Title page of the first volume of the collected issues of the journal. Note the price information on the page facing the title.
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Title page of the first volume of the collected issues of the journal. Note the price information on the page facing the title.
Girardin licensed the Duverger technology for printing music, crediting Duverger for the three places where he published music in the journal volume
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Girardin licensed the Duverger technology for printing music, crediting Duverger for the three places where he published music in the journal volume. About this time the English industrial printer William Clowes was also probably using the Duverger technology to print music.
This page opening closely resembles what a page in The Penny Magazine or the Magasin Pittoresque looked like, except that Girardin packed in even more images.
Creative Commons LicenseJeremy Norman Collection of Images - Creative Commons
This page opening closely resembles what a page in The Penny Magazine or the Magasin Pittoresque looked like, except that Girardin packed in even more images.
A poster advertising Musée des Familles for 1857-1858. Note that the publishers indicated that the previous 24 volumes could be purchased as a set or individually.
Creative Commons LicenseJeremy Norman Collection of Images - Creative Commons
A poster advertising Musée des Familles for 1857-1858. Note that the publishers indicated that the previous 24 volumes could be purchased as a set or individually.
A copy of the second volume of Musée des Familles as it was sold about 1853, when according to the rear printed wrapper, 20 volumes of the periodical had been published.
Creative Commons LicenseJeremy Norman Collection of Images - Creative Commons
A copy of the second volume of Musée des Familles as it was sold about 1853, when according to the rear printed wrapper, 20 volumes of the periodical had been published.
The elaborate border of the title page of the second volume of Musée des Familles would appear to appeal rather directly to women.
Creative Commons LicenseJeremy Norman Collection of Images - Creative Commons
The elaborate border of the title page of the second volume of Musée des Familles would appear to appeal rather directly to women.  Notice that the scientist Isidore Geoffroy Saint-Hilaire appears on the list of contributors.
Detail map of Paris, Île-de-France, France

A: Paris, Île-de-France, France

Émile de Girardin Launches "Musée des Familles, Lectures de Soir"

10/3/1833
Upper printed wrapper of the first volume of the Musee des familles
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Émile de Girardin was unusually direct in presenting price information. At the foot of this upper printed wrapper we see a long dissertation on the different ways a reader could subscribe and the different price levels. There is also the mention at the very end of the pricing paragraph that he would print 500 copies of the volumes on very fine paper by hand press at roughly double the cost of regular copies.
On October 3, 1833 French publisher and politician Émile de Girardin launched the weekly magazine Musée des Familles, Lectures de Soir in ParisIn format this magazine was clearly inspired by the two-column format of The Penny Magazine that Charles Knight had published in England for the SDUK since March 1832. Girardin must also have been thinking of the French market that Edouard Charton had been developing since February 1833 for his Magasin Pittoresque, which was pretty much a French copy of the The Penny Magazine. However, Girardin distinguished his magazine from Charton's by directing its content more toward the interests of women and children, by including substantially more woodcuts, and by including literary works by fashionable writers. He also credited the authors of the various articles in the magazine by name— a practice not followed in The Penny Magazine or the Magasin Pittoresque. It seems that Girardin also intended his magazine for a somewhat more upscale market than the Magasin Pittoresque. Note that he advertised on the upper printed wrapper for the first volume of the collected edition or reprint edition of the issues for 1833 and 1834 that he would print 500 copies on deluxe vélin satiné paper, and that these would be printed in a deluxe way on a hand press, rather than a printing machine. Girardin also kept copies of this periodical in print for decades so that new subscribers could buy prior volumes if desired.

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