a painter and ballet set designer in Paris, for whom he produced a set of color lithographs Costumes De Théãter in 1826. That set was followed by additional series including 12 lithographs created for the printer Langlumé titled Les Dimanches d’un bourgeois de Paris ou Les tribulations de la petite propriété (Sundays of a Paris Bourgeois or The Tribulations of Small Property), in 1826. Subsequent collections included 53 prints in La Sibylle des salons (The Sibyl of the Salons) in 1827 and 12 prints in Titres pour morceaux de musique (Titles for Musical Pieces) in 1828. Grandville lived a bohemian life in the late 1820s and early 1830s, renting in a small room on the upper floor of a building which is said to have been crowded with pens and papers where he drew incessantly. It became a gathering place for artist, writers, singers, lithographers and others. The painter Paul Delaroche was a neighbor during this period. Alexandre Dumas was among the milieu and later wrote of the time, "If we had money, we had beer. If not, we were happy just to smoke, joke and argue." Grandville was described as a thin, somewhat quite, and at times melancholy man, although Dumas noted he also had a sharp wit and a competitive side to him. It was in this period that he met the charismatic 28 year old Charles Philipon, an editor and lithographer with the newspaper La Silhouette. Grandville's first real success was Les Métamorphoses du jour (The Metamorphoses of the Day), a set of 70 color lithographs published in 1829. In this series, figures with human bodies but the heads of various animals, from fish to elephants, are depicted acting out a human comedy, perceptively satirizing the bourgeois of Paris and human nature in general. It established his reputation with the public and he was thereafter sought after as an illustrator by publishers and periodicals. In 1830 he published Voyage pour l'éternité (Voyage to Eternity), a series of nine lithographs in which death, in the form of a variously dressed skeleton, pays visits to a variety of Parisians, and is finally seen triumphantly leading a parade of young soldiers to their fate. Printing was stopped after only few copies were made due to the dark theme, which was possibly inspired by Thomas Rowlandson's Dance of Death. However, it did succeed in gaining him more notoriety and the admiration