LEATHER SetHISTORY OF ROME, ENGLAND! Dickens COMIC LEECH(FIRST EDITION!)1845 RARE

LEATHER SetHISTORY OF ROME, ENGLAND! Dickens COMIC LEECH(FIRST EDITION!)1845 RARE
LEATHER SetHISTORY OF ROME, ENGLAND! Dickens COMIC LEECH(FIRST EDITION!)1845 RARE
LEATHER SetHISTORY OF ROME, ENGLAND! Dickens COMIC LEECH(FIRST EDITION!)1845 RARE
LEATHER SetHISTORY OF ROME, ENGLAND! Dickens COMIC LEECH(FIRST EDITION!)1845 RARE
LEATHER SetHISTORY OF ROME, ENGLAND! Dickens COMIC LEECH(FIRST EDITION!)1845 RARE
LEATHER SetHISTORY OF ROME, ENGLAND! Dickens COMIC LEECH(FIRST EDITION!)1845 RARE
LEATHER SetHISTORY OF ROME, ENGLAND! Dickens COMIC LEECH(FIRST EDITION!)1845 RARE
LEATHER SetHISTORY OF ROME, ENGLAND! Dickens COMIC LEECH(FIRST EDITION!)1845 RARE
LEATHER SetHISTORY OF ROME, ENGLAND! Dickens COMIC LEECH(FIRST EDITION!)1845 RARE
LEATHER SetHISTORY OF ROME, ENGLAND! Dickens COMIC LEECH(FIRST EDITION!)1845 RARE
LEATHER SetHISTORY OF ROME, ENGLAND! Dickens COMIC LEECH(FIRST EDITION!)1845 RARE
LEATHER SetHISTORY OF ROME, ENGLAND! Dickens COMIC LEECH(FIRST EDITION!)1845 RARE

LEATHER SetHISTORY OF ROME, ENGLAND! Dickens COMIC LEECH(FIRST EDITION!)1845 RARE

THE COMIC HISTORY OF ROME! THE COMIC HISTORY OF ENGLAND!

John Leech is the famous Victorian Illustrator, known for illustrating Charles Dickens, et al.. His'Substance and Shadow', published in Punch, 1843, was the first use of the word cartoon to refer to a satirical drawing. Complete in 3 volumes total. 2 volumes + 1 volume.

Both are the FIRST EDITION/FIRST PRINTINGS! Heavily illustrated by John Leech, the famous Charles Dickens illustrator of the Victorian Era. Extensively illustrated with STEEL ENGRAVED PLATES , hand-colored by Leech. Bound by the prestigious RIVIERE BINDERY circa 1847, and signed by them. Riviere bound for the Queen and the royal family.

With the original cloth bindings bound into the rear of each book. Printed in 1845, and 1847. These books are 170 years old!

The date is not printed on the title pages, which is standard. This is the First Edition, complete with the hand colored plates, bound by Riviere.

These are large heavy books. FROM THE FOUNDING OF THE CITY TO THE ENDING OF THE COMMONWEALTH. Copiously illustrated with steel and wood engravings by John Leech. Steel engravings hand-colored by Leech. Roughly 10 steel engravings per book.

Together with: COMIC HISTORY OF ENGLAND. Copiously illustrated with 10 color etchings and 120 woodcuts per book by John Leech. Bound in ornate gilded leather. Bound by Riviere & Son and signed by them. With the original cloth bindings bound in the rear. Ornate gilded spine with raised hubs. A tall set at 9 inches tall. Complete in one and two volumes, respectively. VERY GOOD+ NEAR MINT condition. Hinges sound and well preserved. Some light general rubbing, light shelf wear scuffs. An exceptionally rare First Edition, Bound by Riviere, and remarkably well-preserved.

This would make an exceptional gift. A gorgeous set bound in fine leather by the prestigious Riviere Bindery. The steel engravings are by leech, the renowned caricaturist, and are hand colored. A gorgeous FIRST EDITION of the highest quality. From Wikipedia, the free encyclopedia.

For other people named John Leech, see John Leech (disambiguation). Portrait of John Leech Engraving published in Punch. 29 October 1864 (aged 47). John Leech (29 August 1817 29 October 1864) was a British caricaturist.

He is best known for his work for Punch. A humorous magazine for a broad middle-class audience, combining verbal and graphic political satire with light social comedy. Leech catered to contemporary prejudices, such as anti-Americanism. And supported acceptable social reforms. Leech's critical yet humorous cartoons on the Crimean War.

Help shape public attitudes toward heroism, warfare, and Britons' role in the world. Leech also enjoys fame as the first illustrator of Charles Dickens. He was furthermore a pioneer in comics.

Creating the recurring character Mr. Briggs and some sequential illustrated gags. John Leech was born in London. His father, a native of Ireland, was the landlord of the London Coffee House on Ludgate Hill.

"A man", on the testimony of those who knew him, of fine culture, a profound Shakespearian, and a thorough gentleman. His mother was descended from the family of Richard Bentley.

It was from his father that Leech inherited his skill with the pencil, which he began to use at a very early age. When he was only three, he was discovered by John Flaxman. Who was visiting, seated on his mother's knee, drawing with much gravity. The sculptor admired his sketch, adding, "Do not let him be cramped with lessons in drawing; let his genius follow its own bent; he will astonish the world"advice which was followed. Leech was educated at Charterhouse School.

His lifelong friend, was a fellow pupil, and at sixteen he began to study for the medical profession at St Bartholomew's Hospital. Where he won praise for the accuracy and beauty of his anatomical drawings. He was then placed under a Mr Whittle, an eccentric practitioner, the original of "Rawkins" in Albert Smith. S Adventures of Mr Ledbury , and afterwards under Dr John Cockle; but gradually he drifted into the artistic profession. His nickname also being "Blicky" stuck with him during his life, along with being famous.

A scene from Leech's Comic History of Rome , depicting the Rape of the Sabine Women. The women are portrayed in Victorian costume being carried off from the "Corona et Ancora" ("Crown and Anchor", a common English pub sign in seafaring towns). He was eighteen when his first designs were published, a quarto of four pages, entitled Etchings and Sketchings by A.

Comic character studies from the London streets. Then he drew some political lithographs. Did rough sketches for Bell's Life , produced a popular parody on Mulready's postal envelope, and, on the death of Dickens illustrator Robert Seymour. In 1836, unsuccessfully submitted his renderings to illustrate the Pickwick Papers.

In 1840 Leech began his contributions to the magazines with a series of etchings in Bentley's Miscellany. Had published his plates to Jack Sheppard and Oliver Twist. And was illustrating Guy Fawkes. In company with the elder master Leech designed for the Ingoldsby Legends. And until 1847 produced many independent series of etchings. These were not his best work; their technique is imperfect and we never feel that they express the artist's individuality, the Richard Savage. Plates, for instance, being strongly reminiscent of Cruikshank, and The Dance at Stamford Hall of Hablot Browne. In 1845 Leech illustrated St Giles and St James in Douglas William Jerrold. S new Shilling Magazine , with plates more vigorous and accomplished than those in Bentley, but it is in subjects of a somewhat later date, and especially in those lightly etched and meant to be printed with colour, that we see the artist's best powers with the needle and acid. Frontispiece of Dickens' A Christmas Carol. First edition 1843, illustrated by Leech. Among such of his designs are four charming plates to Charles Dickens. (1843), the broadly humorous etchings in the Comic History of England (18471848). And the still finer illustrations to the Comic History of Rome (1852). Which last, particularly in its minor woodcuts, shows some exquisitely graceful touches, as witness the fair faces that rise from the surging water in Cloelia and her Companions Escaping from the Etruscan Camp.

Among his other etchings are those in Young Master Troublesome or Master Jacky's Holidays , and the frontispiece to Hints on Life, or How to Rise in Society (1845)a series of minute subjects linked gracefully together by coils of smoke, illustrating the various ranks and conditions of men, one of themthe doctor by his patient's bedsidealmost equalling in vivacity and precision the best of Cruikshank's similar scenes. Then in the 1850s come the numerous etchings of sporting scenes, contributed, together with woodcuts, to the Handley Cross novels by Robert Smith Surtees.

Turning to Leech's lithographic. Work, we have, in 1841, the Portraits of the Children of the Mobility , an important series dealing with the humorous and pathetic aspects of London street "Arabs", which were afterwards so often and so effectively to employ the artist's pencil. Amid all the squalor which they depict, they are full of individual beauties in the delicate or touching expression of a face, in the graceful turn of a limb.

The book is scarce in its original form, but in 1875 two reproductions of the outline sketches for the designs were publisheda lithographic issue of the whole series, and a finer photographic transcript of six of the subjects, which is more valuable than even the finished illustrations of 1841, in which the added light and shade is frequently spotty and ineffective, arid the lining itself has not the freedom which we find in some of Leech's other lithographs, notably in the Fly Leaves, published at the Punch. Office, and in the inimitable subject of the nuptial couch of the Caudles, which also appeared, in woodcut form, as a political cartoon, with Mrs Caudle, personated by Brougham, disturbing by untimely loquacity the slumbers of the lord chancellor, whose haggard cheek rests on the woolsack for pillow. Substance and Shadow , published in Punch , 1843, the first use of the word cartoon. To refer to a satirical drawing. It was in work for the wood-engravers that Leech was most prolific and individual.

Among the earlier of such designs are the illustrations to the Comic English and Latin Grammars (1840), to Written Caricatures (1841), to Hood's Comic Annual , (1842), and to Albert Smith's Wassail Bowl (1843), subjects mainly of a small vignette size, transcribed with the best skill of such woodcutters as Orrin Smith. And not, like the larger and later Punch illustrations, cut at speed by several engravers working at once on the subdivided block. It was in 1841 that Leech's connection with Punch began, a connexion which subsisted until his death, and resulted in the production of the best-known and most admirable of his designs. His first contribution appeared in the issue of 7 August, a full-page illustrationentitled Foreign Affairs of character studies from the neighbourhood of Leicester Square.

His cartoons deal at first mainly with social subjects, and are rough and imperfect in execution, but gradually their method gains in power and their subjects become more distinctly political, and by 1849 the artist is strong enough to produce the splendidly humorous national personification which appears in Disraeli. About 1845 we have the first of that long series of half-page and quarter-page pictures of life and manners, executed with a hand as gentle as it was skilful, containing, as Ruskin. Has said, "admittedly the finest definition and natural history of the classes of our society, the kindest and subtlest analysis of its foibles, the tenderest flattery of its pretty and well-bred ways", which has yet appeared. In addition to his work for the weekly issue of Punch , Leech contributed largely to the Punch almanacks and pocket-books, from Once a Week between 1859 and 1862, to the Illustrated London News.

Where some of his largest and best sporting scenes appeared, and to innumerable novels and miscellaneous volumes besides, of which it is only necessary to specify A Little Tour in Ireland (1859). This last piece is noticeable as showing the artist's treatment of pure landscape, though it also contains some of his daintiest figurepieces, like that of the wind-blown girl, standing on the summit of a pedestal, with the swifts darting around her and the breadth of sea beyond. In 1862 Leech appealed to the public with a very successful exhibition of some of the most remarkable of his Punch drawings. These were enlarged by a mechanical process, and coloured in oils by the artist himself, with the assistance and under the direction of his friend John Everett Millais. Millais had earlier painted a portrait of a child reading Leech's comic book Mr Briggs' Sporting Tour. Leech was a rapid and indefatigable worker.

Dean Hole said he observed the artist produce three finished drawings on the wood, designed, traced, and rectified, "without much effort as it seemed, between breakfast and dinner". The best technical qualities of Leech's art, his precision and vivacity in the use of the line, are seen most clearly in the first sketches for his woodcuts, and in the more finished drawings made on tracing-paper.

From these first outlines, before the chiaroscuro. Was added and the designs were transcribed by the engraver.

Turning to the mental qualities of his art, it would be a mistaken criticism which ranked him as a comic draughtsman. He was a true humorist, a student of human life, though he observed humanity mainly in its whimsical aspects. Hitting all he saw with shafts. With gentle satire, kin to charity. The earnestness and gravity of moral purpose which is so constant a note in the work of Hogarth is indeed far less characteristic of Leech, but there are touches of pathos. And of tragedy in such of the Punch designs as the Poor Man's Friend (1845), and General Février turned Traitor (1855), and in The Queen of the Arena in the first volume of Once a Week , which are sufficient to prove that more solemn powers, for which his daily work afforded no scope, lay dormant in their artist. The purity and manliness of Leech's own character are impressed on his art. We find in it little of the exaggeration and grotesqueness, and none of the fierce political enthusiasm, of which the designs of James Gillray. Compared with that of his great contemporary, George Cruikshank, his work is restricted both in compass of subject and in artistic dexterity. First page of first edition of A Christmas Carol. The Ghost of Christmas Present. Ghost of Christmas Yet to Come.

The Comic History of Rome. By Gilbert Abbott à Beckett. Title page of The Comic History of Rome.

Discovered by a gentle Shepherd. Swears eternal hatred to the Romans. The end of opium-smoking , 1848. Two Ladies and a Gentleman in a Rowboat. The Battle of Bosworth Field, a Scene in the Great Drama of History , illustrated by John Leech for Gilbert Abbott à Beckett. Mocking the Victorian attitude towards history.

The illustrator and the book in England from 1790 to 1914. Altick, "'Punch's First Ten Years: The Ingredients of Success", Journal of Newspaper & Periodical History (1991) 7#2 pp. Miller, "John Leech and the Shaping of the Victorian Cartoon: The Context of Respectability", Victorian Periodicals Review (2009) 42#3 pp. "Posner Memorial Collection in Electronic Format".

Biographies of Leech have been written by. John Brown, John Leech, and Other Papers , D.

Douglas, 1882 ; HardPress Publishing, 2013. John Leech, artist and humorist: a biographical sketch. John Leech: His Life and Work (1891).

"Leech, John (18171864)", Oxford Dictionary of National Biography (Oxford University Press, 2004); online edn, 2014 accessed 13 June 2015. John Leech and the Victorian scene (1984). The Crimean War in the British Imagination (Cambridge University Press, 2009), Chapter on Leech's artwork regarding the Crimean war. "John Leech and the Shaping of the Victorian Cartoon: The Context of Respectability, " Victorian Periodicals Review (2009) 42#3 pp 267291. "John Leech's Pictures of Life and Character", Quarterly Review No.

Robert Riviere 30 June 1808 in London. 12 April 1882 in London was an English bookbinder.

Riviere was descended from a French family, who left their country on the revocation of the edict of Nantes. His father, Daniel Valentine Riviere (17801854), who was a drawing-master of considerable celebrity and a gold medallist of the Royal Academy.

Married, in 1800, Henrietta Thunder, by whom he had a family of five sons and six daughters. The eldest and third sons, William Rivière. Anne, the eldest daughter, became the second wife of Sir Henry Rowley Bishop. The composer, and acquired much distinction as a singer. Robert, the second son, was educated at an academy at Hornsey. Grant, and on leaving school, in 1824, was apprenticed to Messrs. Allman, the booksellers, of Princes Street, Hanover Square, London. In 1829 he established himself at Bath as a bookseller, and subsequently as a bookbinder in a small way, employing only one man. But not finding sufficient scope for his talents in that city, he came in 1840 to London, where he commenced business as a bookbinder at 28 Great Queen Street, Lincoln's Inn Fields, afterwards removing to 196 Piccadilly.

The excellent workmanship and good taste displayed in his bindings gradually won for them the appreciation of connoisseurs, and he was largely employed by the Duke of Devonshire. He also bound for the queen and the royal family. In the Great Exhibition of 1851. He exhibited several examples of his skill, and he was awarded a medal.

He was chosen by the council to bind one thousand copies of the large Illustrated Catalogue, intended for presentation to all the crowned heads in Europe and other distinguished persons. It is said that two thousand skins of the best red Morocco.

As well as fifteen hundred yards of silk for the linings of the covers, were used by Riviere for this undertaking. He also restored and bound the famous Domesday Book. Now preserved in the Record Office. While the binding of Riviere, like that of his equally celebrated fellow-craftsman, Francis Bedford. Is deficient in originality, it is in all other respectsin the quality of the materials, the forwarding, and in the finish and delicacy of the toolingdeserving of almost unqualified commendation.

Taking into consideration the fact that he was entirely self-taught, his bindings are wonderful specimens of artistic taste, skill, and perseverance. He died at his residence, 47 Gloucester Road, Regent's Park, on 12 April 1882, and was buried in the churchyard at East End, Finchley. Riviere married, in 1830, Eliza Sarah Pegler, by whom he had two daughters. He bequeathed his business to the eldest son of the second daughter, Mr.

Percival Calkin, who had been taken into partnership by his grandfather in 1880, when the style of the firm was altered to Robert Riviere & Son. Riviere bindings may be dated approximately by the stamped signature inside the front covers: Bound by R. Riviere, Bath means 182932; Bound by R. Riviere means 183240; Bound by Riviere means 1840c. 1860; Bound by Riviere & Son means after 1880. The heirs of George Bayntun. Of Bath bought out Riviere & Sons.

London: Smith, Elder & Co. Francis Capper Brooke, of Ufford Place, Suffolk. A friend of the poet Edward Fitz-Gerald. Was a great scholarly book collector, whose library of more than 20,000 volumes was made available to Fitz-Gerald; (John Glyde, The Life of Edward Fitz-Gerald , 1900:208-10). Domesday re-bound (Public Record Office), 1954 reports the rebinding.

Michael Riviere, "The Huguenot family of Riviere in England", Proceedings of the Huguenot Society of London 21 (1970). Examples of Riviere's bindings. From the Princeton University library.

Riviere's binding for the Catalogue of the Great Exhibition of 1851. From the Museum of London. 29, 1864, London, English caricaturist notable for his contributions to. Leech was educated at Charterhouse. Where he met William Makepeace Thackeray.

Who was to be his lifelong friend. He then began to study medicine but soon drifted into the artistic profession and in 1835 published. Etchings and Sketchings by A.

In 1840 Leech began contributing to magazines with a series of etchings in. Whose work his own resembled in both style and subject. Later, however, he excluded the horrific and satirical elements present in the tradition of English caricature.

Established in the late 18th and early 19th centuries by James Gillray. Leech developed in his caricatures. A comfortable, warmly humorous middle-class urbanity, in which character is underlined by emphatic contrasts of stock types. These qualities emerge from the four etchings illustrating Charles Dickens.

(184748), and the woodcuts for the. These were followed by numerous etchings and woodcuts of sporting scenes in the novels of his friend R. Appeared in the issue of Aug. This was the beginning of a fruitful connection that resulted in about 3,000 caricatures and other illustrations for the magazine. Leech concentrated on social caricature, as in. Pictures of Life and Character from the Collection of Mr. Leech and the English illustrator.

Were the creators of the conventional image of. A jovial and honest Englishman, solid and foursquare, sometimes in a Union Jack.

Waistcoat and with a bulldog at heel. As well as to numerous novels and miscellaneous volumes. 30 August 1856 (aged 45). Gilbert Abbott à Beckett (9 January 1811 30 August 1856) was an English humorist. He was born in London, the son of a lawyer, and belonged to a family claiming descent from Thomas Becket. He was educated at Westminster School. And was called to the bar at Gray's Inn. He edited the comic paper Figaro in London.

And was one of the original staff of Punch. And a contributor until his death. He was an active journalist on The Times. Contributed a series of light articles to the Illustrated London News. Conducted in 1846 The Almanack of the Month and found time to produce some fifty or sixty plays, among them dramatized versions of Charles Dickens.

S shorter stories, written in collaboration with Mark Lemon. He is perhaps best known as the author of Comic History of England (184748), Comic History of Rome (1852) and a Comic Blackstone (1846). He wrote the book for two operas with music composed by his wife Mary Anne à Beckett. (née Glossop), Agnes Sorrel and Red Riding Hood. As poor-law commissioner he presented a valuable report to the Home Secretary. Regarding the Andover workhouse scandal. And in 1849 he became a metropolitan police magistrate. And is buried at Highgate Cemetery. His elder brother, Sir William à Beckett.

(18061869), became chief justice of Victoria. He was the father of two other Victorian writers, Gilbert Arthur à Beckett. And Arthur William à Beckett. Gilbert Arthur à Beckett (1837 October 15, 1891) was an English. Beckett was born at Portland House Hammersmith.

On 7 April 1837, the eldest son of the civil servant and humorist Gilbert Abbott à Beckett. And the composer Mary Anne à Beckett. Daughter of Joseph Glossop, clerk of the cheque to the hon. His brother was Arthur William à Beckett. He graduated from Christ Church.

As a Westminster scholar in 1860. He was entered at Lincoln's Inn. On 15 October 1857, but gave his attention chiefly to drama, producing Diamonds and Hearts at the Haymarket Theatre.

In 1867; this was followed by other light comedies. His adaptation of a French operetta by Émile Jonas. Called The Two Harlequins opened the new Gaiety Theatre, London. In 1868, together with his distant cousin, W.

Beckett's pieces include numerous burlesques. The libretti of Savonarola (Hamburg, 1884) and The Canterbury Pilgrims (Drury Lane, 1884) for the music of Dr. With the composer Alfred Cellier. Beckett wrote the operetta Two Foster Brothers St.

In 1879, he had been asked by Tom Taylor. To follow the example of his younger brother Arthur, and become a regular member of the staff of Punch. Three years later he was'appointed to the Table. The Punch dinners'were his greatest pleasure, and he attended them with regularity, although the paralysis of the legs, the result of falling down the stairway of Gower Street station.

Rendered his locomotion, and especially the mounting of Mr. Punch's staircase, a matter of painful exertion'. To Punch he contributed both prose and verse; he wrote, in greater part, the admirable parody of a boy's sensational shocker (March 1882), and he developed Jerrold's idea of humorous bogus advertisements under the heading'How we advertise now. The idea of one of Sir John Tenniel.

S best cartoons for Punch, entitled'Dropping the Pilot,' illustrative of Bismarck's resignation in 1889, was due to him. Apart from his work on'Punch,' he wrote songs and music for the German Reeds' entertainment, while in 1873 and 1874 he was collaborator in two dramatic productions which evoked a considerable amount of public attention. Scene from The Happy Land , showing the impersonation of Gladstone, Lowe, and Ayrton, from The Illustrated London News.

On 3 March 1873, The Happy Land. Was given at the Court Theatre. 1873, a daring political satire and burlesque of W. Gilbert's The Wicked World.

In this amusing piece of banter three statesmen (Gladstone, Lowe, and Ayrton) were represented as visiting Fairyland in order to impart to the inhabitants the secrets of popular government. Were dressed so as to resemble the ministers satirised, and the representation elicited a question in the House of Commons. And an official visit of the Lord Chamberlain to the theatre, with the result that the actors had to change their'make-up. In the following year, he furnished the'legend' to Herman Merivale. S tragedy'The White Pilgrim,' first given at the Court in February 1874.

At the close of his life he furnished the'lyrics' and most of the book for the operetta La Cigale. Which at the time of his death was nearing its four hundredth performance at the Lyric Theatre. In 1889, he suffered a great shock from the death by drowning of his only son, and he died in London on 15 October 1891, and was buried in Mortlake cemetery. Punch devoted some appreciative stanzas to his memory, bearing the epigraph'Wearing the white flower of a blameless life' 24 Oct. His portrait appeared in the well-known drawing of'The Mahogany Tree' (Punch , Jubilee Number, 18 July 1887), and likenesses were also given in the'Illustrated London News' and in Spielmann's'History of Punch' (1895).

He married Emily, eldest daughter of William Hunt, J. Of Bath, and his only daughter Minna married in 1896 Mr.

Governor of Labuan and British North Borneo. The item "LEATHER SetHISTORY OF ROME, ENGLAND! Dickens COMIC LEECH(FIRST EDITION!)1845 RARE" is in sale since Monday, July 8, 2019.

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LEATHER SetHISTORY OF ROME, ENGLAND! Dickens COMIC LEECH(FIRST EDITION!)1845 RARE