Saturday, 15 December 2018

Bookseller trade cards of the 18C

Sir Ambrose Heal's "Bookseller and Stationers' trade-cards of the eighteenth century" appeared in The Penrose Annual, vol. 45 (1951), 29–32. It contains one page of introductory text (which says nothing about the production, publication, distribution and history of bookplates and trade cards or anything of note concerning bookselling and printing in the eighteenth century), four pages of illustrations (showing sixteen separate trade cards, below) and three pages of notes on the booksellers.

About four years ago, shortly after publishing my post on Bookplates of Booksellers and Circulating Libraries, I checked out Heal's essay in the hope that it would provide either more information on (no), or more images of (yes), the 164 bookplates and trade-cards listed in the Franks Bequest Catalogue—of which I was only able to provide two in my original post.

I am not sure why it has taken four years to post these scans, perhaps I was hoping to find more images in his other works. If so, it would appear that I was unsuccessful. However, I have fond a few more images on line, which I will post shortly.

* * * * *

The sixteen trade-cards below are of for James Adams, John Bromley, James Brooke, James Buckland, Thomas Edlin, William Kerby, Lackington, Allen & Co., Arthur Lyon, Ralph Minors, Francis Noble,Bartholomew Penny, Daniel Richards, William Sanby, J. Shove, Samuel Stillingfleet, and Thomas Worrall (none of which are in the Franks Bequest Catalogue).

Thursday, 13 December 2018

Works by Eliza Haywood online

Regular visitors to this page (my list of original editions of works by Eliza Haywood available for free online) will have noticed that the pace of additions has slowed. This is not because I am neglecting the page or failing to search for new scans. Rather, fewer and fewer scans of original editions of Haywood's works are appearing online, on Google Books, The Internet Archive, and elsewhere.

Often now, when I am able to make an addition to my list of links to Haywood's works, it is because I have found something that was so abominably catalogued that it has been invisible online for years. And, usually, I am able to locate these otherwise-invisible texts only because I discover a new search engine, or a new way to do a search.

When I made my last update to my list of "Facsimile Texts and Downloadable pdfs" I discovered just such a new way of searching the Internet Archive. When you search the Internet Archive catalogue for editions of works authored ("Created") by Eliza Haywood (presently 7 items as "Eliza Haywood" [here]—mostly LibriVox recordings—and 25 items as [Haywood, Eliza] here), it is possible to sort the results according to "Date Archived"—a proxy for when the item was first uploaded to the internet.

If you combine the information from the two screen-caps above (ignoring the LibriVox recordings) you will see that the total number of volumes per year are: 2006 (2), 2007 (3), 2008 (2), 2009 (9), 2010 (7), 2011 (1), 2012 (1), 2013 (0), 2014 (1), 2015 (0), 2016 (0), 2017 (0), 2018 (1). That is, after a steady climb from 2006 to 2010, there has been a collapse in the number of new scans of works by Haywood on the Internet Archive. Below is a graph of the data.

I am not sure why fewer scans are appearing on the Internet Archive. It is probably because, as more of her works were scanned, fewer remained to be scanned—a possibility based on the assumption that those doing the scanning are reluctant to "double-up" by scanning a second or third copy of the same edition. It is also likely that those doing the scanning simply do not have access to either works which are yet to be scanned or even second or third copies of editions which have already been scanned.

The first item on my list of scans, for instance, is the Boston Public Library copy of Ab.1.4b Love in Excess, 4th ed. (1722)—which is the only copy known, so no other copy can be scanned. The second item is the British Library copy of Ab.4.1b The British Recluse, 2nd. ed. (1722). There are only two other copies of this edition, at Glasgow University and Reading University. These universities are unlikely to prioritise the scanning and uploading of another copy of The British Recluse until they have scanned and uploaded all the works they hold which are not already online.

Although I don't have easy access to similar data for Google Books, my impression is that there is a similar pattern there. Which means that, with only a few new scans made available in the last six years, it could be a very long time before there is a significant increase to the number of Haywood's works available online.

Wednesday, 12 December 2018

Henry Lasher Gardner publisher’s device

I included Henry Lasher Gardner publisher’s device in an appendix to my essay: "Thomas Gardner's Ornament Stock: A Checklist" (Script and Print, vol.39, no.2 (May 2015): 111).

As I noted in my article, this device (32x35mm) "is a monogram made up of two mirrored elements: an H, and a flourish that resembles both an L and, when reversed, a G. The device appears on at least four items between 1771 to 1773." (Elements crudely highlighted below.)

Through a happy accident, I have now identified the source of Henry Lasher Gardner's publisher’s device: Samuel Sympson's A new book of cyphers, more compleat and regular than any yet extant. Wherein the whole alphabet (twice over,) Consisting of Six Hundred Cyphers, is variously changed, interwoven and reversed (London: Printed for Samuel Sympson Engraver in Catherine-Street in the Strand, B. Cole Engraver at the Sun a Lace Shop in St. Paul’s Church-Yard, and sold by [six engravers and print-sellers], 1726), plate 44 (ESTC: T145073), which was reprinted in 1736 (N471341) and ca. 1750 (T132195; online here).

As you can see, the resemblance of the reversed G to an L is entirely fortuitous. I bet Henry Lasher was pleased.

BTW: The happy accident I refer to above was that I recently spotted a copy of the first edition of Sympson's A new book of cyphers on eBay (here). Although it started at GBP5, entirely unsurprisingly, it sold for more than one hundred times that (GBP586). (In case anyone is interested, a copy of the ca. 1750 edition is still available for twice this price: USD1495; here.)

As soon as I saw that the "cyphers" in the title were actually "monograms," I wondered whether Henry Lasher may have got his monogram from such a source. As you can see, my hunch was a good one. The two monograms are identical.

* * * * *

For my other posts on Gardner, see A very crude Gardner ornament catalogue, 1995 and Works Containing Gardner Ornaments.

Friday, 28 September 2018

Reading Smoky the Cowhorse in 1947

In the photo above and below, a teenager is captured—in dramatic lighting—sprawled in an armchair reading Will James's Smoky the Cowhorse (1926), winner of the 1927 Newbery Medal.

The cover art on the book matches the New York, Grosset and Dunlap editions of 1926–1940s. Since the vendor is based in New York, it is likely that this photo was taken on the East Coast of America, if not in New York itself. The verso is dated “2–8–47” (i.e., February 8, 1947), not long after the end of WW2. Beyond that, I know nothing (except that this is an evocative image, which had to be worth the trifling sum I paid for it).

Thursday, 2 August 2018

Illustrations in La Belle Assemblee

Eliza Haywood translated Madeleine Angélique Poisson de Gomez’s Les Journées Amusantes (Paris: G. Saugrain, Charles le Clerc, Ándre Morin, 1722–31), over a lengthy period, as the eight volumes of the original work appeared in 1722 (v.1–2), 1724 (v.3–4), 1730 (v.5–6) and 1731 (v.7–8). Haywood's translation, La Belle Assemblée, appeared in 1724 (pt.1–3 = v.1), 1727 (v.2), 1731 (v.3), 1734 (v.4). Part of my incentive to aggregate information about, and links to, editions of Les Journées Amusantes, which I did on the weekend (see here), was to compare the illustrations in Les Journées Amusantes with those in Haywood's La Belle Assemblée.

I have long intended to undertake a comparison of the two sets of engravings, but I was never able to find a library with a full set of first editions of both works, and—although I now have plenty of copies of La Belle Assemblée—I don't have many of Les Journées Amusantes and many of the reprints online, which I could have compared them to, either are not illustrated at all, or are only partially illustrated. Bottom line, this one has been in the too-hard basket for a long, long time.

Having made my comparison, I can report that Les Journées Amusantes contains twenty-four engraved plates: v.1 (four plates), v.2 (four), v.3 (five), v.4 (three), v.5 (two), v.6 (two), v.6 (two), v.8 (two)—that is v.1–2 (eight), v.3–4 (eight), v.5–6 (four) and v.7–8 (four). La Belle Assemblée, reproduces twenty of these: v.1 (six plates), v.2 (six), v.3 (four), v.4 (four).

As I discovered when I was researching my article "Imagining Eliza Haywood" (see here) in the first, two-volume edition of Les Journées Amusantes there is an engraved frontispiece of Louis XV in the first volume and an allegorical frontispiece of a woman in classical attire, writing, in the second. This second engraving replaced the first (i.e., the allegorical frontispiece displaces Louis XV) in the first volume in later French editions. As a consequence of this change, there was one fewer plate in later editions of Les Journées Amusantes, i.e.: v.1 (four plates), v.2 (three), etc.—that is v.1–2 (seven), v.3–4 (eight) etc.

As I mentioned, of the twenty-four (or -three) engraved plates in Les Journées Amusantes, La Belle Assemblée reproduces twenty. If we number the plates in Les Journées Amusantes, in the form 1.1, 1.2, 1.3, 1.4, 2.1, 2.2 etc., La Belle Assemblée reproduces them as follows: v.1 (2.1, 1.3, 3.1, 1.4, 2.2, 2.4), v.2 (1.2, 3.3, 3.4, 3.5, 4.1, 4.3), v.3 (5.1, 5.2, 6.1, 6.2), v.4 (7.1, 57.2, 8.1, 8.2).

Although the first editions of Les Journées Amusantes were illustrated, the first editions of the first three parts (which became the first volume) and the second volume of La Belle Assemblée were not illustrated. Engraved plates did not appear in La Belle Assemblée until 1728, when the first two-volume edition was published. This may be part of the reason why the frontispiece of Louis XV does not appear in La Belle Assemblée.

(That is, by the time the publisher commissioned the illustrations to be copied (1728), the frontispiece of Louis XV may no longer have been present in copies of the French edition available in London. However, since three other plates were also omitted in La Belle Assemblée, and my explanation does not apply to them, Louis XV could have been dropped for other reasons.)

As for the illustrations themselves, they are (disappointingly) pretty slavish copies of those in Les Journées Amusantes, lacking some of the details in the original** and — in the case of the four illustrations in the fourth volume of La Belle Assemblée — reversed.

By way of comparison, the Spanish translation by Baltasar Driguet, Jornadas Divertidas, reproduced only one engraving from Les Journées Amusantes, which is repeated in the first four volumes (5.1) (an original illustration is repeated in the second four volumes). A second translation into Spanish by Gaspar Zavala y Zamora, Dias alegres contains no illustrations. Likewise, the translation into Italian by Pietro Chiari, Li Giorni di Divertimento contains no illustrations. I am not sure if the German edition was illustrated.

**If I get the opportunity (if I can get decent images to work with), I will post a few paired French and English illustrations below to show what I mean.