A collection of twenty engravings including the three opening master & Title of 1663 images of the collection, to include "Moliére and His Muse" " the color plate-image from the series. Engravings in the definitive state by Jacque Leman, Louis Leloir and Edmond Hedouin.

Offered as part of a complete suite of twenty engravings, including the images from both The Blunderer and Memoir, in the definitive state. Collection number 238 of 250 is provided with complete provenance dating to its issue (including copy of original issuance certificate), the collection title page, publisher"s title page, a list of engravings and certificate of authenticity.

Synopsis & History:
The Blunderer is generally believed to have been first acted at Lyons in 1653, whilst Moliére and his troupe were in the provinces. In the month of November 1658 it was played for the first time in Paris, where it obtained a great and well-deserved success. It is chiefly based on an Italian comedy, written by Nicolo Barbieri, known as Beltrame, and called L'Inavvertito, from which the character of Mascarille, the servant, is taken, but differs in the ending, which is superior in the Italian play. An imitation of the classical boasting soldier, Captain Bellorofonte, Martelione, and a great number of concetti, have also not been copied by Moliére. The fourth scene of the fourth act of l'Etourdi contains some passages taken from the Angelica, a comedy by Fabritio de Fornaris, a Neapolitan, who calls himself on the title-page of his play il Capitano Coccodrillo, comico confidente. A few remarks are borrowed from la Emilia, a comedy by Luigi Grotto, whilst here and there we find a reminiscence of Plautus, and one scene, possibly suggested by the sixteenth of the Contes et Discours d'Eutrapel, written by Néel du Fail, Lord of la Hérissaye. Some of the scenes remind us of passages in several Italian Commedia del' arte between Arlecchino and Pantaleone, the personifications of impudence and ingenuity, as opposed to meekness and stupidity; they rouse the hilarity of the spectators, who laugh at the ready invention of the knave, as well as at the gullibility of the old man.

Before this comedy appeared, the French stage was chiefly filled with plays full of intrigue, but with scarcely any attempt to delineate character or manners. In this piece the plot is carried on, partly in imitation of the Spanish taste, by a servant, Mascarille, who is the first original personage Moliére created; he is not a mere imitation of the valets of the Italian or classical comedy; he has not the coarseness and base feelings of the servants of his contemporaries, but he is a lineal descendant of Villon, a free and easy fellow, not overly nice in the choice or execution of his plans, but inventing new ones after each failure, simply to keep in his hand; not too valiant, except perhaps when in his cups, rather jovial and chaffy, making fun of himself and everybody else besides, no respecter of persons or things, and doomed probably not to die in his bed. Moliére must have encountered many such a man whilst the wars of the Fronde were raging, during his perigrinations in the provinces.

There are too many incidents, which take place successively, without necessarily arising one from another. Some of the characters are not distinctly brought out, the style has often been found fault with, by Voltaire and other competent judges, but these defects are partly covered by a variety and vivacity which are only fully displayed when heard on the stage.

Moliére: Collection Title Page - Moliére (1622-1673) was the nom-de-theater, by the great French dramatist Jean Baptiste Poquelin, and then substituted for his family name.

Memoir: Moliére and His Muse - Color plate from the important work depicting the playwright seated at his desk with pen in hand, reference books and paper scattered on his desk. His Muse - his inspiration - floats lovingly above him.

Memoir: Frontpiece - A tablet with "Moliére" and the dates "1622" and "1673", the years of his birth and of his death.

Memoir: Publisher's Title - Elaborate plate commissioned by George Barrie & Son of Philadelphia the American publisher of this body of work, depicting Moliére, members of his theatrical company, audience members, cherubs, angels, satyrs, musical instruments, theatrical masks and more. The Louvre is also depicted in the background.

Moliére: Portrait - A portrait of the playwright, Moliére, painted by Jacques Leman with etching by P. Le Rat.

Memoir: Moliére and His Muse - From the important work depicting the playwright seated at his desk with pen in hand, reference books and paper scattered on his desk. His Muse - his inspiration - floats lovingly above him.

The Blunderer: Title - A child dressed as Lelio, shows the purse of Anselmo.

The Blunderer: Title of 1663 - Jacque Leman, as delineator, translated from the French, the original work of 1663, with additional engraving contributions by etcher, P. Arentz, SC..

The Blunderer: Dramatis Personé - Jacque Leman, as delineator, translated the original work of 1663, from the French, a listing of the cast of characters, with additional engraving contributions by etcher, P. Arentz, SC..

The Blunderer: Atlantes of Mascarille - Opening title in cartouche from Act I. of the play.

The Blunderer: Act I, Scene II - Celia at the door of the House of Trufaldin; Mascarille and Lelio to the left.

The Blunderer: Act I, Scene IV - Exterior of the House of Trufaldin and view of the Quay of Messina.

The Blunderer: Act I, Scene X - The image depicts two of the characters from the play, Hyppolyta and Mascarille engaged in conversation. "Here are two Louis to handle your wounds."

The Blunderer: Act II, Scene V - Image portrays Anselmo and Pandolphus in the garden. "Do not come any nearer. I beseech you!"

The Blunderer: Act II, Scene XI - Vivat Mascarillius, rogum imperator."

The Blunderer: Act III, Scene X - Image depicts Trufaldin and Lelio, "Keep your door carefully shut tonight."

The Blunderer: Act III, Scene XII - Lelio greeting Mascarille in the courtyard. "Mascarille, is it you?"

The Blunderer: Act IV, Scene VIII - "I shall break all the bones in your body!" Scene in the courtyard depicts, Trufaldin, Mascarille and Lelio.

The Blunderer: Act IV, Scene VIII - Mascarille asking the question of Lelio in the courtyard. "May I take the liberty to ask how your shoulders are?"

The Blunderer: Act V, Scene II - Mascarille, Lelio and Andres are depicted in the scene for the paly. "Yonder finished house is at my disposal."

The Blunderer: Act V, Scene XVI - The final plate in the suite, with Lelio and Mascarille. "Let us go, then; and may propitious Heaven give us children whose fathers we really are."