albums de Cham — gravures sur bois, lithographies, procédé, — composés de ses « Semaines » comiques ou « Histoires diverses » du Charivari.

Ah ! Quel plaisir de voyager ; album saugrenu ; À la guerre comme à la guerre ; L'année prochaine ; L'art d'engraisser et de maigrir ; L'art de réussir dans le monde ; Au Bivouac (avec Daumier et Ch. Vernier) ; Aventures de Télémaque, par Fénelon et Cham ; Au Bal de l'Opéra ; Bêtises et jeux de mots tirés par les cheveux ; Banque Proudhon ; La Bourse illustrée ; Baigneurs et buveurs d'eau; Ces bons Autrichiens ; Calembours en action ; Le Carnaval, caricatures sur les bals masqués ; La Carrière militaire ; Charges parisiennes ; Choses et autres ; Les Chasseurs, caricatures sur les plaisirs de la chasse ; Les Collégiens en vacance ; Le Codecivil ; Cours de physique ; Cours de géométrie ; Croquis californiens ; Croquis d'automne ; Croquis contemporains ; Croquis de printemps ; Croquis militaires ; Croquis parisiens ; Coups de crayon ; Croquis en noir ; Croquis en l'air ; Croquades ; Études socialistes ; Exposition de Londres ; Fantasia ; Folies du jour ; Les Français en Chine ; Les Français en Italie ; La Grammaire illustrée ; La Grippe à Paris ; Histoire du prince Colibri ; Impressions lithographiques de voyage ; Impressions de voyage de M. Boniface, ses excursions sur terre et sur mer, sur la tête et sur le nez ; En Italie ; Ces Jolis messieurs ; La Lanterne magique ; Maroquinades ; Le Manuel des chasseurs ; Mélanges comiques ; Mémoires de l'hippopotame ; Miroir caricatural ; Mœurs algériennes, chinoiseries turques ; Nos gentils petits enfants ; Nouveaux habits; Nouvelles charges ; Pendant la canicule ; Pincez-moi à la campagne ; Proudhon en voyage ; Proudhoniana ; Puffs industriels ; Punch à Paris ; Rébus comiques ; Les Représentants eu vacances ; Revue comique de l'exposition de 1867; Revue comique de l'exposition de 1878 ; Revues comiques des Salons de peinture (sous les titres de : Exposition charivarique ; L'Exposition charivarisée , Promenades au Salon, Livrets charivariques , etc.) ; Soulouque et sa cour ; Souvenirs de garnison ; Les Tâtonnements de Jean Bidoux dans la carrière militaire ; Les Tortures de la mode (Histoire de la mode en France depuis Charles VII, non paru dans le Charivari) ; Turlupinades ; Un peu de tout ; Voyage de Paris en Amérique, poussé jusqu'au Havre; Les Voyages d'agrément ; Les Zouaves. Chacun de ces albums renferme 60 caricatures et paraissait, ordinairement, à raison de un par mois.

2° Livres illustrés par Cham. — (Quelquesuns sont des plaquettes ayant paru dans le Charivari.) Parodies de Barbe-Bleue, de la Belle au Bois dormant, du Petit Poucet , de Cendrillon , du Petit Chaperon-Rouge, du Chat botté, publiées dans le Musée Philippon ; Parodie des Mystères de Paris ; Parodie du Juif Errant (1845) ; le titre porte Cham (de N.) Pour ce dernier volume, les amateurs devront avoir l'édition de Paris et l'édition de Bruxelles, celle-ci contenant en entier certains bois qui ont été coupés dans l'édition d'Aubert. Paris au bal ; Ulysse ou les porcs vengés (parus dans le Charivari). V 'Assemblée nationale comique (1848) ; Messieurs les cosaques ; Les cosaques (-1855) ; Odyssée de Pataud et de son chien Fricot (volume de la collection Hetzel , à la fin duquel se trouve le fameux dessin de Dantan , Cham porté par son chien) ; Quatre eaux-fortes pour les souffrances du professeur Delteil , de Champfleury (1861). 

Almanachs prophétiques, almanachs du Charivari ; vignettes pour les couvertures de divers volumes de Pierre Véron, pour les Mystères de l'Hôtel des Ventes de Rochefort, pour la Mouche, la petite revue mensuelle de Daclin (1866), quelques titres de chansons comiques. 

Documents à consulter : Douze années comiques de Cham avec préface par Ludovic Halévy (Calmann-Lévy). — Cham , sa vic et son œuvre, par Félix Ribeyre (1884).

Portraits-charge de Cham , par Gill , Nadar , Dantan , Durandeau, Carjat , Alfred Le Petit, P. Bernay , Lafosse.

Croquis inédits dans Le Figaro du 28 décembre 1885.

Originaux de plusieurs de ses caricatures dans Le Bibliophile Parisien (déc. 1887). (Voir sur Cham, teste et dessins, p. 281 à 286, 292 à 297, 313, 319 à 321, 348 à 357, 402 à 404, 407 à 413, 416, 432 à 434, 439, 447, 451, 557, 596, 610.

Translated

First set of albums in the Töpffer style, as part of the so-called "Collection of Jabots" – named after Rodolphe Töpffer's (1799–1846) first published album (1831):

— M. Lamélasse, histoire d'un épicier (Mr. Lamélasse, the story of a grocer);

— M. Lajaunisse, malheurs d'un beau garçon (Mr. Lajaunisse, misfortunes of a handsome boy);

— M. Jobard, mésaventures d'un homme naïf (Mr. Jobard, misadventures of a naive man);

— Deux vieilles filles à mûrier, tribulations de famille (Two old maidens at the mulberry tree, family tribulations).

Then came the collection Miroirs Comiques (Comic Mirrors):

— Miroir de l'Étudiant (Mirror of the Student), de l'Étudiant en vacances (of the Student on vacation), de l'Artiste (of the Artist), de l'Amateur (of the Amateur), de l'Épicier (of the Grocer), du Moutard (of the Youngster), du Calicot (of the Draper), etc., very rare booklets that are scarcely found.

1st set of albums

1st set of Albums. — Here, moreover, is the list of Cham’s main albums — wood engravings, lithographs, processes — composed of his comical "Weeks" or "Various Stories" from Le Charivari:

Ah! Quel plaisir de voyager (Ah! What a pleasure to travel);

Album saugrenu (Absurd album);

À la guerre comme à la guerre (In war as in war);

L'année prochaine (Next year);

L'art d'engraisser et de maigrir (The art of fattening and slimming)

L'art de réussir dans le monde (The art of succeeding in the world)

Au Bivouac (At the Bivouac, with Daumier and Ch. Vernier)

Aventures de Télémaque, by François Fénelon (1651–1715) and Cham

Au Bal de l'Opéra (At the Opera Ball)

Bêtises et jeux de mots tirés par les cheveux (Foolishness and far-fetched puns)

Banque Proudhon (Proudhon’s Bank)

La Bourse illustrée (The Stock Exchange illustrated)

Baigneurs et buveurs d'eau (Bathers and water drinkers)

Ces bons Autrichiens (These good Austrians)

Calembours en action (Puns in action)

Le Carnaval, caricatures sur les bals masqués (The Carnival, caricatures on masked balls)

La Carrière militaire (The military career)

Charges parisiennes (Parisian charges)

Choses et autres (Things and others)

Les Chasseurs, caricatures sur les plaisirs de la chasse (The Hunters, caricatures on the pleasures of hunting)

Les Collégiens en vacance (The students on vacation)

Le Code civil (The Civil Code)

Le Code civil – Ouvrage destiné aux personnes qui désirent avoir des démêlés avec la justice [The Civil Code – Book Intended for People Who Want to Get into Trouble With the Law] (Paris Imprimerie — Simon Raçon et Compagnie, rue d'Erfurth, 1. [Paris:Simon Raçon and Company, Printer, 1 Erfurth Street]). Paris: Maison Martinet. 172 rue de Rivoli, et rue Vivienne, 41. 1862.

1. Première partie [Part One] – via Internet Archive (Getty Research Institute).
2. Première partie    [Part One] – via Wikisource (University of Toronto Libraries).
3. Seconde partie [Part Two] – via Google Books (Complutense University of Madrid).
4. Seconde partie    [Part Two] – via Wikisource (University of Toronto Libraries).
5. Troisième et dernière partie [Third and Final Part] – via Internet Archive (Getty Research Institute).
6. Troisième et dernière partie    [Third and Final Part] – via Wikisource (University of Toronto Libraries).

Cours de physique (Physics lessons)

Cours de géométrie (Geometry lessons)

Croquis californiens (Californian sketches)

Croquis d'automne (Autumn sketches)

Croquis contemporains (Contemporary sketches)

Croquis de printemps (Spring sketches)

Croquis militaires (Military sketches)

Croquis parisiens (Parisian sketches)

Coups de crayon  [Pencil strokes] – via Wikisource (University of Toronto Libraries). OCLC 1021833119 (all editions).

Croquis en noir (Sketches in black)

Croquis en l'air (Sketches in the air)

Croquades (Sketches)

Études socialistes (Socialist studies)

Exposition de Londres (London Exhibition)

Fantasia (Fantasia)

Revue fantaisiste – Album de soixante caricatures par Cham [Whimsical (Imaginative) Review – Album of Sixty Caricatures by Cham]. Paris: Arnauld de Vresse, éditeur; 55, rue de Rivoli, 55. 1866 – via Internet Archive (Getty Research Institute) → Armorial bookplate of the Hopetoun House Library of John Hope, 7th Earl of Hopetoun and 1st Marquess of Linlithgow; with mottos, "Tria juncta in uno" [Three joined in one] "At spes non fracta" [But hope is not broken]). OCLC 1176981924 (all editions).

Folies du jour (Follies of the day)

Les Français en Chine (The French in China)

Les Français en Italie (The French in Italy)

La Grammaire illustrée (The illustrated grammar)

La Grippe à Paris (The flu in Paris)

Histoire du prince Colibri (The story of Prince Hummingbird)

Impressions lithographiques de voyage (Lithographic travel impressions)

Impressions de voyage de M. Boniface, ses excursions sur terre et sur mer, sur la tête et sur le nez (Travel impressions of Mr. Boniface, his excursions on land and sea, on his head and on his nose)

En Italie (In Italy)

Ces Jolis messieurs (These handsome gentlemen)

La Lanterne magique (The magic lantern)

Maroquinades (Maroquinades)

Le Manuel des chasseurs (The hunter’s manual)

Mélanges comiques (Comical mixtures)

Mémoires de l'hippopotame (Memoirs of the hippopotamus)

Miroir caricatural (Caricatured mirror)

Mœurs algériennes, chinoiseries turques (Algerian customs, Turkish chinoiseries)

Nos gentils petits enfants (Our nice little children)

Nouveaux habits (New clothes)

Nouvelles charges (New caricatures)

Pendant la canicule (During the heatwave)

Pincez-moi à la campagne (Pinch me in the countryside)

Proudhon en voyage (Proudhon on a trip)

Proudhoniana (Proudhoniana)

Puffs industriels (Industrial puffs)

Punch à Paris (Punch in Paris)

Rébus comiques (Comic rebuses)

Les Représentants en vacances (Representatives on vacation)

Revue comique de l'exposition de 1867 (Comic review of the 1867 exhibition)

Revue comique de l'exposition de 1878 (Comic review of the 1878 exhibition)

Revues comiques des Salons de peinture (Comic reviews of the painting salons, under the titles of):

1. Exposition charivarique
2. L'Exposition charivarisée [The Exhibition Charivarized]. Paris: Arnauld de Vresse, éditeur, 35, rue de Rivoli, 5 – via Internet Archive Getty Research Institute.
3. Promenades au Salon
4. Livrets charivariques
5. etc.

Soulouque et sa cour (Soulouque and his court)

Souvenirs de garnison (Garrison memories)

Les Tâtonnements de Jean Bidoux dans la carrière militaire (Jean Bidoux’s fumblings in the military career)

Les Tortures de la mode (Tortures of fashion, History of fashion in France since Charles VII, not published in Le Charivari)

Turlupinades (Absurdities)

Un peu de tout (A little of everything)

Voyage de Paris en Amérique, poussé jusqu'au Havre (Journey from Paris to America, pushed as far as Le Havre)

Les Voyages d'agrément (Pleasure trips)

Les Zouaves (The Zouaves) see Zouave

Each of these albums contains 60 caricatures and generally appeared at the rate of one per month.

2nd set of albums

2° Books illustrated by Cham — (Some are booklets that appeared in Le Charivari):

Parodies of Bluebeard, Sleeping Beauty, Little Thumb, Cinderella, Little Red Riding Hood, Puss in Boots, published in Musée Philippon (see Charles Philipon; 1800–1862)

Parody of Les Mystères de Paris

Parodie du Juif Errant [Parody of the Wandering Jew] (1845). the title bears Cham (de N. — Charles Nodier?). For this last volume, collectors should have both the Paris edition and the Brussels edition, the latter containing certain woodcuts in full that were cut out in the Aubert edition.

Paris au bal (Paris at the ball)

Ulysse ou les porcs vengés (Ulysses or the pigs avenged, appeared in Le Charivari

Assemblée nationale comique [The National Assembly Comic] (1850). (1848)

Messieurs les cosaques (Gentlemen Cossacks)

The Cossacks (-1855)

Odyssée de Pataud et de son chien Fricot (Odyssey of Pataud and his dog Fricot, a volume from the Hetzel collection, at the end of which is Jean-Pierre Dantan's (1800-1869) famous drawing, Cham porté par son chien (Cham Carried by His Dog); Four etchings for the Naughty Boys, or, Sufferings of Professor Delteil (1855). by Champfleury, the pseudonym of Jules François Felix Fleury-Husson (1821–1889), (1861).

Prophetic almanacs, Charivari almanacs; vignettes for the covers of various volumes by Pierre Véron (1833–1900), for the Mysteries of the Rochefort Auction House, for La Mouche, Daclin's little monthly review (1866), and some titles of comic songs.

Not sure how to categorize

Librairie Nouvelle 1877, Boulevard des Italiens, illustrated in 1877 by A.-P. Martial (1823–1883).

• Album de 60 Caricatures Par Cham [Album of 60 Caricatures by Cham] (University of Toronto Libraries). Paris: Arnauld de Vresse, éditeur, 55, rue de Rivoli, 55.

1. Une Once de Bon Sang [An Ounce of Good Blood] – via Internet Archive. OCLC 1021833172 (all editions).
2. Paris au crayon [Paris in Pencil] – via Internet Archive. OCLC 1021833119 (all editions).
Paris au crayon  [Paris in Pencil] – via Wikisource. OCLC 1021833119 (all editions).
3. Paris pour rire [Paris for Laughter] – via Internet Archive. OCLC 23022270 (all editions).
4. Les grimaces du jour [Grimaces of the Day] (Voir 2ᵉ édition au vol. 2 [see 2nd ed., Vol. 2]) – via Internet Archive. OCLC 27914829 (all editions).
5. L'arithmétique [Arithmetic]. À la Librairie Nouvelle [At the New Bookstore], boulevard des Italiens, 15 ; et au bureau du journal Le Charivari [and at the office of the newspaper Le Charivari], 16, rue du Croissant (publisher). Paris: Typographie Henri Plon , rue Garancière , 6. Paris – via Internet Archive.
6. Les courses [The races] – via Internet Archive. OCLC 181821108 (all editions).
7. Chassepotiana [Chassepot collection] (see Chassepot rifle, a bolt-action military rifle famous in France, particularly during the Franco-Prussian War of 1870–1871) – via Internet Archive. OCLC 237200678 (all editions)
8. Les échappés de Charreton [The Escapees of Charreton] – via Internet Archive. OCLC 237202684 (all editions).
9. Nos Jeux et nos ris [Our Games and Our Laughs] – via Internet Archive. OCLC 237202686 (all editions).
10. Cascadeurs et cascadeuses [Stuntmen and Stuntwomen] – via Internet Archive. OCLC 237202682 (all editions).
11. Pantins du jour [Puppets of the Day] – via Internet Archive. OCLC 237200680 (all editions).
12. Le Code civil – Ouvrage destiné aux personnes qui désirent avoir des démêlés avec la justice [The Civil Code – Book Intended for People Who Want to Get into Trouble With the Law] – via Internet Archive.
1. Première partie [Part One] – via Internet Archive.
2. Seconde partie [Part Two] – via Internet Archive.
3. Troisième et dernière partie [Third and Final Part]. 1862 – via Internet Archive.

Documents to consult

Twelve comic years of Cham with a preface by Ludovic Halévy (1834–1908) (Calmann-Lévy).

Cham, his life and work, by Félix Ribeyre (1884).

Caricature portraits of Cham, by Gill, Nadar, Dantan, Durande

Gallery

• 

Bibliography

Annotations

• 
  Guillemette Josephine Brunold

References

• Vicomte de Launay (Emile de Girardin; 1804–1855). Lettres parisiennes [Parisian Letters] (1836–1848).{{cite book}}: CS1 maint: multiple names: authors list (link) CS1 maint: numeric names: authors list (link)

1943: Paris: Charpentier, libraire éditeur. 29, rue de Seine.
1. Année 1836: Lettre première – via HathiTrust (NYPL).

1860: Paris: Henri Plon, Imprimeur-éditeur. S. rue Garancière (New ed.).
1. Année 1836: Lettre première – via Wikisource (Robarts Library, University of Toronto). BnF 5476869h.
2. Année 1838: Lettre première – via Google Books (Basel University Library).

1869: Paris: Michel Lévy Frères, éditeurs. rue Vivienne, 2 bis, et boulevard des Italiens, 15, à la libraire nouvelle [Michel Lévy Frères, publishers. 2 locations: Rue Vivienne and 15 Boulevard of the Italians, at the New Bookstore]. Édition considérablement augmentée et la seule complète [Considerably enlarged edition and the only complete one] (New ed.).
1. Année 1840: Lettre XI – via Google Books (Michigan).
2. Année 1844: Lettre IV – via Google Books (Michigan).

• Ripley, George (1802–1880); Dana, Charles Anderson (1819–1897), eds. (1879). The American Cyclopædia (2nd ed., revised). New York: D. Appleton and Company.{{cite book}}: CS1 maint: numeric names: editors list (link) Retrieved October 1, 2024.

1. 1858–1863: 16 Vols. LCCN 08-2570; OCLC 3441613 (all editions).
2. 1858–1863: 16 Vols. LCCN 35-33751; OCLC 4446694 (all editions).
3. 1873–1876: 16 Vols. LCCN 07-19446; OCLC 1203618 (all editions).
4. 1879: 16 Vols (2nd ed.; Rev.). OCLC 4626065 (all editions); OCLC 847372823 (all editions) & 1067041340.
5. 1883: 16 Vols. LCCN 05-14795; OCLC 265876 (all editions).

---

• Main article: New American Cyclopædia
• Main article: Émile de Girardin

---

1. Burlingame, Edward Livermore (1848–1922). "Girardin, Émile de". Vol. 7 (of 16): "Evesham–Glascock". pp. 822–823 – via Wikisource (Robarts Library, University of Toronto).{{cite book}}: CS1 maint: numeric names: authors list (link)
2. Burlingame, Edward Livermore (1848–1922). "Girardin, Émile de". Vol. 7 (of 16): "Evesham–Glascock". pp. 822–823 – via Internet Archive (Robarts Library, University of Toronto).{{cite book}}: CS1 maint: numeric names: authors list (link)

• Yves & Barret Invoice. 6 rue Thévenot près la rue S. Denis. June 1, 1878. Retrieved October 1, 2024 – via Musée d'Art et d'Histoire du Judaïsme.

Alfred Girardin was the designer of the catalogue of the 1878 Paris Exhibition. Invoices for photos by Girardin for objects listed in the catalogue of the 1878 Paris Exhibition.

Hot lead typesetting: Yves and Barret, 1st class gold medal at the international congress of geographical sciences [International Congress of Geographical Sciences] 1875. Photogravure, chemical relief engraving for typography, 6 rue Thévenot (now rue Réaumur) near rue St Denis; addressed Isaac Strauss, 23 r. de Gramont.

Timbre fiscal [tax stamp] → Timbres bleus de quittance [blue receipt stamps]. Fea­tures a central oval design framing the 10 centimes denomination, with ornate curly-cues in each corner and decorative borders on all sides. The stamp is in portrait orientation, with the top labeled "Quit­tan­ces reçues" [receipts received] and the bottom labeled "Et décharges" [and discharges].

1. Mar. 2, 1878: 1 photo: vase.
1. 15 fr.
2. Tax stamp: 10 centimes.
3. Red stamped imprint: "For Acquisition"
4. Signature
2. Jan. 18, 1878: 1 photo: antique piece of furniture.
1. 30.20 fr.
3. 29? 1877: 1 photo: art objects, Girardin fabric.
1. Tax stamp affixed: 10 centimes
2. Red imprint: "For Acquisition"
3. 39.90 fr.
4. Signature.
4. Aug. 20, 1877: 1 photo: Girardin illustration.
1. 28.05 fr.
               1 photo:"     ".
2. 34.20 fr.
3. 62.25 fr. (total)
4. Tax stamp affixed: 10 centimes
5. Red imprint: "For Acquisition"
6. Signature.
5. Aug. 3, 1877: 1 photo: Girardin; 17 × 9 cm (3.5 in).
   1. 22.95 fr.
   2. Tax stamp affixed: 10 centimes
   3. Red imprint: "For Acquisition"
   4. Signature.
6. Aug. 2, 1877: 1 photo: furniture; 20 × 13 cm (5.1 in).
   1. 33 fr.
   2. Tax stamp affixed: 10 centimes
   3. Red imprint: "For Acquisition"
   4. Signature.
7. Jul. 26, 1877: 1 photo: (Girardin) scepters, photo.
1. 24 fr.
2. Tax stamp affixed: 10 centimes
3. Red imprint: "For Acquisition"
4. Signature.
8. Jul. 12, 1877: 1 photo: Girardin illustration, 13 × 16 cm (6.3 in).
1. 31.20 fr.
2. Tax stamp affixed: 10 centimes
3. Red imprint: "For Acquisition"
4. Signature.
9. Jun. 29, 1877: 1 photo: drawing by Girardin.
1. 31.31 fr.
2. Tax stamp affixed: 10 centimes
3. Red imprint: "For Acquisition"
4. Signature.
10. Jun. 1, 1877: 1 photo: piece of furniture, 19 × 11 cm (4.3 in).
1. 31.31 fr.
2. Tax stamp affixed: 10 centimes
3. Red imprint: "For Acquisition"
4. Signature.

• Effiche [Poster]: Almanachs ("cette affiche ne peut être apposée qu'à l'intérieur" [this poster can only be displayed indoors]). s.b.d. → (signature en bas à droite [signature at the bottom right]): Berlat (illustrateur); s.b.g. → (signature en bas à gauche [signature at the bottom left]): Yves & Barret SC ("SC" stands for "sculpteurs"), rue Thévenot, 8. Paris, typographie de e. Plon et Cⁱᵉ, rue Garancière, 8 → site of Hôtel de Sourdéac (fr). 1876 – via Tampon encreur violet [purple ink stamp] → [Musée] Carnavalet (Paris: Collection Carnavalet).{{cite book}}: CS1 maint: others (link) Paris Musées (Carnavalet) 169891 and Almanachs–1876.

1. Almanach de la République.
2. Almanachs divers.
3. Triple Liégeois.
4. Almanach Parisien.
5. Almanach pour rire [Almanac for Laughter].
6. [Prédictions de] Mathieu Lænsberg (aka Matthieu Laënsberg).
7. [Double Almanach liégeois de Mathieu Lænsberg, pour l’an de grâce 1846].
8. Almanach du charivari.
9. Almanach lunatique.
10. Almanach de la Mère Gigogne.
11. Almanach astrologique [Astrological Almanac].
12. Almanach des Dames et des Demoiselles [Almanac of Ladies and Young Ladies].
13. Almanach comique.
14. Almanach de France.
15. Almanach de la bonne cuisine [Almanac of Good Cooking].
16. Marque du musée [Mark of the Museum].

• "French Literature". The Saturday Review. Vol. 64, no. 1667. London: 38 Southampton Street, Strand, W.C. October 8, 1887. p. 501.

1. Via Internet Archive (Vassar College).

• Ordre de la Légion d'honneur [Order of the Legion of Honor] (date of event: May 7, 1774). LH/1888/67. Paris.

M. Mirofle (Louis Claude), Né le 7 mai 1774, à Rozay-en-Brie (Seine-et-Marne), Président du tribunal de première instance de l'arrondissement de Versailles, Chevalier de l'Ordre royal de la Légion d'honneur, pour prendre rang à dater du 27 mai  1838.

Titre signé à Paris, le 6 juin 1840.

1. "Extrait des minutes du greffe de la Cour royale de Paris" [Extract from the Minutes of the Registry of the Royal Court of Paris].
2. "Procès-verbal de réception d'un chevalier de l'Ordre royal de la Légion d'honneur." [Minutes of the Reception of a Knight of the Royal Order of the Legion of Honor].

• "Mirofle, Louis Claude" and Giron, Marie Emilie". Mariages, Célébrés à Paris de 1793 à 1802 (digital image 108 of 445). Dictionnaire encyclopédique. 9ᵉ Vol. "Mem a Peo". 1854 – via Geneanet → Archives de la Seine.

• Paillot de Montabert, Jacques-Nicolas (1771–1849) (1829). Traité complet de la peinture [Complete Treatise on Painting]. Vol. 4. Paris: Bossange. p. 698.{{cite book}}: CS1 maint: numeric names: authors list (link)

1. Via Google Books (Austrian National Library).

• Adeline, Jules (1845–1909) (1884). Lexique des termes d'art [Lexicon of Art Terms] (in French) (New ed.). Paris: Société française d'éditions d'art. p. 135 – via Google Books (Oxford University).{{cite book}}: CS1 maint: numeric names: authors list (link) LCCN f01003453; OCLC 644217325 (all editions).

1. Hathi Trust (Getty Research Institute).
2. Via Google Books (Oxford University).

• Boime, Albert (1933–2008) (1992). "The Sketch and Caricature as Metaphors for the French Revolution" (PDF). Zeitschrift für Kunstgeschichte (de). 55 (2): 256–267.{{cite journal}}: CS1 maint: numeric names: authors list (link) ISSN 0044-2992 (journal); JSTOR 482613 (article); doi:10.2307/1482613 (article); OCLC 5547925242 and 7493623523 (article).

1. Via Wayback Machine (PDF). Archived October 9, 2021. Retrieved September 27, 2024.

• Legion of Honor (2009). "Grande chancellerie de la Légion d'honneur (1784–1954)" [Grande Chancellerie of the Legion of Honor]. Répertoire numériquedes articles [Numerical Directory of Articles] LH/1 à 3376. Compiled by Danis Habib with the collaboration of Olivier Maugé and Chantal Sainrimat. Archives Nationales (Paris) – Fonds de la Grande chancellerie de la Légion d'honneur (1784–1957) [Funds of the Grande Chancellerie of the Legion of Honor]. Archives Nationales: Série LH: Grande Chancellerie de la Légion d'honneur.

1. "Répertoire numérique" [Digital directory] "LH/1–LH/2812 Dossiers nominatifs de légionnaires" [Legionnaires' personal files] "1802–1954": "LH/1888 Mirande (Marie Edouard Antoine) à Mirofle (Louis Claude)" (PDF). p. 57. Retrieved September 27, 2024.

• Choix de rapports [Selection of Reports] (3 vols. of papers relating to claims to the earldom of Perth). By Parliament Lords, proc.{{cite book}}: CS1 maint: others (link) LCCN 06-987.

• Registre – Carte Rouge [Register – Red Card]. 1793 et an[née] 2. Registre d'inscription des citoyens à qui le comité de surveillance délivrera des cartes de sûreté – Commencé au n° 1 jusqu'au n° 1273. [1793 and An. 2. Register of Citizens to Whom the Committee of General Security Will Issue Security Cards – Started at No. 1 to No. 1273]. 6ᵉ arrondissement (fr). Amis de la Patrie – Section N° 15 [Friends of the Fatherland – Section No. 15]. May 7, 1793. Retrieved September 26, 2024 – via Geneanet → de.geneanet.org/auswertungen/view/19701/1. Archival document{{cite book}}: CS1 maint: postscript (link)

Note: The cartes de sûreté (security cards) mentioned in this document were issued during the French Revolution by local surveillance committees. These cards served as a form of identification for citizens, verifying their loyalty to the revolutionary government – showing their Republican credentials. Possession of these cards could offer citizens protection and facilitate movement during a time of heightened political scrutiny. A Carte Rouge (Red Card) during the French Revolution generally signified loyalty to the revolutionary government, particularly the radical factions aligned with the Jacobins. In 1793, during the height of the Reign of Terror, local surveillance committees – Comité de surveillance (Committee of General Security) – were tasked with monitoring citizens' political allegiances and distributing cartes de sûreté (security cards). These red cards were a mark of trustworthiness and proof of loyalty to the Revolution and its ideals. Section des Amis-de-la-Patrie (fr) [Section of the Friends of the Fatherland]: During the French Revolution, sections were administrative subdivisions in cities, particularly in Paris, and were often named to reflect revolutionary sentiments. "Amis de la Patrie" (Friends of the Fatherland) implies a group dedicated to patriotic, revolutionary ideals.

1. Archives Nationales: F/7/4785. (Créteil: Bibliothèque Généalogique et d'Histoire Sociale de France).
2. Via Geohistoricaldata (powered by MediaWiki).
3. "Mirofle, Louis Claude Etienne". p. 9 (digital image 10 ).
1. Numéros d'ordre: 130.
2. Qualités: Comis (Commis) [clerk].
3. Age: 19.
4. Lieux de la résidence actuelle: Rue du Bourg-l'Abbé (fr) N° 36.
5. Précédent Domicile [previous residence]: Rue des Prouvaires (fr) 64.
6. Époque d'arrivée à Paris: 1783.
7. Lieu de la naissance [place of birth]: Rozay-en-Brie.
8. Observations: ??.
9. Signature des citoyens:
4. "Mirofle, Louis Claude Etienne". p. 9 (digital image 10 ) – via Family Search.

• Petrey, Donald Sanford "Sandy", PhD (born 1941) [in French] (Summer 1991). "Pears in History". Representations (Petrey is Professor Emeritus, Stony Brook University). Special Issue: Monumental Histories. 35. University of California Press; Cal Berkeley: 52–71. Retrieved September 25, 2024.{{cite journal}}: CS1 maint: multiple names: authors list (link) CS1 maint: numeric names: authors list (link) ISSN 0734-6018 (journal; print); ISSN 1533-855X (journal; online); doi:10.2307/2928716 (article); JSTOR 2928716 (article); OCLC 7791782612 and 6965473943 (article).

• Physiologie de la Poire [Physiology of the Pear] (Louis Benoist). Paris: Chez les libraires de la place de la Bourse (fr) et ceux du Palais-Royal [Available at the booksellers on Place de la Bourse and those at the Palais-Royal]. 1832.

1. Via Google Books (The British Library).

• Strieter, Terry Wynn, PhD (born 1946) (1999). Nineteenth-Century European Art: A Topical Dictionary (borrow unavailable pursuant to Hachette v. Internet Archive). Westport, Connecticut: Greenwood Press – via Internet Archive.{{cite book}}: CS1 maint: multiple names: authors list (link) CS1 maint: numeric names: authors list (link) LCCN 98-34720; ISBN 0-3132-9898-X, 978-0-3132-9898-1; OCLC 39556621 (all editions).

• "Charivari, Le (1832–1937)". Encyclopædia Universalis (online). Encyclopædia Britannica, Inc. Retrieved September 25, 2024. LCCN 75-516014, LCCN 98-155834; ISSN 1285-9524; ISBN 2-8522-9281-5; OCLC 1038537571 (all editions).

Main article: Encyclopædia Universalis
1. 1990 Supplement: Corpus 7: "Dabrowska – Égypte" [Volume 7: "Dabrowska – Égypte"]. Encyclopædia Universalis, éditeur à Paris. 1993 – via Internet Archive (Kahle/Austin Foundation). LCCN 91-159622; ISBN 2-8522-9287-4 (set); OCLC 16108617 (all editions).

• Front page. Le Charivari (in French). Vol. 3, no. 58. Paris: Chez Aubert, Galerie Vero-Dodat [At Aubert (publisher), Vero-Dodat gallery]. February 27, 1834. p. 3 (of 4). Retrieved September 24, 2024.

1. Via RetroNews (Bibliothèque nationale de France).
This copy of Le Charivari bears a red ink circular stamp with the words "Bibliothèque impériale" and "impr"(imés), symbol of the empire, French Imperial Eagle (Aigles de la Garde Impériale), in the center.

• "Les Poires, Faites à la cour d'assises de Paris par le directeur de la Caricature. Vendues pour payer les 6,000 fr. d'amende du journal Le Charivari" [The Pears, Made at the Paris Assize Court by the Director of La Caricature. Sold to pay the 6,000 francs fine of the newspaper Le Charivari]. Le Charivari (in French). Vol. 3, no. 17. Paris: Chez Aubert, Galerie Vero-Dodat [At Aubert (publisher), Vero-Dodat gallery]. January 17, 1834. p. 3 (of 4). Retrieved September 24, 2024. LCCN ca11-376 (publication); OCLC 28128856 (all editions) (publication); 693506990 (illustration); 763353230 (illustration); 466319018 (illustration), 715773877 (illustration), 457648455 (illustration), 1176796394 (illustration).

1. Via RetroNews (Bibliothèque nationale de France).
This copy of Le Charivari bears a red ink circular stamp with the words "Bibliothèque impériale" and "impr"(imés), symbol of the empire, French Imperial Eagle (Aigles de la Garde Impériale), in the center.

• Mignot, Jean-François, PhD (September 24, 2015). "Analyse – Le dessin de presse, histoire et actualité (1789–2015)" [Analysis – Press Cartoons, History and Current Events (1789–2015)]. Nonfiction (fr) (in French).{{cite magazine}}: CS1 maint: multiple names: authors list (link) ResearchGate:283284357; Academia:17188538; ISSN 1760-5814; OCLC 862993967 (all editions).

• Almanach du charivari [Almanac of the Charivari]. LCCN ca19-362; OCLC 866567070 (all editions); OCLC 33139243 (all editions).

• Melcher, Edith, PhD (1901–1970) (1950). The Life and Times of Henry Monnier, 1799–1877. Harvard University Press – via Internet Archive (Kansas City Public Library).{{cite book}}: CS1 maint: multiple names: authors list (link) CS1 maint: numeric names: authors list (link) LCCN 50-7071; OCLC 1296310 (all editions).

Main article: Henry Monnier

• Le Charivari (daily). LCCN ca11-376; OCLC 28128856 (all editions).

1. December 1, 1832 – November 5, 1835.
2. February 1836 – May 1838.
3. February 18, 1837 – May 1838.

Trente-neuvième année

Dimanche 25 septembre 1870

Pierre Veron, rédacteur en Chef

• Lahure, André (2005). Histoire de l'imprimerie Lahure, quatre siècles qui ont marqué la typographie et l'édition [History of Lahure Printing, Four Centuries that Have Marked Typography and Publishing]. Levallois-Perret: Soregraph. OCLC 470345279 (all editions).

• E. de Saulnat, A.–P Martial; Martial (1877). Les boulevards de Paris ; histoire, état présent, maisons, grandes et petites, hôtels, jardins, théâtres, célébrités, etc [The Boulevards of Paris; History, Current State, Houses, Large and Small, Hotels, Gardens, Theaters, Celebrities, etc.] (in French). Introduction by Xavier Aubrye (fr) (1827–1880). OCLC 77645921 (all editions) and 7201831.

• Ribeyre, Félix (1831–1900) (1884). Cham: Sa vie et son œuvre [Cham: His Life and Work]. Letter-preface written by Alexandre Dumas fils (1824–1895), French author and member of the Académie française. Paris: Librairie Plon, under the company E. Plon, Nourrit et Cie, Rue Garancière, 10.{{cite book}}: CS1 maint: numeric names: authors list (link) OCLC 8996917 (all editions).

1. An etching by Le Rat (1843–1888) based on the work of Adolphe Yvon (1817–1893).
2. A heliogravure based on an artwork by Gustave Doré (1832–1883).

1. Via HathiTrust (University of Minnesota).
2. Via Internet Archive (University of Ottawa).
3. Via Google Books (University of Minnesota).

• Vignon, Claude (1593–1670) (1891). Œeuvres de Claude Vignon  [Works by Claude Vignon] (limited ed. → 15 copies on Holland paper → 10 copies on China paper; all numbered and signed by the publisher). Préface des "Récits de la vie réelle" [Stories of Real Life]. Biogragraphy on the book's illustrator, Claude Vignon, by Jules Simon (1814–1896). The illustrations were engraved by Charles Antoine Fernique (1808–1871). Paris: Alphonse Lemerre. 23-31, Passage Choiseul – via Wikisource.{{cite book}}: CS1 maint: numeric names: authors list (link) OCLC 458557574 (all editions).

1. Un Accident (An Accident)
2. Paradis perdu (Paradise Lost)
3. La Statue d’Apollon (The Statue of Apollo)
4. L'Exemple (The Example)

1. "Claude Vignon Par Jules Simon" (Notice by Jules Simon) (introduction).
3. Text

• "Fernique, Charles-Antoine" (manuscript) (digital image 246 of 544). "Faure-Flamarens". FM (Fonds maçonnique = Masonic Fund) Files compiled by Jean Bossu (fr) (1911–1985) (118). June 29, 2014. BnF Archives et Manuscrits

Fernique
Charles-Antoine
Lithographe
15 rue de Clichy
Vient de la Loge
Isis Montyon
Orient de Paris
Fondateur (1857,
reçu compagnon)
Loge Osiris N° 150
Orient de Paris 1863
(Annuaire de la loge,
collection Baylot)
Fernique, lithographe,
15 rue de Clichy,
reçu compagnon,
1° membre des cercles
de la loge Osiris n° 150
en 1867 (Pinon,
194, et 330) D'après
les archives de la
loge à la BN,
Fernique aurait démis­sionné
pour raison de santé le

3 mai 1862.

Fernique
Charles-Antoine
Lithographer
15 rue de Clichy
Came from the
Isis Montyon Lodge
Orient of Paris
Founder (1857, admitted
as a companion)
Lodge Osiris No 150
Orient of Paris 1863
(Lodge directory,
Baylot collection)
Fernique, lithographer,
15 rue de Clichy,
admitted as a companion,
10th member of the circles
of the Osiris Lodge no 150
in 1867 (Pinon,
194 and 330) According
to the lodge archives at
the BN, Fernique resigned for health reasons

on May 3, 1862.

Anne Pinon de Quincy, vicomte de Quincy (1652–1721)

Main article: fr:Liste des intendants de Bourgogne

• Cham & Fernique (1856). Mr. Papillon ou l'Amour autour du monde [Mr. Papillon, or, Love Around the World] (in French). Cham (illustrator), Charles Fernique (lithographer). Paris: 41 rue Vivienne et 146 rue de Rivoli : Maison Martinet → Aaron Martinet (1762–1841). BnF cb400558049; OCLC 693217353 (all editions).

• "Fernique, Charles Antoine". Dictionnaire des imprimeurs-lithographes du XIX^e siècle [Dictionary of 19th Century Lithographic Printers] (online database) (in French). Database created by Corinne Bouquin (born 1963), PhD in Book History (Paris 1 Panthéon-Sorbonne University), and Élisabeth Parinet, PhD in History, History of Publishing, Sciences Po (1990), Professor Emeritus, École nationale des chartes (2014); Wikidata Q53117898. LabEx CAP (Laboratoire d’Excellence Création, Arts et Patrimoines), a French research initiative that focuses on art, creation, and cultural heritage.{{cite book}}: CS1 maint: others (link) Archives nationales F¹⁸ 1763 ; F/1d111/52.
• Fétis, François-Joseph (1784–1871) (1837). "Giacomelli (Joseph)" and "Giacomelli (M^me Geneviève-Sophie Billé)". Biographie universelle des musiciens et bibliographie générale de la musique [Universal Biography of Musicians and General Bibliography of Music]. Vol. 4: "Ea–Gy". Brussels: Meline, Cans et Compagnie, Imprimerie, Librairie et Founderie. pp. 323–324.{{cite book}}: CS1 maint: numeric names: authors list (link)

1. Via Internet Archive (Boston Public Library).

• Turner, Jane (born 1956), ed. (1996) [reprinted with minor corrections, 1998]. "Janinet, Jean-François". The Dictionary of Art. Vol. 16: "Iraq to Janoušek". Grove. Macmillan Publishers Limited. pp. 905–906. Retrieved September 15, 2024 – via Internet Archive.{{cite book}}: CS1 maint: numeric names: editors list (link) LCCN 96-13628.