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Sole edition of this rare little handbook of ladies’ fashion and deportment. Advertised as a translation from the English, there is no obvious British analogue, though it is an interesting indication of the esteem in which British fashion was held in France at this period. The four plates are especially charming depictions of Austen-era styles. The format is very much that of contemporary almanacs with similar titles, but Le Miroir des Graces appeared only once. WorldCat lists no UK or US copies (copies at BnF, Bayerische Staatsbibliothek and Kunstbibliothek Berlin only).

A French satire on the excesses of contemporary fashion for both women and men — a woman has her corset laces mechanically tightened by a fop in a ridiculously exaggerated version of Napoleon’s headgear and a young woman in a scooped bonnet and corset (which leaves her breast almost entirely bare). The corset enjoyed a brief resurgence in popularity in the Empire era, before being swept away once more at the Restoration. It was a frequent subject of mirth in the popular press on both sides of the English Channel, and while there are several French and English prints on the same theme, this one is very rare.� Not in the British Museum catalogue; WorldCat lists a copy in the Spanish national library, and there is also a copy at the Musée Carnavalet in Paris.

A satire on contemporary fashion, one of the many such little books illustrative of ‘the craze that swept Paris in the early 1840s for a series of small illustrated volumes marketed under the general title of physiologies [looking back, perhaps, to Brillat-Savarin’s bestselling Physiologie du goût (1826) and Balzac’s Physiologie du marriage (1830)]. Some 120 different physiologies were issued by various Parisian publishers between 1840 and 1842 (ranging alphabetically from the Physiologie de l’amant to the Physiologie du voyageur), and it is estimated that approximately half a million copies of these pocket-sized books were printed during the same two-year span’ (Sieburth, p. 163).

Designed for mass consumption, these satirical guides to particular social types were based on ‘the witty interaction of image and text, drawing and caption, seeing and reading … Byproducts of the recent technological advances in printing and paper manufacturing which had made illustrated books more commercially feasible and analogous to the various dioramas and panoramas which enjoyed a considerable popularity during the period, these illustrated anthologies of urban sites and mores catered to the public’s desire to see its social space as a stage or gallery whose intelligibility was guaranteed both by its visibility as image and its legibility as text …

‘Quickly produced and marketed, consumed and discarded, … the physiologies (like the sensational tabloids or canards hawked on Paris streetcorners of the period) are early instances of the cheap, throwaway “instant book” whose appeal lies in its very topicality and ephemerality’ (op. cit., pp. 165–7).
Richard Sieburth, ‘Same difference: the French Physiologies, 1840–1842’, Notebooks in Cultural Analysis (Duke UP, 1984), pp. 163–200.

A collection of finely-executed plates illustrating the vogue for neo-Classical dress, with figures and groups placed within appropriate drawing-room and dinner-table settings. Moses was a sought-after engraver who worked for James Barrie, William Opie and Benjamin West, among others. His lightly-draped figures rendered with a sparse line have clear echoes of Flaxman. The collection was also issued under the imprint of at least two other London publishers (M’Lean and Miller).