Other Prints · 19th century
€ 240
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 Jérôme David. 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, Jérôme David is depicted with his head attached to the body of a bulldog. The bulldog is shown sitting with a bowl of food and a bone, symbolizing loyalty and voracity. The text at the top reads "JEROME DAVID" and "N° 16," indicating this is the sixteenth in the series. Behind the bulldog, there is a doghouse labeled "MOBILIER DE LA COURONNE" (Furniture of the Crown), emphasizing his connection to the royal family. Below the image, the caption "LE DOGUE" (The Bulldog) is followed by "Fidélité - Voracité" (Loyalty - Voracity), emphasizing Jérôme David's perceived loyal but greedy nature.
Jérôme Frédéric Paul, baron David (30 June 1823 – 27 January 1882) was the reputed illegitimate son of Jérôme Bonaparte. Throughout his life, he served France in a number of capacities such as politician and officer. He was also a journalist.
He served as an aide-de-camp in the army in Algeria and the Crimea, then entered politics and was a member of the Corps législatif during the Second French Empire. He was briefly Minister of Public Works at the outbreak of the Franco-Prussian War of 1870.
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.
