Bobbin Timothy (8 results)

Hardcover. Condition: Very Good. BOBBIN Timothy (illustrator). 1st Edition. The Passions of Manchester in 25 hand coloured illustrations First edition, 1810, Quarto, [34] pp, engraved portrait frontispiece, hand coloured engraved dedication leaf, & twenty five hand coloured engraved plates, watermarked 1805 and 1806, modern quarter burgundy calf over marbled boards, spine ruled in gilt and decoratively tooled in blind in compartments with two black morocco gilt lettering labels, occasional minor soiling and offsetting, a few small stains, a few minor marginal paper repairs to text leaves. (signatures: A-E1). (262*199 mm). (Poletti, p.194). The engraved designs of this once famous Lancashire artist have been many years out of print, and now almost unknown to the world at large, the publisher, from a love of the early productions of art in his native county, has undertaken this new work, relying on the patronage of the admirers of originality and genius (Address). In 1772-3 Collier published a folio volume of twenty six engravings, with poetical description, entitled 'The Human Passions delineated, in above 120 figures, droll, satirical, and humorous, @ some of which had been sold as separate plates. Other editions in folio were published in 1810, 1819, 1858, and 1860, and in quarto in 1811 and 1846 (DNB) A very good copy of this extremely scarce caricature book which contains several plates humorously dealing with pulling teeth.

, with illustrated title page plus portrait of author opposite, complete with 44 illustrations most of which are two per leaf, plus subscribers greeting [1 leaf], and explanation of plates [5 leaves], a reprint of the 1773 edition Reprint , front and rear board detached, some loss to spine, boards scuffed at edges and with some light stains, faint spots to frontispiece, plates lightly thumbed at margins but illustrations clean, externally worn but plates in good condition , blue cloth with gilt titles and blindstamped designs Folio, 42 x 28.5 cm Hardback ISBN:

0. 8° 216 Seiten, mit Frontispiz und Kupferplatten Leder Goldgeprägter Einband, marmorierter Schnitt und Vorsatz, Deckel lose, Rücken mit Läsur, berieben und bestossen, Seiten gebräunt, ansonsten sauber und ordentlich erhalten. Tim Bobbins war ein Pseudonym für John Collier (1708-1786). Sprache: Deutschu 0,360 gr.

Hardcover. Quarto, Unpaginated. In Very Good condition. Bound in three-quarter brown leather and marbled paper boards with gilt lettering and decoration on paneled spine. Wear to hinges and along edges. Rubbing to boards. Edges of textblock gilt. With silk ribbon bookmark. Marbled endpapers. Foxing to interior pages. Features 25 colored plates throughout and frontispiece. Repairs made to edges of title page and dedication. Shelved in Case 0. 1380106. Shelved Dupont Bookstore.

First Edition. "We Didn't Need Dialogue. We Had Faces!" 1810 Physiognomy Color Plates Predate Norma Desmond BOBBIN, Timothy (pseudonym of John Collier, 1708-1786). The Passions, Humourously Delineated. Containing Twenty-Five Plates, With His Portrait, Title Plate, and Poetical Descriptions. London: Printed for Edward Orme by J. Hayes, 1810. Second, revised edition (the first with color plates), later issue. Quarto (9 1/2 x 7 3/8 in; 242 x 188 mm). Twenty-five hand-colored stipple- and line-engraved plates, one plain stipple- and line-engraved portrait as frontispiece. Plates watermarked "J. Whatman 1825." Contemporary full dark green straight-grained morocco with triple fillets and broad gilt-tooled frame enclosing an inner blind stamped frame. Gilt ornamented and lettered spine. All edges gilt. Gilt-rolled turn-ins. A near fine copy. Originally published in 1773 with twenty-six plates as Human Passions Delineated in Above 120 Figures: Droll, Satyrical, and Humorous: Designed in the Hogarthian Style, Very Useful for Young Practitioners in Drawing (Manchster: J. Heywood). British satirist John Collier (1708-1786), under the pseudonym Tim Bobbin, "developed his trade as a painter . producing inn signs, painted panels, and grotesque caricatures which were widely distributed, reaching the American colonies via a Liverpool merchant. He promoted and distributed his own work, traveling all over northern England collecting and delivering orders and commissions for books and pictures and consuming the proceeds as he went. ".In 1773 was published his Human Passions Delineated, an upmarket edition of his caricatures which acted as a catalogue, in which he described himself as the 'Lancashire Hogarth'. The 1810 London edition of Human Passions systematically softened his caricatures. The Victorian antiquary W. E. Axon thought his pictures 'execrable . gross and cruel', while the Dictionary of National Biography found them 'grotesque' and 'absolutely devoid of artistic merit'"(Oxford DNB). An 1803 edition from J. Hartley featured restrikes from the original plates, as did an 1820 edition from J. Westall. One can only imagine their poor quality, which is one reason why these editions were not avidly acquired by institutions and the present edition so desirable. Bond Street print publisher Edward Orme (1775-1848) resurrected Collier's caricatures in 1810. His edition was subsequently reprinted by others in 1846 and 1858. In these prints we see the origins of Louis-Leopold Boilly's Recueil de Grimaces (96 lithographs, 1822-27), which was greatly influenced by the illustrations within Johann Kaspar Lavater's Physiognomische Fragmente zur Beförderung der Menschenkenntnis und Menschenliebe (1775-1778), that book in turn inspired by Charles Le Brun's illustrations in his posthumously issued Characteres des passions (1698). Lavater's book found admirers in France and England as well as Germany but Collier/Bobbin, in 1773, beat Lavater to England with the concept by two years. The study of physiognomy as a window into character was well-accepted by the ancient Greek philosophers, but fell into disrepute in the Middle Ages. It was then revived and popularized by Lavater before falling from favor again in the late 19th century. Here, then, is an early and unheralded addition to the genre, which, in its first crude edition of 1773, predates Lavater, and here in its second edition (the first nearly unobtainable) still setting the stage for Boilly and the popular craze for reading faces for personality and the passions. "The engraved designs of this once famous Lancashire artist having been many years out of print, and now almost unknown to the world at large, the publisher, from a love of the early productions of art in his native country, has undertaken this new work, relying on the patronage of the admirers of originality and genius" (Edward Orme, opening Address). Bobins IV, 1326; Not in Abbey, or Tooley.

Half Calf. Condition: Very Good. 4to. 28 by 21 cm. 26 hand-colored plates in all (including dedication page plate, which does read as a full plate), plus frontis copper engraved portrait, uncolored, of Bobbin. Following a one page intro (address), the format is a plate is faced with an explanatory verse, usually short but in two instances, continuing onto a second page. Scarce with contemporary hand-coloring. Bobbin, whose real name was John Collier (1708-1786), was the Lancashire Hogarth, and was both celebrated in his day for his illustrations and his writings, which in the case of this work, was rendered in light verse. His publication on the Lancashire dialect was indeed the first important work to treat the subject and thus his legacy is both as a humorist and a linguistic scholar. The illustrations evoke the saucy genre paintings of earlier Dutch artwork as well as Hogarth and closer contemporaries such as George Moutard Woodward. They are exceptional, though, in their economy of composition, with little expended on extraneous background and details, and in this they stand apart from Woodward, not to mention Rowlandson and other illustrators of the period. Topically, the illustrations and verse have a broadness of theme that while of its period, also handily transcend it. Thus topics include love, anger, mercenary marriage unions, the squandering of savings in the pursuit of a Pyrrhic court victory. Dentistry, or the torture of tooth pulling, is the subject of a number of the plates, as is intemperate drinking. The characters depicted are rogues, simpletons, rakes, picaresque types, vulgarians, the panoply of everyday English society, brimming with life, if not always virtue. Rebacked in matching calf. Old calf abraded and chipped. Scattered soiling.

No Binding. Condition: Good. "Antique hand colored copper plate engraving. Untitled but appears to come from the series "The Passions, Humourously Delineated." Published as the Act directs June 1773. by artist Timothy Bobbin aka John Collier. the title appears to be from research, "Avarice" although I cannot find an identical copy (This version has the right hand man wearing a hat. Others don't) Plate dims 51/8 x 8 1/4 ins. Overall 6 5/8 x 8 5/8ins. British satirist John Collier (1708-1786), under the pseudonym Tim Bobbin, developed his trade as a painter producing inn signs, painted panels, and grotesque caricatures which were widely distributed, reaching the American colonies via a Liverpool merchant. He promoted and distributed his own work, traveling all over northern England collecting and delivering orders and commissions for books and pictures and consuming the proceeds as he went. In 1773 was published his Human Passions Delineated, an upmarket edition of his caricatures which acted as a catalogue, in which he described himself as the Lancashire Hogarth "margins a little grubby, minor marks and spots, taped reinforced backing" TUR38".

NA. Condition: Very Good. This is presumed to be a self-portrait of Bobbin, whose real name was John Collier. The work is unsigned, but there can be no question that the person portrayed is Bobbin, and it is done with the unsparing caricaturial sharpness and economy that characterized his artwork. Bobbin as a caricaturist captured the vulgarity and coarseness of his subjects, no matter how lofty their social status, and he treated himself to no special indulgence. The face is a isobar map of furrows, with an absurdly clownish smile. Besides being unctuous, the smile contorts the facial outline to something simian, while the large eyes glint with a vaguely sinister manner. The style of the artwork could be described as naive and a bit folk art-y, but there can be question that the artist was also very much in control of his artistic faculties. The image is not a pretty one, yet it is visually arresting, and with the colored penwork ornamentation, quite lovely. Bobbin, or Collier, was the self-professed Lancashire Hogarth, and was both celebrated in his day for his illustrations and his writings, which included light verse as well as an important work on the Lancashire dialect. The picture comes in a gilt frame of some age but not contemporary with it. With the frame, the dimensions are 36 by 26 cm, and the image is about 29 by 19 cm. It has not been examind out of the frame. Some minor soiling to the paper.