CRUIKSHANK, George, illustrator; SMOLLETT, Tobias

Adventures of Sir Lancelot Greaves, the

London: James Cochrane, 1832. Two Hand Colored Plated by George Cruikshank CRUIKSHANK, George, illustrator.SMOLLETT (Tobias George). The Adventures of Sir Launcelot Greaves. By Tobias Smollett, M.D. With illustrations by George Cruikshank. London: James Cochrane, 1832. First edition with illustrations by George Cruikshank. Small octavo (6 1/2 x 4 1/8 inches; 165 x 105 mm.). [iv], 243, [1, blank] pp. Two hand colored etched plates (facing pages 8 and 176). Full red morocco by R. R. Donnelly & Sons Co. Chicago, with their ticket bound in after the front endpaper. Covers with large gilt designs, spine with five raised bands, lettered in gilt in compartments, gilt board edges and turn-ins, top edge gilt. Rebacked with original spine laid down. The two plates were colored at a later date. The novel appeared in Roscoe's Novelist's Library, of which it forms the second part of volume X. .

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Book number: 05659

Catalogue: English Literature

Keywords: SMOLLETT, Tobias Color-Plate Books Cruikshankiana

CRUIKSHANK, George, artist

[Cruikshank's Fairy Library]

London: , 1864. A Complete Set of the Proofs on India Paper of the Twenty-Four Plates in the Series Four Signed in Pencil by George Cruikshank CRUIKSHANK, George. [The Fairy Library]. [London: D. Bogue / Routledge, Warne & Routledge, 1853, 1854, 1854 & 1864]. A Complete Set of the Etched Proofs on India Paper of the Twenty-Four Plates in the Series. The four first etchings are each signed in pencil by George Cruikshank. Folio (11 7/8 x 8 5/8 inches; 301 x 219 mm.). Twenty-four etched proofs on India paper (average size of proof 6 7/8 x 5 1/4 inches; 175 x x 133 mm.) all mounted on thick card measuring 11 7/8 x 8 5/8 inches; 301 x 219 mm. Chemised in a quarter red morocco slipcase over red cloth ruled in gilt, spine with five raised bands, lettered in gilt in compartments. Some light foxing to mounts only. Frederick Arnold (fl. 1862-1874 was George Cruikshank's publisher of the first reissues of the first three volumes of The Fairy Library and the first edition of the fourth volume, Puss in Boots. George Cruikshank's Fairy Library consists of four stories; Cinderella, Jack and the Beanstalk, Hop o' my Thumb and the Seven League Boots, and Puss in Boots. First published, London: D. Bogue / Routledge, Warne & Routledge, [1853], [1854], [1854], [1864]. Cruikshank was already a distinguished caricaturist and illustrator of books for children and adults when he produced this work. His illustrations for the first English translation of Grimm's Fairy Tales were praised widely, but his own rewriting of the fairy tales was criticized, most prominently by Charles Dickens. This was not due to the quality of the illustrations, but because, in line with his temperance beliefs, Cruikshank rewrote aspects of the fairy tales to warn the reader against the evils of alcohol. Thus, for instance, the preparations for Cinderella's marriage include the court throwing all alcohol in the palace on a bonfire; and in Jack and the Beanstalk, the giant is an alcoholic. Dickens, a friend of Cruikshank, was outraged at what he considered to be a betrayal of the essence of fairy tales and, in protest he published an essay in his weekly magazine Household Words entitled Frauds on the Fairies in protest (1853). The Fairy Library was not well-received by Cruikshank's close friend, Charles Dickens. Cruikshank (who wrote the text) in his alcohol abstinence zeal had turned these classic stories into temperance tracts. Dickens, in the October 1, 1853 issue of Household Words, wrote a review, Frauds on Fairies, that harshly criticized Cruikshank for "propagating the doctrines of Total Abstinance, Prohibition.. Free Trade, and Popular Education" (Patten II, p. 339). Yet "so even in Hop and the two stories that followed in the Fairy Library, the illustrations continue to evoke magic kingdoms while the prose cranks out diatribes" (ibid). Later, in 1864, when Routledge wished to continue the series with Puss In Boots, Cruikshank did so "purged of teetotal maxims" (ibid. p. 387) After the financial failure of 1851, or, The Adventures of Mr. and Mrs. Sandboys, who came up to London.. Cruikshank decided to resume fairy tale illustrations.. "Cruikshank's reason for returning to fairy tales was a good deal more pragmatic. He needed money, and since his illustrations for the Brothers Grimm and other nursery favorites had earned him both a reputation and some shillings, he decided to revive those earlier subjects. This time, however, since no authorial collaborator was available, Cruikshank elected to write, embellish, and publish a series of fairy tales all on his own. He approached David Bogue with this proposition in the autumn of 1852; between them they arranged for the artist to receive advances against receipts to cover the cost of "editing" the texts and etching the plates, and for the publisher to make periodic accountings of each title as it was printed and sold. By May of the next year, however, Cruikshank was anticipating his income to such an extent that even before the plates for the first volume, Hop o' my Thumb and the Seven League Boots, were completed he was overdrawn.. Cruikshank finished Hop around the first of June 1853.. The next two volumes in the Fairy Library [The History of Jack & The Beanstalk and Cinderella and the Glass Slipper] were duly issued in 1854.. See Cohn 196-199. .

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Book number: 04690

Catalogue: English Literature

Keywords: Children's Books Caricatures Fairy Tales Nineteenth-Century Literature

CRUIKSHANK, George, illustrator; KOSEWITZ, W.F. von (pseud.)

Eccentric Tales

London: James Robins and Co. 1827. Eccentric Cruikshank [CRUIKSHANK, George, illustrator]. KOSEWITZ, W.F. von. Eccentric Tales. From the German of W.F. Von Kosewitz, with Illustrations by George Cruikshank, From Sketches by Alfred Crowquill. London: James Robins and Co. 1827. First edition in book form, originally issued in four parts with five plates each. Octavo (8 7/8 x 5 1/4 in; 227 x 135 mm). 181, [1] pp. Twenty hand-colored aquatint engravings, bound as a suite at front. Quires L and M have been transposed in error by the binder. Original quarter claret cloth over drab boards, printed spine label. Untrimmed. Partially unopened. An occasional light spot of foxing, some wear to extremities as expected, and rubbing to spine label with slight losses. Withal, an excellent copy housed in a red cloth clamshell case. "There is no list of plates, and the position of the plates differs in different copies.." (Cohn). Charles Robert Forrester (1803-1850), who anonymously translated Kosewitz's Tales (but did not write them, as some claim), was an English lawyer and writer, and brother of Alfred Henry Forrester, who illustrated under the pseudonym Alfred Crowquill and here provided the sketches that Cruikshank based his engravings upon. We have been unable to locate an original edition in German. Cohn 471. .

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Book number: 02575

Catalogue: English Literature

Keywords: KOSEWITZ, W.F. von (pseud.) Color-Plate Books Caricatures Nineteenth-Century Literature Cruikshankiana

CRUIKSHANK, George; BEDFORD, Francis, binder

George Cruikshank's Fairy Library

London: D. Bogue, 1853. A Complete Set of The Fairy Library With all of the Plates in Two States - Hand-Colored and Plain The First Three Titles Boldly Signed By Cruikshank CRUIKSHANK, George. George Cruikshank's Fairy Library. [Comprising:] Hop-O'My-Thumb and The Seven-League Boots. Edited and illustrated with six etchings by George Cruikshank. London: David Bogue, [1853]. [Together with:] The History of Jack & the Bean-Stalk. Edited and illustrated with six etchings by George Cruikshank. London: David Bogue, [1854]. [And:] Cinderella and the Glass Slipper. Edited and illustrated with ten subjects, designed and etched on steel, by George Cruikshank. London: David Bogue, [1854]. [And:] Puss in Boots. Edited and illustrated with etchings on steel, by George Cruikshank. London: Routledge, Warne & Routledge.. F. Arnold, [1864]. First edition, (**most probably first issues) of all four titles including Puss in Boots which has the notice "To the Public" on the inside of the front cover repeated on separate leaf in different type, and no list of plates. Four octavo volumes bound in one (6 3/4 x 5 1/16 inches; 172 x 128 mm.). [1, title], [2, imprint], [3], 4-30, [1, List of illustrations], [1, blank]; [1, blank], [2, List of illustrations], [3, title], [4, imprint], [5], 6-32; [1, blank], [2, List of illustrations], [3, title], [4, imprint], [5], 6-31, [1, blank]; [i, General Title], [ii, To the Public], [1, title], [2, blank], [3], 4-40 pp. Original green cardboard printed front covers for each volume bound in. The back wrappers are not present. Plates in two states, hand colored and plain. Fifty-one black and white etchings, including frontispieces, on thirty plates. First color plate in Hop O' My-Thumb very slightly chipped at lower right-hand corner (7/8 x 1/8 inch), otherwise fine. Hop-O' My-Thumb boldly inscribed on title-page "To the Revd. Thomas Hugo with the regards of Geo. Cruikshank Augt. 9 1853". The History of Jack & The Bean-Stalk boldly inscribed on the list of illustrations "Revd. Thos. Hugo with the regards of [three indiscernible marks] Geo. Cruikshank". Cinderella and the Glass Slipper boldly inscribed on the recto of the list of illustrations "Revd. Thos. Hugo [three indiscernible marks] with the regards of Geo. Cruikshank". Bound ca. 1880 by Francis Bedford (stamp-signed in gilt on front turn-in). Full citron morocco, covers triple-ruled in gilt, spine with five raised bands, richly decorated and lettered in gilt in compartments. Double gilt-ruled board edges, gilt decorated turn-ins, maroon paper liners and endleaves, all edges gilt. With the bookplates of Francis Wilson and Marshall Reid Anspach on front paste-down. Also with the ink signature of Francis Wilson on the first and second blank leaves. Francis Wilson was a celebrated book collector, author and contemporary of the American poet and journalist, Eugene Field (1850-1895). Marshall Reid Anspach (1895-?) was a successful and popular attorney). Loosely inserted is the original catalog description from the Francis Wilson auction sale (November 6th, 1940). ** The four titles have been bound without the rear wrappers - so they are impossible to authenticate as first issues. However the first three titles are inscribed by George Cruikshank to the Reverend Thomas Hugo and the first inscription is actually dated August 9th, 1853 - described as "A remarkable set.." The Reverend Thomas Hugo (1820-1876). "A ripe scholar, a refined English gentleman, and a stanch High Church priest, he soon attained promotion to a more congenial sphere, and served as curate for six years at St. Botolph's, Bishopsgate. He was elected a Fellow of the Societies of Antiquaries, Literature, the Linnaean, and a host of others. From his pen sprang innumerable lectures, essays, catalogues, histories and reviews. In 1858 he was appointed to the benefice of All Saints, Bishopsgate. Ten years afterwards he was instituted to the rectory of West Hackney. As will be seen on reference to his books, he was a most ardent collector of Bewickiana, - a pursuit in which he spent much time and money.." He wrote The Bewick Collector. A Supplement to a descriptive catalogue of the works of T. & J. Bewick.. London: 1868. (Bigmore and Wyman. A Bibliography of Printing, p. 348). "To the Reverend Thomas Hugo, the foremost collector of Bewick, Cruikshank sent inscribed china paper proofs of the plates [Hop O' My Thumb]" (Patten. George Cruikshank's Life, Times, and Art, Volume 2, p.335). "Much of Cruikshank's remaining years was spent authenticating pictures and sketches and assembling copies of his works for his own collection and for Cuthbert Bede, W.H. Bruton, Sir Percy Fielding, Sir W.A. Fraser, Thomas Hugo, Frederick Locker Lampson, G.W. Reid, Truman, and other enthusiasts." (Patten. George Cruikshank's Life, Times, and Art, Volume 2, p.384). "Princeton's holdings of the Fairy Library are virtually complete, including copies of the earliest issues and sets of china paper proofs of the illustarations for the first three, inscribed by the artist to the Rev. Thomas Hugo and including two autograph letters to the recipient." (Patten. George Cruikshank A Revaluation, p.29). "'Puss In Boots'.. is extremely rare" (Cohn). The Fairy Library was not well-received by Cruikshank's close friend, Charles Dickens. Cruikshank (who wrote the text) in his alcohol abstinence zeal had turned these classic stories into temperance tracts. Dickens, in the October 1, 1853 issue of Household Words, wrote a review, Frauds on Fairies, that harshly criticized Cruikshank for "propagating the doctrines of Total Abstinance, Prohibition.. Free Trade, and Popular Education" (Patten II, p. 339). Yet "so even in Hop and the two stories that followed in the Fairy Library, the illustrations continue to evoke magic kingdoms while the prose cranks out diatribes" (ibid). Later, in 1864, when Routledge wished to continue the series with Puss In Boots, Cruikshank did so "purged of teetotal maxims" (ibid. p. 387) Cohn 196-199. .

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Book number: 04441

Catalogue: English Literature

Keywords: BEDFORD, Francis, binder Children's Books Color-Plate Books Fine Bindings Fairy Tales

CRUIKSHANK, George, illustrator; CAREY, David

Life in Paris

London: Printed for John Fairburn..Sold by Sherwood, Neely, and Jones [et al], 1822. Life, Wherever it Exists in the Shape of Human Character, Is Prolific of Events, and Full of the Materials of Amusement.." [CRUIKSHANK, George, illustrator]. CAREY, David. Life in Paris. Comprising the Rambles, Sprees, and Amours, of Dick Wildfire. of Corinthian Celebrity, and His Bang-Up Companions, Squire Jenkins and Captain O'Shuffleton; With the Whimsical Adventures of the Halibut Family; Including Sketches of a Variety of other eccentric Characters in the French Metropolis. London: Printed for John Fairburn.. Sold by Sherwood, Neely, and Jones [et al], 1822. First edition, early issue, bound without the half-title and the "To the Binder" leaf at rear. Octavo (8 5/16 x 5 inches; 211 x 127 mm). [iii]-xxiv, 489, [1, blank] pp. twenty-one hand-colored aquatint plates including frontispiece. Twenty-two black and white woodcut text illustrations. Plates watermarked Whatman 1821 & 1822. Some of the plates very slightly soiled and some with minor expert marginal repairs, color plate facing page 304 very slightly just touching title. Overall an excellent copy of this uncommon Cruikshank title. Late twentieth century full maroon morocco, covers double-ruled in gilt, spine with five raised bands decoratively tooled and lettered in gilt in compartments, gilt board edges and turn-ins, marbled end-papers, all edges gilt. Although unsigned the binding is of very high quality. "One of the best imitations of Pierce Egan's Life in London, 1821.. which had plates by Robert and George Cruikshank, the plates in this work being by George only. The frontispiece or engraved title here is similar in conception to that of Life in London" (Abbey, Travel). Abbey, Travel, 112. Cohn 109. Tooley 129. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 04311

Catalogue: English Literature

Keywords: CAREY, David Color-Plate Books Fine Bindings Nineteenth-Century Literature Cruikshankiana

CRUIKSHANK, Robert, illustrator; MATHEWS, Charles

Sketches of Mr. Mathews's Celebrated Trip to Paris

London: Printed by and For J. Limbird, [1825]. With Hand-Colored Folding Frontispiece By Robert Cruikshank [CRUIKSHANK, Robert, illustrator]. MATHEWS, Charles. Sketches of Mr. Mathews's Celebrated Trip To Paris. Comprising a Full Account of His Admirable Lecture on Peculiarities, Characters and Manners, With the Most Laughable of the Stories and Adventures, and Seven Original Comic Songs, on the Subjects of Do As Other Folks Do. Paris Is The Only Place. Delights of the Packet. Lumps and Bumps. Day At Meurice's. Heads For A Quarto. And Now Farewell To Paris Revels. And an Analysis of the Laughable Monopolylogue, La Diligence. Embellished with an Elegant Engraving by Cruikshank. London: Printed by and For J. Limbird, n.d. [1825]. Third edition, originally published in 1819 and scarce in each. Twelvemo (6 7/8 x 3 3/4 in; 174 x 93 mm). 24 pp. Folding hand-colored etched frontispiece titled "Mr. Mathews, as Miss Evelina Evergreen". Bound by Zaehnsdorf in later full crimson calf with double fillets, gilt decoration at spine head and tail, and long green morocco title label as compartment. Gilt dentelles. Top edge gilt. Gilt-rolled board edges. A fine copy. "By 1814 Mathews [1803-1878] was an extremely successful comic actor [and playwright]. After early engagements at York, Dublin and elsewhere, he had secured employment in the London theatres, where he had been performing for over a decade. Although he very much wanted to be acclaimed in the great comic roles, he was most successful in volatile, bustling roles specially written for him by the farceurs of the day and usually entailing a rapid succession of impersonations and costume changes. One of Mathews' special skills was an ability to so transform himself physically, facially and vocally that he was often completely unrecognisable" (Davis, Representing the Comic Actor at Work. Nineteenth Century Theatre and Film, Winter 2004, Vol. 31, No. 2). .

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Book number: 02756

Catalogue: English Literature

Keywords: MATHEWS, Charles Color-Plate Books Caricatures Nineteenth-Century Literature Theater

CRUIKSHANK, George, illustrator; CHAMEROVZOW, Louis Alexis

Yule Log, the

London: T.C. Newby, 1847. Illustrated by George Cruikshank with Four Full-Page Etched Plates and Two Glyphographs CRUIKSHANK, George, illustrator. [CHAMEROVZOW, Louis Alexis]. The Yule Log, for Everybody's Christmas Hearth; showing where it grew; how it was cut and brought home; and how it was burnt. By the author of "The Chronicles of the Bastile." Illustrated by George Cruikshank. London: T.C. Newby, 1847. First edition. Crown octavo (6 3/8 x 4 inches; 162 x 101 mm.). [iv], [1]-190. Four full-page etched plates and two glyphographs (one full-page). Late nineteenth century half blue morocco over marbled boards ruled in gilt, spine with five raised bands paneled and lettered in gilt in compartments, marbled endpapers, top edge gilt. Gilt on spine a little dull. The etched plates very lightly foxed. A very good copy. Louis Alexis Chamerovzow (1816-1875). Anti-slavery campaigner and author. Secretary of the British and Foreign Anti-Slavery Society, transformed the memoirs of an illiterate black man, John Brown (known as Fed or Benford in his slavery in Georgia), into a powerful anti-slavery publication, Slave Life in Georgia (London, 1855). Cohn 128. .

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Book number: 05639

Catalogue: English Literature

Keywords: CHAMEROVZOW, Louis Alexis Illustrated Books Christmas Nineteenth-Century Literature Cruikshankiana

ROYAL BINDING; Cunningham, J.W.

Velvet Cushion, the

London: T. Cadell and W. Davies, and J. Hatchard, by G. Sidney, 1815. A 19th Century Best-Seller From the Hanoverian Royal Library at Marienberg [ROYAL BINDING]. CUNNINGHAM, J. W. The Velvet Cushion. Seventh edition. London, for T. Cadell and W. Davies, and J. Hatchard, by G. Sidney, 1815. Twelvemo, (187 x 118 mm). Near-contemporary dark green cloth, front cover with the royal arms of Britain and Hanover stamped in blind, back cover with blind central cartouche, spines titled in gilt with large gilt ornaments either side, red sprinkled edges, from the Hanoverian royal library at Marienberg with pencilled shelf-mark on the inside front cover of vol. I. A few scattered spots internally, but still a fine fresh copy, the binding almost as new. First published the previous year, Cunningham's novel, subtitled "an historical account of divisions within the Church of England since the Reformation", went through eleven editions in three years. John William Cunningham (1780-1861) was one of the leaders of the evangelical movement in the mid-19th century and a strong supporter of the Church Missionary Society. He served as curate to John Venn at Clapham parish church, the epicentre of the famous Clapham sect, and portrays Venn in the book as Berkely. Frances Trollope, who lived in Clapham, took a pot-shot at evangelicalism in general and Velvet Cunningham in particular in her scurrilous novel The Vicar of Wrexhall (1837), earning her a magisterial rebuke from Samuel Wilberforce himself for 'a most abominable personal attack'. .

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Book number: 00394

Catalogue: English Literature

Keywords: Cunningham, J.W. History Literature Nineteenth-Century Literature Religion

DAGLEY, Richard; GASPEY, Thomas

Takings; or, the Life of a Collegian

London: John Warren, 1821. Dedicated To The Eye Of The Connoiseur DAGLEY, Richard (illustrator). [GASPEY, Thomas. author]. Takings; Or, The Life of a Collegian. A Poem. Illustrated by Twenty-Six Etchings, from Designs by R. Dagley. London: John Warren, 1821. First edition. Octavo (10 1/8 x 6 3/8 ins; 258 x 162 mm.) xxxix, [9], 184 pp. Twenty-six hand-colored plates. Publisher's original drab boards, expertly rebacked. Printed paper spine label. Untrimmed. Bookplate of John P. Kane. A fine copy. Rare, the last copy to come to auction was in 1999. The poem was anonymously written by Thomas Gaspey (1788-1871). "To the Admirers of those hasty Productions of the Pencil called Sketches, Gentlemen, In offering these subjects to your attention, I feel assured of every allowance on your part for their style of execution; and also that in your comments upon what the generality may call blots or scratches, you will lean to the favourable side, and pronounce them meaning and design. To those who are not gifted with your taste and feeling, I am aware the 'Takings' may not appear with all the advantage that I could wish; I must, therefore, request such persons to suspend their judgment till they have acquired that improved perception which finds an intentional grace, where ordinary vision sees only accident or deformity. The eye of the Connoisseur can penetrate the obscurity of redundant lines, separate their entanglements, and distinguish the latent shapes od beauty and vigour. In a scanty performance he can nevertheless discern the excellence which the artist contemplated" (Dagley, Dedication). "Richard Dagley (d. 1841), genre painter and engraver, was an orphan and was educated at Christ's Hospital, London. Having an interest in art, and being delicate, he was apprenticed to Thomas Cousens, a jeweller, watchmaker, and sometime painter of ornaments and miniatures, whose daughter Elizabeth (b. 1755) he married on 2 November 1785 at St James's, Westminster. The couple had two sons, Edward (b. 1790) and Richard (b. 1791). Dagley was a friend of Henry Bone, with whom he worked enamelling views on the backs of watches and mythological compositions on bracelets, and painting eyes for rings and brooches, as was then the fashion. He exhibited irregularly at the Royal Academy from 1785 until 1833, mostly genre pictures. His career was similarly erratic. He made several medals and took to watercolour drawing. About 1805 he was working as a drawing-master in a lady's school in Doncaster, but was back in London from 1815. "In 1818 he published A Compendium of the Theory and Practice of Drawing and Painting. Dagley reviewed books on art and, after the publication of his first book, Gems Selected from the Antique in 1804, with plates designed and engraved by him, he worked as an illustrator, most notably on Flim-Flams, a collection of anecdotes by Isaac D'Israeli, and for Takings, a humorous poem by Thomas Gaspey (1821). He also published books of his own engravings ‘illustrated' in poetry or prose by others; his second volume on gems (1822) had poetry by Dr G. Croly and Death's Doings (1826) was a meditation on the arrival of death. Dagley's engraved work is often slight. As explained in the preface to Death's Doings: ‘I have endeavoured to show the way a certain class of writing may be embellished without incurring the expense of those laboured and highly finished engravings which make a work prohibitively expensive'. Dagley died in 1841" (Oxford DNB). Not in Tooley, Abbey, Hardie or Bobins. .

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Book number: 02287

Catalogue: English Literature

Keywords: GASPEY, Thomas Color-Plate Books Caricatures Nineteenth-Century Literature

DAGLEY, Richard

Takings; or, the Life of a Collegian

London: John Warren , 1821. The Humorous Trials of College Life In 26 Hand-Colored Etchings DAGLEY, Richard. Takings; Or, The Life of a Collegian. A Poem. Illustrated by Twenty-Six Etchings, from Designs by R. Dagley. London: John Warren and G. and W.B. Whittaker, 1821. First edition. Octavo (9 1/4 x 5 5/8 in; 234 x 143 mm). xxxix, [3], 36-184. Twenty-six hand-colored etchings. Bound by Root & Son in later full calf with triple fillets, gilt-ruled and ornamented compartments with crimson morocco spine labels. Gilt dentelles. All edges gilt. With the bookplate of George Seton Veitch. A fine copy. Though well-represented in institutional holdings, the last copy of Takings seen at auction was fifteen years ago, in 1999. "Richard Dagley (c. 1765-1841) was an English subject painter. He was brought up at Christ's Hospital, and at first made designs for jewellery. From 1784 to 1806 he exhibited domestic subjects at the Royal Academy. He then turned his attention to teaching drawing, but again appeared at the Academy from 1815 to 1833. As a medallist he obtained some success, and he published works on gems in 1804 and 1822. His life was a continued struggle against poverty. He died in London in 1841" ( Bryan's Dictionary of Painters and Engravers). Not in Tooley, Abbey, Hardie, or Bobins. .

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Book number: 02586

Catalogue: English Literature

Keywords: Color-Plate Books Nineteenth-Century Literature Poetry

DAHL, Roald

Kiss Kiss

New York: Alfred A. Knopf, 1960. Delicately, the Naive Punish the Wicked, But Also the Other Way Around.. DAHL, Roald. Kiss Kiss. New York: Alfred A. Knopf, 1960. First edition. Octavo (7 9/16 x 5 1/8 inches; 192 x 130 mm.). [x], [1]-308, [2] pp. Publisher's violet cloth , front cover with decoration in pink and black, lower cover with Borzoi monogram in black.Spine with pink panel, lettered in black, top edge stained pink, others uncut. Pictorial dust jacket, unclipped with price $3.95 at top of front flap. A near fine copy. First New York edition preceding the Toronto and London editions. Kiss Kiss is a collection of eleven short stories including The Landlady, Royal Jelly, Georgy Porgy, and The Champion of the World (a condensed version of the story that would become Dahl's 1975 children's book Danny the Champion of the World). These are some of Dahl's most macabre stories. Delicately, the naive punish the wicked, but also the other way around. Most of the stories are presented as typical narratives, albeit with imaginative characters. The horror of each story is built around implication, and many horrific endings, involving death or unpleasant situations, can only be inferred, since nothing is directly stated. The British film director Alfred Hitchcock adapted half a dozen of Dahl's tales for his own television show in the late '50s and '60s. All six can be found between the two short story collections, Someone Like You and Kiss, Kiss: This volume contains The Landlady, Mrs. Bixby and the Colonel's Coat, and Royal Jelly. Roald Dahl (1916-1990) was a British author of popular children's literature and short stories, a poet, screenwriter and a wartime fighter ace. His books have sold more than 300 million copies worldwide. Dahl has been called "one of the greatest storytellers for children of the 20th century.

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Book number: 05723

Catalogue: English Literature

Keywords: Modern Firsts Horror Science Fiction

DAHL, Roald

Someone Like You

New York: Alfred A. Knopf, 1953. Certainly the Most Distinguished Book of Short Stories of 1953" DAHL, Roald. Someone Like You. New York: Alfred A. Knopf, 1953. First edition. Octavo (7 1/2 x 5 1/4 inches; 191 x 133 mm.). [x], [1]-359, [1, Printers note] pp. Publisher's cream cloth , front cover with decoration in pink and black, lower cover with Borzoi monogram in black.Spine with pink panel, lettered in black, top edge stained pink, others uncut. Pictorial dust jacket, unclipped with price $3.50 at top of front flap. A near fine copy. First New York edition preceding the London edition of 1954. Someone Like You is a collection of eighteen short stories including Taste, Lamb to the Slaughter, The Soldier, Skin, The Wish and Nunc Dimittis (Now lettest thou depart). The American book critic Edward Groff Conklin called Someone Like You "certainly the most distinguished book of short stories of 1953 .. all superb". Science fiction editors Anthony Boucher and J. Francis McComas praised the collection's "subtly devastating murder stories [as well as] two biting science-fantasties, plus a few unclassifiable gems" and concluded the volume "belong[ed] on your shelves somewhere in the Beerbohm/Collier/Saki section". Van Morrison's song Someone Like You is named after this collection. The British film director Alfred Hitchcock adapted half a dozen of Dahl's tales for his own television show in the late '50s and '60s. All six can be found between the two short story collections, Someone Like You and Kiss, Kiss: This volume contains Dip in the Pool, Lamb to the Slaughter, and Man from the South. Two of the stories in this collection Poison & The Rat Catcher were adapted by American filmmaker Wes Anderson as short films for Netflix. Roald Dahl (1916-1990) was a British author of popular children's literature and short stories, a poet, screenwriter and a wartime fighter ace. His books have sold more than 300 million copies worldwide. Dahl has been called "one of the greatest storytellers for children of the 20th century.

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05724

Catalogue: English Literature

Keywords: Modern Firsts Horror Science Fiction

DAVID, Salvatore, binder; STERNE, Laurence

Yorick's Sentimental Journey Though France and Italy, &C

London: Reprinted and sold by all booksellers in town and country, 1791. Laurence Sterne's Sentimental Journey Through France and Italy In a Wonderful Turn-of-the Century Inlaid Binding by Salvatore David DAVID, Salvatore, binder. STERNE, Laurence. Yorick's Sentimental Journey though France and Italy, &c. London: Reprinted and sold by all booksellers in town and country, 1791. Later edition. Four parts in one twelvemo volume (6 11/16 x 4 inches; 170 x 101 mm.). [ii], 279, [1, blank] pp. Six plates including frontispiece engraved by Stothard. Two stipple portraits 'Maria' and 'The Monk' engraved by Taylor after S. Shelley. Bound ca. 1900 by Salvatore David (stamped signed "S. David" on front turn-in). Full dark green crushed levant morocco, covers richly bordered in gilt with an inlaid red morocco strip surrounding an elaborate floral and basket-weave design inlaid in red morocco and stamped in gilt. Sine with five raised bands, decoratively tooled and lettered in gilt in compartments with inlaid red morocco flowers. Double gilt-ruled board edges, red morocco liners elaborately decorated in gilt in a similar design. Cream embroidered silk endleaves with marbled endpapers, all edges gilt. A superlative example in perfect condition. Housed in it's original fleece-lined marbled slipcase with morocco tips and fore-edge. With the engraved bookplate of collector Horace G. Young of Worcester, Mass. on the rear marbled endleaf. Salvatore David (1859-1929) "was the son of Bernard David, a noted Second Empire binder-gilder who worked for [Leon] Gruel before establishing his own atelier in 1855. On his father's retirement in 1890, David took over the bindery and initially applied a similar, classically inspired range of ornaments to his covers. But by 1900, after applying himself to the production of commercial and library bindings without much success, he turned to éditions de luxe, which he decorated with a blend of gold fillets and garlanded flowers in a compelling and original manner. In 1907, he moved his shop from 12 rue Guénégaud to 49 rue le Peletier, where he remained until his death. Important collectors of his work included René Descamps-Scrive and Freund-Deschamps" (Duncan & De Bartha, Art Nouveau and Art Deco Bookbinding, French Masterpieces 1880-1940, pp. 189-190). A Sentimental Journey Through France and Italy is a novel by Laurence Sterne, written and first published in 1768, as Sterne was facing death. In 1765, Sterne traveled through France and Italy as far south as Naples, and after returning determined to describe his travels from a sentimental point of view. The novel can be seen as an epilogue to the possibly unfinished work The Life and Opinions of Tristram Shandy, Gentleman, and also as an answer to Tobias Smollett's decidedly unsentimental Travels Through France and Italy. Sterne had met Smollett during his travels in Europe, and strongly objected to his spleen, acerbity and quarrelsomeness. He modeled the character of Smelfungus on him. Smelfungus was the name given by Laurence Sterne to Tobias Smollett as author of a volume of Travels through France and Italy, for the snarling abuse he heaps on the institutions and customs of the countries he visited. The term "smellfungus" thereafter passed into broader use to describe a grumbling traveller, and might even be applied to a faultfinder in general. In the 19th century Smelfungus was adopted by Thomas Carlyle as a pen-name when he had any seriously severe criticisms to offer on things, particularly those that have gone or are going to the bad. Patrick Proctor Alexander also used the name in his book Mill and Carlyle, which contrasted Carlyle's views with those of John Stuart Mill. Proctor's Occasional Discourse on Sauertieg by Smelfungus attacks Carlyle's more brutal ideas. The novel was extremely popular and influential and helped establish travel writing as the dominant genre of the second half of the 18th century. Unlike prior travel accounts which stressed classical learning and objective non-personal points of view, A Sentimental Journey emphasized the subjective discussions of personal taste and sentiments, of manners and morals over classical learning. Throughout the 1770s female travel writers began publishing significant numbers of sentimental travel accounts. Sentiment also became a favorite style among those expressing non-mainstream views, including political radicalism. The narrator is the Reverend Mr. Yorick, who is slyly represented to guileless readers as Sterne's barely disguised alter ego. The book recounts his various adventures, usually of the amorous type, in a series of self-contained episodes. The book is less eccentric and more elegant in style than Tristram Shandy and was better received by contemporary critics. It was first published on 27 February, and on 18 March Sterne died. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 04791

Catalogue: English Literature

Keywords: STERNE, Laurence Fine Bindings Eighteenth-Century Literature

DICKENS, Charles; BROWNE, H.K.

Dombey and Son

London: Bradbury & Evans, 1848. Time, Consoler of Affliction and Softener of Anger" Scarce in the 'Primary' Cloth Binding DICKENS, Charles. Dombey and Son. London: Bradbury & Evans, 1848. First edition, first issue with the 'eight-line errata' (following all but a very few of the points in Smith), in book form of Dickens' seventh novel, bound from the original monthly parts, with stab-holes present in the inner margins of gatherings. Octavo (8 3/4 x 5 1/2 in; 222 x 138 mm). xvi, [1, errata], [1, blank], 624 pp. Engraved frontispiece, titlepage, and thirty-eight plates after Hablot K. Browne ("Phiz") including the 'dark' plate "On the Dark Road", facing p. 547. Some of the plates with light foxing, mainly marginal, otherwise a very clean and partially uncut example. Publisher's 'primary' binding of moderate olive-green fine-diaper grain cloth; the front and back covers entirely stamped in blind with a three-line border which encloses a rectangular frame that occupies the length of the covers. The frame contains an ornament of leaves and stems in each corner and a chain-like design that runs along its inner edge; each segment of the chain encloses a four-headed flower and is bordered by a nipple. The spine is lettered in gilt and stamped in blind with a thick band at its top and bottom and four rectangular panels. Original pale orange-yellow coated endpapers. With nearly all of the 'internal flaws' mentioned by Smith uncorrected. Front joint, head and tail of spine and inner hinges expertly and almost invisibly repaired, spine slightly faded. An excellent example, far better than is usually seen, of this now hard to find Dickens novel in the original cloth. "Dombey and Son originally appeared in twenty numbers, bound in nineteen monthly parts, the last forming a double number, from October 1846 - April 1848. It was published in book form on April 12, 1848. at 21s. Dombey and Son contains the first published example of a so-called dark plate, which was created by a machine process that tinted the etched plate and heightened its black-and-white contrast. The one dark plate in Dombey and Son is "On the Dark Road," p. 547. The smooth blending of light and shadow on this illustration vividly contrasts it with the other illustrations in the novel and is a fine example of the dark plate process." (Smith). Smith I:8. Sadleir, 687. Wolff, 1798. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 03754

Catalogue: English Literature

Keywords: BROWNE, H.K. Illustrated Books Nineteenth-Century Literature

DICKENS, Charles, contributor; SEYMOUR, Robert, illustrator; BUSS, Robert William, illustrator

Library of Fiction or Family Story-Teller; the

London: Chapman and Hall, 1836. First Edition, First Issue Set of The Library of Fiction, With Two Sketches by "Boz" and Plates by Seymour and Buss [DICKENS, Charles, contributor]. The Library of Fiction, or Family Story-Teller; Consisting of Original Tales, Essays, and Sketches of Character. With Fourteen Illustrations. Vol. I. [II.] London: Chapman and Hall, 1836-1837. First edition in book form, first issue, with title-page to Vol. I dated 1836. Two octavo volumes (8 1/8 x 5 1/8 inches; 206 x 130 mm.). [iii-v]vi[vii]viii, [1]2-384; [vi], 350. Twenty-eight engraved plates by various artists including Robert Seymour and Robert William Buss. Publisher's dark green bead-grain cloth over boards, covers with arabesque design stamped in blind, spines lettered in gilt, all edges uncut, coated yellow end-papers. Covers of volume I with some damp-staining, expertly rebacked with original spine laid down; covers of volume II with joints expertly repaired and end-papers renewed with matching paper. With the bookplate of Eric S. Quayle on front paste-down of volume I. Tipped in at the end is a mid-twentieth century typed booksellers description (G.F. Sims of Hurst, Reading, England) of the book. The plates and text quite clean and relatively free from the usual foxing. An excellent set of the scarce first issue, from the library of the celebrated collector and bibliographer, Eric Quayle. Housed in an early twentieth century olive green morocco over green cloth board slipcase with central divider. Two spines with five raised bands, elaborately tooled and lettered in gilt in compartments. "Dickens' first article in the first number of The Library of Fiction, "The Tuggses at Ramsgate" (Vol. I, pp. 1-18) was published on the selfsame day as the first number of the Pickwick Papers: 31 March 1836. Like Pickwick, the story is set partly in and partly outside London, and involves common London types: the fatuous nouveau riche Tuggses, the mercenary Waterses, and various impertinent and whimsical carriage drivers and land." (Philip V. Allingham, Victorian Web). "Dickens' other article in the Library of Fiction, "A Little Talk About Spring and Sweeps," (Vol. I, pp. 113-119) was first published in May 1836. It sets out to depict the traditional spring celebrations in the streets that Boz remembers so well from his childhood. These festivities, in the shape of spontaneous street performances and merry dances of young sweeps, have by now deteriorated into a fake and shabby charade that has nothing authentic about it. Boz laments the fact that nowadays the dancers are no longer real child sweeps, but actors who produce a contrived and ungainly performance. Boz's description of the celebrations now and in the past is interrupted by a lengthy digression into the biographies and careers of certain young chimney sweeps, the account of whose mysterious original introduces an aura of imaginative speculation into the sketch." (Dickens and the Imagined Child). Rare in the original cloth, neither Sadleir nor Wolff had examples in the cloth. Contains two early pieces by Dickens in Volume I, both attributed to "Boz" and printed in the first and second series, respectively, of Sketches by Boz: "The Tuggs's at Ramsgate," pages 1-18, with two plates engraved by Landells after Robert Seymour, the first illustrator of Pickwick; and "A Little Talk About Spring and Sweeps," pages 113-119, with one plate by J. Jackson after R.W. Buss, Pickwick's second illustrator. "The peculiar purpose of the ‘Library of Fiction,' is to put is readers in possession, at a moderate price, of a series of Original Tales and Sketches, all carefully selected from among a host of candidates; and many of them written by Authors of the very loftiest pretensions in the field of imaginative composition" (publisher's "Address," Volume I). Originally issued in fourteen monthly parts from April 1836-May 1837, with two additional parts issued in June and July, 1837. Eckel, pp. 137-9. Gimbel E122. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 04683

Catalogue: English Literature

Keywords: SEYMOUR, Robert, illustrator BUSS, Robert William, illustrator Illustrated Books Nineteenth-Century Literature