{"meta":{"version":"2.1","_links":{"self":{"href":"https://api.vam.ac.uk/v2/object/O517505"},"collection_page":{"href":"https://collections.vam.ac.uk/item/O517505/"}},"images":{"_primary_thumbnail":"https://framemark.vam.ac.uk/collections/2015HN6287/full/!100,100/0/default.jpg","_iiif_image":"https://framemark.vam.ac.uk/collections/2015HN6287/","_alt_iiif_image":[],"imageResolution":"high","_images_meta":[{"assetRef":"2015HN6287","copyright":"©Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2017KC2958","copyright":"©Victoria and Albert Museum, London","sensitiveImage":false}]},"see_also":{"_iiif_pres":"https://iiif.vam.ac.uk/collections/O517505/manifest.json","_alt_iiif_pres":[]}},"record":{"systemNumber":"O517505","accessionNumber":"CAI.121","objectType":"Drawing","titles":[{"title":"\r\nDeux avocats (La dignité de rang)","type":""}],"summaryDescription":"Honoré Daumier (1808-79) illustrator, sculptor and painter, Daumier first became familiar with the Palace of Justice at the age of just 13 where he worked as a bailiff's assistant.   As a lithogrpaher, from the early 1830s, he drew on average 2 illustrations a week, satirising the law courts and the monarchy.  Whilst working at one publication <i> Le Charivari </i> under Phillipon, he was imprisoned by King Louis-Philippe for six months (1831) for his depiction of him as a Gargantua sitting on a commode.  Phillipon, the printer Delaporte and the publisher Aubert were all imprisoned for their part in satirising the King.  Censorship of the press was brought into force on several occassions, finally forcing Daumier to aim his satire at Bourgeois society instead of recording the corruption and pomposity of the legal profession.","physicalDescription":"A study of two lawyers walking past each other haughtily.  Both are wearing traditional French lawyer outfits of robes and cylindrical hats.","artistMakerPerson":[{"name":{"text":"Honoré Daumier","id":"A3169"},"association":{"text":"","id":""},"note":""}],"artistMakerOrganisations":[],"artistMakerPeople":[],"materials":[{"text":"","id":""}],"techniques":[],"materialsAndTechniques":"Graphite, pen and wash on transparent paper","categories":[{"text":"Drawings","id":"THES48966"}],"styles":[],"collectionCode":{"text":"PDP","id":"THES48595"},"images":["2015HN6287","2017KC2958"],"imageResolution":"high","galleryLocations":[{"current":{"text":"LVLD","id":"THES49658"},"free":"","case":"IONIDES","shelf":"3","box":""}],"partTypes":[[{"text":"drawing","id":""}]],"contentWarnings":[{"apprise":"","note":""}],"placesOfOrigin":[{"place":{"text":"Paris","id":"x29068"},"association":{"text":"made","id":"x28654"},"note":""}],"productionDates":[{"date":{"text":"","earliest":null,"latest":null},"association":{"text":"","id":""},"note":""},{"date":{"text":"late 19th century","earliest":"1850-01-01","latest":"1899-12-31"},"association":{"text":"made","id":"x28654"},"note":""}],"associatedObjects":[],"creditLine":"","dimensions":[{"dimension":"Height","value":"172","unit":"mm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":""},{"dimension":"Width","value":"132","unit":"mm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":""}],"dimensionsNote":"","marksAndInscriptions":[{"content":"","inscriber":{"name":{"text":"","id":""},"association":{"text":"","id":""}},"date":{"text":"","earliest":null,"latest":null},"description":"","interpretation":"","language":"","medium":"","method":"","position":"","script":"","translation":"","transliteration":"","type":"","note":"Recto: Lugt 488\r\nVerso: Lugt 2503"}],"objectHistory":"C.A. Ionides, by whom bequeathed in 1900","historicalContext":"Honoré Daumier (1808-79), lithographer, painter and sculptor.  \r\n\r\nDaumier first became familiar with the Palace of Justice at the age of just 13 where he worked as a bailiff's assistant.   As a lithogrpaher, from the early 1830s, he drew on average 2 illustrations a week, satirising the law courts and the monarchy.  \r\n\r\nWhilst working at one publication <i> Le Charivari </i> under Phillipon, he was imprisoned by King Louis-Philippe for his depiction of him as a Gargantua sitting on a commode.  Phillipon, the printer Delaporte and the publisher Aubert were all imprisoned for their part in satirising the King.  Censorship of the press was brought into force on several occassions, finally forcing Daumier to aim his satire at Bourgeois society instead.\r\n\r\nThis study can be atttributed to Daumier, illustrating one of his most known subjects; lawyers. His vigorous style lent to his skill as a caricaturist, which he demonstrated in such progressive publications as <i> La Silhouette </i>,  <i> Le Charivari </i> and <i> Caricature </i>.  \r\n\r\nThis image is very similar in composition to other drawings, for example, <i>Deux Avocats </i> (Daumier 1808-1879, Reunion des Musees Nationaux, 1999, p. 370, pl. 219)and <i>Deux collegues (or Les Confreres)</i>(Daumier 1808-1879, Reunion des Musees Nationaux, 1999, p. 370, pl. 220) both showing lawyers walking past each other, a recurrent theme that he used.\r\n\r\nDaumier became known as a  painter after his death. During his life he was more known for his satirical and anti-monarchist lithographic illustrations.\r\n\r\nMany sketches represent similar subjects of lawyers passing, waving at each other or walking together (Musee des Beaux Arts de Reims; Williamstown, Sterling and Francine Clark Institute).\r\n","briefDescription":"Drawing, \tDeux avocats (La dignité de rang), by Honoré Daumier, French School, late 19th century\r\n","bibliographicReferences":[{"reference":{"text":"","id":""},"details":"","free":"K.E. Maison, <u>Honore Daumier,Catalogue Raisonne of the Paintings, Watercolours and Drawings</u>, vol. II,<u>The Watercolours and Drawings</u>, Thames and Hudson, London 1904, p. 195, cat no. 587, illus. plate 212\r\n\r\nThe following is the  full entry of the text:\r\n\r\n<i> Deux avocats                       Plate 212\r\n(La dignité de rang) </i>\r\nCrayon, pen and wash, on tracing paper, 21.5 x 12.5 cm. Unsigned.\r\n<i> London, Victoria and Albert Museum, ionides Collection </i> [1901].\r\nPROVENANCE: C.A. Ionides.\r\nREFERENCE: Fuchs 195a.\r\n\r\nWhile the figure on the left appears freely drawn, the one on the right is traced (although not with the artist's usual sureness and verve).  After long hesitation, i believe the drawing to be genuine, but certainly 'below standard'."},{"reference":{"text":"","id":""},"details":"","free":"Basil S. Long, <u>Catalogue of the Constantine Alexander Ionides Collection</u>, vol. I,  <u>Paintings in Oil, Tempera and Water-Colour together with certain of the  Drawings</u>, London 1925, p.16. cat. no. 121\r\n "},{"reference":{"text":"","id":""},"details":"","free":"E. Fuchs, <u>Der Maler Daumier</u>, Munich, 1927, cat. no. 195a."}],"production":"","productionType":{"text":"","id":""},"contentDescription":"","contentPlaces":[],"associatedPlaces":[],"contentPerson":[],"associatedPerson":[],"contentOrganisations":[],"associatedOrganisations":[],"contentPeople":[],"associatedPeople":[],"contentEvents":[],"associatedEvents":[],"contentOthers":[],"contentConcepts":[],"contentLiteraryRefs":[],"galleryLabels":[],"partNumbers":["CAI.121"],"accessionNumberNum":"121","accessionNumberPrefix":"CAI","accessionYear":null,"otherNumbers":[],"copyNumber":"","aspects":["WHOLE"],"assets":[],"recordModificationDate":"2025-04-23","recordCreationDate":"2009-06-30","availableToBook":false}}