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art & architecture
Art & Architecture
Landon’s book seems to have been a recreation. He notes towards the end ‘The Drawing in this Book was began by James Landon the 30 May as may be seen by the Title Page 1790 and Finished the 13 of May 1791 being near 1 years from beginning to Ending.’
The sequence of comic figures include Dancing Dolly, Down Looking Dicky, Betsy Blossom, A Man in a Maze, The Duke of Limbs, Simon Swig Bottle, Oliver Upright and Frank Flower Finder. They resemble chap-book illustrations, but with a few exceptions (Mother Bunch and Darby & Joan) they seem to have sprung from Landon’s imagination or sense of humour. A sequence of natural curiosities includes ‘A large Golden Fish’, a ‘Lion like sea Monster’, ‘Barnet a Sea Fish’, ‘A Sea Fish with a head like a Bare’, ‘The Sea Feather’, ‘A Monster Sea Hogg’, ‘The Rhinocerous’ and ‘A Man with a head growing out of his belly’.
The two images of native Americans entitled ‘A Woman of the Ottigaumies’ and ‘An Ottigaumie Soldier’ are derived from a plate in Jonathan Carver’s Travels through the interior parts of North-America (1778, with several reprints before 1790) which shows the man and woman (with child) in reversed positions. The tribes of the Outagamie were members of the Meskwaki tribes of modern-day Wisconsin.
Landon’s book also includes a coloured octogram, personifications of Flora (‘flowers’), Pomona (‘fruit’) and Ceres (‘corn’), a sequence of flowers, a fine depiction of a British Man-o’-War, a sequence the arms of British towns, an illustrated table of Precedency, and concludes with several verses and conundrums. see full details...
![YVES, [A].](/photos/815/main/815.jpg "YVES, [A].")
The set (apparently complete) comprises: Garçon restaurant; Modiste; Porteur d’eau; La Femme Thomas, tond les Chiens, coupe les Chats, va en Ville; Dame de Comptoir; Commissionnaire, Portefaix, et Décrotteur; M[archan]d de Coco; Il arrive L’Maquereau! Il arrive!!; Des Cigarres et du Feu; La Patrie Journal de Soir; La Pêche au Vin, la Pêche au Vin?; Vivandière; Bonne d’Enfans; Fleurissez vous Mesdames? Cinq sous les beaux Bouquets!..; Chiffonier; Au Vitirer; Charbonnier; Habits vieux Galons.
According to the imprints the production of the set was shared by 3 publishers: Lemercier and Boivin in Paris and Gambart, the French publisher in London, whose premises were at 25 Berners Street.
This contemporary collection has been neatly kept, loose in a blank album. The other plates include 5 delightful images from another ‘Types Parisiens’ collection: ‘Les Bals de Paris’ and includes Postillon; Polka Mabille; Titi; Marin; Pierrot. The complete set probably consisted of 9 plates, but is also very rare. The album is completed with 3 unrelated but contemporary coloured lithographs. see full details...
![WOODWARD, [George Murgatroyd].](/photos/596/main/596.jpg "WOODWARD, [George Murgatroyd].")
Like his drinking-partner Thomas Rowlandson, Woodward absorbed high and low culture omnivorously and paid keen attention to contemporary politics.
A Political Fair is ‘a fantastic survey of the international situation’ in 1807 and is considered one of Woodward’s finest images, the print catalogue of the British Museum devoting two full pages to its complex allegories. At the heart of the fair is a large booth (‘The Best-Booth in the Fair’) representing Great Britain holding aloft on its platform images of Britannia, John Bull, together with an Irishman, Scotsman and Welsh harpist gathered convivially around a punchbowl, while a waiter sweeps into the chamber below with a vast joint of roast beef on his platter. All this was typical of Woodward’s patriotism and was intended to portray the essential unity of the nation amidst the host of clamouring figures in the neighbouring booths representing the other nations. Napoleon, in tricorn and feathers, rebuffs a disgruntled Dutchman complaining about his King with the words ‘I never change Mynheer after the goods are taken out of the Shop’. High up on the right, the American booth displays a placard advertising ‘Much ado about Nothing with the Deserter’, a reference to the friction between Britain and the United States over recent defections from British to American ships and the ban on armed British ships in American ports. The Danish booth on the left advertises ‘The English Fleet and The Devil to Pay’ in reference to the hideous bombardment of Copenhagen by the British fleet in September that year.
Musical and theatrical references abound, with many of the placards punning on the titles of plays and musical performances then showing in London: Much ado about nothing, All’s well that ends well (Shakespeare), The Padlock (Bickerstaffe), The Deserter (Dibdin), The Double Dealer (on the Russian booth, by Congreve) and The English Fleet (Dibdin again). see full details...
It deals with the raw materials, their preparation, manufacturing process and the dyes as well as the styles of hats. The plates, re-engraved for this Spanish edition are detailed depictions of the hatter’s craft with excellent workshop scenes.
Like his French counterpart Nollet, Suárez y Nuñez was an enlightened polymath dedicated to the scientific exposition of crafts and industry. His magnum opus was the multi-volume Memorias instructivas, y curiosas: sobre agricultura, comercio, industria, economia, chyimica, botanica, historia natural, &c (1778-1791) translated from pioneering works published across Europe. see full details...
![[DECOURTIS, Charles-Melchior.]](/photos/715/main/715.jpg "[DECOURTIS, Charles-Melchior.]")
![‘CHAMBLEY, Edmond sire de’ [pseudonym of Edmond Haraucourt.] ‘VAN MAELE, Martin’ pseudonym of Maurice François Alfred Martin.](/photos/528/main/528.jpg "‘CHAMBLEY, Edmond sire de’ [pseudonym of Edmond Haraucourt.] ‘VAN MAELE, Martin’ pseudonym of Maurice François Alfred Martin.")
![[BLASCHE, Bernard Heinrich].](/photos/782/main/782.jpg "[BLASCHE, Bernard Heinrich].")
![[DALRYMPLE, David, Sir.]](/photos/111/main/111.jpg "[DALRYMPLE, David, Sir.]")
