Lola coming! Europe farewell! America I come by Johnston, David Claypoole - 1852

Lea & Blanchard, Philadelphia, 1839. Hardcover. Used - Acceptable. Philadelphia: Lea & Blanchard, 1839. Copyright 1839. 155 pages. 22 engravings by David Claypoole Johnston. 8 x 5", publisher's cloth, gold stamped spine. American Imprints 57363; Bibliography of American Literature 14356; Wright, American Fiction 1921. Spine rough, large piece gone, gathering detached, very loose, foxed, fair.

Hardback. New.

Boston: [Johnston], 1837. Second Edition. Paperback. Good (Wraps and textblock are moderately edgeworn/toned/scuffed/smudged/foxed; covers are starting at the bottom; pages have light toning and foxing; textblock appears solid.). Brown wraps with black lettering; 19, [1] p.; [4] leaves of plates; richly illustrated. Contains 39 numbered illustrations on 4 leaves of plates; printed in double columns. Issue No. 7 of Scraps periodical.

James Munroe & Company, 1853-01-01. First Edition. Hardcover. Good. 1st ed. Bound in publisher's blue, blind tooled cloth. 82 pages, [4] leaves of plates by Johnston. "Companion to the 'Memoirs of a London Doll'" Subjects: Dolls -- Great Britain -- Juvenile fiction. Country life -- Juvenile fiction. London (England) -- Social life and customs -- Juvenile fiction.

Boston: D. C. Johnston, 1837. Second edition, oblong folio, pp. 19, [1]; 4 engraved plates containing 39 illustrations, near fine in original printed brown wrappers. A satire of a phrenological text, pontificating on the many virtues of secretiveness, order, amativeness, benevolence, firmness, and so on, each with an accompanying caricature in the plates. "Although it clearly drew inspiration from similarly named works by the great English engraver George Cruikshank, Scraps was like no other American publication: an extensive set of images by a single hand, a long look through a single artist's eyes. Scraps was a sustained visual performance, overwhelming the reader with images. It sold on the order of 3,000 or more copies a year, and was distributed by booksellers from Portland, Maine, to Charleston, South Carolina. Johnston swiftly became the first truly famous American graphic artist, whose work was recognized up and down the cities of the East" (Larkin, "What he did for love").

Boston, 1831. 216pp. plus fourteen plates. Contemporary calf, rebacked. Extremities lightly worn. Minor foxing. About very good. Volume of humorous and satirical sketches, illustrated by David Claypoole Johnston (1798- 1865), an artist known as the "American Cruikshank." William Murrell, author of A HISTORY OF AMERICAN GRAPHIC HUMOR, 1747-1938, calls Johnston "one of our foremost ante- bellum humorous draughtsmen," and he produced many satirical prints on a variety of subjects during his long career. AMERICAN IMPRINTS 5826

Philadelphia, E.L. Carey and A. Hart, 1838. First Edition. Hardcover. Good. [American Caricature] Bound in contemporary embossed floral cloth. Printed spine label. Good cover and binding. Spine slightly sunned. Internally, generally sound. Light, scattered foxing. 222 pages. Frontispiece and 3 plates by David Claypoole Johnston (on yellow paper). Contemporary signature of Francis Burt. First edition of author's first book. BAL 14936. American Imprints 51835

[Boston], 1863.. Engraved broadside, 11 3/4 x 16 3/4 inches. Half- inch closed tear in lower edge (not crossing the plate mark), repaired with tape on verso. A touch of light foxing. Very good. A sharp satire of the slave trade, Jefferson Davis, and the Confederacy, consisting of twelve engraved vignettes parodying the nursery rhyme, "This is the House that Jack Built." Here, Johnston questions the literal humanity of the slave traders, in images and text. The first illustration shows "The House That Jeff Built," a slave holding pen with an auction broadside posted on the wall. Other illustrations show enslaved Africans awaiting the auction, the auctioneer at his podium, and families and individuals being sold. One illustration is an isolated image of a whip, while in the next panel an overseer beats a slave, tied to a post, across his exposed back. The text is as caustic as the illustrations: "This is the thing, by some call'd a man, / Whose trade is to sell all the chattels he can..."; and confirms… Read More