[Complete collection from no. 1 (4 November 1830) to no. 251 (27 August 1835). 9 volumes in-4, half havana calf, smooth spine decorated, title, tomaison and dates gilt (contemporary binding). Numerous rubbings. Each issue consists of 2 printed ff. and one to three lithographed plates by Grandville, Daumier, Traviès, Monnier, Adam, Charlet, Devéria, Lami, Raffet, Forest, etc. etc. thus forming 526 (out of 527) plates (including plates 56bis, 132bis ""croquades [de Louis Philippe] faites à l'audience"", 153bis) lithographed, some of which folding or partially coloured, with the pink poster bound in volume 5. Each volume with its printed title, as well as the tables of each issue (text and plates) up to n°234). Missing only plate no. 450 ("Revolutionary Supper" by Benjamin). [[[[[ COMPLETE WITH 24 additional plates ("dessin de la souscription mensuelle") including Daumier's 3 famous engravings ""Le Ventre législatif"" and ""Rue Transnonain, le 15 avril 1834"" and ""Enfoncé Lafayette"". ]]]]] With duplicate numbers 193, 195, 187 and 189 bound at the end of the last volume. The set thus comprises a total of 485 full-page engraved lithographs (some of which are fold-outs or on double or triple pages), 104 of which are in COLOUR. Numerous freckles, text pages more or less browned, light or russet wetness in places. (Detailed list on request.) This illustrated periodical was run by its founder Charles Philipon until early 1839, with Auguste Audibert as editor-in-chief, followed by Louis Desnoyers. The periodical was originally published by Aubert, a print merchant based at no. 31 Galerie Vero-Dodat. Honoré de Balzac, who worked with Philipon to set up the magazine, wrote the prospectus and wrote around thirty articles for it under various pseudonyms until February 1831, as well as the essay Petites Misères de la vie conjugale in 1830. From 1832, the title was changed to La Caricature politique, morale, littéraire et scénique. The 251 issues published between 1830 and 1835 totalled 2,000 pages and 530 lithographs. La Caricature fought against the government of Louis-Philippe I ("Philipon contre Philippe"), making it an important publication in the history of French caricature. Faced with bans from the royal censors and other lawsuits brought by the authorities, Philipon founded the Association pour la liberté de la presse (Association for the Freedom of the Press) to ensure the survival of his newspaper and finance its various costs. In return, subscribers received a lithograph every month. It appeared under the name La Lithographie mensuelle from August 1832 to 1834. La Caricature ceased publication temporarily following the promulgation of the press law on 9 September 1835, after the Fieschi assassination attempt. Resumed in 1838 under the title La Caricature provisoire, the paper changed its format and subtitle. From number 36 of 7 July 1839, it was called La Caricature morale judiciaire, littéraire, artistique, fashionable et scénique, then in January 1842 La Caricature, revue satirique des modes, des théâtres, de la musique, des tribunaux et de la littérature. Political satire gave way to studies of manners and social satire. Emmanuel Gonzalès was its editor from 1839 to 1840 and Louis Huart from 1840 to 1843, when it was absorbed by Le Charivari. Created in the atmosphere of the years of political and social protest that followed the advent of the July monarchy, La Caricature is the prototype of the committed satirical newspaper. Along with Le Charivari, it was the most successful of the many newspapers appearing at the time in undermining the July monarchy. The verve of its editors and the talent of the greatest caricaturists of the time (led by Daumier, Grandville and Traviès) explain the reputation the paper acquired in this battle. Its accusations against Louis-Philippe's regime led to numerous prosecutions, including the sentencing of its editor, Charles Philipon, inventor of the "pear", to six months' imprisonment for "insulting the king" (November 1831). (Source: Wikipedia)