ALDIN, Cecil

Artist's Models, an

London: H. F. & G. Witherby, 1930. First Edition in the Original Vellum Over Boards Ceceil Aldins' Favorite Dogs - Cracker, Susan, Jemima & Turpentine ALDIN, Cecil. An Artist's Models. London: H. F. & G. Witherby, [n.d. 1930]. First edition. Limited to 310 numbered copies on English hand-made paper (this being copy No. 164), signed by the author/artist. Quarto (11 1/2 x 7 1/2 inches; 285 x 190 mm.). 80 pp. Twenty color plates, with captioned tissue guards. Original vellum over boards lettered in gilt on front cover and spine. Top edge gilt, others uncut. Very minor discoloration to vellum, mild bump to bottom edge of lower board near joint, otherwise a fine copy. An Artist's Models tell the humorous stories of his models, both professional and amateur - so well that the reader actually knows Cracker, Susan, Jemima, and his beloved rough-haired Dachshund Turpentine aka Von Tirpitz. Cecil Aldin (1870-1935) "was a most prolific artist and illustrator. While living in London, he became friends with the Beggarstaff Brothers (see Houfe under William Nicholson and James Pryde), John Hassall, Phil May and Dudley Hardy, and their influence on his work was great. He produced a great number of prints, a select list of which is included with a comprehensive bibliography in Heron's book [Cecil Aldin: The Story of a Sporting Artist (1981)]. He did a great deal of advertising work, including posters, for such companies as Bovril, Colman (manufacturers of starch and mustard), and Cadbury's, and Royal Doulton produced about sixty items with Aldin drawings between 1910 and 1939. Horses, dogs and the English countryside were the major topics of Aldin's illustrations. The obituary in The Times asserted that ‘there never yet has been a painter of dogs fit to hold a candle to him..Cecil Aldin can justly be described as one of the leading spirits in the renaissance of British sporting art'" (Alan Horne, The Dictionary of 20th Century British Book Illustrators, p. 67). Books written and illustrated by Aldin include Old Inns (1921); Old Manor Houses (1923); Cathedral[s] and Abbey Churches of England (1924); Romances of the Road (1928); An Artist's Models (1930); Exmoor, the Riding Playground of England (1935); and Hunting Scenes (1936). .

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Book number: 00081

Catalogue: Illustrated Books

Keywords: Illustrated Books Signed Limited Edition Signed Limited Edition Dogs

BARIC, Jules Jean Antoine

Ou Diable L'Esprit Va-T-IL Se Nicher

Paris [&] New York: Arnauld de Vresse, Editeur, Roe Lockwood and Son , 1878. Silly Questions Depicted in Nineteen Humorous Lithographs BARIC, [Jules Jean Antoine]. Ou Diable L'Esprit Va-T-Il Se Nicher? Par Baric. [Where the Devil will the Spirit go?]. Paris [&] New-York: Arnauld de Vresse, Editeur, Roe Lockwood and Son [1878]. First (only?) edition. Folio (13 3/16 x 10 1/8 inches; 335 x 257 mm.). Lithographed pictorial title and eighteen numbered lithographed plates depicting the Devil. The plates are captioned below. Plates lithographed by Génix. Publisher's pictorial glazed yellow boards, expertly and almost invisibly rebacked to style. Extremities a little worn, light staining to endpapers. Some light foxing and marginal soiling. An excellent copy of this scarce work. Jules Jean Antoine Baric (1825-1905) illustrated several books of caricatures or cartoons for Arnauld de Vresse between 1857 and 1878. No copy has sold at auction since 1975. According to OCLC there is just one copy located in libraries and institutions worldwide (National Library of Sweden). The Plates: 1. - Mr. Plumichon, pourquoi donc l'eau coule-t-elle dans ce sens? - Ma chère amie, vous faites toujours des questions au dessus de votre portée.. c'est parceque.. l'eau.. va toujours.. à la rivière.. 2. Monsieu l'mare, j'vous améne un homme qui dit, comme ça, qu'il est né à Bourges, et son passe-port marque ben né à quilin.. pour lors que ça m'semble louche. 3. - C'est tout d'même embêtant de ne plus y voir que d'un oeil! - Tu y vois encore plus que moi! - Comment donc ça? - Est-ce que tu ne me vois pas deux yeux? Tandis que, moi, je ne t'en vois qu'un! 4. - Eh! Bien, Madeleine, vous ne servez pas les fruits? - Madame, n'yen a p'us d'pourris! 5. - Ah!.. Mademoiselle xx a mis sa robe de Néophyte!.. - Qu'est-ce que c'est donc que cette étoffe là? La Néophyte? Je voudrais bien la voir de près, car je n'en ai jamais vu!.. 6. - Joseph, essuyez-moi ça, vite, d'une manière quelconque! - Oh! Mossieu, j'aurai aussitôt fait avec une éponge.. allez!.. 7. - Pourquoi ne viendriez-vous pas à ce bal? - Je craindrais de faire tapisserie.. - Oh! Pour cela, vous pouvez être tranquille!.. je ne fais danser que les patraques.. et vous comprenez.. que je ne manquerai pas de vous faire danser!.. 8. Madame hésite, à ce que je vois, entre le chocolat et le vert d'eau.. 9. - Sais-tu que tu as l'air de faire joliment ta tête? - Que veux-tu? Mon cher.. il faut bien faire quelque chose! 10. - Qu'est-ce que c'est donc que c'bonhomme là, papa? - C'est sans doute l'inventeur des pommes de terre.. tu vois bien qu'il a des pommes de terre dans la main? 11. - Voulez-vous de l'oie aux marrons? - Qu'est-ce que c'est que ça? - Vous ne savez pas c'que c'est que de l'oie?.. c'est le papa ou la maman d'un canard.. 12. - Je vous trouve bien heureuse!.. - Heureuse?.. Ah! Ma chère amie.. les nombrils dorés (Lambris dorés) n'font pas le bonheur.. allez!.. 13. - Quel âge avez-vous? - J'crès ben que j'ons tout à l'heure 20 ans.. mais on m'a toujou' dit qu'si j'avais point été malade, j'en aurais ben 21 passés, au jour d'aujourd'hui. 14. - Qué qu'tu fais donc là? - J'cherche le bout de la corde. - Tu sais ben que j'l'ai coupé? - Qué qu'ça fait? - Ça fait que tu n'le trouveras point! - N'y en a-t-i' point un autre! Donc! Bête! 15. - Ah! Ça! Qu'est-ce que tu fais là? - J'apprends à me presenter dans le monde, mon cher.. - Ah! Elle est bien bonne!!! 16. - Ah! Malheureux, on voit tout sortir de terre, quoi! De c'temps ci! - Comment on voit tout sortir de terre!.. moi qui ai enterré ma femme voilà trois jours! 17. Mon cher oncle je vou écri la présente à cette seule fin de vous annonser la mor de ce povre croulebois don on a trouvéz le cadaver que je vous envoille par la possette, pendu dans sa chambre, parceque Mosieu Bourdoignon qui devé vous la portée ne par pas, nous avons cette année neune masse de cornichon moi le premier des commis, suis surge de vous en offrir de la part du patron si vous en voulez, je me porte bien et souhaite que la présente vous trouve de méme, votre neveu pour la vie, Jean Calebasse. 18. Mes chers parents; ç ava bien, mon métre m'a déja fai saigner cet semaine il m'a promi de me faire écorché la semaine prochaine si ça continue ainsi qui m'a di, il me fera depécer pour se montre avant la faim de l'année. Je vous embrasse, Joseph Triplard. Gumuchian 466; Not in Colas, Hiler, Lipperheide, or BM. .

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Book number: 04967

Catalogue: Illustrated Books

Keywords: Books in French Color-Plate Books Books in French Caricatures French Caricature

BAWDEN, Edward; Bliss, Douglas Percy; [PENDOMER PRESS]

Edward Bawden

Godalming, Surrey: The Pendomer Press, 1979. One of 200 Copies with a Signed Lithograph by Edward Bawden [BAWDEN, Edward]. BLISS, Douglas Percy. Edward Bawden. [Godalming, Surrey]: The Pendomer Press, [n.d. 1979]. First edition, de luxe issue. Limited to 200 numbered copies (this copy being No. 40). Quarto (11 3/8 x 8 inches; 287 x 222 mm.). 200 pp. Eleven color plates and numerous black and white text illustrations. Pictorial title-page. "This book has been designed by John and Griselda Lewis. It has been printed and bound by the Scolar Press. The paper is Glastonbury Book Antique Laid..The book has been set in 12/14 Monotype Modern Extended and printed by offset lithography" (Colophon). Bibliography, by Barry McKay (p. 177-197). With a four-color lithograph laid into a terra cotta paper portfolio: "‘Nekayah, the Prince and Imlac in Cairo' from The History of Rasselas, Prince of Abyssinia by Samuel Johnson. Lithograph drawn in four colours by Edward Bawden and printed in an edition of 200 by The Curwen Studio, each copy being signed by the artist[this copy also being No. 40]." Original quarter black morocco, ruled in gilt, over decorative paper boards. Spine lettered in gilt. Top edge gilt. Laid in is a two-page color illustrated article on Edward Bawden. As new. Housed together with the signed lithograph in the original plain terra cotta paper over board slipcase (mildest of soiling to slipcase). Edward Bawden (1903-1989) was "one of Britain's most original and versatile artists. In this, the first full-length study of his work, the author tells the story of Bawden's career and devotes sections to his book illustrations and advertisements, his watercolours, including the brilliant series he made as an Official War Artist, his murals and his linocuts. Bawden's graphic work is characterised by humour and the frankness and simplicity of his line..There is a full bibliography of Bawden's illustrations for books, magazines and publicity material, compiled by Barry McKay..There are over 100 illustrations including 11 in colour" (from the first trade edition dust jacket). .

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Book number: 00088

Catalogue: Illustrated Books

Keywords: Bliss, Douglas Percy [PENDOMER PRESS] Illustrated Books Fine Printing Fine Printing Signed Limited Edition

BEAUMONT, Charles-Édouard de

Au Bal Masqué

Paris: Au Bureau du Charivari, Maison Martinet, 1848. Charles-Édourd de Beaumont's Au Bal Masqué - At the Masked Ball BEAUMONT, Charles-Édouard de. Au Bal Masqué. [At the Masked Ball] Album par Beaumont. Paris: Au Bureau du Charivari, Maison Martinet, [1848]. [First Series]. Quarto (13 1/4 x 10 inches; 336 x 254 mm.). Pictorial lithograph title-page and thirty superb lithograph plates. Some light foxing (mainly marginal) to a few plates, otherwise fine. Later violet cloth over boards, spine lettered in gilt. Publisher's pictorial yellow wrappers bound in. This exceptionally rare album of lithographs echoes that of Gavarni who dedicated works of the same theme at the same time. Mr. Descamps-Scrive who had a colored copy of the same thirty prints prints of this album indicated that the date was "towards 1860" (catalog Descamps-Scrive, second part). OCLC locates just two complete copies in libraries and institutions worldwide, both at The Morgan Library & Museum (NY, USA), one of which appears to be partially colored. Charles-Édouard de Beaumont (1819-1888) was one of the great caricaturists and lithographers that illustrated the beautiful pages of Charivari and other fashionable image journals. He produced all the illustrations for the picturesque Revue, Le Diable Amoureux (The Devil in Love) and many of the illustrations for the 1844 edition of Victor Hugo's Notre-Dame de Paris. Often criticized for drawing too much inspiration from Paul Gavarni, he published between 1228 and 1273 lithographs in the years 1842 to 1866. He was often criticized for drawing too much inspiration from Paul Gavarni. In 1879 he co-founded the Societe d'Aquarellistes Francais in 1879, where he exhibited several watercolors Masquerades were popular imagery in France at this time, which suggests that de Beaumont might have implied that the latent qualities of the masquerade, such as anonymity, deceit, promiscuity and superficiality, equally exist in more everyday settings. Additionally, because masked balls were contexts that permitted forms of interaction and intimacy otherwise prohibited, they can be regarded as occasions where gender and sexual norms could be transgressed. De Beaumont's satirical images of gender relations are not always as progressive as this description of the series might suggest. In 1848, after Au Bal Masqué, de Beaumont stopped depicting women in acceptable female roles and instead reconnected them to the role of prostitute. He would also reverse their gender roles to support an antifeminist backlash prompted by a conservative political climate. Out of this same school of thought, de Beaumont authored a book titled The Sword and Womankind that attributes a range of historical calamities to the deeds of wayward women. For example, depictions of women castrating men and enacting other violent acts spread from the belief that women were responsible for the failure of the 1848 revolution. While the prints from Au Bal Masqué may not depict these same sentiments, it satirizes diversions from gender norms while also depicting women outside of the domestic sphere, behaving contrary to traditional social expectations. Plates: 1. Chère enfant avant que tu n'entre dans cebal laisse moi te bènir.. 2. Si quelque gandin t'invite à souper.. tâche de m'emmener?.. 3. Mesdames, entrez dans la loge.. 4. Tu es joliment costume!..on jurerait que tu es une femme!.. 5. Le pantalon à la nouvelle ordonnance.. c'est ça qui est commode pour aller.. 6. Mon petit bébé.. nous irons demain acheter des joujoux chez Giroux.. 7. Vois-tu ce gros monsieur, là-bas?.. 8. Tiens!..une femme honnête!.. 9. Je ne veux pas qu'on m'embrasse!.. 10. Oh!.. Adolphe.. j'ai un bien grand service à te demander?.. 11. Adéle.. il n'y a qu'un instant, je te voyais causer à l'ètage supérieur, avec un monsieur?.. 12. Vas donc t'asseoir sur cette banquette, au lieu de fatigue ce malheureux Paul.. 13. Comment! Vous M. Dugardin, un homme sérieux un maître clerc de notaire, vous.. 14. Vois-tu la bas c'est mon Eléonore.. 15. Comment.. monster!..tu me dis que tu pars pour Meaux, pour affaires..et, je.. 16. Vue prise dans un cabinet particulier.. au moment ou le monsieur regarde la carte.. 17. Nêtes-vous pas mademoiselle Elisa?.. 18. Après Souper. Dieu que je suis malheureuse de ne pas être restée vertueuse!.. 19. Comme je suis portiere, je sais tout et je puis te tirer la bonne aventure.. 20. Veux-tu souper? Eugénie.. 21. Je suis la femme qui doit faire votre bonheur donnez moi une petite maison.. 22. Ainsi vous ne voulez pas me permettre d'aller vous render visite demain?.. 23. Est ce que tu vas encore carotter ce soir une pièce dix sous à chaque personne qui voudre.. 24. Si tu adresses encore la parole à mon Ernest, tu auras affaire à moi.. 25. Tu serais bien aimable de me prendre dix billets de loterie à un franc.. 26. Comme tu as deux batons de sucre de pomme, donne m'en un.. 27. Allons-nous souper, Adolphe?.. 28. Comme tu as l'air de mauvaise humeur!.. 29. Pendant le bal, un Anglais m'a offert ce baton de sucre de pomme que la marchande.. 30. Mademoiselle Adèle.. si vous continuez à rentrer à des heures aussi indues, je...

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 04619

Catalogue: Illustrated Books

Keywords: Books in French Caricatures French Caricature

BULL, René, illustrator; Mérimée, Prosper; Johnson, A.E.

Carmen

London: Hutchinson & Co. 1916. With Sixteen Full-Page Color Plates by René Bull [BULL, René, illustrator]. MÉRIMÉE, Prosper. Carmen. Translated by A.E. Johnson. With Pictures by René Bull. London: Hutchinson & Co. [n.d, 1916]. First trade edition. Quarto (10 13/16 x 8 7/16 inches; 275 x 214 mm.). [2, blank], x, 204 pp. Color frontispiece and fifteen color plates, with descriptive tissue guards. Seventy-four black and white illustrations in the text. Publishers red cloth over boards pictorially stamped and lettered in gilt on front cover and spine. Gray and white pictorial endpapers. Top edge gilt, others stained red. Gilt on spine dull, some light wear to extremities, neat ink inscription dated 1917 on front free endpaper, and another ink inscription on front blank leaf. A good copy of an uncommon book. Rene Bull's vibrant illustrations perfectly capture the intense drama of love and jealousy in Prosper Mérimée's tale which was the basis for Georges Bizet's opera of the same title. René Bull (d. 1942) "was born in Ireland and went to Paris to study engineering, but left this for art work in London, 1892. After working for various magazines, he was appointed ‘special' for Black and White, 1896, attending the Armenian massacres and the Graeco-Turkish War as artist..He served in the First World War in RNVR, 1916, and RAF, 1917. Bull was one of the most versatile specials because his stature as an artist was above average. Not only an accurate reporter, he was a talented comic draughtsman and a brilliant illustrator of fairy stories" (Houfe, The Dictionary of 19th Century British Book Illustrators, p. 81). Works illustrated by Bull include: La Fontaine's Fables (1905), Uncle Remus, by Joel Chandler Harris (1906), The Arabian Nights (1912), The Russian Ballet by A.E. Johnson (1913), Rubáiyát of Omar Khayyám (1913), Carmen, by Prosper Mérimée (1916), and Travels into Several Remote Nations of the World, by Jonathan Swift (1928). .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 03527

Catalogue: Illustrated Books

Keywords: Mérimée, Prosper Johnson, A.E. Signed Limited Edition Illustrated Books French Literature European Literature French Literature Music

CANIFF, Milton

Terry and the Pirates

New York: Random House , 1946. Inscribed by the Milton Caniff CANIFF, Milton. Terry and the Pirates. Adapted from the famous comic strip. New York: Random House, [1946]. First edition inscribed by the author. Small quarto ( 10 x 7 inches; 254 x 178 mm.).[vi], [1]-115, [1, blank]. With seventeen black & white illustrations in the text. Inscribed on the front free endpaper "For Richard Baker / Best Wishes / Milton Caniff / 7 January / 1947". Publisher's pictorial boards, pictorial dust jacket. A near fine copy. Milton Arthur Paul Caniff (1907-1988) was an American cartoonist known for the Terry and the Pirates and Steve Canyon comic strips. .

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Book number: 05858

Catalogue: Illustrated Books

Keywords: Inscribed Copies

CRUIKSHANK, George

British Regalities. The Coronation Reporter;

London: Printed and published by T. Dalby, 1821. The Cartoonist George Cruikshank Transformed into a Wise Reporter of the Coronation of George IV.. CRUIKSHANK, George, illustrator. British Regalities. The Coronation Reporter; Containing a report of every occurrence and a description of every ceremony connected with the Coronation of His Majesty King George IV. July 19, 1821. Embellished with Views of the most Interesting Scenes, from original drawings. London: Printed and published by T. Dalby, [1821]. First edition of this account of the coronation of King George IV, which took place on July 19, 1821. Small octavo (5 5/8 x 3 3/4 inches; 149 x 95 mm.). Engraved pictorial framed title-page, verso blank, 108 pp. Folding etched frontispiece and two other etched plates. Full red straight-grain morocco, covers decoratively bordered in gilt, smooth spine lettered horizontally in gilt, gray endpapers. Armorial bookplate of Edmund Yates on front paste-down. Front joint expertly repaired. The plates: Coronation of George IV (folding) Return of the Procession from the Abbey (folding) The Champions Challenge & c. "In the H. W. Bruton copy appeared the following note by the latter: A very rare book. I know of one other copy only - that in Mr. Truman's collection. H. W. Bruton. Since writing the above Captain Douglas has informed me that the book is in his collection. H. W. B. A label of the Bath Mechanics' Institution is pasted down on the inner side of the front cover, and pasted down on the inner side of the back cover is the label of the Bath Athenaeum." (Parke-Bernet Galleries, February 26/27, 1942). Cohn 92. .

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Book number: 05654

Catalogue: Illustrated Books

Keywords: English History Cruikshankiana

CRUIKSHANK, George, illustrator

Comic Blackstone, the

London: Bradbury and Evans, 1857. The Comic Blackstone CRUIKSHANK, George, illustrator. A'BECKETT. The Comic Blackstone. A New Edition. With illustrations by George Cruikshank. London, Bradbury and Evans, 1857. Two parts in one mall octavo volume (6 5/8 x 4 1/8 inches; 169 x 105 mm.). xii, 252 pp. Engraved woodcut pictorial title-page and engraved woodcut illustration on last page. Bound by Zaehnsdorf ca. 1900 in three quarter dark blue calf over marbled boards, smooth spine decorated in gilt and with red morocco label lettered in gilt, marbled endpapers, top edge gilt. The first edition appeared in two parts in 1844-1846. There were several reissues in one volume from 1846 on. Cohn 1. (First edition). .

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Book number: 05655

Catalogue: Illustrated Books

Keywords: Cruikshankiana

CRUIKSHANK, George; THACKERAY, (William Makepeace)

An Essay on the Genius of George Cruikshank

London: George Redway, 1884. With the original Pen & Ink Drawing for the Portrait Frontispiece [CRUIKSHANK, George]. THACKERAY, William Makepeace. An Essay on the Genius of George Cruikshank. Reprinted verbatim from the "Westminster Review" edited with a prefatory note on Thackeray as an artist and art-critic by W. E. Church.. with upwards of forty illustrations including all the original woodcuts and a new portrait of Cruikshank etched by F.W. Pailthorpe. London, George Redway, 1884. *One of six copies large-paper copies printed on Japanese Paper. Folio (11 1/4 x 7 1/2 inches; 285 x 190 mm.). Portrait frontispiece in triplicate**. [iv], [i]-xvi, [1]-60, [2, advertisements] pp. Ful page plate "March - Showery" facing p. 49. ** The first is the original pen and ink drawing by F.W. Pailthorpe signed in pencil; The second is a 'first proof' also signed by Pailthorpe in pencil; The third is the final version printed on India paper, mounted. Bound by Jean-Luc Honegger, signed with black stamp 'Honegger' on rear endpaper. Full royal blue morocco, covers double-ruled in gilt, spine with five raised bands decoratively paneled and lettered in gilt in compartments, marbled endpapers, top edge gilt, others uncut. With three bookplates on front pastedown: Armorial bookplate 'Virtute et Labore' (John Burges Carmac?); F.S. Bradburn and Adrian W. Flühmann. A fine copy. * According to an old pencil note on the armorial bookplate. A classic essay on George Cruikshank, first published in 1840 in the Westminster Review, during the illustrator's lifetime. William Makepeace Thackeray (1811-1863) was one of George Cruikshank's closest friends. The preface by W.E. Church is in the original edition. Jean-Luc Honegger is a Swiss bookbinder who for decades has been infusing a "second life" to some of the rarest books of the most prestigious collections. He creates bindings that are works of art, made of different kinds of colored leathers and skins and that sometimes require more than fifty hours of manual work. He has adorned the books of the Bibliothèque Nationale de France and the Bodmer Foundation, among others. His bindings have been exhibited in museums including the Musée d'Art et d'Histoire in Geneva in 2002.  Cohn, 789: for the first edition of 1840; Ray, p. 69: "Thackeray, who remains [Cruikshank's] best critic, particularly praised the 'grotesque beauty' of his earlier work.

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Book number: 05589

Catalogue: Illustrated Books

Keywords: THACKERAY, (William Makepeace) Fine Bindings Biography Caricatures Nineteenth-Century Literature

CRUIKSHANK, George; BLANCHARD, Laman; BIRDSALL, binder

George Cruikshank's Omnibus

London: Tilt and Bogue, 1842. George Cruikshank's Omnibus First Edition, Finely Bound by Birdsall of Northampton [CRUIKSHANK, George]. George Cruikshank's Omnibus. Illustrated with one hundred engravings on steel and wood. Edited by Laman Blanchard. London: Tilt and Bogue, 1842. First edition. Large octavo (9 3/8 x 5 3/4 inches; 238 x 146 mm.). [viii], 300 pp. Engraved portrait, engraved pictorial preface, twenty engraved plates and seventy-eight woodcuts in the text. Bound ca. 1910 by Birdsall of Northampton (stamp-signed in gilt on front turn-in). Full dark green morocco, covers with multiple gilt borders and corner decorations, spine with five raised bands decoratively tooled and lettered in gilt in compartments, gilt board edges and decorative gilt turn-ins, marbled end-papers, top edge gilt, others uncut. Original gilt decorated dark green cloth front cover and spine bound in at end. Minimal fading to spine otherwise fine. "First issued in nine monthly parts from May 1841 to January 1842. The bound volumes were first issued in green and subsequently red cloth.. Of the 22 engravings on steel and the 78 woodcuts, all are by G.C. with the exception of three of the steel engravings.." (Cohn). Cruikshank became increasingly disenchanted with the publisher Bentley while working with William Harrison Ainsworth illustrating his novels. Despite financial woes and the illness of his wife, Cruikshank separated from Bentley and became attached to secondary publishers like Tilt and Bogue. In May, 1841, he started Omnibus as his personal outlet. Laman Blanchard was the editor and Ainsworth the sub-editor. Other authors include Merle, Marryat, Thackeray and "Bowman Tiller." It had the characteristic comic cover of the rear of a crowded omnibus pulling away. George drew the image and it was engraved by his nephew Percy Cruikshank, although George was angry with him for calling himself "Cruikshank the Younger. "The contents are articles in a comic vein including a serialized novel and the miscellany entitled "Omnibus Chat." Cohn, 190. .

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Book number: 04316

Catalogue: Illustrated Books

Keywords: BLANCHARD, Laman BIRDSALL, binder Fine Bindings Caricatures Cruikshankiana

CRUIKSHANK, George

Glass and the New Crystal Palace, the

London: J. Cassell, 1853. One of George Cruikshank's Teetotalling Pamphlets With Eleven Fine Woodcut Engarvings CRUIKSHANK, George. The Glass and the New Crystal Palace. With cuts. London, J. Cassell, 1853. First edition of this pamphlet against alcohol. Octavo (8 3/4 x 5 1/2 inches; 222 x 140 mm.). 32 pp. Eleven woodcut engravings in the text. Bound ca. 1900 by Tout in three quarter dark green morocco over marbled boards, ruled in gilt, spine with two raised bands, decoratively tooled and lettered lettered horizontally in gilt, marbled endpapers, top edge gilt, others uncut. Publisher's front and rear yellow printed wrappers bound in. The vignette on the title-page is repeated on the front wrapper. Front wrapper and title-page nearly detached, otherwise a near fine copy. One of Cruikshank's teetotalling pamphlets inveighing against the opening of the Crystal Palace on Sundays and the attendant sale of alcoholic beverages. With the distribution and consumption of alcohol permitted in the New Crystal Palace, Cruikshank "protested, with some justice, at the hypocrisy that permitted the rich unlimited indulgence while circumscribing the pleasures of the poor. Although several of the illustrations take a light-hearted view of the subject, the pamphlet jabs with right and left" (Patten, II, p. 325). Cohn, 203. .

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Book number: 05634

Catalogue: Illustrated Books

Keywords: Caricatures Cruikshankiana

CRUIKSHANK, George; MAXWELL, William Hamilton

History of the Irish Rebellion in 1798;

London: Baily, Brothers, 1845. Cruikshank's etchings likewise have been hailed as the highest point in his invention and the most tragically terrible of all his graphic works" (Patten) CRUIKSHANK, George, illustrator. MAXWELL, W[illiam] H[amilton]. History of the Irish Rebellion in 1798; With Memoirs of the Union, and Emmett's Insurrection in 1803. By W.H. Maxwell, Esq. London: Baily, Brothers, 1845. First edition. Octavo (8 1/2 x 5 1/4 inches; 216 x 133 mm.). viii, [1]-477, [1, imprint] pp. Twenty one engraved plates by George Cruikshank and six full-page portraits. Contemporary full dark green morocco, covers ruled in gilt, spine with four raised bands decoratively ruled and lettered in gilt in compartments, gilt-ruled board edges and turn-ins, marbled endpapers, all edges gilt. Armorial bookplate "Brighton" on front paste-down. Corners slightly bumped - still an excellent copy. "The United Irishmen launched a full-fledged revolt against British rule in May 1798, but their fight was short-lived. The British and loyal Irish forces swiftly crushed the Irish Revolution. In just five months, the fighting left over 30,000 Irish men, women, and children dead, regardless of their loyalties." (Museum of the American Revolution). "No information survives about Cruikshank's commission to illustrate W. H. Maxwell's History of the Irish Rebellion in 1798. There is, therefore, no way of knowing what attracted Cruikshank to the subject, nor of ascertaining his own views on the rebels, the loyalists, and the British regulars who savagely put down a savage uprising. Conceivably the publisher, A. H. Baily, approached Cruikshank on the basis of the work he had done for them illustrating Barham's son's book, Martin's Vagaries, in 1843. Or they may have been inspired by his historical plates for Ainsworth, or by recalling etchings Cruikshank had made two decades previously for Ireland's Life of Napoleon. Baily's advertisement touts the "bold and graphic sketches descriptive of [the] most startling scenes," and those Cruikshank supplied in abundance: twenty-one full-page steels depicting bloody murders and riotous pillage that exercise his talents in narrative, theatrical tableaux, melodrama, and pathos. Maxwell's account is one of the earliest and most vivid; Cruikshank's etchings likewise have been hailed as the highest point in his invention and the most tragically terrible of all his graphic works. Several authorities have compared them to Goya's Disasters of War, and Thomas Wright judged the plates "equal, if not superior, to anything ever produced by Hogarth or by Callot." Cruikshank is unsympathetic to the rebels, giving them broad fat faces, staring eyes, and wide mouths in contrast to the patrician British; yet even in this propaganda for the established order he humanizes the peasants." (Patten II, pp. 210/211). William Hamilton Maxwell (1792-1850) was an Irish novelist. He was educated at Trinity College, Dublin. He claimed to have entered the British Army and seen service in the Peninsular War and the Battle of Waterloo, but this is generally believed to be untrue. Cohn 541; Ogilby, British Military Costume Prints, 620. .

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Book number: 05644

Catalogue: Illustrated Books

Keywords: MAXWELL, William Hamilton History Naval and Military Cruikshankiana

CRUIKSHANK, George; CERVANTES, Miguel de

Illustrations of Don Quixote

London: Charles Tilt, 1834. George Cruikshank's Illustrations for Don Quixote Bound together with his Comic Almamnac for 1835. CRUIKSHANK, George, illustrator. CERVANTES SAAVEDRA, Miguel de. Illustrations of Don Quixote, in a Series of Fifteen Plates, Designed and Etched by George Cruikshank. London: Charles Tilt, 1834. First separately published edition. Small octavo (6 3/8 x 3 7/8 inches; 161 x 98 mm.). [ii], 30 unnumbered pages of text. Fifteen fine engraved plates , all with tissue guards. [bound with] The Comic Almanac, For 1835: An Ephemeris in Jest and Earnest, containing "all things fitting for such a work." By Rigdum Funnidos, Gent. Adorned with a dozen of "righte merrie" cuts, pertaining to the months, sketched nd etched by George Cruikshank. London: Imprinted for Charles Tilt, [1835]. [2, title-page] pp. Twelve fine woodcut plates. Bound by Bauzonet ca. 1900 in full green morocco, covers double-ruled in gilt, spine with five raised bands, paneled and lettered in gilt in compartments, gilt board-edges and turn-ins, marbled endpapers, all edges gilt. Publisher's front and back printed wrappers for the 1835 Comic Almanac bound in. Front and back joints very slightly split at top - but sound. A very good copy. This scarce little album, edited by Charles Tilt, contains the full suite of fifteen engravings of George Cruikshank illustrating the Adventures of Don Quixote which had been previously published in volumes XIII-XV of Roscoe's Novelist's Library, London, 1833. Cohn, 710 (three volume 1833 edition). .

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Book number: 05642

Catalogue: Illustrated Books

Keywords: CERVANTES, Miguel de Spanish Literature Cruikshankiana

CRUIKSHANK

Improved Art of Riding, the

London: J. Bailey, 1815. The Albert M. Cohn - William Hartmann Woodin Copy [CRUIKSHANK, George, illustrator]. LLOYD (G.) & SYMES (R.). The Improved Art of Riding, Exemplified in the Following Rules, To mount a Horse with Ease and Dexterity, and to Sit Him with Grace and Dignity, To Manage the Bridle, whether snaffle or curb; the use of the Whip and Spur, Service of the Leg in the manage of a Horse, To cure a Horse of his Starting or Stumbling, To manage a restive or vicious Horse; And the best methods of Breaking a Colt. Alos, the rules observed and taught in a Menage, or Riding-House; The whole treated in a plain and perspicuous Manner. London, J. Bailey, [1815?]. First edition variant issue (no priority determined). Small octavo (7 3/8 x 4 1/2 inches; 188 x 115 mm.). Engraved folding frontispiece, [2], 3-32 pp. Publishers brown paper stitched wrappers printed in black. Rear wrapper with advertisements printed in black. Housed in a brown card wrapper with the bookplates of Albert M. Cohn. Extremities a little worn, some light dust soiling. Still a very good copy with impeccable provenance. "Folding folded frontispiece in six sections attributed to G. Cruikshank." (Cohn, p. 146). Cohn observes that this book is found with two different addresses for the publisher, but without giving priority to one or the other. This example has "188, Fleet Street" the alternative one has "65 Gray's Inn Lane." Provenance: Albert M. Cohn; William Hartmann Woodin; Adrian Flühmann. Cohn 495 (this copy). .

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Book number: 05583

Catalogue: Illustrated Books

Keywords: Horses Cruikshankiana

CRUIKSHANK, George, illustrator; GLASCOCK, William Nugent

Land Sharks and Sea Gulls

London: Richard Bentley, 1838. With Six Fine Engraved Plates by George Cruikshank CRUIKSHANK, George, illustrator. GLASCOCK, Captain [William Nugent]. Land Sharks and Sea Gulls. By Captain Glascock, R.N. In Three Volumes. London, Richard Bentley, 1838. First edition. Three octavo volumes (7 3/4 x 4 3/4 inches 197 x 121 mm.). [iv], [1-3], 4-307, [1, imprint]; [ii], [1-3], 4-309, [1, imprint]; [ii], [1-3], 4-329, [1, imprint] pp. Six engraved plates by George Cruikshank. Late nineteenth century three quarter olive green morocco over marbled boards ruled in gilt. Spines with five raised band decoratively tooled and lettered in gilt, marbled endpapers, top edge gilt. With the engraved bookplate of George Shaw on each front paste-down. S[pine of volume I with some light chipping at head and tail, some light staining to top blank margins at end of volume III. A good set. William Nugent Glascock (c. 1787-1847) was an Irish officer in the Royal Navy and a novelist. He saw service during the French Revolutionary and Napoleonic Wars, and later in the years of relative peace. Glascock wrote a two-volume work, The Naval Sketch Book, or The Service Afloat and Ashore, published in 1826. This was followed by the three-volume Sailors and Saints, or Matrimonial Manœuvres in 1829, Tales of a Tar, with Characteristic Anecdotes in 1836, and the three-volume Land Sharks and Sea Gulls in 1838. He also wrote a two-volume work entitled Naval Service, or Officers' Manual, published in 1836. This useful manual for young officers passed through four editions in England. The last, published in 1859, had a short advertisement by Glascock's daughter, stating that "the work has been translated into French, Russian, Swedish, and Turkish, and adopted by the navies of those powers, as well as by that of the United States." Laughton remarked that the work was "of course, quite obsolete, though still interesting to the student of naval history and customs." Cohn 353; Wolff 2564; not in Sadleir. .

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Book number: 05637

Catalogue: Illustrated Books

Keywords: GLASCOCK, William Nugent Nineteenth-Century Literature Cruikshankiana