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This means that DR39 was not only printed in single sheet form but was also used in connection with a specimen to promote the forthcoming CHARIVARI.
The censor’s ban and order to destroy DR39 applied not only to the single sheet prints but also to specimen prints.
As a consequence all specimens that had not yet left the printer’s premises were destroyed.
Up to now, we are aware only of one single Daumier DR39 specimen print.
One of our Daumier friends in Germany inspected volume I of “LE CHARIVARI” at the library of the Goethe University in Frankfurt am Main that owns almost all Charivari volumes.
He discovered that the Frankfurt Charivari volume I also contains so called specimens nr.1 and nr.10 Both specimens indicate as date merely “Lundi…1832” but no date or month.
To read more about the history and provenance of this unique sculpture, please go to the following link: to Index An important Daumier exhibition is taking place in Bellinzona, Switzerland, in the italian speaking canton Ticino: DAUMIER: ATTUALITÀ E VARIETÀ The exhibition features ca. However, in the case of DR39 those single sheet prints that had not yet been sold latest by August 27, 1832, were destroyed after the censor had prohibited publication and after Daumier had been arrested by the police.
180 lithographs, wood engravings, drawings and sculptures by Daumier, a great number of them are works on loan by the collection of the DAUMIER-REGISTER. 15, 2017 to January 7, 2018 Bellinzona Museo Civico Villa dei Cedri Guided tours on Sept. To our great surprise, we recently found a version of DR39 on normal print paper recto and printed text au verso The verso indicates “LE CHARIVARI”, however no date is given on either recto or verso.
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For his numerous sketches Daumier mainly used “scrap paper or left-overs”.
In connection with the research done on Daumier’s drawings, the Daumier-Register has identified the following paper, used by Daumier in his oeuvre, which carried a watermark: DR11368 BLAUW DR 11246 DELIST DR 11223 PL BAS DR 11176 C. (beneath a crown) DR 11143 AMERICOURT FRERES DR 10836 J.
The lithographs on page 3 differ but the printed texts on pages 1, 2 and 4 are identical.
The purpose of such specimens was as follows: Daumier collectors were well aware of the fact that because of censorship pressure LA CARICATURE was in financial difficulties.
Back to Index Good news for the Daumier community: Daumier’s original lacquered clay of King Louis XIV has reappeared on the Art market after 47 years of hiding in the apartment of a French Art dealer in New York known to the Daumier Register. “LES BLANCHISSEURS” (DR39) was deposited with the censor as black and white print (without text au verso) on August 22, 1832.