Other Prints · 19th century
€ 140
One of a kind: this is the sheet in the photographs. Ships from Langweer, the Netherlands.
good, given age. General age-related toning and/or occasional minor defects from handling. Please study scan carefully.
The print titled "La Ménagerie Impériale" is a satirical caricature featuring Granier de Cassagnac. It is part of a series composed of 31 hand-colored lithograph plates by the artist Hadol, published in Paris by Au Bureau des Annonces around 1870. The album, "LA MENAGERIE IMPÉRIALE," depicts various figures as animals, metaphorically representing those who have "devoured" France over the past 20 years, including during the Franco-Prussian War (1870-1871).
In this specific print, Granier de Cassagnac is depicted with his head attached to the body of a porcupine. The porcupine is shown bristling its quills, symbolizing irritability and violence. The text at the top reads "CASSAGNAC" and "N° 15," indicating this is the fifteenth in the series. Below the image, the caption "LE PORC-ÉPIC" (The Porcupine) is followed by "Irritabilité - Violence" (Irritability - Violence), emphasizing Granier de Cassagnac's perceived aggressive and irritable nature.
Bernard Adolphe Granier de Cassagnac (12 August 1806 – 31 January 1880) was a French journalist and politician. After the Empire's defeat in the Franco-Prussian War and the proclamation of the Third Republic (4 September 1870), Granier de Cassagnac fled to Belgium, and returned to France for the elections of 1876, and was elected deputy. He continued to combat all the republican reforms, but without electoral success.
The album as a whole, titled "LA MENAGERIE IMPÉRIALE," is a caricatural representation of the royal family and significant politicians of the time, using animal imagery to critique their roles and actions. The plates were originally issued loose in contemporary boards with a mounted hand-colored lithographed title. The format is small quarto (Sm. 4to), and the edges are slightly worn and browned, typical for works of this age.
This print, along with the rest of the album, serves as a historical and political commentary, utilizing humor and satire to criticize the leadership during a turbulent period in France’s history.
