Jump to content

User:Eurodog/sandbox422

From Wikipedia, the free encyclopedia

L'Europe en ce moment – fantaisie politico-géographique [Europe at the Moment – A Politico-Geographical Fantasy] (1872)

Text

[edit]

Title:
English:   L'Europe en ce moment – fantaisie politico-géographique (1872)
English:   Europe at the Moment – A Politico-Geographical Fantasy

Français :  FranceLa carte satirique offre une vision critique de la situation politique en Europe à l'époque. En utilisant des représentations exagérées et des caricatures, la carte se moque des tensions politiques et des rivalités entre les nations européennes post-guerre franco-prussienne. Chaque pays est dessiné sous forme de figures anthropomorphiques ou d'animaux symbolisant leurs caractéristiques nationales, leurs ambitions ou leurs faiblesses. Cette carte joue sur les stéréotypes et les préjugés pour refléter les alliances, les conflits, et l'instabilité de l'Europe, tout en soulignant l'absurdité des querelles géopolitiques de l'époque.

English:  United Kingdom  The satirical map offers a critical view of the political situation in Europe at the time. Using exaggerated depictions and caricatures, the map pokes fun at the political tensions and rivalries between European nations after the Franco-Prussian War. Each country is drawn as anthropomorphic figures or animals symbolizing their national characteristics, ambitions, or weaknesses. The map plays on stereotypes and prejudices to reflect Europe's alliances, conflicts, and instability, while highlighting the absurdity of the geopolitical quarrels of the time.

Transcription:

Français : L'Europe — Cinquième partie du monde à laquelle les équilibristes font toujours perdre son équilibre. Très-menace en ce moment cet équilibre ! Comme toujours.

English:   Europe — The fifth part of the world, whose balance is constantly upset by tightrope walkers. This balance is very threatened at the moment! As always.

(This passage satirically critiques the fragile state of political equilibrium in Europe, suggesting that those in charge of maintaining stability (the "tightrope walkers") are continuously destabilizing it. The remark, "the balance is always threatened", reflects the recurring state of tension and instability in European politics during that era.)

Français : La Grèce — Pays de Périclès, de Socrate, de Platon, de Xénophon, de Sophocle et de Thémistocle ... Ils ont un roi venu du Danemark à cause de la conformité du langage et des mœurs ! C'est le troisième successeur de Codrus ; second nœud de la question d'Orient ! Ils recommencent leur histoire par Hercule et Thésée, qui purgèrent le pays de brigands. Dieu veuille qu'ils reviennent à Périclès ... nous en avons grand besoin.

English:   Greece — The country of Pericles, Socrates, Plato, Xenophon, Sophocles, and Themistocles ... They have a king from Denmark, due to the similarity in language and customs! He is the third successor of Codrus; the second knot in the Eastern Question! They are restarting their history with Hercules and Theseus, who rid the land of bandits. God willing, they will return to Pericles ... we are in great need of him.

(This passage mixes satire and historical reference, highlighting Greece’s ancient cultural and philosophical legacy while satirizing the contemporary monarchy (King George I, originally from Denmark). It reflects on the Eastern Question, which involved the decline of the Ottoman Empire and the strategic interests of European powers in the region. The wish to "return to Pericles" invokes a desire for a return to the golden age of leadership and democracy.)}}

Français :  Le Danemark — Mur mitoyen avec la Prusse qui l'accuse d'empiétement ... et de troubler son eau.

English:   Denmark — A shared wall with Prussia, which accuses it of encroachment ... and of muddying its waters.

(This passage seems to satirically reference the tensions between Denmark and Prussia, possibly alluding to territorial disputes such as the Schleswig wars, where Prussia accused Denmark of overstepping its boundaries.)

Français :  La Prusse ... — C'est l'Allemagne maintenant — L'Allemagne – C'est la Prusse ... un peu la Bavière… tant soit peu le Wurtemberg ... la Saxe à demi ... Bade et les provinces rhénanes tout à fait ... et ce qui viendra… L'Allemagne c'est toute la terre, elle met 365 jours à faire sa révolution autour du soleil qui est allemand, elle a une lune qui est allemande ; M. Bismark lui en promet une autre. On y mange du civet de lièvre à la compote de fraises, ses vinaigres sont très estimés et remplacent avantageusement le vin.

Français :   Prussia ... — It is now Germany — Germany is Prussia ... a little bit of Bavaria ... somewhat Württemberg ... half of Saxony ... Baden and the Rhineland provinces entirely ... and whatever else may come. Germany is the whole world; it takes 365 days to make its revolution around the sun, which is German, and it has a moon that is German; Bismark (1815–1898) promises it another. They eat hare stew with strawberry compote there, and their vinegars are highly esteemed, making an excellent substitute for wine.

(This passage satirizes the dominance of Prussia within the newly unified Germany, underlining how the identity of "Germany" was largely subsumed by Prussian influence. It satirically exaggerates Germany's growing power under Bismarck, including a playful critique of German cuisine and its pragmatism, using vinegars instead of wine.)

Français : La Russie — C'est aussi la Première Nation de l'Europe et du monde, puisque le czar le veut. Les Russes sont très-heureux, puisque le czar le veut, très civilisées, puisque le czar le veut ... et ils conquerront toute la terre, puisque le czar le veut, pour y répandre la civilisation et l'orthodoxie, puisque le czar le veut ...

English:   Russia — It is also the First Nation of Europe and the world, because the czar wills it. The Russians are very happy, because the czar wills it, very civilized, because the czar wills it ... and they will conquer the whole earth, because the czar wills it, to spread civilization and Orthodoxy, because the czar wills it ...

(This passage uses irony to mock the autocratic power of the Russian Czar, Alexander II (ruled from 1855 until his assassination in 1881), suggesting that everything in Russia, from happiness to civilization and even conquest, happens solely because the czar desires it. It's a critique of the centralized and authoritarian rule in Russia at the time. Russia is presented as a frozen wasteland dotted with onion-domed (Russian: луковичная глава) churches, where all actions occur "because the czar wills it." The Ottoman Empire is represented by a figure embodying Eastern decadence — an Ottoman man attended by elegantly dressed women catering to his whims.)

Français : L'Autriche — Empire de pièces et de morceaux mal joints, toujours occupé, à se recoudre et à se repriser. Quand la Bohême est bien ajustée, la Croatie se défile et la Slavonie subit un accroc ... et toujours la Gallicie se dénoue ... Ce n'est pas étonnant que ce soit le pays des quartiers : il en faut seize au moins pour entrer à la cour. On voit quelques Autrichiens à Vienne, mais ils y sont aussi rares que les Turcs à Constantinople ... L'Autriche est sur son déclin, dit-on ... Non ! c'est sa manière d'arriver ... par plan incliné.

English:   Austria — An empire of mismatched pieces and poorly joined fragments, always busy mending and patching itself up. When Bohemia is properly adjusted, Croatia slips away, Slavonia suffers a tear ... and Galicia is constantly coming undone. It’s no wonder this is the land of quarters: it takes at least sixteen to gain access to the court. You see a few Austrians in Vienna, but they are as rare as Turks in Constantinople ... They say Austria is in decline ... No! It's simply her way of arriving ... on a downward slope.

(This passage uses satire to describe Austria as an empire struggling to hold together its diverse regions, highlighting its internal disunity and political complexity. The commentary on its "decline" being a gradual process hints at Austria's precarious position in Europe at the time.)

Français : La Belgique — Les voisins de tout le monde, le refuge de tout le monde ... et qu'on a centralisée pour déversoir. Nation hongre ! et bien heureuse ! Toutes les passions leur étant interdites, elle vit tranquille. On y est convenu d'être catholique d'un côté et libéral de l'aure ... et on se jette les livres de messe par la tête. Histoire de s'amuser !

La Hollande — C'est toujours Téniers, van Ostade, Potter, Ruysdaël, et le Schiedam, et la banque et les tulipes, et le lavage, et les arbres peints ... et un roi ... parce que dans une bonne maison il faut bien un roi.


English:   Belgium — Everyone's neighbors, everyone's refuge ... and which has been centralized as a dumping ground. A gelded nation! and very happy! Since all passions are forbidden, it lives peacefully. It has been agreed to be Catholic on one side and liberal on the other ... and they throw prayer books at each other's heads. Just for fun!

The Netherlands — It's still Teniers, van Ostade, Potter, Ruysdael, Schiedam, the bank, the tulips, the washing, the painted trees ... and a king ... because in a proper household, one must have a king.
(This passage attempts humor and satire to depict Belgium as a neutral, peaceful nation, with internal contradictions between its Catholic and liberal factions, while the Netherlands is portrayed as a stable, picturesque country with its art, trade, and monarchy.)

Français : La Suisse — Le "ranz des vaches de la démocratie.

English:   Switzerland — The "Ranz des Vaches" [Cowherd Song]s call of democracy.

(The phrase "ranz des vaches" refers to a traditional Swiss cowherd's song, often associated with the Swiss Alps. In this context, it is possible being used as a metaphor for Switzerland’s calm, steady, and perhaps pastoral democratic traditions. The simplicity of the image contrasts with the often turbulent political landscape of other nations.)

Français : La France — Cherche depuis quinze mois un gouvernement parmi ses vieilles défroqués, aucun ne lui va ; tous sont trop grands, trop petits, trop étroits ou trop usés. On croit que par coquetterie elle prolonge son deuil qui lui sied à ravir et la fait plus grande !  Les autres nations qui s'apitoyaient sur elle, commencent à jaser et attendent avec anxiété ce que la France décidera, pour savoir ce qu'elles-mêmes deviendront.

English:   France — For the past fifteen months, she has been searching for a government among her old cast-offs, but none seem to fit; they are all either too big, too small, too narrow, or too worn. It is believed that, out of vanity, she prolongs her mourning, which suits her beautifully and makes her appear grander! The other nations, who once pitied her, are beginning to gossip and now anxiously await what France will decide, in order to know what their own fate will be.

(This passage uses a metaphor to describe France's political difficulties following the Franco-Prussian War, with an emphasis on the nation's uncertain future and its influence on the rest of Europe)

Français : L'Angleterre – Elle aussi est la Première Nation du monde, de par le coton. Amie des forts, pourvu qu'ils soient très-forts, protectrice des faibles, pourvu qu'ls soient très-faibles. Guerres au comptant, civilisation avec escompte. On y traite de gré à gré pour les révolutions au dehors sur la base du libre échange. Séparée de la France par le Times et la Manche.

English:   England – She too is the first nation of the world, thanks to cotton. Friend of the strong, provided they are very strong, protectress of the weak, provided they are very weak. Cash wars, civilization with discount. Revolutions abroad are dealt with over-the-counter on the basis of free trade. Separated from France by The Times and the Channel.

("This passage satirizes England's imperial and economic power, particularly its role in global trade, diplomacy, and conflict during the 19th century. It highlights England's pragmatic approach to international relations, emphasizing support for the strong and weak only when it benefits England. The mention of "wars paid in cash" and "civilization at a discount" mocks England's transactional approach to both warfare and its perceived mission to spread civilization. The reference to being "separated from France by the Times and the Channel" adds a humorous touch, suggesting that English media and geographical separation reinforce a divide between the two nations.)

Français : L'Espagne – Toujours les castagnettes militaires et le fandango des guerres civiles. Les prétendants y jouent aux quatre coins, les républicains sont les banderillos ; dans cette course de taureaux, ils agitent de petits drapeaux rouges ... et se sauvent. On y change plus souvent de rois que de linge. Grand peuple constitué en guerre civile ! Les conservateurs s'y nomment guérilleros et descendent de Pélasge.

English:   Spain – Always the military castanets and the fandango of civil wars. The pretenders play at the four corners, while the republicans act as the banderilleros; in this bullfight, they wave small red flags ... and then flee. They change kings more often than their clothes. A great nation made up of civil war! The conservatives call themselves guerrilleros and claim descent from Pelasgians.

      1. "Programme saison d'été 1872" [Summer season program 1872]
      2. "Rassemblémentados"
      3. "Boléros"
      4. "Mientos" [Mysteries]
      5. "Pronuncia"
      6. "Baladas dans les montagnes" [Walks in the mountains]
      7. "Viva Carlos"
      8. "Vale Fandango" ["okay" or "all right" (colloquially) Fandango]
The above key words in the Spain section of the map satirically references cultural elements of 1872, like boleros and fandangos, along with some commentary on political figures or events. "Viva Carlos" possibly refers to supporters of Don Carlos during the Carlist Wars. "Rassemblémentados" seems to be a playful fusion of "rassemblement" (gathering) and "-ados" (perhaps suggesting adolescents, though contextually it seems to be referring to gatherings). "Mientos" may be a shortened or whimsical word related to Spanish terms like "movimientos." "Vale Fandango" might be sarcastically mocking (or celebrating) Spain's culture during a time of political upheaval.

Français : La Turquie — Une loque bigarrée sur laquelle tout le monde tire et dont les morceaux restent à la main. L'intégrité de l'empire ottoman ! c'est la formule consacrée ! Encore une nécessité du fameux équilibre ! Et l'intégrité des fonctionnaires ! ... Corollaire : la meilleure condition de stabilité pour un pouvoir, c'est la mort.

English:   Turkey — A patchwork rag that everyone is pulling at, with pieces left in their hands. The integrity of the Ottoman Empire! That’s the established formula! Yet another necessity for the so-called balance of power! And the integrity of the officials! ... Corollary: the best condition for stability in a government is death.

(This passage uses sharp satire to criticize the weakened state of the Ottoman Empire, often referred to as the "Sick Man of Europe" during the 19th century. It mocks the concept of maintaining the empire's "integrity" for the sake of European balance of power while hinting at corruption among officials. The final line suggests that true stability in such a regime only comes with its end.)

Français : L'Italie — Selon M. Farini, la première nation d'Europe, au moins par ancienneté, M. Crispi est du même avis pour de plus sérieux motifs. Elle a l'univers à revendiquer et soyez-surs qu'elle le fera un jour ou l'autre ... et que cette fois la France ne sera pas assez ingrate pour oublier qu'elle fut conquise par Jules César ... Il n'est donc pas étonnant que la Prusse la caresse et qu'elle caresse la Prusse… entre maitres du monde!!!

English:   Italy — According to Mr. Farini [1812–1866], the first nation of Europe, at least in terms of antiquity, and Crispi [1818–1901] shares this opinion, for more serious reasons. She has the entire world to reclaim, and rest assured, she will do so sooner or later ... and this time France will not be ungrateful enough to forget that it was conquered by Julius Caesar ... It is therefore no surprise that Prussia flatters her and she flatters Prussia ... among the masters of the world!!!

(This passage satirically emphasizes Italy’s historical significance, referencing its ancient Roman legacy. It satirizes the nationalist rhetoric of the time, highlighting Italy’s ambition to reclaim global influence, and also mocks the diplomatic relationships, particularly with Prussia, implying a mutual recognition of grandeur between these "masters of the world.")

Cartography

[edit]
Graticule – Curved latitude and longitude lines
Latitude lines (horizontal, concave-down): The concave-down curvature of the horizontal latitude lines, whether accurate, reflect the globe's curvature – similar to a conformal projection on a traditional map. The parallels of latitude curve similarly, reflecting the geometry of the Earth.
Longitude lines (concave-left to concave-right): The gradual shift from concave-left to concave-right among the longitude lines is characteristic of many projections, particularly in those that attempt to preserve angular relationships (like conformal projections). These concave lines are more pronounced at the edges of the map and gradually flatten toward the center, indicating an effort to simulate the spherical nature of the Earth. This is not typically seen in simple projections like the Mercator, which tends to keep lines of longitude straight. It is possible that Yves & Barret were either loosely following a conformal projection or exaggerating these curves to enhance the sense of Europe being a central focal point on the map.
Scientific perspective
Carl Friedrich Gauss (1777–1855) developed principles related to conformal mapping in the early 19th century. Traditional conformal projections, particularly those derived from Mercator's work, date back to the 16th century.
Prime meridian placement
The Prime Meridian does not pass through Greenwich. When Yves & Barret's map was published, 1872, several different prime meridians were in use, including ones through Paris and Rome. The International Meridian Conference of 1884 officially established Greenwich as the Prime Meridian.

Date

[edit]

Date: 1872

Source

[edit]

Source:

Français : Publication originale – La carte a été publiée dans le magazine parisien La Vie Parisienne, le 6 juillet 1872.
English:   Original publication – The map was published in the Parisian magazine La Vie Parisienne, July 6, 1872.
Marcelin (aka Émile Planat; 1829–1887) [in French], ed. (July 6, 1872). "L'Europe en ce moment – fantaisie politico-géographique". La Vie Parisienne (weekly). "Mœurs élégantes, choses du jour, fantaisies, voyages, théâtres-musique-beaux-arts, sport-modes" [Elegant manners, current affairs, fantasies, travels, theater-music-fine arts, sports-fashions] (in French). 10 (27): 424–425.{{cite journal}}: CS1 maint: multiple names: editors list (link) CS1 maint: numeric names: editors list (link) Retrieved October 8, 2024. OCLC 6236763 (all editions) (journal); OCLC 953572701 (uncolored map).
    1. Via Gallica (BnF → Gallica). Free access icon
    1. www.geographicus.com/P/AntiqueMap/europepolitico-yvesbarret-1872
    3. Geographicus. "Description": L'Europe en Ce Moment – Fantaise Politico-Géographique. Brooklyn: Geographicus Rare Antique Maps. Retrieved October 4, 2024. Retrieved October 7, 2024.
    4. "Yves et Barret". Brooklyn: Geographicus Rare Antique Maps. Retrieved October 4, 2024.

Author: Yves & Barret, Sc. [Français : "Sc." = "sculpteur" ou "sculpsit". English: "engraver".]

Permission

[edit]

Other versions

[edit]

(png) (jpg)

Bibliography

[edit]

Annotations

[edit]
Cite error: A list-defined reference named "La-Revue-comique-info" is not used in the content (see the help page).

Notes

[edit]

References

[edit]
    1. Gallica (BnF Gallica). Free access icon


  • Journal des débats politiques et littéraires [Journal of Political and Literary Debates]. December 29, 1885.
    1. LCCN sn93-21697
    2. LCCN sn93-21694
    3. LCCN sn93-21725<'li>
    4. OCLC 29530214 (all editions)
Main article: Journal des débats


  • Hucher, Eugène (1814–1889) [in French] (July–December 1879). "Iconographie du Roi René, de Jeanne de Laval, sa seconde femme et de divers autres princes de la maison d'Anjou" [Iconography of King René, of Jeanne de Laval, His Second Wife, and of Various Other Princes of the House of Anjou]. Footnote 1 (page 143) in Revue Historique et Archéologique du Maine. Année 1879 ; – Second Semestre [1979 – Second Half] (in French). Vol. 6. Benjamin Heurtebize (1796–1867) (Wikidata Q123343767) – Rédacteur en chef fondateur décédé [Founding Editor-in-Chief, Deceased]. Le Mans: Société historique et archéologique du Maine. Mamers: G. Fleury & A. Dangin, imprimeurs → Gabriel Fleury (1848–1926) and his brother-in-law, Albert Ladislas Dangin (1843–1912). Le Mans: Pellechat, librairie-éditeur → François-René Pellechat (c. 1833–1896). pp. 125–150.{{cite book}}: CS1 maint: numeric names: authors list (link) Retrieved October 5, 2024.
    1. LCCN ca09-650 (Revue).
    2. ISSN 1158-3371 (Revue).
    3. OCLC 1640833 (all editions) (Revue).
    4. BnF 57272945 (article).
    5. OCLC 11286352 (all editions) (article).
    1. Via Internet Archive (University of Michigan). Free access icon
    2. Via HathiTrust (Cal Berkeley). Free access icon
    3. Via Google Books (University of Michigan). Free access icon
Charles Lennox Wright, Sr. (1852-1901), founded the C.L. Wright Zincogravure Company in 1885 in Manhattan. Charles Lennox Wright II (1876–1966) joined the business in 1897 but had a stronger passion for painting. After his father's death in 1901, the company ceased operations by 1905. Charles, Sr., was a grandson of Charles Cushing Wright (1796–1857), engraver, medalist, and founding member of the National Academy of Design.
  • "The Scots Observer". April 5, 1890.
  • "The Scots Observer". April 19, 1890.
    1. Via Internet Archive (Kansas City Public Library). Retrieved October 5, 2024. Free access icon
    2. Via Google Books (NYPL). Retrieved October 5, 2024. Free access icon
    1. Via Internet Archive (Cornell). Free access icon
    1. Via Internet Archive. Retrieved October 5, 2024.


  • Le Jugement Dernier [The Last Judgement] (October 14, 1877–December 14, 1877). Grande fantaisie triomphale [Great Triumphal Fantasy]. By André Gill (d'après Michel Ange). Paris: Chez H. Fenoux, librairie-éditeur, 20, rue du Croissant. Paris. Imprimerie F. Debons et Cⁱᵉ, 16, rue du Croissant. Et chez tous les libraires marchands de journaux.{{cite book}}: CS1 maint: others (link)

Main article: Léon Gambetta (1838–1882)
Main article: Siege of Paris (1870–1871)
Maroon stamped imprint: "Legs Quentin Bauchart 1911" [Bequest of Quentin Bauchart] → Alexandre Quentin Bauchart (1809–1887).

Titre – Français Le ballon 'l'Armand barbès' (capitaine Erichet) parti de Paris le 7 octobre 1870, monté par Messieurs Gambetta et Spuller, se trouve accroché à un chêne à 2 lieues dans le bois de Farvieni (sic).

Description – Français: "Organisé par voie des témoignages fournis à l’issue de l’embuscade que fit Deny vers se dénommer M. W. de Fonvielle, français puis familier d’après épice le 16 juin 1859 du récit chez ceux qui étaient à Lille (recherche sur une des posters de Gambetta). 'L'Armand barbès' étant le cinquième ballon sorti de Paris pendant le siège."

Translation: Organized based on the testimonies provided following the ambush set by Deny towards a certain Mr. Wilfrid de Fonvielle (1824–1914), a Frenchman who later became familiar according to the account of June 16, 1859, from the story of those who were in Lille (research on one of the posters of Gambetta). 'L'Armand barbès' was the fifth balloon to leave Paris during the siege."

There are a few parts of the original text that seem unclear or possibly erroneous, such as "d’après épice" and the context around "Mr. W. W. Favetelli." These may be transcription errors or idiosyncrasies in the text.


      Main article: Henri de Lacaze-Duthiers (1821–1901)
      Lucien Joliet (1854–1887)
    1. "Lettre 4 – 17 avril 1877" ["Letter 4: April 17, 1877"]. Footnote 8: "Adresse de l’imprimerie de Yves & Barret, 6 rue Thévenot (actuelle rue Réaumur), Paris 3ème" [8 Address of the Yves & Barret printing house, 6 Thévenot Street (now called Réaumur Street), 3rd arrondissement of Paris].
    2. "Lettre 59 – 11 octobre Paris (non datée mais certifiée)" ["Letter 59: October 11, 1877; Paris (undated but certified)"]. Footnote 161: "Adresse de l’imprimerie de Yves & Barret, 6 rue Thévenot (actuelle rue Réaumur), Paris 3ème" [8 Address of the Yves & Barret printing house, 6 Thévenot Street (now called Réaumur Street), 3rd arrondissement of Paris].
    3. "Lettre 59 – 11 octobre Paris (non datée mais certifiée)" ["Letter 59: October 11, 1877; Paris (undated but certified)"]. Footnote 163: "Yves & Barret, graveurs associés, inventeurs d’un procédé de reproduction phototypographique" [163 Yves & Barret, associated engravers, inventors of a phototypographic reproduction process].
    4. "Lettre 61 – 25 octobre Nogent" ["Letter 61: October 25, 1877; Nogent"]. Footnote 165: "Joliet espère toujours refaire ses dessins au crayon et en avoir des clichés, chez Yves et Barret, rue Thévenot. Voir lettre du 16 octobre [Joliet still hopes to redo his pencil drawings and have them reproduced at Yves and Barret, on Thévenot Street. See the letter from October 16].


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:"     ".
      1. 34.20 fr.
      2. 62.25 fr. (total)
      3. Tax stamp affixed: 10 centimes
      4. Red imprint: "For Acquisition"
      5. 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.
Retrieved from "https://en.wikipedia.org/w/index.php?title=User:Eurodog/sandbox422&oldid=1250122934"