Showing posts with label Nineteenth Century. Show all posts
Showing posts with label Nineteenth Century. Show all posts

Friday, May 9, 2014

Sartain's Original Engraved Steel Plate Of Charlotte Brontë Portrait Comes To Market

by Stephen J. Gertz

The plate.
(Image surrounding engraved oval is a reflection off the plate while photographed).

The original steel plate of the mezzotint portrait of Charlotte Brontë engraved by John Sartain has surfaced.

Sartain (1808-1897), known as the "father of mezzotint engraving" in the U.S., produced the portrait, engraved after George Richmond's famous portrait in chalk, in Philadelphia c. 1857.

The 10 1/4 x 7 inch beveled steel plate, engraved with Sartain's signature (verso with dagger-and-S mark of John Sellers & Sons Sheffield, an English manufacturer of steel and copper plates for engravers, amongst other goods, with an office in New York), appears to have been made to accompany the long review essay, The Life of Charlotte Bronte, in the October 1857 issue of The Eclectic Magazine of Foreign Literature, Science and Art, which Sartain had an early financial interest in. 

A print struck from the plate.

John Sartain was arguably the foremost American engraver of his time and inarguably the pioneer of the mezzotint process in this country. He popularized the intricate printmaking process when he emigrated to the United States from England in 1830. His mezzotint prints possess a strong and rich texture that heightens and intensifies their aesthetic character.

Sartain was born in London in 1808. Left fatherless at the age of eight, he became responsible for the support of his family.  At age eleven, he took a job as assistant scene painter to an Italian pyrotechnist working at Covent Garden under Charles Kemble’s management and at Vauxhall Gardens in London. 

John Sartain.

In 1823, Sartain became an apprentice to engraver John Swaine (1775-1860), with whom he studied and worked for seven years.  Sartain also learned to paint, studying miniature painting with Henry Richter (1772-1857). He moved to Philadelphia in 1830.

He then produced engravings for various American periodicals including Gentleman’s Magazine, The Casket, and Godey’s Lady’s Magazine.  Sartain, beginning 1841, made quite a few  engravings for Graham’s Magazine, and, in 1849, he, along with William Sloanaker, bought the magazine for $5,000.  They changed the title to Sartain’s Union Magazine of Literature and Art. Among Graham's noted contributors were Henry Wadsworth Longfellow and Edgar Allan Poe (an assistant editor there, as well), who became a close, personal friend of Sartain.

Charlotte Brontë by George Richmond, 1850.

George Richmond (1809-1896), in his youth a disciple of William Blake, was a painter and draftsman with 326 portraits to his credit.

Brontë's publisher, George Smith of Smith Elder & Co., commissioned this portrait in chalk of the novelist from Richmond as a gift for Brontë's father, who saw in it "strong indications of the genius of the author." Novelist Elizabeth Gaskell recalled seeing the portrait hung in the parlour of the Haworth parsonage, and a copy of it appeared in her biography of Brontë.

Only a handful of likenesses of Charlotte Bronte have survived,  Richmond's portrait is by far the most celebrated, and Sartain's mezzotint is the finest engraving based upon it.

The plate exhibits the mezzotint (half-tone) process very well. Mezzotint achieves tone variations by working the plate with thousands of little dots made by a metal tool with small teeth called a "rocker." In printing, the tiny pits in the plate hold the ink when the face of the plate is wiped clean.  Subtle gradations of light and shade and richness in the print can be accomplished in skilled hands, and Sartain was a master of mezzotint, the first tonal process used in engraving, with aquatint to follow. Previously, tone and shading were possible only by employing hatching, cross-hatching, or stipple engraving, line or dot-based techniques that left a lot to be desired for nuanced effects.

There is no truth to the rumor I started that the Van Morrison-penned song, Mystic Eyes (recorded by Them, 1965), was inspired by the Richmond-Sartain portrait of Charlotte Brontë.

The plate is being offered by The 19th Century Rare Book & Photography Shop, of Maryland and New York.
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[BRONTE, Charlotte]. SARTAIN, John. Charlotte Bronte mezzotint portrait. Original steel plate, signed in the plate by John Sartain after George Richmond. N.P., [Philadelphia], c. 1857.

Original beveled steel plate (7 x 10 ¼ in.),  Light surface wear, a small tarnish mark.
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Brontë plate and print images courtesy of the 19th Century Rare Book & Photography Shop, with our thanks.
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Wednesday, April 30, 2014

The Awful Visitation Of Four Dreadful Monsters To Four Young Women

by Stephen J. Gertz


The awful Visitation of 
Four Dreadful 
Monsters,  
To four Young Women, at one of 
their Houses in this Town, where 
they had met for the Purpose of 
seeing their intended Husbands.


On the 21st ult. JANE SMITH, MARY STEWART, ANN THOMPSON, and MARY RELL, agreed to meet according to the old rule and custom, to see if possible they could make their sweethearts appear. They all accordingly assembled at one of their houses, each of them provided with a clean shift, likewise a plentiful supply of bread, cheese, and ale, in order if their sweethearts should arrive. At length the long wished for time drew near and on its striking twelve, they all began to repeat the following words:

May our sweethearts, if far or near,
At this moment before us appear,
And turn our shifts, if love they bear.


They had no sooner uttered the above words than four men entered their apartment with ghastly appearance, each of them having a lighted torch in their hands, and like Banquo's ghost unceremoniously seated themselves in the vacant chairs. Mirth, like a coward, vanished at their presence, and every smiling feature of the face was changed to an expression of consternation and horror. At length one bolder than the rest retreated, and she immediately followed by the whole females in the house; and the host remained as if riveted by some magic spell to his seat.

We shall leave him there to enjoy the company of his visitors, and return to those who fortunately found asylum in the house of a neighbor. After their alarm has a little subsided, and the power of utterance was restored, they began to conjecture who their visitors might be, and what the purport of their arrant? Unlike many momentous considerations, there was little diversity of opinion, for they unanimously agreed that it could be bno other than his satanic majesty and three of his imps which had fled with their bread, cheese, and ale.

Fordyce, Printer, 29, Sandhill.
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The awful Visitation of Four Dreadful Monsters, to four Young Women, at one of their Houses in this Town, where they had met for the Purpose of seeing their intended Husbands [caption title]. Woodcut vignette of devil at top. Handbill, printed on one side only. 340x128 mm. [Newcastle upon Tyne]: Fordyce, Printer, 29, Sandhill, early 1800s.
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Image courtesy of Swann Galleries, offering this handbill in its Early Printed, Medical & Scientific Books sale, May 1, 2014, with our thanks.
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Friday, April 25, 2014

A Superlative Original Kate Greenaway Watercolor

by Stephen J. Gertz


A scarce and significant Kate Greenaway painting, this beautiful gouache, an important early example of her evolution as an artist, appeared as "Disdain," opposite p. 84 in The Quiver of Love (1876), one of four unsigned illustrations by Greenaway of a total of eight, the other four by Walter Crane.

"The crowning event of this year [1876] was the publication by Mr. Marcus Ward of the volume mentioned by Mr. [W.J.] Loftie, entitled 'The Quiver of Love, a Collection of Valentines, Ancient and Modern, With Illustrations in Colours by from Drawings by Walter Crane and K. Greenaway.' All the designs had already been published separately..."  (Spielmann, p. 53).

Indeed, this design originally appeared as one in a set of four valentine cards illustrated by Greenaway.

"Through Loftie she established a connection with the publisher Marcus Ward, for whom she designed 32 sets of greeting cards between 1868 and 1877, when his repeated exploitation of her designs without further payment led her to sever their connection. The cards served a triple purpose for Greenaway: they provided a steady income, they gave her work public visibility, and they furnished a forum in which to develop the 'Greenaway child' that would become her hallmark.

"Despite the rather garish colours employed in Ward's early chromolithographs, samples preserved in the greeting card collection of the Victoria and Albert Museum show both the evolution of Greenaway's style and its departure from other exceedingly mawkish cards then on the market. The valentine Disdain is a notable example. An especially popular greeting card, it was repackaged with other designs by Greenaway and Walter Crane and sold as a book, The Quiver of Love. Its Pre-Raphaelite tone would resurface more forcefully in much later paintings, such as the Fable of the Girl and Her Milk Pail (1893)" (Gaze, Dictionary of Women Artists, p. 611).

The watercolor is identified by the title, "Roses," on the rear of the artboard, and it may be that it was the painting's original name; it is unclear. Here in its original full design, the image was cropped for the card and book.

The verse (by "F.R.") accompanying this illustration in The Quiver of Love reads:

My love, alas, our old acquaintance has forgot,
She never turns her eyes, and passing heeds me not;
Ah! scornful maiden! true hearts do not strew the ground,
When you relenting seek one, it may not be found
.
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GREENAWAY, Kate. "Disdain." An Early Original Watercolor in Gouache by Kate Greenaway for The Quiver of Love. c. 1875-1876. Image: 168 x 128 mm on art board (218 x 176 mm).

Spielmann, p. 53. Schuster and Engen 167 (book). Schuster & Engen 288 (card). Engen, p. 49-50.
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Image courtesy of Nudelman Rare Books, with our thanks.
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Wednesday, April 23, 2014

An "Excessively Rare" Thomas Rowlandson Suite Of Caricatures

by Stephen J. Gertz


In 1800, Rudolph Ackermann, the great print publisher, issued Masqueronians, a suite of six hand-colored emblematic etched plates by the great caricaturist, Thomas Rowlandson, each with three figures representing various English "types," for a total of eighteen.


The species include an undertaker; barber; flower girl; lawyer; soldier; fish-monger; street vendor; doctor; nun; pub owner; fashionable lady; philosopher; fox hunter; writer, and etc.


Only one copy has been seen at auction since 1922: "An excessively rare Rowlandson item, only one other copy being known" (Anderson Galleries sale, 1922).


Color-plate books depicting itinerant tradesmen and/or occupations were nothing new in 1800, when Masqueronians was published. Cries of London - "cries" being the street language of vendors hawking their wares in the squares and markets of 17th-century London - was published by John Overton in London 1680-1700. Between 1792 and 1795 Francis Wheatley exhibited a series of oil paintings entitled the “Cries of London.” It was a popular subject.


But it was up to Rowlandson to treat the subject emblematically as social satire, the wares or tools of the trade worn as garlands.


His aim included a caustic arrow to the faces he associated with each occupation. The street vendor above ("Trafficorum"), for example, is depicted with a hooked nose and it doesn't require a Ph.D. to understand that Rowlandson is skewering Jews. Rowlandson impales physicians as sour-pusses impaling patients with their main instrument of practice, a clyster syringe, the better to drain der keister of all that ails ye.


Don't get him started on nuns and the proprietors of pubs.


We will gloss-over the fashionable lady in her finest frou-frou: the philosopher appears to be annoyed to be matched with her; inquiring into the mystery of life is his trade but the mystery of women remains a mystery to him, as it was to whom appears to be his descendant, Freud.


Actors and fox-hunters beware: Rowlandson has your number. And writers? The pen may be mightier than the sword but strangled by vipers, as Penserosa seems to be, the sword might be the best way out when critics spew venom, quills being notoriously undependable instruments of suicide.
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ROWLANDSON, Thomas. Masqueronians. London: R. Ackermann, 1800.

Folio (275 x 375 mm). Six hand-colored etchings, each with three emblematic portraits, all printed in brown ink.

The Plates:

1. Philosophorum, Fancynina, Epicurum
2. Penserosa, Tally Ho! Rum!, Allegora
3. Physicorum, Nunina, Publicorum
4. Funeralorum, Virginia, Hazardorum
5. Battleorum, Billingsgatina, Trafficorum
6. Barberoum, Flora, Lawyerorum

BM Satires 9616-9621.
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Images courtesy of David Brass Rare Books, with our thanks.
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Friday, April 18, 2014

Dime Novels Led To Boy's Death By Lynching

by Stephen J. Gertz


"Kansas city, Jan. 24 - The Times' Wichita, Kansas, special says: Reports are received here to the effect that Sheriff Shenneman was shot while arresting Charles Cobb, alias Smith, a desperado, near Udell station yesterday afternoon and died last night. By the aid of neighbors Smith was held at a farm house where he was captured to await assistance from Winfield. Upon receipt of the intelligence at Winfield twenty-five armed men proceeded to the scene of the tragedy and hung Cobb to the nearest tree. Cobb also killed a constable in Butler county a few days before" (Las Vegas Daily Gazette, January 25, 1883)

"During Wednesday evening he confessed to Mrs. Shenneman, the widow of the dead sheriff, that he was Charles Cobb, and gave her his revolver. Subsequently he stated to Shenneman that he had been led to the committal of the lawless act by reading the exploits of Jesse James and other desperadoes..." (Arkansas City Weekly, February 7, 1883).


"A Jefferson County constable tried to arrest a young person by the name of Charles Cobb on Saturday, January 13, 1883. Jefferson County is northeast of Topeka. Cobb was wanted for promiscuously brandishing a knife and a revolver at a country dance the week before. Instead of surrendering, Cobb whipped out one of his deadly six-shooters and killed the constable. After the shooting, Cobb mounted a horse and rode off in a southwesterly direction. Possibly he was making for Hunnewell, Kansas, and from there to take the cattle trail to Texas.

"Sheriff Shenneman received a telegram from the authorities stating that the fleeing murderer would probably pass through or near Winfield, and to intercept him if possible. Shenneman circulated cards giving the desperado’s description and offering the usual reward for his capture.

"Cobb carried a Winchester rifle and many other weapons, and if he was recognized during his flight, the invitation to tackle a perambulating arsenal was declined.

"Charles Cobb came to Winfield during the morning of Monday, January 15th, and then traveled north toward Udall. He was seen by a farmer to stop near the corner of Mr. Worden’s farm in Vernon Township and read the placards located there. One of them was of himself.

"The fleeing Cobb stopped at the Jacobus house, in Maple Township, in the evening. Cobb told Mr. and Mrs. Jacobus that his name was Smith and that he had just come from Texas with a herd of cattle. He further stated that he was seeking work till spring. They told him they did not need help then. Cobb then asked if he could pay board and stay a week, so he could look around. Jacobus agreed, and received payment for a week’s board. Mr. and Mrs. Jacobus testified later that Cobb had a shotgun in his possession and noticed he always carried a revolver and slept with it under his pillow. They thought this was simply his 'cowboy ways' and let it pass.

"On the Sunday before the shooting Cobb showed some boys his skill as a marksman. Cobb was breaking bottles thrown into the air with a single shot from his revolver.


"The schoolmaster, who also boarded with the Jacobus family, received one of the description cards sent out by the Sheriff. He came to Winfield and informed the Sheriff of his suspicions on Monday evening, January 22nd. That same evening Shenneman informed a friend that he had located his man and in less than twenty-four hours would have him in hand. The Sheriff was cautioned to be careful as the boy was clearly a desperate character and would shoot to kill. Shenneman said he would go prepared and could shoot as quick as anyone. On Tuesday morning about nine o’clock the law officer put his Winchester in his buggy, strapped on his revolver and left for the Jacobus house.

"Mrs. Jacobus stated that on Tuesday morning, January 23rd, Cobb’s week’s board was out so they relented and hired him to work. As they were all sitting at lunch, some one drove up and called Mr. Jacobus out. He soon came back and said that Dr. Jones, of Udall, was out there and would stop for lunch. Dr. Jones was an assumed name used by the Sheriff. Charles Cobb was all this time sitting at the table. Mr. Jacobus - and the man introduced as Dr. Jones - passed through the kitchen and the 'doctor' looked very sharply at the prisoner. The two men went into the other room and Shenneman pulled off his overcoat and threw it on a chair. About this time young Cobb got up from the table, took his hat and gloves and started toward the door.

"Mr. Shenneman then sprang upon Cobb from behind. A scuffle followed and they fell to the floor. Two shots rang out with both bullets lodging in Shenneman’s stomach, but he continued to hold Cobb. Mr. Jacobus ran in and took the pistol away from the prisoner and told him to give up or die.

"The Caldwell paper reported 'At all events, it appears to be certain that when the latter (Cobb) got through, he started to go out, when the sheriff, thinking he was likely able to handle what appeared to be a mere boy, threw his arms around Cobb from behind. The latter managed to get hold of his self-cocking revolver, and pointing it backward, fired, the ball penetrating the sheriffs bowels.' The prisoner then cried out that he would give up, not to kill him. Mr. Shenneman then said, 'Hold him, he has killed me.' The sheriff staggered into a nearby bedroom and fell onto the bed. Jacobus and the school teacher, after tying up the prisoner, went to assist Shenneman.

"Sheriff Shenneman later said that as he looked at the fugitive, he decided that he wouldn’t pull a revolver on such a mere boy. He would catch Cobb and hold him while the other fellow disarmed him. After the Sheriff grabbed Cobb, he found that he couldn’t handle him.

"Mr. Jacobus said: 'When Shenneman jumped on him, I followed up close. As soon as I could, I got hold of his revolver and held it on him until he said he would give up. I then called the teacher from the school house and we tied him.'

"Sheriff Shenneman could not be moved. Plans were made to bring the prisoner to Winfield in the Sheriffs buggy by Cowley County Deputy Taylor and Undersheriff McIntire. A wagon-load of men, having heard the news and intent on seizing Cobb, met them that evening about a mile from town. The Sheriffs buggy was lighter and the team faster, so the officers outdistanced and lost the pursuers.

"The officers came into town in a roundabout way and unloaded their prisoner just back of D. A. Millington’s residence. They went through the back yard into Rev. Platter’s wood shed. Cobb was held there by Deputy McIntire while Taylor scouted around. Taylor found that the jail was surrounded by a mob, which had spread out and was also patrolling the alleys in the vicinity.


"Deputy McIntire in the meantime was holding the prisoner in the wood shed, and they could hear footsteps prowling around the area. The prisoner said he wanted to be shackled to him and given a pistol; then he would go into the jail. George McIntire wouldn’t accede to that request so Cobb hunted around and got a smooth stick of stove wood. Soon the crowd around the jail was distracted and the mob rushed to another part of town. The officers seized the opportunity and hurried the prisoner over and put him in jail.

"The Courier reporter and other Winfield folks returned by way of Udall where the train had been held for them. An immense crowd had gathered at the depot expecting the prisoner to arrive in that way. They made a rush for the coach. They were, with difficulty, persuaded that the man was not there. It was not a crowd of howling rabble but an organized body of determined men. They were bound to avenge the brave officer to the last drop of blood.

"The crowd then marched up the main streets of the city. They scattered guards out onto the roads over which they expected the prisoner to arrive. Others watched the jail while hundreds gathered on the streets in little knots and discussed plans for capturing the prisoner from the officers.

"One more venturesome than the rest went about with a large rope on his arm and blood in his eye. The crowd surged too and fro until long after midnight when they began to thin out. Under the influence of more sober-minded citizens, they gave up their ideas of mob violence. About this time McIntire and Taylor appeared on the street and the few remaining citizens were eager to learn the whereabouts of the prisoner. Little was learned before morning and even then the location where he was being held was known to only a select few.


"On Wednesday morning, January 24, 1883, a Courier reporter learned of the prisoner‘s whereabouts and interviewed him. The reporter copied the following description of the Jefferson County murderer that was telegraphed to the Sheriff.

“'Charles Cobb, about nineteen or twenty years old: light complexion: no whiskers or mustache: blue eyes: a scar over eye or cheek, don’t know which: height five to five feet three inches; weight 125 to 135 pounds: had black slouch hat: dark brown clothes and wore large comforter: may have large white hat: was riding a black mare pony with roach mane, and carried a Winchester Rifle and two revolvers: had downcast look.'

"The prisoner crouched in a comer of a small room. After introducing himself, the reporter asked the prisoner for his story of the trouble. He said: 'My name is George Smith, and I am about eighteen years old. I came up to Dodge City from Texas with a herd of cattle, in the employ of W. Wilson. Have been on the trail about a year. My parents reside in Pennsylvania. I was paid sixty dollars when the cattle were shipped.

“'I then rode east, intending to work my way back, and on a week from last Monday, it being too cold to ride, I stopped at Jacobus’ and tried to get work, or to board, until I could look around. On Tuesday as I was eating lunch a man came in who was introduced as Dr. Jones. As I got up to go out, the Doctor jumped on me without saying a word. My first impression was that it was a conspiracy to rob me, and I wrestled to defend myself.'

“'I had a revolver on my person because I was among strangers, had some money, and was used to keeping it about me. If he had only told me, he was an officer, and had put his gun on me as he ought to have done if he believed I was the desperate character I am credited with being, this business would never have happened.

“'I am no criminal, and I am not afraid if the law is allowed to take its course. If a mob attacks me, all I ask is the officers will do me the justice to allow me to defend myself. If they will take off these irons and put a six-shooter in my hand, I will take my chance against the kind of men who will come here to mob me. I am guilty only of defending myself, and I ask the law either to defend me or accord me the privilege of defending myself.'

"The newspaper reporter stated: 'In personal appearance the prisoner looks to be a bright, healthy, smooth-faced boy, and has but few of the characteristics of a desperado. Cobb is a perfect picture of robust health, muscular and compact as an athlete. The prisoner’s description tallies almost exactly with that of the Jefferson County murderer. He has a small scar above his lip on the right comer, and above his eye. In talking the captive uses excellent language, speaks grammatically and shows evidence of good breeding.'


"The prisoner was taken to Wichita later Wednesday afternoon by deputy Finch and confined in the Wichita jail. The lawmen wanted him out of the way of violence in case of Sheriff Shenneman’s death.

"On Thursday morning, January 25, 1883, the Sheriff of Jefferson County arrived, accompanied by a farmer who lived near Cobb and knew him well. They identified the prisoner as Charles Cobb. Cobb feigned not to know his old neighbor and still stuck to his cow-boy story.

"Sheriff Shenneman died Thursday evening at 9:45 p.m., in Udall, Kansas.

"On Saturday morning, January 27th, Sheriff Thralls of Sumnner County, Sheriff Watt of Sedgwick County, and Cowley County Deputy Taylor brought Charles Cobb back to Winfield in a carriage. Parties on the north-bound train passed them between Mulvane and Udall.

"This news electrified citizens in the community. In the evening about two hundred resolute men gathered at the crossing. They boarded the incoming train thinking that Cobb might have been put aboard at some way station, but he was not found. The vigilantes returned to the city and placed squads at each bridge and on streets surrounding the jail.

"The carriage with the prisoner arrived about eleven o’clock. The officers came by way of the ford at Tunnel Mill, thus enabling them to avoid outlying pickets, and drove to the crossing of Fuller street and Eleventh Avenue. Deputy Taylor was then dispatched to the jail to see how the land lay. He arrived just after a squad had searched the jail for the prisoner Cobb. Taylor quickly returned with the news that it was certain death to put Cobb in the jail.

"Sumner County Sheriff Thralls and Sedgwick County Sheriff Watt took the prisoner out of the carriage and started south on foot with him.


"Taylor was instructed to take the team out into the country. In going out of town, a squad of vigilantes caught the deputy and brought him back. From all parts of town men came running, wild with excitement. They formed in a dense mass around Deputy Taylor and clamored to know what had been done with the prisoner. As the crowd surged around the brave police officer, it felt as if the very air was laden with vengeance.

"Soon someone cried 'the Brettun,' and almost to a man the crowd started in a run for the hotel. Here they found the door barred, but one of their number was allowed inside. He looked in the room of Butler County Sheriff Douglass, and found nothing.

"The vigilantes then returned to the group holding Taylor and demanded that he tell them where they could find Cobb. Soon the horde went again to the jail and searched it from top to bottom. They then searched the courthouse and outbuildings. The search being fruitless, they re-turned exasperated, and for a few moments it looked as if Taylor would be abused.

"Deputy Taylor was finally compelled to tell where he had left the prisoner. A rush was made for that part of town, carrying Taylor along to show the exact spot. A vigorous, but fruitless, search of barns and outbuildings in the vicinity continued for the balance of the night.

"By this time Sheriffs Thralls and Watt, with the prisoner, had traveled out the Badger Creek road to William Dunn’s, arriving at two o’clock, and failed in securing a conveyance with which to transport the prisoner to Douglass. They went on until they found a team and wagon. Sheriff Watt then took the prisoner to Wichita, by way of Douglass, where Cobb was to remain for some time.

"Cobb was returned from Wichita on Wednesday evening, January 31st, by Deputy Taylor and again lodged in jail. Mrs. Shenneman went in and talked to him for a few moments. As she looked into his eyes, the criminal broke down completely and wept like a child. Soon people began to gather and many citizens saw Cobb for the first time. About eleven o’clock he asked to see Mrs. Shenneman again and confessed to her that he was Charles Cobb. He asked her to write to the wife of the constable in Jefferson County and tell her that he was sorry for killing him. He asked her to keep his revolver. Afterward, to Sheriff McIntire, he said he was led astray by reading the exploits of Jesse James and other desperados in the dime novels.

"Mr. William Shenneman (who was a police officer in Bay City, Michigan) and Deputy Taylor remained to help Sheriff McIntire should anything occur. By two o’clock in the morning everything was quiet about the jail and on the streets so Mr. Shenneman and Deputy Taylor retired to the house across the walk.

"Startled late pedestrians saw a company of men, their faces covered with black masks and thoroughly organized, marching down Ninth Avenue toward the jail. They went to Fuller Street where the leader flashed a dark lantern. The mob then marched back and tiled into the courthouse yard.Four of them, with pistols drawn, rushed into the sheriffs office, located in front of the jail. The black-masked leader ordered Sheriff McIntire to throw his hands up and the order was quickly obeyed. He then demanded the keys and Sheriff McIntire handed them over.


"The masked Captain then threw the jail door open and said 'Number 1, 2 and 3 to your posts!' and three men trotted into the jail. He then ordered 'Reserve, guard the door!' The three men came out leading the prisoner. The Captain and his three men stayed at the office door for about five minutes before he demanded: 'DO you promise you won’t follow us?' No answer was immediately given so the captain shouted 'Halt!' to the men on the sidewalk with the prisoner. He then turned to the Sheriff again and said, 'Now say you won’t follow us, and say it D--m quick!' He received no answer.

"The other three left, but the Captain delayed for a moment while standing in the door, with revolver drawn. He again ordered, 'Command. Halt! Send me two men!' The men came and took his place as the leader left.

"The two masked men guarded the Sheriff for about five minutes. They then pulled the office door shut and lee. The company surrounded the criminal and marched him down Ninth Avenue to Main Street. From there they moved north to Eighth Street and then turned west until they reached the railroad bridge. By this time a multitude had gathered and were following them. Two squad members fell back and with drawn revolvers they shouted 'Keep your distance.'

"The masked vigilantes got to the railroad bridge where a rope, prepared beforehand, was placed about Cobb’s neck and tied to the bridge beam.The moon was just up; and several boys who were following, crept up into the brush on the river bank and saw the rest of the proceedings. After the rope was tied, the unidentified leader, in a gruff voice, ordered Cobb to say what he had to say quickly. The boys in the brush heard Cobb say, 'Oh, don’t boys!' and 'Father, have mercy on Me!' Two men wearing masks then took him up and dropped him through between the bridge railings.

"Cobb fell about ten feet and rebounded half the distance. The black-masked mob then filed on across the bridge, leaving two of their number to guard the rear. These stood until the others had gone on across, when they too retreated. The crowd came up and looked at the victim. His body continued to hang there while the coroner was summoned. The scene was visited by hundreds. The County Coroner arrived, empaneled a jury, and only then was the body taken down.

"The coroner’s jury returned its verdict the next day, February 2, 1883, which was 'Charles Cobb came to his death at the hands of parties unknown to the jury.'

"Mr. George C. Rembaugh owned and operated the 'Telegram' newspaper at that time. Many years later he was quoted as submitting the following story. 'A coroner’s jury was called to sit on the case. The main witness, when questioned as to whether or not he could identity any member of the mob answered, 'Why yes, Judge.' He then addressed the foreman, 'The leader looked a lot like you and was built a lot like you. He even moved around like you do.' A few more questions were asked and the jury handed down its verdict that the deceased came to his death at the hands of parties unknown. Mr. Rembaugh insisted that he, while hid out, saw the mob and he, like the main witness, thought the leader of the mob resembled the jury foreman.

"On the same day as the verdict, the following telegram was received:

"'Will you box my son and send him by express to this place? If not, hold him until I come. C. M. Cobb.' The corpse was placed in a casket and sent to Valley Falls (in Jefferson County) on the Santa Fe train Friday afternoon" (Dr. William W. Bottorff and Mary Ann Wortman. Articles on Various Subjects from the Old Cowley County Newspapers and Interviews With Oldtimers. Sheriff A. T. Shenneman of Cowley County, Kansas 1880-1883).


"The fate of Cobb, the boy who was lynched at Winfield on Wednesday last, was a sad, but a deserved one. He stated just before he was hung that it was reading the sensational narratives of the exploits of Frank and Jesse James that led him to destruction. 

"We have frequently seen Atchison boys pouring over these works of the devil, and afterward imitating the supposed exploits of the James boys in their play. This is extremely dangerous, and the sooner the fact is impressed upon the youthful mind that these men were not heroes, but brutal, cowardly robbers and murderers, the better it will be for the rising generation. 

"All such books and plays should be suppressed, and that murder and robbery is heroic eradicated from the youthful mind, by a vigorous application of the paternal slipper. Let the boys learn that honest, patient labor is heroic, and that dishonesty and crime are despicable, but keep forever out of their reach these untrue stories that have already ruined so many" (Winfield [Kansas] Courier, February 8, 1883).
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Images courtesy of Carleton College Dime Novel Collection, with our thanks.
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Friday, March 28, 2014

The Man Who Refused To Laugh (And The Book That Laughed At Him)

by Stephen J. Gertz


On March 9, 1748 Philip Dormer Stanhope (1694-1773), 4th Earl of Chesterfield, wrote to his son:

"Having mentioned laughing, I must particularly warn you against it: and I could heartily wish, that you may often be seen to smile, but never heard to laugh while you live. Frequent and loud laughter is the characteristic of folly and in manners; it is the manner in which the mob express their silly joy at silly things; and they call it being merry. In my mind, there is nothing so illiberal, and so ill-bred, as audible laughter. True wit, or sense, never yet made anybody laugh; they are above it: They please the mind, and give a cheerfulness to the countenance. 

"But it is low buffoonery, or silly accidents, that always excite laughter; and that is what people of sense and breeding should show themselves above. A man's going to sit down, in the supposition that he has a chair behind him, and falling down upon his breech for want of one, sets a whole company a laughing, when all the wit in the world would not do it; a plain proof, in my mind, how low and unbecoming a thing laughter is: not to mention the disagreeable noise that it makes, and the shocking distortion of the face that it occasions. Laughter is easily restrained, by a very little reflection; but as it is generally connected with the idea of gaiety, people do not enough attend to its absurdity. 

"I am neither of a melancholy nor a cynical disposition, and am as willing and as apt to be pleased as anybody; but I am sure that, since I have had the full use of my reason, nobody has ever heard me laugh."


The letter is one of over four hundred written beginning 1737/1738 through the death of his son in 1768 and collected in Letters Written By the Late Right Honorable Philip Dormer Stanhope, Earl of Chesterfield, to His Son, Philip Stanhope Esq. Published in 1774 by his son's widow, Eugenia, a year after Chesterfield's death, the majority of the letters were written between 1746 and 1754. 

Also known as Letters to His Son on the Art of Becoming a Man of the World and a Gentleman, within Lord Chesterfield - yes, he of the eponymous sofa - with elegance, understated wit, and sharp observation discusses, amongst other issues including history and contemporary politics, the restraint in behavior and manners expected of the mid-18th century British upper class in general and gentlemen in particular.

His disdain for the manners of the general populace begged to be lampooned and thirty-seven years after Chesterfield's letters to his son were published caricaturist George Moutard Woodward ("Mustard George"), in 1808, gleefully rubbed his hands together and went to work, the great Thomas Rowlandson engraving Woodward's designs (as imprinted on plates but contrary to title page).


A satire of Lord Chesterfield's advice to his son, Chesterfield Travestie; or, School For Modern Manners presents "a new plan of education, on the principles of virtue and politeness in which is conveyed, such instructions as cannot fail to form the man of honour, the man of virtue, and the accomplished gentleman." In seven chapters illustrated by ten hand-colored plates it covers Rules for walking the Streets, and other Public Places; Behaviour at the Table; Directions respecting Apparel, &c; Short Directions respecting behavior at the Theatres; Rules for Conversation; Rules to be observed at Cards in private Families; and General Rules for Good Breeding on various Occasions. In short, all a swell has to know for good breeding to show, to wit:

"It is very becoming to break out into a violent fit of laughter, on the most rifling occasion. forming  your mouth into a grin like the lion's-head on a brass knocker; and more so to be continually simpering at every thing. like a country milk-maid at a statute fair" (Chapter 7, p. 47).

How To Walk The Streets.

"If, whilst you are walking, you see any person of your acquaintance passing, be sure to bawl and hem after them, like a butcher out of a public-house window; and leave the person you are walking with to run after them.

"In walking through a crowded street, throw your legs and arms about in every direction, as if you were rowing for Dogget's coat and badge. N.B. If you have a short thick stick, it will be of great advantage" (Chapter 1, p. 1).

How To Keep Up A Conversation With Yourself On The Public Streets.

"It is said that the emptiest vessels make the greatest noise; don't let that deter you from making a free exercise of your lungs; it is conducive to you health, therefore, in every conversation, however trivial it may be, be sure to bawl as loud as possible" (Chapter 5, p. 21).

How To Look Over Your Husband's Hand Of Cards And Find Fault With Him For Losing.

"It has a very good effect for a wife to look over her husband's hand while he is playing; at the same time, shewing evident marks of anger and discontent if he loses.

"When you lose, never pay before you are asked for it; it is quite time enough; and then do it with reluctance, so as to plainly shew you would much rather keep it in your pocket"  (Chapter 6, p. 43).

How To Break a Shop Window With An Umbrella.

"Should it be a rainy day, and you use an umbrella, pay no regard to breaking a few windows in your passage, &c., from your careless manner of carrying it" (Chapter I, p. 2).

A British statesman and diplomat, "Chesterfield’s winning manners, urbanity, and wit were praised by many of his leading contemporaries, and he was on familiar terms with Alexander Pope, John Gay, and Voltaire. He was the patron of many struggling authors but had unfortunate relations with one of them, Samuel Johnson, who condemned him in a famous letter (1755) attacking patrons. Johnson further damaged Chesterfield’s reputation when he described the Letters as teaching 'the morals of a whore, and the manners of a dancing master.' Dickens later caricatured him as Sir John Chester in Barnaby Rudge (1841). The opinion of these two more popular writers—both of whom epitomized middle-class morality—has contributed to Chesterfield’s image as a cynical man of the world and a courtier. 

"Careful readers of Chesterfield’s letters, which were not written for publication, consider this an injustice. The strongest charge against his philosophy is that it leads to concentration on worldly ends. But within this limitation his advice is shrewd and presented with wit and elegance. Ironically, Chesterfield’s painstaking advice seems to have fallen on deaf ears: his son was described by contemporaries as 'loutish,' and his godson was described by Fanny Burney as having 'as little good breeding as any man I ever met'” (Encyclopedia Britannica).

As far as his refusal to laugh aloud is concerned, I imagine Lord Chesterfield being kidnapped and taken to a dark, dank basement room where he is strapped to a chair under a glaring spotlight and compelled to endure unmerciful torture by Mel Brooks until his smile, always firmly set to prevent an accidental discharge of guffaws, breaks, his sides split, his gut busts, a lifetime's worth of repressed laughter escapes in a torrent, and an eternal human truth becomes manifest:

Ludibrio ergo sum vivo.
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WOODWARD, George Moutard (designer). ROWLANDSON, Thomas, (engraver). Chesterfield Travestie. or, School For Modern Manners. Embellished with Ten Caricatures, Engraved by Woodward from Original Drawings by Rowlandson. London & Edinburgh: Printed by T. Plummer...for Thomas Tegg, 1808.

First edition. Octavo (6 1/2 x 4 1/8 in; 166 x 104 mm). [1, half-title], [1, blank], iv, [2], 70, [2, adv.] pp.  Ten hand-colored plates (two folding) engraved by Rowlandson after drawings by Woodward (contrary to title), with tissue guards. Publisher's original printed boards.

Reprinted by Tegg in 1809, and again by Tegg in 1811 under the title "Chesterfield Burlesqued." American editions published in Philadelphia by M. Carey in 1812 and 1821.

The Plates:

1. Votaries of Fashion
2. How To Walk the Streets.
3. The Art of Quizzing.
4. How to Keep Up a Conversation with Yourself in the Public Streets.
5. How to break a Shop Window with an Umbrella.
6. Behaviour at Table.
7. Notoriety, &c.
8. Gentleman and Mad Author.
9. How to look over your Husband's Hand while at Cards.
10. The Nobleman and Little Shopkeeper.

Falk, 215-216, Grego, 115-117, Grolier, Rowlandson, 61, Hardie, p. 315. Gordon Library Catalog BC-19.
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Book images courtesy of David Brass Rare Books, with our thanks.

Wednesday, March 26, 2014

Scarce Scenes From a 19th C. Courtship & Marriage

by Stephen J. Gertz


Marriage is a wonderful institution. 
But who wants to live in an institution?
 - Groucho Marx

Young cupid held a council, by lover's vows he swore
He'd hold up for example, a pair of lovers more;
By lovers' vows he swore it, young Charles in love should fall,
and so arranged that very night that he should meet the ravish'd sight
of Julia at a ball.

Thus begins A New Matrimonial Ladder, a gentle satire published c. 1853 on the progress of love at first sight toward nuptials, the chains of matrimony, later disillusion, reproach and estrangement, followed by reconciliation and happiness ever after.

Admiration.
Agitation.

Eighteen hand-colored engravings illustrate fifty-five quatrains on the courtship and marriage of Julia and Charles, a young lady and gentleman in the mood for love, pronto.

Approbation.
Flirtation.

Little is known about its writer, Edward Concanen, beyond that OCLC records five books authored by him, all, as here, issued by Read & Co., a London second-tier publisher who partnered with Ackermann, the great color-plate book and print publisher.

Declaration.
Acceptation.

Of the book's illustrator, however, we know quite a bit.

"Thomas Onwhyn (1814–1886), illustrator, was born in Clerkenwell, London, the eldest son of Joseph Onwhyn, a bookseller and newsagent at 3 Catherine Street, the Strand, London, and his wife, Fanny...

Solemnization.
Possession.

"Thomas Onwhyn came to public notice by his contribution of a series of ‘illegitimate’ illustrations to works by Charles Dickens. He executed twenty-one of the whole series of thirty-two plates to The Pickwick Papers, which were issued in eight (though intended to be in ten) monthly parts by E. Grattan, 51 Paternoster Row, London, in 1837; they are for the most part signed with the pseudonym Samuel Weller, but some bear Onwhyn's initials. 

Rumination.

"From June 1838 to October 1839 Grattan issued a series of forty etchings by Onwhyn, illustrating Nicholas Nickleby. In a letter of 13 July 1838 Dickens referred to ‘the singular Vileness of the Illustrations’ (Letters of Charles Dickens, 1.414). He objected to piracy but not to imitation and was friendly with Charles Selby, the author of Maximums and Specimens of William Muggins (1841), which was also illustrated by Onwhyn (ibid., 2.332). After his death an additional set of illustrations to The Pickwick Papers made by Onwhyn in 1847 was discovered and they were published in 1893 by Albert Jackson of Great Portland Street, London.

Alteration.

"Onwhyn's most lasting contribution was to the ephemeral end of the book trade in the 1840s and 1850s, illustrating the comic side of everyday life. Undertaken for shadowy publishers such as Rock Bros and Payne, and Kershaw & Son, he produced a score of pull-out or panorama books, coloured and plain, lithographed or etched for the popular market. Satirizing tourism, teetotalism, and fashion, they included Etiquette Illustrated (1849), A New Matrimonial Ladder (c.1850), What I Saw at the World's Fair (1851), Mr and Mrs Brown's Visit to the Exhibition (1851), A Glass of Grog Drawn from the Bottle … (1853), Cupid's Crinoline (1858), Nothing to Wear (1858), and Scenes on the Sands (c.1860).

Disputation.

"He signed his work T. O., O., or with the pseudonym Peter Palette, as in Peter Palette's Tales and Pictures in Short Words for Young Folks (1856). He sometimes etched the designs of others—for example, Oakleigh, or, The Minor of Great Expectations by W. H. Holmes (1843). He was an indifferent draughtsman but showed real humour in his designs. His talent was somewhat overshadowed by those of his most eminent contemporaries such as George Cruikshank and Hablot K. Browne (Phiz). Onwhyn, who also drew views of scenery for guidebooks and illustrated six novels by Henry Cockton, abandoned artistic work, becoming a newsagent for the last twenty or thirty years of his life" Simon Houfe, Oxford DNB).

Detestation.

The engraver of the plates, Charles Hunt, flourished during the 1830s-1860s as a renowned aquatint engraver and etcher of sporting prints, Engen's Dictionary of Victorian Engravers, Print Publishers and Their Works devoting a full page to Hunt and his oeuvre.

Separation.

There is some question regarding the correct date of publication. A penciled note to the title page of the copy before me declares 1853; the English Catalog of Books suggests 1840-1849; the DNB c. 1850; COPAC notes the copy at Oxford c. 1860. We throw out the ECB low of 1840; it is far too early. The 1853 date feels just right.

Reconciliation.

The New Matrimonial Ladder is quite rare, with OCLC/KVK recording only six copies in institutional holdings worldwide. ABPC notes only one copy at auction within the last thirty-seven years, in 2004.

Matrimonial Ladder! Or Such things are.
Drawn by M. E. Esqr. Engrav'd by G. Hunt.
London: Thos. McLean, 26 Haymarket, n.d. [1825].

A new matrimonial ladder implies an old one and, indeed, approximately twenty-five years earlier, in 1825, Matrimonial Ladder!, by M. E. (Michael Egerton), was issued featuring hand-colored aquatints illustrating the very same stages of courtship and marriage that Concanen and Onwhyn would later interpret in their New Matrimonial Ladder: "Admiration," "Flirtation," "Approbation,"  "Declaration," "Hesitation," "Agitation," "Acceptation," "Solemnization," "Possession," "Rumination," "Alteration," "Alteration," "Irritation," "Disputation," "Desperation," "Detestation," "Separation," and "Reconciliation."

Tailpiece - New Matrimonial Ladder.

All's Well That Ends Well
Look Before You Leap

 A 21st century reinterpretation of Matrimonial Ladder would have to include modern rungs not found in these earlier editions: "Online Dating," "The Hook-Up," "Cyber-marriage," "Break-up by Text Message," "Divorce Court," "Bitter Child Custody Case Played Out In Public," "Revenge Porn," "Mutual Murder For Hire" followed by "Copping a Plea" and finally "Burying the Hatchet," the whole saga posted on YouTube for viral distribution.
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CONCANEN, Edward. ONWHYN, Thomas (illustrator). A New Matrimonial Ladder. With Twenty Illustrations, Designed by Onwhyn - Engraved by Charles Hunt. London: Read & Co… Ackermann & Co., n.d. [1849-1860].

First edition. Quarto (10 1/2 x 7 3/4 in; 268 x 198 mm). Unpaginated. Twenty hand-colored  plates, including extra title and tailpiece, heightened with gum arabic, with fifty accompanying verses.

Not in Tooley or Abbey.

English Catalog of Books, Vol. 1, p. 161.
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Images courtesy of David Brass Rare Books, with our thanks.

You can read the complete text of The New Matrimonial Ladder here.
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