William Makepiece Thackeray Essay on the Genius of George Cruikshank Profusely Extra Illustrated with Ephemera and Theatrical Manuscripts

Description

Thackeray, William Makepeace. An Essay on the Genius of George Cruikshank. Reprinted verbatim from the “Westminster Review” with a Prefatory Note on Thackeray as an Artist and Art-Critic by W. E. Church. London, George Redway, 1884. Extra-illustrated. This copy contains the following, along with those published with the book: 32 portraits, 5 colored; 93 plates and caricatures (32 colored); 20 wood engravings; 6 Autograph Letters Signed: Alfred Bunn, Manager of Drury Lane Theatre (2); C.W. Cope, the Royal Academician; R.B. Peake, Dramatic Author; J.D. Harding and Thomas Dibdin 1771-1841; one playbill; two signatures of George Cruikshank. Full red morocco leather. $7,500.00

Collation:

[playbill for Covent Garden Feb. 28, 1829; half-title;

Palthorpe portrait frontispiece, title page, two autographs of George Cruikshank tipped in opposite the dedication to Benjamin Ward Richardson, portrait of William Makepeace Thackeray, first page of text on a1 (i – ii);

“Lazaro Outwitted by the Cura”;

two drawings by Thackeray (“The Collera Morbus” and “Scene from the Deluge”) both hand-colored;

iii – iv;

an engraved portrait of Goethe;

autographed letter signed by Alfred Bunn 1798-1860, lessee of both Drury Lane and Covent Garden, dated Sept. 13, [18]43, with a note of explanation on the verso by the recipient (W. Baile Bernard),  explaining how he came to write drama in conjunction with  Mark Lemon, editor of “Punch,”  and à Beckett: [My Friends, That Mill of yours is an infernally slow one. Since the Unity has become the Trinity the pace slackens. I am awaiting the I Act affair & especially a sight of the Brindetta. This mode of “grinding” won’t do at all. Fri’sn while his’n, A Bunn. T.A.D.L. Sept. 13 [18]43. Baile’s note on the back: “One of Bunn’s letters to me when I proposed to write Drama — on the french [sic] system in competition with Lemon and à Beckett.”];

a two-page autograph letter signed from Alfred Bunn to F[rederick] Reynolds 1764-1841, dated July 5, 1849, about the successes of Brutus and The Devil’s Bridge and his desire to produce Mary Stuart, with the envelope tipped in opposite, “The Effect of Cold Punch,” on the verso: [Theatre Royal Birmingham 5 July 1849, My dear Sir, I am sure it will give you pleasure to hear of our success. Brutus was played for the fifth time on Friday last to L140 and the Devil’s Bridge has just made another hit: I believe the World speaks well of us & that’s the best hit of all. I send you the Paper tomorrow, that you may see what we are doing. I wrote to Mr. Harris a few days ago on two three subjects and I will be obliged for you to extract an answer from him. I assure you Mrs. Humby whom mentioned to him is worth his notice. I asked him about my wife, & also about Mrs. [Helena] Faucit, & I am anxiously waiting a reply to all queries. Alluding for one moment to a subject  discussed partially before, allow me to ask you if you think Mr. Harris would be hurt were I to play Mary Stuart. I have political reasons for it & above all I know it would be above L500 in my pocket. I am bound to produce an original Tragedy here and the manuscript I have had sent me have only let me into a secret of how many more fools there are in the world than I was aware of. Mary would be a great card for me on account of the processions — it could not injure him — but on the contrary service him — it would perfect us and put money in our purse. All these things are weighty considerations & I could play it capitally from the printed copy — still if Mr. H would consider I injured the interest of Covent Garden Theatre I should be the last les[s]or to do it. pray write me fully thereon if harry won’t contest, can you furnish me with a few manuscripts for selection — & also I want to know if Mr. H will allow me a ms. of Cozenings. I am aware I am giving you a great deal of trouble, but I flatter myself not too much, from the kindness you have always shown me. If I must not handle Mary put me in the way of a good ms Tragedy. How is Covent Garden going on — and how does all your Circle. I saw Mr Moore who told me he had seen you all. I long for a dish of Chai but I fear it will be long ‘ere I have it with you. With my best regards to Mrs. Reynolds & family, believe your most truly & obliged Al Bunn”] [The envelope was addressed to “F. Reynolds Esq./ No. 48 Warren Street / Fitzroy Square London”](fold separation, no text lost);

small engraved portrait of Braham;

“The Kiss Under the Mistletoe”;

“Leg of Mutton ‘Swarry’”;

a lithograph on blue paper 18.5 cm x 15.5 cm by Robert Seymour without a title but with a legend “Wot are you sowing the Grass seed for, Mum …”;

a lithograph by Robert Seymour on pink paper with the title “Corporation Abuses”;

full-page hand-colored etching drawn, etched and published by Richard Dighton titled, “Is Friend Rothschild on  ‘Change?” dated March 7, 182[?];

v -vi;

hand-colored etching of a cricket match signed M. Buss;

another hand-colored etching by Buss;

“Garden Front of Furnival’s Inn” by S. Ireland, hand-colored;

engraved portrait of Augustus Egg with a facsimile of his signature;

an engraved portrait of a youthful Charles Dickens with a facsimile of his signature;

vii – viii;

an engraved aquatint portrait of Ruskin by Millais;

etching titled “Pen Pursuing his law studies”;

George Cruikshank’s “Anne Imprisoned in the Brick Tower”;

portrait of “George Colman the Younger Esq. 1762-1836” manager of the Haymarket Theatre;

Raeburn’s portrait engraved by Finden of “General The Right Honorable Sir David Baird”;

ix – x;

Alfred Croquis’ engraved portrait of Theodore P. Hook, with a facsimile of his signature;

colored engraving “Craven House, Drury Lane”;

autographed note signed from C. W. Cope, dated September 3, 1833, “I return the proof with a few very light suggestions – I am much pleased with it. Faithfully yours, C.W. Cope,” referencing mention of Cope by Thackeray on p. ix;

autograph letter signed by R[ichard]  B[rinsley] Peake, Secretary of the Dramatic Authors Society, dated August 2, 1838, addressed to B. Webster, Esq.: [Dramatic Author’s Society/42 King Street / Covent Garden / August 2 1838 / My dear Webster,/ The committee have desired me to ask you if you will be kind enough between this & Tuesday next to arrange for the payment of the Dramas performed at the Haymarket — It is for the purpose of keeping the accts. straight, as they are unaware of the nature of any agreement you may have made with Mr. Haynes Bayly &c &c./ I am My dear Webster/ very respectfully yours/ R.B. Peake, Secretary.”];

a large fold-out sepia engraving, 21.5 cm x 32.5 cm satirizing Sheridan, published for the Satirist, August 1, 1811, “The Bond of patriotism”;

an engraving of Othello;

an engraving of an old trunk with a scroll ‘magna Charta’;

portrait “Mr. Blanchard as Ralph” January 4, 1791;

portrait of Captain Charles Morris;

portrait of Benjamin Webster (see pp. x, 2);

portrait of John Milton;

xi – xii;

colored portrait of David Hume;

portrait of Edward Gibbon, engraved by J. Hall from Joshua Reynolds’ portrait, engraving dated February 1, 1780;

an engraving titled “Virtue Rewarded, a Booth in Vanity Fair”;

engraving “Mr. T. P. Cooke as Long Tom Coffin” (see p. xiv);

two engravings by George Cruikshank, “The Great Fit in Aldgate” and “The Dead Cart”;

etching “the Last Hazard” signed in the plate J. Leech;

xiii – xiv;

“engraved “Portrait of David Roberts” (See p. iv);

autograph letter signed from artist, J. D. Harding, undated, a letter of introduction and recommendation for William Fowler;

a portrait of Thomas Woolner from an unpublished drawing of D. G. Rossetti;

xv – xvi;

two engravings from The House that Jack Built by George Cruikshank, Cohn 204;

a small broadside with an engraved portrait of Rubens, October 1 , 1794, by Murray (See p. xv);

“an engraving, “Molly Lowe”;

The Westminster Review pp. 1 – 2 (A1); an engraving “Jonas Tunks” from Mornings at Bow Street, Cohn 844?;

an engraving titled “Return Again Our England’s Hannibal”;

a hand-colored engraving with an added printed text: “The Promenade – Greenwich Hospital. (Herbert’s Letters.) Lot. 1379.”;

a hand-colored engraved portrait of George Cruikshank with an engraved facsimile of his signature;

an engraving titled “Harmonious Owls” from Bentley’s Miscellany 1842;

an engraving from Bentley’s Miscellany, “The Mock Trial” 1843;

“The Young Bride Comes on a Horse and Saddle” etched and published by George Cruikshank 1839;

etching by George Cruikshank, 1839, “And Goes Home in a Coach and Three”;

etching by George Cruikshank, 1839, “The Proud Young Porter in Lord Bateman’s State Apartment”;

etching by George Cruikshank, “A Disappointed Man” from Bentley’s Miscellany, September 1, 1837;

etching, “The Knight and the Lady” from Bentley’s Miscellany, 1843;

an etching signed in the plate by George Cruikshank, “A Marine’s Courtship” from Bentley’s Miscellany, July 1, 1837;

etching, “Dick Dafter Held Fast by Jack Eagleton” from Bentley’s Miscellany 1842;

an etching signed by George Cruikshank in the plate, “Live Properties”;

an etching signed by George Cruikshank in the plate, “A Startling Effect”;

an etching titled, “A Flight of Witches”;

pp 3-4;

an etching signed by George Cruikshank in the plate, “Manger Sharpening his Axe”;

an etching signed by George Cruikshank in the plate, “Courtenay’s Escape from the Tower”;

an etching signed by George Cruikshank in the plate, “Queen Mary Receiving the Prisoners on the Tower Green”;

fold-out hand-colored etching by George Cruikshank 18.5 cm x 25.5 cm, titled “Breaking Up” signed in the plate, “G. Cruikshank fect [sic] Decr. 12^th, 1826. S. Knights, Sweetings Alley, Royal Exchange” on an over-written plate, Cohn 953;

large fold-out hand-colored plate titled “Monstrosities of 1827” 27 cm x 40 cm,  signed in the plate, “Robert Cruikshank delt et fecit from Mr. B. Read’s fashions” published by Thomas McLean August 1, 1835;

an engraving titled “Bow Church, Cheapside – London”; 5-6;

an engraved portrait of George III;

an etching titled “The Queen’s Last Moments”;

an etching of St. Bride’s Church, Fleet Street;

a fold-out lithograph titled “Misery Makes a Man Acquainted with Strange Bedfellows,” 27.5 cm x 32.5 cm , signed in the plate “HB” ( by John Doyle not H.B. Doyle, as annotated on the lithograph) published August 3, 1841 by Thomas McLean at the General Lithog[raphy] Estab[lishmen]t 70 St. Martin’s Lane;

a hand-colored etching signed in the plate “GCK”;

pp 7-8;

an etched reproduction of a T. Stothard portrait by L. Stocks; pp 9-10;

a hand-colored etching by James Gillray, signed and dated in the plate November 20, 1804, titled “The Reconcilliation”;

two etchings, one titled “Prov[erbs] 4.7.8.” and the other “Frontispiece to the Perspective of Architecture” (William Hogarth) published March 1, 1798;

an etching from Brough’s Life of Sir John Falstaff, by George Cruikshank, titled “Sir John Falstaff on a Visit to his Friend Page at Windsor”;

an etching from Brough’s Life of Sir John Falstaff, by George Cruikshank, titled “Pistol Informing his Friend Sir John Falstaff of the Death of Harry the Fourth”;

an etching from Brough’s Life of Sir John Falstaff, by George Cruikshank, titled “Sire John Falstaff Driving Pistol from His Presence”;

a hand-colored etching signed in the plate by George Cruikshank, titled “The Marriage of Cinderella to the Prince”;

a hand-colored etching by George Cruikshank signed in the plate titled “Jack Gets the Golden Hen Away from the Giant”;

an etching after Hogarth, of Hogarth’s invitation, titled “The Bearer hereof is entitled (if he thinks proper) to be a Bidder for Mr. Hogarth’s Pictures, which are to be Sold on the last day of the Month”;

an etching titled “Bardell v. Pickwick”;

an engraved portrait after Lawrence titled “Nicholas Van Stittart, Baron of Bexley” with a facsimile of his signature reproduced;

full-length portrait of Pierre-Jean de Béranger titled “Author of “Les Souvenirs du Peuple” with a brief quote and signature in facsimile;

a small engraving titled “Statue of George Canning”;

a small etching signed “G.C.” in the plate for Don Quixote; pp 11-12; a hand-colored etching titled “Highest Life in London. Tom and Jerry Sporting a Toe Among the Corinthians, at Almacks in the West” signed by I.R. and George Cruikshank;

a hand-colored etching titled “Highest Life in London. Tom and Jerry Sporting a Toe Among the Corinthians, at Almacks in the West” signed by I.R. and George Cruikshank (the same image as the plate immediately preceding, but colored differently);

a hand-colored etching titled “Mr. Samuel Weller” with the engraver’s name below the image;

an etching titled “Temple Bar”;

an engraving dated July 1, 1807 by J. P. Malcolm titled “Entrance to Hyde Park from Park Lane”;

a hand-colored engraving dated May 29, 1821, titled “Hyde Park. Tom and His Cousin Dashing Among the Pinks in Rotten Row” from a drawing by H. Alken, etched by W. Read;

pp 13-14;

a lithographic half-portrait of W. M. Thackeray titled “Author of “Vanity Fair” with a facsimile of his signature;

pp 15-16; an etching titled “How Con Fell in with the Widow Davis”;

an etching signed in the plate “Geo. Ck.”;

an etching signed in the plate “G. Ck.”;

an engraved portrait of Hablot Knight Browne, also known by his pen name “Phiz” with an inscription and his signatures as Browne and as Phiz reproduced in facsimile;

an engraving titled “My First Attempt at Fortune Telling”;

pp 17-18 (with publisher’s in-text illustrations); an etching signed in the plate “George Cruikshank” titled “Oliver’s Reception by Fagin and the Boys”;

an etching signed in the plate “George Cruikshank” titled “Oliver Claimed by His Affectionate Friends”;

an etching signed in the plate “George Cruikshank” titled “Oliver Recovering from the Fever”;

pp 19-20 (with publisher’s in-text illustrations);

a hand-colored portrait titled “Lord Nelson. From an Original Picture by Hoppner in Her Majesty’s Collection at St. James’s”;

a hand-colored plate titled “The Pillars of a Gin Shop” “Sketched, Etched and Published by George Cruikshank 1833”;

two untitled etchings of naval battle scenes signed in the plate “G.C.”;

pp 21-22 (with publisher’s in-text illustrations);

an engraved portrait of John Bunyan holding a presumed copy of “Pilgrim’s Progress” with the engraved note “From an Original Painting in the Possession of Rev. J. Olive, Rector of Ayot, St. Lawrence, Herts.” (see p. 21);

pp 23-24 (with publisher’s in-text illustrations); hand-colored etching titled “Drawing for the Militia” “Designed, Etched and Published by George Cruikshank, April 1, 1834”; pp 25-26 (with publisher’s in-text illustrations);

an etching by Alfred Croquis of the authors of “Agitation” and “The Apostate” with facsimiles of their signatures;

pp 27-28 (with publisher’s in-text illustrations); an etching with the quote “Here shall the Muse frame no excuse, But frame the man himself” (see p. 29); four small etchings mounted on one leaf;

pp 29-32 (with publisher’s in-text illustrations);

two etchings signed “G.C.” in the plates; pp 33-34 (with publisher’s in-text illustrations); etching from Peter Schlemiel signed “G. Cruikshank” in the plate;

a hand-colored plate titled “The Tomb of Napoleon”;

a second insertion of the etching immediately preceding “The Tomb of Napoleon” from Peter Schlemiel;

an etching signed “G. Ck.” in the plate;

a hand-colored etching signed “G. Cruikshank” in the plate;

pp 35-44 (with publisher’s in-text illustrations);

a hand-colored etching signed “G. Ck.” in the plate;

a steel engraving hand-colored, on p.43, opposite it is reproduced by the publisher with some discussion by Thackeray;

pp 45-46 (with publisher’s in-text illustrations);

two etchings titled “The Charter – a Commons Scene” and “Going to St. Paul’s” respectively, both signed in the plate “George Cruikshank”;

two etchings titled “July – Dog Days” and “June, — Marrow Bones and Cleavers” respectively both signed in the plate “George Cruikshank”;

pp 47-48  (with publisher’s in-text illustrations);

two etchings titled “July – Flying Showers” and “July – Down at Beulah” both signed in the plate “George Cruikshank”;

an etching titled “March – Showery” signed in the plate “George Cruikshank”;

two etchings titled “April – Greenwich Park” and “May – ‘All A-Growing’” both signed in the plate “George Cruikshank”;

pp 49-50; two etchings titled “June” and “June – Holiday at the Public Offices” both signed in the plate “George Cruikshank”;

two etchings titled “May – Beating the Bounds” and “May – Restoration Day” both signed in the plate “George Cruikshank”;

1. 51-52;

an engraved portrait of Robert Southey;

an etching titled “The Battle of Aboukir” published in London by Henry Colburn and Richard Bentley, 1831;

an autograph letter signed by dramatist  Thomas Dibdin 1771-1841, no date, recipient unknown: “My dear Sir, If I obtain leave from the Adelphi [Theatre, Edinburgh], would you for auld lang syne, have the goodness to play in a piece for my Benefit on Monday fortnight the 29th Instant. I needn’t say I’ll be happy with my pen out some further time to endeavour in the labour. I congratulate your Lady & your self on the additions to your family in which W.D. cordially joins with D. Forever yrs, Dibdin”];

a hand-colored etching signed in the plate “George Cruikshank” titled “Miss Kitty & the Bag” relating to Thomas Dibdin’s songs; a hand-colored fold-out plate titled “Bonnet Building” signed in the plate “Designed, Etched & Published by George Cruikshank May 2, 1828”;

an etching titled “Greenwich Fair” signed in the plate “George Cruikshank”;

an etching titled “Steam Excursion” signed in the plate “George Cruikshank”;

an etching titled “The Boarding House” signed in the plate “George Cruikshank”;

an etching titled “Jack Sheppard in Company with Edgeworth Bess Escaping from Clerkenwell Prison” signed in the plate “George Cruikshank”;

an etching titled “Oliver Recovering from the Fever” signed in the plate “George Cruikshank”;

an etching titled “Jack Sheppard Gets Drunk and Orders His Mother Off” signed in the plate “George Cruikshank”;

pp 53-56;

engraved portrait of Harrison Ainsworth;

an etching titled “Queen Anne and Lord Guilford Dudley Brought Back to the Tower Through Traitor’s Gate” signed in the plate “George Cruikshank”;

an etching titled “Jack Sheppard Accuses Thames Darrell of the Theft” signed in the plate “George Cruikshank”;

an etching titled “Jack Sheppard Committing the Robbery in Willesden Church” signed in the plate “George Cruikshank”;

pp 57-60 (note p. 60 lists the sources of the publisher’s woodcuts and etchings)].

Bound in full red morocco leather, page edge gilding all around, binding stamp-signed by The Hampstead Bindery, rebound and hinges replaced, leather edges protected, covers bowed now and cup the profuse extra-illustration.  Interior expert paper conservation and minor repairs to the added illustrations and documents as were needed. General over-all interior condition is very good, isolated spotting of some plates.  Condition of the expertly repaired  binding on this enormous, unique volume of Cruikshankiana, as noted.

The Artful Dodger Written by Charles Sloman & Sam Cowell the Music Arranged by Fred Bridgeman Sung by Sam Cowell with Immense Applause

Monumental Outdoor Theatrical Advertising for an American Dramatization of Oliver Twist by Charles Dickens circa 1880

Brough’s Life of Sir John Falstaff Extra-Illustrated with Twenty Colored Etchings by George Cruikshank 1858

Prostitution & New Orleans Jazz by Stephen Longstreet Extra-Illustrated with Original Watercolors Painted into The Book SPORTIN’ HOUSE

Original Cruikshank Sketch Signed Twice Inscribed 1875 Presented to Walter Hines Page