Banbury Chap Books

AND

Nursery Toy Book Literature

[OF THE XVIII. AND EARLY XIX. CENTURIES]

with

IMPRESSIONS FROM SEVERAL HUNDRED

ORIGINAL WOOD-CUT BLOCKS,

By T. & J. BEWICK, BLAKE, CRUIKSHANK, CRAIG, LEE,

AUSTIN, AND OTHERS.

Illustrating Favourite Nursery Classics, with their Antiquarian, Historical,

Literary and Artistic Associations:

FAITHFULLY GLEANED FROM THE ORIGINAL WORKS IN THE

BODLEIAN LIBRARY, OXFORD, THE BRITISH AND
SOUTH KENSINGTON MUSEUMS, &c.

With very much that is Interesting and Valuable appertaining to the early
Typography and Topography of Children’s Books relating
to Great Britain and America.

including

Jack the Giant Killer, Cock Robin, Tom Thumb,

Whittington, Goody Two Shoes, Philip Quarll, Tommy
Trip, York and Banbury Cries, Children in the Wood,
Dame Trot, Horn Books, Battledores, Primers, etc.

By EDWIN PEARSON.

Banbury Chap Books 1

 Banbury Chapbooks

LONDON:

Arthur Reader, 1, Orange Street, Bloomsbury, W.C. 1890.

Only 50 copies Large Paper,

500 „ Small.

INTRODUCTION.

anbury Cakes,” and “Banbury Cross,” with its favourite juvenile associations, with the Lady with
bells on her toes, having music wherever she goes, are indissolubly connected with the early years
not only of ourselves but many prior generations. In fact, the Ancient Cross has been rebuilt since
the days, when in Drunken Barnaby’s Journal, we are made familiar with the puritan “who hanged
his cat on a Monday for killing of a mouse on a Sunday.” The quaint old town and its people are rapidly
modernizing; but they cling to the old traditions. Both in pictorial and legendary lore we have some Banburies
of another kind altogether, viz., Banbury Blocks, or in plain English, Engraved Woodcut Blocks, associated
with the Local Chap Books, Toy Books, and other Histories, for which this quaint old Oxfordshire town is
celebrated. The faithful description of the Blocks illustrating this volume has led to numerous descriptive
digressions, apparently irrelevant to the subject; it was found however that in tracing out the former history
and use of some of the “Bewick” and other cuts contained in this volume, that the Literary, Artistic,
Historical, Topographical, Typographical, and Antiquarian Reminiscences connected with the early Printing
and Engraving of Banbury involved that of many other important towns and counties of Great Britain, and
also America. A provincial publisher about the beginning of the present century would reflect more or less the
modus operandi of each of his contemporaries in abridging or reproducing verbatim the immortal little chap
books issued from the press of John Newbury’s “Toy Book Manufactory,” at the Bible and Sun (a sign lately
restored), 65, Saint Paul’s Church Yard, near the Bar.

ii This again leads to the subject as to who wrote these clever little tomes. In my “Angler’s Garland,” printed
at the Dryden Press, 1870 and 1871, I fully announced my intention of issuing a reprint of the first edition of
“Goody Two Shoes,” but the intended volume was published by the firm at the corner, “Griffith, Farren,
Okenden, and Welsh,” now in the direct line of business descent from worthy and industrious John Newbery:
Carman, Harris, Grant and Griffith. Mr. Charles Welsh of the present firm has taken a warm interest in the
Antiquarian and Historical Associations of the Newbery firm. The premises have been lately rebuilt, the Sign
and Emblems adopted by Newbery restored, and C. Welsh has reprinted “Goody Two Shoes” in facsimile,
since which there has been added to it a Standard edition of Goldsmith’s Works, edited by Mr. Gibbs. I
had the pleasure of making many researches respecting the old London publisher (Goldsmith’s friend),
John Newbery, respecting his Lilliputian Classics, and I have been enabled to introduce several of the Quarto

LONDON: 2
 Banbury Chapbooks

early editions to the firm, and have had great pleasure in writing and placing on record numerous facts and
data, since utilized in the very interesting “Life of John Newbery, a last century bookseller.”
The connection of Oliver Goldsmith’s name is indissolubly associated with the juvenile classics
industriously issued by Newbery. Dr. Johnson himself edited and prefaced several children’s books
which I have seen in the Jupp and Hugo Collections. The weary hours of adversity, through which
“Goldie” passed at Green Arbour Court, top of Break Neck Steps and Turn Again
Lane—I remember them all well, and the Fleet prison walls too, when I was a boy—and in
refuge at Canonbury Tower, near the village of Islington, these are the places where Goldsmith wrote for
children. Sir Joshua Reynolds tells how, when he called on the poet at Green Arbour Court, he found the
couplet:—

“By sports like these are all their cares beguiled,

The sports of children satisfy the child.”

see “The Traveller.” He was surrounded by children in this unsavoury neighbourhood, where
he had his humble domicile: a woodcut in Lumburd’s Mirror depicts it very correctly. Bishop Percy,
author of the “Reliques,” called on him, and during the interview the oft repeated incident
occurred of a little child of an adjacent neighbour, “Would Mr. Goldsmith oblige her mother with a
chamber pot full of coals!” Truly these were hours of ill-at-ease. The largest collection of the various
relics of woodcuts used in the chap book literature, “printed for the Company of Flying Stationers, also
Walking Stationers,”—for such is a portion of the imprint to be found on several of the early
Chap Books printed at Banbury—is to be seen in the Library of the British Museum; but the richest
collection of these celebrated little rarities of iii Toy Books is in the venerable Bodleian Library. Among the
very interesting block relics of the past are the pretty cuts to Mrs. Trimmer’s “Fabulous
Histories, or The Robins:” these were designed by Thomas Bewick, and engraved by John Thompson,
his pupil, who enriched Whittingham’s celebrated Chiswick Press with his fine and tasteful work. A
numerous series of little fable cuts by the same artist are to be found in this volume. One of the quaintest sets
engraved at an early period by John Bewick (the Hogarth of Newcastle), are to “The Hermit, or
Adventures of Edward Dorrington,” or “Philip Quarll,” as it was most popularly known
by that title a century ago. The earliest edition I have seen of Philip Quarll is as follows: “The Hermit,
or the unparalleled sufferings and surprising adventures of Mr. Philip Quarll, an Englishman who was lately
discovered by Mr. Dorrington, a Bristol merchant, upon an uninhabited island in the South Sea, where he
lived above fifty years without any human assistance, still continues to reside, and will not come
away,” etc. Westminster: Printed by J. Cluer and A. Campbell, for T. Warner in Paternoster Row, and
B. Creape at The Bible in Jermyn Street, St. James’s, 1727. 8vo, xii pp., map and explanation, 2 pp.,
and 1 to 26 appendix, with full page copper plate engravings. He was born in St. Giles’, left his master
a locksmith, went to sea, married a famous w——e, listed for a soldier, married three wives,
condemned at the Old Bailey, pardoned by King Charles II., turned merchant, and was shipwrecked on a
desolate island on the coast of Mexico, etc. Other editions in the British Museum are 1750; 1759 (third); 1780
(twelfth); 1786 (first American edition, from the 6th English edition, Boston, U.S.A.); 1787 (in French); 1795
(seventeenth); 1807; and also in a “Storehouse of Stories,” edited by Miss C. M. Yonge, 2 vols,
8vo (Macmillan, 1870-2), Philip Quarll (also Perambulations of a Mouse, Little Jack, Goody Two Shoes,
Blossoms of Morality, Puzzle for a curious Girl), and others are given. The text is useful to refer to, as the
originals are rare: the woodcuts of several of them are in this volume. “Philip Quarll,” Miss
Yonge says, “comes to us with the reputation of being by Daniel Defoe; but we have never found
anything to warrant the supposition. It must have been written during the period preceding the first French
Revolution.” There is also in the Museum an edition printed in Dutch in 1805.

In 1869, Mr. Wm. Tegg reprinted the Surprising Adventures of Philip Quarll, entirely re-edited and
modernized, with only a frontispiece and vignette on title as illustrations. The quaint old cuts on next page
probably illustrated an early Newcastle, then York, and finally Banbury, edition of this oft published work.

INTRODUCTION. 3
 Banbury Chapbooks

iv

The Blocks designed and engraved by John Bewick, for

“The Hermit; or Philip Quarll,” (circa
1785.)

Tegg’s edition of 356 pages, 12mo, is to be seen in the Reading Room of the British Museum, and
gives the full text and history of these. This curious book would well bear representing with the original
Bewick cuts, after the manner of the present Newbery firm, who have revived Butterfly’s Ball,
Grasshopper’s Feast, Goody Two Shoes, Looking Glass for the Mind, and contemplate others in the
immediate future. Tegg in his reprint v of the Book on Philip Quarll, states that he was born in St.
Giles’ Parish, London, 1647, voyaged to Brazil, Mexico, and other parts of America, was left on an
island, nourished by a goat, and other surprising adventures. Edward Dorrington communicates an account
(see p. 1 to 94 inclusive) of how the hermit Philip Quarll was discovered, with his (E. D.’s) return to
Bristol from Mexico, Jan. 3, 1724-5; but is about returning to Peru and Mexico again (p. 94). This is of both
American and Bewick interest. Besides these representatives of this Chap Book, we are enabled to give in this
collection impressions from the blocks of other editions fortunately rescued from oblivion and destruction.

vi

INTRODUCTION. 4
 Banbury Chapbooks

BANBURY CHAP BOOKS.

“Old Story Books! Old Story Books! we owe ye much old friends,
Bright coloured threads in memory’s wrap, of which Death holds the ends,
Who can forget ye? Who can spurn the ministers of joy
That waited on the lisping girl and petticoated boy?
Talk of your vellum, gold emboss’d morocco, roan, and calf,
The blue and yellow wraps of old were prettier by half.”

—Eliza Cook’s Poems.

n 1708 John White, a Citizen of York, established himself as a printer in Newcastle-on-Tyne,

bringing with him a stock of quaint old cuts, formerly his father’s, at York, where he was
Sole Printer to King William, for the five Northern Counties of England. He entered into partnership

BANBURY CHAP BOOKS. 5

 Banbury Chapbooks

with Thomas Saint, who on the death of John White, at their Printing Office in Pilgrim Street,
succeeded in 1796 to his extensive business as Printer, Bookseller, and Publisher. In this stock of woodcuts
were some of the veritable pieces of wood engraved, or cut for Caxton, Wynken de Worde, Pynson, and
others down to Tommy Gent—the curious genius, historian, author, poet, woodcuter and engraver,
binder and printer, of York. We give some early examples out of this stock. Thomas Saint, about 1770, had
the honour of introducing to the public, the brothers Thomas and John Bewick’s first efforts in
wood-engravings, early and crude as they undoubtedly were. They are to be found in Hutton “On
Mensuration,” and also in various 2 children’s and juvenile works, such as Æsop’s and
Gay’s Fables. We give some of the earliest known of their work in this very interesting collection of
woodcuts.

Some years ago a collection was formed of Newbury and Marshall’s Children’s Gift Toy
Books, and early educational works, which were placed in the South Kensington Museum, in several glass
cases. These attracted other collections of rare little volumes, adorned with similar cuts, many of which are
from the identical blocks here impressed, notably the “Cries of York,” “Goody Two
Shoes,” etc. They are still on view, near the George Cruikshank collection, and during the twenty years
they have been exhibited, such literature has steadily gone up to fancy prices.

Charles Knight in his Shadows of the Old Booksellers, says of Newbury, (pp. 233), “This old
bookseller is a very old friend of mine. He wound himself round my heart some seventy years ago, when I
became possessed of an immortal volume, entitled the history of ‘Little Goody Shoes.’ I felt
myself personally honoured in the dedication.” He then refers to Dr. Primrose, Thomas Trip, etc., and
adds further on, “my father had a drawer full of them [Newbury’s little books] very smartly
bound in gilt paper.” Priceless now would this collection be, mixed up with horn-books—a
single copy of which is one of the rarest relics of the olden time.

Chalmer’s in his preface to “Idler,” regards Mr. Newbury as the reputed author of many
little chap books for masters and misses.

Mr. John Nichols brings forward other candidates for the honour of projecting and writing the
“Lilliputian histories, of Goody Two Shoes, etc.;” and refers to Griffith Jones and Giles Jones,
in conjunction with Mr. John Newbury, as those to whom the public are indebted for the origin of those
numerous and popular little books for the amusement and instruction of children, which have ever since been
received with universal approbation.

The following are two of the identical cuts engraved by John Bewick, and used in the Newbury editions of
Goody Two Shoes, London, 1769 to 1771.

It will be seen on contrasting these cuts with the other two, on the following page, from early York editions,
how wonderfully even in his early years Bewick improved the 3 illustrated juvenile literature of his day. No
wonder when Goldsmith the poet had an interview with Bewick, that delighted with his cuts, he confessed to
writing Goody Two Shoes, Tommy Trip, etc. Bewick’s daughter supplied this information.

BANBURY CHAP BOOKS. 6

 Banbury Chapbooks

Early cuts to Goody Two Shoes.

Bewick’s frontispiece to Goody Two Shoes.

4 Here are two early examples of Thomas Bewick. They were used in a York edition of “A Pretty
Book of Pictures for little Masters and Misses, or History of Beasts and Birds by Tommy Trip,” etc.

The Student, from Tommy

Miss Polly Riding in a Coach, from Tommy Trip.
Trip.
There was an American edition of Goody Two Shoes, and is very interesting indeed, having a woodcut
frontispiece engraved by Thomas Bewick, and was printed at Worcester, Mass., U.S.A., by Isaiah Thomas,
and sold wholesale and retail at his book-store, 1787. A copy of this little book sold in London for £1 16s.

We also give two other specimens from the J. Newbery editions of Tommy Trip and Goody Two Shoes, both
engraved by John Bewick.

BANBURY CHAP BOOKS. 7

 Banbury Chapbooks

Margery, from Goody

The Student, from Tommy Trip.
Two Shoes.
5 The packmen of the past [see frontispiece of a pack-horse in First Edition only of Bewick’s
Quadrupeds, 1790] carried in their packs the ephemeral literature of the day, Calendars, Almanacks, and
Chep-Books. The Leicestershire pronunciation to this day at markets is “Buy Chep” for Cheap,
hence the Chep-side, or Cheape-or Cheapside; otherwise derivation of Chap Men, or Running, Flying, and
other mercurial stationers, peripatetic booksellers, pedlers, packmen, and again chepmen, these visited the
villages and small towns from the large printers of the supply towns, as London, Banbury, Newcastle,
Edinburgh, Glasgow, etc. The “History of John Cheap, the Chapman,” “Parley the
Porter,” “Stephen of Salisbury Plain,” and other favourite tracts, with John
Bewick’s and Lee’s square woodcuts were written by the quaker lady, Hannah More, about
1777, and were first published in broadsheet folio. Some were done by Hazzard, of Bath, others by Marshall,
of Bow Lane, Aldermary Church Yard. A most curious collection of chap books did they print, reviving the
quaint old “Blind Beggar of Bethnal Green,” “Guy, Earl of Warwick,”
“Seven Champions,” “Mother Shipton’s Life and Prophecies,”
“Wise Men of Gothan,” “Adam Bell,” “Robin Hood’s
Garland,” “Jane Shore,” “Joaks upon Joaks,” “Strapho, or Roger
the Clown,” “Whetstone for dull Wits,” “St. George and the Dragon,”
“Jack Horner:” and hundreds of ballads, garlands, carols, broadsheets, songs, etc., were in the
collection.

The “Great A and bouncing B Toy Book Factory,” was somewhere near Little Britain, the
proprietor being John Marshall, who published the famous “Life of a Fly.”

Block by Thomas Bewick.

The “Memoirs of a Peg Top,” “Perambulations of a Mouse,” 2 volumes with cuts

by John Bewick, and a number of other works, some by Mrs. Trimmer, under various pseudonyms, were
published in Bow Lane, also many quaint broadsheets, the cuts of which are in this volume.

Hazzard, printer of Bath, who published many works for Dr. J. Trusler, with woodcuts by John Bewick, Lee,
and others, also published the cheap repository tracts.

All the following little wood blocks were used in several toy books, sometimes with Bewick’s name
on the titles, and done from 1787 to 1814, in Dutch flowery and gingerbread gilt paper binding, just like
Newbery series.

BANBURY CHAP BOOKS. 8

 Banbury Chapbooks

Early John Bewick Cuts.

Robin Hood and Little John, pub. Wilson

Tommy Two Shoes.
and Spence, York.

York Story Books, by Wilson and Spence, circa 1797.

Used in the Fables. Used in the Fables.

7

Early John Bewick Cuts. 9

 Banbury Chapbooks

Cut by Lee, on the covers of Rusher’s Penny Two Blocks from Valentine’s Gift.
“Banbury’s.” 1797.

Used by Wilson and Spence, York. Patty Primrose.

8

From Primrose Prettyface and her Scholars.

Early John Bewick Cuts. 10

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Two Ballad Cuts, by Green, of Knaresborough.

Mrs. Winlove’s Rise of Learning. The Concert of Birds, from Tommy Tag.
9

Frontispiece to Tommy Playlove and Joseph Lovebook.

Whitfield’s Tabernacle, Moorfields, or Spa Fields Chapel. (?)

In Blade’s Life of Caxton, the reader will find interesting examples of the earliest woodcut blocks
illustrating the quaint and rare tomes issued by the Almonry, Westminster, also at Oxford. The Robin Hood
Garland blocks (circa 1680 or earlier), is one of the earliest provincial blocks with a distinct history. We can
trace them in varied collections used by early London and Provincial printers, and in the London Bridge
printed Chap Book Literature.

10 Sutton, printer of Nottingham, issued a curious quarto volume of old woodcuts. He was descended from
the celebrated T. Sutton, who founded the Charterhouse. Some twenty-five years ago I went over the very
quaint collection with the proprietor, and suggested a volume being issued, but the idea had already been

Early John Bewick Cuts. 11

 Banbury Chapbooks

matured by him.

Robert White, the poet and local historian of Newcastle upon Tyne—by whose favour I reprinted
Tommy Trip in 1867—has one of the choicest, most comprehensive, and rarest libraries of local stories,
garlands, ballads, and chap books, and North country folk-lore children’s books, almanacks, primers,
“A. B. C.,” horn books, battledores, etc., that were ever gathered together. I am glad to place on
record, that by his will, his collection will remain intact. The special opportunities afforded him at the time for
collecting them have entirely passed away.

I believe he was descended from John White, printer for the five northern counties of England to King
William. This is referred to by Mr. Dodd in his preface to a quarto volume of woodcut impressions. William
Dodd fully appreciated the local interest, by producing a limited impression of the quaint blocks in his
possession.

The Rev. Mr. Hugo had a very large and important collection of blocks and books, and at his death I arranged
and catalogued them for Messrs. Sotheby, according to the wish of his widow. The Rev. gentleman had
wished his collection to be purchased by the trustees of the British Museum, but some little hitch occurred and
this was not accomplished. In his collection the Robin Hood block, perforated with worm holes, realized quite
a fancy price.

Among the relics of ancient woodcutting, are some so early and crude in their execution—quaint as the
period they illustrate—as to really entitle them to the literal name and meaning of woodcuts, rather than
wood-engravings, which they really became in the hands of the two Bewicks and their numerous school of
pupils. Other provincial publishers were not so favoured as those at Newcastle-on-Tyne, as to have a Bewick
trying his prentice hand on similar series, as used by J. Bell and others.

The Cock Robin blocks in this collection are certainly the earliest series I have seen among the thousands I
have examined. The York Cries, Tom Hickethrift, Jack the Giant Killer, and many kindred cuts, are evidently
from the collection of John White, the early printer, and are as quaint, as funny and droll in crudity of
execution, as any of Thomas Gent’s, the unique York engraver and bookseller.

The rarity and interest of a collection like the present, with their varied associations, may be fairly estimated
when we consider that the country printers in those days were not particular in making the same woodcut do
duty in most incongrous and inapplicable positions and subjects.

We have met with a block in a child’s book, then the identical woodcut on a ballad, catchpenny, or last
dying speech and confession, setting at defiance any suitability of illustration, 11 or adaptability to the text
matter. Of course now, some of these examples are exceedingly ludicrous, and do not fail to excite merriment,
and often add to the intrinsic value of the article, as may be judged by numerous examples that have occurred
in our literary auction marts during the last half century.

Besides it must be taken fair notice of that a genuine wood-engraving, or woodcut block may soon become a
curiosity of the past, owing to the improved methods of illustrating children’s books. Many of
Bewick’s blocks are veritable paintings on boxwood, and are as much classical works of art as work by
Josiah Wedgwood, and his able coadjutor, J. Flaxman are in Fine Art. These early crude, quaint, droll little
pioneer wood blocks will ever remain of great and even historical interest as showing the progress and
influence on the illustrated literature of the civilized world.

Many of our readers have heard of Banbury Cross and Banbury cakes, and other famous juvenile associations,
as the lady with bells on her toes, but it was also connected with the production of books for juvenile readers.
A great portion of the blocks in this volume are Banbury blocks used for illustrating the toy books,

Early John Bewick Cuts. 12

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children’s histories, etc., for which this quaint old Oxfordshire town was famous. Many of them are
connected with the early printing and engraving carried on in this and other towns of England. A quantity of
the blocks were used in the books printed by John White of York, who established himself, as before
mentioned, as a printer in Newcastle-on-Tyne, bringing with him a stock of quaint old blocks formerly his
father’s [at York], where he was sole printer to King William, for the five northern counties of
England.

Boswell has recorded several conversations of Oliver Goldsmith with Dr. Johnson, in which the warm-hearted
poet expressed a wish, “to make fishes, animals, birds, etc., talk, or appear so to do, for the amusement
and instruction of children.” In the National Collection is “The Valentine’s Gift, or a
Plan to enable children of all sizes and denomination to behave with honour, integrity, and humanity, very
necessary to a trading nation: to which is added some account of Old Zigzag, and of the Horn with which he
used to understand the language of birds, beasts, fishes and insects,” etc., “Printed for Francis
Power, (grandson to the late Mr. J. Newbery) and Co., No. 65, St. Paul’s Churchyard, 1790, price
sixpence, bound in gilt dutch paper binding, 105 and iii pages”.

Numerous books were sold by Francis Power, No. 65, near the Bar, in St. Paul’s Churchyard, London;
his list comprises “Giles Gingerbread,” “Tom Thumb’s Folio,”
“The London Cries, taken from the Life,” “The Lilliputian Auction,” by Charley
Chatter, “Nurse Truelove’s Christmas Box,” “New Year’s Gift,”
“The History of Little Goody Two Shoes,” new edition, “Adventures of a Bee,”
“The Little Lottery Book,” “A Pretty Plaything for Children,” “The
Lilliputian Magazine,” “The Picture Exhibition,” “Lilliputian
Masquerade,” “Juvenile Trials for Robbing Orchards and Telling Fibs,” “Pretty
Poems by Tommy Tagg, for children three feet high,” “A Pretty Book of Pictures, 12 or
Tommy Tripp’s History,” “The Drawing School by Master Angelo,”
“Poetical Flower Garden,” “Tommy Trapwit’s Be Merry and Wise,”
“Lecture upon Toys,” 2 vols; “Pretty Poems for children six feet high,”
“The Museum,” “Polite Academy,” “Poetical Flower Basket,”
“Mother Goose’s Fairy Tales,” “A Spelling Dictionary, Rhetoric; Logic;
Arithmetic; History; Chronology; Geography;” “Vicar of Wakefield.” Most of the latter
except “Vicar” formed a circle of the sciences licensed by approval of the King, each dedicated
to a youthful nobleman, by “John Newbery.” The size was “snuffbox,” or
waistcoat pocket (capacious in 1790, see “School for Scandal,” etc., Costume, etc.)
Documentary evidence and receipts in Goldsmith’s handwriting, acknowledging various sums for
writing the “Rhetorick,” and others of the above exist. Goldsmith also did numerous
Abridgements of the Old and New Testaments, Robinson Crusoe, Pamela, Clarissa Harlow, Sir Chas.
Grandison, all in this juvenile series for J. Newbery.

The Spider, from Bunyan’s Divine Emblems.

Early John Bewick Cuts. 13

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This was a most popular juvenile brochure, at end of eighteenth century. The early editions of J.
Bunyan’s Works, 2 vols, folio, had the Divine Emblems at end of vol 2, with quaint old woodcuts.
These were industriously copied in reduced sizes, and published from 1d. to 6d., by various London and
Provincial “toy book” manufacturers. The above is a solitary representative of the illustrations
of one of these rare editions of “Bunyan.”

From Evans’s Cock Robin. Frontispiece to Farthing Cinderella.

13

Tobacco Paper Cut and Tavern Sign.

Early John Bewick Cuts. 14

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Very Early Ballad, D——l cut, etc.

14 John Evans, 42, Long Lane, West Smithfield, circa 1791, brought out some singular little farthing
children’s books, printed on coarse sugar paper, also ballads, single-sheet songs, and
“patters.” One, “The tragical death of an Apple Pye, cut in pieces and eat, by
twenty-five gentlemen, with whom all little people ought to be very well acquainted.”

J. Drewey, Irongate, Derby, brought out some entertaining fables, in which the following woodcuts were used
again.

Blocks used in Red Riding Hood.

Early John Bewick Cuts. 15

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15

Blocks used in “Jack and the Giants” and “Tom, Tom, the
Piper’s son,” etc. From John White’s stock, at York.

16

Cuts used for “Tom, Tom, the Piper’s Son,” etc.

Early John Bewick Cuts. 16

 Banbury Chapbooks

Cuts to “Whittington and his Cat.”

John Evans issued “Cock Robin, a pretty gilded toy for either girl or boy,” in which the early
cut on page 12 was used. This rare edition has the following comical variation from the orthodox version:

“Little Robin Redbreast sat upon a pole,

Wiggle-waggle went its tail, and p—p went its hole.”

17

Very Early Cock Robin Set, from John White’s York Stock.

Early John Bewick Cuts. 17

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That quaint divine Dean Swift of St. Patricks, Dublin, edited some curious poetry for “A Royal
Primer,” sqr. 32mo, published in the Seven Dials, of Dublin (“Rainbow Court”).

18

“Ech, ech, my dear’y, and

Ach, ach, my love.
“There was a little man who had a little gun, and
“There was a little maid who was very much afraid
To get wed, wed, wed,” etc.

This is long and curious, and was greatly altered and abreviated in early 19th Century Editions.

“The Royal Primer,” from John White’s York and Newcastle Stock.

Early John Bewick Cuts. 18

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19

From Dean Swift’s Royal Primer, Dublin, circa 1770.

From Evans’s edition of Cinderella.

20

Early John Bewick Cuts. 19

 Banbury Chapbooks

Very Early “Cock Robin” Series, “Postboy” by Bewick for a

Newcastle Newspaper, “Wife Joan,” etc., from J. White’s Stock.

21

Early “Mother Hubbard:” J. Evans, Long Lane, circa 1770.

Early John Bewick Cuts. 20

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22

Early “Goody Two Shoes,” “Jack and Jill,” “Cock

Robin,” The Fables, early Bewick School.

Early John Bewick Cuts. 21

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23

All Evans’s style of woodcut, Catnach, etc., all used at Rushers Banbury
Press.

Babes in the Wood.

Blue Beard.

Early John Bewick Cuts. 22

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Providing ourselves with a variety of pens and ink, we select two of the best and proceed to describe the
Banbury Printer’s old stock of cuts.

Banbury, Oxfordshire, was one of the chief provincial towns noted for its Children’s Books, Chap
Books, Battledoes, Reading Easies, etc., also for locally printed works, 24 notably for two, viz., Dr.
Johnson’s Rasselas, and White and Beesley’s work on Bees, thin 12mo volumes, boards,
printed in a curious phonetic character, called “Rusher’s Types.” Rusher, printer of this
town, had some ingenuity and originality of his own, and was not such a plagiarist and imitator as some of his
contemporaries. Many of the tales he cleverly adapted to the locality, which have become very valuable. His
edition of the Rasselas realized £5 5s. This book was written by Johnson in a week to defray his
mother’s funeral expenses.

We give several extracts from some of Rusher’s Penny Books which will show how well he adapted
them to his town.

At Rusher’s fam’d
Warehouse,

Books, Pictures and Toys

Are selling to please all

The good girls and boys.

For youth of all ages

[Early John Bewick,] Rusher’s Lilliputian Library,
Banbury, circa. 1810. There’s plenty in store,

Amusement, instruction,

Early John Bewick Cuts. 23

 Banbury Chapbooks

For rich and the poor.

From the New House that Jack Built. Poetic Trifles.

See Jack in his study, Sing see-saw, Jack thatching the ridge,

Is writting a book, Which is the way to Banbury-bridge?

As pretty as this is One foot up and t’other foot down,

In which you may look; And that’s the way to Banbury town.

The price is one penny,

For girls or for boys,

There’s more too at Rusher’s,

And Pictures and Toys.

25

As I was going to Banbury Little Robin Redbreast

Upon a summer’s day, Sat upon a tree
My dame had butter, eggs and fruit, He sang merrily
And I had corn and hay, As merrily could be.
Joe drove the ox and Tom the swine,
Dick took the foal and mare: He nodded with his head
I sold them all—then home to dine And his tail waggled he
From famous Banbury Fair. As little Robin Redbreast
Sat upon a tree.
Here’s something new
Dear child for you, Now each lad and each lass
I will please you in a trice Both sister and brother
A halfp’ny chuse, May have books for each class
Now don’t refuse, For Father or Mother.
A penny is the price.
And when with much pleasure
Tho’ basely born You’ve read them all o’er,
Pray do not scorn Then hasten to Rusher’s,
A Tale no worse than many He’s printing some more.
For I’m afraid
More say in trade, Where each daughter and son
A halfp’ny’s made a penny. And each nephew and niece,
Each good child may have one,
For a penny a piece.

Early John Bewick Cuts. 24

 Banbury Chapbooks

Good things to engross,

Near Banbury cross Black your shoes, your Honour?
Where Tommy shall go on the nag,
He makes no mistake, Here’s Finiky Hawkes,
Buy a Banbury Cake, As busy as any,
Books, Pictures, and Banbury Shag. Will well black your shoes,
And charge but a penny.

The following little “Banbury Cake” Book is so excessively rare, we give the text verbatim.

26

THE HISTORY

OF A

BANBURY CAKE.

AN ENTERTAINING BOOK FOR CHILDREN.

BANBURY:

Printed and Sold by J. G. Rusher,

BRIDGE STREET.

PRICE ONE PENNY.

PREFACE.

It will be thought very odd, I doubt not, by each little boy and girl into whose hands this book shall fall, that a
Banbury Cake should be able to write (as it were) its own life; but as they advance in years, they will find that
many strange things happen every day—I shall therefore without more words to the bargain proceed
with my story.

HISTORY OF A BANBURY CAKE.

I was born or made (whichever you please, my little reader) at Banbury in the county of Oxford, as you can
plainly conceive by my title, where great numbers of Cakes are brought into being daily; and from whence
they travel by coach, chaise, waggon, cart horse and foot into all parts of this Kingdom: nay and beyond the
seas, as I heard my maker declare that he had, more then once sent some of them into France.

Soon after I was made, and while I was yet warm from the oven, I was sold by my maker’s fair
daughter to a person on horseback for twopence.

THE HISTORY 25
 Banbury Chapbooks

With this person I took my first journey to Oxford; he rode a very fine Black Horse. As soon as he came
home, he gave me to his son a lovely little boy, about seven years of age, and one as I found to my comfort
not only lovely in person but in temper also. His name was Tommy, and he was praised and loved by all that
knew him, and had often presents of cakes, toys and little books, and other things that are proper for children
of his age; the books he kept with great care as things of value and worthy of his notice, but other trinkets he
seemed to despise.

27 Tommy and his cousin were taken to see Mr. Polito’s collection of wild beasts and birds, which
were then exhibiting at Oxford, among which were a large lion, an eagle, and many other natural curiosities,
which sight was very entertaining, as Tommy and his cousin had never seen such before. They afterwards
walked into the Colleges, round Christ Church College Meadow, and indeed saw all the curiosities about
Oxford.

(The Banbury Cake).

We give a Bibliographical List, as perfect as is possible to date, of the “Halfpenny Series” of

little History and Story Books issued at Rusher’s Banbury Press, some even with the same titles as the
“Penny Series,” yet totally different in arrangement and woodcuts, used, as comparison in the
Bodleian Library will readily show: Mother Hubbard and her Dog; Nursery Rymmes from the Royal
Collections; Poetic Trifles for young Gentlemen and Ladies; The Cries of Banbury, London, and Celebrated
Stories; Children in the Wood, Historical Ballad (Norfolk?); Children in the Wood, Restored by Honestus;
Hermit of the Forest (Cumberland); Jack the Giant Killer, a Hero, celebrated by Ancient Historians
(Cornwall); Robinson Crusoe; Nursery Poems from the Ancient and Modern Poets; Jack and Gill and Old
Dame Gill; Read who will, They’ll laugh their fill; Dick Whittington and his Cat; The History of Tom
Thumb (Middlesex); Death and Burial of Cock Robin; Renowned History of Dame Trot and her Cat; London
Jingles and Country Tales for Young People; Tom, Tom, the Piper’ Son; Cinderella and her Glass
Slipper; Jack Spratt and his Wife Joan, etc. etc.

28

Bewick School, used in Rusher’s Banbury Toy Books.

Used by Rusher in his Banbury Horn Books, Battledores, Galloping

Guide to A, B, C, Primers, Reading Made Easy, Spelling Books, etc.

HISTORY OF A BANBURY CAKE. 26

 Banbury Chapbooks

29

From Evans’s, Long Lane, West Smithfield, used afterwards at Banbury.

HISTORY OF A BANBURY CAKE. 27

 Banbury Chapbooks

Rusher’s Banbury Battledore and Reading Made Easy blocks, show the next improvement on the old
Horn Books. Then Rusher published a Galloping Guide to the A B C., for which see next page.

30

Whole pages:

page 30 (A-H)
page 31 (J-W)
page 32 top (XYZ)

HISTORY OF A BANBURY CAKE. 28

 A a

B b

C c

A was an Acorn, that grew on the oak;

B is a Boy, who delights in his book.

D d
C is a Canister, holds mamma’s teas;

D is a Drum, you may sound if you please.

E e

E is an Eagle, that soars very high;

F f
F is a Fox, that is crafty and sly.

G g

G is a Griffin, of him pray take heed;

H h
H is a Hare, that can run with great speed.
31
ij
IJ
k
K
J is a Judge, that the law oft obeys;

abc 29
 Banbury Chapbooks

L K is a Key, that no secret betrays. l

L is a Lamb, often freaks o’er the lea;

M M is a Mermaid, that sings in the sea. m

N n

O o
N is a Nightingale, dwells in the wood;
P p
O is an Ox, whose beef roasted is good.

P is a Peach, that did grow very high;

Q q
Q is a Quince, makes a savoury pie.

R r

S s

R is a Raven, rapacity charms;

T t
S shining Sun, is the Banbury Arms.

U u

V v
T is a Trumpet, your merit to raise;

W V is a Vulture, on other birds preys. w

W a Wren, that was perch’d on a spray;

X x

Y y
32
X was King Xerxes, well known in his day.

Z Y is a Yew Tree, both slender and tall; z

Z Zacaariah, the last of them all.

LM 30
 Banbury Chapbooks

Reading made Easie, copy of Bewick. You are Old Father William, by Green.
33

The Jack

History the

of Giant-killer.

The above woodcut of a Fugitive Soldier (designed by Craig, and engraved by Lee) was used on the back of
the cover of this little book, as issued by J. G. Rusher at Banbury.

z 31
 Banbury Chapbooks

Jack shows the Giant a The Giant and his

Jack’s Artfulness.
trick. Prisoners.

Jack slices off the Giant’s

Jack kills Blunderbore. Jack strangles the Giants.
nose.
34

DEATH AND BURIAL OF COCK ROBIN.

I, said the sparrow,

Who killed Cock Robin? With my bow and arrow,

I killed Cock Robin!

This is the pie Who caught his Who made his shroud?
blood?
That saw him die. I, said the Eagle,
I said the fish,
With my thread and needle!
With my little dish,

I caught his blood!

JacktheGiant-killer. 32
 Banbury Chapbooks

This is the Owl so brave Who’ll be the parson?

That dug Cock Robin’s I, said the Rook.

grave.

35
Who’ll be the clerk? Who’ll carry him to his
grave?
I, said the lark.
I, said the kite.

Who’ll be the chief Who’ll bear his Pall?

mourner?
We, said the wrens.
I, said the swan.

Who’ll toll the bell? Who’ll lead the way?

I, said the Bull. I, said the martin.

DEATH AND BURIAL OF COCK ROBIN. 33

 Banbury Chapbooks

The birds of the air fell a sighing and sobbing,

When they heard the bell toll for poor Cock Robin.
36

THE

History Tom

of Thumb

The cow took Tom Thumb His butterfly mounted, He climbed up the edge,

With a mouthful of grass. And rode o’er the stream. And fell in the bowl.

Tom soused in the firmity, The breath of the spider

And had a great fall. In the midst of the strife

Was too much for Sir Thomas,

And cost him his life.

Historyof 34
 Banbury Chapbooks

37

Children the

in Wood.

With clay-cold lips the babes they kissed. He bargained with two ruffians strong.

Away the little babes were sent. To fight they go right suddenly.

Then hand in hand they took their way. Till death did end their grief.
38

TomThumb 35
 Banbury Chapbooks

Mother Hubbard and her Dog.

Designed by George Cruikshank (early work), and

engraved by Branston.

39

Dame Trot and her Cat.

Early Cruikshank School.

Mother Hubbard and her Dog. 36

 Banbury Chapbooks

Dame Trot. Dame Trot’s Cat.

Dame teaches the Cat. Dame takes her to market. Riding.

The Cat smells a Rat. Dressing. The Cat fights Dog Ball.
40

The Robinson

History of Crusoe.

“Robinson Crusoe, he

Was determined to go to sea”

The Raft. At Home.

Dame Trot and her Cat. 37

 Banbury Chapbooks

The Tame Goat. The Footprints.

Shooting Savages. Traversing the Island.

Designed by Cruikshank, engraved by Dranston.

41

The Life of Jack Sprat and his Wife Joan.

Cruikshank School.

Jack and his Wife. Jack Sprat goes courting. Joan goes for a walk.

Jack’s Marriage. Jack wheeling his Wife. Joan sits in her chair.

Jack takes his gun. Jack buys a cow.

RobinsonCrusoe. 38
 Banbury Chapbooks

But the birds don’t

care.

Jack buys a mare. Jack rests. And grows fat.

42

Cinderella and her Glass Slipper.

Published by Rusher, circa 1814. Designed by Cruikshank, and engraved by Branstone.

A copy is in the Bodleian Library.

Cinderella. Cinderella dressing for the Ball.

Cinderella dancing with the

Cinderella going to the Ball in a fine coach.
King’s Son.

Cinderella drops one of her glass Cinderella marries the

slippers. Prince.
43

The Life of Jack Sprat and his Wife Joan. 39

 Banbury Chapbooks

Jack and Jill.

Jack and Jill Then up Jack got, Then Jill came in,

Went up the hill. And home did trot. And she did grin.

They rode dog Ball, Says Jill, I’ll tell I’ll try, says Jack,

And Jill did fall. You how Jack fell. Upon his back.

Now Jill did laugh, They first rode high, The very next thing

And Jack did cry. And then rode low. They made a swing.

Camel came by. The pig he squalled, Hearing the rout,

Says Jack, I’ll try. While Jack he bawled. The dame came out.

Read it who will, They’ll laugh they fill.

44

Jack and Jill. 40

 Banbury Chapbooks

Dick Whittington and his Cat.

Designed by Cruikshank, and engraved by Branstone; published by Rusher about 1814.

An original copy is in the Bodleian Library.

Dick goes on his travels. And meets with a kind Merchant.

Bow Bells ringing “Turn again

A penny for your cat, Dame!
Whittington!”

Pussy clears the King’s

And makes Whittington’s fortune.
table,
45

The Cries of York.

Dick Whittington and his Cat. 41

 Banbury Chapbooks

“The Cries of York, for the amusement of Young Children, decorated with cuts printed by T. Kendrew,
Collier Gate, York.” These York Cries have not been mentioned by any writer on juvenile literature
and the same may be said of the Banbury Cries. T. Kendrew of York, brought out many interesting penny and
other children’s books. He published “Giles Gingerbread, a little boy who lived upon learning,
by Tom Trip,” this was an abbreviation of Newberry’s Edition of the “Silver
Penny.” The series was illustrated with the early and prentice work of the Bewick School. One of the
rarest is “The Cries of York,” the cuts of which afterwards travelled to Banbury and appeared
in “Banbury Cries.” The series we are enabled to give complete.

Cuts belonging to York Cries.

46

The Cries of York. 42

 Banbury Chapbooks

47

The Cries of York. 43

 Banbury Chapbooks

48

Appended are the words to many of the foregoing Cries.

The Italian Basket Seller. Sweep Your Chimney Clean, O!

Ventured across the main behold, With drawling tone, Brush under arm,
“Buy Baskets,” solemn Face, And Bag slung o’er his shoulder,
He sells for Lust of Naughty Gold, Behold the Sweep, the Streets alarm,
Which is a Common Case. With Stentor’s voice and louder.

Mend old Pans and Kettles, O! Come Buy My Nice Muffins.

(Peaseholme Green Postern)
Hark! who is this, the Tinker Bold, Hot Muffins and Crumpets too,
To mend or spoil you Kettle, For Breakfast and for Tea;
Whose wife, I’m certain is a Scold, I’ve only a very few left,
Made up of base metal. In Basket as you may see.

Buy my Clocks and Weather Glasses! Buy Banbury Cakes! By fortune’s frown,
Buy Shirt Hand Buttons! You see this needy man,
(Walmgate Bar) Along the street and up and down
Is selling all he can.
“If I’d as much money as I could tell;
I never would cry young lambs to sell.” Cockles Alive, Alive, O!
(Thursday Market)
Behold Poor James at York again,
“Buy my Anchovies. His Cockles all alive, O!
Buy my nice Anchovies.” Alive, Alive, he cries amain,

The Cries of York. 44

 Banbury Chapbooks

Come buy that he may thrive, O!

49
“Buy my Capers.
“Buy my fine Larks.”
Buy my nice Capers, Capers.”
(Catching Larks)
“Buy my nice Banbury Cakes.”
“Sixpence a Score Oysters.”
(Ouse Bridge)
“Buy my Windmills, a
halfpenny-a-piece.”
“Come Buy my Roasting Spits.”
(Monk Bar)
“Rabbits! Rabbits!”
“Fine Kidney Potatoes.”
“Buy my fine Writing Ink.”
“Threepence a Mart Ripe Gooseberries.”
“The City Bellman.”
“Come buy a true Calendar.”
(Hay Weigh)
(Castle Gates)
“Buy my Cranberries, fine
“Razors, Knives, and Scissors to grind.”
Cranberries.”
“Acomb Sand.”
“Sweet China Oranges.”
(Pavement)
“Race Lists.”

The Cries of York is distinctly different from The Cries of London issued by Kendrew though the same set of
Cuts are utilized.

London Street Cries have always had a fascination peculiarly their own. Madame Vestris used to bring down
the house with “Cherry Ripe,” and where are happier efforts of the favourite home Artists than
“London Cries” by A. Morland, Wheatley, Stodhard, and others, which are so eagerly sought
after by connoiseurs? The pretty plaintive Cries too, would we had the ‘music’ to them, so
familiar in the streets in those charming old English days.

“Nothing like leather.”

A most interesting and quaint old relic is the one from which annexed impression is 50 given, from
Dyche’s Spelling Book: an exceedingly clean, choice and crisp copy of this book, in the original sheep

The Cries of York. 45

 Banbury Chapbooks

covers,—a veritable “old shopkeeper,” which for nearly a century had escaped its
intended destiny in Rusher’s varied stores, at length found a resting place in Sir Thomas
Bodley’s venerable receptacle for bibliographical treasures in the Bodelian, Oxford. The present
example—a portion of which was broken away many years ago,—is probably the sole surviving
one of the quaint series of cuts, doubtless admired by our great-grand-parents over 100 years ago.

The following are curious examples of Fable Cuts, which were used in Dilworth, Cocker, Fisher, and others.

Early Fable Cuts, used at Banbury in Spelling Books.

51

The Cries of York. 46

 Banbury Chapbooks

52

History of Joseph, designed by Isaac Cruikshank.

The Cries of York. 47

 Banbury Chapbooks

53

Clever little vignettes, by Thomas and John Bewick and Pupils, used first at
Nicholson’s, Ludlow, circa 1787, and afterwards, circa 1814, used in
Rusher’s Banbury Books.

The Cries of York. 48

 Banbury Chapbooks

54

Woodcuts of the Bewick and Cruikshank Schools, from Ludlow and

Ploughwill, afterwards used at Banbury.

55

Used in various Rusher’s Penny Banbury Children’s Books.

The Cries of York. 49

 Banbury Chapbooks

56

By Bewick’s Pupils, used in Children’s

Books at Banbury by Rusher.

The Cries of York. 50

 Banbury Chapbooks

57

By Bewick and Pupils, from Ludlow, all used at Banbury.

The Cries of York. 51

 Banbury Chapbooks

58

Bewick playing the Northumbrian Pipes, a very

Close copy of Bewick, by a pupil.
early J. Bewick.
Drunken Barnaby.

To Banbury came I,

Prophane one,

Where I saw a Puritan

Hanging of his cat on Monday

For killing of a mouse on Sunday.

Jack and the Giants, from the early York edition.

The Cries of York. 52

 Banbury Chapbooks

Chapman, or Running Stationer, designed by

Raree, or Peep Show, R. Cruikshank’s design,
Cruikshank and engraved by Branston.
engraved by Sears.
(Used in York Cries).
59

Banbury Old Church.

A Gentleman wrote to one of the newspapers some time ago, detailing a curious incident that happened to
himself, showing how these very interesting prints and blocks are being scattered and destroyed. He says
“In the old days when Catnach was King of the ballad world, boys used to steal the woodblocks of Mr.
Bewick the wood-cutter, and sell them to the great song singer. Yesterday, for a halfpenny, I picked up in a
bye street in London one of the prints of a very beautiful block of this kind heading a song called ‘The
Wealthy Farmer’s Son.’ I wonder whether anybody has ever thought it worth while to collect
these pictures.” This interesting pursuit of collecting and illustrating with extra cuts, pages of child

The Cries of York. 53

 Banbury Chapbooks

book literature of the 17th, 18th, and early 19th century, would indeed be a charming recreation. On this
subject there appeared a long article in the Graphic, where the writer says, under the initials
‘C. H.,’ “There are few more agreeable occupations for anyone who has sufficient
leisure at his disposal, than that of embellishing a favourite book with illustrations appropriate to the subject,
and thereby endowing it with additional interest and value. To those who cultivate this fascinating pursuit
with taste and intelligence, 60 there are two indispensible conditions of success. The task of collecting the
materials is a labour of love, and every fresh discovery in some out-of-the-way corner, of a long-sought
desideratum, a delight which the patience and industrious enthusiast alone can appreciate.” Then
follows much genial advice on tasteful and judicious collecting, and how to illustrate. In the present case the
interest and value could only be realized or conceived on the completion of a choice collection of extra cuts,
and cuttings of articles, portraits, views, autograph letters, etc., carefully mounted on cartridge paper, paged to
correspond with the text, and then handed to a judicious binder—this is a very important
item—who would carefully encase it, and make it form a select and an exceptionibly valuable addition
to the library.

Tradesmen’ Shops in Banbury, used on their bill-heads.

61

Used in various tradesmen’s Billheads, etc., printed at Rusher’s Press,

Banbury.
That this interesting idea may not be considered unworthy of adoption—which by the way the few
large paper copies of this book are admirably adopted—we give a short list of those who have collected
and treasured with care these little brochures. In the South Kensington Museum on exhibition, is a collection

The Cries of York. 54

 Banbury Chapbooks

of Horn Books and Battledores, exhibited by Kenneth, R. H. Mackenzie, Esq., F.S.A., who read a paper on
this subject before the Society of Antiquaries. There is another collection which includes many curious Horn
Books or Battledores, from circa 1750, 1784, 1800 to 1810, including photo and facsimiles of one of the
Middleton Horn Books now in the Bateman Museum. There is also a curious poem on the Horn Book by a
Gent. suffering from the gout, printed at Dublin by T. Cowan, 1728, small 4to, only a few leaves. Another
very neat Horn Book with the Horn in front, hence its name, is also on view. The scarcity of these quaint early
educational books may be understood from the fact that Mr. Hone, author of the Every Day Book, etc., sought
for an original Horn Book for years without success. Mr. Coleridge had one or two cases on 62 exhibition,
with numerous examples of Newbury and Marshall’s little books, but we believe these are withdrawn.
There is also a selection of early educational books; but the largest collection formed is still on exhibition. In
conclusion, it may be said that the present volume contains many precious relics of the Bewick, Newbury,
Goldsmith, Newcastle York, Banbury, Coventry, and Catnach presses, and a representative collection of the
stock of workable woodcuts of a provincial printer in the latter part of the 18th century, and to those who
would like to inspect the rentable copies of those valuable and interesting little books, and some of the
original Horn Books, etc., let them see the Coleridge, Kenneth Mackenzie, and Pearson collections in the
South Kensington Museum.

Rustic Cottages near Banbury.

Since writing the above, there appeared in the catalogue of books belonging to William Bell Scott, Esq.,
recently sold at Messrs. Sotheby, a small 4to Album containing a collection of wood engravings by Bewick,
Clennell, and others, which with some newspaper cuttings made quite a dainty extra illustrated volume.

If so eminent an artist could find pleasure and recreation in this pursuit, others may certainly rely upon finding
it equally attractive, but he would have found his task much easier if he had had a large paper copy of this
work interleaved. This is recommended to any person desiring to take up this charming recreation.

63

The Cries of York. 55

 Banbury Chapbooks

Illustrations of Children’s Books, used by Rusher at Banbury.

64

All used by Rusher in his Children’s Books, Banbury.

The Cries of York. 56

 Banbury Chapbooks

65

All used in Rusher’s Banbury Books.

The Cries of York. 57

 Banbury Chapbooks

66

Used by Rusher.

The Cries of York. 58

 Banbury Chapbooks

67

All used in Rusher’s Books.

68

The Cries of York. 59

 Banbury Chapbooks

Bewick School, all used in Rusher’s Banbury Toy

Books.

69

Used on Local Tracts and afterwards, issued at Rusher’s Press,

Bridge St., Banbury.

The Cries of York. 60

 Banbury Chapbooks

70

Used by Rusher.

The Cries of York. 61

 Banbury Chapbooks

71

All used in the Banbury Juvenile Series.

72

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 Banbury Chapbooks

Engraved by Bewick School, used in the Children’s Books.

73

All used in Rusher’s Banbury Toy Books.

The Cries of York. 63

 Banbury Chapbooks

74

On Early Tract Society Publications.

The Cries of York. 64

 Banbury Chapbooks

75

Used for illustrating early Tracts.

The Cries of York. 65

 Banbury Chapbooks

76

All used in Educational Tracts, Banbury.

77

The Cries of York. 66

 Banbury Chapbooks

Used in Early Tracts, Banbury.

78

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 Banbury Chapbooks

BANBURY FAIR.

About 1820, many curious Tracts were issued by various Societies with the illustrations which follow. Some
of these Tracts relating to Social and Religious questions of that day had been edited by Hannah More and her
sister—at “Barley Wood,” near Bath—also by Rowland Hill, the eccentric divine
of old Surrey Chapel, and others; these are now quite ephemeral literary productions, notably some on the
“Sunday Question.” Several of the following cuts were used contemporary with Timothy
Spagg’s (Charles Dickens’s) Sunday Under Three Heads. One of these, an 8vo pamphlet, has
on the title, a large woodcut by Thomas Bewick, commencing;—Here we have Bewick, I declare, etc.
Many of the original cuts to the Bristol series of Tracts issued from 1805 to 1820 are in this volume.

79

Cuts used in Educational Tracts written by Hannah More and Mrs.

Trimmer, circa 1810. Engraved by Anderson, Thompson, Williams,
and others.

BANBURY FAIR. 68
 Banbury Chapbooks

80

Used on Local Tracts and Juvenile Literature, by Rusher.

81

Used on Tracts by Hannah More and Rev. Rowland Hill, circa 1814, and
afterwards in Rusher’s Books.

BANBURY FAIR. 69
 Banbury Chapbooks

82

Vignettes by Sears, engraved after Williams and others, and used on

cheap Repository Tracts, etc., and books issued from Rusher’s
press.

BANBURY FAIR. 70
 Banbury Chapbooks

83

These cuts were used in a series of Tracts published by Chilcott of Bristol.

Afterwards by Rusher at Banbury.

BANBURY FAIR. 71
 Banbury Chapbooks

84

Cuts by Sears after Williams, used on Cheap Repository Tracts, and on

Local Banbury Ephemeral Literature.

85

Used on Rusher’s Educational and other Local Pamphlets.

BANBURY FAIR. 72
 Banbury Chapbooks

“Distaff.”
86

Engraved by Lee—used by Rusher.

BANBURY FAIR. 73
 Banbury Chapbooks

87

THE LILLIPUTIAN MAGAZINE.

From Catnach. Norwood Gipsy.

BANBURY FAIR. 74
 Banbury Chapbooks

Catnach Spelling Book Cuts.

88

Engravings used by Evans in his Ballad Singers.

Very early ‘Cock Robin’

Early Newbery block by J. Bell.
cut.

A Tradesman’s Shop at
The Marriage Ceremony.
Banbury.
89

BANBURY FAIR. 75
 Banbury Chapbooks

“Billy Buttons” ride to Brentford, and other Catnach

‘Catches,’ used by Rusher.

90

Used by Rusher at Banbury.

BANBURY FAIR. 76
 Banbury Chapbooks

Bible Cut.

Frontispiece to Banbury Local Biography.

91

Used by Rusher.

BANBURY FAIR. 77
 Banbury Chapbooks

92

Mr. Doubleface, a man not to be

trusted.

BANBURY FAIR. 78
 Banbury Chapbooks

Used on Banbury
‘Catch-pennies.’

93

Battle of the Nile.

BANBURY FAIR. 79
 Banbury Chapbooks

Battle of Trafalgar.

94

BANBURY FAIR. 80
 Banbury Chapbooks

Lamenting the Great Fire, engraved by Christian and Hopeful escaping from
Austin. Doubting Castle.

95

BANBURY FAIR. 81
 Banbury Chapbooks

Vignette by Green, of Knaresborough. Knaresborough Tragedy, engraved by Lee.

96

Cuts used by Rusher at Banbury.

BANBURY FAIR. 82
 Banbury Chapbooks

97

Newspaper and Heraldic cuts, 18th Century.

BANBURY FAIR. 83
 Banbury Chapbooks

98

EARLY TAVERN SIGNS AT BANBURY.

The Boar’s Head. The White Hart.

The Sportsman’s Arms. The Bull’s Head.

BANBURY FAIR. 84
 Banbury Chapbooks

Vignettes to ‘Vicar of Wakefield,’ by Craig and Sears.

99

“Children’s Games,” and other Toy Books

published by Darton and Harvey, Gracechurch Street, and
afterwards by Rusher, Banbury.

100

BANBURY FAIR. 85
 Banbury Chapbooks

Published by Darton and Harvey, afterwards by Rusher.

101

BANBURY FAIR. 86
 Banbury Chapbooks

102

BANBURY FAIR. 87
 Banbury Chapbooks

103

Cyclops, from ‘Thorton’s Virgil,’ circa

1810.

In the Preface it is stated, Wm. Blake designed, and

Branstone engraved the above.
Bewick Tailpieces.
104

BANBURY FAIR. 88
 Banbury Chapbooks

Banbury Horse “to travel” cuts, used by Rusher.

Children’s Book Cuts, used by Rusher.

105

Cuts used on Mrs. Trimmer’s Educational Works;

engraved by Thomson and Branston.

BANBURY FAIR. 89
 Banbury Chapbooks

106

BANBURY FAIR. 90
 Banbury Chapbooks

Choice Vignette wood-engravings to

Goldsmith’s ‘Vicar,’
Engraved by Craig,
‘Poems,’ etc., published by
Bewick’s
Nicholson in his “Literary
Pupil.
Miscellany,” at Ludlow and Ploughmill,
circa 1798.

107

The Newcastle Collier on his “homeway way.”

Portrait of a Shrew. Engraving by Thomson.

108

BANBURY FAIR. 91
 Banbury Chapbooks

DROLLERIES OF THE STEAM ENGINE.

When Steam was first introduced it naturally called forth much ‘text’ and illustration. The
above we believe to be designed by ‘Cromek.’ Miss Bewick spoke highly of him; he was one
of the ‘Boys’ or pupils in Bewick’s School. He executed some choice vignettes for
‘Burns’s Poems,’ much in Luke Clennell’s style, Bewick’s favourite
pupil.

109

DROLLERIES OF THE STEAM ENGINE. 92

 Banbury Chapbooks

110

VIGNETTES AND TAILPIECES TO GAY’S FABLES.

Engraved by John Thomson, Branstone, and Williams; used at Chiswick Press.

VIGNETTES AND TAILPIECES TO GAY’S FABLES. 93

 Banbury Chapbooks

111

VIGNETTES AND TAILPIECES TO GAY’S FABLES. 94

 Banbury Chapbooks

112

113

VIGNETTES AND TAILPIECES TO GAY’S FABLES. 95

 Banbury Chapbooks

114

VIGNETTES AND TAILPIECES TO GAY’S FABLES. 96

 Banbury Chapbooks

115

VIGNETTES AND TAILPIECES TO GAY’S FABLES. 97

 Banbury Chapbooks

116

This woodcut did duty for “Arabian Nights,”

“Bluebeard,” etc.; probably designed by
Cruikshank, engraved by Branstone.
FINIS.

End of the Project Gutenberg EBook of Banbury Chap Books, by Edwin Pearson

FINIS. 98
 Banbury Chapbooks

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