CRUIKSHANK, George

History of the Manners and Customs of the Cossacks, the

London: G. Smeeton, [1813]. The History of the Manners and Customs of the Cossacks With a Hand Colored Frontispiece and a Portrait of Count Platoff by George Cruikshank Albert M. Cohn's Copy [CRUIKSHANK, George, illustrator]. The History of the Manners and Customs of the Cossacks; Describing their habitations; singular mode of fighting; Religion; Customs.. Also, the life of the brave Hettman of the Cossacks, Count Platoff.. London, G. Smeeton, [1813]. Sixth edition with considerable additions- [together with] A Description of the Defeat of the French Army, under the command of Napoleon Bonaparte, by the Allied Armies, Commanded by Field Marshal His Grace The Duke of Wellington, and Field Marshal Prince Blucher, in front of Waterloo, on the 18th of June 1815- In Barker's Panorama [J. Adlard, Printer], 1816. Octavo (8 1/4 x 5 inches; 209 x 127 mm.). [1-4], 5-20; [1-3], 4-12 pp. The first title with a hand colored frontispiece by George Cruikshank "The Cossacks attacking the French Army under Murat" (signed in pencil by George Cruikshank? in lower left-hand corner)and a full-page woodcut portrait of Count Platoff on page [14], both unsigned. Disbound, housed in [Albert Cohn's] tan paper folder with the original catalog description from the 1942 Parke-Bernet auction pasted to inside of folder. (folder flap neatly repaired). The publication, which bears at the top of the title the mention Sixth edition, with considerable additions, is not dated. However, the publisher George Smeeton's address is 139 St. Martin's Lane (he moved to 17 St. Martin's Lane in 1814) and the text refers to events in the year 1813, allowing it to be dated precisely. A famous Cossack horseman, Count Platov (1751-1818) was one of the fiercest opponents of the Napoleonic army in Russia. He occupied Paris with his troops in 1814: there is no doubt that if the pamphlet had been published after that date, the British publisher would have announced the news with delight.. Extremely rare: OCLC/KVK locate just one copy of the first title (dated 1815) in libraries and institutions worldwide: Brown University (RI, US) and just four copies of the second title: Florida State University (FL, US); DePaul University (IL, US); Johns Hopkins University (MD, US) and The University of Glasgow (UK). Provenance: Parke-Bernet Galleries NY, April 22/23, 1942 (Albert M. Cohn's copy). The only copy located in auction records over the past one hundred years. Cohn, 391. .

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Book number: 05578

Catalogue: Caricatures

Keywords: French History Naval and Military Cruikshankiana

DAUMIER, Honoré

Les Geuex de Bourgeois

Paris: Aubert & Cie, 1851. With Twenty Superb Lithographed Plates by Honoré Daumier [DAUMIER, Honoré, illustrator]. Les Gueux de Bourgeois. Études de leurs moeurs féroces et de leurs habitudes criminelles. Paris: Aubert & Cie, [n.d. ca. 1851]. First edition. Folio (13 1/4 x 10 inches; 335 x 254 mm.). Pictorial lithographed title by Belin and twenty lithographed plates all by Honoré Daumier, comprising seventeen plates (Nos. 2, 3, 4, 6, 7, 8, 9, 10, 11, 12, 13, 15, 16, 18, 21, 30 and 31) from Tout ce qu'on Voudra, two from Les Bons Bourgeois (Nos. 79 and 81), and one from Les Gens de Justice No. 34). Plate no 3 with small inner blank margin tear; plate no. 4 with neatly repaired two-inch tear just touching image. Otherwise the highly amusing lithographs are clean and fresh. Publisher's yellow glazed pictorial lithographed boards (cover design by Belin). Minor wear to extremities. Otherwise a fine copy. “The house of Aubert was ingenious in marketing its products. Its lithographs-were published one by one in periodicals like Le charivari and together in suites by the same artist without letterpress. Still a third form of publication was in albums made up of lithographs by several artists with accompanying texts. These collections most commonly took the form of volumes with the generic title Paris comique, which consisted of twenty colored lithographs accompanied by quite unrelated texts. Aubert remarked that the resulting hodgepodge had ‘a plan that is easy to follow, for it consists in not having any,’ and in fact this was indeed a frugal procedure for reusing old texts and already published plates. The interest of the various volumes of Paris comique resides entirely in the lithographs they happen to contain. It can be considerable, however, since Daumier and Gavarni are the predominant artists” (Ray, The Art of the French Illustrated Book, 164). The plates: 1. Tout Ce Qu’on Voudra (No.9). Un Pierrot déplumé. (DR 1655) Whatever We Want. A plucked Pierrot. 2. Tout Ce Qu’on Voudra (No.12). Parisiens qui ne seront jamais placés sous la surveillance de la haute police. (DR 1658) Whatever We Want. Parisians who will never be placed under surveillance of the secret police. 3. Tout Ce Qu’on Voudra (No.8). - Mais quand je vous dis que je ne peux pas remuer les pieds avec ces bottes là! ... - Ça f'ra.. monsieur.. ça f'ra.. ça f'ra!... (DR 1654) Whatever We Want. - But I keep telling you that I cannot move my feet in these boots! - Don't worry, it'll come, it'll come.. 4. Tout Ce Qu’on Voudra (No.13). Le plus farceur de la société. (DR 1659) Whatever We Want. The comedian of the group. 5. Tout Ce Qu’on Voudra (No.4). - Ma femme est-elle à la maison?. - Oui M'sieu..et vot' Cousin aussi.. (DR 1650) Whatever We Want. - Is my wife at home? - Yes Sir... and so is your cousin.. 6. Les Bons Bourgeois (No. 81). - Vous ne prenez pas votre bouteille de bière ce soir.... je vois ce que c'est, vous sortez de diner en cabinet particulier.... mauvais sujet!.... (DR 1557) The Good Bourgeois. You are not having your bottle of beer with us this evening.. I can tell you are having a private dinner party today, you scoundrel.. 7. Les Gens de Justice (No. 34). Encore perdu en Cour Royale .. et il se lamente comme s'il ne lui restait pas encore la Cour de Cassation!.. (DR 1370) People of Justice. Lost again in the Royal Court.. and he complains as if he couldn't still appeal in the Upper Appeals Court.. 8. Tout Ce Qu’on Voudra (No.5). Une oasis au milieu de la plaine St-Denis. (DR 1651) Whatever We Want. An oasis in the middle of the plain of St. Denis. 9. Tout Ce Qu’on Voudra (No.6). - Dire pourtant que mes dahlias continuent encore cette année à être du ponceau le plus vif . malgré tous mes soins, je ne pourrai donc jamais parvenir à leur donner la nuance Boue de Paris !.. (DR 1652) Whatever We Want. If one considers that my dahlias are still blooming in flaming red this year.. I am afraid that with all my endeavors I will never succeed in cultivating them in a "Parisian Dirt" shade. 10. Tout Ce Qu’on Voudra (No.7). Ayant fait partie des Muscadins sous le Directoire. (DR 1653) Whatever We Want. Former Dandies from the time of the Directory. 11. Tout Ce Qu’on Voudra (No.11). - Oui c'est bien feue ma femme ! ..Seulement je trouve que vous l'avez trop flattée!.. (DR 1657) Whatever We Want. Yes, it is my deceased wife... only I find that you have flattered her too much! 12. Tout Ce Qu’on Voudra (No.15). - Tiens v'la peut-être une pratique .... je vais me mettre sur son passage!... (DR 1661) Whatever We Want. Well, this looks like a customer... I am going to put myself in his way! 13. Tout Ce Qu’on Voudra (No.10). Deux heures du matin, sortie du théatre historique. (DR 1656) Whatever We Want. Two in the morning, exit of the Historic Theatre. 14. Tout Ce Qu’on Voudra (No.16). Inconvénient d'un parapluie à ressorts trop compliqués. (DR 1662) Whatever We Want. The disadvantage of having an umbrella with a complicated spring system. 15. Tout Ce Qu’on Voudra (No.21). Un mari brûlé du feu de la jalousie. (DR 1667) Whatever We Want. A husband burning with jealousy. 16. Tout Ce Qu’on Voudra (No.31). - Nous avons donc volé le ballon de Mr. Green?.. (DR 1677) Whatever We Want. So we have stolen the balloon of Mr. Green? 17. Tout Ce Qu’on Voudra (No.2). Les temps sont durs, et il faut vivre dé privations cette anné ! . A qui le dites-vous, mon cher Ducorneau . Pour mon compte, toutes les fois que je vais maintenant au spectacle, je me prive d'emmener ma femme !... (DR 1648) Whatever We Want. - Times are difficult; this year we must learn to be more modest.. - Don't tell me, my dear Ducorneau.. as far as I am concerned, every time I go to the theatre I now deny myself the company of my wife.. 18. Tout Ce Qu’on Voudra (No.18). - Ah! docteur .. je crois bien que j'suis poitrinaire!.. (DR 1664) Whatever We Want. Oh Doctor, I believe, I am consumptive! 19. Les Bons Bourgeois (No. 79). Doux loisirs d'un quincailler retiré du commerce des hommes et des chenets. (DR 1555) The Good Bourgeois. Sweet pastime of a retired ironmonger, far away from the commerce of man and the fire-dog. 20. Tout Ce Qu’on Voudra (No.30). - Ah! ma chère, quand on a un chien on ne devrait jamais avoir de mari!. pas plus tard qu'hier le mien a encore eu la chose de refuser une aile de poulet à Mimire, il n'a voulu lui donner qu'une cuisse!. - Faut-y qu'ils y aient des hommes qui soyent féroces!.. (DR 1676) Whatever We Want. - Oh my dear, when you have a dog you should not have a husband. Only yesterday mine refused to let Mimine have a chicken wing. He only gave him a thigh. - How cruel men can be!.

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Book number: 05939

Catalogue: Caricatures

Keywords: French Caricature

DAUMIER, Honoré

La Peche [&] Proverbes Et Maximes

Paris: Chez Aubert, 1840. Fishing and Proverbs as seen by Honoré Daumier DAUMIER, Honoré. La Peche [&] Proverbes et Maximes. Paris: Chez Aubert, 1840-41. Folio (13 1/8 x 10 1/8 inches; 333 x 258 mm.). La Peche. Seven lithograph plates, complete. Proverbes et Maximes. Twelve lithograph plates, complete. Together nineteen fine lithograph plates. Modern quarter brown cloth over marbled boards, spine lettered in gilt. Minimal marginal foxing to a couple of the plates. A fine example containing two of Daumier's rarest suites. La Peche (Fishing) is a series of seven lithographs which appeared between June 28, 1840 and January 24, 1841 in La Caricature. Proverbes et Maximes (Proverbs and maxims) is a series of twelve lithographs, which appeared in Le Charivari between June 21 and October 20, 1840. Daumier illustrates some well known proverbs in an original and literal way, sometimes even too literally. The Plates: La Pêche 1. Un Pêcheur endurci. (DR 815) [28th June, 1840]. A hardened fisherman. 2. C'est presque toujours à la halle que les pêcheurs parisiens vont attraper leur poisson. (DR 816) [19th July, 1840]. It's usually at the market that Parisian fishermen go to catch their fish. 3. LE PÊCHEUR ACHARNÉ ou il ne faut pas disputer les gouts. (DR 817) [2nd August, 1840]. THE DESPERATE FISHERMAN or "There is no accounting for tastes". 4. Le Barbillon entraîne la ligne, notre homme se penche, le pied lui glisse, et voilà le pêcheur qu'on repêche. (DR 818) [16th August, 1840]. The fish pulls the line.. our man bends down, his foot slips and there goes our fisherman.. ready to be fished out. 5. Malheur au Pêcheur à la ligne qui se trouve sur celle d'un bateau à vapeur! (DR 819) [23rd August, 1840]. Woe to the angler who finds himself in the wave of a steamer! 6. LE DANGER DES PASSIONS ou Souvent l'on se trouve entrainé plus loin qu'on ne voudrait. (DR 820) [6th September, 1840]. THE DANGER OF PASSIONS or Often we find ourselves drawn further than we would like. 7. EN VOILÀ UN DE PLAISIR! OU La Passion de la Pêche poussée jusqu'au dernier degré.. Réaumur! (DR 821) [24th January, 1841]. HERE IS ONE FOR PLEASURE! OR The passion for fishing carried to the last degree. of Réaumur. Proverbes et Maximes 1. Ventre affamé n'a pas d'oreilles. (DR 803) [21st June, 1840]. An empty stomach is deaf to music. 2. On n'est jamais bien servi que par soi-même. (DR 804) [28th June, 1840]. Every man is the architect of his own fortune. (Served well is only he who is doing it himself) 3. La patience est la vertu des ânes. (DR 805) [2nd July, 1840]. Patience is the virtue of asses. 4. Comme on fait son lit on se couche. (DR 806) [10th July, 1840]. As you make your bed so you must lie on it. 5. Bien venu qui apporte. (DR 807) [12th July, 1840]. Welcome is who brings something. 6. Un homme sans asile est comme un oiseau sans nid. (DR 808) [17th July, 1840]. A man without refuge is like a bird without a nest. 7. Les petits présens entretiennent l'amitié. (DR 809) [24th July, 1840]. Little presents maintain friendship. 8. A bon chat bon rat. (DR 810) [4th August, 1840]. Tit for tat. (For a good cat a good rat) 9. qui aime Bertrand aime son chien. (DR 811) [22nd July, 1840]. Whoever loves Bertrand, loves his dog. 10. Il ne faut pas mettre le doigt entre le bois et l'écorce. (DR 812) [26th July, 1840]. Don't poke your nose into other people's business. (You should not put your finger between the wood and the bark.) 11. On reprend son bien où on le trouve. (DR 813) [6th August, 1840]. One recovers one's property where one finds it. 12. En voilà un de jobard! moi je suis de l'avis du proverbe: "Ce qui est bon à garder". (DR 814) [20th October, 1840]. Here is one mug!.. I believe in the proverbe: What I have, I won't release any more. Daumier register: 815-821; 803-814. .

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Book number: 06026

Catalogue: Caricatures

Keywords: French Caricature

BON GENRE, LE

Observations Sur Les Modes Et Les Usages de Paris

Paris: Chez L'Editeur [Pierre de Crapelet], 1827. Seven Fine Hand Colored Lithographs from Le Bon Genre BON GENRE, LE. [Observations sur les Modes et les Usages de Paris], Seven fine hand colored lithograph plates. [Paris: Chez L'Editeur [Pierre de Crapelet, 1830]. Seven plates from a later edition of ca. 1830. Each plate measures 10 7/8 x 8 1/2 inches; 276 x 216 mm. Some very small light stains affecting the lower portion of the first four plates. Le Bon Genre was one of the earliest series of prints to record the social trends and leisure activities of contemporary Parisians. It is the most important fashion portfolio of its time documenting, through its caricatures, the rise of the modern city of Paris and the emerging middle-class bourgeois, its fashions, recreations and dating customs. It also has fun at visitors' expense, particularly the English, whose customs and fashions the French found incomprehensible and unfashionable; the years of hostility between France and England did nothing to improve relations and the French lost few opportunities to ridicule the British. Le Bon Genre's popularity influenced most of the later fashion illustrators and journals, as well as the satirical albums so typical of mid-19th century France, and remains a key record of French social history. Overall, Le Bon Genre bears witness to the colorful post-Revolution period of Parisian society as it evolves into the early Republican era. “Le Bon Genre-was first published in 1817 and went through several editions. This is a record of English and French fashions since the beginning of the nineteenth century; the English fashions are more in the nature of caricatures, to show how badly Englishwomen dress as compared with the Parisiennes” (Vyvyan Holland, Hand Coloured Fashion Plates 1770 to 1899, p. 51). The plates: 1. Le Bon Genre, N0. 42. Les Graces en Pantalon 2. Le Bon Genre, N0. 50. Les Garnitures 3. Le Bon Genre, N0. 51. Le Chapeau en Ballon 4. Le Bon Genre, N0. 53. Cheveaux à la Chérubin- 5. Le Bon Genre, N0. 54. Manches en spirale- 6. Le Bon Genre, N0. 55. Lecon de Diable- 7. Le Bon Genre, N0. 57. Carrick à Cinq Pélerines. .

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Book number: 05447

Catalogue: Caricatures

Keywords: French Caricature Prints

GILLRAY, James

Buonaparté Leaving Egypt

London: H. Humphrey, 1800. Napoleon's Abandonment of General Duga in Egypt James Gillray's Satirical Representation of an Event Which Changed the Face of Events in France and Throughout Europe GILLRAY, James. Buonaparté Leaving Egypt. For an Illustration of the above, see Intercepted Letters from the Republican General Kleber, to the French Directory respecting the Courage, Honor, & Patriotic-Views, of "the Deserter of the Army of Egypt". Published March 8th 1800 - by H. Humphrey. No. 27. St. James's Street, London. Hand colored etching (14 1/8 x 10 1/16 inches; 358 x 250 mm.). A few small fox marks at top, otherwise near fine. Matted. A satirical representation of an event which changed the face of events in France and throughout Europe. The designation of "The Deserter of the Army of Egypt," here applied to the hero of Egypt was echoed by many of his countrymen. (Wright & Evans, p. 194). Caricaturist and engraver James Gillray (1757-1815) “was apprenticed to a letter engraver and worked under classical engravers such as Ryland and Bartolozzi in stipple. He trained at the R.A. Schools and did some book illustrations for Macklin’s Tom Jones before turning to caricature in about 1780. His earlier works were published by the printseller Robert Wilkinson of Cornhill, forsaking him for Fores in about 1787. Gillray finally came to rest as chief caricaturist to Mrs. Humphrey at New and Old Bond Street, where he lodged till his death. Gillray was the first professional caricaturist in this country, he simplified the art of the amateurs by replacing archaic symbols with forceful design and his art training enabled him to work on a more heroic scale than his predecessors. His work hit very hard and as the artist was something of a political maverick, he was assiduously courted by all parties. His frequent satires on Royal extravagance such as ‘A Voluptuary under the horrors of Digestion’ 1792 and the caricatures of Napoleon and Charles James Fox, created in their realism and savagery a whole new field for the caricaturist. Although much of his work dates from before 1800, a group of marvellous caricatures appeared in the early 1800s including ‘Tiddy-Doll, the great French-Gingerbread Baker’, 1806, ‘Uncorking Old Sherry’, 1805, ‘The Plum-pudding in danger’, 1805 and most famous of all ‘The King of Brobdingnag and Gulliver’, 1803. Gillray’s last work was engraved in 1811 shortly before he became insane; his position was taken by the young George Cruikshank” (Houfe). Wright & Evans, James Gillray, #254. .

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Book number: 03500

Catalogue: Caricatures

Keywords: English History French History

ROWLANDSON, Thomas; MALTON, James

Inn Yard on Fire

London: T. Malton, 1791. Who'er has travell'd life's dull round, Through all its various paths hath been, Must oft have wondered to have found His warmest welcome at an inn!" ROWLANDSON, Thomas. MALTON, James. Inn Yard on Fire. Drawn & Etchd. by T. Rowlandson. Aquatinta by T. Malton. [London, 1791]. A Magnificent hand-colored aquatint (image size 20 1/2 x 15 3/4 inches; 397 x 518 mm.). Etched by Rowlandson, aquatinted by Malton. Matted, framed and glazed. (Frame size: 29 1/2 x 24 3/4 inches; 747 x 630 mm.). "The ardent house-warming prepared for the passengers at the Inn Yard on Fire barely justifies the rapture of the rhymer. From the notice-board we find the Dover, Deal, Margate and Canterbury Coaches are advertised to set out from the caravansary in question. The strangers are rudely disturbed, while the flames are lapping the old building and serpentining their way round the inflammable wooden balconies, as the suddenly awakened inmates take to flight with such solitary articles as come first to hand. The entire population of the building has fled into the coach yard - men and women in various (and amusing) states of dress and undress abound - wild horses - piglets and their mama sow stampede - fire roars from the windows at upper left. A sufferer from gout is being conveyed in a wheel barrow out of the imminent danger of being roasted alive-an antiquated husband is holding a ladder for the escape of his pretty wife; the curmudgeon is furious that the personal attractions of his better half should be thus displayed to the less privileged males around, who are assisting her delicate descent. The dangers of the fire are increased by the reckless impulse characteristic of similar casualties, in which blazing objects are hurled out of the window, spreading the flames to places which have hitherto escaped ignition. Mirrors and tablets, sheets and other objects, are sent flying from the upper galleries on to the heads of the scared travellers below-" (Joseph Grego, Rowlandson the Caricaturist). "A hand-coloured print of the panic and confusion caused by a fire at an Inn. Men and women climb from the burning building trying to rescue their belongings. One man attempts to douse the flames by throwing the contents of a chamberpot at the fire. A woman climbs down from a ladder. A fat man wearing a red cloak and lop-sided wig stands, confused whilst a young dandy supports a young woman in his arms. A sign on the side of the Inn reads 'Dover, Deal, Margate and Canterbury Post Coaches' Inscribed in the plate: Drawn & Etch'd by T Rowlandson / Aquatinta by T Malton / Publish'd Aug 1st 1788 by T.Malton No 6 Conduit Street, Hanover Square" (Royal Collection Trust). Grego. Rowlandson The Caricaturist. vol. 1, pp. 300-301. .

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Book number: 02894

Catalogue: Caricatures

Keywords: MALTON, James Gift Books

ROWLANDSON, Thomas

Pretty Little Games for Young Ladies & Gentleman

[New York]: A few copies only printed for the artist's friends, 1930. Ten Amusing 'Erotic' Plates by Thomas Rowlandson ROWLANDSON, Thomas. Pretty Little Games for Young Ladies & Gentleman. With Pictures of Good Old English Sports and Pastimes. By T. Rowlandson. [n.p.]: 1845. [i.e. New York: ca. 1930]. Small quarto (8 1/8 x 5 7/8 inches; 208 x 150 mm.). 63, [1, blank] pp. Ten engraved plates by Thomas Rowlandson. Publisher's limp black hard-grain morocco, smooth spine ruled and lettered in gilt, marbled endpapers, top edge gilt. Near fine. Thomas Rowlandson circulated his erotic engravings from 1800, individually and on demand, only among a small circle of friends and collectors. "The object of this volume was to reproduce in form of a book, ten erotic plates by Rowlandson, which had been issued separately, about 1800; each plate is accompanied by a sheet of letter press from the pen of Hotten himself, and under each are a title and a few doggerel lines, etched, probably the production of Rowlandson's own Muse". (The Encyclopedia of Erotic Literature - referring to the original Camden Hotten edition of 1845). "During the final years of his life, Rowlandson privately printed at least ten stipple engravings depicting sexual encounters he called Anatomy Diversions. Long after Rowlandson's death, John Camden Hotten (1832-1873) collected a set of these prints and published them in a bound edition accompanied by his own equally explicit poems." (Princeton University Library). The subjects are: 1. The Willing Fair, or any Way to Please 2. The Country Squire New Mounted 3. The Hairy Prospect or the Devil in a Fright 4. The Larking Cull 5. The Toss Off 6. New Feats of Horsemanship 7. Rural Felicity or Love in a Chaise 8. The Sanctified Sinner 9. The Wanton Frolic 10. The Curious Wanton Pisanus Fraxi (H.S. Asbee). The Encyclopedia of Erotic Literature. Centuria Librorum Absconditorum, volume two, pp. 346-354; Gay-Lemonnyer III, 845; Kearney, 1607. .

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Book number: 05292

Catalogue: Caricatures

Keywords: Erotica

ROWLANDSON, Thomas

World in Miniature, the

London: R. Ackermann, 1817. First Edition in Book Form A Rare and Marvelous Record Which Rowlandson Left of the England He Knew ROWLANDSON, Thomas. The World In Miniature. Consisting of Groups of Figures, for the Illustration of Landscape-Scenery. Drawn and Etched by T. Rowlandson. London: R. Ackermann, 1817. First edition in book form. Letterpress title-page, and forty black and white plates, numbered 1-40, drawn and etched by Rowlandson. Quarto (9 9/16 x 6 3/4 in; 244 x 175 mm). Original half calf over publisher's original drab boards with original printed green paper label. Calf well rubbed with small losses at spine. Upper joint split but holding on cords, lower joint cracked. A few plates trimmed, as usual, with slight loss. Otherwise an internally clean, bright, and fine copy. Housed in a fleece-lined half black morocco clamshell case. An excellent example of this rare Rowlandson work, which originally appeared in 1816 in eight parts in wrappers. Copies were subsequently bound up from the original parts and issued with a letterpress title dated 1817, as here. The plates illustrate taverns, racing, fishing, country life, boating, etc. and contain up to three scenes each. Only three of the plates are titled within the etching, nos. 22 ("Stamford Castle"), 24 ("Glastonbury"), and 30 ("The Social Day"). Plate 39, often misnumbered "40", is correctly printed. Only two copies have come to auction within the last thirty-seven years. Most copies in institutional holdings are uncolored, as the copy under notice; colored copies are exceedingly scarce. Of Rowlandson, "We are told of his aimless wandering about the country, of his indolence and dissipation, of his gambling and high living, and of the reprobation with which his habits of life were regarded by the good people of his day, but undoubedly it is to these things that we are indebted for the marvelous record which he left of the England he knew, perhaps the most important contribution to our knowledge of the manners of the Englishman during the extraordinary years from 1780 to 1825" (Grolier Club). Plates 1-5 are dated March 1, 1816; plates 6-10, April 1, 1816; plates 11-15, May 1, 1816, except plate 14, which is undated; plates 16-20, June 1, 1816; plates 21-25, July 1, 1816; plates 26-30, Aug. 1. 1816; plates 31-35, Sept. 1, 1816; plates 36-40, Oct. 1, 1816. Tooley 437. Grolier Club, An Exhibition of Books Illustrated by Thomas Rowlandson (1916), 37. .

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Book number: 02296

Catalogue: Caricatures