made by me, G. C., in 1870, from the original design and etching to illustrate Grimm's Popular German Tales, published in 1822."

John Ruskin said of these etchings: "They are the finest things, next to Rembrandt, that have been done since etching was invented." The drawing of "The Elves and the Shoemaker" was selected by Ruskin for special commendation. It was also a favorite with Thackeray.

POINTS OF HUMOUR. Illustrated by the Designs of George Cruikshank. London, 1823.

Royal 8vo. Bound by Riviere; polished calf, uncut.

Both series in one volume.

First edition. With the illustrations colored.

With an autograph letter of George Cruikshank. Dated October 8, 1845.

I p., 4to. In pencil.

Interesting letter giving the cast of the performance of "Every Man in His Humour" at Devonshire House. Cruikshank gives the complete list of characters and performers, the latter including Dickens, Mark Lemon, Douglas Jerrold, John Leech, John Forster, and others.

The above is 'a correct list of the running horses, with the names of the

ILLUSTRATIONS TO COWPER'S JOHN GILPIN.

George Cruikshank. London, 1828.

By

Small 4to. Bound by Zaehnsdorf; mottled calf, uncut; the original covers bound in.

First edition.

Unlettered proofs on India paper of these illustrations, of which Thackeray says: "Happy are the children of all ages who have such a ballad and such pictures in store for them."

Inserted is a note in Cowper's autograph:

"Mr. Cowper begs that Mr. Johnson will be so good as to enter Anonymous on his list of subscribers, and lest it should be forgotten, will be obliged to him if he will do it immediately. Anonymous subscribes for royal paper, and Mr. C. will be accountable for his payment.

Saturday; Olney."

This note is addressed to "Mr. Johnson. Bookseller. St. Paul's Churchyard." It was this Johnson who published the first edition of "John Gilpin" in 1783. Bound in with the Cruikshank plates are the pages, inlaid to 4to size, of a chapbook reprint of "John Gilpin," illustrated with wood-cuts. A former owner has inserted a manuscript giving interesting bibliographical information regarding the poem.

LETTERS ON DEMONOLOGY AND WITCHCRAFT. Addressed to J. G. Lockhart, Esq., by Sir Walter Scott, Bart. With etchings by George Cruikshank. London, J. Murray, 1830.

12mo. Bound by Riviere; levant morocco, uncut.

First edition.

With a duplicate set of the etchings colored.

On the fly-leaf is the autograph:

"George Cruikshank, August 26th, 1869."

LIFE IN LONDON; or Day and Night Scenes of Jerry Hawthorne, Corinthian Tom, and Bob Logic the Oxonian, in their Rambles and Sprees through the Metropolis. By Pierce Egan. With thirty-six colored plates and numerous woodcuts by George and I. R. Cruikshank. With the music. London, G. Vertue (n. d.).

Royal 8vo. Half calf, marbled edges (contemporary binding).

George Cruikshank's own copy of the second edition of one of his most famous works; with his autograph on the title-page. Pasted inside the front cover are a crest and a monogram cut from a letter-head and used as a book-label. The initials are "I. R. C." (Isaac Robert Cruikshank). This improvised book-plate was probably made by the brother of the more famous artist. The same die has been stamped on the fly-leaf of the book.

GEORGE CRUIKSHANK'S FAIRY LIBRARY; Edited and Illustrated by George Cruikshank. Puss in Boots. Hop-o'my-Thumb. Jack and the Beanstalk. Cinderella. London, D. Bogue (n. d.).

The four parts in one volume, small 4to. Polished calf, edges as issued; with all the original paper covers bound in.

Inserted is Cruikshank's pamphlet "A Letter from Hop-o'-my-Thumb to Charles Dickens, Esq.," with Cruikshank's autograph on the title. When Cruikshank's "Fairy Library" appeared, the artist had become an enthusiastic advocate of total abstinence, and he interpolated temperance sermons in his versions of the fairy stories. This called forth a remonstrance by Dickens in Household Words, which Cruikshank answered in this pamphlet.

Bound in the back of "The Fairy Library" is Cruikshank's curious address "To the Public" regarding certain misstatements made about him by Mrs. Harriet Beecher Stowe. The old artist proves Mrs. Stowe's assertions to be as unreliable in this instance as they were in a more famous case.