CRUIKSHANK, George, illustrator; CRUIKSHANK, I.R., illustrator; LANE, Theodore, illustrator

Attorney-General's Charges Against the Late Queen, the

London: G. Humphrey, [1821]. Queen Caroline Sliced And Diced By Satirists' Blade Fifty Devastating Hand-Colored Caricatures Directed Against the British Monarchy CRUIKSHANK, George, illustrator. CRUIKSHANK, I.R. illustrator. LANE, Theodore, illustrator. The Attorney-General's Charges Against The Late Queen, brought forward in the House of Peers, on Saturday, August 19, 1820. Illustrated with Fifty Coloured Engravings. London: G. Humphrey, [1821]. First edition. Folio (18 13/16 x 13 inches; 478 x 330 mm.). [2, title, imprint on verso]. 20 pp. by Robert Gifford, Attorney-General. Hand colored frontispiece and forty-nine hand colored etched plates, the majority being by Theodore Lane. Six of the plates are by George Cruikshank; one is after George Cruikshank; two are by Isaac Robert Cruikshank and one is by George & Isaac Cruikshank. All plates with interleaves. The text & plates are watermarked "J. Whatman 1821" Handsomely bound by Sangorski & Sutcliffe ca. 1960 in three-quarter dark blue morocco over marbled boards ruled in gilt. Spine with five raised bands elaborately tooled and lettered in gilt in compartments, marbled endpapers, all edges gilt. A fine well margined copy, of this series of devastating caricatures directed against the British monarchy, including the republication of the charges brought by the Attorney-General, Robert, Baron Gifford (1779-1826), against Queen Caroline and in support of the Pains and Penalties Bill of 1820 by which George IV, who had only just inherited the throne in 1820 and who hated his wife sought to remove her title and dissolve their marriage. The volume begins with a view of Humphrey's shop-window where 42 of these prints are on view. The focus of these caricatures is Caroline of Brunswick (1768-1821) and her alleged affair with Bartolommeo Bergami. She renamed him Pergami (as being more aristocratic) and appointed him Grand Master of the Order of St Caroline. Queen Caroline, on the whole, elicited a great deal of public support and as a result the Bill had to be subsequently abandoned. However, the following year, in July 1821, Caroline was barred from the coronation, fell ill, and died three weeks later. After the fall of Napoleon in 1815, George Cruikshank's attention was largely turned towards highlighting the decadence of Britain's Regency monarchy which was epitomised by George IV while still the Prince Regent. In this collection six of the plates are by George or Isaac Robert Cruikshank or both, the remainder are by Theodore Lane (1800-1828), a painter and engraver who frequently worked on sporting material, especially in partnership with Pierce Egan. It was after this period that George Cruikshank became progressively more sober and serious. This scarce collection of caricatures sharply lampooning Queen Caroline to delightfully deadly effect is not found in the British Museum. Indeed, BM Satires refers to the copy at the Bibliothéque National France, one of only six copies in institutional holdings worldwide. Theodore Lane (1800-1828) was a political lampoonist and in 1820 created a series of satirical images of Queen Caroline at the time of her return to England to claim her rights as consort to George IV. Lane caricatured the queen as a grotesque, overdressed and overweight, accompanied by her Italian lover, Bartolomeo Pergami and the then Lord Mayor of London, Matthew Wood. The Plates: 1. Design for a New Coat of Arms (Frontispiece) 2. Humphrey Printseller & Publisher. 3. Bergami's Little Darling. 4. A Pas de Deux or Love at First Sight. 5. The Choice of Hercules. 6. An Arm-Full of Love 7. The Como-cal Hobby. 8. Winding up to a pitch the Automaton Scaramouch, or Harlequin Courier's Delight 9. The Long & the Short of the Tale, - or, the whole of the concern.. 10. Modesty! 11. The Modern Genius of History at her Toilet.. 12. National Love! 13. Dignity! 14. A gentle jog into Jerusalem. 15. The Saint! 16. Tent-ation. 17. Installation of a Knight Companion of the Bath. 18. Travelling Tete à Tete!! 19. A R_Y_L Visit to a Foreign Capital or The Ambassador not at home!! (George Cruikshank, Cohn 1934) 20. R_y_l Condescension - or a Foreign Minister Astonished! (George Cruikshank, Cohn 1914) 21. Bat, Cat and Mat. 22. A parting Hug at St. Omer! 23. A Wooden Substitute, or Any Port in a Storm. 24. A late Arrival at Mother Wood's. (George Cruikshank, Cohn 1307) 25. Mother Wood, the Popular Procuress! (Robert Cruikshank, Cohn 1763) 26. Mother Cole. 27. Grand Entrance to Bamboozl 'Em. 28. Steward's Court of the Manor of Torre Devon. 29. The Time Piece! & Canning Jack o' both sides. (Robert Cruikshank) 30. The Radical Ladder. (After George Cruikshank) 31. The C-R-L-E Column. 32. Delicious Dreams! 33. The Effusions of a Troubled Brain. 34. Caroline Fair, or Mat Pudding and his Mountebank 35. The Mother Red-Cap Public House, in opposition to the King's Head. (George Cruikshank, Cohn 1761) 36. Carrying Coals to Newcastle!! 37. Moments of Pleasure. 38. The Man of the Woods & the Cat-o'-mountain. 39. The Q-n's Ass in a Band-box. 40. An Old Friend with a New Face or the Baron in Disguise. 41. Meditations at Brandyburgh; or an address to the Sun. 42. Dido in Despair. 43. The whole Truth, or John Bull with his eyes opened. 44. A Going! A Going! the last time, A Going!______Down!!! (George Cruikshank, Cohn 876) 45. Returning Justice lifts aloft her Scale. 46. Lucifera's Procession. Fairy Queen. 47. The Royal Extinguisher, or the King of Brobdingnag & the Lilliputians. (I.R. & George Cruikshank, Cohn 1919) 48. The Grand Coronation of Her Most Graceless Majesty C-R-L-E Columbina the first Queen of all the Radicals.. 49. A Coronation Stool. 50. The Armorial Bearings of the White Cat. (cut and mounted). Bobins IV, 1329; BM Satires 14206, note. .

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Book number: 05625

Catalogue: Color-Plate Books

Keywords: CRUIKSHANK, I.R., illustrator LANE, Theodore, illustrator Caricatures English History Cruikshankiana

CRUIKSHANK, George

Comic Almanack, the, for 1835[-1853]

London: Charles Tilt & David Bogue, 1835-53. A Handsomely Bound Complete Set of George Cruikshanks's "The Comic Almanacks" [CRUIKSHANK, George, illustrator]. The Comic Almanack, for 1835[-1853]: 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 and Etched by George Cruikshank. London: Imprinted for Charles Tilt, 1835-1841; Imprinted for Tilt and Bogue, 1842-1843; Published by David Bogue, 1844-1853. First editions. A complete set of nineteen small octavo volumes. With 195 etched plates by George Cruikshank, including five folding frontispieces (four hand-colored), wood-engraved text illustrations. Complete with the additional hand colored 'Natural History' plate in the 1837 volume. Handsomely bound ca. 1910 by Zaehnsdorf for A.C. Mc Clurg & Co. stamp-signed in gilt on front turn-in. Full red polished calf, covers bordered in gilt, spines with five raised bands, decoratively tooled in gilt in compartments, with two maroon morocco labels, lettered in gilt, gilt ruled board edges, decorative gilt turn-ins, marbled endpapers, top edge gilt, others uncut Original stiff printed wrappers (1835-1849) and cloth covers (1850-1853) bound in. A few wrappers with very light soiling. From the library of Harriett Pullman Carolan 'Carolands' with her engraved bookplate on the front paste-down of each volume. Some joints a little rubbed but still quite sound. A very attractive example. This fine and complete set collates almost identically with Albert M. Cohn's description - the only difference being the second issue of the 1845 issue with the woodcut "Fine Art Distribution" on page 31. Otherwise our set is first issue throughout including the hand-colored natural history plate in the rear ads of the 1837 issue, 'Bogue's Annual Catalogue' at the beginning of the 1847 issue, and the first issue of the 1848 almanack with green wrappers with black print. George Cruikshank's Comic Almanack was the most important of a number of comic almanacks of the late Regency period which parodied and subverted the popular almanack genre to poke fun at their educational aspirations and at society at large. "The text, edited by Mayhew, was contributed to by a host of humorous talent, including Thackeray, who enriched the issues of 1839 and 1840, with two of the best of his minor writings,—'The Fatal Boots,' and ‘Barber Cox's Diary.' The 24 etchings for these years being solely devoted to illustrating these two Miscellanies" (The Notable and Extensive Collection of Illustrated Books and Caricatures from the Private Library of J. Barton Townsend, Esq. of Philadelphia, The American Art Association, 5 February 1919, lot 246). Carolands: The woman who built Carolands, Harriett Pullman Carolan (1869-1956), was the daughter of George Pullman, a 19th-century industrialist, one of Chicago's wealthiest men, and founder of the Pullman Company, famous for its Palace railway cars. In Chicago in 1892, Harriett Pullman married Francis Carolan of San Francisco and moved with him to California. In 1912, she acquired 554 acres (224 hectares) of land in Hillsborough, on which she intended to build a house and garden that would excite "the wonder and admiration of America" and reflect her many refined and cultivated interests. The result was a masterpiece of Beaux-Arts architecture, inspired by the court architecture of Louis XIV. Carolan chose the site, the highest in the neighborhood, for its commanding views of the San Francisco Bay and the surrounding hills. Cohn 184. .

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Book number: 05731

Catalogue: Color-Plate Books

Keywords: Fine Bindings and Sets Caricatures English History Politics

CRUIKSHANK, George

The Cruikshankian Momus. 'Let Momus Rule the Day'

London : John C. Nimmo, 1892. The Cruikshankian Momus With Fifty-Two Hand Colored Plates [CRUIKSHANK, Isaac, Robert and George]. The Cruikshankian Momus. 'Let Momus rule the day'. Pictorial Broadsides and Humorous Song-Geadings. Fifty-two comic designs to popular ballads by the three Cruikshanks, the elder Isaac, Robert and the Great George. Colored by hand (After the Originals). London, John C. Nimmo, 1892. Limited to five hundred and twenty copies of which this is no. 91. Large octavo (11 1/8 x 7 1/4 inches; 282 x 184 mm.). [vii], [1, blank], [1]-136 pp. Fifty-two hand colored plates. Publisher's dark blue cloth, front cover decoratively lettered in gilt, spine lettered in gilt, top edge gilt, others uncut. Spine ends a little bumped otherwise a near fine copy. .

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Book number: 05661

Catalogue: Color-Plate Books

Keywords: Cruikshankiana

CRUIKSHANK, Robert, illustrator; [ROWLANDSON, Thomas, illustrator]; BLACKMANTLE, Bernard; WESTMACOTT, Charles Molloy

English Spy, the

London: Sherwood, Jones, and Co. 1825-26. Nineteenth Century Hush-Hush The Private Lives of Celebrities With Portraits by R. Cruikshank and Rowlandson CRUIKSHANK, Robert, illustrator]. [ROWLANDSON, Thomas, Illustrator]. BLACKMANTLE, Bernard (pseud. of Charles Molloy Westmacott). The English Spy: An Original Work, Characteristic, Satirical, and Humorous. Comprising Scenes and Sketches in Every Rank of Society, Being Portraits of the Illustrious, Eminent, Eccentric, and Notorious. Drawn From the Life by Bernard Blackmantle. The Illustrations designed by Robert Cruikshank. London: Published by Sherwood, Jones, and Co. 1825-26. First edition, first issue in book form, originally issued in twenty-four parts. Two tall octavo volumes (9 5/16 x 5 7/8 inches; 237 x 150 mm.). xxiii, [3], 417, [1, printer's slug]; xv, [1], 399, [1, printer's slug] pp. Seventy-one hand-colored aquatint plates after Robert Cruikshank (68), Thomas Rowlandson (2), and G.M. Brightly (1). Seventy-four woodcut text illustrations and one woodcut plate. First issue with the woodcut The Five Principal Orders of Society (volume 1, facing page 3); Plate 28 (facing page 389 in volume one) misdated "1284" and page 222 in volume two is blank. The plates are watermarked 1823 & 1824. Some offsetting from plates to opposite text leaves. The plates clean and fresh. Full contemporary tan calf, covers with blind 'Greek Key' borders. Expertly rebacked with the original spines laid down. Spines with four shallow raised bands, decoratively ruled in gilt and blind in compartments, red and green morocco labels lettered in gilt, plain gray endpapers, all edges marbled. A very nice copy in it's original binding, albeit repaired. From the library of Sir William Eden, Bart. (1849-1915) with his armorial bookplate to front pastedowns. He was the father of Sir Anthony Eden, who served as Prime Minister of the United Kingdom from 6th April 1955 to 9th January 1957. Charles Molloy Westmacott (1788-1868) was a British journalist, author, and editor of The Age, the leading Sunday newspaper of the early 1830s which specialized in scurrilous and satirical gossip about celebrities of the day, who sometimes wrote under the pseudonym Bernard Blackmantle. Westmacott was savagely portrayed by Edward Bulwer-Lytton as the unprincipled gossip-monger ("Sneak") in his England and the English (1833), and was known as the most notorious extortionate editor of his day. While he did accept money to suppress publication of stories, this was legal until the 1843 Libel Act. In the 1840s Westmacott moved to Paris, where he died in 1868. Abbey, Life 325; Bobins II, 738; Tooley, 504; Ogilby, British Military Costume Prints, 211. .

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Book number: 05674

Catalogue: Color-Plate Books

Keywords: [ROWLANDSON, Thomas, illustrator] BLACKMANTLE, Bernard WESTMACOTT, Charles Molloy Caricatures English History Nineteenth-Century Literature

CRUIKSHANK, George

Humourist, the

London: Printed and Published by J. Robins & Co. 1819. With the Very Rare First Issue of Volume I CRUIKSHANK, George, illustrator. The Humourist: A Collection of Entertaining Tales, Anecdoes, Repartees, Witty Sayings, Epigrams, Bon Mots, Jeu d'esprits, &c. Carefully selected. London: Printed and Published by J. Robins & Co. [n.d. 1819 (Volume I); 1819 (Volumes II-III); 1820 (Volume IV)]. First edition, with the very rare first issue of Volume I (bound from the parts, with the printed title bearing "Vol. I" but no date, and p. 44 headed "Dr Johnson"). Four small octavo volumes (6 1/8 x 3 7/8 inches; 156 x 99 mm.). 226, [2]; 230, [2]; 222, [2]; 226, [2] pp. Forty hand-colored etched plates after Cruikshank, including four frontispieces and four vignette titles. Early twentieth-century full crushed rose morocco by Rivière & Son, covers with multi gilt borders and decorative corner pieces, spines lettered and decoratively tooled in gilt in compartments, gilt board edges and turn-ins, all edges rough gilt, dark blue coated endpapers. An excellent copy. With the engraved bookplate of The Library at Carolands on each pastedown. "It had long been held that the first volume only was issued in parts, in green paper printed wrappers, with either a type ornament border or the grotesque woodcut that is found on the boards of the volume, but recently a Part 13 of Vol. 2 came into the possession of Mr. F.J. Callcott who has kindly lent it to me for reproduction. It is therefore clear that the first two volumes were certainly first issued in parts and probably all four, and Douglas was incorrect in his assumption. A complete set of even the ten parts comprising the first volume is unknown in the original wrappers. The first issue should be therefore bound from the parts, is never genuinely found in the original boards, and should have the words "Vol. 1," on the printed title, but no date. The first issue of the volume in the printed boards has the date 1819 upon the printed title, but not the words "Vol. 1." The second issue has both the date 1819 and the words "Vol. 1" on the printed title. There are ten coloured etchings, including the engraved title, to each volume, all dated and with the imprint of J. Robins & Co. except the vignette titles, plate 7 of Vol. 2, and plate 4 of Vol. 3 which do not have the date, although with the imprint; this is a "point" of the first issue as in later issues, several plates are without imprint or date. Vol. 1 was reissued in 1822, so dated on the title, the dates running 1822, 1819, 1819, 1820. There are differences in the letterpress of this reissue. Notably at p. 44, where in the first issue the tale is "Dr. Johnson," while in the 1822 reissue it is "Epitaph on a Dyer." (Cohn). The Humourist "gave Cruikshank his first sustained opportunity to devise illustrations; Blanchard Jerrold calls it ‘his first remarkable separate work.' Robins issued forty six-penny parts..with a colored etching in each, during 1819 and 1820..The vignette title page for volume 4 shows a grotesque dandy holding a cocked hat, grinning at the audience from a stage whose proscenium arch is decorated with swagged curtains and comic masks. The illustrations preserve that sense of theater: each scene takes place within a frame surmounted by emblematic props aspiring to a pedimental shape and supported by a base on which the title is inscribed, along with additional scenes and props" (Patten, George Cruikshank's Life, Times, and Art, I, p. 190). The first issue of Volume I is very rare; sets nearly always appear with it from the later re-issue (title-page dated "1822"). Cohn 419. .

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Book number: 04098

Catalogue: Color-Plate Books

Keywords: Fine Bindings and Sets Fine Bindings Caricatures Cruikshankiana

CRUIKSHANK, George

Humourist, the

London: Printed and Published by J. Robins & Co. 1819. Rare in the Original Pictorial Boards Forty Hand Colored Etchings by George Cruikshank CRUIKSHANK, George, illustrator. The Humourist: A Collection of Entertaining Tales, Anecdotes, Repartees, Witty Sayings, Epigrams, Bon Mots, Jeu d'esprits, &c. Carefully selected. London: Printed and Published by J. Robins & Co. 1822, 1819, 1819, 1820. First edition, second issue with title page to volume I dated 1822 and "Epitaph on a Dyer" on page 44. Four small octavo volumes (6 13/16 x 3 15/16 inches; 173 x 100 mm.). 226, [2, list of plates & advertisements]; 230, [2, list of plates & advertisements]; 222, [2, list of plates & advertisements]; 226, [2, list of plates & advertisements] pp. Forty hand-colored etched plates after Cruikshank, including four frontispieces and four vignette titles. The plates in volume one bound in as per list of plates; The plates in volumes II, III, & IV bound between pages 12/13, 8/9 & 12/13 respectively. Some occasional very light marginal foxing to text leaves only. Page 109/110 in volume II with small hole in top blank margin and small stain, page 181/182 with repaired tear on blank fore-margin; Vol III with small stain on page 9/10. Publisher's pictorial tan boards uncut, printed in black. The first volume slightly darkened and with small piece (1/2 x 3/4 inch) missing from lower portion of spine not affecting print. Some light rubbing to boards, otherwise excellent. Housed in a velvet-lined, quarter dark green morocco over green cloth clamshell case. Four spines, each with five raised bands decoratively ruled and lettered in gilt in compartments. A superb example in the original pictorial tan boards. "Vol. I was reissued in 1822, so dated on the title, the dates running 1822, 1819, 1819, 1820. There are differences in the letterpress of this reissue. Notably at p. 44, where in the first issue the tale is "Dr Johnson," while in the 1822 reissue it is "Epitaph on a Dyer." (Cohn, p.126). "The Humourist. A Collection of Entertaining Tales, Anecdotes, Epigrams, Bon Mots, 8c. &c. gave Cruikshank his first sustained opportunity to devise illustrations; Blanchard Jerrold calls it "his first remarkable separate work." Robins issued forty six-penny parts, stitched into green wrappers with a colored etching in each, during 1819 and 1820. The parts were also bound into four volumes. In several respects this format anticipates the one Dickens and his publishers revived in Pickwick Papers and the other serials; so too do Cruikshank's designs anticipate Browne's theatrical frontispiece for that novel. The vignette title page for volume 4 shows a grotesque dandy holding a cocked hat, grinning at the audience from a stage whose proscenium arch is decorated with swagged curtains and comic masks. The illustrations preserve that sense of theater: each scene takes place within a frame surmounted by emblematic props aspiring to a pedi-mental shape and supported by a base on which the title is inscribed, along with additional scenes and props. The Humourist plates also grow out of title-page vignettes that surround a scene with its emblematic reflections and from such generically mixed devices as comic coats of arms, of which Cruikshank did several during this period, including a bloody Radical's Arms, an outrageous Dandies Coat of Arms, and The Boxer's Arms that he "fistit." (Patten I, p.190). Provenance: From the renowned Cruikshank collection of Adrian W. Flühmann. Cohn, 419; Patten I, p.190. .

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Book number: 05558

Catalogue: Color-Plate Books

Keywords: Caricatures Cruikshankiana

CRUIKSHANK, George

Jubilee of 1809, the

London: John Fairburn, [1809]. Exceptionally Rare in the Original Pink Paper Wrappers Initialed by George Cruikshank on the Front Wrapper [CRUIKSHANK, George]. The Jubilee of 1809, containing a poetical epistle, from John Lump, to his brother in Yorkshire. Also an account of the grand entertainment at Cabbage Merchants' hall. With songs.. By the author of the Whale!! With a coloured Caricature Print of two of the celebrated City Chaunters. London, John Fairburn, [n.d. 1809]. First edition of this anti-ministerial satire in verse and prose. Octavo (8 5/8 x 5 1/2 inches; 219 x 140 mm.). 28 pp. Folding hand colored etched frontispiece in two sections "Col. Patty-Pan" & "Sir John Sugar-Stick" dated "October 1809". Publisher's plain pink wrappers, front cover with the ink initials of George Cruikshank. Front wrapper and folding frontispiece detached. Frontispece a little stained and with some tears at fold, wrappers slightly chipped at extremities. Still a very good copy of a very rare and fragile Cruikshank item. "G. Cruikshank informed Reid that the whole of this plate, with the exception of the faces and hands, was his unaided work. The Widener copy is autographed: By Isaac Cruikshank, some parts by me, Geo. Cruikshank." (Cohn, p. 135). The work is a violent satire on Birch, who was a pastry-cook, in Cornhill, and Eames, a grocer, who were both volunteer officers "The folding frontispiece to The Jubilee, Alias Jew Belly, of 1809, contains two designs divided by a vertical line. 1. Alderman Birch, wearing uniform with cocked hat, gorget, boots, and apron, with a birch-rod in place of a sword, sells pies from a basket on legs, forming a portable stall. At his waist is a paper inscribed No Popery. A ragged, dwarfish, and deformed man (right), with a bundle of (?) matches, holds a coin as if about to spin it; he looks up at Birch, who cries Up & Win'em, asking Did you cry vomans [the reverse of a coin] vat your'e fond of. 2. Alderman Earner (not Eames) stands behind a counter, similarly dressed, but wearing shoes and wrinkled stockings, and with a stick of sugar-cane in place of a sword. He weighs out tea for an old woman in a red cloak (left) who says: a Quarter of an Ounce of Tea Dust directly. He answers: Don't hurry me woman I'm Sir John. On the floor on a pile of Waste Paper is an open book: Preachee and Floggee too.. Other papers are inscribed Wood Street. Behind him are large canisters and sugar-loaves." (British Museum). Exceptionally rare in the original wrappers. This copy appeared at Parke-Bernet Galleries, NY. [Property of Mrs. Leslie Chaundy] February 18/19th, 1942. (Patten I, 45.- Cohn, 457. .

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Book number: 05580

Catalogue: Color-Plate Books

Keywords: Caricatures English History Cruikshankiana

CRUIKSHANK, George; CRUIKSHANK, Robert

Lovers' Panorama, the

London: Hodgson & Co., 1835. Exceptionally Scarce Valentine Caricature by George and Robert Cruikshank Obadiah "I do confess I long have loved thee, And hope thou hast conceived the like for me;" Rachael "Yea, if thou wishest to take me to wife, I'll be thy partner thro' this weary life;" CRUIKSHANK, George & Robert. The Lovers' Panorama; or Cupid's Vagaries on St. Valentine's Day. London: Hodgson & Co. [1835]. Second Issue with changed title, otherwise identical. No date was assigned to either issue. Sixteenmo (5 3/4 x 3 3/8 inches; 146 x 86 mm.). 24 pp. Hand colored engraved vignette title-page and eleven hand colored vignettes in the text. Title-page and first two leaves slightly soiled at fore-margin, otherwise near fine. Nineteenth century burgundy paper wrappers, marbled endpapers over the original? plain wrappers. Housed in a fleece-lined, three-quarter red morocco clamshell case. According to Cohn the hand-colored engraving on the title-page is by George and Robert Cruikshank, the last two are by George Cruikshank, and the other nine are by Robert Cruikshank. OCLC locates only three copies of this issue in libraries and institutions worldwide: Yale University Library (CT. USA), McGill University Library (Montreal, Canada), and the British Library (London, UK). OCLC locates just two copies of the first issue: Trinity College Library (CT, USA), and Harvard University (MA, USA). The only copy of the first issue that we have been able to trace was the Salomons copy which appeared at auction in 1991. "This item is a second issue of "Cupid's Vagaries" (No. 216) with identical plates. It should also be noted that the price has been raised from sixpence to a shilling." (Cohn, p.151). It was first published [1822] as "Cupid's Vagaries, or the Lover's Panorama on St. Valentine's Day. (see also No. 510, "The Lovers' Panorama," which is the same work, another edition.). (Cohn, p. 72). We have never seen this title before - in either first or second issue.. and there was no example in the famous Cruikshank collection of Dr. Fluhmann. (Benoit Forgeot catalog 2009). Cohn, 510. .

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Book number: 04524

Catalogue: Color-Plate Books

Keywords: CRUIKSHANK, Robert Caricatures Cruikshankiana

CRUIKSHANK, George; PITMAN, Ambrose

Miseries of Musick-Master, the

London: T. Davison, 1815. With a Wonderful Hand Colored Frontispeice by George Cruikshank Depicting the Pains of Listening to a Young Child's Singing CRUIKSHANK, George, illustrator. PITMAN, Ambrose. The Miseries of Musick-Masters: Including the Art of Fingering Key'd Instruments, and Introductory Rudiments of the Practice of Harmonicks. A Serio Comick Didactick Poem. By Ambrose Pitman, Esq. London: printed by T. Davison, 1815. First edition. Large quarto (10 3/4 x 8 1/4 inches; 273 x 210 mm.). [iv], [1], 2-69, [1, blank], [1, errata], [1, imprint] pp. With a fine hand colored frontispiece by George Cruikshank (with see page 64 in faded ink on lower blank margin). Some scattered marginal foxing to text. Bound by Bayntun-Rivière ca. 1960 in three quarter black morocco over marbled boards, spine with five raised bands ruled and lettered in gilt in compartments. With the bookplate of Alan Fortunoff on front paste-down. The satirical hand colored frontispiece depicts a family gathered around a piano: a child sings, to the greatest pride of his mother and his sister, but the cat, the dog and the music teacher seem horrified: their painful looks say a lot about the talent of the toddler. "While Dicky Marrowbone did bellow, She, like Maestro di Capella* Beat time, as she thought, with her fan, As Dicky through his 'wild notes' ran; And when he finish'd, look'd around, Amaz'd that no applause was found." (page 64, lines 865-870). Rare: The last copy to appear at auction was at Sotheby's, London in 1979. OCLC locates just eight copies in libraries and institutions worldwide: Five in the US; two in the UK & one in Germany. "Ambrose Pitman (1763-1817) was a London musician and teacher. His The Miseries of Musick Masters was published in 1815. Sub-titled 'A Serio Comick Didactick Poem' it parodies the Augustan manner in almost a thousand lines, adding to the reproaches suggested by its title versified instruction on rudiments and fingering. Something of its style may be conveyed by a few opening couplets: What Miseries has Heaven designed To plague and punish human kind! Some more, some less, yet few as much As him who well the Lyre can touch, And from his merit, oft incurs The plaudits of the Theatres.. The book is well got up, with a hand-coloured frontispiece by George Cruikshank, and it must have been costly to produce. One is left wondering why Pitman should have gone to the expense of publishing it. For though later sections deal with musical rudiments, the reader being addressed is clearly not a child.. Pitman's book was meant to demonstrate not only his musical erudition but his attributes as a well-educated gentleman." (Bernarr Rainbow on Music). Cohn 653. .

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Book number: 05556

Catalogue: Color-Plate Books

Keywords: PITMAN, Ambrose Caricatures Music Cruikshankiana

CRUIKSHANK, George; LAMOTTE-FOUQUÉ (Friederich H.C. Baron de

Peter Schlemihl

London: G.& W.B. Whittaker, 1824. Don't Fouqué With George [CRUIKSHANK, George, illustrator]. LAMOTTE-FOUQUÉ, Friederich Heinrich Karl, Baron de. Peter Schlemihl. From the German of Lamotte Fouqué. With Plates by George Cruikshank. London: G.& W.B. Whittaker, 1824. First edition in English, third issue with no hyphen between "Ave" and 'Maria" in publisher's imprint. Octavo (7 1/4 x 4 1/4 in; 184 x 106 mm). xii, 165, [1, blank], [2, adv. ] pp. Half-title and eight engraved plates. Bound by Rivière & Son in late nineteenth century full crushed olive morocco. Five raised bands. Compartments with blindstamped ornament. Blindstamped false sewing supports. Gilt-rolled board edges. Gilt dentelles. Top edge gilt. Original printed spine label mounted to rear blank. Spine a little sunned to warm brown, still a fine copy. Friedrich Heinrich Karl, Baron de LaMotte-Fouqué (1777-1843) was a German writer of the romantic school. Robert Louis Stevenson admired Fouqué's story The Bottle Imp and wrote his own version (The Bottle Imp) with a Hawaiian setting. John Henry Newman and Charlotte Mary Yonge both praised Sintram and his Companions. William Morris also became an admirer of Sintram and his Companions, and it influenced Morris' own fiction. Sintram and his Companions and Undine are referred by Louisa May Alcott in Little Women; Jo March mentions wanting them for Christmas in the first chapter of the book and finally receives them in chapter 22. Furthermore, Aslauga's Knight, as well as Sintram and his Companions and Undine are referred to in Jo's Boys, the final book in Alcott's Little Women series, where Aslauga's Knight mirrors the character Dan and his affection for gentle Bess. Cohn 475. .

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Book number: 02573

Catalogue: Color-Plate Books

Keywords: LAMOTTE-FOUQUÉ (Friederich H.C. Baron de Nineteenth-Century Literature Cruikshankiana

CRUIKSHANK, George; WHITTY, Michael James (text)

Tales of Irish Life

London: J. Robins and Co. 1824. Scarce With the Illustrations In Two States Complete with all of the Advertisements CRUIKSHANK, George. [WHITTY, Michael James, text]. Tales of Irish Life. Illustrative of the Manners, Customs,and Condition of the People. With Designs by George Cruikshank. London: J. Robins and Co. 1824. First edition, complete with all of the advertisements. Two octavo volumes (6 3/4 x 4 3/16 inches; 171 x 106 mm.). [6], iv, 242, [2, adv. (in the press)], [2, adv.]; [4], 249, [1, blank], [2, adv.] pp. Six full-page woodcuts (three to each volume) each in two states: hand-colored and uncolored; a total of twelve plates. Bound ca. 1910 by Wood of London (stamp-signed on front turn-in) in full polished tan calf, covers with triple-gilt rules, spines with five raised bands, decoratively tooled in gilt in compartments, olive green labels lettered in gilt, gilt board-edges and turn-ins, marbled endpapers, top edge gilt, others uncut. Heads of spines expertly repaired. A very fine and tall copy - only the second that we have ever seen with the plates in two states. Housed in an early red cloth slip-case. "The woodcuts are sometimes found in coloured state" (Cohn). "..J. Robins, as successor to [Cruikshank publishers] Hone and Baldwin published many of Cruikshank's most important plates.. In the same issue [of the Dublin and London Magazine] the plates for Tales of Irish Life were judged.. 'superior to any thing that celebrated artist has ever yet done.' Michael James Whitty (1795 - 1873), newspaper editor and proprietor, native of Enniscorthy, Co Wexford, commenced his literary career in London, and among his earliest friends were Sir James Bacon and George Cruikshank. He was appointed editor of the London and Dublin Magazine in 1823. From 1823 to 1829 he contributed largely to Irish periodical literature, and was an ardent advocate of Catholic emancipation. He published anonymously in 1824 two volumes of Tales of Irish Life stories (which) depict the customs and condition of the people of his homeland, and were a great success, being reprinted in America and also translated into French and German. (Loeber W69) Cohn 841. .

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Book number: 03494

Catalogue: Color-Plate Books

Keywords: WHITTY, Michael James (text) Fine Bindings Caricatures Irish Literature Nineteenth-Century Literature

DAUMIER, Honoré; PHILIPON, Charles

Cent Et Un Robert-Macaire, Les

Paris: Chez Aubert et Cie, 1839. An Exceptionally Rare Original Hand-Colored Copy [DAUMIER, Honoré, illustrator]. PHILIPON, Charles. Les Cent et Un Robert-Macaire composés et dessinés par M. H. Daumier, sur les Idées et les Légendes de M. Ch. Philipon réduits et lithographiés par MM***; Texte par MM. Maurice Alhoy et Louis Huart. Paris: Chez Aubert et Cie, 1839. First Quarto Edition, Hand Colored Issue. Two quarto volumes. (10 3/8 x 8 inches; 264 x 203 mm.). [viii], [200], [1], [1, blank], [4, advertisements], ; [viii], [202], [1], [1, blank] [4, advertisements] pp. With 101 magnificent hand-colored lithographed plates, heightened with gum Arabic. A few text leaves with toning, some light scattered foxing which generally only affects the blank plate margins, still a very good copy of the excessively rare hand-colored issue. Contemporary red chagrin over silk paper boards, stamped in gilt. Smooth spines decoratively tooled and lettered in gilt, all edges gilt. Front pastedowns with the engraved bookplate of "AM". "Les Robert-Macaire remains Daumier's best-known series..Baudelaire chose it, along with Histoire ancienne, for specific discussion in his essay on French caricaturists, and Carteret accorded it a place in his bibliography. Its contemporary popularity was immense. As an album it was published by Aubert in an edition of 2500 copies, a far larger number than for any other series. Yet, so persistent was the demand, that 600 two-volume sets of reduced copies, called Les cent-et-un Robert-Macaire, were published in 1839..When politics became a forbidden topic in Le charivari, where Caricaturana [Les Robert-Macaire] first appeared, Daumier and Philipon turned to social satire. If they could not attack Louis Philippe directly, they could at least show the kind of society that flourished under his gross and venal regime. Taking the flamboyant and florid swindler Macaire from the character that Frédérick Lemaître had created in a hack melodrama called L'Auberge des adrets, they showed him and his inseparable companion, the dejected and meager Bertrand, ranging through all kinds of commercial enterprise, in the stock market, in the banks, in the courts, and in dozens of other public settings, never failing to find eager dupes. Macaire is equally persuasive in the encounters of private life, where no situation finds him at a loss for an appropriate flower of sentiment..Though Daumier's designs are superb in themselves, particularly in the variety of supple and telling poses..that he conceives for Macaire and Bertrand, they would be incomplete without the unfailing wit and point of Philipon's captions" (Ray, The Art of the French Illustrated Book, pp. 234-236). "These reduced and for the most part reversed copies of Daumier's lithographs, apparently drawn by Menut Alophe, are greatly inferior to the originals. Unlike Caricaturana, the series is not often found colored" (Ray, The Art of the French Illustrated Book, p. 236). Carteret III, p.187. Ray, The Art of the French Illustrated Book, 162. Vicaire III, cols. 31-32 (under Alhoy) and V, cols. 572-573 (under Philipon). .

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Book number: 04944

Catalogue: Color-Plate Books

Keywords: PHILIPON, Charles Color-Plate Books Caricatures Books in French Caricatures French Caricature

DAUMIER, Honoré; BELIN, Auguste; PLATTIER, Jules; PLATTEL, Henri Daniel

Ces Amours D'Enfans

Paris: Chez Aubert & Cie. 1850. Love These Children! But the Joys and Sweets of Fatherhood Are Extremely Scarce [DAUMIER, Honoré. Henri-Daniel Plattel. Jules Platier]. [PLATTEL, Henri Daniel]. Ces Amours d'enfans. Joies et Douceurs de la Paternité. Paris: Aubert & Cie, [n.d. ca. 1850]. Small oblong quarto (6 5/8 x 9 7/8 inches; 168 x 251 mm.). Hand-colored lithographed title by Auguste Belin, and sixteen hand-colored lithographed plates heightened with gum arabic, eight by Daumier, the remaining by Plattel or Platier. [16 pp. Aubert catalog at rear]. Publishers blind-stamped leather-grain red cloth over boards, "121" in gilt to upper cover, spine decoratively lettered in gilt, green endpapers. Hand colored lithograph title with neat ink "777" on lower blank corner. An exceptionally clean, bright, and fine copy. Reversed restrikes from the Aubert series, Croquis D'Expressions, 100 lithographed prints originally appearing in Le Charivari 1838-1839, fifty-five of which were executed by Daumier, the remainder by Henri-Daniel Plattel and Jules Platier. All artist signatures have been removed and the hand-coloring is far more bright and vivid than the original issue prints that we have seen. Croquis D'Expressions was never formally collected by Chez Aubert into an album. There are no copies of this later issue by Aubert collected under this new title in institutional holdings worldwide, nor auction records. Jules Platier, Draftsman-Lithographer, who worked mainly between 1840 and 1855. One of his suites: The Office of the Police Commissioner, had, at the time, a great success of popularity. (Grand Carteret. Bibliographie des Artistes Caricaturistes, p. 665). Henri Daniel Plattel (1803-1859). French satirist printmaker working in lithography. He contributed two of the fifty-five hand colored lithographs in Honoré Daumier's Croquis d'Expressions, [Paris]: Chez Aubert gal. véro-dodat, [1 January 1838-7 April 1839], and together with Jules Platier several of the hand colored lithographs for Honoré Daumier's Ces Amours d'enfans. Joies et Douceurs de la Paternité. Paris: Aubert & Cie, [n.d. ca. 1850]. The Plates (with Daumier Registry # where applicable): 1. Est-il gentil, notre bibi! il a déja un petit air scélérat, le gueux! (Daumier, DR #470). 2. Crie donc, mátin!..égosille toi donc. et que çca finisse..ne pas fermer l'oeil pour un méchant moutard!..le diable emporte es enfans, je n'en veux plus (Daumier, DR# 467). 3. Oh! ce Chérubin, comme il dort gentiment! Tiens, Gustave, c'est ton portrait, tout craché! (Daumier, DR# 513). 4. Allons bon, les voilá tous trois partis..travaillez donc, au milieu de ce charivari..chiens d'enfans! (Daumier, DR# 491). 5. Vous allex voir!..vous allez voir, ça va arréter le sang comme avec la main!! (Daumier, DR# 497). 6. Oui, ma chére, laissez-moi lui donner cette petite soupe aux choux et vous verrez que ça lui vaudra mieux que tous leux drogues de médicine (Plattel or Platier). 7. Hein! quelle jolie tournure!///faudra en faire in avocat, pas vrai?..ou ben un grand artiste.. (Plattel or Platier). 8. Puisuq tu es si riche, ma tante vent bien t'epouser, quoi que tu es bien laid et que tu n'as pas d'esprit du tout..c'est égal à ma tante..n'est ce pas, ma tante? (Daumier, DR# 505). 9. Appuyez fort, gna rien de meyeur our les coupe ou les tombres as pas peur Guguste, ca te guérira, ti va voir (Daumer, DR# 492). 10. Tenez vous un peu tranquilles, mes enfans, vous finiriez peut-etre par ennuyer monsieur..(Plattel or Platier). 11. Le Maitre: Qu entendez vous par l'axe d'un cercle?.. (Plattel or Platier). 12. Lolo, qu'aime tu mieux de ton papa ou de la maman? - J'aime mieux les confitures (Daumier, DR# 500). 13. C'est vrai aussi, vous la contrariez toujours, cet enfant! (Plattel or Platier). 14. Y disait comme ça: ton vieux grigou de père nous l'avons bien mis dedans.. (Plattel or Platier). 15. Allons, bon! tu me fais porter le petit, porter ton cabas, tu me fais mouller..tu gardes le parapluie et tute plains (Plattel or Platier). 16. Comment, méchant, vous pleurez, vous criez toute la nuit..voulez vous bien vous taire, et faire une petite risette à papa..(Plattel or Platier). .

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Book number: 02254

Catalogue: Color-Plate Books

Keywords: BELIN, Auguste PLATTIER, Jules PLATTEL, Henri Daniel Books in French Color-Plate Books Books in French Caricatures Nineteenth-Century Literature French Caricature

DAUMIER, Honoré

Coquetterie

Paris: Au Bureau de Charivari, 1839. One of the Rarest of all the Daumier Suites Coquetterie - The Saucy Side of Vanity! Depicted in Ten Hand Colored Lithographs DAUMIER, Honoré. Coquetterie. [Concerns with one's looks] Paris: Au Bureau de Charivari, July 7, 1839 - Nov 5, 1840. Large folio (19 3/4 x 15 1/4 inches; 502 x 387 mm. - plate size 13 x 9 3/4 inches; 330 x 248 mm.). Ten magnificent hand colored lithographs, all heightened with gum arabic. All of the plates are tipped-into card window mounts. The ten plates housed in a fold-over buff buckram folder, rectangular brown leather label on front cover lettered in gilt "Honoré Daumier / Coquetterie". An exceptionally rare and complete suite. We have only ever seen this suite once before in over fifty years - and that example was uncolored. Not mentioned in the Armand Hammer Collection nor Ray. Art of the French Illustrated Book or Ramus. Daumier 120 Great Lithographs. OCLC/KVK locate just one example of plate number 2 (uncolored) in libraries & institutions worldwide: University Bibliothek Johann Christian Senckenberg (Germany). The Plates: 1. Là Monsieur!.. et puis après ça, vous allez courir en voir d'autres!.. [DR 736] There Sir!..and then after that, you will run to see others!.. 2. Je me dis en moi-même: croirait on que nous sortons de la rue des Lombards ?. On vous a un petit air qui n'est pas confiseur du tout. [DR 737] I say to myself: would you believe that we are leaving the rue des Lombards?.. We have a little air to you that is not confectionery at all. 3. Eh bonjour, chér ange, toujours jolie! [DR 738] Hey hello, dear angel, always pretty! 4. C'est fichu! on sait se cravatter. [DR 739] It's messed up! We know how to tie. 5. Assez, assez, c'est trop étroit !!. Du tout, monsieur, cette étoffe là prête comme un gant! [DR 740] Enough, enough, it's too narrow!!.. At all, sir, this stuff is as tight as a glove!.. 6. Chiennes de bottes!..ça m'apprendra à vouloir faire petit pied!.. [DR 741] Female dogs of boots!..that'll teach me to want to be small!.. 7. Ma foi je ne sais pas comment ils étaient à Austerlitz, mais ça ne pouvait guère être mieux. [DR 742] Well, I don't know how they were in Austerlitz, but it couldn't have been better. 8. (Il lit une lettre) Un rendez vous, c'est peut-être de la petite Mme Giraud!. oui.. mais c'est peut être de son mari qui veut me pincer et me flanquer une volée. [DR 743] (He reads a letter.) An appointment, it may be from little Madame Giraud!..yes..but it may be from her husband who wants to pinch me and thrash me. 9. Ma foi! c'est, comme on dit, une véritable rangée de perles!.. seulement, il y en a quelques unes de défilées ; voilà tout ! [DR 745] My faith! It is, as they say, a veritable row of pearls!..only, there are a few paraded ones; that is all. 10. Le coton tombe, l'homme reste, Et le mollet s'évanouit. (J.B. Rousseau) [DR 744] The cotton falls, the man stays, and the calf fades away. (J.B. Rousseau Hazard & Delteil 1192-1201; DR 736-745. .

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Book number: 05709

Catalogue: Color-Plate Books

Keywords: Books in French Caricatures French Caricature

DAUMIER, Honoré; Gavarni; Alhoy, Maurice; Philipon, Charles

Musée Pour Rire, le

Paris: Chez Aubert, 1839. With 150 Hand-Colored Lithographs, including Forty-Five by Honoré Daumier and Forty-Two by Gavarni [DAUMIER, Honoré, Gavarni, and others, illustrators]. [ALHOY, Maurice, Louis Huart, and Ch[arles] Philipon, editors]. Le Musée pour rire. Dessins par tous les caricaturistes de Paris; Texte par MM. Maurice Alhoy, Louis Huart et Ch. Philipon. Paris: Chez Aubert, Editeur des Cent-et-Un Robert-Macaire, 1839-1840. First edition. Three quarto volumes bound in one (10 x 7 5/8 in; 251 x 193 mm.). [1, half-title], [2, title], [600] pp. With 150 numbered hand-colored lithographs heightened with gum arabic by Honoré Daumier (forty-five), Gavarni (forty-two), Frédéric Bouchot (twenty-two), Victor Adam (ten), Platier (seven), Benjamin [i.e. Benjamin Roubaud] (four), Bourdet (three), Pruche (three), Platel (two), Grandville (two), Edme-Jean Pigal (two), Alophe Menut (two), Charles Vernier (two), Charles-Joseph Traviès (one), and others. Bound ca. 1886-1890 by James Screeton of Hull (with label to rear pastedown) half black pebbled morocco over gray-brown cloth. Elaborately gilt tooled compartments, gilt-rolled raised bands. All edges gilt. Some foxing and toning throughout, but still a very good 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. Le musée pour rire represents a more considerable effort on the part of Aubert. To accompany 150 lithographs, including forty-five by Daumier (among them twenty-seven from Croquis d'expression[s] and eight from La galerie physionomique) and forty-two by Gavarni, new commentaries were commissioned on each plate, all except two by Alhoy and Huart. Daumier's lithographs were trimmed slightly, and their captions were relettered. The designs of the other artists were provided with decorative frames. The whole was then published in three handsome volumes, and in copies with expert contemporary coloring like this one, Le musée pour rire is among the freshest and most attractive of romantic illustrated books" (Ray, The Art of the French Illustrated Book). Le Musée pour Rire "contained 150 lithographs by Daumier, Gavarni, Bouchot, Traviès etc. These are re-impressions (some of them in mirror image), which had previously already been used for publication in Le Charivari. Most prints of the series ‘Croquis d'expressions' are contained in the book. The name of the series is missing and the texts were printed in a different type than in the original Charivari version. We do not consider these prints original lithographies, but rather prints ‘after Daumier'". James Screeton was the son of bookbinder William Screeton of Hull. It appears that he was partner of binder William Wardell until opened his own shop in 1886. Ray, The Art of the French Illustrated Book, 164. .

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Book number: 02253

Catalogue: Color-Plate Books

Keywords: Gavarni Alhoy, Maurice Philipon, Charles Books in French Caricatures Color-Plate Books Books in French Caricatures French History French Caricature