TOVAR, Bartolomé

La Fiesta Espanola

Seville: Imprenta y Libreria de José G. Fernández, 1860. A Rare Spanish Album of Bullfighting with Twenty-Two Fine Wood-Engraved Plates [TOVAR, Bartolomé]. La Fiesta Espanola. [Seville: Imprenta y Libreria de José G. Fernández], 1860. First edition. Oblong quarto (7 3/4 x 11 3/8 inches; 197 x 289 mm.). Twenty-two hand-colored wood-engraved plates (some misnumbered). All plates and wrappers mounted on stubs. First plate slightly browned from front wrapper, the last few plates with very slight chipping to fore-edges. Late 19th century full red calf, front cover with gilt coat of arms (House of Bourbon?), spine with five raised bands, decoratively tooled and lettered in gilt in compartments, marbled endpapers. Original printed front wrapper and plain rear wrapper bound in. Spine very slightly sunned. An excellent copy of a very rare book. A scarce collection of bullfighting scenes and events attributed to the Seville based lithographer, Bartholomé Tovar. The plates show a bullfighter attempting to taunt, subdue, immobilize, and finally kill the bull. OCLC/KVK locate just four copies in libraries and institutions worldwide: Columbia University (NY,US); Peabody Essex Museum (MA, US); University of Nevada, Las Vegas (NV, US); University of Texas, Austin, Harry Ransom (TX, US). The Plates: 1. El encierro. (The running of the bulls). 2. El alguacil recoge la llave. (The Sherriff collects the key). (Lamina 1a) 3. Salida de la cuadrilla. (Departure from the crew). (Lamina 2) 4. Salida del toro del chiquero. (Exit of the bull from the pigsty). (Lamina 3) 5. El picador cita al toro. (The picador baits the bull). (Lamina 4) 6. Centro de una suerte de vara. (Center of a kind of rod). (Lamina 4) 7. Recarga de un toro en una suerte de vara. (Reloading of a bull on a kind of rod). (Lamina 5) 8. Capeo por detrás. (Capeo from behind). (Lamina 7) 9. Capeo, suerte de verónica. (Veronica's luck). (Lamina 8) 10. Salto de la garrocha. (Pole vault over the horns). (Lamina 10) 11. Salto al trascuerno. (Jumping over the horns). (Lamina 11) 12. Capeo, suerte de farol. (A lucky bluff). (Lamina 12) 13. Suerte de banderillas al cuarteo. (The quartering of the banderillas). (Lamina 13) 14. Banderillas de frente, cambiando. (Banderillas from the front, charging). (Lamina 14) 15. Sueltan perros al toro. (They release dogs to the bull). (Lamina 15) 16. El espada brinda el toro. (The sword toasts the bull). (Lamina 16) 17. Pase de muleta. (Crutch pass). (Lamina 17) 18. Cite para pasar de muleta. (Quote to pass on a crutch). (Lamina 17) 19. Suerte de recibir. (Lucky to receive). (Lamina 18) 20. Suerte del descabello. (Good luck with the hair). (Lamina 20) 21. El Cachetero dando la puntilla. (The Cachetero gives the finishing touch). (Lamina 20) 22. Arrastre del toro por las mulas. (The bull being dragged by the mules). (Lamina 21) Bobins V, 1519; Palau 91200. .

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Book number: 05690

Catalogue: Color-Plate Books

Keywords: Books in Spanish Sports

VERNET, Carle

Cris de Paris Dessinés D'Après Nature

Paris: Chez Delpech, 1820. Charles Vernet's 'Cries of Paris' Illustrated with One Hundred Fine Hand Colored Lithograph Plates VERNET, C[arle]. Cris de Paris dessinés d'après nature par C. Vernet. Paris: Chez Delpech, [n.d. ca. 1820]. First Edition. Large folio (13 3/8 x 9 3/4 inches; 340 x 247 mm.). Lithograph title-page and one hundred very fine hand-colored lithographed plates. Some marginal soiling, toning and or light spotting to the plates. Plate 14 with ink smudge on verso not affecting image on recto; plate 15 mounted on stub and with light pencil outline of image on verso; plate 50 slightly shorter and with a two-inch neatly repaired tear to lower margin (not affecting image). There are actually 101, plates - included is a different version of plate 40 "Marchande de Poires" Contemporary quarter red scored calf over patterned red paper over boards. Smooth spine ruled and lettered in gilt. With the engraved bookplate of Felicie Meunié Hostel on front pastedown. The plates depict street vendors offering a multitude of wares, including cakes, roses, cherries, bread, umbrellas, melons, baskets, pears, lottery tickets, almanachs, marionettes, wooden clocks, asparagus, artichokes, barometers, potatoes, dogs, and fagots. All of the plates have printed titles which indicate the wares of the trader and the words of his (or her) cry. A wonderful example of this extremely rare color-plate book. "This celebrated series, prized by the sociologist as well as the historian of costume, has become almost unfindable complete because of an insatiable demand from hotelkeepers seeking wall decorations. In fine contemporary coloring its 100 lithographs are most attractive. The streets of Paris in Vernet's time seem to have been an out-of-doors department store which catered to most needs for goods and services. His itinerants are a sturdy and impassive lot, inured to hardship but not defeated by it. It will be noted that Vernet was content to portray the honest poor; he did not extend his attention to Henry Mayhew's category of ‘those who will not work.' The street entertainer, with his cry of ‘don't forget the little marionettes' (plate 63), is particularly engaging" (Ray). Colas also remarks that this interesting series of plates has become scarce, particularly as the plates were often broken and framed. He adds that reproductions have been made recently [before 1933] but "that these are easy to spot due to the quality of the paper and the mediocrity of the colours." Bobins, II, 555; Colas 2986; Hiler, p. 87. Lipperheide 1186; Ray, The Art of the French Illustrated Book, 121. The Plates: 1. Marchand de Gateaux. 2. Marchande de bouquets de Cerises. 3. Décrotteur. 4. Marchande de Plaisirs. 5. Marchand d'Habits. 6. Marchande de Roses. 7. Marchand de peaux de lapin. 8. Marchande de Maguereaux. 9. Marchand de Fromages de Marolles. 10. Marchande de Gateaux de Nanterre. 11. Marchand de Salade. 12. Marchande de Pois. 13. Marchand de Tisanne. 14. Marchande de Cerises. 15. Marchand de Tournaux. 16. Marchande de Carpes. 17. Joueur de Vielle. 18. Bouquetiere. 19. Gagne petit. 20. Laitiere. 21. Marchand de Paniers. 22. Marchande de Cerneaux. 23. Marchand de Parapluies. 24. Marchande d'Allumettes. 25. Marchand de Pain d'Epice. 26. Marchande de Fruits. 27. Fondeur de Cuillers d'Etain. 28. Marchande de Chiffons. 29. Savetier ambulant. 30. Marchande de Noix. 31. Marchand de Melons. 32. Marchande de Raisin. 33. Ramoneur. 34. Marchande de Gateaux. 35. Marchand de chaines de Sureté. 36. Marchand de Cages. 37. Marchand de Sebiles. 38. Marchande de Choux. 39. Marchand de soufflets et de ferblanterie. 40. Marchande de Poires. 40bis. Marchande de Poires. 41. Marchand de Cartons. 42. Marchande de Mouron. 43. Marchand de Mottes. 44. Marchande d'Aufs. 45. Porteur d'Eau. 46. Marchande d'huitres. 47. Marchand de Billets de Loterie. 48. Marchande de Balais. 49. Chaudronnier. 50. Marchande de harengs. 51. Marchand de Paillassons. 52. Marchande de souliers de Femme. 53. Marchande de Volaille et de Gibier. 54. Marchande d'Oranges. 55. Marchand de Laurier. 56. Marchande de Saucisses. 57. Marchand de figures de plâtre. 58. Marchande de poires cuites. 59. Marchand d'Almanachs. 60. Marchande de Café. 61. Récureur de puits. 62. Marchand de Pommes. 63. Joueur de Marionnettes. 64. Marchande de Moulins a vent. 65. Joueur d'Orgue. 66. Merciere ambulant. 67. Marchande de Mouchoirs. 68. Marchand de Marrons. 69. Marchand de Joncs. 70. Marchande de Chataignes. 71. Marchande de balais de Crin. 72. Marchand d'Horloges de bois. 73. Marchand de Guêtres. 74. Vitrier ambulant. 75. Marchande d'Asperges. 76. Marchand de Hannetons. 77. Charbonnier. 78. Scieur de Pierre 79. Marchand d'Artichauds. 80. Marchande de Lavande. 81. Marchande de Casquettes. 82. Chiffonier. 83. Marchande d'Eau de vie. 84. Afficheur. 85. Allumeur de Reverberes. 86. Marchand de Barometre 87. Marchand d'Encre. 88. Savetier. 89. Chanteur. 90. Fort de la Halle. 91. Escamoteur. 92. Marchande de pommes de terre. 93. Marchand de Chiens. 94. Marchand d'Oublis. 95. Marchande de Chasselas. 96. Marchand de Vulneraire suisse. 97. Marchand de Fagots. 98. Marchand de Seaux Ferrés. 99. Marchande de Tisanne. 100. Tondeur de Chiens. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05398

Catalogue: Color-Plate Books

Keywords: Books in French Caricatures Costume French Caricature

PANORAMA; [VICTORIA, Queen of England, 1819-1901]

Fores' Correct Representation of the State Procession on the Occasion of the August Ceremony of Her Majesty's Coronation, June 28th, 1838

London: Messrs. Fores, 1838. Queen Victoria's Coronation Procession in Scarce Panorama One of the Earliest Examples of Royal Memorabilia An Exceptional Example [PANORAMA]. [VICTORIA, Queen of England, 1819-1901]. Fores' Correct Representation of the State Procession on the Occasion of the August Ceremony of Her Majesty's Coronation, June 28th, 1838. Sixty Feet Long. Price £1. 11s. 6d Coloured, 16s Plain. Also Accurate Views of the Interior of the Abbey During the Ceremony. London: Published by Messrs. Fores, at their Sporting & Fine Print Repository and Frame Manufactory, [August 20, 1838]. First and only edition and issue. Small oblong quarto (cover size: 4 13/16 x 7 7/8 inches; 122 x 200 mm.). Thirty-three hand-colored sections in a continuous strip (4 x 675 inches; 103 x 17,145 mm.) of the full procession scene in aquatint. Publishers pink ribbed cloth, covers bordered in blind, front cover decoratively stamped and lettered in gilt with a border of crowns and flowers, smooth spine decoratively tooled in blind. Small booksellers ticket of "R. Ackermann, Junr." and small label wit "PP 2/ 1952" on front paste-down. Complete with the original brass clasp and catch. The spine very slightly faded, still an exceptional example - apparently rarely handled. On June 20, 1837, King William IV died and his niece, Princess Victoria, became Queen at the age of 18. Her coronation was held at Westminster Abbey a year later on June 28, 1838; this panorama illustrates her procession to Westminster. The coronation was a huge occasion for celebration and four hundred thousand visitors descended upon London to see the new Queen being crowned. In her diary the nineteen-year-old Victoria set down an account of this, the greatest day in her young life: "I was awoke at four o'clock by the guns in the Park and could not get much sleep afterwards on account of the noise of the people, bands, etc. etc. Got up at seven, feeling strong and well; the Park presented a curious spectacle, crowds of people up to Constitution Hill, soldiers, bands, etc. I dressed, having taken a little breakfast before I dressed, and a little after. At half-past nine I went into the next room, dressed exactly in my House of Lords costume.." "At 10 I got into the State Coach with the Duchess of Sutherland and Lord Albemarle and we began our progress.. It was a fine day, and the crowds of people exceeded what I have ever seen; Their good humour and excessive loyalty was beyond everything, and I really cannot say how proud I feel to be the Queen of such a nation.. ".. [After the ceremony] At about half-past four I re-entered my carriage, the Crown on my head and the Sceptre and Orb in my hands, and we proceeded the same way as we came-the crowds if possible having increased. The enthusiasm, affection, and loyalty were really touching, and I shall ever remember this day as the PROUDEST of my life! I came home a little after six, really not feeling tired. At eight we dined.." "On the day of Queen Victoria's coronation, four hundred thousand visitors descended on London to see the new queen. Fores publishing house had been established in the 1780s by Samuel William Fore (1761-1838) with his shop in Piccadilly London. It specialized in caricature and memorabilia and was at one time reputed to have the largest collection of caricatures." (Bobins). Abbey, Life 539; Bobins IV, 1303. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05481

Catalogue: Color-Plate Books

Keywords: [VICTORIA, Queen of England, 1819-1901] Caricatures English History London Panoramas

VIDAL, Emeric Essex

Picturesque Illustrations of Buenos Ayres and Monte Video

London: R. Ackermann, 1820. Don't Cry For Me Argentina & Uruguay You Were One of Only Fifty Large Paper Copies VIDAL, E[meric] E[ssex]. Picturesque Illustrations of Buenos Ayres and Monte Video, Consisting of Twenty-Four Views: accompanied with descriptions of the scenery, and of the costumes, manners, &c. of the inhabitants of those cities and their environs. By E.E. Vidal, Esq. London: Published by R. Ackermann..Printed by L. Harrison, 1820. First edition. One of fifty large paper copies. Atlas quarto (15 5/8 x 12 1/2 inches; 397 x 317 mm.). xxviii, 115, [1, blank] pp. Twenty-four very fine hand-colored aquatint plates, four of which are double-page and folding, including one with two views. The plates include: "General View of Buenos Ayres, from the Plaza de Toros;" "Landing Place;" "Market Place;" "Milk Boys;" "South Matadero (Public Butchery);" "Church of San Domingo;" "Pampa Indians;" "Estantia (Farm) on the River San Pedro;" "Balling Ostriches;" "Guachos (Rustics) of Tucuman;" "Convoy of Wine Mules;" "Paolistas, Soldiers of the East Bank of the Plata;" "A Quinta (Farm);" and "A Horse Race." Text and plates watermarked 1818 and 1820. Publisher's green morocco-grain cloth with covers decoratively stamped in blind and spine decoratively stamped and lettered in gilt. Yellow coated endpapers. Very slight wear to upper joint, inner hinges strengthened. Housed in a green cardboard slipcase. A wonderful copy. "In 1820 began a series of books dealing with travel and scenery. The first was Picturesque Illustrations of Buenos Ayres and Monte Video, with descriptions of scenery, customs, and manners by E.E. Vidal. The book was issued in six monthly parts, seven hundred and fifty copies on elephant paper, and fifty on atlas..The twenty-four aquatints, all after drawings by Vidal, four of them being large folded plates, are engraved by G. Maile, J. Bluck, T. Sutherland, and D. Havell..[and] possess a subtle charm of their own apart from their historical and geographical value" (Martin Hardie). "Not an uncommon book, but owing to the importance of its subject and the fact of its being the only notable colour plate book in English dealing with the Argentine, it always commands a high price" (Tooley). Emeric Essex Vidal (ca. 1788-1861), born into a naval family, joined the Navy in 1808 and spent much of his career as a purser. He was stationed in 1820-1821 at St. Helena as secretary to Admiral Lambert on H.M.S. Vigo. Vidal was a distinguished painter and many of his fine drawings (like those of his brother Alexander) were adapted for the engraved vignettes on early issues of certain British Admiralty charts. Abbey describes only a red cloth binding on his large paper copy. The green cloth of the present copy, with slightly different tooling on the spine (without the phrase "24 plates coloured"), is obviously a variant. Abbey, Travel, 698. Colas 3000. Hiler, p. 878. Martin Hardie, pp. 107 and 312. Prideaux, pp. 355 and 375. Sabin 99460. Tooley 495. .

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Book number: 02645

Catalogue: Color-Plate Books

Keywords: Costume Views Voyages and Travels

WATTIER, Édouard; WATTIER, Émile

La Journée D'Une Actrice, Ou Douze Scènes de Jour Et de Nuit

Paris: Sazerac et Duval, 1826. The Day of an Actress, or Twelve Scenes of Day and Night Twelve Hand-Colored Lithographed Plates WATTIER, Édouard. [La Journée d'une actrice, ou Douze scènes de jour et de nuit, Lithographiées par Ed. Wattier. Paris: Sazerac et Duval, 1826]. First edition. Large folio (14 1/4 x 10 1/2 inches; 362 x 267 mm.). Twelve hand-colored lithographed plates. Plates lithographed by Engelmann & Langlumé. Bound without the four leaves of text. Mid twentieth century olive green cloth with red leather spine label ruled and lettered in gilt, plain endpapers. A few minor marginal tears. Front and rear free endpapers a little chipped on fore-margin. An excellent example of this very rare suite. A charming suite of twelve hand colored lithographs depicting the life in the day of an actress from 10:00 am to midnight. Rare. OCLC & KVK locate just two examples in libraries and institutions worldwide: Boston Public Library (MA, US); Staatliche Museen zu Berlin (Germany) Note: According to AKL Online it is a matter of dispute whether the drawings are by Édouard Wattier or by his brother Émile. Édouard Wattier (1793-1871). Brother of Émile Wattier, he was a printmaker and painter/draughtsman. Émile Wattier (1800-1868). Brother of Édouard, he was also a painter, illustrator, engraver and lithographer. The plates are captioned: "10 heures du matin. Conseil de toilette" "Onze heures du matin. Visite au Journaliste" "Midi. Réception de l'Auteur" "Deux heures après midi. Comité de Lecture" "3 heures après midi. Les amateurs à la répétition" "Quatre heures du soir. Promenade sentimentale au bois" "Cinq heures du soir. Diner au rocher de Cancale" "7 heures du soir. Préparatifs de triomphe" (small chip/paper fault to lower fore-margin) "8 heures du soir. Entrée en scène" "10 heures du soir. Disgrace!!" "Onze heures du soir. Consolations" "Minuit. Repos." Lipperheide 3694. .

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Book number: 05529

Catalogue: Color-Plate Books

Keywords: WATTIER, Émile Actors Books in French Caricatures Theater

WATTIER, Émile

Un an de la Vie D'Une Jeune Fille

Paris: Chez G. Engelmann [et] Gihaut, 1824. The Life of a Young Girl who Follows the Wrong Path and Loses her Honor.. Depicted in Seventeen Hand Colored Lithographs by Émile Wattier WATTIER, Émile, illustrator. Un An de la vie d'une jeune fille, Roman Historique en XVII chapitres, écrits par son confident et lithographiés par M. Wattier. Paris: Chez G. Engelmann [et] Gihaut, 1824. First edition. Large quarto (13 1/4 x 10 inches; 335 x 254 mm.). Facsimile cover title. Seventeen hand-colored lithographed plates by Engelmann after Wattier. Modern maroon cloth, front cover with facsimile title pasted on. The seventeen charming plates by Émile Wattier (1800-1868) depict a young girl meeting and falling in love with a handsome young man, her liaison with him, and subsequent pregnancy, her receiving a letter saying that he has gone away, and finally her arranged marriage to a much older man. Scarce. No copies have appeared at auction over the past 100 years; OCLC locates just four copies in libraries and institutions worldwide: Library of Congress (DC, USA); Morgan Library & Museum (NY, USA); Bibliotheque Nationale de France, and the Kunstbiblio Staatliche Museen zu Berlin. In over fifty-five years we have only ever handled one other copy which we sold to a private collector in 2001. The plates: "Chap. I. Mais, voyez donc comme il me suit." Chap. II. Vous êtes bien hardi!" "Chap. III. Serez-vous inexorable" "Chap. IV. Comme il dit bien!" "Chap. V. Que lui répondre?" "Chap. VI. Il est charmant!" "Chap VII. Il m'attendait!" "Chap. VIII. Ah! si maman me voyait.." "Chap. IX. Cher ami!!" "Chap: X. Helas." "Chap: XI. Il ne vient points?" "Chap: XII. Il est parti!.." "Chap: XIII. Vains regrets." "Chap. XIV: Elle y entre." "Chap: XV. Elle en sort" "Chap: XVI. On la marie." "Chap: XVII. Je suis.. heureux, C'est sur!" Émile Wattier (1800-1868). French painter and lithographer. "Wattier published this book in the same year as Victor Adam issued Un an de la vie d'un jeune homme: Histoire véritable en 17 Chapiteres. Paris: Sazerac et Duval, 1824, which follows a similar trajectory but with Adam's hero being a young man. There are evident parallels between the two works in that both titles seem to have been influenced by William Hogarth's A Rake's Progress." (Bobins). Bobins V 1556; Lipperheide 3695; Rahir, p. 364. .

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Book number: 05536

Catalogue: Color-Plate Books

Keywords: Books in French Caricatures French Caricature

[WILLIAMS, Charles, illustrator]; MITFORD, John

Adventures of Johnny Newcome in the Navy

London: Published for the Author, 1823. Written While the Insane Author Was Living in a Gravel Pit [WILLIAMS, Charles, illustrator]. MITFORD, John. The Adventures of Johnny Newcome in the Navy. A Poem, In Four Cantos, With Notes. The Third Edition. London: Published for the Author and sold by Sherwood, Neely and Jones [et al], 1823. Third edition in book form, originally issued 1819 in eight monthly parts. Quarto (10 3/16 x 6 3/16 in; 259 x 158 mm). vii, [1, To the Binder], 284 pp. Twenty hand-colored aquatint engravings with tissue guards. Handsomely bound (ca. 1895) by Samuel Tout of London (stamp-signed) in full deep crimson morocco with gilt-tooled corner-pieces and rolls. Gilt-rolled board edges. Gilt-ruled raised bands, gilt decorated and ornamented compartments. Broad turn-ins with gilt-tooled corner-pieces. Top edge gilt, others uncut. Original paper backstrip with printed label preserved at rear. With the nautical bookplate of James Stewart Geikie, M.D. A fine and very tall copy. Not to be confused with an earlier book - also a poem in four cantos - with the same title by Alfred Burton with illustrations by Thomas Rowlandson published in 1818. It is a common mistake to presume that Alfred Burton was a pseudonym for John Mitford and that the two books are one and the same; many library records are littered with this misinformation, as is Wikipedia. Hardie declares that this Mitford was an "open imitation" of the Burton. This edition with the Williams plates appears far less frequently than the Rowlandson illustrated edition of 1818. "Johnny Newcome" was British slang for a raw recruit, Army or Navy. John Mitford (1782-1831) "was a member of the elder branch of the family of Mitford of Mitford Castle in Northumberland..In April 1795..he entered the navy as midshipman of the Victory, in which he went out to the Mediterranean, and was present in the battle off Toulon on 13 July 1795. In the following year he was moved into the Zealous with Captain (afterwards Sir Samuel) Hood, and in her was present in the disastrous attack on Santa Cruz in July 1797, and at the battle of the Nile 1-2 Aug. 1798..According to his own account, after drinking freely on Christmas day 1800, he insulted his captain and left the service, that is to say, deserted; but as he was with Hood in 1801 in the Venerable the desertion may have been only imagined.. "In 1814 Mitford was discharged from the navy as insane, and he took to journalism and strong drink..He is said to have edited the ‘Scourge, or Monthly Expositor of Imposture and Folly,' which, after running for five years, died in December 1815; but though he contributed to the last four volumes, it does not appear that he was the editor. After this he wrote ‘The Adventures of Johnny Newcome in the Navy, a Poem in four Cantos'..The publisher who employed him found that the only way to make him work was to keep him without money. He therefore limited him to a shilling a day, which Mitford expended on two pennyworth of bread and cheese and an onion, and the balance on gin. With this, and his day's supply of paper and ink, he repaired to an old gravel-pit in Battersea Fields, and there wrote and slept till it was time to take in his work and get his next shilling. For forty-three days he is said to have lived in this manner..The poem is in octosyllabic verse, reeled off with the most careless ease, but the lines scan, the rhymes are good, and the ‘yarns' such as might have been heard any day in the midshipman's berth..His other literary work was anonymous. He is said to have written ‘a libelous life of Sir John Sylvester,' recorder of the city of London; to have edited ‘The Bon Ton Magazine,' and to have been kept the while by his publisher in a cellar, with a candle, a bottle of gin, and a rag of old carpet for a coverlet. In 1827 he contributed a memoir of William Mitford the historian to the ‘Literary Gazette'..But Mitford had lost the power of distinguishing truth from falsehood. Ragged and filthy in his person, he was no doubt the John Mitford described by Captain Brenton as ‘lodging over a coal-shed in some obscure street near Leicester Square'..All attempts made by his friends to reclaim him failed. He was editing a paper called the ‘Quizzical Gazette' at the time of his death, which took place in St. Giles's workhouse on 24 Dec. 1831" (D.N.B.). Illustrator Charles Williams (b.? - 1830) was a British caricaturist, etcher and illustrator. Between 1799 and 1815 he was chief caricaturist for S.W. Fores, a prominent British publisher of prints. He worked in a style similar to James Gillray. In his earlier works, Williams used the pseudonyms Ansell or Argus; with George Cruikshank and others he illustrated The Every-Day Book by William Hone, edited 1825-26. In addition to the work under notice he illustrated Dr Syntax in Paris (1820); My Cousin In the Army (1822); and The Tour of Doctor Prosody (1822). Victorian binder Samuel Tout worked out of Nassau Street in Soho, London 1868-79. He then partnered with William Coward in a bindery in Whitechapel but from 1880-1898 continued on his own in the same location. Abbey, Life 340; Tooley 332; Prideaux, p. 304; Hardie, p. 173; Ogilby, British Military Costume Prints, 635 (1819 first edition). .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 02609

Catalogue: Color-Plate Books

Keywords: MITFORD, John Caricatures English History Nineteenth-Century Literature Poetry

WILLIAMSON, Captain Thomas; HOWITT, Samuel

Oriental Field Sports;

London: Edward Orme, 1819. The Manners, Customs, Scenery, and Costume of a Territory, Now Intimately Blended with the British Empire" (Preface) Forty Magnificent Hand-Colored Aquatint Plates WILLIAMSON, Captain Thomas, [Author, Illustrator], [HOWITT, Samuel, Illustrator]. Oriental Field Sports; Being a Complete, Detailed, and Accurate Description of the Wild Sports of the East; and exhibiting, in a novel and interesting manner, the Natural History of the Elephant, the Rhinoceros, the Tiger, the Leopard, the Bear, the Deer, the Buffalo, the Wolf, the Wild Hog, the Jackall, the Wild Dog, the Civet, and other Undomesticated Animals.. as likewise the different species of Feathered Game, Fishes, and Serpents. The Whole interspersed with a variety of Original, Authentic, and Curious Anecdotes, Taken from the Manuscript and Designs of Captain Thomas Williamson.. The Drawings by Samuel Howitt, Made Uniform in Size, and Engraved by the First Artists. Second Edition. London: Published by Edward Orme, [1819]. Second edition, later issue with plates watermarked 1828. Folio (12 7/8 x 9 1/2 inches; 327 x 241 mm.). [xii], [2, list of plates], 455, [1] pp. Forty magnificent hand-colored aquatint plates with original? loose tissue guards. Some very slight offsetting to text from plates, otherwise a very fine example. On the verso of the title-page is the imprint "W. Lewis, Printer.." Contemporary full dark red straight-grain morocco, covers decoratively bordered in gilt and blind. Spine with four shallow raised bands, decoratively tooled and lettered in gilt in compartments, gilt decorated board edges and turn-ins, original dark gray/brown end-papers, all edges gilt. Small early booksellers description on front paste-down. Fine. The second edition of the finest book ever published on Indian sport and one of the great plate books of the period. Two cheaper editions published in 1807 and 1808 were both reduced in size. Williamson served in a British regiment in Bengal and was an avid sportsman while there. After being recalled to England, Williamson"s knowledge of wild life and Oriental sports come to the notice of Orme, who contracted this present work from 1805-1807. The painter Samuel Howitt was hired to prepare finished watercolors based on Williamson"s original sketches during his time in India. The result was "the most beautiful book on Indian sport in existence" (Schwerdt). Abbey, Travel, II, 431; Tooley, 510; Schwerdt II, p. 298; Mellon, British Sporting and Animal Prints, p. 203. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 04312

Catalogue: Color-Plate Books

Keywords: HOWITT, Samuel Hunting Sports

WOODWARD, George Moutard; ROWLANDSON, Thomas

Country Characters

London: R. Ackerman, 1821. A Remarkably Crisp Copy of Rowlandson's and Woodward's Satirical Illustrations Depicting the Tradesmen of London WOODWARD, George Moutard, ROWLANDSON, Thomas illustrators. Country Characters. London: Pubd.. by R. Akerman [sic], [1800? but 1821]. First edition, later issue with the plates watermarked 1821*** Quarto (11 x 8 5/8 inches; 280 x 220 mm.). Twelve numbered hand-colored etched plates by Thomas Rowlandson after George Moutard Woodward. The plates have the imprint "Pubd..by R. Akerman No 101 Strand," except for plate No. 1, which has the imprint "Pubd..by R Ackermann 101 Strand." Small marginal chip (1/4 x 1/4 inch to lower blank edge of plate 9), otherwise a superb example of this very rare suite of plates. The plates are watermarked "J. Whatman / Turkey Mill / 1821" Original drab wrappers laid onto modern paper, re-stitched. Front wrapper with original small rectangular yellow label printed in black. Housed in a brown buckram fold-over case. A remarkably crisp copy of Rowlandson's and Woodward's satirical illustrations depicting tradesmen of London. The depictions range from a barber to the more obscure professionals such as an Exciseman. Each character depicted is accompanied by textual bubbles, satirizing their approach to their work. In a comically unprofessional manner the Doctor, in his diagnosis of a rather irritable looking gentleman, proclaims 'Your pulse is in a better state seven or eight more Draughts will settle you'. ***There are two copies located in libraries & institutions worldwide: Harvard (the Widener copy) & LSU. We sold the copy to LSU in 2008 and that copy also had the plates with the watermark dated 1821. Furthermore in conversation with Bill Gordon (the bibliographer of G.M. Woodward) his copy also has the plates with 1821 watermarks. Additionally a copy with the plates watermarked 1821 sold at Parke-Bernet, NY. in 1953. The Royal Collection at Windsor has a copy with a publication line on the plates of 30 August 1799 and 10 September 1799. It would therefore appear that the present copy and also two other copies cited above were printed without a publication/date line ca. 1821. The plates are captioned: 1. "Publican;" 2. "Justice;" 3. "Barber;" 4. "Footman;" 5. "Tax Gatherer;" 6. "Squire;" 7. "Vicar;" 8. "Doctor;" 9. "Exciseman;" 10. "Steward;" 11. "Attorney;" 12. "London Outrider or Brother Saddlebag." George Moutard Woodward (1765-1809), "Caricaturist, son of William Woodward of Stanton Hall, Derbyshire, was born in that county about 1760. He received no artistic training, but, having much original talent, came to London, with an allowance from his father, and became a prolific and popular designer of social caricatures, much in the style of Bunbury, which were etched chiefly by Rowlandson and Isaac Cruikshank. Although their humour was generally of a very coarse and extravagant kind, they display a singular wealth of imagination and insight into character, and some are extremely entertaining. Among the best are 'Effects of Flattery,' 'Effects of Hope,' 'Club of Quidnuncs,' 'Everybody in Town,' 'Everybody out of Town,' and 'Specimens of Domestic Phrensy.' Woodward.. was of dissipated and intemperate habits, spending much of his time in taverns, and died in a state of penury at the Brown Bear public-house in Bow Street, Covent Garden, in November 1809" (D.N.B). "Very rare: Two copies located, at Harvard and LSU." William Gordon. British Caricature, 2013) Note: We sold the copy to LSU in 2008 (DJB). Bobins IV, 1357 (this copy); Gordon, BC-22; Grego II, pp. 13-14. .

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Book number: 05621

Catalogue: Color-Plate Books

Keywords: ROWLANDSON, Thomas Caricatures

WOODWARD, George Moutard; CRUIKSHANK, Isaac

Eccentric Excursions

London: Allen & Co. 1807. A Study the Inhabitants of the Roundhouse and the Regular Attendants at the Police-Court" A Journey in Caricature through Early Nineteenth Century England.. WOODWARD. George Moutard. Eccentric Excursions, or, Literary & Pictorial Sketches of Countenance, Character & Country, in different parts of England & South Wales. Interspersed with Curious Anecdotes, Embellished with upwards of One Hundred Characteristic & Illustrative Prints. London: Allen & Co. 1807 [but ca. 1813]. Later issue (first published in 1796). Quarto (10 3/16 x 8 3/8 in; 259 x 213 mm.). iv, v, 6-217, [1, list of plates] pp. Engraved title-page (included in pagination) Hand colored frontispiece and 100 hand-colored etched plates (on ninety-nine leaves) by Isaac Cruikshank after Woodward, including three folding plates (Plates 1, 2, and 3). The text is watermarked "W. Balston 1813". Bound by Rivière & Son (stamp-signed on verso of front endpaper) ca. 1890. Full maroon morocco, covers with double-gilt borders, spine with five raised bands, decoratively tooled and lettered in gilt in compartments, gilt ruled board-edges, decorative gilt turn-ins, marbled end-papers, top edge gilt, others uncut. Occasional toning or foxing, a few leaves with neatly repaired or strengthened edges. Overall an excellent copy of this journey in caricature through early nineteenth century England. Originally published in 1796 with subsequent issues in 1797, 1798, 1799, 1801, 1807. 1814, 1815, 1816, 1818, Eccentric Excursions is quite rare in all yet, curiously, is rarer still in the later issues. This satire, amongst Moutard's earliest work, enthusiastically depicts all types: high- and low-born, rural and urban, lawyers and peddlers, coaching scenes, misadventures on ice-skates, Oxford dons, gypsies, etc. "The first and most celebrated of Woodward's books. The text describes an idiosyncratic ramble around the counties of England and Wales." (Gordon, p. 15). George Moutard Woodward (1760?-1809) was "prolific and popular designer of social caricature much in the style of Banbury, etched chiefly by Thomas Rowlandson and Isaac Cruikshank..[his caricatures] display a wealth of imagination and insight into character..extremely entertaining" (DNB). "Another popular caricaturist of the day was George Moutard Woodward, commonly called ‘Mustard George.' Woodward, according to his friend [Henry] Angelo, was the son of a land agent and spent his youth in a country town, where nothing was less known than everything pertaining to the arts. ‘A caricaturist in a country town,' said Mustard George, ‘like a bull in a china shop, cannot live without noise; so, having made a little noise in my native place, I persuaded my father to let me seek my fortune in town.' Thanks to a small allowance from his father, supplemented by his own earnings, George was able to enjoy life in his own Bohemian fashion, and ultimately took up his quarters at the ‘Brown Bear,' Bow Street, where he was able to study the inhabitants of the roundhouse and the regular attendants at the police-court. At the ‘Brown Bear' he died suddenly, departing in character with a glass of brandy in his hand, and was long mourned by his tavern associates. In his Eccentric Excursion[s], which appeared in volume form in 1796 (the designs engraved by Isaac Cruikshank), there are several domestic subjects, such as The Polite Congregation, Showing Family Pictures, and The Formal Introduction. Among other popular designs by Woodward are Raffling for a Coffin, The Club of Quidnuncs, Babes in the Wood, A Goldfinch and his Mistress..and a series called Six Ways of Carrying a Stick. The majority are marred by extravagant hideousness, but Angelo was of opinion that ‘had this low humourist studied drawing and been temperate in his habits, such was the fecundity of his imagination and perception of character that he might rivalled even Hogarth" (Paston, Social Caricature in the Eighteenth Century, pp. 137-138). Gordon, BC-26; Widener 207; Not in Abbey or Tooley. .

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Book number: 04274

Catalogue: Color-Plate Books

Keywords: CRUIKSHANK, Isaac Caricatures Topography Voyages and Travels Cruikshankiana

WOODWARD, George Moutard (designer); SANSON, Francis (engraver)

Every Body out of Town Exemplified in Six Characteristic Prints and Illustrative Labels [with] Every Body in Town Exemplified in Six Characteristic Prints and Illustrative Labels

London: S. W. Fores, 1800. The Rarest Woodward of All London Is No Place To Be In The Summer WOODWARD, George Moutard (designer). [SANSON, Francis, engraver]. Every Body Out Of Town exemplified in six characteristic prints and illustrative labels [with] Every Body In Town exemplified in six characteristic prints and illustrative labels. London: S.W. Fores, 1800. Second editions, originally published by Woodward himself in 1794/1796. Quarto (10 1/8 x 8 3/8 in; 259 x 213 mm). Twelve hand-colored engraved plates (9 x 7 1/2 in; 297 x 192 mm), two hand-colored engraved title-pages, each imprinted Feb. 14, 1800, and mounted on fourteen quarto sheets (133/4 x 18 1/4 in; 349 x 470 mm) of various colors. Four blank leaves at rear, folded blank quarto sheet inserted in rear pocket. Bound in contemporary full maroon morocco, with double gilt fillets enclosing extravagantly blindstamped covers with an outer frame of floral and foliate motifs, volutes, curls, with bacchants along lower edge, an inner rolled frame, and a central panel with center lozenge within an elaborately blocked medallion. Pocket to rear cover. Astonishingly bright, clean and very fine. Housed in a felt-lined, half maroon morocco over gray cloth clamshell case, spine with five raised bands, ruled and lettered in gilt in compartments. OCLC records one copy of the 1800 edition of Every Body Out of Town and only two copies of the 1800 edition of Every Body In Town in institutional holdings worldwide. Not found in the British Museum's collection of satirical prints. According to the ABPC Index, the last time either title came to auction was in 1942 ((Every Body Out of Town, 1800) and 1923 (Every Body In Town, 1800). These 1800 reprints are rarer than the original issues. They are also larger than the 1794-1796 first issues, which measured only 7 7/8 x 6 5/8 inches (200 x 170 mm). Of George Murgatroyd Woodward (1760?-1809), caricaturist and author, the DNB notes that he, "later known as Mustard George, grew up in a Derbyshire town, living with his father and, to judge by the evidence of his later writings, received a sound education. He took early to caricature, ridiculing his neighbours in Derbyshire; a folio of these drawings dated 1781 is in the Derby Local Studies Library, among a sizable collection of his prints, drawings, and book illustrations. His caricatures having caused something of a local stir, he persuaded his father to let him seek his fortune in London. "Apart from two caricature prints dated 1785 designed by Woodward and published by him from 28 Cary Street, Lincoln's Inn, London, it was not until 1790 that he made an impact on the London scene. Thereafter his output was copious. The British Museum catalogues list 525 examples of his work from the next twenty years, published by Holland, Fores, Ackermann, and latterly Tegg, all leading printsellers. These prints, designed by Woodward, are etched by others-Rowlandson, who was his friend and drinking companion, Isaac Cruikshank, Roberts, and Williams. Woodward's original drawings are vigorous.. [and] his value lay in his humorous ideas. "Woodward..might have rivalled Hogarth. Certainly his collaboration with Rowlandson constituted a lively, if frivolous, commentary on the social scene. Dorothy George described him as 'original, prolific, varied, humorous and good-humoured,' and few students of the subject would dispute her conclusion that his death was 'a loss to caricature' (George, English Political Caricature, 1.174)" (Simon Heneage, 'Woodward, George Murgatroyd [1760?-1809)] Oxford Dictionary of National Biography, Oxford University Press, 2004). Etcher and engraver Francis Sanson was active 1784-1799. Bobins IV, 1365; Gordon Library BC28, BC29; Not in Abbey or Tooley. .

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Book number: 05696

Catalogue: Color-Plate Books

Keywords: SANSON, Francis (engraver) Caricatures English History

WOODWARD, George Moutard; ROWLANDSON, Thomas

Horse Accomplishments

London: R. Ackermann, 1799. The Exceedingly Rare "Pleasing Effects of Teaching a Horse to Dance" And Other Vagaries of Horse Comportment WOODWARD, George Moutard, and ROWLANDSON, Thomas. Horse Accomplishments. R. Ackermann, 1799. Oblong quarto (11 1/8 x 13 1/2 in; 283 x 343 mm). Twelve hand colored aquatint plates drawn by Woodward and etched by Rowlandson, with droll captions by Woodward. Average plate size: (8 5/8 x 10 3/4 in; 219 x 273 mm). Each plate set-in mounted. Plate numbers 2, 4, 9, 11 & 12 exhibit near invisible restoration at corners and perimeters - not affecting images. Plate number 5 cut a little close on lower margin. Late twentieth century brick red morocco decoratively bordered in blind, front cover with onlaid rectangular dark green morocco label lettered in gilt. Smooth spine with blind stamped compartments, marbled endpapers. Scarce suite of Woodward and Rowlandson's caricatures of horse and their riders. Each plate satirizes a different profession. Exceedingly rare, with only a handful of copies brought to auction over the past one hundred years. OCLC and KVK locate only three copies, in Houghton Library at Harvard, Princeton, and Stanford. It is quite astounding that none of the institutions in the British national library system have any copies of this waggish satire on equine behavior (the plate titles refer to the horses) and the consequent frustrations of those who ride them. Of the great Thomas Rowlandson (1757-1827) nothing needs to be added here. Of George Murgatroyd Woodward (1760?-1809), caricaturist and author, the DNB notes that he, "later known as Mustard George, grew up in a Derbyshire town, living with his father and, to judge by the evidence of his later writings, received a sound education. He took early to caricature, ridiculing his neighbours in Derbyshire; a folio of these drawings dated 1781 is in the Derby Local Studies Library, among a sizable collection of his prints, drawings, and book illustrations. His caricatures having caused something of a local stir, he persuaded his father to let him seek his fortune in London. "Apart from two caricature prints dated 1785 designed by Woodward and published by him from 28 Cary Street, Lincoln's Inn, London, it was not until 1790 that he made an impact on the London scene. Thereafter his output was copious. The British Museum catalogues list 525 examples of his work from the next twenty years, published by Holland, Fores, Ackermann, and latterly Tegg, all leading printsellers. These prints, designed by Woodward, are etched by others-Rowlandson, who was his friend and drinking companion, Isaac Cruikshank, Roberts, and Williams. Woodward's original drawings are vigorous.. [and] his value lay in his humorous ideas. "Woodward..might have rivalled Hogarth. Certainly his collaboration with Rowlandson constituted a lively, if frivolous, commentary on the social scene. Dorothy George described him as 'original, prolific, varied, humorous and good-humoured,' and few students of the subject would dispute her conclusion that his death was 'a loss to caricature' (George, English Political Caricature, 1.174)" Oxford DNB). The Plates: 1. An Astronomer !! 2. A Paviour !! 3. A Whistler !! 4. A Devotee !! 5. A Politician !! 6. A Time Keeper !! 7. A Civilian !! 8. An Arithmetician !! 9. A Loiterer !! 10. A Minuet Dancer !! 11. A Land Measurer !! 12. A Vaulter !! Abbey, Life, 397; Bobins III, 1203; De Ricci, The Book Collector's Guide pp. 471, 641; Gordon, BC 38; Grolier Club Catalog, No. 54; Prideaux, p. 350. .

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Book number: 05622

Catalogue: Color-Plate Books

Keywords: ROWLANDSON, Thomas Caricatures Sports Horses

WOODWARD, George Moutard; SANSON, Francis, printmaker

Symptoms of the Shop

London: S.W. Fores, 1801. Three of George Moutard Woodward's Hand-Colored Prints from "Symptoms of the Shop" WOODWARD, George Moutard, artist, SANSON, Francis, printmaker. Symptoms of the Shop. London: S.W. Fores, 1801. First edition. Quarto (10 1/8 x 8 1/16 inches; 257 x 265 mm.). Three (of twelve) hand colored 'Satirical' stipple engravings on wove paper drawn by Woodward and etched by Sanson (numbers 7, 8, and 10). Each with the plate number at the top right margin and with lithographed text at the top of the image. On each of the lower margins is "Pub. June 1st 1801 by S.W. Fores No.50 Piccadilly Prints and Drawings lent on the plan of a Library Folio's of Caricatur lent out for the Evening." / Symptoms of the Shop" / "Drawn by G. Woodward Etchd by F. Sansom". Some light marginal soiling, otherwise near fine. Plate #7. "After all there is nothing like the true old orthodox principles.." Plate #8. "I have brought your Honor home your new suit.." Plate #10. "Madam - I was once a Minister and used to negotiations.." Very rare. According to OCLC there are only two complete set in libraries and institutions worldwide (The Lewis Walpole Library, CT. has a complete colored set, Princeton, NJ also has a complete set but does not mention 'colored'). Yale university has nine of the twelve colored plates (missing numbers 1, 7 & 8). Harvard, MA has one plate. These two artists previously collaborated on Every Body in Town (BC-28), Every Body Out of Town (BC-29), and Pigmy Revels: All Alive in Lilliput (BC-62), all published by Fores. Each plate depicts two persons engaged in humorous wordplay relating to the characteristics of a trade or calling. (William Gordon. A catalogue of the Books, Drawings, Prints and Periodicals forming the William A. Gordon Library of British Caricature). The three images present here include: Plate 7. A man, sitting in a wooden chair, lifts his hand for emphasis, and declares: "After all there is nothing like the true old orthodox principles." An obese clergyman, in a padded armchair on the right, responds: "Orthodox principles - ah my dear friend, you put me in mind of old times - when I was but a simple vicar. How I used to charm my congregation - slim as a Bedles wand - & delicate as a new wash'd surplice, - but since I have been raised to higher dignities, I do nothing, but remain in my chair; bulky & unweildy as a Folio Church Service. - oh how elegantly I used to manage my discourses - fifteen minutes to a point, by the clock under the gallery - never exceeded - short praye, - text - and devision - one - two - three & away - that was my method." Plate 8. A man with a parcel under his arm bows slightly and says: "I have brought your Honor home your new suit." A stout, bespectacled lawyer replies: "Suit - ah - Mr. Buckram you did not know me when I practiced in the Courts - I could have shewn you suits that would have puzzled Judge Blackstone himself - none of your simple matters - brim full of Law, as a brief bag - intricate as the Temple avenues, -& long as Westminster Hall - Shy Clients sometimes, - but it would not do with Paul Parchment - sure to have them on way or other. - Once in never out that was my motto." Plate 10. A former Minister, holding his hat, wearing a bag-wig, and with his pocket filled with scrolls, addresses a woman: "Madam - I was once a Minister, and used to Negotiations, I shall therefore be happy to treat with you on Matrimonial Speculation - I have ample credentials ready to ratify my powers, and if you please will enter into preliminaries immediately, - but let me have a sight glance at your project, and be assured I will deliver to you my contre projet as soon as the definitive treaty is concluded, and duly guaranteed." The woman, who is short and plump, looks aghast at the proposition. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 04086

Catalogue: Color-Plate Books

Keywords: SANSON, Francis, printmaker Caricatures